1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
7 This document is also available in @uref{music-glossary.ps.gz,gzipped
8 PostScript} and @uref{music-glossary.pdf,PDF}.
13 @author Christian Mondrup @c Original author of LilyPond glossary
15 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
17 @author Han-Wen Nienhuys @c Dutch glossary
18 @author Jan Nieuwenhuizen @c Dutch glossary
19 @author Dadiv Gonzalez @c Spanish glossary
20 @author Bjoern Jacke @c German glossary
21 @author Neil Jerram @c English glossary translations
22 @author Mats Bengtsson @c Swedish glossary
23 @author Adrian Mariano @c Italian glossary
24 @author Heikki Junes @c Finnish glossary
26 @c Fixes by Jean-Pierre Coulon and `Dirk'
29 Copyright @copyright{} 1999--2004 by the authors
32 Permission is granted to copy, distribute and/or modify this document
33 under the terms of the GNU Free Documentation License, Version 1.1
34 or any later version published by the Free Software Foundation,
35 without Invariant Sections.
40 @c FIXME: multiple omfcreators?
42 @omfcreator Christian Mondrup
43 @omfdescription Glossary of musical terms with translations
45 @omfcategory Applications|Publishing
52 @chapter Music Glossary
63 @item Christian Mondrup
64 Original author of LilyPond glossary, Danish glossary,
67 @item Fran@,{c}ois Pinard
68 Original glossary of GNU music project, French glossary,
69 @item Han-Wen Nienhuys
71 @item Jan Nieuwenhuizen
76 English glossary translations,
78 Finnish glossary translations.
81 Copyright 1999--2004 by the authors
84 Permission is granted to copy, distribute and/or modify this document
85 under the terms of the GNU Free Documentation License, Version 1.1
86 or any later version published by the Free Software Foundation,
87 without Invariant Sections.
97 @c @everyheading @| @thispage @|
98 @c @evenheading @thispage @| @|
99 @c @oddheading @| @| @thispage @|
101 @include macros.itexi
105 We do not use refs for Info:
107 @w{@arrow{}\word\}@c vs:
108 @w{@arrow{}@pxref{\word\}}@c
110 they look too intrusive (says Han-Wen).
117 @w{@arrow{}@strong{\word\}}@c
120 @arrow{}@ref{\word\, @strong{\word\}}@c
128 @c If we want hypelinks, we must add anchors.
129 @c Hmm, we need the @achor command in the item description itself
130 @c (not before or after) to get mozilla jump to the right place.
133 @item \word\@anchor{\word\}
135 @macro aitemii{one,two}
136 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
138 @macro aitemiii{one,two,three}
139 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
149 @item UK - British English
155 This is an example reference, that points you to the @aref{accent}
179 FI: aksentti, korostus.
181 The stress of one tone over others.
183 @c F: how to distinguish between accidental and key-sig alteration?
187 I: alterazione, accidente,
189 D: Vorzeichen, Versetzungszeichen,
192 S: tillf@"alligt f@"ortecken,
193 FI: tilap@"ainen etumerkki.
195 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
196 @c Akzidenz, NL: toevallig teken, I: accidento.
198 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
199 by a @aref{whole tone}, a flat lowers it by a semitone and a double
200 flat lowers it by a whole tone. A natural cancels the effect of a previous
204 \set Score.automaticBars = ##f
205 %\override TextScript #'font-style = #'large
207 \context Staff \notes\relative c'' {
208 gis1 s s gisis s s ges s s geses s s g!
210 \context Lyrics \lyrics {
211 \override Lyrics .LyricText #'self-alignment-X = #-1
212 "sharp " "db. sharp " "flat " "db. flat " natural
219 F: accelerando, en acc@'el@'erant,
220 D: accelerando, schneller werden,
224 FI: accelerando, kiihdytt@"aen.
236 FI: adagio, hitaasti.
238 It. comfortable, easy.
239 1. Slow tempo, slower -- especially in even meter -- than
240 @aref{andante} and faster than @aref{largo}.
241 2. A movement in slow tempo, especially the second (slow) movement of
242 @aref{sonata}s, symphonies, etc.
248 D: Allegro, Schnell, Fr@"ohlich, Lustig,
252 FI: allegro, nopeasti.
254 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
255 especially the first and last movements of a @aref{sonata}.
265 FI: altto, matala nais@"a@"ani.
267 A female voice of low range (@emph{contralto}). Originally the alto was a high
268 male voice (hence the name) which by the use of falsetto reached the height of
269 the female voice. This type of voice is also known as @aref{counter
273 ES: clave de do en tercera,
274 I: chiave di contralto,
275 F: clef d'ut troisi@`eme ligne,
276 D: Altschl@"ussel, Bratschenschl@"ussel,
282 C clef setting middle C on the middle line of the staff
293 FI: ambitus, @"a@"aniala, soitinala.
295 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
296 of pitches for a given voice in a part of music. It also may denote
297 the pitch range that a musical instrument is capable of playing.
299 @aitem{ancient minor scale}
300 I: scala minore naturale,
301 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
303 NL: authentieke mineurtoonladder,
306 FI: luonnollinen molliasteikko.
309 \set Score.automaticBars = ##f
310 \notes\relative c'' {
322 FI: andante, k@"ayden.
324 Walking tempo/character.
329 F: appogiature, (port de voix),
334 FI: appoggiatura, etuhele.
336 Ornamental note, usually a second, that is melodically connected with the main
337 note that follows it. In music before the 19th century a. were usually
338 performed on the beat, after that mostly before the beat. While the short
339 a. is performed as a short note regardless of the duration of the main note
340 the duration of the long a. is proportional to that of the main note.
343 \context Voice \notes\relative c'' {
347 %\override Score.TextScript #'font-style = #'large
348 <d a fis>4_"notation" r
349 { \override Stem #'flag-style = #'()
351 \revert Stem #'flag-style
354 { \override Stem #'flag-style = #'()
356 \revert Stem #'flag-style
359 \cadenzaOn a4 \bar "||" \cadenzaOff }
360 \notes\relative c'' {
361 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
362 \cadenzaOn a4 \bar "||" \cadenzaOff }
365 An appoggiatura may have more notes preceding the main note.
368 \notes\relative c'' {
371 % \override Score.TextScript #'font-style = #'large
372 \grace { bes16 } as8_"notation" as16 bes as8 g |
373 \grace { as16[( bes] } < c as >4-)
374 \grace { as16[( bes] } < c as >4-) \bar "||"
375 \grace { bes16 } as8_"performance" as16 bes as8 g |
376 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
377 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
386 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
388 DK: arpeggio, akkordbrydning,
390 FI: arpeggio, murtosointu.
393 \notes \context PianoStaff <<
394 \context Staff = SA \relative c'' {
397 r8 g16 c e g, c e r8 g,16 c e g, c e |
398 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
399 \context Staff = SB \relative c' {
401 << \context Voice = va {
403 r16 e8. ( e4) r16 e8. ( e4) |
404 r16 d8. ( d4) r16 d8. ( d4) }
405 \context Voice = vb {
412 @aitem{ascending interval}
413 ES: Intervalo ascendente,
414 I: intervallo ascendente,
415 F: intervalle ascendant,
416 D: steigendes Intervall,
417 NL: stijgend interval,
418 DK:@w{ }stigende interval,
419 S: stigande intervall,
420 FI: nouseva intervalli.
422 A distance between a starting lower note and a higher ending note.
424 @aitem{augmented interval}
425 ES: intervalo aumentado,
426 I: intervallo aumentato,
427 F: intervalle augment@'e,
428 D: @"uberm@"a@ss{}iges Intervall,
429 NL: overmatig interval,
430 DK: forst@o{}rret interval,
431 S: @"overstigande intervall,
432 FI: ylinouseva intervalli.
439 D: Autograph, Handschrift,
441 DK: h@aa{}ndskrift, autograf,
443 FI: k@"asinkirjoitettu nuotti.
445 1. A manuscript in the composer's own hand.
446 2. Music prepared for photoreproduction by freehand drawing,
447 with only the aid of a straightedge ruler and T-square,
448 which attempts to emulate engraving.
449 This required more skill than did engraving.
461 @aitemii{backfall,forefall}
466 I: stanghetta, barra (di divisione),
467 F: barre (de mesure),
475 ES: comp@'as, @aref{measure}.
478 ES: bar@'{@dotless{i}}tono,
485 FI: baritoni, keskikorkuinen mies@"a@"ani.
487 The male voice intermediate between the @aref{bass} and the
490 @c F: clef de troisi@`eme ligne dropped
492 @aitem{baritone clef}
493 ES: clave de fa en tercera,
494 I: chiave di baritono,
495 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
496 D: Baritonschl@"ussel,
502 C or F clef setting middle C on the upper staff line.
503 @aref{C clef}, @aref{F clef}.
506 ES: clave de fa en cuarta,
508 F: cl@'e de fa quatri@`eme ligne,
515 A clef setting with middle C on the first top ledger line.
525 FI: basso, matala mies@"a@"ani.
527 1. The lowest of men's voices.
528 2. Sometimes, especially in jazz music, used as
529 an abbreviation for double bass.
541 Line connecting a series of notes (shorter than a quarter note).
542 The number of beams determine the note value of the connected notes.
545 \set Score.automaticBars = ##f
546 %\override TextScript #'font-style = #'large
547 \notes\relative c'' {
549 g16_"1/16"[ g g g] s16
550 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
551 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
558 D: Takt, Taktschlag, Zeit (im Takt),
564 Note value used for counting, most often half-, fourth-, and eighth notes.
565 The base counting value and the number of them per measure is indicated at
566 the start of the music.
571 \notes\relative c'' { g4 c b a | g1 \bar "||"}
573 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
583 D: Klammer, Akkolade,
584 NL: accolade, teksthaak,
587 FI: yhdist@"av@"a sulkumerkki.
589 Symbol at the start of a system connecting staves. Curly braces are used
590 for connecting piano staves, angular brackets for connecting parts in an
591 orchestral or choral score.
594 \notes\context GrandStaff <<
595 \relative c''\context Staff = SA { \clef treble g4 e c2 }
596 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
600 \context StaffGroup <<
601 % \set StaffGroup.minVerticalAlign = #12
602 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
603 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
612 DK: messingbl@ae{}sere,
613 S: brassinstrument, m@"assingsinstrument,
616 A family of blown musical instruments made of brass all using a cup formed
617 mouth piece. The brass instruments commonly used in a symphony orchestra are
618 trumpet, trombone, french horn, and tube.
623 D: Atemzeichen, Trennungszeichen,
624 NL: repercussieteken,
625 DK: vejrtr@ae{}kningstegn,
629 Indication of where to breathe in vocal and wind instrument parts.
641 @aref{note value} twice as long as a whole note. Mainly used
645 \set Score.automaticBars = ##f
646 \notes\relative c'' { g\breve }
669 Clef symbol indicating the position of the middle C. Used on all note
673 \set Score.automaticBars = ##f
674 \override Score.Clef #'full-size-change = ##t
675 %\override Score.LyricText #'font-style = #'large
677 \context Staff \notes\relative c' {
679 \clef mezzosoprano c s s
684 \context Lyrics \lyrics {
685 \override Lyrics .LyricText #'self-alignment-X = #-1
686 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
698 FI: kadenssi, lopuke.
700 @aref{harmonic cadence}, @aref{functional harmony}.
710 FI: kadenssi, lopuke.
712 An extended, improvisatory style section inserted near the end of
713 movement. The purpose of a cadenza is to give the singer or player a chance to
714 exhibit her technichal skill and not the least her ability to improvise. Since
715 the middle of the 19th century, however, most cadences have been written down
726 FI: kaanon, tarkka j@"aljittely.
738 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
740 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
741 equally tempered @aref{semitone}).
742 @aref{equal temperament}.
757 Three or more tones sounding simultaneously. In traditional European music the
758 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
759 minor @aref{third}) as well as @emph{minor} (minor + major third)
760 chords may be extended with more thirds. Four-tone @emph{seventh chords}
761 and five-tone @emph{ninth} major chords are most often used as dominants
762 (@aref{functional harmony}). A special case is chords having no
763 third above the lower notes to define their quality as major or minor. Such
764 chords are denoted open chords
767 \set Score.automaticBars = ##f
768 %\override TextScript #'font-style = #'large
770 \context Staff \notes\relative c'' {
778 \context Lyrics \lyrics{
779 \override Lyrics .LyricText #'self-alignment-X = #-1
780 "major " "minor " "diminished " "augmented "
781 "seventh-chord " "ninth-chord "
785 @aitem{chromatic scale}
786 ES: escala crom@'atica,
788 F: gamme chromatique,
789 D: chromatische Tonleiter,
790 NL: chromatische toonladder,
793 FI: kromaattinen asteikko.
795 A scale consisting of all 12 @aref{semitone}s.
798 \set Score.automaticBars = ##f
799 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
812 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
814 @aitemii{church mode,ecclesiastical mode}
815 ES: modo eclesi@'astico,
816 I: modo ecclesiastico,
817 F: mode eccl@'esiastique,
822 FI: moodi, kirkkos@"avellaji.
824 @aref{diatonic scale}.
830 D: Schl@"ussel, Notenschl@"ussel,
834 FI: avain, nuottiavain.
836 @aref{C clef}, @aref{F clef}, @aref{G clef}.
840 A @emph{cluster} is a range of simultaneously sounding pitches that
841 may change over time. The set of available pitches to apply usually
842 depends on the acoustic source. Thus, in piano music, a cluster
843 typically consists of a continuous range of the semitones as provided
844 by the piano's fixed set of a chromatic scale. In choral music, each
845 singer of the choir typically may sing an arbitrary pitch within the
846 cluster's range that is not bound to any diatonic, chromatic or other
847 scale. In electronic music, a cluster (theoretically) may even cover
848 a continuous range of pitches, thus resulting in colored noise, such
851 Clusters can be denoted in the context of ordinary staff notation by
852 engraving simple geometrical shapes that replace ordinary notation of
853 notes. Ordinary notes as musical events specify starting time and
854 duration of pitches; however, the duration of a note is expressed by
855 the shape of the note head rather than by the horizontal graphical
856 extent of the note symbol. In contrast, the shape of a cluster
857 geometrically describes the development of a range of pitches
858 (vertical extent) over time (horizontal extent). Still, the
859 geometrical shape of a cluster covers the area in which any single
860 pitch contained in the cluster would be notated as an ordinary note.
862 @lilypond[relative=1,verbatim]
863 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
874 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
876 Difference in pitch between a note derived from pure tuning and the same note
877 derived from some other tuning method. @aref{temperament}.
882 @aitem{compound interval}
883 ES: intervalo compuesto,
884 I: intervallo composto,
885 F: intervalle compos@'e,
887 NL: samengesteld interval,
888 DK: sammensat interval,
889 S: sammansatt intervall,
890 FI: oktaavia laajempi intervalli.
892 Intervals larger than an octave.
898 F: intervalle compl@'ementaire,
899 D: Komplement@"arintervall,
900 NL: complementair interval,
901 DK: komplement@ae{}rinterval,
902 S: komplement@"arintervall (?),
903 FI: t@"aydent@"av@"a intervalli.
905 @aref{inverted interval}.
907 @aitem{conjunct movement}
908 ES: movimiento conjunto,
910 F: mouvement conjoint,
911 D: schrittweise, stufenweise Bewegung,
912 NL: stapsgewijze, trapsgewijze beweging,
913 DK: trinvis bev@ae{}gelse,
914 S: stegvis r@"orelse,
915 FI: asteittainen liike.
917 Melody moving in the narrow steps of the scale.
920 \key g \major \time 4/4
921 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
932 FI: konsonanssi, sopusointi.
956 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
958 From latin @emph{punctus contra punctum}, note against note. The combination
959 into a single musical fabric of lines or parts which have distinct melodic
960 significance. A frequently used polyphonic technique is imitation, in its
961 strictest form found in the canon needing only one part to be written down
962 while the other parts are performed with a given displacement. Imitation is
963 also the contrapunctal technique used in the @emph{fugue} which, since the
964 music of the baroque era, has been one of the most popular polyphonic
967 @lilypond[staffsize=11]
968 \set Score.TimeSignature =\turnOff
969 \notes\context PianoStaff <<
970 \context Staff = SA \relative c' {
974 << \context Voice = rha {
976 r1 | r2 r8 g'8 bes d, |
977 cis4 d r8 e!16 f g8 f16 e |
978 f8 g16 a bes8 a16 g a8
980 \context Voice = rhb {
986 \context Staff = SB \relative c' {
989 << \context Voice = lha {
991 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
992 r8 a16 g f8 g16 a bes8 g e! cis' |
995 \context Voice = lhb {
1003 @aitem{counter tenor}
1010 S: kontratenor, counter tenor,
1015 @aitem{Copying, Music}
1016 A music copyist did fast freehand scores and parts on preprinted staff lines
1017 for performance. Some of their conventions (e.g., the placement of note heads
1018 on stems) varied slightly from those of engravers. Some of their working
1019 methods were superior and could well be adopted by music typesetters. This
1020 required more skill than engraving.
1026 D: Crescendo, lauter werden,
1030 FI: cresendo, voimistuen.
1032 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1033 abbreviation ``cresc.''.
1036 \key g \major \time 4/4
1037 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1043 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1050 In a separate part notes belonging to another part with the purpose of hinting
1051 when to start playing. Usually printed in a smaller type.
1055 A custos is a staff symbol that appears at the end of a staff line
1056 with monophonic musical contents (i.e. with a single voice). It
1057 anticipates the pitch of the first note of the following line and thus
1058 helps the player or singer to manage line breaks during performance,
1059 thus enhancing readability of a score.
1061 Custodes were frequently used in music notation until the 16th
1062 century. There were different appearences for different notation
1063 styles. Nowadays, they have survived only in special forms of musical
1064 notation such as via the editio vaticana dating back to the beginning
1070 % \override Staff.Custos #'neutral-position = #4
1071 \override Staff.Custos #'neutral-direction = #-1
1073 \override Staff.Custos #'style = #'hufnagel
1075 \break < d' a' f''>1
1080 \consists Custos_engraver
1100 F: da capo, depuis le commencement,
1101 D: da capo, von Anfang,
1105 FI: da capo, alusta.
1107 The term indicates repetition of the piece from the beginning to the end or to
1108 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1113 F: dal segno, depuis le signe,
1118 FI: dal segno, merkkiin asti.
1120 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1121 another place frequently near the beginning marked by a sign:
1124 %\override TextScript #'font-style = #'large
1125 \override TextScript #'font-shape = #'italic
1126 \key g \major \time 4/4
1127 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1133 D: Decrescendo, leiser werden,
1137 FI: decresendo, hiljentyen.
1139 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1140 or the abbreviation ``decresc.''.
1143 \notes\relative c'' {
1144 \key g \major \time 4/4
1145 d4 \> c b a | g1 \! \bar "|."
1149 @aitem{descending interval}
1150 ES: intervalo descendente,
1151 I: intervallo discendente,
1152 F: intervalle descendant,
1153 D: fallendes Intervall, absteigendes Intervall,
1154 NL: dalend interval,
1155 DK: faldende interval,
1156 S: fallande intervall,
1157 FI: laskeva intervalli.
1159 A distance between a starting higher note and a lower ending note.
1161 @aitem{diatonic scale}
1162 ES: escala diat@'onica,
1164 F: gamme diatonique,
1165 D: diatonische Tonleiter,
1166 NL: diatonische toonladder,
1167 DK: diatonisk skala,
1169 FI: diatoninen asteikko.
1171 A scale consisting of 5@w{ }@aref{whole tone}s and
1172 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1173 of a piano keybord are diatonic.
1175 The church modes are used in gregorial chant and pre baroque early music but
1176 also to some extent in newer jazz music.
1178 @lilypond[notime,linewidth=110\mm]
1179 \set Score.automaticBars = ##f
1180 %\override Score.LyricText #'font-style = #'large
1181 %\override Score.TextScript #'font-style = #'large
1183 \context Staff \notes\relative c' {
1185 \override TextScript #'padding = #-4
1186 e^"~~ S" f g a b^"~~ S" c
1188 \context Lyrics \lyrics {
1194 \set Score.automaticBars = ##f
1195 %\override Score.LyricText #'font-style = #'large
1196 %\override Score.TextScript #'font-style = #'large
1198 \context Staff \notes\relative c' {
1200 \override TextScript #'padding = #-4
1201 e^"~~ S" f g a b^"~~ S" c d
1203 \context Lyrics \lyrics {
1209 \set Score.automaticBars = ##f
1210 %\override Score.LyricText #'font-style = #'large
1211 %\override Score.TextScript #'font-style = #'large
1213 \notes\relative c' {
1214 \override TextScript #'padding = #-4
1215 e1^"~~ S" f g a b^"~~ S" c d e
1217 \context Lyrics \lyrics {
1223 \set Score.automaticBars = ##f
1224 %\override Score.LyricText #'font-style = #'large
1225 %\override Score.TextScript #'font-style = #'large
1227 \notes\relative c' {
1229 \override TextScript #'padding = #-4
1230 b^"~~ S" c d e^"~~ S" f
1232 \context Lyrics \lyrics {
1238 \set Score.automaticBars = ##f
1239 %\override Score.LyricText #'font-style = #'large
1240 %\override Score.TextScript #'font-style = #'large
1242 \notes\relative c'' {
1244 \override TextScript #'padding = #-4
1245 b^"~~ S" c d e^"~~ S" f g }
1246 \context Lyrics \lyrics {
1252 \set Score.automaticBars = ##f
1253 %\override Score.LyricText #'font-style = #'large
1254 %\override Score.TextScript #'font-style = #'large
1256 \notes\relative c'' {
1258 \override TextScript #'padding = #-4
1259 b^"~~ S" c d e^"~~ S" f g a
1261 \context Lyrics \lyrics {
1266 From the beginning of the 17th century the scales used in European
1267 compositional music are primarily the major and the minor scales. In the
1268 harmonic minor scale type an augmented second (A) occurs between the 6th and
1272 \set Score.automaticBars = ##f
1273 %\override Score.LyricText #'font-style = #'large
1274 %\override Score.TextScript #'font-style = #'large
1276 \notes\relative c' {
1278 \override TextScript #'padding = #-4
1279 e^"~~ S" f g a b^"~~ S" c
1281 \context Lyrics \lyrics {
1287 \set Score.automaticBars = ##f
1288 %\override Score.LyricText #'font-style = #'large
1289 %\override Score.TextScript #'font-style = #'large
1291 \notes\relative c'' {
1293 \override TextScript #'padding = #-4
1294 b^"~~ S" c d e^"~~ S" f g a
1296 \context Lyrics \lyrics {
1302 \set Score.automaticBars = ##f
1303 %\override Score.LyricText #'font-style = #'large
1304 %\override Score.TextScript #'font-style = #'large
1306 \notes\relative c'' {
1308 \override TextScript #'padding = #-4
1309 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1311 \context Lyrics \lyrics {
1317 \set Score.automaticBars = ##f
1318 %\override Score.LyricText #'font-style = #'large
1319 %\override Score.TextScript #'font-style = #'large
1321 \notes\relative c'' {
1323 \override TextScript #'padding = #-4
1324 b^"~~ S" c d e fis gis^"~~ S"
1325 a g! f!^"~~ S" e d c^"~~ S" b a
1327 \context Lyrics \lyrics {
1332 @aitem{diminished interval}
1333 ES: intervalo disminu@'{@dotless{i}}do,
1334 I: intervallo diminuito,
1335 F: intervalle diminu@'e,
1336 D: vermindertes Intervall,
1337 NL: verminderd interval,
1338 DK: formindsket interval,
1339 S: f@"orminskat intervall,
1340 FI: v@"ahennetty intervalli.
1352 FI: diminuendo, hiljentyen.
1356 @aitem{disjunct movement}
1357 ES: movimiendo disjunto,
1359 F: mouvement disjoint,
1360 D: sprunghafte Bewegung,
1361 NL: sprongsgewijze beweging,
1362 DK: springende bev@ae{}gelse,
1363 S: hoppande r@"orelse,
1364 FI: melodian hyppiv@"a liike.
1366 Melody moving in steps greater than those of the
1367 scale. Opposite of @aref{conjunct movement}.
1372 \notes\relative c' {
1374 a4. gis8 b a e cis |
1375 fis2 d4. \bar "||" }
1378 @aitemii{dissonant interval,dissonance}
1379 ES: intervalo disonante, disonancias,
1380 I: intervallo dissonante, dissonanza,
1383 NL: dissonant interval; dissonant,
1384 DK: dissonerende interval, dissonans,
1386 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1390 @aitem{dominant ninth chord}
1391 I: accordo di nona di dominante,
1392 F: accord de neuvi@`eme dominante,
1393 D: Dominantnoneakkord,
1394 NL: dominant noon akkoord,
1395 DK: dominantnoneakkord,
1396 S: dominantnonackord,
1397 FI: dominanttinoonisointu.
1399 @aref{chord}, @aref{functional harmony}.
1401 @aitem{dominant seventh chord}
1402 ES: acorde de s@'eptima de dominante,
1403 I: accordo di settima di dominante,
1404 F: accord de septi@`eme dominante,
1405 D: Dominantseptakkord,
1406 NL: dominant septiem akkoord,
1407 DK: dominantseptimakkord,
1408 S: dominantseptimackord,
1409 FI: dominanttiseptimisointu.
1411 @aref{chord}, @aref{functional harmony}.
1421 FI: dominantti, huippusointu.
1423 The fifth @aref{scale degree},
1424 @aref{functional harmony}.
1430 D: dorisch, dorischer Kirchenton,
1431 NL: dorische toonladder,
1436 @aref{diatonic scale}.
1438 @aitem{dot (augmentation dot)}
1440 I: punto (di valore),
1442 D: Punkt (Verl@"angerungspunkt),
1451 ES: nota con puntillo,
1455 NL: gepuncteerde noot,
1458 FI: pisteellinen nuotti.
1462 @aitem{double appoggiatura}
1463 ES: apoyatura doble,
1464 I: appoggiatura doppia,
1465 F: appoggiature double,
1466 D: doppelter Vorschlag,
1467 NL: dubbele voorslag,
1468 DK: dobbelt forslag,
1470 FI: kaksoisappogiatura, kaksoisetuhele.
1472 @aref{appoggiatura}.
1474 @aitem{double bar line}
1478 NL: dubbele maatstreep,
1481 FI: kaksoistahtiviiva.
1483 Indicates the end of a section within a movement.
1485 @aitem{double dotted note}
1486 ES: nota con dos puntillos,
1487 I: nota doppiamente puntata,
1488 F: note doublement point@'ee,
1489 D: doppelt punktierte Note,
1490 NL: dubbelgepuncteerde noot,
1491 DK: dob@-belt@-punk@-te@-ret node,
1492 S: dub@-bel@-punk@-te@-rad not,
1493 FI: kaksoispisteellinen nuotti.
1505 FI: kaksoisalennusmerkki.
1509 @aitem{double sharp}
1510 ES: doble sostenido,
1515 DK: dob@-belt@-kryds,
1517 FI: kaksoisylennysmerkki.
1521 @aitem{double trill}
1526 NL: dubbele triller,
1531 A simultaneous trill on two notes, usually in the distance of a third.
1538 NL: tweedelige maatsoort,
1565 FI: kesto, aika-arvo.
1569 @aitem{dydimic comma}
1570 @aref{syntonic comma}.
1587 D: Achtel, Achtelnote,
1589 DK: ottendedelsnode,
1590 S: @aa{}ttondelsnot,
1591 FI: kahdeksasosanuotti.
1596 ES: silencio de corchea,
1602 DK: ottendedelspause,
1603 S: @aa{}ttonddelspaus,
1604 FI: kahdeksasosatauko.
1612 D: Notenstechen, Notendruck
1618 Engraving means incising or etching a metal plate for
1619 printing. Photoengraving means drawing music with ink in a manner
1620 similar to drafting or engineering drawing, using similar tools.
1622 The traditional process of music printing is done through cutting in a
1623 plate of metal. Now also the term for the art of music typesetting.
1635 Two notes, intervals, or scales are enharmonic if they have different names
1639 \set Score.automaticBars = ##f
1640 %\override Score.TextScript #'font-style = #'large
1642 \context Staff \notes\relative c'' {
1643 gis1 s s as s s <des g,!> s s <cis g!> s s
1645 \context Lyrics \lyrics {
1646 \override Lyrics .LyricText #'self-alignment-X = #-1
1647 "g sharp " "a flat " "dim fifth " "augm fourth"
1651 @aitem{equal temperament}
1653 I: temperamento equabile,
1654 F: temp@'erament @'egal,
1655 D: gleichschwebende Stimmung,
1656 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1657 DK: ligesv@ae{}vende temperatur,
1658 S: liksv@"avande temperatur,
1661 Tuning system dividing the octave into 12 equal @aref{semitone}s
1662 (precisely 100 @aref{cent}s). @aref{temperament}.
1664 @aitem{expression mark}
1666 I: segno d'espressione,
1667 F: signe d'expression, indication de nuance,
1669 NL: voordrachtsteken,
1670 DK: foredragsbetegnelse,
1671 S: f@"oredragsbeteckning,
1672 FI: nyanssiosoitus, esitysmerkki.
1674 Performance indications concerning 1. volume, dynamics (for example
1675 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1676 @aref{andante}, @aref{allegro}).
1698 The position between the dots of the key symbol is the line of the F below
1699 central@w{ }C. Used on the third, fourth and fifth note line. A
1700 digit@w{ }8 above the clef symbol indicates that the notes must be played
1701 an octave higher (for example bass recorder) while 8@w{ }below the clef
1702 symbol indicates playing an octave lower (for example on double bass
1706 \set Score.automaticBars = ##f
1707 \override Staff.Clef #'full-size-change = ##t
1708 %\override Score.LyricText #'font-style = #'large
1722 \context Lyrics \lyrics {
1723 \override Lyrics .LyricText #'self-alignment-X = #-1
1732 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1737 F: point d'orgue, point d'arr@^et,
1742 FI: fermaatti, pid@"ake.
1744 Prolonged note or rest of indefinite duration.
1748 \notes\relative c'' {
1749 a4 b c2^\fermata \bar "|."
1765 @aitem{figured bass}
1766 ES: bajo cifrado, @aref{thorough bass}.
1774 DK: fingers@ae{}tning,
1775 S: fingers@"attning,
1778 The methodical use of fingers in the playing of instruments.
1780 @aitem{flag,pennant}
1782 I: coda (uncinata), bandiera,
1784 D: Fahne, F@"ahnchen,
1790 Ornament at the end of the stem of a note used for notes with values
1791 less than a quarter note. The number of flags determines the
1795 \set Score.automaticBars = ##f
1796 %\override Score.TextScript #'font-style = #'large
1797 \notes\relative c'' {
1817 @aitemii{forefall,backfall}
1818 @aref{appoggiatura}.
1828 FI: forte, voimakkaasti.
1830 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1831 @emph{mezzoforte} (@b{mf}) medium loud.
1855 @aref{counterpoint}.
1857 @aitem{functional harmony}
1858 ES: armon@'{@dotless{i}}a funcional,
1859 I: armonia funzionale,
1860 F: @'etude des functions,
1862 NL: functionele harmonie,
1863 DK: funktionsanalyse, funktionsharmonik,
1865 FI: harmoniaj@"arjestelm@"a.
1867 A system of harmonic analysis. It is based on the idea that, in a given key,
1868 there are only three functionally different chords: tonic (T, the chord on the
1869 first note of the scale), subdominant (S, the chord on the fourth note), and
1870 dominant (D, the chord on the fifth note). Other are considered to be
1871 variants of the base chords.
1874 \set Score.automaticBars = ##f
1875 %\override Score.LyricText #'font-style = #'large
1876 %\override Score.TextScript #'font-style = #'large
1878 \context Voice \notes\relative c'' {
1879 <g e c >1 < a f d > < b g e >
1880 <c a f > < d b g > < e c a > < f d b > }
1881 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1898 D: G-Schl@"ussel, Violinschl@"ussel,
1904 A clef symbol indicating the G above central@w{ }C. Used on the first
1905 and second note lines. A digit 8 above the clef symbol indicates that
1906 the notes must be played an octave higher while 8 below the clef symbol
1907 indicates playing or singing an octave lower (most tenor parts in choral
1908 scores are notated like that).
1911 \set Score.automaticBars = ##f
1912 \override Staff.Clef #'full-size-change = ##t
1913 %\override Score.LyricText #'font-style = #'large
1915 \notes\relative c'' {
1925 \context Lyrics \lyrics {
1926 \override Lyrics .LyricText #'self-alignment-X = #-1
1927 "french violin clef "
1942 FI: glissando, liukuen.
1944 Letting the pitch slide fluently from one note to the other.
1950 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1956 Notes printed in small types to indicate that their time values are not
1957 counted in the rhythm of the bar. @aref{appoggiatura}.
1965 S: ackolad, b@"ojd klammer,
1966 FI: kaksoisnuottiviivasto.
1970 A combination of two staves with a brace. Usually used for piano music.
1980 FI: grave, raskaasti.
1989 D: Halbe, halbe Note,
2010 @aitem{harmonic cadence}
2011 ES: cadencia (arm@'onica),
2012 I: cadenza (armonica),
2013 F: cadence harmonique,
2015 NL: harmonische cadens,
2016 DK: harmonisk kadence,
2017 S: (harmonisk) kadens,
2018 FI: harmoninen kadenssi.
2020 Sequence of chords that terminate a musical phrase or
2021 section. @aref{functional harmony}.
2024 \notes\context PianoStaff <<
2025 \context Staff = SA \relative c'' {
2029 \partial 4 < c g e >4 |
2030 < c a f > < b g d > < c g e >2
2032 % %\override Score.LyricText #'font-style = #'large
2034 \context Staff = SB \relative c {
2036 \partial 4 c4 | f, g c2
2039 \context Lyrics \lyrics {
2046 ES: armon@'{@dotless{i}}a,
2049 D: Harmonie, Zusammenklang,
2053 FI: harmonia, yhteissointi.
2055 Tones sounding simultaneously. Two note harmonies fall into the categories
2056 @emph{consonances} and @emph{dissonances}.
2061 \set Score.automaticBars = ##f
2062 %\override Score.TextScript #'font-style = #'large
2063 \context Voice \notes\relative c'' {
2077 \set Score.automaticBars = ##f
2078 %\override Score.TextScript #'font-style = #'large
2079 \context Voice \notes\relative c'' {
2080 <g a>1_"second " s s
2081 <g f'>_"seventh " s s
2086 Three note harmony @aref{chord}.
2089 ES: homofon@'{@dotless{i}}a,
2096 FI: homofonia, yksi@"a@"anisyys.
2098 Music in which one voice leads melodically followed by the other voices more
2099 or less in the same rhythm. In contrast to @aref{polyphony}.
2109 FI: intervalli, kahden s@"avelen korkeusero.
2111 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2112 diminished, or augmented. The augmented fourth and the diminished fifth are
2113 identical (@aref{enharmonic}) and are called @emph{tritonus}
2114 because they consist of three @aref{whole tone}s. The addition
2115 of such two forms an octave.
2118 \set Score.automaticBars = ##f
2119 %\override Score.LyricText #'font-style = #'large
2120 %\override Score.TextScript #'font-style = #'large
2122 \context Voice \notes\relative c'' {
2127 < gis bes >^"dimin" s
2128 < g! bes >^"minor" s
2132 \context Lyrics \lyrics {
2133 "unisone " "second " "second " "second "
2134 "third " "third " "third " "third "
2139 \set Score.automaticBars = ##f
2140 %\override Score.LyricText #'font-style = #'large
2141 %\override Score.TextScript #'font-style = #'large
2143 \context Staff \notes\relative c'' {
2146 < g d' >^"perfect" s
2148 < gis es' >^"dimin" s
2149 < g! es' >^"minor" s
2153 \context Lyrics \lyrics {
2154 "fourth " "fourth " "fifth " "fifth "
2155 "sixth " "sixth " "sixth " "sixth "
2160 \set Score.automaticBars = ##f
2161 %\override Score.LyricText #'font-style = #'large
2162 %\override Score.TextScript #'font-style = #'large
2164 \context Staff \notes\relative c'' {
2165 < gis f'! >1^"dimin" s
2166 < g! f'! >^"minor" s
2167 < g fis' >^"major" s
2171 < g bes' >^"minor" s
2174 \context Lyrics \lyrics {
2175 "seventh " "seventh " "seventh " "octave "
2176 "none " "none " "decime " "decime "
2180 @aitem{inverted interval}
2181 ES: intervalo invertido,
2182 I: intervallo rivolto,
2183 F: intervalle revers@'e,
2184 D: umgekehrtes Intervall,
2185 NL: interval inversie,
2186 DK: omvendingsinterval,
2187 S: intervallets omv@"andning,
2188 FI: k@"a@"anteisintervalli.
2190 The difference between an interval and an octave.
2193 \set Score.automaticBars = ##f
2194 %\override Score.TextScript #'font-style = #'large
2195 \context Staff \notes\relative c'' {
2196 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2197 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2198 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2202 @aitem{just intonation}
2203 I: intonazione giusta,
2204 F: intonation juste,
2211 Tuning system in which the notes are obtained by adding and subtracting
2212 natural fifths and thirds. @aref{temperament}.
2224 According to the 12@w{ }tones of the @aref{chromatic scale}
2225 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2226 @aref{key signature}.
2228 @aitem{key signature}
2229 ES: armadura de clave,
2230 I: armatura di chiave,
2231 F: armure, armature [de la cl@'e],
2232 D: Vorzeichen, Tonart,
2233 NL: toon@-soort (voortekens),
2236 FI: s@"avellajiosoitus.
2238 The sharps or flats appearing at the beginning of each staff indicating the
2239 key of the music. @aref{accidental}.
2245 D: Largo, Langsam, Breit,
2249 FI: largo, hitaasti, leve@"asti.
2251 Very slow in tempo, usually combined with great
2252 expressiveness. @emph{Larghetto} is less slow than largo.
2254 @aitem{leading note}
2264 The seventh @aref{scale degree}, a @aref{semitone} below
2265 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2266 upwards) to the tonic scale degree.
2268 @aitemii{ledger line,leger line}
2269 ES: l@'{@dotless{i}}neas adicionales,
2270 I: tagli addizionali,
2271 F: ligne suppl@'ementaire,
2274 DK: hj@ae{}lpelinie,
2278 A ledger line is an extension of the staff.
2281 \set Score.automaticBars = ##f
2282 \notes\relative c'' { a,1 s c'' }
2295 To be performed (a) without any perceptible interruption between the notes
2296 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2297 (d) @aref{staccato}.
2300 \set Score.automaticBars = ##f
2302 \context Staff \notes\relative c'' {
2303 c4-( d e-) \bar "||"
2304 c4-- d-- e-- \bar "||"
2305 c4-.-( d-. e-.-) \bar "||"
2306 c4-. d-. e-. \bar "||"
2308 \context Lyrics \lyrics {
2309 % \override Lyrics .LyricText #'font-style = #'large
2317 @aitem{legato curve}
2318 @aref{slur}, @aref{legato}.
2321 ES: estanque de lilas,
2322 I: stagno del giglio,
2326 NL: le@-lie@-vij@-ver,
2331 A pond with lilies floating in it, also the name of a music typesetter.
2335 A ligature is a coherent graphical symbol that represents at least two
2336 distinct notes. Ligatures originally appeared in the manuscripts of
2337 Gregorian chant notation roughly since the 9th century to denote
2338 ascending or descending sequences of notes. In early notation,
2339 ligatures were used for monophonic tunes (Gregorian chant) and very
2340 soon denoted also the way of performance in the sense of articulation.
2341 With the invention of the metric system of the white mensural
2342 notation, the need for ligatures to denote such patterns disappeared.
2347 ES: l@'{@dotless{i}}nea,
2350 D: Linie, Notenlinie,
2354 FI: viiva, nuottiviiva.
2358 @aitem{long appoggiatura}
2359 ES: apoyatura larga,
2360 I: appoggiatura lunga,
2361 F: appoggiature longue,
2362 D: langer Vorschlag,
2365 S: l@aa{}ngt f@"orslag,
2366 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2368 @aref{appoggiatura}.
2380 Note value: double length of @aref{breve}.
2384 \set Score.automaticBars = ##f
2385 \notes\relative c'' {
2386 \override NoteHead #'style = #'mensural
2391 @aitemii{lyrics,song texts}
2401 @aitem{major interval}
2402 ES: intervalo mayor,
2403 I: intervallo maggiore,
2404 F: intervalle majeur,
2405 D: gro@ss{}es Intervall,
2409 FI: suuri intervalli.
2423 @aref{diatonic scale}.
2425 @aitem{meantone temperament}
2426 I: accordatura mesotonica,
2427 F: temp@'erament m@'esotonique,
2428 D: mittelt@"onige Stimmung,
2429 NL: middenstemming, middentoonstemming,
2430 DK: middeltonetemperatur,
2431 S: medeltonstemperatur,
2432 FI: keskis@"avelviritys.
2434 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2435 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2436 @aref{temperament} only a limited set of keys are playable.
2437 Used for tuning keyboard instruments for performance of pre-1650 music.
2439 @aitem{measure, bar}
2449 A group of @aref{beat}s (units of musical time) the first of which
2450 bears an accent. Such groups in numbers of two or more recur consistently
2451 throughout the composition and are marked from each other by
2452 bar-lines. @aref{meter}.
2456 I: mediante, modale,
2464 1. The third @b{scale degree}.
2465 2. A @aref{chord} having its base tone
2466 a third from that of another chord. For example, the tonic chord may be
2467 replaced by its lower mediant (variant tonic). @aref{functional
2468 harmony}, @aref{relative key}.
2473 FI: melisma, laulettavan tavun s@"avelkuvio.
2475 A melisma (plural: melismata) is a group of notes or tones sung on one
2476 syllable in plainsong
2478 @aitem{melodic cadence}
2484 F: indication de m@'esure,
2491 The basic scheme of @aref{note value}s and
2492 @aref{accent}s which remains unaltered throughout a composition
2493 or a section of it. For instance, 3/4 meter means that the basic
2494 @aref{note value}s are quarter notes and that a
2495 @aref{measure} consists of three of those. According to
2496 whether there are two, three or four units to the measure,
2497 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2498 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2501 \notes\relative c'' {
2504 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2508 \notes\relative c' {
2511 f8 f f f a16 g a f |
2512 c'8 c c c e16 d e c \bar "||"}
2516 \notes\relative c'' {
2519 d4 b8 g b d d c a4 |
2520 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2533 Device indicating the exact tempo of a piece. @aref{metronomic
2536 @aitem{metronomic indication}
2537 ES: indicaci@'on metron@'omica,
2538 I: indicazione metronomica,
2539 F: indication m@'etronomique,
2541 NL: metronoom aanduiding,
2543 S: metronomangivelse,
2544 FI: metronomiosoitus.
2546 Exact tempo indication (in beats per minute). Also denoted by
2547 M.M. (M@"alzels Metronom).
2549 @aitem{mezzo-soprano}
2559 The female voice between @aref{soprano} and
2566 D: eingestrichenes@w{ }c,
2568 DK: enstreget@w{ }c,
2569 S: ettstruket@w{ }c,
2572 First C below the 440 Hz A.
2575 \set Score.automaticBars = ##f
2576 \override Staff.Clef #'full-size-change = ##t
2577 \notes\relative c' {
2594 @aref{diatonic scale}.
2596 @aitem{minor interval}
2597 ES: intervalo mayor,
2598 I: intervallo minore,
2599 F: intervalle mineur,
2600 D: kleines Intervall,
2604 FI: pieni intervalli.
2616 FI: moodi, kirkkos@"avelasteikko.
2618 @aref{church mode}, @aref{diatonic scale}.
2628 FI: modulaatio, s@"avellajin vaihdos.
2630 Moving from one @aref{key} to another. For example, the second
2631 subject of a @aref{sonata form} movement modulates to the dominant
2632 key if the key is major and to the @aref{relative key} if the key
2642 FI: mordent, korukuvio.
2646 @aitemii{motive,motif}
2654 FI: teema, s@"avelaihe.
2656 The briefest intelligible and self-contained fragment of a musical theme or
2660 \set Score.TimeSignature = \turnOff
2661 %\override Score.TextScript #'font-style = #'large
2662 \notes\relative c'' {
2665 \partial 8 g16_"------" fis |
2666 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2667 g8 g,16 a b8 cis d16 s
2681 Greater musical works like @aref{symphony} and
2682 @aref{sonata} most often consist of several -- more or less --
2683 independant pieces called movements.
2685 @aitem{multibar rest}
2686 ES: compases de espera,
2690 D: mehrtaktige Pause,
2693 FI: usean tahdin mittainen tauko.
2696 \notes\relative c'' {
2698 \set Score.skipBars = ##t R1*3
2703 @aitem{mixolydian mode}
2704 @aref{diatonic scale}.
2706 @aitem{natural sign}
2710 D: Aufl@"osungszeichen,
2711 NL: herstellingsteken,
2712 DK: op@-l@o{}sningstegn,
2713 S: @aa{}terst@"allningstecken,
2718 @aitem{neighbour tones}
2719 @aref{appoggiatura}.
2746 Notes are signs by means of which music is fixed in writing. The term is also
2747 used for the sound indicated by a note, and even for the key of the piano
2748 which produces the sound. However, a clear distinction between the terms tone
2749 and @aref{note} is strongly recommended. Briefly, one sees a note,
2754 I: testa, testina, capocchia,
2755 F: t@^ete de la note,
2762 A head like sign which indicates pitch by its position on a
2763 @aref{staff} provided with a @aref{clef}, and duration
2764 by a variety of shapes such as hollow or black heads with or without
2765 @aref{stem}s, @aref{flag}s, etc. For percussion
2766 instruments (often having no defined pitch) the note head may indicate the
2772 F: dur@'ee, valeur (d'une note),
2777 FI: nuotin aika-arvo.
2779 Note values (durations) are measured as fractions, normally 1/2, of the next
2780 higher note value. The longest duration normally used is called @emph{brevis},
2781 but sometimes (mostly in pre baroque music) the double length note value
2782 @emph{longa} is used.
2785 %\override Score.TextScript #'font-style = #'large
2786 \set Score.automaticBars = ##f
2787 \notes\relative c'' {
2788 \override NoteHead #'style = #'mensural
2789 g\longa_"longa" g\breve_"breve"
2790 \revert NoteHead #'style
2791 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2792 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2796 %\override Score.TextScript #'font-style = #'large
2797 \set Score.automaticBars = ##f
2798 \notes\relative c'' {
2799 r\longa_"longa" r\breve_"breve"
2800 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2801 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2804 An augmentation dot after a note multiplies the duration by one and a
2805 half. Another dot adds yet a fourth of the duration.
2808 %\override Score.TextScript #'font-style = #'large
2809 \notes\relative c'' {
2811 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2812 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2815 Alternatively note values may be subdivided by other ratios. Most common is
2816 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2817 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2818 dotted notes are also frequently used.
2821 %\override Score.TextScript #'font-style = #'large
2822 \notes\relative c'' {
2824 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2825 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2830 \notes\relative c'' {
2832 \times 3/2 {g4_"duplets" g} |
2834 \times 6/4 {g8_"quadruplets" g g g} |
2835 g8 g g g g4 \bar "||"
2840 @aref{G clef}, @aref{F clef}.
2854 @aitemiii{ornament,embellishment,accessory}
2856 I: abbellimento, fioriture,
2857 F: agr@'ement, ornement,
2858 D: Verzierung, Ornament,
2864 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2865 with the diatonic @aref{second} above it. In the music from the
2866 middle of the 19th century and onwards the trill is performed with the main
2867 note first while in the music from the preceding baroque and classic periods
2868 the upper note is played first.
2872 \context Staff = sa {
2873 % \override Score.TextScript #'font-style = #'large
2874 \notes\relative c'' {
2875 c2._"pre-1850" b4\trill | c1 \bar "||"
2876 c2._"post-1850" b4\trill | c1 \bar "||"
2879 \notes\relative c'' {
2880 c2. c32 b c b c b c b | c1
2881 c2. b32 c b c \times 4/5 { b c b c b } | c1
2886 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2887 @emph{prall} (inverted mordent).
2891 \context Staff = sa {
2892 % \override Score.TextScript #'font-style = #'large
2893 \notes\relative c'' {
2894 a4_"turn" b\turn c2 \bar "||"
2895 g4_"mordent" a b\mordent a \bar "||"
2896 e'4_"prall" d\prall c2 \bar "||"
2899 \notes\relative c'' {
2902 e'4 e32[ d e d ~ d8] c2
2907 @aref{appoggiatura}.
2917 FI: ossia, vaihtoehtoinen esitystapa.
2919 Ossia (otherwise) marks an alternative. It is an added staff or piano
2920 score, usually only a few measures long, which presents another version
2921 of the music, for example for small hands.
2931 FI: stemma, instrumenttiosuus.
2933 1. In instrumental or choral music the music for the single instrument
2934 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2935 melodic line of the contrapunctal web.
2941 D: Schlagzeug, Schlagwerk,
2945 FI: ly@"om@"asoittimet.
2947 A family of musical instruments which are played on by striking or
2948 shaking. Percussion instruments commonly used in a symphony orchestra are
2949 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2950 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2953 @aitem{perfect interval}
2954 ES: intervalo justo,
2955 I: intervallo giusto,
2956 F: intervalle juste,
2957 D: reines Intervall,
2961 FI: puhdas intervalli.
2975 A natural division of the melodic line, comparable to a sentence of speech.
2985 FI: fraseeraus, j@"asent@"aminen.
2987 The clear rendering in musical performance of the @aref{phrase}s of
2988 the melody. Phrasing may be indicated by a @aref{slur}.
3000 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3001 @emph{mezzopiano} (@b{mp}) medium soft.
3018 NL: pizzicato, getokkeld,
3021 FI: pizzicato, n@"app@"aillen.
3023 Play by plucking the strings.
3026 ES: polifon@'{@dotless{i}}a,
3033 FI: polyfonia, moni@"a@"anisyys.
3035 Music written in a combination of several simultaneous voices (parts) of a
3036 more or less pronounced individuality. @aref{counterpoint}.
3045 D: Presto, Sehr schnell,
3046 NL: presto, Sehr schnell,
3049 FI: presto, hyvin nopeasti.
3051 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3052 denotes the highest possible degree of speed.
3054 @aitem{Pythagorean comma}
3055 ES: coma pitag@'orico,
3056 I: comma pitagorico,
3057 F: comma pythagoricien,
3058 D: Pythagor@"aisches Komma,
3059 NL: komma van Pythagoras,
3060 DK: pythagor@ae{}isk komma,
3061 S: pytagoreiskt komma,
3062 FI: pytagorinen komma.
3064 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3065 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3066 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3067 7@w{ }octaves. The difference between those two pitches is called the
3082 @aitem{quarter note}
3084 I: semiminima, nera,
3087 D: Viertel, Viertelnote,
3091 FI: nelj@"annesosanuotti.
3095 @aitem{quarter rest}
3096 ES: silencio de negra,
3097 I: pausa di semiminima,
3102 DK:@w{ }fjerdedelspause,
3103 S: fj@"ardedelspaus,
3104 FI: nelj@"annesosatauko.
3124 D: rallentando, langsamer werden,
3128 FI. rallerdando, hidastuen,
3130 Abbreviation "rall.". @aref{ritardando}.
3132 @aitem{relative key}
3134 I: tonalit@`a relativa,
3135 F: tonalit@'e relative,
3137 NL: paralleltoonsoort,
3138 DK: paralleltoneart,
3140 FI: rinnakkaiss@"avellaji.
3142 @aref{major} and @aref{minor} @aref{key}
3143 with the same @aref{key signature}.
3146 \set Score.automaticBars = ##f
3147 %\override Score.TextScript #'font-style = #'large
3148 \notes\relative c' {
3150 es1_"e flat major" f g as bes c d es
3156 \set Score.automaticBars = ##f
3157 %\override Score.TextScript #'font-style = #'large
3158 \notes\relative c' {
3160 c1_"c minor" d es f g a! b! c \bar "||"
3165 ES: barra de repetici@'on,
3167 F: barre de reprise,
3170 DK: gen@-ta@-gel@-se,
3177 \notes\relative c'' {
3178 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3182 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3183 @c specify the rest's value.
3207 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3208 fixed unit of time, called @aref{beat}, and in which the normal
3209 @aref{accent} recurs in regular intervals, called
3210 @aref{measure}. The basic scheme scheme of time values is called
3211 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3212 accent. In modern notation such music appears as a free alternation of
3213 different measures. (c) Free rhythm, i.e., the use of temporal values having
3214 no common metrical unit (beat).
3220 D: Ritardando, langsamer werden,
3224 FI. ritardando, hidastuen,
3226 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3236 FI: ritenuto, hidastaen.
3238 Immediate reduction of speed.
3248 FI: asteikko, s@"avelasteikko.
3250 @aref{diatonic scale}.
3252 @aitem{scale degree}
3253 ES: grados de la escala,
3254 I: grado della scala,
3255 F: degr@'e [de la gamme],
3257 NL: trap [van de toonladder],
3260 FI: s@"avelaste, asteikon s@"avel.
3262 Names and symbols used in harmonic analysis to denote tones of the scale as
3263 roots of chords. The most important are degrees I = tonic (T), IV =
3264 sub@-do@-mi@-nant (S) and V = dominant (D).
3267 \set Score.automaticBars = ##f
3268 %\override Score.LyricText #'font-style = #'large
3269 %\set minVerticalAlign = #8
3271 \context Staff \notes\relative c' {
3274 \context Lyrics \lyrics {
3275 << { I II III IV V VI VII I }
3280 @aref{functional harmony}.
3286 D: Partitur (full score), Klavierauszug (vocal score)
3292 A copy of orchestral, choral or chamber music showing what each instrument is
3293 to play, each voice to sing, having each part arranged one underneath the
3294 other on different staves @aref{staff}.
3306 The @aref{interval} between two neigbouring tones of a scale. A
3307 @aref{diatonic scale} consists of alternating
3308 @aref{semitone}s and @aref{whole tone}s, hence the size
3309 of a se@-cond depends on the scale degrees in question.
3321 The @aref{interval} of a minor second. The (usually) smallest
3322 interval in European composed music. The interval between two neighbouring
3323 tones on the piano keyboard -- including black and white keys -- is a
3324 semitone. An octave may be divided into 12@w{ }semitones.
3325 @aref{interval}, @aref{chromatic scale}.
3328 \set Score.automaticBars = ##f
3329 \notes\relative c'' { g1 gis s a bes s b! c }
3344 @aitem{sextuplet, sextolet}
3367 @aitem{short appoggiatura}
3368 @aref{appoggiatura}.
3370 @aitem{sixteenth note}
3375 D: Sechzehntel, Sechzehntelnote,
3376 NL: zes@-ti@-ende noot,
3377 DK: sekstendedelsnode,
3379 FI: kuudestoistaosanuotti.
3383 @aitem{sixteenth rest}
3384 ES: silencia de semicorchea,
3385 I: pausa di semicroma,
3387 UK: semiquaver rest,
3388 D: Sechzehntelpause,
3390 DK: sekstendedelspause,
3408 @aitem{sixty-fourth note}
3411 F: quadruple croche,
3412 UK: hemidemisemiquaver,
3413 D: Vierundsechzigstel, Vierundsechzigstelnote,
3414 NL: vierenzestigste noot,
3415 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3416 S: sextiofj@"ardedelsnot,
3417 FI: kuudeskymmenesnelj@"asosanuotti.
3421 @aitem{sixty-fourth rest}
3422 ES: silencia de semifusa,
3423 I: pausa di semibiscroma,
3424 F: seizi@`eme de soupir,
3425 UK: hemidemisemiquaver rest,
3426 D: Vierundsechzigstelpause,
3427 NL: vierenzestigste rust,
3428 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3429 S: sextiofj@"ardedelspaus,
3430 FI: kuudeskymmenesnelj@"asosatauko.
3436 I: legatura (di portamento or espressiva),
3437 F: liaison, coul@'e,
3438 D: Bogen, Legatobogen, Phrasierungsbogen,
3439 NL: fraseringsboog, legatoboog, streekboog,
3440 DK: legatobue, fraseringsbue,
3444 A slur above or below a group of notes indicates that they are to be played
3445 @aref{legato}, e.g., with one stroke of the violin bow or with one
3455 FI: suhteelliset laulunimet.
3457 General term for systems of designating the degrees of the
3458 @aref{scale}, not by letters, but by syllables (@emph{do}
3459 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3460 (@emph{ti})). @aref{scale degree}.
3472 In its present-day meaning a sonata denotes an instrumental composition for
3473 piano or for some other instrument with piano accompaniment, which consists of
3474 three or four independant pieces, called movements.
3479 F: [en] forme de sonate,
3481 NL: hoofdvorm, sonatevorm,
3486 A form used frequently for single movements of the @aref{sonata},
3487 @aref{symphony}, quartet, etc. A movement written in sonata form
3488 falls into three sections called @emph{exposition}, @emph{development} and
3489 @emph{recapitulation}. In the exposition the composer introduces his musical
3490 ideas, consisting of a number of themes; in the development section he
3491 "develops" this material, and in the recapitulation he repeats the exposition,
3492 with certain modifications, however. The exposition contains a number of themes
3493 which fall into two groups, often called first and second subject. Other
3494 melodies occurring in each group are considered as continuations of these
3495 two. The second theme is in another key, normally in the key of the
3496 @aref{dominant} if the @aref{tonic} is
3497 @aref{major}, and in the @aref{relative key} if the
3498 tonic is @aref{minor}.
3508 FI: sopraano, korkea nais@"a@"ani.
3510 The highest female voice.
3515 F: staccato, piqu@'e, d@'etach@'e,
3520 FI: staccato, lyhyesti, ter@"av@"asti.
3522 Playing the note(s) short. Staccato is indicated by a dot above or below the
3528 \notes\relative c'' {
3530 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3537 I: pentagramma, rigo (musicale),
3540 NL: (noten)balk, partij,
3545 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3546 which the musical notes are written, thus indicating (in connection
3547 with a @aref{clef}) their pitch. Staves for
3548 @aref{percussion} instruments may have fewer lines.
3554 D: Hals, Notenhals, Stiel,
3560 Vertical line above or below a @aref{note head} shorter than a
3561 whole note. @aref{beam}.
3564 \set Score.autoBeaming = ##f
3565 \set Score.automaticBars = ##f
3566 %\override Score.TextScript #'font-style = #'large
3567 \notes\relative c'' {
3585 A family of stringed musical instruments played with a bow. Strings commonly
3586 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3592 D: betonter Taktteil oder Taktschlag,
3594 D: betonet taktslag,
3595 S: betonat taktslag,
3596 FI: tahdin vahva isku.
3598 @aref{beat}, @aref{accent}, @aref{measure},
3609 FI: subdominantti, alidominantti.
3611 The fourth @aref{scale degree}. @aref{functional
3622 FI: alikeskis@"avel.
3624 The sixth @aref{scale degree}.
3634 FI: subtoonika, alitoonika.
3636 The seventh @aref{scale degree}.
3638 @aitem{superdominant}
3648 The sixth @aref{scale degree}.
3660 The second @aref{scale degree}.
3663 ES: sinfon@'{@dotless{i}}a,
3666 D: Sinfonie, Symphonie,
3672 A symphony may be defined as a @aref{sonata} for orchestra.
3684 Any deliberate upsetting of the normal pulse of @aref{meter},
3685 @aref{accent} and @aref{rhythm}. Our system of musical
3686 rhythm rests upon the grouping of equal beats into groups of two or three,
3687 with a regularly recurrent accent on the first beat of each group. Any
3688 deviation from this scheme is felt as a disturbance or contradiction between
3689 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3693 \notes\relative c' {
3696 e c'4 e,8 c'4 e,8 c' ( | c2)
3700 @aitemii{syntonic comma,dydimic comma}
3701 I: comma sintonico (o didimico),
3702 F: comma syntonique,
3703 D: syntonisches Komma,
3704 NL: syntonische komma,
3705 DK: syntonisk komma,
3706 S: syntoniskt komma,
3707 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3709 Difference between the natural third and the third obtained by Pythagorean
3710 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3719 FI: nuottij@"arjestelm@"a.
3721 The collection of staves @aref{staff}, two or more, as used for
3722 writing down of keyboard, chamber, choral, or orchestral music.
3728 D: Stimmung, Temperatur,
3729 NL: stemming, temperatuur,
3732 FI: viritysj@"arjestelm@"a.
3734 Systems of tuning in which the intervals deviate from the acoustically pure
3735 intervals. @aref{meantone temperament}, @aref{equal
3738 @aitem{tempo indication}
3739 ES: indicaci@'on de tempo,
3740 I: indicazione di tempo,
3741 F: indication de temps,
3742 D: Zeitma@ss{}, Tempobezeichnung,
3743 NL: tempo aanduiding,
3746 FI: tempomerkint@"a.
3748 The rate of speed of a composition or a section thereof, ranging from the
3749 slowest to the quickest, as is indicated by tempo marks as
3750 @aref{largo}, @aref{adagio}, @aref{andante},
3751 @aref{allegro}, and @aref{presto}.
3761 FI: tenori, korkea mies@"a@"ani.
3763 The highest voice of men (apart from @aref{counter tenor}).
3789 @aitem{thirty-second note}
3794 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3795 NL: twee-endertig@-ste noot,
3796 DK: toogtredivtedelsnode,
3797 S: trettiotv@aa{}ondelsnot,
3798 FI: kolmanneskymmeneskahdesosanuotti.
3802 @aitem{thirty-second rest}
3803 ES: silencio de fusa,
3804 I: pausa di biscroma,
3805 F: huiti@`eme de soupir,
3806 UK: demisemiquaver rest,
3807 D: Zweiunddreissigstel@-pause,
3809 DK: toogtredivtedelspause,
3810 S: trettiotv@aa{}ondelspaus,
3811 FI: kolmanneskymmeneskahdesosatauko.
3815 @aitemii{thorough bass,figured bass}
3817 I: basso continuo, basso numerato,
3818 F: basse chiffr@'ee,
3819 D: Generalbass, bezifferter Bass,
3820 NL: basso continuo, becijferde bas
3823 FI: kenraalibasso, numeroitu basso.
3825 A method of indicating an accompaniment part by the bass notes only, together
3826 with figures designating the chief @aref{interval}s and
3827 @aref{chord}s to be played above the bass notes.
3830 \context GrandStaff <<
3831 \context Staff = lh \notes\relative c'' {
3835 << \context Voice = rha {
3838 \context Voice = rhb {
3840 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3844 \context Staff = rh \notes\relative c' {
3847 es8 c d bes c as bes16 as g f | es4
3849 \context Lyrics \lyrics {
3850 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3851 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3852 { "" "" "" "2" "" "" "" "" "" "2" } >>
3858 ES: ligadura de prolongaci@'on,
3859 I: legatura (di valore),
3862 NL: overbinding, bindingsboog,
3864 S: bindeb@aa{}ge, @"overbindning,
3867 A curved line, identical in appearance with the @aref{slur}, which
3868 connects two succesive notes of the same pitch, and which has the function of
3869 uniting them into a single sound equal to the combined durations.
3872 \set Score.automaticBars = ##f
3873 \notes\relative c'' { g2 ~ g4. }
3876 @aitem{time signature}
3877 ES: cifra indicadora de comp@'as,
3879 F: chiffrage (chiffres indicateurs), signe de valeur,
3880 D: Taktangabe, Angabe der Taktart,
3883 S: taktartssignatur,
3898 A sound of definite pitch and duration, as distinct from @emph{noise}.
3899 Tone is a primary building material of music.
3900 Music from the 20th century may be based on non tone related sounds.
3912 The first @aref{scale degree}.
3913 @aref{functional harmony}.
3915 @aitem{transposition}
3916 ES: transposici@'on,
3925 Shifting a melody up or down in pitch, while keeping the same
3931 \notes\relative c'' {
3933 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3941 \transpose c bes \relative c'' {
3943 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3950 I: chiave di violino,
3952 D: Violinschl@"ussel, Sopranschl@"ussel,
3954 DK:@w{ }diskantn@o{}gle,
3970 On stringed instruments (@aref{strings}) the quick reiteration of
3971 the same tone, produced by a rapid up-and-down movement movement of the bow
3972 (a). The term is also used for the rapid alternation (b) between two notes of
3973 a @aref{chord}, usually in the distance of a third
3977 \set Score.automaticBars = ##f
3978 %\override Score.TextScript #'font-style = #'large
3979 \notes\relative c' {
3981 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3982 \repeat "tremolo" 8 { e32_"b" g }
3987 ES: tr@'{@dotless{i}}ada,
3989 F: triade, accord parfait, accord de trois sons,
3998 @aitemii{trill,shake}
4001 F: trille, tremblement, battement (cadence),
4010 @aitem{triple meter}
4011 ES: comp@'as compuesto,
4015 NL: driedelige maatsoort,
4035 ES: tr@'{@dotless{i}}tono,
4048 I: diapason, corista,
4056 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4057 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4059 @aitemii{turn,gruppetto}
4072 ES: un@'{@dotless{i}}sono,
4079 FI: unisono, yksi@"a@"anisesti.
4081 Playing of the same notes or the same melody by various instruments (voices)
4082 or by the whole orchestra (choir), either at exactly the same pitch or in a
4086 ES: entrada anacr@'usica,
4088 F: anacrouse, lev@'ee,
4095 Initial note(s) of a melody occurring before the first bar
4096 line. @aref{measure}, @aref{meter}.
4101 \notes\relative c' {
4102 \partial 4 f4 | bes4. a8 bes4 c |
4103 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4114 FI: @"a@"ani, laulu@"a@"ani.
4116 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4117 @aref{contralto}, @aref{tenor},
4118 @aref{baritone}, @aref{bass}.
4119 2. A melodic layer or part of a polyphonic composition.
4123 I: tempo debole, arsi,
4125 D: unbetonter Taktteil oder Taktschlag,
4127 DK: ubetonet taktslag,
4128 S: obetonat taktslag,
4129 FI: tahdin heikko isku.
4131 @aref{beat}, @aref{measure}, @aref{rhythm}.
4138 D: Ganze, ganze Note,
4147 ES: silencio de redonda,
4148 I: pausa di semibreve,
4151 D: ganze Pause, ganztaktige Pause,
4169 The @aref{interval} of a major second. The interval between two
4170 tones on the piano keyboard with exactly one key between them -- including
4171 black and white keys -- is a whole tone.
4179 DK tr@ae{}bl@ae{}sere,
4180 S: tr@"abl@aa{}sare,
4183 A family of blown wooden musical instruments. Today some of these instruments
4184 are actually made from metal. The woodwind instruments commonly used in a
4185 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4192 @item DURATION NAMES, NOTES AND RESTS
4195 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4197 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4198 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4202 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4203 @tab longa @tab longa @tab longa
4207 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4208 brevis @tab brevis @tab brevis @tab brevis
4212 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4213 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4217 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4218 halve @tab halv @tab halv @tab puoli- @tab
4222 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4223 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4227 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4228 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4232 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4233 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4234 @tab kuudestoistaosa- @tab
4238 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4239 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4240 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4244 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4245 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4246 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4247 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4250 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4258 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4260 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4261 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4265 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4269 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4270 cis @tab cis @tab cis
4274 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4275 des @tab des @tab des
4279 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4283 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4287 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4291 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4295 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4300 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4304 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4305 ais @tab ais @tab ais
4309 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4314 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4322 @item ---------------------
4326 @item Literature used
4327 The Harvard Dictionary of Music, London 1944. Many more or less literal
4328 quotes from its articles have been included into the item explanation texts.
4330 Hugo Riemanns Musiklexicon, Berlin 1929.
4332 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4333 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.