1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
18 This document is also available in
19 @uref{source/Documentation/user/music-glossary.pdf,PDF}
20 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
25 @author Christian Mondrup @c Original author of LilyPond glossary
27 @author François Pinard @c Original glossary of GNU music project,
29 @author Mats Bengtsson @c Swedish glossary
30 @author David González @c Spanish glossary
31 @author Bjoern Jacke @c German glossary
32 @author Neil Jerram @c English glossary translations
33 @author Heikki Junes @c Finnish glossary
34 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
35 @author Adrian Mariano @c Italian glossary
36 @author Han-Wen Nienhuys @c Dutch glossary
37 @author Jan Nieuwenhuizen @c Dutch glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 @c Updates to the German translation by Till Rettig, 12/07
42 Copyright @copyright{} 1999--2007 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
112 For more information about how this fits with the other
113 documentation, see @rlearning{About the documentation}.
119 @w{@expansion{}@strong{\word\}}@c
122 @expansion{}@ref{\word\, @strong{\word\}}@c
127 * Musical terms A-Z::
128 * Duration names notes and rests::
132 @node Musical terms A-Z
133 @chapter Musical terms A-Z
135 Languages in this order.
137 @item UK - British English (where it differs from American English)
164 * ancient minor scale::
169 * ascending interval::
171 * augmented interval::
207 * compound interval::
211 * conjunct movement::
225 * descending interval::
228 * diminished interval::
232 * disjunct movement::
234 * dissonant interval::
238 * dominant ninth chord::
239 * dominant seventh chord::
241 * dot (augmentation dot)::
243 * double appoggiatura::
245 * double dotted note::
248 * double time signature::
255 * ecclesiastical mode::
262 * equal temperament::
283 * functional harmony::
303 * inverted interval::
318 * long appoggiatura::
324 * meantone temperament::
331 * mensural notation::
335 * metronomic indication::
348 * multi-measure rest::
378 * polymetric time signature::
383 * Pythagorean comma::
413 * sixty-fourth note::
414 * sixty-fourth rest::
445 * thirty-second note::
446 * thirty-second rest::
453 * transposing instrument::
508 Abbreviated @notation{a2} or @notation{a 2}.
512 @item An indication in orchestral scores that a single part notated on a single
513 staff that normally carries parts for two players (e.g. first and second oboes)
514 is to be played by both players.
516 @item Or conversely, that two pitches or parts notated on a staff that normally
517 carries a single part (e.g. first violin) are to be played by different players,
518 or groups of players (@q{desks}).
532 F: accelerando, en accélérant,
533 D: accelerando, schneller werden,
537 FI: accelerando, kiihdyttäen.
539 [Italian: @q{speed up, accelerate}.]
554 FI: aksentti, korostus.
556 The stress of one tone over others.
568 @section acciaccatura
570 A grace note which takes its time from the rest or note preceding the
571 principal note to which it is attached. The acciaccatura is drawn as a
572 small eighth note (quaver) with a line drawn through the flag and
577 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
583 ES: alteración accidental,
585 F: altération accidentelle,
586 D: Versetzungszeichen, Akzidenz,
587 NL: toevallig (verplaatsings)teken,
589 S: tillfälligt förtecken,
590 FI: tilapäinen etumerkki.
592 An accidental has the effect of an @ref{alteration} of a note. A
593 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
594 @ref{whole tone}, a flat lowers it by a semitone and a double flat
595 lowers it by a whole tone. A natural cancels the effect of a previous
596 accidental, or a sharp or flat in the key signature.
598 @lilypond[fragment,notime,line-width=13.0\cm]
599 \set Score.automaticBars = ##f
601 \context Staff \relative c'' {
602 \set Staff.extraNatural = ##f
603 gisis1 gis g! ges geses
606 \override Lyrics .LyricText #'self-alignment-X = #-1
607 "db. sharp" sharp natural flat "db. flat"
623 FI: adagio, hitaasti.
625 [Italian: @q{comfortable, easy}.]
629 @item Slow tempo, slower -- especially in even meter -- than
630 @ref{andante} and faster than @ref{largo}.
632 @item A movement in slow tempo, especially the second (slow) movement
633 of @ref{sonata}s, symphonies, etc.
650 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
651 that the sound should fade away to nothing.
653 @notation{Al niente} is indicated by circling the tip of the hairpin:
655 @lilypond[fragment,ragged-right]
657 \override Hairpin #'circled-tip = ##t
664 or with the actual phrase @notation{al niente}. This may be easier with
665 text markup, rather than as part of the @notation{decrescendo} text:
667 @lilypond[fragment,ragged-right]
672 c\!-\markup { \italic "al niente" }
676 Since one does not crescendo @emph{to} nothing, it is not correct to use
677 @notation{al niente} with the word @notation{crescendo}. Instead, one
678 should use @emph{dal niente} (@notation{@b{from} nothing}).
682 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
691 D: Allegro, Schnell, Fröhlich, Lustig,
695 FI: allegro, nopeasti.
697 [Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick
698 tempo, especially the first and last movements of a @ref{sonata}.
708 NL: verhoging of verlaging,
713 An alteration is the modification, raising or lowering, of a note's
714 pitch. It is established by an @ref{accidental}.
727 FI: altto, matala naisääni.
729 A female voice of low range (@emph{contralto}). Originally the alto
730 was a high male voice (hence the name), which by the use of falsetto
731 reached the height of the female voice. This type of voice is also
732 known as @ref{countertenor}.
738 ES: clave de do en tercera,
739 I: chiave di contralto,
740 F: clef d'ut troisième ligne,
741 D: Altschlüssel, Bratschenschlüssel,
747 C clef setting middle C on the middle line of the staff.
764 FI: ambitus, ääniala, soitinala.
766 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
767 Denotes a range of pitches for a given voice in a part of music. It may
768 also denote the pitch range that a musical instrument is capable of playing.
769 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
784 An anacrusis (also known as pickup or upbeat) is an incomplete measure
785 of music before a section of music. It also refers to the initial
786 note(s) of a melody occurring in that incomplete measure.
790 @ref{measure}, @ref{meter}.
792 @lilypond[fragment,line-width=13.0\cm]
796 \partial 4 f4 | bes4. a8 bes4 c |
797 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
801 @node ancient minor scale
802 @section ancient minor scale
804 ES: escala menor natural,
805 I: scala minore naturale,
806 F: forme du mode mineur ancien, troisème mode, mode hellénique,
807 D: reines Moll, natürliches Moll,
808 NL: authentieke mineurtoonladder,
811 FI: luonnollinen molliasteikko.
813 Also called @q{natural minor scale}.
815 @lilypond[fragment,notime,line-width=13.0\cm]
816 \set Score.automaticBars = ##f
823 @ref{diatonic scale}.
838 Walking tempo/character.
842 @section appoggiatura
846 F: appoggiature, (port de voix),
847 D: Vorschlag, Vorhalt
851 FI: appoggiatura, etuhele.
853 Ornamental note, usually a second, that is melodically connected with
854 the main note following it. In music before the 19th century
855 appoggiature were usually performed on the beat, after that mostly
856 before the beat. While the short appoggiatura is performed as a short
857 note regardless of the duration of the main note the duration of the
858 long appoggiatura is proportional to that of the main note.
860 @lilypond[line-width=13.0\cm]
861 \context Voice \relative c'' {
865 %\override Score.TextScript #'font-style = #'large
866 <d a fis>4_"notation" r
867 { \override Stem #'flag-style = #'()
869 \revert Stem #'flag-style
872 { \override Stem #'flag-style = #'()
874 \revert Stem #'flag-style
877 \cadenzaOn a4 \bar "||" \cadenzaOff
879 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
880 \cadenzaOn a4 \bar "||" \cadenzaOff
884 An appoggiatura may have more notes preceding the main note.
886 @lilypond[line-width=13.0\cm]
890 % \override Score.TextScript #'font-style = #'large
891 \grace { bes16 } as8_"notation" as16 bes as8 g |
892 \grace { as16[( bes] } < c as >4-)
893 \grace { as16[( bes] } < c as >4-) \bar "||"
894 \grace { bes16 } as8_"performance" as16 bes as8 g |
895 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
896 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
908 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
910 DK: arpeggio, akkordbrydning,
912 FI: arpeggio, murtosointu.
914 @lilypond[fragment,line-width=13.0\cm]
915 \context PianoStaff <<
916 \context Staff = SA \relative c'' {
919 r8 g16 c e g, c e r8 g,16 c e g, c e |
920 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
921 \context Staff = SB \relative c' {
923 << \context Voice = va {
925 r16 e8. ( e4) r16 e8. ( e4) |
926 r16 d8. ( d4) r16 d8. ( d4) }
927 \context Voice = vb {
936 @section articulation
945 FI: artikulaatio, ilmaisu.
947 Articulation refers to notation which indicates how a note or notes
948 should be played. Slurs, accents, staccato, and legato are all
949 examples of articulation.
952 @node ascending interval
953 @section ascending interval
955 ES: intervalo ascendente,
956 I: intervallo ascendente,
957 F: intervalle ascendant,
958 D: steigendes Intervall,
959 NL: stijgend interval,
960 DK: stigende interval,
961 S: stigande intervall,
962 FI: nouseva intervalli.
964 A distance between a starting lower note and a higher ending note.
967 @node augmented interval
968 @section augmented interval
970 ES: intervalo aumentado,
971 I: intervallo aumentato,
972 F: intervalle augmenté,
973 D: übermäßiges Intervall,
974 NL: overmatig interval,
975 DK: forstørret interval,
976 S: överstigande intervall,
977 FI: ylinouseva intervalli.
985 @section augmentation
996 @c TODO: add definition.
998 This is a placeholder for augmentation (wrt mensural notation).
1002 @ref{diminution}, @ref{mensural notation}.
1010 F: manuscrit, autographe
1011 D: Autograph, Handschrift,
1013 DK: håndskrift, autograf,
1015 FI: käsinkirjoitettu nuotti.
1019 @item A manuscript written in the composer's own hand.
1021 @item Music prepared for photoreproduction by freehand drawing, with
1022 the aid of a straightedge ruler and T-square only, which attempts to
1023 emulate engraving. This required more skill than did engraving.
1044 @ref{H}, @ref{Pitch names}
1066 ES: barra, línea divisoria,
1067 I: stanghetta, barra (di divisione),
1068 F: barre (de mesure),
1086 FI: baritoni, keskikorkuinen miesääni.
1088 The male voice intermediate between the @ref{bass} and the
1091 @c F: clef de troisième ligne dropped
1095 @section baritone clef
1097 ES: clave de fa en tercera,
1098 I: chiave di baritono,
1099 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1100 D: Baritonschlüssel,
1106 C or F clef setting middle C on the upper staff line.
1110 @ref{C clef}, @ref{F clef}.
1123 FI: basso, matala miesääni.
1127 @item The lowest male voice.
1129 @item Sometimes, especially in jazz music, used as an abbreviation for
1142 ES: clave de fa en cuarta,
1144 F: clef de fa quatrième ligne,
1151 A clef setting with middle C on the first top ledger line.
1170 Line connecting a series of notes (shorter than a quarter note). The
1171 number of beams determines the note value of the connected notes.
1173 @lilypond[fragment,notime,line-width=13.0\cm]
1174 \set Score.automaticBars = ##f
1175 %\override TextScript #'font-style = #'large
1177 g8_"1/8"[ g g g] s16
1178 g16_"1/16"[ g g g] s16
1179 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1180 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1185 @ref{feathered beam}.
1191 ES: tiempo, parte (de compás)
1194 D: Takt, Taktschlag, Zeit (im Takt),
1200 Note value used for counting, most often half-, fourth-, and eighth
1201 notes. The base counting value and the number of them per measure is
1202 indicated at the start of the music.
1204 @lilypond[fragment,line-width=13.0\cm]
1207 \relative c'' { g4 c b a | g1 \bar "||"}
1209 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1214 @section beat repeat
1218 @ref{percent repeat}.
1232 ES: llave, corchete,
1235 D: Klammer, Akkolade,
1236 NL: accolade, teksthaak,
1239 FI: yhdistävä sulkumerkki.
1241 Symbol at the start of a system connecting staves.
1243 Curly braces are used for connecting piano staves, and sometimes for connecting
1244 the staves of like instruments in an orchestral score when written on different
1245 staves (e.g. first and second flutes):
1247 @lilypond[fragment,ragged-right]
1248 \context GrandStaff <<
1249 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1250 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1253 Angular brackets for connecting parts in an orchestral or choral score:
1255 @lilypond[fragment,ragged-right]
1256 \context StaffGroup <<
1257 % \set StaffGroup.minVerticalAlign = #12
1258 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1259 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1286 NL: koper (blazers),
1289 S: brassinstrument, mässingsinstrument,
1292 A family of blown musical instruments made of brass, all using a cup
1293 formed mouth piece. The brass instruments commonly used in a symphony
1294 orchestra are trumpet, trombone, french horn, and tube.
1298 @section breath mark
1303 D: Atemzeichen, Trennungszeichen,
1304 NL: repercussieteken,
1305 DK: vejrtrækningstegn,
1309 Indication of where to breathe in vocal and wind instrument parts.
1315 ES: cuadrada, breve,
1322 FI: brevis, kaksoiskokonuotti.
1324 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1325 The shortest note value generally used in white mensural notation, hence the
1326 name, which originally meant @q{of short duration}.
1328 @lilypond[fragment,notime,ragged-right]
1329 \set Score.automaticBars = ##f
1330 \relative c'' { g\breve }
1335 @ref{mensural notation}, @ref{note value}.
1369 Clef symbol indicating the position of the middle C. Used on all note
1372 @lilypond[fragment,notime,line-width=13.0\cm]
1373 \set Score.automaticBars = ##f
1374 \override Score.Clef #'full-size-change = ##t
1376 \context Staff \relative c' {
1378 \clef mezzosoprano c
1383 \context Lyrics \lyrics {
1384 \override Lyrics .LyricText #'self-alignment-X = #-1
1385 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1401 FI: kadenssi, lopuke.
1405 @ref{harmonic cadence}, @ref{functional harmony}.
1418 FI: kadenssi, lopuke.
1420 An extended, improvisatory style section inserted near the end of
1421 movement. The purpose of a cadenza is to give singers or players a
1422 chance to exhibit their technical skill and -- not last -- their
1423 ability to improvise. Since the middle of the 19th century, however,
1424 most cadenzas have been written down by the composer.
1437 FI: kaanon, tarkka jäljittely.
1454 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1455 viritysjärjestelmässä.
1457 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1458 (1/100 of an equally tempered @ref{semitone}).
1462 @ref{equal temperament}.
1485 Three or more tones sounding simultaneously. In traditional European music
1486 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1487 (major + minor third) as well as @emph{minor} (minor + major third) chords
1488 may be extended with more thirds. Four-tone @emph{seventh chords} and
1489 five-tone @emph{ninth} major chords are most often used as dominants
1490 (functional harmony). Chords having no third above the lower notes to
1491 define their mood are a special case called @q{open chords}. The lack of
1492 the middle third means their quality is ambivalent: neither major nor minor.
1494 @lilypond[fragment,notime,line-width=13.0\cm]
1495 \set Score.automaticBars = ##f
1496 %\override TextScript #'font-style = #'large
1498 \context Staff \relative c'' {
1499 \set Staff.extraNatural = ##f
1520 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1524 @node chromatic scale
1525 @section chromatic scale
1527 ES: escala cromática,
1529 F: gamme chromatique,
1530 D: chro@-ma@-ti@-sche Tonleiter,
1531 NL: chromatische toonladder,
1532 DK: kromatisk skala,
1534 FI: kromaattinen asteikko.
1536 A scale consisting of all 12 @ref{semitone}s.
1538 @lilypond[fragment,notime,line-width=13.0\cm]
1539 \set Score.automaticBars = ##f
1540 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1545 @section chromaticism
1556 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1560 @section church mode
1562 ES: modo eclesiástico,
1563 I: modo ecclesiastico,
1564 F: mode ecclésiastique,
1569 FI: moodi, kirkkosävellaji.
1573 @ref{diatonic scale}.
1582 D: Schlüssel, Notenschlüssel,
1586 FI: avain, nuottiavain.
1590 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1592 The clef indicates which lines of the staff correspond to which
1593 pitches. The three clef symbols in common use are:
1595 @lilypond[ragged-right,quote]
1598 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1599 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1600 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1605 Imagine a large staff of 11 lines centered on middle C, sometimes
1606 called a @q{grand staff}, with the bottom line representing low G and
1607 the top line high F:
1609 @lilypond[ragged-right,quote]
1612 %-- Treble Staff --%
1614 % Allow this staff to be placed close to the others
1615 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1616 % Allow the treble clef to overlap the lower staves:
1617 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1618 \override Staff.Clef #'stencil = ##f % No clef required
1620 s1^\markup { "g," \transparent "g" }
1621 s^ \markup { "b," \transparent "g" }
1622 s^ \markup { "d" \transparent "g" }
1623 s^ \markup { "f" \transparent "g" }
1624 s^ \markup { "a" \transparent "g" }
1625 s^ \markup { \with-color #red c' \transparent "g"}
1626 e'^\markup { "e'" \transparent "g" }
1627 g'^\markup { "g'" \transparent "g" }
1628 b'^\markup { "b'" \transparent "g" }
1629 d''^\markup { "d''" \transparent "g" }
1630 f''^\markup { "f ''" \transparent "g" }
1633 %-- Alto Staff reduced to a single line on middle C --%
1635 \override Staff.StaffSymbol #'line-count = 1 % One line only
1636 \override Staff.StaffSymbol #'color = #red % Coloured red
1637 \override Staff.Clef #'stencil = ##f % No clef required
1640 % Allow this staff to be placed close to the others
1641 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1642 % Specify height to give correct spacing between treble and bass staves
1643 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1645 s1 s s s s % Space along to align horizonatally
1646 \override NoteHead #'color = #red
1648 s1 s s s s s % Keep staff (ie the red line) showing
1652 % Allow this staff to be placed close to the others
1653 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1654 \override Staff.Clef #'stencil = ##f % No clef required
1657 s s s s s s s % Keep staff showing
1661 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1662 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1664 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1665 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1667 % Remove all barlines
1668 \context { \Score \override BarLine #'stencil = ##f
1670 % Remove time signature from all staves
1671 \context { \Staff \remove Time_signature_engraver
1677 Staves of five lines are usually used, and the clef superimposed on
1678 them indicates which five lines have been selected from this
1679 @samp{grand staff}. For example, the treble or G clef indicates that
1680 the top five lines have been selected:
1682 @lilypond[ragged-right,quote]
1685 %-- Treble Staff --%
1687 % Allow this staff to be placed close to the others
1688 \override Staff.VerticalAxisGroup
1689 #'minimum-Y-extent = #'(0 . 0)
1690 % Allow the treble clef to overlap the lower staves:
1691 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1692 \override Staff.Clef #'stencil = ##f % No clef required here
1694 s1^\markup { "g," \transparent "g" }
1695 s^ \markup { "b," \transparent "g" }
1696 s^ \markup { "d" \transparent "g" }
1697 s^ \markup { "f" \transparent "g" }
1698 s^ \markup { "a" \transparent "g" }
1699 s^ \markup { \with-color #red c' \transparent "g"}
1700 \stopStaff \startStaff
1701 \clef "C" % Dummy to force next clef to be printed
1702 s % Need at least one note for \clef to take effect
1703 \override Staff.Clef #'stencil = ##t % Clef now required
1704 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1706 e'^\markup { "e'" \transparent "g" }
1707 g'^\markup { "g'" \transparent "g" }
1708 b'^\markup { "b'" \transparent "g" }
1709 d''^\markup { "d''" \transparent "g" }
1710 f''^\markup { "f ''" \transparent "g" }
1712 %-- Alto Staff reduced to a single line on middle C --%
1714 \override Staff.StaffSymbol #'line-count = 1 % One line only
1715 \override Staff.StaffSymbol #'color = #red % Coloured red
1716 \override Staff.Clef #'stencil = ##f % No clef required
1719 % Allow this staff to be placed close to the others
1720 \override Staff.VerticalAxisGroup
1721 #'minimum-Y-extent = #'(0 . 0)
1722 % Specify height to give correct spacing between the staves
1723 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1725 s1 s s s s % Space along to align horizonatally
1726 \override NoteHead #'color = #red
1728 % s1 s s s s % Keep staff (ie the red line) showing
1732 % Allow this staff to be placed close to the others
1733 \override Staff.VerticalAxisGroup
1734 #'minimum-Y-extent = #'(0 . 0)
1735 \override Staff.Clef #'stencil = ##f % No clef required
1738 % s s s s s s % Keep staff showing
1742 % Reduce horizontal spacing so semibreves can be used
1743 % without exceeding 1 line
1744 \context { \Score \override SpacingSpanner
1745 #'base-shortest-duration = #(ly:make-moment 1 1)
1747 % Reduce apparent vertical size of note heads to
1748 % permit them to overlap other grobs vertically
1749 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1751 % Remove all barlines
1752 \context { \Score \override BarLine #'stencil = ##f
1754 % Remove time signature from all staves
1755 \context { \Staff \remove Time_signature_engraver
1761 The @q{curl} of the G clef is centered on the line that represents the
1764 In the same way, the bass or F clef indicates that the bottom five
1765 lines have been selected from the @samp{grand staff}, and the alto or
1766 C clef indicates the middle five lines have been selected. This
1767 relationship is shown below, where the notes show an arpeggio on a C
1770 @lilypond[ragged-right,quote]
1773 %-- Treble Staff --%
1774 \new Staff = "G" \with {
1775 \remove Time_signature_engraver
1778 % The following two overrides are required to make the two middle C's overlap
1779 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1780 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1782 \override Staff.Clef #'Y-extent = #'(0 . 0)
1784 s1 s s s s e' g' c''
1787 \new Staff = "C" \with {
1788 \remove Time_signature_engraver
1791 \override Staff.StaffSymbol #'line-count = 1
1792 \override Staff.StaffSymbol #'stencil = ##f
1793 \once \override Staff.Clef #'stencil = ##f
1794 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1795 \override Score.BarLine #'stencil = ##f
1797 % The following two overrides are required to align the C staff to the G and F staves
1798 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1799 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1802 \stopStaff \startStaff
1803 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1804 \revert Staff.StaffSymbol #'stencil
1805 \override Staff.StaffSymbol #'color = #red
1806 b'1 % A frig. This really shows as a middle C in the score
1808 \stopStaff \startStaff
1809 \override Staff.StaffSymbol #'line-count = 5
1810 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1811 \override Staff.Clef #'Y-extent = #'(0 . 0)
1812 \revert Staff.StaffSymbol #'color
1813 \stopStaff \startStaff
1815 s1 s s c e g c' e' g' c''
1818 \new Staff = "F" \with {
1819 \remove Time_signature_engraver
1822 \override Staff.Clef #'Y-extent = #'(0 . 0)
1823 % The following two overrides are required to make the two middle C's overlap
1824 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1825 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1833 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1836 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1839 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1856 FI: klusteri, cluster.
1858 A @emph{cluster} is a range of simultaneously sounding pitches that
1859 may change over time. The set of available pitches to apply usually
1860 depends on the acoustic source. Thus, in piano music, a cluster
1861 typically consists of a continuous range of the semitones as provided
1862 by the piano's fixed set of a chromatic scale. In choral music, each
1863 singer of the choir typically may sing an arbitrary pitch within the
1864 cluster's range that is not bound to any diatonic, chromatic or other
1865 scale. In electronic music, a cluster (theoretically) may even cover
1866 a continuous range of pitches, thus resulting in colored noise, such
1869 Clusters can be denoted in the context of ordinary staff notation by
1870 engraving simple geometrical shapes that replace ordinary notation of
1871 notes. Ordinary notes as musical events specify starting time and
1872 duration of pitches; however, the duration of a note is expressed by
1873 the shape of the note head rather than by the horizontal graphical
1874 extent of the note symbol. In contrast, the shape of a cluster
1875 geometrically describes the development of a range of pitches
1876 (vertical extent) over time (horizontal extent). Still, the
1877 geometrical shape of a cluster covers the area in which any single
1878 pitch contained in the cluster would be notated as an ordinary note.
1880 @lilypond[fragment,relative=2,ragged-right]
1881 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1895 FI: komma, korvinkuultava ero äänenkorkeudessa.
1897 Difference in pitch between a note derived from pure tuning and the
1898 same note derived from some other tuning method.
1902 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1907 @section common meter
1917 @section common time
1928 4/4 time. The symbol, which resembles a capital letter C, derives from
1933 @ref{mensural notation}, @ref{meter}.
1939 ES: intervalo invertido,
1941 F: intervalle complémentaire,
1942 D: Komplementärintervall,
1943 NL: complementair interval,
1944 DK: komplementærinterval,
1945 S: komplementärintervall (?),
1946 FI: täydentävä intervalli.
1950 @ref{inverted interval}.
1953 @node compound interval
1954 @section compound interval
1956 ES: intervalo compuesto,
1957 I: intervallo composto,
1958 F: intervalle composé,
1959 D: weites Intervall,
1960 NL: samengesteld interval,
1961 DK: sammensat interval,
1962 S: sammansatt intervall,
1963 FI: oktaavia laajempi intervalli.
1965 Intervals larger than an octave.
1972 @node compound meter
1973 @section compound meter
1975 ES: compás compuesto, compás de subdivisión ternaria,
1984 A meter that includes a triplet subdivision within the beat, such as
1989 @ref{meter}, @ref{simple meter}.
1993 @section compound time
1995 ES: compás compuesto, compás de amalgama (def. 2),
2007 A meter that includes a triplet subdivision within the beat: see
2008 @ref{compound meter}.
2011 A time signature that additively combines two or more unequal meters, e.g.
2012 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2014 @lilypond[fragment,line-width=13.0\cm]
2015 #(define (compound-time grob one two three num)
2017 (ly:grob-layout grob)
2018 '(((baseline-skip . 2)
2020 (font-family . number)))
2022 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
2026 #(set-time-signature 8 8 '(3 2 3))
2027 \override Staff.TimeSignature #'stencil
2028 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
2029 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2030 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2031 \set Staff.beatGrouping = #'(3 2 3)
2033 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
2041 @ref{compound meter}, @ref{meter}.
2045 @section concert pitch
2047 ES: en Do, afinación de concierto,
2056 The pitch at which the piano and other nontransposing instruments play: such
2057 instruments are said to be @q{in C}. The following list includes some (but not
2058 all) instruments that play in concert pitch:
2072 @item tenor trombone
2087 The trombones are a special case: although they are said to be @q{in F} (alto or
2088 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2089 their parts' transposition. (In fact, the trombones' parts are written at
2090 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2091 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2094 Instruments that play @q{in C} but in a different octave than what is written
2095 are, technically speaking, @emph{transposing instruments}:
2099 @item piccolo (plays an octave higher)
2100 @item celesta (plays an octave higher)
2101 @item double-bass (plays an octave lower)
2107 @ref{transposing instrument}.
2110 @node conjunct movement
2111 @section conjunct movement
2113 ES: movimiento conjunto,
2115 F: mouvement conjoint,
2116 D: schritt@-weise, stufenweise Bewegung,
2117 NL: stapsgewijze, trapsgewijze beweging,
2118 DK: trinvis bevægelse,
2120 FI: asteittainen liike.
2122 Progressing melodically by intervals of a second. The opposite of a
2123 @ref{disjunct movement}.
2125 @lilypond[fragment,line-width=13.0\cm]
2126 \key g \major \time 4/4
2127 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2141 FI: konsonanssi, sopusointi.
2166 @section copying music
2168 A music copyist did fast freehand scores and parts on preprinted staff
2169 lines for performance. Some of their conventions (e.g., the placement
2170 of note heads on stems) varied slightly from those of engravers. Some
2171 of their working methods were superior and could well be adopted by
2174 @c Copying music required more skill than engraving. Flagged for NPOV
2178 @section counterpoint
2187 FI: kontrapunkti, ääni ääntä vastaan.
2189 From Latin @emph{punctus contra punctum}, note against note. The
2190 combination into a single musical fabric of lines or parts which have
2191 distinct melodic significance. A frequently used polyphonic technique
2192 is imitation, in its strictest form found in the canon needing only
2193 one part to be written down while the other parts are performed with a
2194 given displacement. Imitation is also the contrapunctal technique
2195 used in the @emph{fugue} which, since the music of the baroque era,
2196 has been one of the most popular polyphonic composition methods.
2198 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2199 \set Score.implicitTimeSignatureVisibility = #all-invisible
2200 \override Score.TimeSignature #'break-visibility = #all-invisible
2201 \context PianoStaff <<
2202 \context Staff = SA \relative c' {
2206 << \context Voice = rha {
2208 r1 | r2 r8 g'8 bes d, |
2209 cis4 d r8 e!16 f g8 f16 e |
2210 f8 g16 a bes8 a16 g a8
2212 \context Voice = rhb {
2218 \context Staff = SB \relative c' {
2221 << \context Voice = lha {
2223 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2224 r8 a16 g f8 g16 a bes8 g e! cis' |
2227 \context Voice = lhb {
2237 @section countertenor
2242 D: Countertenor, Kontratenor,
2245 S: kontratenor, counter tenor,
2259 D: Crescendo, lauter werden,
2263 FI: cresendo, voimistuen.
2265 Increasing volume. Indicated by a rightwards opening horizontal wedge
2266 (hairpin) or the abbreviation @notation{cresc.}.
2268 @lilypond[fragment,ragged-right]
2269 \key g \major \time 4/4
2270 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2279 F: petites notes précédent l'entrée d'un instrument, réplique,
2286 In a separate part notes belonging to another part with the purpose of
2287 hinting when to start playing. Usually printed in a smaller type.
2296 D: Notenzeiger, Custos,
2302 A custos (plural: custodes) is a staff symbol that appears at the end
2303 of a staff line with monophonic musical contents (i.e., with a single
2304 voice). It anticipates the pitch of the first note of the following
2305 line and thus helps the player or singer to manage line breaks during
2306 performance, thus enhancing readability of a score.
2308 Custodes were frequently used in music notation until the 16th
2309 century. There were different appearences for different notation
2310 styles. Nowadays, they have survived only in special forms of musical
2311 notation such as via the Editio Vaticana dating back to the beginning
2317 % \override Staff.Custos #'neutral-position = #4
2318 \override Staff.Custos #'neutral-direction = #down
2319 \override Staff.Custos #'style = #'hufnagel
2327 \consists Custos_engraver
2359 F: da capo, depuis le commencement,
2360 D: da capo, von Anfang,
2364 FI: da capo, alusta.
2366 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2367 the beginning to the end or to a certain place marked @emph{fine}.
2382 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2383 that the sound should gradually increase from nothing.
2395 F: dal segno, depuis le signe,
2396 D: dal segno, ab dem Zeichen,
2400 FI: dal segno, lähtien merkistä.
2402 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2403 another place frequently near the beginning marked by a sign
2406 @lilypond[fragment,ragged-right]
2407 %\override TextScript #'font-style = #'large
2408 \override TextScript #'font-shape = #'italic
2409 \key g \major \time 4/4
2414 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2421 @section decrescendo
2425 D: Decrescendo, leiser werden,
2429 FI: decresendo, hiljentyen.
2431 Decreasing tone volume. Indicated by a leftwards opening horizontal
2432 wedge (hairpin) or the abbreviation @notation{decresc.}.
2434 @lilypond[fragment,ragged-right]
2436 \key g \major \time 4/4
2437 d4 \> c b a | g1 \! \bar "|."
2442 @node descending interval
2443 @section descending interval
2445 ES: intervalo descendente,
2446 I: intervallo discendente,
2447 F: intervalle descendant,
2448 D: fallendes Intervall, absteigendes Intervall,
2449 NL: dalend interval,
2450 DK: faldende interval,
2451 S: fallande intervall,
2452 FI: laskeva intervalli.
2454 A distance between a starting higher note and a lower ending note.
2457 @node diatonic scale
2458 @section diatonic scale
2460 ES: escala diatónica,
2462 F: gamme diatonique,
2463 D: diatonische Tonleiter,
2464 NL: diatonische toonladder,
2465 DK: diatonisk skala,
2467 FI: diatoninen asteikko.
2469 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2470 Scales played on the white keys of a piano keybord are diatonic; and these
2471 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2473 These @q{modes} are used in Gregorian chant and in pre-baroque early music
2474 but also to some extent in newer jazz music.
2476 @lilypond[fragment,notime,ragged-right]
2477 \set Score.automaticBars = ##f
2478 %\override Score.LyricText #'font-style = #'large
2479 %\override Score.TextScript #'font-style = #'large
2481 \context Staff \relative c' {
2483 \override TextScript #'padding = #-4
2484 e^"~~ S" f g a b^"~~ S" c
2486 \context Lyrics \lyrics {
2492 @lilypond[fragment,notime,ragged-right]
2493 \set Score.automaticBars = ##f
2495 \context Staff \relative c' {
2497 \override TextScript #'padding = #-4
2498 e^"~~ S" f g a b^"~~ S" c d
2506 @lilypond[fragment,notime,ragged-right]
2507 \set Score.automaticBars = ##f
2510 \override TextScript #'padding = #-4
2511 e1^"~~ S" f g a b^"~~ S" c d e
2519 @lilypond[fragment,notime,ragged-right]
2520 \set Score.automaticBars = ##f
2524 \override TextScript #'padding = #-4
2525 b^"~~ S" c d e^"~~ S" f
2533 @lilypond[fragment,notime,ragged-right]
2534 \set Score.automaticBars = ##f
2538 \override TextScript #'padding = #-4
2539 b^"~~ S" c d e^"~~ S" f g }
2546 @lilypond[fragment,notime,ragged-right]
2547 \set Score.automaticBars = ##f
2548 %\override Score.LyricText #'font-style = #'large
2549 %\override Score.TextScript #'font-style = #'large
2553 \override TextScript #'padding = #-4
2554 b^"~~ S" c d e^"~~ S" f g a
2562 @lilypond[fragment,notime,ragged-right]
2563 \set Score.automaticBars = ##f
2564 %\override Score.LyricText #'font-style = #'large
2565 %\override Score.TextScript #'font-style = #'large
2568 \override TextScript #'padding = #-4
2569 b1^"~~ S" c d e^"~~ S" f g a b
2577 From the beginning of the 17th century the scales used in European
2578 compositional music are primarily the major and the minor scales. In
2579 the harmonic minor scale type an augmented second (A) occurs between
2580 the 6th and 7th tone.
2582 @lilypond[fragment,notime,ragged-right]
2583 \set Score.automaticBars = ##f
2587 \override TextScript #'padding = #-4
2588 e^"~~ S" f g a b^"~~ S" c
2596 @lilypond[fragment,notime,ragged-right]
2597 \set Score.automaticBars = ##f
2601 \override TextScript #'padding = #-4
2602 b^"~~ S" c d e^"~~ S" f g a
2610 @lilypond[fragment,notime,ragged-right]
2611 \set Score.automaticBars = ##f
2615 \override TextScript #'padding = #-4
2616 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2618 \context Lyrics \lyrics {
2624 @lilypond[fragment,notime,line-width=13.0\cm]
2625 \set Score.automaticBars = ##f
2626 %\override Score.LyricText #'font-style = #'large
2627 %\override Score.TextScript #'font-style = #'large
2631 \override TextScript #'padding = #-4
2632 b^"~~ S" c d e fis gis^"~~ S" a
2635 "Melodic minor ascending"
2640 @lilypond[fragment,notime,line-width=13.0\cm]
2641 \set Score.automaticBars = ##f
2642 %\override Score.LyricText #'font-style = #'large
2643 %\override Score.TextScript #'font-style = #'large
2647 \override TextScript #'padding = #-4
2648 a g! f!^"~~ S" e d c^"~~ S" b a
2651 "Melodic minor descending"
2658 @section didymic comma
2662 @ref{syntonic comma}.
2665 @node diminished interval
2666 @section diminished interval
2668 ES: intervalo disminuido,
2669 I: intervallo diminuito,
2670 F: intervalle diminué,
2671 D: vermindertes Intervall,
2672 NL: verminderd interval,
2673 DK: formindsket interval,
2674 S: förminskat intervall,
2675 FI: vähennetty intervalli.
2692 FI: diminuendo, hiljentyen.
2711 @c TODO: add definition
2713 This is a placeholder for diminution (wrt mensural notation).
2717 @ref{augmentation}, @ref{mensural notation}.
2737 @node disjunct movement
2738 @section disjunct movement
2740 ES: movimiento disjunto,
2742 F: mouvement disjoint,
2743 D: sprunghafte Bewegung,
2744 NL: sprongsgewijze beweging,
2745 DK: springende bevægelse,
2746 S: hoppande rörelse,
2747 FI: melodian hyppivä liike.
2749 Progressing melodically by intervals larger than a major second, as
2750 opposed to @ref{conjunct movement}.
2752 @lilypond[fragment,ragged-right]
2757 a4. gis8 b a e cis |
2758 fis2 d4. \bar "||" }
2765 @ref{dissonant interval}.
2768 @node dissonant interval
2769 @section dissonant interval
2771 ES: intervalo disonante, disonancia,
2772 I: intervallo dissonante, dissonanza,
2775 NL: dissonant interval, dissonant,
2776 DK: dissonerende interval, dissonans,
2778 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2797 [Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
2798 vertical stroke through part or all of the staff that serves to
2799 structure a chant into phrases and sections. There are four types:
2803 @item @emph{divisio minima}, a short pause
2805 @item @emph{divisio maior}, a medium pause
2807 @item @emph{divisio maxima}, a long pause
2809 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2810 section in a long antiphonal or responsorial chant.
2814 TODO: musical example here?
2833 Indicator for a indeterminately rising pitch bend. Compare with
2834 @emph{glissando}, which has determinate starting and ending pitches.
2838 @ref{fall}, @ref{glissando}.
2851 FI: dominantti, huippusointu.
2853 The fifth @ref{scale degree} in @ref{functional harmony}.
2856 @node dominant ninth chord
2857 @section dominant ninth chord
2859 ES: acorde de novena de dominante,
2860 I: accordo di nona di dominante,
2861 F: accord de neuvième dominante,
2862 D: Domi@-nant@-nonen@-akkord,
2863 NL: dominant noon akkoord,
2864 DK: dominantnoneakkord,
2865 S: dominantnonackord,
2866 FI: dominanttinoonisointu.
2870 @ref{chord}, @ref{functional harmony}.
2873 @node dominant seventh chord
2874 @section dominant seventh chord
2876 ES: acorde de séptima de dominante,
2877 I: accordo di settima di dominante,
2878 F: accord de septième dominante,
2879 D: Dominantseptakkord,
2880 NL: dominant septiem akkoord,
2881 DK: dominantseptimakkord,
2882 S: dominantseptimackord,
2883 FI: dominanttiseptimisointu.
2887 @ref{chord}, @ref{functional harmony}.
2891 @section dorian mode
2896 D: dorisch, dorischer Kirchenton,
2897 NL: dorische toonladder,
2904 @ref{diatonic scale}.
2907 @node dot (augmentation dot)
2908 @section dot (augmentation dot)
2911 I: punto (di valore),
2913 D: Punkt (Verlängerungspunkt),
2921 @ref{dotted note}, @ref{note value}.
2925 @section dotted note
2927 ES: nota con puntillo,
2931 NL: gepuncteerde noot,
2934 FI: pisteellinen nuotti.
2941 @node double appoggiatura
2942 @section double appoggiatura
2944 ES: apoyatura doble,
2945 I: appoggiatura doppia,
2946 F: appoggiature double,
2947 D: doppelter Vorschlag,
2948 NL: dubbele voorslag,
2949 DK: dobbelt forslag,
2951 FI: kaksoisappogiatura, kaksoisetuhele.
2958 @node double bar line
2959 @section double bar line
2965 NL: dubbele maatstreep,
2968 FI: kaksoistahtiviiva.
2970 Indicates the end of a section within a movement.
2973 @node double dotted note
2974 @section double dotted note
2976 ES: nota con doble puntillo,
2977 I: nota doppiamente puntata,
2978 F: note doublement pointée,
2979 D: doppelt punktierte Note,
2980 NL: dubbelgepuncteerde noot,
2981 DK: dob@-belt@-punk@-te@-ret node,
2982 S: dub@-bel@-punk@-te@-rad not,
2983 FI: kaksoispisteellinen nuotti.
2991 @section double flat
3000 FI: kaksoisalennusmerkki.
3008 @section double sharp
3010 ES: doble sostenido,
3015 DK: dob@-belt@-kryds,
3017 FI: kaksoisylennysmerkki.
3024 @node double time signature
3025 @section double time signature
3038 @ref{polymetric time signature}.
3042 @section double trill
3048 NL: dubbele triller,
3053 A simultaneous trill on two notes, usually in the distance of a third.
3057 @section duple meter
3062 D: in zwei, grader Takt,
3063 NL: tweedelige maatsoort,
3100 FI: kesto, aika-arvo.
3110 ES: dinámica, matices,
3113 D: Dynamik, Lautstärke,
3119 The aspect of music relating to degrees of loudness, or changes from
3120 one degree to another. The terms, abbreviations, and symbols used to
3121 indicate this information are called dynamic marks.
3125 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3148 @node ecclesiastical mode
3149 @section ecclesiastical mode
3157 @section eighth note
3164 @item D: Achtel, Achtelnote
3165 @item NL: achtste noot
3166 @item DK: ottendedelsnode
3167 @item S: åttondelsnot
3168 @item FI: kahdeksasosanuotti
3177 @section eighth rest
3180 @item UK: quaver rest
3181 @item ES: silencio de corchea
3182 @item I: pausa di croma
3183 @item F: demi-soupir
3184 @item D: Achtelpause
3185 @item NL: achtste rust
3186 @item DK: ottendedelspause
3187 @item S: åttonddelspaus
3188 @item FI: kahdeksasosatauko
3199 @c TODO: add languages
3210 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3213 The singing of several syllables on a single note. Elision may be indicated
3214 by a lyric tie, which is looks like (and serves the same function) as a
3223 @section embellishment
3236 D: Notenstich, Notendruck
3242 Engraving means incising or etching a metal plate for printing.
3243 Photoengraving means drawing music with ink in a manner similar to
3244 drafting or engineering drawing, using similar tools.
3246 The traditional process of music printing is done through cutting in a
3247 plate of metal. Now also the term for the art of music typesetting.
3262 Two notes, intervals, or scales are enharmonic if they have different
3263 names but equal pitch.
3265 @lilypond[fragment,notime,line-width=13.0\cm]
3266 \set Score.automaticBars = ##f
3268 \context Staff \relative c'' {
3269 gis1 as <des g,!> <cis g!>
3271 \context Lyrics \lyrics {
3272 \override Lyrics .LyricText #'self-alignment-X = #-1
3273 "g sharp " "a flat " "dim fifth " "augm fourth"
3279 @node equal temperament
3280 @section equal temperament
3282 ES: temperamento igual,
3283 I: temperamento equabile,
3284 F: tempérament égal,
3285 D: gleichschwebende Stimmung,
3286 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3287 DK: ligesvævende temperatur,
3288 S: liksvävande temperatur,
3291 Tuning system dividing the octave into 12 equal @ref{semitone}s
3292 (precisely 100 @ref{cent}s).
3299 @node expression mark
3300 @section expression mark
3303 I: segno d'espressione,
3304 F: signe d'expression, indication de nuance,
3306 NL: voordrachtsteken,
3307 DK: foredragsbetegnelse,
3308 S: föredragsbeteckning,
3309 FI: nyanssiosoitus, esitysmerkki.
3311 Performance indications concerning:
3315 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3317 @item tempo (for example @ref{andante}, @ref{allegro}).
3323 @section extender line
3325 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3327 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3334 The generic term for a line (or dash) of arbitrary length that extends
3335 text (without indicating the musical @emph{function} of that text).
3337 Used in many contexts, for example:
3341 @item In vocal music to indicate the syllable for a melisma. Called
3342 @q{extension} in the
3343 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3347 In figured bass to indicate that:
3351 @item The extended note should be held through a change in harmony, when applied
3352 to one figure --OR--
3353 @item The chord thus represented should be held above a moving bass line, when
3354 applied to more than one figure.
3355 @item These uses were not completely standardized, and some composers used a
3356 single extender line to indicate the latter case.
3361 In string music to indicate that all notes in the passage thus indicated should
3362 be played on the same string. On the violin, for example, a series of notes to
3363 be played on the G string would be indicated @notation{sul G}, another series to be
3364 played on the D string would be indicated @notation{sul D}, and so on.
3367 With an octave mark to indicate that a passage is to be played higher or lower
3368 by the given number of octaves.
3374 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3409 The position between the dots of the key symbol is the line of the F
3410 below central@w{ }C. Used on the third, fourth and fifth note line.
3411 A digit@w{ }8 above the clef symbol indicates that the notes must be
3412 played an octave higher (for example, bass recorder) while 8@w{ }below
3413 the clef symbol indicates playing an octave lower (for example, on
3414 double bass @ref{strings}).
3416 @lilypond[fragment,notime,line-width=13.0\cm]
3417 \set Score.automaticBars = ##f
3418 \override Staff.Clef #'full-size-change = ##t
3446 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3461 Indicator for a indeterminately falling pitch bend. Compare with
3462 @emph{glissando}, which has determinate starting and ending pitches.
3466 @ref{doit}, @ref{glissando}.
3469 @node feathered beam
3470 @section feathered beam
3474 F: liens de croches en soufflet,
3475 D: gespreizter Balken,
3481 A type of beam used to indicate that a small group of notes should be
3482 played at an increasing or decreasing tempo -- depending on the
3483 direction of @q{feathering} -- but without changing the overall tempo
3488 Internals Reference: @ruser{Manual beams}
3496 F: point d'orgue, point d'arrêt,
3501 FI: fermaatti, pidäke.
3503 Prolonged note or rest of indefinite duration.
3505 @lilypond[fragment,ragged-right]
3508 a4 b c2^\fermata \bar "|."
3531 @section figured bass
3534 I: basso continuo, basso numerato,
3535 F: basse chiffrée, basse continue,
3536 D: Generalbass, bezifferter Bass,
3537 NL: basso continuo, becijferde bas
3540 FI: kenraalibasso, numeroitu basso.
3542 Also called @q{thorough bass}.
3544 A method of indicating an accompaniment part by the bass notes only, together
3545 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
3546 above the bass notes.
3548 @lilypond[fragment,line-width=13.0\cm]
3549 \context GrandStaff <<
3550 \context Staff = lh \relative c'' {
3554 << \context Voice = rha {
3557 \context Voice = rhb {
3559 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3563 \context Staff = rh \relative c' {
3566 es8 c d bes c as bes16 as g f | es4
3568 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3586 The methodical use of fingers in the playing of instruments.
3593 I: coda (uncinata), bandiera,
3601 Ornament at the end of the stem of a note used for notes with values
3602 less than a quarter note. The number of flags determines the
3605 @lilypond[fragment,notime,ragged-right]
3606 \set Score.automaticBars = ##f
3607 %\override Score.TextScript #'font-style = #'large
3629 An articulation for string players that means the note or passage is to
3630 be played in harmonics.
3636 @item A duct flute similar to the recorder.
3638 @item An organ stop of flute scale at 1' or 2' pitch.
3644 @ref{articulation}, @ref{harmonics}.
3682 FI: forte, voimakkaasti.
3684 [Italian: @q{loud}.]
3686 Abbreviated @notation{@b{f}}. Variants include:
3689 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3690 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3710 @node Frenched score
3711 @section Frenched score
3713 ES: partitura a la francesa,
3722 A @q{condensed} score, produced by omitting staves for instruments that are not
3723 playing at the moment, and by moving up additional systems from following pages
3724 to take up the space thus liberated, which reduces the total number of pages
3725 used to print the work.
3727 The specific rules for @q{frenching} a score differ from publisher to publisher.
3728 If you are producing scores for eventual publication by a commercial publisher,
3729 you may wish to procure a copy of their style manual.
3733 @ref{Frenched staff}.
3736 @node Frenched staff
3737 @section Frenched staff
3739 ES: pentagrama a la francesa,
3748 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3749 measures or sections removed. This would be useful for producing, for example,
3750 an @emph{ossia} staff.
3757 @node Frenched staves
3758 @section Frenched staves
3760 ES: pentagramas a la francesa,
3769 The plural of @ref{Frenched staff}, @emph{q.v.}.
3789 @node functional harmony
3790 @section functional harmony
3792 ES: armonía funcional,
3793 I: armonia funzionale,
3794 F: étude des functions,
3796 NL: functionele harmonie,
3797 DK: funktionsanalyse, funktionsharmonik,
3799 FI: harmoniajärjestelmä.
3801 A system of harmonic analysis. It is based on the idea that, in a
3802 given key, there are only three functionally different chords: tonic
3803 (T, the chord on the first note of the scale), subdominant (S, the
3804 chord on the fourth note), and dominant (D, the chord on the fifth
3805 note). Others are considered to be variants of the base chords.
3807 @lilypond[fragment,notime,line-width=13.0\cm]
3808 \set Score.automaticBars = ##f
3810 \context Voice \relative c'' {
3811 <g e c >1 < a f d > < b g e >
3812 <c a f > < d b g > < e c a > < f d b > }
3813 \context Lyrics \lyrics {
3814 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3844 D: G-Schlüssel, Violinschlüssel,
3850 A clef symbol indicating the G above middle@w{ }C. Used on the first
3851 and second note lines. A digit 8 above the clef symbol indicates that
3852 the notes must be played an octave higher while 8 below the clef
3853 symbol indicates playing or singing an octave lower (most tenor parts
3854 in choral scores are notated like that).
3856 @lilypond[fragment,notime,ragged-right]
3858 \set Score.automaticBars = ##f
3859 \override Staff.Clef #'full-size-change = ##t
3862 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3872 \context Lyrics \lyrics {
3873 \override Lyrics . LyricText #'X-offset = #-5
3874 "french violin clef"
3893 FI: glissando, liukuen.
3895 Letting the pitch slide fluently from one note to the other.
3899 @section grace notes
3901 ES: notas de adorno,
3904 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3910 Notes printed in small types to indicate that their time values are not
3911 counted in the rhythm of the bar.
3915 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3920 @section grand staff
3922 ES: sistema de piano,
3925 D: Akkolade, Klaviersystem,
3928 S: ackolad, böjd klammer,
3929 FI: kaksoisnuottiviivasto.
3931 A combination of two staves with a brace. Usually used for piano music.
3948 FI: grave, raskaasti.
3975 Letter name used for @notation{B natural} in German and Scandinavian
3976 usage. In the standard usage of these countries, @notation{B} means
3981 @ref{Pitch names}, @ref{B}.
3987 Graphical version of the @notation{crescendo} and @notation{decrescendo}
3990 @lilypond[fragment,ragged-right]
4000 @ref{crescendo}, @ref{decrescendo}.
4010 D: Halbe, halbe Note,
4025 ES: silencio de blanca,
4039 @node harmonic cadence
4040 @section harmonic cadence
4042 ES: cadencia (armónica),
4043 I: cadenza (armonica),
4044 F: cadence harmonique,
4046 NL: harmonische cadens,
4047 DK: harmonisk kadence,
4048 S: (harmonisk) kadens,
4049 FI: harmoninen kadenssi.
4051 A sequence of chords that terminates a musical phrase or section.
4053 @ref{functional harmony}.
4055 @lilypond[fragment,ragged-right]
4056 \context PianoStaff <<
4057 \context Staff = SA \relative c'' {
4061 \partial 4 < c g e >4 |
4062 < c a f > < b g d > < c g e >2
4065 \context Staff = SB \relative c {
4067 \partial 4 c4 | f, g c2
4082 ES: sonidos del flautín,
4084 F: flageolet, sons harmoniques,
4091 The general class of pitches produced by sounding the second or higher
4092 harmonic of a tone producer: string, column of air, and so on.
4094 On stringed instruments, these pitches sound rather flute-like; hence,
4095 their name in languages other than English. They are produced by
4096 lightly touching the string at a node for the desired mode of vibration
4097 while it is being bowed or plucked.
4099 For instruments of the violin family, there are two types of harmonics:
4100 natural harmonics, which are those played on the open string; and
4101 artificial harmonics, which are produced on stopped strings.
4110 D: Harmonie, Zusammenklang,
4114 FI: harmonia, yhteissointi.
4116 Tones sounding simultaneously. Two note harmonies fall into the
4117 categories @emph{consonances} and @emph{dissonances}.
4121 @lilypond[fragment,notime,line-width=13.0\cm]
4122 \set Score.automaticBars = ##f
4123 %\override Score.TextScript #'font-style = #'large
4124 \context Voice \relative c'' {
4137 @lilypond[fragment,notime,line-width=13.0\cm]
4138 \set Score.automaticBars = ##f
4139 %\override Score.TextScript #'font-style = #'large
4140 \context Voice \relative c'' {
4141 <g a>1_"second " s s
4142 <g f'>_"seventh " s s
4147 Three note harmony @ref{chord}.
4162 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
4163 the use of three notes of equal value in the time normally occupied by
4164 of two notes of equal value. The resulting rhythm can be expressed in
4165 modern terms as a substitution (for example) of a bar in 3/2 for one
4166 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
4167 hemiola is most frequently as a special effect (or @emph{affect}) at
4170 For example, this phrase in 6/4 time
4172 @lilypond[fragment,line-width=13.0\cm]
4176 c2. e | d2 c d | c1. \bar "||" }
4179 may be thought of having alternating time signatures
4181 @lilypond[fragment,line-width=13.0\cm]
4185 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4188 and is therefore a polymeter (second definition) of considerable antiquity.
4192 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
4205 FI: homofonia, yksiäänisyys.
4207 Music in which one voice leads melodically followed by the other
4208 voices more or less in the same rhythm. In contrast to
4224 A group or list of numbers that indicate the number of syllables in a
4225 line of a hymn's verse. Different hymnals have different ways of noting
4226 the hymn meter -- consider a hymn having four lines in two couplets that
4227 alternate between eight and seven syllables. The @emph{English Hymnal}
4228 notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
4229 8@w{ }7@w{ }8@w{ }7.
4231 Some frequently-used hymn meters have traditional names:
4235 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4237 @item 86.86 is called Common Meter (CM or C.M.)
4239 @item 88.88 is called Long Meter (LM or L.M.)
4243 Some hymns and their tunes are doubled versions of a simpler meter: for
4244 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4245 87.87D. The traditional names above also have doubled versions:
4249 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4251 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4253 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4269 FI: intervalli, kahden sävelen korkeusero.
4271 Difference in pitch between two notes. Intervals may be perfect,
4272 minor, major, diminished, or augmented. The augmented fourth and the
4273 diminished fifth are identical (@ref{enharmonic}) and are called
4274 @emph{tritonus} because they consist of three @ref{whole tone}s. The
4275 addition of such two intervals forms an octave.
4277 @lilypond[fragment,notime,line-width=13.0\cm]
4278 \set Score.automaticBars = ##f
4280 \context Voice \relative c'' {
4290 \context Lyrics \lyrics {
4291 "unison " "second " "second " "second "
4292 "third " "third " "third " "third"
4297 @lilypond[fragment,notime,line-width=13.0\cm]
4298 \set Score.automaticBars = ##f
4300 \context Staff \relative c'' {
4311 "fourth " "fourth " "fifth " "fifth "
4312 "sixth " "sixth " "sixth " "sixth"
4317 @lilypond[fragment,notime,line-width=13.0\cm]
4318 \set Score.automaticBars = ##f
4320 \context Staff \relative c'' {
4321 < gis f'! >1^"dimin"
4330 \context Lyrics \lyrics {
4331 "seventh " "seventh " "seventh " "octave "
4332 "ninth " "ninth " "tenth " "tenth"
4350 When the bass is not the same as the root, the chord is inverted. The number
4351 of inversions that a chord can have is one fewer than the number of
4352 constituent notes. Triads, for example, (having three constituent notes) can
4353 have three positions, two of which are inversions:
4357 The root note is in the bass, and above that are the third and the fifth. A
4358 triad built on the first scale degree, for example, is marked @notation{I}.
4360 @item First inversion
4361 The third is in the bass, and above it are the fifth and the root. This
4362 creates an interval of a sixth and a third above the bass note, and so is
4363 marked in figured Roman notation as @notation{6/3}. This is commonly
4364 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4365 characteristic interval of the inversion, and so always implies
4368 @item Second inversion
4369 The fifth is in the bass, and above it are the root and the third. This
4370 creates an interval of a sixth and a fourth above the bass note, and so is
4371 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4372 unstable chord position.
4376 @node inverted interval
4377 @section inverted interval
4379 ES: intervalo invertido,
4380 I: intervallo rivolto,
4381 F: intervalle reversé,
4382 D: umgekehrtes Intervall,
4383 NL: interval inversie,
4384 DK: omvendingsinterval,
4385 S: intervallets omvändning,
4386 FI: käänteisintervalli.
4388 The difference between an interval and an octave.
4390 @lilypond[fragment,notime,line-width=13.0\cm]
4391 \set Score.automaticBars = ##f
4392 %\override Score.TextScript #'font-style = #'large
4393 \context Staff \relative c'' {
4394 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4395 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4396 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4401 @node just intonation
4402 @section just intonation
4404 ES: entonación justa,
4405 I: intonazione giusta,
4406 F: intonation juste,
4413 Tuning system in which the notes are obtained by adding and subtracting
4414 natural fifths and thirds.
4431 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4432 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4436 @ref{key signature}.
4440 @section key signature
4442 ES: armadura (de la clave),
4443 I: armatura di chiave,
4444 F: armure, armature [de la clé],
4445 D: Vorzeichen, Tonart,
4446 NL: toon@-soort (voortekens),
4449 FI: sävellajiosoitus.
4451 The sharps or flats appearing at the beginning of each staff indicating the
4457 @node laissez vibrer
4458 @section laissez vibrer
4469 [From French, @q{Let vibrate}]. Most frequently associated with harp
4470 parts. Marked @notation{l.v.} in the score.
4479 D: Largo, Langsam, Breit,
4483 FI: largo, hitaasti, leveästi.
4485 Very slow in tempo, usually combined with great expressiveness.
4486 @emph{Larghetto} is less slow than largo.
4490 @section leading note
4501 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4502 called because of its strong tendency to @q{lead up} (resolve upwards)
4503 to the tonic scale degree.
4507 @section ledger line
4509 ES: línea adicional,
4510 I: tagli addizionali,
4511 F: ligne supplémentaire,
4518 A ledger line is an extension of the staff.
4520 @lilypond[fragment,notime,ragged-right]
4521 \set Score.automaticBars = ##f
4522 \relative c'' { a,1 s c'' }
4532 D: legato, gebunden,
4538 To be performed (a) without any perceptible interruption between the
4539 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4540 @emph{portato}, and (d) @ref{staccato}.
4542 @lilypond[fragment,notime,line-width=13.0\cm]
4543 \set Score.automaticBars = ##f
4545 \context Staff \relative c'' {
4546 c4-( d e-) \bar "||"
4547 c4-- d-- e-- \bar "||"
4548 c4-.-( d-. e-.-) \bar "||"
4549 c4-. d-. e-. \bar "||"
4562 @section legato curve
4566 @ref{slur}, @ref{legato}.
4589 A ligature is a coherent graphical symbol that represents at least two
4590 distinct notes. Ligatures originally appeared in the manuscripts of
4591 Gregorian chant notation roughly since the 9th century to denote ascending
4592 or descending sequences of notes. In early notation, ligatures were used
4593 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4594 performance in the sense of articulation. With the invention of the metric
4595 system of the white mensural notation, the need for ligatures to denote such
4596 patterns disappeared.
4600 @ref{mensural notation}.
4607 ES: estanque de nenúfares,
4608 I: stagno del giglio,
4609 F: étang de nénuphars, étang de nymphéas,
4611 NL: le@-lie@-vij@-ver,
4616 A pond with lilies floating in it.
4617 Also, the name of a music typesetting program.
4626 D: Linie, Notenlinie,
4630 FI: viiva, nuottiviiva.
4649 [From Italian, @q{place}]. Instruction to play the following passage at the
4650 written pitch. Cancels octave mark (q.v.).
4654 @ref{octave mark}, @ref{octave marking}.
4657 @node long appoggiatura
4658 @section long appoggiatura
4660 ES: apoyatura larga,
4661 I: appoggiatura lunga,
4662 F: appoggiature longue,
4667 FI: pitkä appoggiatura, pitkä etuhele.
4686 Note value: double length of @ref{breve}.
4688 @lilypond[fragment,notime,ragged-right]
4689 \set Score.automaticBars = ##f
4691 \override NoteHead #'style = #'mensural
4704 ES: ligadura de letra,
4713 @c TODO: add languages
4723 ES: letra (de la canción),
4726 D: Liedtext, Gesangtext,
4747 @ref{diatonic scale}.
4750 @node major interval
4751 @section major interval
4753 ES: intervalo mayor,
4754 I: intervallo maggiore,
4755 F: intervalle majeur,
4756 D: großes Intervall,
4760 FI: suuri intervalli.
4767 @node meantone temperament
4768 @section meantone temperament
4770 ES: afinación mesotónica,
4771 I: accordatura mesotonica,
4772 F: tempérament mésotonique,
4773 D: mitteltönige Stimmung,
4774 NL: middenstemming, middentoonstemming,
4775 DK: middeltonetemperatur,
4776 S: medeltonstemperatur,
4777 FI: keskisävelviritys.
4779 Temperament yielding acoustically pure thirds by decreasing the
4780 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4781 character of this @ref{temperament} only a limited set of keys are
4782 playable. Used for tuning keyboard instruments for performance of
4798 A group of @ref{beat}s (units of musical time) the first of which
4799 bears an accent. Such groups in numbers of two or more recur
4800 consistently throughout the composition and are marked from each other
4806 @node measure repeat
4807 @section measure repeat
4811 @ref{percent repeat}.
4818 I: mediante, modale,
4828 @item The third @b{scale degree}.
4830 @item A @ref{chord} having its base tone a third from that of another
4831 chord. For example, the tonic chord may be replaced by its lower
4832 mediant (variant tonic).
4837 @ref{functional harmony}, @ref{relative key}.
4850 FI: melisma, laulettavan tavun sävelkuvio.
4852 A melisma (plural, from Greek: melismata) is a group of notes or tones
4853 sung on one syllable, especially as applied to liturgical chant.
4857 @section melisma line
4859 @c TODO: add languages
4861 ES: línea de melisma,
4872 @ref{extender line}.
4875 @node melodic cadence
4876 @section melodic cadence
4883 @node mensural notation
4884 @section mensural notation
4886 @c TODO: add languages
4888 ES: notación mensural,
4897 A system of duration notation whose principles were first established in the
4898 mid-13th century, and that (with various changes) remained in use until about
4899 1600. As such, it is the basis for the notation of rhythms in Western musical
4902 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4903 of the notation's principles, so the notation of this earliest period is called
4904 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4905 and semibreve -- each of which was normally equivalent to three of the next
4908 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4909 added several note values (the minim, semiminim and fusa) and extended Franco's
4910 principles to govern the relationship between these values. They also put the
4911 duple division of note values on an equal footing with the earlier (preferred)
4914 TODO: continue description of French and Italian black notation, and the
4915 relationship betwixt them.
4917 @b{White or void mensural notation}
4919 In the 15th century, hollow (or void) notes began to substitute for the earlier
4920 solid black ones, which were then free to assume the function of red (or
4921 colored) notes in the earlier notation. ...
4923 TODO: add to definition (including summary info on proportional notation)
4927 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4928 @c TODO: more cross-references?
4936 F: indication de mesure, mesure,
4943 The pattern of note values and accents in a composition or a section thereof.
4944 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4945 by grouping beats and by subdividing the primary beat.
4947 @b{By grouping beats}:
4951 @item @b{duple}: groups of two.
4952 @item @b{triple}: groups of three.
4953 @item @b{quadruple}: groups of four. A special case of duple meter.
4954 @item @b{quintuple}: groups of five beats.
4955 @item @b{sextuple} meter: groups of six. A special case of:
4959 @item duple meter, subdivided in three; or
4960 @item triple meter, subdivided in two.
4964 @item @b{septuple} meter: groups of seven.
4969 Other than triple meter and its subdivided variants (see below), meters that
4970 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4971 frequently used prior to the 20th Century.
4973 @b{By subdividing the primary beat}:
4977 @item simple: groups of two.
4981 @item duple: 2/2, 2/4, 2/8
4982 @item triple: 3/2, 3/4, 3/8
4983 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4987 @item compound: groups of three.
4993 @item quadruple: 12/8
4999 Time signatures are placed at the beginning of a composition (or section) to
5000 indicate the meter. For instance, a piece written in simple triple meter with a
5001 beat on each quarter note is conventionally written with a time signature of
5002 3/4. Here are some combinations of the two classifications above:
5004 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5006 @lilypond[fragment,line-width=13.0\cm]
5010 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5013 Simple triple meter:
5015 @lilypond[fragment,line-width=13.0\cm]
5019 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5022 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5024 @lilypond[fragment,line-width=13.0\cm]
5028 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5031 Simple quintuple meter (B. Marcello, 1686-1739):
5033 @lilypond[fragment,line-width=13.0\cm]
5037 r4 cis8 bis ais4 dis c8 ais |
5038 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5041 Compound duple meter (unknown):
5043 @lilypond[fragment,line-width=13.0\cm]
5047 f8 f g a bes16 a g f |
5048 g8 g bes a c16 a bes g
5052 Compound triple meter (J.S. Bach, 1685-1750):
5054 @lilypond[fragment,line-width=13.0\cm]
5058 r8 g'( a) b( d c) c( e d) |
5059 d( g fis) g( d b) g( a b)
5063 Compound quadruple meter (P. Yon, 1886-1943):
5065 @lilypond[fragment,line-width=13.0\cm]
5069 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5070 e4 e8 fis( gis) a b4.~ b4 b8
5074 @b{@q{Monometer} vs Polymeter}
5076 TODO: add information from discussion on lilypond-user related to polymeter.
5080 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5095 Device indicating the exact tempo of a piece.
5097 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5098 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5099 divisions, and patented it as a "metronome". The inevitable lawsuit that
5100 followed acknowledged Winkler as the creator, but by then Mälzel had already
5101 sold many of them, and people had taken to calling it a Mälzel Metronome.
5105 @ref{metronome mark}.
5108 @node metronome mark
5109 @section metronome mark
5111 ES: indicación metronómica,
5112 I: indicazione metronomica,
5113 F: indication métronomique,
5115 NL: metronoom aanduiding,
5117 S: metronomangivelse,
5118 FI: metronomiosoitus.
5120 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5121 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5129 @node metronomic indication
5130 @section metronomic indication
5134 @ref{metronome mark}
5149 [Italian: @q{medium}.]
5151 Used to qualify other indications, such as:
5157 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5159 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5165 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5173 @section mezzo-soprano
5184 The female voice between soprano and contralto.
5188 @ref{soprano}, @ref{contralto}.
5197 D: eingestrichenes@w{ }c,
5199 DK: enstreget@w{ }c,
5200 S: ettstruket@w{ }c,
5203 First C below the 440 Hz A.
5205 @lilypond[fragment,notime,ragged-right]
5206 \set Score.automaticBars = ##f
5207 \override Staff.Clef #'full-size-change = ##t
5230 @ref{diatonic scale}.
5233 @node minor interval
5234 @section minor interval
5236 ES: intervalo menor,
5237 I: intervallo minore,
5238 F: intervalle mineur,
5239 D: kleines Intervall,
5243 FI: pieni intervalli.
5250 @node mixolydian mode
5251 @section mixolydian mode
5255 @ref{diatonic scale}.
5264 D: Kirchentonart, Modus,
5268 FI: moodi, kirkkosävelasteikko.
5272 @ref{church mode}, @ref{diatonic scale}.
5285 FI: modulaatio, sävellajin vaihdos.
5287 Moving from one @ref{key} to another. For example, the second subject
5288 of a @ref{sonata form} movement modulates to the dominant key if the
5289 key is major and to the @ref{relative key} if the key is minor.
5301 FI: mordent, korukuvio.
5326 FI: teema, sävelaihe.
5328 The briefest intelligible and self-contained fragment of a musical
5331 @lilypond[line-width=13.0\cm]
5334 \set Score.implicitTimeSignatureVisibility = #all-invisible
5335 \override Score.TimeSignature #'break-visibility = #all-invisible
5338 \partial 8 g16\startGroup fis |
5339 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5340 g8 g,16 a b8 cis d16 s
5344 \Staff \consists "Horizontal_bracket_engraver"
5362 Greater musical works like @ref{symphony} and @ref{sonata} most often
5363 consist of several -- more or less -- independant pieces called
5367 @node multi-measure rest
5368 @section multi-measure rest
5370 ES: compases de espera,
5374 D: mehrtaktige Pause, Kirchenpause,
5377 FI: usean tahdin mittainen tauko.
5379 Multi-measure rests are conventionally typeset with a combination of
5380 longa, breve and whole rests for shorter and a long horizontal bar for
5381 longer spans of rest, with a number above to indicate the duration (in
5382 measures) of the rest. The former style is called @q{Kirchenpausen} in
5383 German, as a reminiscence of its use in Renaissance vocal polyphony.
5385 @lilypond[fragment,ragged-right]
5388 \set Score.skipBars = ##t R1*3
5390 \set Score.skipBars = ##t R1*122
5397 @ref{longa}, @ref{breve}.
5406 D: Auflösungszeichen,
5407 NL: herstellingsteken,
5408 DK: op@-løsningstegn,
5409 S: återställningstecken,
5417 @node neighbour tones
5418 @section neighbour tones
5422 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5463 Notes are signs by means of which music is fixed in writing. The term is also
5464 used for the sound indicated by a note, and even for the key of the piano
5465 which produces the sound. However, a clear distinction between the terms tone
5466 and @ref{note} is strongly recommended. Briefly, one sees a note,
5474 I: testa, testina, capocchia,
5482 A head-like sign which indicates pitch by its position on a
5483 @ref{staff} provided with a @ref{clef}, and duration
5484 by a variety of shapes such as hollow or black heads with or without
5485 @ref{stem}s, @ref{flag}s, etc. For percussion
5486 instruments (often having no defined pitch) the note head may indicate the
5501 ES: valor (duración),
5503 F: durée, valeur (d'une note),
5508 FI: nuotin aika-arvo.
5510 Note values (durations) are measured as fractions, normally 1/2, of
5511 the next higher note value. The longest duration normally used is
5512 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5513 double-length note value @emph{longa} or the quadruple-length note
5514 value @emph{maxima} are used.
5516 @c TODO -- add maxima to this example, in a way that doesn't break it.
5518 @lilypond[fragment,notime,line-width=13.0\cm]
5519 %\override Score.TextScript #'font-style = #'large
5520 \set Score.automaticBars = ##f
5522 \override NoteHead #'style = #'mensural
5523 a\longa_"longa" a\breve_"breve"
5524 \revert NoteHead #'style
5525 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5526 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5529 @c TODO -- add maxima rest to this example
5531 @lilypond[fragment,notime,line-width=13.0\cm]
5532 %\override Score.TextScript #'font-style = #'large
5533 \set Score.automaticBars = ##f
5535 r\longa_"longa" r\breve_"breve"
5536 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5537 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5540 An augmentation dot after a note multiplies the duration by one and a
5541 half. Another dot adds yet a fourth of the duration.
5543 @lilypond[fragment,line-width=13.0\cm]
5544 %\override Score.TextScript #'font-style = #'large
5547 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5548 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5551 Alternatively note values may be subdivided by other ratios. Most common is
5552 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5553 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5554 dotted notes are also frequently used.
5556 @lilypond[fragment,line-width=13.0\cm]
5557 %\override Score.TextScript #'font-style = #'large
5560 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5561 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5565 @lilypond[fragment,line-width=13.0\cm]
5568 \times 3/2 {g4_"duplets" g} |
5570 \times 6/4 {g8_"quadruplets" g g g} |
5571 g8 g g g g4 \bar "||"
5581 @ref{octave marking}.
5596 The interval of an octave, sometimes abbreviated @notation{8ve}.
5598 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5599 bracket, or @notation{loco} see octave marking.
5603 @ref{interval}, @ref{octave marking}.
5607 @section octave mark
5609 ES: indicación de octava,
5618 The phrase, abbreviation, or other mark used (with or without an extender line
5619 or bracket) to indicate that the music is to be played in a different octave:
5623 @item @notation{15ma}: play two octaves higher
5624 @item @notation{8va}: play one octave higher
5625 @item @notation{8vb}: play one octave lower
5626 @item @notation{8va} (written below the passage): unusual, same as
5628 @item @notation{15vb}: play two octaves lower
5629 @item @notation{15va} (written below the passage): unusual, same as
5634 For longer passages, it may be more practical to mark the octave change at the
5635 beginning with a phrase (see the list below for examples), but without a bracket
5636 or extender line. Then, when the music returns to the written pitch, the octave
5637 change is cancelled with the word @notation{loco} (q.v.).
5639 To parallel the list above:
5643 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5644 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5645 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5646 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5650 In the phrases above, @notation{quindicesima} is sometimes replaced with
5651 @notation{quindecima}, which is Latin.
5653 Finally, the music on an entire staff can be marked to be played in a
5654 different octave by putting a small 8 or 15 above or below the clef at the
5655 beginning. This octave mark can be applied to any clef, but it is most
5656 frequently used with the G and F clefs.
5660 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5663 @node octave marking
5664 @section octave marking
5673 FI: oktaavamerkintä.
5675 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5676 that it is to be played in a different octave. If applied to the clef at the
5677 beginning of the staff, all music on that staff is to played at the indicated
5680 For a list of the specific marks used, see @ref{octave mark}.
5684 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5688 @section octave sign
5699 I: abbellimento, fioriture,
5700 F: agrément, ornement,
5701 D: Verzierung, Ornament,
5707 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5708 with the diatonic @ref{second} above it. In the music from the
5709 middle of the 19th century and onwards the trill is performed with the main
5710 note first while in the music from the preceding baroque and classic periods
5711 the upper note is played first.
5713 @lilypond[fragment,line-width=13.0\cm]
5715 \context Staff = sa {
5716 % \override Score.TextScript #'font-style = #'large
5718 c2._"pre-1850" b4\trill | c1 \bar "||"
5719 c2._"post-1850" b4\trill | c1 \bar "||"
5723 c2. c32 b c b c b c b | c1
5724 c2. b32 c b c \times 4/5 { b c b c b } | c1
5729 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5731 @emph{prall} (inverted mordent).
5733 @lilypond[fragment,line-width=13.0\cm]
5735 \context Staff = sa {
5736 % \override Score.TextScript #'font-style = #'large
5738 a4_"turn" b\turn c2 \bar "||"
5739 g4_"mordent" a b\mordent a \bar "||"
5740 e'4_"prall" d\prall c2 \bar "||"
5746 e'4 e32[ d e d ~ d8] c2
5753 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5766 FI: ossia, vaihtoehtoinen esitystapa.
5768 Ossia (otherwise) marks an alternative. It is an added staff or piano
5769 score, usually only a few measures long, which presents another version
5770 of the music, for example for small hands.
5783 FI: stemma, instrumenttiosuus.
5787 @item In instrumental or choral music, the music for a single
5788 instrument or voice.
5790 @item in contrapuntal music, a single melodic line in the contrapuntal
5816 @node percent repeat
5817 @section percent repeat
5819 LilyPond-specific term to indicate the repetition of a musical expression on a
5820 single staff, as opposed to the more usual definition of repeat, which affects
5821 all parts. The musical expression can be anything from a single note or note
5822 pattern to one or more measures. There are other names for this symbol:
5827 @item slash mark, or slash repeat
5829 @item measure (or multi-measure) repeat
5833 @lilypond[fragment,line-width=13.0\cm]
5836 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5837 \repeat percent 2 { c4 e g b_"Measure repeat" }
5838 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5845 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5846 Vermont Music Dictionary}.
5855 D: Schlagzeug, Schlagwerk,
5861 A family of musical instruments which are played on by striking or
5862 shaking. Percussion instruments commonly used in a symphony orchestra are
5863 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5864 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5868 @node perfect interval
5869 @section perfect interval
5871 ES: intervalo justo,
5872 I: intervallo giusto,
5873 F: intervalle juste,
5874 D: reines Intervall,
5878 FI: puhdas intervalli.
5897 A natural division of the melodic line, comparable to a sentence of speech.
5910 FI: fraseeraus, jäsentäminen.
5912 The clear rendering in musical performance of the @ref{phrase}s of
5913 the melody. Phrasing may be indicated by a @ref{slur}.
5928 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5929 @emph{mezzo piano} (@b{mp}) medium soft.
5937 F: anacrouse, levée,
5963 @item The perceived quality of a sound that is primarily a function of its
5964 fundamental frequency.
5966 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5968 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5969 association of a particular frequency with a particular pitch name, e.g., c' =
5986 NL: pizzicato, getokkeld,
5989 FI: pizzicato, näppäillen.
5991 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5998 ES: compás polimétrico,
6009 @item The simultaneous use of two or more meters, in two or more parts.
6011 @item The @emph{successive} use of different meters in one or more parts.
6017 @ref{polymetric} (adj.)
6032 Using two or more metric frameworks simultaneously or in alternation.
6036 @ref{polymeter} (noun)
6039 @node polymetric time signature
6040 @section polymetric time signature
6042 ES: compás polimétrico,
6051 A time signature that indicates regularly alternating polymetric time.
6064 D: Polyphonie, Mehrstimmigkeit,
6068 FI: polyfonia, moniäänisyys.
6070 Music written in a combination of several simultaneous voices (parts)
6071 of a more or less pronounced individuality.
6090 D: Presto, Sehr schnell,
6091 NL: presto, Sehr schnell,
6094 FI: presto, hyvin nopeasti.
6096 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6097 denotes the highest possible degree of speed.
6112 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
6113 relationship between the note values that follow with those that precede; or
6114 between the note values of a passage and the @q{normal} relationship of note
6115 values to the metrical pulse.
6117 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6121 @ref{mensural notation}
6124 @node Pythagorean comma
6125 @section Pythagorean comma
6127 ES: coma pitagórica,
6128 I: comma pitagorico,
6129 F: comma pythagoricien,
6130 D: Pythagoräisches Komma,
6131 NL: komma van Pythagoras,
6132 DK: pythagoræisk komma,
6133 S: pytagoreiskt komma,
6134 FI: pytagorinen komma.
6136 Originally, the interval by which the sum of six whole tones exceeds the octave
6137 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6139 Modern acoustical theory defines it as the interval by which twelve fifths
6140 exceed seven octaves. To put it another way: A sequence of fifths that starts
6141 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6142 than the C obtained by adding 7 octaves. The difference between those two
6143 pitches is the Pythagorean comma.
6147 @ref{cent}, @ref{temperament}.
6179 The quality of a triad is determined by the precise arrangement of its
6180 intervals. Tertian triads can be described as a series of three notes. The
6181 first element is the root note (or simply @q{root}) of the chord, the second
6182 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6183 the chord. These are described below:
6185 @multitable @columnfractions .10 .35 .35 .20
6187 @headitem Chord name @tab Component intervals
6190 @item major triad @tab major third/perfect fifth
6192 @tab C, CM, Cma, Cmaj, CΔ
6193 @item minor triad @tab minor third/perfect fifth
6195 @tab Cm, Cmi, Cmin, C-
6196 @item augmented triad @tab major third/augmented fifth
6199 @item diminished triad @tab minor third/diminished fifth
6201 @tab Cm(♭5), Cº, Cdim
6204 There are various types of seventh chords depending on the quality of the
6205 original chord and the quality of the seventh added.
6207 Five common types of seventh chords have standard symbols. The chord quality
6208 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6209 and D^m7 are all identical). The last three chords are not commonly used
6218 @section quarter note
6223 @item I: semiminima, nera
6225 @item D: Viertel, Viertelnote
6227 @item DK: fjerdedelsnode
6228 @item S: fjärdedelsnot
6229 @item FI: neljäsosanuotti
6238 @section quarter rest
6241 @item UK: crotchet rest
6242 @item ES: silencio de negra
6243 @item I: pausa di semiminima
6245 @item D: Viertelpause
6247 @item DK: fjerdedelspause
6248 @item S: fjärdedelspaus
6249 @item FI: neljäsosatauko
6258 @section quarter tone
6260 ES: cuarto de tonno,
6269 An interval equal to half a semitone.
6279 ES: cinquillo, quintillo.
6294 @section rallentando
6299 D: rallentando, langsamer werden,
6303 FI: rallerdando, hidastuen.
6305 Abbreviation "rall.".
6311 @section relative key
6314 I: tonalità relativa,
6315 F: tonalité relative,
6317 NL: paralleltoonsoort,
6318 DK: paralleltoneart,
6320 FI: rinnakkaissävellaji.
6322 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
6324 @lilypond[fragment,notime,line-width=13.0\cm]
6325 \set Score.automaticBars = ##f
6326 %\override Score.TextScript #'font-style = #'large
6329 es1_"e flat major" f g as bes c d es
6334 @lilypond[fragment,notime,line-width=13.0\cm]
6335 \set Score.automaticBars = ##f
6336 %\override Score.TextScript #'font-style = #'large
6339 c1_"c minor" d es f g a! b! c \bar "||"
6349 F: barre de reprise,
6352 DK: gen@-ta@-gel@-se,
6356 @lilypond[fragment,line-width=13.0\cm]
6360 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6377 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6378 @c specify the rest's value.
6399 @item Metrical rhythm in which every time value is a multiple or
6400 fraction of a fixed unit of time, called @ref{beat}, and in which the
6401 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6402 The basic scheme of time values is called @ref{meter}.
6404 @item Measured rhythm which lacks regularly recurrent accent. In
6405 modern notation such music appears as a free alternation of different
6408 @item Free rhythm, i.e., the use of temporal values having no common
6409 metrical unit (beat).
6420 D: ritardando, langsamer werden,
6424 FI: ritardando, hidastuen,
6426 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6439 FI: ritenuto, hidastaen.
6441 Immediate reduction of speed.
6454 FI: asteikko, sävelasteikko.
6458 @ref{diatonic scale}.
6462 @section scale degree
6464 ES: grado (de la escala),
6465 I: grado della scala,
6466 F: degré [de la gamme],
6468 NL: trap [van de toonladder],
6471 FI: sävelaste, asteikon sävel.
6473 Names and symbols used in harmonic analysis to denote tones of the
6474 scale as roots of chords. The most important are degrees I = tonic
6475 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6477 @lilypond[fragment,notime,line-width=13.0\cm]
6478 \set Score.automaticBars = ##f
6480 \context Staff \relative c' {
6484 << { I II III IV V VI VII I }
6492 @ref{functional harmony}.
6500 F: à cordes ravallées,
6507 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6508 tuning of stringed instruments, particularly lutes or violins. Used
6513 @item facilitate pitch combinations that would otherwise be difficult
6516 @item alter the characteristic timbre of the instrument, for example,
6517 to increase brilliance
6519 @item reinforce certain sonorities or tonalities by making them
6520 available on open strings
6522 @item imitate other instruments
6528 Tunings that could be called @var{scordatura} first appeared early in
6529 the 16th Century and became commonplace in the 17th.
6538 D: Partitur (full score), Klavierauszug (vocal score),
6544 A copy of orchestral, choral, or chamber music showing what each
6545 instrument is to play, each voice to sing, having each part arranged
6546 one underneath the other on different staves @ref{staff}.
6561 The @ref{interval} between two neigbouring tones of a scale. A
6562 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6563 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6564 degrees in question.
6579 The interval of a minor second. The (usually) smallest interval in European
6580 composed music. The interval between two neighbouring tones on the piano
6581 keyboard -- including black and white keys -- is a semitone. An octave may
6582 be divided into 12@w{ }semitones.
6584 @lilypond[fragment,notime,line-width=13.0\cm]
6585 \set Score.automaticBars = ##f
6586 \relative c'' { g1 gis s a bes s b! c }
6591 @ref{interval}, @ref{chromatic scale}.
6616 @ref{sextuplet}, @ref{note value}.
6673 [From It, @q{in the same manner}] Performance direction: the music thus marked
6674 is to be played in the same manner (i.e. with the same articulations, dynamics,
6675 etc.) as the music that precedes it.
6679 TODO: Where else could I refer the reader?
6683 @section simple meter
6685 ES: compás simple, compás de subdivisión binaria,
6694 A meter in which the basic beat is subdivided in two: that is, a meter
6695 that does not include triplet subdivision of the beat.
6699 @ref{compound meter}, @ref{meter}.
6702 @node sixteenth note
6703 @section sixteenth note
6706 @item UK: semiquaver
6707 @item ES: semicorchea
6709 @item F: double croche
6710 @item D: Sechzehntel, Sechzehntelnote
6711 @item NL: zes@-ti@-ende noot
6712 @item DK: sekstendedelsnode
6713 @item S: sextondelsnot
6714 @item FI: kuudestoistaosanuotti
6722 @node sixteenth rest
6723 @section sixteenth rest
6726 @item UK: semiquaver rest
6727 @item ES: silencio de semicorchea
6728 @item I: pausa di semicroma
6729 @item F: quart de soupir
6730 @item D: Sechzehntelpause
6731 @item NL: zestiende rust
6732 @item DK: sekstendedelspause
6733 @item S: sextondelspaus
6734 @item FI: kuudestoistaosatauko
6759 @node sixty-fourth note
6760 @section sixty-fourth note
6763 @item UK: hemidemisemiquaver
6765 @item I: semibiscroma
6766 @item F: quadruple croche
6767 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6768 @item NL: vierenzestigste noot
6769 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6770 @item S: sextiofjärdedelsnot
6771 @item FI: kuudeskymmenesneljäsosanuotti
6779 @node sixty-fourth rest
6780 @section sixty-fourth rest
6783 @item UK: hemidemisemiquaver rest
6784 @item ES: silencio de semifusa
6785 @item I: pausa di semibiscroma
6786 @item F: seizième de soupir
6787 @item D: Vierundsechzigstelpause
6788 @item NL: vierenzestigste rust
6789 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6790 @item S: sextiofjärdedelspaus
6791 @item FI: kuudeskymmenesneljäsosatauko
6800 @section slash repeat
6804 @ref{percent repeat}.
6810 ES: ligadura (de expresión),
6811 I: legatura (di portamento or espressiva),
6813 D: Bogen (Legatobogen, Phrasierungsbogen),
6814 NL: fraseringsboog, legatoboog, streekboog,
6815 DK: legatobue, fraseringsbue,
6819 A slur above or below a group of notes indicates that they are to be
6820 played @ref{legato}, e.g., with one stroke of the violin bow or with
6821 one breath in singing.
6825 @section solmization
6834 FI: suhteelliset laulunimet.
6836 General term for systems of designating the degrees of the
6837 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6838 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6856 In its present-day meaning a sonata denotes an instrumental
6857 composition for piano or for some other instrument with piano
6858 accompaniment, which consists of three or four independant pieces,
6863 @section sonata form
6867 F: [en] forme de sonate,
6869 NL: hoofdvorm, sonatevorm,
6874 A form used frequently for single movements of the @ref{sonata},
6875 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6876 into three sections called @emph{exposition}, @emph{development} and
6877 @emph{recapitulation}. In the exposition the composer introduces some
6878 musical ideas, consisting of a number of themes; in the development
6879 section the composer @q{develops} this material, and in the
6880 recapitulation the composer repeats the exposition, with certain
6881 modifications. The exposition contains a number of themes that fall
6882 into two groups, often called first and second subject. Other
6883 melodies occurring in each group are considered as continuations of
6884 these two. The second theme is in another key, normally in the key of
6885 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6886 @ref{relative key} if the tonic is @ref{minor}.
6907 FI: sopraano, korkea naisääni.
6909 The highest female voice.
6917 F: staccato, piqué, détaché,
6922 FI: staccato, lyhyesti, terävästi.
6924 Playing the note(s) short. Staccato is indicated by a dot above or
6925 below the note head.
6927 @lilypond[fragment,ragged-right]
6932 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6942 I: pentagramma, rigo (musicale),
6944 D: Notensystem, Notenzeile,
6945 NL: (noten)balk, partij,
6950 A staff (plural: staves) is a series of (normally five) horizontal
6951 lines upon and between which the musical notes are written, thus
6952 indicating (in connection with a @ref{clef}) their pitch. Staves for
6953 @ref{percussion} instruments may have fewer lines.
6970 D: Hals, Notenhals, Stiel,
6976 Vertical line above or below a @ref{note head} shorter than a
6981 @lilypond[fragment,notime,line-width=13.0\cm]
6982 \set Score.autoBeaming = ##f
6983 \set Score.automaticBars = ##f
6984 %\override Score.TextScript #'font-style = #'large
7006 [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
7026 A family of stringed musical instruments played with a bow. Strings
7027 commonly used in a symphony orchestra are violin, viola, violoncello,
7032 @section strong beat
7037 D: betonter Taktteil oder Taktschlag,
7039 D: betonet taktslag,
7040 S: betonat taktslag,
7041 FI: tahdin vahva isku.
7045 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7049 @section subdominant
7058 FI: subdominantti, alidominantti.
7060 The fourth @ref{scale degree}.
7062 @ref{functional harmony}.
7077 The sixth @ref{scale degree}.
7090 FI: subtoonika, alitoonika.
7092 The seventh @ref{scale degree}.
7098 ES: sobre la cuerda de Sol,
7101 D: auf G, auf der G-Saite,
7107 Indicates that the indicated passage (or note) should be played on the
7112 @section superdominant
7123 The sixth @ref{scale degree}.
7138 The second @ref{scale degree}.
7147 D: Sinfonie, Symphonie,
7153 A symphony may be defined as a @ref{sonata} for orchestra.
7157 @section syncopation
7168 Any deliberate upsetting of the normal pulse of @ref{meter},
7169 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7170 rhythm rests upon the grouping of equal beats into groups of two or
7171 three, with a regularly recurrent accent on the first beat of each
7172 group. Any deviation from this scheme is felt as a disturbance or
7173 contradiction between the underlaying (normal) pulse and the actual
7176 @lilypond[fragment,ragged-right]
7181 e c'4 e,8 c'4 e,8 c' ( | c2)
7186 @node syntonic comma
7187 @section syntonic comma
7189 ES: coma sintónica, coma de Dídimo,
7190 I: comma sintonico (o didimico),
7191 F: comma syntonique,
7192 D: syntonisches Komma,
7193 NL: syntonische komma,
7194 DK: syntonisk komma,
7195 S: syntoniskt komma,
7196 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7197 Pytagorisessa viritysjärjestelmässä.
7199 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7200 by which the ditone exceeds the pure major third obtained by Pythagorean
7201 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7203 Modern acoustical theory defines it as the interval by which four fifths exceed
7204 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7206 This comma is also known as the comma of Didymus, or didymic comma.
7210 @ref{Pythagorean comma}
7219 D: Notensystem, Partitur,
7223 FI: nuottijärjestelmä.
7225 The collection of staves (@ref{staff}), two or more, as used for writing
7226 down of keyboard, chamber, choral, or orchestral music.
7230 @section temperament
7235 D: Stimmung, Tem@-pe@-ra@-tur,
7236 NL: stemming, temperatuur,
7239 FI: viritysjärjestelmä.
7241 Systems of tuning in which the intervals deviate from the acoustically
7244 @ref{meantone temperament}, @ref{equal temperament}.
7247 @node tempo indication
7248 @section tempo indication
7250 ES: indicación de tempo,
7251 I: indicazione di tempo,
7252 F: indication de tempo,
7253 D: Zeitmaß, Tempobezeichnung,
7254 NL: tempo aanduiding,
7259 The rate of speed of a composition or a section thereof, ranging from
7260 the slowest to the quickest, as is indicated by tempo marks as
7261 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
7275 FI: tenori, korkea miesääni.
7277 The highest male voice (apart from @ref{countertenor}).
7300 ES: subrayado (tenuto),
7309 An indication that a particular note should be held for the whole
7310 length, although this can vary depending on the composer and era.
7330 @node thirty-second note
7331 @section thirty-second note
7334 @item UK: demisemiquaver
7337 @item F: triple croche
7338 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7339 @item NL: twee-endertig@-ste (32e) noot
7340 @item DK: toogtredivtedelsnode
7341 @item S: trettiotvåondelsnot
7342 @item FI: kolmaskymmeneskahdesosanuotti
7350 @node thirty-second rest
7351 @section thirty-second rest
7354 @item UK: demisemiquaver rest
7355 @item ES: silencio de fusa
7356 @item I: pausa di biscroma
7357 @item F: huitième de soupir
7358 @item D: Zweiunddreissigstel@-pause
7359 @item NL: twee-endertig@-ste (32e) rust
7360 @item DK: toogtredivtedelspause
7361 @item S: trettiotvåondelspaus
7362 @item FI: kolmaskymmeneskahdesosatauko
7371 @section thorough bass
7381 ES: ligadura de prolongación, ligadura de unión,
7382 I: legatura (di valore),
7384 D: Haltebogen, Bindebogen,
7385 NL: overbinding, bindingsboog,
7387 S: bindebåge, överbindning,
7390 A curved line, identical in appearance with the @ref{slur}, which
7391 connects two succesive notes of the same pitch, and which has the
7392 function of uniting them into a single sound (tone) equal to the
7395 @lilypond[fragment,notime,ragged-right]
7396 \set Score.automaticBars = ##f
7397 \relative c'' { g2 ~ g4. }
7409 @node time signature
7410 @section time signature
7412 ES: indicación de compás,
7414 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
7415 D: Taktangabe, Angabe der Taktart,
7418 S: taktartssignatur,
7421 The sign placed at the beginning of a composition to indicate its
7422 meter. It most often takes the form of a fraction, but a few signs
7423 derived from mensural notation and proportions are also employed.
7427 @ref{mensural notation}, @ref{meter}.
7442 A sound of definite pitch and duration, as distinct from @emph{noise}.
7443 Tone is a primary building material of music.
7445 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7460 The first @ref{scale degree}.
7464 @ref{functional harmony}.
7467 @node transposing instrument
7468 @section transposing instrument
7470 ES: instrumento transpositor,
7479 Instruments whose notated pitch is different from their sounded pitch. Except
7480 for those whose notated and sounding pitches differ by one or more octaves (to
7481 reduce the number of ledger lines needed), most such instruments are identified
7482 by the letter name of the pitch class of their fundamental. The pitch class is
7483 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7484 the instrument plays a notated C.
7486 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7487 the B-flat one tone lower. If played on the A clarinet, the same written
7488 note sounds the A (one and half tones -- a minor third -- lower).
7490 Not all transposing instruments include the pitch class in their name:
7494 @item English horn (in F)
7496 @item Alto flute (in G)
7502 @ref{concert pitch}.
7506 @section transposition
7517 Shifting a melody up or down in pitch, while keeping the same
7520 @lilypond[fragment,line-width=13.0\cm]
7525 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7530 @lilypond[fragment,line-width=13.0\cm]
7533 \transpose c bes \relative c'' {
7535 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7542 @section treble clef
7545 I: chiave di violino,
7547 D: Violinschlüssel, Sopranschlüssel,
7570 On stringed instruments:
7574 @item The quick reiteration of the same tone, produced by a rapid
7575 up-and-down movement of the bow.
7577 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7578 in the distance of a third (@ref{interval}).
7582 @lilypond[fragment,notime,ragged-right]
7583 \set Score.automaticBars = ##f
7584 %\override Score.TextScript #'font-style = #'large
7587 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7588 \repeat tremolo 8 { e32_"b" g }
7602 F: triade, accord parfait, accord de trois sons,
7619 F: trille, tremblement, battement (cadence),
7632 @section triple meter
7634 ES: compás ternario,
7637 D: in drei, ungerader Takt,
7638 NL: driedelige maatsoort,
7683 @section tuning fork
7685 ES: diapasón, horquilla de afinación,
7686 I: diapason, corista,
7694 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7695 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7696 standard. Tuning forks for other pitches are available.
7706 A non-standard subdivision of a beat or part of a beat, usually
7707 indicated with a bracket and a number indicating the number of
7712 @ref{triplet}, @ref{note value}.
7718 ES: grupeto (circular),
7742 FI: unisono, yksiäänisesti.
7744 Playing of the same notes or the same melody by various instruments
7745 (voices) or by the whole orchestra (choir), either at exactly the same
7746 pitch or in a different octave.
7754 F: anacrouse, levée,
7776 FI: ääni, lauluääni.
7786 @item @ref{mezzo-soprano}
7788 @item @ref{contralto}
7792 @item @ref{baritone}
7798 @item A melodic layer or part of a polyphonic composition.
7806 ES: vez, primera y segunda vez,
7815 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7816 or second ending. LilyPond extends this idea to any number, and allows any text
7817 (not just a number) -- to serve as the @q{volta} text.
7824 I: tempo debole, arsi,
7826 D: unbetonter Taktteil oder Taktschlag,
7828 DK: ubetonet taktslag,
7829 S: obetonat taktslag,
7830 FI: tahdin heikko isku.
7834 @ref{beat}, @ref{measure}, @ref{rhythm}.
7845 @item D: Ganze, ganze Note
7849 @item FI: kokonuotti
7861 @item UK: semibreve rest
7862 @item ES: silencio de redonda
7863 @item I: pausa di semibreve
7865 @item D: ganze Pause, ganztaktige Pause
7867 @item DK: helnodespause
7889 The interval of a major second. The interval between two tones
7890 on the piano keyboard with exactly one key between them -- including
7891 black and white keys -- is a whole tone.
7910 A family of blown wooden musical instruments. Today some of these
7911 instruments are actually made from metal. The woodwind instruments
7912 commonly used in a symphony orchestra are flute, oboe, clarinet,
7913 saxophone, and bassoon.
7916 @node Duration names notes and rests
7917 @chapter Duration names notes and rests
7919 @multitable @columnfractions .12 .22 .22 .22 .22
7921 @headitem Lang. @tab note name
7925 @item @strong{US} @tab long
7929 @item @strong{UK} @tab longa
7933 @item @strong{ES} @tab longa
7934 @tab silencio de longa
7936 @tab silencio de cuadrada
7937 @item @strong{IT} @tab longa
7941 @item @strong{FR} @tab longa
7942 @tab quadruple-pause
7945 @item @strong{DE} @tab Longa
7949 @item @strong{NL} @tab longa
7953 @item @strong{DK} @tab longa
7954 @tab longanodespause
7956 @tab brevis(nodes)pause
7957 @item @strong{SE} @tab longa
7961 @item @strong{FI} @tab longa-nuotti
7963 @tab brevis-nuotti, kaksoiskokonuotti
7964 @tab brevis-tauko, kaksoiskokotauko
7968 @multitable @columnfractions .12 .22 .22 .22 .22
7970 @headitem Lang. @tab note name
7974 @item @strong{US} @tab whole note
7978 @item @strong{UK} @tab semibreve
7982 @item @strong{ES} @tab redonda
7983 @tab silencio de redonda
7985 @tab silencio de blanca
7986 @item @strong{IT} @tab semibreve
7987 @tab pause di semibreve
7989 @tab pausa di minima
7990 @item @strong{FR} @tab ronde
7994 @item @strong{DE} @tab ganze Note
7998 @item @strong{NL} @tab hele noot
8002 @item @strong{DK} @tab helnode
8006 @item @strong{SE} @tab helnot
8010 @item @strong{FI} @tab kokonuotti
8017 @multitable @columnfractions .12 .22 .22 .22 .22
8019 @headitem Lang. @tab note name
8023 @item @strong{US} @tab quarter note
8027 @item @strong{UK} @tab crotchet
8031 @item @strong{ES} @tab negra
8032 @tab silencio de negra
8034 @tab silencio de corchea
8035 @item @strong{IT} @tab semiminima, nera
8036 @tab pausa di semiminima, pausa di nera
8039 @item @strong{FR} @tab noire
8043 @item @strong{DE} @tab Viertelnote
8047 @item @strong{NL} @tab kwartnoot
8051 @item @strong{DK} @tab fjerdedelsnode
8052 @tab fjerdedelspause
8053 @tab ottendedelsnode
8054 @tab ottendedelspause
8055 @item @strong{SE} @tab fjärdedelsnot
8059 @item @strong{FI} @tab neljäsosanuotti
8061 @tab kahdeksasosanuotti
8062 @tab kahdeksasosatauko
8066 * About the French naming system: @emph{croche} refers to the note's "hook".
8067 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8068 hook}, @q{trebled hook}, and so on.
8070 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8071 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8072 a @emph{soupir}, and so on.
8074 Each of the following tables contains one type of note and its matching rest,
8075 with abbreviations that apply to both notes and rests. Just switch the part
8076 that means @q{note} with the part that means @q{rest}, for example:
8080 @item English: 16th @strong{note}, 16th @strong{rest}
8081 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8082 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8086 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8087 duration name. If you know of one that I missed, please send it to me, care of
8088 the lilypond-user discussion list.
8090 @multitable @columnfractions .10 .35 .35 .20
8092 @headitem Lang. @tab Note name
8095 @item @strong{US} @tab sixteenth note
8098 @item @strong{UK} @tab semiquaver
8099 @tab semiquaver rest
8101 @item @strong{ES} @tab semicorchea
8102 @tab silencio de semicorchea
8104 @item @strong{IT} @tab semicroma
8105 @tab pausa di semicroma
8107 @item @strong{FR} @tab double croche
8108 @tab quart de soupir
8110 @item @strong{DE} @tab Sechzehntelnote
8111 @tab Sechzehntelpause
8113 @item @strong{NL} @tab zestiende noot
8116 @item @strong{DK} @tab sekstendedelsnode
8117 @tab sekstendedelspause
8119 @item @strong{SE} @tab sextondelsnot
8122 @item @strong{FI} @tab kuudestoistaosanuotti
8123 @tab kuudestoistaosatauko
8128 @multitable @columnfractions .10 .35 .35 .20
8130 @headitem Lang. @tab Note name
8133 @item @strong{US} @tab thirty-second note
8134 @tab thirty-second rest
8136 @item @strong{UK} @tab demisemiquaver
8137 @tab demisemiquaver rest
8139 @item @strong{ES} @tab fusa
8140 @tab silencio de fusa
8142 @item @strong{IT} @tab biscroma
8143 @tab pausa di biscroma
8145 @item @strong{FR} @tab triple croche
8146 @tab huitième de soupir
8148 @item @strong{DE} @tab Zweiunddreißigstelnote
8149 @tab Zweiunddreißigstelpause
8151 @item @strong{NL} @tab tweeendertigste noot
8152 @tab tweeendertigste rust
8154 @item @strong{DK} @tab toogtredivtedelsnode
8155 @tab toogtredivtedelspause
8157 @item @strong{SE} @tab trettiotvåondelsnot
8158 @tab trettiotvåondelspaus
8160 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
8161 @tab kolmaskymmeneskahdesosatauko
8166 @multitable @columnfractions .10 .35 .35 .20
8168 @headitem Lang. @tab Note name
8171 @item @strong{US} @tab sixty-fourth note
8172 @tab sixty-fourth rest
8174 @item @strong{UK} @tab hemidemisemiquaver
8175 @tab hemidemisemiquaver rest
8177 @item @strong{ES} @tab semifusa
8178 @tab silencio de semifusa
8180 @item @strong{IT} @tab semibiscroma
8181 @tab pausa di semibiscroma
8183 @item @strong{FR} @tab quadruple croche
8184 @tab seizième de soupir
8186 @item @strong{DE} @tab Vierundsechzigstelnote
8187 @tab Vierundsechzigstelpause
8189 @item @strong{NL} @tab vierenzestigste noot
8190 @tab vierenzestigste rust
8192 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
8193 @tab fireogtredsindstyvendedelspause
8195 @item @strong{SE} @tab sextiofjärdedelsnot
8196 @tab sextiofjärdedelspaus
8198 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
8199 @tab kuudeskymmenesneljäsosatauko
8204 @multitable @columnfractions .10 .35 .35 .20
8206 @headitem Lang. @tab Note name
8209 @item @strong{US} @tab one-hundred-twenty-eighth note
8210 @tab one-hundred-twenty-eighth rest
8212 @item @strong{UK} @tab semihemidemisemiquaver
8213 @tab semihemidemisemiquaver rest
8215 @item @strong{ES} @tab garrapatea
8216 @tab silencio de garrapatea
8218 @item @strong{IT} @tab fusa
8221 @item @strong{FR} @tab quintuple croche
8222 @tab trente-deuxième de soupir @tab -
8223 @item @strong{DE} @tab Hundertundachtundzwanzigstel
8224 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
8225 @item @strong{NL} @tab honderdachtentwintigste noot
8226 @tab honderdachtentwintigste rust
8228 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
8229 @tab hundredeotteogtyvendedelspause
8231 @item @strong{SE} @tab hundratjugoåttondelsnot
8232 @tab hundratjugoåttondelspaus
8234 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
8235 @tab sadaskahdeskymmeneskahdeksasosatauko
8240 @multitable @columnfractions .10 .35 .35 .20
8242 @headitem Lang. @tab Note name
8245 @item @strong{US} @tab two-hundred-fifty-sixth note
8246 @tab two-hundred-fifty-sixth rest
8248 @item @strong{UK} @tab demisemihemidemisemiquaver
8249 @tab demisemihemidemisemiquaver rest
8251 @item @strong{ES} @tab semigarrapatea
8252 @tab silencio de semigarrapatea @tab -
8253 @item @strong{IT} @tab semifusa
8254 @tab pausa di semifusa
8256 @item @strong{FR} @tab sextuple croche
8257 @tab soixante-quatrième de soupir @tab -
8258 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
8259 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
8260 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
8261 @tab tweehonderdzesenvijftigste rust
8263 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
8264 @tab tohundredeseksoghalvtredsendedelspause
8266 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
8267 @tab tvåhundrafemtiosjättedelspaus
8269 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
8270 @tab kahdessadasviideskymmeneskuudesosatauko
8277 @ref{mensural notation}
8281 @chapter Pitch names
8283 @c -is/-es endings for Danish per Rune Zedeler, pace
8284 @c and for Finnish per Risto Vääräniemi
8285 @c -iss/-ess endings for Swedish per Mats Bengtsson
8286 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8288 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8290 @tab ES @tab I @tab F @tab D
8291 @tab NL @tab DK @tab S @tab FI
8292 @item @strong{c} @tab do @tab do @tab ut @tab C
8293 @tab c @tab c @tab c @tab c
8294 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8295 @tab cis @tab cis @tab ciss @tab cis
8296 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8297 @tab des @tab des @tab dess @tab des
8298 @item @strong{d} @tab re @tab re @tab ré @tab D
8299 @tab d @tab d @tab d @tab d
8300 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8301 @tab dis @tab dis @tab diss @tab dis
8302 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8303 @tab es @tab es @tab ess @tab es
8304 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8305 @tab e @tab e @tab e @tab e
8306 @item @strong{f-flat} = e
8307 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8308 @tab fes @tab fes @tab fess @tab fes
8309 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8310 @tab f @tab f @tab f @tab f
8311 @item @strong{e-sharp} = f
8312 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8313 @tab eis @tab eis @tab eiss @tab eis
8314 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8315 @tab fis @tab fis @tab fiss @tab fis
8316 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8317 @tab ges @tab ges @tab gess @tab ges
8318 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8319 @tab g @tab g @tab g @tab g
8320 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8321 @tab gis @tab gis @tab giss @tab gis
8322 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8323 @tab as @tab as @tab ass @tab as
8324 @item @strong{a} @tab la @tab la @tab la @tab A
8325 @tab a @tab a @tab a @tab a
8326 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8327 @tab ais @tab ais @tab aiss @tab ais
8328 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8329 @tab bes @tab b @tab b @tab b
8330 @item @strong{b} @tab si @tab si @tab si @tab H
8331 @tab b @tab h @tab h @tab h
8339 @node Literature used
8340 @unnumberedsec Literature used
8343 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8344 Cambridge: Belknap Press (Harvard University Press), 1944.
8346 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8349 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8350 Terminologie}. Kassel, 1980.
8352 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8353 Cambridge: Belknap Press (Harvard University Press), 1986.
8355 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
8357 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8358 Current English}, 3rd ed. London: Oxford University Press, 1974.
8360 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8361 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
projects / lilypond.git / blob