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This document is also available in
<a href="../../Documentation/user/music-glossary.pdf">PDF</a>
and as <a href="../../Documentation/user/music-glossary-big-page.html">one big page</a>.
<!-- TODO: multiple omfcreators? -->
<p><a name="Top"></a>
<h2 class="unnumbered">Music glossary</h2>
<p>This glossary was brought you by
<dl>
<dt><code>Adrian Mariano</code><dd>Italian glossary,
<br><dt><code>Bjoern Jacke</code><dd>German glossary,
<br><dt><code>Christian Mondrup</code><dd>Original author of LilyPond glossary, Danish glossary,
<br><dt><code>David González</code><dd>Spanish glossary,
<br><dt><code>François Pinard</code><dd>Original glossary of GNU music project, French glossary,
<br><dt><code>Han-Wen Nienhuys</code><dd>Dutch glossary,
<br><dt><code>Heikki Junes</code><dd>Finnish glossary translations,
<br><dt><code>Jan Nieuwenhuizen</code><dd>Dutch glossary,
<br><dt><code>Kurtis Kroon</code><dd>English glossary,
<br><dt><code>Mats Bengtsson</code><dd>Swedish glossary,
<br><dt><code>Neil Jerram</code><dd>English glossary translations.
</dl>
<br>
Copyright 1999–2007 by the authors
<p>Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
or any later version published by the Free Software Foundation,
without Invariant Sections.
<p><br>
<!-- @pagesizes 10.3in -->
<!-- @everyheading @| @thispage @| -->
<!-- @evenheading @thispage @| @| -->
<!-- @oddheading @| @| @thispage @| -->
<p>This is the Music Glossary (MG) for GNU LilyPond version 2.11.57.
For more information about how this fits with the other
documentation, see <a name="index-About-the-documentation-1"></a><a href="lilypond-learning-big-page.html#About-the-documentation">About the documentation</a>.
<!-- arrowref -->
<p><a name="Musical-terms-A-Z"></a>
<a name="Musical-terms-A_002dZ"></a>
<h2 class="chapter">1 Musical terms A-Z</h2>
<p>Languages in this order.
<ul>
<li>UK - British English (where it differs from American English)
<li>ES - Spanish
<li>I - Italian
<li>F - French
<li>D - German
<li>NL - Dutch
<li>DK - Danish
<li>S - Swedish
<li>FI - Finnish
</ul>
<p><a name="A"></a>
<h3 class="section">1.1 A</h3>
<ul>
<li>ES: la
<li>I: la
<li>F: la
<li>D: A, a
<li>NL: a
<li>DK: a
<li>S: a
<li>FI: A, a
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="a-due"></a>
<h3 class="section">1.2 a due</h3>
<p>ES: a dos,
I: a due,
F: à deux,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Abbreviated ‘<samp><span class="samp">a2</span></samp>’ or ‘<samp><span class="samp">a 2</span></samp>’.
<ol type=1 start=1>
<li>An indication in orchestral scores that a single part notated on a single
staff that normally carries parts for two players (e.g. first and second oboes)
is to be played by both players.
<li>Or conversely, that two pitches or parts notated on a staff that normally
carries a single part (e.g. first violin) are to be played by different players,
or groups of players (‘desks’).
</ol>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="accelerando"></a>
<h3 class="section">1.3 accelerando</h3>
<p>ES: accelerando,
I: accelerando,
F: accelerando, en accélérant,
D: accelerando, schneller werden,
NL: accelerando,
DK: accelerando,
S: accelerando,
FI: accelerando, kiihdyttäen.
<p>Increase tempo.
<p><a name="accent"></a>
<h3 class="section">1.4 accent</h3>
<p>ES: acento,
I: accento,
F: accent,
D: Akzent,
NL: accent,
DK: accent,
S: accent,
FI: aksentti, korostus.
<p>The stress of one tone over others.
<p><a name="accessory"></a>
<h3 class="section">1.5 accessory</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ornament">ornament</a>.
<p><a name="acciaccatura"></a>
<h3 class="section">1.6 acciaccatura</h3>
<p>A grace note which takes its time from the rest or note preceding the
principal note to which it is attached. The acciaccatura is drawn as a
small eighth note (quaver) with a line drawn through the flag and
stem.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#appoggiatura">appoggiatura</a>, <a href="#grace-notes">grace notes</a>, <a href="#ornament">ornament</a>.
<p><a name="accidental"></a>
<h3 class="section">1.7 accidental</h3>
<p>ES: alteración accidental,
I: accidento,
F: altération accidentelle,
D: Versetzungszeichen, Akzidenz,
NL: toevallig (verplaatsings)teken,
DK: løst fortegn,
S: tillfälligt förtecken,
FI: tilapäinen etumerkki.
<p>An accidental has the effect of an <a href="#alteration">alteration</a> of a note. A
sharp raises a tone by a <a href="#semitone">semitone</a>, a double sharp raises it by a
<a href="#whole-tone">whole tone</a>, a flat lowers it by a semitone and a double flat
lowers it by a whole tone. A natural cancels the effect of a previous
accidental, or a sharp or flat in the key signature.
<p class="noindent"><p>
<a href="17/lily-903bccf2.ly">
<img align="middle"
border="0" src="17/lily-903bccf2.png" alt="[image of music]">
</a>
</p>
<p><a name="adagio"></a>
<h3 class="section">1.8 adagio</h3>
<p>ES: adagio,
I: adagio,
F: adagio, lent,
D: Adagio, Langsam,
NL: adagio,
DK: adagio,
S: adagio,
FI: adagio, hitaasti.
<p>It. comfortable, easy.
<ul>
<li>Slow tempo, slower – especially in even meter – than
<a href="#andante">andante</a> and faster than <a href="#largo">largo</a>.
<li>A movement in slow tempo, especially the second (slow) movement
of <a href="#sonata">sonata</a>s, symphonies, etc.
</ul>
<p><a name="allegro"></a>
<h3 class="section">1.9 allegro</h3>
<p>ES: allegro,
I: allegro,
F: allegro,
D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
FI: allegro, nopeasti.
<p>It. cheerful. Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a <a href="#sonata">sonata</a>.
<p><a name="alteration"></a>
<h3 class="section">1.10 alteration</h3>
<p>ES: alteración,
I: alterazione,
F: altération,
D: Alteration,
NL: verhoging of verlaging,
DK: ?,
S: ?,
FI: ?.
<p>An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an <a href="#accidental">accidental</a>.
<p><a name="alto"></a>
<h3 class="section">1.11 alto</h3>
<p>ES: alto,
I: contralto,
F: alto,
D: Alt,
NL: alt,
DK: alt,
S: alt,
FI: altto, matala naisääni.
<p>A female voice of low range (<em>contralto</em>). Originally the alto
was a high male voice (hence the name), which by the use of falsetto
reached the height of the female voice. This type of voice is also
known as <a href="#countertenor">countertenor</a>.
<p><a name="alto-clef"></a>
<h3 class="section">1.12 alto clef</h3>
<p>ES: clave de do en tercera,
I: chiave di contralto,
F: clef d'ut troisième ligne,
D: Altschlüssel, Bratschenschlüssel,
NL: alt sleutel,
DK: altnøgle,
S: altklav,
FI: alttoavain.
<p>C clef setting middle C on the middle line of the staff.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#C-clef">C clef</a>.
<p><a name="ambitus"></a>
<h3 class="section">1.13 ambitus</h3>
<p>ES: ámbito,
I: ambitus,
F: ambitus,
D: Ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
FI: ambitus, ääniala, soitinala.
<p>[Latin: past participle of <em>ambire</em>, ‘to go around’; plural: ambitus]
Denotes a range of pitches for a given voice in a part of music. It may
also denote the pitch range that a musical instrument is capable of playing.
Sometimes anglicized to <em>ambit</em> (pl. <em>ambits</em>).
<p><a name="anacrusis"></a>
<h3 class="section">1.14 anacrusis</h3>
<p>ES: anacrusa,
I: anacrusi,
F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
S: upptakt,
FI: kohotahti.
<p>An anacrusis (also known as pickup or upbeat) is an incomplete measure
of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#measure">measure</a>, <a href="#meter">meter</a>.
<p class="noindent"><p>
<a href="f7/lily-6bc67e8a.ly">
<img align="middle"
border="0" src="f7/lily-6bc67e8a.png" alt="[image of music]">
</a>
</p>
<p><a name="ancient-minor-scale"></a>
<h3 class="section">1.15 ancient minor scale</h3>
<p>ES: escala menor natural,
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique,
D: reines Moll, natürliches Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
FI: luonnollinen molliasteikko.
<p class="noindent"><p>
<a href="56/lily-d1cadc6f.ly">
<img align="middle"
border="0" src="56/lily-d1cadc6f.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="andante"></a>
<h3 class="section">1.16 andante</h3>
<p>ES: andante,
I: andante,
F: andante,
D: Andante, Gehend,
NL: andante,
DK: andante,
S: andante,
FI: andante, käyden.
<p>Walking tempo/character.
<p><a name="appoggiatura"></a>
<h3 class="section">1.17 appoggiatura</h3>
<p>ES: apoyatura,
I: appoggiatura,
F: appoggiature, (port de voix),
D: Vorschlag, Vorhalt
NL: voorslag,
DK: forslag,
S: förslag,
FI: appoggiatura, etuhele.
<p>Ornamental note, usually a second, that is melodically connected with
the main note following it. In music before the 19th century
appoggiature were usually performed on the beat, after that mostly
before the beat. While the short appoggiatura is performed as a short
note regardless of the duration of the main note the duration of the
long appoggiatura is proportional to that of the main note.
<p class="noindent"><p>
<a href="07/lily-bf6f5d56.ly">
<img align="middle"
border="0" src="07/lily-bf6f5d56.png" alt="[image of music]">
</a>
</p>
<p>An appoggiatura may have more notes preceding the main note.
<p class="noindent"><p>
<a href="c1/lily-47aae576.ly">
<img align="middle"
border="0" src="c1/lily-47aae576.png" alt="[image of music]">
</a>
</p>
<p><a name="arpeggio"></a>
<h3 class="section">1.18 arpeggio</h3>
<p>ES: arpegio,
I: arpeggio,
F: arpège,
D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
S: arpeggio,
FI: arpeggio, murtosointu.
<p class="noindent"><p>
<a href="c5/lily-79d32655.ly">
<img align="middle"
border="0" src="c5/lily-79d32655.png" alt="[image of music]">
</a>
</p>
<p><a name="articulation"></a>
<h3 class="section">1.19 articulation</h3>
<p>ES: articulación,
I: articulazione,
F: articulation,
D: Artikulation,
NL: articulatie,
DK: ?,
S: ?,
FI: artikulaatio, ilmaisu.
<p>Articulation refers to notation which indicates how a note or notes
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
<p><a name="ascending-interval"></a>
<h3 class="section">1.20 ascending interval</h3>
<p>ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
NL: stijgend interval,
DK: stigende interval,
S: stigande intervall,
FI: nouseva intervalli.
<p>A distance between a starting lower note and a higher ending note.
<p><a name="augmented-interval"></a>
<h3 class="section">1.21 augmented interval</h3>
<p>ES: intervalo aumentado,
I: intervallo aumentato,
F: intervalle augmenté,
D: übermäßiges Intervall,
NL: overmatig interval,
DK: forstørret interval,
S: överstigande intervall,
FI: ylinouseva intervalli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="augmentation"></a>
<h3 class="section">1.22 augmentation</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<!-- TODO: add definition. -->
<p>This is a placeholder for augmentation (wrt mensural notation).
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diminution">diminution</a>, <a href="#mensural-notation">mensural notation</a>.
<p><a name="autograph"></a>
<h3 class="section">1.23 autograph</h3>
<p>ES: manuscrito,
I: autografo,
F: manuscrit, autographe
D: Autograph, Handschrift,
NL: manuscript,
DK: håndskrift, autograf,
S: handskrift,
FI: käsinkirjoitettu nuotti.
<ul>
<li>A manuscript written in the composer's own hand.
<li>Music prepared for photoreproduction by freehand drawing, with
the aid of a straightedge ruler and T-square only, which attempts to
emulate engraving. This required more skill than did engraving.
</ul>
<p><a name="B"></a>
<h3 class="section">1.24 B</h3>
<ul>
<li>ES: si
<li>I: si
<li>F: si
<li>D: H, h
<li>NL: b
<li>DK: h
<li>S: h
<li>FI: H, h
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="backfall"></a>
<h3 class="section">1.25 backfall</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#appoggiatura">appoggiatura</a>.
<p><a name="bar"></a>
<h3 class="section">1.26 bar</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#measure">measure</a>.
<p><a name="bar-line"></a>
<h3 class="section">1.27 bar line</h3>
<p>ES: barra, línea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
NL: maatstreep,
DK: taktstreg,
S: taktstreck,
FI: tahtiviiva.
<p><a name="baritone"></a>
<h3 class="section">1.28 baritone</h3>
<p>ES: barítono,
I: baritono,
F: bariton,
D: Bariton,
NL: bariton,
DK: baryton,
S: baryton,
FI: baritoni, keskikorkuinen miesääni.
<p>The male voice intermediate between the <a href="#bass">bass</a> and the
<a href="#tenor">tenor</a>.
<!-- F: clef de troisième ligne dropped -->
<p><a name="baritone-clef"></a>
<h3 class="section">1.29 baritone clef</h3>
<p>ES: clave de fa en tercera,
I: chiave di baritono,
F: clef d' Ut cinquième ligne, clef de Fa troisième,
D: Baritonschlüssel,
NL: baritonsleutel,
DK: barytonnøgle,
S: barytonklav,
FI: baritoniavain.
<p>C or F clef setting middle C on the upper staff line.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#C-clef">C clef</a>, <a href="#F-clef">F clef</a>.
<p><a name="bass"></a>
<h3 class="section">1.30 bass</h3>
<p>ES: bajo,
I: basso,
F: basse,
D: Bass,
NL: bas,
DK: bas,
S: bas,
FI: basso, matala miesääni.
<ul>
<li>The lowest male voice.
<li>Sometimes, especially in jazz music, used as an abbreviation for
double bass.
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#strings">strings</a>.
<p><a name="bass-clef"></a>
<h3 class="section">1.31 bass clef</h3>
<p>ES: clave de fa en cuarta,
I: chiave di basso,
F: clef de fa quatrième ligne,
D: Bassschlüssel,
NL: bassleutel,
DK: basnøgle,
S: basklav,
FI: bassoavain.
<p>A clef setting with middle C on the first top ledger line.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#F-clef">F clef</a>.
<p><a name="beam"></a>
<h3 class="section">1.32 beam</h3>
<p>ES: barra
I: coda,
F: barre,
D: Balken,
NL: waardestreep,
DK: bjælke,
S: balk,
FI: palkki.
<p>Line connecting a series of notes (shorter than a quarter note). The
number of beams determines the note value of the connected notes.
<p class="noindent"><p>
<a href="3d/lily-84654e1b.ly">
<img align="middle"
border="0" src="3d/lily-84654e1b.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#feathered-beam">feathered beam</a>.
<p><a name="beat"></a>
<h3 class="section">1.33 beat</h3>
<p>ES: tiempo, parte (de compás)
I: tempi,
F: temps,
D: Takt, Taktschlag, Zeit (im Takt),
NL: tel,
DK: (takt)slag,
S: taktslag,
FI: aika-arvo.
<p>Note value used for counting, most often half-, fourth-, and eighth
notes. The base counting value and the number of them per measure is
indicated at the start of the music.
<p class="noindent"><p>
<a href="04/lily-f8698672.ly">
<img align="middle"
border="0" src="04/lily-f8698672.png" alt="[image of music]">
</a>
</p>
<p><a name="beat-repeat"></a>
<h3 class="section">1.34 beat repeat</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#percent-repeat">percent repeat</a>.
<p><a name="bind"></a>
<h3 class="section">1.35 bind</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#tie">tie</a>.
<p><a name="brace"></a>
<h3 class="section">1.36 brace</h3>
<p>ES: llave, corchete,
I: graffa,
F: accolade,
D: Klammer, Akkolade,
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
FI: yhdistävä sulkumerkki.
<p>Symbol at the start of a system connecting staves.
<p>Curly braces are used for connecting piano staves, and sometimes for connecting
the staves of like instruments in an orchestral score when written on different
staves (e.g. first and second flutes):
<p class="noindent"><p>
<a href="3f/lily-0c926e51.ly">
<img align="middle"
border="0" src="3f/lily-0c926e51.png" alt="[image of music]">
</a>
</p>
<p>Angular brackets for connecting parts in an orchestral or choral score:
<p class="noindent"><p>
<a href="fe/lily-bc6b4604.ly">
<img align="middle"
border="0" src="fe/lily-bc6b4604.png" alt="[image of music]">
</a>
</p>
<p><a name="bracket"></a>
<h3 class="section">1.37 bracket</h3>
<p>ES: corchete,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#brace">brace</a>
<p><a name="brass"></a>
<h3 class="section">1.38 brass</h3>
<p>ES: metales,
I: ottoni,
D: Blechbläser,
NL: koper (blazers),
F: cuivres,
DK: messingblæsere,
S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
<p>A family of blown musical instruments made of brass, all using a cup
formed mouth piece. The brass instruments commonly used in a symphony
orchestra are trumpet, trombone, french horn, and tube.
<p><a name="breath-mark"></a>
<h3 class="section">1.39 breath mark</h3>
<p>ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
NL: repercussieteken,
DK: vejrtrækningstegn,
S: andningstecken,
FI: hengitysmerkki.
<p>Indication of where to breathe in vocal and wind instrument parts.
<p><a name="breve"></a>
<h3 class="section">1.40 breve</h3>
<p>ES: cuadrada, breve,
I: breve,
F: brève,
D: Brevis,
NL: brevis,
DK: brevis,
S: brevis,
FI: brevis, kaksoiskokonuotti.
<p>Note value twice as long as a whole note. Mainly used in pre-1650 music.
The shortest note value generally used in white mensural notation, hence the
name, which originally meant ‘of short duration’.
<p class="noindent"><p>
<a href="b7/lily-1c52fb00.ly">
<img align="middle"
border="0" src="b7/lily-1c52fb00.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>, <a href="#note-value">note value</a>.
<p><a name="C"></a>
<h3 class="section">1.41 C</h3>
<ul>
<li>ES: do
<li>I: do
<li>F: ut
<li>D: C, c
<li>NL: c
<li>DK: c
<li>S: c
<li>FI: C, c
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="C-clef"></a>
<h3 class="section">1.42 C clef</h3>
<p>ES: clave de do,
I: chiave di do,
F: clef d'ut,
D: C-Schlüssel,
NL: C-sleutel,
DK: c-nøgle,
S: c-klav,
FI: C-avain.
<p>Clef symbol indicating the position of the middle C. Used on all note
lines.
<p class="noindent"><p>
<a href="ef/lily-293dcc80.ly">
<img align="middle"
border="0" src="ef/lily-293dcc80.png" alt="[image of music]">
</a>
</p>
<p><a name="cadence"></a>
<h3 class="section">1.43 cadence</h3>
<p>ES: cadencia,
I: cadenza,
F: cadence,
D: Kadenz,
NL: cadens,
DK: kadence,
S: kadens,
FI: kadenssi, lopuke.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#harmonic-cadence">harmonic cadence</a>, <a href="#functional-harmony">functional harmony</a>.
<p><a name="cadenza"></a>
<h3 class="section">1.44 cadenza</h3>
<p>ES: cadenza,
I: cadenza,
F: cadence,
D: Kadenz,
NL: cadens,
DK: kadence,
S: kadens,
FI: kadenssi, lopuke.
<p>An extended, improvisatory style section inserted near the end of
movement. The purpose of a cadenza is to give singers or players a
chance to exhibit their technical skill and – not last – their
ability to improvise. Since the middle of the 19th century, however,
most cadenzas have been written down by the composer.
<p><a name="canon"></a>
<h3 class="section">1.45 canon</h3>
<p>ES: canon,
I: canone,
F: canon,
D: Kanon,
NL: canon,
DK: kanon,
S: kanon,
FI: kaanon, tarkka jäljittely.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#counterpoint">counterpoint</a>.
<p><a name="cent"></a>
<h3 class="section">1.46 cent</h3>
<p>ES: cent,
I: cent,
F: cent,
D: Cent,
NL: cent,
DK: cent,
S: cent,
FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
viritysjärjestelmässä.
<p>Logarithmic unit of measurement. 1 cent is 1/1200 of an octave
(1/100 of an equally tempered <a href="#semitone">semitone</a>).
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#equal-temperament">equal temperament</a>.
<p><a name="central-C"></a>
<h3 class="section">1.47 central C</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#middle-C">middle C</a>.
<p><a name="chord"></a>
<h3 class="section">1.48 chord</h3>
<p>ES: acorde,
I: accordo,
F: accord,
D: Akkord,
NL: akkoord,
DK: akkord,
S: ackord,
FI: sointu.
<p>Three or more tones sounding simultaneously. In traditional European music
the base chord is a <em>triad</em> consisting of two thirds. <em>Major</em>
(major + minor third) as well as <em>minor</em> (minor + major third) chords
may be extended with more thirds. Four-tone <em>seventh chords</em> and
five-tone <em>ninth</em> major chords are most often used as dominants
(functional harmony). Chords having no third above the lower notes to
define their mood are a special case called ‘open chords’. The lack of
the middle third means their quality is ambivalent: neither major nor minor.
<p class="noindent"><p>
<a href="98/lily-d6ae2f10.ly">
<img align="middle"
border="0" src="98/lily-d6ae2f10.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#functional-harmony">functional harmony</a>, <a href="#interval">interval</a>, <a href="#inversion">inversion</a>, <a href="#quality">quality</a>,
<a href="#third">third</a>.
<p><a name="chromatic-scale"></a>
<h3 class="section">1.49 chromatic scale</h3>
<p>ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
D: chromatische Tonleiter,
NL: chromatische toonladder,
DK: kromatisk skala,
S: kromatisk skala,
FI: kromaattinen asteikko.
<p>A scale consisting of all 12 <a href="#semitone">semitone</a>s.
<p class="noindent"><p>
<a href="70/lily-541d3d4b.ly">
<img align="middle"
border="0" src="70/lily-541d3d4b.png" alt="[image of music]">
</a>
</p>
<p><a name="chromaticism"></a>
<h3 class="section">1.50 chromaticism</h3>
<p>ES: cromatismo,
I: cromatismo,
F: chromatisme,
D: Chromatik,
NL: chromatiek,
DK: kromatik,
S: kromatik,
FI: kromatiikka.
<p>Use of tones extraneous to a <a href="#diatonic-scale">diatonic scale</a> (minor, major).
<p><a name="church-mode"></a>
<h3 class="section">1.51 church mode</h3>
<p>ES: modo eclesiástico,
I: modo ecclesiastico,
F: mode ecclésiastique,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
FI: moodi, kirkkosävellaji.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="clef"></a>
<h3 class="section">1.52 clef</h3>
<p>ES: clave,
I: chiave,
F: clé, clef,
D: Schlüssel, Notenschlüssel,
NL: sleutel,
DK: nøgle,
S: klav,
FI: avain, nuottiavain.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#C-clef">C clef</a>, <a href="#F-clef">F clef</a>, <a href="#G-clef">G clef</a>.
<p>The clef indicates which lines of the staff correspond to which
pitches. The three clef symbols in common use are:
<blockquote>
<p>
<a href="84/lily-2def9b3e.ly">
<img align="middle"
border="0" src="84/lily-2def9b3e.png" alt="[image of music]">
</a>
</p>
</blockquote>
<p>Imagine a large staff of 11 lines centered on middle C, sometimes
called a ‘grand staff’, with the bottom line representing low G and
the top line high F:
<blockquote>
<p>
<a href="d7/lily-c1fa1b8d.ly">
<img align="middle"
border="0" src="d7/lily-c1fa1b8d.png" alt="[image of music]">
</a>
</p>
</blockquote>
<p>Staves of five lines are usually used, and the clef superimposed on
them indicates which five lines have been selected from this
‘<samp><span class="samp">grand staff</span></samp>’. For example, the treble or G clef indicates that
the top five lines have been selected:
<blockquote>
<p>
<a href="97/lily-63fc35a4.ly">
<img align="middle"
border="0" src="97/lily-63fc35a4.png" alt="[image of music]">
</a>
</p>
</blockquote>
<p>The ‘curl’ of the G clef is centered on the line that represents the
pitch G.
<p>In the same way, the bass or F clef indicates that the bottom five
lines have been selected from the ‘<samp><span class="samp">grand staff</span></samp>’, and the alto or
C clef indicates the middle five lines have been selected. This
relationship is shown below, where the notes show an arpeggio on a C
major chord.
<blockquote>
<p>
<a href="4a/lily-89ec5d12.ly">
<img align="middle"
border="0" src="4a/lily-89ec5d12.png" alt="[image of music]">
</a>
</p>
</blockquote>
<p><a name="cluster"></a>
<h3 class="section">1.53 cluster</h3>
<p>ES: racimo,
I: ?,
F: ?,
D: Cluster,
NL: ?,
DK: ?,
S: ?,
FI: klusteri, cluster.
<p>A <em>cluster</em> is a range of simultaneously sounding pitches that
may change over time. The set of available pitches to apply usually
depends on the acoustic source. Thus, in piano music, a cluster
typically consists of a continuous range of the semitones as provided
by the piano's fixed set of a chromatic scale. In choral music, each
singer of the choir typically may sing an arbitrary pitch within the
cluster's range that is not bound to any diatonic, chromatic or other
scale. In electronic music, a cluster (theoretically) may even cover
a continuous range of pitches, thus resulting in colored noise, such
as pink noise.
<p>Clusters can be denoted in the context of ordinary staff notation by
engraving simple geometrical shapes that replace ordinary notation of
notes. Ordinary notes as musical events specify starting time and
duration of pitches; however, the duration of a note is expressed by
the shape of the note head rather than by the horizontal graphical
extent of the note symbol. In contrast, the shape of a cluster
geometrically describes the development of a range of pitches
(vertical extent) over time (horizontal extent). Still, the
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
<p class="noindent"><p>
<a href="ff/lily-a98036b6.ly">
<img align="middle"
border="0" src="ff/lily-a98036b6.png" alt="[image of music]">
</a>
</p>
<p><a name="comma"></a>
<h3 class="section">1.54 comma</h3>
<p>ES: coma, comma,
I: comma,
F: comma,
D: Komma,
NL: komma,
DK: komma,
S: komma,
FI: komma, korvinkuultava ero äänenkorkeudessa.
<p>Difference in pitch between a note derived from pure tuning and the
same note derived from some other tuning method.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#didymic-comma">didymic comma</a>, <a href="#Pythagorean-comma">Pythagorean comma</a>, <a href="#syntonic-comma">syntonic comma</a>,
<a href="#temperament">temperament</a>.
<p><a name="common-meter"></a>
<h3 class="section">1.55 common meter</h3>
<p><a href="#common-time">common time</a>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#meter">meter</a>.
<p><a name="common-time"></a>
<h3 class="section">1.56 common time</h3>
<p>ES: compasillo,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>4/4 time. The symbol, which resembles a capital letter C, derives from
mensural notation.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>, <a href="#meter">meter</a>.
<p><a name="complement"></a>
<h3 class="section">1.57 complement</h3>
<p>ES: intervalo invertido,
I: rivolto,
F: intervalle complémentaire,
D: Komplementärintervall,
NL: complementair interval,
DK: komplementærinterval,
S: komplementärintervall (?),
FI: täydentävä intervalli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#inverted-interval">inverted interval</a>.
<p><a name="compound-interval"></a>
<h3 class="section">1.58 compound interval</h3>
<p>ES: intervalo compuesto,
I: intervallo composto,
F: intervalle composé,
D: weites Intervall,
NL: samengesteld interval,
DK: sammensat interval,
S: sammansatt intervall,
FI: oktaavia laajempi intervalli.
<p>Intervals larger than an octave.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="compound-meter"></a>
<h3 class="section">1.59 compound meter</h3>
<p>ES: compás compuesto, compás de subdivisión ternaria,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#meter">meter</a>, <a href="#simple-meter">simple meter</a>.
<p><a name="compound-time"></a>
<h3 class="section">1.60 compound time</h3>
<p>ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<ol type=1 start=1>
<li>A meter that includes a triplet subdivision within the beat: see
<a href="#compound-meter">compound meter</a>.
<li>A time signature that additively combines two or more unequal meters, e.g.
"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
<p class="noindent"><p>
<a href="ad/lily-e4422bae.ly">
<img align="middle"
border="0" src="ad/lily-e4422bae.png" alt="[image of music]">
</a>
</p>
</ol>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#compound-meter">compound meter</a>, <a href="#meter">meter</a>.
<p><a name="concert-pitch"></a>
<h3 class="section">1.61 concert pitch</h3>
<p>ES: en Do, afinación de concierto,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>The pitch at which the piano and other nontransposing instruments play: such
instruments are said to be ‘in C’. The following list includes some (but not
all) instruments that play in concert pitch:
<ul>
<li>Woodwinds
<ul>
<li>flute
<li>oboe
<li>bassoon
</ul>
<li>Brass
<ul>
<li>alto trombone
<li>tenor trombone
<li>bass trombone
</ul>
<li>Strings
<ul>
<li>violin
<li>viola
<li>violincello
</ul>
<li>piano
</ul>
<p>The trombones are a special case: although they are said to be ‘in F’ (alto or
bass) or ‘in B-flat’ (tenor), this refers to their fundamental note, not to
their parts' transposition. (In fact, the trombones' parts are written at
concert pitch with an appropriate clef – alto, tenor or bass.) This differs
from other instruments ‘in F’, ‘in B-flat’, and so on, which are transposing
instruments.
<p>Instruments that play ‘in C’ but in a different octave than what is written
are, technically speaking, <em>transposing instruments</em>:
<ul>
<li>piccolo (plays an octave higher)
<li>celesta (plays an octave higher)
<li>double-bass (plays an octave lower)
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#transposing-instrument">transposing instrument</a>.
<p><a name="conjunct-movement"></a>
<h3 class="section">1.62 conjunct movement</h3>
<p>ES: movimiento conjunto,
I: moto congiunto,
F: mouvement conjoint,
D: schrittweise, stufenweise Bewegung,
NL: stapsgewijze, trapsgewijze beweging,
DK: trinvis bevægelse,
S: stegvis rörelse,
FI: asteittainen liike.
<p>Progressing melodically by intervals of a second. The opposite of a
<a href="#disjunct-movement">disjunct movement</a>.
<p class="noindent"><p>
<a href="6b/lily-9b3926bc.ly">
<img align="middle"
border="0" src="6b/lily-9b3926bc.png" alt="[image of music]">
</a>
</p>
<p><a name="consonance"></a>
<h3 class="section">1.63 consonance</h3>
<p>ES: consonancia,
I: consonanza,
F: consonance,
D: Konsonanz,
NL: consonant,
DK: konsonans,
S: konsonans,
FI: konsonanssi, sopusointi.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#harmony">harmony</a>.
<p><a name="contralto"></a>
<h3 class="section">1.64 contralto</h3>
<p>ES: contralto,
I: contralto,
F: contralto,
D: Alt,
NL: contralto,
DK: alt,
S: alt,
FI: kontra-altto.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#alto">alto</a>.
<p><a name="copying-music"></a>
<h3 class="section">1.65 copying music</h3>
<p>A music copyist did fast freehand scores and parts on preprinted staff
lines for performance. Some of their conventions (e.g., the placement
of note heads on stems) varied slightly from those of engravers. Some
of their working methods were superior and could well be adopted by
music typesetters.
<!-- Copying music required more skill than engraving. Flagged for NPOV -->
<p><a name="counterpoint"></a>
<h3 class="section">1.66 counterpoint</h3>
<p>ES: contrapunto,
I: contrappunto,
F: contrepoint,
D: Kontrapunkt,
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
FI: kontrapunkti, ääni ääntä vastaan.
<p>From Latin <em>punctus contra punctum</em>, note against note. The
combination into a single musical fabric of lines or parts which have
distinct melodic significance. A frequently used polyphonic technique
is imitation, in its strictest form found in the canon needing only
one part to be written down while the other parts are performed with a
given displacement. Imitation is also the contrapunctal technique
used in the <em>fugue</em> which, since the music of the baroque era,
has been one of the most popular polyphonic composition methods.
<p class="noindent"><p>
<a href="f3/lily-6cdd28c5.ly">
<img align="middle"
border="0" src="f3/lily-6cdd28c5.png" alt="[image of music]">
</a>
</p>
<p><a name="countertenor"></a>
<h3 class="section">1.67 countertenor</h3>
<p>ES: contratenor,
I: controtenore,
F: contre-tenor,
D: Countertenor, Kontratenor,
NL: contratenor,
DK: kontratenor,
S: kontratenor, counter tenor,
FI: kontratenori.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#contralto">contralto</a>.
<p><a name="crescendo"></a>
<h3 class="section">1.68 crescendo</h3>
<p>ES: crescendo,
I: crescendo,
F: crescendo,
D: Crescendo, lauter werden,
NL: crescendo,
DK: crescendo,
S: crescendo,
FI: cresendo, voimistuen.
<p>Increasing volume. Indicated by a rightwards opening horizontal wedge
(hairpin) or the abbreviation ‘<samp><span class="samp">cresc.</span></samp>’.
<p class="noindent"><p>
<a href="66/lily-81891bd1.ly">
<img align="middle"
border="0" src="66/lily-81891bd1.png" alt="[image of music]">
</a>
</p>
<p><a name="cue-notes"></a>
<a name="cue_002dnotes"></a>
<h3 class="section">1.69 cue-notes</h3>
<p>ES: notas guía,
I: notine,
F: petites notes précédent l'entrée d'un instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
S: inprickningar,
FI: vihjenuotit.
<p>In a separate part notes belonging to another part with the purpose of
hinting when to start playing. Usually printed in a smaller type.
<p><a name="custos"></a>
<h3 class="section">1.70 custos</h3>
<p>ES: custos,
I: ?,
F: guidon,
D: Notenzeiger, Custos,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A custos (plural: custodes) is a staff symbol that appears at the end
of a staff line with monophonic musical contents (i.e., with a single
voice). It anticipates the pitch of the first note of the following
line and thus helps the player or singer to manage line breaks during
performance, thus enhancing readability of a score.
<p>Custodes were frequently used in music notation until the 16th
century. There were different appearences for different notation
styles. Nowadays, they have survived only in special forms of musical
notation such as via the Editio Vaticana dating back to the beginning
of the 20th century
<p class="noindent"><p>
<a href="a9/lily-7fbe9800.ly">
<img align="middle"
border="0" src="a9/lily-7fbe9800.png" alt="[image of music]">
</a>
</p>
<p><a name="D"></a>
<h3 class="section">1.71 D</h3>
<ul>
<li>ES: re
<li>I: re
<li>F: ré
<li>D: D, d
<li>NL: d
<li>DK: d
<li>S: d
<li>FI: D, d
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="da-capo"></a>
<h3 class="section">1.72 da capo</h3>
<p>ES: da capo,
I: da capo,
F: da capo, depuis le commencement,
D: da capo, von Anfang,
NL: da capo,
DK: da capo,
S: da capo,
FI: da capo, alusta.
<p>Abbreviated ‘<samp><span class="samp">D.C.</span></samp>’. Indicates that the piece is to be repeated from
the beginning to the end or to a certain place marked <em>fine</em>.
<p><a name="dal-segno"></a>
<h3 class="section">1.73 dal segno</h3>
<p>ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
D: dal segno, ab dem Zeichen,
NL: dal segno,
DK: dal segno,
S: dal segno,
FI: dal segno, lähtien merkistä.
<p>Abbreviated ‘<samp><span class="samp">D.S.</span></samp>’. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
<p class="noindent"><p>
<a href="00/lily-a6a67fa5.ly">
<img align="middle"
border="0" src="00/lily-a6a67fa5.png" alt="[image of music]">
</a>
</p>
<p><a name="decrescendo"></a>
<h3 class="section">1.74 decrescendo</h3>
<p>ES: decrescendo,
I: decrescendo,
D: Decrescendo, leiser werden,
NL: decrescendo,
DK: decrescendo,
S: decrescendo,
FI: decresendo, hiljentyen.
<p>Decreasing tone volume. Indicated by a leftwards opening horizontal
wedge (hairpin) or the abbreviation ‘<samp><span class="samp">decresc.</span></samp>’.
<p class="noindent"><p>
<a href="1f/lily-e09bdc52.ly">
<img align="middle"
border="0" src="1f/lily-e09bdc52.png" alt="[image of music]">
</a>
</p>
<p><a name="descending-interval"></a>
<h3 class="section">1.75 descending interval</h3>
<p>ES: intervalo descendente,
I: intervallo discendente,
F: intervalle descendant,
D: fallendes Intervall, absteigendes Intervall,
NL: dalend interval,
DK: faldende interval,
S: fallande intervall,
FI: laskeva intervalli.
<p>A distance between a starting higher note and a lower ending note.
<p><a name="diatonic-scale"></a>
<h3 class="section">1.76 diatonic scale</h3>
<p>ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
D: diatonische Tonleiter,
NL: diatonische toonladder,
DK: diatonisk skala,
S: diatonisk skala,
FI: diatoninen asteikko.
<p>A scale consisting of 5 <!-- /@w --><a href="#whole-tone">whole tone</a>s and 2 <!-- /@w --><a href="#semitone">semitone</a>s (S).
Scales played on the white keys of a piano keybord are diatonic; and these
scales are sometimes called, somewhat inaccurately, ‘church modes’).
<p>These ‘modes’ are used in Gregorian chant and in pre-baroque early music
but also to some extent in newer jazz music.
<p class="noindent"><p>
<a href="e5/lily-d57b507c.ly">
<img align="middle"
border="0" src="e5/lily-d57b507c.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="61/lily-c87fac40.ly">
<img align="middle"
border="0" src="61/lily-c87fac40.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="2d/lily-0073d0db.ly">
<img align="middle"
border="0" src="2d/lily-0073d0db.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="36/lily-f5359c80.ly">
<img align="middle"
border="0" src="36/lily-f5359c80.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="ee/lily-7c3e9ced.ly">
<img align="middle"
border="0" src="ee/lily-7c3e9ced.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="a7/lily-99ca9382.ly">
<img align="middle"
border="0" src="a7/lily-99ca9382.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="e1/lily-43dbf3d2.ly">
<img align="middle"
border="0" src="e1/lily-43dbf3d2.png" alt="[image of music]">
</a>
</p>
<p>From the beginning of the 17th century the scales used in European
compositional music are primarily the major and the minor scales. In
the harmonic minor scale type an augmented second (A) occurs between
the 6th and 7th tone.
<p class="noindent"><p>
<a href="1c/lily-df486686.ly">
<img align="middle"
border="0" src="1c/lily-df486686.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="80/lily-9752640f.ly">
<img align="middle"
border="0" src="80/lily-9752640f.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="48/lily-d2c883d5.ly">
<img align="middle"
border="0" src="48/lily-d2c883d5.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="81/lily-90d6761c.ly">
<img align="middle"
border="0" src="81/lily-90d6761c.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="96/lily-346d3197.ly">
<img align="middle"
border="0" src="96/lily-346d3197.png" alt="[image of music]">
</a>
</p>
<p><a name="didymic-comma"></a>
<h3 class="section">1.77 didymic comma</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#syntonic-comma">syntonic comma</a>.
<p><a name="diminished-interval"></a>
<h3 class="section">1.78 diminished interval</h3>
<p>ES: intervalo disminuido,
I: intervallo diminuito,
F: intervalle diminué,
D: vermindertes Intervall,
NL: verminderd interval,
DK: formindsket interval,
S: förminskat intervall,
FI: vähennetty intervalli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="diminuendo"></a>
<h3 class="section">1.79 diminuendo</h3>
<p>ES: diminuendo,
I: diminuendo,
F: diminuendo,
D: diminuendo,
NL: diminuendo,
DK: diminuendo,
S: diminuendo,
FI: diminuendo, hiljentyen.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#decrescendo">decrescendo</a>.
<p><a name="diminution"></a>
<h3 class="section">1.80 diminution</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<!-- TODO: add definition -->
<p>This is a placeholder for diminution (wrt mensural notation).
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#augmentation">augmentation</a>, <a href="#mensural-notation">mensural notation</a>.
<p><a name="direct"></a>
<h3 class="section">1.81 direct</h3>
<p>ES: ?,
I: ?,
F: ?,
D: Weiser, Zeiger,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#custos">custos</a>.
<p><a name="disjunct-movement"></a>
<h3 class="section">1.82 disjunct movement</h3>
<p>ES: movimiento disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
NL: sprongsgewijze beweging,
DK: springende bevægelse,
S: hoppande rörelse,
FI: melodian hyppivä liike.
<p>Progressing melodically by intervals larger than a major second, as
opposed to <a href="#conjunct-movement">conjunct movement</a>.
<p class="noindent"><p>
<a href="62/lily-52c5295a.ly">
<img align="middle"
border="0" src="62/lily-52c5295a.png" alt="[image of music]">
</a>
</p>
<p><a name="dissonance"></a>
<h3 class="section">1.83 dissonance</h3>
<p><a href="#dissonant-interval">dissonant interval</a>.
<p><a name="dissonant-interval"></a>
<h3 class="section">1.84 dissonant interval</h3>
<p>ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
NL: dissonant interval, dissonant,
DK: dissonerende interval, dissonans,
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#harmony">harmony</a>.
<p><a name="divisio"></a>
<h3 class="section">1.85 divisio</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[Latin: ‘division’: pl. <em>divisiones</em>] In Gregorian chant, a
vertical stroke through part or all of the staff that serves to
structure a chant into phrases and sections. There are four types:
<ul>
<li><em>divisio minima</em>, a short pause
<li><em>divisio maior</em>, a medium pause
<li><em>divisio maxima</em>, a long pause
<li><em>finalis</em>, to indicate the end of a chant, or the end of a
section in a long antiphonal or responsorial chant.
</ul>
<p>TODO: musical example here?
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p>None yet.
<p><a name="doit"></a>
<h3 class="section">1.86 doit</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Indicator for a indeterminately rising pitch bend. Compare with
<em>glissando</em>, which has determinate starting and ending pitches.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#fall">fall</a>, <a href="#glissando">glissando</a>.
<p><a name="dominant"></a>
<h3 class="section">1.87 dominant</h3>
<p>ES: dominante,
I: dominante,
F: dominante,
D: Dominante,
NL: dominant,
DK: dominant,
S: dominant,
FI: dominantti, huippusointu.
<p>The fifth <a href="#scale-degree">scale degree</a> in <a href="#functional-harmony">functional harmony</a>.
<p><a name="dominant-ninth-chord"></a>
<h3 class="section">1.88 dominant ninth chord</h3>
<p>ES: acorde de novena de dominante,
I: accordo di nona di dominante,
F: accord de neuvième dominante,
D: Dominantnonenakkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
FI: dominanttinoonisointu.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#chord">chord</a>, <a href="#functional-harmony">functional harmony</a>.
<p><a name="dominant-seventh-chord"></a>
<h3 class="section">1.89 dominant seventh chord</h3>
<p>ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
F: accord de septième dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
S: dominantseptimackord,
FI: dominanttiseptimisointu.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#chord">chord</a>, <a href="#functional-harmony">functional harmony</a>.
<p><a name="dorian-mode"></a>
<h3 class="section">1.90 dorian mode</h3>
<p>ES: modo dórico,
I: modo dorico,
F: mode dorien,
D: dorisch, dorischer Kirchenton,
NL: dorische toonladder,
DK: dorisk skala,
S: dorisk tonart,
FI: doorinen moodi.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="dot-(augmentation-dot)"></a>
<a name="dot-_0028augmentation-dot_0029"></a>
<h3 class="section">1.91 dot (augmentation dot)</h3>
<p>ES: puntillo,
I: punto (di valore),
F: point,
D: Punkt (Verlängerungspunkt),
NL: punt,
DK: punkt,
S: punkt,
FI: piste.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#dotted-note">dotted note</a>, <a href="#note-value">note value</a>.
<p><a name="dotted-note"></a>
<h3 class="section">1.92 dotted note</h3>
<p>ES: nota con puntillo,
I: nota puntata,
F: note pointée,
D: punktierte Note,
NL: gepuncteerde noot,
DK: punkteret node,
S: punkterad not,
FI: pisteellinen nuotti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="double-appoggiatura"></a>
<h3 class="section">1.93 double appoggiatura</h3>
<p>ES: apoyatura doble,
I: appoggiatura doppia,
F: appoggiature double,
D: doppelter Vorschlag,
NL: dubbele voorslag,
DK: dobbelt forslag,
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#appoggiatura">appoggiatura</a>.
<p><a name="double-bar-line"></a>
<h3 class="section">1.94 double bar line</h3>
<p>ES: doble barra,
I: doppia barra,
F: double barre,
D: Doppelstrich,
NL: dubbele maatstreep,
DK: dobbeltstreg,
S: dubbelstreck,
FI: kaksoistahtiviiva.
<p>Indicates the end of a section within a movement.
<p><a name="double-dotted-note"></a>
<h3 class="section">1.95 double dotted note</h3>
<p>ES: nota con doble puntillo,
I: nota doppiamente puntata,
F: note doublement pointée,
D: doppelt punktierte Note,
NL: dubbelgepuncteerde noot,
DK: dobbeltpunkteret node,
S: dubbelpunkterad not,
FI: kaksoispisteellinen nuotti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="double-flat"></a>
<h3 class="section">1.96 double flat</h3>
<p>ES: doble bemol,
I: doppio bemolle,
F: double bémol,
D: Doppel-B,
NL: dubbelmol,
DK: dobbelt-b,
S: dubbelbe,
FI: kaksoisalennusmerkki.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accidental">accidental</a>.
<p><a name="double-sharp"></a>
<h3 class="section">1.97 double sharp</h3>
<p>ES: doble sostenido,
I: doppio diesis,
F: double dièse,
D: Doppelkreuz,
NL: dubbelkruis,
DK: dobbeltkryds,
S: dubbelkors,
FI: kaksoisylennysmerkki.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accidental">accidental</a>.
<p><a name="double-time-signature"></a>
<h3 class="section">1.98 double time signature</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#polymetric-time-signature">polymetric time signature</a>.
<p><a name="double-trill"></a>
<h3 class="section">1.99 double trill</h3>
<p>ES: trino doble,
I: doppio trillo,
F: trille double,
D: Doppeltriller,
NL: dubbele triller,
DK: dobbelttrille,
S: dubbeldrill,
FI: kaksoistrilli.
<p>A simultaneous trill on two notes, usually in the distance of a third.
<p><a name="duple-meter"></a>
<h3 class="section">1.100 duple meter</h3>
<p>ES: tiempo binario,
I: tempo binario,
F: temps binaire,
D: in zwei, grader Takt,
NL: tweedelige maatsoort,
DK: todelt takt,
S: tvåtakt,
FI: kaksoistempo.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#meter">meter</a>.
<p><a name="duplet"></a>
<h3 class="section">1.101 duplet</h3>
<p>ES: dosillo,
I: duina,
F: duolet,
D: Duole,
NL: duool,
DK: duol,
S: duol,
FI: duoli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="duration"></a>
<h3 class="section">1.102 duration</h3>
<p>ES: duración,
I: durata,
F: durée,
D: Dauer, Länge,
NL: duur, lengte,
DK: varighed,
S: tonlängd,
FI: kesto, aika-arvo.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="dynamics"></a>
<h3 class="section">1.103 dynamics</h3>
<p>ES: dinámica, matices,
I: ?,
F: nuances,
D: Dynamik, Lautstärke,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>The aspect of music relating to degrees of loudness, or changes from
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#piano">piano</a>, <a href="#forte">forte</a>, <a href="#crescendo">crescendo</a>, <a href="#decrescendo">decrescendo</a>,
<a href="#diminuendo">diminuendo</a>.
<p><a name="E"></a>
<h3 class="section">1.104 E</h3>
<ul>
<li>ES: mi
<li>I: mi
<li>F: mi
<li>D: E, e
<li>NL: e
<li>DK: e
<li>S: e
<li>FI: E, e
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="ecclesiastical-mode"></a>
<h3 class="section">1.105 ecclesiastical mode</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#church-mode">church mode</a>.
<p><a name="eighth-note"></a>
<h3 class="section">1.106 eighth note</h3>
<ul>
<li>UK: quaver
<li>ES: corchea
<li>I: croma
<li>F: croche
<li>D: Achtel, Achtelnote
<li>NL: achtste noot
<li>DK: ottendedelsnode
<li>S: åttondelsnot
<li>FI: kahdeksasosanuotti
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="eighth-rest"></a>
<h3 class="section">1.107 eighth rest</h3>
<ul>
<li>UK: quaver rest
<li>ES: silencio de corchea
<li>I: pausa di croma
<li>F: demi-soupir
<li>D: Achtelpause
<li>NL: achtste rust
<li>DK: ottendedelspause
<li>S: åttonddelspaus
<li>FI: kahdeksasosatauko
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="elision"></a>
<h3 class="section">1.108 elision</h3>
<!-- TODO: add languages -->
<p>ES: sinalefa,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην ‘to
smear together’].
<p>The singing of several syllables on a single note. Elision may be indicated
by a lyric tie, which is looks like (and serves the same function) as a
musical tie.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#lyric-tie">lyric tie</a>.
<p><a name="embellishment"></a>
<h3 class="section">1.109 embellishment</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ornament">ornament</a>.
<p><a name="engraving"></a>
<h3 class="section">1.110 engraving</h3>
<p>ES: grabado,
I: incisione,
F: gravure,
D: Notenstich, Notendruck
NL: steken,
DK: nodestik,
S: nottryck,
FI: painatus.
<p>Engraving means incising or etching a metal plate for printing.
Photoengraving means drawing music with ink in a manner similar to
drafting or engineering drawing, using similar tools.
<p>The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
<p><a name="enharmonic"></a>
<h3 class="section">1.111 enharmonic</h3>
<p>ES: enarmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
NL: enharmonisch,
DK: enharmonisk,
S: enharmonisk,
FI: enharmoninen.
<p>Two notes, intervals, or scales are enharmonic if they have different
names but equal pitch.
<p class="noindent"><p>
<a href="ec/lily-477971f7.ly">
<img align="middle"
border="0" src="ec/lily-477971f7.png" alt="[image of music]">
</a>
</p>
<p><a name="equal-temperament"></a>
<h3 class="section">1.112 equal temperament</h3>
<p>ES: temperamento igual,
I: temperamento equabile,
F: tempérament égal,
D: gleichschwebende Stimmung,
NL: gelijkzwevende temperatuur,
DK: ligesvævende temperatur,
S: liksvävande temperatur,
FI: tasavireinen.
<p>Tuning system dividing the octave into 12 equal <a href="#semitone">semitone</a>s
(precisely 100 <a href="#cent">cent</a>s).
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#temperament">temperament</a>.
<p><a name="expression-mark"></a>
<h3 class="section">1.113 expression mark</h3>
<p>ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
NL: voordrachtsteken,
DK: foredragsbetegnelse,
S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
<p>Performance indications concerning:
<ul>
<li>volume, dynamics (for example <a href="#forte">forte</a>, <a href="#crescendo">crescendo</a>),
<li>tempo (for example <a href="#andante">andante</a>, <a href="#allegro">allegro</a>).
</ul>
<p><a name="extender-line"></a>
<h3 class="section">1.114 extender line</h3>
<p>ES: línea de extensión [de melisma, de bajo cifrado, etc.],
I: ?,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
D: Fülllinie,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>The generic term for a line (or dash) of arbitrary length that extends
text (without indicating the musical <em>function</em> of that text).
<p>Used in many contexts, for example:
<ul>
<li>In vocal music to indicate the syllable for a melisma. Called
‘extension’ in the
<a href="http://www.dolmetsch.com/defse1.htm">Dolmetsch Online Music Dictionary</a>.
<li>In figured bass to indicate that:
<ul>
<li>The extended note should be held through a change in harmony, when applied
to one figure –OR–
<li>The chord thus represented should be held above a moving bass line, when
applied to more than one figure.
<li>These uses were not completely standardized, and some composers used a
single extender line to indicate the latter case.
</ul>
<li>In string music to indicate that all notes in the passage thus indicated should
be played on the same string. On the violin, for example, a series of notes to
be played on the G string would be indicated ‘<samp><span class="samp">sul G</span></samp>’, another series to be
played on the D string would be indicated ‘<samp><span class="samp">sul D</span></samp>’, and so on.
<li>With an octave mark to indicate that a passage is to be played higher or lower
by the given number of octaves.
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#melisma">melisma</a>, <a href="#sul-G">sul G</a>, <a href="#thorough-bass">thorough bass</a>, <a href="#octave-mark">octave mark</a>, <a href="#octave-marking">octave marking</a>.
<p><a name="F"></a>
<h3 class="section">1.115 F</h3>
<ul>
<li>ES: fa
<li>I: fa
<li>F: fa
<li>D: F, f
<li>NL: f
<li>DK: f
<li>S: f
<li>FI: F, f
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="F-clef"></a>
<h3 class="section">1.116 F clef</h3>
<p>ES: clave de fa,
I: chiave di fa,
F: clef de fa,
D: F-Schlüssel,
NL: F-sleutel,
DK: F-nøgle,
S: f-klav,
FI: F-avain.
<p>The position between the dots of the key symbol is the line of the F
below central <!-- /@w -->C. Used on the third, fourth and fifth note line.
A digit <!-- /@w -->8 above the clef symbol indicates that the notes must be
played an octave higher (for example, bass recorder) while 8 <!-- /@w -->below
the clef symbol indicates playing an octave lower (for example, on
double bass <a href="#strings">strings</a>).
<p class="noindent"><p>
<a href="55/lily-a8f8bf1f.ly">
<img align="middle"
border="0" src="55/lily-a8f8bf1f.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#baritone-clef">baritone clef</a>
<!-- F: 'point d'orgue' on a note, 'point d'arret' on a rest. -->
<p><a name="fall"></a>
<h3 class="section">1.117 fall</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Indicator for a indeterminately falling pitch bend. Compare with
<em>glissando</em>, which has determinate starting and ending pitches.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#doit">doit</a>, <a href="#glissando">glissando</a>.
<p><a name="feathered-beam"></a>
<h3 class="section">1.118 feathered beam</h3>
<p>ES: barra punteada,
I: ?,
F: liens de croches en soufflet,
D: gespreizter Balken,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A type of beam used to indicate that a small group of notes should be
played at an increasing or decreasing tempo – depending on the
direction of ‘feathering’ – but without changing the overall tempo
of the piece.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p>Internals Reference: <a name="index-Manual-beams-2"></a><a href="lilypond-big-page.html#Manual-beams">Manual beams</a>
<p><a name="fermata"></a>
<h3 class="section">1.119 fermata</h3>
<p>ES: calderón,
I: corona,
F: point d'orgue, point d'arrêt,
D: Fermate,
NL: fermate,
DK: fermat,
S: fermat,
FI: fermaatti, pidäke.
<p>Prolonged note or rest of indefinite duration.
<p class="noindent"><p>
<a href="95/lily-062acde7.ly">
<img align="middle"
border="0" src="95/lily-062acde7.png" alt="[image of music]">
</a>
</p>
<p><a name="fifth"></a>
<h3 class="section">1.120 fifth</h3>
<p>ES: quinta,
I: quinta,
F: quinte,
D: Quinte,
NL: kwint,
DK: kvint,
S: kvint,
FI: kvintti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="figured-bass"></a>
<h3 class="section">1.121 figured bass</h3>
<p>ES: bajo cifrado,
I: basso continuo, basso numerato,
F: basse chiffrée, basse continue,
D: Generalbass, bezifferter Bass,
NL: basso continuo, becijferde bas
DK: generalbas,
S: generalbas,
FI: kenraalibasso, numeroitu basso.
<p>Also called ‘thorough bass’.
<p>A method of indicating an accompaniment part by the bass notes only, together
with figures designating the chief <a href="#interval">interval</a>s and <a href="#chord">chord</a>s to be played
above the bass notes.
<p class="noindent"><p>
<a href="18/lily-6bf3161f.ly">
<img align="middle"
border="0" src="18/lily-6bf3161f.png" alt="[image of music]">
</a>
</p>
<p><a name="fingering"></a>
<h3 class="section">1.122 fingering</h3>
<p>ES: digitación,
I: diteggiatura,
F: doigté,
D: Fingersatz,
NL: vingerzetting,
DK: fingersætning,
S: fingersättning,
FI: sormitus.
<p>The methodical use of fingers in the playing of instruments.
<p><a name="flag"></a>
<h3 class="section">1.123 flag</h3>
<p>ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
D: Fahne, Fähnchen,
NL: vlaggetje,
DK: fane,
S: flagga,
FI: lippu, viiri.
<p>Ornament at the end of the stem of a note used for notes with values
less than a quarter note. The number of flags determines the
<a href="#note-value">note value</a>.
<p class="noindent"><p>
<a href="97/lily-7d8bfa53.ly">
<img align="middle"
border="0" src="97/lily-7d8bfa53.png" alt="[image of music]">
</a>
</p>
<p><a name="flageolet"></a>
<h3 class="section">1.124 flageolet</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>An articulation for string players that means the note or passage is to
be played in harmonics.
<p>Also:
<ul>
<li>A duct flute similar to the recorder.
<li>An organ stop of flute scale at 1' or 2' pitch.
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#articulation">articulation</a>, <a href="#harmonics">harmonics</a>.
<p><a name="flat"></a>
<h3 class="section">1.125 flat</h3>
<p>ES: bemol,
I: bemolle,
F: bémol,
D: B,
NL: mol,
DK: b,
S: beförtecken,
FI: alennusmerkki.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accidental">accidental</a>.
<p><a name="forefall"></a>
<h3 class="section">1.126 forefall</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#appoggiatura">appoggiatura</a>.
<p><a name="forte"></a>
<h3 class="section">1.127 forte</h3>
<p>ES: forte,
I: forte,
F: forte,
D: forte, laut,
NL: forte,
DK: forte,
S: forte,
FI: forte, voimakkaasti.
<p>Loud, abbreviated ‘<samp><b>f</b></samp>’, <em>fortissimo</em> (‘<samp><b>ff</b></samp>’) very loud,
<em>mezzo forte</em> (‘<samp><b>mf</b></samp>’) medium loud.
<p><a name="fourth"></a>
<h3 class="section">1.128 fourth</h3>
<p>ES: cuarta,
I: quarta,
F: quarte,
D: Quarte,
NL: kwart,
DK: kvart,
S: kvart,
FI: kvartti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="Frenched-score"></a>
<h3 class="section">1.129 Frenched score</h3>
<p>ES: partitura a la francesa,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A ‘condensed’ score, produced by omitting staves for instruments that are not
playing at the moment, and by moving up additional systems from following pages
to take up the space thus liberated, which reduces the total number of pages
used to print the work.
<p>The specific rules for ‘frenching’ a score differ from publisher to publisher.
If you are producing scores for eventual publication by a commercial publisher,
you may wish to procure a copy of their style manual.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Frenched-staff">Frenched staff</a>.
<p><a name="Frenched-staff"></a>
<h3 class="section">1.130 Frenched staff</h3>
<p>ES: pentagrama a la francesa,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Analogous to Frenched scores (<em>q.v</em>), a Frenched staff has unneeded
measures or sections removed. This would be useful for producing, for example,
an <em>ossia</em> staff.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ossia">ossia</a>.
<p><a name="Frenched-staves"></a>
<h3 class="section">1.131 Frenched staves</h3>
<p>ES: pentagramas a la francesa,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>The plural of <a href="#Frenched-staff">Frenched staff</a>, <em>q.v.</em>.
<p><a name="fugue"></a>
<h3 class="section">1.132 fugue</h3>
<p>ES: fuga,
I: fuga,
F: fugue,
D: Fuge,
NL: fuga,
DK: fuga,
S: fuga,
FI: fuuga.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#counterpoint">counterpoint</a>.
<p><a name="functional-harmony"></a>
<h3 class="section">1.133 functional harmony</h3>
<p>ES: armonía funcional,
I: armonia funzionale,
F: étude des functions,
D: Funktionslehre,
NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
S: funktionslära,
FI: harmoniajärjestelmä.
<p>A system of harmonic analysis. It is based on the idea that, in a
given key, there are only three functionally different chords: tonic
(T, the chord on the first note of the scale), subdominant (S, the
chord on the fourth note), and dominant (D, the chord on the fifth
note). Others are considered to be variants of the base chords.
<p class="noindent"><p>
<a href="63/lily-d56aeff9.ly">
<img align="middle"
border="0" src="63/lily-d56aeff9.png" alt="[image of music]">
</a>
</p>
<p><a name="G"></a>
<h3 class="section">1.134 G</h3>
<ul>
<li>ES: sol
<li>I: sol
<li>F: sol
<li>D: G, g
<li>NL: g
<li>DK: g
<li>S: g
<li>FI: G, g
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="G-clef"></a>
<h3 class="section">1.135 G clef</h3>
<p>ES: clave de sol,
I: chiave di sol,
F: clef de sol,
D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
DK: g-nøgle,
S: g-klav,
FI: G-avain.
<p>A clef symbol indicating the G above middle <!-- /@w -->C. Used on the first
and second note lines. A digit 8 above the clef symbol indicates that
the notes must be played an octave higher while 8 below the clef
symbol indicates playing or singing an octave lower (most tenor parts
in choral scores are notated like that).
<p class="noindent"><p>
<a href="5c/lily-4efa3c97.ly">
<img align="middle"
border="0" src="5c/lily-4efa3c97.png" alt="[image of music]">
</a>
</p>
<p><a name="glissando"></a>
<h3 class="section">1.136 glissando</h3>
<p>ES: glissando,
I: glissando,
F: glissando,
D: Glissando,
NL: glissando,
DK: glissando,
S: glissando,
FI: glissando, liukuen.
<p>Letting the pitch slide fluently from one note to the other.
<p><a name="grace-notes"></a>
<h3 class="section">1.137 grace notes</h3>
<p>ES: notas de adorno,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschläge, Vorschlagsnoten,
NL: versieringen,
DK: forsiringer,
S: ornament,
FI: korunuotit.
<p>Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#acciaccatura">acciaccatura</a>, <a href="#appoggiatura">appoggiatura</a>, <a href="#grace-notes">grace notes</a>,
<a href="#ornament">ornament</a>.
<p><a name="grand-staff"></a>
<h3 class="section">1.138 grand staff</h3>
<p>ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade, Klaviersystem,
NL: piano systeem,
DK: klaversystem,
S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
<p>A combination of two staves with a brace. Usually used for piano music.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#brace">brace</a>.
<p><a name="grave"></a>
<h3 class="section">1.139 grave</h3>
<p>ES: grave,
I: grave,
F: grave,
D: Grave, Langsam,
NL: grave, ernstig,
DK: grave,
S: grave,
FI: grave, raskaasti.
<p>Slow, solemn.
<p><a name="gruppetto"></a>
<h3 class="section">1.140 gruppetto</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#turn">turn</a>.
<p><a name="H"></a>
<h3 class="section">1.141 H</h3>
<ul>
<li>ES: si
<li>I: si
<li>F: si
<li>D: H, h
<li>NL: b
<li>DK: h
<li>S: h
<li>FI: H, h
</ul>
<p>Letter name used for ‘<samp><span class="samp">B natural</span></samp>’ in German and Scandinavian
usage. In the standard usage of these countries, ‘<samp><span class="samp">B</span></samp>’ means
‘<samp><span class="samp">B flat</span></samp>’.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>, <a href="#B">B</a>.
<p><a name="hairpin"></a>
<h3 class="section">1.142 hairpin</h3>
<p>Graphical version of the <var>crescendo</var> and <var>decrescendo</var>
dynamic marks.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#crescendo">crescendo</a>, <a href="#decrescendo">decrescendo</a>.
<p><a name="half-note"></a>
<h3 class="section">1.143 half note</h3>
<p>UK: minim,
ES: blanca,
I: minima,
F: blanche,
D: Halbe, halbe Note,
NL: halve noot,
DK: halvnode,
S: halvnot,
FI: puolinuotti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="half-rest"></a>
<h3 class="section">1.144 half rest</h3>
<p>UK: minim rest,
ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
D: halbe Pause,
NL: halve, rust,
DK: halvnodespause,
S: halvpaus,
FI: puolitauko.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="harmonic-cadence"></a>
<h3 class="section">1.145 harmonic cadence</h3>
<p>ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
D: Schlusskadenz,
NL: harmonische cadens,
DK: harmonisk kadence,
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
<p>A sequence of chords that terminates a musical phrase or section.
<p><a href="#functional-harmony">functional harmony</a>.
<p class="noindent"><p>
<a href="86/lily-11b82dc4.ly">
<img align="middle"
border="0" src="86/lily-11b82dc4.png" alt="[image of music]">
</a>
</p>
<p><a name="harmonics"></a>
<h3 class="section">1.146 harmonics</h3>
<p>ES: sonidos del flautín,
I: suoni flautati,
F: flageolet, sons harmoniques,
D: Flageolett-Töne,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>The general class of pitches produced by sounding the second or higher
harmonic of a tone producer: string, column of air, and so on.
<p>On stringed instruments, these pitches sound rather flute-like; hence,
their name in languages other than English. They are produced by
lightly touching the string at a node for the desired mode of vibration
while it is being bowed or plucked.
<p>For instruments of the violin family, there are two types of harmonics:
natural harmonics, which are those played on the open string; and
artificial harmonics, which are produced on stopped strings.
<p><a name="harmony"></a>
<h3 class="section">1.147 harmony</h3>
<p>ES: armonía,
I: armonia,
F: harmonie,
D: Harmonie, Zusammenklang,
NL: harmonie,
DK: samklang,
S: samklang,
FI: harmonia, yhteissointi.
<p>Tones sounding simultaneously. Two note harmonies fall into the
categories <em>consonances</em> and <em>dissonances</em>.
<p>Consonances:
<p class="noindent"><p>
<a href="f5/lily-a32c526a.ly">
<img align="middle"
border="0" src="f5/lily-a32c526a.png" alt="[image of music]">
</a>
</p>
<p>Dissonances:
<p class="noindent"><p>
<a href="af/lily-f99eea3f.ly">
<img align="middle"
border="0" src="af/lily-f99eea3f.png" alt="[image of music]">
</a>
</p>
<p>Three note harmony <a href="#chord">chord</a>.
<p><a name="hemiola"></a>
<h3 class="section">1.148 hemiola</h3>
<p>ES: hemiolia,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From Greek: in Latin, <em>sesquialtera</em>] The ratio 3:2. Refers to
the use of three notes of equal value in the time normally occupied by
of two notes of equal value. The resulting rhythm can be expressed in
modern terms as a substitution (for example) of a bar in 3/2 for one
of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
hemiola is most frequently as a special effect (or <em>affect</em>) at
cadences.
<p>For example, this phrase in 6/4 time
<p class="noindent"><p>
<a href="4e/lily-3f6c92df.ly">
<img align="middle"
border="0" src="4e/lily-3f6c92df.png" alt="[image of music]">
</a>
</p>
<p>may be thought of having alternating time signatures
<p class="noindent"><p>
<a href="c6/lily-349c2b17.ly">
<img align="middle"
border="0" src="c6/lily-349c2b17.png" alt="[image of music]">
</a>
</p>
<p>and is therefore a polymeter (second definition) of considerable antiquity.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>, <a href="#meter">meter</a>, <a href="#polymeter">polymeter</a>.
<p><a name="homophony"></a>
<h3 class="section">1.149 homophony</h3>
<p>ES: homofonía,
I: omofonia,
F: homophonie,
D: Homophonie,
NL: homofonie,
DK: homofoni,
S: homofoni,
FI: homofonia, yksiäänisyys.
<p>Music in which one voice leads melodically followed by the other
voices more or less in the same rhythm. In contrast to
<a href="#polyphony">polyphony</a>.
<p><a name="hymn-meter"></a>
<h3 class="section">1.150 hymn meter</h3>
<p>ES: ?,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A group or list of numbers that indicate the number of syllables in a
line of a hymn's verse. Different hymnals have different ways of noting
the hymn meter – consider a hymn having four lines in two couplets that
alternate between eight and seven syllables. The <em>English Hymnal</em>
notes this as 87. <!-- /@w -->87. Other hymnals may note it as 8787, 87.87, or
8 <!-- /@w -->7 <!-- /@w -->8 <!-- /@w -->7.
<p>Some frequently-used hymn meters have traditional names:
<ul>
<li>66.86 is called Short Meter (abbreviated SM or S.M.)
<li>86.86 is called Common Meter (CM or C.M.)
<li>88.88 is called Long Meter (LM or L.M.)
</ul>
<p>Some hymns and their tunes are doubled versions of a simpler meter: for
easier reading, a hymn with a meter of 87.87.87.87 is usually written
87.87D. The traditional names above also have doubled versions:
<ul>
<li>66.86.66.86 is Double Short Meter (DSM or D.S.M.)
<li>86.86.86.86 is Double Common Meter (DCM or D.C.M.)
<li>88.88.88.88 is Double Long Meter (DLM or D.L.M.)
</ul>
<p><a name="interval"></a>
<h3 class="section">1.151 interval</h3>
<p>ES: intervalo,
I: intervallo,
F: intervalle,
D: Intervall,
NL: interval,
DK: interval,
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
<p>Difference in pitch between two notes. Intervals may be perfect,
minor, major, diminished, or augmented. The augmented fourth and the
diminished fifth are identical (<a href="#enharmonic">enharmonic</a>) and are called
<em>tritonus</em> because they consist of three <a href="#whole-tone">whole tone</a>s. The
addition of such two intervals forms an octave.
<p class="noindent"><p>
<a href="34/lily-1d02e3ae.ly">
<img align="middle"
border="0" src="34/lily-1d02e3ae.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="a8/lily-a6bc2b9f.ly">
<img align="middle"
border="0" src="a8/lily-a6bc2b9f.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="e4/lily-3078c876.ly">
<img align="middle"
border="0" src="e4/lily-3078c876.png" alt="[image of music]">
</a>
</p>
<p><a name="inversion"></a>
<h3 class="section">1.152 inversion</h3>
<p>ES: ?,
I: ?,
F: inversion,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>When the bass is not the same as the root, the chord is inverted. The number
of inversions that a chord can have is one fewer than the number of
constituent notes. Triads, for example, (having three constituent notes) can
have three positions, two of which are inversions:
<dl>
<dt><strong>Root position</strong><dd>The root note is in the bass, and above that are the third and the fifth. A
triad built on the first scale degree, for example, is marked <var>I</var>.
<br><dt><strong>First inversion</strong><dd>The third is in the bass, and above it are the fifth and the root. This
creates an interval of a sixth and a third above the bass note, and so is
marked in figured Roman notation as <var>6/3</var>. This is commonly
abbreviated to <var>I6</var> (or <var>Ib</var>) since the sixth is the
characteristic interval of the inversion, and so always implies
<var>6/3</var>.
<br><dt><strong>Second inversion</strong><dd>The fifth is in the bass, and above it are the root and the third. This
creates an interval of a sixth and a fourth above the bass note, and so is
marked as <var>I6/4</var> or <var>Ic</var>. Second inversion is the most
unstable chord position.
</dl>
<p><a name="inverted-interval"></a>
<h3 class="section">1.153 inverted interval</h3>
<p>ES: intervalo invertido,
I: intervallo rivolto,
F: intervalle reversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
S: intervallets omvändning,
FI: käänteisintervalli.
<p>The difference between an interval and an octave.
<p class="noindent"><p>
<a href="21/lily-f3aca1d7.ly">
<img align="middle"
border="0" src="21/lily-f3aca1d7.png" alt="[image of music]">
</a>
</p>
<p><a name="just-intonation"></a>
<h3 class="section">1.154 just intonation</h3>
<p>ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
NL: reine stemming,
DK: ren stemning,
S: ren stämning,
FI: puhdas viritys.
<p>Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
<p><a href="#temperament">temperament</a>.
<p><a name="key"></a>
<h3 class="section">1.155 key</h3>
<p>ES: tonalidad,
I: tonalità,
F: tonalité,
D: Tonart,
NL: toonsoort,
DK: toneart,
S: tonart,
FI: tonaliteetti.
<p>According to the 12 <!-- /@w -->tones of the <a href="#chromatic-scale">chromatic scale</a> there are
12 <!-- /@w -->keys, one on <!-- /@w -->c, one on c-sharp, etc.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#key-signature">key signature</a>.
<p><a name="key-signature"></a>
<h3 class="section">1.156 key signature</h3>
<p>ES: armadura (de la clave),
I: armatura di chiave,
F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
NL: toonsoort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
FI: sävellajiosoitus.
<p>The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
<p><a href="#accidental">accidental</a>.
<p><a name="laissez-vibrer"></a>
<h3 class="section">1.157 laissez vibrer</h3>
<p>ES: dejar vibrar,
I: ?,
F: laissez vibrer,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From French, ‘Let vibrate’]. Most frequently associated with harp
parts. Marked ‘<samp><span class="samp">l.v.</span></samp>’ in the score.
<p><a name="largo"></a>
<h3 class="section">1.158 largo</h3>
<p>ES: largo,
I: largo,
F: largo,
D: Largo, Langsam, Breit,
NL: largo,
DK: largo,
S: largo,
FI: largo, hitaasti, leveästi.
<p>Very slow in tempo, usually combined with great expressiveness.
<em>Larghetto</em> is less slow than largo.
<p><a name="leading-note"></a>
<h3 class="section">1.159 leading note</h3>
<p>ES: sensible,
I: sensibile,
F: note sensible,
D: Leitton,
NL: leidtoon,
DK: ledetone,
S: ledton,
FI: johtosävel.
<p>The seventh <a href="#scale-degree">scale degree</a>, a <a href="#semitone">semitone</a> below the tonic; so
called because of its strong tendency to ‘lead up’ (resolve upwards)
to the tonic scale degree.
<p><a name="ledger-line"></a>
<h3 class="section">1.160 ledger line</h3>
<p>ES: línea adicional,
I: tagli addizionali,
F: ligne supplémentaire,
D: Hilfslinie,
NL: hulplijntje,
DK: hjælpelinie,
S: hjälplinje,
FI: apuviiva.
<p>A ledger line is an extension of the staff.
<p class="noindent"><p>
<a href="8a/lily-ed8b0f77.ly">
<img align="middle"
border="0" src="8a/lily-ed8b0f77.png" alt="[image of music]">
</a>
</p>
<p><a name="legato"></a>
<h3 class="section">1.161 legato</h3>
<p>ES: legato,
I: legato,
F: legato, lié,
D: legato, gebunden,
NL: legato,
DK: legato,
S: legato,
FI: legato, sitoen.
<p>To be performed (a) without any perceptible interruption between the
notes, unlike (b) <em>leggiero</em> or <em>non-legato</em>, (c)
<em>portato</em>, and (d) <a href="#staccato">staccato</a>.
<p class="noindent"><p>
<a href="dd/lily-4ce9e855.ly">
<img align="middle"
border="0" src="dd/lily-4ce9e855.png" alt="[image of music]">
</a>
</p>
<p><a name="legato-curve"></a>
<h3 class="section">1.162 legato curve</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#slur">slur</a>, <a href="#legato">legato</a>.
<p><a name="leger-line"></a>
<h3 class="section">1.163 leger line</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ledger-line">ledger line</a>.
<p><a name="ligature"></a>
<h3 class="section">1.164 ligature</h3>
<p>ES: ligadura,
I: ?,
F: ligature,
DE: Ligatur,
NL: ?,
DK: ?,
S: ?,
FI: ligatuura.
<p>A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
Gregorian chant notation roughly since the 9th century to denote ascending
or descending sequences of notes. In early notation, ligatures were used
for monophonic tunes (Gregorian chant) and very soon denoted also the way of
performance in the sense of articulation. With the invention of the metric
system of the white mensural notation, the need for ligatures to denote such
patterns disappeared.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>.
<p><a name="lilypond"></a>
<h3 class="section">1.165 lilypond</h3>
<p>UK: lily pond,
ES: estanque de nenúfares,
I: stagno del giglio,
F: étang de nénuphars, étang de nymphéas,
D: Seerosenteich,
NL: lelievijver,
DK: liliedam,
S: liljedamm,
FI: liljalampi.
<p>A pond with lilies floating in it.
Also, the name of a music typesetting program.
<p><a name="line"></a>
<h3 class="section">1.166 line</h3>
<p>ES: línea,
I: linea,
F: ligne,
D: Linie, Notenlinie,
NL: lijn,
DK: nodelinie,
S: notlinje,
FI: viiva, nuottiviiva.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#staff">staff</a>.
<p><a name="loco"></a>
<h3 class="section">1.167 loco</h3>
<p>ES: en su lugar,
I: loco,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From Italian, ‘place’]. Instruction to play the following passage at the
written pitch. Cancels octave mark (q.v.).
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#octave-mark">octave mark</a>, <a href="#octave-marking">octave marking</a>.
<p><a name="long-appoggiatura"></a>
<h3 class="section">1.168 long appoggiatura</h3>
<p>ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
D: Vorhalt,
NL: Lange voorslag,
DK: langt forslag,
S: långt förslag,
FI: pitkä appoggiatura, pitkä etuhele.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#appoggiatura">appoggiatura</a>.
<p><a name="longa"></a>
<h3 class="section">1.169 longa</h3>
<p>ES: longa,
I: longa,
F: longa,
D: Longa,
NL: longa,
DK: longa,
S: longa,
FI: longa.
<p>Note value: double length of <a href="#breve">breve</a>.
<p class="noindent"><p>
<a href="68/lily-7dcab432.ly">
<img align="middle"
border="0" src="68/lily-7dcab432.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="lyric-tie"></a>
<h3 class="section">1.170 lyric tie</h3>
<p>ES: ligadura de letra,
I: ?,
F: ?,
D: Textbindung,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<!-- TODO: add languages -->
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#elision">elision</a>.
<p><a name="lyrics"></a>
<h3 class="section">1.171 lyrics</h3>
<p>ES: letra (de la canción),
I: ?,
F: paroles,
D: Liedtext, Gesangtext,
NL: liedtekst,
DK: ?,
S: ?,
FI: sanoitus.
<p><a name="major"></a>
<h3 class="section">1.172 major</h3>
<p>ES: mayor,
I: maggiore,
F: [mode] majeur,
D: Dur,
NL: majeur,
DK: dur,
S: dur,
FI: duuri.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="major-interval"></a>
<h3 class="section">1.173 major interval</h3>
<p>ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
D: großes Intervall,
NL: groot interval,
DK: stort interval,
S: stort intervall,
FI: suuri intervalli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="meantone-temperament"></a>
<h3 class="section">1.174 meantone temperament</h3>
<p>ES: afinación mesotónica,
I: accordatura mesotonica,
F: tempérament mésotonique,
D: mitteltönige Stimmung,
NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
FI: keskisävelviritys.
<p>Temperament yielding acoustically pure thirds by decreasing the
natural fifth by 16 <!-- /@w --><a href="#cent">cent</a>s. Due to the non-circular
character of this <a href="#temperament">temperament</a> only a limited set of keys are
playable. Used for tuning keyboard instruments for performance of
pre-1650 music.
<p><a name="measure"></a>
<h3 class="section">1.175 measure</h3>
<p>ES: compás,
I: misura, battuta,
F: mesure,
D: Takt,
NL: maat,
DK: takt,
S: takt,
FI: tahti.
<p>A group of <a href="#beat">beat</a>s (units of musical time) the first of which
bears an accent. Such groups in numbers of two or more recur
consistently throughout the composition and are marked from each other
by bar-lines.
<p><a href="#meter">meter</a>.
<p><a name="measure-repeat"></a>
<h3 class="section">1.176 measure repeat</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#percent-repeat">percent repeat</a>.
<p><a name="mediant"></a>
<h3 class="section">1.177 mediant</h3>
<p>ES: mediante,
I: mediante, modale,
F: médiante,
NL: mediant,
D: Mediante,
DK: mediant,
S: mediant,
FI: keskisävel.
<ul>
<li>The third <b>scale degree</b>.
<li>A <a href="#chord">chord</a> having its base tone a third from that of another
chord. For example, the tonic chord may be replaced by its lower
mediant (variant tonic).
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<a href="#functional-harmony">functional harmony</a>, <a href="#relative-key">relative key</a>.
<p><a name="melisma"></a>
<h3 class="section">1.178 melisma</h3>
<p>ES: melisma,
I: ?,
F: mélisme,
D: Melisma,
NL: melisma,
DK: ?,
S: ?,
FI: melisma, laulettavan tavun sävelkuvio.
<p>A melisma (plural, from Greek: melismata) is a group of notes or tones
sung on one syllable, especially as applied to liturgical chant.
<p><a name="melisma-line"></a>
<h3 class="section">1.179 melisma line</h3>
<!-- TODO: add languages -->
<p>ES: línea de melisma,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#extender-line">extender line</a>.
<p><a name="melodic-cadence"></a>
<h3 class="section">1.180 melodic cadence</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#cadenza">cadenza</a>.
<p><a name="mensural-notation"></a>
<h3 class="section">1.181 mensural notation</h3>
<!-- TODO: add languages -->
<p>ES: notación mensural,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A system of duration notation whose principles were first established in the
mid-13th century, and that (with various changes) remained in use until about
1600. As such, it is the basis for the notation of rhythms in Western musical
notation.
<p>Franco of Cologne (ca. 1250) is credited with the first systematic explanation
of the notation's principles, so the notation of this earliest period is called
‘Franconian’. Franco's system made use of three note values – long, breve,
and semibreve – each of which was normally equivalent to three of the next
lower note value.
<p>Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
added several note values (the minim, semiminim and fusa) and extended Franco's
principles to govern the relationship between these values. They also put the
duple division of note values on an equal footing with the earlier (preferred)
triple division.
<p>TODO: continue description of French and Italian black notation, and the
relationship betwixt them.
<p><b>White or void mensural notation</b>
<p>In the 15th century, hollow (or void) notes began to substitute for the earlier
solid black ones, which were then free to assume the function of red (or
colored) notes in the earlier notation. ...
<p>TODO: add to definition (including summary info on proportional notation)
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#augmentation">augmentation</a>, <a href="#diminution">diminution</a>, <a href="#ligature">ligature</a>, <a href="#proportion">proportion</a>.
<!-- TODO: more cross-references? -->
<p><a name="meter"></a>
<h3 class="section">1.182 meter</h3>
<p>ES: tiempo, compás,
I: tempo, misura,
F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
S: taktart,
FI: aika-arvo.
<p>The pattern of note values and accents in a composition or a section thereof.
There are a couple ways to classify ‘traditional’ meter (i.e. not polymeter):
by grouping beats and by subdividing the primary beat.
<p><b>By grouping beats</b>:
<ul>
<li><b>duple</b>: groups of two.
<li><b>triple</b>: groups of three.
<li><b>quadruple</b>: groups of four. A special case of duple meter.
<li><b>quintuple</b>: groups of five beats.
<li><b>sextuple</b> meter: groups of six. A special case of:
<ul>
<li>duple meter, subdivided in three; or
<li>triple meter, subdivided in two.
</ul>
<li><b>septuple</b> meter: groups of seven.
<li>and so on.
</ul>
<p>Other than triple meter and its subdivided variants (see below), meters that
feature odd groupings of beats (e.g. quintuple or septuple meter) are not
frequently used prior to the 20th Century.
<p><b>By subdividing the primary beat</b>:
<ul>
<li>simple: groups of two.
<ul>
<li>duple: 2/2, 2/4, 2/8
<li>triple: 3/2, 3/4, 3/8
<li>quadruple: 4/2, 4/4 (also called common time), 4/8
</ul>
<li>compound: groups of three.
<ul>
<li>duple: 6/8
<li>triple: 9/8
<li>quadruple: 12/8
</ul>
</ul>
<p>Time signatures are placed at the beginning of a composition (or section) to
indicate the meter. For instance, a piece written in simple triple meter with a
beat on each quarter note is conventionally written with a time signature of
3/4. Here are some combinations of the two classifications above:
<p>Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
<p class="noindent"><p>
<a href="7b/lily-2e3bdf26.ly">
<img align="middle"
border="0" src="7b/lily-2e3bdf26.png" alt="[image of music]">
</a>
</p>
<p>Simple triple meter:
<p class="noindent"><p>
<a href="e1/lily-e0ee5897.ly">
<img align="middle"
border="0" src="e1/lily-e0ee5897.png" alt="[image of music]">
</a>
</p>
<p>Simple quadruple meter (French folk tune, <em>Au clair de la lune</em>):
<p class="noindent"><p>
<a href="5c/lily-eeeae124.ly">
<img align="middle"
border="0" src="5c/lily-eeeae124.png" alt="[image of music]">
</a>
</p>
<p>Simple quintuple meter (B. Marcello, 1686-1739):
<p class="noindent"><p>
<a href="f6/lily-c96601dd.ly">
<img align="middle"
border="0" src="f6/lily-c96601dd.png" alt="[image of music]">
</a>
</p>
<p>Compound duple meter (unknown):
<p class="noindent"><p>
<a href="dd/lily-8314365c.ly">
<img align="middle"
border="0" src="dd/lily-8314365c.png" alt="[image of music]">
</a>
</p>
<p>Compound triple meter (J.S. Bach, 1685-1750):
<p class="noindent"><p>
<a href="69/lily-92a75ee4.ly">
<img align="middle"
border="0" src="69/lily-92a75ee4.png" alt="[image of music]">
</a>
</p>
<p>Compound quadruple meter (P. Yon, 1886-1943):
<p class="noindent"><p>
<a href="1e/lily-52796a24.ly">
<img align="middle"
border="0" src="1e/lily-52796a24.png" alt="[image of music]">
</a>
</p>
<p><b>‘Monometer’ vs Polymeter</b>
<p>TODO: add information from discussion on lilypond-user related to polymeter.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accent">accent</a>, <a href="#hemiola">hemiola</a>, <a href="#note-value">note value</a>, <a href="#time-signature">time signature</a>
<p><a name="metronome"></a>
<h3 class="section">1.183 metronome</h3>
<p>ES: metrónomo,
I: metronomo,
F: métronome,
D: Metronom,
NL: metronoom,
DK: metronom,
S: metronom,
FI: metronomi.
<p>Device indicating the exact tempo of a piece.
<p>Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
divisions, and patented it as a "metronome". The inevitable lawsuit that
followed acknowledged Winkler as the creator, but by then Mälzel had already
sold many of them, and people had taken to calling it a Mälzel Metronome.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#metronome-mark">metronome mark</a>.
<p><a name="metronome-mark"></a>
<h3 class="section">1.184 metronome mark</h3>
<p>ES: indicación metronómica,
I: indicazione metronomica,
F: indication métronomique,
D: Metronomangabe,
NL: metronoom aanduiding,
DK: metronomtal,
S: metronomangivelse,
FI: metronomiosoitus.
<p>Exact tempo indication (in beats per minute). Abbreviated ‘<samp><span class="samp">M.M.</span></samp>’ or
‘<samp><span class="samp">MM</span></samp>’, which is short for Mälzels Metronom (or Mälzel's Mark,
<em>anglice</em>).
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#metronome">metronome</a>
<p><a name="metronomic-indication"></a>
<h3 class="section">1.185 metronomic indication</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#metronome-mark">metronome mark</a>
<p><a name="mezzo-soprano"></a>
<a name="mezzo_002dsoprano"></a>
<h3 class="section">1.186 mezzo-soprano</h3>
<p>ES: mezzosoprano,
I: mezzo-soprano,
F: mezzo-soprano,
D: Mezzosopran,
NL: mezzosopraan,
DK: mezzosopran,
S: mezzosopran,
FI: mezzosopraano.
<p>The female voice between <a href="#soprano">soprano</a> and <a href="#contralto">contralto</a>.
<p><a name="middle-C"></a>
<h3 class="section">1.187 middle C</h3>
<p>ES: do central,
I: do centrale,
F: do central,
D: eingestrichenes <!-- /@w -->c,
NL: centrale <!-- /@w -->c,
DK: enstreget <!-- /@w -->c,
S: ettstruket <!-- /@w -->c,
FI: keski-C.
<p>First C below the 440 Hz A.
<p class="noindent"><p>
<a href="6f/lily-2ab6112d.ly">
<img align="middle"
border="0" src="6f/lily-2ab6112d.png" alt="[image of music]">
</a>
</p>
<p><a name="minor"></a>
<h3 class="section">1.188 minor</h3>
<p>ES: menor,
I: minore,
F: mode mineur,
D: Moll,
NL: mineur,
DK: mol,
S: moll,
FI: molli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="minor-interval"></a>
<h3 class="section">1.189 minor interval</h3>
<p>ES: intervalo menor,
I: intervallo minore,
F: intervalle mineur,
D: kleines Intervall,
NL: klein interval,
DK: lille interval,
S: litet intervall,
FI: pieni intervalli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="mixolydian-mode"></a>
<h3 class="section">1.190 mixolydian mode</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="mode"></a>
<h3 class="section">1.191 mode</h3>
<p>ES: modo,
I: modo,
F: mode,
D: Kirchentonart, Modus,
NL: modus,
DK: skala,
S: modus, skala,
FI: moodi, kirkkosävelasteikko.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#church-mode">church mode</a>, <a href="#diatonic-scale">diatonic scale</a>.
<p><a name="modulation"></a>
<h3 class="section">1.192 modulation</h3>
<p>ES: modulación,
I: modulazione,
F: modulation,
D: Modulation,
NL: modulatie,
DK: modulation,
S: modulering,
FI: modulaatio, sävellajin vaihdos.
<p>Moving from one <a href="#key">key</a> to another. For example, the second subject
of a <a href="#sonata-form">sonata form</a> movement modulates to the dominant key if the
key is major and to the <a href="#relative-key">relative key</a> if the key is minor.
<p><a name="mordent"></a>
<h3 class="section">1.193 mordent</h3>
<p>I: mordente,
F: mordant,
D: Mordent,
NL: mordent,
DK: mordent,
S: mordent,
FI: mordent, korukuvio.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ornament">ornament</a>.
<p><a name="motif"></a>
<h3 class="section">1.194 motif</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#motive">motive</a>.
<p><a name="motive"></a>
<h3 class="section">1.195 motive</h3>
<p>ES: motivo,
I: inciso,
F: incise,
D: Motiv,
NL: motief,
DK: motiv,
S: motiv,
FI: teema, sävelaihe.
<p>The briefest intelligible and self-contained fragment of a musical
theme or subject.
<p class="noindent"><p>
<a href="0e/lily-321f178a.ly">
<img align="middle"
border="0" src="0e/lily-321f178a.png" alt="[image of music]">
</a>
</p>
<p><a name="movement"></a>
<h3 class="section">1.196 movement</h3>
<p>ES: movimiento,
I: movimento,
F: mouvement,
D: Satz,
NL: deel,
DK: sats,
S: sats,
FI: osa.
<p>Greater musical works like <a href="#symphony">symphony</a> and <a href="#sonata">sonata</a> most often
consist of several – more or less – independant pieces called
movements.
<p><a name="multi-measure-rest"></a>
<a name="multi_002dmeasure-rest"></a>
<h3 class="section">1.197 multi-measure rest</h3>
<p>ES: compases de espera,
I: pausa multipla,
F: pause multiple,
NL: meermaats rust,
D: mehrtaktige Pause, Kirchenpause,
DK: flertaktspause,
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
<p>Multi-measure rests are conventionally typeset with a combination of
longa, breve and whole rests for shorter and a long horizontal bar for
longer spans of rest, with a number above to indicate the duration (in
measures) of the rest. The former style is called ‘Kirchenpausen’ in
German, as a reminiscence of its use in Renaissance vocal polyphony.
<p class="noindent"><p>
<a href="36/lily-0cc72ce2.ly">
<img align="middle"
border="0" src="36/lily-0cc72ce2.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#longa">longa</a>, <a href="#breve">breve</a>.
<p><a name="natural"></a>
<h3 class="section">1.198 natural</h3>
<p>ES: becuadro,
I: bequadro,
F: bécarre,
D: Auflösungszeichen,
NL: herstellingsteken,
DK: opløsningstegn,
S: återställningstecken,
FI: palautusmerkki.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accidental">accidental</a>.
<p><a name="neighbour-tones"></a>
<h3 class="section">1.199 neighbour tones</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#acciaccatura">acciaccatura</a>, <a href="#appoggiatura">appoggiatura</a>, <a href="#grace-notes">grace notes</a>,
<a href="#ornament">ornament</a>.
<p><a name="ninth"></a>
<h3 class="section">1.200 ninth</h3>
<p>ES: novena,
I: nona,
F: neuvième,
D: None,
NL: noon,
DK: none,
S: nona,
FI: nooni.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="non-legato"></a>
<a name="non_002dlegato"></a>
<h3 class="section">1.201 non-legato</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#legato">legato</a>.
<p><a name="note"></a>
<h3 class="section">1.202 note</h3>
<p>ES: nota,
I: nota,
F: note,
D: Note,
NL: noot,
DK: node,
S: not,
FI: nuotti.
<p>Notes are signs by means of which music is fixed in writing. The term is also
used for the sound indicated by a note, and even for the key of the piano
which produces the sound. However, a clear distinction between the terms tone
and <a href="#note">note</a> is strongly recommended. Briefly, one sees a note,
and hears a tone.
<p><a name="note-head"></a>
<h3 class="section">1.203 note head</h3>
<p>ES: cabeza,
I: testa, testina, capocchia,
F: tête de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
FI: nuotin pää.
<p>A head-like sign which indicates pitch by its position on a
<a href="#staff">staff</a> provided with a <a href="#clef">clef</a>, and duration
by a variety of shapes such as hollow or black heads with or without
<a href="#stem">stem</a>s, <a href="#flag">flag</a>s, etc. For percussion
instruments (often having no defined pitch) the note head may indicate the
instrument.
<p><a name="note-names"></a>
<h3 class="section">1.204 note names</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>
<p><a name="note-value"></a>
<h3 class="section">1.205 note value</h3>
<p>ES: valor (duración),
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
NL: nootwaarde,
DK nodeværdi,
S: notvärde,
FI: nuotin aika-arvo.
<p>Note values (durations) are measured as fractions, normally 1/2, of
the next higher note value. The longest duration normally used is
called <em>brevis</em>, but sometimes (mostly in pre-baroque music) the
double-length note value <em>longa</em> or the quadruple-length note
value <em>maxima</em> are used.
<!-- TODO - add maxima to this example, in a way that doesn't break it. -->
<p class="noindent"><p>
<a href="49/lily-2413b994.ly">
<img align="middle"
border="0" src="49/lily-2413b994.png" alt="[image of music]">
</a>
</p>
<!-- TODO - add maxima rest to this example -->
<p class="noindent"><p>
<a href="56/lily-78d465f0.ly">
<img align="middle"
border="0" src="56/lily-78d465f0.png" alt="[image of music]">
</a>
</p>
<p>An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
<p class="noindent"><p>
<a href="22/lily-a01db460.ly">
<img align="middle"
border="0" src="22/lily-a01db460.png" alt="[image of music]">
</a>
</p>
<p>Alternatively note values may be subdivided by other ratios. Most common is
subdivision by <!-- /@w -->3 (<em>triplets</em>) and <!-- /@w -->5 (<em>quintuplets</em>).
Subdivisions by <!-- /@w -->2 (<em>duplets</em>) or <!-- /@w -->4 (<em>quadruplets</em>) of
dotted notes are also frequently used.
<p class="noindent"><p>
<a href="e8/lily-bc3a112c.ly">
<img align="middle"
border="0" src="e8/lily-bc3a112c.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="7c/lily-6045db5e.ly">
<img align="middle"
border="0" src="7c/lily-6045db5e.png" alt="[image of music]">
</a>
</p>
<p><a name="octavation"></a>
<h3 class="section">1.206 octavation</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#octave-marking">octave marking</a>.
<p><a name="octave"></a>
<h3 class="section">1.207 octave</h3>
<p>ES: octava,
I: ottava,
F: octave,
D: Oktave,
NL: octaaf,
DK: oktav,
S: oktav,
FI: oktaavi.
<p>The interval of an octave, sometimes abbreviated ‘<samp><span class="samp">8ve</span></samp>’.
<p>For uses like <em>all'ottava</em> or <em>8va</em> with an extender line or
bracket, or ‘<samp><span class="samp">loco</span></samp>’ see octave marking.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>, <a href="#octave-marking">octave marking</a>.
<p><a name="octave-mark"></a>
<h3 class="section">1.208 octave mark</h3>
<p>ES: indicación de octava,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: oktaavamerkki.
<p>The phrase, abbreviation, or other mark used (with or without an extender line
or bracket) to indicate that the music is to be played in a different octave:
<ul>
<li>‘<samp><span class="samp">15ma</span></samp>’: play two octaves higher
<li>‘<samp><span class="samp">8va</span></samp>’: play one octave higher
<li>‘<samp><span class="samp">8vb</span></samp>’: play one octave lower
<li>‘<samp><span class="samp">8va</span></samp>’ (written below the passage): same as ‘<samp><span class="samp">8vb</span></samp>’
<li>‘<samp><span class="samp">15vb</span></samp>’: play two octaves lower
<li>‘<samp><span class="samp">15va</span></samp>’ (written below the passage): same as ‘<samp><span class="samp">15vb</span></samp>’
</ul>
<p>For longer passages, it may be more practical to mark the octave change at the
beginning with a phrase (see the list below for examples), but without a bracket
or extender line. Then, when the music returns to the written pitch, the octave
change is cancelled with the word <em>loco</em> (q.v.).
<p>To parallel the list above:
<ul>
<li>‘<samp><span class="samp">15ma</span></samp>’: <em>alla quindicesima (alta)</em>
<li>‘<samp><span class="samp">8va</span></samp>’: <em>all'ottava</em> or <em>ottava sopra</em>
<li>‘<samp><span class="samp">8vb</span></samp>’: <em>ottava bassa</em>, <em>ottava sotto</em>
<li>‘<samp><span class="samp">15vb</span></samp>’: <em>alla quindicesima (bassa)</em>
</ul>
<p>In the phrases above, <em>quindicesima</em> is sometimes replaced with
<em>quindecima</em>, which is Latin.
<p>Finally, the music on an entire staff can be marked to be played in a different
octave by putting an 8 or 15 above or below the clef at the beginning. This
octave mark can be applied to any clef, but it is most frequently used with the
G and F clefs.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#F-clef">F clef</a>, <a href="#G-clef">G clef</a>, <a href="#loco">loco</a>, <a href="#octave-marking">octave marking</a>.
<p><a name="octave-marking"></a>
<h3 class="section">1.209 octave marking</h3>
<p>ES: a la octava,
I: all'ottava,
F: octaviation,
D: Oktavierung,
NL: octaveren,
DK: oktavering,
S: oktavering,
FI: oktaavamerkintä.
<p>The practice of marking music – an entire staff, a passage, etc. – to indicate
that it is to be played in a different octave. If applied to the clef at the
beginning of the staff, all music on that staff is to played at the indicated
octave.
<p>For a list of the specific marks used, see <a href="#octave-mark">octave mark</a>.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>, <a href="#loco">loco</a>, <a href="#octave">octave</a>, <a href="#octave-mark">octave mark</a>.
<p><a name="octave-sign"></a>
<h3 class="section">1.210 octave sign</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#octave-mark">octave mark</a>.
<p><a name="ornament"></a>
<h3 class="section">1.211 ornament</h3>
<p>ES: adorno,
I: abbellimento, fioriture,
F: agrément, ornement,
D: Verzierung, Ornament,
NL: versiering,
DK: forsiring,
S: ornament,
FI: koru, hele.
<p>Most commonly used is the <em>trill</em>, the rapid alternation of a given note
with the diatonic <a href="#second">second</a> above it. In the music from the
middle of the 19th century and onwards the trill is performed with the main
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
<p class="noindent"><p>
<a href="4c/lily-55826ae8.ly">
<img align="middle"
border="0" src="4c/lily-55826ae8.png" alt="[image of music]">
</a>
</p>
<p>Other frequently used ornaments are the <em>turn</em>, the <em>mordent</em>, and
the
<em>prall</em> (inverted mordent).
<p class="noindent"><p>
<a href="08/lily-8c820bd2.ly">
<img align="middle"
border="0" src="08/lily-8c820bd2.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#acciaccatura">acciaccatura</a>, <a href="#appoggiatura">appoggiatura</a>, <a href="#grace-notes">grace notes</a>.
<p><a name="ossia"></a>
<h3 class="section">1.212 ossia</h3>
<p>ES: ossia,
I: ossia,
F: ossia,
D: Ossia,
NL: alternatief,
DK: ossia,
S: ossia,
FI: ossia, vaihtoehtoinen esitystapa.
<p>Ossia (otherwise) marks an alternative. It is an added staff or piano
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
<p><a name="part"></a>
<h3 class="section">1.213 part</h3>
<p>ES: parte,
I: voce, parte,
F: partie,
D: Stimme,
NL: partij,
DK: stemme,
S: stämma,
FI: stemma, instrumenttiosuus.
<ul>
<li>In instrumental or choral music, the music for a single
instrument or voice.
<li>in contrapuntal music, a single melodic line in the contrapuntal
web.
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#counterpoint">counterpoint</a>
<p><a name="pause"></a>
<h3 class="section">1.214 pause</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#fermata">fermata</a>.
<p><a name="pennant"></a>
<h3 class="section">1.215 pennant</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#flag">flag</a>.
<p><a name="percent-repeat"></a>
<h3 class="section">1.216 percent repeat</h3>
<p>LilyPond-specific term to indicate the repetition of a musical expression on a
single staff, as opposed to the more usual definition of repeat, which affects
all parts. The musical expression can be anything from a single note or note
pattern to one or more measures. There are other names for this symbol:
<ul>
<li>simile mark
<li>slash mark, or slash repeat
<li>beat repeat
<li>measure (or multi-measure) repeat
</ul>
<p class="noindent"><p>
<a href="9b/lily-6f252fa0.ly">
<img align="middle"
border="0" src="9b/lily-6f252fa0.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#repeat">repeat</a>,
<a href="http://www.music.vt.edu/musicdictionary/textr/Repeat.html">University of Vermont Music Dictionary</a>.
<p><a name="percussion"></a>
<h3 class="section">1.217 percussion</h3>
<p>ES: percusión,
I: percussioni,
F: percussion,
D: Schlagzeug, Schlagwerk,
NL: slagwerk,
DK: slagtøj,
S: slagverk,
FI: lyömäsoittimet.
<p>A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
kettledrums (I: <em>timpani</em>, D: <em>Pauken</em>), snare drum, bass drum,
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
<p><a name="perfect-interval"></a>
<h3 class="section">1.218 perfect interval</h3>
<p>ES: intervalo justo,
I: intervallo giusto,
F: intervalle juste,
D: reines Intervall,
NL: rein interval,
DK: rent interval,
S: rent intervall,
FI: puhdas intervalli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="phrase"></a>
<h3 class="section">1.219 phrase</h3>
<p>ES: frase,
I: frase,
F: phrase,
D: Phrase,
NL: frase, zin,
DK: frase,
S: fras,
FI: fraasi, lause.
<p>A natural division of the melodic line, comparable to a sentence of speech.
<p><a name="phrasing"></a>
<h3 class="section">1.220 phrasing</h3>
<p>ES: fraseo,
I: fraseggio,
F: phrasé,
D: Phrasierung,
NL: frasering,
DK: frasering,
S: frasering,
FI: fraseeraus, jäsentäminen.
<p>The clear rendering in musical performance of the <a href="#phrase">phrase</a>s of
the melody. Phrasing may be indicated by a <a href="#slur">slur</a>.
<p><a name="piano"></a>
<h3 class="section">1.221 piano</h3>
<p>ES: piano,
I: piano,
F: piano,
D: piano, leise,
NL: piano,
DK: piano,
S: piano,
FI, piano, hiljaa.
<p><em>piano</em> (<b>p</b>) soft, <em>pianissimo</em> (<b>pp</b>) very soft,
<em>mezzo piano</em> (<b>mp</b>) medium soft.
<p><a name="pickup"></a>
<h3 class="section">1.222 pickup</h3>
<p>ES: anacrusa,
I: anacrusi,
F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
S: upptakt,
FI: kohotahti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#anacrusis">anacrusis</a>.
<p><a name="pitch"></a>
<h3 class="section">1.223 pitch</h3>
<p>ES: altura,
I: altezza,
F: hauteur,
D: Tonhöhe,
NL: toonhoogte,
DK: tonehøjde,
S: tonhöjd,
FI: sävelkorkeus.
<ol type=1 start=1>
<li>The perceived quality of a sound that is primarily a function of its
fundamental frequency.
<li>[FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
<li>[FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
association of a particular frequency with a particular pitch name, e.g., c' =
256 Hz.
</ol>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pitch-names">Pitch names</a>.
<p><a name="pizzicato"></a>
<h3 class="section">1.224 pizzicato</h3>
<p>ES: pizzicato,
I: pizzicato,
F: pizzicato,
D: pizzicato,
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
FI: pizzicato, näppäillen.
<p>A technique for stringed instruments, abbr. <em>pizz</em>. To play by plucking
the strings.
<p><a name="polymeter"></a>
<h3 class="section">1.225 polymeter</h3>
<p>ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<ul>
<li>The simultaneous use of two or more meters, in two or more parts.
<li>The <em>successive</em> use of different meters in one or more parts.
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#polymetric">polymetric</a> (adj.)
<p><a name="polymetric"></a>
<h3 class="section">1.226 polymetric</h3>
<p>ES: polimétrico,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Using two or more metric frameworks simultaneously or in alternation.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#polymeter">polymeter</a> (noun)
<p><a name="polymetric-time-signature"></a>
<h3 class="section">1.227 polymetric time signature</h3>
<p>ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A time signature that indicates regularly alternating polymetric time.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#polymetric">polymetric</a>.
<p><a name="polyphony"></a>
<h3 class="section">1.228 polyphony</h3>
<p>ES: polifonía,
I: polifonia,
F: polyphonie,
D: Polyphonie, Mehrstimmigkeit,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
FI: polyfonia, moniäänisyys.
<p>Music written in a combination of several simultaneous voices (parts)
of a more or less pronounced individuality.
<p><a href="#counterpoint">counterpoint</a>.
<p><a name="portato"></a>
<h3 class="section">1.229 portato</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#legato">legato</a>.
<p><a name="presto"></a>
<h3 class="section">1.230 presto</h3>
<p>ES: presto,
I: presto,
F: presto,
D: Presto, Sehr schnell,
NL: presto, Sehr schnell,
DK: presto,
S: presto,
FI: presto, hyvin nopeasti.
<p>Very quick, i.e., quicker than <a href="#allegro">allegro</a>; <em>prestissimo</em>
denotes the highest possible degree of speed.
<p><a name="proportion"></a>
<h3 class="section">1.231 proportion</h3>
<p>ES: proporción,
I: proprozione (?),
F: proportion,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From Latin <em>proportio</em>] In mensural notation, a ratio that expresses the
relationship between the note values that follow with those that precede; or
between the note values of a passage and the ‘normal’ relationship of note
values to the metrical pulse.
<!-- TODO: add an example or two. O => 4/3, and its modern equivalent -->
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>
<p><a name="Pythagorean-comma"></a>
<h3 class="section">1.232 Pythagorean comma</h3>
<p>ES: coma pitagórica,
I: comma pitagorico,
F: comma pythagoricien,
D: Pythagoräisches Komma,
NL: komma van Pythagoras,
DK: pythagoræisk komma,
S: pytagoreiskt komma,
FI: pytagorinen komma.
<p>Originally, the interval by which the sum of six whole tones exceeds the octave
– (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
<p>Modern acoustical theory defines it as the interval by which twelve fifths
exceed seven octaves. To put it another way: A sequence of fifths that starts
on C eventually circles back to C. However, this C is 23.5 <a href="#cent">cent</a>s higher
than the C obtained by adding 7 octaves. The difference between those two
pitches is the Pythagorean comma.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#cent">cent</a>, <a href="#temperament">temperament</a>.
<p><a name="quadruplet"></a>
<h3 class="section">1.233 quadruplet</h3>
<p>ES: cuatrillo,
I: quartina,
F: quartolet,
D: Quartole,
NL: kwartool,
DK: kvartol,
S: kvartol,
FI: kvartoli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="quality"></a>
<h3 class="section">1.234 quality</h3>
<p>ES: ?,
I: qualità (?),
F: qualité (?),
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>The quality of a triad is determined by the precise arrangement of its
intervals. Tertian triads can be described as a series of three notes. The
first element is the root note (or simply ‘root’) of the chord, the second
note is the ‘third’ of the chord, and the last note is the ‘fifth’ of
the chord. These are described below:
<p><table summary="">
<tr align="left"><th valign="top" width="10%">Chord name </th><th valign="top" width="35%">Component intervals
</th><th valign="top" width="35%">Example
</th><th valign="top" width="20%">Symbol
<br></th></tr><tr align="left"><td valign="top" width="10%">major triad </td><td valign="top" width="35%">major third/perfect fifth
</td><td valign="top" width="35%">C-E-G
</td><td valign="top" width="20%">C, CM, Cma, Cmaj, CΔ
<br></td></tr><tr align="left"><td valign="top" width="10%">minor triad </td><td valign="top" width="35%">minor third/perfect fifth
</td><td valign="top" width="35%">C-E♭-G
</td><td valign="top" width="20%">Cm, Cmi, Cmin, C-
<br></td></tr><tr align="left"><td valign="top" width="10%">augmented triad </td><td valign="top" width="35%">major third/augmented fifth
</td><td valign="top" width="35%">C-E-G♯
</td><td valign="top" width="20%">C+, C^+, Caug
<br></td></tr><tr align="left"><td valign="top" width="10%">diminished triad </td><td valign="top" width="35%">minor third/diminished fifth
</td><td valign="top" width="35%">C-E♭-G♭
</td><td valign="top" width="20%">Cm(♭5), Cº, Cdim
<br></td></tr></table>
<p>There are various types of seventh chords depending on the quality of the
original chord and the quality of the seventh added.
<p>Five common types of seventh chords have standard symbols. The chord quality
indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#chord">chord</a>.
<p><a name="quarter-note"></a>
<h3 class="section">1.235 quarter note</h3>
<ul>
<li>UK: crotchet
<li>ES: negra
<li>I: semiminima, nera
<li>F: noire
<li>D: Viertel, Viertelnote
<li>NL: kwartnoot
<li>DK: fjerdedelsnode
<li>S: fjärdedelsnot
<li>FI: neljäsosanuotti
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="quarter-rest"></a>
<h3 class="section">1.236 quarter rest</h3>
<ul>
<li>UK: crotchet rest
<li>ES: silencio de negra
<li>I: pausa di semiminima
<li>F: soupir
<li>D: Viertelpause
<li>NL: kwartrust
<li>DK: fjerdedelspause
<li>S: fjärdedelspaus
<li>FI: neljäsosatauko
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="quarter-tone"></a>
<h3 class="section">1.237 quarter tone</h3>
<p>ES: cuarto de tonno,
I: ?,
F: quart de ton,
D: Viertelton,
NL: kwart toon,
DK: ?,
S: kvartston,
FI: ?.
<p>An interval equal to half a semitone.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>
<p><a name="quintuplet"></a>
<h3 class="section">1.238 quintuplet</h3>
<p>ES: cinquillo, quintillo.
I: quintina,
F: quintolet,
D: Quintole,
NL: kwintool,
DK: kvintol,
S: kvintol,
FI: kvintoli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="rallentando"></a>
<h3 class="section">1.239 rallentando</h3>
<p>ES: rallentando,
I: rallentando,
F: rallentando,
D: rallentando, langsamer werden,
NL: rallentando,
DK: rallentando,
S: rallentando,
FI: rallerdando, hidastuen.
<p>Abbreviation "rall.".
<p><a href="#ritardando">ritardando</a>.
<p><a name="relative-key"></a>
<h3 class="section">1.240 relative key</h3>
<p>ES: tono relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
FI: rinnakkaissävellaji.
<p><a href="#major">major</a> and <a href="#minor">minor</a> <a href="#key">key</a>s with the same <a href="#key-signature">key signature</a>.
<p class="noindent"><p>
<a href="1e/lily-c8caa18d.ly">
<img align="middle"
border="0" src="1e/lily-c8caa18d.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="d7/lily-a7be958f.ly">
<img align="middle"
border="0" src="d7/lily-a7be958f.png" alt="[image of music]">
</a>
</p>
<p><a name="repeat"></a>
<h3 class="section">1.241 repeat</h3>
<p>ES: repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
NL: herhaling,
DK: gentagelse,
S: repris,
FI: toisto.
<p class="noindent"><p>
<a href="9b/lily-05d44a4e.ly">
<img align="middle"
border="0" src="9b/lily-05d44a4e.png" alt="[image of music]">
</a>
</p>
<p><a name="rest"></a>
<h3 class="section">1.242 rest</h3>
<p>ES: silencio,
I: pausa,
F: silence,
D: Pause,
NL: rust,
DK: pause,
S: paus,
FI: tauko.
<!-- F: 'pause' if you mean a whole rest, 'silence' if you do not want to -->
<!-- specify the rest's value. -->
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="rhythm"></a>
<h3 class="section">1.243 rhythm</h3>
<p>ES: ritmo,
I: ritmo,
F: rythme,
D: Rhythmus,
NL: ritme,
DK: rytme,
S: rytm,
FI: rytmi.
<ul>
<li>Metrical rhythm in which every time value is a multiple or
fraction of a fixed unit of time, called <a href="#beat">beat</a>, and in which the
normal <a href="#accent">accent</a> recurs in regular intervals, called <a href="#measure">measure</a>.
The basic scheme of time values is called <a href="#meter">meter</a>.
<li>Measured rhythm which lacks regularly recurrent accent. In
modern notation such music appears as a free alternation of different
measures.
<li>Free rhythm, i.e., the use of temporal values having no common
metrical unit (beat).
</ul>
<p><a name="ritardando"></a>
<h3 class="section">1.244 ritardando</h3>
<p>ES: ritardando,
I: ritardando,
F: ritardando,
D: ritardando, langsamer werden,
NL: ritardando,
DK: ritardando,
S: ritardando,
FI: ritardando, hidastuen,
<p>Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
<p><a name="ritenuto"></a>
<h3 class="section">1.245 ritenuto</h3>
<p>ES: ritenuto,
I: ritenuto,
F: ritenuto,
D: ritenuto,
NL: ritenuto,
DK: ritenuto,
S: ritenuto,
FI: ritenuto, hidastaen.
<p>Immediate reduction of speed.
<p><a name="scale"></a>
<h3 class="section">1.246 scale</h3>
<p>ES: escala,
I: scala,
F: gamme,
D: Tonleiter,
NL: toonladder,
DK: Skala,
S: skala,
FI: asteikko, sävelasteikko.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#diatonic-scale">diatonic scale</a>.
<p><a name="scale-degree"></a>
<h3 class="section">1.247 scale degree</h3>
<p>ES: grado (de la escala),
I: grado della scala,
F: degré [de la gamme],
D: Tonleiterstufe,
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
FI: sävelaste, asteikon sävel.
<p>Names and symbols used in harmonic analysis to denote tones of the
scale as roots of chords. The most important are degrees I = tonic
(T), IV = subdominant (S) and V = dominant (D).
<p class="noindent"><p>
<a href="df/lily-def064e8.ly">
<img align="middle"
border="0" src="df/lily-def064e8.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#functional-harmony">functional harmony</a>.
<p><a name="scordatura"></a>
<h3 class="section">1.248 scordatura</h3>
<p>ES: encordado,
I: scordatura,
F: à cordes ravallées,
D: Skordatur,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From Italian, <em>scordare</em>, ‘to mistune’.] Unconventional
tuning of stringed instruments, particularly lutes or violins. Used
to:
<ul>
<li>facilitate pitch combinations that would otherwise be difficult
or impossible
<li>alter the characteristic timbre of the instrument, for example,
to increase brilliance
<li>reinforce certain sonorities or tonalities by making them
available on open strings
<li>imitate other instruments
<li>etc.
</ul>
<p>Tunings that could be called <var>scordatura</var> first appeared early in
the 16th Century and became commonplace in the 17th.
<p><a name="score"></a>
<h3 class="section">1.249 score</h3>
<p>ES: partitura,
I: partitura,
F: partition,
D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
S: partitur,
FI: partituuri.
<p>A copy of orchestral, choral, or chamber music showing what each
instrument is to play, each voice to sing, having each part arranged
one underneath the other on different staves <a href="#staff">staff</a>.
<p><a name="second"></a>
<h3 class="section">1.250 second</h3>
<p>ES: segunda,
I: secunda,
F: seconde,
D: Sekunde,
NL: secunde,
DK: sekund,
S: sekund,
FI: sekunti.
<p>The <a href="#interval">interval</a> between two neigbouring tones of a scale. A
<a href="#diatonic-scale">diatonic scale</a> consists of alternating <a href="#semitone">semitone</a>s and
<a href="#whole-tone">whole tone</a>s, hence the size of a second depends on the scale
degrees in question.
<p><a name="semitone"></a>
<h3 class="section">1.251 semitone</h3>
<p>ES: semitono,
I: semitono,
F: demi-ton,
D: Halbton,
NL: halve toon,
DK: halvtone,
S: halvton,
FI: puolisävel.
<p>The interval of a minor second. The (usually) smallest interval in European
composed music. The interval between two neighbouring tones on the piano
keyboard – including black and white keys – is a semitone. An octave may
be divided into 12 <!-- /@w -->semitones.
<p class="noindent"><p>
<a href="77/lily-b88f2ebe.ly">
<img align="middle"
border="0" src="77/lily-b88f2ebe.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>, <a href="#chromatic-scale">chromatic scale</a>.
<p><a name="seventh"></a>
<h3 class="section">1.252 seventh</h3>
<p>ES: séptima,
I: settima,
F: septième,
D: Septime,
NL: septiem,
DK: septim,
S: septim,
FI: septimi.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="sextolet"></a>
<h3 class="section">1.253 sextolet</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#sextuplet">sextuplet</a>, <a href="#note-value">note value</a>.
<p><a name="sextuplet"></a>
<h3 class="section">1.254 sextuplet</h3>
<p>ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
NL: sextool,
DK: sekstol,
S: sextol,
FI: sekstoli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="shake"></a>
<h3 class="section">1.255 shake</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#trill">trill</a>.
<p><a name="sharp"></a>
<h3 class="section">1.256 sharp</h3>
<p>ES: sostenido,
I: diesis,
F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
S: korsförtecken,
FI: korotusmerkki.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accidental">accidental</a>.
<p><a name="simile"></a>
<h3 class="section">1.257 simile</h3>
<p>ES: simile,
I: simile,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From It, ‘in the same manner’] Performance direction: the music thus marked
is to be played in the same manner (i.e. with the same articulations, dynamics,
etc.) as the music that precedes it.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p>TODO: Where else could I refer the reader?
<p><a name="simple-meter"></a>
<h3 class="section">1.258 simple meter</h3>
<p>ES: compás simple, compás de subdivisión binaria,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#compound-meter">compound meter</a>, <a href="#meter">meter</a>.
<p><a name="sixteenth-note"></a>
<h3 class="section">1.259 sixteenth note</h3>
<ul>
<li>UK: semiquaver
<li>ES: semicorchea
<li>I: semicroma
<li>F: double croche
<li>D: Sechzehntel, Sechzehntelnote
<li>NL: zestiende noot
<li>DK: sekstendedelsnode
<li>S: sextondelsnot
<li>FI: kuudestoistaosanuotti
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="sixteenth-rest"></a>
<h3 class="section">1.260 sixteenth rest</h3>
<ul>
<li>UK: semiquaver rest
<li>ES: silencio de semicorchea
<li>I: pausa di semicroma
<li>F: quart de soupir
<li>D: Sechzehntelpause
<li>NL: zestiende rust
<li>DK: sekstendedelspause
<li>S: sextondelspaus
<li>FI: kuudestoistaosatauko
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="sixth"></a>
<h3 class="section">1.261 sixth</h3>
<p>ES: sexta,
I: sesta,
F: sixte,
D: Sexte,
NL: sext,
DK: sekst,
S: sext,
FI: seksti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="sixty-fourth-note"></a>
<a name="sixty_002dfourth-note"></a>
<h3 class="section">1.262 sixty-fourth note</h3>
<ul>
<li>UK: hemidemisemiquaver
<li>ES: semifusa
<li>I: semibiscroma
<li>F: quadruple croche
<li>D: Vierundsechzigstel, Vierundsechzigstelnote
<li>NL: vierenzestigste noot
<li>DK: fireogtredsindstyvendedelsnode
<li>S: sextiofjärdedelsnot
<li>FI: kuudeskymmenesneljäsosanuotti
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="sixty-fourth-rest"></a>
<a name="sixty_002dfourth-rest"></a>
<h3 class="section">1.263 sixty-fourth rest</h3>
<ul>
<li>UK: hemidemisemiquaver rest
<li>ES: silencio de semifusa
<li>I: pausa di semibiscroma
<li>F: seizième de soupir
<li>D: Vierundsechzigstelpause
<li>NL: vierenzestigste rust
<li>DK: fireogtredsindstyvendedelspause
<li>S: sextiofjärdedelspaus
<li>FI: kuudeskymmenesneljäsosatauko
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="slash-repeat"></a>
<h3 class="section">1.264 slash repeat</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#percent-repeat">percent repeat</a>.
<p><a name="slur"></a>
<h3 class="section">1.265 slur</h3>
<p>ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
F: liaison, coulé,
D: Bogen (Legatobogen, Phrasierungsbogen),
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
S: båge,
FI: kaari.
<p>A slur above or below a group of notes indicates that they are to be
played <a href="#legato">legato</a>, e.g., with one stroke of the violin bow or with
one breath in singing.
<p><a name="solmization"></a>
<h3 class="section">1.266 solmization</h3>
<p>ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
NL: solmizatie,
DK: solmisation,
S: solmisation,
FI: suhteelliset laulunimet.
<p>General term for systems of designating the degrees of the
<a href="#scale">scale</a>, not by letters, but by syllables (<em>do</em> (<em>ut</em>),
<em>re</em>, <em>mi</em>, <em>fa</em>, <em>sol</em>, <em>la</em>, <em>si</em>
(<em>ti</em>)).
<p><a href="#scale-degree">scale degree</a>.
<p><a name="sonata"></a>
<h3 class="section">1.267 sonata</h3>
<p>ES: sonata,
I: sonata,
F: sonate,
D: Sonate,
NL: sonate,
DK: sonate,
S: sonat,
FI: sonaatti.
<p>In its present-day meaning a sonata denotes an instrumental
composition for piano or for some other instrument with piano
accompaniment, which consists of three or four independant pieces,
called movements.
<p><a name="sonata-form"></a>
<h3 class="section">1.268 sonata form</h3>
<p>ES: forma sonata,
I: forma sonata,
F: [en] forme de sonate,
D: Sonatenform,
NL: hoofdvorm, sonatevorm,
DK: sonateform,
S: sonatform,
FI: sonaattimuoto.
<p>A form used frequently for single movements of the <a href="#sonata">sonata</a>,
<a href="#symphony">symphony</a>, quartet, etc. A movement written in sonata form falls
into three sections called <em>exposition</em>, <em>development</em> and
<em>recapitulation</em>. In the exposition the composer introduces some
musical ideas, consisting of a number of themes; in the development
section the composer ‘develops’ this material, and in the
recapitulation the composer repeats the exposition, with certain
modifications. The exposition contains a number of themes that fall
into two groups, often called first and second subject. Other
melodies occurring in each group are considered as continuations of
these two. The second theme is in another key, normally in the key of
the <a href="#dominant">dominant</a> if the <a href="#tonic">tonic</a> is <a href="#major">major</a>, and in the
<a href="#relative-key">relative key</a> if the tonic is <a href="#minor">minor</a>.
<p><a name="song-texts"></a>
<h3 class="section">1.269 song texts</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#lyrics">lyrics</a>.
<p><a name="soprano"></a>
<h3 class="section">1.270 soprano</h3>
<p>ES: soprano,
I: soprano,
F: soprano,
D: Sopran,
NL: sopraan,
DK: sopran,
S: sopran,
FI: sopraano, korkea naisääni.
<p>The highest female voice.
<p><a name="staccato"></a>
<h3 class="section">1.271 staccato</h3>
<p>ES: picado,
I: staccato,
F: staccato, piqué, détaché,
D: staccato,
NL: staccato,
DK: staccato,
S: staccato,
FI: staccato, lyhyesti, terävästi.
<p>Playing the note(s) short. Staccato is indicated by a dot above or
below the note head.
<p class="noindent"><p>
<a href="fd/lily-21971893.ly">
<img align="middle"
border="0" src="fd/lily-21971893.png" alt="[image of music]">
</a>
</p>
<p><a name="staff"></a>
<h3 class="section">1.272 staff</h3>
<p>ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
D: Notensystem, Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
S: notsystem,
FI: nuottiviivasto.
<p>A staff (plural: staves) is a series of (normally five) horizontal
lines upon and between which the musical notes are written, thus
indicating (in connection with a <a href="#clef">clef</a>) their pitch. Staves for
<a href="#percussion">percussion</a> instruments may have fewer lines.
<p><a name="staves"></a>
<h3 class="section">1.273 staves</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#staff">staff</a>.
<p><a name="stem"></a>
<h3 class="section">1.274 stem</h3>
<p>ES: plica,
I: gamba,
F: queue,
D: Hals, Notenhals, Stiel,
NL: stok,
DK: hals,
S: skaft,
FI: nuottipalkki.
<p>Vertical line above or below a <a href="#note-head">note head</a> shorter than a
whole note.
<p><a href="#beam">beam</a>.
<p class="noindent"><p>
<a href="67/lily-882247bf.ly">
<img align="middle"
border="0" src="67/lily-882247bf.png" alt="[image of music]">
</a>
</p>
<p><a name="stringendo"></a>
<h3 class="section">1.275 stringendo</h3>
<p>ES: ?,
I: stringendo,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[It, ‘pressing’]. Pressing, urging, or hastening the time, as to a
climax.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#accelerando">accelerando</a>.
<p><a name="strings"></a>
<h3 class="section">1.276 strings</h3>
<p>ES: arcos, cuerdas,
I: archi,
F: cordes,
D: Streicher,
NL: strijkers,
DK: strygere,
S: stråkar,
FI: jouset.
<p>A family of stringed musical instruments played with a bow. Strings
commonly used in a symphony orchestra are violin, viola, violoncello,
and double bass.
<p><a name="strong-beat"></a>
<h3 class="section">1.277 strong beat</h3>
<p>ES: tiempo fuerte,
I: tempo forte,
F: temps fort,
D: betonter Taktteil oder Taktschlag,
NL: thesis,
D: betonet taktslag,
S: betonat taktslag,
FI: tahdin vahva isku.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#beat">beat</a>, <a href="#accent">accent</a>, <a href="#measure">measure</a>, <a href="#rhythm">rhythm</a>.
<p><a name="subdominant"></a>
<h3 class="section">1.278 subdominant</h3>
<p>ES: subdominante,
I: sottodominante,
F: sous-dominante,
D: Subdominante,
NL: subdominant,
DK: subdominant,
S: subdominant,
FI: subdominantti, alidominantti.
<p>The fourth <a href="#scale-degree">scale degree</a>.
<p><a href="#functional-harmony">functional harmony</a>.
<p><a name="submediant"></a>
<h3 class="section">1.279 submediant</h3>
<p>ES: submediante,
I: sopratonica,
F: sous-médiante,
D: Submediante,
NL: submediant,
DK: Submediant,
S: submediant,
FI: alikeskisävel.
<p>The sixth <a href="#scale-degree">scale degree</a>.
<p><a name="subtonic"></a>
<h3 class="section">1.280 subtonic</h3>
<p>ES: subtónica,
I: sottotonica,
F: sous-tonique,
D: Subtonika,
NL: subtonica,
DK: Subtonika,
S: subtonika,
FI: subtoonika, alitoonika.
<p>The seventh <a href="#scale-degree">scale degree</a>.
<p><a name="sul-G"></a>
<h3 class="section">1.281 sul G</h3>
<p>ES: sobre la cuerda de Sol,
I: sul g,
F: sur la G,
D: auf G, auf der G-Saite,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Indicates that the indicated passage (or note) should be played on the
G string.
<p><a name="superdominant"></a>
<h3 class="section">1.282 superdominant</h3>
<p>ES: superdominante,
I: sopradominante,
F: sus-dominante,
D: Superdominante,
NL: superdominant,
DK: superdominant,
S: superdominant,
FI: ylidominantti.
<p>The sixth <a href="#scale-degree">scale degree</a>.
<p><a name="supertonic"></a>
<h3 class="section">1.283 supertonic</h3>
<p>ES: supertónica,
I: sopratonica,
F: sus-tonique,
D: Supertonika,
NL: supertonica,
DK: supertonika,
S: supertonika,
FI: ylitoonika.
<p>The second <a href="#scale-degree">scale degree</a>.
<p><a name="symphony"></a>
<h3 class="section">1.284 symphony</h3>
<p>ES: sinfonía,
I: sinfonia,
F: symphonie,
D: Sinfonie, Symphonie,
NL: symfonie,
DK: symfoni,
S: symfoni,
FI: sinfonia.
<p>A symphony may be defined as a <a href="#sonata">sonata</a> for orchestra.
<p><a name="syncopation"></a>
<h3 class="section">1.285 syncopation</h3>
<p>ES: síncopa,
I: sincope,
F: syncope,
D: Synkope,
NL: syncope,
DK: synkope,
S: synkop,
FI: synkooppi.
<p>Any deliberate upsetting of the normal pulse of <a href="#meter">meter</a>,
<a href="#accent">accent</a>, and <a href="#rhythm">rhythm</a>. The occidental system of musical
rhythm rests upon the grouping of equal beats into groups of two or
three, with a regularly recurrent accent on the first beat of each
group. Any deviation from this scheme is felt as a disturbance or
contradiction between the underlaying (normal) pulse and the actual
(abnormal) rhythm.
<p class="noindent"><p>
<a href="f9/lily-3a9de458.ly">
<img align="middle"
border="0" src="f9/lily-3a9de458.png" alt="[image of music]">
</a>
</p>
<p><a name="syntonic-comma"></a>
<h3 class="section">1.286 syntonic comma</h3>
<p>ES: coma sintónica, coma de Dídimo,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
FI: syntoninen komma, terssien taajuusero luonnollisessa ja
Pytagorisessa viritysjärjestelmässä.
<p>Named after Ptolemy's syntonic diatonic genus. Originally, the difference
by which the ditone exceeds the pure major third obtained by Pythagorean
tuning – (9:8)^2 - 5:4 = 81:80, or 21.5 <!-- /@w -->cents.
<p>Modern acoustical theory defines it as the interval by which four fifths exceed
the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
<p>This comma is also known as the comma of Didymus, or didymic comma.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#Pythagorean-comma">Pythagorean comma</a>
<p><a name="system"></a>
<h3 class="section">1.287 system</h3>
<p>ES: sistema,
I: accollatura,
F: système,
D: Notensystem, Partitur,
NL: systeem,
DK: system,
S: system,
FI: nuottijärjestelmä.
<p>The collection of staves (<a href="#staff">staff</a>), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
<p><a name="temperament"></a>
<h3 class="section">1.288 temperament</h3>
<p>ES: temperamento,
I: temperamento,
F: tempérament,
D: Stimmung, Temperatur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
FI: viritysjärjestelmä.
<p>Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
<p><a href="#meantone-temperament">meantone temperament</a>, <a href="#equal-temperament">equal temperament</a>.
<p><a name="tempo-indication"></a>
<h3 class="section">1.289 tempo indication</h3>
<p>ES: indicación de tempo,
I: indicazione di tempo,
F: indication de tempo,
D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
FI: tempomerkintä.
<p>The rate of speed of a composition or a section thereof, ranging from
the slowest to the quickest, as is indicated by tempo marks as
<a href="#largo">largo</a>, <a href="#adagio">adagio</a>, <a href="#andante">andante</a>, <a href="#allegro">allegro</a>, and
<a href="#presto">presto</a>.
<p><a name="tenor"></a>
<h3 class="section">1.290 tenor</h3>
<p>ES: tenor,
I: tenore,
F: ténor,
D: Tenor,
NL: tenor,
DK: tenor,
S: tenor,
FI: tenori, korkea miesääni.
<p>The highest male voice (apart from <a href="#countertenor">countertenor</a>).
<p><a name="tenth"></a>
<h3 class="section">1.291 tenth</h3>
<p>ES: décima,
I: decima,
F: dixième,
D: Dezime,
NL: deciem,
DK: decim,
S: decima,
FI: desimi.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="tenuto"></a>
<h3 class="section">1.292 tenuto</h3>
<p>ES: subrayado (tenuto),
I: tenuto,
F: tenue, tenuto,
D: gehalten, tenuo,
NL: tenuto,
DK: tenuto,
S: tenuto,
FI: viiva, tenuto.
<p>An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
<p><a name="third"></a>
<h3 class="section">1.293 third</h3>
<p>ES: tercera,
I: terza,
F: tierce,
D: Terz,
NL: terts,
DK: terts,
S: ters,
FI: terssi.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="thirty-second-note"></a>
<a name="thirty_002dsecond-note"></a>
<h3 class="section">1.294 thirty-second note</h3>
<ul>
<li>UK: demisemiquaver
<li>ES: fusa
<li>I: biscroma
<li>F: triple croche
<li>D: Zweiunddreissigstel, Zweiunddreissigstelnote
<li>NL: twee-endertigste (32e) noot
<li>DK: toogtredivtedelsnode
<li>S: trettiotvåondelsnot
<li>FI: kolmaskymmeneskahdesosanuotti
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="thirty-second-rest"></a>
<a name="thirty_002dsecond-rest"></a>
<h3 class="section">1.295 thirty-second rest</h3>
<ul>
<li>UK: demisemiquaver rest
<li>ES: silencio de fusa
<li>I: pausa di biscroma
<li>F: huitième de soupir
<li>D: Zweiunddreissigstelpause
<li>NL: twee-endertigste (32e) rust
<li>DK: toogtredivtedelspause
<li>S: trettiotvåondelspaus
<li>FI: kolmaskymmeneskahdesosatauko
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="thorough-bass"></a>
<h3 class="section">1.296 thorough bass</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#figured-bass">figured bass</a>.
<p><a name="tie"></a>
<h3 class="section">1.297 tie</h3>
<p>ES: ligadura de prolongación, ligadura de unión,
I: legatura (di valore),
F: liaison,
D: Haltebogen, Bindebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
S: bindebåge, överbindning,
FI: sitominen.
<p>A curved line, identical in appearance with the <a href="#slur">slur</a>, which
connects two succesive notes of the same pitch, and which has the
function of uniting them into a single sound (tone) equal to the
combined durations.
<p class="noindent"><p>
<a href="93/lily-5edf712b.ly">
<img align="middle"
border="0" src="93/lily-5edf712b.png" alt="[image of music]">
</a>
</p>
<p><a name="time"></a>
<h3 class="section">1.298 time</h3>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#meter">meter</a>.
<p><a name="time-signature"></a>
<h3 class="section">1.299 time signature</h3>
<p>ES: indicación de compás,
I: segni di tempo,
F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
D: Taktangabe, Angabe der Taktart,
NL: maatsoort,
DK: taktangivelse,
S: taktartssignatur,
FI: tahtiosoitus.
<p>The sign placed at the beginning of a composition to indicate its
meter. It most often takes the form of a fraction, but a few signs
derived from mensural notation and proportions are also employed.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>, <a href="#meter">meter</a>.
<p><a name="tone"></a>
<h3 class="section">1.300 tone</h3>
<p>ES: tono,
I: suono,
F: ton,
D: Ton,
NL: toon,
DK: tone,
S: ton,
FI: ääni.
<p>A sound of definite pitch and duration, as distinct from <em>noise</em>.
Tone is a primary building material of music.
<!-- Music from the 20th century may be based on atonal sounds. Meh, not so much -->
<p><a name="tonic"></a>
<h3 class="section">1.301 tonic</h3>
<p>ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
NL: tonica,
DK: tonika,
S: tonika,
FI: toonika.
<p>The first <a href="#scale-degree">scale degree</a>.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#functional-harmony">functional harmony</a>.
<p><a name="transposing-instrument"></a>
<h3 class="section">1.302 transposing instrument</h3>
<p>ES: instrumento transpositor,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>Instruments whose notated pitch is different from their sounded pitch. Except
for those whose notated and sounding pitches differ by one or more octaves (to
reduce the number of ledger lines needed), most such instruments are identified
by the letter name of the pitch class of their fundamental. The pitch class is
the note that <em>sounds</em> (disregarding the octave in which it sounds) when
the instrument plays a notated C.
<p>For example: when played on the B-flat clarinet, the note middle C <em>sounds</em>
the B-flat one tone lower. If played on the A clarinet, the same written
note sounds the A (one and half tones – a minor third – lower).
<p>Not all transposing instruments include the pitch class in their name:
<ul>
<li>English horn (in F)
<li>Alto flute (in G)
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#concert-pitch">concert pitch</a>.
<p><a name="transposition"></a>
<h3 class="section">1.303 transposition</h3>
<p>ES: transporte,
I: trasposizione,
F: transposition,
D: Transposition,
NL: transpositie,
DK: transposition,
S: transponering,
FI: transponointi.
<p>Shifting a melody up or down in pitch, while keeping the same
relative pitches.
<p class="noindent"><p>
<a href="1f/lily-97c5a12a.ly">
<img align="middle"
border="0" src="1f/lily-97c5a12a.png" alt="[image of music]">
</a>
</p>
<p class="noindent"><p>
<a href="98/lily-ca27ea2c.ly">
<img align="middle"
border="0" src="98/lily-ca27ea2c.png" alt="[image of music]">
</a>
</p>
<p><a name="treble-clef"></a>
<h3 class="section">1.304 treble clef</h3>
<p>ES: clave de sol,
I: chiave di violino,
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
DK: diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#G-clef">G clef</a>.
<p><a name="tremolo"></a>
<h3 class="section">1.305 tremolo</h3>
<p>ES: trémolo,
I: tremolo,
F: trémolo,
D: Tremolo,
NL: tremolo,
DK: tremolo,
S: tremolo,
FI: tremolo.
<p>On stringed instruments:
<ol type=1 start=1>
<li>The quick reiteration of the same tone, produced by a rapid
up-and-down movement of the bow.
<li>Or, the rapid alternation between two notes of a <a href="#chord">chord</a>, usually
in the distance of a third (<a href="#interval">interval</a>).
</ol>
<p class="noindent"><p>
<a href="9e/lily-afb185bc.ly">
<img align="middle"
border="0" src="9e/lily-afb185bc.png" alt="[image of music]">
</a>
</p>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#strings">strings</a>
<p><a name="triad"></a>
<h3 class="section">1.306 triad</h3>
<p>ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
D: Dreiklang,
NL: drieklank,
DK: treklang,
S: treklang,
FI: kolmisointu.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#chord">chord</a>.
<p><a name="trill"></a>
<h3 class="section">1.307 trill</h3>
<p>ES: trino,
I: trillo,
F: trille, tremblement, battement (cadence),
D: Triller,
NL: triller,
DK: trille,
S: drill,
FI: trilli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ornament">ornament</a>.
<p><a name="triple-meter"></a>
<h3 class="section">1.308 triple meter</h3>
<p>ES: compás ternario,
I: tempo ternario,
F: mesure ternaire,
D: in drei, ungerader Takt,
NL: driedelige maatsoort,
DK: tredelt takt,
S: tretakt,
FI: kolmijakoinen.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#meter">meter</a>.
<p><a name="triplet"></a>
<h3 class="section">1.309 triplet</h3>
<p>ES: tresillo,
I: terzina,
F: triolet,
D: Triole,
NL: triool,
DK: triol,
S: triol,
FI: trioli.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="tritone"></a>
<h3 class="section">1.310 tritone</h3>
<p>ES: tritono,
I: tritono,
F: triton,
D: Tritonus,
NL: tritoon,
DK: tritonus,
S: tritonus,
FI: tritonus.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="tuning-fork"></a>
<h3 class="section">1.311 tuning fork</h3>
<p>ES: diapasón, horquilla de afinación,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
S: stämgaffel,
FI: viritysavain.
<p>A two-pronged piece of steel used to indicate an absolute pitch, usually for
<em>A</em> above middle C (440 cps/Hz), which is the international tuning
standard. Tuning forks for other pitches are available.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#middle-C">middle C</a>.
<p><a name="tuplet"></a>
<h3 class="section">1.312 tuplet</h3>
<p>A non-standard subdivision of a beat or part of a beat, usually
indicated with a bracket and a number indicating the number of
subdivisions.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#triplet">triplet</a>, <a href="#note-value">note value</a>.
<p><a name="turn"></a>
<h3 class="section">1.313 turn</h3>
<p>ES: grupeto (circular),
I: gruppetto,
F: grupetto,
D: Doppelschlag,
NL: dubbelslag,
DK: dobbeltslag,
S: dubbelslag,
FI: korukuvio.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#ornament">ornament</a>.
<p><a name="unison"></a>
<h3 class="section">1.314 unison</h3>
<p>ES: unísono,
I: unisono,
F: unisson,
D: unisono,
NL: unisono,
DK: unison,
S: unison,
FI: unisono, yksiäänisesti.
<p>Playing of the same notes or the same melody by various instruments
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
<p><a name="upbeat"></a>
<h3 class="section">1.315 upbeat</h3>
<p>ES: anacrusa,
I: anacrusi,
F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
S: upptakt,
FI: kohotahti.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#anacrusis">anacrusis</a>
<p><a name="voice"></a>
<h3 class="section">1.316 voice</h3>
<p>ES: voz,
I: voce,
F: voix,
D: Stimme,
NL: stem,
DK: stemme,
S: stämma,
FI: ääni, lauluääni.
<ul>
<li>Human voices:
<ul>
<li><a href="#soprano">soprano</a>
<li><a href="#mezzo_002dsoprano">mezzo-soprano</a>
<li><a href="#contralto">contralto</a>
<li><a href="#tenor">tenor</a>
<li><a href="#baritone">baritone</a>
<li><a href="#bass">bass</a>
</ul>
<li>A melodic layer or part of a polyphonic composition.
</ul>
<p><a name="volta"></a>
<h3 class="section">1.317 volta</h3>
<p>ES: vez, primera y segunda vez,
I: volta,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: ?.
<p>[From Italian, ‘time’ (instance, not duration)]. An ending, such as a first
or second ending. LilyPond extends this idea to any number, and allows any text
(not just a number) – to serve as the ‘volta’ text.
<p><a name="weak-beat"></a>
<h3 class="section">1.318 weak beat</h3>
<p>ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
D: unbetonter Taktteil oder Taktschlag,
NL: arsis,
DK: ubetonet taktslag,
S: obetonat taktslag,
FI: tahdin heikko isku.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#beat">beat</a>, <a href="#measure">measure</a>, <a href="#rhythm">rhythm</a>.
<p><a name="whole-note"></a>
<h3 class="section">1.319 whole note</h3>
<ul>
<li>UK: semibreve
<li>ES: redonda
<li>I: semibreve
<li>F: ronde
<li>D: Ganze, ganze Note
<li>NL: hele noot
<li>DK: helnode
<li>S: helnot
<li>FI: kokonuotti
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="whole-rest"></a>
<h3 class="section">1.320 whole rest</h3>
<ul>
<li>UK: semibreve rest
<li>ES: silencio de redonda
<li>I: pausa di semibreve
<li>F: pause
<li>D: ganze Pause, ganztaktige Pause
<li>NL: hele rust
<li>DK: helnodespause
<li>S: helpaus
<li>FI: kokotauko
</ul>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#note-value">note value</a>.
<p><a name="whole-tone"></a>
<h3 class="section">1.321 whole tone</h3>
<p>ES: tono (entero),
I: tono intero,
F: ton entier,
D: Ganzton,
NL: hele toon,
DK: heltone,
S: helton,
FI: kokoaskel.
<p>The interval of a major second. The interval between two tones
on the piano keyboard with exactly one key between them – including
black and white keys – is a whole tone.
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#interval">interval</a>.
<p><a name="woodwind"></a>
<h3 class="section">1.322 woodwind</h3>
<p>ES: maderas,
I: legni,
F: les bois,
D: Holzbläser,
NL: houtblazers,
DK træblæsere,
S: träblåsare,
FI: puupuhaltimet.
<p>A family of blown wooden musical instruments. Today some of these
instruments are actually made from metal. The woodwind instruments
commonly used in a symphony orchestra are flute, oboe, clarinet,
saxophone, and bassoon.
<p><a name="Duration-names-notes-and-rests"></a>
<h2 class="chapter">2 Duration names notes and rests</h2>
<p><table summary="">
<tr align="left"><th valign="top" width="12%">Lang. </th><th valign="top" width="22%">note name
</th><th valign="top" width="22%">rest name
</th><th valign="top" width="22%">note name
</th><th valign="top" width="22%">rest name
<br></th></tr><tr align="left"><td valign="top" width="12%"><strong>US</strong> </td><td valign="top" width="22%">long
</td><td valign="top" width="22%">long rest
</td><td valign="top" width="22%">breve
</td><td valign="top" width="22%">breve rest
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>UK</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">longa rest
</td><td valign="top" width="22%">breve
</td><td valign="top" width="22%">breve rest
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>ES</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">silencio de longa
</td><td valign="top" width="22%">cuadrada
</td><td valign="top" width="22%">silencio de cuadrada
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>IT</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">pausa di longa
</td><td valign="top" width="22%">breve
</td><td valign="top" width="22%">pausa di breve
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>FR</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">quadruple-pause
</td><td valign="top" width="22%">brève
</td><td valign="top" width="22%">double-pause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>DE</strong> </td><td valign="top" width="22%">Longa
</td><td valign="top" width="22%">longa Pause
</td><td valign="top" width="22%">Brevis
</td><td valign="top" width="22%">brevis Pause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>NL</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">longa rust
</td><td valign="top" width="22%">brevis
</td><td valign="top" width="22%">brevis rust
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>DK</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">longanodespause
</td><td valign="top" width="22%">brevis
</td><td valign="top" width="22%">brevis(nodes)pause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>SE</strong> </td><td valign="top" width="22%">longa
</td><td valign="top" width="22%">longapaus
</td><td valign="top" width="22%">brevis
</td><td valign="top" width="22%">brevispaus
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>FI</strong> </td><td valign="top" width="22%">longa-nuotti
</td><td valign="top" width="22%">longa-tauko
</td><td valign="top" width="22%">brevis-nuotti, kaksoiskokonuotti
</td><td valign="top" width="22%">brevis-tauko, kaksoiskokotauko
<br></td></tr></table>
<p><table summary="">
<tr align="left"><th valign="top" width="12%">Lang. </th><th valign="top" width="22%">note name
</th><th valign="top" width="22%">rest name
</th><th valign="top" width="22%">note name
</th><th valign="top" width="22%">rest name
<br></th></tr><tr align="left"><td valign="top" width="12%"><strong>US</strong> </td><td valign="top" width="22%">whole note
</td><td valign="top" width="22%">whole rest
</td><td valign="top" width="22%">half note
</td><td valign="top" width="22%">half rest
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>UK</strong> </td><td valign="top" width="22%">semibreve
</td><td valign="top" width="22%">semibreve rest
</td><td valign="top" width="22%">minim
</td><td valign="top" width="22%">minim rest
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>ES</strong> </td><td valign="top" width="22%">redonda
</td><td valign="top" width="22%">silencio de redonda
</td><td valign="top" width="22%">blanca
</td><td valign="top" width="22%">silencio de blanca
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>IT</strong> </td><td valign="top" width="22%">semibreve
</td><td valign="top" width="22%">pause di semibreve
</td><td valign="top" width="22%">minima
</td><td valign="top" width="22%">pausa di minima
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>FR</strong> </td><td valign="top" width="22%">ronde
</td><td valign="top" width="22%">pause
</td><td valign="top" width="22%">blanche
</td><td valign="top" width="22%">demi-pause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>DE</strong> </td><td valign="top" width="22%">ganze Note
</td><td valign="top" width="22%">ganze Pause
</td><td valign="top" width="22%">halbe Note
</td><td valign="top" width="22%">halbe Pause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>NL</strong> </td><td valign="top" width="22%">hele noot
</td><td valign="top" width="22%">hele rust
</td><td valign="top" width="22%">halve noot
</td><td valign="top" width="22%">halve rust
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>DK</strong> </td><td valign="top" width="22%">helnode
</td><td valign="top" width="22%">helnodespause
</td><td valign="top" width="22%">halvnode
</td><td valign="top" width="22%">halvnodespause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>SE</strong> </td><td valign="top" width="22%">helnot
</td><td valign="top" width="22%">helpaus
</td><td valign="top" width="22%">halvnot
</td><td valign="top" width="22%">halvpaus
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>FI</strong> </td><td valign="top" width="22%">kokonuotti
</td><td valign="top" width="22%">kokotauko
</td><td valign="top" width="22%">puolinuotti
</td><td valign="top" width="22%">puolitauko
<br></td></tr></table>
<p><table summary="">
<tr align="left"><th valign="top" width="12%">Lang. </th><th valign="top" width="22%">note name
</th><th valign="top" width="22%">rest name
</th><th valign="top" width="22%">note name
</th><th valign="top" width="22%">rest name
<br></th></tr><tr align="left"><td valign="top" width="12%"><strong>US</strong> </td><td valign="top" width="22%">quarter note
</td><td valign="top" width="22%">quarter rest
</td><td valign="top" width="22%">eighth note
</td><td valign="top" width="22%">eighth rest
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>UK</strong> </td><td valign="top" width="22%">crotchet
</td><td valign="top" width="22%">crotchet rest
</td><td valign="top" width="22%">quaver
</td><td valign="top" width="22%">quaver rest
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>ES</strong> </td><td valign="top" width="22%">negra
</td><td valign="top" width="22%">silencio de negra
</td><td valign="top" width="22%">corchea
</td><td valign="top" width="22%">silencio de corchea
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>IT</strong> </td><td valign="top" width="22%">semiminima, nera
</td><td valign="top" width="22%">pausa di semiminima, pausa di nera
</td><td valign="top" width="22%">croma
</td><td valign="top" width="22%">pausa di croma
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>FR</strong> </td><td valign="top" width="22%">noire
</td><td valign="top" width="22%">soupir*
</td><td valign="top" width="22%">croche*
</td><td valign="top" width="22%">demi-soupir
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>DE</strong> </td><td valign="top" width="22%">Viertelnote
</td><td valign="top" width="22%">Viertelpause
</td><td valign="top" width="22%">Achtelnote
</td><td valign="top" width="22%">Achtelpause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>NL</strong> </td><td valign="top" width="22%">kwartnoot
</td><td valign="top" width="22%">kwartrust
</td><td valign="top" width="22%">achtste noot
</td><td valign="top" width="22%">achtste rust
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>DK</strong> </td><td valign="top" width="22%">fjerdedelsnode
</td><td valign="top" width="22%">fjerdedelspause
</td><td valign="top" width="22%">ottendedelsnode
</td><td valign="top" width="22%">ottendedelspause
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>SE</strong> </td><td valign="top" width="22%">fjärdedelsnot
</td><td valign="top" width="22%">fjärdedelspaus
</td><td valign="top" width="22%">åttondelsnot
</td><td valign="top" width="22%">åttondelspaus
<br></td></tr><tr align="left"><td valign="top" width="12%"><strong>FI</strong> </td><td valign="top" width="22%">neljäsosanuotti
</td><td valign="top" width="22%">neljäsosatauko
</td><td valign="top" width="22%">kahdeksasosanuotti
</td><td valign="top" width="22%">kahdeksasosatauko
<br></td></tr></table>
<p>* About the French naming system: <em>croche</em> refers to the note's "hook".
Therefore, from the eighth note on, the note names mean ‘hook’, ‘doubled
hook’, ‘trebled hook’, and so on.
<p>The rest names are based on the <em>soupir</em>, or quarter rest. Subsequent
rests are expressed as fractions thereof: half a <em>soupir</em>, a quarter of
a <em>soupir</em>, and so on.
<p>Each of the following tables contains one type of note and its matching rest,
with abbreviations that apply to both notes and rests. Just switch the part
that means ‘note’ with the part that means ‘rest’, for example:
<ul>
<li>English: 16th <strong>note</strong>, 16th <strong>rest</strong>
<li>German: 32tel-<strong>Note</strong>, 32tel-<strong>Pause</strong>
<li>Finnish: 64-osa<strong>nuotti</strong>, 64-osa<strong>tauko</strong>
</ul>
<p>I put a dash ‘-’ when I could not find a language-specific abbreviation for a
duration name. If you know of one that I missed, please send it to me, care of
the lilypond-user discussion list.
<p><table summary="">
<tr align="left"><th valign="top" width="10%">Lang. </th><th valign="top" width="35%">Note name
</th><th valign="top" width="35%">Rest name
</th><th valign="top" width="20%">Abbr.
<br></th></tr><tr align="left"><td valign="top" width="10%"><strong>US</strong> </td><td valign="top" width="35%">sixteenth note
</td><td valign="top" width="35%">sixteenth rest
</td><td valign="top" width="20%">16th note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>UK</strong> </td><td valign="top" width="35%">semiquaver
</td><td valign="top" width="35%">semiquaver rest
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>ES</strong> </td><td valign="top" width="35%">semicorchea
</td><td valign="top" width="35%">silencio de semicorchea
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>IT</strong> </td><td valign="top" width="35%">semicroma
</td><td valign="top" width="35%">pausa di semicroma
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FR</strong> </td><td valign="top" width="35%">double croche
</td><td valign="top" width="35%">quart de soupir
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DE</strong> </td><td valign="top" width="35%">Sechzehntelnote
</td><td valign="top" width="35%">Sechzehntelpause
</td><td valign="top" width="20%">16tel-Note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>NL</strong> </td><td valign="top" width="35%">zestiende noot
</td><td valign="top" width="35%">zestiende rust
</td><td valign="top" width="20%">16e noot
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DK</strong> </td><td valign="top" width="35%">sekstendedelsnode
</td><td valign="top" width="35%">sekstendedelspause
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>SE</strong> </td><td valign="top" width="35%">sextondelsnot
</td><td valign="top" width="35%">sextondelspaus
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FI</strong> </td><td valign="top" width="35%">kuudestoistaosanuotti
</td><td valign="top" width="35%">kuudestoistaosatauko
</td><td valign="top" width="20%">16-osanuotti
<br></td></tr></table>
<p><table summary="">
<tr align="left"><th valign="top" width="10%">Lang. </th><th valign="top" width="35%">Note name
</th><th valign="top" width="35%">Rest name
</th><th valign="top" width="20%">Abbr.
<br></th></tr><tr align="left"><td valign="top" width="10%"><strong>US</strong> </td><td valign="top" width="35%">thirty-second note
</td><td valign="top" width="35%">thirty-second rest
</td><td valign="top" width="20%">32nd note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>UK</strong> </td><td valign="top" width="35%">demisemiquaver
</td><td valign="top" width="35%">demisemiquaver rest
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>ES</strong> </td><td valign="top" width="35%">fusa
</td><td valign="top" width="35%">silencio de fusa
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>IT</strong> </td><td valign="top" width="35%">biscroma
</td><td valign="top" width="35%">pausa di biscroma
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FR</strong> </td><td valign="top" width="35%">triple croche
</td><td valign="top" width="35%">huitième de soupir
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DE</strong> </td><td valign="top" width="35%">Zweiunddreißigstelnote
</td><td valign="top" width="35%">Zweiunddreißigstelpause
</td><td valign="top" width="20%">32tel-Note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>NL</strong> </td><td valign="top" width="35%">tweeendertigste noot
</td><td valign="top" width="35%">tweeendertigste rust
</td><td valign="top" width="20%">32e noot
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DK</strong> </td><td valign="top" width="35%">toogtredivtedelsnode
</td><td valign="top" width="35%">toogtredivtedelspause
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>SE</strong> </td><td valign="top" width="35%">trettiotvåondelsnot
</td><td valign="top" width="35%">trettiotvåondelspaus
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FI</strong> </td><td valign="top" width="35%">kolmaskymmeneskahdesosanuotti
</td><td valign="top" width="35%">kolmaskymmeneskahdesosatauko
</td><td valign="top" width="20%">32-osanuotti
<br></td></tr></table>
<p><table summary="">
<tr align="left"><th valign="top" width="10%">Lang. </th><th valign="top" width="35%">Note name
</th><th valign="top" width="35%">Rest name
</th><th valign="top" width="20%">Abbr.
<br></th></tr><tr align="left"><td valign="top" width="10%"><strong>US</strong> </td><td valign="top" width="35%">sixty-fourth note
</td><td valign="top" width="35%">sixty-fourth rest
</td><td valign="top" width="20%">64th note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>UK</strong> </td><td valign="top" width="35%">hemidemisemiquaver
</td><td valign="top" width="35%">hemidemisemiquaver rest
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>ES</strong> </td><td valign="top" width="35%">semifusa
</td><td valign="top" width="35%">silencio de semifusa
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>IT</strong> </td><td valign="top" width="35%">semibiscroma
</td><td valign="top" width="35%">pausa di semibiscroma
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FR</strong> </td><td valign="top" width="35%">quadruple croche
</td><td valign="top" width="35%">seizième de soupir
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DE</strong> </td><td valign="top" width="35%">Vierundsechzigstelnote
</td><td valign="top" width="35%">Vierundsechzigstelpause
</td><td valign="top" width="20%">64tel-Note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>NL</strong> </td><td valign="top" width="35%">vierenzestigste noot
</td><td valign="top" width="35%">vierenzestigste rust
</td><td valign="top" width="20%">64e noot
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DK</strong> </td><td valign="top" width="35%">fireogtredsindstyvendedelsnode
</td><td valign="top" width="35%">fireogtredsindstyvendedelspause
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>SE</strong> </td><td valign="top" width="35%">sextiofjärdedelsnot
</td><td valign="top" width="35%">sextiofjärdedelspaus
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FI</strong> </td><td valign="top" width="35%">kuudeskymmenesneljäsosanuotti
</td><td valign="top" width="35%">kuudeskymmenesneljäsosatauko
</td><td valign="top" width="20%">64-osanuotti
<br></td></tr></table>
<p><table summary="">
<tr align="left"><th valign="top" width="10%">Lang. </th><th valign="top" width="35%">Note name
</th><th valign="top" width="35%">Rest name
</th><th valign="top" width="20%">Abbr.
<br></th></tr><tr align="left"><td valign="top" width="10%"><strong>US</strong> </td><td valign="top" width="35%">one-hundred-twenty-eighth note
</td><td valign="top" width="35%">one-hundred-twenty-eighth rest
</td><td valign="top" width="20%">128th note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>UK</strong> </td><td valign="top" width="35%">semihemidemisemiquaver
</td><td valign="top" width="35%">semihemidemisemiquaver rest
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>ES</strong> </td><td valign="top" width="35%">garrapatea
</td><td valign="top" width="35%">silencio de garrapatea
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>IT</strong> </td><td valign="top" width="35%">fusa
</td><td valign="top" width="35%">pausa di fusa
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FR</strong> </td><td valign="top" width="35%">quintuple croche
</td><td valign="top" width="35%">trente-deuxième de soupir </td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DE</strong> </td><td valign="top" width="35%">Hundertundachtundzwanzigstel
</td><td valign="top" width="35%">Hundertundachtundzwanzigstel </td><td valign="top" width="20%">128tel-Note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>NL</strong> </td><td valign="top" width="35%">honderdachtentwintigste noot
</td><td valign="top" width="35%">honderdachtentwintigste rust
</td><td valign="top" width="20%">128e noot
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DK</strong> </td><td valign="top" width="35%">hundredeotteogtyvendedelsnode
</td><td valign="top" width="35%">hundredeotteogtyvendedelspause
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>SE</strong> </td><td valign="top" width="35%">hundratjugoåttondelsnot
</td><td valign="top" width="35%">hundratjugoåttondelspaus
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FI</strong> </td><td valign="top" width="35%">sadaskahdeskymmeneskahdeksasosanuotti
</td><td valign="top" width="35%">sadaskahdeskymmeneskahdeksasosatauko
</td><td valign="top" width="20%">128-osanuotti
<br></td></tr></table>
<p><table summary="">
<tr align="left"><th valign="top" width="10%">Lang. </th><th valign="top" width="35%">Note name
</th><th valign="top" width="35%">Rest name
</th><th valign="top" width="20%">Abbr.
<br></th></tr><tr align="left"><td valign="top" width="10%"><strong>US</strong> </td><td valign="top" width="35%">two-hundred-fifty-sixth note
</td><td valign="top" width="35%">two-hundred-fifty-sixth rest
</td><td valign="top" width="20%">256th note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>UK</strong> </td><td valign="top" width="35%">demisemihemidemisemiquaver
</td><td valign="top" width="35%">demisemihemidemisemiquaver rest
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>ES</strong> </td><td valign="top" width="35%">semigarrapatea
</td><td valign="top" width="35%">silencio de semigarrapatea </td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>IT</strong> </td><td valign="top" width="35%">semifusa
</td><td valign="top" width="35%">pausa di semifusa
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FR</strong> </td><td valign="top" width="35%">sextuple croche
</td><td valign="top" width="35%">soixante-quatrième de soupir </td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DE</strong> </td><td valign="top" width="35%">Zweihundertundsechsundfünfzigstelnote
</td><td valign="top" width="35%">Zweihundertundsechsundfünfzigstel </td><td valign="top" width="20%">256tel-Note
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>NL</strong> </td><td valign="top" width="35%">tweehonderdzesenvijftigste noot
</td><td valign="top" width="35%">tweehonderdzesenvijftigste rust
</td><td valign="top" width="20%">256e noot
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>DK</strong> </td><td valign="top" width="35%">tohundredeseksoghalvtredsendedelsnode
</td><td valign="top" width="35%">tohundredeseksoghalvtredsendedelspause
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>SE</strong> </td><td valign="top" width="35%">tvåhundrafemtiosjättedelsnot
</td><td valign="top" width="35%">tvåhundrafemtiosjättedelspaus
</td><td valign="top" width="20%">-
<br></td></tr><tr align="left"><td valign="top" width="10%"><strong>FI</strong> </td><td valign="top" width="35%">kahdessadasviideskymmeneskuudesosanuotti
</td><td valign="top" width="35%">kahdessadasviideskymmeneskuudesosatauko
</td><td valign="top" width="20%">256-osanuotti
<br></td></tr></table>
<p class="noindent">
<h5 class="subsubheading">See also</h5>
<p class="indent">
<p><a href="#mensural-notation">mensural notation</a>
<p><a name="Pitch-names"></a>
<h2 class="chapter">3 Pitch names</h2>
<!-- is/-es endings for Danish per Rune Zedeler -->
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<p><table summary=""><tr align="left"><th valign="top">EN
</th><th valign="top">ES </th><th valign="top">I </th><th valign="top">F </th><th valign="top">D
</th><th valign="top">NL </th><th valign="top">DK </th><th valign="top">S </th><th valign="top">FI
<br></th></tr><tr align="left"><td valign="top"><strong>c</strong> </td><td valign="top">do </td><td valign="top">do </td><td valign="top">ut </td><td valign="top">C
</td><td valign="top">c </td><td valign="top">c </td><td valign="top">c </td><td valign="top">c
<br></td></tr><tr align="left"><td valign="top"><strong>c-sharp</strong> </td><td valign="top">do sostenido </td><td valign="top">do diesis </td><td valign="top">ut dièse </td><td valign="top">Cis
</td><td valign="top">cis </td><td valign="top">cis </td><td valign="top">ciss </td><td valign="top">cis
<br></td></tr><tr align="left"><td valign="top"><strong>d-flat</strong> </td><td valign="top">re bemol </td><td valign="top">re bemolle </td><td valign="top">ré bémol </td><td valign="top">Des
</td><td valign="top">des </td><td valign="top">des </td><td valign="top">dess </td><td valign="top">des
<br></td></tr><tr align="left"><td valign="top"><strong>d</strong> </td><td valign="top">re </td><td valign="top">re </td><td valign="top">ré </td><td valign="top">D
</td><td valign="top">d </td><td valign="top">d </td><td valign="top">d </td><td valign="top">d
<br></td></tr><tr align="left"><td valign="top"><strong>d-sharp</strong> </td><td valign="top">re sostenido </td><td valign="top">re diesis </td><td valign="top">re dièse </td><td valign="top">Dis
</td><td valign="top">dis </td><td valign="top">dis </td><td valign="top">diss </td><td valign="top">dis
<br></td></tr><tr align="left"><td valign="top"><strong>e-flat</strong> </td><td valign="top">mi bemol </td><td valign="top">mi bemolle </td><td valign="top">mi bémol </td><td valign="top">Es
</td><td valign="top">es </td><td valign="top">es </td><td valign="top">ess </td><td valign="top">es
<br></td></tr><tr align="left"><td valign="top"><strong>e</strong> </td><td valign="top">mi </td><td valign="top">mi </td><td valign="top">mi </td><td valign="top">E
</td><td valign="top">e </td><td valign="top">e </td><td valign="top">e </td><td valign="top">e
<br></td></tr><tr align="left"><td valign="top"><strong>f-flat</strong> = e
</td><td valign="top">fa bemol </td><td valign="top">fa bemolle </td><td valign="top">fa bémol </td><td valign="top">Fes
</td><td valign="top">fes </td><td valign="top">fes </td><td valign="top">fess </td><td valign="top">fes
<br></td></tr><tr align="left"><td valign="top"><strong>f</strong> </td><td valign="top">fa </td><td valign="top">fa </td><td valign="top">fa </td><td valign="top">F
</td><td valign="top">f </td><td valign="top">f </td><td valign="top">f </td><td valign="top">f
<br></td></tr><tr align="left"><td valign="top"><strong>e-sharp</strong> = f
</td><td valign="top">mi sostenido </td><td valign="top">mi diesis </td><td valign="top">mi dièse </td><td valign="top">Eis
</td><td valign="top">eis </td><td valign="top">eis </td><td valign="top">eiss </td><td valign="top">eis
<br></td></tr><tr align="left"><td valign="top"><strong>f-sharp</strong> </td><td valign="top">fa sostenido </td><td valign="top">fa diesis </td><td valign="top">fa dièse </td><td valign="top">Fis
</td><td valign="top">fis </td><td valign="top">fis </td><td valign="top">fiss </td><td valign="top">fis
<br></td></tr><tr align="left"><td valign="top"><strong>g-flat</strong> </td><td valign="top">sol bemol </td><td valign="top">sol bemolle </td><td valign="top">sol bémol </td><td valign="top">Ges
</td><td valign="top">ges </td><td valign="top">ges </td><td valign="top">gess </td><td valign="top">ges
<br></td></tr><tr align="left"><td valign="top"><strong>g</strong> </td><td valign="top">sol </td><td valign="top">sol </td><td valign="top">sol </td><td valign="top">G
</td><td valign="top">g </td><td valign="top">g </td><td valign="top">g </td><td valign="top">g
<br></td></tr><tr align="left"><td valign="top"><strong>g-sharp</strong> </td><td valign="top">sol sostenido </td><td valign="top">sol diesis </td><td valign="top">sol dièse </td><td valign="top">Gis
</td><td valign="top">gis </td><td valign="top">gis </td><td valign="top">giss </td><td valign="top">gis
<br></td></tr><tr align="left"><td valign="top"><strong>a-flat</strong> </td><td valign="top">la bemol </td><td valign="top">la bemolle </td><td valign="top">la bémol </td><td valign="top">As
</td><td valign="top">as </td><td valign="top">as </td><td valign="top">ass </td><td valign="top">as
<br></td></tr><tr align="left"><td valign="top"><strong>a</strong> </td><td valign="top">la </td><td valign="top">la </td><td valign="top">la </td><td valign="top">A
</td><td valign="top">a </td><td valign="top">a </td><td valign="top">a </td><td valign="top">a
<br></td></tr><tr align="left"><td valign="top"><strong>a-sharp</strong> </td><td valign="top">la sostenido </td><td valign="top">la diesis </td><td valign="top">la dièse </td><td valign="top">Ais
</td><td valign="top">ais </td><td valign="top">ais </td><td valign="top">aiss </td><td valign="top">ais
<br></td></tr><tr align="left"><td valign="top"><strong>b-flat</strong> </td><td valign="top">si bemol </td><td valign="top">si bemolle </td><td valign="top">si bémol </td><td valign="top">B
</td><td valign="top">bes </td><td valign="top">b </td><td valign="top">b </td><td valign="top">b
<br></td></tr><tr align="left"><td valign="top"><strong>b</strong> </td><td valign="top">si </td><td valign="top">si </td><td valign="top">si </td><td valign="top">H
</td><td valign="top">b </td><td valign="top">h </td><td valign="top">h </td><td valign="top">h
<br></td></tr></table>
<p><a name="Literature-used"></a>
<h3 class="unnumberedsec">Literature used</h3>
<ul>
<li>The Harvard Dictionary of Music, London 1944. Many more or less
literal quotes from its articles have been included into the item
explanation texts.
<li>Hugo Riemanns Musiklexicon, Berlin 1929.
<li>Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
1980.
<li>Oxford Advanced Learner's Dictionary of Current English, Third
Edition 1974.
<li>Webster's Revised Unabridged Dictionary, Springfield 1913.
<li>Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
</ul>
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