1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
9 @dircategory GNU LilyPond --- the music typesetter
11 * Music Glossary: (music-glossary). For non-English users.
15 This glossary provides definitions and translations of musical
16 terms used in the documentation manuals for LilyPond version
20 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
21 @macro copyrightDeclare
22 Copyright @copyright{} 1999--2012 by the authors
29 @c TODO: multiple omfcreators?
31 @omfcreator Christian Mondrup, Kurt Kroon
32 @omfdescription Glossary of musical terms with translations
34 @omfcategory Applications|Publishing
39 @lilyTitlePage{Music Glossary}
43 @c @everyheading @| @thispage @|
44 @c @evenheading @thispage @| @|
45 @c @oddheading @| @| @thispage @|
50 @w{@expansion{}@strong{\word\}}@c
54 @expansion{}@ref{\word\, @strong{\word\}}@c
63 * Duration names notes and rests::
65 * Non-Western terms A-Z::
70 * GNU Free Documentation License:: License of this document.
77 @c TOC - tex. Not desired for this manual. -gp
81 @node Musical terms A-Z
82 @chapter Musical terms A-Z
84 Languages in this order.
86 @item UK - British English (where it differs from American English)
115 * ancient minor scale::
120 * ascending interval::
122 * augmented interval::
157 * Common Practice Period::
160 * compound interval::
164 * conjunct movement::
179 * descending interval::
182 * diminished interval::
186 * disjunct movement::
188 * dissonant interval::
192 * dominant ninth chord::
193 * dominant seventh chord::
195 * dot (augmentation dot)::
197 * double appoggiatura::
199 * double dotted note::
202 * double time signature::
209 * ecclesiastical mode::
216 * equal temperament::
237 * functional harmony::
258 * inverted interval::
274 * long appoggiatura::
281 * meantone temperament::
288 * mensural notation::
293 * metronomic indication::
306 * multi-measure rest::
336 * polymetric time signature::
342 * Pythagorean comma::
373 * sixty-fourth note::
374 * sixty-fourth rest::
405 * thirty-second note::
406 * thirty-second rest::
413 * transposing instrument::
467 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
468 @notation{a due} indicates that:
472 @item A single part notated on a single staff that normally carries parts
473 for two players (e.g. first and second oboes) is to be played by both
476 @item Or conversely, that two pitches or parts notated on a staff that
477 normally carries a single part (e.g. first violin) are to be played by
478 different players, or groups of players (@q{desks}).
491 F: accelerando, en accélérant,
492 D: accelerando, schneller werden,
496 FI: accelerando, kiihdyttäen.
498 [Italian: @q{speed up, accelerate}]
500 An increase in the tempo, abbreviated @notation{accel.}
516 FI: aksentti, korostus.
518 The stress of one tone over others.
532 @section acciaccatura
534 ES: mordente de una nota,
536 F: acciaccatura, appoggiature brève,
543 A grace note which takes its time from the rest or note preceding the
544 principal note to which it is attached. The acciaccatura is drawn as a
545 small eighth note (quaver) with a line drawn through the flag and stem.
548 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
554 ES: alteración accidental,
555 I: alterazione, accidente,
556 F: altération accidentelle,
557 D: Versetzungszeichen, Akzidenz,
558 NL: toevallig (verplaatsings)teken,
560 S: tillfälligt förtecken,
561 FI: tilapäinen etumerkki.
563 An accidental alters a note by:
567 @item Raising its pitch:
569 @item By two semitones—@notation{double sharp}
570 @item By one semitone—@notation{sharp}
573 @item Lowering its pitch:
575 @item By one semitone—@notation{flat}
576 @item By two semitones—@notation{double flat}
579 @item Or canceling the effects of the key signature or previous accidentals.
582 @lilypond[quote,notime]
586 \set Staff.extraNatural = ##f
587 gisis1 gis g! ges geses
592 \center-column { double sharp }
598 \center-column { double flat }
604 \override SpacingSpanner
605 #'base-shortest-duration = #(ly:make-moment 1 32)
612 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
625 FI: adagio, hitaasti.
627 [Italian: @q{comfortable, easy}]
631 @item Slow tempo, slower -- especially in even meter -- than
632 @notation{andante} and faster than @notation{largo}.
634 @item A movement in slow tempo, especially the second (slow) movement
635 of sonatas, symphonies, etc.
640 @ref{andante}, @ref{largo}, @ref{sonata}.
648 F: al niente, en mourant,
653 FI: häviten olemattomiin.
655 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
656 that the sound should fade away to nothing.
658 @notation{Al niente} is indicated by circling the tip of the hairpin:
660 @lilypond[quote,relative=2]
661 \override Hairpin #'circled-tip = ##t
667 or with the actual phrase @notation{al niente}:
669 @lilypond[quote,relative=2]
671 \override DynamicTextSpanner #'(bound-details right text) =
672 \markup { \italic { al niente } }
678 Since one does not crescendo @emph{to} nothing, it is not correct to use
679 @notation{al niente} with @notation{crescendo}. Instead, one should use
680 @emph{dal niente} (@notation{@b{from} nothing}).
683 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
691 F: alla breve, à la brève,
692 D: Allabreve, alla breve
698 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
700 Also called @notation{in cut time}. The name derives from mensural
701 notation, where the @notation{tactus} (or beat) is counted on the semibreve
702 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
703 next longest note value, which (in modern usage) effectively halves all note
706 In mensural notation, breves and semibreves can have a ternary relationship,
707 in which case @notation{alla breve} means thrice (not twice) as fast. In
708 practice, this complication may not have mattered, since Gaffurius's system
709 of multiplex proportions makes it easy to explicitly state which proportion
713 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
714 @ref{proportion}, @ref{whole note}.
722 F: allegro, gaiement,
723 D: Allegro, Schnell, Fröhlich, Lustig,
727 FI: allegro, nopeasti.
729 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
730 quick tempo, especially the first and last movements of a sonata.
743 NL: verhoging of verlaging,
748 An alteration is the modification, raising or lowering, of a note's
749 pitch. It is established by an accidental.
751 @c TODO: add second meaning from mensural notation
767 FI: altto, matala naisääni.
769 A female voice of low range (@emph{contralto}). Originally the alto was a
770 high male voice (hence the name), which by castration or the use of falsetto
771 reached the height of the natural female voice. This type of voice is also
772 known as countertenor.
781 ES: clave de do en tercera,
782 I: chiave di contralto,
783 F: clef d'ut troisième ligne,
784 D: Altschlüssel, Bratschenschlüssel,
790 C clef setting middle C on the middle line of the staff.
801 F: ambitus, tessiture,
806 FI: ambitus, ääniala, soitinala.
808 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
809 Denotes a range of pitches for a given voice in a part of music. It may
810 also denote the pitch range that a musical instrument is capable of playing.
811 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
829 An anacrusis (also known as pickup or upbeat) is an incomplete measure
830 of music before a section of music. It also refers to the initial
831 note(s) of a melody occurring in that incomplete measure.
833 @lilypond[quote,relative=1]
844 @ref{measure}, @ref{meter}.
847 @node ancient minor scale
848 @section ancient minor scale
850 ES: escala menor natural,
851 I: scala minore naturale,
852 F: forme du mode mineur ancien, troisème mode, mode hellénique,
853 D: reines Moll, natürliches Moll,
854 NL: authentieke mineurtoonladder,
857 FI: luonnollinen molliasteikko.
859 Also called @q{natural minor scale}.
861 @lilypond[quote,notime,relative=2]
867 @ref{diatonic scale}.
882 [Italian: present participle of @emph{andare}, @q{to walk}]
884 Walking tempo/character.
891 @section appoggiatura
895 F: appoggiature, (port de voix),
896 D: Vorschlag, Vorhalt
897 NL: (korte) voorslag,
900 FI: appoggiatura, etuhele.
902 Ornamental note, usually a second, that is melodically connected with
903 the main note following it. In music before the 19th century
904 appoggiature were usually performed on the beat, after that mostly
905 before the beat. While the short appoggiatura is performed as a short
906 note regardless of the duration of the main note the duration of the
907 long appoggiatura is proportional to that of the main note.
909 @lilypond[quote,relative=2]
912 <d a fis>4_"notation" r
919 \set Score.measurePosition = #ZERO-MOMENT
920 <d, a fis>4_"performance" r
926 An appoggiatura may have more notes preceding the main note.
928 @lilypond[quote,relative=2]
931 \grace bes16 as8-"notation" as16 bes as8 g |
932 \grace { as16[( bes] } <c as>4)
933 \grace { as16[( bes] } <c as>4) \bar "||"
935 \grace bes16 as8-"performance" as16 bes as8 g |
939 as32 bes c8. as32 bes c8.
943 as16 ~ as8. as16 ~ as8.
958 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
960 DK: arpeggio, akkordbrydning,
962 FI: arpeggio, murtosointu.
964 [Italian: @q{harp-like, played like a harp}]
966 @lilypond[quote,line-width=13\cm]
968 \context Staff = "SA" {
972 r8 g16 c e g, c e r8 g,16 c e g, c e
973 r8 a,16 d f a, d f r8 a,16 d f a, d f
977 \context Staff = "SB" {
983 r16 e8. ( e4) r16 e8. ( e4)
984 r16 d8. ( d4) r16 d8. ( d4)
1002 @section articulation
1011 FI: artikulaatio, ilmaisu.
1013 Articulation refers to notation which indicates how a note or notes
1014 should be played. Slurs, accents, staccato, and legato are all
1015 examples of articulation.
1018 No cross-references.
1021 @node ascending interval
1022 @section ascending interval
1024 ES: intervalo ascendente,
1025 I: intervallo ascendente,
1026 F: intervalle ascendant,
1027 D: steigendes Intervall,
1028 NL: stijgend interval,
1029 DK: stigende interval,
1030 S: stigande intervall,
1031 FI: nouseva intervalli.
1033 A distance between a starting lower note and a higher ending note.
1036 No cross-references.
1040 @section augmentation
1049 FI: aika-arvojen pidentäminen.
1051 @c TODO: add definition.
1053 This is a placeholder for augmentation (wrt mensural notation).
1056 @ref{diminution}, @ref{mensural notation}.
1059 @node augmented interval
1060 @section augmented interval
1062 ES: intervalo aumentado,
1063 I: intervallo aumentato,
1064 F: intervalle augmenté,
1065 D: übermäßiges Intervall,
1066 NL: overmatig interval,
1067 DK: forstørret interval,
1068 S: överstigande intervall,
1069 FI: ylinouseva intervalli.
1080 F: manuscrit, autographe
1081 D: Autograph, Handschrift,
1083 DK: håndskrift, autograf,
1085 FI: käsinkirjoitettu nuotti.
1089 @item A manuscript written in the composer's own hand.
1091 @item Music prepared for photoreproduction by freehand drawing, with
1092 the aid of a straightedge ruler and T-square only, which attempts to
1093 emulate engraving. This required more skill than did engraving.
1098 No cross-references.
1116 @ref{H}, @ref{Pitch names}
1136 ES: barra, línea divisoria,
1137 I: stanghetta, barra (di divisione),
1138 F: barre (de mesure),
1145 A vertical line through the staff (or through multiple staves) that
1146 separates measures. Used very infrequently during the Renaissance (mostly
1147 in secular music, or in sacred music to indicate congruences between parts
1148 in otherwise-unmetered music).
1164 FI: baritoni, keskikorkuinen miesääni.
1166 The male voice intermediate in pitch between the bass and the tenor.
1168 @c F: clef de troisième ligne dropped
1171 @ref{bass}, @ref{tenor}.
1175 @section baritone clef
1177 ES: clave de fa en tercera,
1178 I: chiave di baritono,
1179 F: clef d'ut cinquième ligne, clef de fa troisième,
1180 D: Baritonschlüssel,
1186 C or F clef setting middle C on the upper staff line.
1189 @ref{C clef}, @ref{F clef}.
1202 FI: basso, matala miesääni.
1206 @item The lowest male voice.
1208 @item Sometimes, especially in jazz music, used as an abbreviation for
1220 ES: clave de fa en cuarta,
1222 F: clef de fa quatrième ligne,
1229 A clef setting with middle C on the first top ledger line.
1238 ES: barra (de corcheas),
1240 F: ligature, barre (de croches),
1247 Line connecting a series of notes (shorter than a quarter note). The
1248 number of beams determines the note value of the connected notes.
1250 @lilypond[quote,notime,relative=2,line-width=13\cm]
1251 g8-"1/8"[ g g g] s16
1252 g16-"1/16"[ g g g] s
1253 g32-"1/32"[ s g s g s g] s16
1254 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1258 @ref{feathered beam}.
1264 ES: tiempo, parte (de compás)
1267 D: Takt, Taktschlag, Zeit (im Takt),
1273 Note value used for counting, most often half-, fourth-, and eighth notes.
1274 The base counting value and the number of them in each measure is indicated
1275 at the start of the music by the @notation{time signature}.
1277 @lilypond[quote,relative=2]
1280 g4 c b a | g1 \bar "||"
1282 g8 d' c | b c a | g4. \bar "||"
1286 @ref{time signature}.
1290 @section beat repeat
1293 @ref{percent repeat}.
1306 ES: llave, corchete,
1309 D: Klammer, Akkolade,
1310 NL: accolade, teksthaak,
1313 FI: yhdistävä sulkumerkki.
1315 Symbol at the start of a system connecting staves.
1317 Curly braces are used for connecting piano staves, and sometimes for connecting
1318 the staves of like instruments in an orchestral score when written on different
1319 staves (e.g. first and second flutes):
1323 \context Staff = "SA" {
1329 \context Staff = "SB" {
1339 Angular brackets for connecting parts in an orchestral or choral score:
1343 \context Staff = "SA" {
1349 \context Staff = "SB" {
1360 No cross-references.
1367 I: parentesi quadra,
1385 NL: koper (blazers),
1388 S: brassinstrument, mässingsinstrument,
1391 A family of blown musical instruments made of brass, all using a cup
1392 formed mouth piece. The brass instruments commonly used in a symphony
1393 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1394 sousaphones and contrabass bugles are common.
1397 No cross-references.
1401 @section breath mark
1406 D: Atemzeichen, Trennungszeichen,
1407 NL: repercussieteken,
1408 DK: vejrtrækningstegn,
1412 Indication of where to breathe in vocal and wind instrument parts.
1422 @item US: breve, double-whole note
1423 @item ES: cuadrada, breve
1430 @item FI: brevis, kaksoiskokonuotti
1433 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1435 Mainly used in music from before 1650. In mensural notation, it was a note
1436 of fairly short duration—hence the name, which is Latin for @q{short} or
1437 @q{of short duration}.
1439 @lilypond[quote,notime,relative=2]
1444 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1477 Clef symbol indicating the position of the middle C. Used on all note
1480 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1482 \override Staff.Clef #'full-size-change = ##t
1484 \clef mezzosoprano c1
1490 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1491 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1496 No cross-references.
1509 FI: kadenssi, lopuke.
1512 @ref{harmonic cadence}, @ref{functional harmony}.
1525 FI: kadenssi, lopuke.
1527 An extended, improvisatory style section inserted near the end of
1528 movement. The purpose of a cadenza is to give singers or players a
1529 chance to exhibit their technical skill and -- not last -- their
1530 ability to improvise. Since the middle of the 19th century, however,
1531 most cadenzas have been written down by the composer.
1534 No cross-references.
1549 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1551 The break between two musical phrases, sometimes (but not always) marked by a
1552 rest or a breath mark.
1568 FI: kaanon, tarkka jäljittely.
1584 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1585 viritysjärjestelmässä.
1587 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1588 an octave (1/100 of an equally tempered semitone).
1591 @ref{equal temperament}, @ref{semitone}.
1613 Three or more tones sounding simultaneously. In traditional European music
1614 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1615 (major + minor third) as well as @emph{minor} (minor + major third) chords
1616 may be extended with more thirds. Four-tone @emph{seventh chords} and
1617 five-tone @emph{ninth} major chords are most often used as dominants
1618 (functional harmony). Chords having no third above the lower notes to
1619 define their mood are a special case called @q{open chords}. The lack of
1620 the middle third means their quality is ambivalent -- neither major nor
1623 @lilypond[quote,notime,line-width=13.0\cm]
1627 \set Staff.extraNatural = ##f
1648 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1652 @node chromatic scale
1653 @section chromatic scale
1655 ES: escala cromática,
1657 F: gamme chromatique,
1658 D: chro@-ma@-ti@-sche Tonleiter,
1659 NL: chromatische toonladder,
1660 DK: kromatisk skala,
1662 FI: kromaattinen asteikko.
1664 A scale consisting of all 12 semitones.
1666 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1667 c1 cis d dis e f fis g gis a ais b c
1675 @section chromaticism
1686 Using tones extraneous to a diatonic scale (minor, major).
1689 @ref{diatonic scale}.
1693 @section church mode
1695 ES: modo eclesiástico,
1696 I: modo ecclesiastico,
1697 F: mode ecclésiastique, mode d'église,
1702 FI: moodi, kirkkosävellaji.
1705 @ref{diatonic scale}.
1714 D: Schlüssel, Notenschlüssel,
1718 FI: avain, nuottiavain.
1720 The clef indicates which lines of the staff correspond to which
1721 pitches. The three clef symbols in common use are:
1726 \line { The Treble or G clef: }
1728 \line { The Bass or F clef: }
1730 \line { The Alto or C clef: }
1734 \musicglyph #"clefs.G"
1736 \musicglyph #"clefs.F"
1738 \musicglyph #"clefs.C"
1743 Imagine a large staff of 11 lines centered on middle C, sometimes
1744 called a @q{grand staff}, with the bottom line representing low G and
1745 the top line high F:
1750 %-- Note names above treble staff --%
1752 \set printOctaveNames = ##t
1754 \once \override NoteName #'color = #red
1758 %-- Treble Staff --%
1760 \override Staff.Clef #'stencil = ##f
1766 %-- Alto Staff reduced to a single line on middle C --%
1768 \override Staff.StaffSymbol #'line-count = #1
1769 \override Staff.StaffSymbol #'color = #red
1770 \override Staff.Clef #'stencil = ##f
1773 \override NoteHead #'color = #red
1779 \override Staff.Clef #'stencil = ##f
1788 \override SpacingSpanner
1789 #'base-shortest-duration = #(ly:make-moment 1 1)
1790 \override NonMusicalPaperColumn
1791 #'line-break-system-details = #'((alignment-distances . (3 3)))
1792 \override BarLine #'stencil = ##f
1796 \remove "Time_signature_engraver"
1802 Staves of five lines are usually used, and the clef superimposed on them
1803 indicates which five lines have been selected from this @notation{grand
1804 staff}. For example, the treble or G clef indicates that the top five lines
1810 %-- Note names above treble staff --%
1812 \set printOctaveNames = ##t
1814 \once \override NoteName #'color = #red
1819 %-- Treble Staff --%
1821 \once \override Staff.Clef #'stencil = ##f
1824 \override Staff.Clef #'full-size-change = ##t
1825 \set Staff.forceClef = ##t
1829 %-- Alto Staff reduced to a single line on middle C --%
1831 \override Staff.StaffSymbol #'line-count = #1
1832 \override Staff.StaffSymbol #'color = #red
1833 \override Staff.Clef #'stencil = ##f
1836 \override NoteHead #'color = #red
1841 \override Staff.Clef #'stencil = ##f
1849 \override SpacingSpanner
1850 #'base-shortest-duration = #(ly:make-moment 2 1)
1851 \override NonMusicalPaperColumn
1852 #'line-break-system-details = #'((alignment-distances . (3 3)))
1853 \override BarLine #'stencil = ##f
1857 \remove "Time_signature_engraver"
1863 The @q{curl} of the G clef is centered on the line that represents the
1866 In the same way, the bass or F clef indicates that the bottom five lines
1867 have been selected from the @notation{grand staff}, and the alto or C clef
1868 indicates the middle five lines have been selected. This relationship is
1869 shown below, where the notes show an arpeggio on a C major chord.
1874 %-- Treble Staff --%
1882 \override Staff.StaffSymbol #'line-count = #1
1883 \once \override Staff.Clef #'stencil = ##f
1888 \revert Staff.StaffSymbol #'stencil
1889 \override Staff.StaffSymbol #'color = #red
1892 \stopStaff \startStaff
1893 \revert Staff.StaffSymbol #'line-count
1894 \revert Staff.StaffSymbol #'color
1895 \stopStaff \startStaff
1896 \override Staff.Clef #'full-size-change = ##t
1897 \set Staff.forceClef = ##t
1912 \override SpacingSpanner #'base-shortest-duration =
1913 #(ly:make-moment 2 1)
1914 \override NonMusicalPaperColumn
1915 #'line-break-system-details = #'((alignment-distances . (3 3)))
1916 \override BarLine #'stencil = ##f
1920 \remove "Time_signature_engraver"
1927 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1940 FI: klusteri, cluster.
1942 A @emph{cluster} is a range of simultaneously sounding pitches that
1943 may change over time. The set of available pitches to apply usually
1944 depends on the acoustic source. Thus, in piano music, a cluster
1945 typically consists of a continuous range of the semitones as provided
1946 by the piano's fixed set of a chromatic scale. In choral music, each
1947 singer of the choir typically may sing an arbitrary pitch within the
1948 cluster's range that is not bound to any diatonic, chromatic or other
1949 scale. In electronic music, a cluster (theoretically) may even cover
1950 a continuous range of pitches, thus resulting in colored noise, such
1953 Clusters can be denoted in the context of ordinary staff notation by
1954 engraving simple geometrical shapes that replace ordinary notation of
1955 notes. Ordinary notes as musical events specify starting time and
1956 duration of pitches; however, the duration of a note is expressed by
1957 the shape of the note head rather than by the horizontal graphical
1958 extent of the note symbol. In contrast, the shape of a cluster
1959 geometrically describes the development of a range of pitches
1960 (vertical extent) over time (horizontal extent). Still, the
1961 geometrical shape of a cluster covers the area in which any single
1962 pitch contained in the cluster would be notated as an ordinary note.
1964 @lilypond[quote,relative=2]
1965 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1969 No cross-references.
1982 FI: komma, korvinkuultava ero äänenkorkeudessa.
1984 Difference in pitch between a note derived from pure tuning and the
1985 same note derived from some other tuning method.
1988 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1993 @section common meter
1995 Another name for @ref{common time}.
1998 @ref{common time}, @ref{meter}.
2001 @node Common Practice Period
2002 @section Common Practice Period
2014 This is a stub for Common Practice Period (CPP).
2017 @ruser{Note names in other languages}.
2021 @section common time
2032 4/4 time. The symbol, which resembles a capital letter C, comes from
2036 @ref{mensural notation}, @ref{meter}.
2042 ES: intervalo invertido,
2044 F: intervalle complémentaire,
2045 D: Komplementärintervall,
2046 NL: complementair interval,
2047 DK: komplementærinterval,
2048 S: komplementärintervall (?),
2049 FI: täydentävä intervalli.
2052 @ref{inverted interval}.
2055 @node compound interval
2056 @section compound interval
2058 ES: intervalo compuesto,
2059 I: intervallo composto,
2060 F: intervalle composé,
2061 D: weites Intervall,
2062 NL: samengesteld interval,
2063 DK: sammensat interval,
2064 S: sammansatt intervall,
2065 FI: oktaavia laajempi intervalli.
2067 Intervals larger than an octave.
2073 @node compound meter
2074 @section compound meter
2076 ES: compás compuesto, compás de subdivisión ternaria,
2083 FI: kolmijakoinen tahtilaji.
2085 A meter that includes a triplet subdivision within the beat, such as
2089 @ref{meter}, @ref{simple meter}.
2093 @section compound time
2095 ES: compás compuesto, compás de amalgama (def. 2),
2098 D: zusammengesetzte Taktart,
2102 FI: yhdistetty tahtilajiosoitus.
2107 A meter that includes a triplet subdivision within the beat: see
2108 @ref{compound meter}.
2111 A time signature that additively combines two or more unequal meters,
2112 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2117 @lilypond[quote,verbatim]
2120 \compoundMeter #'((3 8) (2 8) (3 8))
2128 @ref{compound meter},
2130 @ref{polymetric time signature}.
2134 @section concert pitch
2136 ES: en Do, tono de concierto,
2137 I: intonazione reale,
2138 F: tonalité de concert, en ut,
2143 FI: konserttikorkeus.
2145 The pitch at which the piano and other nontransposing instruments play: such
2146 instruments are said to be @q{in C}. The following list includes some (but not
2147 all) instruments that play in concert pitch:
2149 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2151 @multitable {bassoon} {violoncello}
2152 @headitem Woodwinds @tab Strings
2171 @ignore This needs to be reworked.
2172 The trombones are a special case: although they are said to be @q{in F} (alto or
2173 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2174 their parts' transposition. (In fact, the trombones' parts are written at
2175 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2176 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2180 Instruments that play @q{in C} but in a different octave than what is written
2181 are, technically speaking, @emph{transposing instruments}:
2185 @item piccolo (plays an octave higher than written)
2186 @item celesta (plays an octave higher than written)
2187 @item classical guitar (plays an octave lower than written)
2188 @item double bass (plays an octave lower than written)
2193 @ref{transposing instrument}.
2196 @node conjunct movement
2197 @section conjunct movement
2199 ES: movimiento conjunto,
2201 F: mouvement conjoint,
2202 D: schritt@-weise, stufenweise Bewegung,
2203 NL: stapsgewijze, trapsgewijze beweging,
2204 DK: trinvis bevægelse,
2206 FI: asteittainen liike.
2208 Progressing melodically by intervals of a second, as contrasted with
2209 @emph{disjunct movement}.
2211 @lilypond[quote,relative=2,line-width=13.0\cm]
2214 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2218 @ref{disjunct movement}.
2231 FI: konsonanssi, sopusointi.
2254 @section copying music
2256 A music copyist did fast freehand scores and parts on preprinted staff
2257 lines for performance. Some of their conventions (e.g., the placement
2258 of note heads on stems) varied slightly from those of engravers. Some
2259 of their working methods were superior and could well be adopted by
2262 @c Copying music required more skill than engraving. Flagged for NPOV
2265 No cross-references.
2269 @section counterpoint
2278 FI: kontrapunkti, ääni ääntä vastaan.
2280 From Latin @emph{punctus contra punctum}, note against note. The
2281 combination into a single musical fabric of lines or parts which have
2282 distinct melodic significance. A frequently used polyphonic technique
2283 is imitation, in its strictest form found in the canon needing only
2284 one part to be written down while the other parts are performed with a
2285 given displacement. Imitation is also the contrapuntal technique
2286 used in the @emph{fugue} which, since the music of the baroque era,
2287 has been one of the most popular polyphonic composition methods.
2289 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2291 \context Staff = SA \relative c' {
2295 << \context Voice = rha {
2297 r1 | r2 r8 g'8 bes d, |
2298 cis4 d r8 e!16 f g8 f16 e |
2299 f8 g16 a bes8 a16 g a8
2301 \context Voice = rhb {
2307 \context Staff = SB \relative c' {
2310 << \context Voice = lha {
2312 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2313 r8 a16 g f8 g16 a bes8 g e! cis' |
2316 \context Voice = lhb {
2325 No cross-references.
2329 @section countertenor
2334 D: Countertenor, Kontratenor,
2337 S: kontratenor, counter tenor,
2350 D: Crescendo, lauter werden,
2354 FI: cresendo, voimistuen.
2356 Increasing volume. Indicated by a rightwards opening horizontal wedge
2357 (hairpin) or the abbreviation @notation{cresc.}
2359 @lilypond[quote,relative=2]
2362 g4\< a b c | d1\! \bar "|."
2366 @ref{decrescendo}, @ref{hairpin}.
2374 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2381 Notes belonging to one part printed in another to hint when to start
2382 playing. Usually printed in a smaller type.
2385 Compare: @ref{ossia}.
2394 D: Notenzeiger, Custos,
2400 A custos (plural: custodes) is a staff symbol that appears at the end of a
2401 staff line with monophonic musical contents (i.e., with a single voice). It
2402 anticipates the pitch of the first note of the following line and thus helps
2403 the player or singer to manage line breaks during performance, which
2404 enhances the readability of a score.
2406 Custodes were frequently used in music notation until the 16th century.
2407 There were different appearances for different notation styles. Nowadays,
2408 they have survived only in special forms of musical notation such as the
2409 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2411 @lilypond[quote,ragged-right]
2414 \override Staff.Custos #'neutral-direction = #DOWN
2415 \override Staff.Custos #'style = #'hufnagel
2422 \consists "Custos_engraver"
2429 No cross-references.
2462 F: da capo, depuis le commencement,
2463 D: da capo, von Anfang,
2467 FI: da capo, alusta.
2469 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2470 the beginning to the end or to a certain place marked @emph{fine}.
2473 No cross-references.
2479 ES: dal niente, de la nada,
2482 D: aus dem Nichts, dal niente,
2486 FI: tyhjästä ilmaantuen.
2488 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2489 that the sound should gradually increase from nothing.
2500 F: dal segno, depuis le signe,
2501 D: dal segno, ab dem Zeichen,
2505 FI: dal segno, lähtien merkistä.
2507 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2508 another place frequently near the beginning marked by a sign
2511 @lilypond[quote,relative=2]
2519 \musicglyph #"scripts.segno"
2525 No cross-references.
2529 @section decrescendo
2533 D: Decrescendo, leiser werden,
2537 FI: decresendo, hiljentyen.
2539 Decreasing tone volume. Indicated by a leftwards opening horizontal
2540 wedge (hairpin) or the abbreviation @notation{decresc.}
2542 @lilypond[quote,relative=2]
2545 d4\> c b a | g1 \! \bar "|."
2549 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2552 @node descending interval
2553 @section descending interval
2555 ES: intervalo descendente,
2556 I: intervallo discendente,
2557 F: intervalle descendant,
2558 D: fallendes Intervall, absteigendes Intervall,
2559 NL: dalend interval,
2560 DK: faldende interval,
2561 S: fallande intervall,
2562 FI: laskeva intervalli.
2564 A distance between a starting higher note and a lower ending note.
2567 No cross-references.
2570 @node diatonic scale
2571 @section diatonic scale
2573 ES: escala diatónica,
2575 F: gamme diatonique,
2576 D: diatonische Tonleiter,
2577 NL: diatonische toonladder,
2578 DK: diatonisk skala,
2580 FI: diatoninen asteikko.
2582 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2583 played on the white keys of a piano keyboard are diatonic. These scales
2584 are sometimes called, somewhat inaccurately, @q{church modes}).
2586 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2587 but also to some extent in newer jazz music.
2589 @lilypond[quote,notime,relative=1]
2593 e^"~~ S" f g a b^"~~ S" c
2601 @lilypond[quote,notime,relative=1]
2605 e^"~~ S" f g a b^"~~ S" c d
2613 @lilypond[quote,notime,relative=1]
2616 e1^"~~ S" f g a b^"~~ S" c d e
2624 @lilypond[quote,notime,relative=1]
2628 b^"~~ S" c d e^"~~ S" f
2636 @lilypond[quote,notime,relative=2]
2640 b^"~~ S" c d e^"~~ S" f g
2648 @lilypond[quote,notime,relative=2]
2652 b^"~~ S" c d e^"~~ S" f g a
2660 @lilypond[quote,notime,relative=2]
2663 b1^"~~ S" c d e^"~~ S" f g a b
2671 From the beginning of the 17th century the scales used in European
2672 compositional music are primarily the major and the minor scales. In
2673 the harmonic minor scale type an augmented second (A) occurs between
2674 the 6th and 7th tone.
2676 @lilypond[quote,notime,relative=1]
2680 e^"~~ S" f g a b^"~~ S" c
2688 @lilypond[quote,notime,relative=2]
2692 b^"~~ S" c d e^"~~ S" f g a
2695 "Ancient (or Natural) minor"
2700 @lilypond[quote,notime,relative=2]
2704 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2712 @lilypond[quote,notime,relative=2]
2716 b^"~~ S" c d e fis gis^"~~ S" a
2719 "Melodic minor ascending"
2724 @lilypond[quote,notime,relative=3]
2728 g! f!^"~~ S" e d c^"~~ S" b a
2731 "Melodic minor descending"
2737 @ref{semitone}, @ref{whole tone}.
2741 @section didymic comma
2744 @ref{syntonic comma}.
2747 @node diminished interval
2748 @section diminished interval
2750 ES: intervalo disminuido,
2751 I: intervallo diminuito,
2752 F: intervalle diminué,
2753 D: vermindertes Intervall,
2754 NL: verminderd interval,
2755 DK: formindsket interval,
2756 S: förminskat intervall,
2757 FI: vähennetty intervalli.
2768 F: diminuendo, en diminuant,
2773 FI: diminuendo, hiljentyen.
2775 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2791 FI: aika-arvojen tihennys.
2793 This is a stub for diminution (@emph{wrt} mensural notation).
2796 @ref{augmentation}, @ref{mensural notation}.
2815 @node disjunct movement
2816 @section disjunct movement
2818 ES: movimiento disjunto,
2820 F: mouvement disjoint,
2821 D: sprunghafte Bewegung,
2822 NL: sprongsgewijze beweging,
2823 DK: springende bevægelse,
2824 S: hoppande rörelse,
2825 FI: melodian hyppivä liike.
2827 Progressing melodically by intervals larger than a major second, as contrasted
2828 with conjunct movement.
2830 @lilypond[quote,relative=1]
2834 a4. gis8 b a e cis |
2840 @ref{conjunct movement}.
2846 Another name for @ref{dissonant interval}.
2849 @ref{dissonant interval}, @ref{harmony}.
2852 @node dissonant interval
2853 @section dissonant interval
2855 ES: intervalo disonante, disonancia,
2856 I: intervallo dissonante, dissonanza,
2857 F: intervalle dissonant, dissonance,
2859 NL: dissonant interval, dissonant,
2860 DK: dissonerende interval, dissonans,
2862 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2880 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2881 vertical stroke through part or all of the staff that serves to
2882 structure a chant into phrases and sections. There are four types:
2886 @item @emph{divisio minima}, a short pause
2888 @item @emph{divisio maior}, a medium pause
2890 @item @emph{divisio maxima}, a long pause
2892 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2893 section in a long antiphonal or responsorial chant.
2897 TODO: musical example here?
2900 No cross-references.
2906 ES: elevación [de tono],
2909 D: Glissando zu unbestimmter Tonhöhe,
2915 Indicator for a indeterminately rising pitch bend. Compare with
2916 @emph{glissando}, which has determinate starting and ending pitches.
2919 @ref{fall}, @ref{glissando}.
2932 FI: dominantti, huippusointu.
2934 The fifth @emph{scale degree} in @emph{functional harmony}.
2937 @ref{functional harmony}, @ref{scale degree}.
2940 @node dominant ninth chord
2941 @section dominant ninth chord
2943 ES: acorde de novena de dominante,
2944 I: accordo di nona di dominante,
2945 F: accord de neuvième de dominante,
2946 D: Domi@-nant@-nonen@-akkord,
2947 NL: dominant noon akkoord,
2948 DK: dominantnoneakkord,
2949 S: dominantnonackord,
2950 FI: dominanttinoonisointu.
2953 @ref{chord}, @ref{functional harmony}.
2956 @node dominant seventh chord
2957 @section dominant seventh chord
2959 ES: acorde de séptima de dominante,
2960 I: accordo di settima di dominante,
2961 F: accord de septième de dominante,
2962 D: Dominantseptakkord,
2963 NL: dominant septiem akkoord,
2964 DK: dominantseptimakkord,
2965 S: dominantseptimackord,
2966 FI: dominanttiseptimisointu.
2969 @ref{chord}, @ref{functional harmony}.
2973 @section dorian mode
2978 D: dorisch, dorischer Kirchenton,
2979 NL: dorische toonladder,
2985 @ref{diatonic scale}.
2988 @node dot (augmentation dot)
2989 @section dot (augmentation dot)
2992 I: punto (di valore),
2994 D: Punkt (Verlängerungspunkt),
3001 @ref{dotted note}, @ref{note value}.
3005 @section dotted note
3007 ES: nota con puntillo,
3011 NL: gepuncteerde noot,
3014 FI: pisteellinen nuotti.
3020 @node double appoggiatura
3021 @section double appoggiatura
3023 ES: apoyatura doble,
3024 I: appoggiatura doppia,
3025 F: appoggiature double,
3026 D: doppelter Vorschlag,
3027 NL: dubbele voorslag,
3028 DK: dobbelt forslag,
3030 FI: kaksoisappogiatura, kaksoisetuhele.
3036 @node double bar line
3037 @section double bar line
3043 NL: dubbele maatstreep,
3046 FI: kaksoistahtiviiva.
3048 Indicates the end of a section within a movement.
3051 No cross-references.
3054 @node double dotted note
3055 @section double dotted note
3057 ES: nota con doble puntillo,
3058 I: nota doppiamente puntata,
3059 F: note doublement pointée,
3060 D: doppelt punktierte Note,
3061 NL: dubbelgepuncteerde noot,
3062 DK: dob@-belt@-punk@-te@-ret node,
3063 S: dub@-bel@-punk@-te@-rad not,
3064 FI: kaksoispisteellinen nuotti.
3071 @section double flat
3080 FI: kaksoisalennusmerkki.
3087 @section double sharp
3089 ES: doble sostenido,
3094 DK: dob@-belt@-kryds,
3096 FI: kaksoisylennysmerkki.
3102 @node double time signature
3103 @section double time signature
3105 ES: compás polimétrico,
3108 D: zusammengesetzte Taktart,
3112 FI: kaksois-aika-arvomerkintä.
3115 @ref{polymetric time signature}.
3119 @section double trill
3125 NL: dubbele triller,
3130 A simultaneous trill on two notes, usually in the distance of a third.
3133 No cross-references.
3137 @section duple meter
3141 F: métrique binaire,
3142 D: in zwei, grader Takt,
3143 NL: tweedelige maatsoort,
3178 FI: kesto, aika-arvo.
3187 ES: dinámica, matices,
3190 D: Dynamik, Lautstärke,
3194 FI: äänen voimakkuusvaihtelu, dynamiikka.
3196 The aspect of music relating to degrees of loudness, or changes from
3197 one degree to another. The terms, abbreviations, and symbols used to
3198 indicate this information are called dynamic marks.
3201 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3223 @node ecclesiastical mode
3224 @section ecclesiastical mode
3227 @ref{church mode}, @ref{diatonic scale}.
3231 @section eighth note
3238 @item D: Achtel, Achtelnote
3239 @item NL: achtste noot
3240 @item DK: ottendedelsnode
3241 @item S: åttondelsnot
3242 @item FI: kahdeksasosanuotti
3250 @section eighth rest
3253 @item UK: quaver rest
3254 @item ES: silencio de corchea
3255 @item I: pausa di croma
3256 @item F: demi-soupir
3257 @item D: Achtelpause
3258 @item NL: achtste rust
3259 @item DK: ottendedelspause
3260 @item S: åttonddelspaus
3261 @item FI: kahdeksasosatauko
3271 @c TODO: add languages
3280 FI: tavujen yhdistäminen yhteen ääneen.
3282 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3283 @emph{συναλοιφην} @q{to smear together}].
3285 The singing of several syllables on a single note. Elision may be indicated
3286 by a lyric tie, which looks like (and serves the same function) as a musical
3294 @section embellishment
3306 D: Notenstich, Notendruck
3312 Engraving means incising or etching a metal plate for printing.
3313 Photoengraving means drawing music with ink in a manner similar to
3314 drafting or engineering drawing, using similar tools.
3316 The traditional process of music printing is done through cutting in a
3317 plate of metal. Now also the term for the art of music typesetting.
3320 No cross-references.
3335 Two notes, intervals, or scales are enharmonic if they have different
3336 names but equal pitch.
3338 @lilypond[quote,notime,line-width=13.0\cm]
3342 gis1 as <des g,!> <cis g!>
3346 "g sharp " "a flat " "dim fifth " "augm fourth"
3352 No cross-references.
3355 @node equal temperament
3356 @section equal temperament
3358 ES: temperamento igual,
3359 I: temperamento equabile,
3360 F: tempérament égal,
3361 D: gleichschwebende Stimmung,
3362 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3363 DK: ligesvævende temperatur,
3364 S: liksvävande temperatur,
3367 A tuning system that divides the octave into 12 equal semitones (each of
3368 which is precisely equal to 100 cents).
3371 @ref{cent}, @ref{semitone}, @ref{temperament}.
3374 @node expression mark
3375 @section expression mark
3378 I: segno d'espressione,
3379 F: signe d'expression, indication de nuance,
3381 NL: voordrachtsteken,
3382 DK: foredragsbetegnelse,
3383 S: föredragsbeteckning,
3384 FI: nyanssiosoitus, esitysmerkki.
3386 Performance indications concerning:
3390 @item volume, dynamics (for example, @notation{forte},
3391 @notation{crescendo}),
3393 @item tempo (for example, @notation{andante}, @notation{allegro}).
3398 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3402 @section extender line
3404 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3405 I: linea di estensione,
3406 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3413 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3414 extends text (without indicating the musical @emph{function} of that text).
3416 Used in many contexts, for example:
3420 @item In vocal music to indicate the syllable for a melisma. Called
3421 @q{extension} in the
3422 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3426 In figured bass to indicate that:
3430 @item The extended note should be held through a change in harmony, when applied
3431 to one figure --OR--
3432 @item The chord thus represented should be held above a moving bass line, when
3433 applied to more than one figure.
3434 @item These uses were not completely standardized, and some composers used a
3435 single extender line to indicate the latter case.
3440 In string music to indicate that all notes in the passage thus indicated should
3441 be played on the same string. On the violin, for example, a series of notes to
3442 be played on the G string would be indicated @notation{sul G}, another series to be
3443 played on the D string would be indicated @notation{sul D}, and so on.
3446 With an octave mark to indicate that a passage is to be played higher or lower
3447 by the given number of octaves.
3452 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3453 @ref{octave marking}.
3486 The position between the dots of the key symbol is the line of the F
3487 below central@w{ }C. Used on the third, fourth and fifth note line.
3488 A digit@w{ }8 above the clef symbol indicates that the notes must be
3489 played an octave higher (for example, bass recorder) while 8@w{ }below
3490 the clef symbol indicates playing an octave lower (for example, on the
3493 @lilypond[quote,notime,line-width=13.0\cm]
3496 \override Staff.Clef #'full-size-change = ##t
3519 @ref{baritone clef}, @ref{strings}.
3525 ES: caída [de tono],
3528 D: Glissando zu unbestimmter Tonhöhe nach unten,
3534 Indicator for a indeterminately falling pitch bend. Compare with
3535 @emph{glissando}, which has determinate starting and ending pitches.
3538 @ref{doit}, @ref{glissando}.
3541 @node feathered beam
3542 @section feathered beam
3544 ES: barra progresiva,
3546 F: ligature en soufflet, lien de croches en soufflet,
3547 D: gespreizter Balken,
3553 A type of beam used to indicate that a small group of notes should be
3554 played at an increasing or decreasing tempo -- depending on the
3555 direction of @q{feathering} -- but without changing the overall tempo
3559 Internals Reference: @ruser{Manual beams}
3565 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3569 F: point d'orgue, point d'arrêt,
3574 FI: fermaatti, pidäke.
3576 Prolonged note or rest of indefinite duration.
3578 @lilypond[quote,relative=2]
3585 No cross-references.
3605 @section figured bass
3608 I: basso continuo, basso numerato,
3609 F: basse chiffrée, basse continue,
3610 D: Generalbass, bezifferter Bass,
3611 NL: basso continuo, becijferde bas
3614 FI: kenraalibasso, numeroitu basso.
3616 Also called @q{thorough bass}.
3618 A method of indicating an accompaniment part by the bass notes only,
3619 together with figures designating the chief intervals and chords to be
3620 played above the bass notes.
3622 @lilypond[quote,line-width=13.0\cm]
3624 \new Staff = "rh" \with {
3626 \override StaffSymbol #'staff-space = #(magstep -3)
3632 \context Voice = "rha" {
3637 \context Voice = "rhb" {
3639 <bes g>8 as <as f> g <g es> f <d f> es
3644 \new Staff = "lh" \relative c' {
3647 es8 c d bes c as bes16 as g f
3651 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3657 @ref{chord}, @ref{interval}.
3672 Figures to the side or above the note that methodically indicate which
3673 fingers to use while playing a passage.
3676 No cross-references.
3683 I: coda (uncinata), bandiera,
3691 Ornament at the end of the stem of a note used for notes with values less
3692 than a quarter note. The number of flags determines the note value.
3694 @lilypond[quote,notime,relative=2]
3717 An articulation for string players that means the note or passage is to
3718 be played in harmonics.
3724 @item A duct flute similar to the recorder.
3726 @item An organ stop of flute scale at 1' or 2' pitch.
3731 @ref{articulation}, @ref{harmonics}.
3767 FI: forte, voimakkaasti.
3771 Abbreviated @notation{@b{f}}. Variants include:
3774 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3775 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3779 No cross-references.
3798 @node Frenched score
3799 @section Frenched score
3801 ES: partitura a la francesa,
3804 D: Orchesterpartitur ohne leere Systeme,
3808 FI: partituuri ilman tyhjiä nuottiviivastoja.
3810 A @q{condensed} score, produced by omitting staves for instruments that are not
3811 playing at the moment, and by moving up additional systems from following pages
3812 to take up the space thus liberated, which reduces the total number of pages
3813 used to print the work.
3815 The specific rules for @q{frenching} a score differ from publisher to publisher.
3816 If you are producing scores for eventual publication by a commercial publisher,
3817 you may wish to procure a copy of their style manual.
3820 @ref{Frenched staff}.
3823 @node Frenched staff
3824 @section Frenched staff
3826 ES: pentagrama a la francesa,
3829 D: zeitweiliges Notensystem,
3833 FI: karsittu nuotinnus.
3835 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3836 Frenched staff has unneeded measures or sections removed. This is useful
3837 for producing, for example, an @emph{ossia} staff.
3843 @node Frenched staves
3844 @section Frenched staves
3846 Plural of @ref{Frenched staff}.
3865 @node functional harmony
3866 @section functional harmony
3868 ES: armonía funcional,
3869 I: armonia funzionale,
3870 F: étude des functions,
3872 NL: functionele harmonie,
3873 DK: funktionsanalyse, funktionsharmonik,
3875 FI: harmoniajärjestelmä.
3877 A system of harmonic analysis.
3879 It is based on the idea that, in a given key, there are only three
3880 functionally different chords: tonic (T, the chord on the first note of the
3881 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3882 chord on the fifth note). Others are considered to be variants of the base
3885 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3887 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3890 <g e c>1 <a f d> <b g e>
3891 <c a f> <d b g> <e c a> <f d b>
3895 \markup { D \translate #'(-2 . 0) | }
3901 No cross-references.
3928 D: G-Schlüssel, Violinschlüssel,
3934 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3935 second note lines. A digit 8 above the clef symbol indicates that the notes
3936 must be played an octave higher while 8 below the clef symbol indicates
3937 playing or singing an octave lower (used most frequently to notate the tenor
3938 part in modern choral scores).
3940 @lilypond[quote,notime]
3942 \override Staff.Clef #'full-size-change = ##t
3943 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3954 "french violin clef"
3962 No cross-references.
3975 FI: glissando, liukuen.
3977 Letting the pitch slide fluently from one note to the other.
3980 No cross-references.
3984 @section grace notes
3986 ES: notas de adorno,
3988 F: ornement, fioriture,
3989 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3995 Notes printed in small types to indicate that their time values are not
3996 counted in the rhythm of the bar.
3999 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
4003 @section grand staff
4005 ES: sistema de piano,
4007 F: système [de portées], accolade,
4008 D: Akkolade, Klaviersystem,
4011 S: ackolad, böjd klammer,
4012 FI: kaksoisnuottiviivasto.
4014 A combination of two staves with a brace. Usually used for piano music.
4030 FI: grave, raskaasti.
4032 [Italian] Slow, solemn.
4035 No cross-references.
4059 Letter name used for @notation{B natural} in German and Scandinavian
4060 usage. In the standard usage of these countries, @notation{B} means
4064 @ref{Pitch names}, @ref{B}.
4070 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4073 @lilypond[quote,relative=2]
4080 @ref{crescendo}, @ref{decrescendo}.
4091 @item D: Halbe, halbe Note,
4092 @item NL: halve noot,
4095 @item FI: puolinuotti.
4106 @item UK: minim rest,
4107 @item ES: silencio de blanca,
4108 @item I: pausa di minima,
4109 @item F: demi-pause,
4110 @item D: halbe Pause,
4111 @item NL: halve, rust,
4112 @item DK: halvnodespause,
4114 @item FI: puolitauko.
4121 @node harmonic cadence
4122 @section harmonic cadence
4124 ES: cadencia (armónica),
4125 I: cadenza (armonica),
4126 F: cadence harmonique,
4128 NL: harmonische cadens,
4129 DK: harmonisk kadence,
4130 S: (harmonisk) kadens,
4131 FI: harmoninen kadenssi.
4133 A sequence of chords that terminates a musical phrase or section.
4137 \context Staff = "SA" \relative c'' {
4140 \partial 4 <c g e>4 |
4141 <c a f> <b g d> <c g e>2
4144 \context Staff = "SB" \relative c {
4146 \partial 4 c4 | f, g c2
4158 @ref{functional harmony}.
4164 ES: armónicos, sonidos aflautados,
4166 F: flageolet, sons harmoniques,
4171 FI: harmoniset äänet, huiluäänet.
4173 The general class of pitches produced by sounding the second or higher
4174 harmonic of a tone producer: string, column of air, and so on.
4176 On stringed instruments, these pitches sound rather flute-like; hence,
4177 their name in languages other than English. They are produced by
4178 lightly touching the string at a node for the desired mode of vibration
4179 while it is being bowed or plucked.
4181 For instruments of the violin family, there are two types of harmonics:
4182 natural harmonics, which are those played on the open string; and
4183 artificial harmonics, which are produced on stopped strings.
4186 No cross-references.
4195 D: Harmonie, Zusammenklang,
4199 FI: harmonia, yhteissointi.
4201 Tones sounding simultaneously. Two note harmonies fall into the
4202 categories @emph{consonances} and @emph{dissonances}.
4206 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4218 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4219 <g a>1_"second " s s
4220 <g f'>_"seventh " s s
4224 For harmony that uses three or more notes, see @ref{chord}.
4234 I: emiolia, (rarely hemiola or emiola),
4240 FI: hemioli, 3/2 -suhde.
4242 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4244 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4245 time normally occupied by two. The resulting rhythm can be expressed in modern
4246 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4247 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4248 as a special effect (or @emph{affect}) at cadences.
4250 For example, this phrase in 6/4 time
4252 @lilypond[quote,relative=1,line-width=13.0\cm]
4255 c2. e | d2 c d | c1. \bar "||"
4258 may be thought of having alternating time signatures
4260 @lilypond[quote,relative=1,line-width=13.0\cm]
4270 and is therefore a polymeter (second definition) of considerable antiquity.
4273 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4286 FI: homofonia, yksiäänisyys.
4288 Music in which one voice leads melodically supported by the other voices in
4289 the same rhythm (more or less). In contrast to @emph{polyphony}.
4312 FI: säkeiden tavumäärät.
4314 A group or list of numbers that indicate the number of syllables in a line
4315 of a hymn's verse. Different hymnals have different ways of noting the hymn
4316 meter: for example, consider a hymn that has four lines in two couplets
4317 alternating regularly between eight and seven syllables. The @emph{English
4318 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4319 or 8@w{ }7@w{ }8@w{ }7.
4321 Some frequently-used hymn meters have traditional names:
4324 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4325 @item 86.86 is called Common Meter (CM or C.M.)
4326 @item 88.88 is called Long Meter (LM or L.M.)
4329 Some hymns and their tunes are doubled versions of a simpler meter: for
4330 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4331 87.87D. The traditional names above also have doubled versions:
4334 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4335 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4336 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4340 No cross-references.
4353 FI: intervalli, kahden sävelen korkeusero.
4355 Difference in pitch between two notes. Intervals may be diminished, minor,
4356 perfect, major, or augmented. The augmented fourth and the diminished fifth
4357 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4358 and are called @emph{tritonus} because they consist of three whole tones.
4359 The addition of such two intervals forms an octave.
4361 @lilypond[quote,notime,line-width=13.0\cm]
4363 \context Voice \relative c'' {
4400 \context Lyrics \lyrics {
4402 "second " "second " "second " "second "
4403 "third " "third " "third " "third "
4404 "fourth " "fourth " "fourth "
4405 "fifth " "fifth " "fifth "
4406 "sixth " "sixth " "sixth " "sixth "
4407 "seventh" "seventh" "seventh" "seventh"
4408 "octave " "octave " "octave "
4414 @ref{enharmonic}, @ref{whole tone}.
4429 When a chord sounds with a bass note that differs from the root of the
4430 chord, it is said to be @emph{inverted}. The number of inversions that a
4431 chord can have is one fewer than the number of constituent notes. For
4432 example, triads (which have three constituent notes) can have three
4433 positions, two of which are inversions:
4437 The root note is in the bass, and above that are the third and the fifth. A
4438 triad built on the first scale degree, for example, is marked @notation{I}.
4440 @item First inversion
4441 The third is in the bass, and above it are the fifth and the root. This
4442 creates an interval of a sixth and a third above the bass note, and so is
4443 marked in figured Roman notation as @notation{6/3}. This is commonly
4444 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4445 characteristic interval of the inversion, and so always implies
4448 @item Second inversion
4449 The fifth is in the bass, and above it are the root and the third. This
4450 creates an interval of a sixth and a fourth above the bass note, and so is
4451 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4452 unstable chord position.
4456 No cross-references.
4459 @node inverted interval
4460 @section inverted interval
4462 ES: intervalo invertido,
4463 I: intervallo rivolto,
4464 F: intervalle renversé,
4465 D: umgekehrtes Intervall,
4466 NL: interval inversie,
4467 DK: omvendingsinterval,
4468 S: intervallets omvändning,
4469 FI: käänteisintervalli.
4471 The difference between an interval and an octave.
4473 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4474 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4475 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4476 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4480 No cross-references.
4483 @node just intonation
4484 @section just intonation
4486 ES: entonación justa,
4487 I: intonazione giusta,
4488 F: intonation juste,
4495 Tuning system in which the notes are obtained by adding and subtracting
4496 natural fifths and thirds.
4514 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4515 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4518 @ref{chromatic scale}, @ref{key signature}.
4522 @section key signature
4524 ES: armadura (de la clave),
4525 I: armatura di chiave,
4526 F: armure, armature [de la clé],
4527 D: Vorzeichen, Tonart,
4528 NL: toon@-soort (voortekens),
4531 FI: sävellajiosoitus.
4533 The sharps or flats appearing at the beginning of each staff indicating the
4539 @node kievan notation
4540 @section kievan notation
4542 A form of medieval music notation used predominantly in the chantbooks
4543 of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
4544 jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
4545 characterized by the square shape of its noteheads.
4548 @node laissez vibrer
4549 @section laissez vibrer
4554 D: Laissez vibrer, schwingen lassen,
4560 [French: @q{Let vibrate}] Most frequently associated with harp
4561 parts. Marked @notation{l.v.} in the score.
4564 No cross-references.
4572 F: largo, large, ample,
4573 D: Largo, Langsam, Breit,
4577 FI: largo, hitaasti, leveästi.
4579 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4580 expressiveness. @emph{Larghetto} is less slow than largo.
4584 @section leading note
4595 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4596 called because of its strong tendency to @q{lead up} (resolve upwards)
4597 to the tonic scale degree.
4600 @ref{scale degree}, @ref{semitone}.
4604 @section ledger line
4606 ES: línea adicional,
4607 I: tagli addizionali,
4608 F: ligne supplémentaire,
4615 A ledger line is an extension of the staff.
4617 @lilypond[quote,notime,relative=2]
4624 No cross-references.
4633 D: legato, gebunden,
4639 To be performed (a) without any perceptible interruption between the
4640 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4641 @notation{portato}, or (d) @notation{staccato}.
4643 @lilypond[quote,notime,line-width=13.0\cm]
4645 \context Staff \relative c'' {
4646 c4-( d e-) \bar "||"
4647 c4-- d-- e-- \bar "||"
4648 c4-.-( d-. e-.-) \bar "||"
4649 c4-. d-. e-. \bar "||"
4665 @section legato curve
4668 @ref{slur}, @ref{legato}.
4690 A ligature is a coherent graphical symbol that represents at least two
4691 distinct notes. Ligatures originally appeared in the manuscripts of
4692 Gregorian chant notation around the 9th century to denote ascending or
4693 descending sequences of notes. In early notation, ligatures were used for
4694 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4695 performance in the sense of articulation. With the invention of the metric
4696 system of the white mensural notation, the need for ligatures to denote such
4697 patterns disappeared.
4700 @ref{mensural notation}.
4707 ES: estanque de nenúfares,
4708 I: stagno del giglio,
4709 F: étang de nénuphars, étang de nymphéas,
4711 NL: le@-lie@-vij@-ver,
4716 A pond with lilies floating in it.
4718 Also, the name of a music typesetting program.
4721 No cross-references.
4730 D: Linie, Notenlinie,
4734 FI: viiva, nuottiviiva.
4750 FI: kirjoitetussa äänenkorkeudessa.
4752 [Italian: @q{place}] Instruction to play the following passage at the
4753 written pitch. Cancels octave mark (q.v.).
4756 @ref{octave mark}, @ref{octave marking}.
4759 @node long appoggiatura
4760 @section long appoggiatura
4762 ES: apoyatura larga,
4763 I: appoggiatura lunga,
4764 F: appoggiature longue,
4769 FI: pitkä appoggiatura, pitkä etuhele.
4779 @item US: long, longa,
4782 @item F: longa, longue,
4790 Note value: twice the length of a @notation{breve}.
4792 @lilypond[quote,notime,relative=2]
4793 \override NoteHead #'style = #'mensural
4798 @ref{breve}, @ref{note value}.
4804 ES: ligadura de letra,
4806 F: ligature de mots,
4811 FI: sidonta sanoituksessa.
4813 @c TODO: add languages
4822 ES: letra (de la canción),
4825 D: Liedtext, Gesangstext,
4834 No cross-references.
4850 @ref{diatonic scale}.
4853 @node major interval
4854 @section major interval
4856 ES: intervalo mayor,
4857 I: intervallo maggiore,
4858 F: intervalle majeur,
4859 D: großes Intervall,
4863 FI: suuri intervalli.
4881 Note value: twice the length of a @notation{longa}.
4883 The maxima is the largest duration in use during the 15th and 16th centuries.
4884 Like the longa, the maxima can be either two or three times as long as the
4885 @notation{longa} (called @notation{binary} and @notation{ternary},
4886 respectively). By the late 15th century, most composers used the smaller
4887 proportion by default.
4890 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4893 @node meantone temperament
4894 @section meantone temperament
4896 ES: afinación mesotónica,
4897 I: accordatura mesotonica,
4898 F: tempérament mésotonique,
4899 D: mitteltönige Stimmung,
4900 NL: middenstemming, middentoonstemming,
4901 DK: middeltonetemperatur,
4902 S: medeltonstemperatur,
4903 FI: keskisävelviritys.
4905 Temperament yielding acoustically pure thirds by decreasing the natural
4906 fifth by 16@w{ }cents. Due to the non-circular character of this
4907 temperament only a limited set of keys are playable. Used for tuning
4908 keyboard instruments for performance of pre-1650 music.
4911 @ref{cent}, @ref{temperament}.
4926 A group of beats (units of musical time) the first of which bears an accent.
4927 Such groups in numbers of two or more recur consistently throughout the
4928 composition and are separated from each other by bar lines.
4931 @ref{bar line}, @ref{beat}, @ref{meter}.
4934 @node measure repeat
4935 @section measure repeat
4938 @ref{percent repeat}.
4945 I: mediante, modale,
4955 @item The third @b{scale degree}.
4957 @item A @emph{chord} having its base tone a third from that of another
4958 chord. For example, the tonic chord may be replaced by its lower
4959 mediant (variant tonic).
4964 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4977 FI: melisma, laulettavan tavun sävelkuvio.
4979 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4980 on one syllable, especially as applied to liturgical chant.
4983 No cross-references.
4987 @section melisma line
4989 @c TODO: add languages
4991 ES: línea de melisma,
4992 I: linea del melisma,
4993 F: trait de mélisme, trait de tenue,
5001 @ref{extender line}.
5004 @node melodic cadence
5005 @section melodic cadence
5011 @node mensural notation
5012 @section mensural notation
5014 @c TODO: add languages
5016 ES: notación mensural,
5017 I: notazione mensurale,
5018 F: notation mensurale,
5019 D: Mensuralnotation,
5023 FI: mensuraalinuotinnus.
5025 A system of duration notation whose principles were first established in the
5026 mid-13th century, and that (with various changes) remained in use until about
5027 1600. As such, it is the basis for the notation of rhythms in Western musical
5030 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5031 of the notation's principles, so the notation of this earliest period is called
5032 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5033 and semibreve -- each of which was normally equivalent to three of the next
5036 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5037 added several note values (the minim, semiminim and fusa) and extended Franco's
5038 principles to govern the relationship between these values. They also put the
5039 duple division of note values on an equal footing with the earlier (preferred)
5042 TODO: continue description of French and Italian black notation, and the
5043 relationship betwixt them.
5045 @b{White or void mensural notation}
5047 In the 15th century, hollow (or void) notes began to substitute for the earlier
5048 solid black ones, which were then free to assume the function of red (or
5049 colored) notes in the earlier notation. ...
5051 TODO: add to definition (including summary info on proportional notation)
5054 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5055 @c TODO: more cross-references?
5058 @node mensuration sign
5059 @section mensuration sign
5061 @c TODO: add languages
5063 ES: signo de mensuración,
5065 F: signe de mensuration,
5072 The ancestor of the time signature, mensuration signs were used to indicate the
5073 relationship between two sets of note durations—specifically, the ratio of
5074 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5075 (called @notation{prolatio}).
5077 Each ratio was represented with a single single sign, and was either
5078 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5079 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5080 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5081 represented by a complete circle; applied to the @emph{prolatio}, it was called
5082 @emph{major} and was represented by a dot in the middle of the sign. The binary
5083 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5084 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5085 @emph{minor} and was represented by the lack of an internal dot. There are four
5086 possible combinations, which can be represented in modern time signatures with
5087 and without reduction of note values. (These signs are hard-coded in LilyPond
5091 @item perfect @emph{tempus} with major @emph{prolatio}
5092 Indicated by a complete circle with an internal dot. In modern time signatures,
5095 @item 9/4, with reduction or
5096 @item 9/2, without reduction
5099 @item perfect @emph{tempus} and minor @emph{prolatio}
5100 Indicated by a complete circle without an internal dot. In modern time
5101 signatures, this equals:
5103 @item 3/2, with reduction or
5104 @item 3/1, without reduction
5107 @item imperfect @emph{tempus} and major @emph{prolatio}
5108 Indicated by an incomplete circle with an internal dot. In modern time
5109 signatures, this equals:
5111 @item 6/4, with reduction or
5112 @item 6/2, without reduction
5115 @item imperfect @emph{tempus} and minor @emph{prolatio}
5116 Indicated by an incomplete circle without an internal dot. In modern time
5117 signatures, this equals:
5119 @item 4/4, with reduction or
5120 @item 2/1, without reduction
5124 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5125 with note values reduced from the original semibreve to a modern quarter note.
5126 Being doubly imperfect, this sign represented the (theoretically)
5127 least-preferred mensuration, but it was actually used fairly often.
5129 This system extended to the ratio of longer note values to each other:
5133 @item maxima to longa, called:
5137 @item @notation{modus maximorum},
5138 @item @notation{modus major}, or
5139 @item @notation{maximodus})
5143 @item longa to breve, called:
5147 @item @notation{modus longarum},
5148 @item @notation{modus minor}, or
5149 @item @notation{modus}
5155 In the absence of any other indication, these modes were assumed to be
5156 binary. The mensuration signs only indicated tempus and prolatio, so
5157 composers needed another way to indicate these longer ratios (called modes.
5158 Around the middle of the 15th century started to use groups of rests at the
5159 beginning of the staff, preceding the mensuration sign.
5162 Two mensuration signs have survived to the present day: the C-shaped sign,
5163 which originally designated @notation{tempus imperfectum} and
5164 @notation{prolatio minor} now stands for @notation{common time}; and the
5165 slashed C, which designated the same with @notation{diminution} now stands
5166 for @notation{cut time} (essentially, it has not lost its original meaning).
5169 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5170 @c TODO: more cross-references?
5178 F: indication de mesure, mesure,
5185 The pattern of note values and accents in a composition or a section thereof.
5186 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5187 by grouping beats and by subdividing the primary beat.
5189 @b{By grouping beats}:
5193 @item @b{duple}: groups of two.
5194 @item @b{triple}: groups of three.
5195 @item @b{quadruple}: groups of four. A special case of duple meter.
5196 @item @b{quintuple}: groups of five beats.
5197 @item @b{sextuple} meter: groups of six. A special case of:
5201 @item duple meter, subdivided in three; or
5202 @item triple meter, subdivided in two.
5206 @item @b{septuple} meter: groups of seven.
5211 Other than triple meter and its subdivided variants (see below), meters that
5212 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5213 frequently used prior to the 20th Century.
5215 @b{By subdividing the primary beat}:
5219 @item simple: subdivided in groups of two.
5223 @item duple: 2/2, 2/4, 2/8
5224 @item triple: 3/2, 3/4, 3/8
5225 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5229 @item compound: subdivided in groups of three.
5235 @item quadruple: 12/8
5241 Time signatures are placed at the beginning of a composition (or section) to
5242 indicate the meter. For instance, a piece written in simple triple meter with a
5243 beat on each quarter note is conventionally written with a time signature of
5244 3/4. Here are some combinations of the two classifications above:
5246 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5248 @lilypond[quote,line-width=13.0\cm]
5252 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5255 Simple triple meter:
5257 @lilypond[quote,line-width=13.0\cm]
5261 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5264 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5266 @lilypond[quote,line-width=13.0\cm]
5270 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5273 Simple quintuple meter (B. Marcello, 1686-1739):
5275 @lilypond[quote,line-width=13.0\cm]
5279 r4 cis8 bis ais4 dis c8 ais |
5280 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5283 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5284 the source, with sharps in the accompaniment where the voice has flats and
5287 Compound duple meter (unknown):
5289 @lilypond[quote,line-width=13.0\cm]
5293 f8 f g a bes16 a g f |
5294 g8 g bes a c16 a bes g
5298 Compound triple meter (J.S. Bach, 1685-1750):
5300 @lilypond[quote,line-width=13.0\cm]
5304 r8 g'( a) b( d c) c( e d) |
5305 d( g fis) g( d b) g( a b)
5309 Compound quadruple meter (P. Yon, 1886-1943):
5311 @lilypond[quote,line-width=13.0\cm]
5315 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5316 e4 e8 fis( gis) a b4.~ b4 b8
5321 @b{@q{Monometer} vs Polymeter}
5323 TODO: add information from discussion on lilypond-user related to polymeter.
5327 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5342 Device used to indicate the exact tempo of a piece.
5344 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5345 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5346 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5347 followed acknowledged Winkler as the creator, but by then Mälzel had already
5348 sold many of them, and people had taken to calling it a Mälzel Metronome.
5351 @ref{metronome mark}.
5354 @node metronome mark
5355 @section metronome mark
5357 ES: indicación metronómica,
5358 I: indicazione metronomica,
5359 F: indication métronomique,
5361 NL: metronoom aanduiding,
5363 S: metronomangivelse,
5364 FI: metronomiosoitus.
5366 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5367 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5374 @node metronomic indication
5375 @section metronomic indication
5378 @ref{metronome mark}
5391 FI: kohtalaisen, melko.
5393 [Italian: @q{medium}]
5395 Used to qualify other indications, such as:
5401 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5403 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5409 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5416 No cross-references.
5420 @section mezzo-soprano
5431 The female voice between soprano and contralto.
5434 @ref{soprano}, @ref{contralto}.
5443 D: zweigestrichenes@w{ }c,
5445 DK: enstreget@w{ }c,
5446 S: ettstruket@w{ }c,
5449 First C below the 440 Hz A.
5451 @lilypond[quote,notime,relative=1]
5452 \override Staff.Clef #'full-size-change = ##t
5459 No cross-references.
5475 @ref{diatonic scale}.
5478 @node minor interval
5479 @section minor interval
5481 ES: intervalo menor,
5482 I: intervallo minore,
5483 F: intervalle mineur,
5484 D: kleines Intervall,
5488 FI: pieni intervalli.
5494 @node mixolydian mode
5495 @section mixolydian mode
5498 @ref{diatonic scale}.
5507 D: Kirchentonart, Modus,
5511 FI: moodi, kirkkosävelasteikko.
5514 @ref{church mode}, @ref{diatonic scale}.
5527 FI: modulaatio, sävellajin vaihdos.
5529 Moving from one @ref{key} to another. For example, the second subject
5530 of a @ref{sonata form} movement modulates to the dominant key if the
5531 key is major and to the @ref{relative key} if the key is minor.
5534 No cross-references.
5546 FI: mordent, korukuvio.
5549 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5570 FI: teema, sävelaihe.
5572 The briefest intelligible and self-contained fragment of a musical
5575 @lilypond[quote,line-width=13.0\cm]
5578 \set Score.implicitTimeSignatureVisibility = #all-invisible
5579 \override Score.TimeSignature #'break-visibility = #all-invisible
5582 \partial 8 g16\startGroup fis |
5583 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5584 g8 g,16 a b8 cis d16 s
5588 \Staff \consists "Horizontal_bracket_engraver"
5594 No cross-references.
5609 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5610 several -- more or less -- independent pieces called movements.
5613 No cross-references.
5616 @node multi-measure rest
5617 @section multi-measure rest
5619 ES: compases de espera, silencio multicompás,
5621 F: pause multiple, mesure à compter,
5623 D: mehrtaktige Pause, Kirchenpause,
5626 FI: usean tahdin mittainen tauko.
5628 Multi-measure rests are conventionally typeset with a combination of
5629 longa, breve and whole rests for shorter and a long horizontal bar for
5630 longer spans of rest, with a number above to indicate the duration (in
5631 measures) of the rest. The former style is called @q{Kirchenpausen} in
5632 German, as a reminiscence of its use in Renaissance vocal polyphony.
5634 @lilypond[quote,relative=2]
5636 \set Score.skipBars = ##t
5639 \set Score.skipBars = ##t
5645 @ref{longa}, @ref{breve}.
5654 D: Auflösungszeichen,
5655 NL: herstellingsteken,
5656 DK: op@-løsningstegn,
5657 S: återställningstecken,
5664 @node neighbor tones
5665 @section neighbor tones
5667 @c TODO: add definition.
5679 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5680 @ref{mordent}, @ref{ornament}.
5718 Notes are signs by means of which music is fixed in writing. The term is also
5719 used for the sound indicated by a note, and even for the key of the piano
5720 which produces the sound. However, a clear distinction between the terms tone
5721 and @ref{note} is strongly recommended. Briefly, one sees a note,
5725 No cross-references.
5732 I: testa, testina, capocchia,
5740 A head-like sign which indicates pitch by its position on a @notation{staff}
5741 provided with a @notation{clef}, and duration by a variety of shapes such as
5742 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5743 For percussion instruments (often having no defined pitch) the note head may
5744 indicate the instrument.
5747 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5760 ES: valor, duración,
5762 F: durée, valeur (d'une note),
5767 FI: nuotin aika-arvo.
5769 Note values (durations) are measured as fractions—in modern usage, one-half—of
5770 the next higher note value. The longest duration in current use is the
5771 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5772 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5773 or @notation{maxima} (eight whole notes) may be found.
5775 As used in mensural notation, this fraction was more flexible: it could also
5776 be one-third the higher note value. Composers indicated which proportions
5777 to use with various signs—two of which survive to the present day: the
5778 C-shaped sign for @notation{common time}, and the slashed C for
5779 @notation{alla breve} or @notation{cut time}.
5781 @c TODO -- add maxima to this example, in a way that doesn't break it.
5783 @lilypond[quote,notime,line-width=13.0\cm]
5785 \override NoteHead #'style = #'mensural
5786 a\longa_"longa" a\breve_"breve"
5787 \revert NoteHead #'style
5788 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5789 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5792 @c TODO -- add maxima rest to this example
5794 @lilypond[quote,notime,line-width=13.0\cm]
5796 r\longa_"longa" r\breve_"breve"
5797 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5798 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5801 An augmentation dot after a note increases its duration by half; a second dot
5802 increases it by half of the first addition (that is, by a fourth of the original
5803 duration). More dots can be used to add further halved fractions of the
5804 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5806 @lilypond[quote,line-width=13.0\cm]
5809 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5810 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5813 Alternatively note values may be subdivided by other ratios. Most common is
5814 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5815 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5816 dotted notes are also frequently used.
5818 @lilypond[quote,line-width=13.0\cm]
5821 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5822 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5826 @lilypond[quote,line-width=13.0\cm]
5829 \times 3/2 {g4_"duplets" g} |
5831 \times 6/4 {g8_"quadruplets" g g g} |
5832 g8 g g g g4 \bar "||"
5844 @ref{octave marking}.
5859 The interval of an octave, sometimes abbreviated @notation{8ve}.
5861 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5862 bracket, or @notation{loco} see octave marking.
5865 @ref{interval}, @ref{octave marking}.
5869 @section octave mark
5871 ES: indicación de octava,
5873 F: indication d'octave,
5874 D: Oktavierungszeichen,
5880 The phrase, abbreviation, or other mark used (with or without an extender line
5881 or bracket) to indicate that the music is to be played in a different octave:
5885 @item @notation{15ma}: play two octaves higher
5886 @item @notation{8va}: play one octave higher
5887 @item @notation{8vb}: play one octave lower
5888 @item @notation{8va} (written below the passage): unusual, same as
5890 @item @notation{15vb}: play two octaves lower
5891 @item @notation{15va} (written below the passage): unusual, same as
5896 For longer passages, it may be more practical to mark the octave change at the
5897 beginning with a phrase (see the list below for examples), but without a bracket
5898 or extender line. Then, when the music returns to the written pitch, the octave
5899 change is canceled with the word @notation{loco} (q.v.).
5901 To parallel the list above:
5905 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5906 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5907 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5908 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5912 In the phrases above, @notation{quindicesima} is sometimes replaced with
5913 @notation{quindecima}, which is Latin.
5915 The music on an entire staff can be marked to be played in a different octave by
5916 putting a small 8 or 15 above or below the clef at the beginning. This octave
5917 mark can be applied to any clef, but it is most frequently used with the G and F
5921 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5924 @node octave marking
5925 @section octave marking
5934 FI: oktaavamerkintä.
5936 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5937 that it is to be played in a different octave. If applied to the clef at the
5938 beginning of the staff, all music on that staff is to played at the indicated
5941 For a list of the specific marks used, see @ref{octave mark}.
5944 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5948 @section octave sign
5958 I: abbellimento, fioriture,
5959 F: agrément, ornement,
5960 D: Verzierung, Ornament,
5966 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5967 with the diatonic @ref{second} above it. In the music from the
5968 middle of the 19th century and onwards the trill is performed with the main
5969 note first while in the music from the preceding baroque and classic periods
5970 the upper note is played first.
5972 @lilypond[quote,line-width=13.0\cm]
5974 \context Staff = sa {
5976 c2._"pre-1850" b4\trill | c1 \bar "||"
5977 c2._"post-1850" b4\trill | c1 \bar "||"
5981 c2. c32 b c b c b c b | c1
5982 c2. b32 c b c \times 4/5 { b c b c b } | c1
5987 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5988 the @emph{prall} (inverted mordent).
5990 @lilypond[quote,line-width=13.0\cm]
5992 \context Staff = sa {
5994 a4_"turn" b\turn c2 \bar "||"
5995 g4_"mordent" a b\mordent a \bar "||"
5996 e'4_"prall" d\prall c2 \bar "||"
6002 e'4 e32[ d e d ~ d8] c2
6008 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6017 F: ossia, alternative,
6022 FI: ossia, vaihtoehtoinen esitystapa.
6024 Ossia (otherwise) marks an alternative. It is an added staff or piano
6025 score, usually only a few measures long, which presents another version
6026 of the music, for example for small hands.
6029 Compare: @ref{cue-notes}.
6035 ES: parte, particella,
6042 FI: stemma, instrumenttiosuus.
6046 @item In instrumental or choral music, the music for a single
6047 instrument or voice.
6049 @item in contrapuntal music, a single melodic line in the contrapuntal
6072 @node percent repeat
6073 @section percent repeat
6075 LilyPond-specific term to indicate the repetition of a musical expression on a
6076 single staff, as opposed to the more usual definition of repeat, which affects
6077 all parts. The musical expression can be anything from a single note or note
6078 pattern to one or more measures. There are other names for this symbol:
6083 @item slash mark, or slash repeat
6085 @item measure (or multi-measure) repeat
6089 @lilypond[quote,relative=2,line-width=13.0\cm]
6091 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6092 \repeat percent 2 { c4 e g b_"Measure repeat" }
6093 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6098 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6099 Vermont Music Dictionary}.
6108 D: Schlagzeug, Schlagwerk,
6114 A family of musical instruments which are played on by striking or
6115 shaking. Percussion instruments commonly used in a symphony orchestra are
6116 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6117 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6121 No cross-references.
6124 @node perfect interval
6125 @section perfect interval
6127 ES: intervalo justo,
6128 I: intervallo giusto,
6129 F: intervalle juste,
6130 D: reines Intervall,
6134 FI: puhdas intervalli.
6152 A natural division of the melodic line, comparable to a sentence of speech.
6168 FI: fraseeraus, jäsentäminen.
6170 The clear rendering in musical performance of the @notation{phrases} of the
6171 melody. Phrasing may be indicated by a @notation{slur}.
6174 @ref{phrase}, @ref{slur}.
6189 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6190 @emph{mezzo piano} (@b{mp}) medium soft.
6193 No cross-references.
6201 F: anacrouse, levée,
6226 @item The perceived quality of a sound that is primarily a function of its
6227 fundamental frequency.
6229 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6231 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6232 association of a particular frequency with a particular pitch name, e.g., c' =
6248 NL: pizzicato, getokkeld,
6251 FI: pizzicato, näppäillen.
6253 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6257 No cross-references.
6263 ES: compás polimétrico,
6270 FI: monia tahtiosoituksia sisältävä.
6274 @item The @emph{simultaneous} use of two or more meters, in two or more
6277 @item The @emph{successive} use of different meters in one or more parts.
6282 @ref{polymetric} (adj.)
6295 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6297 Characterized by @emph{polymeter}: using two or more metric frameworks
6298 simultaneously or in alternation.
6301 @ref{polymeter} (noun)
6304 @node polymetric time signature
6305 @section polymetric time signature
6307 ES: indicación de compás polimétrico,
6308 I: tempo polimetrico,
6310 D: zusammengesetzte Taktart,
6314 FI: vaihtelevan tahtiosoitusmerkintä.
6316 A time signature that indicates regularly alternating polymetric time.
6328 D: Polyphonie, Mehrstimmigkeit,
6332 FI: polyfonia, moniäänisyys.
6334 Music written in a combination of several simultaneous voices (parts)
6335 of a more or less pronounced individuality.
6344 [Italian: past participle of @emph{portare}, @q{to carry}]
6346 A stroke in which each of several notes is separated slightly within a slur,
6347 without changing the bow's direction. It is used for passages of a
6348 @notation{cantabile} character.
6354 @section power chord
6356 A chord containing only the root and the fifth (possibly in multiple
6357 octaves). Commonly used in guitar music, particularly with electric
6358 guitar and high distortion.
6366 ES: presto, muy rápido,
6368 F: presto, très rapide, enlevé,
6369 D: Presto, Sehr schnell,
6370 NL: presto, Sehr schnell,
6373 FI: presto, hyvin nopeasti.
6377 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6378 denotes the highest possible degree of speed.
6381 No cross-references.
6396 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6397 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6402 @item A ratio that expresses the relationship between the note values that
6403 follow with those that precede;
6405 @item A ratio between the note values of a passage and the @q{normal}
6406 relationship of note values to the metrical pulse. (A special case of the
6411 The most common proportions are:
6414 @item 2:1 (or simply 2), expressed by a vertical line through the
6415 mensuration sign (the origin of the @notation{alla breve} time signature),
6416 or by turning the sign backwards
6417 @item 3:1 (or simply 3)
6418 @item 3:2 (@emph{sesquialtera})
6421 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6424 @item 1:2 cancels 2:1
6425 @item 1:3 cancels 3:1
6426 @item 2:3 cancels 3:2
6430 Gaffurius enumerates five basic types of major:minor proportions and their
6434 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6435 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6437 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6438 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6439 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6441 @item Superpartiens, if the major number is one less than twice the minor
6442 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6444 @item Multiplexsuperparticular, if the major number is one more than twice the
6445 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6448 @item Multiplexsuperpartiens, if the major number is one less than some other
6449 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6450 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6454 He then continues to subdivide each type in various ways. For the multiplex
6455 proportions, for example, he indicates how many times greater the major number
6460 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6461 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6463 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6466 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6467 Example: 4:1, 8:2, and 12:3
6471 Other proportions were possible, but whether they were frequently used is
6476 @item 33:9, @emph{triplasuperbipartientetertias}
6477 @item 51:15, @emph{triplasuperbipartientequintas}
6481 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6484 @ref{mensural notation}.
6487 @node Pythagorean comma
6488 @section Pythagorean comma
6490 ES: coma pitagórica,
6491 I: comma pitagorico,
6492 F: comma pythagoricien,
6493 D: Pythagoräisches Komma,
6494 NL: komma van Pythagoras,
6495 DK: pythagoræisk komma,
6496 S: pytagoreiskt komma,
6497 FI: pytagorinen komma.
6499 Originally, the interval by which the sum of six whole tones exceeds the octave
6500 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6502 Modern acoustical theory defines it as the interval by which twelve fifths
6503 exceed seven octaves. To put it another way: A sequence of fifths that starts
6504 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6505 than the C obtained by adding 7 octaves. The difference between those two
6506 pitches is the Pythagorean comma.
6509 @ref{cent}, @ref{temperament}.
6531 ES: variante [de acorde o intervalo],
6534 D: Modus (Dur oder Moll),
6540 The quality of a triad is determined by the precise arrangement of its
6541 intervals. Tertian triads can be described as a series of three notes. The
6542 first element is the root note (or simply @q{root}) of the chord, the second
6543 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6544 the chord. These are described below:
6546 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6547 @headitem Chord name
6548 @tab Component intervals
6551 @item major triad @tab major third/perfect fifth
6553 @tab C, CM, Cma, Cmaj, CΔ
6554 @item minor triad @tab minor third/perfect fifth
6556 @tab Cm, Cmi, Cmin, C-
6557 @item augmented triad @tab major third/augmented fifth
6560 @item diminished triad @tab minor third/diminished fifth
6562 @tab Cm(♭5), Cº, Cdim
6565 There are various types of seventh chords depending on the quality of the
6566 original chord and the quality of the seventh added.
6568 Five common types of seventh chords have standard symbols. The chord quality
6569 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6570 and D^m7 are all identical). The last three chords are not commonly used
6578 @section quarter note
6583 @item I: semiminima, nera
6585 @item D: Viertel, Viertelnote
6587 @item DK: fjerdedelsnode
6588 @item S: fjärdedelsnot
6589 @item FI: neljäsosanuotti
6597 @section quarter rest
6600 @item UK: crotchet rest
6601 @item ES: silencio de negra
6602 @item I: pausa di semiminima
6604 @item D: Viertelpause
6606 @item DK: fjerdedelspause
6607 @item S: fjärdedelspaus
6608 @item FI: neljäsosatauko
6616 @section quarter tone
6625 FI: neljännessävelaskel.
6627 An interval equal to half a semitone.
6636 ES: cinquillo, quintillo,
6650 @section rallentando
6654 F: rallentando, en ralentissant,
6655 D: rallentando, langsamer werden,
6659 FI: rallerdando, hidastuen.
6661 [Italian: @q{slowing down}]
6663 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6671 @section relative key
6674 I: tonalità relativa,
6675 F: tonalité relative,
6677 NL: paralleltoonsoort,
6678 DK: paralleltoneart,
6680 FI: rinnakkaissävellaji.
6682 Major and minor keys that have the same key signature.
6684 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6686 es1_"e flat major" f g as bes c d es
6690 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6692 c1_"c minor" d es f g a! b! c
6697 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6705 F: barre de reprise,
6708 DK: gen@-ta@-gel@-se,
6712 @lilypond[quote,relative=2,line-width=13.0\cm]
6724 No cross-references.
6739 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6740 @c specify the rest's value.
6760 @item Metrical rhythm in which every time value is a multiple or
6761 fraction of a fixed unit of time, called @emph{beat}, and in which the
6762 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6763 The basic scheme of time values is called @emph{meter}.
6765 @item Measured rhythm which lacks regularly recurrent accent. In
6766 modern notation such music appears as a free alternation of different
6769 @item Free rhythm, i.e., the use of temporal values having no common
6770 metrical unit (beat).
6775 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6781 ES: ritardando, retardando,
6783 F: ritardando, en ralentissant,
6784 D: ritardando, langsamer werden,
6788 FI: ritardando, hidastuen,
6790 [Italian: @q{lagging}]
6792 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6793 abbreviated to @notation{rit.} or @notation{ritard}.
6802 ES: ritenuto, reteniendo,
6804 F: ritenuto, en retenant,
6809 FI: ritenuto, hidastaen.
6811 Immediate reduction of speed.
6814 No cross-references.
6827 FI: asteikko, sävelasteikko.
6830 @ref{diatonic scale}.
6834 @section scale degree
6836 ES: grado (de la escala),
6837 I: grado della scala,
6838 F: degré [de la gamme],
6840 NL: trap [van de toonladder],
6843 FI: sävelaste, asteikon sävel.
6845 Names and symbols used in harmonic analysis to denote tones of the
6846 scale as roots of chords. The most important are degrees I = tonic
6847 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6849 @lilypond[quote,notime,line-width=13.0\cm]
6851 \new Staff \relative c' {
6854 \lyrics { I II III IV V VI VII I }
6855 \lyrics { T "" "" S D }
6860 @ref{functional harmony}.
6868 F: à cordes ravallées,
6873 FI: epätavallinen viritys.
6875 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6876 tuning of stringed instruments, particularly lutes or violins. Used
6881 @item facilitate pitch combinations that would otherwise be difficult
6884 @item alter the characteristic timbre of the instrument, for example,
6885 to increase brilliance
6887 @item reinforce certain sonorities or tonalities by making them
6888 available on open strings
6890 @item imitate other instruments
6896 Tunings that could be called @var{scordatura} first appeared early in
6897 the 16th Century and became commonplace in the 17th.
6900 No cross-references.
6908 F: partition, conducteur (full score),
6909 D: Partitur (full score), Klavierauszug (vocal score),
6915 A copy of orchestral, choral, or chamber music showing what each
6916 instrument is to play, each voice to sing, having each part arranged
6917 one underneath the other on different staves @ref{staff}.
6920 No cross-references.
6935 The interval between two neighboring tones of a scale. A diatonic scale
6936 consists of alternating semitones and whole tones, hence the size of a
6937 second depends on the scale degrees in question.
6940 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6947 @item US: whole note,
6951 @item D: Ganze, ganze Note, Semibrevis,
6952 @item NL: hele noot,
6955 @item FI: kokonuotti.
6958 Note value: called @notation{whole note} in the US.
6960 The semibreve is the basis for the @notation{tactus} in mensural notation
6961 (i.e. music written before ca. 1600).
6964 @ref{mensural notation}, @ref{note value}.
6979 The interval of a minor second. The (usually) smallest interval in European
6980 composed music. The interval between two neighboring tones on the piano
6981 keyboard -- including black and white keys -- is a semitone. An octave may
6982 be divided into 12@w{ }semitones.
6984 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6985 g1 gis s a bes s b! c
6989 @ref{interval}, @ref{chromatic scale}.
7012 @ref{sextuplet}, @ref{note value}.
7057 ES: simile, similar,
7060 D: simile, gleichartig,
7066 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7067 is to be played in the same manner (i.e. with the same articulations, dynamics,
7068 etc.) as the music that precedes it.
7071 TODO: Where else could I refer the reader?
7075 @section simple meter
7077 ES: compás simple, compás de subdivisión binaria,
7084 FI: kaksijakoinen tahtiosoitus.
7086 A meter in which the basic beat is subdivided in two: that is, a meter
7087 that does not include triplet subdivision of the beat.
7090 @ref{compound meter}, @ref{meter}.
7093 @node sixteenth note
7094 @section sixteenth note
7097 @item UK: semiquaver
7098 @item ES: semicorchea
7100 @item F: double croche
7101 @item D: Sechzehntel, Sechzehntelnote
7102 @item NL: zestiende noot
7103 @item DK: sekstendedelsnode
7104 @item S: sextondelsnot
7105 @item FI: kuudestoistaosanuotti
7112 @node sixteenth rest
7113 @section sixteenth rest
7116 @item UK: semiquaver rest
7117 @item ES: silencio de semicorchea
7118 @item I: pausa di semicroma
7119 @item F: quart de soupir
7120 @item D: Sechzehntelpause
7121 @item NL: zestiende rust
7122 @item DK: sekstendedelspause
7123 @item S: sextondelspaus
7124 @item FI: kuudestoistaosatauko
7147 @node sixty-fourth note
7148 @section sixty-fourth note
7151 @item UK: hemidemisemiquaver
7153 @item I: semibiscroma
7154 @item F: quadruple croche
7155 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7156 @item NL: vierenzestigste noot
7157 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7158 @item S: sextiofjärdedelsnot
7159 @item FI: kuudeskymmenesneljäsosanuotti
7166 @node sixty-fourth rest
7167 @section sixty-fourth rest
7170 @item UK: hemidemisemiquaver rest
7171 @item ES: silencio de semifusa
7172 @item I: pausa di semibiscroma
7173 @item F: seizième de soupir
7174 @item D: Vierundsechzigstelpause
7175 @item NL: vierenzestigste rust
7176 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7177 @item S: sextiofjärdedelspaus
7178 @item FI: kuudeskymmenesneljäsosatauko
7186 @section slash repeat
7189 @ref{percent repeat}.
7195 ES: ligadura de expresión,
7196 I: legatura (di portamento o espressiva),
7198 D: Bogen (Legatobogen, Phrasierungsbogen),
7199 NL: fraseringsboog, legatoboog, streekboog,
7200 DK: legatobue, fraseringsbue,
7204 A slur above or below a group of notes indicates that they are to be
7205 played @ref{legato}, e.g., with one stroke of the violin bow or with
7206 one breath in singing.
7209 No cross-references.
7213 @section solmization
7222 FI: suhteelliset laulunimet.
7224 General term for systems of designating the degrees of the
7225 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7226 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7230 @ref{scale}, @ref{scale degree}.
7245 In its present-day meaning a sonata denotes an instrumental
7246 composition for piano or for some other instrument with piano
7247 accompaniment, which consists of three or four independent pieces,
7251 No cross-references.
7255 @section sonata form
7259 F: [en] forme de sonate,
7261 NL: hoofdvorm, sonatevorm,
7266 A form used frequently for single movements of the @emph{sonata},
7267 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7268 three sections called @notation{exposition}, @notation{development} and
7269 @notation{recapitulation}. In the exposition the composer introduces some
7270 musical ideas, consisting of a number of themes; in the development section the
7271 composer @emph{develops} this material, and in the recapitulation the composer
7272 repeats the exposition, with certain modifications. The exposition contains a
7273 number of themes that fall into two groups, often called first and second
7274 subject. Other melodies occurring in each group are considered as continuations
7275 of these two. The second theme is in another key, normally in the key of the
7276 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7277 @notation{relative key} if the tonic is @notation{minor}.
7280 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7281 @ref{symphony}, @ref{tonic}.
7301 FI: sopraano, korkea naisääni.
7303 The highest female voice.
7306 No cross-references.
7314 F: staccato, piqué, détaché,
7319 FI: staccato, lyhyesti, terävästi.
7321 Playing the note(s) short. Staccato is indicated by a dot above or
7322 below the note head.
7324 @lilypond[quote,relative=2]
7328 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7334 No cross-references.
7341 ES: pentagrama, pauta,
7342 I: pentagramma, rigo (musicale),
7344 D: Notensystem, Notenzeile,
7345 NL: (noten)balk, partij,
7350 A staff (plural: staves) is a series of (normally five) horizontal
7351 lines upon and between which the musical notes are written, thus
7352 indicating (in connection with a @ref{clef}) their pitch. Staves for
7353 @ref{percussion} instruments may have fewer lines.
7355 @lilypond[quote,relative=1]
7376 D: Hals, Notenhals, Stiel,
7382 Vertical line above or below a @ref{note head} shorter than a
7385 @lilypond[quote,notime,relative=2]
7386 \set Score.autoBeaming = ##f
7400 ES: stringendo, acelerando,
7402 F: stringendo, en accélérant,
7407 FI: kiihdyttäen, nopeuttaen.
7409 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7428 A family of stringed musical instruments played with a bow. Strings
7429 commonly used in a symphony orchestra are violin, viola, violoncello,
7433 No cross-references.
7437 @section strong beat
7442 D: betonter Taktteil oder Taktschlag,
7444 D: betonet taktslag,
7445 S: betonat taktslag,
7446 FI: tahdin vahva isku.
7449 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7453 @section subdominant
7462 FI: subdominantti, alidominantti.
7464 The fourth @notation{scale degree}.
7467 @ref{functional harmony}, @ref{scale degree}.
7482 The sixth @notation{scale degree}.
7485 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7498 FI: subtoonika, alitoonika.
7500 The seventh @ref{scale degree}.
7503 @ref{functional harmony}, @ref{scale degree}.
7509 ES: sobre la cuerda de Sol,
7512 D: auf G, auf der G-Saite,
7518 Indicates that the indicated passage (or note) should be played on the
7522 No cross-references.
7526 @section superdominant
7537 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7540 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7555 The second @ref{scale degree}.
7558 @ref{functional harmony}, @ref{scale degree}.
7567 D: Sinfonie, Symphonie,
7573 A symphony may be defined as a @emph{sonata} for orchestra.
7580 @section syncopation
7591 Any deliberate upsetting of the normal pulse of @ref{meter},
7592 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7593 rhythm rests upon the grouping of equal beats into groups of two or
7594 three, with a regularly recurrent accent on the first beat of each
7595 group. Any deviation from this scheme is felt as a disturbance or
7596 contradiction between the underlaying (normal) pulse and the actual
7599 @lilypond[quote,relative=1]
7602 e16 c'8 e,16 c'8 e,16 c' ~
7607 No cross-references.
7610 @node syntonic comma
7611 @section syntonic comma
7613 ES: coma sintónica, coma de Dídimo,
7614 I: comma sintonico (o didimico),
7615 F: comma syntonique,
7616 D: syntonisches Komma,
7617 NL: syntonische komma,
7618 DK: syntonisk komma,
7619 S: syntoniskt komma,
7620 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7621 Pytagorisessa viritysjärjestelmässä.
7623 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7624 by which the ditone exceeds the pure major third obtained by Pythagorean
7625 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7627 Modern acoustical theory defines it as the interval by which four fifths exceed
7628 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7630 This comma is also known as the comma of Didymus, or didymic comma.
7633 @ref{Pythagorean comma}
7642 D: Notensystem, Partitur,
7648 The collection of staves (@notation{staff}), two or more, as used
7649 for writing down keyboard, chamber, choral, or orchestral music;
7650 a section of the score spanning the width of a single page.
7657 @section temperament
7662 D: Stimmung, Tem@-pe@-ra@-tur,
7663 NL: stemming, temperatuur,
7666 FI: viritysjärjestelmä.
7668 Systems of tuning in which the intervals deviate from the acoustically
7672 @ref{meantone temperament}, @ref{equal temperament}.
7675 @node tempo indication
7676 @section tempo indication
7678 ES: indicación de tempo,
7679 I: indicazione di tempo,
7680 F: indication de tempo,
7681 D: Zeitmaß, Tempobezeichnung,
7682 NL: tempo aanduiding,
7687 The rate of speed of a composition or a section thereof, ranging from the
7688 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7689 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7693 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7707 FI: tenori, korkea miesääni.
7709 The highest @q{natural} male voice (apart from @notation{countertenor}).
7734 ES: subrayado (tenuto),
7743 An indication that a particular note should be held for the whole
7744 length, although this can vary depending on the composer and era.
7747 No cross-references.
7766 @node thirty-second note
7767 @section thirty-second note
7770 @item UK: demisemiquaver
7773 @item F: triple croche
7774 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7775 @item NL: twee@-endertig@-ste (32e) noot
7776 @item DK: toogtredivtedelsnode
7777 @item S: trettiotvåondelsnot
7778 @item FI: kolmaskymmeneskahdesosanuotti
7785 @node thirty-second rest
7786 @section thirty-second rest
7789 @item UK: demisemiquaver rest
7790 @item ES: silencio de fusa
7791 @item I: pausa di biscroma
7792 @item F: huitième de soupir
7793 @item D: Zweiunddreissigstel@-pause
7794 @item NL: twee@-endertig@-ste (32e) rust
7795 @item DK: toogtredivtedelspause
7796 @item S: trettiotvåondelspaus
7797 @item FI: kolmaskymmeneskahdesosatauko
7805 @section thorough bass
7814 ES: ligadura de unión (o de prolongación),
7815 I: legatura (di valore),
7816 F: liaison (de tenue),
7817 D: Haltebogen, Bindebogen,
7818 NL: overbinding, bindingsboog,
7820 S: bindebåge, överbindning,
7823 A curved line, identical in appearance with the @ref{slur}, which
7824 connects two succesive notes of the same pitch, and which has the
7825 function of uniting them into a single sound (tone) equal to the
7828 @lilypond[quote,notime,relative=2]
7840 @node time signature
7841 @section time signature
7843 ES: indicación de compás,
7845 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7846 D: Taktangabe, Angabe der Taktart,
7849 S: taktartssignatur,
7852 The sign placed at the beginning of a composition to indicate its
7853 meter. It most often takes the form of a fraction, but a few signs
7854 derived from mensural notation and proportions are also employed.
7857 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7872 A sound of definite pitch and duration, as distinct from @emph{noise}.
7873 Tone is a primary building material of music.
7875 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7878 No cross-references.
7893 The first @notation{scale degree}.
7896 @ref{functional harmony}, @ref{scale degree}.
7899 @node transposing instrument
7900 @section transposing instrument
7902 ES: instrumento transpositor,
7903 I: strumento traspositore,
7904 F: instrument transpositeur,
7905 D: transponierende Instrumente,
7909 FI: transponoitava soitin.
7911 Instruments whose notated pitch is different from their sounded pitch. Except
7912 for those whose notated and sounding pitches differ by one or more octaves (to
7913 reduce the number of ledger lines needed), most such instruments are identified
7914 by the letter name of the pitch class of their fundamental. The pitch class is
7915 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7916 the instrument plays a notated C.
7918 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7919 the B-flat one tone lower. If played on the A clarinet, the same written
7920 note sounds the A (one and half tones -- a minor third -- lower).
7922 Not all transposing instruments include the pitch class in their name:
7925 @item Alto flute (in G)
7926 @item English horn (in F)
7927 @item Saxophones (in B-flat or E-flat)
7930 @ignore Can we do better?
7932 To make matters more complex, some instruments are transposing instruments,
7933 but their players play from parts written at concert pitch. This is the
7934 case for orchestral trombone and tuba players—whereas trombone players in
7935 brass bands treat their parts as if written for a true transposing
7936 instrument in B-flat.
7941 @ref{concert pitch}.
7945 @section transposition
7947 ES: transporte, transposición,
7956 Shifting a melody up or down in pitch, while keeping the same
7959 @lilypond[quote,line-width=13.0\cm]
7964 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7969 @lilypond[quote,line-width=13.0\cm]
7972 \transpose c bes \relative c'' {
7974 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7980 No cross-references.
7984 @section treble clef
7986 ES: clave de sol en segunda,
7987 I: chiave di violino,
7989 D: Violinschlüssel, Sopranschlüssel,
8011 On stringed instruments:
8015 @item The quick reiteration of the same tone, produced by a rapid
8016 up-and-down movement of the bow.
8018 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8019 in the distance of a third (@ref{interval}).
8023 @lilypond[quote,notime,relative=1]
8025 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8026 \repeat tremolo 8 { e32_"b" g }
8038 F: triade, accord parfait, accord de trois sons,
8054 F: trille, tremblement, battement (cadence),
8066 @section triple meter
8068 ES: compás ternario,
8071 D: Dreiertakt, ungerader Takt,
8072 NL: driedelige maatsoort,
8114 @section tuning fork
8116 ES: diapasón [de horquilla],
8117 I: diapason, corista,
8123 FI: viritysavain, äänirauta.
8125 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8126 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8127 standard. Tuning forks for other pitches are available.
8136 ES: grupo de valoración especial,
8137 I: gruppi irregolari,
8140 NL: Antimetrische figuur,
8145 A non-standard subdivision of a beat or part of a beat, usually
8146 indicated with a bracket and a number indicating the number of
8150 @ref{triplet}, @ref{note value}.
8156 ES: grupeto (circular),
8179 FI: unisono, yksiäänisesti.
8181 Playing of the same notes or the same melody by various instruments
8182 (voices) or by the whole orchestra (choir), either at exactly the same
8183 pitch or in a different octave.
8186 No cross-references.
8194 F: anacrouse, levée,
8215 FI: ääni, lauluääni.
8223 @item @ref{mezzo-soprano}
8224 @item @ref{contralto}
8226 @item @ref{baritone}
8230 @item A melodic layer or part of a polyphonic composition.
8235 No cross-references.
8241 ES: vez, primera y segunda vez,
8244 D: volta-Klammer, Wiederholungsklammer,
8248 FI: yksi kertauksen maaleista.
8250 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8251 or second ending. LilyPond extends this idea to any number, and allows any text
8252 (not just a number) -- to serve as the @notation{volta} text.
8255 No cross-references.
8262 I: tempo debole, arsi,
8264 D: unbetonter Taktteil oder Taktschlag,
8266 DK: ubetonet taktslag,
8267 S: obetonat taktslag,
8268 FI: tahdin heikko isku.
8271 @ref{beat}, @ref{measure}, @ref{rhythm}.
8282 @item D: Ganze, ganze Note
8286 @item FI: kokonuotti
8297 @item UK: semibreve rest
8298 @item ES: silencio de redonda
8299 @item I: pausa di semibreve
8301 @item D: ganze Pause, ganztaktige Pause
8303 @item DK: helnodespause
8324 The interval of a major second. The interval between two tones
8325 on the piano keyboard with exactly one key between them -- including
8326 black and white keys -- is a whole tone.
8344 A family of blown wooden musical instruments. Today some of these
8345 instruments are actually made from metal. The woodwind instruments
8346 commonly used in a symphony orchestra are flute, oboe, clarinet,
8347 saxophone, and bassoon.
8350 No cross-references.
8353 @node Duration names notes and rests
8354 @chapter Duration names notes and rests
8356 @multitable @columnfractions .12 .22 .22 .22 .22
8358 @headitem Lang. @tab note name
8362 @item @strong{US} @tab long
8366 @item @strong{UK} @tab longa
8370 @item @strong{ES} @tab longa
8371 @tab silencio de longa
8373 @tab silencio de cuadrada
8374 @item @strong{IT} @tab longa
8378 @item @strong{FR} @tab longa
8379 @tab quadruple-pause
8382 @item @strong{DE} @tab Longa
8386 @item @strong{NL} @tab longa
8390 @item @strong{DK} @tab longa
8391 @tab longanodespause
8393 @tab brevis(nodes)pause
8394 @item @strong{SE} @tab longa
8398 @item @strong{FI} @tab longa-nuotti
8400 @tab brevis-nuotti, kaksoiskoko@-nuotti
8401 @tab brevis-tauko, kaksoiskoko@-tauko
8405 @multitable @columnfractions .12 .22 .22 .22 .22
8407 @headitem Lang. @tab note name
8411 @item @strong{US} @tab whole note
8415 @item @strong{UK} @tab semibreve
8419 @item @strong{ES} @tab redonda
8420 @tab silencio de redonda
8422 @tab silencio de blanca
8423 @item @strong{IT} @tab semibreve
8424 @tab pause di semibreve
8426 @tab pausa di minima
8427 @item @strong{FR} @tab ronde
8431 @item @strong{DE} @tab ganze Note
8435 @item @strong{NL} @tab hele noot
8439 @item @strong{DK} @tab helnode
8443 @item @strong{SE} @tab helnot
8447 @item @strong{FI} @tab kokonuotti
8454 @multitable @columnfractions .12 .22 .22 .22 .22
8456 @headitem Lang. @tab note name
8460 @item @strong{US} @tab quarter note
8464 @item @strong{UK} @tab crotchet
8468 @item @strong{ES} @tab negra
8469 @tab silencio de negra
8471 @tab silencio de corchea
8472 @item @strong{IT} @tab semiminima, nera
8473 @tab pausa di semiminima, pausa di nera
8476 @item @strong{FR} @tab noire
8480 @item @strong{DE} @tab Viertelnote
8484 @item @strong{NL} @tab kwartnoot
8488 @item @strong{DK} @tab fjerdedelsnode
8489 @tab fjerdedelspause
8490 @tab ottendedelsnode
8491 @tab ottendedelspause
8492 @item @strong{SE} @tab fjärdedelsnot
8496 @item @strong{FI} @tab neljäsosa@-nuotti
8497 @tab neljäsosa@-tauko
8498 @tab kahdeksasosa@-nuotti
8499 @tab kahdeksasosa@-tauko
8503 * About the French naming system: @notation{croche} refers to the note's
8504 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8505 @q{doubled hook}, @q{trebled hook}, and so on.
8507 The rest names are based on the @notation{soupir}, or quarter rest.
8508 Subsequent rests are expressed as fractions thereof: half a
8509 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8511 Each of the following tables contains one type of note and its matching rest,
8512 with abbreviations that apply to both notes and rests. Just switch the part
8513 that means @q{note} with the part that means @q{rest}, for example:
8517 @item English: 16th @strong{note}, 16th @strong{rest}
8518 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8519 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8523 Editor's note: I put a dash @q{-} when I could not find a language-specific
8524 abbreviation for a duration name. If you know of one that I missed, please
8525 send it to me, care of the lilypond-user discussion list.
8527 @multitable @columnfractions .10 .35 .35 .20
8529 @headitem Lang. @tab Note name
8532 @item @strong{US} @tab sixteenth note
8535 @item @strong{UK} @tab semiquaver
8536 @tab semiquaver rest
8538 @item @strong{ES} @tab semicorchea
8539 @tab silencio de semicorchea
8541 @item @strong{IT} @tab semicroma
8542 @tab pausa di semicroma
8544 @item @strong{FR} @tab double croche
8545 @tab quart de soupir
8547 @item @strong{DE} @tab Sechzehntelnote
8548 @tab Sechzehntelpause
8550 @item @strong{NL} @tab zes@-ti@-ende noot
8551 @tab zes@-ti@-ende rust
8553 @item @strong{DK} @tab sekstendedelsnode
8554 @tab sekstendedelspause
8556 @item @strong{SE} @tab sextondelsnot
8559 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8560 @tab kuudes@-toistaosa@-tauko
8565 @multitable @columnfractions .10 .35 .35 .20
8567 @headitem Lang. @tab Note name
8570 @item @strong{US} @tab thirty-second note
8571 @tab thirty-second rest
8573 @item @strong{UK} @tab demisemiquaver
8574 @tab demisemiquaver rest
8576 @item @strong{ES} @tab fusa
8577 @tab silencio de fusa
8579 @item @strong{IT} @tab biscroma
8580 @tab pausa di biscroma
8582 @item @strong{FR} @tab triple croche
8583 @tab huitième de soupir
8585 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8586 @tab Zweiunddreißig@-stelpause
8588 @item @strong{NL} @tab twee@-endertigste noot
8589 @tab twee@-endertigste rust
8591 @item @strong{DK} @tab toogtredivtedelsnode
8592 @tab toogtredivtedelspause
8594 @item @strong{SE} @tab trettio@-tvåondelsnot
8595 @tab trettio@-tvåondelspaus
8597 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8598 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8603 @multitable @columnfractions .10 .35 .35 .20
8605 @headitem Lang. @tab Note name
8608 @item @strong{US} @tab sixty-fourth note
8609 @tab sixty-fourth rest
8611 @item @strong{UK} @tab hemidemisemiquaver
8612 @tab hemidemisemiquaver rest
8614 @item @strong{ES} @tab semifusa
8615 @tab silencio de semifusa
8617 @item @strong{IT} @tab semibiscroma
8618 @tab pausa di semibiscroma
8620 @item @strong{FR} @tab quadruple croche
8621 @tab seizième de soupir
8623 @item @strong{DE} @tab Vierundsechzigstelnote
8624 @tab Vierundsechzigstelpause
8626 @item @strong{NL} @tab vierenzestigste noot
8627 @tab vierenzestigste rust
8629 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8630 @tab fireog@-tredsindstyven@-dedelspause
8632 @item @strong{SE} @tab sextiofjärdedelsnot
8633 @tab sextiofjärdedelspaus
8635 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8636 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8641 @multitable @columnfractions .10 .35 .35 .20
8643 @headitem Lang. @tab Note name
8646 @item @strong{US} @tab one-hundred-twenty-eighth note
8647 @tab one-hundred-twenty-eighth rest
8649 @item @strong{UK} @tab semihemidemisemiquaver
8650 @tab semihemidemisemiquaver rest
8652 @item @strong{ES} @tab garrapatea
8653 @tab silencio de garrapatea
8655 @item @strong{IT} @tab fusa
8658 @item @strong{FR} @tab quintuple croche
8659 @tab trente-deuxième de soupir @tab -
8660 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8661 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8662 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8663 @tab honderd@-acht@-en@-twintigste rust
8665 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8666 @tab hundrede@-otte@-og@-tyvendedels@-pause
8668 @item @strong{SE} @tab hundratjugoåttondelsnot
8669 @tab hundratjugoåttondelspaus
8671 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8672 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8677 @multitable @columnfractions .10 .35 .35 .20
8679 @headitem Lang. @tab Note name
8682 @item @strong{US} @tab two-hundred-fifty-sixth note
8683 @tab two-hundred-fifty-sixth rest
8685 @item @strong{UK} @tab demisemihemidemisemiquaver
8686 @tab demisemihemidemisemiquaver rest
8688 @item @strong{ES} @tab semigarrapatea
8689 @tab silencio de semigarrapatea @tab -
8690 @item @strong{IT} @tab semifusa
8691 @tab pausa di semifusa
8693 @item @strong{FR} @tab sextuple croche
8694 @tab soixante-quatrième de soupir @tab -
8695 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8696 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8697 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8698 @tab tweehonderd@-zesenvijftigste rust
8700 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8701 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8703 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8704 @tab tvåhundra@-femtiosjättedelspaus
8706 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8707 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8713 @ref{mensural notation}
8717 @chapter Pitch names
8720 -is/-es endings for Danish per Rune Zedeler, pace,
8721 and for Finnish per Risto Vääräniemi;
8722 -iss/-ess endings for Swedish per Mats Bengtsson
8723 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8725 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8726 multiple lines -- as texinfo needs it to allow enough space for the
8727 table entries. (For the curious, it's a list of the widest items in
8728 each column of the table. Romance pitch names are two characters,
8729 except for g (sol) ... so there you go.)
8732 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8733 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8734 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8735 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8736 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8737 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8738 @tab des @tab des @tab dess @tab des
8739 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8740 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8741 @tab dis @tab dis @tab diss @tab dis
8742 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8743 @tab es @tab es @tab ess @tab es
8744 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8745 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8746 @tab Fes @tab fes @tab fes @tab fess @tab fes
8747 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8748 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8749 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8750 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8751 @tab fis @tab fis @tab fiss @tab fis
8752 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8753 @tab ges @tab ges @tab gess @tab ges
8754 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8755 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8756 @tab Gis @tab gis @tab gis @tab giss @tab gis
8757 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8758 @tab as @tab as @tab ass @tab as
8759 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8760 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8761 @tab ais @tab ais @tab aiss @tab ais
8762 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8763 @tab bes @tab b @tab b @tab b
8764 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8765 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8766 @tab ces @tab ces @tab cess @tab ces
8767 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8768 @tab His @tab bis @tab his @tab hiss @tab his
8772 @node Non-Western terms A-Z
8773 @chapter Non-Western terms A-Z
8793 This is a stub for @code{bayati}.
8797 @ruser{Arabic key signatures}.
8804 This is a stub for @code{iraq}.
8808 @ruser{Arabic key signatures}.
8815 This is a stub for @code{kurd}.
8819 @ruser{Arabic key signatures}.
8826 This is a stub for @code{makam}.
8830 @ruser{Turkish classical music}.
8837 This is a stub for @code{makamlar}.
8841 @ruser{Turkish classical music}.
8848 This is a stub for @code{maqam}.
8852 @ruser{Arabic music},
8853 @ruser{Arabic key signatures}.
8860 This is a stub for @code{rast}.
8864 @ruser{Arabic key signatures}.
8871 This is a stub for @code{semai}.
8875 @ruser{Arabic key signatures}.
8882 This is a stub for @code{sikah}.
8886 @ruser{Arabic key signatures}.
8893 This is a stub for @code{taqasim}.
8897 @ruser{Arabic key signatures}.
8900 @node Literature used
8901 @appendix Literature used
8904 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8905 Cambridge: Belknap Press (Harvard University Press), 1944.
8907 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8910 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8911 Terminologie}. Kassel, 1980.
8913 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8914 Current English}, 3rd ed. London: Oxford University Press, 1974.
8916 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8917 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8919 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8920 Cambridge: Belknap Press (Harvard University Press), 1986.
8922 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.