1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (music-glossary). Glossary of music terms.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
36 Copyright @copyright{} 1999--2009 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2009 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
182 For more information about how this fits with the other
183 documentation, see @rlearning{About the documentation}.
189 @w{@expansion{}@strong{\word\}}@c
192 @expansion{}@ref{\word\, @strong{\word\}}@c
197 * Musical terms A-Z::
198 * Duration names notes and rests::
203 @node Musical terms A-Z
204 @chapter Musical terms A-Z
206 Languages in this order.
208 @item UK - British English (where it differs from American English)
237 * ancient minor scale::
242 * ascending interval::
244 * augmented interval::
281 * compound interval::
285 * conjunct movement::
300 * descending interval::
303 * diminished interval::
307 * disjunct movement::
309 * dissonant interval::
313 * dominant ninth chord::
314 * dominant seventh chord::
316 * dot (augmentation dot)::
318 * double appoggiatura::
320 * double dotted note::
323 * double time signature::
330 * ecclesiastical mode::
337 * equal temperament::
358 * functional harmony::
379 * inverted interval::
394 * long appoggiatura::
401 * meantone temperament::
408 * mensural notation::
413 * metronomic indication::
426 * multi-measure rest::
456 * polymetric time signature::
461 * Pythagorean comma::
492 * sixty-fourth note::
493 * sixty-fourth rest::
524 * thirty-second note::
525 * thirty-second rest::
532 * transposing instrument::
586 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
591 @item A single part notated on a single staff that normally carries parts for
592 two players (e.g. first and second oboes) is to be played by both players.
594 @item Or conversely, that two pitches or parts notated on a staff that normally
595 carries a single part (e.g. first violin) are to be played by different players,
596 or groups of players (@q{desks}).
609 F: accelerando, en accélérant,
610 D: accelerando, schneller werden,
614 FI: accelerando, kiihdyttäen.
616 [Italian: @q{speed up, accelerate}]
634 FI: aksentti, korostus.
636 The stress of one tone over others.
650 @section acciaccatura
654 F: acciaccatura, appoggiature brève,
661 A grace note which takes its time from the rest or note preceding the
662 principal note to which it is attached. The acciaccatura is drawn as a
663 small eighth note (quaver) with a line drawn through the flag and
667 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
673 ES: alteración accidental,
675 F: altération accidentelle,
676 D: Versetzungszeichen, Akzidenz,
677 NL: toevallig (verplaatsings)teken,
679 S: tillfälligt förtecken,
680 FI: tilapäinen etumerkki.
682 An accidental alters a note by:
686 @item Raising its pitch:
688 @item By two semitones (a whole tone)—@notation{double sharp}
689 @item By one semitone—@notation{sharp}
692 @item Lowering its pitch:
694 @item By one semitone—@notation{flat}
695 @item By two semitones (a whole tone)—@notation{double flat}
698 @item Or canceling the effects of the key signature or previous accidentals.
701 @lilypond[quote,notime]
705 \set Staff.extraNatural = ##f
706 gisis1 gis g! ges geses
711 \center-column { double sharp }
717 \center-column { double flat }
723 \override SpacingSpanner
724 #'base-shortest-duration = #(ly:make-moment 1 32)
731 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
744 FI: adagio, hitaasti.
746 [Italian: @q{comfortable, easy}]
750 @item Slow tempo, slower -- especially in even meter -- than @notation{andante}
751 and faster than @notation{largo}.
753 @item A movement in slow tempo, especially the second (slow) movement
754 of sonatas, symphonies, etc.
759 @ref{andante}, @ref{largo}, @ref{sonata}.
767 F: al niente, en mourant,
772 FI: häviten olemattomiin.
774 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
775 that the sound should fade away to nothing.
777 @notation{Al niente} is indicated by circling the tip of the hairpin:
779 @lilypond[quote,relative=2]
780 \override Hairpin #'circled-tip = ##t
786 or with the actual phrase @notation{al niente}:
788 @lilypond[quote,relative=2]
790 \override DynamicTextSpanner #'(bound-details right text) =
791 \markup { \italic { al niente } }
797 Since one does not crescendo @emph{to} nothing, it is not correct to use
798 @notation{al niente} with @notation{crescendo}. Instead, one should use
799 @emph{dal niente} (@notation{@b{from} nothing}).
802 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
810 F: alla breve,à la brève,
817 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
819 Also called @notation{in cut-time}. The name derives from mensural notation,
820 where the @notation{tactus} (or beat) is counted on the semibreve (the modern
821 whole note). Counting @q{on the breve} shifts the tactus to the next longest
822 note value, which (in modern usage) effectively halves all note values.
824 (In mensural notation, breves and semibreves can have a ternary relationship, in
825 which case @notation{alla breve} means thrice (not twice) as fast. In practice,
826 this complication may not have mattered, since Gaffurius's system of multiplex
827 proportions makes it easy to explicitly state which proportion is needed.)
830 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
831 @ref{proportion}, @ref{whole note}.
839 F: allegro, gaiement,
840 D: Allegro, Schnell, Fröhlich, Lustig,
844 FI: allegro, nopeasti.
846 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
847 quick tempo, especially the first and last movements of a sonata.
860 NL: verhoging of verlaging,
865 An alteration is the modification, raising or lowering, of a note's
866 pitch. It is established by an accidental.
868 @c TODO: add second meaning from mensural notation
884 FI: altto, matala naisääni.
886 A female voice of low range (@emph{contralto}). Originally the alto
887 was a high male voice (hence the name), which by the use of falsetto
888 reached the height of the female voice. This type of voice is also
889 known as countertenor.
898 ES: clave de do en tercera,
899 I: chiave di contralto,
900 F: clef d'ut troisième ligne,
901 D: Altschlüssel, Bratschenschlüssel,
907 C clef setting middle C on the middle line of the staff.
918 F: ambitus, tessiture,
923 FI: ambitus, ääniala, soitinala.
925 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
926 Denotes a range of pitches for a given voice in a part of music. It may
927 also denote the pitch range that a musical instrument is capable of playing.
928 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
946 An anacrusis (also known as pickup or upbeat) is an incomplete measure
947 of music before a section of music. It also refers to the initial
948 note(s) of a melody occurring in that incomplete measure.
950 @lilypond[quote,relative=1]
961 @ref{measure}, @ref{meter}.
964 @node ancient minor scale
965 @section ancient minor scale
967 ES: escala menor natural,
968 I: scala minore naturale,
969 F: forme du mode mineur ancien, troisème mode, mode hellénique,
970 D: reines Moll, natürliches Moll,
971 NL: authentieke mineurtoonladder,
974 FI: luonnollinen molliasteikko.
976 Also called @q{natural minor scale}.
978 @lilypond[quote,notime,relative=2]
984 @ref{diatonic scale}.
999 [Italian: present participle of @emph{andare}, @q{to walk}]
1001 Walking tempo/character.
1004 No cross-references.
1008 @section appoggiatura
1012 F: appoggiature, (port de voix),
1013 D: Vorschlag, Vorhalt
1017 FI: appoggiatura, etuhele.
1019 Ornamental note, usually a second, that is melodically connected with
1020 the main note following it. In music before the 19th century
1021 appoggiature were usually performed on the beat, after that mostly
1022 before the beat. While the short appoggiatura is performed as a short
1023 note regardless of the duration of the main note the duration of the
1024 long appoggiatura is proportional to that of the main note.
1026 @lilypond[quote,relative=2]
1029 <d a fis>4_"notation" r
1036 \set Score.measurePosition = #ZERO-MOMENT
1037 <d, a fis>4_"performance" r
1043 An appoggiatura may have more notes preceding the main note.
1045 @lilypond[quote,relative=2]
1048 \grace bes16 as8-"notation" as16 bes as8 g |
1049 \grace { as16[( bes] } <c as>4)
1050 \grace { as16[( bes] } <c as>4) \bar "||"
1052 \grace bes16 as8-"performance" as16 bes as8 g |
1056 as32 bes c8. as32 bes c8.
1060 as16 ~ as8. as16 ~ as8.
1066 No cross-references.
1075 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1076 NL: gebroken akoord,
1077 DK: arpeggio, akkordbrydning,
1079 FI: arpeggio, murtosointu.
1081 [Italian: @q{harp-like, played like a harp}]
1083 @lilypond[quote,line-width=13\cm]
1085 \context Staff = "SA" {
1089 r8 g16 c e g, c e r8 g,16 c e g, c e
1090 r8 a,16 d f a, d f r8 a,16 d f a, d f
1094 \context Staff = "SB" {
1100 r16 e8. ( e4) r16 e8. ( e4)
1101 r16 d8. ( d4) r16 d8. ( d4)
1115 No cross-references.
1119 @section articulation
1128 FI: artikulaatio, ilmaisu.
1130 Articulation refers to notation which indicates how a note or notes
1131 should be played. Slurs, accents, staccato, and legato are all
1132 examples of articulation.
1135 No cross-references.
1138 @node ascending interval
1139 @section ascending interval
1141 ES: intervalo ascendente,
1142 I: intervallo ascendente,
1143 F: intervalle ascendant,
1144 D: steigendes Intervall,
1145 NL: stijgend interval,
1146 DK: stigende interval,
1147 S: stigande intervall,
1148 FI: nouseva intervalli.
1150 A distance between a starting lower note and a higher ending note.
1153 No cross-references.
1156 @node augmented interval
1157 @section augmented interval
1159 ES: intervalo aumentado,
1160 I: intervallo aumentato,
1161 F: intervalle augmenté,
1162 D: übermäßiges Intervall,
1163 NL: overmatig interval,
1164 DK: forstørret interval,
1165 S: överstigande intervall,
1166 FI: ylinouseva intervalli.
1173 @section augmentation
1182 FI: aika-arvojen pidentäminen.
1184 @c TODO: add definition.
1186 This is a placeholder for augmentation (wrt mensural notation).
1189 @ref{diminution}, @ref{mensural notation}.
1197 F: manuscrit, autographe
1198 D: Autograph, Handschrift,
1200 DK: håndskrift, autograf,
1202 FI: käsinkirjoitettu nuotti.
1206 @item A manuscript written in the composer's own hand.
1208 @item Music prepared for photoreproduction by freehand drawing, with
1209 the aid of a straightedge ruler and T-square only, which attempts to
1210 emulate engraving. This required more skill than did engraving.
1215 No cross-references.
1233 @ref{H}, @ref{Pitch names}
1253 ES: barra, línea divisoria,
1254 I: stanghetta, barra (di divisione),
1255 F: barre (de mesure),
1262 A vertical line through the staff (or through multiple staves) that
1263 separates measures. Used very infrequently during the Renaissance (mostly
1264 in secular music, or in sacred music to indicate congruences between parts
1265 in otherwise-unmetered music).
1281 FI: baritoni, keskikorkuinen miesääni.
1283 The male voice intermediate in pitch between the bass and the tenor.
1285 @c F: clef de troisième ligne dropped
1288 @ref{bass}, @ref{tenor}.
1292 @section baritone clef
1294 ES: clave de fa en tercera,
1295 I: chiave di baritono,
1296 F: clef d'ut cinquième ligne, clef de fa troisième,
1297 D: Baritonschlüssel,
1303 C or F clef setting middle C on the upper staff line.
1306 @ref{C clef}, @ref{F clef}.
1319 FI: basso, matala miesääni.
1323 @item The lowest male voice.
1325 @item Sometimes, especially in jazz music, used as an abbreviation for
1337 ES: clave de fa en cuarta,
1339 F: clef de fa quatrième ligne,
1346 A clef setting with middle C on the first top ledger line.
1357 F: ligature, barre (de croches),
1364 Line connecting a series of notes (shorter than a quarter note). The
1365 number of beams determines the note value of the connected notes.
1367 @lilypond[quote,notime,relative=2,line-width=13\cm]
1368 g8-"1/8"[ g g g] s16
1369 g16-"1/16"[ g g g] s
1370 g32-"1/32"[ s g s g s g] s16
1371 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1375 @ref{feathered beam}.
1381 ES: tiempo, parte (de compás)
1384 D: Takt, Taktschlag, Zeit (im Takt),
1390 Note value used for counting, most often half-, fourth-, and eighth notes.
1391 The base counting value and the number of them in each measure is indicated
1392 at the start of the music by the @notation{time signature}.
1394 @lilypond[quote,relative=2]
1397 g4 c b a | g1 \bar "||"
1399 g8 d' c | b c a | g4. \bar "||"
1403 @ref{time signature}.
1407 @section beat repeat
1410 @ref{percent repeat}.
1423 ES: llave, corchete,
1426 D: Klammer, Akkolade,
1427 NL: accolade, teksthaak,
1430 FI: yhdistävä sulkumerkki.
1432 Symbol at the start of a system connecting staves.
1434 Curly braces are used for connecting piano staves, and sometimes for connecting
1435 the staves of like instruments in an orchestral score when written on different
1436 staves (e.g. first and second flutes):
1440 \context Staff = "SA" {
1446 \context Staff = "SB" {
1456 Angular brackets for connecting parts in an orchestral or choral score:
1460 \context Staff = "SA" {
1466 \context Staff = "SB" {
1477 No cross-references.
1502 NL: koper (blazers),
1505 S: brassinstrument, mässingsinstrument,
1508 A family of blown musical instruments made of brass, all using a cup
1509 formed mouth piece. The brass instruments commonly used in a symphony
1510 orchestra are trumpet, trombone, french horn, and tuba.
1513 No cross-references.
1517 @section breath mark
1522 D: Atemzeichen, Trennungszeichen,
1523 NL: repercussieteken,
1524 DK: vejrtrækningstegn,
1528 Indication of where to breathe in vocal and wind instrument parts.
1538 @item US: breve, double-whole note
1539 @item ES: cuadrada, breve
1546 @item FI: brevis, kaksoiskokonuotti
1549 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1551 Mainly used in music from before 1650. In mensural notation, it was a note
1552 of fairly short duration—hence the name, which is Latin for @q{short} or
1553 @q{of short duration}.
1555 @lilypond[quote,notime,relative=2]
1560 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1593 Clef symbol indicating the position of the middle C. Used on all note
1596 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1598 \override Staff.Clef #'full-size-change = ##t
1600 \clef mezzosoprano c1
1606 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1607 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1612 No cross-references.
1625 FI: kadenssi, lopuke.
1628 @ref{harmonic cadence}, @ref{functional harmony}.
1641 FI: kadenssi, lopuke.
1643 An extended, improvisatory style section inserted near the end of
1644 movement. The purpose of a cadenza is to give singers or players a
1645 chance to exhibit their technical skill and -- not last -- their
1646 ability to improvise. Since the middle of the 19th century, however,
1647 most cadenzas have been written down by the composer.
1650 No cross-references.
1665 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1667 The break between two musical phrases, sometimes (but not always) marked by a
1668 rest or a breath mark.
1684 FI: kaanon, tarkka jäljittely.
1700 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1701 viritysjärjestelmässä.
1703 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1704 (1/100 of an equally tempered semitone).
1707 @ref{equal temperament}, @ref{semitone}.
1729 Three or more tones sounding simultaneously. In traditional European music
1730 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1731 (major + minor third) as well as @emph{minor} (minor + major third) chords
1732 may be extended with more thirds. Four-tone @emph{seventh chords} and
1733 five-tone @emph{ninth} major chords are most often used as dominants
1734 (functional harmony). Chords having no third above the lower notes to
1735 define their mood are a special case called @q{open chords}. The lack of
1736 the middle third means their quality is ambivalent -- neither major nor
1739 @lilypond[quote,notime,line-width=13.0\cm]
1743 \set Staff.extraNatural = ##f
1764 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1768 @node chromatic scale
1769 @section chromatic scale
1771 ES: escala cromática,
1773 F: gamme chromatique,
1774 D: chro@-ma@-ti@-sche Tonleiter,
1775 NL: chromatische toonladder,
1776 DK: kromatisk skala,
1778 FI: kromaattinen asteikko.
1780 A scale consisting of all 12 semitones.
1782 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1783 c1 cis d dis e f fis g gis a ais b c
1791 @section chromaticism
1802 Using tones extraneous to a diatonic scale (minor, major).
1805 @ref{diatonic scale}.
1809 @section church mode
1811 ES: modo eclesiástico,
1812 I: modo ecclesiastico,
1813 F: mode ecclésiastique, mode d'église,
1818 FI: moodi, kirkkosävellaji.
1821 @ref{diatonic scale}.
1830 D: Schlüssel, Notenschlüssel,
1834 FI: avain, nuottiavain.
1836 The clef indicates which lines of the staff correspond to which
1837 pitches. The three clef symbols in common use are:
1842 \line { The Treble or G clef: }
1844 \line { The Bass or F clef: }
1846 \line { The Alto or C clef: }
1850 \musicglyph #"clefs.G"
1852 \musicglyph #"clefs.F"
1854 \musicglyph #"clefs.C"
1859 Imagine a large staff of 11 lines centered on middle C, sometimes
1860 called a @q{grand staff}, with the bottom line representing low G and
1861 the top line high F:
1866 %-- Note names above treble staff --%
1868 \set printOctaveNames = ##t
1870 \once \override NoteName #'color = #red
1874 %-- Treble Staff --%
1876 \override Staff.Clef #'stencil = ##f
1882 %-- Alto Staff reduced to a single line on middle C --%
1884 \override Staff.StaffSymbol #'line-count = #1
1885 \override Staff.StaffSymbol #'color = #red
1886 \override Staff.Clef #'stencil = ##f
1889 \override NoteHead #'color = #red
1895 \override Staff.Clef #'stencil = ##f
1904 \override SpacingSpanner
1905 #'base-shortest-duration = #(ly:make-moment 1 1)
1906 \override NonMusicalPaperColumn
1907 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1908 \override BarLine #'stencil = ##f
1912 \remove "Time_signature_engraver"
1918 Staves of five lines are usually used, and the clef superimposed on
1919 them indicates which five lines have been selected from this
1920 @samp{grand staff}. For example, the treble or G clef indicates that
1921 the top five lines have been selected:
1926 %-- Note names above treble staff --%
1928 \set printOctaveNames = ##t
1930 \once \override NoteName #'color = #red
1935 %-- Treble Staff --%
1937 \once \override Staff.Clef #'stencil = ##f
1940 \override Staff.Clef #'full-size-change = ##t
1941 \set Staff.forceClef = ##t
1945 %-- Alto Staff reduced to a single line on middle C --%
1947 \override Staff.StaffSymbol #'line-count = #1
1948 \override Staff.StaffSymbol #'color = #red
1949 \override Staff.Clef #'stencil = ##f
1952 \override NoteHead #'color = #red
1957 \override Staff.Clef #'stencil = ##f
1965 \override SpacingSpanner
1966 #'base-shortest-duration = #(ly:make-moment 2 1)
1967 \override NonMusicalPaperColumn
1968 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1969 \override BarLine #'stencil = ##f
1973 \remove "Time_signature_engraver"
1979 The @q{curl} of the G clef is centered on the line that represents the
1982 In the same way, the bass or F clef indicates that the bottom five
1983 lines have been selected from the @samp{grand staff}, and the alto or
1984 C clef indicates the middle five lines have been selected. This
1985 relationship is shown below, where the notes show an arpeggio on a C
1991 %-- Treble Staff --%
1999 \override Staff.StaffSymbol #'line-count = #1
2000 \once \override Staff.Clef #'stencil = ##f
2005 \revert Staff.StaffSymbol #'stencil
2006 \override Staff.StaffSymbol #'color = #red
2009 \stopStaff \startStaff
2010 \revert Staff.StaffSymbol #'line-count
2011 \revert Staff.StaffSymbol #'color
2012 \stopStaff \startStaff
2013 \override Staff.Clef #'full-size-change = ##t
2014 \set Staff.forceClef = ##t
2029 \override SpacingSpanner #'base-shortest-duration =
2030 #(ly:make-moment 2 1)
2031 \override NonMusicalPaperColumn
2032 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2033 \override BarLine #'stencil = ##f
2037 \remove "Time_signature_engraver"
2044 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2057 FI: klusteri, cluster.
2059 A @emph{cluster} is a range of simultaneously sounding pitches that
2060 may change over time. The set of available pitches to apply usually
2061 depends on the acoustic source. Thus, in piano music, a cluster
2062 typically consists of a continuous range of the semitones as provided
2063 by the piano's fixed set of a chromatic scale. In choral music, each
2064 singer of the choir typically may sing an arbitrary pitch within the
2065 cluster's range that is not bound to any diatonic, chromatic or other
2066 scale. In electronic music, a cluster (theoretically) may even cover
2067 a continuous range of pitches, thus resulting in colored noise, such
2070 Clusters can be denoted in the context of ordinary staff notation by
2071 engraving simple geometrical shapes that replace ordinary notation of
2072 notes. Ordinary notes as musical events specify starting time and
2073 duration of pitches; however, the duration of a note is expressed by
2074 the shape of the note head rather than by the horizontal graphical
2075 extent of the note symbol. In contrast, the shape of a cluster
2076 geometrically describes the development of a range of pitches
2077 (vertical extent) over time (horizontal extent). Still, the
2078 geometrical shape of a cluster covers the area in which any single
2079 pitch contained in the cluster would be notated as an ordinary note.
2081 @lilypond[quote,relative=2]
2082 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2086 No cross-references.
2099 FI: komma, korvinkuultava ero äänenkorkeudessa.
2101 Difference in pitch between a note derived from pure tuning and the
2102 same note derived from some other tuning method.
2105 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2110 @section common meter
2112 Another name for @ref{common time}.
2115 @ref{common time}, @ref{meter}.
2119 @section common time
2130 4/4 time. The symbol, which resembles a capital letter C, comes from
2134 @ref{mensural notation}, @ref{meter}.
2140 ES: intervalo invertido,
2142 F: intervalle complémentaire,
2143 D: Komplementärintervall,
2144 NL: complementair interval,
2145 DK: komplementærinterval,
2146 S: komplementärintervall (?),
2147 FI: täydentävä intervalli.
2150 @ref{inverted interval}.
2153 @node compound interval
2154 @section compound interval
2156 ES: intervalo compuesto,
2157 I: intervallo composto,
2158 F: intervalle composé,
2159 D: weites Intervall,
2160 NL: samengesteld interval,
2161 DK: sammensat interval,
2162 S: sammansatt intervall,
2163 FI: oktaavia laajempi intervalli.
2165 Intervals larger than an octave.
2171 @node compound meter
2172 @section compound meter
2174 ES: compás compuesto, compás de subdivisión ternaria,
2181 FI: kolmijakoinen tahtilaji.
2183 A meter that includes a triplet subdivision within the beat, such as
2187 @ref{meter}, @ref{simple meter}.
2191 @section compound time
2193 ES: compás compuesto, compás de amalgama (def. 2),
2200 FI: yhdistetty tahtilajiosoitus.
2205 A meter that includes a triplet subdivision within the beat: see
2206 @ref{compound meter}.
2209 A time signature that additively combines two or more unequal meters, e.g.,
2210 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2214 @lilypond[quote,line-width=13.0\cm]
2215 #(define ((compound-time one two three num) grob)
2216 (grob-interpret-markup grob
2218 #:override '(baseline-skip . 0)
2221 #:left-column (one num)
2223 #:left-column (two num)
2225 #:left-column (three num)))))
2229 #(set-time-signature 8 8 '(3 2 3))
2230 \override Staff.TimeSignature #'stencil =
2231 #(compound-time "3" "2" "3" "8")
2232 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2233 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2242 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2246 @section concert pitch
2248 ES: en Do, afinación de concierto,
2250 F: tonalité de concert, en ut,
2255 FI: konserttikorkeus.
2257 The pitch at which the piano and other nontransposing instruments play: such
2258 instruments are said to be @q{in C}. The following list includes some (but not
2259 all) instruments that play in concert pitch:
2261 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2263 @multitable {alto trombone} {tenor trombone} {bass trombone}
2264 @headitem Woodwinds @tab Brass @tab Strings
2277 @item tenor trombone
2291 The trombones are a special case: although they are said to be @q{in F} (alto or
2292 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2293 their parts' transposition. (In fact, the trombones' parts are written at
2294 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2295 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2298 Instruments that play @q{in C} but in a different octave than what is written
2299 are, technically speaking, @emph{transposing instruments}:
2303 @item piccolo (plays an octave higher)
2304 @item celesta (plays an octave higher)
2305 @item double bass (plays an octave lower)
2310 @ref{transposing instrument}.
2313 @node conjunct movement
2314 @section conjunct movement
2316 ES: movimiento conjunto,
2318 F: mouvement conjoint,
2319 D: schritt@-weise, stufenweise Bewegung,
2320 NL: stapsgewijze, trapsgewijze beweging,
2321 DK: trinvis bevægelse,
2323 FI: asteittainen liike.
2325 Progressing melodically by intervals of a second, as contrasted with
2326 @emph{disjunct movement}.
2328 @lilypond[quote,relative=2,line-width=13.0\cm]
2331 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2335 @ref{disjunct movement}.
2348 FI: konsonanssi, sopusointi.
2371 @section copying music
2373 A music copyist did fast freehand scores and parts on preprinted staff
2374 lines for performance. Some of their conventions (e.g., the placement
2375 of note heads on stems) varied slightly from those of engravers. Some
2376 of their working methods were superior and could well be adopted by
2379 @c Copying music required more skill than engraving. Flagged for NPOV
2382 No cross-references.
2386 @section counterpoint
2395 FI: kontrapunkti, ääni ääntä vastaan.
2397 From Latin @emph{punctus contra punctum}, note against note. The
2398 combination into a single musical fabric of lines or parts which have
2399 distinct melodic significance. A frequently used polyphonic technique
2400 is imitation, in its strictest form found in the canon needing only
2401 one part to be written down while the other parts are performed with a
2402 given displacement. Imitation is also the contrapuntal technique
2403 used in the @emph{fugue} which, since the music of the baroque era,
2404 has been one of the most popular polyphonic composition methods.
2406 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2408 \context Staff = SA \relative c' {
2412 << \context Voice = rha {
2414 r1 | r2 r8 g'8 bes d, |
2415 cis4 d r8 e!16 f g8 f16 e |
2416 f8 g16 a bes8 a16 g a8
2418 \context Voice = rhb {
2424 \context Staff = SB \relative c' {
2427 << \context Voice = lha {
2429 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2430 r8 a16 g f8 g16 a bes8 g e! cis' |
2433 \context Voice = lhb {
2442 No cross-references.
2446 @section countertenor
2451 D: Countertenor, Kontratenor,
2454 S: kontratenor, counter tenor,
2467 D: Crescendo, lauter werden,
2471 FI: cresendo, voimistuen.
2473 Increasing volume. Indicated by a rightwards opening horizontal wedge
2474 (hairpin) or the abbreviation @notation{cresc.}.
2476 @lilypond[quote,relative=2]
2479 g4\< a b c | d1\! \bar "|."
2483 @ref{decrescendo}, @ref{hairpin}.
2491 F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
2498 In a separate part notes belonging to another part with the purpose of
2499 hinting when to start playing. Usually printed in a smaller type.
2502 No cross-references.
2511 D: Notenzeiger, Custos,
2517 A custos (plural: custodes) is a staff symbol that appears at the end of a
2518 staff line with monophonic musical contents (i.e., with a single voice). It
2519 anticipates the pitch of the first note of the following line and thus helps
2520 the player or singer to manage line breaks during performance, which
2521 enhances the readability of a score.
2523 Custodes were frequently used in music notation until the 16th century.
2524 There were different appearences for different notation styles. Nowadays,
2525 they have survived only in special forms of musical notation such as the
2526 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2528 @lilypond[quote,ragged-right]
2531 \override Staff.Custos #'neutral-direction = #DOWN
2532 \override Staff.Custos #'style = #'hufnagel
2539 \consists "Custos_engraver"
2546 No cross-references.
2579 F: da capo, depuis le commencement,
2580 D: da capo, von Anfang,
2584 FI: da capo, alusta.
2586 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2587 the beginning to the end or to a certain place marked @emph{fine}.
2590 No cross-references.
2603 FI: tyhjästä ilmaantuen.
2605 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2606 that the sound should gradually increase from nothing.
2617 F: dal segno, depuis le signe,
2618 D: dal segno, ab dem Zeichen,
2622 FI: dal segno, lähtien merkistä.
2624 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2625 another place frequently near the beginning marked by a sign
2628 @lilypond[quote,relative=2]
2636 \musicglyph #"scripts.segno"
2642 No cross-references.
2646 @section decrescendo
2650 D: Decrescendo, leiser werden,
2654 FI: decresendo, hiljentyen.
2656 Decreasing tone volume. Indicated by a leftwards opening horizontal
2657 wedge (hairpin) or the abbreviation @notation{decresc.}.
2659 @lilypond[quote,relative=2]
2662 d4\> c b a | g1 \! \bar "|."
2666 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2669 @node descending interval
2670 @section descending interval
2672 ES: intervalo descendente,
2673 I: intervallo discendente,
2674 F: intervalle descendant,
2675 D: fallendes Intervall, absteigendes Intervall,
2676 NL: dalend interval,
2677 DK: faldende interval,
2678 S: fallande intervall,
2679 FI: laskeva intervalli.
2681 A distance between a starting higher note and a lower ending note.
2684 No cross-references.
2687 @node diatonic scale
2688 @section diatonic scale
2690 ES: escala diatónica,
2692 F: gamme diatonique,
2693 D: diatonische Tonleiter,
2694 NL: diatonische toonladder,
2695 DK: diatonisk skala,
2697 FI: diatoninen asteikko.
2699 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2700 played on the white keys of a piano keybord are diatonic. These scales
2701 are sometimes called, somewhat inaccurately, @q{church modes}).
2703 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2704 but also to some extent in newer jazz music.
2706 @lilypond[quote,notime,relative=1]
2710 e^"~~ S" f g a b^"~~ S" c
2718 @lilypond[quote,notime,relative=1]
2722 e^"~~ S" f g a b^"~~ S" c d
2730 @lilypond[quote,notime,relative=1]
2733 e1^"~~ S" f g a b^"~~ S" c d e
2741 @lilypond[quote,notime,relative=1]
2745 b^"~~ S" c d e^"~~ S" f
2753 @lilypond[quote,notime,relative=2]
2757 b^"~~ S" c d e^"~~ S" f g
2765 @lilypond[quote,notime,relative=2]
2769 b^"~~ S" c d e^"~~ S" f g a
2777 @lilypond[quote,notime,relative=2]
2780 b1^"~~ S" c d e^"~~ S" f g a b
2788 From the beginning of the 17th century the scales used in European
2789 compositional music are primarily the major and the minor scales. In
2790 the harmonic minor scale type an augmented second (A) occurs between
2791 the 6th and 7th tone.
2793 @lilypond[quote,notime,relative=1]
2797 e^"~~ S" f g a b^"~~ S" c
2805 @lilypond[quote,notime,relative=2]
2809 b^"~~ S" c d e^"~~ S" f g a
2812 "Ancient (or Natural) minor"
2817 @lilypond[quote,notime,relative=2]
2821 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2829 @lilypond[quote,notime,relative=2]
2833 b^"~~ S" c d e fis gis^"~~ S" a
2836 "Melodic minor ascending"
2841 @lilypond[quote,notime,relative=3]
2845 g! f!^"~~ S" e d c^"~~ S" b a
2848 "Melodic minor descending"
2854 @ref{semitone}, @ref{whole tone}.
2858 @section didymic comma
2861 @ref{syntonic comma}.
2864 @node diminished interval
2865 @section diminished interval
2867 ES: intervalo disminuido,
2868 I: intervallo diminuito,
2869 F: intervalle diminué,
2870 D: vermindertes Intervall,
2871 NL: verminderd interval,
2872 DK: formindsket interval,
2873 S: förminskat intervall,
2874 FI: vähennetty intervalli.
2885 F: diminuendo, en diminuant,
2890 FI: diminuendo, hiljentyen.
2906 FI: aika-arvojen tihennys.
2908 This is a stub for diminution (@emph{wrt} mensural notation).
2911 @ref{augmentation}, @ref{mensural notation}.
2930 @node disjunct movement
2931 @section disjunct movement
2933 ES: movimiento disjunto,
2935 F: mouvement disjoint,
2936 D: sprunghafte Bewegung,
2937 NL: sprongsgewijze beweging,
2938 DK: springende bevægelse,
2939 S: hoppande rörelse,
2940 FI: melodian hyppivä liike.
2942 Progressing melodically by intervals larger than a major second, as contrasted
2943 with conjunct movement.
2945 @lilypond[quote,relative=1]
2949 a4. gis8 b a e cis |
2955 @ref{conjunct movement}.
2961 Another name for @ref{dissonant interval}.
2964 @ref{dissonant interval}, @ref{harmony}.
2967 @node dissonant interval
2968 @section dissonant interval
2970 ES: intervalo disonante, disonancia,
2971 I: intervallo dissonante, dissonanza,
2972 F: intervalle dissonant, dissonance,
2974 NL: dissonant interval, dissonant,
2975 DK: dissonerende interval, dissonans,
2977 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2995 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2996 vertical stroke through part or all of the staff that serves to
2997 structure a chant into phrases and sections. There are four types:
3001 @item @emph{divisio minima}, a short pause
3003 @item @emph{divisio maior}, a medium pause
3005 @item @emph{divisio maxima}, a long pause
3007 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3008 section in a long antiphonal or responsorial chant.
3012 TODO: musical example here?
3015 No cross-references.
3030 Indicator for a indeterminately rising pitch bend. Compare with
3031 @emph{glissando}, which has determinate starting and ending pitches.
3034 @ref{fall}, @ref{glissando}.
3047 FI: dominantti, huippusointu.
3049 The fifth @emph{scale degree} in @emph{functional harmony}.
3052 @ref{functional harmony}, @ref{scale degree}.
3055 @node dominant ninth chord
3056 @section dominant ninth chord
3058 ES: acorde de novena de dominante,
3059 I: accordo di nona di dominante,
3060 F: accord de neuvième de dominante,
3061 D: Domi@-nant@-nonen@-akkord,
3062 NL: dominant noon akkoord,
3063 DK: dominantnoneakkord,
3064 S: dominantnonackord,
3065 FI: dominanttinoonisointu.
3068 @ref{chord}, @ref{functional harmony}.
3071 @node dominant seventh chord
3072 @section dominant seventh chord
3074 ES: acorde de séptima de dominante,
3075 I: accordo di settima di dominante,
3076 F: accord de septième de dominante,
3077 D: Dominantseptakkord,
3078 NL: dominant septiem akkoord,
3079 DK: dominantseptimakkord,
3080 S: dominantseptimackord,
3081 FI: dominanttiseptimisointu.
3084 @ref{chord}, @ref{functional harmony}.
3088 @section dorian mode
3093 D: dorisch, dorischer Kirchenton,
3094 NL: dorische toonladder,
3100 @ref{diatonic scale}.
3103 @node dot (augmentation dot)
3104 @section dot (augmentation dot)
3107 I: punto (di valore),
3109 D: Punkt (Verlängerungspunkt),
3116 @ref{dotted note}, @ref{note value}.
3120 @section dotted note
3122 ES: nota con puntillo,
3126 NL: gepuncteerde noot,
3129 FI: pisteellinen nuotti.
3135 @node double appoggiatura
3136 @section double appoggiatura
3138 ES: apoyatura doble,
3139 I: appoggiatura doppia,
3140 F: appoggiature double,
3141 D: doppelter Vorschlag,
3142 NL: dubbele voorslag,
3143 DK: dobbelt forslag,
3145 FI: kaksoisappogiatura, kaksoisetuhele.
3151 @node double bar line
3152 @section double bar line
3158 NL: dubbele maatstreep,
3161 FI: kaksoistahtiviiva.
3163 Indicates the end of a section within a movement.
3166 No cross-references.
3169 @node double dotted note
3170 @section double dotted note
3172 ES: nota con doble puntillo,
3173 I: nota doppiamente puntata,
3174 F: note doublement pointée,
3175 D: doppelt punktierte Note,
3176 NL: dubbelgepuncteerde noot,
3177 DK: dob@-belt@-punk@-te@-ret node,
3178 S: dub@-bel@-punk@-te@-rad not,
3179 FI: kaksoispisteellinen nuotti.
3186 @section double flat
3195 FI: kaksoisalennusmerkki.
3202 @section double sharp
3204 ES: doble sostenido,
3209 DK: dob@-belt@-kryds,
3211 FI: kaksoisylennysmerkki.
3217 @node double time signature
3218 @section double time signature
3227 FI: kaksois-aika-arvomerkintä.
3230 @ref{polymetric time signature}.
3234 @section double trill
3240 NL: dubbele triller,
3245 A simultaneous trill on two notes, usually in the distance of a third.
3248 No cross-references.
3252 @section duple meter
3256 F: métrique binaire,
3257 D: in zwei, grader Takt,
3258 NL: tweedelige maatsoort,
3293 FI: kesto, aika-arvo.
3302 ES: dinámica, matices,
3305 D: Dynamik, Lautstärke,
3309 FI: äänen voimakkuusvaihtelu, dynamiikka.
3311 The aspect of music relating to degrees of loudness, or changes from
3312 one degree to another. The terms, abbreviations, and symbols used to
3313 indicate this information are called dynamic marks.
3316 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3338 @node ecclesiastical mode
3339 @section ecclesiastical mode
3342 @ref{church mode}, @ref{diatonic scale}.
3346 @section eighth note
3353 @item D: Achtel, Achtelnote
3354 @item NL: achtste noot
3355 @item DK: ottendedelsnode
3356 @item S: åttondelsnot
3357 @item FI: kahdeksasosanuotti
3365 @section eighth rest
3368 @item UK: quaver rest
3369 @item ES: silencio de corchea
3370 @item I: pausa di croma
3371 @item F: demi-soupir
3372 @item D: Achtelpause
3373 @item NL: achtste rust
3374 @item DK: ottendedelspause
3375 @item S: åttonddelspaus
3376 @item FI: kahdeksasosatauko
3386 @c TODO: add languages
3395 FI: tavujen yhdistäminen yhteen ääneen.
3397 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3398 @emph{συναλοιφην} @q{to smear together}].
3400 The singing of several syllables on a single note. Elision may be indicated
3401 by a lyric tie, which looks like (and serves the same function) as a musical
3409 @section embellishment
3421 D: Notenstich, Notendruck
3427 Engraving means incising or etching a metal plate for printing.
3428 Photoengraving means drawing music with ink in a manner similar to
3429 drafting or engineering drawing, using similar tools.
3431 The traditional process of music printing is done through cutting in a
3432 plate of metal. Now also the term for the art of music typesetting.
3435 No cross-references.
3450 Two notes, intervals, or scales are enharmonic if they have different
3451 names but equal pitch.
3453 @lilypond[quote,notime,line-width=13.0\cm]
3457 gis1 as <des g,!> <cis g!>
3461 "g sharp " "a flat " "dim fifth " "augm fourth"
3467 No cross-references.
3470 @node equal temperament
3471 @section equal temperament
3473 ES: temperamento igual,
3474 I: temperamento equabile,
3475 F: tempérament égal,
3476 D: gleichschwebende Stimmung,
3477 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3478 DK: ligesvævende temperatur,
3479 S: liksvävande temperatur,
3482 A tuning system that divides the octave into 12 equal semitones (each of
3483 which is precisely equal to 100 cents).
3486 @ref{cent}, @ref{semitone}, @ref{temperament}.
3489 @node expression mark
3490 @section expression mark
3493 I: segno d'espressione,
3494 F: signe d'expression, indication de nuance,
3496 NL: voordrachtsteken,
3497 DK: foredragsbetegnelse,
3498 S: föredragsbeteckning,
3499 FI: nyanssiosoitus, esitysmerkki.
3501 Performance indications concerning:
3505 @item volume, dynamics (for example, @notation{forte},
3506 @notation{crescendo}),
3508 @item tempo (for example, @notation{andante}, @notation{allegro}).
3513 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3517 @section extender line
3519 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3521 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3528 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3529 extends text (without indicating the musical @emph{function} of that text).
3531 Used in many contexts, for example:
3535 @item In vocal music to indicate the syllable for a melisma. Called
3536 @q{extension} in the
3537 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3541 In figured bass to indicate that:
3545 @item The extended note should be held through a change in harmony, when applied
3546 to one figure --OR--
3547 @item The chord thus represented should be held above a moving bass line, when
3548 applied to more than one figure.
3549 @item These uses were not completely standardized, and some composers used a
3550 single extender line to indicate the latter case.
3555 In string music to indicate that all notes in the passage thus indicated should
3556 be played on the same string. On the violin, for example, a series of notes to
3557 be played on the G string would be indicated @notation{sul G}, another series to be
3558 played on the D string would be indicated @notation{sul D}, and so on.
3561 With an octave mark to indicate that a passage is to be played higher or lower
3562 by the given number of octaves.
3567 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3568 @ref{octave marking}.
3601 The position between the dots of the key symbol is the line of the F
3602 below central@w{ }C. Used on the third, fourth and fifth note line.
3603 A digit@w{ }8 above the clef symbol indicates that the notes must be
3604 played an octave higher (for example, bass recorder) while 8@w{ }below
3605 the clef symbol indicates playing an octave lower (for example, on the
3608 @lilypond[quote,notime,line-width=13.0\cm]
3611 \override Staff.Clef #'full-size-change = ##t
3634 @ref{baritone clef}, @ref{strings}.
3649 Indicator for a indeterminately falling pitch bend. Compare with
3650 @emph{glissando}, which has determinate starting and ending pitches.
3653 @ref{doit}, @ref{glissando}.
3656 @node feathered beam
3657 @section feathered beam
3661 F: ligature en soufflet, lien de croches en soufflet,
3662 D: gespreizter Balken,
3668 A type of beam used to indicate that a small group of notes should be
3669 played at an increasing or decreasing tempo -- depending on the
3670 direction of @q{feathering} -- but without changing the overall tempo
3674 Internals Reference: @ruser{Manual beams}
3680 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3684 F: point d'orgue, point d'arrêt,
3689 FI: fermaatti, pidäke.
3691 Prolonged note or rest of indefinite duration.
3693 @lilypond[quote,relative=2]
3700 No cross-references.
3720 @section figured bass
3723 I: basso continuo, basso numerato,
3724 F: basse chiffrée, basse continue,
3725 D: Generalbass, bezifferter Bass,
3726 NL: basso continuo, becijferde bas
3729 FI: kenraalibasso, numeroitu basso.
3731 Also called @q{thorough bass}.
3733 A method of indicating an accompaniment part by the bass notes only,
3734 together with figures designating the chief intervals and chords to be
3735 played above the bass notes.
3737 @lilypond[quote,line-width=13.0\cm]
3739 \new Staff = "rh" \with {
3741 \override StaffSymbol #'staff-space = #(magstep -3)
3747 \context Voice = "rha" {
3752 \context Voice = "rhb" {
3754 <bes g>8 as <as f> g <g es> f <d f> es
3759 \new Staff = "lh" \relative c' {
3762 es8 c d bes c as bes16 as g f
3766 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3772 @ref{chord}, @ref{interval}.
3787 Figures to the side or above the note that methodically indicate which
3788 fingers to use while playing a passage.
3791 No cross-references.
3798 I: coda (uncinata), bandiera,
3806 Ornament at the end of the stem of a note used for notes with values less
3807 than a quarter note. The number of flags determines the note value.
3809 @lilypond[quote,notime,relative=2]
3832 An articulation for string players that means the note or passage is to
3833 be played in harmonics.
3839 @item A duct flute similar to the recorder.
3841 @item An organ stop of flute scale at 1' or 2' pitch.
3846 @ref{articulation}, @ref{harmonics}.
3882 FI: forte, voimakkaasti.
3886 Abbreviated @notation{@b{f}}. Variants include:
3889 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3890 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3894 No cross-references.
3913 @node Frenched score
3914 @section Frenched score
3916 ES: partitura a la francesa,
3923 FI: partituuri francesan tapaan.
3925 A @q{condensed} score, produced by omitting staves for instruments that are not
3926 playing at the moment, and by moving up additional systems from following pages
3927 to take up the space thus liberated, which reduces the total number of pages
3928 used to print the work.
3930 The specific rules for @q{frenching} a score differ from publisher to publisher.
3931 If you are producing scores for eventual publication by a commercial publisher,
3932 you may wish to procure a copy of their style manual.
3935 @ref{Frenched staff}.
3938 @node Frenched staff
3939 @section Frenched staff
3941 ES: pentagrama a la francesa,
3948 FI: karsittu nuotinnus.
3950 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3951 Frenched staff has unneeded measures or sections removed. This is useful
3952 for producing, for example, an @emph{ossia} staff.
3958 @node Frenched staves
3959 @section Frenched staves
3961 Plural of @ref{Frenched staff}.
3980 @node functional harmony
3981 @section functional harmony
3983 ES: armonía funcional,
3984 I: armonia funzionale,
3985 F: étude des functions,
3987 NL: functionele harmonie,
3988 DK: funktionsanalyse, funktionsharmonik,
3990 FI: harmoniajärjestelmä.
3992 A system of harmonic analysis.
3994 It is based on the idea that, in a given key, there are only three
3995 functionally different chords: tonic (T, the chord on the first note of the
3996 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3997 chord on the fifth note). Others are considered to be variants of the base
4000 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4002 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4005 <g e c>1 <a f d> <b g e>
4006 <c a f> <d b g> <e c a> <f d b>
4010 \markup { D \translate #'(-2 . 0) | }
4016 No cross-references.
4043 D: G-Schlüssel, Violinschlüssel,
4049 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4050 second note lines. A digit 8 above the clef symbol indicates that the notes
4051 must be played an octave higher while 8 below the clef symbol indicates
4052 playing or singing an octave lower (used most frequently to notate the tenor
4053 part in modern choral scores).
4055 @lilypond[quote,notime]
4057 \override Staff.Clef #'full-size-change = ##t
4058 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4069 "french violin clef"
4077 No cross-references.
4090 FI: glissando, liukuen.
4092 Letting the pitch slide fluently from one note to the other.
4095 No cross-references.
4099 @section grace notes
4101 ES: notas de adorno,
4103 F: ornement, fioriture,
4104 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4110 Notes printed in small types to indicate that their time values are not
4111 counted in the rhythm of the bar.
4114 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4119 @section grand staff
4121 ES: sistema de piano,
4123 F: système [de portées], accolade,
4124 D: Akkolade, Klaviersystem,
4127 S: ackolad, böjd klammer,
4128 FI: kaksoisnuottiviivasto.
4130 A combination of two staves with a brace. Usually used for piano music.
4146 FI: grave, raskaasti.
4148 [Italian] Slow, solemn.
4151 No cross-references.
4175 Letter name used for @notation{B natural} in German and Scandinavian
4176 usage. In the standard usage of these countries, @notation{B} means
4180 @ref{Pitch names}, @ref{B}.
4186 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4189 @lilypond[quote,relative=2]
4196 @ref{crescendo}, @ref{decrescendo}.
4207 @item D: Halbe, halbe Note,
4208 @item NL: halve noot,
4211 @item FI: puolinuotti.
4222 @item UK: minim rest,
4223 @item ES: silencio de blanca,
4224 @item I: pausa di minima,
4225 @item F: demi-pause,
4226 @item D: halbe Pause,
4227 @item NL: halve, rust,
4228 @item DK: halvnodespause,
4230 @item FI: puolitauko.
4237 @node harmonic cadence
4238 @section harmonic cadence
4240 ES: cadencia (armónica),
4241 I: cadenza (armonica),
4242 F: cadence harmonique,
4244 NL: harmonische cadens,
4245 DK: harmonisk kadence,
4246 S: (harmonisk) kadens,
4247 FI: harmoninen kadenssi.
4249 A sequence of chords that terminates a musical phrase or section.
4253 \context Staff = "SA" \relative c'' {
4256 \partial 4 <c g e>4 |
4257 <c a f> <b g d> <c g e>2
4260 \context Staff = "SB" \relative c {
4262 \partial 4 c4 | f, g c2
4274 @ref{functional harmony}.
4280 ES: sonidos del flautín,
4282 F: flageolet, sons harmoniques,
4287 FI: harmoniset äänet, huiluäänet.
4289 The general class of pitches produced by sounding the second or higher
4290 harmonic of a tone producer: string, column of air, and so on.
4292 On stringed instruments, these pitches sound rather flute-like; hence,
4293 their name in languages other than English. They are produced by
4294 lightly touching the string at a node for the desired mode of vibration
4295 while it is being bowed or plucked.
4297 For instruments of the violin family, there are two types of harmonics:
4298 natural harmonics, which are those played on the open string; and
4299 artificial harmonics, which are produced on stopped strings.
4302 No cross-references.
4311 D: Harmonie, Zusammenklang,
4315 FI: harmonia, yhteissointi.
4317 Tones sounding simultaneously. Two note harmonies fall into the
4318 categories @emph{consonances} and @emph{dissonances}.
4322 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4334 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4335 <g a>1_"second " s s
4336 <g f'>_"seventh " s s
4340 For harmony that uses three or more notes, see @ref{chord}.
4358 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4360 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4361 time normally occupied by two. The resulting rhythm can be expressed in modern
4362 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4363 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4364 as a special effect (or @emph{affect}) at cadences.
4366 For example, this phrase in 6/4 time
4368 @lilypond[quote,relative=1,line-width=13.0\cm]
4371 c2. e | d2 c d | c1. \bar "||"
4374 may be thought of having alternating time signatures
4376 @lilypond[quote,relative=1,line-width=13.0\cm]
4386 and is therefore a polymeter (second definition) of considerable antiquity.
4389 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4402 FI: homofonia, yksiäänisyys.
4404 Music in which one voice leads melodically supported by the other voices in
4405 the same rhythm (more or less). In contrast to @emph{polyphony}.
4428 FI: säkeiden tavumäärät.
4430 A group or list of numbers that indicate the number of syllables in a line
4431 of a hymn's verse. Different hymnals have different ways of noting the hymn
4432 meter: for example, consider a hymn that has four lines in two couplets
4433 alternating regularly between eight and seven syllables. The @emph{English
4434 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4435 or 8@w{ }7@w{ }8@w{ }7.
4437 Some frequently-used hymn meters have traditional names:
4440 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4441 @item 86.86 is called Common Meter (CM or C.M.)
4442 @item 88.88 is called Long Meter (LM or L.M.)
4445 Some hymns and their tunes are doubled versions of a simpler meter: for
4446 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4447 87.87D. The traditional names above also have doubled versions:
4450 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4451 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4452 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4456 No cross-references.
4469 FI: intervalli, kahden sävelen korkeusero.
4471 Difference in pitch between two notes. Intervals may be diminished, minor,
4472 perfect, major, or augmented. The augmented fourth and the diminished fifth are
4473 identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
4474 consist of three whole tones. The addition of such two intervals forms an
4477 @lilypond[quote,notime,line-width=13.0\cm]
4479 \context Voice \relative c'' {
4516 \context Lyrics \lyrics {
4518 "second " "second " "second " "second "
4519 "third " "third " "third " "third "
4520 "fourth " "fourth " "fourth "
4521 "fifth " "fifth " "fifth "
4522 "sixth " "sixth " "sixth " "sixth "
4523 "seventh" "seventh" "seventh" "seventh"
4524 "octave " "octave " "octave "
4530 @ref{enharmonic}, @ref{whole tone}.
4545 When a chord sounds with a bass note that differs from the root of the
4546 chord, it is said to be @emph{inverted}. The number of inversions that a
4547 chord can have is one fewer than the number of constituent notes. For
4548 example, triads (which have three constituent notes) can have three
4549 positions, two of which are inversions:
4553 The root note is in the bass, and above that are the third and the fifth. A
4554 triad built on the first scale degree, for example, is marked @notation{I}.
4556 @item First inversion
4557 The third is in the bass, and above it are the fifth and the root. This
4558 creates an interval of a sixth and a third above the bass note, and so is
4559 marked in figured Roman notation as @notation{6/3}. This is commonly
4560 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4561 characteristic interval of the inversion, and so always implies
4564 @item Second inversion
4565 The fifth is in the bass, and above it are the root and the third. This
4566 creates an interval of a sixth and a fourth above the bass note, and so is
4567 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4568 unstable chord position.
4572 No cross-references.
4575 @node inverted interval
4576 @section inverted interval
4578 ES: intervalo invertido,
4579 I: intervallo rivolto,
4580 F: intervalle renversé,
4581 D: umgekehrtes Intervall,
4582 NL: interval inversie,
4583 DK: omvendingsinterval,
4584 S: intervallets omvändning,
4585 FI: käänteisintervalli.
4587 The difference between an interval and an octave.
4589 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4590 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4591 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4592 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4596 No cross-references.
4599 @node just intonation
4600 @section just intonation
4602 ES: entonación justa,
4603 I: intonazione giusta,
4604 F: intonation juste,
4611 Tuning system in which the notes are obtained by adding and subtracting
4612 natural fifths and thirds.
4630 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4631 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4634 @ref{chromatic scale}, @ref{key signature}.
4638 @section key signature
4640 ES: armadura (de la clave),
4641 I: armatura di chiave,
4642 F: armure, armature [de la clé],
4643 D: Vorzeichen, Tonart,
4644 NL: toon@-soort (voortekens),
4647 FI: sävellajiosoitus.
4649 The sharps or flats appearing at the beginning of each staff indicating the
4656 @node laissez vibrer
4657 @section laissez vibrer
4668 [French: @q{Let vibrate}] Most frequently associated with harp
4669 parts. Marked @notation{l.v.} in the score.
4672 No cross-references.
4680 F: largo, large, ample,
4681 D: Largo, Langsam, Breit,
4685 FI: largo, hitaasti, leveästi.
4687 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4688 expressiveness. @emph{Larghetto} is less slow than largo.
4692 @section leading note
4703 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4704 called because of its strong tendency to @q{lead up} (resolve upwards)
4705 to the tonic scale degree.
4708 @ref{scale degree}, @ref{semitone}.
4712 @section ledger line
4714 ES: línea adicional,
4715 I: tagli addizionali,
4716 F: ligne supplémentaire,
4723 A ledger line is an extension of the staff.
4725 @lilypond[quote,notime,relative=2]
4732 No cross-references.
4741 D: legato, gebunden,
4747 To be performed (a) without any perceptible interruption between the
4748 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4749 @notation{portato}, or (d) @notation{staccato}.
4751 @lilypond[quote,notime,line-width=13.0\cm]
4753 \context Staff \relative c'' {
4754 c4-( d e-) \bar "||"
4755 c4-- d-- e-- \bar "||"
4756 c4-.-( d-. e-.-) \bar "||"
4757 c4-. d-. e-. \bar "||"
4773 @section legato curve
4776 @ref{slur}, @ref{legato}.
4798 A ligature is a coherent graphical symbol that represents at least two
4799 distinct notes. Ligatures originally appeared in the manuscripts of
4800 Gregorian chant notation around the 9th century to denote ascending or
4801 descending sequences of notes. In early notation, ligatures were used for
4802 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4803 performance in the sense of articulation. With the invention of the metric
4804 system of the white mensural notation, the need for ligatures to denote such
4805 patterns disappeared.
4808 @ref{mensural notation}.
4815 ES: estanque de nenúfares,
4816 I: stagno del giglio,
4817 F: étang de nénuphars, étang de nymphéas,
4819 NL: le@-lie@-vij@-ver,
4824 A pond with lilies floating in it.
4826 Also, the name of a music typesetting program.
4829 No cross-references.
4838 D: Linie, Notenlinie,
4842 FI: viiva, nuottiviiva.
4858 FI: kirjoitetussa äänenkorkeudessa.
4860 [Italian: @q{place}] Instruction to play the following passage at the
4861 written pitch. Cancels octave mark (q.v.).
4864 @ref{octave mark}, @ref{octave marking}.
4867 @node long appoggiatura
4868 @section long appoggiatura
4870 ES: apoyatura larga,
4871 I: appoggiatura lunga,
4872 F: appoggiature longue,
4877 FI: pitkä appoggiatura, pitkä etuhele.
4887 @item US: long, longa,
4890 @item F: longa, longue,
4898 Note value: twice the length of a @notation{breve}.
4900 @lilypond[quote,notime,relative=2]
4901 \override NoteHead #'style = #'mensural
4906 @ref{breve}, @ref{note value}.
4912 ES: ligadura de letra,
4914 F: ligature de mots,
4919 FI: sidonta sanoituksessa.
4921 @c TODO: add languages
4930 ES: letra (de la canción),
4933 D: Liedtext, Gesangtext,
4942 No cross-references.
4958 @ref{diatonic scale}.
4961 @node major interval
4962 @section major interval
4964 ES: intervalo mayor,
4965 I: intervallo maggiore,
4966 F: intervalle majeur,
4967 D: großes Intervall,
4971 FI: suuri intervalli.
4989 Note value: twice the length of a @notation{longa}.
4991 The maxima is the largest duration in use during the 15th and 16th centuries.
4992 Like the longa, the maxima can be either two or three times as long as the
4993 @notation{longa} (called @notation{binary} and @notation{ternary},
4994 respectively). By the late 15th century, most composers used the smaller
4995 proportion by default.
4998 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
5001 @node meantone temperament
5002 @section meantone temperament
5004 ES: afinación mesotónica,
5005 I: accordatura mesotonica,
5006 F: tempérament mésotonique,
5007 D: mitteltönige Stimmung,
5008 NL: middenstemming, middentoonstemming,
5009 DK: middeltonetemperatur,
5010 S: medeltonstemperatur,
5011 FI: keskisävelviritys.
5013 Temperament yielding acoustically pure thirds by decreasing the natural
5014 fifth by 16@w{ }cents. Due to the non-circular character of this
5015 temperament only a limited set of keys are playable. Used for tuning
5016 keyboard instruments for performance of pre-1650 music.
5019 @ref{cent}, @ref{temperament}.
5034 A group of beats (units of musical time) the first of which bears an accent.
5035 Such groups in numbers of two or more recur consistently throughout the
5036 composition and are separated from each other by bar lines.
5039 @ref{bar line}, @ref{beat}, @ref{meter}.
5042 @node measure repeat
5043 @section measure repeat
5046 @ref{percent repeat}.
5053 I: mediante, modale,
5063 @item The third @b{scale degree}.
5065 @item A @emph{chord} having its base tone a third from that of another
5066 chord. For example, the tonic chord may be replaced by its lower
5067 mediant (variant tonic).
5072 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5085 FI: melisma, laulettavan tavun sävelkuvio.
5087 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5088 on one syllable, especially as applied to liturgical chant.
5091 No cross-references.
5095 @section melisma line
5097 @c TODO: add languages
5099 ES: línea de melisma,
5101 F: trait de mélisme, trait de tenue,
5109 @ref{extender line}.
5112 @node melodic cadence
5113 @section melodic cadence
5119 @node mensural notation
5120 @section mensural notation
5122 @c TODO: add languages
5124 ES: notación mensural,
5126 F: notation mensurale,
5131 FI: mensuraalinuotinnus.
5133 A system of duration notation whose principles were first established in the
5134 mid-13th century, and that (with various changes) remained in use until about
5135 1600. As such, it is the basis for the notation of rhythms in Western musical
5138 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5139 of the notation's principles, so the notation of this earliest period is called
5140 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5141 and semibreve -- each of which was normally equivalent to three of the next
5144 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5145 added several note values (the minim, semiminim and fusa) and extended Franco's
5146 principles to govern the relationship between these values. They also put the
5147 duple division of note values on an equal footing with the earlier (preferred)
5150 TODO: continue description of French and Italian black notation, and the
5151 relationship betwixt them.
5153 @b{White or void mensural notation}
5155 In the 15th century, hollow (or void) notes began to substitute for the earlier
5156 solid black ones, which were then free to assume the function of red (or
5157 colored) notes in the earlier notation. ...
5159 TODO: add to definition (including summary info on proportional notation)
5162 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5163 @c TODO: more cross-references?
5166 @node mensuration sign
5167 @section mensuration sign
5169 @c TODO: add languages
5173 F: signe de mensuration,
5180 The ancestor of the time signature, mensuration signs were used to indicate the
5181 relationship between two sets of note durations—specifically, the ratio of
5182 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5183 (called @notation{prolatio}).
5185 Each ratio was represented with a single single sign, and was either
5186 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5187 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5188 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5189 represented by a complete circle; applied to the @emph{prolatio}, it was called
5190 @emph{major} and was represented by a dot in the middle of the sign. The binary
5191 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5192 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5193 @emph{minor} and was represented by the lack of an internal dot. There are four
5194 possible combinations, which can be represented in modern time signatures with
5195 and without reduction of note values. (These signs are hard-coded in LilyPond
5199 @item perfect @emph{tempus} with major @emph{prolatio}
5200 Indicated by a complete circle with an internal dot. In modern time signatures,
5203 @item 9/4, with reduction or
5204 @item 9/2, without reduction
5207 @item perfect @emph{tempus} and minor @emph{prolatio}
5208 Indicated by a complete circle without an internal dot. In modern time
5209 signatures, this equals:
5211 @item 3/2, with reduction or
5212 @item 3/1, without reduction
5215 @item imperfect @emph{tempus} and major @emph{prolatio}
5216 Indicated by an incomplete circle with an internal dot. In modern time
5217 signatures, this equals:
5219 @item 6/4, with reduction or
5220 @item 6/2, without reduction
5223 @item imperfect @emph{tempus} and minor @emph{prolatio}
5224 Indicated by an incomplete circle without an internal dot. In modern time
5225 signatures, this equals:
5227 @item 4/4, with reduction or
5228 @item 2/1, without reduction
5232 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5233 with note values reduced from the original semibreve to a modern quarter note.
5234 Being doubly imperfect, this sign represented the (theoretically)
5235 least-preferred mensuration, but it was actually used fairly often.
5237 This system extended to the ratio of longer note values to each other:
5241 @item maxima to longa, called:
5245 @item @notation{modus maximorum},
5246 @item @notation{modus major}, or
5247 @item @notation{maximodus})
5251 @item longa to breve, called:
5255 @item @notation{modus longarum},
5256 @item @notation{modus minor}, or
5257 @item @notation{modus}
5263 In the absence of any other indication, these modes were assumed to be
5264 binary. The mensuration signs only indicated tempus and prolatio, so
5265 composers needed another way to indicate these longer ratios (called modes.
5266 Around the middle of the 15th century started to use groups of rests at the
5267 beginning of the staff, preceding the mensuration sign.
5270 Two mensuration signs have survived to the present day: the C-shaped sign,
5271 which originally designated @notation{tempus imperfectum} and
5272 @notation{prolatio minor} now stands for @notation{common time}; and the
5273 slashed C, which designated the same with @notation{diminution} now stands
5274 for @notation{cut-time} (essentially, it has not lost its original meaning).
5277 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5278 @c TODO: more cross-references?
5286 F: indication de mesure, mesure,
5293 The pattern of note values and accents in a composition or a section thereof.
5294 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5295 by grouping beats and by subdividing the primary beat.
5297 @b{By grouping beats}:
5301 @item @b{duple}: groups of two.
5302 @item @b{triple}: groups of three.
5303 @item @b{quadruple}: groups of four. A special case of duple meter.
5304 @item @b{quintuple}: groups of five beats.
5305 @item @b{sextuple} meter: groups of six. A special case of:
5309 @item duple meter, subdivided in three; or
5310 @item triple meter, subdivided in two.
5314 @item @b{septuple} meter: groups of seven.
5319 Other than triple meter and its subdivided variants (see below), meters that
5320 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5321 frequently used prior to the 20th Century.
5323 @b{By subdividing the primary beat}:
5327 @item simple: subdivided in groups of two.
5331 @item duple: 2/2, 2/4, 2/8
5332 @item triple: 3/2, 3/4, 3/8
5333 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5337 @item compound: subdivided in groups of three.
5343 @item quadruple: 12/8
5349 Time signatures are placed at the beginning of a composition (or section) to
5350 indicate the meter. For instance, a piece written in simple triple meter with a
5351 beat on each quarter note is conventionally written with a time signature of
5352 3/4. Here are some combinations of the two classifications above:
5354 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5356 @lilypond[quote,line-width=13.0\cm]
5360 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5363 Simple triple meter:
5365 @lilypond[quote,line-width=13.0\cm]
5369 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5372 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5374 @lilypond[quote,line-width=13.0\cm]
5378 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5381 Simple quintuple meter (B. Marcello, 1686-1739):
5383 @lilypond[quote,line-width=13.0\cm]
5387 r4 cis8 bis ais4 dis c8 ais |
5388 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5391 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5392 the source, with sharps in the accompaniment where the voice has flats and
5395 Compound duple meter (unknown):
5397 @lilypond[quote,line-width=13.0\cm]
5401 f8 f g a bes16 a g f |
5402 g8 g bes a c16 a bes g
5406 Compound triple meter (J.S. Bach, 1685-1750):
5408 @lilypond[quote,line-width=13.0\cm]
5412 r8 g'( a) b( d c) c( e d) |
5413 d( g fis) g( d b) g( a b)
5417 Compound quadruple meter (P. Yon, 1886-1943):
5419 @lilypond[quote,line-width=13.0\cm]
5423 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5424 e4 e8 fis( gis) a b4.~ b4 b8
5428 @b{@q{Monometer} vs Polymeter}
5430 TODO: add information from discussion on lilypond-user related to polymeter.
5433 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5448 Device used to indicate the exact tempo of a piece.
5450 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5451 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5452 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5453 followed acknowledged Winkler as the creator, but by then Mälzel had already
5454 sold many of them, and people had taken to calling it a Mälzel Metronome.
5457 @ref{metronome mark}.
5460 @node metronome mark
5461 @section metronome mark
5463 ES: indicación metronómica,
5464 I: indicazione metronomica,
5465 F: indication métronomique,
5467 NL: metronoom aanduiding,
5469 S: metronomangivelse,
5470 FI: metronomiosoitus.
5472 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5473 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5480 @node metronomic indication
5481 @section metronomic indication
5484 @ref{metronome mark}
5497 FI: kohtalaisen, melko.
5499 [Italian: @q{medium}]
5501 Used to qualify other indications, such as:
5507 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5509 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5515 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5522 No cross-references.
5526 @section mezzo-soprano
5537 The female voice between soprano and contralto.
5540 @ref{soprano}, @ref{contralto}.
5549 D: eingestrichenes@w{ }c,
5551 DK: enstreget@w{ }c,
5552 S: ettstruket@w{ }c,
5555 First C below the 440 Hz A.
5557 @lilypond[quote,notime,relative=1]
5558 \override Staff.Clef #'full-size-change = ##t
5565 No cross-references.
5581 @ref{diatonic scale}.
5584 @node minor interval
5585 @section minor interval
5587 ES: intervalo menor,
5588 I: intervallo minore,
5589 F: intervalle mineur,
5590 D: kleines Intervall,
5594 FI: pieni intervalli.
5600 @node mixolydian mode
5601 @section mixolydian mode
5604 @ref{diatonic scale}.
5613 D: Kirchentonart, Modus,
5617 FI: moodi, kirkkosävelasteikko.
5620 @ref{church mode}, @ref{diatonic scale}.
5633 FI: modulaatio, sävellajin vaihdos.
5635 Moving from one @ref{key} to another. For example, the second subject
5636 of a @ref{sonata form} movement modulates to the dominant key if the
5637 key is major and to the @ref{relative key} if the key is minor.
5640 No cross-references.
5652 FI: mordent, korukuvio.
5675 FI: teema, sävelaihe.
5677 The briefest intelligible and self-contained fragment of a musical
5680 @lilypond[quote,line-width=13.0\cm]
5683 \set Score.implicitTimeSignatureVisibility = #all-invisible
5684 \override Score.TimeSignature #'break-visibility = #all-invisible
5687 \partial 8 g16\startGroup fis |
5688 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5689 g8 g,16 a b8 cis d16 s
5693 \Staff \consists "Horizontal_bracket_engraver"
5699 No cross-references.
5714 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5715 several -- more or less -- independent pieces called movements.
5718 No cross-references.
5721 @node multi-measure rest
5722 @section multi-measure rest
5724 ES: compases de espera,
5726 F: pause multiple, mesure à compter,
5728 D: mehrtaktige Pause, Kirchenpause,
5731 FI: usean tahdin mittainen tauko.
5733 Multi-measure rests are conventionally typeset with a combination of
5734 longa, breve and whole rests for shorter and a long horizontal bar for
5735 longer spans of rest, with a number above to indicate the duration (in
5736 measures) of the rest. The former style is called @q{Kirchenpausen} in
5737 German, as a reminiscence of its use in Renaissance vocal polyphony.
5739 @lilypond[quote,relative=2]
5741 \set Score.skipBars = ##t
5744 \set Score.skipBars = ##t
5750 @ref{longa}, @ref{breve}.
5759 D: Auflösungszeichen,
5760 NL: herstellingsteken,
5761 DK: op@-løsningstegn,
5762 S: återställningstecken,
5769 @node neighbor tones
5770 @section neighbor tones
5772 @c TODO: add definition.
5784 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5823 Notes are signs by means of which music is fixed in writing. The term is also
5824 used for the sound indicated by a note, and even for the key of the piano
5825 which produces the sound. However, a clear distinction between the terms tone
5826 and @ref{note} is strongly recommended. Briefly, one sees a note,
5830 No cross-references.
5837 I: testa, testina, capocchia,
5845 A head-like sign which indicates pitch by its position on a @notation{staff}
5846 provided with a @notation{clef}, and duration by a variety of shapes such as
5847 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5848 For percussion instruments (often having no defined pitch) the note head may
5849 indicate the instrument.
5852 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5865 ES: valor (duración),
5867 F: durée, valeur (d'une note),
5872 FI: nuotin aika-arvo.
5874 Note values (durations) are measured as fractions—in modern usage, one-half—of
5875 the next higher note value. The longest duration in current use is the
5876 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5877 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5878 or @notation{maxima} (eight whole notes) may be found.
5880 As used in mensural notation, this fraction was more flexible: it could also
5881 be one-third the higher note value. Composers indicated which proportions
5882 to use with various signs—two of which survive to the present day: the
5883 C-shaped sign for @notation{common time}, and the slashed C for
5884 @notation{alla breve} or @notation{cut-time}.
5886 @c TODO -- add maxima to this example, in a way that doesn't break it.
5888 @lilypond[quote,notime,line-width=13.0\cm]
5890 \override NoteHead #'style = #'mensural
5891 a\longa_"longa" a\breve_"breve"
5892 \revert NoteHead #'style
5893 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5894 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5897 @c TODO -- add maxima rest to this example
5899 @lilypond[quote,notime,line-width=13.0\cm]
5901 r\longa_"longa" r\breve_"breve"
5902 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5903 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5906 An augmentation dot after a note increases its duration by half; a second dot
5907 increases it by half of the first addition (that is, by a fourth of the original
5908 duration). More dots can be used to add further halved fractions of the
5909 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5911 @lilypond[quote,line-width=13.0\cm]
5914 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5915 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5918 Alternatively note values may be subdivided by other ratios. Most common is
5919 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5920 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5921 dotted notes are also frequently used.
5923 @lilypond[quote,line-width=13.0\cm]
5926 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5927 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5931 @lilypond[quote,line-width=13.0\cm]
5934 \times 3/2 {g4_"duplets" g} |
5936 \times 6/4 {g8_"quadruplets" g g g} |
5937 g8 g g g g4 \bar "||"
5949 @ref{octave marking}.
5964 The interval of an octave, sometimes abbreviated @notation{8ve}.
5966 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5967 bracket, or @notation{loco} see octave marking.
5970 @ref{interval}, @ref{octave marking}.
5974 @section octave mark
5976 ES: indicación de octava,
5978 F: indication d'octave,
5985 The phrase, abbreviation, or other mark used (with or without an extender line
5986 or bracket) to indicate that the music is to be played in a different octave:
5990 @item @notation{15ma}: play two octaves higher
5991 @item @notation{8va}: play one octave higher
5992 @item @notation{8vb}: play one octave lower
5993 @item @notation{8va} (written below the passage): unusual, same as
5995 @item @notation{15vb}: play two octaves lower
5996 @item @notation{15va} (written below the passage): unusual, same as
6001 For longer passages, it may be more practical to mark the octave change at the
6002 beginning with a phrase (see the list below for examples), but without a bracket
6003 or extender line. Then, when the music returns to the written pitch, the octave
6004 change is cancelled with the word @notation{loco} (q.v.).
6006 To parallel the list above:
6010 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6011 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6012 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6013 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6017 In the phrases above, @notation{quindicesima} is sometimes replaced with
6018 @notation{quindecima}, which is Latin.
6020 The music on an entire staff can be marked to be played in a different octave by
6021 putting a small 8 or 15 above or below the clef at the beginning. This octave
6022 mark can be applied to any clef, but it is most frequently used with the G and F
6026 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6029 @node octave marking
6030 @section octave marking
6039 FI: oktaavamerkintä.
6041 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6042 that it is to be played in a different octave. If applied to the clef at the
6043 beginning of the staff, all music on that staff is to played at the indicated
6046 For a list of the specific marks used, see @ref{octave mark}.
6049 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6053 @section octave sign
6063 I: abbellimento, fioriture,
6064 F: agrément, ornement,
6065 D: Verzierung, Ornament,
6071 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6072 with the diatonic @ref{second} above it. In the music from the
6073 middle of the 19th century and onwards the trill is performed with the main
6074 note first while in the music from the preceding baroque and classic periods
6075 the upper note is played first.
6077 @lilypond[quote,line-width=13.0\cm]
6079 \context Staff = sa {
6081 c2._"pre-1850" b4\trill | c1 \bar "||"
6082 c2._"post-1850" b4\trill | c1 \bar "||"
6086 c2. c32 b c b c b c b | c1
6087 c2. b32 c b c \times 4/5 { b c b c b } | c1
6092 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6094 @emph{prall} (inverted mordent).
6096 @lilypond[quote,line-width=13.0\cm]
6098 \context Staff = sa {
6100 a4_"turn" b\turn c2 \bar "||"
6101 g4_"mordent" a b\mordent a \bar "||"
6102 e'4_"prall" d\prall c2 \bar "||"
6108 e'4 e32[ d e d ~ d8] c2
6114 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6122 F: ossia, alternative,
6127 FI: ossia, vaihtoehtoinen esitystapa.
6129 Ossia (otherwise) marks an alternative. It is an added staff or piano
6130 score, usually only a few measures long, which presents another version
6131 of the music, for example for small hands.
6134 No cross-references.
6147 FI: stemma, instrumenttiosuus.
6151 @item In instrumental or choral music, the music for a single
6152 instrument or voice.
6154 @item in contrapuntal music, a single melodic line in the contrapuntal
6177 @node percent repeat
6178 @section percent repeat
6180 LilyPond-specific term to indicate the repetition of a musical expression on a
6181 single staff, as opposed to the more usual definition of repeat, which affects
6182 all parts. The musical expression can be anything from a single note or note
6183 pattern to one or more measures. There are other names for this symbol:
6188 @item slash mark, or slash repeat
6190 @item measure (or multi-measure) repeat
6194 @lilypond[quote,relative=2,line-width=13.0\cm]
6196 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6197 \repeat percent 2 { c4 e g b_"Measure repeat" }
6198 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6203 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6204 Vermont Music Dictionary}.
6213 D: Schlagzeug, Schlagwerk,
6219 A family of musical instruments which are played on by striking or
6220 shaking. Percussion instruments commonly used in a symphony orchestra are
6221 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6222 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6226 No cross-references.
6229 @node perfect interval
6230 @section perfect interval
6232 ES: intervalo justo,
6233 I: intervallo giusto,
6234 F: intervalle juste,
6235 D: reines Intervall,
6239 FI: puhdas intervalli.
6257 A natural division of the melodic line, comparable to a sentence of speech.
6273 FI: fraseeraus, jäsentäminen.
6275 The clear rendering in musical performance of the @notation{phrases} of the
6276 melody. Phrasing may be indicated by a @notation{slur}.
6279 @ref{phrase}, @ref{slur}.
6294 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6295 @emph{mezzo piano} (@b{mp}) medium soft.
6298 No cross-references.
6306 F: anacrouse, levée,
6331 @item The perceived quality of a sound that is primarily a function of its
6332 fundamental frequency.
6334 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6336 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6337 association of a particular frequency with a particular pitch name, e.g., c' =
6353 NL: pizzicato, getokkeld,
6356 FI: pizzicato, näppäillen.
6358 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6362 No cross-references.
6368 ES: compás polimétrico,
6375 FI: monia tahtiosoituksia sisältävä.
6379 @item The @emph{simultaneous} use of two or more meters, in two or more
6382 @item The @emph{successive} use of different meters in one or more parts.
6387 @ref{polymetric} (adj.)
6400 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6402 Characterized by @emph{polymeter}: using two or more metric frameworks
6403 simultaneously or in alternation.
6406 @ref{polymeter} (noun)
6409 @node polymetric time signature
6410 @section polymetric time signature
6412 ES: compás polimétrico,
6419 FI: vaihtelevan tahtiosoitusmerkintä.
6421 A time signature that indicates regularly alternating polymetric time.
6433 D: Polyphonie, Mehrstimmigkeit,
6437 FI: polyfonia, moniäänisyys.
6439 Music written in a combination of several simultaneous voices (parts)
6440 of a more or less pronounced individuality.
6449 [Italian: past participle of @emph{portare}, @q{to carry}]
6451 A stroke in which each of several notes is separated slightly within a slur,
6452 without changing the bow's direction. It is used for passages of a
6453 @notation{cantabile} character.
6464 F: presto, très rapide, enlevé,
6465 D: Presto, Sehr schnell,
6466 NL: presto, Sehr schnell,
6469 FI: presto, hyvin nopeasti.
6473 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6474 denotes the highest possible degree of speed.
6477 No cross-references.
6492 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6493 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6498 @item A ratio that expresses the relationship between the note values that
6499 follow with those that precede;
6501 @item A ratio between the note values of a passage and the @q{normal}
6502 relationship of note values to the metrical pulse. (A special case of the
6507 The most common proportions are:
6510 @item 2:1 (or simply 2), expressed by a vertical line through the
6511 mensuration sign (the origin of the @notation{alla breve} time signature),
6512 or by turning the sign backwards
6513 @item 3:1 (or simply 3)
6514 @item 3:2 (@emph{sesquialtera})
6517 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6520 @item 1:2 cancels 2:1
6521 @item 1:3 cancels 3:1
6522 @item 2:3 cancels 3:2
6526 Gaffurius enumerates five basic types of major:minor proportions and their
6530 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6531 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6533 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6534 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6535 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6537 @item Superpartiens, if the major number is one less than twice the minor
6538 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6540 @item Multiplexsuperparticular, if the major number is one more than twice the
6541 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6544 @item Multiplexsuperpartiens, if the major number is one less than some other
6545 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6546 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6550 He then continues to subdivide each type in various ways. For the multiplex
6551 proportions, for example, he indicates how many times greater the major number
6556 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6557 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6559 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6562 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6563 Example: 4:1, 8:2, and 12:3
6567 Other proportions were possible, but whether they were frequently used is
6572 @item 33:9, @emph{triplasuperbipartientetertias}
6573 @item 51:15, @emph{triplasuperbipartientequintas}
6577 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6580 @ref{mensural notation}.
6583 @node Pythagorean comma
6584 @section Pythagorean comma
6586 ES: coma pitagórica,
6587 I: comma pitagorico,
6588 F: comma pythagoricien,
6589 D: Pythagoräisches Komma,
6590 NL: komma van Pythagoras,
6591 DK: pythagoræisk komma,
6592 S: pytagoreiskt komma,
6593 FI: pytagorinen komma.
6595 Originally, the interval by which the sum of six whole tones exceeds the octave
6596 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6598 Modern acoustical theory defines it as the interval by which twelve fifths
6599 exceed seven octaves. To put it another way: A sequence of fifths that starts
6600 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6601 than the C obtained by adding 7 octaves. The difference between those two
6602 pitches is the Pythagorean comma.
6605 @ref{cent}, @ref{temperament}.
6636 The quality of a triad is determined by the precise arrangement of its
6637 intervals. Tertian triads can be described as a series of three notes. The
6638 first element is the root note (or simply @q{root}) of the chord, the second
6639 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6640 the chord. These are described below:
6642 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6643 @headitem Chord name
6644 @tab Component intervals
6647 @item major triad @tab major third/perfect fifth
6649 @tab C, CM, Cma, Cmaj, CΔ
6650 @item minor triad @tab minor third/perfect fifth
6652 @tab Cm, Cmi, Cmin, C-
6653 @item augmented triad @tab major third/augmented fifth
6656 @item diminished triad @tab minor third/diminished fifth
6658 @tab Cm(♭5), Cº, Cdim
6661 There are various types of seventh chords depending on the quality of the
6662 original chord and the quality of the seventh added.
6664 Five common types of seventh chords have standard symbols. The chord quality
6665 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6666 and D^m7 are all identical). The last three chords are not commonly used
6674 @section quarter note
6679 @item I: semiminima, nera
6681 @item D: Viertel, Viertelnote
6683 @item DK: fjerdedelsnode
6684 @item S: fjärdedelsnot
6685 @item FI: neljäsosanuotti
6693 @section quarter rest
6696 @item UK: crotchet rest
6697 @item ES: silencio de negra
6698 @item I: pausa di semiminima
6700 @item D: Viertelpause
6702 @item DK: fjerdedelspause
6703 @item S: fjärdedelspaus
6704 @item FI: neljäsosatauko
6712 @section quarter tone
6714 ES: cuarto de tonno,
6721 FI: neljännessävelaskel.
6723 An interval equal to half a semitone.
6732 ES: cinquillo, quintillo.
6746 @section rallentando
6750 F: rallentando, en ralentissant,
6751 D: rallentando, langsamer werden,
6755 FI: rallerdando, hidastuen.
6757 [Italian] A performance indication, abbreviated "rall.".
6764 @section relative key
6767 I: tonalità relativa,
6768 F: tonalité relative,
6770 NL: paralleltoonsoort,
6771 DK: paralleltoneart,
6773 FI: rinnakkaissävellaji.
6775 Major and minor keys that have the same key signature.
6777 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6779 es1_"e flat major" f g as bes c d es
6783 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6785 c1_"c minor" d es f g a! b! c
6790 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6798 F: barre de reprise,
6801 DK: gen@-ta@-gel@-se,
6805 @lilypond[quote,relative=2,line-width=13.0\cm]
6817 No cross-references.
6832 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6833 @c specify the rest's value.
6853 @item Metrical rhythm in which every time value is a multiple or
6854 fraction of a fixed unit of time, called @ref{beat}, and in which the
6855 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6856 The basic scheme of time values is called @ref{meter}.
6858 @item Measured rhythm which lacks regularly recurrent accent. In
6859 modern notation such music appears as a free alternation of different
6862 @item Free rhythm, i.e., the use of temporal values having no common
6863 metrical unit (beat).
6868 No cross-references.
6876 F: ritardando, en ralentissant,
6877 D: ritardando, langsamer werden,
6881 FI: ritardando, hidastuen,
6883 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6886 No cross-references.
6894 F: ritenuto, en retenant,
6899 FI: ritenuto, hidastaen.
6901 Immediate reduction of speed.
6904 No cross-references.
6917 FI: asteikko, sävelasteikko.
6920 @ref{diatonic scale}.
6924 @section scale degree
6926 ES: grado (de la escala),
6927 I: grado della scala,
6928 F: degré [de la gamme],
6930 NL: trap [van de toonladder],
6933 FI: sävelaste, asteikon sävel.
6935 Names and symbols used in harmonic analysis to denote tones of the
6936 scale as roots of chords. The most important are degrees I = tonic
6937 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6939 @lilypond[quote,notime,line-width=13.0\cm]
6941 \new Staff \relative c' {
6945 << { I II III IV V VI VII I }
6952 @ref{functional harmony}.
6960 F: à cordes ravallées,
6965 FI: epätavallinen viritys.
6967 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6968 tuning of stringed instruments, particularly lutes or violins. Used
6973 @item facilitate pitch combinations that would otherwise be difficult
6976 @item alter the characteristic timbre of the instrument, for example,
6977 to increase brilliance
6979 @item reinforce certain sonorities or tonalities by making them
6980 available on open strings
6982 @item imitate other instruments
6988 Tunings that could be called @var{scordatura} first appeared early in
6989 the 16th Century and became commonplace in the 17th.
6992 No cross-references.
7000 F: partition, conducteur (full score),
7001 D: Partitur (full score), Klavierauszug (vocal score),
7007 A copy of orchestral, choral, or chamber music showing what each
7008 instrument is to play, each voice to sing, having each part arranged
7009 one underneath the other on different staves @ref{staff}.
7012 No cross-references.
7027 The interval between two neighboring tones of a scale. A diatonic scale
7028 consists of alternating semitones and whole tones, hence the size of a
7029 second depends on the scale degrees in question.
7032 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7039 @item US: whole note,
7043 @item D: Ganze, ganze Note,
7044 @item NL: hele noot,
7047 @item FI: kokonuotti.
7050 Note value: called @notation{whole note} in the US.
7052 The semibreve is the basis for the @notation{tactus} in mensural notation
7053 (i.e. music written before ca. 1600).
7056 @ref{mensural notation}, @ref{note value}.
7071 The interval of a minor second. The (usually) smallest interval in European
7072 composed music. The interval between two neighboring tones on the piano
7073 keyboard -- including black and white keys -- is a semitone. An octave may
7074 be divided into 12@w{ }semitones.
7076 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7077 g1 gis s a bes s b! c
7081 @ref{interval}, @ref{chromatic scale}.
7104 @ref{sextuplet}, @ref{note value}.
7158 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7159 is to be played in the same manner (i.e. with the same articulations, dynamics,
7160 etc.) as the music that precedes it.
7163 TODO: Where else could I refer the reader?
7167 @section simple meter
7169 ES: compás simple, compás de subdivisión binaria,
7176 FI: kaksijakoinen tahtiosoitus.
7178 A meter in which the basic beat is subdivided in two: that is, a meter
7179 that does not include triplet subdivision of the beat.
7182 @ref{compound meter}, @ref{meter}.
7185 @node sixteenth note
7186 @section sixteenth note
7189 @item UK: semiquaver
7190 @item ES: semicorchea
7192 @item F: double croche
7193 @item D: Sechzehntel, Sechzehntelnote
7194 @item NL: zestiende noot
7195 @item DK: sekstendedelsnode
7196 @item S: sextondelsnot
7197 @item FI: kuudestoistaosanuotti
7204 @node sixteenth rest
7205 @section sixteenth rest
7208 @item UK: semiquaver rest
7209 @item ES: silencio de semicorchea
7210 @item I: pausa di semicroma
7211 @item F: quart de soupir
7212 @item D: Sechzehntelpause
7213 @item NL: zestiende rust
7214 @item DK: sekstendedelspause
7215 @item S: sextondelspaus
7216 @item FI: kuudestoistaosatauko
7239 @node sixty-fourth note
7240 @section sixty-fourth note
7243 @item UK: hemidemisemiquaver
7245 @item I: semibiscroma
7246 @item F: quadruple croche
7247 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7248 @item NL: vierenzestigste noot
7249 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7250 @item S: sextiofjärdedelsnot
7251 @item FI: kuudeskymmenesneljäsosanuotti
7258 @node sixty-fourth rest
7259 @section sixty-fourth rest
7262 @item UK: hemidemisemiquaver rest
7263 @item ES: silencio de semifusa
7264 @item I: pausa di semibiscroma
7265 @item F: seizième de soupir
7266 @item D: Vierundsechzigstelpause
7267 @item NL: vierenzestigste rust
7268 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7269 @item S: sextiofjärdedelspaus
7270 @item FI: kuudeskymmenesneljäsosatauko
7278 @section slash repeat
7281 @ref{percent repeat}.
7287 ES: ligadura (de expresión),
7288 I: legatura (di portamento or espressiva),
7290 D: Bogen (Legatobogen, Phrasierungsbogen),
7291 NL: fraseringsboog, legatoboog, streekboog,
7292 DK: legatobue, fraseringsbue,
7296 A slur above or below a group of notes indicates that they are to be
7297 played @ref{legato}, e.g., with one stroke of the violin bow or with
7298 one breath in singing.
7301 No cross-references.
7305 @section solmization
7314 FI: suhteelliset laulunimet.
7316 General term for systems of designating the degrees of the
7317 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7318 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7322 @ref{scale}, @ref{scale degree}.
7337 In its present-day meaning a sonata denotes an instrumental
7338 composition for piano or for some other instrument with piano
7339 accompaniment, which consists of three or four independant pieces,
7343 No cross-references.
7347 @section sonata form
7351 F: [en] forme de sonate,
7353 NL: hoofdvorm, sonatevorm,
7358 A form used frequently for single movements of the @emph{sonata},
7359 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7360 three sections called @notation{exposition}, @notation{development} and
7361 @notation{recapitulation}. In the exposition the composer introduces some
7362 musical ideas, consisting of a number of themes; in the development section the
7363 composer @emph{develops} this material, and in the recapitulation the composer
7364 repeats the exposition, with certain modifications. The exposition contains a
7365 number of themes that fall into two groups, often called first and second
7366 subject. Other melodies occurring in each group are considered as continuations
7367 of these two. The second theme is in another key, normally in the key of the
7368 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7369 @notation{relative key} if the tonic is @notation{minor}.
7372 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7373 @ref{symphony}, @ref{tonic}.
7393 FI: sopraano, korkea naisääni.
7395 The highest female voice.
7398 No cross-references.
7406 F: staccato, piqué, détaché,
7411 FI: staccato, lyhyesti, terävästi.
7413 Playing the note(s) short. Staccato is indicated by a dot above or
7414 below the note head.
7416 @lilypond[quote,relative=2]
7420 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7426 No cross-references.
7434 I: pentagramma, rigo (musicale),
7436 D: Notensystem, Notenzeile,
7437 NL: (noten)balk, partij,
7442 A staff (plural: staves) is a series of (normally five) horizontal
7443 lines upon and between which the musical notes are written, thus
7444 indicating (in connection with a @ref{clef}) their pitch. Staves for
7445 @ref{percussion} instruments may have fewer lines.
7448 No cross-references.
7464 D: Hals, Notenhals, Stiel,
7470 Vertical line above or below a @ref{note head} shorter than a
7473 @lilypond[quote,notime,relative=2]
7474 \set Score.autoBeaming = ##f
7490 F: stringendo, en accélérant,
7495 FI: kiihdyttäen, nopeuttaen.
7497 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7516 A family of stringed musical instruments played with a bow. Strings
7517 commonly used in a symphony orchestra are violin, viola, violoncello,
7521 No cross-references.
7525 @section strong beat
7530 D: betonter Taktteil oder Taktschlag,
7532 D: betonet taktslag,
7533 S: betonat taktslag,
7534 FI: tahdin vahva isku.
7537 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7541 @section subdominant
7550 FI: subdominantti, alidominantti.
7552 The fourth @notation{scale degree}.
7555 @ref{functional harmony}, @ref{scale degree}.
7570 The sixth @notation{scale degree}.
7573 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7586 FI: subtoonika, alitoonika.
7588 The seventh @ref{scale degree}.
7591 @ref{functional harmony}, @ref{scale degree}.
7597 ES: sobre la cuerda de Sol,
7600 D: auf G, auf der G-Saite,
7606 Indicates that the indicated passage (or note) should be played on the
7610 No cross-references.
7614 @section superdominant
7625 The sixth @ref{scale degree}.
7628 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7643 The second @ref{scale degree}.
7646 @ref{functional harmony}, @ref{scale degree}.
7655 D: Sinfonie, Symphonie,
7661 A symphony may be defined as a @emph{sonata} for orchestra.
7669 @section syncopation
7680 Any deliberate upsetting of the normal pulse of @ref{meter},
7681 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7682 rhythm rests upon the grouping of equal beats into groups of two or
7683 three, with a regularly recurrent accent on the first beat of each
7684 group. Any deviation from this scheme is felt as a disturbance or
7685 contradiction between the underlaying (normal) pulse and the actual
7688 @lilypond[quote,relative=1]
7691 e16 c'8 e,16 c'8 e,16 c' ~
7696 No cross-references.
7699 @node syntonic comma
7700 @section syntonic comma
7702 ES: coma sintónica, coma de Dídimo,
7703 I: comma sintonico (o didimico),
7704 F: comma syntonique,
7705 D: syntonisches Komma,
7706 NL: syntonische komma,
7707 DK: syntonisk komma,
7708 S: syntoniskt komma,
7709 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7710 Pytagorisessa viritysjärjestelmässä.
7712 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7713 by which the ditone exceeds the pure major third obtained by Pythagorean
7714 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7716 Modern acoustical theory defines it as the interval by which four fifths exceed
7717 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7719 This comma is also known as the comma of Didymus, or didymic comma.
7722 @ref{Pythagorean comma}
7731 D: Notensystem, Partitur,
7735 FI: nuottijärjestelmä.
7737 The collection of staves (@notation{staff}), two or more, as used for writing
7738 down of keyboard, chamber, choral, or orchestral music.
7745 @section temperament
7750 D: Stimmung, Tem@-pe@-ra@-tur,
7751 NL: stemming, temperatuur,
7754 FI: viritysjärjestelmä.
7756 Systems of tuning in which the intervals deviate from the acoustically
7760 @ref{meantone temperament}, @ref{equal temperament}.
7763 @node tempo indication
7764 @section tempo indication
7766 ES: indicación de tempo,
7767 I: indicazione di tempo,
7768 F: indication de tempo,
7769 D: Zeitmaß, Tempobezeichnung,
7770 NL: tempo aanduiding,
7775 The rate of speed of a composition or a section thereof, ranging from the
7776 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7777 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7781 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7795 FI: tenori, korkea miesääni.
7797 The highest @q{natural} male voice (apart from @notation{countertenor}).
7822 ES: subrayado (tenuto),
7831 An indication that a particular note should be held for the whole
7832 length, although this can vary depending on the composer and era.
7835 No cross-references.
7854 @node thirty-second note
7855 @section thirty-second note
7858 @item UK: demisemiquaver
7861 @item F: triple croche
7862 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7863 @item NL: twee@-endertig@-ste (32e) noot
7864 @item DK: toogtredivtedelsnode
7865 @item S: trettiotvåondelsnot
7866 @item FI: kolmaskymmeneskahdesosanuotti
7873 @node thirty-second rest
7874 @section thirty-second rest
7877 @item UK: demisemiquaver rest
7878 @item ES: silencio de fusa
7879 @item I: pausa di biscroma
7880 @item F: huitième de soupir
7881 @item D: Zweiunddreissigstel@-pause
7882 @item NL: twee@-endertig@-ste (32e) rust
7883 @item DK: toogtredivtedelspause
7884 @item S: trettiotvåondelspaus
7885 @item FI: kolmaskymmeneskahdesosatauko
7893 @section thorough bass
7902 ES: ligadura de prolongación, ligadura de unión,
7903 I: legatura (di valore),
7904 F: liaison (de tenue),
7905 D: Haltebogen, Bindebogen,
7906 NL: overbinding, bindingsboog,
7908 S: bindebåge, överbindning,
7911 A curved line, identical in appearance with the @ref{slur}, which
7912 connects two succesive notes of the same pitch, and which has the
7913 function of uniting them into a single sound (tone) equal to the
7916 @lilypond[quote,notime,relative=2]
7928 @node time signature
7929 @section time signature
7931 ES: indicación de compás,
7933 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7934 D: Taktangabe, Angabe der Taktart,
7937 S: taktartssignatur,
7940 The sign placed at the beginning of a composition to indicate its
7941 meter. It most often takes the form of a fraction, but a few signs
7942 derived from mensural notation and proportions are also employed.
7945 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7960 A sound of definite pitch and duration, as distinct from @emph{noise}.
7961 Tone is a primary building material of music.
7963 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7966 No cross-references.
7981 The first @notation{scale degree}.
7984 @ref{functional harmony}, @ref{scale degree}.
7987 @node transposing instrument
7988 @section transposing instrument
7990 ES: instrumento transpositor,
7992 F: instrument transpositeur,
7997 FI: transponoitava soitin.
7999 Instruments whose notated pitch is different from their sounded pitch. Except
8000 for those whose notated and sounding pitches differ by one or more octaves (to
8001 reduce the number of ledger lines needed), most such instruments are identified
8002 by the letter name of the pitch class of their fundamental. The pitch class is
8003 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8004 the instrument plays a notated C.
8006 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8007 the B-flat one tone lower. If played on the A clarinet, the same written
8008 note sounds the A (one and half tones -- a minor third -- lower).
8010 Not all transposing instruments include the pitch class in their name:
8014 @item English horn (in F)
8016 @item Alto flute (in G)
8021 @ref{concert pitch}.
8025 @section transposition
8036 Shifting a melody up or down in pitch, while keeping the same
8039 @lilypond[quote,line-width=13.0\cm]
8044 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8049 @lilypond[quote,line-width=13.0\cm]
8052 \transpose c bes \relative c'' {
8054 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8060 No cross-references.
8064 @section treble clef
8067 I: chiave di violino,
8069 D: Violinschlüssel, Sopranschlüssel,
8091 On stringed instruments:
8095 @item The quick reiteration of the same tone, produced by a rapid
8096 up-and-down movement of the bow.
8098 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8099 in the distance of a third (@ref{interval}).
8103 @lilypond[quote,notime,relative=1]
8105 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8106 \repeat tremolo 8 { e32_"b" g }
8118 F: triade, accord parfait, accord de trois sons,
8134 F: trille, tremblement, battement (cadence),
8146 @section triple meter
8148 ES: compás ternario,
8151 D: in drei, ungerader Takt,
8152 NL: driedelige maatsoort,
8194 @section tuning fork
8196 ES: diapasón, horquilla de afinación,
8197 I: diapason, corista,
8205 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8206 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8207 standard. Tuning forks for other pitches are available.
8216 A non-standard subdivision of a beat or part of a beat, usually
8217 indicated with a bracket and a number indicating the number of
8221 @ref{triplet}, @ref{note value}.
8227 ES: grupeto (circular),
8250 FI: unisono, yksiäänisesti.
8252 Playing of the same notes or the same melody by various instruments
8253 (voices) or by the whole orchestra (choir), either at exactly the same
8254 pitch or in a different octave.
8257 No cross-references.
8265 F: anacrouse, levée,
8286 FI: ääni, lauluääni.
8294 @item @ref{mezzo-soprano}
8295 @item @ref{contralto}
8297 @item @ref{baritone}
8301 @item A melodic layer or part of a polyphonic composition.
8306 No cross-references.
8312 ES: vez, primera y segunda vez,
8319 FI: yksi kertauksen maaleista.
8321 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8322 or second ending. LilyPond extends this idea to any number, and allows any text
8323 (not just a number) -- to serve as the @notation{volta} text.
8326 No cross-references.
8333 I: tempo debole, arsi,
8335 D: unbetonter Taktteil oder Taktschlag,
8337 DK: ubetonet taktslag,
8338 S: obetonat taktslag,
8339 FI: tahdin heikko isku.
8342 @ref{beat}, @ref{measure}, @ref{rhythm}.
8353 @item D: Ganze, ganze Note
8357 @item FI: kokonuotti
8368 @item UK: semibreve rest
8369 @item ES: silencio de redonda
8370 @item I: pausa di semibreve
8372 @item D: ganze Pause, ganztaktige Pause
8374 @item DK: helnodespause
8395 The interval of a major second. The interval between two tones
8396 on the piano keyboard with exactly one key between them -- including
8397 black and white keys -- is a whole tone.
8415 A family of blown wooden musical instruments. Today some of these
8416 instruments are actually made from metal. The woodwind instruments
8417 commonly used in a symphony orchestra are flute, oboe, clarinet,
8418 saxophone, and bassoon.
8421 No cross-references.
8424 @node Duration names notes and rests
8425 @chapter Duration names notes and rests
8427 @multitable @columnfractions .12 .22 .22 .22 .22
8429 @headitem Lang. @tab note name
8433 @item @strong{US} @tab long
8437 @item @strong{UK} @tab longa
8441 @item @strong{ES} @tab longa
8442 @tab silencio de longa
8444 @tab silencio de cuadrada
8445 @item @strong{IT} @tab longa
8449 @item @strong{FR} @tab longa
8450 @tab quadruple-pause
8453 @item @strong{DE} @tab Longa
8457 @item @strong{NL} @tab longa
8461 @item @strong{DK} @tab longa
8462 @tab longanodespause
8464 @tab brevis(nodes)pause
8465 @item @strong{SE} @tab longa
8469 @item @strong{FI} @tab longa-nuotti
8471 @tab brevis-nuotti, kaksoiskoko@-nuotti
8472 @tab brevis-tauko, kaksoiskoko@-tauko
8476 @multitable @columnfractions .12 .22 .22 .22 .22
8478 @headitem Lang. @tab note name
8482 @item @strong{US} @tab whole note
8486 @item @strong{UK} @tab semibreve
8490 @item @strong{ES} @tab redonda
8491 @tab silencio de redonda
8493 @tab silencio de blanca
8494 @item @strong{IT} @tab semibreve
8495 @tab pause di semibreve
8497 @tab pausa di minima
8498 @item @strong{FR} @tab ronde
8502 @item @strong{DE} @tab ganze Note
8506 @item @strong{NL} @tab hele noot
8510 @item @strong{DK} @tab helnode
8514 @item @strong{SE} @tab helnot
8518 @item @strong{FI} @tab kokonuotti
8525 @multitable @columnfractions .12 .22 .22 .22 .22
8527 @headitem Lang. @tab note name
8531 @item @strong{US} @tab quarter note
8535 @item @strong{UK} @tab crotchet
8539 @item @strong{ES} @tab negra
8540 @tab silencio de negra
8542 @tab silencio de corchea
8543 @item @strong{IT} @tab semiminima, nera
8544 @tab pausa di semiminima, pausa di nera
8547 @item @strong{FR} @tab noire
8551 @item @strong{DE} @tab Viertelnote
8555 @item @strong{NL} @tab kwartnoot
8559 @item @strong{DK} @tab fjerdedelsnode
8560 @tab fjerdedelspause
8561 @tab ottendedelsnode
8562 @tab ottendedelspause
8563 @item @strong{SE} @tab fjärdedelsnot
8567 @item @strong{FI} @tab neljäsosa@-nuotti
8568 @tab neljäsosa@-tauko
8569 @tab kahdeksasosa@-nuotti
8570 @tab kahdeksasosa@-tauko
8574 * About the French naming system: @emph{croche} refers to the note's "hook".
8575 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8576 hook}, @q{trebled hook}, and so on.
8578 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8579 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8580 a @emph{soupir}, and so on.
8582 Each of the following tables contains one type of note and its matching rest,
8583 with abbreviations that apply to both notes and rests. Just switch the part
8584 that means @q{note} with the part that means @q{rest}, for example:
8588 @item English: 16th @strong{note}, 16th @strong{rest}
8589 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8590 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8594 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8595 duration name. If you know of one that I missed, please send it to me, care of
8596 the lilypond-user discussion list.
8598 @multitable @columnfractions .10 .35 .35 .20
8600 @headitem Lang. @tab Note name
8603 @item @strong{US} @tab sixteenth note
8606 @item @strong{UK} @tab semiquaver
8607 @tab semiquaver rest
8609 @item @strong{ES} @tab semicorchea
8610 @tab silencio de semicorchea
8612 @item @strong{IT} @tab semicroma
8613 @tab pausa di semicroma
8615 @item @strong{FR} @tab double croche
8616 @tab quart de soupir
8618 @item @strong{DE} @tab Sechzehntelnote
8619 @tab Sechzehntelpause
8621 @item @strong{NL} @tab zes@-ti@-ende noot
8622 @tab zes@-ti@-ende rust
8624 @item @strong{DK} @tab sekstendedelsnode
8625 @tab sekstendedelspause
8627 @item @strong{SE} @tab sextondelsnot
8630 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8631 @tab kuudes@-toistaosa@-tauko
8636 @multitable @columnfractions .10 .35 .35 .20
8638 @headitem Lang. @tab Note name
8641 @item @strong{US} @tab thirty-second note
8642 @tab thirty-second rest
8644 @item @strong{UK} @tab demisemiquaver
8645 @tab demisemiquaver rest
8647 @item @strong{ES} @tab fusa
8648 @tab silencio de fusa
8650 @item @strong{IT} @tab biscroma
8651 @tab pausa di biscroma
8653 @item @strong{FR} @tab triple croche
8654 @tab huitième de soupir
8656 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8657 @tab Zweiunddreißig@-stelpause
8659 @item @strong{NL} @tab twee@-endertigste noot
8660 @tab twee@-endertigste rust
8662 @item @strong{DK} @tab toogtredivtedelsnode
8663 @tab toogtredivtedelspause
8665 @item @strong{SE} @tab trettio@-tvåondelsnot
8666 @tab trettio@-tvåondelspaus
8668 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8669 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8674 @multitable @columnfractions .10 .35 .35 .20
8676 @headitem Lang. @tab Note name
8679 @item @strong{US} @tab sixty-fourth note
8680 @tab sixty-fourth rest
8682 @item @strong{UK} @tab hemidemisemiquaver
8683 @tab hemidemisemiquaver rest
8685 @item @strong{ES} @tab semifusa
8686 @tab silencio de semifusa
8688 @item @strong{IT} @tab semibiscroma
8689 @tab pausa di semibiscroma
8691 @item @strong{FR} @tab quadruple croche
8692 @tab seizième de soupir
8694 @item @strong{DE} @tab Vierundsechzigstelnote
8695 @tab Vierundsechzigstelpause
8697 @item @strong{NL} @tab vierenzestigste noot
8698 @tab vierenzestigste rust
8700 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8701 @tab fireog@-tredsindstyven@-dedelspause
8703 @item @strong{SE} @tab sextiofjärdedelsnot
8704 @tab sextiofjärdedelspaus
8706 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8707 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8712 @multitable @columnfractions .10 .35 .35 .20
8714 @headitem Lang. @tab Note name
8717 @item @strong{US} @tab one-hundred-twenty-eighth note
8718 @tab one-hundred-twenty-eighth rest
8720 @item @strong{UK} @tab semihemidemisemiquaver
8721 @tab semihemidemisemiquaver rest
8723 @item @strong{ES} @tab garrapatea
8724 @tab silencio de garrapatea
8726 @item @strong{IT} @tab fusa
8729 @item @strong{FR} @tab quintuple croche
8730 @tab trente-deuxième de soupir @tab -
8731 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8732 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8733 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8734 @tab honderd@-acht@-en@-twintigste rust
8736 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8737 @tab hundrede@-otte@-og@-tyvendedels@-pause
8739 @item @strong{SE} @tab hundratjugoåttondelsnot
8740 @tab hundratjugoåttondelspaus
8742 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8743 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8748 @multitable @columnfractions .10 .35 .35 .20
8750 @headitem Lang. @tab Note name
8753 @item @strong{US} @tab two-hundred-fifty-sixth note
8754 @tab two-hundred-fifty-sixth rest
8756 @item @strong{UK} @tab demisemihemidemisemiquaver
8757 @tab demisemihemidemisemiquaver rest
8759 @item @strong{ES} @tab semigarrapatea
8760 @tab silencio de semigarrapatea @tab -
8761 @item @strong{IT} @tab semifusa
8762 @tab pausa di semifusa
8764 @item @strong{FR} @tab sextuple croche
8765 @tab soixante-quatrième de soupir @tab -
8766 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8767 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8768 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8769 @tab tweehonderd@-zesenvijftigste rust
8771 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8772 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8774 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8775 @tab tvåhundra@-femtiosjättedelspaus
8777 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8778 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8784 @ref{mensural notation}
8788 @chapter Pitch names
8790 @c -is/-es endings for Danish per Rune Zedeler, pace
8791 @c and for Finnish per Risto Vääräniemi
8792 @c -iss/-ess endings for Swedish per Mats Bengtsson
8793 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8795 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8797 @tab ES @tab I @tab F @tab D
8798 @tab NL @tab DK @tab S @tab FI
8799 @item @strong{c} @tab do @tab do @tab ut @tab C
8800 @tab c @tab c @tab c @tab c
8801 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8802 @tab cis @tab cis @tab ciss @tab cis
8803 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8804 @tab des @tab des @tab dess @tab des
8805 @item @strong{d} @tab re @tab re @tab ré @tab D
8806 @tab d @tab d @tab d @tab d
8807 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8808 @tab dis @tab dis @tab diss @tab dis
8809 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8810 @tab es @tab es @tab ess @tab es
8811 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8812 @tab e @tab e @tab e @tab e
8813 @item @strong{f-flat} = e
8814 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8815 @tab fes @tab fes @tab fess @tab fes
8816 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8817 @tab f @tab f @tab f @tab f
8818 @item @strong{e-sharp} = f
8819 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8820 @tab eis @tab eis @tab eiss @tab eis
8821 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8822 @tab fis @tab fis @tab fiss @tab fis
8823 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8824 @tab ges @tab ges @tab gess @tab ges
8825 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8826 @tab g @tab g @tab g @tab g
8827 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8828 @tab gis @tab gis @tab giss @tab gis
8829 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8830 @tab as @tab as @tab ass @tab as
8831 @item @strong{a} @tab la @tab la @tab la @tab A
8832 @tab a @tab a @tab a @tab a
8833 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8834 @tab ais @tab ais @tab aiss @tab ais
8835 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8836 @tab bes @tab b @tab b @tab b
8837 @item @strong{b} @tab si @tab si @tab si @tab H
8838 @tab b @tab h @tab h @tab h
8846 @node Literature used
8847 @unnumberedsec Literature used
8850 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8851 Cambridge: Belknap Press (Harvard University Press), 1944.
8853 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8856 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8857 Terminologie}. Kassel, 1980.
8859 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8860 Current English}, 3rd ed. London: Oxford University Press, 1974.
8862 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8863 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8865 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8866 Cambridge: Belknap Press (Harvard University Press), 1986.
8868 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.