LilyPond — Music Glossary

Appendices

1. Musical terms A-Z

Languages in this order.

• UK - British English (where it differs from American English)
• ES - Spanish
• I - Italian
• F - French
• D - German
• NL - Dutch
• DK - Danish
• S - Swedish
• FI - Finnish

1.1 A

• ES: la
• I: la
• F: la
• D: A, a
• NL: a
• DK: a
• S: a
• FI: A, a

See also

Pitch names.

1.2 a due

ES: a dos, I: a due, F: à deux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle.

Abbreviated a2 or a 2. In orchestral scores, a due indicates that:

1. 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.
2. 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’).

See also

No cross-references.

1.3 accelerando

ES: accelerando, I: accelerando, F: accelerando, en accélérant, D: accelerando, schneller werden, NL: accelerando, DK: accelerando, S: accelerando, FI: accelerando, kiihdyttäen.

[Italian: ‘speed up, accelerate’]

An increase in the tempo, abbreviated accel.

See also

No cross-references.

1.4 accent

ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, FI: aksentti, korostus.

The stress of one tone over others.

See also

No cross-references.

1.5 accessory

See also

ornament.

1.6 acciaccatura

ES: mordente de una nota, I: acciaccatura, F: acciaccature, appoggiature brève, D: Zusammenschlag, NL: samenslag, DK: ?, S: ?, FI: ?.

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.

See also

appoggiatura, grace notes, mordent, ornament.

1.7 accidental

ES: alteración accidental, I: alterazione, accidente, F: altération accidentelle, D: Versetzungszeichen, Akzidenz, NL: toevallig (verplaatsings)teken, DK: løst fortegn, S: tillfälligt förtecken, FI: tilapäinen etumerkki.

An accidental alters a note by:

• Raising its pitch:
  • By two semitones—double sharp
  • By one semitone—sharp
• Lowering its pitch:
  • By one semitone—flat
  • By two semitones—double flat
• Or canceling the effects of the key signature or previous accidentals.

See also

alteration, semitone, whole tone.

1.8 adagio

ES: adagio, lento, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, FI: adagio, hitaasti.

[Italian: ‘comfortable, easy’]

• Slow tempo, slower – especially in even meter – than andante and faster than largo.
• A movement in slow tempo, especially the second (slow) movement of sonatas, symphonies, etc.

See also

andante, largo, sonata.

1.9 al fine

[Italian: ‘to the end’]

In an instruction such as D.C. al Fine, indicates that the performance should continue to the point marked Fine.

See also

da capo, dal segno, fine.

1.10 al niente

ES: al niente, I: al niente, F: al niente, en mourant, D: ?, NL: ?, DK: ?, S: ?, FI: häviten olemattomiin.

[Italian: ‘to nothing’] Used with decrescendo to indicate that the sound should fade away to nothing.

Al niente is indicated by circling the tip of the hairpin:

or with the actual phrase al niente:

Since one does not crescendo to nothing, it is not correct to use al niente with crescendo. Instead, one should use dal niente (from nothing).

See also

crescendo, dal niente, decrescendo, hairpin.

1.11 alla breve

ES: alla breve, I: alla breve, F: alla breve, à la brève, D: Allabreve, alla breve NL: ?, DK: ?, S: ?, FI: ?.

[Italian: ‘on the breve’] Twice as fast as the notation indicates.

Also called in cut time. The name derives from mensural notation, where the tactus (or beat) is counted on the semibreve (the modern whole note). Counting ‘on the breve’ shifts the tactus to the next longest note value, which (in modern usage) effectively halves all note values.

In mensural notation, breves and semibreves can have a ternary relationship, in which case alla breve means thrice (not twice) as fast. In practice, this complication may not have mattered, since Gaffurius’s system of multiplex proportions makes it easy to explicitly state which proportion is needed.

See also

breve, hemiola, mensural notation, note value, proportion, whole note.

1.12 allegro

ES: allegro, rápido, I: allegro, F: allegro, gaiement, D: Allegro, Schnell, Fröhlich, Lustig, NL: allegro, DK: allegro, S: allegro, FI: allegro, nopeasti.

[Italian: ‘cheerful’] Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a sonata.

See also

sonata.

1.13 alteration

ES: alteración, I: alterazione, F: altération, D: Alteration, NL: verhoging of verlaging, DK: Forandring, S: Förändring, FI: muunnettu.

An alteration is the modification, raising or lowering, of a note’s pitch. It is established by an accidental.

See also

accidental.

1.14 alto

ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, FI: altto, matala naisääni.

A female voice of low range (contralto). Originally the alto was a high male voice (hence the name), which by castration or the use of falsetto reached the height of the natural female voice. This type of voice is also known as countertenor.

See also

countertenor.

1.15 alto clef

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.

C clef setting middle C on the middle line of the staff.

See also

C clef.

1.16 ambitus

ES: ámbito, I: ambitus, F: ambitus, tessiture, D: Ambitus, NL: ambitus, DK: ambitus, S: ambitus, FI: ambitus, ääniala, soitinala.

[Latin: past participle of ambire, ‘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 ambit (pl. ambits).

See also

No cross-references.

1.17 anacrusis

ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti.

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.

See also

measure, meter.

1.18 ancient minor scale

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.

Also called ‘natural minor scale’.

See also

diatonic scale.

1.19 andante

ES: andante, I: andante, F: andante, allant, D: Andante, Gehend, NL: andante, DK: andante, S: andante, FI: andante, käyden.

[Italian: present participle of andare, ‘to walk’]

Walking tempo/character.

See also

No cross-references.

1.20 appoggiatura

ES: apoyatura, I: appoggiatura, F: appoggiature, (port de voix), D: Vorschlag, Vorhalt NL: (korte) voorslag, DK: forslag, S: förslag, FI: appoggiatura, etuhele.

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.

An appoggiatura may have more notes preceding the main note.

See also

No cross-references.

1.21 arpeggio

ES: arpegio, I: arpeggio, F: arpège, D: Arpeggio, Akkordbrechungen, gebrochener Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, FI: arpeggio, murtosointu.

[Italian: ‘harp-like, played like a harp’]

See also

No cross-references.

1.22 articulation

ES: articulación, I: articolazione, F: articulation, D: Artikulation, NL: articulatie, DK: ?, S: ?, FI: artikulaatio, ilmaisu.

Articulation refers to notation which indicates how a note or notes should be played. Slurs, accents, staccato, and legato are all examples of articulation.

See also

No cross-references.

1.23 ascending interval

ES: intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, NL: stijgend interval, DK: stigende interval, S: stigande intervall, FI: nouseva intervalli.

A distance between a starting lower note and a higher ending note.

See also

No cross-references.

1.24 augmentation

ES: aumentación, I: aumentazione, F: augmentation, D: Augmentation, NL: Augmentatio, DK: Forøgelse, S: Förstoring, FI: aika-arvojen pidentäminen.

This is a placeholder for augmentation (wrt mensural notation).

See also

diminution, mensural notation.

1.25 augmented interval

ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augmenté, D: übermäßiges Intervall, NL: overmatig interval, DK: forstørret interval, S: överstigande intervall, FI: ylinouseva intervalli.

See also

interval.

1.26 autograph

ES: manuscrito, I: autografo, F: manuscrit, autographe, D: Autograph, Handschrift, NL: manuscript, DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti.

• A manuscript written in the composer’s own hand.
• 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.

See also

No cross-references.

1.27 B

• ES: si
• I: si
• F: si
• D: H, h
• NL: b
• DK: h
• S: h
• FI: H, h

See also

H, Pitch names.

1.28 backfall

See also

appoggiatura.

1.29 bar

See also

measure.

1.30 bar line

ES: barra, línea divisoria, I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: maatstreep, DK: taktstreg, S: taktstreck, FI: tahtiviiva.

A vertical line through the staff (or through multiple staves) that separates measures. Used very infrequently during the Renaissance (mostly in secular music, or in sacred music to indicate congruences between parts in otherwise-unmetered music).

See also

measure.

1.31 baritone

ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, FI: baritoni, keskikorkuinen miesääni.

The male voice intermediate in pitch between the bass and the tenor.

See also

bass, tenor.

1.32 baritone clef

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.

C or F clef setting middle C on the upper staff line.

See also

C clef, F clef.

1.33 bass

ES: bajo, I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, FI: basso, matala miesääni.

• The lowest male voice.
• Sometimes, especially in jazz music, used as an abbreviation for double bass.

See also

strings.

1.34 bass clef

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.

A clef setting with middle C on the first top ledger line.

See also

F clef, high bass clef.

1.35 beam

ES: barra (de corcheas), I: coda, F: ligature, barre (de croches), D: Balken, NL: waardestreep, DK: bjælke, S: balk, FI: palkki.

Line connecting a series of notes (shorter than a quarter note). The number of beams determines the note value of the connected notes.

See also

feathered beam.

1.36 beat

ES: tiempo, parte (de compás) I: tempi, F: temps, battue D: Takt, Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: taktslag, FI: aika-arvo.

Note value used for counting, most often half-, fourth-, and eighth notes. The base counting value and the number of them in each measure is indicated at the start of the music by the time signature.

See also

time signature.

1.37 beat repeat

See also

percent repeat.

1.38 bind

See also

tie.

1.39 brace

ES: llave, corchete, I: graffa, F: accolade, D: Klammer, Akkolade, NL: accolade, teksthaak, DK: klamme, S: klammer, FI: yhdistävä sulkumerkki.

Symbol at the start of a system connecting staves.

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):

Angular brackets for connecting parts in an orchestral or choral score:

See also

No cross-references.

1.40 bracket

ES: corchete, I: parentesi quadra, F: crochet, D: ?, NL: ?, DK: ?, S: ?, FI: sulkumerkki.

See also

brace.

1.41 brass

ES: metales, I: ottoni, D: Blechbläser, NL: koper (blazers), F: cuivres, DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin.

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 tuba. In marching bands, sousaphones and contrabass bugles are common.

See also

No cross-references.

1.42 breath mark

ES: respiración, I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL: repercussieteken, DK: vejrtrækningstegn, S: andningstecken, FI: hengitysmerkki.

Indication of where to breathe in vocal and wind instrument parts.

See also

caesura.

1.43 breve

• US: breve, double-whole note
• ES: cuadrada, breve
• I: breve
• F: brève
• D: Brevis
• NL: brevis
• DK: brevis
• S: brevis
• FI: brevis, kaksoiskokonuotti

Note value: twice the length of a whole note (semibreve).

Mainly used in music from before 1650. In mensural notation, it was a note of fairly short duration—hence the name, which is Latin for ‘short’ or ‘of short duration’.

See also

mensural notation, note value, semibreve.

1.44 C

• ES: do
• I: do
• F: ut, do
• D: C, c
• NL: c
• DK: c
• S: c
• FI: C, c

See also

Pitch names.

1.45 C clef

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.

Clef symbol indicating the position of the middle C. Used on all note lines.

See also

No cross-references.

1.46 cadence

ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke.

See also

harmonic cadence, functional harmony.

1.47 cadenza

ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke.

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.

See also

No cross-references.

1.48 caesura

ES: cesura, I: cesura, F: césure, D: Zäsur, NL: ?, DK: ?, S: ?, FI: välimerkki.

[Latin: from the supine of caedere ‘to cut down’]

The break between two musical phrases, sometimes (but not always) marked by a rest or a breath mark.

See also

breath mark.

1.49 canon

ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, FI: kaanon, tarkka jäljittely.

See also

counterpoint.

1.50 cent

ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.

Logarithmic unit of measuring pitch differences. 1 cent is 1/1200 of an octave (1/100 of an equally tempered semitone).

See also

equal temperament, semitone.

1.51 central C

See also

middle C.

1.52 chord

ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, FI: sointu.

Two or more tones sounding simultaneously. In traditional European music the base chord is a triad consisting of two thirds. Major (major + minor third) as well as minor (minor + major third) chords may be extended with more thirds. Four-tone seventh chords and five-tone ninth 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.

See also

functional harmony, interval, inversion, quality, third.

1.53 chord grid

F: grille d’accords.

Chord grids notate chords in a visual way by placing them in squares. They are used for jazz music, mainly in France.

See also

chord.

1.54 chromatic scale

ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: chromatische Tonleiter, NL: chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, FI: kromaattinen asteikko.

A scale consisting of all 12 semitones.

See also

semitone.

1.55 chromaticism

ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik, FI: kromatiikka.

Using tones extraneous to a diatonic scale (minor, major).

See also

diatonic scale.

1.56 church mode

ES: modo eclesiástico, I: modo ecclesiastico, F: mode ecclésiastique, mode d’église, D: Kirchentonart, NL: kerktoonladder, DK: kirketoneart, S: kyrkotonart, FI: moodi, kirkkosävellaji.

See also

diatonic scale.

1.57 clef

ES: clave, I: chiave, F: clé, clef, D: Schlüssel, Notenschlüssel, NL: sleutel, DK: nøgle, S: klav, FI: avain, nuottiavain.

The clef indicates which lines of the staff correspond to which pitches. The three clef symbols in common use are:

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:

Staves of five lines are usually used, and the clef superimposed on them indicates which five lines have been selected from this grand staff. For example, the treble or G clef indicates that the top five lines have been selected:

The ‘curl’ of the G clef is centered on the line that represents the pitch G.

In the same way, the bass or F clef indicates that the bottom five lines have been selected from the grand staff, 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.

See also

C clef, F clef, G clef.

1.58 cluster

ES: racimo, I: cluster, F: cluster, D: Cluster, NL: ?, DK: ?, S: ?, FI: klusteri, cluster.

A cluster 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.

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.

See also

No cross-references.

1.59 comma

ES: coma, comma, I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa.

Difference in pitch between a note derived from pure tuning and the same note derived from some other tuning method.

See also

didymic comma, Pythagorean comma, syntonic comma, temperament.

1.60 common meter

Another name for common time.

See also

common time, meter.

1.61 Common Practice Period

ES: ?, I: Periodo di pratica comune, F: musique classique moderne, D: Kunstmusik, NL: ?, DK: ?, S: ?, FI: ?.

This is a stub for Common Practice Period (CPP).

See also

Note names in other languages.

1.62 common time

ES: compasillo, I: tempo semplice, F: mesure à 4/4, D: ?, NL: ?, DK: ?, S: ?, FI: C-merkintä.

4/4 time. The symbol, which resembles a capital letter C, comes from mensural notation.

See also

mensural notation, meter.

1.63 complement

ES: intervalo invertido, I: rivolto, F: intervalle complémentaire, D: Komplementärintervall, NL: complementair interval, DK: komplementærinterval, S: komplementärintervall (?), FI: täydentävä intervalli.

See also

inverted interval.

1.64 compound interval

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.

Intervals larger than an octave.

See also

interval.

1.65 compound meter

ES: compás compuesto, compás de subdivisión ternaria, I: tempo composto, F: mesure composée, D: Dreiertakt, NL: ?, DK: ?, S: ?, FI: kolmijakoinen tahtilaji.

A meter that includes a triplet subdivision within the beat, such as 6/8, 9/8, 12/8.

See also

meter, simple meter.

1.66 compound time

ES: compás compuesto, compás de amalgama (def. 2), I: tempo misto, F: temps composé, D: zusammengesetzte Taktart, NL: ?, DK: ?, S: ?, FI: yhdistetty tahtilajiosoitus.

1. A meter that includes a triplet subdivision within the beat: see compound meter.
2. 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.

\relative c' {
  \key f \major
  \compoundMeter #'((3 8) (2 8) (3 8))
  c8 d e f4 d8 c bes
  c4 g'8 e c f4.
  \bar "||"
}

See also

compound meter, meter, polymetric time signature.

1.67 concert pitch

ES: en Do, tono de concierto, I: intonazione reale, F: tonalité de concert, en ut, D: Kammerton, NL: ?, DK: ?, S: ?, FI: konserttikorkeus.

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:

Instruments that play ‘in C’ but in a different octave than what is written are, technically speaking, transposing instruments:

• piccolo (plays an octave higher than written)
• celesta (plays an octave higher than written)
• classical guitar (plays an octave lower than written)
• double bass (plays an octave lower than written)

See also

transposing instrument.

1.68 conjunct movement

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.

Progressing melodically by intervals of a second, as contrasted with disjunct movement.

See also

disjunct movement.

1.69 consonance

ES: consonancia, I: consonanza, F: consonance, consonnance, D: Konsonanz, NL: consonant, DK: konsonans, S: konsonans, FI: konsonanssi, sopusointi.

See also

harmony.

1.70 contralto

ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, FI: kontra-altto.

See also

alto.

1.71 copying music

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.

See also

No cross-references.

1.72 counterpoint

ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK: kontrapunkt, S: kontrapunkt, FI: kontrapunkti, ääni ääntä vastaan.

From Latin punctus contra punctum, 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 contrapuntal technique used in the fugue which, since the music of the baroque era, has been one of the most popular polyphonic composition methods.

See also

No cross-references.

1.73 countertenor

ES: contratenor, I: controtenore, F: contre-tenor, D: Countertenor, Kontratenor, NL: contratenor, DK: kontratenor, S: kontratenor, counter tenor, FI: kontratenori.

See also

contralto.

1.74 crescendo

ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, lauter werden, NL: crescendo, DK: crescendo, S: crescendo, FI: cresendo, voimistuen.

Increasing volume. Indicated by a rightwards opening horizontal wedge (hairpin) or the abbreviation cresc.

See also

decrescendo, hairpin.

1.75 cue-notes

ES: notas guía, I: notine, F: petites notes précédant l’entrée d’un instrument, réplique, « à défaut », D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, FI: vihjenuotit.

Notes belonging to one part printed in another to hint when to start playing. Usually printed in a smaller type.

See also

Compare: ossia.

1.76 custos

ES: custos, I: custos, guida, F: guidon, D: Notenzeiger, Custos, NL: ?, DK: ?, S: ?, FI: vihje.

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, which enhances the readability of a score.

Custodes were frequently used in music notation until the 16th century. There were different appearances for different notation styles. Nowadays, they have survived only in special forms of musical notation such as the Editio Vaticana, dating from the beginning of the 20th century

See also

No cross-references.

1.77 cut time

See also

alla breve.

1.78 D

• ES: re
• I: re
• F: ré
• D: D, d
• NL: d
• DK: d
• S: d
• FI: D, d

See also

Pitch names.

1.79 da capo

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.

Abbreviated D.C. Indicates that the piece is to be repeated from the beginning to the end or to a certain place marked Fine.

See also

al fine, dal segno, fine.

1.80 dal niente

ES: dal niente, de la nada, I: dal niente, F: partant de rien, D: aus dem Nichts, dal niente, NL: ?, DK: ?, S: ?, FI: tyhjästä ilmaantuen.

[Italian: ‘from nothing’] Used with crescendo to indicate that the sound should gradually increase from nothing.

See also

al niente.

1.81 dal segno

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.

Abbreviated D.S. Repetition, not from the beginning, but from another place frequently near the beginning marked by a sign (segno):

See also

al fine, da capo, fine.

1.82 decrescendo

ES: decrescendo, I: decrescendo, D: Decrescendo, leiser werden, NL: decrescendo, DK: decrescendo, S: decrescendo, FI: decresendo, hiljentyen.

Decreasing tone volume. Indicated by a leftwards opening horizontal wedge (hairpin) or the abbreviation decresc.

See also

crescendo, diminuendo, hairpin.

1.83 descending interval

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.

A distance between a starting higher note and a lower ending note.

See also

No cross-references.

1.84 diatonic scale

ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko.

A scale consisting of 5 whole tones and 2 semitones (S). Scales played on the white keys of a piano keyboard are diatonic. These scales are sometimes called, somewhat inaccurately, ‘church modes’).

These modes are used in Gregorian chant and in pre-baroque early music but also to some extent in newer jazz music.

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.

See also

semitone, whole tone.

1.85 didymic comma

See also

syntonic comma.

1.86 diminished interval

ES: intervalo disminuido, I: intervallo diminuito, F: intervalle diminué, D: vermindertes Intervall, NL: verminderd interval, DK: formindsket interval, S: förminskat intervall, FI: vähennetty intervalli.

See also

interval.

1.87 diminuendo

ES: diminuendo, I: diminuendo, F: diminuendo, en diminuant, D: diminuendo, NL: diminuendo, DK: diminuendo, S: diminuendo, FI: diminuendo, hiljentyen.

Abbreviated dim. It indicates a decrease in tone volume.

See also

decrescendo.

1.88 diminution

ES: disminución, I: diminuzione, F: diminution, D: Diminution, NL: ?, DK: ?, S: ?, FI: aika-arvojen tihennys.

This is a stub for diminution (wrt mensural notation).

See also

augmentation, mensural notation.

1.89 direct

ES: directo, I: ?, F: direct, D: Weiser, Zeiger, NL: ?, DK: ?, S: ?, FI: suora.

See also

custos.

1.90 disjunct movement

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.

Progressing melodically by intervals larger than a major second, as contrasted with conjunct movement.

See also

conjunct movement.

1.91 dissonance

Another name for dissonant interval.

See also

dissonant interval, harmony.

1.92 dissonant interval

ES: intervalo disonante, disonancia, I: intervallo dissonante, dissonanza, F: intervalle dissonant, dissonance, D: Dissonanz, NL: dissonant interval, dissonant, DK: dissonerende interval, dissonans, S: dissonans, FI: dissonanssi, dissonoiva intervalli, riitasointi.

See also

harmony.

1.93 divisio

ES: división, I: divisio, F: division, D: Divisio, NL: ?, DK: ?, S: ?, FI: jäsennysmerkki.

[Latin: ‘division’; pl. divisiones] 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:

• divisio minima, a short pause
• divisio maior, a medium pause
• divisio maxima, a long pause
• finalis, to indicate the end of a chant, or the end of a section in a long antiphonal or responsorial chant.

TODO: musical example here?

See also

No cross-references.

1.94 doit

ES: elevación [de tono], I: portamento indeterminato verso l’alto/l’acuto, F: saut, D: Glissando zu unbestimmter Tonhöhe, NL: ?, DK: ?, S: ?, FI: nousu.

Indicator for an indeterminately rising pitch bend. Compare with glissando, which has determinate starting and ending pitches.

See also

fall, glissando.

1.95 dominant

ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: dominant, FI: dominantti, huippusointu.

The fifth scale degree in functional harmony.

See also

functional harmony, scale degree.

1.96 dominant ninth chord

ES: acorde de novena de dominante, I: accordo di nona di dominante, F: accord de neuvième de dominante, D: Dominantnonenakkord, NL: dominant noon akkoord, DK: dominantnoneakkord, S: dominantnonackord, FI: dominanttinoonisointu.

See also

chord, functional harmony.

1.97 dominant seventh chord

ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septième de dominante, D: Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S: dominantseptimackord, FI: dominanttiseptimisointu.

See also

chord, functional harmony.

1.98 dorian mode

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.

See also

diatonic scale.

1.99 dot (augmentation dot)

ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verlängerungspunkt), NL: punt, DK: punkt, S: punkt, FI: piste.

See also

dotted note, note value.

1.100 dotted note

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.

See also

note value.

1.101 double appoggiatura

ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, FI: kaksoisappoggiatura, kaksoisetuhele.

See also

appoggiatura.

1.102 double bar line

ES: doble barra, I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK: dobbeltstreg, S: dubbelstreck, FI: kaksoistahtiviiva.

Indicates the end of a section within a movement.

See also

No cross-references.

1.103 double dotted note

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.

See also

note value.

1.104 double flat

ES: doble bemol, I: doppio bemolle, F: double bémol, D: Doppel-B, NL: dubbelmol, DK: dobbelt-b, S: dubbelbe, FI: kaksoisalennusmerkki.

See also

accidental.

1.105 double sharp

ES: doble sostenido, I: doppio diesis, F: double dièse, D: Doppelkreuz, NL: dubbelkruis, DK: dobbeltkryds, S: dubbelkors, FI: kaksoisylennysmerkki.

See also

accidental.

1.106 double time signature

ES: compás polimétrico, I: indicazione di tempo doppia/polimetrica, F: mesure composée, métrique composée, D: zusammengesetzte Taktart, NL: ?, DK: ?, S: ?, FI: kaksois-aika-arvomerkintä.

See also

polymetric time signature.

1.107 double trill

ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK: dobbelttrille, S: dubbeldrill, FI: kaksoistrilli.

A simultaneous trill on two notes, usually in the distance of a third.

See also

No cross-references.

1.108 duple meter

ES: tiempo binario, I: tempo binario, F: métrique binaire, D: in zwei, grader Takt, NL: tweedelige maatsoort, DK: todelt takt, S: tvåtakt, FI: kaksoistempo.

See also

meter.

1.109 duplet

ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, FI: duoli.

See also

note value.

1.110 duration

ES: duración, I: durata, F: durée, D: Dauer, Länge, NL: duur, lengte, DK: varighed, S: tonlängd, FI: kesto, aika-arvo.

See also

note value.

1.111 dynamics

ES: dinámica, matices, I: dinamica, F: nuances, D: Dynamik, Lautstärke, NL: ?, DK: ?, S: ?, FI: äänen voimakkuusvaihtelu, dynamiikka.

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.

See also

piano, forte, crescendo, decrescendo, diminuendo.

1.112 E

• ES: mi
• I: mi
• F: mi
• D: E, e
• NL: e
• DK: e
• S: e
• FI: E, e

See also

Pitch names.

1.113 ecclesiastical mode

See also

church mode, diatonic scale.

1.114 eighth note

• UK: quaver
• ES: corchea
• I: croma
• F: croche
• D: Achtel, Achtelnote
• NL: achtste noot
• DK: ottendedelsnode
• S: åttondelsnot
• FI: kahdeksasosanuotti

See also

note value.

1.115 eighth rest

• UK: quaver rest
• ES: silencio de corchea
• I: pausa di croma
• F: demi-soupir
• D: Achtelpause
• NL: achtste rust
• DK: ottendedelspause
• S: åttonddelspaus
• FI: kahdeksasosatauko

See also

note value.

1.116 elision

ES: sinalefa, I: elisione, F: élision, D: Elision, NL: ?, DK: ?, S: ?, FI: tavujen yhdistäminen yhteen ääneen.

More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην ‘to smear together’].

The singing of several syllables on a single note. Elision may be indicated by a lyric tie, which looks like (and serves the same function) as a musical tie.

See also

lyric tie.

1.117 embellishment

See also

ornament.

1.118 engraving

ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck NL: steken, DK: nodestik, S: nottryck, FI: painatus.

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.

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.

See also

No cross-references.

1.119 enharmonic

ES: enarmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: enharmonisk, S: enharmonisk, FI: enharmoninen.

Two notes, intervals, or scales are enharmonic if they have different names but equal pitch.

See also

No cross-references.

1.120 equal temperament

ES: temperamento igual, I: temperamento equabile, F: tempérament égal, D: gleichschwebende Stimmung, NL: gelijkzwevende temperatuur, DK: ligesvævende temperatur, S: liksvävande temperatur, FI: tasavireinen.

A tuning system that divides the octave into 12 equal semitones (each of which is precisely equal to 100 cents).

See also

cent, semitone, temperament.

1.121 expression mark

ES: expresión, I: segno d’espressione, F: signe d’expression, indication de nuance, D: Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki.

Performance indications concerning:

• volume, dynamics (for example, forte, crescendo),
• tempo (for example, andante, allegro).

See also

allegro, andante, crescendo, forte.

1.122 extender line

ES: línea de extensión [de melisma, de bajo cifrado, etc.], I: linea di estensione, F: ligne d’extension [de mélisme, de basse chiffrée, etc.], D: Fülllinie, NL: ?, DK: ?, S: ?, FI: pidennysviiva.

The generic term (in LilyPond) for a line (or dash) of arbitrary length that extends text (without indicating the musical function of that text).

Used in many contexts, for example:

• In vocal music to indicate the syllable for a melisma. Called ‘extension’ in the Dolmetsch Online Music Dictionary.
• In figured bass to indicate that:
  • The extended note should be held through a change in harmony, when applied to one figure –OR–
  • The chord thus represented should be held above a moving bass line, when applied to more than one figure.
  • These uses were not completely standardized, and some composers used a single extender line to indicate the latter case.
• 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 sul G, another series to be played on the D string would be indicated sul D, and so on.
• With an octave mark to indicate that a passage is to be played higher or lower by the given number of octaves.

See also

melisma, sul G, thorough bass, octave mark, octave marking.

1.123 F

• ES: fa
• I: fa
• F: fa
• D: F, f
• NL: f
• DK: f
• S: f
• FI: F, f

See also

Pitch names.

1.124 F clef

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.

The position between the dots of the key symbol is the line of the F below central C. Used on the third, fourth and fifth note line. A digit 8 above the clef symbol indicates that the notes must be played an octave higher (for example, bass recorder) while 8 below the clef symbol indicates playing an octave lower (for example, on the Double Bass).

See also

baritone clef, strings.

1.125 fall

ES: caída [de tono], I: portamento indeterminato verso il basso/il grave, F: chute, D: Glissando zu unbestimmter Tonhöhe nach unten, NL: ?, DK: ?, S: ?, FI: lasku.

Indicator for an indeterminately falling pitch bend. Compare with glissando, which has determinate starting and ending pitches.

See also

doit, glissando.

1.126 feathered beam

ES: barra progresiva, I: travatura convergente/divergente, F: ligature en soufflet, lien de croches en soufflet, D: gespreizter Balken, NL: ?, DK: ?, S: ?, FI: kiilapalkki.

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.

See also

Internals Reference: Manual beams.

1.127 fermata

ES: calderón, I: corona, F: point d’orgue, point d’arrêt, D: Fermate, NL: fermate, DK: fermat, S: fermat, FI: fermaatti, pidäke.

Prolonged note or rest of indefinite duration.

See also

No cross-references.

1.128 fifth

ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, FI: kvintti.

See also

interval.

1.129 figured bass

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.

Also called ‘thorough bass’.

A method of indicating an accompaniment part by the bass notes only, together with figures designating the chief intervals and chords to be played above the bass notes.

See also

chord, interval.

1.130 fine

[Italian: ‘end’]

Indicates the end of the piece when it is not the written end of the music.

See also

da capo, dal segno.

1.131 fingering

ES: digitación, I: diteggiatura, F: doigté, D: Fingersatz, NL: vingerzetting, DK: fingersætning, S: fingersättning, FI: sormitus.

Figures to the side or above the note that methodically indicate which fingers to use while playing a passage.

See also

No cross-references.

1.132 flag

ES: corchete, I: coda (uncinata), bandiera, F: crochet, D: Fahne, Fähnchen, NL: vlaggetje, DK: fane, S: flagga, FI: lippu, viiri.

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 note value.

See also

note value.

1.133 flageolet

ES: armónico, I: armonico, F: flageolet, D: Flageolett, NL: ?, DK: ?, S: ?, FI: flageolet-ääni.

An articulation for string players that means the note or passage is to be played in harmonics.

Also:

• A duct flute similar to the recorder.
• An organ stop of flute scale at 1’ or 2’ pitch.

See also

articulation, harmonics.

1.134 flat

ES: bemol, I: bemolle, F: bémol, D: B, NL: mol, DK: b, S: beförtecken, FI: alennusmerkki.

See also

accidental.

1.135 forefall

See also

appoggiatura.

1.136 forte

ES: forte, fuerte, I: forte, F: forte, D: forte, laut, NL: forte, DK: forte, S: forte, FI: forte, voimakkaasti.

[Italian: ‘loud’]

Abbreviated f. Variants include:

• mezzo forte, medium loud (notated mf),
• fortissimo, very loud (notated ff).

See also

No cross-references.

1.137 fourth

ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, FI: kvartti.

See also

interval.

1.138 Frenched score

ES: partitura a la francesa, I: partitura senza i righi vuoti, F: partition à la française, D: Orchesterpartitur ohne leere Systeme, NL: ?, DK: ?, S: ?, FI: partituuri ilman tyhjiä nuottiviivastoja.

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.

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.

See also

Frenched staff.

1.139 Frenched staff

ES: pentagrama a la francesa, I: rigo temporaneo, F: portée à la française, D: zeitweiliges Notensystem, NL: ?, DK: ?, S: ?, FI: karsittu nuotinnus.

[Pl. Frenched staves] Analogous to Frenched scores (q.v), a Frenched staff has unneeded measures or sections removed. This is useful for producing, for example, an ossia staff.

See also

ossia.

1.140 Frenched staves

Plural of Frenched staff.

1.141 fugue

ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, FI: fuuga.

See also

counterpoint.

1.142 functional harmony

ES: armonía funcional, I: armonia funzionale, F: étude des functions, D: Funktionslehre, NL: functionele harmonie, DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä.

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. A few examples among many others are the tonic, subdominant or dominant of the parallel minor scale, or the incomplete dominant seventh chord.

See also

dominant, incomplete dominant seventh chord, subdominant, tonic.

1.143 G

• ES: sol
• I: sol
• F: sol
• D: G, g
• NL: g
• DK: g
• S: g
• FI: G, g

See also

Pitch names.

1.144 G clef

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.

A clef symbol that indicates G above middle 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 (used most frequently to notate the tenor part in modern choral scores).

See also

No cross-references.

1.145 glissando

ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S: glissando, FI: glissando, liukuen.

Letting the pitch slide fluently from one note to the other.

See also

No cross-references.

1.146 grace notes

ES: notas de adorno, I: abbellimenti, F: ornement, fioriture, D: Verzierungen, Vorschläge, Vorschlagsnoten, NL: versieringen, DK: forsiringer, S: ornament, FI: korunuotit.

Notes printed in small types to indicate that their time values are not counted in the rhythm of the bar.

See also

acciaccatura, appoggiatura, mordent, ornament.

1.147 grand staff

ES: sistema de piano, I: accollatura, F: système [de portées], accolade, D: Akkolade, Klaviersystem, NL: piano systeem, DK: klaversystem, S: ackolad, böjd klammer, FI: kaksoisnuottiviivasto.

A combination of two staves with a brace. Usually used for piano music.

See also

brace.

1.148 grave

ES: grave, I: grave, F: grave, lent, D: Grave, Langsam, NL: grave, ernstig, DK: grave, S: grave, FI: grave, raskaasti.

[Italian] Slow, solemn.

See also

No cross-references.

1.149 gruppetto

See also

turn.

1.150 H

• ES: si
• I: si
• F: si
• D: H, h
• NL: b
• DK: h
• S: h
• FI: H, h

Letter name used for B natural in German and Scandinavian usage. In the standard usage of these countries, B means B flat.

See also

Pitch names, B.

1.151 hairpin

Graphical version of the crescendo and decrescendo dynamic marks.

See also

crescendo, decrescendo.

1.152 half note

• UK: minim,
• ES: blanca,
• I: minima,
• F: blanche,
• D: Halbe, halbe Note,
• NL: halve noot,
• DK: halvnode,
• S: halvnot,
• FI: puolinuotti.

See also

note value.

1.153 half rest

• 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.

See also

note value.

1.154 harmonic cadence

ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi.

A sequence of chords that terminates a musical phrase or section.

See also

functional harmony.

1.155 harmonics

ES: armónicos, sonidos aflautados, I: armonici, F: flageolet, sons harmoniques, D: Flageolett-Töne, NL: ?, DK: ?, S: ?, FI: harmoniset äänet, huiluäänet.

The general class of pitches produced by sounding the second or higher harmonic of a tone producer: string, column of air, and so on.

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.

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.

See also

No cross-references.

1.156 harmony

ES: armonía, I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S: samklang, FI: harmonia, yhteissointi.

Tones sounding simultaneously. Two note harmonies fall into the categories consonances and dissonances.

Consonances:

Dissonances:

For harmony that uses three or more notes, see chord.

See also

chord.

1.157 hemiola

ES: hemiolia, I: emiolia, (rarely hemiola or emiola), F: hémiole, D: Hemiole, NL: ?, DK: ?, S: ?, FI: hemioli, 3/2 -suhde.

[Greek: in Latin, sesquialtera] The ratio 3:2.

Most frequently, a proportion (q.v.) of three notes of equal value in the time normally occupied by two. 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 affect) at cadences.

For example, this phrase in 6/4 time

may be thought of having alternating time signatures

and is therefore a polymeter (second definition) of considerable antiquity.

See also

mensural notation, meter, polymeter, proportion.

1.158 high bass clef

ES: ?, I: ?, F: clef de basse haute, D: hoher Bassschlüssel, NL: ?, DK: ?, S: ?, FI: ?.

Beginning in 18th century the high bass clef used in French Horn parts for the lowest pitches. This usage of the F clef was then passed down from the French Horn to the Basset Horn and then to the Bass Clarinet. It looks identical to the standard bass clef, but is pitched an octave higher – octavation indicators on clefs appeared at the beginning of the 20th Century.

In LilyPond, the most straightforward way to make a high bass clef is to print the modern version \clef "bass^8" but without the 8;

<<
  \new Staff {
    \clef treble { g4 b d' g' }
  }
  \new Staff \with { \omit ClefModifier }
  { \clef "bass^8" { g4 b d' g' } }
>>

See also

F clef, bass clef.

1.159 homophony

ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys.

Music in which one voice leads melodically supported by the other voices in the same rhythm (more or less). In contrast to polyphony.

See also

polyphony.

1.160 hook

See also

flag.

1.161 hymn meter

ES: ?, I: metrica dell’inno, F: ?, D: Silbenanzahl, NL: ?, DK: ?, S: ?, FI: säkeiden tavumäärät.

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: for example, consider a hymn that has four lines in two couplets alternating regularly between eight and seven syllables. The English Hymnal notes this as 87. 87. Other hymnals may note it as 8787, 87.87, or 8 7 8 7.

Some frequently-used hymn meters have traditional names:

• 66.86 is called Short Meter (abbreviated SM or S.M.)
• 86.86 is called Common Meter (CM or C.M.)
• 88.88 is called Long Meter (LM or L.M.)

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:

• 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
• 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
• 88.88.88.88 is Double Long Meter (DLM or D.L.M.)

See also

No cross-references.

1.162 incomplete dominant seventh chord

ES: ?, I: accordo di settima dominante incompleto, F: accord de septième de dominante incomplet, D: verkürzter Dominantseptakkord, NL: ?, DK: ?, S: ?, FI: ?.

A dominant seventh chord where the root tone is removed. The remaining three tones build a diminished triad.

See also

chord, dominant seventh chord, functional harmony.

1.163 interval

ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero.

Difference in pitch between two notes. Intervals may be diminished, minor, perfect, major, or augmented. The augmented fourth and the diminished fifth are identical (or enharmonic) on an equal-tempered twelve-tone scale and are called tritonus because they consist of three whole tones. The addition of such two intervals forms an octave.

See also

enharmonic, whole tone.

1.164 inversion

ES: inversión, I: rivolto, F: renversement, D: Umkehrung, NL: ?, DK: ?, S: ?, FI: käännös.

When a chord sounds with a bass note that differs from the root of the chord, it is said to be inverted. The number of inversions that a chord can have is one fewer than the number of constituent notes. For example, triads (which have three constituent notes) can have three positions, two of which are inversions:

Root position

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 I.

First inversion

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 6/3. This is commonly abbreviated to I6 (or Ib) since the sixth is the characteristic interval of the inversion, and so always implies 6/3.

Second inversion

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 I6/4 or Ic. Second inversion is the most unstable chord position.

See also

No cross-references.

1.165 inverted interval

ES: intervalo invertido, I: intervallo rivolto, F: intervalle renversé, D: umgekehrtes Intervall, NL: interval inversie, DK: omvendingsinterval, S: intervallets omvändning, FI: käänteisintervalli.

The difference between an interval and an octave.

See also

No cross-references.

1.166 just intonation

ES: entonación justa, I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine stemming, DK: ren stemning, S: ren stämning, FI: puhdas viritys.

Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds.

See also

temperament.

1.167 key

ES: tonalidad, I: tonalità, F: tonalité, D: Tonart, NL: toonsoort, DK: toneart, S: tonart, FI: tonaliteetti.

According to the 12 tones of the chromatic scale there are 12 keys, one on c, one on c-sharp, etc.

See also

chromatic scale, key signature.

1.168 key signature

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.

The sharps or flats appearing at the beginning of each staff indicating the key of the music.

See also

accidental.

1.169 kievan notation

A form of medieval music notation used predominantly in the chantbooks of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is characterized by the square shape of its noteheads.

1.170 laissez vibrer

ES: dejar vibrar, I: laissez vibrer, F: laissez vibrer, D: Laissez vibrer, schwingen lassen, NL: ?, DK: ?, S: ?, FI: antaa väristä.

[French: ‘Let vibrate’] Most frequently associated with harp parts. Marked l.v. in the score.

See also

No cross-references.

1.171 largo

ES: largo, I: largo, F: largo, large, ample, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, FI: largo, hitaasti, leveästi.

[Italian: ‘wide’.] Very slow in tempo, usually combined with great expressiveness. Larghetto is less slow than largo.

1.172 leading note

ES: sensible, I: sensibile, F: (note) sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton, FI: johtosävel.

The seventh scale degree, a semitone below the tonic; so called because of its strong tendency to ‘lead up’ (resolve upwards) to the tonic scale degree.

See also

scale degree, semitone.

1.173 ledger line

ES: línea adicional, I: tagli addizionali, F: ligne supplémentaire, D: Hilfslinie, NL: hulplijntje, DK: hjælpelinie, S: hjälplinje, FI: apuviiva.

A ledger line is an extension of the staff.

See also

No cross-references.

1.174 legato

ES: legato, I: legato, F: legato, lié, D: legato, gebunden, NL: legato, DK: legato, S: legato, FI: legato, sitoen.

To be performed (a) without any perceptible interruption between the notes, unlike (b) leggiero or non-legato, (c) portato, or (d) staccato.

See also

staccato.

1.175 legato curve

See also

slur, legato.

1.176 leger line

See also

ledger line.

1.177 ligature

ES: ligadura, I: ligatura, F: ligature, DE: Ligatur, NL: ?, DK: ?, S: ?, FI: ligatuura.

A ligature is a coherent graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of Gregorian chant notation around 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.

See also

mensural notation.

1.178 lilypond

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.

A pond with lilies floating in it.

Also, the name of a music typesetting program.

See also

No cross-references.

1.179 line

ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: notlinje, FI: viiva, nuottiviiva.

See also

staff.

1.180 loco

ES: en su lugar, I: loco, F: loco, D: loco, NL: ?, DK: ?, S: ?, FI: kirjoitetussa äänenkorkeudessa.

[Italian: ‘place’] Instruction to play the following passage at the written pitch. Cancels octave mark (q.v.).

See also

octave mark, octave marking.

1.181 long appoggiatura

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.

See also

appoggiatura.

1.182 longa

• US: long, longa,
• ES: longa,
• I: longa,
• F: longa, longue,
• D: Longa,
• NL: longa,
• DK: longa,
• S: longa,
• FI: longa.

Note value: twice the length of a breve.

See also

breve, note value.

1.183 lyric tie

ES: ligadura de letra, I: legatura del testo, F: ligature de mots, D: Textbindung, NL: ?, DK: ?, S: ?, FI: sidonta sanoituksessa.

See also

elision.

1.184 lyrics

ES: letra (de la canción), I: testo, F: paroles, D: Liedtext, Gesangstext, NL: liedtekst, DK: ?, S: ?, FI: sanoitus.

See also

No cross-references.

1.185 major

ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, FI: duuri.

See also

diatonic scale.

1.186 major interval

ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: großes Intervall, NL: groot interval, DK: stort interval, S: stort intervall, FI: suuri intervalli.

See also

interval.

1.187 maxima

ES: máxima, I: maxima, F: maxima, maxime, D: Maxima, NL: ?, DK: ?, S: ?, FI: maxima.

Note value: twice the length of a longa.

The maxima is the largest duration in use during the 15th and 16th centuries. Like the longa, the maxima can be either two or three times as long as the longa (called binary and ternary, respectively). By the late 15th century, most composers used the smaller proportion by default.

See also

Duration names notes and rests, longa, note value.

1.188 meantone temperament

ES: afinación mesotónica, I: accordatura mesotonica, F: tempérament mésotonique, D: mitteltönige Stimmung, NL: middenstemming, middentoonstemming, DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys.

Temperament yielding acoustically pure thirds by decreasing the natural fifth by 16 cents. Due to the non-circular character of this temperament only a limited set of keys are playable. Used for tuning keyboard instruments for performance of pre-1650 music.

See also

cent, temperament.

1.189 measure

ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, FI: tahti.

A group of beats (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 separated from each other by bar lines.

See also

bar line, beat, meter.

1.190 measure repeat

See also

percent repeat.

1.191 mediant

ES: mediante, I: mediante, modale, F: médiante, NL: mediant, D: Mediante, DK: mediant, S: mediant, FI: keskisävel.

• The third scale degree.
• A chord 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).

See also

chord, functional harmony, relative key.

1.192 melisma

ES: melisma, I: melisma, F: mélisme, vocalise, D: Melisma, NL: melisma, DK: ?, S: ?, FI: melisma, laulettavan tavun sävelkuvio.

A melisma (Greek: plural melismata) is a group of notes or tones sung on one syllable, especially as applied to liturgical chant.

See also

No cross-references.

1.193 melisma line

ES: línea de melisma, I: linea del melisma, F: trait de mélisme, trait de tenue, D: Fülllinie, NL: ?, DK: ?, S: ?, FI: melismaviiva.

See also

extender line.

1.194 melodic cadence

See also

cadenza.

1.195 mensural notation

ES: notación mensural, I: notazione mensurale, F: notation mensurale, D: Mensuralnotation, NL: ?, DK: ?, S: ?, FI: mensuraalinuotinnus.

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.

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.

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.

TODO: continue description of French and Italian black notation, and the relationship betwixt them.

White or void mensural notation

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. ...

TODO: add to definition (including summary info on proportional notation)

See also

augmentation, diminution, ligature, proportion.

1.196 mensuration sign

ES: signo de mensuración, I: indicazione mensurale, F: signe de mensuration, D: Mensurzeichen, NL: ?, DK: ?, S: ?, FI: ?.

The ancestor of the time signature, mensuration signs were used to indicate the relationship between two sets of note durations—specifically, the ratio of breves to semibreves (called tempus), and of semibreves to minims (called prolatio).

Each ratio was represented with a single single sign, and was either three-to-one (ternary) or two-to-one (binary), as in modern music notation. Unlike modern music notation, the ternary ratio was the preferred one—applied to the tempus, it was called perfect, and was represented by a complete circle; applied to the prolatio, it was called major and was represented by a dot in the middle of the sign. The binary ratio applied to the tempus was called imperfect, and was represented by an incomplete circle; applied to prolatio, it was called minor and was represented by the lack of an internal dot. There are four possible combinations, which can be represented in modern time signatures with and without reduction of note values. (These signs are hard-coded in LilyPond with reduction.)

perfect tempus with major prolatio

Indicated by a complete circle with an internal dot. In modern time signatures, this equals:

• 9/4, with reduction or
• 9/2, without reduction

perfect tempus and minor prolatio

Indicated by a complete circle without an internal dot. In modern time signatures, this equals:

• 3/2, with reduction or
• 3/1, without reduction

imperfect tempus and major prolatio

Indicated by an incomplete circle with an internal dot. In modern time signatures, this equals:

• 6/4, with reduction or
• 6/2, without reduction

imperfect tempus and minor prolatio

Indicated by an incomplete circle without an internal dot. In modern time signatures, this equals:

• 4/4, with reduction or
• 2/1, without reduction

The last mensuration sign looks like common-time because it is, with note values reduced from the original semibreve to a modern quarter note. Being doubly imperfect, this sign represented the (theoretically) least-preferred mensuration, but it was actually used fairly often.

This system extended to the ratio of longer note values to each other:

• maxima to longa, called:
  • modus maximorum,
  • modus major, or
  • maximodus)
• longa to breve, called:
  • modus longarum,
  • modus minor, or
  • modus

In the absence of any other indication, these modes were assumed to be binary. The mensuration signs only indicated tempus and prolatio, so composers needed another way to indicate these longer ratios (called modes. Around the middle of the 15th century started to use groups of rests at the beginning of the staff, preceding the mensuration sign.

Two mensuration signs have survived to the present day: the C-shaped sign, which originally designated tempus imperfectum and prolatio minor now stands for common time; and the slashed C, which designated the same with diminution now stands for cut time (essentially, it has not lost its original meaning).

See also

diminution, proportion, time signature.

1.197 mensurstrich

ES: ?, I: ?, F: ?, D: Mensurstrich, NL: ?, DK: ?, S: ?, FI: ?.

A bar line drawn between staves.

See also

mensural notation.

1.198 meter

ES: tiempo, compás, I: tempo, misura, F: indication de mesure, mesure, D: Taktart, Metrum, NL: maatsoort, DK: taktart, S: taktart, FI: aika-arvo.

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.

By grouping beats:

• duple: groups of two.
• triple: groups of three.
• quadruple: groups of four. A special case of duple meter.
• quintuple: groups of five beats.
• sextuple meter: groups of six. A special case of:
  • duple meter, subdivided in three; or
  • triple meter, subdivided in two.
• septuple meter: groups of seven.
• and so on.

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.

By subdividing the primary beat:

• simple: subdivided in groups of two.
  • duple: 2/2, 2/4, 2/8
  • triple: 3/2, 3/4, 3/8
  • quadruple: 4/2, 4/4 (also called common time), 4/8
• compound: subdivided in groups of three.
  • duple: 6/8
  • triple: 9/8
  • quadruple: 12/8