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.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
36 Copyright @copyright{} 1999--2008 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/user/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2008 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
182 For more information about how this fits with the other
183 documentation, see @rlearning{About the documentation}.
189 @w{@expansion{}@strong{\word\}}@c
192 @expansion{}@ref{\word\, @strong{\word\}}@c
197 * Musical terms A-Z::
198 * Duration names notes and rests::
203 @node Musical terms A-Z
204 @chapter Musical terms A-Z
206 Languages in this order.
208 @item UK - British English (where it differs from American English)
236 * ancient minor scale::
241 * ascending interval::
243 * augmented interval::
280 * compound interval::
284 * conjunct movement::
298 * descending interval::
301 * diminished interval::
305 * disjunct movement::
307 * dissonant interval::
311 * dominant ninth chord::
312 * dominant seventh chord::
314 * dot (augmentation dot)::
316 * double appoggiatura::
318 * double dotted note::
321 * double time signature::
328 * ecclesiastical mode::
335 * equal temperament::
356 * functional harmony::
376 * inverted interval::
391 * long appoggiatura::
397 * meantone temperament::
404 * mensural notation::
408 * metronomic indication::
421 * multi-measure rest::
451 * polymetric time signature::
456 * Pythagorean comma::
486 * sixty-fourth note::
487 * sixty-fourth rest::
518 * thirty-second note::
519 * thirty-second rest::
526 * transposing instrument::
581 Abbreviated @notation{a2} or @notation{a 2}.
585 @item An indication in orchestral scores that a single part notated on a single
586 staff that normally carries parts for two players (e.g. first and second oboes)
587 is to be played by both players.
589 @item Or conversely, that two pitches or parts notated on a staff that normally
590 carries a single part (e.g. first violin) are to be played by different players,
591 or groups of players (@q{desks}).
605 F: accelerando, en accélérant,
606 D: accelerando, schneller werden,
610 FI: accelerando, kiihdyttäen.
612 [Italian: @q{speed up, accelerate}.]
631 FI: aksentti, korostus.
633 The stress of one tone over others.
648 @section acciaccatura
650 A grace note which takes its time from the rest or note preceding the
651 principal note to which it is attached. The acciaccatura is drawn as a
652 small eighth note (quaver) with a line drawn through the flag and
657 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
663 ES: alteración accidental,
665 F: altération accidentelle,
666 D: Versetzungszeichen, Akzidenz,
667 NL: toevallig (verplaatsings)teken,
669 S: tillfälligt förtecken,
670 FI: tilapäinen etumerkki.
672 An accidental alters a note by:
676 @item Raising its pitch:
678 @item A @notation{double sharp}, by two semitones (a whole tone)
679 @item A @notation{sharp}, by one semitone
682 @item Lowering its pitch:
684 @item A @notation{flat}, by one semitone
685 @item A @notation{double flat}, by two semitones (a whole tone)
688 @item Canceling the effects of the key signature or previous accidentals.
691 @lilypond[fragment,notime,line-width=13.0\cm]
692 \set Score.automaticBars = ##f
694 \context Staff \relative c'' {
695 \set Staff.extraNatural = ##f
696 gisis1 gis g! ges geses
699 \override Lyrics .LyricText #'self-alignment-X = #-1
700 "db. sharp" sharp natural flat "db. flat"
707 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
720 FI: adagio, hitaasti.
722 [Italian: @q{comfortable, easy}.]
726 @item Slow tempo, slower -- especially in even meter -- than @notation{andante}
727 and faster than @notation{largo}.
729 @item A movement in slow tempo, especially the second (slow) movement
730 of sonatas, symphonies, etc.
736 @ref{andante}, @ref{largo}, @ref{sonata}.
749 FI: häviten olemattomiin.
751 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
752 that the sound should fade away to nothing.
754 @notation{Al niente} is indicated by circling the tip of the hairpin:
756 @lilypond[fragment,ragged-right]
758 \override Hairpin #'circled-tip = ##t
765 or with the actual phrase @notation{al niente}. This may be easier with
766 text markup, rather than as part of the @notation{decrescendo} text:
768 @lilypond[fragment,ragged-right]
773 c\!-\markup { \italic "al niente" }
777 Since one does not crescendo @emph{to} nothing, it is not correct to use
778 @notation{al niente} with @notation{crescendo}. Instead, one should use
779 @emph{dal niente} (@notation{@b{from} nothing}).
783 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
792 D: Allegro, Schnell, Fröhlich, Lustig,
796 FI: allegro, nopeasti.
798 [Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
799 tempo, especially the first and last movements of a sonata.
813 NL: verhoging of verlaging,
818 An alteration is the modification, raising or lowering, of a note's
819 pitch. It is established by an accidental.
836 FI: altto, matala naisääni.
838 A female voice of low range (@emph{contralto}). Originally the alto
839 was a high male voice (hence the name), which by the use of falsetto
840 reached the height of the female voice. This type of voice is also
841 known as countertenor.
851 ES: clave de do en tercera,
852 I: chiave di contralto,
853 F: clef d'ut troisième ligne,
854 D: Altschlüssel, Bratschenschlüssel,
860 C clef setting middle C on the middle line of the staff.
877 FI: ambitus, ääniala, soitinala.
879 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
880 Denotes a range of pitches for a given voice in a part of music. It may
881 also denote the pitch range that a musical instrument is capable of playing.
882 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
901 An anacrusis (also known as pickup or upbeat) is an incomplete measure
902 of music before a section of music. It also refers to the initial
903 note(s) of a melody occurring in that incomplete measure.
905 @lilypond[fragment,line-width=13.0\cm]
909 \partial 4 f4 | bes4. a8 bes4 c |
910 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
915 @ref{measure}, @ref{meter}.
918 @node ancient minor scale
919 @section ancient minor scale
921 ES: escala menor natural,
922 I: scala minore naturale,
923 F: forme du mode mineur ancien, troisème mode, mode hellénique,
924 D: reines Moll, natürliches Moll,
925 NL: authentieke mineurtoonladder,
928 FI: luonnollinen molliasteikko.
930 Also called @q{natural minor scale}.
932 @lilypond[fragment,notime,line-width=13.0\cm]
933 \set Score.automaticBars = ##f
940 @ref{diatonic scale}.
955 [Italian: present participle of @emph{andare}, @q{to walk}.]
957 Walking tempo/character.
965 @section appoggiatura
969 F: appoggiature, (port de voix),
970 D: Vorschlag, Vorhalt
974 FI: appoggiatura, etuhele.
976 Ornamental note, usually a second, that is melodically connected with
977 the main note following it. In music before the 19th century
978 appoggiature were usually performed on the beat, after that mostly
979 before the beat. While the short appoggiatura is performed as a short
980 note regardless of the duration of the main note the duration of the
981 long appoggiatura is proportional to that of the main note.
983 @lilypond[line-width=13.0\cm]
984 \context Voice \relative c'' {
988 %\override Score.TextScript #'font-style = #'large
989 <d a fis>4_"notation" r
990 { \override Stem #'flag-style = #'()
992 \revert Stem #'flag-style
995 { \override Stem #'flag-style = #'()
997 \revert Stem #'flag-style
1000 \cadenzaOn a4 \bar "||" \cadenzaOff
1002 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
1003 \cadenzaOn a4 \bar "||" \cadenzaOff
1007 An appoggiatura may have more notes preceding the main note.
1009 @lilypond[line-width=13.0\cm]
1013 % \override Score.TextScript #'font-style = #'large
1014 \grace { bes16 } as8_"notation" as16 bes as8 g |
1015 \grace { as16[( bes] } < c as >4-)
1016 \grace { as16[( bes] } < c as >4-) \bar "||"
1017 \grace { bes16 } as8_"performance" as16 bes as8 g |
1018 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
1019 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
1035 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1036 NL: gebroken akoord,
1037 DK: arpeggio, akkordbrydning,
1039 FI: arpeggio, murtosointu.
1041 [Italian: @q{harp-like, played like a harp}.]
1043 @lilypond[fragment,line-width=13.0\cm]
1044 \context PianoStaff <<
1045 \context Staff = SA \relative c'' {
1048 r8 g16 c e g, c e r8 g,16 c e g, c e |
1049 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
1050 \context Staff = SB \relative c' {
1052 << \context Voice = va {
1054 r16 e8. ( e4) r16 e8. ( e4) |
1055 r16 d8. ( d4) r16 d8. ( d4) }
1056 \context Voice = vb {
1069 @section articulation
1078 FI: artikulaatio, ilmaisu.
1080 Articulation refers to notation which indicates how a note or notes
1081 should be played. Slurs, accents, staccato, and legato are all
1082 examples of articulation.
1089 @node ascending interval
1090 @section ascending interval
1092 ES: intervalo ascendente,
1093 I: intervallo ascendente,
1094 F: intervalle ascendant,
1095 D: steigendes Intervall,
1096 NL: stijgend interval,
1097 DK: stigende interval,
1098 S: stigande intervall,
1099 FI: nouseva intervalli.
1101 A distance between a starting lower note and a higher ending note.
1108 @node augmented interval
1109 @section augmented interval
1111 ES: intervalo aumentado,
1112 I: intervallo aumentato,
1113 F: intervalle augmenté,
1114 D: übermäßiges Intervall,
1115 NL: overmatig interval,
1116 DK: forstørret interval,
1117 S: överstigande intervall,
1118 FI: ylinouseva intervalli.
1126 @section augmentation
1135 FI: aika-arvojen pidentäminen.
1137 @c TODO: add definition.
1139 This is a placeholder for augmentation (wrt mensural notation).
1143 @ref{diminution}, @ref{mensural notation}.
1151 F: manuscrit, autographe
1152 D: Autograph, Handschrift,
1154 DK: håndskrift, autograf,
1156 FI: käsinkirjoitettu nuotti.
1160 @item A manuscript written in the composer's own hand.
1162 @item Music prepared for photoreproduction by freehand drawing, with
1163 the aid of a straightedge ruler and T-square only, which attempts to
1164 emulate engraving. This required more skill than did engraving.
1189 @ref{H}, @ref{Pitch names}
1211 ES: barra, línea divisoria,
1212 I: stanghetta, barra (di divisione),
1213 F: barre (de mesure),
1220 A vertical line through the staff (or through multiple staves) that
1221 separates measures. Used very infrequently during the Renaissance (mostly
1222 in secular music, or in sacred music to indicate congruences between parts
1223 in otherwise-unmetered music).
1240 FI: baritoni, keskikorkuinen miesääni.
1242 The male voice intermediate in pitch between the bass and the tenor.
1244 @c F: clef de troisième ligne dropped
1248 @ref{bass}, @ref{tenor}.
1252 @section baritone clef
1254 ES: clave de fa en tercera,
1255 I: chiave di baritono,
1256 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1257 D: Baritonschlüssel,
1263 C or F clef setting middle C on the upper staff line.
1267 @ref{C clef}, @ref{F clef}.
1280 FI: basso, matala miesääni.
1284 @item The lowest male voice.
1286 @item Sometimes, especially in jazz music, used as an abbreviation for
1299 ES: clave de fa en cuarta,
1301 F: clef de fa quatrième ligne,
1308 A clef setting with middle C on the first top ledger line.
1327 Line connecting a series of notes (shorter than a quarter note). The
1328 number of beams determines the note value of the connected notes.
1330 @lilypond[fragment,notime,line-width=13.0\cm]
1331 \set Score.automaticBars = ##f
1332 %\override TextScript #'font-style = #'large
1334 g8_"1/8"[ g g g] s16
1335 g16_"1/16"[ g g g] s16
1336 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1337 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1342 @ref{feathered beam}.
1348 ES: tiempo, parte (de compás)
1351 D: Takt, Taktschlag, Zeit (im Takt),
1357 Note value used for counting, most often half-, fourth-, and eighth notes.
1358 The base counting value and the number of them in each measure is indicated
1359 at the start of the music by the @notation{time signature}.
1361 @lilypond[fragment,line-width=13.0\cm]
1364 \relative c'' { g4 c b a | g1 \bar "||"}
1366 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1371 @ref{time signature}.
1375 @section beat repeat
1379 @ref{percent repeat}.
1393 ES: llave, corchete,
1396 D: Klammer, Akkolade,
1397 NL: accolade, teksthaak,
1400 FI: yhdistävä sulkumerkki.
1402 Symbol at the start of a system connecting staves.
1404 Curly braces are used for connecting piano staves, and sometimes for connecting
1405 the staves of like instruments in an orchestral score when written on different
1406 staves (e.g. first and second flutes):
1408 @lilypond[fragment,ragged-right]
1409 \context GrandStaff <<
1410 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1411 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1414 Angular brackets for connecting parts in an orchestral or choral score:
1416 @lilypond[fragment,ragged-right]
1417 \context StaffGroup <<
1418 % \set StaffGroup.minVerticalAlign = #12
1419 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1420 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1451 NL: koper (blazers),
1454 S: brassinstrument, mässingsinstrument,
1457 A family of blown musical instruments made of brass, all using a cup
1458 formed mouth piece. The brass instruments commonly used in a symphony
1459 orchestra are trumpet, trombone, french horn, and tube.
1467 @section breath mark
1472 D: Atemzeichen, Trennungszeichen,
1473 NL: repercussieteken,
1474 DK: vejrtrækningstegn,
1478 Indication of where to breathe in vocal and wind instrument parts.
1489 @item US: breve, double-whole note,
1490 @item ES: cuadrada, breve,
1497 @item FI: brevis, kaksoiskokonuotti.
1500 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1501 The shortest note value generally used in white mensural notation, hence the
1502 name, which originally meant @q{of short duration}.
1504 @lilypond[fragment,notime,ragged-right]
1505 \set Score.automaticBars = ##f
1506 \relative c'' { g\breve }
1511 @ref{mensural notation}, @ref{note value}.
1545 Clef symbol indicating the position of the middle C. Used on all note
1548 @lilypond[fragment,notime,line-width=13.0\cm]
1549 \set Score.automaticBars = ##f
1550 \override Score.Clef #'full-size-change = ##t
1552 \context Staff \relative c' {
1554 \clef mezzosoprano c
1559 \context Lyrics \lyrics {
1560 \override Lyrics .LyricText #'self-alignment-X = #-1
1561 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1581 FI: kadenssi, lopuke.
1585 @ref{harmonic cadence}, @ref{functional harmony}.
1598 FI: kadenssi, lopuke.
1600 An extended, improvisatory style section inserted near the end of
1601 movement. The purpose of a cadenza is to give singers or players a
1602 chance to exhibit their technical skill and -- not last -- their
1603 ability to improvise. Since the middle of the 19th century, however,
1604 most cadenzas have been written down by the composer.
1623 [Latin: from the supine of @emph{caedere} @q{to cut down}.]
1625 The break between two musical phrases, sometimes (but not always) marked by a
1626 rest or a breath mark.
1643 FI: kaanon, tarkka jäljittely.
1660 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1661 viritysjärjestelmässä.
1663 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1664 (1/100 of an equally tempered semitone).
1668 @ref{equal temperament}, @ref{semitone}.
1691 Three or more tones sounding simultaneously. In traditional European music
1692 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1693 (major + minor third) as well as @emph{minor} (minor + major third) chords
1694 may be extended with more thirds. Four-tone @emph{seventh chords} and
1695 five-tone @emph{ninth} major chords are most often used as dominants
1696 (functional harmony). Chords having no third above the lower notes to
1697 define their mood are a special case called @q{open chords}. The lack of
1698 the middle third means their quality is ambivalent -- neither major nor
1701 @lilypond[fragment,notime,line-width=13.0\cm]
1702 \set Score.automaticBars = ##f
1703 %\override TextScript #'font-style = #'large
1705 \context Staff \relative c'' {
1706 \set Staff.extraNatural = ##f
1727 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1731 @node chromatic scale
1732 @section chromatic scale
1734 ES: escala cromática,
1736 F: gamme chromatique,
1737 D: chro@-ma@-ti@-sche Tonleiter,
1738 NL: chromatische toonladder,
1739 DK: kromatisk skala,
1741 FI: kromaattinen asteikko.
1743 A scale consisting of all 12 semitones.
1745 @lilypond[fragment,notime,line-width=13.0\cm]
1746 \set Score.automaticBars = ##f
1747 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1756 @section chromaticism
1767 Using tones extraneous to a diatonic scale (minor, major).
1771 @ref{diatonic scale}.
1775 @section church mode
1777 ES: modo eclesiástico,
1778 I: modo ecclesiastico,
1779 F: mode ecclésiastique,
1784 FI: moodi, kirkkosävellaji.
1788 @ref{diatonic scale}.
1797 D: Schlüssel, Notenschlüssel,
1801 FI: avain, nuottiavain.
1803 The clef indicates which lines of the staff correspond to which
1804 pitches. The three clef symbols in common use are:
1809 \line { The Treble or G clef: }
1811 \line { The Bass or F clef: }
1813 \line { The Alto or C clef: }
1817 \musicglyph #"clefs.G"
1819 \musicglyph #"clefs.F"
1821 \musicglyph #"clefs.C"
1826 Imagine a large staff of 11 lines centered on middle C, sometimes
1827 called a @q{grand staff}, with the bottom line representing low G and
1828 the top line high F:
1833 %-- Note names above treble staff --%
1835 \set printOctaveNames = ##t
1837 \once \override NoteName #'color = #red
1841 %-- Treble Staff --%
1843 \override Staff.Clef #'stencil = ##f
1849 %-- Alto Staff reduced to a single line on middle C --%
1851 \override Staff.StaffSymbol #'line-count = #1
1852 \override Staff.StaffSymbol #'color = #red
1853 \override Staff.Clef #'stencil = ##f
1856 \override NoteHead #'color = #red
1862 \override Staff.Clef #'stencil = ##f
1871 \override SpacingSpanner
1872 #'base-shortest-duration = #(ly:make-moment 1 1)
1873 \override NonMusicalPaperColumn
1874 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1875 \override BarLine #'stencil = ##f
1879 \remove "Time_signature_engraver"
1885 Staves of five lines are usually used, and the clef superimposed on
1886 them indicates which five lines have been selected from this
1887 @samp{grand staff}. For example, the treble or G clef indicates that
1888 the top five lines have been selected:
1893 %-- Note names above treble staff --%
1895 \set printOctaveNames = ##t
1897 \once \override NoteName #'color = #red
1902 %-- Treble Staff --%
1904 \once \override Staff.Clef #'stencil = ##f
1907 \override Staff.Clef #'full-size-change = ##t
1908 \set Staff.forceClef = ##t
1912 %-- Alto Staff reduced to a single line on middle C --%
1914 \override Staff.StaffSymbol #'line-count = #1
1915 \override Staff.StaffSymbol #'color = #red
1916 \override Staff.Clef #'stencil = ##f
1919 \override NoteHead #'color = #red
1924 \override Staff.Clef #'stencil = ##f
1932 \override SpacingSpanner
1933 #'base-shortest-duration = #(ly:make-moment 2 1)
1934 \override NonMusicalPaperColumn
1935 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1936 \override BarLine #'stencil = ##f
1940 \remove "Time_signature_engraver"
1946 The @q{curl} of the G clef is centered on the line that represents the
1949 In the same way, the bass or F clef indicates that the bottom five
1950 lines have been selected from the @samp{grand staff}, and the alto or
1951 C clef indicates the middle five lines have been selected. This
1952 relationship is shown below, where the notes show an arpeggio on a C
1958 %-- Treble Staff --%
1966 \override Staff.StaffSymbol #'line-count = #1
1967 \once \override Staff.Clef #'stencil = ##f
1972 \revert Staff.StaffSymbol #'stencil
1973 \override Staff.StaffSymbol #'color = #red
1976 \stopStaff \startStaff
1977 \revert Staff.StaffSymbol #'line-count
1978 \revert Staff.StaffSymbol #'color
1979 \stopStaff \startStaff
1980 \override Staff.Clef #'full-size-change = ##t
1981 \set Staff.forceClef = ##t
1996 \override SpacingSpanner #'base-shortest-duration =
1997 #(ly:make-moment 2 1)
1998 \override NonMusicalPaperColumn
1999 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2000 \override BarLine #'stencil = ##f
2004 \remove "Time_signature_engraver"
2012 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2025 FI: klusteri, cluster.
2027 A @emph{cluster} is a range of simultaneously sounding pitches that
2028 may change over time. The set of available pitches to apply usually
2029 depends on the acoustic source. Thus, in piano music, a cluster
2030 typically consists of a continuous range of the semitones as provided
2031 by the piano's fixed set of a chromatic scale. In choral music, each
2032 singer of the choir typically may sing an arbitrary pitch within the
2033 cluster's range that is not bound to any diatonic, chromatic or other
2034 scale. In electronic music, a cluster (theoretically) may even cover
2035 a continuous range of pitches, thus resulting in colored noise, such
2038 Clusters can be denoted in the context of ordinary staff notation by
2039 engraving simple geometrical shapes that replace ordinary notation of
2040 notes. Ordinary notes as musical events specify starting time and
2041 duration of pitches; however, the duration of a note is expressed by
2042 the shape of the note head rather than by the horizontal graphical
2043 extent of the note symbol. In contrast, the shape of a cluster
2044 geometrically describes the development of a range of pitches
2045 (vertical extent) over time (horizontal extent). Still, the
2046 geometrical shape of a cluster covers the area in which any single
2047 pitch contained in the cluster would be notated as an ordinary note.
2049 @lilypond[fragment,relative=2,ragged-right]
2050 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
2068 FI: komma, korvinkuultava ero äänenkorkeudessa.
2070 Difference in pitch between a note derived from pure tuning and the
2071 same note derived from some other tuning method.
2075 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2080 @section common meter
2082 Another name for @ref{common time}.
2085 @ref{common time}, @ref{meter}.
2089 @section common time
2100 4/4 time. The symbol, which resembles a capital letter C, comes from
2105 @ref{mensural notation}, @ref{meter}.
2111 ES: intervalo invertido,
2113 F: intervalle complémentaire,
2114 D: Komplementärintervall,
2115 NL: complementair interval,
2116 DK: komplementærinterval,
2117 S: komplementärintervall (?),
2118 FI: täydentävä intervalli.
2122 @ref{inverted interval}.
2125 @node compound interval
2126 @section compound interval
2128 ES: intervalo compuesto,
2129 I: intervallo composto,
2130 F: intervalle composé,
2131 D: weites Intervall,
2132 NL: samengesteld interval,
2133 DK: sammensat interval,
2134 S: sammansatt intervall,
2135 FI: oktaavia laajempi intervalli.
2137 Intervals larger than an octave.
2144 @node compound meter
2145 @section compound meter
2147 ES: compás compuesto, compás de subdivisión ternaria,
2154 FI: kolmijakoinen tahtilaji.
2156 A meter that includes a triplet subdivision within the beat, such as
2161 @ref{meter}, @ref{simple meter}.
2165 @section compound time
2167 ES: compás compuesto, compás de amalgama (def. 2),
2174 FI: yhdistetty tahtilajiosoitus.
2179 A meter that includes a triplet subdivision within the beat: see
2180 @ref{compound meter}.
2183 A time signature that additively combines two or more unequal meters, e.g.,
2184 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2186 @lilypond[fragment,line-width=13.0\cm]
2187 #(define (compound-time grob one two three num)
2188 (grob-interpret-markup grob
2190 #:override '(baseline-skip . 0)
2193 #:left-column (one num)
2195 #:left-column (two num)
2197 #:left-column (three num)))))
2201 #(set-time-signature 8 8 '(3 2 3))
2202 \override Staff.TimeSignature #'stencil = #(lambda (grob)
2203 (compound-time grob "3" "2" "3" "8"))
2204 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2205 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2217 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2221 @section concert pitch
2223 ES: en Do, afinación de concierto,
2230 FI: konserttikorkeus.
2232 The pitch at which the piano and other nontransposing instruments play: such
2233 instruments are said to be @q{in C}. The following list includes some (but not
2234 all) instruments that play in concert pitch:
2236 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2238 @multitable {alto trombone} {tenor trombone} {bass trombone}
2239 @headitem Woodwinds @tab Brass @tab Strings
2252 @item tenor trombone
2266 The trombones are a special case: although they are said to be @q{in F} (alto or
2267 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2268 their parts' transposition. (In fact, the trombones' parts are written at
2269 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2270 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2273 Instruments that play @q{in C} but in a different octave than what is written
2274 are, technically speaking, @emph{transposing instruments}:
2278 @item piccolo (plays an octave higher)
2279 @item celesta (plays an octave higher)
2280 @item double-bass (plays an octave lower)
2286 @ref{transposing instrument}.
2289 @node conjunct movement
2290 @section conjunct movement
2292 ES: movimiento conjunto,
2294 F: mouvement conjoint,
2295 D: schritt@-weise, stufenweise Bewegung,
2296 NL: stapsgewijze, trapsgewijze beweging,
2297 DK: trinvis bevægelse,
2299 FI: asteittainen liike.
2301 Progressing melodically by intervals of a second, as contrasted with
2302 @emph{disjunct movement}.
2304 @lilypond[fragment,line-width=13.0\cm]
2305 \key g \major \time 4/4
2306 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2311 @ref{disjunct movement}.
2324 FI: konsonanssi, sopusointi.
2349 @section copying music
2351 A music copyist did fast freehand scores and parts on preprinted staff
2352 lines for performance. Some of their conventions (e.g., the placement
2353 of note heads on stems) varied slightly from those of engravers. Some
2354 of their working methods were superior and could well be adopted by
2357 @c Copying music required more skill than engraving. Flagged for NPOV
2365 @section counterpoint
2374 FI: kontrapunkti, ääni ääntä vastaan.
2376 From Latin @emph{punctus contra punctum}, note against note. The
2377 combination into a single musical fabric of lines or parts which have
2378 distinct melodic significance. A frequently used polyphonic technique
2379 is imitation, in its strictest form found in the canon needing only
2380 one part to be written down while the other parts are performed with a
2381 given displacement. Imitation is also the contrapunctal technique
2382 used in the @emph{fugue} which, since the music of the baroque era,
2383 has been one of the most popular polyphonic composition methods.
2385 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2386 \set Score.implicitTimeSignatureVisibility = #all-invisible
2387 \override Score.TimeSignature #'break-visibility = #all-invisible
2388 \context PianoStaff <<
2389 \context Staff = SA \relative c' {
2393 << \context Voice = rha {
2395 r1 | r2 r8 g'8 bes d, |
2396 cis4 d r8 e!16 f g8 f16 e |
2397 f8 g16 a bes8 a16 g a8
2399 \context Voice = rhb {
2405 \context Staff = SB \relative c' {
2408 << \context Voice = lha {
2410 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2411 r8 a16 g f8 g16 a bes8 g e! cis' |
2414 \context Voice = lhb {
2428 @section countertenor
2433 D: Countertenor, Kontratenor,
2436 S: kontratenor, counter tenor,
2450 D: Crescendo, lauter werden,
2454 FI: cresendo, voimistuen.
2456 Increasing volume. Indicated by a rightwards opening horizontal wedge
2457 (hairpin) or the abbreviation @notation{cresc.}.
2459 @lilypond[fragment,ragged-right]
2460 \key g \major \time 4/4
2461 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2466 @ref{decrescendo}, @ref{hairpin}.
2474 F: petites notes précédent l'entrée d'un instrument, réplique,
2481 In a separate part notes belonging to another part with the purpose of
2482 hinting when to start playing. Usually printed in a smaller type.
2495 D: Notenzeiger, Custos,
2501 A custos (plural: custodes) is a staff symbol that appears at the end of a
2502 staff line with monophonic musical contents (i.e., with a single voice). It
2503 anticipates the pitch of the first note of the following line and thus helps
2504 the player or singer to manage line breaks during performance, which
2505 enhances the readability of a score.
2507 Custodes were frequently used in music notation until the 16th century.
2508 There were different appearences for different notation styles. Nowadays,
2509 they have survived only in special forms of musical notation such as the
2510 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2515 % \override Staff.Custos #'neutral-position = #4
2516 \override Staff.Custos #'neutral-direction = #down
2517 \override Staff.Custos #'style = #'hufnagel
2525 \consists Custos_engraver
2561 F: da capo, depuis le commencement,
2562 D: da capo, von Anfang,
2566 FI: da capo, alusta.
2568 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2569 the beginning to the end or to a certain place marked @emph{fine}.
2586 FI: tyhjästä ilmaantuen.
2588 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2589 that the sound should gradually increase from nothing.
2601 F: dal segno, depuis le signe,
2602 D: dal segno, ab dem Zeichen,
2606 FI: dal segno, lähtien merkistä.
2608 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2609 another place frequently near the beginning marked by a sign
2612 @lilypond[fragment,ragged-right]
2613 %\override TextScript #'font-style = #'large
2614 \override TextScript #'font-shape = #'italic
2615 \key g \major \time 4/4
2620 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2631 @section decrescendo
2635 D: Decrescendo, leiser werden,
2639 FI: decresendo, hiljentyen.
2641 Decreasing tone volume. Indicated by a leftwards opening horizontal
2642 wedge (hairpin) or the abbreviation @notation{decresc.}.
2644 @lilypond[fragment,ragged-right]
2646 \key g \major \time 4/4
2647 d4 \> c b a | g1 \! \bar "|."
2653 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2656 @node descending interval
2657 @section descending interval
2659 ES: intervalo descendente,
2660 I: intervallo discendente,
2661 F: intervalle descendant,
2662 D: fallendes Intervall, absteigendes Intervall,
2663 NL: dalend interval,
2664 DK: faldende interval,
2665 S: fallande intervall,
2666 FI: laskeva intervalli.
2668 A distance between a starting higher note and a lower ending note.
2675 @node diatonic scale
2676 @section diatonic scale
2678 ES: escala diatónica,
2680 F: gamme diatonique,
2681 D: diatonische Tonleiter,
2682 NL: diatonische toonladder,
2683 DK: diatonisk skala,
2685 FI: diatoninen asteikko.
2687 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2688 played on the white keys of a piano keybord are diatonic. These scales
2689 are sometimes called, somewhat inaccurately, @q{church modes}).
2691 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2692 but also to some extent in newer jazz music.
2694 @lilypond[fragment,notime,ragged-right]
2695 \set Score.automaticBars = ##f
2696 %\override Score.LyricText #'font-style = #'large
2697 %\override Score.TextScript #'font-style = #'large
2699 \context Staff \relative c' {
2701 \override TextScript #'padding = #-4
2702 e^"~~ S" f g a b^"~~ S" c
2704 \context Lyrics \lyrics {
2710 @lilypond[fragment,notime,ragged-right]
2711 \set Score.automaticBars = ##f
2713 \context Staff \relative c' {
2715 \override TextScript #'padding = #-4
2716 e^"~~ S" f g a b^"~~ S" c d
2724 @lilypond[fragment,notime,ragged-right]
2725 \set Score.automaticBars = ##f
2728 \override TextScript #'padding = #-4
2729 e1^"~~ S" f g a b^"~~ S" c d e
2737 @lilypond[fragment,notime,ragged-right]
2738 \set Score.automaticBars = ##f
2742 \override TextScript #'padding = #-4
2743 b^"~~ S" c d e^"~~ S" f
2751 @lilypond[fragment,notime,ragged-right]
2752 \set Score.automaticBars = ##f
2756 \override TextScript #'padding = #-4
2757 b^"~~ S" c d e^"~~ S" f g }
2764 @lilypond[fragment,notime,ragged-right]
2765 \set Score.automaticBars = ##f
2766 %\override Score.LyricText #'font-style = #'large
2767 %\override Score.TextScript #'font-style = #'large
2771 \override TextScript #'padding = #-4
2772 b^"~~ S" c d e^"~~ S" f g a
2780 @lilypond[fragment,notime,ragged-right]
2781 \set Score.automaticBars = ##f
2782 %\override Score.LyricText #'font-style = #'large
2783 %\override Score.TextScript #'font-style = #'large
2786 \override TextScript #'padding = #-4
2787 b1^"~~ S" c d e^"~~ S" f g a b
2795 From the beginning of the 17th century the scales used in European
2796 compositional music are primarily the major and the minor scales. In
2797 the harmonic minor scale type an augmented second (A) occurs between
2798 the 6th and 7th tone.
2800 @lilypond[fragment,notime,ragged-right]
2801 \set Score.automaticBars = ##f
2805 \override TextScript #'padding = #-4
2806 e^"~~ S" f g a b^"~~ S" c
2814 @lilypond[fragment,notime,ragged-right]
2815 \set Score.automaticBars = ##f
2819 \override TextScript #'padding = #-4
2820 b^"~~ S" c d e^"~~ S" f g a
2823 "Ancient (or Natural) minor"
2828 @lilypond[fragment,notime,ragged-right]
2829 \set Score.automaticBars = ##f
2833 \override TextScript #'padding = #-4
2834 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2836 \context Lyrics \lyrics {
2842 @lilypond[fragment,notime,line-width=13.0\cm]
2843 \set Score.automaticBars = ##f
2844 %\override Score.LyricText #'font-style = #'large
2845 %\override Score.TextScript #'font-style = #'large
2849 \override TextScript #'padding = #-4
2850 b^"~~ S" c d e fis gis^"~~ S" a
2853 "Melodic minor ascending"
2858 @lilypond[fragment,notime,line-width=13.0\cm]
2859 \set Score.automaticBars = ##f
2860 %\override Score.LyricText #'font-style = #'large
2861 %\override Score.TextScript #'font-style = #'large
2865 \override TextScript #'padding = #-4
2866 a g! f!^"~~ S" e d c^"~~ S" b a
2869 "Melodic minor descending"
2876 @ref{semitone}, @ref{whole tone}.
2880 @section didymic comma
2884 @ref{syntonic comma}.
2887 @node diminished interval
2888 @section diminished interval
2890 ES: intervalo disminuido,
2891 I: intervallo diminuito,
2892 F: intervalle diminué,
2893 D: vermindertes Intervall,
2894 NL: verminderd interval,
2895 DK: formindsket interval,
2896 S: förminskat intervall,
2897 FI: vähennetty intervalli.
2914 FI: diminuendo, hiljentyen.
2931 FI: aika-arvojen tihennys.
2933 This is a stub for diminution (@emph{wrt} mensural notation).
2937 @ref{augmentation}, @ref{mensural notation}.
2957 @node disjunct movement
2958 @section disjunct movement
2960 ES: movimiento disjunto,
2962 F: mouvement disjoint,
2963 D: sprunghafte Bewegung,
2964 NL: sprongsgewijze beweging,
2965 DK: springende bevægelse,
2966 S: hoppande rörelse,
2967 FI: melodian hyppivä liike.
2969 Progressing melodically by intervals larger than a major second, as contrasted
2970 with conjunct movement.
2972 @lilypond[fragment,ragged-right]
2977 a4. gis8 b a e cis |
2978 fis2 d4. \bar "||" }
2983 @ref{conjunct movement}.
2989 Another name for @ref{dissonant interval}.
2993 @ref{dissonant interval}, @ref{harmony}.
2996 @node dissonant interval
2997 @section dissonant interval
2999 ES: intervalo disonante, disonancia,
3000 I: intervallo dissonante, dissonanza,
3003 NL: dissonant interval, dissonant,
3004 DK: dissonerende interval, dissonans,
3006 FI: dissonanssi, dissonoiva intervalli, riitasointi.
3025 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
3026 vertical stroke through part or all of the staff that serves to
3027 structure a chant into phrases and sections. There are four types:
3031 @item @emph{divisio minima}, a short pause
3033 @item @emph{divisio maior}, a medium pause
3035 @item @emph{divisio maxima}, a long pause
3037 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3038 section in a long antiphonal or responsorial chant.
3042 TODO: musical example here?
3061 Indicator for a indeterminately rising pitch bend. Compare with
3062 @emph{glissando}, which has determinate starting and ending pitches.
3066 @ref{fall}, @ref{glissando}.
3079 FI: dominantti, huippusointu.
3081 The fifth @emph{scale degree} in @emph{functional harmony}.
3085 @ref{functional harmony}, @ref{scale degree}.
3088 @node dominant ninth chord
3089 @section dominant ninth chord
3091 ES: acorde de novena de dominante,
3092 I: accordo di nona di dominante,
3093 F: accord de neuvième dominante,
3094 D: Domi@-nant@-nonen@-akkord,
3095 NL: dominant noon akkoord,
3096 DK: dominantnoneakkord,
3097 S: dominantnonackord,
3098 FI: dominanttinoonisointu.
3102 @ref{chord}, @ref{functional harmony}.
3105 @node dominant seventh chord
3106 @section dominant seventh chord
3108 ES: acorde de séptima de dominante,
3109 I: accordo di settima di dominante,
3110 F: accord de septième dominante,
3111 D: Dominantseptakkord,
3112 NL: dominant septiem akkoord,
3113 DK: dominantseptimakkord,
3114 S: dominantseptimackord,
3115 FI: dominanttiseptimisointu.
3119 @ref{chord}, @ref{functional harmony}.
3123 @section dorian mode
3128 D: dorisch, dorischer Kirchenton,
3129 NL: dorische toonladder,
3136 @ref{diatonic scale}.
3139 @node dot (augmentation dot)
3140 @section dot (augmentation dot)
3143 I: punto (di valore),
3145 D: Punkt (Verlängerungspunkt),
3153 @ref{dotted note}, @ref{note value}.
3157 @section dotted note
3159 ES: nota con puntillo,
3163 NL: gepuncteerde noot,
3166 FI: pisteellinen nuotti.
3173 @node double appoggiatura
3174 @section double appoggiatura
3176 ES: apoyatura doble,
3177 I: appoggiatura doppia,
3178 F: appoggiature double,
3179 D: doppelter Vorschlag,
3180 NL: dubbele voorslag,
3181 DK: dobbelt forslag,
3183 FI: kaksoisappogiatura, kaksoisetuhele.
3190 @node double bar line
3191 @section double bar line
3197 NL: dubbele maatstreep,
3200 FI: kaksoistahtiviiva.
3202 Indicates the end of a section within a movement.
3209 @node double dotted note
3210 @section double dotted note
3212 ES: nota con doble puntillo,
3213 I: nota doppiamente puntata,
3214 F: note doublement pointée,
3215 D: doppelt punktierte Note,
3216 NL: dubbelgepuncteerde noot,
3217 DK: dob@-belt@-punk@-te@-ret node,
3218 S: dub@-bel@-punk@-te@-rad not,
3219 FI: kaksoispisteellinen nuotti.
3227 @section double flat
3236 FI: kaksoisalennusmerkki.
3244 @section double sharp
3246 ES: doble sostenido,
3251 DK: dob@-belt@-kryds,
3253 FI: kaksoisylennysmerkki.
3260 @node double time signature
3261 @section double time signature
3270 FI: kaksois-aika-arvomerkintä.
3274 @ref{polymetric time signature}.
3278 @section double trill
3284 NL: dubbele triller,
3289 A simultaneous trill on two notes, usually in the distance of a third.
3297 @section duple meter
3302 D: in zwei, grader Takt,
3303 NL: tweedelige maatsoort,
3340 FI: kesto, aika-arvo.
3350 ES: dinámica, matices,
3353 D: Dynamik, Lautstärke,
3357 FI: äänen voimakkuusvaihtelu, dynamiikka.
3359 The aspect of music relating to degrees of loudness, or changes from
3360 one degree to another. The terms, abbreviations, and symbols used to
3361 indicate this information are called dynamic marks.
3365 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3388 @node ecclesiastical mode
3389 @section ecclesiastical mode
3393 @ref{church mode}, @ref{diatonic scale}.
3397 @section eighth note
3404 @item D: Achtel, Achtelnote
3405 @item NL: achtste noot
3406 @item DK: ottendedelsnode
3407 @item S: åttondelsnot
3408 @item FI: kahdeksasosanuotti
3417 @section eighth rest
3420 @item UK: quaver rest
3421 @item ES: silencio de corchea
3422 @item I: pausa di croma
3423 @item F: demi-soupir
3424 @item D: Achtelpause
3425 @item NL: achtste rust
3426 @item DK: ottendedelspause
3427 @item S: åttonddelspaus
3428 @item FI: kahdeksasosatauko
3439 @c TODO: add languages
3448 FI: tavujen yhdistäminen yhteen ääneen.
3450 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3451 @emph{συναλοιφην} @q{to smear together}].
3453 The singing of several syllables on a single note. Elision may be indicated
3454 by a lyric tie, which looks like (and serves the same function) as a musical
3463 @section embellishment
3476 D: Notenstich, Notendruck
3482 Engraving means incising or etching a metal plate for printing.
3483 Photoengraving means drawing music with ink in a manner similar to
3484 drafting or engineering drawing, using similar tools.
3486 The traditional process of music printing is done through cutting in a
3487 plate of metal. Now also the term for the art of music typesetting.
3506 Two notes, intervals, or scales are enharmonic if they have different
3507 names but equal pitch.
3509 @lilypond[fragment,notime,line-width=13.0\cm]
3510 \set Score.automaticBars = ##f
3512 \context Staff \relative c'' {
3513 gis1 as <des g,!> <cis g!>
3515 \context Lyrics \lyrics {
3516 \override Lyrics .LyricText #'self-alignment-X = #-1
3517 "g sharp " "a flat " "dim fifth " "augm fourth"
3527 @node equal temperament
3528 @section equal temperament
3530 ES: temperamento igual,
3531 I: temperamento equabile,
3532 F: tempérament égal,
3533 D: gleichschwebende Stimmung,
3534 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3535 DK: ligesvævende temperatur,
3536 S: liksvävande temperatur,
3539 A tuning system that divides the octave into 12 equal semitones (each of
3540 which is precisely equal to 100 cents).
3544 @ref{cent}, @ref{semitone}, @ref{temperament}.
3547 @node expression mark
3548 @section expression mark
3551 I: segno d'espressione,
3552 F: signe d'expression, indication de nuance,
3554 NL: voordrachtsteken,
3555 DK: foredragsbetegnelse,
3556 S: föredragsbeteckning,
3557 FI: nyanssiosoitus, esitysmerkki.
3559 Performance indications concerning:
3563 @item volume, dynamics (for example, @notation{forte},
3564 @notation{crescendo}),
3566 @item tempo (for example, @notation{andante}, @notation{allegro}).
3572 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3576 @section extender line
3578 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3580 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3587 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3588 extends text (without indicating the musical @emph{function} of that text).
3590 Used in many contexts, for example:
3594 @item In vocal music to indicate the syllable for a melisma. Called
3595 @q{extension} in the
3596 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3600 In figured bass to indicate that:
3604 @item The extended note should be held through a change in harmony, when applied
3605 to one figure --OR--
3606 @item The chord thus represented should be held above a moving bass line, when
3607 applied to more than one figure.
3608 @item These uses were not completely standardized, and some composers used a
3609 single extender line to indicate the latter case.
3614 In string music to indicate that all notes in the passage thus indicated should
3615 be played on the same string. On the violin, for example, a series of notes to
3616 be played on the G string would be indicated @notation{sul G}, another series to be
3617 played on the D string would be indicated @notation{sul D}, and so on.
3620 With an octave mark to indicate that a passage is to be played higher or lower
3621 by the given number of octaves.
3627 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3628 @ref{octave marking}.
3662 The position between the dots of the key symbol is the line of the F
3663 below central@w{ }C. Used on the third, fourth and fifth note line.
3664 A digit@w{ }8 above the clef symbol indicates that the notes must be
3665 played an octave higher (for example, bass recorder) while 8@w{ }below
3666 the clef symbol indicates playing an octave lower (for example, on the
3669 @lilypond[fragment,notime,line-width=13.0\cm]
3670 \set Score.automaticBars = ##f
3671 \override Staff.Clef #'full-size-change = ##t
3697 @ref{baritone clef}, @ref{strings}.
3712 Indicator for a indeterminately falling pitch bend. Compare with
3713 @emph{glissando}, which has determinate starting and ending pitches.
3717 @ref{doit}, @ref{glissando}.
3720 @node feathered beam
3721 @section feathered beam
3725 F: liens de croches en soufflet,
3726 D: gespreizter Balken,
3732 A type of beam used to indicate that a small group of notes should be
3733 played at an increasing or decreasing tempo -- depending on the
3734 direction of @q{feathering} -- but without changing the overall tempo
3739 Internals Reference: @ruser{Manual beams}
3745 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3749 F: point d'orgue, point d'arrêt,
3754 FI: fermaatti, pidäke.
3756 Prolonged note or rest of indefinite duration.
3758 @lilypond[fragment,ragged-right]
3761 a4 b c2^\fermata \bar "|."
3788 @section figured bass
3791 I: basso continuo, basso numerato,
3792 F: basse chiffrée, basse continue,
3793 D: Generalbass, bezifferter Bass,
3794 NL: basso continuo, becijferde bas
3797 FI: kenraalibasso, numeroitu basso.
3799 Also called @q{thorough bass}.
3801 A method of indicating an accompaniment part by the bass notes only,
3802 together with figures designating the chief intervals and chords to be
3803 played above the bass notes.
3805 TODO: Make the upper clef smaller, since it's usually "realized" in performance.
3807 @lilypond[fragment,line-width=13.0\cm]
3808 \context GrandStaff <<
3809 \context Staff = lh \relative c'' {
3813 << \context Voice = rha {
3816 \context Voice = rhb {
3818 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3822 \context Staff = rh \relative c' {
3825 es8 c d bes c as bes16 as g f | es4
3827 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3834 @ref{chord}, @ref{interval}.
3849 Figures to the side or above the note that methodically indicate which
3850 fingers to use while playing a passage.
3861 I: coda (uncinata), bandiera,
3869 Ornament at the end of the stem of a note used for notes with values less
3870 than a quarter note. The number of flags determines the note value.
3872 @lilypond[fragment,notime,ragged-right]
3873 \set Score.automaticBars = ##f
3874 %\override Score.TextScript #'font-style = #'large
3900 An articulation for string players that means the note or passage is to
3901 be played in harmonics.
3907 @item A duct flute similar to the recorder.
3909 @item An organ stop of flute scale at 1' or 2' pitch.
3915 @ref{articulation}, @ref{harmonics}.
3953 FI: forte, voimakkaasti.
3955 [Italian: @q{loud}.]
3957 Abbreviated @notation{@b{f}}. Variants include:
3960 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3961 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3986 @node Frenched score
3987 @section Frenched score
3989 ES: partitura a la francesa,
3996 FI: partituuri francesan tapaan.
3998 A @q{condensed} score, produced by omitting staves for instruments that are not
3999 playing at the moment, and by moving up additional systems from following pages
4000 to take up the space thus liberated, which reduces the total number of pages
4001 used to print the work.
4003 The specific rules for @q{frenching} a score differ from publisher to publisher.
4004 If you are producing scores for eventual publication by a commercial publisher,
4005 you may wish to procure a copy of their style manual.
4009 @ref{Frenched staff}.
4012 @node Frenched staff
4013 @section Frenched staff
4015 ES: pentagrama a la francesa,
4022 FI: karsittu nuotinnus.
4024 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
4025 Frenched staff has unneeded measures or sections removed. This is useful
4026 for producing, for example, an @emph{ossia} staff.
4033 @node Frenched staves
4034 @section Frenched staves
4036 Plural of @ref{Frenched staff}.
4056 @node functional harmony
4057 @section functional harmony
4059 ES: armonía funcional,
4060 I: armonia funzionale,
4061 F: étude des functions,
4063 NL: functionele harmonie,
4064 DK: funktionsanalyse, funktionsharmonik,
4066 FI: harmoniajärjestelmä.
4068 A system of harmonic analysis.
4070 It is based on the idea that, in a given key, there are only three
4071 functionally different chords: tonic (T, the chord on the first note of the
4072 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
4073 chord on the fifth note). Others are considered to be variants of the base
4076 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4078 @lilypond[fragment,notime,line-width=13.0\cm]
4079 \set Score.automaticBars = ##f
4081 \context Voice \relative c'' {
4082 <g e c >1 < a f d > < b g e >
4083 <c a f > < d b g > < e c a > < f d b > }
4084 \context Lyrics \lyrics {
4085 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
4119 D: G-Schlüssel, Violinschlüssel,
4125 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4126 second note lines. A digit 8 above the clef symbol indicates that the notes
4127 must be played an octave higher while 8 below the clef symbol indicates
4128 playing or singing an octave lower (used most frequently to notate the tenor
4129 part in modern choral scores).
4131 @lilypond[fragment,notime,ragged-right]
4133 \set Score.automaticBars = ##f
4134 \override Staff.Clef #'full-size-change = ##t
4137 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4147 \context Lyrics \lyrics {
4148 \override Lyrics . LyricText #'X-offset = #-5
4149 "french violin clef"
4172 FI: glissando, liukuen.
4174 Letting the pitch slide fluently from one note to the other.
4182 @section grace notes
4184 ES: notas de adorno,
4187 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4193 Notes printed in small types to indicate that their time values are not
4194 counted in the rhythm of the bar.
4198 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4203 @section grand staff
4205 ES: sistema de piano,
4208 D: Akkolade, Klaviersystem,
4211 S: ackolad, böjd klammer,
4212 FI: kaksoisnuottiviivasto.
4214 A combination of two staves with a brace. Usually used for piano music.
4231 FI: grave, raskaasti.
4233 [Italian] Slow, solemn.
4262 Letter name used for @notation{B natural} in German and Scandinavian
4263 usage. In the standard usage of these countries, @notation{B} means
4268 @ref{Pitch names}, @ref{B}.
4274 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4277 @lilypond[fragment,ragged-right]
4287 @ref{crescendo}, @ref{decrescendo}.
4298 @item D: Halbe, halbe Note,
4299 @item NL: halve noot,
4302 @item FI: puolinuotti.
4314 @item UK: minim rest,
4315 @item ES: silencio de blanca,
4316 @item I: pausa di minima,
4317 @item F: demi-pause,
4318 @item D: halbe Pause,
4319 @item NL: halve, rust,
4320 @item DK: halvnodespause,
4322 @item FI: puolitauko.
4330 @node harmonic cadence
4331 @section harmonic cadence
4333 ES: cadencia (armónica),
4334 I: cadenza (armonica),
4335 F: cadence harmonique,
4337 NL: harmonische cadens,
4338 DK: harmonisk kadence,
4339 S: (harmonisk) kadens,
4340 FI: harmoninen kadenssi.
4342 A sequence of chords that terminates a musical phrase or section.
4344 @lilypond[fragment,ragged-right]
4345 \context PianoStaff <<
4346 \context Staff = SA \relative c'' {
4350 \partial 4 < c g e >4 |
4351 < c a f > < b g d > < c g e >2
4354 \context Staff = SB \relative c {
4356 \partial 4 c4 | f, g c2
4369 @ref{functional harmony}.
4375 ES: sonidos del flautín,
4377 F: flageolet, sons harmoniques,
4382 FI: harmoniset äänet, huiluäänet.
4384 The general class of pitches produced by sounding the second or higher
4385 harmonic of a tone producer: string, column of air, and so on.
4387 On stringed instruments, these pitches sound rather flute-like; hence,
4388 their name in languages other than English. They are produced by
4389 lightly touching the string at a node for the desired mode of vibration
4390 while it is being bowed or plucked.
4392 For instruments of the violin family, there are two types of harmonics:
4393 natural harmonics, which are those played on the open string; and
4394 artificial harmonics, which are produced on stopped strings.
4407 D: Harmonie, Zusammenklang,
4411 FI: harmonia, yhteissointi.
4413 Tones sounding simultaneously. Two note harmonies fall into the
4414 categories @emph{consonances} and @emph{dissonances}.
4418 @lilypond[fragment,notime,line-width=13.0\cm]
4419 \set Score.automaticBars = ##f
4420 %\override Score.TextScript #'font-style = #'large
4421 \context Voice \relative c'' {
4434 @lilypond[fragment,notime,line-width=13.0\cm]
4435 \set Score.automaticBars = ##f
4436 %\override Score.TextScript #'font-style = #'large
4437 \context Voice \relative c'' {
4438 <g a>1_"second " s s
4439 <g f'>_"seventh " s s
4444 For harmony that uses three or more notes, see @ref{chord}.
4463 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4465 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4466 time normally occupied by two. The resulting rhythm can be expressed in modern
4467 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4468 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4469 as a special effect (or @emph{affect}) at cadences.
4471 For example, this phrase in 6/4 time
4473 @lilypond[fragment,line-width=13.0\cm]
4477 c2. e | d2 c d | c1. \bar "||" }
4480 may be thought of having alternating time signatures
4482 @lilypond[fragment,line-width=13.0\cm]
4486 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4489 and is therefore a polymeter (second definition) of considerable antiquity.
4493 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4506 FI: homofonia, yksiäänisyys.
4508 Music in which one voice leads melodically supported by the other voices in
4509 the same rhythm (more or less). In contrast to @emph{polyphony}.
4525 FI: säkeiden tavumäärät.
4527 A group or list of numbers that indicate the number of syllables in a line
4528 of a hymn's verse. Different hymnals have different ways of noting the hymn
4529 meter: for example, consider a hymn that has four lines in two couplets
4530 alternating regularly between eight and seven syllables. The @emph{English
4531 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4532 or 8@w{ }7@w{ }8@w{ }7.
4534 Some frequently-used hymn meters have traditional names:
4537 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4538 @item 86.86 is called Common Meter (CM or C.M.)
4539 @item 88.88 is called Long Meter (LM or L.M.)
4542 Some hymns and their tunes are doubled versions of a simpler meter: for
4543 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4544 87.87D. The traditional names above also have doubled versions:
4547 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4548 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4549 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4567 FI: intervalli, kahden sävelen korkeusero.
4569 Difference in pitch between two notes. Intervals may be perfect, minor,
4570 major, diminished, or augmented. The augmented fourth and the diminished
4571 fifth are identical (or @emph{enharmonic}) and are called @emph{tritonus}
4572 because they consist of three whole tones. The addition of such two
4573 intervals forms an octave.
4575 @lilypond[fragment,notime,line-width=13.0\cm]
4576 \set Score.automaticBars = ##f
4578 \context Voice \relative c'' {
4588 \context Lyrics \lyrics {
4589 "unison " "second " "second " "second "
4590 "third " "third " "third " "third"
4595 @lilypond[fragment,notime,line-width=13.0\cm]
4596 \set Score.automaticBars = ##f
4598 \context Staff \relative c'' {
4609 "fourth " "fourth " "fifth " "fifth "
4610 "sixth " "sixth " "sixth " "sixth"
4615 @lilypond[fragment,notime,line-width=13.0\cm]
4616 \set Score.automaticBars = ##f
4618 \context Staff \relative c'' {
4619 < gis f'! >1^"dimin"
4628 \context Lyrics \lyrics {
4629 "seventh " "seventh " "seventh " "octave "
4630 "ninth " "ninth " "tenth " "tenth"
4637 @ref{enharmonic}, @ref{whole tone}.
4652 When a chord sounds with a bass note that differs from the root of the
4653 chord, it is said to be @emph{inverted}. The number of inversions that a
4654 chord can have is one fewer than the number of constituent notes. For
4655 example, triads (which have three constituent notes) can have three
4656 positions, two of which are inversions:
4660 The root note is in the bass, and above that are the third and the fifth. A
4661 triad built on the first scale degree, for example, is marked @notation{I}.
4663 @item First inversion
4664 The third is in the bass, and above it are the fifth and the root. This
4665 creates an interval of a sixth and a third above the bass note, and so is
4666 marked in figured Roman notation as @notation{6/3}. This is commonly
4667 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4668 characteristic interval of the inversion, and so always implies
4671 @item Second inversion
4672 The fifth is in the bass, and above it are the root and the third. This
4673 creates an interval of a sixth and a fourth above the bass note, and so is
4674 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4675 unstable chord position.
4683 @node inverted interval
4684 @section inverted interval
4686 ES: intervalo invertido,
4687 I: intervallo rivolto,
4688 F: intervalle reversé,
4689 D: umgekehrtes Intervall,
4690 NL: interval inversie,
4691 DK: omvendingsinterval,
4692 S: intervallets omvändning,
4693 FI: käänteisintervalli.
4695 The difference between an interval and an octave.
4697 @lilypond[fragment,notime,line-width=13.0\cm]
4698 \set Score.automaticBars = ##f
4699 %\override Score.TextScript #'font-style = #'large
4700 \context Staff \relative c'' {
4701 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4702 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4703 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4712 @node just intonation
4713 @section just intonation
4715 ES: entonación justa,
4716 I: intonazione giusta,
4717 F: intonation juste,
4724 Tuning system in which the notes are obtained by adding and subtracting
4725 natural fifths and thirds.
4744 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4745 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4749 @ref{chromatic scale}, @ref{key signature}.
4753 @section key signature
4755 ES: armadura (de la clave),
4756 I: armatura di chiave,
4757 F: armure, armature [de la clé],
4758 D: Vorzeichen, Tonart,
4759 NL: toon@-soort (voortekens),
4762 FI: sävellajiosoitus.
4764 The sharps or flats appearing at the beginning of each staff indicating the
4772 @node laissez vibrer
4773 @section laissez vibrer
4784 [French: @q{Let vibrate}.] Most frequently associated with harp
4785 parts. Marked @notation{l.v.} in the score.
4798 D: Largo, Langsam, Breit,
4802 FI: largo, hitaasti, leveästi.
4804 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4805 expressiveness. @emph{Larghetto} is less slow than largo.
4809 @section leading note
4820 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4821 called because of its strong tendency to @q{lead up} (resolve upwards)
4822 to the tonic scale degree.
4826 @ref{scale degree}, @ref{semitone}.
4830 @section ledger line
4832 ES: línea adicional,
4833 I: tagli addizionali,
4834 F: ligne supplémentaire,
4841 A ledger line is an extension of the staff.
4843 @lilypond[fragment,notime,ragged-right]
4844 \set Score.automaticBars = ##f
4845 \relative c'' { a,1 s c'' }
4859 D: legato, gebunden,
4865 To be performed (a) without any perceptible interruption between the
4866 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4867 @notation{portato}, or (d) @notation{staccato}.
4869 @lilypond[fragment,notime,line-width=13.0\cm]
4870 \set Score.automaticBars = ##f
4872 \context Staff \relative c'' {
4873 c4-( d e-) \bar "||"
4874 c4-- d-- e-- \bar "||"
4875 c4-.-( d-. e-.-) \bar "||"
4876 c4-. d-. e-. \bar "||"
4893 @section legato curve
4897 @ref{slur}, @ref{legato}.
4920 A ligature is a coherent graphical symbol that represents at least two
4921 distinct notes. Ligatures originally appeared in the manuscripts of
4922 Gregorian chant notation around the 9th century to denote ascending or
4923 descending sequences of notes. In early notation, ligatures were used for
4924 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4925 performance in the sense of articulation. With the invention of the metric
4926 system of the white mensural notation, the need for ligatures to denote such
4927 patterns disappeared.
4931 @ref{mensural notation}.
4938 ES: estanque de nenúfares,
4939 I: stagno del giglio,
4940 F: étang de nénuphars, étang de nymphéas,
4942 NL: le@-lie@-vij@-ver,
4947 A pond with lilies floating in it.
4949 Also, the name of a music typesetting program.
4962 D: Linie, Notenlinie,
4966 FI: viiva, nuottiviiva.
4983 FI: kirjoitetussa äänenkorkeudessa.
4985 [Italian: @q{place}.] Instruction to play the following passage at the
4986 written pitch. Cancels octave mark (q.v.).
4990 @ref{octave mark}, @ref{octave marking}.
4993 @node long appoggiatura
4994 @section long appoggiatura
4996 ES: apoyatura larga,
4997 I: appoggiatura lunga,
4998 F: appoggiature longue,
5003 FI: pitkä appoggiatura, pitkä etuhele.
5014 @item US: long, longa,
5025 Note value: double length of @notation{breve}.
5027 @lilypond[fragment,notime,ragged-right]
5028 \set Score.automaticBars = ##f
5030 \override NoteHead #'style = #'mensural
5037 @ref{breve}, @ref{note value}.
5043 ES: ligadura de letra,
5050 FI: sidonta sanoituksessa.
5052 @c TODO: add languages
5062 ES: letra (de la canción),
5065 D: Liedtext, Gesangtext,
5092 @ref{diatonic scale}.
5095 @node major interval
5096 @section major interval
5098 ES: intervalo mayor,
5099 I: intervallo maggiore,
5100 F: intervalle majeur,
5101 D: großes Intervall,
5105 FI: suuri intervalli.
5112 @node meantone temperament
5113 @section meantone temperament
5115 ES: afinación mesotónica,
5116 I: accordatura mesotonica,
5117 F: tempérament mésotonique,
5118 D: mitteltönige Stimmung,
5119 NL: middenstemming, middentoonstemming,
5120 DK: middeltonetemperatur,
5121 S: medeltonstemperatur,
5122 FI: keskisävelviritys.
5124 Temperament yielding acoustically pure thirds by decreasing the natural
5125 fifth by 16@w{ }cents. Due to the non-circular character of this
5126 temperament only a limited set of keys are playable. Used for tuning
5127 keyboard instruments for performance of pre-1650 music.
5131 @ref{cent}, @ref{temperament}.
5146 A group of beats (units of musical time) the first of which bears an accent.
5147 Such groups in numbers of two or more recur consistently throughout the
5148 composition and are separated from each other by bar lines.
5152 @ref{bar line}, @ref{beat}, @ref{meter}.
5155 @node measure repeat
5156 @section measure repeat
5160 @ref{percent repeat}.
5167 I: mediante, modale,
5177 @item The third @b{scale degree}.
5179 @item A @emph{chord} having its base tone a third from that of another
5180 chord. For example, the tonic chord may be replaced by its lower
5181 mediant (variant tonic).
5187 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5200 FI: melisma, laulettavan tavun sävelkuvio.
5202 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5203 on one syllable, especially as applied to liturgical chant.
5211 @section melisma line
5213 @c TODO: add languages
5215 ES: línea de melisma,
5226 @ref{extender line}.
5229 @node melodic cadence
5230 @section melodic cadence
5237 @node mensural notation
5238 @section mensural notation
5240 @c TODO: add languages
5242 ES: notación mensural,
5249 FI: mensuraalinuotinnus.
5251 A system of duration notation whose principles were first established in the
5252 mid-13th century, and that (with various changes) remained in use until about
5253 1600. As such, it is the basis for the notation of rhythms in Western musical
5256 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5257 of the notation's principles, so the notation of this earliest period is called
5258 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5259 and semibreve -- each of which was normally equivalent to three of the next
5262 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5263 added several note values (the minim, semiminim and fusa) and extended Franco's
5264 principles to govern the relationship between these values. They also put the
5265 duple division of note values on an equal footing with the earlier (preferred)
5268 TODO: continue description of French and Italian black notation, and the
5269 relationship betwixt them.
5271 @b{White or void mensural notation}
5273 In the 15th century, hollow (or void) notes began to substitute for the earlier
5274 solid black ones, which were then free to assume the function of red (or
5275 colored) notes in the earlier notation. ...
5277 TODO: add to definition (including summary info on proportional notation)
5281 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5282 @c TODO: more cross-references?
5290 F: indication de mesure, mesure,
5297 The pattern of note values and accents in a composition or a section thereof.
5298 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5299 by grouping beats and by subdividing the primary beat.
5301 @b{By grouping beats}:
5305 @item @b{duple}: groups of two.
5306 @item @b{triple}: groups of three.
5307 @item @b{quadruple}: groups of four. A special case of duple meter.
5308 @item @b{quintuple}: groups of five beats.
5309 @item @b{sextuple} meter: groups of six. A special case of:
5313 @item duple meter, subdivided in three; or
5314 @item triple meter, subdivided in two.
5318 @item @b{septuple} meter: groups of seven.
5323 Other than triple meter and its subdivided variants (see below), meters that
5324 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5325 frequently used prior to the 20th Century.
5327 @b{By subdividing the primary beat}:
5331 @item simple: subdivided in groups of two.
5335 @item duple: 2/2, 2/4, 2/8
5336 @item triple: 3/2, 3/4, 3/8
5337 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5341 @item compound: subdivided in groups of three.
5347 @item quadruple: 12/8
5353 Time signatures are placed at the beginning of a composition (or section) to
5354 indicate the meter. For instance, a piece written in simple triple meter with a
5355 beat on each quarter note is conventionally written with a time signature of
5356 3/4. Here are some combinations of the two classifications above:
5358 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5360 @lilypond[fragment,line-width=13.0\cm]
5364 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5367 Simple triple meter:
5369 @lilypond[fragment,line-width=13.0\cm]
5373 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5376 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5378 @lilypond[fragment,line-width=13.0\cm]
5382 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5385 Simple quintuple meter (B. Marcello, 1686-1739):
5387 @lilypond[fragment,line-width=13.0\cm]
5391 r4 cis8 bis ais4 dis c8 ais |
5392 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5395 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5396 the source, with sharps in the accompaniment where the voice has flats and
5400 Compound duple meter (unknown):
5402 @lilypond[fragment,line-width=13.0\cm]
5406 f8 f g a bes16 a g f |
5407 g8 g bes a c16 a bes g
5411 Compound triple meter (J.S. Bach, 1685-1750):
5413 @lilypond[fragment,line-width=13.0\cm]
5417 r8 g'( a) b( d c) c( e d) |
5418 d( g fis) g( d b) g( a b)
5422 Compound quadruple meter (P. Yon, 1886-1943):
5424 @lilypond[fragment,line-width=13.0\cm]
5428 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5429 e4 e8 fis( gis) a b4.~ b4 b8
5433 @b{@q{Monometer} vs Polymeter}
5435 TODO: add information from discussion on lilypond-user related to polymeter.
5439 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5454 Device used to indicate the exact tempo of a piece.
5456 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5457 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5458 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5459 followed acknowledged Winkler as the creator, but by then Mälzel had already
5460 sold many of them, and people had taken to calling it a Mälzel Metronome.
5464 @ref{metronome mark}.
5467 @node metronome mark
5468 @section metronome mark
5470 ES: indicación metronómica,
5471 I: indicazione metronomica,
5472 F: indication métronomique,
5474 NL: metronoom aanduiding,
5476 S: metronomangivelse,
5477 FI: metronomiosoitus.
5479 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5480 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5488 @node metronomic indication
5489 @section metronomic indication
5493 @ref{metronome mark}
5506 FI: kohtalaisen, melko.
5508 [Italian: @q{medium}.]
5510 Used to qualify other indications, such as:
5516 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5518 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5524 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5536 @section mezzo-soprano
5547 The female voice between soprano and contralto.
5551 @ref{soprano}, @ref{contralto}.
5560 D: eingestrichenes@w{ }c,
5562 DK: enstreget@w{ }c,
5563 S: ettstruket@w{ }c,
5566 First C below the 440 Hz A.
5568 @lilypond[fragment,notime,ragged-right]
5569 \set Score.automaticBars = ##f
5570 \override Staff.Clef #'full-size-change = ##t
5597 @ref{diatonic scale}.
5600 @node minor interval
5601 @section minor interval
5603 ES: intervalo menor,
5604 I: intervallo minore,
5605 F: intervalle mineur,
5606 D: kleines Intervall,
5610 FI: pieni intervalli.
5617 @node mixolydian mode
5618 @section mixolydian mode
5622 @ref{diatonic scale}.
5631 D: Kirchentonart, Modus,
5635 FI: moodi, kirkkosävelasteikko.
5639 @ref{church mode}, @ref{diatonic scale}.
5652 FI: modulaatio, sävellajin vaihdos.
5654 Moving from one @ref{key} to another. For example, the second subject
5655 of a @ref{sonata form} movement modulates to the dominant key if the
5656 key is major and to the @ref{relative key} if the key is minor.
5672 FI: mordent, korukuvio.
5697 FI: teema, sävelaihe.
5699 The briefest intelligible and self-contained fragment of a musical
5702 @lilypond[line-width=13.0\cm]
5705 \set Score.implicitTimeSignatureVisibility = #all-invisible
5706 \override Score.TimeSignature #'break-visibility = #all-invisible
5709 \partial 8 g16\startGroup fis |
5710 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5711 g8 g,16 a b8 cis d16 s
5715 \Staff \consists "Horizontal_bracket_engraver"
5737 Greater musical works like @ref{symphony} and @ref{sonata} most often
5738 consist of several -- more or less -- independant pieces called
5746 @node multi-measure rest
5747 @section multi-measure rest
5749 ES: compases de espera,
5753 D: mehrtaktige Pause, Kirchenpause,
5756 FI: usean tahdin mittainen tauko.
5758 Multi-measure rests are conventionally typeset with a combination of
5759 longa, breve and whole rests for shorter and a long horizontal bar for
5760 longer spans of rest, with a number above to indicate the duration (in
5761 measures) of the rest. The former style is called @q{Kirchenpausen} in
5762 German, as a reminiscence of its use in Renaissance vocal polyphony.
5764 @lilypond[fragment,ragged-right]
5767 \set Score.skipBars = ##t R1*3
5769 \set Score.skipBars = ##t R1*122
5776 @ref{longa}, @ref{breve}.
5785 D: Auflösungszeichen,
5786 NL: herstellingsteken,
5787 DK: op@-løsningstegn,
5788 S: återställningstecken,
5796 @node neighbor tones
5797 @section neighbor tones
5801 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5842 Notes are signs by means of which music is fixed in writing. The term is also
5843 used for the sound indicated by a note, and even for the key of the piano
5844 which produces the sound. However, a clear distinction between the terms tone
5845 and @ref{note} is strongly recommended. Briefly, one sees a note,
5857 I: testa, testina, capocchia,
5865 A head-like sign which indicates pitch by its position on a @notation{staff}
5866 provided with a @notation{clef}, and duration by a variety of shapes such as
5867 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5868 For percussion instruments (often having no defined pitch) the note head may
5869 indicate the instrument.
5873 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5887 ES: valor (duración),
5889 F: durée, valeur (d'une note),
5894 FI: nuotin aika-arvo.
5896 Note values (durations) are measured as fractions -- normally half -- of the
5897 next higher note value. The longest duration in current use is the
5898 @emph{breve}, but sometimes (especially music from the Baroque or earlier) the
5899 double-length note value @emph{longa} or the quadruple-length note value
5900 @emph{maxima} are used.
5902 @c TODO -- add maxima to this example, in a way that doesn't break it.
5904 @lilypond[fragment,notime,line-width=13.0\cm]
5905 %\override Score.TextScript #'font-style = #'large
5906 \set Score.automaticBars = ##f
5908 \override NoteHead #'style = #'mensural
5909 a\longa_"longa" a\breve_"breve"
5910 \revert NoteHead #'style
5911 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5912 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5915 @c TODO -- add maxima rest to this example
5917 @lilypond[fragment,notime,line-width=13.0\cm]
5918 %\override Score.TextScript #'font-style = #'large
5919 \set Score.automaticBars = ##f
5921 r\longa_"longa" r\breve_"breve"
5922 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5923 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5926 An augmentation dot after a note multiplies the duration by one and a
5927 half. Another dot adds yet a fourth of the duration.
5929 @lilypond[fragment,line-width=13.0\cm]
5930 %\override Score.TextScript #'font-style = #'large
5933 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5934 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5937 Alternatively note values may be subdivided by other ratios. Most common is
5938 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5939 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5940 dotted notes are also frequently used.
5942 @lilypond[fragment,line-width=13.0\cm]
5943 %\override Score.TextScript #'font-style = #'large
5946 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5947 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5951 @lilypond[fragment,line-width=13.0\cm]
5954 \times 3/2 {g4_"duplets" g} |
5956 \times 6/4 {g8_"quadruplets" g g g} |
5957 g8 g g g g4 \bar "||"
5971 @ref{octave marking}.
5986 The interval of an octave, sometimes abbreviated @notation{8ve}.
5988 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5989 bracket, or @notation{loco} see octave marking.
5993 @ref{interval}, @ref{octave marking}.
5997 @section octave mark
5999 ES: indicación de octava,
6008 The phrase, abbreviation, or other mark used (with or without an extender line
6009 or bracket) to indicate that the music is to be played in a different octave:
6013 @item @notation{15ma}: play two octaves higher
6014 @item @notation{8va}: play one octave higher
6015 @item @notation{8vb}: play one octave lower
6016 @item @notation{8va} (written below the passage): unusual, same as
6018 @item @notation{15vb}: play two octaves lower
6019 @item @notation{15va} (written below the passage): unusual, same as
6024 For longer passages, it may be more practical to mark the octave change at the
6025 beginning with a phrase (see the list below for examples), but without a bracket
6026 or extender line. Then, when the music returns to the written pitch, the octave
6027 change is cancelled with the word @notation{loco} (q.v.).
6029 To parallel the list above:
6033 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6034 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6035 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6036 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6040 In the phrases above, @notation{quindicesima} is sometimes replaced with
6041 @notation{quindecima}, which is Latin.
6043 Finally, the music on an entire staff can be marked to be played in a
6044 different octave by putting a small 8 or 15 above or below the clef at the
6045 beginning. This octave mark can be applied to any clef, but it is most
6046 frequently used with the G and F clefs.
6050 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6053 @node octave marking
6054 @section octave marking
6063 FI: oktaavamerkintä.
6065 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6066 that it is to be played in a different octave. If applied to the clef at the
6067 beginning of the staff, all music on that staff is to played at the indicated
6070 For a list of the specific marks used, see @ref{octave mark}.
6074 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6078 @section octave sign
6089 I: abbellimento, fioriture,
6090 F: agrément, ornement,
6091 D: Verzierung, Ornament,
6097 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6098 with the diatonic @ref{second} above it. In the music from the
6099 middle of the 19th century and onwards the trill is performed with the main
6100 note first while in the music from the preceding baroque and classic periods
6101 the upper note is played first.
6103 @lilypond[fragment,line-width=13.0\cm]
6105 \context Staff = sa {
6106 % \override Score.TextScript #'font-style = #'large
6108 c2._"pre-1850" b4\trill | c1 \bar "||"
6109 c2._"post-1850" b4\trill | c1 \bar "||"
6113 c2. c32 b c b c b c b | c1
6114 c2. b32 c b c \times 4/5 { b c b c b } | c1
6119 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6121 @emph{prall} (inverted mordent).
6123 @lilypond[fragment,line-width=13.0\cm]
6125 \context Staff = sa {
6126 % \override Score.TextScript #'font-style = #'large
6128 a4_"turn" b\turn c2 \bar "||"
6129 g4_"mordent" a b\mordent a \bar "||"
6130 e'4_"prall" d\prall c2 \bar "||"
6136 e'4 e32[ d e d ~ d8] c2
6143 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6156 FI: ossia, vaihtoehtoinen esitystapa.
6158 Ossia (otherwise) marks an alternative. It is an added staff or piano
6159 score, usually only a few measures long, which presents another version
6160 of the music, for example for small hands.
6177 FI: stemma, instrumenttiosuus.
6181 @item In instrumental or choral music, the music for a single
6182 instrument or voice.
6184 @item in contrapuntal music, a single melodic line in the contrapuntal
6210 @node percent repeat
6211 @section percent repeat
6213 LilyPond-specific term to indicate the repetition of a musical expression on a
6214 single staff, as opposed to the more usual definition of repeat, which affects
6215 all parts. The musical expression can be anything from a single note or note
6216 pattern to one or more measures. There are other names for this symbol:
6221 @item slash mark, or slash repeat
6223 @item measure (or multi-measure) repeat
6227 @lilypond[fragment,line-width=13.0\cm]
6230 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6231 \repeat percent 2 { c4 e g b_"Measure repeat" }
6232 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6239 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6240 Vermont Music Dictionary}.
6249 D: Schlagzeug, Schlagwerk,
6255 A family of musical instruments which are played on by striking or
6256 shaking. Percussion instruments commonly used in a symphony orchestra are
6257 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6258 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6266 @node perfect interval
6267 @section perfect interval
6269 ES: intervalo justo,
6270 I: intervallo giusto,
6271 F: intervalle juste,
6272 D: reines Intervall,
6276 FI: puhdas intervalli.
6295 A natural division of the melodic line, comparable to a sentence of speech.
6312 FI: fraseeraus, jäsentäminen.
6314 The clear rendering in musical performance of the @notation{phrases} of the
6315 melody. Phrasing may be indicated by a @notation{slur}.
6319 @ref{phrase}, @ref{slur}.
6334 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6335 @emph{mezzo piano} (@b{mp}) medium soft.
6347 F: anacrouse, levée,
6373 @item The perceived quality of a sound that is primarily a function of its
6374 fundamental frequency.
6376 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6378 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6379 association of a particular frequency with a particular pitch name, e.g., c' =
6396 NL: pizzicato, getokkeld,
6399 FI: pizzicato, näppäillen.
6401 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6412 ES: compás polimétrico,
6419 FI: monia tahtiosoituksia sisältävä.
6423 @item The @emph{simultaneous} use of two or more meters, in two or more
6426 @item The @emph{successive} use of different meters in one or more parts.
6432 @ref{polymetric} (adj.)
6445 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6447 Characterized by @emph{polymeter}: using two or more metric frameworks
6448 simultaneously or in alternation.
6452 @ref{polymeter} (noun)
6455 @node polymetric time signature
6456 @section polymetric time signature
6458 ES: compás polimétrico,
6465 FI: vaihtelevan tahtiosoitusmerkintä.
6467 A time signature that indicates regularly alternating polymetric time.
6480 D: Polyphonie, Mehrstimmigkeit,
6484 FI: polyfonia, moniäänisyys.
6486 Music written in a combination of several simultaneous voices (parts)
6487 of a more or less pronounced individuality.
6497 [Italian: past participle of @emph{portare}, @q{to carry}]
6499 A stroke in which each of several notes is separated slightly within a slur,
6500 without changing the bow's direction. It is used for passages of a
6501 @notation{cantabile} character.
6514 D: Presto, Sehr schnell,
6515 NL: presto, Sehr schnell,
6518 FI: presto, hyvin nopeasti.
6522 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6523 denotes the highest possible degree of speed.
6542 [Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
6543 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6548 @item A ratio that expresses the relationship between the note values that
6549 follow with those that precede;
6551 @item A ratio between the note values of a passage and the @q{normal}
6552 relationship of note values to the metrical pulse. (A special case of the
6557 The most common proportions are:
6560 @item 2:1 (or simply 2), expressed by a vertical line through the
6561 mensuration sign (the origin of the @q{cut-time} time signature), or by
6562 turning the sign backwards
6563 @item 3:1 (or simply 3)
6564 @item 3:2 (@emph{sesquialtera})
6567 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6570 @item 1:2 cancels 2:1
6571 @item 1:3 cancels 3:1
6572 @item 2:3 cancels 3:2
6576 Gaffurius enumerates five basic types of major:minor proportions and their
6580 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6581 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6583 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6584 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6585 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6587 @item Superpartiens, if the major number is one less than twice the minor
6588 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6590 @item Multiplexsuperparticular, if the major number is one more than twice the
6591 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6594 @item Multiplexsuperpartiens, if the major number is one less than some other
6595 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6596 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6600 He then continues to subdivide each type in various ways. For the multiplex
6601 proportions, for example, he indicates how many times greater the major number
6606 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6607 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6609 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6612 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6613 Example: 4:1, 8:2, and 12:3
6617 Other proportions were possible, but whether they were frequently used is
6622 @item 33:9, @emph{triplasuperbipartientetertias}
6623 @item 51:15, @emph{triplasuperbipartientequintas}
6627 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6631 @ref{mensural notation}.
6634 @node Pythagorean comma
6635 @section Pythagorean comma
6637 ES: coma pitagórica,
6638 I: comma pitagorico,
6639 F: comma pythagoricien,
6640 D: Pythagoräisches Komma,
6641 NL: komma van Pythagoras,
6642 DK: pythagoræisk komma,
6643 S: pytagoreiskt komma,
6644 FI: pytagorinen komma.
6646 Originally, the interval by which the sum of six whole tones exceeds the octave
6647 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6649 Modern acoustical theory defines it as the interval by which twelve fifths
6650 exceed seven octaves. To put it another way: A sequence of fifths that starts
6651 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6652 than the C obtained by adding 7 octaves. The difference between those two
6653 pitches is the Pythagorean comma.
6657 @ref{cent}, @ref{temperament}.
6689 The quality of a triad is determined by the precise arrangement of its
6690 intervals. Tertian triads can be described as a series of three notes. The
6691 first element is the root note (or simply @q{root}) of the chord, the second
6692 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6693 the chord. These are described below:
6695 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6696 @headitem Chord name
6697 @tab Component intervals
6700 @item major triad @tab major third/perfect fifth
6702 @tab C, CM, Cma, Cmaj, CΔ
6703 @item minor triad @tab minor third/perfect fifth
6705 @tab Cm, Cmi, Cmin, C-
6706 @item augmented triad @tab major third/augmented fifth
6709 @item diminished triad @tab minor third/diminished fifth
6711 @tab Cm(♭5), Cº, Cdim
6714 There are various types of seventh chords depending on the quality of the
6715 original chord and the quality of the seventh added.
6717 Five common types of seventh chords have standard symbols. The chord quality
6718 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6719 and D^m7 are all identical). The last three chords are not commonly used
6728 @section quarter note
6733 @item I: semiminima, nera
6735 @item D: Viertel, Viertelnote
6737 @item DK: fjerdedelsnode
6738 @item S: fjärdedelsnot
6739 @item FI: neljäsosanuotti
6748 @section quarter rest
6751 @item UK: crotchet rest
6752 @item ES: silencio de negra
6753 @item I: pausa di semiminima
6755 @item D: Viertelpause
6757 @item DK: fjerdedelspause
6758 @item S: fjärdedelspaus
6759 @item FI: neljäsosatauko
6768 @section quarter tone
6770 ES: cuarto de tonno,
6777 FI: neljännessävelaskel.
6779 An interval equal to half a semitone.
6789 ES: cinquillo, quintillo.
6804 @section rallentando
6809 D: rallentando, langsamer werden,
6813 FI: rallerdando, hidastuen.
6815 [Italian] A performance indication, abbreviated "rall.".
6823 @section relative key
6826 I: tonalità relativa,
6827 F: tonalité relative,
6829 NL: paralleltoonsoort,
6830 DK: paralleltoneart,
6832 FI: rinnakkaissävellaji.
6834 Major and minor keys that have the same key signature.
6836 @lilypond[fragment,notime,line-width=13.0\cm]
6837 \set Score.automaticBars = ##f
6838 %\override Score.TextScript #'font-style = #'large
6841 es1_"e flat major" f g as bes c d es
6846 @lilypond[fragment,notime,line-width=13.0\cm]
6847 \set Score.automaticBars = ##f
6848 %\override Score.TextScript #'font-style = #'large
6851 c1_"c minor" d es f g a! b! c \bar "||"
6857 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6865 F: barre de reprise,
6868 DK: gen@-ta@-gel@-se,
6872 @lilypond[fragment,line-width=13.0\cm]
6876 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6897 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6898 @c specify the rest's value.
6919 @item Metrical rhythm in which every time value is a multiple or
6920 fraction of a fixed unit of time, called @ref{beat}, and in which the
6921 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6922 The basic scheme of time values is called @ref{meter}.
6924 @item Measured rhythm which lacks regularly recurrent accent. In
6925 modern notation such music appears as a free alternation of different
6928 @item Free rhythm, i.e., the use of temporal values having no common
6929 metrical unit (beat).
6944 D: ritardando, langsamer werden,
6948 FI: ritardando, hidastuen,
6950 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6967 FI: ritenuto, hidastaen.
6969 Immediate reduction of speed.
6986 FI: asteikko, sävelasteikko.
6990 @ref{diatonic scale}.
6994 @section scale degree
6996 ES: grado (de la escala),
6997 I: grado della scala,
6998 F: degré [de la gamme],
7000 NL: trap [van de toonladder],
7003 FI: sävelaste, asteikon sävel.
7005 Names and symbols used in harmonic analysis to denote tones of the
7006 scale as roots of chords. The most important are degrees I = tonic
7007 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
7009 @lilypond[fragment,notime,line-width=13.0\cm]
7010 \set Score.automaticBars = ##f
7012 \context Staff \relative c' {
7016 << { I II III IV V VI VII I }
7024 @ref{functional harmony}.
7032 F: à cordes ravallées,
7037 FI: epätavallinen viritys.
7039 [Italian: @emph{scordare}, @q{to mistune}.] Unconventional
7040 tuning of stringed instruments, particularly lutes or violins. Used
7045 @item facilitate pitch combinations that would otherwise be difficult
7048 @item alter the characteristic timbre of the instrument, for example,
7049 to increase brilliance
7051 @item reinforce certain sonorities or tonalities by making them
7052 available on open strings
7054 @item imitate other instruments
7060 Tunings that could be called @var{scordatura} first appeared early in
7061 the 16th Century and became commonplace in the 17th.
7074 D: Partitur (full score), Klavierauszug (vocal score),
7080 A copy of orchestral, choral, or chamber music showing what each
7081 instrument is to play, each voice to sing, having each part arranged
7082 one underneath the other on different staves @ref{staff}.
7101 The @ref{interval} between two neigbouring tones of a scale. A
7102 @ref{diatonic scale} consists of alternating @ref{semitone}s and
7103 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
7104 degrees in question.
7123 The interval of a minor second. The (usually) smallest interval in European
7124 composed music. The interval between two neighbouring tones on the piano
7125 keyboard -- including black and white keys -- is a semitone. An octave may
7126 be divided into 12@w{ }semitones.
7128 @lilypond[fragment,notime,line-width=13.0\cm]
7129 \set Score.automaticBars = ##f
7130 \relative c'' { g1 gis s a bes s b! c }
7135 @ref{interval}, @ref{chromatic scale}.
7160 @ref{sextuplet}, @ref{note value}.
7217 [Italian: @q{in the same manner}.] Performance direction: the music thus marked
7218 is to be played in the same manner (i.e. with the same articulations, dynamics,
7219 etc.) as the music that precedes it.
7223 TODO: Where else could I refer the reader?
7227 @section simple meter
7229 ES: compás simple, compás de subdivisión binaria,
7236 FI: kaksijakoinen tahtiosoitus.
7238 A meter in which the basic beat is subdivided in two: that is, a meter
7239 that does not include triplet subdivision of the beat.
7243 @ref{compound meter}, @ref{meter}.
7246 @node sixteenth note
7247 @section sixteenth note
7250 @item UK: semiquaver
7251 @item ES: semicorchea
7253 @item F: double croche
7254 @item D: Sechzehntel, Sechzehntelnote
7255 @item NL: zestiende noot
7256 @item DK: sekstendedelsnode
7257 @item S: sextondelsnot
7258 @item FI: kuudestoistaosanuotti
7266 @node sixteenth rest
7267 @section sixteenth rest
7270 @item UK: semiquaver rest
7271 @item ES: silencio de semicorchea
7272 @item I: pausa di semicroma
7273 @item F: quart de soupir
7274 @item D: Sechzehntelpause
7275 @item NL: zestiende rust
7276 @item DK: sekstendedelspause
7277 @item S: sextondelspaus
7278 @item FI: kuudestoistaosatauko
7303 @node sixty-fourth note
7304 @section sixty-fourth note
7307 @item UK: hemidemisemiquaver
7309 @item I: semibiscroma
7310 @item F: quadruple croche
7311 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7312 @item NL: vierenzestigste noot
7313 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7314 @item S: sextiofjärdedelsnot
7315 @item FI: kuudeskymmenesneljäsosanuotti
7323 @node sixty-fourth rest
7324 @section sixty-fourth rest
7327 @item UK: hemidemisemiquaver rest
7328 @item ES: silencio de semifusa
7329 @item I: pausa di semibiscroma
7330 @item F: seizième de soupir
7331 @item D: Vierundsechzigstelpause
7332 @item NL: vierenzestigste rust
7333 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7334 @item S: sextiofjärdedelspaus
7335 @item FI: kuudeskymmenesneljäsosatauko
7344 @section slash repeat
7348 @ref{percent repeat}.
7354 ES: ligadura (de expresión),
7355 I: legatura (di portamento or espressiva),
7357 D: Bogen (Legatobogen, Phrasierungsbogen),
7358 NL: fraseringsboog, legatoboog, streekboog,
7359 DK: legatobue, fraseringsbue,
7363 A slur above or below a group of notes indicates that they are to be
7364 played @ref{legato}, e.g., with one stroke of the violin bow or with
7365 one breath in singing.
7373 @section solmization
7382 FI: suhteelliset laulunimet.
7384 General term for systems of designating the degrees of the
7385 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7386 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7391 @ref{scale}, @ref{scale degree}.
7406 In its present-day meaning a sonata denotes an instrumental
7407 composition for piano or for some other instrument with piano
7408 accompaniment, which consists of three or four independant pieces,
7417 @section sonata form
7421 F: [en] forme de sonate,
7423 NL: hoofdvorm, sonatevorm,
7428 A form used frequently for single movements of the @emph{sonata},
7429 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7430 three sections called @notation{exposition}, @notation{development} and
7431 @notation{recapitulation}. In the exposition the composer introduces some
7432 musical ideas, consisting of a number of themes; in the development section the
7433 composer @emph{develops} this material, and in the recapitulation the composer
7434 repeats the exposition, with certain modifications. The exposition contains a
7435 number of themes that fall into two groups, often called first and second
7436 subject. Other melodies occurring in each group are considered as continuations
7437 of these two. The second theme is in another key, normally in the key of the
7438 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7439 @notation{relative key} if the tonic is @notation{minor}.
7443 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7444 @ref{symphony}, @ref{tonic}.
7465 FI: sopraano, korkea naisääni.
7467 The highest female voice.
7479 F: staccato, piqué, détaché,
7484 FI: staccato, lyhyesti, terävästi.
7486 Playing the note(s) short. Staccato is indicated by a dot above or
7487 below the note head.
7489 @lilypond[fragment,ragged-right]
7494 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7508 I: pentagramma, rigo (musicale),
7510 D: Notensystem, Notenzeile,
7511 NL: (noten)balk, partij,
7516 A staff (plural: staves) is a series of (normally five) horizontal
7517 lines upon and between which the musical notes are written, thus
7518 indicating (in connection with a @ref{clef}) their pitch. Staves for
7519 @ref{percussion} instruments may have fewer lines.
7540 D: Hals, Notenhals, Stiel,
7546 Vertical line above or below a @ref{note head} shorter than a
7551 @lilypond[fragment,notime,line-width=13.0\cm]
7552 \set Score.autoBeaming = ##f
7553 \set Score.automaticBars = ##f
7554 %\override Score.TextScript #'font-style = #'large
7578 FI: kiihdyttäen, nopeuttaen.
7580 [Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
7600 A family of stringed musical instruments played with a bow. Strings
7601 commonly used in a symphony orchestra are violin, viola, violoncello,
7610 @section strong beat
7615 D: betonter Taktteil oder Taktschlag,
7617 D: betonet taktslag,
7618 S: betonat taktslag,
7619 FI: tahdin vahva isku.
7623 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7627 @section subdominant
7636 FI: subdominantti, alidominantti.
7638 The fourth @notation{scale degree}.
7642 @ref{functional harmony}, @ref{scale degree}.
7657 The sixth @notation{scale degree}.
7661 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7674 FI: subtoonika, alitoonika.
7676 The seventh @ref{scale degree}.
7680 @ref{functional harmony}, @ref{scale degree}.
7686 ES: sobre la cuerda de Sol,
7689 D: auf G, auf der G-Saite,
7695 Indicates that the indicated passage (or note) should be played on the
7704 @section superdominant
7715 The sixth @ref{scale degree}.
7719 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7734 The second @ref{scale degree}.
7738 @ref{functional harmony}, @ref{scale degree}.
7747 D: Sinfonie, Symphonie,
7753 A symphony may be defined as a @emph{sonata} for orchestra.
7762 @section syncopation
7773 Any deliberate upsetting of the normal pulse of @ref{meter},
7774 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7775 rhythm rests upon the grouping of equal beats into groups of two or
7776 three, with a regularly recurrent accent on the first beat of each
7777 group. Any deviation from this scheme is felt as a disturbance or
7778 contradiction between the underlaying (normal) pulse and the actual
7781 @lilypond[fragment,ragged-right]
7786 e c'4 e,8 c'4 e,8 c' ( | c2)
7795 @node syntonic comma
7796 @section syntonic comma
7798 ES: coma sintónica, coma de Dídimo,
7799 I: comma sintonico (o didimico),
7800 F: comma syntonique,
7801 D: syntonisches Komma,
7802 NL: syntonische komma,
7803 DK: syntonisk komma,
7804 S: syntoniskt komma,
7805 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7806 Pytagorisessa viritysjärjestelmässä.
7808 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7809 by which the ditone exceeds the pure major third obtained by Pythagorean
7810 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7812 Modern acoustical theory defines it as the interval by which four fifths exceed
7813 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7815 This comma is also known as the comma of Didymus, or didymic comma.
7819 @ref{Pythagorean comma}
7828 D: Notensystem, Partitur,
7832 FI: nuottijärjestelmä.
7834 The collection of staves (@notation{staff}), two or more, as used for writing
7835 down of keyboard, chamber, choral, or orchestral music.
7843 @section temperament
7848 D: Stimmung, Tem@-pe@-ra@-tur,
7849 NL: stemming, temperatuur,
7852 FI: viritysjärjestelmä.
7854 Systems of tuning in which the intervals deviate from the acoustically
7859 @ref{meantone temperament}, @ref{equal temperament}.
7862 @node tempo indication
7863 @section tempo indication
7865 ES: indicación de tempo,
7866 I: indicazione di tempo,
7867 F: indication de tempo,
7868 D: Zeitmaß, Tempobezeichnung,
7869 NL: tempo aanduiding,
7874 The rate of speed of a composition or a section thereof, ranging from the
7875 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7876 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7881 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7895 FI: tenori, korkea miesääni.
7897 The highest @q{natural} male voice (apart from @notation{countertenor}).
7924 ES: subrayado (tenuto),
7933 An indication that a particular note should be held for the whole
7934 length, although this can vary depending on the composer and era.
7958 @node thirty-second note
7959 @section thirty-second note
7962 @item UK: demisemiquaver
7965 @item F: triple croche
7966 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7967 @item NL: twee@-endertig@-ste (32e) noot
7968 @item DK: toogtredivtedelsnode
7969 @item S: trettiotvåondelsnot
7970 @item FI: kolmaskymmeneskahdesosanuotti
7978 @node thirty-second rest
7979 @section thirty-second rest
7982 @item UK: demisemiquaver rest
7983 @item ES: silencio de fusa
7984 @item I: pausa di biscroma
7985 @item F: huitième de soupir
7986 @item D: Zweiunddreissigstel@-pause
7987 @item NL: twee@-endertig@-ste (32e) rust
7988 @item DK: toogtredivtedelspause
7989 @item S: trettiotvåondelspaus
7990 @item FI: kolmaskymmeneskahdesosatauko
7999 @section thorough bass
8009 ES: ligadura de prolongación, ligadura de unión,
8010 I: legatura (di valore),
8012 D: Haltebogen, Bindebogen,
8013 NL: overbinding, bindingsboog,
8015 S: bindebåge, överbindning,
8018 A curved line, identical in appearance with the @ref{slur}, which
8019 connects two succesive notes of the same pitch, and which has the
8020 function of uniting them into a single sound (tone) equal to the
8023 @lilypond[fragment,notime,ragged-right]
8024 \set Score.automaticBars = ##f
8025 \relative c'' { g2 ~ g4. }
8037 @node time signature
8038 @section time signature
8040 ES: indicación de compás,
8042 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
8043 D: Taktangabe, Angabe der Taktart,
8046 S: taktartssignatur,
8049 The sign placed at the beginning of a composition to indicate its
8050 meter. It most often takes the form of a fraction, but a few signs
8051 derived from mensural notation and proportions are also employed.
8055 @ref{mensural notation}, @ref{meter}.
8070 A sound of definite pitch and duration, as distinct from @emph{noise}.
8071 Tone is a primary building material of music.
8073 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
8092 The first @notation{scale degree}.
8096 @ref{functional harmony}, @ref{scale degree}.
8099 @node transposing instrument
8100 @section transposing instrument
8102 ES: instrumento transpositor,
8109 FI: transponoitava soitin.
8111 Instruments whose notated pitch is different from their sounded pitch. Except
8112 for those whose notated and sounding pitches differ by one or more octaves (to
8113 reduce the number of ledger lines needed), most such instruments are identified
8114 by the letter name of the pitch class of their fundamental. The pitch class is
8115 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8116 the instrument plays a notated C.
8118 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8119 the B-flat one tone lower. If played on the A clarinet, the same written
8120 note sounds the A (one and half tones -- a minor third -- lower).
8122 Not all transposing instruments include the pitch class in their name:
8126 @item English horn (in F)
8128 @item Alto flute (in G)
8134 @ref{concert pitch}.
8138 @section transposition
8149 Shifting a melody up or down in pitch, while keeping the same
8152 @lilypond[fragment,line-width=13.0\cm]
8157 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8162 @lilypond[fragment,line-width=13.0\cm]
8165 \transpose c bes \relative c'' {
8167 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8178 @section treble clef
8181 I: chiave di violino,
8183 D: Violinschlüssel, Sopranschlüssel,
8206 On stringed instruments:
8210 @item The quick reiteration of the same tone, produced by a rapid
8211 up-and-down movement of the bow.
8213 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8214 in the distance of a third (@ref{interval}).
8218 @lilypond[fragment,notime,ragged-right]
8219 \set Score.automaticBars = ##f
8220 %\override Score.TextScript #'font-style = #'large
8223 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8224 \repeat tremolo 8 { e32_"b" g }
8238 F: triade, accord parfait, accord de trois sons,
8255 F: trille, tremblement, battement (cadence),
8268 @section triple meter
8270 ES: compás ternario,
8273 D: in drei, ungerader Takt,
8274 NL: driedelige maatsoort,
8319 @section tuning fork
8321 ES: diapasón, horquilla de afinación,
8322 I: diapason, corista,
8330 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8331 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8332 standard. Tuning forks for other pitches are available.
8342 A non-standard subdivision of a beat or part of a beat, usually
8343 indicated with a bracket and a number indicating the number of
8348 @ref{triplet}, @ref{note value}.
8354 ES: grupeto (circular),
8378 FI: unisono, yksiäänisesti.
8380 Playing of the same notes or the same melody by various instruments
8381 (voices) or by the whole orchestra (choir), either at exactly the same
8382 pitch or in a different octave.
8394 F: anacrouse, levée,
8416 FI: ääni, lauluääni.
8424 @item @ref{mezzo-soprano}
8425 @item @ref{contralto}
8427 @item @ref{baritone}
8431 @item A melodic layer or part of a polyphonic composition.
8443 ES: vez, primera y segunda vez,
8450 FI: yksi kertauksen maaleista.
8452 [Italian: @q{time} (instance, not duration).] An ending, such as a first
8453 or second ending. LilyPond extends this idea to any number, and allows any text
8454 (not just a number) -- to serve as the @notation{volta} text.
8465 I: tempo debole, arsi,
8467 D: unbetonter Taktteil oder Taktschlag,
8469 DK: ubetonet taktslag,
8470 S: obetonat taktslag,
8471 FI: tahdin heikko isku.
8475 @ref{beat}, @ref{measure}, @ref{rhythm}.
8486 @item D: Ganze, ganze Note
8490 @item FI: kokonuotti
8502 @item UK: semibreve rest
8503 @item ES: silencio de redonda
8504 @item I: pausa di semibreve
8506 @item D: ganze Pause, ganztaktige Pause
8508 @item DK: helnodespause
8530 The interval of a major second. The interval between two tones
8531 on the piano keyboard with exactly one key between them -- including
8532 black and white keys -- is a whole tone.
8551 A family of blown wooden musical instruments. Today some of these
8552 instruments are actually made from metal. The woodwind instruments
8553 commonly used in a symphony orchestra are flute, oboe, clarinet,
8554 saxophone, and bassoon.
8561 @node Duration names notes and rests
8562 @chapter Duration names notes and rests
8564 @multitable @columnfractions .12 .22 .22 .22 .22
8566 @headitem Lang. @tab note name
8570 @item @strong{US} @tab long
8574 @item @strong{UK} @tab longa
8578 @item @strong{ES} @tab longa
8579 @tab silencio de longa
8581 @tab silencio de cuadrada
8582 @item @strong{IT} @tab longa
8586 @item @strong{FR} @tab longa
8587 @tab quadruple-pause
8590 @item @strong{DE} @tab Longa
8594 @item @strong{NL} @tab longa
8598 @item @strong{DK} @tab longa
8599 @tab longanodespause
8601 @tab brevis(nodes)pause
8602 @item @strong{SE} @tab longa
8606 @item @strong{FI} @tab longa-nuotti
8608 @tab brevis-nuotti, kaksoiskoko@-nuotti
8609 @tab brevis-tauko, kaksoiskoko@-tauko
8613 @multitable @columnfractions .12 .22 .22 .22 .22
8615 @headitem Lang. @tab note name
8619 @item @strong{US} @tab whole note
8623 @item @strong{UK} @tab semibreve
8627 @item @strong{ES} @tab redonda
8628 @tab silencio de redonda
8630 @tab silencio de blanca
8631 @item @strong{IT} @tab semibreve
8632 @tab pause di semibreve
8634 @tab pausa di minima
8635 @item @strong{FR} @tab ronde
8639 @item @strong{DE} @tab ganze Note
8643 @item @strong{NL} @tab hele noot
8647 @item @strong{DK} @tab helnode
8651 @item @strong{SE} @tab helnot
8655 @item @strong{FI} @tab kokonuotti
8662 @multitable @columnfractions .12 .22 .22 .22 .22
8664 @headitem Lang. @tab note name
8668 @item @strong{US} @tab quarter note
8672 @item @strong{UK} @tab crotchet
8676 @item @strong{ES} @tab negra
8677 @tab silencio de negra
8679 @tab silencio de corchea
8680 @item @strong{IT} @tab semiminima, nera
8681 @tab pausa di semiminima, pausa di nera
8684 @item @strong{FR} @tab noire
8688 @item @strong{DE} @tab Viertelnote
8692 @item @strong{NL} @tab kwartnoot
8696 @item @strong{DK} @tab fjerdedelsnode
8697 @tab fjerdedelspause
8698 @tab ottendedelsnode
8699 @tab ottendedelspause
8700 @item @strong{SE} @tab fjärdedelsnot
8704 @item @strong{FI} @tab neljäsosa@-nuotti
8705 @tab neljäsosa@-tauko
8706 @tab kahdeksasosa@-nuotti
8707 @tab kahdeksasosa@-tauko
8711 * About the French naming system: @emph{croche} refers to the note's "hook".
8712 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8713 hook}, @q{trebled hook}, and so on.
8715 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8716 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8717 a @emph{soupir}, and so on.
8719 Each of the following tables contains one type of note and its matching rest,
8720 with abbreviations that apply to both notes and rests. Just switch the part
8721 that means @q{note} with the part that means @q{rest}, for example:
8725 @item English: 16th @strong{note}, 16th @strong{rest}
8726 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8727 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8731 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8732 duration name. If you know of one that I missed, please send it to me, care of
8733 the lilypond-user discussion list.
8735 @multitable @columnfractions .10 .35 .35 .20
8737 @headitem Lang. @tab Note name
8740 @item @strong{US} @tab sixteenth note
8743 @item @strong{UK} @tab semiquaver
8744 @tab semiquaver rest
8746 @item @strong{ES} @tab semicorchea
8747 @tab silencio de semicorchea
8749 @item @strong{IT} @tab semicroma
8750 @tab pausa di semicroma
8752 @item @strong{FR} @tab double croche
8753 @tab quart de soupir
8755 @item @strong{DE} @tab Sechzehntelnote
8756 @tab Sechzehntelpause
8758 @item @strong{NL} @tab zes@-ti@-ende noot
8759 @tab zes@-ti@-ende rust
8761 @item @strong{DK} @tab sekstendedelsnode
8762 @tab sekstendedelspause
8764 @item @strong{SE} @tab sextondelsnot
8767 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8768 @tab kuudes@-toistaosa@-tauko
8773 @multitable @columnfractions .10 .35 .35 .20
8775 @headitem Lang. @tab Note name
8778 @item @strong{US} @tab thirty-second note
8779 @tab thirty-second rest
8781 @item @strong{UK} @tab demisemiquaver
8782 @tab demisemiquaver rest
8784 @item @strong{ES} @tab fusa
8785 @tab silencio de fusa
8787 @item @strong{IT} @tab biscroma
8788 @tab pausa di biscroma
8790 @item @strong{FR} @tab triple croche
8791 @tab huitième de soupir
8793 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8794 @tab Zweiunddreißig@-stelpause
8796 @item @strong{NL} @tab twee@-endertigste noot
8797 @tab twee@-endertigste rust
8799 @item @strong{DK} @tab toogtredivtedelsnode
8800 @tab toogtredivtedelspause
8802 @item @strong{SE} @tab trettio@-tvåondelsnot
8803 @tab trettio@-tvåondelspaus
8805 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8806 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8811 @multitable @columnfractions .10 .35 .35 .20
8813 @headitem Lang. @tab Note name
8816 @item @strong{US} @tab sixty-fourth note
8817 @tab sixty-fourth rest
8819 @item @strong{UK} @tab hemidemisemiquaver
8820 @tab hemidemisemiquaver rest
8822 @item @strong{ES} @tab semifusa
8823 @tab silencio de semifusa
8825 @item @strong{IT} @tab semibiscroma
8826 @tab pausa di semibiscroma
8828 @item @strong{FR} @tab quadruple croche
8829 @tab seizième de soupir
8831 @item @strong{DE} @tab Vierundsechzigstelnote
8832 @tab Vierundsechzigstelpause
8834 @item @strong{NL} @tab vierenzestigste noot
8835 @tab vierenzestigste rust
8837 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8838 @tab fireog@-tredsindstyven@-dedelspause
8840 @item @strong{SE} @tab sextiofjärdedelsnot
8841 @tab sextiofjärdedelspaus
8843 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8844 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8849 @multitable @columnfractions .10 .35 .35 .20
8851 @headitem Lang. @tab Note name
8854 @item @strong{US} @tab one-hundred-twenty-eighth note
8855 @tab one-hundred-twenty-eighth rest
8857 @item @strong{UK} @tab semihemidemisemiquaver
8858 @tab semihemidemisemiquaver rest
8860 @item @strong{ES} @tab garrapatea
8861 @tab silencio de garrapatea
8863 @item @strong{IT} @tab fusa
8866 @item @strong{FR} @tab quintuple croche
8867 @tab trente-deuxième de soupir @tab -
8868 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8869 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8870 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8871 @tab honderd@-acht@-en@-twintigste rust
8873 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8874 @tab hundrede@-otte@-og@-tyvendedels@-pause
8876 @item @strong{SE} @tab hundratjugoåttondelsnot
8877 @tab hundratjugoåttondelspaus
8879 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8880 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8885 @multitable @columnfractions .10 .35 .35 .20
8887 @headitem Lang. @tab Note name
8890 @item @strong{US} @tab two-hundred-fifty-sixth note
8891 @tab two-hundred-fifty-sixth rest
8893 @item @strong{UK} @tab demisemihemidemisemiquaver
8894 @tab demisemihemidemisemiquaver rest
8896 @item @strong{ES} @tab semigarrapatea
8897 @tab silencio de semigarrapatea @tab -
8898 @item @strong{IT} @tab semifusa
8899 @tab pausa di semifusa
8901 @item @strong{FR} @tab sextuple croche
8902 @tab soixante-quatrième de soupir @tab -
8903 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8904 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8905 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8906 @tab tweehonderd@-zesenvijftigste rust
8908 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8909 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8911 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8912 @tab tvåhundra@-femtiosjättedelspaus
8914 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8915 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8922 @ref{mensural notation}
8926 @chapter Pitch names
8928 @c -is/-es endings for Danish per Rune Zedeler, pace
8929 @c and for Finnish per Risto Vääräniemi
8930 @c -iss/-ess endings for Swedish per Mats Bengtsson
8931 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8933 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8935 @tab ES @tab I @tab F @tab D
8936 @tab NL @tab DK @tab S @tab FI
8937 @item @strong{c} @tab do @tab do @tab ut @tab C
8938 @tab c @tab c @tab c @tab c
8939 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8940 @tab cis @tab cis @tab ciss @tab cis
8941 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8942 @tab des @tab des @tab dess @tab des
8943 @item @strong{d} @tab re @tab re @tab ré @tab D
8944 @tab d @tab d @tab d @tab d
8945 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8946 @tab dis @tab dis @tab diss @tab dis
8947 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8948 @tab es @tab es @tab ess @tab es
8949 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8950 @tab e @tab e @tab e @tab e
8951 @item @strong{f-flat} = e
8952 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8953 @tab fes @tab fes @tab fess @tab fes
8954 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8955 @tab f @tab f @tab f @tab f
8956 @item @strong{e-sharp} = f
8957 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8958 @tab eis @tab eis @tab eiss @tab eis
8959 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8960 @tab fis @tab fis @tab fiss @tab fis
8961 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8962 @tab ges @tab ges @tab gess @tab ges
8963 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8964 @tab g @tab g @tab g @tab g
8965 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8966 @tab gis @tab gis @tab giss @tab gis
8967 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8968 @tab as @tab as @tab ass @tab as
8969 @item @strong{a} @tab la @tab la @tab la @tab A
8970 @tab a @tab a @tab a @tab a
8971 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8972 @tab ais @tab ais @tab aiss @tab ais
8973 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8974 @tab bes @tab b @tab b @tab b
8975 @item @strong{b} @tab si @tab si @tab si @tab H
8976 @tab b @tab h @tab h @tab h
8984 @node Literature used
8985 @unnumberedsec Literature used
8988 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8989 Cambridge: Belknap Press (Harvard University Press), 1944.
8991 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8994 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8995 Terminologie}. Kassel, 1980.
8997 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8998 Current English}, 3rd ed. London: Oxford University Press, 1974.
9000 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
9001 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
9003 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
9004 Cambridge: Belknap Press (Harvard University Press), 1986.
9006 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.