From: John Mandereau Date: Sat, 25 Jul 2009 18:56:25 +0000 (+0200) Subject: Merge branch 'master' of ssh://jomand@git.sv.gnu.org/srv/git/lilypond X-Git-Tag: release/2.13.4-1~301 X-Git-Url: https://git.donarmstrong.com/?p=lilypond.git;a=commitdiff_plain;h=3d8089a42af6304edb8dad56220e845c84832bb2 Merge branch 'master' of ssh://jomand@git.sv.gnu.org/srv/git/lilypond Conflicts: Documentation/user/music-glossary.tely --- 3d8089a42af6304edb8dad56220e845c84832bb2 diff --cc Documentation/music-glossary.tely index 874c4827f9,0000000000..c1762ecf2b mode 100644,000000..100644 --- a/Documentation/music-glossary.tely +++ b/Documentation/music-glossary.tely @@@ -1,8864 -1,0 +1,8872 @@@ +\input texinfo @c -*- coding: utf-8; mode: texinfo; -*- +@setfilename music-glosssary.info +@settitle Music Glossary +@documentencoding UTF-8 +@documentlanguage en + +@include macros.itexi + +@afourpaper + +@c see lilypond.tely for info installation note +@dircategory LilyPond +@direntry +* Glossary: (music-glossary). Glossary of music terms. +@end direntry + +@titlepage +@title Music Glossary +@author Christian Mondrup @c Original author of LilyPond glossary +@c Danish glossary +@author François Pinard @c Original glossary of GNU music project, +@c French glossary +@author Mats Bengtsson @c Swedish glossary +@author David González @c Spanish glossary +@author Bjoern Jacke @c German glossary +@author Neil Jerram @c English glossary translations +@author Heikki Junes @c Finnish glossary +@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007 +@author Adrian Mariano @c Italian glossary +@author Han-Wen Nienhuys @c Dutch glossary +@author Jan Nieuwenhuizen @c Dutch glossary + +@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07 +@c Updates to the German translation by Till Rettig, 12/07 + +Copyright @copyright{} 1999--2009 by the authors + + Permission is granted to copy, distribute and/or modify this document + under the terms of the GNU Free Documentation License, Version 1.1 + or any later version published by the Free Software Foundation, + without Invariant Sections. + +@end titlepage + + +@c TODO: multiple omfcreators? +@ignore +@omfcreator Christian Mondrup, Kurt Kroon +@omfdescription Glossary of musical terms with translations +@omftype glossary +@omfcategory Applications|Publishing +@omflanguage English +@end ignore + +@ifnottex +@node Top +@top Music glossary +@end ifnottex + + +@ifnottex + +@ifhtml +@ifclear bigpage +This document is also available as a +@uref{source/Documentation/music-glossary.pdf,PDF} and as +@uref{source/Documentation/music-glossary-big-page.html,one big page}. +@end ifclear +@ifset bigpage +This document is also available as a +@uref{source/Documentation/music-glossary.pdf,PDF} and as a +@uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}. +@end ifset +@end ifhtml + +This glossary was brought you by: + +@itemize + +@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish, +@item @b{François Pinard}: Original glossary of GNU music project, French, + +@item @b{Han-Wen Nienhuys}: Dutch, +@item @b{Jan Nieuwenhuizen}: Dutch, + +@item @b{Neil Jerram}: English, +@item @b{Kurtis Kroon}: English, + +@item @b{Heikki Junes}: Finnish, + +@item @b{Bjoern Jacke}: German, + +@item @b{Adrian Mariano}: Italian, + +@item @b{David González}: Spanish, + +@item @b{Mats Bengtsson}: Swedish, + +@end itemize + +with additional contributions: thanks to all who have contributed. + +@ignore + +The list is rather long ... + +@itemize + +@item Danish: +@itemize +@item Rune Zedeler, @emph{pace} +@item Eyolf Østrem +@end itemize + +@item Dutch: +@itemize +@item Alard de Boer +@end itemize + +@item English: +@itemize +@item Trevor Bača +@item Trevor Daniels +@item Andrew Hawryluk +@item Ian Hulin +@item Kieren MacMillan +@item Patrick McCarty +@item Ralph Palmer +@item Carl D. Sorensen +@item Anh Hai Trinh +@end itemize + +@item Finnish: +@itemize +@item Risto Vääräniemi +@end itemize + +@item German: +@itemize +@item Orm Finnendahl +@item Reinhold Kainhofer +@item Werner Lemberg +@item Till Rettig +@item Thomas Scharkowski +@end itemize + +@item Italian +@itemize +@item Andrea Valle +@end itemize + +@item Spanish +@itemize +@item Francisco Vila +@end itemize + +@item Swedish +@itemize +@item Simon Dahlbacka +@end itemize + +@end itemize +@end ignore + +@* +Copyright 1999--2009 by the authors + + Permission is granted to copy, distribute and/or modify this document + under the terms of the GNU Free Documentation License, Version 1.1 + or any later version published by the Free Software Foundation, + without Invariant Sections. + +@* +@end ifnottex + +@c @pagesizes 10.3in +@c @everyheading @| @thispage @| +@c @evenheading @thispage @| @| +@c @oddheading @| @| @thispage @| + +This is the Music Glossary (MG) for GNU LilyPond version @version{}. +For more information about how this fits with the other +documentation, see @rlearning{About the documentation}. + + +@c arrowref +@macro aref{word} +@iftex +@w{@expansion{}@strong{\word\}}@c +@end iftex +@ifnottex +@expansion{}@ref{\word\, @strong{\word\}}@c +@end ifnottex +@end macro + +@menu +* Musical terms A-Z:: +* Duration names notes and rests:: +* Pitch names:: +@end menu + + +@node Musical terms A-Z +@chapter Musical terms A-Z + +Languages in this order. +@itemize +@item UK - British English (where it differs from American English) +@item ES - Spanish +@item I - Italian +@item F - French +@item D - German +@item NL - Dutch +@item DK - Danish +@item S - Swedish +@item FI - Finnish +@end itemize + + +@menu +* A:: +* a due:: +* accelerando:: +* accent:: +* accessory:: +* acciaccatura:: +* accidental:: +* adagio:: +* al niente:: +* alla breve:: +* allegro:: +* alteration:: +* alto:: +* alto clef:: +* ambitus:: +* anacrusis:: +* ancient minor scale:: +* andante:: +* appoggiatura:: +* arpeggio:: +* articulation:: +* ascending interval:: +* augmentation:: +* augmented interval:: +* autograph:: +* B:: +* backfall:: +* bar:: +* bar line:: +* baritone:: +* baritone clef:: +* bass:: +* bass clef:: +* beam:: +* beat:: +* beat repeat:: +* bind:: +* brace:: +* bracket:: +* brass:: +* breath mark:: +* breve:: +* C:: +* C clef:: +* cadence:: +* cadenza:: +* caesura:: +* canon:: +* cent:: +* central C:: +* chord:: +* chromatic scale:: +* chromaticism:: +* church mode:: +* clef:: +* cluster:: +* comma:: +* common meter:: +* common time:: +* complement:: +* compound interval:: +* compound meter:: +* compound time:: +* concert pitch:: +* conjunct movement:: +* consonance:: +* contralto:: +* copying music:: +* counterpoint:: +* countertenor:: +* crescendo:: +* cue-notes:: +* custos:: +* cut time:: +* D:: +* da capo:: +* dal niente:: +* dal segno:: +* decrescendo:: +* descending interval:: +* diatonic scale:: +* didymic comma:: +* diminished interval:: +* diminuendo:: +* diminution:: +* direct:: +* disjunct movement:: +* dissonance:: +* dissonant interval:: +* divisio:: +* doit:: +* dominant:: +* dominant ninth chord:: +* dominant seventh chord:: +* dorian mode:: +* dot (augmentation dot):: +* dotted note:: +* double appoggiatura:: +* double bar line:: +* double dotted note:: +* double flat:: +* double sharp:: +* double time signature:: +* double trill:: +* duple meter:: +* duplet:: +* duration:: +* dynamics:: +* E:: +* ecclesiastical mode:: +* eighth note:: +* eighth rest:: +* elision:: +* embellishment:: +* engraving:: +* enharmonic:: +* equal temperament:: +* expression mark:: +* extender line:: +* F:: +* F clef:: +* fall:: +* feathered beam:: +* fermata:: +* fifth:: +* figured bass:: +* fingering:: +* flag:: +* flageolet:: +* flat:: +* forefall:: +* forte:: +* fourth:: +* Frenched score:: +* Frenched staff:: +* Frenched staves:: +* fugue:: +* functional harmony:: +* G:: +* G clef:: +* glissando:: +* grace notes:: +* grand staff:: +* grave:: +* gruppetto:: +* H:: +* hairpin:: +* half note:: +* half rest:: +* harmonic cadence:: +* harmonics:: +* harmony:: +* hemiola:: +* homophony:: ++* hook:: +* hymn meter:: +* interval:: +* inversion:: +* inverted interval:: +* just intonation:: +* key:: +* key signature:: +* laissez vibrer:: +* largo:: +* leading note:: +* ledger line:: +* legato:: +* legato curve:: +* leger line:: +* ligature:: +* lilypond:: +* line:: +* loco:: +* long appoggiatura:: +* longa:: +* lyric tie:: +* lyrics:: +* major:: +* major interval:: +* maxima:: +* meantone temperament:: +* measure:: +* measure repeat:: +* mediant:: +* melisma:: +* melisma line:: +* melodic cadence:: +* mensural notation:: +* mensuration sign:: +* meter:: +* metronome:: +* metronome mark:: +* metronomic indication:: +* mezzo:: +* mezzo-soprano:: +* middle C:: +* minor:: +* minor interval:: +* mixolydian mode:: +* mode:: +* modulation:: +* mordent:: +* motif:: +* motive:: +* movement:: +* multi-measure rest:: +* natural:: +* neighbor tones:: +* ninth:: +* non-legato:: +* note:: +* note head:: +* note names:: +* note value:: +* octavation:: +* octave:: +* octave mark:: +* octave marking:: +* octave sign:: +* ornament:: +* ossia:: +* part:: +* pause:: +* pennant:: +* percent repeat:: +* percussion:: +* perfect interval:: +* phrase:: +* phrasing:: +* piano:: +* pickup:: +* pitch:: +* pizzicato:: +* polymeter:: +* polymetric:: +* polymetric time signature:: +* polyphony:: +* portato:: +* presto:: +* proportion:: +* Pythagorean comma:: +* quadruplet:: +* quality:: +* quarter note:: +* quarter rest:: +* quarter tone:: +* quintuplet:: +* rallentando:: +* relative key:: +* repeat:: +* rest:: +* rhythm:: +* ritardando:: +* ritenuto:: +* scale:: +* scale degree:: +* scordatura:: +* score:: +* second:: +* semibreve:: +* semitone:: +* seventh:: +* sextolet:: +* sextuplet:: +* shake:: +* sharp:: +* simile:: +* simple meter:: +* sixteenth note:: +* sixteenth rest:: +* sixth:: +* sixty-fourth note:: +* sixty-fourth rest:: +* slash repeat:: +* slur:: +* solmization:: +* sonata:: +* sonata form:: +* song texts:: +* soprano:: +* staccato:: +* staff:: +* staves:: +* stem:: +* stringendo:: +* strings:: +* strong beat:: +* subdominant:: +* submediant:: +* subtonic:: +* sul G:: +* superdominant:: +* supertonic:: +* symphony:: +* syncopation:: +* syntonic comma:: +* system:: +* temperament:: +* tempo indication:: +* tenor:: +* tenth:: +* tenuto:: +* third:: +* thirty-second note:: +* thirty-second rest:: +* thorough bass:: +* tie:: +* time:: +* time signature:: +* tone:: +* tonic:: +* transposing instrument:: +* transposition:: +* treble clef:: +* tremolo:: +* triad:: +* trill:: +* triple meter:: +* triplet:: +* tritone:: +* tuning fork:: +* tuplet:: +* turn:: +* unison:: +* upbeat:: +* voice:: +* volta:: +* weak beat:: +* whole note:: +* whole rest:: +* whole tone:: +* woodwind:: +@end menu + + +@node A +@section A + +@itemize +@item ES: la +@item I: la +@item F: la +@item D: A, a +@item NL: a +@item DK: a +@item S: a +@item FI: A, a +@end itemize + +@seealso +@ref{Pitch names}. + + +@node a due +@section a due + +ES: a dos, +I: a due, +F: à deux, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kahdelle. + +Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a +due} indicates that: + +@enumerate + +@item A single part notated on a single staff that normally carries parts for +two players (e.g. first and second oboes) is to be played by both players. + +@item Or conversely, that two pitches or parts notated on a staff that normally +carries a single part (e.g. first violin) are to be played by different players, +or groups of players (@q{desks}). + +@end enumerate + +@seealso +No cross-references. + + +@node accelerando +@section accelerando + +ES: accelerando, +I: accelerando, +F: accelerando, en accélérant, +D: accelerando, schneller werden, +NL: accelerando, +DK: accelerando, +S: accelerando, +FI: accelerando, kiihdyttäen. + +[Italian: @q{speed up, accelerate}] + +Increase tempo + +@seealso +No cross-references. + + +@node accent +@section accent + +ES: acento, +I: accento, +F: accent, +D: Akzent, +NL: accent, +DK: accent, +S: accent, +FI: aksentti, korostus. + +The stress of one tone over others. + +@seealso +No cross-references. + + +@node accessory +@section accessory + +@seealso +@ref{ornament}. + + +@node acciaccatura +@section acciaccatura + +ES: ?, +I: acciaccatura, +F: acciaccatura, appoggiature brève, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A grace note which takes its time from the rest or note preceding the +principal note to which it is attached. The acciaccatura is drawn as a +small eighth note (quaver) with a line drawn through the flag and +stem. + +@seealso +@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. + + +@node accidental +@section accidental + +ES: alteración accidental, +I: accidento, +F: altération accidentelle, +D: Versetzungszeichen, Akzidenz, +NL: toevallig (verplaatsings)teken, +DK: løst fortegn, +S: tillfälligt förtecken, +FI: tilapäinen etumerkki. + +An accidental alters a note by: + +@itemize + +@item Raising its pitch: +@itemize +@item By two semitones (a whole tone)—@notation{double sharp} +@item By one semitone—@notation{sharp} +@end itemize + +@item Lowering its pitch: +@itemize +@item By one semitone—@notation{flat} +@item By two semitones (a whole tone)—@notation{double flat} +@end itemize + +@item Or canceling the effects of the key signature or previous accidentals. +@end itemize + +@lilypond[quote,notime] +\score { + \new Staff { + \relative c'' { + \set Staff.extraNatural = ##f + gisis1 gis g! ges geses + } + } + \addlyrics { + \markup { + \center-column { double sharp } + } + sharp + natural + flat + \markup { + \center-column { double flat } + } + } + \layout { + \context { + \Score + \override SpacingSpanner + #'base-shortest-duration = #(ly:make-moment 1 32) + } + } +} +@end lilypond + +@seealso +@ref{alteration}, @ref{semitone}, @ref{whole tone}. + + +@node adagio +@section adagio + +ES: adagio, +I: adagio, +F: adagio, lent, +D: Adagio, Langsam, +NL: adagio, +DK: adagio, +S: adagio, +FI: adagio, hitaasti. + +[Italian: @q{comfortable, easy}] + +@itemize + +@item Slow tempo, slower -- especially in even meter -- than @notation{andante} +and faster than @notation{largo}. + +@item A movement in slow tempo, especially the second (slow) movement +of sonatas, symphonies, etc. + +@end itemize + +@seealso +@ref{andante}, @ref{largo}, @ref{sonata}. + + +@node al niente +@section al niente + +ES: ?, +I: al niente, +F: al niente, en mourant, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: häviten olemattomiin. + +[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate +that the sound should fade away to nothing. + +@notation{Al niente} is indicated by circling the tip of the hairpin: + +@lilypond[quote,relative=2] +\override Hairpin #'circled-tip = ##t +c1\< +c2\> c\< +c1\! +@end lilypond + +or with the actual phrase @notation{al niente}: + +@lilypond[quote,relative=2] +\dimTextDecresc +\override DynamicTextSpanner #'(bound-details right text) = + \markup { \italic { al niente } } +c1\> ~ +c1 ~ +c1\! +@end lilypond + +Since one does not crescendo @emph{to} nothing, it is not correct to use +@notation{al niente} with @notation{crescendo}. Instead, one should use +@emph{dal niente} (@notation{@b{from} nothing}). + +@seealso +@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}. + + +@node alla breve +@section alla breve + +ES: ?, +I: ?, +F: alla breve,à la brève, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[Italian: @q{on the breve}] Twice as fast as the notation indicates. + +Also called @notation{in cut-time}. The name derives from mensural notation, +where the @notation{tactus} (or beat) is counted on the semibreve (the modern +whole note). Counting @q{on the breve} shifts the tactus to the next longest +note value, which (in modern usage) effectively halves all note values. + +(In mensural notation, breves and semibreves can have a ternary relationship, in +which case @notation{alla breve} means thrice (not twice) as fast. In practice, +this complication may not have mattered, since Gaffurius's system of multiplex +proportions makes it easy to explicitly state which proportion is needed.) + +@seealso +@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value}, +@ref{proportion}, @ref{whole note}. + + +@node allegro +@section allegro + +ES: allegro, +I: allegro, +F: allegro, gaiement, +D: Allegro, Schnell, Fröhlich, Lustig, +NL: allegro, +DK: allegro, +S: allegro, +FI: allegro, nopeasti. + +[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a +quick tempo, especially the first and last movements of a sonata. + +@seealso +@ref{sonata}. + + +@node alteration +@section alteration + +ES: alteración, +I: alterazione, +F: altération, +D: Alteration, +NL: verhoging of verlaging, - DK: ?, - S: ?, ++DK: Forandring, ++S: Förändring, +FI: muunnettu. + +An alteration is the modification, raising or lowering, of a note's +pitch. It is established by an accidental. + +@c TODO: add second meaning from mensural notation + +@seealso +@ref{accidental}. + + +@node alto +@section alto + +ES: alto, +I: contralto, +F: alto, +D: Alt, +NL: alt, +DK: alt, +S: alt, +FI: altto, matala naisääni. + +A female voice of low range (@emph{contralto}). Originally the alto +was a high male voice (hence the name), which by the use of falsetto +reached the height of the female voice. This type of voice is also +known as countertenor. + +@seealso +@ref{countertenor}. + + +@node alto clef +@section alto clef + +ES: clave de do en tercera, +I: chiave di contralto, +F: clef d'ut troisième ligne, +D: Altschlüssel, Bratschenschlüssel, +NL: alt sleutel, +DK: altnøgle, +S: altklav, +FI: alttoavain. + +C clef setting middle C on the middle line of the staff. + +@seealso +@ref{C clef}. + + +@node ambitus +@section ambitus + +ES: ámbito, +I: ambitus, +F: ambitus, tessiture, +D: Ambitus, +NL: ambitus, +DK: ambitus, +S: ambitus, +FI: ambitus, ääniala, soitinala. + +[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus] +Denotes a range of pitches for a given voice in a part of music. It may +also denote the pitch range that a musical instrument is capable of playing. +Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}). + +@seealso +No cross-references. + + +@node anacrusis +@section anacrusis + +ES: anacrusa, +I: anacrusi, +F: anacrouse, levée, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +FI: kohotahti. + +An anacrusis (also known as pickup or upbeat) is an incomplete measure +of music before a section of music. It also refers to the initial +note(s) of a melody occurring in that incomplete measure. + +@lilypond[quote,relative=1] +\key f \major +\time 4/4 +\partial 4 f4 +bes4. a8 bes4 c +bes4( a) g f +bes4. a8 bes4 c +f,2. \bar "||" +@end lilypond + +@seealso +@ref{measure}, @ref{meter}. + + +@node ancient minor scale +@section ancient minor scale + +ES: escala menor natural, +I: scala minore naturale, +F: forme du mode mineur ancien, troisème mode, mode hellénique, +D: reines Moll, natürliches Moll, +NL: authentieke mineurtoonladder, +DK: ren mol, +S: ren mollskala, +FI: luonnollinen molliasteikko. + +Also called @q{natural minor scale}. + +@lilypond[quote,notime,relative=2] +a1 b c d e f g a +@end lilypond + + +@seealso +@ref{diatonic scale}. + + +@node andante +@section andante + +ES: andante, +I: andante, +F: andante, allant, +D: Andante, Gehend, +NL: andante, +DK: andante, +S: andante, +FI: andante, käyden. + +[Italian: present participle of @emph{andare}, @q{to walk}] + +Walking tempo/character. + +@seealso +No cross-references. + + +@node appoggiatura +@section appoggiatura + +ES: apoyatura, +I: appoggiatura, +F: appoggiature, (port de voix), +D: Vorschlag, Vorhalt +NL: voorslag, +DK: forslag, +S: förslag, +FI: appoggiatura, etuhele. + +Ornamental note, usually a second, that is melodically connected with +the main note following it. In music before the 19th century +appoggiature were usually performed on the beat, after that mostly +before the beat. While the short appoggiatura is performed as a short +note regardless of the duration of the main note the duration of the +long appoggiatura is proportional to that of the main note. + +@lilypond[quote,relative=2] +\key d \major +\time 4/4 +4_"notation" r +\grace g16 +fis8 e16 fis +\grace a16 +g8 fis16 g | +a4 \bar "||" + +\set Score.measurePosition = #ZERO-MOMENT +4_"performance" r +g16( fis) e fis +a16 ( g) fis g | +a4 \bar "||" +@end lilypond + +An appoggiatura may have more notes preceding the main note. + +@lilypond[quote,relative=2] +\key as \major +\time 2/4 +\grace bes16 as8-"notation" as16 bes as8 g | +\grace { as16[( bes] } 4) +\grace { as16[( bes] } 4) \bar "||" + +\grace bes16 as8-"performance" as16 bes as8 g | +<< + { + \voiceOne + as32 bes c8. as32 bes c8. + } + \new Voice { + \voiceTwo + as16 ~ as8. as16 ~ as8. + } +>> +@end lilypond + +@seealso +No cross-references. + + +@node arpeggio +@section arpeggio + +ES: arpegio, +I: arpeggio, +F: arpège, +D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord, +NL: gebroken akoord, +DK: arpeggio, akkordbrydning, +S: arpeggio, +FI: arpeggio, murtosointu. + +[Italian: @q{harp-like, played like a harp}] + +@lilypond[quote,line-width=13\cm] +\new PianoStaff << + \context Staff = "SA" { + \relative c'' { + \clef treble + \time 4/4 + r8 g16 c e g, c e r8 g,16 c e g, c e + r8 a,16 d f a, d f r8 a,16 d f a, d f + \bar "||" + } + } + \context Staff = "SB" { + \relative c' { + \clef bass + << + { + \voiceOne + r16 e8. ( e4) r16 e8. ( e4) + r16 d8. ( d4) r16 d8. ( d4) + } + \new Voice { + \voiceTwo + c2 c + c2 c + } + >> + } + } +>> +@end lilypond + +@seealso +No cross-references. + + +@node articulation +@section articulation + +ES: articulación, +I: articulazione, +F: articulation, +D: Artikulation, +NL: articulatie, +DK: ?, +S: ?, +FI: artikulaatio, ilmaisu. + +Articulation refers to notation which indicates how a note or notes +should be played. Slurs, accents, staccato, and legato are all +examples of articulation. + +@seealso +No cross-references. + + +@node ascending interval +@section ascending interval + +ES: intervalo ascendente, +I: intervallo ascendente, +F: intervalle ascendant, +D: steigendes Intervall, +NL: stijgend interval, +DK: stigende interval, +S: stigande intervall, +FI: nouseva intervalli. + +A distance between a starting lower note and a higher ending note. + +@seealso +No cross-references. + + +@node augmented interval +@section augmented interval + +ES: intervalo aumentado, +I: intervallo aumentato, +F: intervalle augmenté, +D: übermäßiges Intervall, +NL: overmatig interval, +DK: forstørret interval, +S: överstigande intervall, +FI: ylinouseva intervalli. + +@seealso +@ref{interval}. + + +@node augmentation +@section augmentation + - ES: ?, - I: ?, ++ES: aumentación, ++I: aumentazione, +F: augmentation, - D: ?, - NL: ?, - DK: ?, - S: ?, ++D: Augmentation, ++NL: Augmentatio, ++DK: Forøgelse, ++S: Förstoring, +FI: aika-arvojen pidentäminen. + +@c TODO: add definition. + +This is a placeholder for augmentation (wrt mensural notation). + +@seealso +@ref{diminution}, @ref{mensural notation}. + + +@node autograph +@section autograph + +ES: manuscrito, +I: autografo, +F: manuscrit, autographe +D: Autograph, Handschrift, +NL: manuscript, +DK: håndskrift, autograf, +S: handskrift, +FI: käsinkirjoitettu nuotti. + +@itemize + +@item A manuscript written in the composer's own hand. + +@item Music prepared for photoreproduction by freehand drawing, with +the aid of a straightedge ruler and T-square only, which attempts to +emulate engraving. This required more skill than did engraving. + +@end itemize + +@seealso +No cross-references. + + +@node B +@section B + +@itemize +@item ES: si +@item I: si +@item F: si +@item D: H, h +@item NL: b +@item DK: h +@item S: h +@item FI: H, h +@end itemize + +@seealso +@ref{H}, @ref{Pitch names} + + +@node backfall +@section backfall + +@seealso +@ref{appoggiatura}. + + +@node bar +@section bar + +@seealso +@ref{measure}. + + +@node bar line +@section bar line + +ES: barra, línea divisoria, +I: stanghetta, barra (di divisione), +F: barre (de mesure), +D: Taktstrich, +NL: maatstreep, +DK: taktstreg, +S: taktstreck, +FI: tahtiviiva. + +A vertical line through the staff (or through multiple staves) that +separates measures. Used very infrequently during the Renaissance (mostly +in secular music, or in sacred music to indicate congruences between parts +in otherwise-unmetered music). + +@seealso +@ref{measure}. + + +@node baritone +@section baritone + +ES: barítono, +I: baritono, +F: bariton, +D: Bariton, +NL: bariton, +DK: baryton, +S: baryton, +FI: baritoni, keskikorkuinen miesääni. + +The male voice intermediate in pitch between the bass and the tenor. + +@c F: clef de troisième ligne dropped + +@seealso +@ref{bass}, @ref{tenor}. + + +@node baritone clef +@section baritone clef + +ES: clave de fa en tercera, +I: chiave di baritono, +F: clef d'ut cinquième ligne, clef de fa troisième, +D: Baritonschlüssel, +NL: baritonsleutel, +DK: barytonnøgle, +S: barytonklav, +FI: baritoniavain. + +C or F clef setting middle C on the upper staff line. + +@seealso +@ref{C clef}, @ref{F clef}. + + +@node bass +@section bass + +ES: bajo, +I: basso, +F: basse, +D: Bass, +NL: bas, +DK: bas, +S: bas, +FI: basso, matala miesääni. + +@itemize + +@item The lowest male voice. + +@item Sometimes, especially in jazz music, used as an abbreviation for +double bass. + +@end itemize + +@seealso +@ref{strings}. + + +@node bass clef +@section bass clef + +ES: clave de fa en cuarta, +I: chiave di basso, +F: clef de fa quatrième ligne, +D: Bassschlüssel, +NL: bassleutel, +DK: basnøgle, +S: basklav, +FI: bassoavain. + +A clef setting with middle C on the first top ledger line. + +@seealso +@ref{F clef}. + + +@node beam +@section beam + +ES: barra +I: coda, +F: ligature, barre (de croches), +D: Balken, +NL: waardestreep, +DK: bjælke, +S: balk, +FI: palkki. + +Line connecting a series of notes (shorter than a quarter note). The +number of beams determines the note value of the connected notes. + +@lilypond[quote,notime,relative=2,line-width=13\cm] +g8-"1/8"[ g g g] s16 +g16-"1/16"[ g g g] s +g32-"1/32"[ s g s g s g] s16 +g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32 +@end lilypond + +@seealso +@ref{feathered beam}. + + +@node beat +@section beat + +ES: tiempo, parte (de compás) +I: tempi, +F: temps, +D: Takt, Taktschlag, Zeit (im Takt), +NL: tel, +DK: (takt)slag, +S: taktslag, +FI: aika-arvo. + +Note value used for counting, most often half-, fourth-, and eighth notes. +The base counting value and the number of them in each measure is indicated +at the start of the music by the @notation{time signature}. + +@lilypond[quote,relative=2] +\key g \major +\time 4/4 +g4 c b a | g1 \bar "||" +\time 3/8 +g8 d' c | b c a | g4. \bar "||" +@end lilypond + +@seealso +@ref{time signature}. + + +@node beat repeat +@section beat repeat + +@seealso +@ref{percent repeat}. + + +@node bind +@section bind + +@seealso +@ref{tie}. + + +@node brace +@section brace + +ES: llave, corchete, +I: graffa, +F: accolade, +D: Klammer, Akkolade, +NL: accolade, teksthaak, +DK: klamme, +S: klammer, +FI: yhdistävä sulkumerkki. + +Symbol at the start of a system connecting staves. + +Curly braces are used for connecting piano staves, and sometimes for connecting +the staves of like instruments in an orchestral score when written on different +staves (e.g. first and second flutes): + +@lilypond[quote] +\new GrandStaff << + \context Staff = "SA" { + \relative c'' { + \clef treble + g4 e c2 + } + } + \context Staff = "SB" { + \relative c { + \clef bass + c1 + \bar "|." + } + } +>> +@end lilypond + +Angular brackets for connecting parts in an orchestral or choral score: + +@lilypond[quote] +\new StaffGroup << + \context Staff = "SA" { + \relative c'' { + \clef treble + g4 e c2 + } + } + \context Staff = "SB" { + \relative c { + \clef bass + c1 + \bar "|." + } + } +>> +@end lilypond + +@seealso +No cross-references. + + +@node bracket +@section bracket + +ES: corchete, +I: ?, +F: crochet, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: sulkumerkki. + +@seealso +@ref{brace} + + +@node brass +@section brass + +ES: metales, +I: ottoni, +D: Blechbläser, +NL: koper (blazers), +F: cuivres, +DK: messingblæsere, +S: brassinstrument, mässingsinstrument, +FI: vaskisoitin. + +A family of blown musical instruments made of brass, all using a cup +formed mouth piece. The brass instruments commonly used in a symphony +orchestra are trumpet, trombone, french horn, and tuba. + +@seealso +No cross-references. + + +@node breath mark +@section breath mark + +ES: respiración, +I: respiro, +F: respiration, +D: Atemzeichen, Trennungszeichen, +NL: repercussieteken, +DK: vejrtrækningstegn, +S: andningstecken, +FI: hengitysmerkki. + +Indication of where to breathe in vocal and wind instrument parts. + +@seealso +@ref{caesura}. + + +@node breve +@section breve + +@itemize +@item US: breve, double-whole note +@item ES: cuadrada, breve +@item I: breve +@item F: brève +@item D: Brevis +@item NL: brevis +@item DK: brevis +@item S: brevis +@item FI: brevis, kaksoiskokonuotti +@end itemize + +Note value: twice the length of a @notation{whole note} (@notation{semibreve}). + +Mainly used in music from before 1650. In mensural notation, it was a note +of fairly short duration—hence the name, which is Latin for @q{short} or +@q{of short duration}. + +@lilypond[quote,notime,relative=2] +g\breve +@end lilypond + +@seealso +@ref{mensural notation}, @ref{note value}, @ref{semibreve}. + + +@node C +@section C + +@itemize +@item ES: do +@item I: do +@item F: ut, do +@item D: C, c +@item NL: c +@item DK: c +@item S: c +@item FI: C, c +@end itemize + +@seealso +@ref{Pitch names}. + + +@node C clef +@section C clef + +ES: clave de do, +I: chiave di do, +F: clef d'ut, +D: C-Schlüssel, +NL: C-sleutel, +DK: c-nøgle, +S: c-klav, +FI: C-avain. + +Clef symbol indicating the position of the middle C. Used on all note +lines. + +@lilypond[quote,notime,relative=1,line-width=13.0\cm] +\new Staff { + \override Staff.Clef #'full-size-change = ##t + \clef soprano c1 + \clef mezzosoprano c1 + \clef alto c1 + \clef tenor c1 + \clef baritone c1 +} +\addlyrics { + \override Lyrics . LyricText #'self-alignment-X = #LEFT + "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone +} +@end lilypond + +@seealso +No cross-references. + + +@node cadence +@section cadence + +ES: cadencia, +I: cadenza, +F: cadence, +D: Kadenz, +NL: cadens, +DK: kadence, +S: kadens, +FI: kadenssi, lopuke. + +@seealso +@ref{harmonic cadence}, @ref{functional harmony}. + + +@node cadenza +@section cadenza + +ES: cadenza, +I: cadenza, +F: cadence, +D: Kadenz, +NL: cadens, +DK: kadence, +S: kadens, +FI: kadenssi, lopuke. + +An extended, improvisatory style section inserted near the end of +movement. The purpose of a cadenza is to give singers or players a +chance to exhibit their technical skill and -- not last -- their +ability to improvise. Since the middle of the 19th century, however, +most cadenzas have been written down by the composer. + +@seealso +No cross-references. + + +@node caesura +@section caesura + +ES: cesura, +I: cesura, +F: césure, +D: Zäsur, +NL: ?, +DK: ?, +S: ?, +FI: välimerkki. + +[Latin: from the supine of @emph{caedere} @q{to cut down}] + +The break between two musical phrases, sometimes (but not always) marked by a +rest or a breath mark. + +@seealso +@ref{breath mark}. + + +@node canon +@section canon + +ES: canon, +I: canone, +F: canon, +D: Kanon, +NL: canon, +DK: kanon, +S: kanon, +FI: kaanon, tarkka jäljittely. + +@seealso +@ref{counterpoint}. + + +@node cent +@section cent + +ES: cent, +I: cent, +F: cent, +D: Cent, +NL: cent, +DK: cent, +S: cent, +FI: sentti, puolisävelaskeleen sadasosa tasavireisessä +viritysjärjestelmässä. + +Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave +(1/100 of an equally tempered semitone). + +@seealso +@ref{equal temperament}, @ref{semitone}. + + +@node central C +@section central C + +@seealso +@ref{middle C}. + + +@node chord +@section chord + +ES: acorde, +I: accordo, +F: accord, +D: Akkord, +NL: akkoord, +DK: akkord, +S: ackord, +FI: sointu. + +Three or more tones sounding simultaneously. In traditional European music +the base chord is a @emph{triad} consisting of two thirds. @emph{Major} +(major + minor third) as well as @emph{minor} (minor + major third) chords +may be extended with more thirds. Four-tone @emph{seventh chords} and +five-tone @emph{ninth} major chords are most often used as dominants +(functional harmony). Chords having no third above the lower notes to +define their mood are a special case called @q{open chords}. The lack of +the middle third means their quality is ambivalent -- neither major nor +minor. + +@lilypond[quote,notime,line-width=13.0\cm] +<< + \new Staff { + \relative c'' { + \set Staff.extraNatural = ##f + 1 + + + + + + } + } + \lyrics { + "major " + "minor " + "diminished " + "augmented " + "seventh-chord " + ninth-chord + } +>> +@end lilypond + +@seealso +@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, +@ref{third}. + + +@node chromatic scale +@section chromatic scale + +ES: escala cromática, +I: scala cromatica, +F: gamme chromatique, +D: chro@-ma@-ti@-sche Tonleiter, +NL: chromatische toonladder, +DK: kromatisk skala, +S: kromatisk skala, +FI: kromaattinen asteikko. + +A scale consisting of all 12 semitones. + +@lilypond[quote,notime,relative=1,line-width=13.0\cm] +c1 cis d dis e f fis g gis a ais b c +@end lilypond + +@seealso +@ref{semitone}. + + +@node chromaticism +@section chromaticism + +ES: cromatismo, +I: cromatismo, +F: chromatisme, +D: Chromatik, +NL: chromatiek, +DK: kromatik, +S: kromatik, +FI: kromatiikka. + +Using tones extraneous to a diatonic scale (minor, major). + +@seealso +@ref{diatonic scale}. + + +@node church mode +@section church mode + +ES: modo eclesiástico, +I: modo ecclesiastico, +F: mode ecclésiastique, mode d'église, +D: Kirchentonart, +NL: kerktoonladder, +DK: kirketoneart, +S: kyrkotonart, +FI: moodi, kirkkosävellaji. + +@seealso +@ref{diatonic scale}. + + +@node clef +@section clef + +ES: clave, +I: chiave, +F: clé, clef, +D: Schlüssel, Notenschlüssel, +NL: sleutel, +DK: nøgle, +S: klav, +FI: avain, nuottiavain. + +The clef indicates which lines of the staff correspond to which +pitches. The three clef symbols in common use are: + +@lilypond[quote] +\markup { + \left-column { + \line { The Treble or G clef: } + \strut + \line { The Bass or F clef: } + \strut + \line { The Alto or C clef: } + } + \hspace #0.5 + \left-column { + \musicglyph #"clefs.G" + \strut + \musicglyph #"clefs.F" + \strut + \musicglyph #"clefs.C" + } +} +@end lilypond + +Imagine a large staff of 11 lines centered on middle C, sometimes +called a @q{grand staff}, with the bottom line representing low G and +the top line high F: + +@lilypond[quote] +\score { + << + %-- Note names above treble staff --% + \new NoteNames { + \set printOctaveNames = ##t + g,1 b, d f a + \once \override NoteName #'color = #red + c'1 + e'1 g' b' d'' f'' + } + %-- Treble Staff --% + \new Staff = "G" { + \override Staff.Clef #'stencil = ##f + \clef "G" + s1 s s s s s + e'1 g' b' d'' f'' + s1 + } + %-- Alto Staff reduced to a single line on middle C --% + \new Staff = "C" { + \override Staff.StaffSymbol #'line-count = #1 + \override Staff.StaffSymbol #'color = #red + \override Staff.Clef #'stencil = ##f + \clef "C" + s1 s s s s + \override NoteHead #'color = #red + c'1 + s1 s s s s s + } + %-- Bass Staff --% + \new Staff = "F" { + \override Staff.Clef #'stencil = ##f + \clef "F" + g,1 b, d f a + s1 s s s s s s + } + >> + \layout { + \context { + \Score + \override SpacingSpanner + #'base-shortest-duration = #(ly:make-moment 1 1) + \override NonMusicalPaperColumn + #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6))) + \override BarLine #'stencil = ##f + } + \context { + \Staff + \remove "Time_signature_engraver" + } + } +} +@end lilypond + +Staves of five lines are usually used, and the clef superimposed on +them indicates which five lines have been selected from this +@samp{grand staff}. For example, the treble or G clef indicates that +the top five lines have been selected: + +@lilypond[quote] +\score { + << + %-- Note names above treble staff --% + \new NoteNames { + \set printOctaveNames = ##t + g,1 b, d f a + \once \override NoteName #'color = #red + c'1 + s1 + e'1 g' b' d'' f'' + } + %-- Treble Staff --% + \new Staff = "G" { + \once \override Staff.Clef #'stencil = ##f + \clef "G" + s1 s s s s s s + \override Staff.Clef #'full-size-change = ##t + \set Staff.forceClef = ##t + \clef "G" + e'1 g' b' d'' f'' + } + %-- Alto Staff reduced to a single line on middle C --% + \new Staff = "C" { + \override Staff.StaffSymbol #'line-count = #1 + \override Staff.StaffSymbol #'color = #red + \override Staff.Clef #'stencil = ##f + \clef "C" + s1 s s s s + \override NoteHead #'color = #red + c'1 + } + %-- Bass Staff --% + \new Staff = "F" { + \override Staff.Clef #'stencil = ##f + \clef "F" + g,1 b, d f a + } + >> + \layout { + \context { + \Score + \override SpacingSpanner + #'base-shortest-duration = #(ly:make-moment 2 1) + \override NonMusicalPaperColumn + #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6))) + \override BarLine #'stencil = ##f + } + \context { + \Staff + \remove "Time_signature_engraver" + } + } +} +@end lilypond + +The @q{curl} of the G clef is centered on the line that represents the +pitch G. + +In the same way, the bass or F clef indicates that the bottom five +lines have been selected from the @samp{grand staff}, and the alto or +C clef indicates the middle five lines have been selected. This +relationship is shown below, where the notes show an arpeggio on a C +major chord. + +@lilypond[quote] +\score { + << + %-- Treble Staff --% + \new Staff = "G" { + \clef "G" + s1 s s s + e'1 g' c'' s + } + %-- Alto Staff --% + \new Staff = "C" { + \override Staff.StaffSymbol #'line-count = #1 + \once \override Staff.Clef #'stencil = ##f + \stopStaff + \clef "C" + s1 s s + \startStaff + \revert Staff.StaffSymbol #'stencil + \override Staff.StaffSymbol #'color = #red + c'1 + s1 s s s s + \stopStaff \startStaff + \revert Staff.StaffSymbol #'line-count + \revert Staff.StaffSymbol #'color + \stopStaff \startStaff + \override Staff.Clef #'full-size-change = ##t + \set Staff.forceClef = ##t + \clef "C" + s1 s + c1 e g c' e' g' c'' + } + %-- Bass Staff --% + \new Staff = "F" { + \clef "F" + c1 e g + s1 s s s s + } + >> + \layout { + \context { + \Score + \override SpacingSpanner #'base-shortest-duration = + #(ly:make-moment 2 1) + \override NonMusicalPaperColumn + #'line-break-system-details = #'((alignment-offsets . (0 -3 -6))) + \override BarLine #'stencil = ##f + } + \context { + \Staff + \remove "Time_signature_engraver" + } + } +} +@end lilypond + +@seealso +@ref{C clef}, @ref{F clef}, @ref{G clef}. + + +@node cluster +@section cluster + +ES: racimo, +I: ?, +F: cluster, +D: Cluster, +NL: ?, +DK: ?, +S: ?, +FI: klusteri, cluster. + +A @emph{cluster} is a range of simultaneously sounding pitches that +may change over time. The set of available pitches to apply usually +depends on the acoustic source. Thus, in piano music, a cluster +typically consists of a continuous range of the semitones as provided +by the piano's fixed set of a chromatic scale. In choral music, each +singer of the choir typically may sing an arbitrary pitch within the +cluster's range that is not bound to any diatonic, chromatic or other +scale. In electronic music, a cluster (theoretically) may even cover +a continuous range of pitches, thus resulting in colored noise, such +as pink noise. + +Clusters can be denoted in the context of ordinary staff notation by +engraving simple geometrical shapes that replace ordinary notation of +notes. Ordinary notes as musical events specify starting time and +duration of pitches; however, the duration of a note is expressed by +the shape of the note head rather than by the horizontal graphical +extent of the note symbol. In contrast, the shape of a cluster +geometrically describes the development of a range of pitches +(vertical extent) over time (horizontal extent). Still, the +geometrical shape of a cluster covers the area in which any single +pitch contained in the cluster would be notated as an ordinary note. + +@lilypond[quote,relative=2] +\makeClusters { 4 8 } +@end lilypond + +@seealso +No cross-references. + + +@node comma +@section comma + +ES: coma, comma, +I: comma, +F: comma, +D: Komma, +NL: komma, +DK: komma, +S: komma, +FI: komma, korvinkuultava ero äänenkorkeudessa. + +Difference in pitch between a note derived from pure tuning and the +same note derived from some other tuning method. + +@seealso +@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma}, +@ref{temperament}. + + +@node common meter +@section common meter + +Another name for @ref{common time}. + +@seealso +@ref{common time}, @ref{meter}. + + +@node common time +@section common time + +ES: compasillo, +I: ?, +F: mesure à 4/4, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: C-merkintä. + +4/4 time. The symbol, which resembles a capital letter C, comes from +mensural notation. + +@seealso +@ref{mensural notation}, @ref{meter}. + + +@node complement +@section complement + +ES: intervalo invertido, +I: rivolto, +F: intervalle complémentaire, +D: Komplementärintervall, +NL: complementair interval, +DK: komplementærinterval, +S: komplementärintervall (?), +FI: täydentävä intervalli. + +@seealso +@ref{inverted interval}. + + +@node compound interval +@section compound interval + +ES: intervalo compuesto, +I: intervallo composto, +F: intervalle composé, +D: weites Intervall, +NL: samengesteld interval, +DK: sammensat interval, +S: sammansatt intervall, +FI: oktaavia laajempi intervalli. + +Intervals larger than an octave. + +@seealso +@ref{interval}. + + +@node compound meter +@section compound meter + +ES: compás compuesto, compás de subdivisión ternaria, +I: ?, +F: mesure composée, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kolmijakoinen tahtilaji. + +A meter that includes a triplet subdivision within the beat, such as +6/8, 9/8, 12/8. + +@seealso +@ref{meter}, @ref{simple meter}. + + +@node compound time +@section compound time + +ES: compás compuesto, compás de amalgama (def. 2), +I: ?, +F: temps composé, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: yhdistetty tahtilajiosoitus. + +@enumerate + +@item +A meter that includes a triplet subdivision within the beat: see +@ref{compound meter}. + +@item +A time signature that additively combines two or more unequal meters, e.g., +"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures. + +@end enumerate + +@lilypond[quote,line-width=13.0\cm] +#(define ((compound-time one two three num) grob) + (grob-interpret-markup grob + (markup + #:override '(baseline-skip . 0) + #:number + #:line ( + #:left-column (one num) + #:vcenter "+" + #:left-column (two num) + #:vcenter "+" + #:left-column (three num))))) + +\relative c' { + \key f \major + #(set-time-signature 8 8 '(3 2 3)) + \override Staff.TimeSignature #'stencil = + #(compound-time "3" "2" "3" "8") + #(override-auto-beam-setting '(end 1 8 8 8) 3 8) + #(override-auto-beam-setting '(end 1 8 8 8) 5 8) + + c8 d e f4 d8 c bes + c4 g'8 e c f4. + \bar "||" +} +@end lilypond + +@seealso +@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}. + + +@node concert pitch +@section concert pitch + +ES: en Do, afinación de concierto, +I: ?, +F: tonalité de concert, en ut, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: konserttikorkeus. + +The pitch at which the piano and other nontransposing instruments play: such +instruments are said to be @q{in C}. The following list includes some (but not +all) instruments that play in concert pitch: + +@c Let's see how easy (or hard) it is to put bulleted lists in tables. + +@multitable {alto trombone} {tenor trombone} {bass trombone} +@headitem Woodwinds @tab Brass @tab Strings + +@item +@itemize +@item flute +@item oboe +@item bassoon +@end itemize + +@tab + +@itemize +@item alto trombone +@item tenor trombone +@item bass trombone +@end itemize + +@tab + +@itemize +@item violin +@item viola +@item violoncello +@end itemize + +@end multitable + +The trombones are a special case: although they are said to be @q{in F} (alto or +bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to +their parts' transposition. (In fact, the trombones' parts are written at +concert pitch with an appropriate clef -- alto, tenor or bass.) This differs +from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing +instruments. + +Instruments that play @q{in C} but in a different octave than what is written +are, technically speaking, @emph{transposing instruments}: + +@itemize + +@item piccolo (plays an octave higher) +@item celesta (plays an octave higher) +@item double bass (plays an octave lower) + +@end itemize + +@seealso +@ref{transposing instrument}. + + +@node conjunct movement +@section conjunct movement + +ES: movimiento conjunto, +I: moto congiunto, +F: mouvement conjoint, +D: schritt@-weise, stufenweise Bewegung, +NL: stapsgewijze, trapsgewijze beweging, +DK: trinvis bevægelse, +S: stegvis rörelse, +FI: asteittainen liike. + +Progressing melodically by intervals of a second, as contrasted with +@emph{disjunct movement}. + +@lilypond[quote,relative=2,line-width=13.0\cm] +\key g \major +\time 4/4 +g4 g g a | b2 a | g4 b a a | g1 \bar "||" +@end lilypond + +@seealso +@ref{disjunct movement}. + + +@node consonance +@section consonance + +ES: consonancia, +I: consonanza, +F: consonance, +D: Konsonanz, +NL: consonant, +DK: konsonans, +S: konsonans, +FI: konsonanssi, sopusointi. + +@seealso +@ref{harmony}. + + +@node contralto +@section contralto + +ES: contralto, +I: contralto, +F: contralto, +D: Alt, +NL: contralto, +DK: alt, +S: alt, +FI: kontra-altto. + +@seealso +@ref{alto}. + + +@node copying music +@section copying music + +A music copyist did fast freehand scores and parts on preprinted staff +lines for performance. Some of their conventions (e.g., the placement +of note heads on stems) varied slightly from those of engravers. Some +of their working methods were superior and could well be adopted by +music typesetters. + +@c Copying music required more skill than engraving. Flagged for NPOV + +@seealso +No cross-references. + + +@node counterpoint +@section counterpoint + +ES: contrapunto, +I: contrappunto, +F: contrepoint, +D: Kontrapunkt, +NL: contrapunt, +DK: kontrapunkt, +S: kontrapunkt, +FI: kontrapunkti, ääni ääntä vastaan. + +From Latin @emph{punctus contra punctum}, note against note. The +combination into a single musical fabric of lines or parts which have +distinct melodic significance. A frequently used polyphonic technique +is imitation, in its strictest form found in the canon needing only +one part to be written down while the other parts are performed with a +given displacement. Imitation is also the contrapuntal technique +used in the @emph{fugue} which, since the music of the baroque era, +has been one of the most popular polyphonic composition methods. + +@lilypond[quote,staffsize=12,line-width=13.0\cm] +\new PianoStaff << + \context Staff = SA \relative c' { + \key bes \major + \time 4/4 + \clef treble + << \context Voice = rha { + \stemUp + r1 | r2 r8 g'8 bes d, | + cis4 d r8 e!16 f g8 f16 e | + f8 g16 a bes8 a16 g a8 + } + \context Voice = rhb { + \stemDown + r1 | r | r | r2 s8 + } + >> + } + \context Staff = SB \relative c' { + \clef bass + \key bes \major + << \context Voice = lha { + \stemUp + r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g | + r8 a16 g f8 g16 a bes8 g e! cis' | + d4. e!8 f + } + \context Voice = lhb { + \stemDown + r1 | r | r | r2 s8 + } >> + } +>> +@end lilypond + +@seealso +No cross-references. + + +@node countertenor +@section countertenor + +ES: contratenor, +I: controtenore, +F: contre-tenor, +D: Countertenor, Kontratenor, +NL: contratenor, +DK: kontratenor, +S: kontratenor, counter tenor, +FI: kontratenori. + +@seealso +@ref{contralto}. + + +@node crescendo +@section crescendo + +ES: crescendo, +I: crescendo, +F: crescendo, +D: Crescendo, lauter werden, +NL: crescendo, +DK: crescendo, +S: crescendo, +FI: cresendo, voimistuen. + +Increasing volume. Indicated by a rightwards opening horizontal wedge +(hairpin) or the abbreviation @notation{cresc.}. + +@lilypond[quote,relative=2] +\key g \major +\time 4/4 +g4\< a b c | d1\! \bar "|." +@end lilypond + +@seealso +@ref{decrescendo}, @ref{hairpin}. + + +@node cue-notes +@section cue-notes + +ES: notas guía, +I: notine, +F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut", +D: Stichnoten, +NL: stichnoten, +DK: stiknoder, +S: inprickningar, +FI: vihjenuotit. + +In a separate part notes belonging to another part with the purpose of +hinting when to start playing. Usually printed in a smaller type. + +@seealso +No cross-references. + + +@node custos +@section custos + +ES: custos, +I: ?, +F: guidon, +D: Notenzeiger, Custos, +NL: ?, +DK: ?, +S: ?, +FI: vihje. + +A custos (plural: custodes) is a staff symbol that appears at the end of a +staff line with monophonic musical contents (i.e., with a single voice). It +anticipates the pitch of the first note of the following line and thus helps +the player or singer to manage line breaks during performance, which +enhances the readability of a score. + +Custodes were frequently used in music notation until the 16th century. +There were different appearences for different notation styles. Nowadays, +they have survived only in special forms of musical notation such as the +@emph{Editio Vaticana}, dating from the beginning of the 20th century + +@lilypond[quote,ragged-right] +\score { + \new Staff { + \override Staff.Custos #'neutral-direction = #DOWN + \override Staff.Custos #'style = #'hufnagel + c'1 \break + 1 + } + \layout { + \context { + \Staff + \consists "Custos_engraver" + } + } +} +@end lilypond + +@seealso +No cross-references. + + +@node cut time +@section cut time + +@seealso +@ref{alla breve}. + + +@node D +@section D + +@itemize +@item ES: re +@item I: re +@item F: ré +@item D: D, d +@item NL: d +@item DK: d +@item S: d +@item FI: D, d +@end itemize + +@seealso +@ref{Pitch names} + + +@node da capo +@section da capo + +ES: da capo, +I: da capo, +F: da capo, depuis le commencement, +D: da capo, von Anfang, +NL: da capo, +DK: da capo, +S: da capo, +FI: da capo, alusta. + +Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from +the beginning to the end or to a certain place marked @emph{fine}. + +@seealso +No cross-references. + + +@node dal niente +@section dal niente + +ES: ?, +I: dal niente, +F: partant de rien, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: tyhjästä ilmaantuen. + +[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate +that the sound should gradually increase from nothing. + +@seealso +@ref{al niente}. + + +@node dal segno +@section dal segno + +ES: dal segno, +I: dal segno, +F: dal segno, depuis le signe, +D: dal segno, ab dem Zeichen, +NL: dal segno, +DK: dal segno, +S: dal segno, +FI: dal segno, lähtien merkistä. + +Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from +another place frequently near the beginning marked by a sign +(@notation{segno}): + +@lilypond[quote,relative=2] +\key g \major +\time 4/4 +d1 +g,4^\segno a b c +b4 a g2-\markup { + \italic "D.S. " + \tiny \raise #1 + \musicglyph #"scripts.segno" +} +\bar "|." +@end lilypond + +@seealso +No cross-references. + + +@node decrescendo +@section decrescendo + +ES: decrescendo, +I: decrescendo, +D: Decrescendo, leiser werden, +NL: decrescendo, +DK: decrescendo, +S: decrescendo, +FI: decresendo, hiljentyen. + +Decreasing tone volume. Indicated by a leftwards opening horizontal +wedge (hairpin) or the abbreviation @notation{decresc.}. + +@lilypond[quote,relative=2] +\key g \major +\time 4/4 +d4\> c b a | g1 \! \bar "|." +@end lilypond + +@seealso +@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}. + + +@node descending interval +@section descending interval + +ES: intervalo descendente, +I: intervallo discendente, +F: intervalle descendant, +D: fallendes Intervall, absteigendes Intervall, +NL: dalend interval, +DK: faldende interval, +S: fallande intervall, +FI: laskeva intervalli. + +A distance between a starting higher note and a lower ending note. + +@seealso +No cross-references. + + +@node diatonic scale +@section diatonic scale + +ES: escala diatónica, +I: scala diatonica, +F: gamme diatonique, +D: diatonische Tonleiter, +NL: diatonische toonladder, +DK: diatonisk skala, +S: diatonisk skala, +FI: diatoninen asteikko. + +A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales +played on the white keys of a piano keybord are diatonic. These scales +are sometimes called, somewhat inaccurately, @q{church modes}). + +These @emph{modes} are used in Gregorian chant and in pre-baroque early music +but also to some extent in newer jazz music. + +@lilypond[quote,notime,relative=1] +<< + { + c1 d + e^"~~ S" f g a b^"~~ S" c + } + \lyrics { + Ionian + } +>> +@end lilypond + +@lilypond[quote,notime,relative=1] +<< + { + d1 + e^"~~ S" f g a b^"~~ S" c d + } + \lyrics { + Dorian + } +>> +@end lilypond + +@lilypond[quote,notime,relative=1] +<< + { + e1^"~~ S" f g a b^"~~ S" c d e + } + \lyrics { + Phrygian + } +>> +@end lilypond + +@lilypond[quote,notime,relative=1] +<< + { + f1 g a + b^"~~ S" c d e^"~~ S" f + } + \lyrics { + Lydian + } +>> +@end lilypond + +@lilypond[quote,notime,relative=2] +<< + { + g1 a + b^"~~ S" c d e^"~~ S" f g + } + \lyrics { + Mixolydian + } +>> +@end lilypond + +@lilypond[quote,notime,relative=2] +<< + { + a1 + b^"~~ S" c d e^"~~ S" f g a + } + \lyrics { + Aeolian + } +>> +@end lilypond + +@lilypond[quote,notime,relative=2] +<< + { + b1^"~~ S" c d e^"~~ S" f g a b + } + \lyrics { + Locrian + } +>> +@end lilypond + +From the beginning of the 17th century the scales used in European +compositional music are primarily the major and the minor scales. In +the harmonic minor scale type an augmented second (A) occurs between +the 6th and 7th tone. + +@lilypond[quote,notime,relative=1] +<< + { + c1 d + e^"~~ S" f g a b^"~~ S" c + } + \lyrics { + Major + } +>> +@end lilypond + +@lilypond[quote,notime,relative=2] +<< + { + a1 + b^"~~ S" c d e^"~~ S" f g a + } + \lyrics { + "Ancient (or Natural) minor" + } +>> +@end lilypond + +@lilypond[quote,notime,relative=2] +<< + { + a1 + b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a + } + \lyrics { + "Harmonic minor" + } +>> +@end lilypond + +@lilypond[quote,notime,relative=2] +<< + { + a1 + b^"~~ S" c d e fis gis^"~~ S" a + } + \lyrics { + "Melodic minor ascending" + } +>> +@end lilypond + +@lilypond[quote,notime,relative=3] +<< + { + a1 + g! f!^"~~ S" e d c^"~~ S" b a + } + \lyrics { + "Melodic minor descending" + } +>> +@end lilypond + +@seealso +@ref{semitone}, @ref{whole tone}. + + +@node didymic comma +@section didymic comma + +@seealso +@ref{syntonic comma}. + + +@node diminished interval +@section diminished interval + +ES: intervalo disminuido, +I: intervallo diminuito, +F: intervalle diminué, +D: vermindertes Intervall, +NL: verminderd interval, +DK: formindsket interval, +S: förminskat intervall, +FI: vähennetty intervalli. + +@seealso +@ref{interval}. + + +@node diminuendo +@section diminuendo + +ES: diminuendo, +I: diminuendo, +F: diminuendo, en diminuant, +D: diminuendo, +NL: diminuendo, +DK: diminuendo, +S: diminuendo, +FI: diminuendo, hiljentyen. + +@seealso +@ref{decrescendo}. + + +@node diminution +@section diminution + +ES: ?, +I: ?, +F: diminution, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: aika-arvojen tihennys. + +This is a stub for diminution (@emph{wrt} mensural notation). + +@seealso +@ref{augmentation}, @ref{mensural notation}. + + +@node direct +@section direct + +ES: ?, +I: ?, +F: ?, +D: Weiser, Zeiger, +NL: ?, +DK: ?, +S: ?, +FI: suora. + +@seealso +@ref{custos}. + + +@node disjunct movement +@section disjunct movement + +ES: movimiento disjunto, +I: moto disgiunto, +F: mouvement disjoint, +D: sprunghafte Bewegung, +NL: sprongsgewijze beweging, +DK: springende bevægelse, +S: hoppande rörelse, +FI: melodian hyppivä liike. + +Progressing melodically by intervals larger than a major second, as contrasted +with conjunct movement. + +@lilypond[quote,relative=1] +\key a \major +\time 4/4 { + \partial 8 e8 | + a4. gis8 b a e cis | + fis2 d4. + \bar "||" } +@end lilypond + +@seealso +@ref{conjunct movement}. + + +@node dissonance +@section dissonance + +Another name for @ref{dissonant interval}. + +@seealso +@ref{dissonant interval}, @ref{harmony}. + + +@node dissonant interval +@section dissonant interval + +ES: intervalo disonante, disonancia, +I: intervallo dissonante, dissonanza, +F: intervalle dissonant, dissonance, +D: Dissonanz, +NL: dissonant interval, dissonant, +DK: dissonerende interval, dissonans, +S: dissonans, +FI: dissonanssi, dissonoiva intervalli, riitasointi. + +@seealso +@ref{harmony}. + + +@node divisio +@section divisio + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: jäsennysmerkki. + +[Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a +vertical stroke through part or all of the staff that serves to +structure a chant into phrases and sections. There are four types: + +@itemize + +@item @emph{divisio minima}, a short pause + +@item @emph{divisio maior}, a medium pause + +@item @emph{divisio maxima}, a long pause + +@item @emph{finalis}, to indicate the end of a chant, or the end of a +section in a long antiphonal or responsorial chant. + +@end itemize + +TODO: musical example here? + +@seealso +No cross-references. + + +@node doit +@section doit + +ES: ?, +I: ?, +F: saut, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: nousu. + +Indicator for a indeterminately rising pitch bend. Compare with +@emph{glissando}, which has determinate starting and ending pitches. + +@seealso +@ref{fall}, @ref{glissando}. + + +@node dominant +@section dominant + +ES: dominante, +I: dominante, +F: dominante, +D: Dominante, +NL: dominant, +DK: dominant, +S: dominant, +FI: dominantti, huippusointu. + +The fifth @emph{scale degree} in @emph{functional harmony}. + +@seealso +@ref{functional harmony}, @ref{scale degree}. + + +@node dominant ninth chord +@section dominant ninth chord + +ES: acorde de novena de dominante, +I: accordo di nona di dominante, +F: accord de neuvième de dominante, +D: Domi@-nant@-nonen@-akkord, +NL: dominant noon akkoord, +DK: dominantnoneakkord, +S: dominantnonackord, +FI: dominanttinoonisointu. + +@seealso +@ref{chord}, @ref{functional harmony}. + + +@node dominant seventh chord +@section dominant seventh chord + +ES: acorde de séptima de dominante, +I: accordo di settima di dominante, +F: accord de septième de dominante, +D: Dominantseptakkord, +NL: dominant septiem akkoord, +DK: dominantseptimakkord, +S: dominantseptimackord, +FI: dominanttiseptimisointu. + +@seealso +@ref{chord}, @ref{functional harmony}. + + +@node dorian mode +@section dorian mode + +ES: modo dórico, +I: modo dorico, +F: mode dorien, +D: dorisch, dorischer Kirchenton, +NL: dorische toonladder, +DK: dorisk skala, +S: dorisk tonart, +FI: doorinen moodi. + +@seealso +@ref{diatonic scale}. + + +@node dot (augmentation dot) +@section dot (augmentation dot) + +ES: puntillo, +I: punto (di valore), +F: point, +D: Punkt (Verlängerungspunkt), +NL: punt, +DK: punkt, +S: punkt, +FI: piste. + +@seealso +@ref{dotted note}, @ref{note value}. + + +@node dotted note +@section dotted note + +ES: nota con puntillo, +I: nota puntata, +F: note pointée, +D: punktierte Note, +NL: gepuncteerde noot, +DK: punkteret node, +S: punkterad not, +FI: pisteellinen nuotti. + +@seealso +@ref{note value}. + + +@node double appoggiatura +@section double appoggiatura + +ES: apoyatura doble, +I: appoggiatura doppia, +F: appoggiature double, +D: doppelter Vorschlag, +NL: dubbele voorslag, +DK: dobbelt forslag, +S: dubbelslag, +FI: kaksoisappogiatura, kaksoisetuhele. + +@seealso +@ref{appoggiatura}. + + +@node double bar line +@section double bar line + +ES: doble barra, +I: doppia barra, +F: double barre, +D: Doppelstrich, +NL: dubbele maatstreep, +DK: dobbeltstreg, +S: dubbelstreck, +FI: kaksoistahtiviiva. + +Indicates the end of a section within a movement. + +@seealso +No cross-references. + + +@node double dotted note +@section double dotted note + +ES: nota con doble puntillo, +I: nota doppiamente puntata, +F: note doublement pointée, +D: doppelt punktierte Note, +NL: dubbelgepuncteerde noot, +DK: dob@-belt@-punk@-te@-ret node, +S: dub@-bel@-punk@-te@-rad not, +FI: kaksoispisteellinen nuotti. + +@seealso +@ref{note value}. + + +@node double flat +@section double flat + +ES: doble bemol, +I: doppio bemolle, +F: double bémol, +D: Doppel-B, +NL: dubbelmol, +DK: dob@-belt-b, +S: dubbelbe, +FI: kaksoisalennusmerkki. + +@seealso +@ref{accidental}. + + +@node double sharp +@section double sharp + +ES: doble sostenido, +I: doppio diesis, +F: double dièse, +D: Doppelkreuz, +NL: dubbelkruis, +DK: dob@-belt@-kryds, +S: dubbelkors, +FI: kaksoisylennysmerkki. + +@seealso +@ref{accidental}. + + +@node double time signature +@section double time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kaksois-aika-arvomerkintä. + +@seealso +@ref{polymetric time signature}. + + +@node double trill +@section double trill + +ES: trino doble, +I: doppio trillo, +F: trille double, +D: Doppeltriller, +NL: dubbele triller, +DK: dobbelttrille, +S: dubbeldrill, +FI: kaksoistrilli. + +A simultaneous trill on two notes, usually in the distance of a third. + +@seealso +No cross-references. + + +@node duple meter +@section duple meter + +ES: tiempo binario, +I: tempo binario, +F: métrique binaire, +D: in zwei, grader Takt, +NL: tweedelige maatsoort, +DK: todelt takt, +S: tvåtakt, +FI: kaksoistempo. + +@seealso +@ref{meter}. + + +@node duplet +@section duplet + +ES: dosillo, +I: duina, +F: duolet, +D: Duole, +NL: duool, +DK: duol, +S: duol, +FI: duoli. + +@seealso +@ref{note value}. + + +@node duration +@section duration + +ES: duración, +I: durata, +F: durée, +D: Dauer, Länge, +NL: duur, lengte, +DK: varighed, +S: tonlängd, +FI: kesto, aika-arvo. + +@seealso +@ref{note value}. + + +@node dynamics +@section dynamics + +ES: dinámica, matices, +I: ?, +F: nuances, +D: Dynamik, Lautstärke, +NL: ?, +DK: ?, +S: ?, +FI: äänen voimakkuusvaihtelu, dynamiikka. + +The aspect of music relating to degrees of loudness, or changes from +one degree to another. The terms, abbreviations, and symbols used to +indicate this information are called dynamic marks. + +@seealso +@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, +@ref{diminuendo}. + + +@node E +@section E + +@itemize +@item ES: mi +@item I: mi +@item F: mi +@item D: E, e +@item NL: e +@item DK: e +@item S: e +@item FI: E, e +@end itemize + +@seealso +@ref{Pitch names} + + +@node ecclesiastical mode +@section ecclesiastical mode + +@seealso +@ref{church mode}, @ref{diatonic scale}. + + +@node eighth note +@section eighth note + +@itemize +@item UK: quaver +@item ES: corchea +@item I: croma +@item F: croche +@item D: Achtel, Achtelnote +@item NL: achtste noot +@item DK: ottendedelsnode +@item S: åttondelsnot +@item FI: kahdeksasosanuotti +@end itemize + +@seealso +@ref{note value}. + + +@node eighth rest +@section eighth rest + +@itemize +@item UK: quaver rest +@item ES: silencio de corchea +@item I: pausa di croma +@item F: demi-soupir +@item D: Achtelpause +@item NL: achtste rust +@item DK: ottendedelspause +@item S: åttonddelspaus +@item FI: kahdeksasosatauko +@end itemize + +@seealso +@ref{note value}. + + +@node elision +@section elision + +@c TODO: add languages + +ES: sinalefa, +I: ?, +F: élision, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: tavujen yhdistäminen yhteen ääneen. + +More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek +@emph{συναλοιφην} @q{to smear together}]. + +The singing of several syllables on a single note. Elision may be indicated +by a lyric tie, which looks like (and serves the same function) as a musical +tie. + +@seealso +@ref{lyric tie}. + + +@node embellishment +@section embellishment + +@seealso +@ref{ornament}. + + +@node engraving +@section engraving + +ES: grabado, +I: incisione, +F: gravure, +D: Notenstich, Notendruck +NL: steken, +DK: nodestik, +S: nottryck, +FI: painatus. + +Engraving means incising or etching a metal plate for printing. +Photoengraving means drawing music with ink in a manner similar to +drafting or engineering drawing, using similar tools. + +The traditional process of music printing is done through cutting in a +plate of metal. Now also the term for the art of music typesetting. + +@seealso +No cross-references. + + +@node enharmonic +@section enharmonic + +ES: enarmónico, +I: enarmonico, +F: enharmonique, +D: enharmonisch, +NL: enharmonisch, +DK: enharmonisk, +S: enharmonisk, +FI: enharmoninen. + +Two notes, intervals, or scales are enharmonic if they have different +names but equal pitch. + +@lilypond[quote,notime,line-width=13.0\cm] +<< + \new Staff { + \relative c'' { + gis1 as + } + } + \lyrics { + "g sharp " "a flat " "dim fifth " "augm fourth" + } +>> +@end lilypond + +@seealso +No cross-references. + + +@node equal temperament +@section equal temperament + +ES: temperamento igual, +I: temperamento equabile, +F: tempérament égal, +D: gleichschwebende Stimmung, +NL: ge@-lijk@-zwe@-ven@-de temperatuur, +DK: ligesvævende temperatur, +S: liksvävande temperatur, +FI: tasavireinen. + +A tuning system that divides the octave into 12 equal semitones (each of +which is precisely equal to 100 cents). + +@seealso +@ref{cent}, @ref{semitone}, @ref{temperament}. + + +@node expression mark +@section expression mark + +ES: expresión, +I: segno d'espressione, +F: signe d'expression, indication de nuance, +D: Vortragszeichen, +NL: voordrachtsteken, +DK: foredragsbetegnelse, +S: föredragsbeteckning, +FI: nyanssiosoitus, esitysmerkki. + +Performance indications concerning: + +@itemize + +@item volume, dynamics (for example, @notation{forte}, +@notation{crescendo}), + +@item tempo (for example, @notation{andante}, @notation{allegro}). + +@end itemize + +@seealso +@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}. + + +@node extender line +@section extender line + +ES: línea de extensión [de melisma, de bajo cifrado, etc.], +I: ?, +F: ligne d'extension [de mélisme, de basse chiffrée, etc.], +D: Fülllinie, +NL: ?, +DK: ?, +S: ?, +FI: pidennysviiva. + +The generic term (in LilyPond) for a line (or dash) of arbitrary length that +extends text (without indicating the musical @emph{function} of that text). + +Used in many contexts, for example: + +@itemize + +@item In vocal music to indicate the syllable for a melisma. Called +@q{extension} in the +@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music +Dictionary}. + +@item +In figured bass to indicate that: + +@itemize + +@item The extended note should be held through a change in harmony, when applied +to one figure --OR-- +@item The chord thus represented should be held above a moving bass line, when +applied to more than one figure. +@item These uses were not completely standardized, and some composers used a +single extender line to indicate the latter case. + +@end itemize + +@item +In string music to indicate that all notes in the passage thus indicated should +be played on the same string. On the violin, for example, a series of notes to +be played on the G string would be indicated @notation{sul G}, another series to be +played on the D string would be indicated @notation{sul D}, and so on. + +@item +With an octave mark to indicate that a passage is to be played higher or lower +by the given number of octaves. + +@end itemize + +@seealso +@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, +@ref{octave marking}. + + +@node F +@section F + +@itemize +@item ES: fa +@item I: fa +@item F: fa +@item D: F, f +@item NL: f +@item DK: f +@item S: f +@item FI: F, f +@end itemize + +@seealso +@ref{Pitch names} + + +@node F clef +@section F clef + +ES: clave de fa, +I: chiave di fa, +F: clef de fa, +D: F-Schlüssel, +NL: F-sleutel, +DK: F-nøgle, +S: f-klav, +FI: F-avain. + +The position between the dots of the key symbol is the line of the F +below central@w{ }C. Used on the third, fourth and fifth note line. +A digit@w{ }8 above the clef symbol indicates that the notes must be +played an octave higher (for example, bass recorder) while 8@w{ }below +the clef symbol indicates playing an octave lower (for example, on the +Double Bass). + +@lilypond[quote,notime,line-width=13.0\cm] +<< + \relative c { + \override Staff.Clef #'full-size-change = ##t + \clef varbaritone + f1 + \clef bass + f1 + \clef subbass + f1 + \clef "F^8" + f1 + \clef "F_8" + f1 + } + \lyrics { + "varbaritone " + "bass " + "sub-bass " + "octave up " + "octave down" + } +>> +@end lilypond + +@seealso +@ref{baritone clef}, @ref{strings}. + + +@node fall +@section fall + +ES: ?, +I: ?, +F: chute, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: lasku. + +Indicator for a indeterminately falling pitch bend. Compare with +@emph{glissando}, which has determinate starting and ending pitches. + +@seealso +@ref{doit}, @ref{glissando}. + + +@node feathered beam +@section feathered beam + +ES: barra punteada, +I: ?, +F: ligature en soufflet, lien de croches en soufflet, +D: gespreizter Balken, +NL: ?, +DK: ?, +S: ?, +FI: kiilapalkki. + +A type of beam used to indicate that a small group of notes should be +played at an increasing or decreasing tempo -- depending on the +direction of @q{feathering} -- but without changing the overall tempo +of the piece. + +@seealso +Internals Reference: @ruser{Manual beams} + + +@node fermata +@section fermata + +@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. + +ES: calderón, +I: corona, +F: point d'orgue, point d'arrêt, +D: Fermate, +NL: fermate, +DK: fermat, +S: fermat, +FI: fermaatti, pidäke. + +Prolonged note or rest of indefinite duration. + +@lilypond[quote,relative=2] +\time 4/4 +a4 b c2^\fermata +\bar "|." +@end lilypond + +@seealso +No cross-references. + + +@node fifth +@section fifth + +ES: quinta, +I: quinta, +F: quinte, +D: Quinte, +NL: kwint, +DK: kvint, +S: kvint, +FI: kvintti. + +@seealso +@ref{interval}. + + +@node figured bass +@section figured bass + +ES: bajo cifrado, +I: basso continuo, basso numerato, +F: basse chiffrée, basse continue, +D: Generalbass, bezifferter Bass, +NL: basso continuo, becijferde bas +DK: generalbas, +S: generalbas, +FI: kenraalibasso, numeroitu basso. + +Also called @q{thorough bass}. + +A method of indicating an accompaniment part by the bass notes only, +together with figures designating the chief intervals and chords to be +played above the bass notes. + +@lilypond[quote,line-width=13.0\cm] +\new GrandStaff << + \new Staff = "rh" \with { + fontSize = #-3 + \override StaffSymbol #'staff-space = #(magstep -3) + } \relative c'' { + \clef treble + \key es \major + \time 4/4 + << + \context Voice = "rha" { + \voiceOne + es4 d c bes + bes4 + } + \context Voice = "rhb" { + \voiceTwo + 8 as g f es + 4 + } + >> + } + \new Staff = "lh" \relative c' { + \clef bass + \key es \major + es8 c d bes c as bes16 as g f + es4 + } + \figures { + s8 <6> s <4 2> s <6> s16 s <6> <4 2> + } +>> +@end lilypond + +@seealso +@ref{chord}, @ref{interval}. + + +@node fingering +@section fingering + +ES: digitación, +I: diteggiatura, +F: doigté, +D: Fingersatz, +NL: vingerzetting, +DK: fingersætning, +S: fingersättning, +FI: sormitus. + +Figures to the side or above the note that methodically indicate which +fingers to use while playing a passage. + +@seealso +No cross-references. + + +@node flag +@section flag + +ES: corchete, +I: coda (uncinata), bandiera, +F: crochet, +D: Fahne, Fähnchen, +NL: vlaggetje, +DK: fane, +S: flagga, +FI: lippu, viiri. + +Ornament at the end of the stem of a note used for notes with values less +than a quarter note. The number of flags determines the note value. + +@lilypond[quote,notime,relative=2] +g8-"8th" s8 +g16-"16th" s8 +g32-"32nd" s8 +g64-"64th" s8 +@end lilypond + +@seealso +@ref{note value}. + + +@node flageolet +@section flageolet + +ES: ?, +I: ?, +F: flageolet, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: flageolet-ääni. + +An articulation for string players that means the note or passage is to +be played in harmonics. + +Also: + +@itemize + +@item A duct flute similar to the recorder. + +@item An organ stop of flute scale at 1' or 2' pitch. + +@end itemize + +@seealso +@ref{articulation}, @ref{harmonics}. + + +@node flat +@section flat + +ES: bemol, +I: bemolle, +F: bémol, +D: B, +NL: mol, +DK: b, +S: beförtecken, +FI: alennusmerkki. + +@seealso +@ref{accidental}. + + +@node forefall +@section forefall + +@seealso +@ref{appoggiatura}. + + +@node forte +@section forte + +ES: forte, +I: forte, +F: forte, +D: forte, laut, +NL: forte, +DK: forte, +S: forte, +FI: forte, voimakkaasti. + +[Italian: @q{loud}] + +Abbreviated @notation{@b{f}}. Variants include: + +@itemize +@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}), +@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}). +@end itemize + +@seealso +No cross-references. + + +@node fourth +@section fourth + +ES: cuarta, +I: quarta, +F: quarte, +D: Quarte, +NL: kwart, +DK: kvart, +S: kvart, +FI: kvartti. + +@seealso +@ref{interval}. + + +@node Frenched score +@section Frenched score + +ES: partitura a la francesa, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: partituuri francesan tapaan. + +A @q{condensed} score, produced by omitting staves for instruments that are not +playing at the moment, and by moving up additional systems from following pages +to take up the space thus liberated, which reduces the total number of pages +used to print the work. + +The specific rules for @q{frenching} a score differ from publisher to publisher. +If you are producing scores for eventual publication by a commercial publisher, +you may wish to procure a copy of their style manual. + +@seealso +@ref{Frenched staff}. + + +@node Frenched staff +@section Frenched staff + +ES: pentagrama a la francesa, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: karsittu nuotinnus. + +[Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a +Frenched staff has unneeded measures or sections removed. This is useful +for producing, for example, an @emph{ossia} staff. + +@seealso +@ref{ossia}. + + +@node Frenched staves +@section Frenched staves + +Plural of @ref{Frenched staff}. + + +@node fugue +@section fugue + +ES: fuga, +I: fuga, +F: fugue, +D: Fuge, +NL: fuga, +DK: fuga, +S: fuga, +FI: fuuga. + +@seealso +@ref{counterpoint}. + + +@node functional harmony +@section functional harmony + +ES: armonía funcional, +I: armonia funzionale, +F: étude des functions, +D: Funktionslehre, +NL: functionele harmonie, +DK: funktionsanalyse, funktionsharmonik, +S: funktionslära, +FI: harmoniajärjestelmä. + +A system of harmonic analysis. + +It is based on the idea that, in a given key, there are only three +functionally different chords: tonic (T, the chord on the first note of the +scale), subdominant (S, the chord on the fourth note), and dominant (D, the +chord on the fifth note). Others are considered to be variants of the base +chords. + +TODO: what does the @q{p} mean in Sp, Dp, Tp? + +@lilypond[quote,notime,relative=2,line-width=13.0\cm] +<< + { + 1 + + } + \lyrics { + T Sp Dp S D Tp + \markup { D \translate #'(-2 . 0) | } + } +>> +@end lilypond + +@seealso +No cross-references. + + +@node G +@section G + +@itemize +@item ES: sol +@item I: sol +@item F: sol +@item D: G, g +@item NL: g +@item DK: g +@item S: g +@item FI: G, g +@end itemize + +@seealso +@ref{Pitch names} + + +@node G clef +@section G clef + +ES: clave de sol, +I: chiave di sol, +F: clef de sol, +D: G-Schlüssel, Violinschlüssel, +NL: G-sleutel, +DK: g-nøgle, +S: g-klav, +FI: G-avain. + +A clef symbol that indicates G above middle@w{ }C. Used on the first and +second note lines. A digit 8 above the clef symbol indicates that the notes +must be played an octave higher while 8 below the clef symbol indicates +playing or singing an octave lower (used most frequently to notate the tenor +part in modern choral scores). + +@lilypond[quote,notime] +\relative c'' { + \override Staff.Clef #'full-size-change = ##t + \set Score.proportionalNotationDuration = #(ly:make-moment 1 8) + \clef french + g1 + \clef treble + g1 + \clef "G^8" + g1 + \clef "G_8" + g1 +} +\addlyrics { + "french violin clef" + "violin clef" + "octave up" + "octave down" + } +@end lilypond + +@seealso +No cross-references. + + +@node glissando +@section glissando + +ES: glissando, +I: glissando, +F: glissando, +D: Glissando, +NL: glissando, +DK: glissando, +S: glissando, +FI: glissando, liukuen. + +Letting the pitch slide fluently from one note to the other. + +@seealso +No cross-references. + + +@node grace notes +@section grace notes + +ES: notas de adorno, +I: abbellimenti, +F: ornement, fioriture, +D: Verzierungen, Vorschläge, Vor@-schlags@-noten, +NL: versieringen, +DK: forsiringer, +S: ornament, +FI: korunuotit. + +Notes printed in small types to indicate that their time values are not +counted in the rhythm of the bar. + +@seealso +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. + + +@node grand staff +@section grand staff + +ES: sistema de piano, +I: accolatura, +F: système [de portées], accolade, +D: Akkolade, Klaviersystem, +NL: piano systeem, +DK: klaversystem, +S: ackolad, böjd klammer, +FI: kaksoisnuottiviivasto. + +A combination of two staves with a brace. Usually used for piano music. + +@seealso +@ref{brace}. + + +@node grave +@section grave + +ES: grave, +I: grave, +F: grave, lent, +D: Grave, Langsam, +NL: grave, ernstig, +DK: grave, +S: grave, +FI: grave, raskaasti. + +[Italian] Slow, solemn. + +@seealso +No cross-references. + + +@node gruppetto +@section gruppetto + +@seealso +@ref{turn}. + + +@node H +@section H + +@itemize +@item ES: si +@item I: si +@item F: si +@item D: H, h +@item NL: b +@item DK: h +@item S: h +@item FI: H, h +@end itemize + +Letter name used for @notation{B natural} in German and Scandinavian +usage. In the standard usage of these countries, @notation{B} means +@notation{B flat}. + +@seealso +@ref{Pitch names}, @ref{B}. + + +@node hairpin +@section hairpin + +Graphical version of the @notation{crescendo} and @notation{decrescendo} +dynamic marks. + +@lilypond[quote,relative=2] +c1\< +c2\> c\< +c1\! +@end lilypond + +@seealso +@ref{crescendo}, @ref{decrescendo}. + + +@node half note +@section half note + +@itemize +@item UK: minim, +@item ES: blanca, +@item I: minima, +@item F: blanche, +@item D: Halbe, halbe Note, +@item NL: halve noot, +@item DK: halvnode, +@item S: halvnot, +@item FI: puolinuotti. +@end itemize + +@seealso +@ref{note value}. + + +@node half rest +@section half rest + +@itemize +@item UK: minim rest, +@item ES: silencio de blanca, +@item I: pausa di minima, +@item F: demi-pause, +@item D: halbe Pause, +@item NL: halve, rust, +@item DK: halvnodespause, +@item S: halvpaus, +@item FI: puolitauko. +@end itemize + +@seealso +@ref{note value}. + + +@node harmonic cadence +@section harmonic cadence + +ES: cadencia (armónica), +I: cadenza (armonica), +F: cadence harmonique, +D: Schlusskadenz, +NL: harmonische cadens, +DK: harmonisk kadence, +S: (harmonisk) kadens, +FI: harmoninen kadenssi. + +A sequence of chords that terminates a musical phrase or section. + +@lilypond[quote] +\new PianoStaff << + \context Staff = "SA" \relative c'' { + \clef treble + \time 4/4 + \partial 4 4 | + 2 + } + << + \context Staff = "SB" \relative c { + \clef bass + \partial 4 c4 | f, g c2 + \bar "|." + } + \lyrics { + T4 S D T + } + >> +>> +@end lilypond + + +@seealso +@ref{functional harmony}. + + +@node harmonics +@section harmonics + +ES: sonidos del flautín, +I: suoni flautati, +F: flageolet, sons harmoniques, +D: Flageolett-Töne, +NL: ?, +DK: ?, +S: ?, +FI: harmoniset äänet, huiluäänet. + +The general class of pitches produced by sounding the second or higher +harmonic of a tone producer: string, column of air, and so on. + +On stringed instruments, these pitches sound rather flute-like; hence, +their name in languages other than English. They are produced by +lightly touching the string at a node for the desired mode of vibration +while it is being bowed or plucked. + +For instruments of the violin family, there are two types of harmonics: +natural harmonics, which are those played on the open string; and +artificial harmonics, which are produced on stopped strings. + +@seealso +No cross-references. + + +@node harmony +@section harmony + +ES: armonía, +I: armonia, +F: harmonie, +D: Harmonie, Zusammenklang, +NL: harmonie, +DK: samklang, +S: samklang, +FI: harmonia, yhteissointi. + +Tones sounding simultaneously. Two note harmonies fall into the +categories @emph{consonances} and @emph{dissonances}. + +Consonances: + +@lilypond[quote,notime,relative=2,line-width=13.0\cm] + 1_"unison " s + _"third " s + _"fourth " s + _"fifth " s + _"sixth " s + _"octave " s + _"tenth" s s +@end lilypond + +Dissonances: + +@lilypond[quote,notime,relative=2,line-width=13.0\cm] + 1_"second " s s + _"seventh " s s + _"ninth" s s +@end lilypond + +For harmony that uses three or more notes, see @ref{chord}. + +@seealso +@ref{chord}. + + +@node hemiola +@section hemiola + +ES: hemiolia, +I: ?, +F: hémiole, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: 3/2 -suhde. + +[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. + +Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the +time normally occupied by two. The resulting rhythm can be expressed in modern +terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a +bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently +as a special effect (or @emph{affect}) at cadences. + +For example, this phrase in 6/4 time + +@lilypond[quote,relative=1,line-width=13.0\cm] +\key c \major +\time 6/4 +c2. e | d2 c d | c1. \bar "||" +@end lilypond + +may be thought of having alternating time signatures + +@lilypond[quote,relative=1,line-width=13.0\cm] +\key c \major +\time 6/4 +c2. e +\time 3/2 +d2 c d +\time 6/4 +c1. \bar "||" +@end lilypond + +and is therefore a polymeter (second definition) of considerable antiquity. + +@seealso +@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}. + + +@node homophony +@section homophony + +ES: homofonía, +I: omofonia, +F: homophonie, +D: Homophonie, +NL: homofonie, +DK: homofoni, +S: homofoni, +FI: homofonia, yksiäänisyys. + +Music in which one voice leads melodically supported by the other voices in +the same rhythm (more or less). In contrast to @emph{polyphony}. + +@seealso +@ref{polyphony}. + + ++@node hook ++@section hook ++ ++@seealso ++@ref{flag}. ++ ++ +@node hymn meter +@section hymn meter + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: säkeiden tavumäärät. + +A group or list of numbers that indicate the number of syllables in a line +of a hymn's verse. Different hymnals have different ways of noting the hymn +meter: for example, consider a hymn that has four lines in two couplets +alternating regularly between eight and seven syllables. The @emph{English +Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, +or 8@w{ }7@w{ }8@w{ }7. + +Some frequently-used hymn meters have traditional names: + +@itemize +@item 66.86 is called Short Meter (abbreviated SM or S.M.) +@item 86.86 is called Common Meter (CM or C.M.) +@item 88.88 is called Long Meter (LM or L.M.) +@end itemize + +Some hymns and their tunes are doubled versions of a simpler meter: for +easier reading, a hymn with a meter of 87.87.87.87 is usually written +87.87D. The traditional names above also have doubled versions: + +@itemize +@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.) +@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.) +@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.) +@end itemize + +@seealso +No cross-references. + + +@node interval +@section interval + +ES: intervalo, +I: intervallo, +F: intervalle, +D: Intervall, +NL: interval, +DK: interval, +S: intervall, +FI: intervalli, kahden sävelen korkeusero. + +Difference in pitch between two notes. Intervals may be diminished, minor, +perfect, major, or augmented. The augmented fourth and the diminished fifth are +identical (or @emph{enharmonic}) and are called @emph{tritonus} because they +consist of three whole tones. The addition of such two intervals forms an +octave. + +@lilypond[quote,notime,line-width=13.0\cm] +<< +\context Voice \relative c'' { +% Prime or unison + < g g >1 + < g gis >^"aug" +% Second + < gis as >^"dim" + < g! as >^"min" + < g a! >^"maj" + < g ais >^"aug" +% Third + < gis bes >^"dim" + < g! bes >^"min" + < g b! >^"maj" + < g bis >^"aug" +% Fourth + < g ces >^"dim" + < g c! >^"per" + < g cis >^"aug" +% Fifth + < g des' >^"dim" + < g d' >^"per" + < g dis >^"aug" +% Sixth + < gis es' >^"dim" + < g! es' >^"min" + < g e'! >^"maj" + < g eis' >^"aug" +% Seventh + < gis f'! >^"dim" + < g! f'! >^"min" + < g fis' >^"maj" + < g fisis' >^"aug" +% Octave + < g ges' >^"dim" + < g g' >^"per" + < g gis' >^"aug" +} +\context Lyrics \lyrics { + "unison " "unison " + "second " "second " "second " "second " + "third " "third " "third " "third " + "fourth " "fourth " "fourth " + "fifth " "fifth " "fifth " + "sixth " "sixth " "sixth " "sixth " + "seventh" "seventh" "seventh" "seventh" + "octave " "octave " "octave " +} +>> +@end lilypond + +@seealso +@ref{enharmonic}, @ref{whole tone}. + + +@node inversion +@section inversion + +ES: ?, +I: ?, +F: renversement, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: käännös. + +When a chord sounds with a bass note that differs from the root of the +chord, it is said to be @emph{inverted}. The number of inversions that a +chord can have is one fewer than the number of constituent notes. For +example, triads (which have three constituent notes) can have three +positions, two of which are inversions: + +@table @dfn +@item Root position +The root note is in the bass, and above that are the third and the fifth. A +triad built on the first scale degree, for example, is marked @notation{I}. + +@item First inversion +The third is in the bass, and above it are the fifth and the root. This +creates an interval of a sixth and a third above the bass note, and so is +marked in figured Roman notation as @notation{6/3}. This is commonly +abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the +characteristic interval of the inversion, and so always implies +@notation{6/3}. + +@item Second inversion +The fifth is in the bass, and above it are the root and the third. This +creates an interval of a sixth and a fourth above the bass note, and so is +marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most +unstable chord position. +@end table + +@seealso +No cross-references. + + +@node inverted interval +@section inverted interval + +ES: intervalo invertido, +I: intervallo rivolto, +F: intervalle renversé, +D: umgekehrtes Intervall, +NL: interval inversie, +DK: omvendingsinterval, +S: intervallets omvändning, +FI: käänteisintervalli. + +The difference between an interval and an octave. + +@lilypond[quote,notime,relative=2,line-width=13.0\cm] +1_"second " s s _"seventh " s s \bar "||" +_"third " s s _"sixth " s s \bar "||" +_"fourth " s s _"fifth " s s \bar "||" +@end lilypond + +@seealso +No cross-references. + + +@node just intonation +@section just intonation + +ES: entonación justa, +I: intonazione giusta, +F: intonation juste, +D: reine Stimmung, +NL: reine stemming, +DK: ren stemning, +S: ren stämning, +FI: puhdas viritys. + +Tuning system in which the notes are obtained by adding and subtracting +natural fifths and thirds. + +@seealso +@ref{temperament}. + + +@node key +@section key + +ES: tonalidad, +I: tonalità, +F: tonalité, +D: Tonart, +NL: toonsoort, +DK: toneart, +S: tonart, +FI: tonaliteetti. + +According to the 12@w{ }tones of the @emph{chromatic scale} there are +12@w{ }keys, one on@w{ }c, one on c-sharp, etc. + +@seealso +@ref{chromatic scale}, @ref{key signature}. + + +@node key signature +@section key signature + +ES: armadura (de la clave), +I: armatura di chiave, +F: armure, armature [de la clé], +D: Vorzeichen, Tonart, +NL: toon@-soort (voortekens), +DK: faste fortegn, +S: tonartssignatur, +FI: sävellajiosoitus. + +The sharps or flats appearing at the beginning of each staff indicating the +key of the music. + +@seealso +@ref{accidental}. + + +@node laissez vibrer +@section laissez vibrer + +ES: dejar vibrar, +I: ?, +F: laissez vibrer, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: antaa väristä. + +[French: @q{Let vibrate}] Most frequently associated with harp +parts. Marked @notation{l.v.} in the score. + +@seealso +No cross-references. + + +@node largo +@section largo + +ES: largo, +I: largo, +F: largo, large, ample, +D: Largo, Langsam, Breit, +NL: largo, +DK: largo, +S: largo, +FI: largo, hitaasti, leveästi. + +[Italian: @q{wide}.] Very slow in tempo, usually combined with great +expressiveness. @emph{Larghetto} is less slow than largo. + + +@node leading note +@section leading note + +ES: sensible, +I: sensibile, +F: (note) sensible, +D: Leitton, +NL: leidtoon, +DK: ledetone, +S: ledton, +FI: johtosävel. + +The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so +called because of its strong tendency to @q{lead up} (resolve upwards) +to the tonic scale degree. + +@seealso +@ref{scale degree}, @ref{semitone}. + + +@node ledger line +@section ledger line + +ES: línea adicional, +I: tagli addizionali, +F: ligne supplémentaire, +D: Hilfslinie, +NL: hulplijntje, +DK: hjælpelinie, +S: hjälplinje, +FI: apuviiva. + +A ledger line is an extension of the staff. + +@lilypond[quote,notime,relative=2] +a,1 +s1 +c''1 +@end lilypond + +@seealso +No cross-references. + + +@node legato +@section legato + +ES: legato, +I: legato, +F: legato, lié, +D: legato, gebunden, +NL: legato, +DK: legato, +S: legato, +FI: legato, sitoen. + +To be performed (a) without any perceptible interruption between the +notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c) +@notation{portato}, or (d) @notation{staccato}. + +@lilypond[quote,notime,line-width=13.0\cm] +<< + \context Staff \relative c'' { + c4-( d e-) \bar "||" + c4-- d-- e-- \bar "||" + c4-.-( d-. e-.-) \bar "||" + c4-. d-. e-. \bar "||" + } + \lyrics { + a2. + b + c + d + } +>> +@end lilypond + +@seealso +@ref{staccato}. + + +@node legato curve +@section legato curve + +@seealso +@ref{slur}, @ref{legato}. + + +@node leger line +@section leger line + +@seealso +@ref{ledger line}. + + +@node ligature +@section ligature + +ES: ligadura, +I: ?, +F: ligature, +DE: Ligatur, +NL: ?, +DK: ?, +S: ?, +FI: ligatuura. + +A ligature is a coherent graphical symbol that represents at least two +distinct notes. Ligatures originally appeared in the manuscripts of +Gregorian chant notation around the 9th century to denote ascending or +descending sequences of notes. In early notation, ligatures were used for +monophonic tunes (Gregorian chant) and very soon denoted also the way of +performance in the sense of articulation. With the invention of the metric +system of the white mensural notation, the need for ligatures to denote such +patterns disappeared. + +@seealso +@ref{mensural notation}. + + +@node lilypond +@section lilypond + +UK: lily pond, +ES: estanque de nenúfares, +I: stagno del giglio, +F: étang de nénuphars, étang de nymphéas, +D: Seerosenteich, +NL: le@-lie@-vij@-ver, +DK: liliedam, +S: liljedamm, +FI: liljalampi. + +A pond with lilies floating in it. + +Also, the name of a music typesetting program. + +@seealso +No cross-references. + + +@node line +@section line + +ES: línea, +I: linea, +F: ligne, +D: Linie, Notenlinie, +NL: lijn, +DK: nodelinie, +S: notlinje, +FI: viiva, nuottiviiva. + +@seealso +@ref{staff}. + + +@node loco +@section loco + +ES: en su lugar, +I: loco, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kirjoitetussa äänenkorkeudessa. + +[Italian: @q{place}] Instruction to play the following passage at the +written pitch. Cancels octave mark (q.v.). + +@seealso +@ref{octave mark}, @ref{octave marking}. + + +@node long appoggiatura +@section long appoggiatura + +ES: apoyatura larga, +I: appoggiatura lunga, +F: appoggiature longue, +D: Vorhalt, +NL: Lange voorslag, +DK: langt forslag, +S: långt förslag, +FI: pitkä appoggiatura, pitkä etuhele. + +@seealso +@ref{appoggiatura}. + + +@node longa +@section longa + +@itemize +@item US: long, longa, +@item ES: longa, +@item I: longa, +@item F: longa, longue, +@item D: Longa, +@item NL: longa, +@item DK: longa, +@item S: longa, +@item FI: longa. +@end itemize + +Note value: twice the length of a @notation{breve}. + +@lilypond[quote,notime,relative=2] +\override NoteHead #'style = #'mensural +g\longa g\breve +@end lilypond + +@seealso +@ref{breve}, @ref{note value}. + + +@node lyric tie +@section lyric tie + +ES: ligadura de letra, +I: ?, +F: ligature de mots, +D: Textbindung, +NL: ?, +DK: ?, +S: ?, +FI: sidonta sanoituksessa. + +@c TODO: add languages + +@seealso +@ref{elision}. + + +@node lyrics +@section lyrics + +ES: letra (de la canción), +I: ?, +F: paroles, +D: Liedtext, Gesangtext, +NL: liedtekst, +DK: ?, +S: ?, +FI: sanoitus. + +@c Definition? + +@seealso +No cross-references. + + +@node major +@section major + +ES: mayor, +I: maggiore, +F: [mode] majeur, +D: Dur, +NL: majeur, +DK: dur, +S: dur, +FI: duuri. + +@seealso +@ref{diatonic scale}. + + +@node major interval +@section major interval + +ES: intervalo mayor, +I: intervallo maggiore, +F: intervalle majeur, +D: großes Intervall, +NL: groot interval, +DK: stort interval, +S: stort intervall, +FI: suuri intervalli. + +@seealso +@ref{interval}. + + +@node maxima +@section maxima + +ES: ?, +I: ?, +F: maxima, maxime, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Note value: twice the length of a @notation{longa}. + +The maxima is the largest duration in use during the 15th and 16th centuries. +Like the longa, the maxima can be either two or three times as long as the +@notation{longa} (called @notation{binary} and @notation{ternary}, +respectively). By the late 15th century, most composers used the smaller +proportion by default. + +@seealso +@ref{Duration names notes and rests}, @ref{longa}, @ref{note value}. + + +@node meantone temperament +@section meantone temperament + +ES: afinación mesotónica, +I: accordatura mesotonica, +F: tempérament mésotonique, +D: mitteltönige Stimmung, +NL: middenstemming, middentoonstemming, +DK: middeltonetemperatur, +S: medeltonstemperatur, +FI: keskisävelviritys. + +Temperament yielding acoustically pure thirds by decreasing the natural +fifth by 16@w{ }cents. Due to the non-circular character of this +temperament only a limited set of keys are playable. Used for tuning +keyboard instruments for performance of pre-1650 music. + +@seealso +@ref{cent}, @ref{temperament}. + + +@node measure +@section measure + +ES: compás, +I: misura, battuta, +F: mesure, +D: Takt, +NL: maat, +DK: takt, +S: takt, +FI: tahti. + +A group of beats (units of musical time) the first of which bears an accent. +Such groups in numbers of two or more recur consistently throughout the +composition and are separated from each other by bar lines. + +@seealso +@ref{bar line}, @ref{beat}, @ref{meter}. + + +@node measure repeat +@section measure repeat + +@seealso +@ref{percent repeat}. + + +@node mediant +@section mediant + +ES: mediante, +I: mediante, modale, +F: médiante, +NL: mediant, +D: Mediante, +DK: mediant, +S: mediant, +FI: keskisävel. + +@itemize + +@item The third @b{scale degree}. + +@item A @emph{chord} having its base tone a third from that of another +chord. For example, the tonic chord may be replaced by its lower +mediant (variant tonic). + +@end itemize + +@seealso +@ref{chord}, @ref{functional harmony}, @ref{relative key}. + + +@node melisma +@section melisma + +ES: melisma, +I: ?, +F: mélisme, tenue, +D: Melisma, +NL: melisma, +DK: ?, +S: ?, +FI: melisma, laulettavan tavun sävelkuvio. + +A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung +on one syllable, especially as applied to liturgical chant. + +@seealso +No cross-references. + + +@node melisma line +@section melisma line + +@c TODO: add languages + +ES: línea de melisma, +I: ?, +F: trait de mélisme, trait de tenue, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: melismaviiva. + +@seealso +@ref{extender line}. + + +@node melodic cadence +@section melodic cadence + +@seealso +@ref{cadenza}. + + +@node mensural notation +@section mensural notation + +@c TODO: add languages + +ES: notación mensural, +I: ?, +F: notation mensurale, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: mensuraalinuotinnus. + +A system of duration notation whose principles were first established in the +mid-13th century, and that (with various changes) remained in use until about +1600. As such, it is the basis for the notation of rhythms in Western musical +notation. + +Franco of Cologne (ca. 1250) is credited with the first systematic explanation +of the notation's principles, so the notation of this earliest period is called +@q{Franconian}. Franco's system made use of three note values -- long, breve, +and semibreve -- each of which was normally equivalent to three of the next +lower note value. + +Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs +added several note values (the minim, semiminim and fusa) and extended Franco's +principles to govern the relationship between these values. They also put the +duple division of note values on an equal footing with the earlier (preferred) +triple division. + +TODO: continue description of French and Italian black notation, and the +relationship betwixt them. + +@b{White or void mensural notation} + +In the 15th century, hollow (or void) notes began to substitute for the earlier +solid black ones, which were then free to assume the function of red (or +colored) notes in the earlier notation. ... + +TODO: add to definition (including summary info on proportional notation) + +@seealso +@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}. +@c TODO: more cross-references? + + +@node mensuration sign +@section mensuration sign + +@c TODO: add languages + +ES: ?, +I: ?, +F: signe de mensuration, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The ancestor of the time signature, mensuration signs were used to indicate the +relationship between two sets of note durations—specifically, the ratio of +breves to semibreves (called @notation{tempus}), and of semibreves to minims +(called @notation{prolatio}). + +Each ratio was represented with a single single sign, and was either +three-to-one (ternary) or two-to-one (binary), as in modern music notation. +Unlike modern music notation, the @emph{ternary} ratio was the preferred +one—applied to the @emph{tempus}, it was called @emph{perfect}, and was +represented by a complete circle; applied to the @emph{prolatio}, it was called +@emph{major} and was represented by a dot in the middle of the sign. The binary +ratio applied to the @emph{tempus} was called @emph{imperfect}, and was +represented by an incomplete circle; applied to @emph{prolatio}, it was called +@emph{minor} and was represented by the lack of an internal dot. There are four +possible combinations, which can be represented in modern time signatures with +and without reduction of note values. (These signs are hard-coded in LilyPond +with reduction.) + +@table @dfn +@item perfect @emph{tempus} with major @emph{prolatio} +Indicated by a complete circle with an internal dot. In modern time signatures, +this equals: +@itemize +@item 9/4, with reduction or +@item 9/2, without reduction +@end itemize + +@item perfect @emph{tempus} and minor @emph{prolatio} +Indicated by a complete circle without an internal dot. In modern time +signatures, this equals: +@itemize +@item 3/2, with reduction or +@item 3/1, without reduction +@end itemize + +@item imperfect @emph{tempus} and major @emph{prolatio} +Indicated by an incomplete circle with an internal dot. In modern time +signatures, this equals: +@itemize +@item 6/4, with reduction or +@item 6/2, without reduction +@end itemize + +@item imperfect @emph{tempus} and minor @emph{prolatio} +Indicated by an incomplete circle without an internal dot. In modern time +signatures, this equals: +@itemize +@item 4/4, with reduction or +@item 2/1, without reduction +@end itemize +@end table + +The last mensuration sign @emph{looks} like common-time because it @emph{is}, +with note values reduced from the original semibreve to a modern quarter note. +Being doubly imperfect, this sign represented the (theoretically) +least-preferred mensuration, but it was actually used fairly often. + +This system extended to the ratio of longer note values to each other: + +@itemize + + @item maxima to longa, called: + + @itemize + + @item @notation{modus maximorum}, + @item @notation{modus major}, or + @item @notation{maximodus}) + + @end itemize + + @item longa to breve, called: + + @itemize + + @item @notation{modus longarum}, + @item @notation{modus minor}, or + @item @notation{modus} + + @end itemize + +@end itemize + +In the absence of any other indication, these modes were assumed to be +binary. The mensuration signs only indicated tempus and prolatio, so +composers needed another way to indicate these longer ratios (called modes. +Around the middle of the 15th century started to use groups of rests at the +beginning of the staff, preceding the mensuration sign. + + +Two mensuration signs have survived to the present day: the C-shaped sign, +which originally designated @notation{tempus imperfectum} and +@notation{prolatio minor} now stands for @notation{common time}; and the +slashed C, which designated the same with @notation{diminution} now stands +for @notation{cut-time} (essentially, it has not lost its original meaning). + +@seealso +@ref{diminution}, @ref{proportion}, @ref{time signature}. +@c TODO: more cross-references? + + +@node meter +@section meter + +ES: tiempo, compás, +I: tempo, misura, +F: indication de mesure, mesure, +D: Taktart, Metrum, +NL: maatsoort, +DK: taktart, +S: taktart, +FI: aika-arvo. + +The pattern of note values and accents in a composition or a section thereof. +There are a couple ways to classify @q{traditional} meter (i.e. not polymeter): +by grouping beats and by subdividing the primary beat. + +@b{By grouping beats}: + +@itemize + + @item @b{duple}: groups of two. + @item @b{triple}: groups of three. + @item @b{quadruple}: groups of four. A special case of duple meter. + @item @b{quintuple}: groups of five beats. + @item @b{sextuple} meter: groups of six. A special case of: + + @itemize + + @item duple meter, subdivided in three; or + @item triple meter, subdivided in two. + + @end itemize + + @item @b{septuple} meter: groups of seven. + @item and so on. + +@end itemize + +Other than triple meter and its subdivided variants (see below), meters that +feature odd groupings of beats (e.g. quintuple or septuple meter) are not +frequently used prior to the 20th Century. + +@b{By subdividing the primary beat}: + +@itemize + + @item simple: subdivided in groups of two. + + @itemize + + @item duple: 2/2, 2/4, 2/8 + @item triple: 3/2, 3/4, 3/8 + @item quadruple: 4/2, 4/4 (also called common time), 4/8 + + @end itemize + + @item compound: subdivided in groups of three. + + @itemize + + @item duple: 6/8 + @item triple: 9/8 + @item quadruple: 12/8 + + @end itemize + +@end itemize + +Time signatures are placed at the beginning of a composition (or section) to +indicate the meter. For instance, a piece written in simple triple meter with a +beat on each quarter note is conventionally written with a time signature of +3/4. Here are some combinations of the two classifications above: + +Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune): + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 2/4 + \key g \major + g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"} +@end lilypond + +Simple triple meter: + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 3/4 + \key c \minor + c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"} +@end lilypond + +Simple quadruple meter (French folk tune, @emph{Au clair de la lune}): + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 4/4 + \key g \major + g4 g g a | b2 a | g4 b a a | g1 \bar "||"} +@end lilypond + +Simple quintuple meter (B. Marcello, 1686-1739): + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 5/4 + \key c \major + r4 cis8 bis ais4 dis c8 ais | + aes4 bes8 aes ges4 aes f8 es \bar "||"} +@end lilypond + +(Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in +the source, with sharps in the accompaniment where the voice has flats and +@emph{vice versa}.) + +Compound duple meter (unknown): + +@lilypond[quote,line-width=13.0\cm] +\relative c' { + \time 6/8 + \key f \major + f8 f g a bes16 a g f | + g8 g bes a c16 a bes g + \bar "||"} +@end lilypond + +Compound triple meter (J.S. Bach, 1685-1750): + +@lilypond[quote,line-width=13.0\cm] +\relative c' { + \time 9/8 + \key g \major + r8 g'( a) b( d c) c( e d) | + d( g fis) g( d b) g( a b) + \bar "||"} +@end lilypond + +Compound quadruple meter (P. Yon, 1886-1943): + +@lilypond[quote,line-width=13.0\cm] +\relative c' { + \time 12/8 + \key e \major + b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 | + e4 e8 fis( gis) a b4.~ b4 b8 + \bar "||"} +@end lilypond + +@b{@q{Monometer} vs Polymeter} + +TODO: add information from discussion on lilypond-user related to polymeter. + +@seealso +@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} + + +@node metronome +@section metronome + +ES: metrónomo, +I: metronomo, +F: métronome, +D: Metronom, +NL: metronoom, +DK: me@-tro@-nom, +S: me@-tro@-nom, +FI: metronomi. + +Device used to indicate the exact tempo of a piece. + +Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name +from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo +divisions, and patented it as a @q{metronome}. The inevitable lawsuit that +followed acknowledged Winkler as the creator, but by then Mälzel had already +sold many of them, and people had taken to calling it a Mälzel Metronome. + +@seealso +@ref{metronome mark}. + + +@node metronome mark +@section metronome mark + +ES: indicación metronómica, +I: indicazione metronomica, +F: indication métronomique, +D: Metronomangabe, +NL: metronoom aanduiding, +DK: metronomtal, +S: metronomangivelse, +FI: metronomiosoitus. + +Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or +@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, +@emph{anglice}). + +@seealso +@ref{metronome} + + +@node metronomic indication +@section metronomic indication + +@seealso +@ref{metronome mark} + + +@node mezzo +@section mezzo + +ES: ?, +I: mezzo, +F: mezzo, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kohtalaisen, melko. + +[Italian: @q{medium}] + +Used to qualify other indications, such as: + +@itemize + +@item Dynamics + @itemize + @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as + @notation{piano}) + @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as + @notation{forte}) + @end itemize + +@item Voice + @itemize + @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and + sopranos + @end itemize + +@end itemize + +@seealso +No cross-references. + + +@node mezzo-soprano +@section mezzo-soprano + +ES: mezzosoprano, +I: mezzo-soprano, +F: mezzo-soprano, +D: Mezzosopran, +NL: mezzosopraan, +DK: mezzosopran, +S: mezzosopran, +FI: mezzosopraano. + +The female voice between soprano and contralto. + +@seealso +@ref{soprano}, @ref{contralto}. + + +@node middle C +@section middle C + +ES: do central, +I: do centrale, +F: do central, do 3 +D: eingestrichenes@w{ }c, +NL: centrale@w{ }c, +DK: enstreget@w{ }c, +S: ettstruket@w{ }c, +FI: keski-C. + +First C below the 440 Hz A. + +@lilypond[quote,notime,relative=1] +\override Staff.Clef #'full-size-change = ##t + \clef bass c1 s + \clef alto c s + \clef treble c s +@end lilypond + +@seealso +No cross-references. + + +@node minor +@section minor + +ES: menor, +I: minore, +F: (mode) mineur, +D: Moll, +NL: mineur, +DK: mol, +S: moll, +FI: molli. + +@seealso +@ref{diatonic scale}. + + +@node minor interval +@section minor interval + +ES: intervalo menor, +I: intervallo minore, +F: intervalle mineur, +D: kleines Intervall, +NL: klein interval, +DK: lille interval, +S: litet intervall, +FI: pieni intervalli. + +@seealso +@ref{interval}. + + +@node mixolydian mode +@section mixolydian mode + +@seealso +@ref{diatonic scale}. + + +@node mode +@section mode + +ES: modo, +I: modo, +F: mode, +D: Kirchentonart, Modus, +NL: modus, +DK: skala, +S: modus, skala, +FI: moodi, kirkkosävelasteikko. + +@seealso +@ref{church mode}, @ref{diatonic scale}. + + +@node modulation +@section modulation + +ES: modulación, +I: modulazione, +F: modulation, +D: Modulation, +NL: modulatie, +DK: modulation, +S: modulering, +FI: modulaatio, sävellajin vaihdos. + +Moving from one @ref{key} to another. For example, the second subject +of a @ref{sonata form} movement modulates to the dominant key if the +key is major and to the @ref{relative key} if the key is minor. + +@seealso +No cross-references. + + +@node mordent +@section mordent + +I: mordente, +F: mordant, +D: Mordent, +NL: mordent, +DK: mordent, +S: mordent, +FI: mordent, korukuvio. + +@seealso +@ref{ornament}. + + +@node motif +@section motif + +@seealso +@ref{motive}. + + +@node motive +@section motive + +ES: motivo, +I: inciso, +F: motif, incise, +D: Motiv, +NL: motief, +DK: motiv, +S: motiv, +FI: teema, sävelaihe. + +The briefest intelligible and self-contained fragment of a musical +theme or subject. + +@lilypond[quote,line-width=13.0\cm] +\score{ +\relative c'' { + \set Score.implicitTimeSignatureVisibility = #all-invisible + \override Score.TimeSignature #'break-visibility = #all-invisible + \time 4/4 + \key g \major + \partial 8 g16\startGroup fis | + g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis | + g8 g,16 a b8 cis d16 s +} +\layout { + \context { + \Staff \consists "Horizontal_bracket_engraver" +}} +} +@end lilypond + +@seealso +No cross-references. + + +@node movement +@section movement + +ES: movimiento, +I: movimento, +F: mouvement, +D: Satz, +NL: deel, +DK: sats, +S: sats, +FI: osa. + +Greater musical works like @ref{symphony} and @ref{sonata} most often consist of +several -- more or less -- independent pieces called movements. + +@seealso +No cross-references. + + +@node multi-measure rest +@section multi-measure rest + +ES: compases de espera, +I: pausa multipla, +F: pause multiple, mesure à compter, +NL: meermaats rust, +D: mehrtaktige Pause, Kirchenpause, +DK: flertaktspause, +S: flertaktspaus, +FI: usean tahdin mittainen tauko. + +Multi-measure rests are conventionally typeset with a combination of +longa, breve and whole rests for shorter and a long horizontal bar for +longer spans of rest, with a number above to indicate the duration (in +measures) of the rest. The former style is called @q{Kirchenpausen} in +German, as a reminiscence of its use in Renaissance vocal polyphony. + +@lilypond[quote,relative=2] +a1 +\set Score.skipBars = ##t +R1*3 +a1 +\set Score.skipBars = ##t +R1*122 +a1 +@end lilypond + +@seealso +@ref{longa}, @ref{breve}. + + +@node natural +@section natural + +ES: becuadro, +I: bequadro, +F: bécarre, +D: Auflösungszeichen, +NL: herstellingsteken, +DK: op@-løsningstegn, +S: återställningstecken, +FI: palautusmerkki. + +@seealso +@ref{accidental}. + + +@node neighbor tones +@section neighbor tones + +@c TODO: add definition. + +ES: ?, +I: ?, +F: tons voisins, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. + + +@node ninth +@section ninth + +ES: novena, +I: nona, +F: neuvième, +D: None, +NL: noon, +DK: none, +S: nona, +FI: nooni. + +@seealso +@ref{interval}. + + +@node non-legato +@section non-legato + +@seealso +@ref{legato}. + + +@node note +@section note + +ES: nota, +I: nota, +F: note, +D: Note, +NL: noot, +DK: node, +S: not, +FI: nuotti. + +Notes are signs by means of which music is fixed in writing. The term is also +used for the sound indicated by a note, and even for the key of the piano +which produces the sound. However, a clear distinction between the terms tone +and @ref{note} is strongly recommended. Briefly, one sees a note, +and hears a tone. + +@seealso +No cross-references. + + +@node note head +@section note head + +ES: cabeza, +I: testa, testina, capocchia, +F: tête de note, +D: Notenkopf, +NL: nootballetje, +DK: nodehovede, +S: nothuvud, +FI: nuotin pää. + +A head-like sign which indicates pitch by its position on a @notation{staff} +provided with a @notation{clef}, and duration by a variety of shapes such as +hollow or black heads with or without @notation{stems}, @notation{flags}, etc. +For percussion instruments (often having no defined pitch) the note head may +indicate the instrument. + +@seealso +@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}. + + +@node note names +@section note names + +@seealso +@ref{Pitch names} + + +@node note value +@section note value + +ES: valor (duración), +I: valore, durata, +F: durée, valeur (d'une note), +D: Notenwert, +NL: nootwaarde, +DK nodeværdi, +S: notvärde, +FI: nuotin aika-arvo. + +Note values (durations) are measured as fractions—in modern usage, one-half—of +the next higher note value. The longest duration in current use is the +@notation{breve} (equal to two whole notes), but sometimes (especially in music +dating from the Baroque era or earlier) the @notation{longa} (four whole notes) +or @notation{maxima} (eight whole notes) may be found. + +As used in mensural notation, this fraction was more flexible: it could also +be one-third the higher note value. Composers indicated which proportions +to use with various signs—two of which survive to the present day: the +C-shaped sign for @notation{common time}, and the slashed C for +@notation{alla breve} or @notation{cut-time}. + +@c TODO -- add maxima to this example, in a way that doesn't break it. + +@lilypond[quote,notime,line-width=13.0\cm] +\relative c'' { + \override NoteHead #'style = #'mensural + a\longa_"longa" a\breve_"breve" + \revert NoteHead #'style + a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16 + a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 } +@end lilypond + +@c TODO -- add maxima rest to this example + +@lilypond[quote,notime,line-width=13.0\cm] +\relative c'' { + r\longa_"longa" r\breve_"breve" + r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16 + r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 } +@end lilypond + +An augmentation dot after a note increases its duration by half; a second dot +increases it by half of the first addition (that is, by a fourth of the original +duration). More dots can be used to add further halved fractions of the +original note value (1/8, 1/16, etc.), but they are not frequently encountered. + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 4/4 + g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||" + g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" } +@end lilypond + +Alternatively note values may be subdivided by other ratios. Most common is +subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}). +Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of +dotted notes are also frequently used. + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 4/4 + \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||" + \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||" +} +@end lilypond + +@lilypond[quote,line-width=13.0\cm] +\relative c'' { + \time 3/4 + \times 3/2 {g4_"duplets" g} | + g4 g g \bar "||" + \times 6/4 {g8_"quadruplets" g g g} | + g8 g g g g4 \bar "||" +} +@end lilypond + +@seealso +@ref{common time}. + + +@node octavation +@section octavation + +@seealso +@ref{octave marking}. + + +@node octave +@section octave + +ES: octava, +I: ottava, +F: octave, +D: Oktave, +NL: octaaf, +DK: oktav, +S: oktav, +FI: oktaavi. + +The interval of an octave, sometimes abbreviated @notation{8ve}. + +For uses like @notation{all'ottava} or @notation{8va} with an extender line or +bracket, or @notation{loco} see octave marking. + +@seealso +@ref{interval}, @ref{octave marking}. + + +@node octave mark +@section octave mark + +ES: indicación de octava, +I: ?, +F: indication d'octave, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: oktaavamerkki. + +The phrase, abbreviation, or other mark used (with or without an extender line +or bracket) to indicate that the music is to be played in a different octave: + +@itemize + +@item @notation{15ma}: play two octaves higher +@item @notation{8va}: play one octave higher +@item @notation{8vb}: play one octave lower +@item @notation{8va} (written below the passage): unusual, same as +@notation{8vb} +@item @notation{15vb}: play two octaves lower +@item @notation{15va} (written below the passage): unusual, same as +@notation{15vb} + +@end itemize + +For longer passages, it may be more practical to mark the octave change at the +beginning with a phrase (see the list below for examples), but without a bracket +or extender line. Then, when the music returns to the written pitch, the octave +change is cancelled with the word @notation{loco} (q.v.). + +To parallel the list above: + +@itemize + +@item @notation{15ma}: @notation{alla quindicesima (alta)} +@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra} +@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto} +@item @notation{15vb}: @notation{alla quindicesima (bassa)} + +@end itemize + +In the phrases above, @notation{quindicesima} is sometimes replaced with +@notation{quindecima}, which is Latin. + +The music on an entire staff can be marked to be played in a different octave by +putting a small 8 or 15 above or below the clef at the beginning. This octave +mark can be applied to any clef, but it is most frequently used with the G and F +clefs. + +@seealso +@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}. + + +@node octave marking +@section octave marking + +ES: a la octava, +I: all'ottava, +F: octaviation, +D: Oktavierung, +NL: octaveren, +DK: oktavering, +S: oktavering, +FI: oktaavamerkintä. + +The practice of marking music -- an entire staff, a passage, etc. -- to indicate +that it is to be played in a different octave. If applied to the clef at the +beginning of the staff, all music on that staff is to played at the indicated +octave. + +For a list of the specific marks used, see @ref{octave mark}. + +@seealso +@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}. + + +@node octave sign +@section octave sign + +@seealso +@ref{octave mark}. + + +@node ornament +@section ornament + +ES: adorno, +I: abbellimento, fioriture, +F: agrément, ornement, +D: Verzierung, Ornament, +NL: versiering, +DK: forsiring, +S: ornament, +FI: koru, hele. + +Most commonly used is the @emph{trill}, the rapid alternation of a given note +with the diatonic @ref{second} above it. In the music from the +middle of the 19th century and onwards the trill is performed with the main +note first while in the music from the preceding baroque and classic periods +the upper note is played first. + +@lilypond[quote,line-width=13.0\cm] +<< + \context Staff = sa { + \relative c'' { + c2._"pre-1850" b4\trill | c1 \bar "||" + c2._"post-1850" b4\trill | c1 \bar "||" + } + } + \relative c'' { + c2. c32 b c b c b c b | c1 + c2. b32 c b c \times 4/5 { b c b c b } | c1 + } +>> +@end lilypond + +Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and +the +@emph{prall} (inverted mordent). + +@lilypond[quote,line-width=13.0\cm] +<< + \context Staff = sa { + \relative c'' { + a4_"turn" b\turn c2 \bar "||" + g4_"mordent" a b\mordent a \bar "||" + e'4_"prall" d\prall c2 \bar "||" + } + } + \relative c'' { + a4 c16[ b a b] c2 + g4 a b16-[ a b8] a4 + e'4 e32[ d e d ~ d8] c2 + } +>> +@end lilypond + +@seealso +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}. + + +@node ossia +@section ossia + +ES: ossia, +I: ossia, +F: ossia, alternative, +D: Ossia, +NL: alternatief, +DK: ossia, +S: ossia, +FI: ossia, vaihtoehtoinen esitystapa. + +Ossia (otherwise) marks an alternative. It is an added staff or piano +score, usually only a few measures long, which presents another version +of the music, for example for small hands. + +@seealso +No cross-references. + + +@node part +@section part + +ES: parte, +I: voce, parte, +F: partie, +D: Stimme, +NL: partij, +DK: stemme, +S: stämma, +FI: stemma, instrumenttiosuus. + +@itemize + +@item In instrumental or choral music, the music for a single +instrument or voice. + +@item in contrapuntal music, a single melodic line in the contrapuntal +web. + +@end itemize + +@seealso +@ref{counterpoint} + + +@node pause +@section pause + +@seealso +@ref{fermata}. + + +@node pennant +@section pennant + +@seealso +@ref{flag}. + + +@node percent repeat +@section percent repeat + +LilyPond-specific term to indicate the repetition of a musical expression on a +single staff, as opposed to the more usual definition of repeat, which affects +all parts. The musical expression can be anything from a single note or note +pattern to one or more measures. There are other names for this symbol: + +@itemize + +@item simile mark +@item slash mark, or slash repeat +@item beat repeat +@item measure (or multi-measure) repeat + +@end itemize + +@lilypond[quote,relative=2,line-width=13.0\cm] +\time 4/4 + \repeat percent 4 { c4_"Beat (or slash) repeat" } + \repeat percent 2 { c4 e g b_"Measure repeat" } + \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | } +@end lilypond + +@seealso +@ref{repeat}, +@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of +Vermont Music Dictionary}. + + +@node percussion +@section percussion + +ES: percusión, +I: percussioni, +F: percussion, +D: Schlagzeug, Schlagwerk, +NL: slagwerk, +DK: slagtøj, +S: slagverk, +FI: lyömäsoittimet. + +A family of musical instruments which are played on by striking or +shaking. Percussion instruments commonly used in a symphony orchestra are +kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, +tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel, +and xylophone. + +@seealso +No cross-references. + + +@node perfect interval +@section perfect interval + +ES: intervalo justo, +I: intervallo giusto, +F: intervalle juste, +D: reines Intervall, +NL: rein interval, +DK: rent interval, +S: rent intervall, +FI: puhdas intervalli. + +@seealso +@ref{interval}. + + +@node phrase +@section phrase + +ES: frase, +I: frase, +F: phrase, +D: Phrase, +NL: frase, zin, +DK: frase, +S: fras, +FI: fraasi, lause. + +A natural division of the melodic line, comparable to a sentence of speech. + +@seealso +@ref{caesura}. + + +@node phrasing +@section phrasing + +ES: fraseo, +I: fraseggio, +F: phrasé, +D: Phrasierung, +NL: frasering, +DK: frasering, +S: fra@-se@-ring, +FI: fraseeraus, jäsentäminen. + +The clear rendering in musical performance of the @notation{phrases} of the +melody. Phrasing may be indicated by a @notation{slur}. + +@seealso +@ref{phrase}, @ref{slur}. + + +@node piano +@section piano + +ES: piano, +I: piano, +F: piano, +D: piano, leise, +NL: piano, +DK: piano, +S: piano, +FI, piano, hiljaa. + +@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, +@emph{mezzo piano} (@b{mp}) medium soft. + +@seealso +No cross-references. + + +@node pickup +@section pickup + +ES: anacrusa, +I: anacrusi, +F: anacrouse, levée, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +FI: kohotahti. + +@seealso +@ref{anacrusis}. + + +@node pitch +@section pitch + +ES: altura, +I: altezza, +F: hauteur, +D: Tonhöhe, +NL: toonhoogte, +DK: tonehøjde, +S: tonhöjd, +FI: sävelkorkeus. + +@enumerate + +@item The perceived quality of a sound that is primarily a function of its +fundamental frequency. + +@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch. + +@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized +association of a particular frequency with a particular pitch name, e.g., c' = +256 Hz. + +@end enumerate + +@seealso +@ref{Pitch names}. + + +@node pizzicato +@section pizzicato + +ES: pizzicato, +I: pizzicato, +F: pizzicato, +D: pizzicato, +NL: pizzicato, getokkeld, +DK: pizzicato, +S: pizzicato, +FI: pizzicato, näppäillen. + +A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking +the strings. + +@seealso +No cross-references. + + +@node polymeter +@section polymeter + +ES: compás polimétrico, +I: ?, +F: polymétrie, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: monia tahtiosoituksia sisältävä. + +@itemize + +@item The @emph{simultaneous} use of two or more meters, in two or more +parts. + +@item The @emph{successive} use of different meters in one or more parts. + +@end itemize + +@seealso +@ref{polymetric} (adj.) + + +@node polymetric +@section polymetric + +ES: polimétrico, +I: ?, +F: polymétrique, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä. + +Characterized by @emph{polymeter}: using two or more metric frameworks +simultaneously or in alternation. + +@seealso +@ref{polymeter} (noun) + + +@node polymetric time signature +@section polymetric time signature + +ES: compás polimétrico, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: vaihtelevan tahtiosoitusmerkintä. + +A time signature that indicates regularly alternating polymetric time. + +@seealso +@ref{polymetric}. + + +@node polyphony +@section polyphony + +ES: polifonía, +I: polifonia, +F: polyphonie, +D: Polyphonie, Mehrstimmigkeit, +NL: polyfonie, +DK: polyfoni, +S: polyfoni, +FI: polyfonia, moniäänisyys. + +Music written in a combination of several simultaneous voices (parts) +of a more or less pronounced individuality. + +@seealso +@ref{counterpoint}. + + +@node portato +@section portato + +[Italian: past participle of @emph{portare}, @q{to carry}] + +A stroke in which each of several notes is separated slightly within a slur, +without changing the bow's direction. It is used for passages of a +@notation{cantabile} character. + +@seealso +@ref{legato}. + + +@node presto +@section presto + +ES: presto, +I: presto, +F: presto, très rapide, enlevé, +D: Presto, Sehr schnell, +NL: presto, Sehr schnell, +DK: presto, +S: presto, +FI: presto, hyvin nopeasti. + +[Italian] + +Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} +denotes the highest possible degree of speed. + +@seealso +No cross-references. + + +@node proportion +@section proportion + +ES: proporción, +I: proprozione (?), +F: proportion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: suhde. + +[Latin: @emph{proportio}] Described in great detail by Gaffurius, in +@emph{Practica musicae} (published in Milan in 1496). In mensural notation, +proportion is: + +@enumerate + +@item A ratio that expresses the relationship between the note values that +follow with those that precede; + +@item A ratio between the note values of a passage and the @q{normal} +relationship of note values to the metrical pulse. (A special case of the +first definition.) + +@end enumerate + +The most common proportions are: + +@itemize +@item 2:1 (or simply 2), expressed by a vertical line through the +mensuration sign (the origin of the @notation{alla breve} time signature), +or by turning the sign backwards +@item 3:1 (or simply 3) +@item 3:2 (@emph{sesquialtera}) +@end itemize + +To @q{cancel} any of these, the inverse proportion is applied. Thus: + +@itemize +@item 1:2 cancels 2:1 +@item 1:3 cancels 3:1 +@item 2:3 cancels 3:2 +@item and so on. +@end itemize + +Gaffurius enumerates five basic types of major:minor proportions and their +inverses: + +@enumerate +@item Multiplex, if the major number is an exact multiple of the minor (2:1, +3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6) + +@item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}], +if the major number is one more than the minor (3:2, 4:3, 5:4); and its +inverse, Subsuperparticular (2:3, 3:4, 4:5) + +@item Superpartiens, if the major number is one less than twice the minor +(5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11) + +@item Multiplexsuperparticular, if the major number is one more than twice the +minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7, +4:9) + +@item Multiplexsuperpartiens, if the major number is one less than some other +multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its +inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11) + +@end enumerate + +He then continues to subdivide each type in various ways. For the multiplex +proportions, for example, he indicates how many times greater the major number +is than the minor: + +@itemize + +@item If two times greater, the proportion is @emph{dupla}. If inverted, it's +called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3. + +@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example: +3:1, 6:2, and 9:3. + +@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}. +Example: 4:1, 8:2, and 12:3 + +@end itemize + +Other proportions were possible, but whether they were frequently used is +another question: + +@itemize + +@item 33:9, @emph{triplasuperbipartientetertias} +@item 51:15, @emph{triplasuperbipartientequintas} + +@end itemize + +@c TODO: add an example or two. O => 4/3, and its modern equivalent + +@seealso +@ref{mensural notation}. + + +@node Pythagorean comma +@section Pythagorean comma + +ES: coma pitagórica, +I: comma pitagorico, +F: comma pythagoricien, +D: Pythagoräisches Komma, +NL: komma van Pythagoras, +DK: pythagoræisk komma, +S: pytagoreiskt komma, +FI: pytagorinen komma. + +Originally, the interval by which the sum of six whole tones exceeds the octave +-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents. + +Modern acoustical theory defines it as the interval by which twelve fifths +exceed seven octaves. To put it another way: A sequence of fifths that starts +on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher +than the C obtained by adding 7 octaves. The difference between those two +pitches is the Pythagorean comma. + +@seealso +@ref{cent}, @ref{temperament}. + + +@node quadruplet +@section quadruplet + +ES: cuatrillo, +I: quartina, +F: quartolet, +D: Quartole, +NL: kwartool, +DK: kvartol, +S: kvartol, +FI: kvartoli. + +@seealso +@ref{note value}. + + +@node quality +@section quality + +ES: ?, +I: qualità (?), +F: qualité (?), +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: laatu. + +The quality of a triad is determined by the precise arrangement of its +intervals. Tertian triads can be described as a series of three notes. The +first element is the root note (or simply @q{root}) of the chord, the second +note is the @q{third} of the chord, and the last note is the @q{fifth} of +the chord. These are described below: + +@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ} +@headitem Chord name + @tab Component intervals + @tab Example + @tab Symbol +@item major triad @tab major third/perfect fifth + @tab C-E-G + @tab C, CM, Cma, Cmaj, CΔ +@item minor triad @tab minor third/perfect fifth + @tab C-E♭-G + @tab Cm, Cmi, Cmin, C- +@item augmented triad @tab major third/augmented fifth + @tab C-E-G♯ + @tab C+, C^+, Caug +@item diminished triad @tab minor third/diminished fifth + @tab C-E♭-G♭ + @tab Cm(♭5), Cº, Cdim +@end multitable + +There are various types of seventh chords depending on the quality of the +original chord and the quality of the seventh added. + +Five common types of seventh chords have standard symbols. The chord quality +indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7, +and D^m7 are all identical). The last three chords are not commonly used +except in jazz. + +@seealso +@ref{chord}. + + +@node quarter note +@section quarter note + +@itemize +@item UK: crotchet +@item ES: negra +@item I: semiminima, nera +@item F: noire +@item D: Viertel, Viertelnote +@item NL: kwartnoot +@item DK: fjerdedelsnode +@item S: fjärdedelsnot +@item FI: neljäsosanuotti +@end itemize + +@seealso +@ref{note value}. + + +@node quarter rest +@section quarter rest + +@itemize +@item UK: crotchet rest +@item ES: silencio de negra +@item I: pausa di semiminima +@item F: soupir +@item D: Viertelpause +@item NL: kwartrust +@item DK: fjerdedelspause +@item S: fjärdedelspaus +@item FI: neljäsosatauko +@end itemize + +@seealso +@ref{note value}. + + +@node quarter tone +@section quarter tone + +ES: cuarto de tonno, +I: ?, +F: quart de ton, +D: Viertelton, +NL: kwart toon, +DK: ?, +S: kvartston, +FI: neljännessävelaskel. + +An interval equal to half a semitone. + +@seealso +@ref{interval} + + +@node quintuplet +@section quintuplet + +ES: cinquillo, quintillo. +I: quintina, +F: quintolet, +D: Quintole, +NL: kwintool, +DK: kvintol, +S: kvintol, +FI: kvintoli. + +@seealso +@ref{note value}. + + +@node rallentando +@section rallentando + +ES: rallentando, +I: rallentando, +F: rallentando, en ralentissant, +D: rallentando, langsamer werden, +NL: rallentando, +DK: rallentando, +S: rallentando, +FI: rallerdando, hidastuen. + +[Italian] A performance indication, abbreviated "rall.". + +@seealso +@ref{ritardando}. + + +@node relative key +@section relative key + +ES: tono relativo, +I: tonalità relativa, +F: tonalité relative, +D: Paralleltonart, +NL: paralleltoonsoort, +DK: paralleltoneart, +S: parallelltonart, +FI: rinnakkaissävellaji. + +Major and minor keys that have the same key signature. + +@lilypond[quote,notime,relative=1,line-width=13.0\cm] +\key es \major +es1_"e flat major" f g as bes c d es +\bar "||" +@end lilypond + +@lilypond[quote,notime,relative=1,line-width=13.0\cm] +\key c \minor +c1_"c minor" d es f g a! b! c +\bar "||" +@end lilypond + +@seealso +@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}. + + +@node repeat +@section repeat + +ES: repetición, +I: ritornello, +F: barre de reprise, +D: Wiederholung, +NL: herhaling, +DK: gen@-ta@-gel@-se, +S: repris, +FI: toisto. + +@lilypond[quote,relative=2,line-width=13.0\cm] +\key g \major +\time 4/4 +\repeat volta 2 { + g4 g d' d + e4 e d2 + c4 c b b + a a g2 +} +@end lilypond + +@seealso +No cross-references. + + +@node rest +@section rest + +ES: silencio, +I: pausa, +F: silence, +D: Pause, +NL: rust, +DK: pause, +S: paus, +FI: tauko. + +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. + +@seealso +@ref{note value}. + + +@node rhythm +@section rhythm + +ES: ritmo, +I: ritmo, +F: rythme, +D: Rhythmus, +NL: ritme, +DK: rytme, +S: rytm, +FI: rytmi. + +@itemize + +@item Metrical rhythm in which every time value is a multiple or +fraction of a fixed unit of time, called @ref{beat}, and in which the +normal @ref{accent} recurs in regular intervals, called @ref{measure}. +The basic scheme of time values is called @ref{meter}. + +@item Measured rhythm which lacks regularly recurrent accent. In +modern notation such music appears as a free alternation of different +measures. + +@item Free rhythm, i.e., the use of temporal values having no common +metrical unit (beat). + +@end itemize + +@seealso +No cross-references. + + +@node ritardando +@section ritardando + +ES: ritardando, +I: ritardando, +F: ritardando, en ralentissant, +D: ritardando, langsamer werden, +NL: ritardando, +DK: ritardando, +S: ritardando, +FI: ritardando, hidastuen, + +Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. + +@seealso +No cross-references. + + +@node ritenuto +@section ritenuto + +ES: ritenuto, +I: ritenuto, +F: ritenuto, en retenant, +D: ritenuto, +NL: ritenuto, +DK: ritenuto, +S: ritenuto, +FI: ritenuto, hidastaen. + +Immediate reduction of speed. + +@seealso +No cross-references. + + +@node scale +@section scale + +ES: escala, +I: scala, +F: gamme, +D: Tonleiter, +NL: toonladder, +DK: Skala, +S: skala, +FI: asteikko, sävelasteikko. + +@seealso +@ref{diatonic scale}. + + +@node scale degree +@section scale degree + +ES: grado (de la escala), +I: grado della scala, +F: degré [de la gamme], +D: Tonleiterstufe, +NL: trap [van de toonladder], +DK: skalatrin, +S: skalsteg (?), +FI: sävelaste, asteikon sävel. + +Names and symbols used in harmonic analysis to denote tones of the +scale as roots of chords. The most important are degrees I = tonic +(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D). + +@lilypond[quote,notime,line-width=13.0\cm] +<< +\new Staff \relative c' { + c1 d e f g a b c +} + \lyrics { + << { I II III IV V VI VII I } + { T "" "" S D } >> +} +>> +@end lilypond + +@seealso +@ref{functional harmony}. + + +@node scordatura +@section scordatura + +ES: encordado, +I: scordatura, +F: à cordes ravallées, +D: Skordatur, +NL: ?, +DK: ?, +S: ?, +FI: epätavallinen viritys. + +[Italian: @emph{scordare}, @q{to mistune}] Unconventional +tuning of stringed instruments, particularly lutes or violins. Used +to: + +@itemize + +@item facilitate pitch combinations that would otherwise be difficult +or impossible + +@item alter the characteristic timbre of the instrument, for example, +to increase brilliance + +@item reinforce certain sonorities or tonalities by making them +available on open strings + +@item imitate other instruments + +@item etc. + +@end itemize + +Tunings that could be called @var{scordatura} first appeared early in +the 16th Century and became commonplace in the 17th. + +@seealso +No cross-references. + + +@node score +@section score + +ES: partitura, +I: partitura, +F: partition, conducteur (full score), +D: Partitur (full score), Klavierauszug (vocal score), +NL: partituur, +DK: partitur, +S: partitur, +FI: partituuri. + +A copy of orchestral, choral, or chamber music showing what each +instrument is to play, each voice to sing, having each part arranged +one underneath the other on different staves @ref{staff}. + +@seealso +No cross-references. + + +@node second +@section second + +ES: segunda, +I: secunda, +F: seconde, +D: Sekunde, +NL: secunde, +DK: sekund, +S: sekund, +FI: sekunti. + +The interval between two neighboring tones of a scale. A diatonic scale +consists of alternating semitones and whole tones, hence the size of a +second depends on the scale degrees in question. + +@seealso +@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}. + + +@node semibreve +@section semibreve + +@itemize +@item US: whole note, +@item ES: redonda, +@item I: semibreve, +@item F: ronde, +@item D: Ganze, ganze Note, +@item NL: hele noot, +@item DK: helnode, +@item S: helnot, +@item FI: kokonuotti. +@end itemize + +Note value: called @notation{whole note} in the US. + +The semibreve is the basis for the @notation{tactus} in mensural notation +(i.e. music written before ca. 1600). + +@seealso +@ref{mensural notation}, @ref{note value}. + + +@node semitone +@section semitone + +ES: semitono, +I: semitono, +F: demi-ton, +D: Halbton, +NL: halve toon, +DK: halvtone, +S: halvton, +FI: puolisävel. + +The interval of a minor second. The (usually) smallest interval in European +composed music. The interval between two neighboring tones on the piano +keyboard -- including black and white keys -- is a semitone. An octave may +be divided into 12@w{ }semitones. + +@lilypond[quote,notime,relative=2,line-width=13.0\cm] +g1 gis s a bes s b! c +@end lilypond + +@seealso +@ref{interval}, @ref{chromatic scale}. + + +@node seventh +@section seventh + +ES: séptima, +I: settima, +F: septième, +D: Septime, +NL: septiem, +DK: septim, +S: septim, +FI: septimi. + +@seealso +@ref{interval}. + + +@node sextolet +@section sextolet + +@seealso +@ref{sextuplet}, @ref{note value}. + + +@node sextuplet +@section sextuplet + +ES: seisillo, +I: sestina, +F: sextolet, +D: Sextole, +NL: sextool, +DK: sekstol, +S: sextol, +FI: sekstoli. + +@seealso +@ref{note value}. + + +@node shake +@section shake + +@seealso +@ref{trill}. + + +@node sharp +@section sharp + +ES: sostenido, +I: diesis, +F: dièse, +D: Kreuz, +NL: kruis, +DK: kryds, +S: kors@-förtecken, +FI: korotusmerkki. + +@seealso +@ref{accidental}. + + +@node simile +@section simile + +ES: simile, +I: simile, +F: simile, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: samoin. + +[Italian: @q{in the same manner}] Performance direction: the music thus marked +is to be played in the same manner (i.e. with the same articulations, dynamics, +etc.) as the music that precedes it. + +@seealso +TODO: Where else could I refer the reader? + + +@node simple meter +@section simple meter + +ES: compás simple, compás de subdivisión binaria, +I: ?, +F: mesure binaire, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kaksijakoinen tahtiosoitus. + +A meter in which the basic beat is subdivided in two: that is, a meter +that does not include triplet subdivision of the beat. + +@seealso +@ref{compound meter}, @ref{meter}. + + +@node sixteenth note +@section sixteenth note + +@itemize +@item UK: semiquaver +@item ES: semicorchea +@item I: semicroma +@item F: double croche +@item D: Sechzehntel, Sechzehntelnote +@item NL: zestiende noot +@item DK: sekstendedelsnode +@item S: sextondelsnot +@item FI: kuudestoistaosanuotti +@end itemize + +@seealso +@ref{note value}. + + +@node sixteenth rest +@section sixteenth rest + +@itemize +@item UK: semiquaver rest +@item ES: silencio de semicorchea +@item I: pausa di semicroma +@item F: quart de soupir +@item D: Sechzehntelpause +@item NL: zestiende rust +@item DK: sekstendedelspause +@item S: sextondelspaus +@item FI: kuudestoistaosatauko +@end itemize + +@seealso +@ref{note value}. + + +@node sixth +@section sixth + +ES: sexta, +I: sesta, +F: sixte, +D: Sexte, +NL: sext, +DK: sekst, +S: sext, +FI: seksti. + +@seealso +@ref{interval}. + + +@node sixty-fourth note +@section sixty-fourth note + +@itemize +@item UK: hemidemisemiquaver +@item ES: semifusa +@item I: semibiscroma +@item F: quadruple croche +@item D: Vierundsechzigstel, Vierundsechzigstelnote +@item NL: vierenzestigste noot +@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de +@item S: sextiofjärdedelsnot +@item FI: kuudeskymmenesneljäsosanuotti +@end itemize + +@seealso +@ref{note value}. + + +@node sixty-fourth rest +@section sixty-fourth rest + +@itemize +@item UK: hemidemisemiquaver rest +@item ES: silencio de semifusa +@item I: pausa di semibiscroma +@item F: seizième de soupir +@item D: Vierundsechzigstelpause +@item NL: vierenzestigste rust +@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se +@item S: sextiofjärdedelspaus +@item FI: kuudeskymmenesneljäsosatauko +@end itemize + +@seealso +@ref{note value}. + + +@node slash repeat +@section slash repeat + +@seealso +@ref{percent repeat}. + + +@node slur +@section slur + +ES: ligadura (de expresión), +I: legatura (di portamento or espressiva), +F: liaison, coulé, +D: Bogen (Legatobogen, Phrasierungsbogen), +NL: fraseringsboog, legatoboog, streekboog, +DK: legatobue, fraseringsbue, +S: båge, +FI: kaari. + +A slur above or below a group of notes indicates that they are to be +played @ref{legato}, e.g., with one stroke of the violin bow or with +one breath in singing. + +@seealso +No cross-references. + + +@node solmization +@section solmization + +ES: solmisación, +I: solmisazione, +F: solmisation, +D: Solmisation, +NL: solmizatie, +DK: solmisation, +S: solmisation, +FI: suhteelliset laulunimet. + +General term for systems of designating the degrees of the +@notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}), +@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si} +(@emph{ti})). + +@seealso +@ref{scale}, @ref{scale degree}. + + +@node sonata +@section sonata + +ES: sonata, +I: sonata, +F: sonate, +D: Sonate, +NL: sonate, +DK: sonate, +S: sonat, +FI: sonaatti. + +In its present-day meaning a sonata denotes an instrumental +composition for piano or for some other instrument with piano +accompaniment, which consists of three or four independant pieces, +called movements. + +@seealso +No cross-references. + + +@node sonata form +@section sonata form + +ES: forma sonata, +I: forma sonata, +F: [en] forme de sonate, +D: Sonatenform, +NL: hoofdvorm, sonatevorm, +DK: sonateform, +S: sonatform, +FI: sonaattimuoto. + +A form used frequently for single movements of the @emph{sonata}, +@emph{symphony}, quartet, etc. A movement written in sonata form falls into +three sections called @notation{exposition}, @notation{development} and +@notation{recapitulation}. In the exposition the composer introduces some +musical ideas, consisting of a number of themes; in the development section the +composer @emph{develops} this material, and in the recapitulation the composer +repeats the exposition, with certain modifications. The exposition contains a +number of themes that fall into two groups, often called first and second +subject. Other melodies occurring in each group are considered as continuations +of these two. The second theme is in another key, normally in the key of the +@notation{dominant} if the @notation{tonic} is @notation{major}, and in the +@notation{relative key} if the tonic is @notation{minor}. + +@seealso +@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata}, +@ref{symphony}, @ref{tonic}. + + +@node song texts +@section song texts + +@seealso +@ref{lyrics}. + + +@node soprano +@section soprano + +ES: soprano, +I: soprano, +F: soprano, +D: Sopran, +NL: sopraan, +DK: sopran, +S: sopran, +FI: sopraano, korkea naisääni. + +The highest female voice. + +@seealso +No cross-references. + + +@node staccato +@section staccato + +ES: picado, +I: staccato, +F: staccato, piqué, détaché, +D: staccato, +NL: staccato, +DK: staccato, +S: staccato, +FI: staccato, lyhyesti, terävästi. + +Playing the note(s) short. Staccato is indicated by a dot above or +below the note head. + +@lilypond[quote,relative=2] +\key d \major +\time 4/4 + \partial 8 a8 | + d4-\staccato cis-\staccato b-\staccato cis-\staccato | + d2. + \bar "||" +@end lilypond + +@seealso +No cross-references. + + +@node staff +@section staff + +UK: stave, +ES: pentagrama, +I: pentagramma, rigo (musicale), +F: portée, +D: Notensystem, Notenzeile, +NL: (noten)balk, partij, +DK: nodesystem, +S: notsystem, +FI: nuottiviivasto. + +A staff (plural: staves) is a series of (normally five) horizontal +lines upon and between which the musical notes are written, thus +indicating (in connection with a @ref{clef}) their pitch. Staves for +@ref{percussion} instruments may have fewer lines. + +@seealso +No cross-references. + + +@node staves +@section staves + +@seealso +@ref{staff}. + + +@node stem +@section stem + +ES: plica, +I: gamba, +F: hampe, +D: Hals, Notenhals, Stiel, +NL: stok, +DK: hals, +S: skaft, +FI: nuottipalkki. + +Vertical line above or below a @ref{note head} shorter than a +whole note. + +@lilypond[quote,notime,relative=2] +\set Score.autoBeaming = ##f + g2_"1/2" g' s16 + g,4_"1/4" g' s16 + g,8_"1/8" g' s16 + g,16_"1/16" g' s16 +@end lilypond + +@seealso +@ref{beam}. + + +@node stringendo +@section stringendo + +ES: ?, +I: stringendo, +F: stringendo, en accélérant, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: kiihdyttäen, nopeuttaen. + +[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a +climax. + +@seealso +@ref{accelerando}. + + +@node strings +@section strings + +ES: arcos, cuerdas, +I: archi, +F: cordes, +D: Streicher, +NL: strijkers, +DK: strygere, +S: stråkar, +FI: jouset. + +A family of stringed musical instruments played with a bow. Strings +commonly used in a symphony orchestra are violin, viola, violoncello, +and double bass. + +@seealso +No cross-references. + + +@node strong beat +@section strong beat + +ES: tiempo fuerte, +I: tempo forte, +F: temps fort, +D: betonter Taktteil oder Taktschlag, +NL: thesis, +D: betonet taktslag, +S: betonat taktslag, +FI: tahdin vahva isku. + +@seealso +@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}. + + +@node subdominant +@section subdominant + +ES: subdominante, +I: sottodominante, +F: sous-dominante, +D: Subdominante, +NL: subdominant, +DK: subdominant, +S: subdominant, +FI: subdominantti, alidominantti. + +The fourth @notation{scale degree}. + +@seealso +@ref{functional harmony}, @ref{scale degree}. + + +@node submediant +@section submediant + +ES: submediante, +I: sopratonica, +F: sous-médiante, +D: Submediante, +NL: submediant, +DK: Submediant, +S: submediant, +FI: alikeskisävel. + +The sixth @notation{scale degree}. + +@seealso +@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}. + + +@node subtonic +@section subtonic + +ES: subtónica, +I: sottotonica, +F: sous-tonique, +D: Subtonika, +NL: subtonica, +DK: Subtonika, +S: subtonika, +FI: subtoonika, alitoonika. + +The seventh @ref{scale degree}. + +@seealso +@ref{functional harmony}, @ref{scale degree}. + + +@node sul G +@section sul G + +ES: sobre la cuerda de Sol, +I: sul g, +F: sur la G, +D: auf G, auf der G-Saite, +NL: ?, +DK: ?, +S: ?, +FI: G-kielellä. + +Indicates that the indicated passage (or note) should be played on the +G string. + +@seealso +No cross-references. + + +@node superdominant +@section superdominant + +ES: superdominante, +I: sopradominante, +F: sus-dominante, +D: Superdominante, +NL: superdominant, +DK: superdominant, +S: superdominant, +FI: ylidominantti. + +The sixth @ref{scale degree}. + +@seealso +@ref{functional harmony}, @ref{scale degree}, @ref{submediant}. + + +@node supertonic +@section supertonic + +ES: supertónica, +I: sopratonica, +F: sus-tonique, +D: Supertonika, +NL: supertonica, +DK: supertonika, +S: supertonika, +FI: ylitoonika. + +The second @ref{scale degree}. + +@seealso +@ref{functional harmony}, @ref{scale degree}. + + +@node symphony +@section symphony + +ES: sinfonía, +I: sinfonia, +F: symphonie, +D: Sinfonie, Symphonie, +NL: symfonie, +DK: symfoni, +S: symfoni, +FI: sinfonia. + +A symphony may be defined as a @emph{sonata} for orchestra. + +@seealso +@ref{sonata}. + + + +@node syncopation +@section syncopation + +ES: síncopa, +I: sincope, +F: syncope, +D: Synkope, +NL: syncope, +DK: synkope, +S: synkop, +FI: synkooppi. + +Any deliberate upsetting of the normal pulse of @ref{meter}, +@ref{accent}, and @ref{rhythm}. The occidental system of musical +rhythm rests upon the grouping of equal beats into groups of two or +three, with a regularly recurrent accent on the first beat of each +group. Any deviation from this scheme is felt as a disturbance or +contradiction between the underlaying (normal) pulse and the actual +(abnormal) rhythm. + +@lilypond[quote,relative=1] +\time 2/4 +\partial 8 d16 dis +e16 c'8 e,16 c'8 e,16 c' ~ +c4 +@end lilypond + +@seealso +No cross-references. + + +@node syntonic comma +@section syntonic comma + +ES: coma sintónica, coma de Dídimo, +I: comma sintonico (o didimico), +F: comma syntonique, +D: syntonisches Komma, +NL: syntonische komma, +DK: syntonisk komma, +S: syntoniskt komma, +FI: syntoninen komma, terssien taajuusero luonnollisessa ja +Pytagorisessa viritysjärjestelmässä. + +Named after Ptolemy's syntonic diatonic genus. Originally, the difference +by which the ditone exceeds the pure major third obtained by Pythagorean +tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents. + +Modern acoustical theory defines it as the interval by which four fifths exceed +the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4) + +This comma is also known as the comma of Didymus, or didymic comma. + +@seealso +@ref{Pythagorean comma} + + +@node system +@section system + +ES: sistema, +I: accollatura, +F: système, +D: Notensystem, Partitur, +NL: systeem, +DK: system, +S: system, +FI: nuottijärjestelmä. + +The collection of staves (@notation{staff}), two or more, as used for writing +down of keyboard, chamber, choral, or orchestral music. + +@seealso +@ref{staff}. + + +@node temperament +@section temperament + +ES: temperamento, +I: temperamento, +F: tempérament, +D: Stimmung, Tem@-pe@-ra@-tur, +NL: stemming, temperatuur, +DK: temperatur, +S: temperatur, +FI: viritysjärjestelmä. + +Systems of tuning in which the intervals deviate from the acoustically +pure intervals. + +@seealso +@ref{meantone temperament}, @ref{equal temperament}. + + +@node tempo indication +@section tempo indication + +ES: indicación de tempo, +I: indicazione di tempo, +F: indication de tempo, +D: Zeitmaß, Tempobezeichnung, +NL: tempo aanduiding, +DK: tempobetegelse, +S: tempobeteckning, +FI: tempomerkintä. + +The rate of speed of a composition or a section thereof, ranging from the +slowest to the quickest, as is indicated by tempo marks as @notation{largo}, +@notation{adagio}, @notation{andante}, @notation{allegro}, and +@notation{presto}. + +@seealso +@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}. + + + +@node tenor +@section tenor + +ES: tenor, +I: tenore, +F: ténor, +D: Tenor, +NL: tenor, +DK: tenor, +S: tenor, +FI: tenori, korkea miesääni. + +The highest @q{natural} male voice (apart from @notation{countertenor}). + +@seealso +@ref{countertenor}. + + +@node tenth +@section tenth + +ES: décima, +I: decima, +F: dixième, +D: Dezime, +NL: deciem, +DK: decim, +S: decima, +FI: desimi. + +@seealso +@ref{note value}. + + +@node tenuto +@section tenuto + +ES: subrayado (tenuto), +I: tenuto, +F: tenue, tenuto, +D: gehalten, tenuo, +NL: tenuto, +DK: tenuto, +S: tenuto, +FI: viiva, tenuto. + +An indication that a particular note should be held for the whole +length, although this can vary depending on the composer and era. + +@seealso +No cross-references. + + +@node third +@section third + +ES: tercera, +I: terza, +F: tierce, +D: Terz, +NL: terts, +DK: terts, +S: ters, +FI: terssi. + +@seealso +@ref{interval}. + + +@node thirty-second note +@section thirty-second note + +@itemize +@item UK: demisemiquaver +@item ES: fusa +@item I: biscroma +@item F: triple croche +@item D: Zweiunddreissigstel, Zweiunddreissigstelnote +@item NL: twee@-endertig@-ste (32e) noot +@item DK: toogtredivtedelsnode +@item S: trettiotvåondelsnot +@item FI: kolmaskymmeneskahdesosanuotti +@end itemize + +@seealso +@ref{note value}. + + +@node thirty-second rest +@section thirty-second rest + +@itemize +@item UK: demisemiquaver rest +@item ES: silencio de fusa +@item I: pausa di biscroma +@item F: huitième de soupir +@item D: Zweiunddreissigstel@-pause +@item NL: twee@-endertig@-ste (32e) rust +@item DK: toogtredivtedelspause +@item S: trettiotvåondelspaus +@item FI: kolmaskymmeneskahdesosatauko +@end itemize + +@seealso +@ref{note value}. + + +@node thorough bass +@section thorough bass + +@seealso +@ref{figured bass}. + + +@node tie +@section tie + +ES: ligadura de prolongación, ligadura de unión, +I: legatura (di valore), +F: liaison (de tenue), +D: Haltebogen, Bindebogen, +NL: overbinding, bindingsboog, +DK: bindebue, +S: bindebåge, överbindning, +FI: sitominen. + +A curved line, identical in appearance with the @ref{slur}, which +connects two succesive notes of the same pitch, and which has the +function of uniting them into a single sound (tone) equal to the +combined durations. + +@lilypond[quote,notime,relative=2] +g2 ~ g4. r8 +@end lilypond + + +@node time +@section time + +@seealso +@ref{meter}. + + +@node time signature +@section time signature + +ES: indicación de compás, +I: segni di tempo, +F: métrique, chiffrage (chiffres indicateurs), indication de mesure, +D: Taktangabe, Angabe der Taktart, +NL: maatsoort, +DK: taktangivelse, +S: taktartssignatur, +FI: tahtiosoitus. + +The sign placed at the beginning of a composition to indicate its +meter. It most often takes the form of a fraction, but a few signs +derived from mensural notation and proportions are also employed. + +@seealso +@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}. + + +@node tone +@section tone + +ES: tono, +I: suono, +F: ton, son, +D: Ton, +NL: toon, +DK: tone, +S: ton, +FI: ääni. + +A sound of definite pitch and duration, as distinct from @emph{noise}. +Tone is a primary building material of music. + +@c Music from the 20th century may be based on atonal sounds. Meh, not so much + +@seealso +No cross-references. + + +@node tonic +@section tonic + +ES: tónica, +I: tonica, +F: tonique, +D: Tonika, +NL: tonica, +DK: tonika, +S: tonika, +FI: toonika. + +The first @notation{scale degree}. + +@seealso +@ref{functional harmony}, @ref{scale degree}. + + +@node transposing instrument +@section transposing instrument + +ES: instrumento transpositor, +I: ?, +F: instrument transpositeur, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: transponoitava soitin. + +Instruments whose notated pitch is different from their sounded pitch. Except +for those whose notated and sounding pitches differ by one or more octaves (to +reduce the number of ledger lines needed), most such instruments are identified +by the letter name of the pitch class of their fundamental. The pitch class is +the note that @emph{sounds} (disregarding the octave in which it sounds) when +the instrument plays a notated C. + +For example: when played on the B-flat clarinet, the note middle C @emph{sounds} +the B-flat one tone lower. If played on the A clarinet, the same written +note sounds the A (one and half tones -- a minor third -- lower). + +Not all transposing instruments include the pitch class in their name: + +@itemize + +@item English horn (in F) + +@item Alto flute (in G) + +@end itemize + +@seealso +@ref{concert pitch}. + + +@node transposition +@section transposition + +ES: transporte, +I: trasposizione, +F: transposition, +D: Transposition, +NL: transpositie, +DK: transposition, +S: transponering, +FI: transponointi. + +Shifting a melody up or down in pitch, while keeping the same +relative pitches. + +@lilypond[quote,line-width=13.0\cm] +\context Staff { + \time 3/4 + \relative c'' { + \key g \major + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." + } +} +@end lilypond + +@lilypond[quote,line-width=13.0\cm] +\context Staff { + \time 3/4 + \transpose c bes \relative c'' { + \key g \major + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." + } +} +@end lilypond + +@seealso +No cross-references. + + +@node treble clef +@section treble clef + +ES: clave de sol, +I: chiave di violino, +F: clef de sol, +D: Violinschlüssel, Sopranschlüssel, +NL: viool sleutel, +DK: diskantnøgle, +S: diskantklav, +FI: diskanttiavain. + +@seealso +@ref{G clef}. + + +@node tremolo +@section tremolo + +ES: trémolo, +I: tremolo, +F: trémolo, +D: Tremolo, +NL: tremolo, +DK: tremolo, +S: tremolo, +FI: tremolo. + +On stringed instruments: + +@enumerate + +@item The quick reiteration of the same tone, produced by a rapid +up-and-down movement of the bow. + +@item Or, the rapid alternation between two notes of a @ref{chord}, usually +in the distance of a third (@ref{interval}). + +@end enumerate + +@lilypond[quote,notime,relative=1] + e2:32_"a" + f:32 [ e8:16 f:16 g:16 a:16 ] s4 + \repeat tremolo 8 { e32_"b" g } +@end lilypond + +@seealso +@ref{strings} + + +@node triad +@section triad + +ES: tríada, +I: triade, +F: triade, accord parfait, accord de trois sons, +D: Drei@-klang, +NL: drieklank, +DK: treklang, +S: treklang, +FI: kolmisointu. + +@seealso +@ref{chord}. + + +@node trill +@section trill + +ES: trino, +I: trillo, +F: trille, tremblement, battement (cadence), +D: Triller, +NL: triller, +DK: trille, +S: drill, +FI: trilli. + +@seealso +@ref{ornament}. + + +@node triple meter +@section triple meter + +ES: compás ternario, +I: tempo ternario, +F: mesure ternaire, +D: in drei, ungerader Takt, +NL: driedelige maatsoort, +DK: tredelt takt, +S: tretakt, +FI: kolmijakoinen. + +@seealso +@ref{meter}. + + +@node triplet +@section triplet + +ES: tresillo, +I: terzina, +F: triolet, +D: Triole, +NL: triool, +DK: triol, +S: triol, +FI: trioli. + +@seealso +@ref{note value}. + + +@node tritone +@section tritone + +ES: tritono, +I: tritono, +F: triton, +D: Tritonus, +NL: tritoon, +DK: tritonus, +S: tritonus, +FI: tritonus. + +@seealso +@ref{interval}. + + +@node tuning fork +@section tuning fork + +ES: diapasón, horquilla de afinación, +I: diapason, corista, +F: diapason, +D: Stimmgabel, +NL: stemvork, +DK: stemmegaffel, +S: stämgaffel, +FI: viritysavain. + +A two-pronged piece of steel used to indicate an absolute pitch, usually for +@emph{A} above middle C (440 cps/Hz), which is the international tuning +standard. Tuning forks for other pitches are available. + +@seealso +@ref{middle C}. + + +@node tuplet +@section tuplet + +A non-standard subdivision of a beat or part of a beat, usually +indicated with a bracket and a number indicating the number of +subdivisions. + +@seealso +@ref{triplet}, @ref{note value}. + + +@node turn +@section turn + +ES: grupeto (circular), +I: gruppetto, +F: grupetto, +D: Doppelschlag, +NL: dubbelslag, +DK: dobbeltslag, +S: dubbelslag, +FI: korukuvio. + +@seealso +@ref{ornament}. + + +@node unison +@section unison + +ES: unísono, +I: unisono, +F: unisson, +D: unisono, +NL: unisono, +DK: unison, +S: unison, +FI: unisono, yksiäänisesti. + +Playing of the same notes or the same melody by various instruments +(voices) or by the whole orchestra (choir), either at exactly the same +pitch or in a different octave. + +@seealso +No cross-references. + + +@node upbeat +@section upbeat + +ES: anacrusa, +I: anacrusi, +F: anacrouse, levée, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +FI: kohotahti. + +@seealso +@ref{anacrusis} + + +@node voice +@section voice + +ES: voz, +I: voce, +F: voix, +D: Stimme, +NL: stem, +DK: stemme, +S: stämma, +FI: ääni, lauluääni. + +@itemize + + @item Human voices: + + @itemize + @item @ref{soprano} + @item @ref{mezzo-soprano} + @item @ref{contralto} + @item @ref{tenor} + @item @ref{baritone} + @item @ref{bass} + @end itemize + + @item A melodic layer or part of a polyphonic composition. + +@end itemize + +@seealso +No cross-references. + + +@node volta +@section volta + +ES: vez, primera y segunda vez, +I: volta, +F: volta, fois, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: yksi kertauksen maaleista. + +[Italian: @q{time} (instance, not duration)] An ending, such as a first +or second ending. LilyPond extends this idea to any number, and allows any text +(not just a number) -- to serve as the @notation{volta} text. + +@seealso +No cross-references. + + +@node weak beat +@section weak beat + +ES: tiempo débil, +I: tempo debole, arsi, +F: temps faible, +D: unbetonter Taktteil oder Taktschlag, +NL: arsis, +DK: ubetonet taktslag, +S: obetonat taktslag, +FI: tahdin heikko isku. + +@seealso +@ref{beat}, @ref{measure}, @ref{rhythm}. + + +@node whole note +@section whole note + +@itemize +@item UK: semibreve +@item ES: redonda +@item I: semibreve +@item F: ronde +@item D: Ganze, ganze Note +@item NL: hele noot +@item DK: helnode +@item S: helnot +@item FI: kokonuotti +@end itemize + +@seealso +@ref{note value}. + + +@node whole rest +@section whole rest + +@itemize +@item UK: semibreve rest +@item ES: silencio de redonda +@item I: pausa di semibreve +@item F: pause +@item D: ganze Pause, ganztaktige Pause +@item NL: hele rust +@item DK: helnodespause +@item S: helpaus +@item FI: kokotauko +@end itemize + +@seealso +@ref{note value}. + + +@node whole tone +@section whole tone + +ES: tono (entero), +I: tono intero, +F: ton entier, +D: Ganzton, +NL: hele toon, +DK: heltone, +S: helton, +FI: kokoaskel. + +The interval of a major second. The interval between two tones +on the piano keyboard with exactly one key between them -- including +black and white keys -- is a whole tone. + +@seealso +@ref{interval}. + + +@node woodwind +@section woodwind + +ES: maderas, +I: legni, +F: les bois, +D: Holzbläser, +NL: houtblazers, +DK træblæsere, +S: träblåsare, +FI: puupuhaltimet. + +A family of blown wooden musical instruments. Today some of these +instruments are actually made from metal. The woodwind instruments +commonly used in a symphony orchestra are flute, oboe, clarinet, +saxophone, and bassoon. + +@seealso +No cross-references. + + +@node Duration names notes and rests +@chapter Duration names notes and rests + +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab long + @tab long rest + @tab breve + @tab breve rest +@item @strong{UK} @tab longa + @tab longa rest + @tab breve + @tab breve rest +@item @strong{ES} @tab longa + @tab silencio de longa + @tab cuadrada + @tab silencio de cuadrada +@item @strong{IT} @tab longa + @tab pausa di longa + @tab breve + @tab pausa di breve +@item @strong{FR} @tab longa + @tab quadruple-pause + @tab brève + @tab double-pause +@item @strong{DE} @tab Longa + @tab longa Pause + @tab Brevis + @tab brevis Pause +@item @strong{NL} @tab longa + @tab longa rust + @tab brevis + @tab brevis rust +@item @strong{DK} @tab longa + @tab longanodespause + @tab brevis + @tab brevis(nodes)pause +@item @strong{SE} @tab longa + @tab longapaus + @tab brevis + @tab brevispaus +@item @strong{FI} @tab longa-nuotti + @tab longa-tauko + @tab brevis-nuotti, kaksoiskoko@-nuotti + @tab brevis-tauko, kaksoiskoko@-tauko + +@end multitable + +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab whole note + @tab whole rest + @tab half note + @tab half rest +@item @strong{UK} @tab semibreve + @tab semibreve rest + @tab minim + @tab minim rest +@item @strong{ES} @tab redonda + @tab silencio de redonda + @tab blanca + @tab silencio de blanca +@item @strong{IT} @tab semibreve + @tab pause di semibreve + @tab minima + @tab pausa di minima +@item @strong{FR} @tab ronde + @tab pause + @tab blanche + @tab demi-pause +@item @strong{DE} @tab ganze Note + @tab ganze Pause + @tab halbe Note + @tab halbe Pause +@item @strong{NL} @tab hele noot + @tab hele rust + @tab halve noot + @tab halve rust +@item @strong{DK} @tab helnode + @tab helnodespause + @tab halvnode + @tab halvnodespause +@item @strong{SE} @tab helnot + @tab helpaus + @tab halvnot + @tab halvpaus +@item @strong{FI} @tab kokonuotti + @tab kokotauko + @tab puolinuotti + @tab puolitauko + +@end multitable + +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab quarter note + @tab quarter rest + @tab eighth note + @tab eighth rest +@item @strong{UK} @tab crotchet + @tab crotchet rest + @tab quaver + @tab quaver rest +@item @strong{ES} @tab negra + @tab silencio de negra + @tab corchea + @tab silencio de corchea +@item @strong{IT} @tab semiminima, nera + @tab pausa di semiminima, pausa di nera + @tab croma + @tab pausa di croma +@item @strong{FR} @tab noire + @tab soupir* + @tab croche* + @tab demi-soupir +@item @strong{DE} @tab Viertelnote + @tab Viertelpause + @tab Achtelnote + @tab Achtelpause +@item @strong{NL} @tab kwartnoot + @tab kwartrust + @tab achtste noot + @tab achtste rust +@item @strong{DK} @tab fjerdedelsnode + @tab fjerdedelspause + @tab ottendedelsnode + @tab ottendedelspause +@item @strong{SE} @tab fjärdedelsnot + @tab fjärdedelspaus + @tab åttondelsnot + @tab åttondelspaus +@item @strong{FI} @tab neljäsosa@-nuotti + @tab neljäsosa@-tauko + @tab kahdeksasosa@-nuotti + @tab kahdeksasosa@-tauko + +@end multitable + +* About the French naming system: @emph{croche} refers to the note's "hook". +Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled +hook}, @q{trebled hook}, and so on. + +The rest names are based on the @emph{soupir}, or quarter rest. Subsequent +rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of +a @emph{soupir}, and so on. + +Each of the following tables contains one type of note and its matching rest, +with abbreviations that apply to both notes and rests. Just switch the part +that means @q{note} with the part that means @q{rest}, for example: + +@itemize + +@item English: 16th @strong{note}, 16th @strong{rest} +@item German: 32tel-@strong{Note}, 32tel-@strong{Pause} +@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko} + +@end itemize + +I put a dash @q{-} when I could not find a language-specific abbreviation for a +duration name. If you know of one that I missed, please send it to me, care of +the lilypond-user discussion list. + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab sixteenth note + @tab sixteenth rest + @tab 16th note +@item @strong{UK} @tab semiquaver + @tab semiquaver rest + @tab - +@item @strong{ES} @tab semicorchea + @tab silencio de semicorchea + @tab - +@item @strong{IT} @tab semicroma + @tab pausa di semicroma + @tab - +@item @strong{FR} @tab double croche + @tab quart de soupir + @tab - +@item @strong{DE} @tab Sechzehntelnote + @tab Sechzehntelpause + @tab 16tel-Note +@item @strong{NL} @tab zes@-ti@-ende noot + @tab zes@-ti@-ende rust + @tab 16e noot +@item @strong{DK} @tab sekstendedelsnode + @tab sekstendedelspause + @tab - +@item @strong{SE} @tab sextondelsnot + @tab sextondelspaus + @tab - +@item @strong{FI} @tab kuudes@-toistaosa@-nuotti + @tab kuudes@-toistaosa@-tauko + @tab 16-osanuotti + +@end multitable + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab thirty-second note + @tab thirty-second rest + @tab 32nd note +@item @strong{UK} @tab demisemiquaver + @tab demisemiquaver rest + @tab - +@item @strong{ES} @tab fusa + @tab silencio de fusa + @tab - +@item @strong{IT} @tab biscroma + @tab pausa di biscroma + @tab - +@item @strong{FR} @tab triple croche + @tab huitième de soupir + @tab - +@item @strong{DE} @tab Zweiunddreißig@-stelnote + @tab Zweiunddreißig@-stelpause + @tab 32tel-Note +@item @strong{NL} @tab twee@-endertigste noot + @tab twee@-endertigste rust + @tab 32e noot +@item @strong{DK} @tab toogtredivtedelsnode + @tab toogtredivtedelspause + @tab - +@item @strong{SE} @tab trettio@-tvåondelsnot + @tab trettio@-tvåondelspaus + @tab - +@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti + @tab kolmas@-kymmenes@-kahdesosa@-tauko + @tab 32-osanuotti + +@end multitable + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab sixty-fourth note + @tab sixty-fourth rest + @tab 64th note +@item @strong{UK} @tab hemidemisemiquaver + @tab hemidemisemiquaver rest + @tab - +@item @strong{ES} @tab semifusa + @tab silencio de semifusa + @tab - +@item @strong{IT} @tab semibiscroma + @tab pausa di semibiscroma + @tab - +@item @strong{FR} @tab quadruple croche + @tab seizième de soupir + @tab - +@item @strong{DE} @tab Vierundsechzigstelnote + @tab Vierundsechzigstelpause + @tab 64tel-Note +@item @strong{NL} @tab vierenzestigste noot + @tab vierenzestigste rust + @tab 64e noot +@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode + @tab fireog@-tredsindstyven@-dedelspause + @tab - +@item @strong{SE} @tab sextiofjärdedelsnot + @tab sextiofjärdedelspaus + @tab - +@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti + @tab kuudes@-kymmenes@-neljäsosa@-tauko + @tab 64-osanuotti + +@end multitable + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab one-hundred-twenty-eighth note + @tab one-hundred-twenty-eighth rest + @tab 128th note +@item @strong{UK} @tab semihemidemisemiquaver + @tab semihemidemisemiquaver rest + @tab - +@item @strong{ES} @tab garrapatea + @tab silencio de garrapatea + @tab - +@item @strong{IT} @tab fusa + @tab pausa di fusa + @tab - +@item @strong{FR} @tab quintuple croche + @tab trente-deuxième de soupir @tab - +@item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note + @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note +@item @strong{NL} @tab honderd@-acht@-en@-twintigste noot + @tab honderd@-acht@-en@-twintigste rust + @tab 128e noot +@item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node + @tab hundrede@-otte@-og@-tyvendedels@-pause + @tab - +@item @strong{SE} @tab hundratjugoåttondelsnot + @tab hundratjugoåttondelspaus + @tab - +@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti + @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko + @tab 128-osanuotti + +@end multitable + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab two-hundred-fifty-sixth note + @tab two-hundred-fifty-sixth rest + @tab 256th note +@item @strong{UK} @tab demisemihemidemisemiquaver + @tab demisemihemidemisemiquaver rest + @tab - +@item @strong{ES} @tab semigarrapatea + @tab silencio de semigarrapatea @tab - +@item @strong{IT} @tab semifusa + @tab pausa di semifusa + @tab - +@item @strong{FR} @tab sextuple croche + @tab soixante-quatrième de soupir @tab - +@item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note + @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note +@item @strong{NL} @tab tweehonderd@-zesenvijftigste noot + @tab tweehonderd@-zesenvijftigste rust + @tab 256e noot +@item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node + @tab tohundrede@-seks@-og@-halvtredsendedels@-pause + @tab - +@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot + @tab tvåhundra@-femtiosjättedelspaus + @tab - +@item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti + @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko + @tab 256-osanuotti + +@end multitable + +@seealso +@ref{mensural notation} + + +@node Pitch names +@chapter Pitch names + +@c -is/-es endings for Danish per Rune Zedeler, pace +@c and for Finnish per Risto Vääräniemi +@c -iss/-ess endings for Swedish per Mats Bengtsson +@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 --> + +@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis} +@headitem EN + @tab ES @tab I @tab F @tab D + @tab NL @tab DK @tab S @tab FI +@item @strong{c} @tab do @tab do @tab ut @tab C + @tab c @tab c @tab c @tab c +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis + @tab cis @tab cis @tab ciss @tab cis +@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des + @tab des @tab des @tab dess @tab des +@item @strong{d} @tab re @tab re @tab ré @tab D + @tab d @tab d @tab d @tab d +@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis + @tab dis @tab dis @tab diss @tab dis +@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es + @tab es @tab es @tab ess @tab es +@item @strong{e} @tab mi @tab mi @tab mi @tab E + @tab e @tab e @tab e @tab e +@item @strong{f-flat} = e + @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes + @tab fes @tab fes @tab fess @tab fes +@item @strong{f} @tab fa @tab fa @tab fa @tab F + @tab f @tab f @tab f @tab f +@item @strong{e-sharp} = f + @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis + @tab eis @tab eis @tab eiss @tab eis +@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis + @tab fis @tab fis @tab fiss @tab fis +@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges + @tab ges @tab ges @tab gess @tab ges +@item @strong{g} @tab sol @tab sol @tab sol @tab G + @tab g @tab g @tab g @tab g +@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis + @tab gis @tab gis @tab giss @tab gis +@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As + @tab as @tab as @tab ass @tab as +@item @strong{a} @tab la @tab la @tab la @tab A + @tab a @tab a @tab a @tab a +@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais + @tab ais @tab ais @tab aiss @tab ais +@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B + @tab bes @tab b @tab b @tab b +@item @strong{b} @tab si @tab si @tab si @tab H + @tab b @tab h @tab h @tab h +@end multitable + + +@menu +* Literature used:: +@end menu + +@node Literature used +@unnumberedsec Literature used + +@itemize +@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}. +Cambridge: Belknap Press (Harvard University Press), 1944. + +@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland: +WSOY, 1976. + +@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen +Terminologie}. Kassel, 1980. + +@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of +Current English}, 3rd ed. London: Oxford University Press, 1974. + +@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}. +Springfield, Massachusetts: G. & C. Merriam Company, 1913. + +@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}. +Cambridge: Belknap Press (Harvard University Press), 1986. + +@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929. + +@end itemize + +@bye diff --cc Documentation/notation/expressive.itely index 56904b0067,0000000000..3145261f6d mode 100644,000000..100644 --- a/Documentation/notation/expressive.itely +++ b/Documentation/notation/expressive.itely @@@ -1,1139 -1,0 +1,1139 @@@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + +@c \version "2.12.0" + +@node Expressive marks +@section Expressive marks + +@lilypondfile[quote]{expressive-headword.ly} + +This section lists various expressive marks that can be +created in a score. + +@menu +* Attached to notes:: +* Curves:: +* Lines:: +@end menu + + +@node Attached to notes +@subsection Attached to notes + +This section explains how to create expressive marks that are +attached to notes: articulations, ornamentations, and dynamics. +Methods to create new dynamic markings are also discussed. + +@menu +* Articulations and ornamentations:: +* Dynamics:: +* New dynamic marks:: +@end menu + +@node Articulations and ornamentations +@unnumberedsubsubsec Articulations and ornamentations + +@cindex articulations +@cindex ornamentation +@cindex scripts +@cindex ornaments +@cindex espressivo +@cindex fermata +@cindex upbow +@cindex downbow +@cindex foot marks +@cindex organ pedal marks +@cindex pedal marks, organ +@cindex turn +@cindex open +@cindex stopped +@cindex flageolet +@cindex reverseturn +@cindex trill +@cindex prall +@cindex mordent +@cindex prallprall +@cindex prallmordent +@cindex prall, up +@cindex prall, down +@cindex thumb marking +@cindex segno +@cindex coda +@cindex varcoda + +@funindex - + +A variety of symbols that denote articulations, ornamentations, +and other performance indications can be attached to a note using +this syntax: + +@example +@var{note}\@var{name} +@end example + +The possible values for @var{name} are listed in @ref{List of +articulations}. For example: + +@lilypond[verbatim,quote,relative=2] +c4\staccato c\mordent b2\turn +c1\fermata +@end lilypond + +@cindex marcato +@cindex tenuto +@cindex staccatissimo +@cindex accent +@cindex staccato +@cindex portato + +Some of these articulations have shorthands for easier entry. +Shorthands are appended to the note name, and their syntax +consists of a dash @code{-} followed by a symbol signifying the +articulation. Predefined shorthands exist for @notation{marcato}, +@notation{stopped}, @notation{tenuto}, @notation{staccatissimo}, +@notation{accent}, @notation{staccato}, and @notation{portato}. +Their corresponding output appears as follows: + +@lilypond[verbatim,quote,relative=2] +c4-^ c-+ c-- c-| +c4-> c-. c2-_ +@end lilypond + +The rules for the default placement of articulations are defined +in @file{scm/@/script@/.scm}. Articulations and ornamentations +may be manually placed above or below the staff; see +@ref{Direction and placement}. + + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{modifying-default-values-for-articulation-shorthand-notation.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{controlling-the-vertical-ordering-of-scripts.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{creating-a-delayed-turn.ly} + +@seealso +Music Glossary: +@rglos{tenuto}, +@rglos{accent}, +@rglos{staccato}, +@rglos{portato}. + +Notation Reference: +@ref{Direction and placement}, +@ref{List of articulations}, +@ref{Trills}. + +Installed Files: +@file{scm/@/script@/.scm}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{Script}, +@rinternals{TextScript}. + + +@node Dynamics +@unnumberedsubsubsec Dynamics + +@cindex absolute dynamics +@cindex dynamics +@cindex dynamics, absolute + +@funindex \ppppp +@funindex ppppp +@funindex \pppp +@funindex pppp +@funindex \ppp +@funindex ppp +@funindex \pp +@funindex pp +@funindex \p +@funindex p +@funindex \mp +@funindex mp +@funindex \mf +@funindex mf +@funindex \f +@funindex f +@funindex \ff +@funindex ff +@funindex \fff +@funindex fff +@funindex \ffff +@funindex ffff +@funindex \fp +@funindex fp +@funindex \sf +@funindex sf +@funindex \sff +@funindex sff +@funindex \sp +@funindex sp +@funindex \spp +@funindex spp +@funindex \sfz +@funindex sfz +@funindex \rfz +@funindex rfz + +Absolute dynamic marks are specified using a command after a note, +such as @code{c4\ff}. The available dynamic marks are +@code{\ppppp}, @code{\pppp}, @code{\ppp}, @code{\pp}, @code{\p}, +@code{\mp}, @code{\mf}, @code{\f}, @code{\ff}, @code{\fff}, - @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff}, @code{\sp}, - @code{\spp}, @code{\sfz}, and @code{\rfz}. Dynamic marks may be - manually placed above or below the staff; see @ref{Direction and - placement}. ++@code{\ffff}, @code{\fffff}, @code{\fp}, @code{\sf}, @code{\sff}, ++@code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}. Dynamic ++marks may be manually placed above or below the staff; see ++@ref{Direction and placement}. + +@lilypond[verbatim,quote,relative=2] +c2\ppp c\mp +c2\rfz c^\mf +c2_\spp c^\ff +@end lilypond + +@cindex hairpin +@cindex crescendo +@cindex decrescendo +@cindex diminuendo + +@funindex \< +@funindex \> +@funindex \! +@funindex \cr +@funindex cr +@funindex \decr +@funindex decr + +A @notation{crescendo} mark is started with @code{\<} and +terminated with @code{\!}, an absolute dynamic, or an additional +crescendo or decrescendo mark. A @notation{decrescendo} mark is +started with @code{\>} and is also terminated with @code{\!}, an +absolute dynamic, or another crescendo or decrescendo mark. +@code{\cr} and @code{\decr} may be used instead of @code{\<} and +@code{\>}. @notation{Hairpins} are engraved by default using this +notation. + +@lilypond[verbatim,quote,relative=2] +c2\< c\! +d2\< d\f +e2\< e\> +f2\> f\! +e2\> e\mp +d2\> d\> +c1\! +@end lilypond + +Spacer rests are needed to engrave multiple marks on one note. + +@cindex multiple dynamic marks on one note +@cindex dynamic marks, multiple on one note + +@lilypond[verbatim,quote,relative=2] +c4\< c\! d\> e\! +<< f1 { s4 s4\< s4\> s4\! } >> +@end lilypond + +@cindex espressivo articulation + +@funindex \espressivo +@funindex espressivo + +In some situations the @code{\espressivo} articulation mark may be +the appropriate choice to indicate a crescendo and decrescendo on +one note: + +@lilypond[verbatim,quote,relative=2] +c2 b4 a +g1\espressivo +@end lilypond + + +@funindex \crescTextCresc +@funindex crescTextCresc +@funindex \dimTextDecresc +@funindex dimTextDecresc +@funindex \dimTextDecr +@funindex dimTextDecr +@funindex \dimTextDim +@funindex dimTextDim +@funindex \crescHairpin +@funindex crescHairpin +@funindex \dimHairpin +@funindex dimHairpin + +Crescendos and decrescendos can be engraved as textual markings +instead of hairpins. Dashed lines are printed to indicate their +extent. The built-in commands that enable these text modes are +@code{\crescTextCresc}, @code{\dimTextDecresc}, +@code{\dimTextDecr}, and @code{\dimTextDim}. The corresponding +@code{\crescHairpin} and @code{\dimHairpin} commands will revert +to hairpins again: + +@lilypond[verbatim,quote,relative=2] +\crescTextCresc +c2\< d | e f\! +\dimTextDecresc +e2\> d | c b\! +\crescHairpin +c2\< d | e f\! +\dimHairpin +e2\> d\! +@end lilypond + + +To create new absolute dynamic marks or text that should be +aligned with dynamics, see @ref{New dynamic marks}. + +@cindex dynamics, vertical positioning +@cindex vertical positioning of dynamics + +@funindex DynamicLineSpanner + + +Vertical positioning of dynamics is handled by +@rinternals{DynamicLineSpanner}. +@funindex \dynamicUp +@funindex dynamicUp +@funindex \dynamicDown +@funindex dynamicDown +@funindex \dynamicNeutral +@funindex dynamicNeutral + + +@predefined +@code{\dynamicUp}, +@code{\dynamicDown}, +@code{\dynamicNeutral}, +@code{\crescTextCresc}, +@code{\dimTextDim}, +@code{\dimTextDecr}, +@code{\dimTextDecresc}, +@code{\crescHairpin}, +@code{\dimHairpin}. +@endpredefined + + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{setting-hairpin-behavior-at-bar-lines.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{setting-the-minimum-length-of-hairpins.ly} + +@cindex al niente +@cindex niente, al + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{printing-hairpins-using-al-niente-notation.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{vertically-aligned-dynamics-and-textscripts.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{hiding-the-extender-line-for-text-dynamics.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{changing-text-and-spanner-styles-for-text-dynamics.ly} + + +@seealso +Music Glossary: +@rglos{al niente}, +@rglos{crescendo}, +@rglos{decrescendo}, +@rglos{hairpin}. + +Learning Manual: +@rlearning{Articulation and dynamics}. + +Notation Reference: +@ref{Direction and placement}, +@ref{New dynamic marks}, +@ref{What goes into the MIDI output?}, +@ref{Controlling MIDI dynamics}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{DynamicText}, +@rinternals{Hairpin}, +@rinternals{DynamicLineSpanner}. + + +@node New dynamic marks +@unnumberedsubsubsec New dynamic marks + +@cindex new dynamic marks +@cindex dynamic marks, new + +The easiest way to create dynamic indications is to use +@code{\markup} objects. + +@lilypond[verbatim,quote] +moltoF = \markup { molto \dynamic f } + +\relative c' { + 16_\moltoF + 2.. +} +@end lilypond + +@cindex dynamics, editorial +@cindex dynamics, parenthesis +@cindex editorial dynamics +@funindex \bracket +@funindex bracket +@funindex \dynamic +@funindex dynamic + +In markup mode, editorial dynamics (within parentheses or square +brackets) can be created. The syntax for markup mode is described +in @ref{Formatting text}. + +@lilypond[verbatim,quote] +roundF = \markup { \center-align \concat { \bold { \italic ( } + \dynamic f \bold { \italic ) } } } +boxF = \markup { \bracket { \dynamic f } } +\relative c' { + c1_\roundF + c1_\boxF +} +@end lilypond + +@cindex make-dynamic-script +@funindex make-dynamic-script + +Simple, centered dynamic marks are easily created with the +@code{make-dynamic-script} function. + +@lilypond[verbatim,quote] +sfzp = #(make-dynamic-script "sfzp") +\relative c' { + c4 c c\sfzp c +} +@end lilypond + +In general, @code{make-dynamic-script} takes any markup object as its +argument. The dynamic font only contains the characters +@code{f,m,p,r,s} and @code{z}, so if a dynamic mark that includes +plain text or punctuation symbols is desired, markup commands that +reverts font family and font encoding to normal text should be used, +for example @code{\normal-text}. The interest of using +@code{make-dynamic-script} instead of an ordinary markup is ensuring +the vertical alignment of markup objects and hairpins that are +attached to the same note head. + +@lilypond[verbatim,quote] +roundF = \markup { \center-align \concat { + \normal-text { \bold { \italic ( } } + \dynamic f + \normal-text { \bold { \italic ) } } } } +boxF = \markup { \bracket { \dynamic f } } +mfEspress = \markup { \center-align \line { + \hspace #3.7 mf \normal-text \italic espress. } } +roundFdynamic = #(make-dynamic-script roundF) +boxFdynamic = #(make-dynamic-script boxF) +mfEspressDynamic = #(make-dynamic-script mfEspress) +\relative c' { + c4_\roundFdynamic\< d e f + g,1~_\boxFdynamic\> + g + g'~\mfEspressDynamic + g +} +@end lilypond + +The Scheme form of markup mode may be used instead. Its syntax is +explained in @ref{Markup construction in Scheme}. + +@lilypond[verbatim,quote] +moltoF = #(make-dynamic-script + (markup #:normal-text "molto" + #:dynamic "f")) +\relative c' { + 16 + 2..\moltoF +} +@end lilypond + +Font settings in markup mode are described in +@ref{Selecting font and font size}. + + +@seealso +Notation Reference: +@ref{Formatting text}, +@ref{Selecting font and font size}, +@ref{Markup construction in Scheme}, +@ref{What goes into the MIDI output?}, +@ref{Controlling MIDI dynamics}. + +Snippets: +@rlsr{Expressive marks}. + + +@node Curves +@subsection Curves + +This section explains how to create various expressive marks that +are curved: normal slurs, phrasing slurs, breath marks, falls, and +doits. + +@menu +* Slurs:: +* Phrasing slurs:: +* Breath marks:: +* Falls and doits:: +@end menu + +@node Slurs +@unnumberedsubsubsec Slurs + +@cindex slurs + +@notation{Slurs} are entered using parentheses: + +@lilypond[verbatim,quote,relative=2] +f4( g a) a8 b( +a4 g2 f4) +2( 2) +@end lilypond + +@cindex slurs, manual placement +@cindex slurs, below notes +@cindex slurs, above notes +@funindex \slurDown +@funindex slurDown +@funindex \slurNeutral +@funindex slurNeutral + +Slurs may be manually placed above or below the staff; see +@ref{Direction and placement}. + +@cindex phrasing slur +@cindex multiple slurs +@cindex simultaneous slurs +@cindex slur, phrasing +@cindex slurs, multiple +@cindex slurs, simultaneous + +Simultaneous or overlapping slurs are not permitted, but a phrasing +slur can overlap a slur. This permits two slurs to be printed at +once. For details, see @ref{Phrasing slurs}. + +@cindex slur style +@cindex slur, solid +@cindex slur, dotted +@cindex slur, dashed +@cindex solid slur +@cindex dotted slur +@cindex dashed slur +@cindex style, slur +@funindex \slurDashed +@funindex slurDashed +@funindex \slurDotted +@funindex slurDotted +@funindex \slurSolid +@funindex slurSolid + +Slurs can be solid, dotted, or dashed. Solid is the default slur +style: + +@lilypond[verbatim,quote,relative=1] +c4( e g2) +\slurDashed +g4( e c2) +\slurDotted +c4( e g2) +\slurSolid +g4( e c2) +@end lilypond + +@funindex \slurHalfDashed +@funindex slurHalfDashed +@funindex \slurHalfSolid +@funindex slurHalfSolid +@cindex slur, half dashed and half solid + +Slurs can also be made half-dashed (the first half dashed, the +second half solid) or half-solid (the first half solid, the second +half dashed): + +@lilypond[verbatim,quote,relative=1] +c4( e g2) +\slurHalfDashed +g4( e c2) +\slurHalfSolid +c4( e g2) +\slurSolid +g4( e c2) +@end lilypond + +@funindex \slurDashPattern +@funindex slurDashPattern +@cindex slur, defining dash patterns + +Custom dash patterns for slurs can be defined: + +@lilypond[verbatim,quote,relative=1] +c4( e g2) +\slurDashPattern #0.7 #0.75 +g4( e c2) +\slurDashPattern #0.5 #2.0 +c4( e g2) +\slurSolid +g4( e c2) +@end lilypond + + + +@funindex \slurUp +@funindex slurUp + + +@predefined +@code{\slurUp}, +@code{\slurDown}, +@code{\slurNeutral}, +@code{\slurDashed}, +@code{\slurDotted}, +@code{\slurHalfDashed}, +@code{\slurHalfSolid}, +@code{\slurDashPattern}, +@code{\slurSolid}. +@endpredefined + + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{using-double-slurs-for-legato-chords.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{positioning-text-markups-inside-slurs.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{making-slurs-with-complex-dash-structure.ly} + +@seealso +Music Glossary: +@rglos{slur}. + +Learning Manual: +@rlearning{On the un-nestedness of brackets and ties}. + +Notation Reference: +@ref{Direction and placement}, +@ref{Phrasing slurs}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{Slur}. + + +@node Phrasing slurs +@unnumberedsubsubsec Phrasing slurs + +@cindex phrasing slurs +@cindex phrasing marks +@cindex slur, phrasing +@cindex mark, phrasing +@funindex \( +@funindex \) + +@notation{Phrasing slurs} (or phrasing marks) that indicate a +musical sentence are written using the commands @code{\(} and +@code{\)} respectively: + +@lilypond[verbatim,quote,relative=2] +c4\( d( e) f( +e2) d\) +@end lilypond + +@funindex \phrasingSlurUp +@funindex phrasingSlurUp +@funindex \phrasingSlurDown +@funindex phrasingSlurDown +@funindex \phrasingSlurNeutral +@funindex phrasingSlurNeutral + +Typographically, a phrasing slur behaves almost exactly like a +normal slur. However, they are treated as different objects; a +@code{\slurUp} will have no effect on a phrasing slur. Phrasing +may be manually placed above or below the staff; see +@ref{Direction and placement}. + +@cindex simultaneous phrasing slurs +@cindex multiple phrasing slurs +@cindex slur, simultaneous phrasing +@cindex slur, multiple phrasing +@cindex phrasing slur, simultaneous +@cindex phrasing slur, multiple + +Simultaneous or overlapping phrasing slurs are not permitted. + +@funindex phrasingSlurDashed +@funindex \phrasingSlurDashed +@funindex \phrasingSlurDotted +@funindex phrasingSlurDotted +@funindex \phrasingSlurSolid +@funindex phrasingSlurSolid +@cindex phrasing slur, dashed +@cindex dashed phrasing slur +@cindex phrasing slur, dotted +@cindex dotted phrasing slurs +@cindex slur, dashed phrasing +@cindex slur, dotted phrasing + +Phrasing slurs can be solid, dotted, or dashed. Solid is the default +style for phrasing slurs: + +@lilypond[verbatim,quote,relative=1] +c4\( e g2\) +\phrasingSlurDashed +g4\( e c2\) +\phrasingSlurDotted +c4\( e g2\) +\phrasingSlurSolid +g4\( e c2\) +@end lilypond + +@funindex phrasingSlurHalfDashed +@funindex \phrasingSlurHalfDashed +@funindex \phrasingSlurHalfSolid +@funindex phrasingSlurHalfSolid +@cindex phrasing slur, half solid and half dashed +@cindex slur, half solid and half dashed phrasing + +Phrasing slurs can also be made half-dashed (the first half dashed, the +second half solid) or half-solid (the first half solid, the second +half dashed): + +@lilypond[verbatim,quote,relative=1] +c4\( e g2\) +\phrasingSlurHalfDashed +g4\( e c2\) +\phrasingSlurHalfSolid +c4\( e g2\) +\phrasingSlurSolid +g4\( e c2\) +@end lilypond + +@funindex \phrasingSlurDashPattern +@funindex phrasingSlurDashPattern +@cindex phrasing slur, defining dash patterns +@cindex slur, phrasing, defining dash patterns +@cindex slur, definind dash patterns for phrasing + +Custom dash patterns for phrasing slurs can be defined: + +@lilypond[verbatim,quote,relative=1] +c4\( e g2\) +\phrasingSlurDashPattern #0.7 #0.75 +g4\( e c2\) +\phrasingSlurDashPattern #0.5 #2.0 +c4\( e g2\) +\phrasingSlurSolid +g4\( e c2\) +@end lilypond + +Dash pattern definitions for phrasing slurs have the same structure +as dash pattern definitions for slurs. For more information about +complex dash patterns, see the snippets under @ref{Slurs}. + +@predefined +@code{\phrasingSlurUp}, +@code{\phrasingSlurDown}, +@code{\phrasingSlurNeutral}, +@code{\phrasingSlurDashed}, +@code{\phrasingSlurDotted}, +@code{\phrasingSlurHalfDashed}, +@code{\phrasingSlurHalfSolid}, +@code{\phrasingSlurDashPattern}, +@code{\phrasingSlurSolid}. +@endpredefined + + +@seealso +Learning Manual: +@rlearning{On the un-nestedness of brackets and ties}. + +Notation Reference: +@ref{Direction and placement}, +@ref{Slurs}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{PhrasingSlur}. + + +@node Breath marks +@unnumberedsubsubsec Breath marks + +@cindex breath marks +@cindex pause mark +@funindex \breathe +@funindex breathe + +Breath marks are entered using @code{\breathe}: + +@lilypond[verbatim,quote,relative=2] +c2. \breathe d4 +@end lilypond + +Musical indicators for breath marks in ancient notation, +divisiones, are supported. For details, see @ref{Divisiones}. + + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{changing-the-breath-mark-symbol.ly} + +@cindex caesura +@cindex railroad tracks + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{inserting-a-caesura.ly} + + +@seealso +Music Glossary: +@rglos{caesura}. + +Notation Reference: +@ref{Divisiones}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{BreathingSign}. + + +@node Falls and doits +@unnumberedsubsubsec Falls and doits + +@cindex falls +@cindex doits +@funindex \bendAfter +@funindex bendAfter + +@notation{Falls} and @notation{doits} can be added to notes using +the @code{\bendAfter} command. The direction of the fall or doit +is indicated with a plus or minus (up or down). The number +indicates the pitch interval that the fall or doit will extend +@emph{beyond} the main note. + +@lilypond[verbatim,quote,relative=2] +c2-\bendAfter #+4 +c2-\bendAfter #-4 +c2-\bendAfter #+8 +c2-\bendAfter #-8 +@end lilypond + +The dash @code{-} immediately preceding the @code{\bendAfter} +command is @emph{required} when writing falls and doits. + + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{adjusting-the-shape-of-falls-and-doits.ly} + + +@seealso +Music Glossary: +@rglos{fall}, +@rglos{doit}. + +Snippets: +@rlsr{Expressive marks}. + + +@node Lines +@subsection Lines + +This section explains how to create various expressive marks that +follow a linear path: glissandos, arpeggios, and trills. + +@menu +* Glissando:: +* Arpeggio:: +* Trills:: +@end menu + +@node Glissando +@unnumberedsubsubsec Glissando + +@cindex glissando +@funindex \glissando +@funindex glissando + +A @notation{glissando} is created by attaching @code{\glissando} +to a note: + +@lilypond[verbatim,quote,relative=2] +g2\glissando g' +c2\glissando c, +@end lilypond + +Different styles of glissandi can be created. For details, see +@ref{Line styles}. + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{contemporary-glissando.ly} + + +@seealso +Music Glossary: +@rglos{glissando}. + +Notation Reference: +@ref{Line styles}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{Glissando}. + + +@knownissues + +Printing text over the line (such as @notation{gliss.}) is not +supported. + + +@node Arpeggio +@unnumberedsubsubsec Arpeggio + +@cindex arpeggio +@cindex broken chord +@cindex chord, broken + +@funindex \arpeggio +@funindex arpeggio +@funindex \arpeggioArrowUp +@funindex arpeggioArrowUp +@funindex \arpeggioArrowDown +@funindex arpeggioArrowDown +@funindex \arpeggioNormal +@funindex arpeggioNormal + +An @notation{arpeggio} on a chord (also known as a broken chord) +is denoted by appending @code{\arpeggio} to the chord construct: + +@lilypond[verbatim,quote,relative=1] +1\arpeggio +@end lilypond + +Different types of arpeggios may be written. +@code{\arpeggioNormal} reverts to a normal arpeggio: + +@lilypond[verbatim,quote,relative=1] +2\arpeggio +\arpeggioArrowUp +2\arpeggio +\arpeggioArrowDown +2\arpeggio +\arpeggioNormal +2\arpeggio +@end lilypond + +@cindex arpeggio symbols, special +@cindex special arpeggio symbols + +@funindex \arpeggioBracket +@funindex arpeggioBracket +@funindex \arpeggioParenthesis +@funindex arpeggioParenthesis +@funindex \arpeggioParenthesisDashed +@funindex arpeggioParenthesisDashed + +Special @emph{bracketed} arpeggio symbols can be created: + +@lilypond[verbatim,quote,relative=1] +2 +\arpeggioBracket +2\arpeggio +\arpeggioParenthesis +2\arpeggio +\arpeggioParenthesisDashed +2\arpeggio +\arpeggioNormal +2\arpeggio +@end lilypond + +The dash properties of the parenthesis arpeggio are controlled +with the @code{'dash-details} property, which is described at @ref{Slurs}. + +Arpeggios can be explicitly written out with ties. For more +information, see @ref{Ties}. + + +@predefined +@code{\arpeggio}, +@code{\arpeggioArrowUp}, +@code{\arpeggioArrowDown}, +@code{\arpeggioNormal}, +@code{\arpeggioBracket}, +@code{\arpeggioParenthesis} +@code{\arpeggioParenthesisDashed}. +@endpredefined + + +@snippets + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{creating-cross-staff-arpeggios-in-a-piano-staff.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{creating-cross-staff-arpeggios-in-other-contexts.ly} + +@lilypondfile[verbatim,lilyquote,texidoc,doctitle] +{creating-arpeggios-across-notes-in-different-voices.ly} + + +@seealso +Music Glossary: +@rglos{arpeggio}. + +Notation Reference: +@ref{Slurs}, +@ref{Ties}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{Arpeggio}, +@rinternals{Slur}, +@rinternals{PianoStaff}. + + +@knownissues + +@cindex cross-staff parenthesis-style arpeggio +@cindex arpeggio, parenthesis-style, cross-staff +@cindex arpeggio, cross-staff parenthesis-style + +It is not possible to mix connected arpeggios and unconnected +arpeggios in one @code{PianoStaff} at the same point in +time. + +The parenthesis-style arpeggio brackets do not work for +cross-staff arpeggios. + + +@node Trills +@unnumberedsubsubsec Trills + +@cindex trills + +@funindex \trill +@funindex trill +@funindex \startTrillSpan +@funindex startTrillSpan +@funindex \stopTrillSpan +@funindex stopTrillSpan + +Short @notation{trills} without an extender line are printed with +@code{\trill}; see @ref{Articulations and ornamentations}. + +Longer trills with an extender line are made with +@code{\startTrillSpan} and @code{\stopTrillSpan}: + +@lilypond[verbatim,quote,relative=2] +d1~\startTrillSpan +d1 +c2\stopTrillSpan r2 +@end lilypond + +In the following example, a trill is combined with grace notes. +The syntax of this construct and the method to precisely position +the grace notes are described in @ref{Grace notes}. + +@lilypond[verbatim,quote,relative=2] +c1 \afterGrace +d1\startTrillSpan { c32[ d]\stopTrillSpan } +e2 r2 +@end lilypond + +@cindex pitched trills +@cindex trills, pitched +@funindex \pitchedTrill +@funindex pitchedTrill + +Trills that require an auxiliary note with an explicit pitch can +be typeset with the @code{\pitchedTrill} command. The first +argument is the main note, and the second is the @emph{trilled} +note, printed as a stemless note head in parentheses. + +@lilypond[verbatim,quote,relative=1] +\pitchedTrill e2\startTrillSpan fis +d\stopTrillSpan +@end lilypond + +@cindex pitched trill with forced accidental +@cindex trill, pitched with forced accidental +@cindex accidental, forced for pitched trill + +In the following example, the second pitched trill is ambiguous; +the accidental of the trilled note is not printed. As a +workaround, the accidentals of the trilled notes can be forced. +The second measure illustrates this method: + +@lilypond[verbatim,quote,relative=2] +\pitchedTrill eis4\startTrillSpan fis +g\stopTrillSpan +\pitchedTrill eis4\startTrillSpan fis +g\stopTrillSpan +\pitchedTrill eis4\startTrillSpan fis +g\stopTrillSpan +\pitchedTrill eis4\startTrillSpan fis! +g\stopTrillSpan +@end lilypond + + +@predefined +@code{\startTrillSpan}, +@code{\stopTrillSpan}. +@endpredefined + + +@seealso +Music Glossary: +@rglos{trill}. + +Notation Reference: +@ref{Articulations and ornamentations}, +@ref{Grace notes}. + +Snippets: +@rlsr{Expressive marks}. + +Internals Reference: +@rinternals{TrillSpanner}. + diff --cc Documentation/notation/text.itely index 516fd1e996,0000000000..41b8fb34a4 mode 100644,000000..100644 --- a/Documentation/notation/text.itely +++ b/Documentation/notation/text.itely @@@ -1,1391 -1,0 +1,1520 @@@ +@c -*- coding: utf-8; mode: texinfo; -*- +@ignore + Translation of GIT committish: FILL-IN-HEAD-COMMITTISH + + When revising a translation, copy the HEAD committish of the + version that you are working on. See TRANSLATION for details. +@end ignore + +@c \version "2.12.0" + +@node Text +@section Text + +@lilypondfile[quote]{text-headword.ly} + +This section explains how to include text (with various +formatting) in music scores. + +@noindent +Some text elements that are not dealt with here are discussed in other +specific sections: @ref{Vocal music}, @ref{Titles and headers}. + +@menu +* Writing text:: +* Formatting text:: +* Fonts:: +@end menu + +@node Writing text +@subsection Writing text + +This section introduces different ways of adding text to a score. + +@cindex Text, other languages +@warning{To write accented and special text (such as characters +from other languages), simply insert the characters directly into +the LilyPond file. The file must be saved as UTF-8. For more +information, see @ref{Text encoding}.} + +@menu +* Text scripts:: +* Text spanners:: +* Text marks:: +* Separate text:: +@end menu + + +@node Text scripts +@unnumberedsubsubsec Text scripts + +@cindex Text scripts +@cindex text items, non-empty +@cindex non-empty texts +@cindex quoted text + - Simple @qq{quoted text} indications may be added to a score. ++Simple @qq{quoted text} indications may be added to a score, as ++demonstrated in the following example. Such indications may be ++manually placed above or below the staff, using the syntax described ++in @ref{Direction and placement}. + +@lilypond[quote,verbatim,relative=2] +a8^"pizz." g f e a4-"scherz." f +@end lilypond + +This syntax is actually a shorthand; more complex text +formatting may be added to a note by explicitly using a +@code{\markup} block, as described in @ref{Formatting text}. + +@lilypond[quote,verbatim,relative=2] +a8^\markup { \italic pizz. } g f e +a4_\markup { \tiny scherz. \bold molto } f +@end lilypond + - @qq{Quoted text} and @code{\markup} commands may be manually - placed above or below the staff; see @ref{Direction and - placement}. - +By default, text indications do not influence the note spacing. +However, their widths can be taken into account: +in the following example, the first text string does not affect +spacing, whereas the second one does. + +@lilypond[quote,verbatim,relative=2] +a8^"pizz." g f e +\textLengthOn +a4_"scherzando" f +@end lilypond + + - @predefined +@funindex \textLengthOn - @code{\textLengthOn}, ++@funindex textLengthOn +@funindex \textLengthOff ++@funindex textLengthOff ++ ++@predefined ++@code{\textLengthOn}, +@code{\textLengthOff}. +@endpredefined + + +@seealso +Notation Reference: +@ref{Formatting text}, +@ref{Direction and placement}. + +Snippets: +@rlsr{Text}. + +Internals Reference: +@rinternals{TextScript}. + ++@cindex text outside margin ++@cindex margin, text running over ++@cindex text, keeping inside margin ++@cindex lyrics, keeping inside margin ++ + +@knownissues + +Checking to make sure that text scripts and lyrics are within the +margins is a relatively large computational task. To speed up +processing, LilyPond does not perform such calculations by +default; to enable it, use + +@example +\override Score.PaperColumn #'keep-inside-line = ##t +@end example + + +@node Text spanners +@unnumberedsubsubsec Text spanners + - @cindex Text spanners ++@cindex text spanners + +Some performance indications, e.g., @notation{rallentando} or +@notation{accelerando}, are written as text and are extended over - multiple notes with dotted lines. - Such objects, called @qq{spanners}, may be created - from one note to another using the following syntax: ++multiple notes with dotted lines. Such objects, called @qq{spanners}, ++may be created from one note to another using the following syntax: + +@lilypond[verbatim,quote,relative=2] +\override TextSpanner #'(bound-details left text) = "rit." +b1\startTextSpan +e,\stopTextSpan +@end lilypond + ++@cindex text spanners, formatting ++@cindex formatting text spanners ++ +@noindent - The string to be printed is set through - object properties. By default it is printed in italic characters, - but different formatting can be obtained using - @code{\markup} blocks, as described in @ref{Formatting text}. ++The string to be printed is set through object properties. By default ++it is printed in italic characters, but different formatting can be ++obtained using @code{\markup} blocks, as described in @ref{Formatting ++text}. + +@lilypond[quote,relative=2,verbatim] +\override TextSpanner #'(bound-details left text) = + \markup { \upright "rit." } +b1\startTextSpan c +e,\stopTextSpan +@end lilypond + +The line style, as well as the text string, can be defined as an +object property. This syntax is described in @ref{Line styles}. + - Text spanners may be manually placed above or below the staff; see - @ref{Direction and placement}. ++ ++@funindex \textSpannerUp ++@funindex textSpannerUp ++@funindex \textSpannerDown ++@funindex textSpannerDown ++@funindex \textSpannerNeutral ++@funindex textSpannerNeutral + + +@predefined - @funindex textSpannerUp +@code{\textSpannerUp}, - @funindex textSpannerDown +@code{\textSpannerDown}, - @funindex textSpannerNeutral +@code{\textSpannerNeutral}. +@endpredefined + + +@seealso +Notation Reference: +@ref{Line styles}, - @ref{Dynamics}, - @ref{Direction and placement}. ++@ref{Dynamics}. + +Snippets: +@rlsr{Text}. + +Internals Reference: +@rinternals{TextSpanner}. + + +@node Text marks +@unnumberedsubsubsec Text marks + ++ ++@cindex text marks ++@cindex marks, text ++@cindex text on bar line +@cindex coda on bar line +@cindex segno on bar line +@cindex fermata on bar line +@cindex bar lines, symbols on ++ +@funindex \mark ++@funindex mark ++@funindex \markup ++@funindex markup + +Various text elements may be added to a score using +the syntax described in @ref{Rehearsal marks}: + +@c \mark needs to be placed on a separate line (it's not +@c attached to an object like \markup is). -vv + +@lilypond[verbatim,quote,relative=2] +c4 +\mark "Allegro" +c c c +@end lilypond + +This syntax makes it possible to put any text on a bar line; +more complex text formatting may be added using a @code{\markup} +block, as described in @ref{Formatting text}: + +@lilypond[quote,verbatim,relative=1] +1 +\mark \markup { \italic { colla parte } } +2 +1 +@end lilypond + +@noindent +This syntax also allows to print special signs, like coda, segno +or fermata, by specifying the appropriate symbol name as explained in +@ref{Music notation inside markup}: + +@lilypond[quote,verbatim,relative=2] +2 +\mark \markup { \musicglyph #"scripts.ufermata" } +1 +@end lilypond + +@noindent +Such objects are only typeset above the top staff of the score; depending on +whether they are specified at the end or the middle of a bar, they +can be placed above the bar line or between notes. When specified at a +line break, the mark will be printed at the beginning of the next line. + +@lilypond[quote,verbatim,relative=2] +\mark "Allegro" +c1 c +\mark "assai" \break +c c +@end lilypond + + +@snippets + +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{printing-marks-at-the-end-of-a-line-or-a-score.ly} + +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{aligning-marks-with-various-notation-objects.ly} + +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{printing-marks-on-every-staff.ly} + + +@seealso +Notation Reference: +@ref{Rehearsal marks}, +@ref{Formatting text}, +@ref{Music notation inside markup}, +@ref{The Feta font}. + +Snippets: +@rlsr{Text}. + +Internals Reference: +@rinternals{RehearsalMark}. + + +@knownissues +@c To be removed when Issue 69 in the tracker gets fixed. -vv + +If a mark is entered at the end of the last bar of the score (where +there is no next line), then the mark will not be printed at +all. + +@node Separate text +@unnumberedsubsubsec Separate text + +@cindex separate text ++@cindex text, separate +@cindex standalone text +@cindex top-level text ++@cindex text, top-level +@cindex text, standalone ++ +@funindex \markup ++@funindex markup + +A @code{\markup} block can exist by itself, outside of any +any @code{\score} block, as a @qq{top-level +expression}. This syntax is described in @ref{File structure}. + +@lilypond[verbatim,quote] +\markup { + Tomorrow, and tomorrow, and tomorrow... +} +@end lilypond + +@noindent - This allows printing text separately - from the music, which is particularly - useful when the input file contains - several music pieces, as described in - @ref{Multiple scores in a book}. ++This allows printing text separately from the music, which is ++particularly useful when the input file contains several music pieces, ++as described in @ref{Multiple scores in a book}. + +@lilypond[quote,verbatim] +\score { + c'1 +} +\markup { + Tomorrow, and tomorrow, and tomorrow... +} +\score { + c'1 +} +@end lilypond + +Separate text blocks can be spread over multiple pages, +making it possible to print text documents or books entirely +within LilyPond. This feature, and the specific syntax it +requires, are described in @ref{Multi-page markup}. + + - @predefined ++@funindex \markup ++@funindex markup +@funindex \markuplines ++@funindex markuplines ++ ++@predefined +@code{\markup}, +@code{\markuplines}. +@endpredefined + + +@snippets + +@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle] +{stand-alone-two-column-markup.ly} + +@seealso +Notation Reference: @ref{Formatting text}, +@ref{File structure}, +@ref{Multiple scores in a book}, +@ref{Multi-page markup}. + +Snippets: +@rlsr{Text}. + +Internals Reference: @rinternals{TextScript}. + + +@node Formatting text +@subsection Formatting text + +This section presents basic and advanced text formatting, +using the @code{\markup} mode specific syntax. + +@menu +* Text markup introduction:: +* Selecting font and font size:: +* Text alignment:: +* Graphic notation inside markup:: +* Music notation inside markup:: +* Multi-page markup:: +@end menu + +@node Text markup introduction +@unnumberedsubsubsec Text markup introduction + +@cindex markup +@cindex text markup +@cindex markup text +@cindex typeset text ++ +@funindex \markup ++@funindex markup + +A @code{\markup} block is used to typeset text with an extensible +syntax called @qq{markup mode}. + +@cindex markup expressions ++@cindex expressions, markup +@cindex markup syntax ++@cindex synatax, markup + +The markup syntax is similar to LilyPond's usual syntax: a +@code{\markup} expression is enclosed in curly braces @code{@{ +@dots{} @}}. A single word is regarded as a minimal expression, +and therefore does not need to be enclosed with braces. + - Unlike simple @qq{quoted text} indications, @code{\markup} blocks - may contain nested expressions or markup commands, - entered using the backslash @code{\} character. - Such commands only affect the first following expression. ++Unlike simple @qq{quoted text} indications, @code{\markup} blocks may ++contain nested expressions or markup commands, entered using the ++backslash @code{\} character. Such commands only affect the first ++following expression. + +@lilypond[quote,verbatim,relative=2] +a1-\markup intenso +a2^\markup { poco \italic più forte } +c e1 +d2_\markup { \italic "string. assai" } +e +b1^\markup { \bold { molto \italic agitato } } +c +@end lilypond + +@cindex special characters in markup mode +@cindex markup mode, special characters +@cindex reserved characters, printing ++@cindex printing reserved characters +@cindex printing special characters +@cindex quoted text in markup mode ++@cindex markup mode, quoted text + - A @code{\markup} block may also contain quoted text strings. - Such strings are treated as minimal text expressions, and - therefore any markup command or special character (such as - @code{\} and @code{#}) will be printed verbatim without affecting - the formatting of the text. Double quotation marks themselves - may be printed by preceding them with backslashes. ++A @code{\markup} block may also contain quoted text strings. Such ++strings are treated as minimal text expressions, and therefore any ++markup command or special character (such as @code{\} and @code{#}) ++will be printed verbatim without affecting the formatting of the text. ++Double quotation marks themselves may be printed by preceding them ++with backslashes. + +@lilypond[quote,verbatim,relative=2] +a1^"\italic markup..." +a_\markup { \italic "... prints \"italic\" letters!" } +a a +@end lilypond + - To be treated as a distinct expression, a list of words needs - to be enclosed with double quotes or preceded by a command. - The way markup expressions are defined affects how these - expressions will be stacked, centered and aligned; in the - following example, the second @code{\markup} expression is - treated the same as the first one: ++To be treated as a distinct expression, a list of words needs to be ++enclosed with double quotes or preceded by a command. The way markup ++expressions are defined affects how these expressions will be stacked, ++centered and aligned; in the following example, the second ++@code{\markup} expression is treated the same as the first one: + +@lilypond[quote,verbatim,relative=2] +c1^\markup { \center-column { a bbb c } } +c1^\markup { \center-column { a { bbb c } } } +c1^\markup { \center-column { a \line { bbb c } } } +c1^\markup { \center-column { a "bbb c" } } +@end lilypond + +Markups can be stored in variables. Such variables may be +directly attached to notes: + +@lilypond[quote,verbatim] +allegro = \markup { \bold \large Allegro } + +{ + d''8.^\allegro + d'16 d'4 r2 +} +@end lilypond + + +@noindent +An exhaustive list of @code{\markup}-specific commands can be found in +@ref{Text markup commands}. + + +@seealso +Notation Reference: +@ref{Text markup commands}. + +Snippets: +@rlsr{Text}. + +Installed files: +@file{scm/@/markup@/.scm}. + + +@knownissues + +Syntax errors for markup mode can be confusing. + + +@node Selecting font and font size +@unnumberedsubsubsec Selecting font and font size + +@cindex font switching ++@cindex changing fonts ++@cindex switching fonts ++ +@funindex \italic ++@funindex italic +@funindex \bold ++@funindex bold +@funindex \underline ++@funindex underline + +Basic font switching is supported in markup mode: + +@lilypond[quote,verbatim,relative=2] +d1^\markup { + \bold { Più mosso } + \italic { non troppo \underline Vivo } +} +r2 r4 r8 +d,_\markup { \italic quasi \smallCaps Tromba } +f1 d2 r +@end lilypond + +@cindex font size +@cindex text size ++ +@funindex \fontsize ++@funindex fontsize +@funindex \smaller ++@funindex smaller +@funindex \larger ++@funindex larger +@funindex \magnify ++@funindex magnify + +The size of the characters can also be altered in different ways: +@itemize +@item +the font size can be set to predefined standard sizes, + +@item +the font size can be set to an absolute value, + +@item +the font size can also be changed relatively to its previous value. +@end itemize + +@noindent +The following example demonstrates these three methods: + +@lilypond[quote,verbatim,relative=1] +f1_\markup { + \tiny espressivo + \large e + \normalsize intenso +} +a^\markup { + \fontsize #5 Sinfonia + \fontsize #2 da + \fontsize #3 camera +} +bes^\markup { (con + \larger grande + \smaller emozione + \magnify #0.6 { e sentimento } ) +} +d c2 r8 c bes a g1 +@end lilypond + +@cindex subscript +@cindex superscript ++ +@funindex \super ++@funindex super +@funindex \sub ++@funindex sub + - Text may be printed as subscript or superscript. By default - these are printed in a smaller size, but a normal size can be used as well: ++Text may be printed as subscript or superscript. By default these are ++printed in a smaller size, but a normal size can be used as well: + +@lilypond[quote,verbatim] +\markup { + \column { + \line { 1 \super st movement } + \line { 1 \normal-size-super st movement + \sub { (part two) } } + } +} +@end lilypond + +@cindex font families + - The markup mode provides an easy way to select alternate - font families. The default serif font, of roman type, is - automatically selected unless specified otherwise; on the - last line of the following example, there is no difference - between the first and the second word. ++The markup mode provides an easy way to select alternate font ++families. The default serif font, of roman type, is automatically ++selected unless specified otherwise; on the last line of the following ++example, there is no difference between the first and the second word. + +@lilypond[quote,verbatim] +\markup { + \column { + \line { Act \number 1 } + \line { \sans { Scene I. } } + \line { \typewriter { Verona. An open place. } } + \line { Enter \roman Valentine and Proteus. } + } +} +@end lilypond + +@noindent - Some of these font families, used for specific items - such as numbers or dynamics, do not provide all - characters, as mentioned in @ref{New dynamic marks} and - @ref{Manual repeat marks}. ++Some of these font families, used for specific items such as numbers ++or dynamics, do not provide all characters, as mentioned in @ref{New ++dynamic marks} and @ref{Manual repeat marks}. + +@c \concat is actually documented in Align (it is not +@c a font-switching command). But we need it here. -vv + - When used inside a word, some font-switching or formatting - commands may produce an unwanted blank space. This can - easily be solved by concatenating the text elements together: ++When used inside a word, some font-switching or formatting commands ++may produce an unwanted blank space. This can easily be solved by ++concatenating the text elements together: + +@lilypond[quote,verbatim] +\markup { + \column { + \line { + \concat { 1 \super st } + movement + } + \line { + \concat { \dynamic p , } + \italic { con dolce espressione } + } + } +} +@end lilypond + - An exhaustive list of font switching, and custom font usage ++An exhaustive list of font switching commands and custom font usage +commands can be found in @ref{Font}. + +Defining custom font sets is also possible, as explained in +@ref{Fonts}. + ++@funindex \teeny ++@funindex teeny ++@funindex \tiny ++@funindex tiny ++@funindex \small ++@funindex small ++@funindex \normalsize ++@funindex normalsize ++@funindex \large ++@funindex large ++@funindex \huge ++@funindex huge ++@funindex \smaller ++@funindex smaller ++@funindex \larger ++@funindex larger ++ + +@predefined - @funindex \teeny +@code{\teeny}, - @funindex \tiny +@code{\tiny}, - @funindex \small +@code{\small}, - @funindex \normalsize +@code{\normalsize}, - @funindex \large +@code{\large}, - @funindex \huge +@code{\huge}, - @funindex \smaller +@code{\smaller}, - @funindex \larger +@code{\larger}. +@endpredefined + + +@seealso +Notation Reference: +@ref{Font}, +@ref{New dynamic marks}, +@ref{Manual repeat marks}, +@ref{Fonts}. + +Snippets: +@rlsr{Text}. + +Internals Reference: +@rinternals{TextScript}. + +Installed files: +@file{scm/@/define@/-markup@/-commands@/.scm}. + + +@node Text alignment +@unnumberedsubsubsec Text alignment + +@cindex text, aligning +@cindex aligning text ++@cindex aligning markup text ++@cindex aligning markups ++@cindex markups, aligning ++@cindex markup text, aligning + - This subsection discusses how to place text in markup mode. - Markup objects can also be moved as a whole, using the syntax - described in @rlearning{Moving objects}. ++This subsection discusses how to place text in markup mode. Markup ++objects can also be moved as a whole, using the syntax described in ++@rlearning{Moving objects}. + +@c Padding commands should be mentioned on this page, but +@c most of these require \box to be more clearly illustrated. -vv + +@cindex text, horizontal alignment +@cindex horizontal text alignment ++ +@funindex \left-align ++@funindex left-align +@funindex \center-align ++@funindex center-align +@funindex \right-align ++@funindex right-align + - Markup objects may be aligned in different ways. By default, - a text indication is aligned on its left edge: in the following - example, there is no difference - between the first and the second markup. ++Markup objects may be aligned in different ways. By default, a text ++indication is aligned on its left edge: in the following example, ++there is no difference between the first and the second markup. + +@lilypond[quote,verbatim,relative=2] +d1-\markup { poco } +f +d-\markup { \left-align poco } +f +d-\markup { \center-align { poco } } +f +d-\markup { \right-align poco } +@end lilypond + +@funindex \halign ++@funindex halign + - Horizontal alignment may be fine-tuned - using a numeric value: ++Horizontal alignment may be fine-tuned using a numeric value: + +@lilypond[quote,verbatim,relative=2] +a1-\markup { \halign #-1 poco } +e' +a,-\markup { \halign #0 poco } +e' +a,-\markup { \halign #0.5 poco } +e' +a,-\markup { \halign #2 poco } +@end lilypond + +@noindent - Some objects may have alignment procedures of their own, - and therefore are not affected by these commands. It is - possible to move such markup objects as a whole, as shown - for instance in @ref{Text marks}. ++Some objects may have alignment procedures of their own, and therefore ++are not affected by these commands. It is possible to move such ++markup objects as a whole, as shown for instance in @ref{Text marks}. + +@cindex text, vertical alignment +@cindex vertical text alignment ++ +@funindex \raise ++@funindex raise +@funindex \lower ++@funindex lower ++@funindex \null ++@funindex null ++ ++@c QUERY Should the function of ``\null'' be clarified? rp + - Vertical alignment is a bit more complex. As stated above, - markup objects can be moved as a whole; however, it is also - possible to move specific elements inside a markup block. - In this case, the element to be moved needs to be preceded - with an @emph{anchor point}, that can be another markup element - or an invisible object. The following example demonstrates these - two possibilities; the last markup in this example has no anchor - point, and therefore is not moved. ++Vertical alignment is a bit more complex. As stated above, markup ++objects can be moved as a whole; however, it is also possible to move ++specific elements inside a markup block. In this case, the element to ++be moved needs to be preceded with an @emph{anchor point}, that can be ++another markup element or an invisible object. The following example ++demonstrates these two possibilities; the last markup in this example ++has no anchor point, and therefore is not moved. + +@lilypond[quote,verbatim,relative=1] +d2^\markup { + Acte I + \raise #2 { Scène 1 } +} +a' +g_\markup { + \null + \lower #4 \bold { Très modéré } +} +a +d,^\markup { + \raise #4 \italic { Une forêt. } +} +a'4 a g2 a +@end lilypond + +@funindex \general-align ++@funindex general-align +@funindex \translate ++@funindex translate +@funindex \translate-scaled ++@funindex translate-scaled + - Some commands can affect both the horizontal and vertical - alignment of text objects in markup mode. Any object - affected by these commands must be preceded with an - anchor point: ++Some commands can affect both the horizontal and vertical alignment of ++text objects in markup mode. Any object affected by these commands ++must be preceded with an anchor point: + +@lilypond[quote,verbatim,relative=1] +d2^\markup { + Acte I + \translate #'(-1 . 2) "Scène 1" +} +a' +g_\markup { + \null + \general-align #Y #3.2 \bold "Très modéré" +} +a +d,^\markup { + \null + \translate-scaled #'(-1 . 2) \teeny "Une forêt." +} +a'4 a g2 a +@end lilypond + - @funindex \column - @funindex \center-column - +@cindex multi-line markup ++@cindex markup, multi-line +@cindex multi-line text ++@cindex text, multi-line ++@cindex text in columns +@cindex columns, text + - A markup object may include several lines of text. - In the following example, each element or expression - is placed on its own line, either left-aligned or centered: ++@funindex \column ++@funindex column ++@funindex \center-column ++@funindex center-column ++ ++A markup object may include several lines of text. In the following ++example, each element or expression is placed on its own line, either ++left-aligned or centered: + +@lilypond[quote,verbatim] +\markup { + \column { + a + "b c" + \line { d e f } + } + \hspace #10 + \center-column { + a + "b c" + \line { d e f } + } +} +@end lilypond + - @funindex \fill-line - +@cindex centering text on the page ++@cindex text, centering on the page ++@cindex markup, centering on the page + - Similarly, a list of elements or expressions may be - spread to fill the entire horizontal line width (if there - is only one element, it will be centered on the page). - These expressions can, in turn, include multi-line text - or any other markup expression: ++@funindex \fill-line ++@funindex fill-line ++ ++Similarly, a list of elements or expressions may be spread to fill the ++entire horizontal line width (if there is only one element, it will be ++centered on the page). These expressions can, in turn, include ++multi-line text or any other markup expression: + +@lilypond[quote,verbatim] +\markup { + \fill-line { + \line { William S. Gilbert } + \center-column { + \huge \smallCaps "The Mikado" + or + \smallCaps "The Town of Titipu" + } + \line { Sir Arthur Sullivan } + } +} +\markup { + \fill-line { 1885 } +} +@end lilypond + - @funindex \wordwrap - @funindex \justify - +@cindex wordwrapped text +@cindex justified text ++@cindex text, justified ++@cindex text, wordwrapped ++@cindex markup text, wordwrapped ++@cindex markup text, justified ++ ++@funindex \wordwrap ++@funindex wordwrap ++@funindex \justify ++@funindex justify + - Long text indications can also be automatically wrapped - accordingly to the given line width. These will be - either left-aligned or justified, as shown in - the following example. ++Long text indications can also be automatically wrapped accordingly to ++the given line width. These will be either left-aligned or justified, ++as shown in the following example. + +@lilypond[quote,verbatim] +\markup { + \column { + \line \smallCaps { La vida breve } + \line \bold { Acto I } + \wordwrap \italic { + (La escena representa el corral de una casa de + gitanos en el Albaicín de Granada. Al fondo una + puerta por la que se ve el negro interior de + una Fragua, iluminado por los rojos resplandores + del fuego.) + } + \hspace #0 + + \line \bold { Acto II } + \override #'(line-width . 50) + \justify \italic { + (Calle de Granada. Fachada de la casa de Carmela + y su hermano Manuel con grandes ventanas abiertas + a través de las que se ve el patio + donde se celebra una alegre fiesta) + } + } +} +@end lilypond + - An exhaustive list of text alignment commands - can be found in @ref{Align}. ++@cindex text alignment commands ++@cindex markup text alignment commands ++@cindex alignment, text, commands ++ ++An exhaustive list of text alignment commands can be found in ++@ref{Align}. + + +@seealso +Learning Manual: +@rlearning{Moving objects}. + +Notation Reference: +@ref{Align}, +@ref{Text marks}. + +Snippets: +@rlsr{Text}. + +Internals Reference: @rinternals{TextScript}. + +Installed files: +@file{scm/@/define@/-markup@/-commands@/.scm}. + + +@node Graphic notation inside markup +@unnumberedsubsubsec Graphic notation inside markup + +@cindex graphics, embedding +@cindex drawing graphic objects ++@cindex graphic objects, drawing ++@cindex embedding graphic objects ++@cindex graphic objects, embedding + - Various graphic objects may be added to a score, - using markup commands. ++Various graphic objects may be added to a score, using markup ++commands. ++ ++@cindex decorating text ++@cindex framing text ++@cindex text, framing ++@cindex text, decorating ++@cindex markup text, decorating ++@cindex markup text, framing + +@funindex \box ++@funindex box +@funindex \circle ++@funindex circle +@funindex \rounded-box ++@funindex rounded-box +@funindex \bracket ++@funindex bracket +@funindex \hbracket ++@funindex hbracket + - @cindex decorating text - @cindex framing text - - Some markup commands allow decoration of text elements - with graphics, as demonstrated in the following example. ++Some markup commands allow decoration of text elements with graphics, ++as demonstrated in the following example. + +@lilypond[quote,verbatim] +\markup \fill-line { + \center-column { + \circle Jack + \box "in the box" + \null + \line { + Erik Satie + \hspace #3 + \bracket "1866 - 1925" + } + \null + \rounded-box \bold Prelude + } +} +@end lilypond + ++@cindex padding around text ++@cindex text padding ++@cindex markup text padding ++ +@funindex \pad-markup ++@funindex pad-markup +@funindex \pad-x ++@funindex pad-x +@funindex \pad-to-box ++@funindex pad-to-box +@funindex \pad-around ++@funindex pad-around + - @cindex padding around text - @cindex text padding - - Some commands may require an increase in the padding around - the text; this is achieved with some markup commands - exhaustively described in @ref{Align}. ++Some commands may require an increase in the padding around the text; ++this is achieved with some markup commands exhaustively described in ++@ref{Align}. + +@lilypond[quote,verbatim] +\markup \fill-line { + \center-column { + \box "Charles Ives (1874 - 1954)" + \null + \box \pad-markup #2 "THE UNANSWERED QUESTION" + \box \pad-x #8 "A Cosmic Landscape" + \null + } +} +\markup \column { + \line { + \hspace #10 + \box \pad-to-box #'(-5 . 20) #'(0 . 5) + \bold "Largo to Presto" + } + \pad-around #3 + "String quartet keeps very even time, +Flute quartet keeps very uneven time." +} +@end lilypond + ++@cindex graphic notation ++@cindex symbols, non-musical ++@cindex non-musical symbols ++@cindex notation, graphic ++ +@funindex \combine ++@funindex combine +@funindex \draw-circle ++@funindex draw-circle +@funindex \filled-box ++@funindex filled-box +@funindex \triangle ++@funindex triangle +@funindex \draw-line ++@funindex draw-line +@funindex \arrow-head ++@funindex arrow-head + - @cindex graphic notation - @cindex symbols, non-musical - - Other graphic elements or symbols may be printed - without requiring any text. As with any markup - expression, such objects can be combined. ++Other graphic elements or symbols may be printed without requiring any ++text. As with any markup expression, such objects can be combined. + +@lilypond[quote,verbatim] +\markup { + \combine + \draw-circle #4 #0.4 ##f + \filled-box #'(-4 . 4) #'(-0.5 . 0.5) #1 + \hspace #5 + + \center-column { + \triangle ##t + \combine + \draw-line #'(0 . 4) + \arrow-head #Y #DOWN ##f + } +} +@end lilypond + - @funindex \epsfile - @funindex \postscript - +@cindex embedded graphics +@cindex images, embedding +@cindex graphics, embedding +@cindex postscript + - Advanced graphic features include the ability to - include external image files converted to the - Encapsulated PostScript format (@emph{eps}), or - to directly embed graphics into the input file, - using native PostScript code. In such a case, it - may be useful to explicitly specify the size of the - drawing, as demonstrated below: ++@funindex \epsfile ++@funindex epsfile ++@funindex \postscript ++@funindex postscript ++ ++Advanced graphic features include the ability to include external ++image files converted to the Encapsulated PostScript format ++(@emph{eps}), or to directly embed graphics into the input file, using ++native PostScript code. In such a case, it may be useful to ++explicitely specify the size of the drawing, as demonstrated below: + +@lilypond[quote,verbatim,relative=1] +c1^\markup { + \combine + \epsfile #X #10 #"./context-example.eps" + \with-dimensions #'(0 . 6) #'(0 . 10) + \postscript #" + -2 3 translate + 2.7 2 scale + newpath + 2 -1 moveto + 4 -2 4 1 1 arct + 4 2 3 3 1 arct + 0 4 0 3 1 arct + 0 0 1 -1 1 arct + closepath + stroke" + } +c +@end lilypond + - An exhaustive list of graphics-specific commands - can be found in @ref{Graphic}. ++An exhaustive list of graphics-specific commands can be found in ++@ref{Graphic}. + + +@seealso +Notation Reference: +@ref{Graphic}, +@ref{Editorial annotations}. + +Snippets: +@rlsr{Text}. + +Internals Reference: @rinternals{TextScript}. + +Installed files: +@file{scm/@/define@/-markup@/-commands@/.scm}, +@file{scm/@/stencil@/.scm}. + + +@node Music notation inside markup +@unnumberedsubsubsec Music notation inside markup + - Various musical notation elements may be added - to a score, inside a markup object. ++@cindex notation inside markup ++@cindex music inside markup ++@cindex markup, music notation inside ++ ++Various musical notation elements may be added to a score, inside a ++markup object. + - Notes and accidentals can be entered using markup - commands: ++Notes and accidentals can be entered using markup commands: + +@lilypond[quote,verbatim,relative=2] +a2 a^\markup { + \note #"4" #1 + = + \note-by-number #1 #1 #1.5 +} +b1_\markup { + \natural \semiflat \flat + \sesquiflat \doubleflat +} +\glissando +a1_\markup { + \natural \semisharp \sharp + \sesquisharp \doublesharp +} +\glissando b +@end lilypond + +Other notation objects may also be printed +in markup mode: + +@lilypond[quote,verbatim,relative=1] +g1 bes +ees-\markup { + \finger 4 + \tied-lyric #"~" + \finger 1 +} +fis_\markup { \dynamic rf } +bes^\markup { + \beam #8 #0.1 #0.5 +} +cis +d-\markup { + \markalphabet #8 + \markletter #8 +} +@end lilypond + - More generally, any available musical symbol may be - included separately in a markup object, as demonstrated - below; an exhaustive list of these symbols and their - names can be found in @ref{The Feta font}. ++More generally, any available musical symbol may be included ++separately in a markup object, as demonstrated below; an exhaustive ++list of these symbols and their names can be found in @ref{The Feta ++font}. + +@lilypond[quote,verbatim,relative=2] +c2 +c'^\markup { \musicglyph #"eight" } +c,4 +c,8._\markup { \musicglyph #"clefs.G_change" } +c16 +c2^\markup { \musicglyph #"timesig.neomensural94" } +@end lilypond + +@noindent - Another way of printing non-text glyphs is described in - @ref{Fonts explained}. This is useful for printing braces of - various sizes. ++Another way of printing non-text glyphs is described in @ref{Fonts ++explained}. This is useful for printing braces of various sizes. + +The markup mode also supports diagrams for specific +instruments: + +@lilypond[quote,verbatim,relative=2] +c1^\markup { + \fret-diagram-terse #"x;x;o;2;3;2;" +} +c^\markup { + \harp-pedal #"^-v|--ov^" +} +c +c^\markup { + \combine + \musicglyph #"accordion.accDiscant" + \combine + \raise #0.5 \musicglyph #"accordion.accDot" + \raise #1.5 \musicglyph #"accordion.accDot" +} +@end lilypond + +@c The accordion diagram is actually taken from a snippet. + +@noindent +Such diagrams are documented in @ref{Instrument Specific Markup}. + - A whole score can even be nested inside a markup object. - In such a case, the nested @code{\score} block must - contain a @code{\layout} block, as demonstrated here: ++@cindex score inside markup ++@cindex markup, score inside ++ ++A whole score can even be nested inside a markup object. In such a ++case, the nested @code{\score} block must contain a @code{\layout} ++block, as demonstrated here: + +@lilypond[quote,verbatim,relative=1] +c4 d^\markup { + \score { + \relative c' { c4 d e f } + \layout { } + } +} +e f | +c d e f +@end lilypond + - An exhaustive list of music notation related commands can be - found in @ref{Music}. ++An exhaustive list of music notation related commands can be found in ++@ref{Music}. + + +@seealso +Notation Reference: +@ref{Music}, +@ref{The Feta font}, +@ref{Fonts explained}. + +Snippets: +@rlsr{Text}. + +Internals Reference: @rinternals{TextScript}. + +Installed files: +@file{scm/@/define@/-markup@/-commands@/.scm}, +@file{scm/@/fret@/-diagrams@/.scm}, +@file{scm/@/harp@/-pedals@/.scm}. + + +@node Multi-page markup +@unnumberedsubsubsec Multi-page markup + - Although standard markup objects are not breakable, a - specific syntax makes it possible to enter lines of text that can - spread over multiple pages: ++@cindex multi-page markup ++@cindex markup, multi-page ++@cindex markup text, multi-page ++@cindex text spread over multiple pages ++ ++@funindex \markuplines ++@funindex markuplines ++@funindex \justified-lines ++@funindex justified-lines ++@funindex \wordwrap-lines ++@funindex wordwrap-lines ++ ++Although standard markup objects are not breakable, a specific syntax ++makes it possible to enter lines of text that can spread over multiple ++pages: + +@lilypond[quote,verbatim] +\markuplines { + \justified-lines { + A very long text of justified lines. + ... + } + \wordwrap-lines { + Another very long paragraph. + ... + } + ... +} +@end lilypond + +This syntax accepts a list of markups, that can be +@itemize +@item +the result of a markup list command, +@item +a list of markups, +@item +a list of markup lists. +@end itemize + +An exhaustive list of markup list commands can be found in +@ref{Text markup list commands}. + + +@seealso +Notation Reference: +@ref{Text markup list commands}, +@ref{New markup list command definition}. + +Snippets: +@rlsr{Text}. + +Internals Reference: @rinternals{TextScript}. + +Installed files: +@file{scm/@/define@/-markup@/-commands@/.scm}. + ++@funindex \markuplines ++@funindex markuplines + +@predefined - @funindex \markuplines +@code{\markuplines}. +@endpredefined + + +@node Fonts +@subsection Fonts + - This section presents the way fonts are handled, - and how they may be changed in scores. ++This section presents the way fonts are handled, and how they may be ++changed in scores. + +@menu +* Fonts explained:: +* Single entry fonts:: +* Entire document fonts:: +@end menu + +@node Fonts explained +@unnumberedsubsubsec Fonts explained + +@cindex Pango +@cindex fonts, explained +@cindex braces, various sizes ++@cindex fonts, non-text in markup ++@cindex non-text fonts in markup ++ +@funindex font-interface + - Fonts are handled through several libraries. - FontConfig is used to detect available fonts on the system; - the selected fonts are rendered using Pango. ++Fonts are handled through several libraries. FontConfig is used to ++detect available fonts on the system; the selected fonts are rendered ++using Pango. + - Music notation fonts can be described as a set of - specific glyphs, ordered in several families. - The following syntax allows various LilyPond @code{feta} non-text - fonts to be used directly in markup mode: ++Music notation fonts can be described as a set of specific glyphs, ++ordered in several families. The following syntax allows various ++LilyPond @code{feta} non-text fonts to be used directly in markup ++mode: + +@lilypond[quote,verbatim,relative=2] +a1^\markup { + \vcenter { + \override #'(font-encoding . fetaBraces) + \lookup #"brace120" + \override #'(font-encoding . fetaNumber) + \column { 1 3 } + \override #'(font-encoding . fetaDynamic) + sf + \override #'(font-encoding . fetaMusic) + \lookup #"noteheads.s0petrucci" + } +} +@end lilypond + +@noindent - However, all these glyphs except the braces of various sizes - contained in @code{fetaBraces} are available using the - simpler syntax described in @ref{Music notation inside markup}. ++However, all these glyphs except the braces of various sizes contained ++in @code{fetaBraces} are available using the simpler syntax described ++in @ref{Music notation inside markup}. + - When using the glyphs contained in @code{fetaBraces}, the size of - the brace is specified by the numerical part of the glyph name, in ++When using the glyphs contained in @code{fetaBraces}, the size of the ++brace is specified by the numerical part of the glyph name, in +arbitrary units. Any integer from @code{0} to @code{575} inclusive +may be specified, @code{0} giving the smallest brace. The optimum +value must be determined by trial and error. These glyphs are all +left braces; right braces may be obtained by rotation, see +@ref{Rotating objects}. + - Three families of text fonts are made available: the - @emph{roman} (serif) font, that defaults to New Century - Schoolbook, the @emph{sans} font and the monospaced - @emph{typewriter} font -- these last two families are - determined by the Pango installation. ++Three families of text fonts are made available: the @emph{roman} ++(serif) font, that defaults to New Century Schoolbook, the @emph{sans} ++font and the monospaced @emph{typewriter} font -- these last two ++families are determined by the Pango installation. + - Each family may include different shapes and series. - The following example demonstrates the ability to select - alternate families, shapes, series and sizes. The value - supplied to @code{font-size} is the required change from the - default size. ++Each family may include different shapes and series. The following ++example demonstrates the ability to select alternate families, shapes, ++series and sizes. The value supplied to @code{font-size} is the ++required change from the default size. + +@lilypond[quote,verbatim,relative=2] +\override Score.RehearsalMark #'font-family = #'typewriter +\mark \markup "Ouverture" +\override Voice.TextScript #'font-shape = #'italic +\override Voice.TextScript #'font-series = #'bold +d2.^\markup "Allegro" +\override Voice.TextScript #'font-size = #-3 +c4^smaller +@end lilypond + +@noindent - A similar syntax may be used in markup mode, however in this case - it is preferable to use the simpler syntax explained in - @ref{Selecting font and font size}: ++A similar syntax may be used in markup mode; however in this case it ++is preferable to use the simpler syntax explained in @ref{Selecting ++font and font size}: + +@lilypond[quote,verbatim] +\markup { + \column { + \line { + \override #'(font-shape . italic) + \override #'(font-size . 4) + Idomeneo, + } + \line { + \override #'(font-family . typewriter) + { + \override #'(font-series . bold) + re + di + } + \override #'(font-family . sans) + Creta + } + } +} +@end lilypond + - Although it is easy to switch between preconfigured fonts, - it is also possible to use other fonts, as explained in the - following sections: @ref{Single entry fonts} and - @ref{Entire document fonts}. ++Although it is easy to switch between preconfigured fonts, it is also ++possible to use other fonts, as explained in the following sections: ++@ref{Single entry fonts} and @ref{Entire document fonts}. + + +@seealso +Notation Reference: +@ref{The Feta font}, +@ref{Music notation inside markup}, +@ref{Selecting font and font size}, +@ref{Font}. + + +@node Single entry fonts +@unnumberedsubsubsec Single entry fonts + - Any font that is installed on the operating system and recognized - by FontConfig may be used in a score, using the following syntax: ++Any font that is installed on the operating system and recognized by ++FontConfig may be used in a score, using the following syntax: + +@lilypond[quote,verbatim,relative=2] +\override Staff.TimeSignature #'font-name = #"Charter" +\override Staff.TimeSignature #'font-size = #2 +\time 3/4 + +a1_\markup { + \override #'(font-name . "Vera Bold") + { Vera Bold } +} +@end lilypond + ++@cindex fonts, finding available ++@cindex finding available fonts ++@cindex listing available fonts ++@cindex available fonts, listing ++ +@funindex show-available-fonts + - The following command displays a list of all available fonts - on the operating system: ++The following command displays a list of all available fonts on the ++operating system: + +@example +lilypond -dshow-available-fonts x +@end example + +@noindent +The last argument of the command can be anything, but has to be +present. + + +@seealso +Notation Reference: +@ref{Fonts explained}, +@ref{Entire document fonts}. + +Snippets: +@rlsr{Text}. + +Installed files: +@file{lily/@/font@/-config@/-scheme@/.cc}. + + +@node Entire document fonts +@unnumberedsubsubsec Entire document fonts + +It is possible to change the fonts to be used as the default fonts in +the @emph{roman}, @emph{sans} and @emph{typewriter} font families by +specifying them, in that order, as shown in the example below. For an +explanation of fonts, see @ref{Fonts explained}. + +@cindex font families, setting ++@cindex fonts, changing for entire document ++ +@funindex make-pango-font-tree + +@lilypond[verbatim,quote] +\paper { + myStaffSize = #20 + #(define fonts + (make-pango-font-tree "Times New Roman" + "Nimbus Sans" + "Luxi Mono" + (/ myStaffSize 20))) +} + +\relative c'{ + c1-\markup { + roman, + \sans sans, + \typewriter typewriter. } +} +@end lilypond + +@c we don't do Helvetica / Courier, since GS incorrectly loads +@c Apple TTF fonts + + +@seealso +Notation Reference: +@ref{Fonts explained}, +@ref{Single entry fonts}, +@ref{Selecting font and font size}, +@ref{Font}. +