2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @c @evenheading @thispage @| @|
8 @c @oddheading @| @| @thispage @|
11 glossary by Christian Mondrup
13 spanish by David González <dgonzal@quanta.net.py>
24 @item UK - British English
34 @tex $\\Rightarrow$ @end tex
44 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
50 : la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
53 ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
55 The stress of one tone over others.
58 ES: alteración, I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
59 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
62 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
63 @c Akzidenz, NL: toevallig teken, I: accidento.
65 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
66 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
67 flat lowers it by a whole tone. A natural cancels the effect of a previous
73 \property Score.barNonAuto = ##t
74 \property Voice.TextScript \set #'font-style = #'large
77 gisis1_"db. sharp" s s2
79 geses1_"db. flat" s s2
84 ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
85 NL: accelerando, DK: accelerando, S: accelerando, N:
91 ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
94 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
95 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
96 movement in slow tempo, esepecially the scond (slow) movement of
97 @w{@ar{}@strong{sonata}s}, symphonies etc.
100 ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
101 DK: allegro, S: allegro, N: allegro.
103 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
104 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
107 ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
109 A female voice of low range (@emph{contralto}). Originally the alto was a high
110 male voice (hence the name) which by the use of falsetto reached the height of
111 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
115 ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
116 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
118 C clef setting central C on the middle line of the staff
119 @w{@ar{}@strong{C clef}}
121 @item ancient minor scale
122 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
123 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
128 \property Score.barNonAuto = ##t
129 \notes\relative c'' {
134 ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
137 walking tempo/character
140 ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
141 DK: forslag, S: f@"orslag, N:
143 Ornamental note, usually a second, that is melodically connected with the main
144 note that follows it. In music before the 19'th century a. were usually
145 performed on the beat, after that mostly before the beat. While the short
146 a. is performed as a short note regardless of the duration of the main note
147 the duration of the long a. is proportionate to that of the main note.
152 \notes\relative c'' {
156 \property Score.TextScript \set #'font-style = #'large
157 <d4_"notation" a fis> r
158 { \property Grace.Stem \override #'flag-style = #""
161 { \property Grace.Stem \override #'flag-style = #""
163 g8 fis16 g | a4 \bar "||" }
164 \notes\relative c'' {
165 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
168 An appoggiatura may have more notes preceding the main note.
173 \notes\relative c'' {
176 \property Score.TextScript \set #'font-style = #'large
177 \grace { bes16 } as8_"notation" as16 bes as8 g |
178 \grace { [as16 ( bes] } < ) c4 as >
179 \grace { [as16 ( bes] } < ) c4 as > \bar "||"
180 \grace { bes16 } as8_"performance" as16 bes as8 g |
181 < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. }
182 \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } >
188 ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
189 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
194 \notes \context PianoStaff <
195 \context Staff = SA \relative c'' {
198 r8 g16 c e g, c e r8 g,16 c e g, c e |
199 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
200 \context Staff = SB \relative c' {
202 < \context Voice = va {
204 r16 e8. () e4 r16 e8. () e4 |
205 r16 d8. () d4 r16 d8. () d4 }
206 \context Voice = vb {
213 @item ascending interval
214 ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
215 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
217 A distance between a starting lower note and a higher ending note.
219 @item augmented interval
220 ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
221 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
222 @"overstigande intervall, N:
224 @w{@ar{}@strong{interval}}
227 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
228 h@aa{}ndskrift, autograf, S: handskrift, N: .
230 1. A manuscript in the composer's own hand. 2. Music prepared for
231 photoreproduction by freehand drawing, with only the aid of a
232 straightedge ruler and T-square, which attempts to emulate
233 engraving. This required more skill than did engraving.
236 ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
238 @item backfall; forefall
239 @w{@ar{}@strong{appoggiatura}}
242 ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
243 maatstreep, DK: taktstreg, S: taktstreck, N:
246 ES: compás, @w{@ar{}@strong{measure}}
249 ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
252 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
253 @w{@ar{}@strong{tenor}}.
256 ES: clave de fa en tercera
257 I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
258 ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
261 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
262 @w{@ar{}@strong{f clef}}
265 ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
266 bassleutel, DK: basn@o{}gle, S: basklav, N:
268 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
272 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
274 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
275 an abbreviation for double bass @w{@ar{}@strong{strings}}.
278 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
280 Line connecting a series of notes (shorter than a quarter note). The number of
281 beams determine the note value of the connected notes.
286 \property Score.barNonAuto = ##t
287 \property Voice.TextScript \set #'font-style = #'large
288 \notes\relative c'' {
290 [g16_"1/16" g g g] s16
291 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
292 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
296 ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
299 Note value used for counting, most often half-, fourth- and eighth notes. The
300 base counting value and the number of them per measure is indicated at the
308 \notes\relative c'' { g4 c b a | g1 \bar "||"}
310 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
314 @w{@ar{}@strong{tie}}
318 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
319 accolade, teksthaak, DK: klamme, S: klammer, N:
321 Symbol at the start of a system connecting staffs. Curly braces are used
322 for connecting piano staves, angular brackets for connecting parts in an
323 orchestral or choral score.
326 \notes\context GrandStaff <
327 \relative c''\context Staff = SA { \clef treble g4 e c2 }
328 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
332 \context StaffGroup <
333 % \property StaffGroup.minVerticalAlign = #12
334 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
335 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
339 ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
340 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
342 A family of blown musical instruments made of brass all using a cup formed
343 mouth piece. The brass instruments commonly used in a symphony orchestra are
344 trumpet, trombone, french horn and tube.
347 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
348 repercussieteken, DK:
349 vejrtr@ae{}kningstegn, S: andningstecken, N: .
351 Indication of where to breathe in vocal and wind instrument parts.
354 ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
356 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
362 \property Score.barNonAuto = ##t
363 \notes\relative c'' { g\breve }
367 ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
370 ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
371 c-n@o{}gle, S: c-klav, N:
373 Clef symbol indicating the position of the central C. Used on all note
379 \property Score.barNonAuto = ##t
380 \property Score.Clef \override #'full-size-change = ##t
381 \property Score.LyricText \set #'font-style = #'large
383 \context Staff \notes\relative c' {
390 \context Lyrics \lyrics {
391 Soprano Mezzosoprano Alto Tenor Baritone
396 ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
398 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
401 ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
403 An extended, improvisatory style section inserted near the end of
404 movement. The purpose of a cadenza is to give the singer or player a chance to
405 exhibit her technichal skill and not the least her ability to improvise. Since
406 the middle of the 19'th century, however, most cadences have been written down
410 ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
412 @w{@ar{}@strong{counterpoint}}
415 ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
417 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
418 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
421 @w{@ar{}@strong{middle C}}
424 ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
426 Three or more tones sounding simultaneously. In traditional European music the
427 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
428 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
429 chords may be extended with more thirds. Four- @emph{seventh chords} and five
430 tone @emph{ninth} major chords are most often used as dominants
431 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
432 third above the lower notes to define their quality as major or minor. Such
433 chords are denoted open chords
438 \property Score.barNonAuto = ##t
439 \property Voice.TextScript \set #'font-style = #'large
441 \notes\relative c'' {
444 <g_"dimished" bes des>
445 <g_"augmented~" b dis>
446 <g_"seventh-chord~" b d f>
447 <g_"ninth-chord" b d f a> s s2
451 @item chromatic scale
452 ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
453 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
455 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
460 \property Score.barNonAuto = ##t
461 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
465 ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
468 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
470 @item church mode; ecclesiastical mode ES: modo eclesiástico, I: modo
471 ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
472 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
474 @w{@ar{}@strong{diatonic scale}}
477 ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
478 sleutel, DK: n@o{}gle, S: klav, N:
480 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
483 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
485 Difference in pitch between a note derived from pure tuning and the same note
486 derived from some other tuning method. @w{@ar{}@strong{temperament}}
489 @w{@ar{}@strong{meter}}
491 @item compound interval
492 ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
493 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
495 Intervals larger than an octave
497 @w{@ar{}@strong{interval}}
500 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
501 complementair interval, DK: komplement@ae{}rinterval, S:
502 komplement@"arintervall (?), N:
504 @w{@ar{}@strong{inverted interval}}
506 @item conjunct movement
507 ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
508 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
510 Melody moving in the narrow steps of the scale;
515 \key g \major \time 4/4
516 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
520 ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
523 @w{@ar{}@strong{harmony}}
526 ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
528 @w{@ar{}@strong{alto}}
531 ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
532 kontrapunkt, S: kontrapunkt, N: .
534 From latin @emph{punctus contra punctum}, note against note. The combination
535 into a single musical fabric of lines or parts which have distinct melodic
536 significance. A frequently used polyphonic technique is imitation, in its
537 strictest form found in the canon needing only one part to be written down
538 while the other parts are performed with a given displacement. Imitation is
539 also the contrapuntal technique used in the @emph{fugue} which, since the
540 music of the baroque era, has been one of the most popular polyphonic
546 \property Score.TimeSignature \override #'style = #'C2/2
547 \notes\context PianoStaff <
548 \context Staff = SA \relative c' {
552 < \context Voice = rha {
554 r1 | r2 r8 g'8 bes d, |
555 cis4 d r8 e!16 f g8 f16 e |
556 f8 g16 a bes8 a16 g a8
558 \context Voice = rhb {
564 \context Staff = SB \relative c' {
567 < \context Voice = lha {
569 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
570 r8 a16 g f8 g16 a bes8 g e! cis' |
573 \context Voice = lhb {
582 ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
583 kontratenor, S: kontratenor, counter tenor, N: kontratenor
585 @w{@ar{}@strong{contralto}}
588 A music copyist did fast freehand scores and parts on preprinted staff lines
589 for performance. Some of their conventions (e.g.: the placement of noteheads
590 on stems) varied slightly from those of engravers. Some of their working
591 methods were superior and could well be adopted by music typesetters. This
592 required more skill than engraving.
595 ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
596 crescendo, S: crescendo, N:@w{ }crescendo.
598 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
599 abbreviation "cresc.".
604 \key g \major \time 4/4
605 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
609 ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
610 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
612 In a separate part notes belonging to another part with the purpose of hinting
613 when to start playing. Usually printed in a smaller type.
616 ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
619 ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
620 capo, DK: da capo, S: da capo, N: .
622 The term indicates repetition of the piece from the beginning to the end or to
623 a certain place marked @emph{fine}. Mostly abbreviated D.C.
626 ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
627 dal segno, S: dal segno, N: .
629 abbreviated d.s. Repetition, not from the beginning, but from another place
630 frequently near the beginning marked by a sign:
635 \property Voice.TextScript \set #'font-style = #'large
636 \key g \major \time 4/4
637 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
641 ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
642 decrescendo, N: decrescendo
644 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
645 or the abbreviation "decresc.".
650 \context Staff \notes\relative c'' {\key g \major \time 4/4
651 d4 \> c b a | \! g1 \bar "|." }
654 @item descending interval
655 ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
656 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
657 fallande intervall, N:
659 An distance between a starting higher note and a lower ending note.
662 ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
663 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
665 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
666 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
667 keybord are diatonic.
669 The church modes are used in gregorial chant and pre baroque early music but
670 also to some extent in newer jazz music.
675 \property Score.barNonAuto = ##t
676 \property Lyrics.LyricText \set #'font-style = #'large
677 \property Voice.TextScript \set #'font-style = #'large
681 \property Voice.TextScript \set #'padding = #-10
683 \property Voice.TextScript \set #'padding = #-4
685 \context Lyrics \lyrics { Ionian }
689 \property Score.barNonAuto = ##t
690 \property Lyrics.LyricText \set #'font-style = #'large
691 \property Voice.TextScript \set #'font-style = #'large
695 \property Voice.TextScript \set #'padding = #-10
698 \property Voice.TextScript \set #'padding = #-4
700 \context Lyrics \lyrics { Dorian }
704 \property Score.barNonAuto = ##t
705 \property Lyrics.LyricText \set #'font-style = #'large
706 \property Voice.TextScript \set #'font-style = #'large
709 \property Voice.TextScript \set #'padding = #-10
712 \property Voice.TextScript \set #'padding = #-4
714 \context Lyrics \lyrics { Phrygian }
718 \property Score.barNonAuto = ##t
719 \property Lyrics.LyricText \set #'font-style = #'large
720 \property Voice.TextScript \set #'font-style = #'large
724 \property Voice.TextScript \set #'padding = #-4
726 \property Voice.TextScript \set #'padding = #0
728 \context Lyrics \lyrics { Lydian }
732 \property Score.barNonAuto = ##t
733 \property Lyrics.LyricText \set #'font-style = #'large
734 \property Voice.TextScript \set #'font-style = #'large
736 \notes\relative c'' {
738 \property Voice.TextScript \set #'padding = #-4
740 \property Voice.TextScript \set #'padding = #0
742 \context Lyrics \lyrics { Mixolydian }
746 \property Score.barNonAuto = ##t
747 \property Lyrics.LyricText \set #'font-style = #'large
748 \property Voice.TextScript \set #'font-style = #'large
750 \notes\relative c'' {
752 \property Voice.TextScript \set #'padding = #-4
754 \property Voice.TextScript \set #'padding = #0
756 \context Lyrics \lyrics { Aeolian }
759 From the beginning of the 17th century the scales used in European
760 compositional music are primarily the major and the minor scales. In the
761 harmonic minor scale type an augmented second (A) occurs between the 6th and
765 \property Score.barNonAuto = ##t
766 \property Lyrics.LyricText \set #'font-style = #'large
767 \property Voice.TextScript \set #'font-style = #'large
771 \property Voice.TextScript \set #'padding = #-10
773 \property Voice.TextScript \set #'padding = #-4
775 \context Lyrics \lyrics { Major }
779 \property Score.barNonAuto = ##t
780 \property Lyrics.LyricText \set #'font-style = #'large
781 \property Voice.TextScript \set #'font-style = #'large
783 \notes\relative c'' {
785 \property Voice.TextScript \set #'padding = #-4
787 \property Voice.TextScript \set #'padding = #0
789 \context Lyrics \lyrics { "ancient minor" }
793 \property Score.barNonAuto = ##t
794 \property Lyrics.LyricText \set #'font-style = #'large
795 \property Voice.TextScript \set #'font-style = #'large
797 \notes\relative c'' {
799 \property Voice.TextScript \set #'padding = #-4
801 \property Voice.TextScript \set #'padding = #0
803 \property Voice.TextScript \set #'padding = #1
807 \context Lyrics \lyrics { "Harmonic minor" }
811 \property Score.barNonAuto = ##t
812 \property Lyrics.LyricText \set #'font-style = #'large
813 \property Voice.TextScript \set #'font-style = #'large
815 \notes\relative c'' {
817 \property Voice.TextScript \set #'padding = #-4
819 \property Voice.TextScript \set #'padding = #0
821 \property Voice.TextScript \set #'padding = #-1
823 \property Voice.TextScript \set #'padding = #-4
826 \context Lyrics \lyrics { "Melodic minor" }
829 @item diminished interval
830 ES: intervalo disminuído, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
831 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
834 @w{@ar{}@strong{interval}}
837 ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
838 S:@w{ }diminuendo, N:@w{ }diminuendo.
840 @w{@ar{}@strong{decrescendo}}
842 @item disjunct movement
843 ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
844 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
847 Melody moving in steps greater than those of the
848 scale. Opposite of @ar{}@strong{conjunct movement}.
856 \partial 8 e8 | a4. gis8 b a e cis |
860 @item dissonant interval; dissonance
861 ES: intervalo disonante, disonancias,
862 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
863 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
866 @w{@ar{}@strong{harmony}}
868 @item dominant ninth chord
869 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
870 Dominantnoneakkord, NL: dominant noon akkoord, DK:
871 dominantnoneakkord, S: dominantnonackord, N: .
873 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
875 @item dominant seventh chord
876 ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
877 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
878 dominantseptimackord, N:
880 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
883 ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
886 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
889 ES: modo dórico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
890 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
892 @w{@ar{}@strong{diatonic scale}}
894 @item dot (augmentation dot)
895 ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
898 @w{@ar{}@strong{dotted note}}
901 ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
902 DK: punkteret node, S: punkterad not, N:
904 @w{@ar{}@strong{note value}}
906 @item double appoggiatura
907 ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
908 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
910 @w{@ar{}@strong{appoggiatura}}
912 @item double bar line
913 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
914 dobbeltstreg, S: dubbelstreck, N: .
916 Indicates the end of a section within a movement.
918 @item double dotted note
919 ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
920 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
921 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
923 @w{@ar{}@strong{note value}}
927 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
928 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
930 @w{@ar{}@strong{accidental}}
933 ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
934 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
936 @w{@ar{}@strong{accidental}}
939 ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
940 dobbelttrille, S: dubbeldrill, N: .
942 A simultaneous trill on two notes, usually in the distance of a third.
945 ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
946 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
948 @w{@ar{}@strong{meter}}
951 ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
953 @w{@ar{}@strong{note value}}
956 ES: duración, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
959 @w{@ar{}@strong{note value}}
962 @w{@ar{}@strong{syntonic comma}}
965 ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
968 ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
969 ottendedelsnode, S: @aa{}ttondelsnot, N: .
971 @w{@ar{}@strong{note value}}
974 ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
975 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
977 @w{@ar{}@strong{note value}}
980 ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
983 Engraving means incising or etching a metal plate for
984 printing. Photoengraving means drawing music with ink in a manner
985 similar to drafting or engineering drawing, using similar tools.
987 The traditional process of music printing is done through cutting in a
988 plate of metal. Now also the term for the art of music typesetting.
991 ES: enharmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
992 enharmonisk, S: enharmonisk, N: .
994 Two notes, intervals, or scales are enharmonic if they have different names
999 \property Score.barNonAuto = ##t
1000 \property Voice.TextScript \set #'font-style = #'large
1001 \notes\relative c'' {
1002 gis1_"g sharp" s as1_"a flat" s s
1003 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1007 @item equal temperament
1008 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1009 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1010 temperatur, S: liksv@"avande temperatur, N: .
1012 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1013 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1015 @item expression mark
1016 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1017 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1018 f@"oredragsbeteckning, N: .
1020 Performance indications concerning 1. volume, dynamics (for example
1021 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1022 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1025 ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1028 ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1029 F-n@o{}gle, S: f-klav, N: .
1031 The position between the dots of the key symbol is the line of the F below
1032 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1033 clef symbol indicates that the notes must be played an octave higher (for
1034 example bass recorder) while 8 below the clef symbol indicates playing an
1035 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1039 \property Score.barNonAuto = ##t
1040 \property Staff.Clef \override #'full-size-change = ##t
1041 \property Lyrics.LyricText \set #'font-style = #'large
1056 \context Lyrics \lyrics {
1066 ES: Calderón, I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1068 Prolonged note or rest of indefinite duration.
1073 \notes\relative c'' {
1074 a4 b c2^\fermata \bar "|." }
1078 ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1081 @w{@ar{}@strong{interval}}
1084 ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
1087 ES: digitación, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1088 fingers@ae{}tning, S: fingers@"attning, N: .
1090 The methodical use of fingers in the playing of instruments.
1094 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1095 DK: fane, S: flagga, N: .
1097 Ornament at the end of the stem of a note used for notes with values less than
1098 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1102 \property Score.barNonAuto = ##t
1103 \property Voice.TextScript \set #'font-style = #'large
1104 \notes\relative c'' {
1112 ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1114 @w{@ar{}@strong{accidental}}
1116 @item forefall; backfall
1117 @w{@ar{}@strong{appoggiatura}}
1120 ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1122 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1123 @emph{mezzoforte} (@b{mf}) medium loud.
1126 ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1128 @w{@ar{}@strong{interval}}
1131 ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1133 @w{@ar{}@strong{counterpoint}}
1135 @item functional harmony
1136 ES: armonía funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1137 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1139 A system of harmonic analysis. It is based on the idea that, in a given key,
1140 there are only three functionally different chords: tonic (T, the chord on the
1141 first note of the scale), subdominant (S, the chord on the fourth note) and
1142 dominant (D, the chord on the fifth note). Other are considered to be variants
1148 \property Score.barNonAuto = ##t
1149 \property Lyrics.LyricText \set #'font-style = #'large
1150 \property Voice.TextScript \set #'font-style = #'large
1152 \notes\relative c'' {
1153 < g1 e c > < a f d > < b g e >
1154 < c a f > < d b g > < e c a > < f d b > }
1155 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1159 ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1162 ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1163 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1165 A clef symbol indicating the G above central C. Used on the first and second
1166 note lines. A digit 8 above the clef symbol indicates that the notes must be
1167 played an octave higher while 8 below the clef symbol indicates playing or
1168 singing an octave lower (most tenor parts in choral scores are notated like
1174 \property Score.barNonAuto = ##t
1175 \property Staff.Clef \set #'full-size-change = ##t
1176 \property Lyrics.LyricText \set #'font-style = #'large
1178 \notes\relative c'' {
1188 \context Lyrics \lyrics {
1189 "french violin clef"
1197 ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1198 glissando, N: glissando.
1200 Letting the pitch slide fluently from one note to the other
1203 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1204 NL: versieringen, DK: forsiringer, S: ornament, N: .
1206 Notes printed in small types to indicate that their time values are not
1207 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1210 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1211 S: ackolad, b@"ojd klammer, N: .
1213 @w{@ar{}@strong{brace}}
1215 A combination of two staffs with a brace. Usually used for piano music.
1218 ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1224 ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1225 halvnode, S: halvnot, N: .
1227 @w{@ar{}@strong{note value}}
1230 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1231 rust, DK: halvnodespause, S: halvpaus, N: .
1233 @w{@ar{}@strong{note value}}
1235 @item harmonic cadence
1236 ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1237 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1239 Sequence of chords that terminate a musical phrase or
1240 section. @ar{}@w{}@strong{functional harmony}
1245 \notes\context PianoStaff <
1246 \context Staff = SA \relative c'' {
1249 \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
1250 \property Lyrics.LyricText \set #'font-style = #'large
1252 \context Staff = SB \relative c {
1254 \partial 4 c4 | f, g c2
1256 \context Lyrics \lyrics { T S D T } >
1260 ES: armonía , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1261 samklang, S: samklang, N:
1263 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1264 @emph{consonances} and @emph{dissonances}.
1271 \property Score.barNonAuto = ##t
1272 \property Voice.TextScript \set #'font-style = #'large
1273 \notes\relative c'' {
1280 <g1_"decime" b'> s s
1289 \property Score.barNonAuto = ##t
1290 \property Voice.TextScript \set #'font-style = #'large
1291 \notes\relative c'' {
1298 Three note harmony @w{@ar{}@strong{chord}}
1301 ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1304 Music in which one voice leads melodically followed by the other voices more
1305 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1308 ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1311 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1312 diminished or augmented. The augmented fourth and the diminished fifth are
1313 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1314 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1320 \property Score.barNonAuto = ##t
1321 \property Score.LyricText \set #'font-style = #'large
1322 \property Score.TextScript \set #'font-style = #'large
1324 \context Staff \notes\relative c'' {
1329 < gis^"dimin" bes > s
1330 < g!^"minor" bes > s
1334 \context Lyrics \lyrics {
1335 unisone second second second third third third third }
1341 \property Score.barNonAuto = ##t
1342 \property Score.LyricText \set #'font-style = #'large
1343 \property Score.TextScript \set #'font-style = #'large
1345 \context Staff \notes\relative c'' {
1346 < g1^"perfect" c > s
1348 < g^"perfect" d' > s
1350 < gis^"dimin" es' > s
1351 < g!^"minor" es' > s
1355 \context Lyrics \lyrics {
1356 fourth fourth fifth fifth sixth sixth sixth sixth }
1362 \property Score.barNonAuto = ##t
1363 \property Score.LyricText \set #'font-style = #'large
1364 \property Score.TextScript \set #'font-style = #'large
1366 \context Staff \notes\relative c'' {
1367 < gis1^"dimin" f'! > s
1368 < g!^"minor" f'! > s
1369 < g^"major" fis' > s
1373 < g^"minor" bes' > s
1376 \context Lyrics \lyrics {
1377 seventh seventh seventh octave none none decime decime }
1380 @item inverted interval
1381 ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1382 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1384 The difference between an interval and an octave.
1389 \property Score.barNonAuto = ##t
1390 \property Score.TextScript \set #'font-style = #'large
1391 \context Staff \notes\relative c'' {
1392 < g1_"second" a > s < g'_"seventh" a, > s \bar "||"
1393 < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
1394 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
1398 @item just intonation
1399 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1400 stemming, DK: ren stemning, S: ren st@"amning, N: .
1402 Tuning system in which the notes are obtained by adding and subtracting
1403 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1406 ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1409 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1410 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1413 ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1414 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1415 S: tonartssignatur, N: .
1417 The sharps or flats appearing at the beginning of each staff indicating the
1418 key of the music. @w{@ar{}@strong{accidental}}
1421 ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1424 Very slow in tempo, usually combined with great
1425 expressiveness. @emph{Larghetto} less slow than largo.
1428 ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1431 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1432 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1433 upwards) to the tonic scale degree.
1435 @item ledger line; leger line
1437 ES: líneas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1438 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1440 A ledger line is an extension of the staff.
1445 \property Score.barNonAuto = ##t
1446 \notes\relative c'' { a,1 s c'' }
1450 ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1453 To be performed without any perceptible interruption between the notes (a)
1454 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1455 @w{@ar{}@strong{staccato}} (d)
1460 \property Score.barNonAuto = ##t
1461 \property Lyrics.LyricText \set #'font-style = #'large
1463 \notes\relative c'' {
1465 c4-- d-- e-- \bar "||"
1466 c4-.( d-. )e-. \bar "||"
1467 c4-. d-. e-. \bar "||"
1469 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1473 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1476 ES: estanque de lilas,
1477 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1478 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1480 A pond with lilies floating in it, also the name of a music typesetter.
1483 ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1486 @w{@ar{}@strong{staff}}
1488 @item long appoggiatura
1489 ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1490 forslag, S: l@aa{}ngt f@"orslag, N: .
1492 @w{@ar{}@strong{appoggiatura}}
1495 ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1497 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1502 \property Score.barNonAuto = ##t
1503 \notes\relative c'' {
1504 \property Voice.NoteHead \set #'style = #'mensural
1509 @item major interval
1510 ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1511 groot interval, DK: stort interval, S: stort intervall, N: .
1513 @w{@ar{}@strong{interval}}
1516 ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1518 @w{@ar{}@strong{diatonic scale}}
1520 @item meantone temperament
1521 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1522 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1524 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1525 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1526 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1527 tuning keyboard instruments for performance of pre-1650 music.
1530 ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1532 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1533 bears an accent. Such groups in numbers of two or more recur consistently
1534 throughout the composition and are marked from each other by
1535 bar-lines. @w{@ar{}@strong{meter}}
1538 ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1541 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1542 a third from that of another chord. For example the tonic chord may be
1543 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1544 harmony}} @w{@ar{}@strong{relative key}}.
1546 @item melodic cadence
1548 @w{@ar{}@strong{cadenza}}
1551 ES: compás, I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1554 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1555 which remains unaltered throughout a composition or a section of it. For
1556 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1557 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1558 those. According to whether there are two, three or four units to the measure,
1559 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1560 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1565 \notes\relative c'' {
1568 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
1572 \notes\relative c' {
1575 f8 f f f a16 g a f |
1576 c'8 c c c e16 d e c \bar "||"}
1580 \notes\relative c'' {
1583 d4 b8 g b d d c a4 |
1584 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
1588 ES: metrónomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1589 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1591 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1594 @item metronomic indication
1595 ES: indicación metronómica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1596 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1598 Exact tempo indication (in beats per minute). Also denoted by
1599 M.M. (M@"alzel's Metronom)
1602 ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1603 mezzosopran, S: mezzosopran, N: mezzosopran.
1605 The female voice between @w{@ar{}@strong{soprano}} and
1606 @w{@ar{}@strong{contralto}}.
1609 ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1610 enstreget c, S: ettstruket c, N:
1612 First C below the 440 Hz A.
1617 \property Score.barNonAuto = ##t
1618 \property Staff.Clef \set #'full-size-change = ##t
1619 \notes\relative c' {
1626 @item minor interval
1627 ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1628 interval, DK: lille interval, S: litet intervall, N: .
1630 @w{@ar{}@strong{interval}}
1633 ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1635 @w{@ar{}@strong{diatonic scale}}
1638 ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1640 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1643 ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1646 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1647 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1648 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1652 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1655 @w{@ar{}@strong{ornament}}
1659 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1661 The briefest intelligible and self-contained fragment of a musical theme or
1667 \property Score.TimeSignature \override #'style = #'C2/2
1668 \property Voice.TextScript \set #'font-style = #'large
1669 \notes\relative c'' {
1672 \partial 8 g16_"------" fis |
1673 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1674 g8 g,16 a b8 cis d16 s
1679 ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1681 Greater musical works like @w{@ar{}@strong{symphony}} and
1682 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1683 independant pieces called movements.
1686 ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1687 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1692 \notes\relative c'' {
1694 \property Score.skipBars=##t R1*3
1698 @item mixolydian mode
1699 @w{@ar{}@strong{diatonic scale}}
1702 ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1703 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1705 @w{@ar{}@strong{accidental}}
1707 @item neighbour tones
1708 @w{@ar{}@strong{appoggiatura}}
1711 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1713 @w{@ar{}@strong{interval}}
1716 @w{@ar{}@strong{legato}}
1719 ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1721 Notes are signs by means of which music is fixed in writing. The term is also
1722 used for the sound indicated by a note, and even for the key of the piano
1723 which produces the sound. However, a clear distinction between the terms tone
1724 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1728 ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1729 nootballetje, DK: nodehovede, S: nothuvud, N: .
1731 A head like sign which indicates pitch by its position on a
1732 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1733 by a variety of shapes such as hollow or black heads with or without
1734 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1735 instruments (often having no defined pitch) the note head may indicate the
1739 ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1740 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1742 Note values (durations) are measured as fractions, normally 1/2, of the next
1743 higher note value. The longest duration normally used is called @emph{brevis},
1744 but sometimes (mostly in pre baroque music) the double length note value
1745 @emph{longa} is used.
1750 \property Voice.TextScript \set #'font-style = #'large
1751 \property Score.barNonAuto = ##t
1752 \notes\relative c'' {
1753 \property Voice.NoteHead \override #'style = #'mensural
1754 g\longa_"longa" g\breve_"breve"
1755 \property Voice.NoteHead \revert #'style
1756 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1757 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1761 \property Voice.TextScript \set #'font-style = #'large
1762 \property Score.barNonAuto = ##t
1763 \notes\relative c'' {
1764 r\longa_"longa" r\breve_"breve"
1765 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1766 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1769 An augmentation dot after a note multiplies the duration by one and a
1770 half. Another dot adds yet a fourth of the duration.
1775 \property Voice.TextScript \set #'font-style = #'large
1776 \notes\relative c'' {
1778 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
1779 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
1782 Alternatively note values may be subdivided by other ratios. Most common is
1783 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1784 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1790 \property Voice.TextScript \set #'font-style = #'large
1791 \notes\relative c'' {
1793 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
1794 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
1796 \times 3/2 {g4_"duplets" g} |
1798 \times 6/4 {g8_"quadruplets" g g g} |
1799 g8 g g g g4 \bar "||"}
1806 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1809 ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1811 @w{@ar{}@strong{interval}}
1813 @item ornament; embellishment; accessory
1815 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1816 NL: versiering, DK: forsiring, S: ornament, N: .
1818 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1819 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1820 middle of the 19th century and onwards the trill is performed with the main
1821 note first while in the music from the preceding baroque and classic periods
1822 the upper note is played first.
1826 \context Staff = sa {
1827 \property Voice.TextScript \set #'font-style = #'large
1828 \notes\relative c'' {
1829 c2._"pre-1850" b4\trill | c1 \bar "||"
1830 c2._"post-1850" b4\trill | c1 \bar "||"
1833 \notes\relative c'' {
1834 c2. c32 b c b c b c b | c1
1835 c2. b32 c b c \times 4/5 { b c b c b } | c1
1840 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1841 @emph{prall} (inverted mordent).
1847 \context Staff = sa {
1848 \property Voice.TextScript \set #'font-style = #'large
1849 \notes\relative c'' {
1850 a4_"turn" b\turn c2 \bar "||"
1851 g4_"mordent" a b\mordent a \bar "||"
1852 e'4_"prall" d\prall c2 \bar "||"
1855 \notes\relative c'' {
1858 e'4 [e8 ~ e32 d e d] c2
1863 @w{@ar{}@strong{appoggiatura}}
1866 ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1868 Ossia (otherwise) marks an alternative. It is an added staff or piano
1869 score, usually only a few measures long, which presents another version
1870 of the music, for example for small hands.
1873 ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1875 1. In instrumental or choral music the music for the single instrument
1876 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1877 melodic line of the contrapuntal web.
1880 ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1883 A family of musical instruments which are played on by striking or
1884 shaking. Percussion instruments commonly used in a symphony orchestra are
1885 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1886 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1889 @item perfect interval
1890 ES: intervalo justo,
1891 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1892 interval, DK: rent interval, S: rent intervall, N: .
1894 @w{@ar{}@strong{interval}}
1897 ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1899 A natural division of the melodic line, comparable to a sentence of speech.
1902 ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1905 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1906 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1909 ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1911 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1912 @emph{mezzopiano} (@b{mp}) medium soft.
1915 ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1919 ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1920 pizzicato, S: pizzicato.
1922 Play by plucking the strings.
1925 ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1928 Music written in a combination of several simultaneous voices (parts) of a
1929 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1932 @w{@ar{}@strong{legato}}
1935 ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1936 presto, S: presto, N: .
1938 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1939 denotes the highest possible degree of speed.
1941 @item Pythagorean comma
1942 ES: coma pitagórico,
1943 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1944 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1946 A sequence of fifths starting on C eventually circles back to C, but this C,
1947 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1948 obtained by adding 7 octaves. The difference between those two pitches is
1949 called the Pythagorean comma.
1952 ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1955 @w{@ar{}@strong{note value}}
1958 ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1959 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1961 @w{@ar{}@strong{note value}}
1964 ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1965 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1967 @w{@ar{}@strong{note value}}
1970 ES: quintillo, I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1973 @w{@ar{}@strong{note value}}
1976 ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1977 rallentando, S: rallentando, N: rallentando.
1979 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1982 ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1983 paralleltoneart, S: parallelltonart, N: .
1985 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1986 the same @w{@ar{}@strong{signature}}.
1991 \property Score.barNonAuto = ##t
1992 \property Voice.TextScript \set #'font-style = #'large
1993 \notes\relative c' {
1995 es1_"e flat major" f g as bes c d es
1998 c,1_"c minor" d es f g a! b! c \bar "||"
2003 ES: barra de repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2004 gen@-ta@-gel@-se, S: repris, N: .
2011 \notes\relative c'' {
2012 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2017 ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2019 @w{@ar{}@strong{note value}}
2022 ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2024 (a) metrical rhythm in which every time value is a multiple or fraction of a
2025 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2026 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2027 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2028 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2029 accent. In modern notation such music appears as a free alternation of
2030 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2031 common metrical unit (beat).
2034 ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2035 ritardando, S: ritardando, N: .
2037 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2040 ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2043 Immediate reduction of speed.
2046 ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2048 @w{@ar{}@strong{diatonic scale}}
2051 ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2052 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2054 Names and symbols used in harmonic analysis to denote tones of the scale as
2055 roots of chords. The most important are degrees I = tonic (T), IV =
2056 sub@-do@-mi@-nant (S) and V = dominant (D).
2061 \property Score.barNonAuto = ##t
2062 \property Lyrics.LyricText \set #'font-style = #'large
2063 %\property Lyrics.minVerticalAlign = #8
2065 \notes\relative c' {
2067 \context Lyrics \lyrics {
2068 < { I II III IV V VI VII I }
2073 @w{@ar{}@strong{functional harmony}}
2076 ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2079 A copy of orchestral, choral or chamber music showing what each instrument is
2080 to play, each voice to sing, having each part arranged one underneath the
2081 other on different @w{@ar{}@strong{stave}}s.
2084 ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2086 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2087 @w{@ar{}@strong{diatonic scale}} consists of alternating
2088 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2089 of a se@-cond depends on the scale degrees in question.
2092 ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2095 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2096 interval in European composed music. The interval between two neighbouring
2097 tones on the piano keyboard - including black and white keys - is a
2098 semitone. An octave may be divided into 12
2099 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2104 \property Score.barNonAuto = ##t
2105 \notes\relative c'' { g1 gis s a bes s b c }
2109 ES: séptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2111 @w{@ar{}@strong{interval}}
2113 @item sextuplet, sextolet
2114 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2117 @w{@ar{}@strong{note value}}
2120 ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2122 @w{@ar{}@strong{accidental}}
2124 @item short appoggiatura
2125 @w{@ar{}@strong{appoggiatura}}
2127 @item sixteenth note
2128 ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2129 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2132 @w{@ar{}@strong{note value}}
2134 @item sixteenth rest
2135 ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2136 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2137 sextondelspaus, N: .
2139 @w{@ar{}@strong{note value}}
2142 ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2144 @w{@ar{}@strong{interval}}
2146 @item sixty-fourth note
2148 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2149 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2150 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2151 sextiofj@"ardedelsnot, N: .
2153 @w{@ar{}@strong{note value}}
2155 @item sixty-fourth rest
2156 ES: silencia de semifusa,
2157 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2158 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2159 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2160 sextiofj@"ardedelspaus, N: .
2162 @w{@ar{}@strong{note value}}
2165 ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2166 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2167 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2169 A slur above or below a group of notes indicates that they are to be played
2170 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2174 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2175 solmisation, S: solmisation, N: .
2177 General term for systems of designating the degrees of the
2178 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2179 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2180 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2183 ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2185 In its present-day meaning a sonata denotes an instrumental composition for
2186 piano or for some other instrument with piano accompaniment, which consists of
2187 three or four independant pieces, called movements.
2190 ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2191 sonatevorm, DK: sonateform, S: sonatform, N: .
2193 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2194 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2195 falls in three sections called @emph{exposition}, @emph{development} and
2196 @emph{recapitulation}. In the exposition the composer introduces his musical
2197 ideas, consisting of a number of themes; in the development section he
2198 "develops" this material, and in the recapitulation he repeats the exposition,
2199 with certain modifications however. The exposition contains a number of themes
2200 which fall into two groups, often called first and second subject. Other
2201 melodies occurring in each group are considered as continuations of these
2202 two. The second theme is in another key, normally in the key of the
2203 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2204 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2205 tonic is @w{@ar{}@strong{minor}}.
2208 ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2210 The highest female voice.
2213 ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2214 staccato, S: staccato, N:
2216 Playing the note(s) short. Staccato is indicated by a dot above or below the
2224 \notes\relative c'' {
2226 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2231 ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2232 partij, DK: nodesystem, S: notsystem, N: .
2234 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2235 between which the musical notes are written, thus indicating (in connection
2236 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2237 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2240 ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2243 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2244 note. @w{@ar{}@strong{beam}}
2249 \property Score.noAutoBeaming = ##t
2250 \property Score.barNonAuto = ##t
2251 \property Voice.TextScript \set #'font-style = #'large
2252 \notes\relative c'' {
2261 ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2264 A family of stringed musical instruments played with a bow. Strings commonly
2265 used in a symphony orchestra are violin, viola, violoncello and double bass.
2268 ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2269 D: betonet taktslag, S: betonat taktslag, N: .
2271 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2272 @w{@ar{}@strong{rhythm}}
2275 ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2276 subdominant, S: subdominant, N: .
2278 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2282 ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2283 Submediant, S: submediant, N: .
2285 The sixth @w{@ar{}@strong{scale degree}}.
2288 ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2291 The seventh @w{@ar{}@strong{scale degree}}
2294 ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2295 superdominant, S: superdominant, N: .
2297 The sixth @w{@ar{}@strong{scale degree}}
2300 ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2301 supertonika, S: supertonika, N: .
2303 The second @w{@ar{}@strong{scale degree}}.
2306 ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2309 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2312 ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2314 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2315 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2316 rhythm rests upon the grouping of equal beats into groups of two or three,
2317 with a regularly recurrent accent on the first beat of each group. Any
2318 deviation from this scheme is felt as a disturbance or contradiction between
2319 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2324 \property Voice.TextScript \set #'font-style = #'large
2326 \notes\relative c' {
2329 e c'4 e,8 c'4 e,8 c' ( | ) c2
2333 @item syntonic comma; dydimic comma
2335 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2336 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2338 Difference between the natural third and the third obtained by Pythagorean
2339 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2342 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2345 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2346 writing down of keyboard, chamber, choral or orchestral music.
2349 ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2350 DK: temperatur, S: temperatur, N: .
2352 Systems of tuning in which the intervals deviate from the accoustically pure
2353 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2356 @item tempo indication
2357 ES: indicación de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2358 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2359 tempobeteckning, N: .
2361 The rate of speed of a composition or a section thereof, ranging from the
2362 slowest to the quickest, as is indicated by tempo marks as
2363 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2364 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2367 ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2369 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2372 ES: décima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2374 @w{@ar{}@strong{note value}}
2377 ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2379 @w{@ar{}@strong{interval}}
2381 @item thirty-second note
2383 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2384 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2385 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2387 @w{@ar{}@strong{note value}}
2389 @item thirty-second rest
2390 ES: silencio de fusa,
2391 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2392 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2393 trettiotv@aa{}ondelspaus, N: .
2395 @w{@ar{}@strong{note value}}
2397 @item thorough bass; figured bass
2399 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2400 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2402 A method of indicating an accompaniment part by the bass notes only, together
2403 with figures designating the chief @w{@ar{}@strong{interval}}s and
2404 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2409 \context GrandStaff <
2410 \context Staff = lh \notes\relative c'' {
2414 < \context Voice = rha {
2417 \context Voice = rhb {
2419 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2423 \context Staff = rh \notes\relative c' {
2426 es8 c () c bes () bes as () as g16 f | es4
2428 \context Lyrics \lyrics {
2429 \property Lyrics . LyricText \set #'font-style = #'Large
2430 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
2431 < { "" "6" "4" "6" "4" "6" "4" "6" }
2432 { "" "" "2" "" "2" "" "2" "" } >
2438 ES: ligadura de prolongación,
2439 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2440 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2442 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2443 connects two succesive notes of the same pitch, and which has the function of
2444 uniting them into a single sound equal to the combined durations.
2449 \property Score.barNonAuto = ##t
2450 \notes\relative c'' { g2 ~ g4. }
2453 @item time signature
2455 ES: cifra indicadora de compás,
2456 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2457 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2458 taktartssignatur, N: .
2460 @w{@ar{}@strong{meter}}
2463 ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2465 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2466 a primary building material of music. Music from the 20th century may be based
2467 on non tone related sounds.
2470 ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2472 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2475 ES: transposición, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2476 transposition, S: transponering, N: .
2478 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2485 \notes\relative c'' {
2487 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2488 \transpose bes\relative c'' {
2490 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2495 ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2496 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2499 @w{@ar{}@strong{G clef}}
2502 ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2505 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2506 the same tone, produced by a rapid up-and-down movement movement of the bow
2507 (a). The term is also used for the rapid alternation (b) between two notes of
2508 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2509 (@w{@ar{}@strong{interval}}).
2514 \property Score.barNonAuto = ##t
2515 \property Voice.TextScript \set #'font-style = #'large
2516 \notes\relative c' {
2517 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2518 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2519 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2524 ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2525 drieklank, DK: treklang, S: treklang, N:
2527 @w{@ar{}@strong{chord}}
2531 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2532 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2534 @w{@ar{}@strong{ornament}}
2537 ES: compás compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2538 maatsoort, DK: tredelt takt, S: tretakt, N: .
2540 @w{@ar{}@strong{meter}}
2543 ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2545 @w{@ar{}@strong{note value}}
2548 ES: trítono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2551 @w{@ar{}@strong{interval}}
2554 ES: diapasón, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2555 stemmegaffel, S: st@"amgaffel, N: .
2557 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2558 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2560 @item turn; gruppetto
2562 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2566 ES: unísono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2569 Playing of the same notes or the same melody by various instruments (voices)
2570 or by the whole orchestra (choir), either at exactly the same pitch or in a
2574 ES: entrada anacrúsica, I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
2577 Initial note(s) of a melody occurring before the first bar
2578 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2585 \notes\relative c' {
2586 \partial 4 f4 | bes4. a8 bes4 c |
2587 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
2591 ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2593 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2594 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2595 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2596 of a polyphonic composition.
2599 ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2600 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2602 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2605 ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2606 DK: helnode, S: helnot, N: .
2608 @w{@ar{}@strong{note value}}
2611 ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2612 rust, DK: helnodespause, S: helpaus, N: .
2614 @w{@ar{}@strong{note value}}
2617 ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2620 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2621 tones on the piano keyboard with exactly one key between them - including
2622 black and white keys - is a whole tone.
2625 ES: maderas, I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2626 S: tr@"abl@aa{}sare, N: .
2628 A family of blown wooden musical instruments. Today some of these instruments
2629 are actually made from metal. The woodwind instruments commonly used in a
2630 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2637 @item DURATION NAMES, NOTES AND RESTS
2640 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2642 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2643 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2647 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2648 @tab longa @tab longa @tab longa
2652 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2653 brevis @tab brevis @tab brevis @tab brevis
2657 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2658 Ganze @tab hele @tab hel @tab hel @tab
2662 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2663 halve @tab halv @tab halv @tab
2667 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2668 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2672 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2673 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2677 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2678 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2683 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2684 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2685 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2689 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2690 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2691 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2692 sextio@-fj@"arde@-del @tab
2695 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2703 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2705 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2706 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2710 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2714 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2715 cis @tab cis @tab cis
2719 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2720 des @tab des @tab des
2724 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2728 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2732 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2736 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2740 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2745 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2749 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2750 ais @tab ais @tab ais
2754 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2759 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2766 @item ---------------------
2770 @item Literature used
2771 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2772 quotes from its articles have been included into the item explanation texts.
2774 Hugo Riemans Musiklexicon, Berlin 1929
2777 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2778 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.