3 @setfilename glossary.info
7 @c @everyheading @| @thispage @|
8 @evenheading @thispage @| @|
9 @oddheading @| @| @thispage @|
17 @item UK - British English
27 @tex $\\Rightarrow$ @end tex
37 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
42 I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
45 I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
47 The stress of one tone over others.
50 I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
51 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: f@"ortecken, N:
53 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
54 @c Akzidenz, NL: toevallig teken, I: accidento.
56 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
57 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
58 flat lowers it by a whole tone. A natural cancels the effect of a previous
64 \property Score.barNonAuto = ##t
65 \property Voice.textStyle = "large"
68 gisis1_"db. sharp" s s2
70 geses1_"db. flat" s s2
76 I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N:
79 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
80 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
81 movement in slow tempo, esepecially the scond (slow) movement of
82 @w{@ar{}@strong{sonata}s}, symphonies etc.
85 I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK:
86 accelerando, S: accelerando, N:
91 I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK:
92 allegro, S: allegro, N: allegro.
94 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
95 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
98 I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
100 A female voice of low range (@emph{contralto}). Originally the alto was a high
101 male voice (hence the name) which by the use of falsetto reached the height of
102 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
106 I: chiave di contralto, F: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt
107 sleutel, DK: altn@o{}gle, S: altklav, N:
109 C clef setting central C on the middle line of the staff
110 @w{@ar{}@strong{C clef}}
112 @item ancient minor scale
113 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
114 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
119 \property Score.barNonAuto = ##t
120 \notes\relative c'' {
125 I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
128 walking tempo/character
131 I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
132 DK: forslag, S: f@"orslag, N:
134 Ornamental note, usually a second, that is melodically connected with the main
135 note that follows it. In music before the 19'th century a. were usually
136 performed on the beat, after that mostly before the beat. While the short
137 a. is performed as a short note regardless of the duration of the main note
138 the duration of the long a. is proportionate to that of the main note.
144 %\property Voice.textEmptyDimension = ##t
145 \property Voice.textStyle = "large"
146 \notes\relative c'' {
149 <d4_"notation" a fis> r
150 { \property Grace.stemStyle = ""
153 { \property Grace.stemStyle = ""
155 g8 fis16 g | a4 \bar "||"; }
156 \notes\relative c'' {
157 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
160 An appoggiatura may have more notes preceding the main note.
166 \property Voice.textStyle = "large"
167 \notes\relative c'' {
170 \grace { bes16 } as8_"notation" as16 bes as8 g |
171 \grace { [as16 ( bes] } < ) c4 as >
172 \grace { [as16 ( bes] } < ) c4 as > \bar "||";
173 \grace { bes16 } as8_"performance" as16 bes as8 g |
174 < \context Voice = va { \stemup as32 bes c8. as32 bes c8. }
175 \context Voice = vb { \stemdown as16 ~ as8. as16 ~ as8. } >
181 I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
182 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
187 \context GrandStaff <
188 \notes\relative c'' {
191 r8 g16 c e g, c e r8 g,16 c e g, c e |
192 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
195 < \context Voice = va {
197 r16 e8. () e4 r16 e8. () e4 |
198 r16 d8. () d4 r16 d8. () d4 }
199 \context Voice = vb {
206 @item ascending interval
207 I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
208 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
210 A distance between a starting lower note and a higher ending note.
212 @item augmented interval
213 I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
214 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
215 @"overstigande intervall, N:
217 @w{@ar{}@strong{interval}}
220 I: autografo, F: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift,
221 autograf, S: handskrift, N: .
223 1. A manuscript in the composer's own hand. 2. Music prepared for
224 photoreproduction by freehand drawing, with only the aid of a
225 straightedge ruler and T-square, which attempts to emulate
226 engraving. This required more skill than did engraving.
229 I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
231 @item backfall; forefall
232 @w{@ar{}@strong{appoggiatura}}
235 I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
236 maatstreep, DK: taktstreg, S: taktstreck, N:
239 @w{@ar{}@strong{measure}}
242 I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
245 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
246 @w{@ar{}@strong{tenor}}.
249 I: chiave di baritono, F: , D: Barytonschl@"ussel, NL: baritonsleutel, DK:
250 barytonn@o{}gle, S: barytonklav, N: .
252 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
253 @w{@ar{}@strong{f clef}}
256 I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK:
257 basn@o{}gle, S: basklav, N:
259 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
263 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
265 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
266 an abbreviation for double bass @w{@ar{}@strong{strings}}.
269 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
271 Line connecting a series of notes (shorter than a quarter note). The number of
272 beams determine the note value of the connected notes.
277 \property Score.barNonAuto = ##t
279 \property Voice.textStyle = "large"
280 \notes\relative c'' {
282 [g16_"1/16" g g g] s16
283 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
284 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
288 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
291 Note value used for counting, most often half-, fourth- and eighth notes. The
292 base counting value and the number of them per measure is indicated at the
300 \notes\relative c'' { g4 c b a | g1 \bar "||";}
302 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
306 @w{@ar{}@strong{tie}}
309 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
310 accolade, teksthaak, DK: klamme, S: klammer, N:
312 Symbol at the start of a system connecting staffs. Curly braces are used
313 for connecting piano staves, angular brackets for connecting parts in an
314 orchestral or choral score.
319 \context GrandStaff <
320 \property GrandStaff.minVerticalAlign = 12
321 \notes\relative c'' { \clef treble; g4 e c2 }
322 \notes\relative c { \clef bass; c1 \bar "|."; } >
328 %\context StaffGroup <
329 \context ChoirStaff <
330 \property StaffGroup.minVerticalAlign = 12
331 \notes\relative c'' { \clef treble; g4 e c2 }
332 \notes\relative c { \clef bass; c1 \bar "|."; } >
336 I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
337 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
339 A family of blown musical instruments made of brass all using a cup formed
340 mouth piece. The brass instruments commonly used in a symphony orchestra are
341 trumpet, trombone, french horn and tube.
344 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
345 repercussieteken, DK:
346 vejrtr@ae{}kningstegn, S: andningstecken, N: .
348 Indication of where to breathe in vocal and wind instrument parts.
351 I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
353 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
359 \property Score.barNonAuto = ##t
360 \notes\relative c'' { g\breve }
364 I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
367 I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
368 c-n@o{}gle, S: c-klav, N:
370 Clef symbol indicating the position of the central C. Used on all note
376 \property Score.barNonAuto = ##t
377 \property Staff.clefStyle = #"fullSizeChanges"
378 \property Staff.textStyle = #"large"
379 \property Lyrics.textStyle = #"large"
382 \clef soprano; c1 s s
383 \clef mezzosoprano; c s s
388 \context Lyrics \lyrics {
389 Soprano Mezzosoprano Alto Tenor Baritone
394 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
396 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
399 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
401 An extended, improvisatory style section inserted near the end of
402 movement. The purpose of a cadenza is to give the singer or player a chance to
403 exhibit her technichal skill and not the least her ability to improvise. Since
404 the middle of the 19'th century, however, most cadences have been written down
408 I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
410 @w{@ar{}@strong{counterpoint}}
413 I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: .
415 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
416 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
419 @w{@ar{}@strong{middle C}}
422 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
424 Three or more tones sounding simultaneously. In traditional European music the
425 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
426 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
427 chords may be extended with more thirds. Four- @emph{seventh chords} and five
428 tone @emph{ninth} major chords are most often used as dominants
429 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
430 third above the lower notes to define their quality as major or minor. Such
431 chords are denoted open chords
436 \property Score.barNonAuto = ##t
437 \property Voice.textNonEmpty = ##t
438 \property Voice.textStyle = "large"
440 \notes\relative c'' {
443 <g_"dimished" bes des>
444 <g_"augmented~" b dis>
445 <g_"seventh-chord~" b d f>
446 <g_"ninth-chord" b d f a> s s2
450 @item chromatic scale
451 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
452 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
454 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
459 \property Score.barNonAuto = ##t
460 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
464 I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik,
467 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
469 @item church mode; ecclesiastical mode
470 I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
471 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
473 @w{@ar{}@strong{diatonic scale}}
476 I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
477 sleutel, DK: n@o{}gle, S: klav, N:
479 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
482 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
484 Difference in pitch between a note derived from pure tuning and the same note
485 derived from some other tuning method. @w{@ar{}@strong{temperament}}
488 @w{@ar{}@strong{meter}}
490 @item compound interval
491 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
492 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
494 Intervals larger than an octave
496 @w{@ar{}@strong{interval}}
499 I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK:
500 komplement@ae{}rinterval, S: komplement@"arintervall (?), N:
502 @w{@ar{}@strong{inverted interval}}
504 @item conjunct movement
505 I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis
506 bev@ae{}gelse, S: stegvis r@"orelse, N:
508 Melody moving in the narrow steps of the scale;
514 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
518 I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
521 @w{@ar{}@strong{harmony}}
524 I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
526 @w{@ar{}@strong{alto}}
529 I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
530 kontrapunkt, S: kontrapunkt, N: .
532 From latin @emph{punctus contra punctum}, note against note. The combination
533 into a single musical fabric of lines or parts which have distinct melodic
534 significance. A frequently used polyphonic technique is imitation, in its
535 strictest form found in the canon needing only one part to be written down
536 while the other parts are performed with a given displacement. Imitation is
537 also the contrapuntal technique used in the @emph{fugue} which, since the
538 music of the baroque era, has been one of the most popular polyphonic
544 \property Score.timeSignatureStyle = "C2/2"
545 \context GrandStaff <
550 < \context Voice = rha {
552 r1 | r2 r8 g'8 bes d, |
553 cis4 d r8 e!16 f g8 f16 e |
554 f8 g16 a bes8 a16 g a8
556 \context Voice = rhb {
565 < \context Voice = lha {
567 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
568 r8 a16 g f8 g16 a bes8 g e! cis' |
571 \context Voice = lhb {
580 I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
581 kontratenor, S: kontratenor, counter tenor, N: kontratenor
583 @w{@ar{}@strong{contralto}}
586 A music copyist did fast freehand scores and parts on preprinted staff lines
587 for performance. Some of their conventions (e.g.: the placement of noteheads
588 on stems) varied slightly from those of engravers. Some of their working
589 methods were superior and could well be adopted by music typesetters. This
590 required more skill than engraving.
593 I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
594 crescendo, S: crescendo, N:@w{ }crescendo.
596 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
597 abbreviation "cresc.".
603 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
607 I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S:
610 In a separate part notes belonging to another part with the purpose of hinting
611 when to start playing. Usually printed in a smaller type.
614 I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
617 I: da capo, F: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo,
620 The term indicates repetition of the piece from the beginning to the end or to
621 a certain place marked @emph{fine}. Mostly abbreviated D.C.
624 I: dal segno, F: , D: dal segno, NL: dal segno, DK: dal segno, S: dal
627 abbreviated d.s. Repetition, not from the beginning, but from another place
628 frequently near the beginning marked by a sign:
633 \property Voice.textStyle = "large"
635 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
639 I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
640 decrescendo, N: decrescendo
642 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
643 or the abbreviation "decresc.".
649 \notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
652 @item descending interval
653 I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
654 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
655 fallande intervall, N:
657 An distance between a starting higher note and a lower ending note.
660 I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
661 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
663 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
664 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
665 keybord are diatonic.
667 The church modes are used in gregorial chant and pre baroque early music but
668 also to some extent in newer jazz music.
674 \property Score.barNonAuto = ##t
675 \property Lyrics.textStyle = "large"
676 \property Voice.textStyle = "large"
680 \property Voice.textScriptPadding = #-10
682 \property Voice.textScriptPadding = #-4
684 \context Lyrics \lyrics { Ionian }
689 \property Score.barNonAuto = ##t
690 \property Lyrics.textStyle = "large"
691 \property Voice.textStyle = "large"
695 \property Voice.textScriptPadding = #-10
698 \property Voice.textScriptPadding = #-4
700 \context Lyrics \lyrics { Dorian }
705 \property Score.barNonAuto = ##t
706 \property Lyrics.textStyle = "large"
707 \property Voice.textStyle = "large"
710 \property Voice.textScriptPadding = #-10
713 \property Voice.textScriptPadding = #-4
715 \context Lyrics \lyrics { Phrygian }
720 \property Score.barNonAuto = ##t
721 \property Lyrics.textStyle = "large"
722 \property Voice.textStyle = "large"
726 \property Voice.textScriptPadding = #-4
728 \property Voice.textScriptPadding = #0
730 \context Lyrics \lyrics { Lydian }
735 \property Score.barNonAuto = ##t
736 \property Lyrics.textStyle = "large"
737 \property Voice.textStyle = "large"
739 \notes\relative c'' {
741 \property Voice.textScriptPadding = #-4
743 \property Voice.textScriptPadding = #0
745 \context Lyrics \lyrics { Mixolydian }
750 \property Score.barNonAuto = ##t
751 \property Lyrics.textStyle = "large"
752 \property Voice.textStyle = "large"
754 \notes\relative c'' {
756 \property Voice.textScriptPadding = #-4
758 \property Voice.textScriptPadding = #0
760 \context Lyrics \lyrics { Aeolian }
763 From the beginning of the 17th century the scales used in European
764 compositional music are primarily the major and the minor scales. In the
765 harmonic minor scale type an augmented second (A) occurs between the 6th and
770 \property Score.barNonAuto = ##t
771 \property Lyrics.textStyle = "large"
772 \property Voice.textStyle = "large"
776 \property Voice.textScriptPadding = #-10
778 \property Voice.textScriptPadding = #-4
780 \context Lyrics \lyrics { Major }
785 \property Score.barNonAuto = ##t
786 \property Lyrics.textStyle = "large"
787 \property Voice.textStyle = "large"
789 \notes\relative c'' {
791 \property Voice.textScriptPadding = #-4
793 \property Voice.textScriptPadding = #0
795 \context Lyrics \lyrics { "ancient minor" }
800 \property Score.barNonAuto = ##t
801 \property Lyrics.textStyle = "large"
802 \property Voice.textStyle = "large"
804 \notes\relative c'' {
806 \property Voice.textScriptPadding = #-4
808 \property Voice.textScriptPadding = #0
810 \property Voice.textScriptPadding = #1
814 \context Lyrics \lyrics { "Harmonic minor" }
819 \property Score.barNonAuto = ##t
820 \property Lyrics.textStyle = "large"
821 \property Voice.textStyle = "large"
823 \notes\relative c'' {
825 \property Voice.textScriptPadding = #-4
827 \property Voice.textScriptPadding = #0
829 \property Voice.textScriptPadding = #-1
831 \property Voice.textScriptPadding = #-4
834 \context Lyrics \lyrics { "Melodic minor" }
837 @item diminished interval
838 I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
839 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
842 @w{@ar{}@strong{interval}}
845 I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
846 S:@w{ }diminuendo, N:@w{ }diminuendo.
848 @w{@ar{}@strong{decrescendo}}
850 @item disjunct movement
851 I: moto disgiunto, F: mouvement disjoint, D: , NL: , DK: springende
852 bev@ae{}gelse, S: hoppande r@"orelse, N:
854 Melody moving in steps greater than those of the
855 scale. Opposite of @ar{}@strong{conjunct movement}.
863 \partial 8; e8 | a4. gis8 b a e cis |
864 fis2 d4. \bar "||"; }
867 @item dissonant interval; dissonance
868 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
869 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
872 @w{@ar{}@strong{harmony}}
874 @item dominant ninth chord
875 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
876 Dominantnoneakkord, NL: dominant noon akkoord, DK:
877 dominantnoneakkord, S: dominantnonackord, N: .
879 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
881 @item dominant seventh chord
882 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
883 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
884 dominantseptimackord, N:
886 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
889 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
892 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
895 I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
896 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N:
898 @w{@ar{}@strong{diatonic scale}}
900 @item dot (augmentation dot)
901 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
904 @w{@ar{}@strong{dotted note}}
907 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
908 DK: punkteret node, S: punkterad not, N:
910 @w{@ar{}@strong{note value}}
912 @item double appoggiatura
913 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
914 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
916 @w{@ar{}@strong{appoggiatura}}
918 @item double bar line
919 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
920 dobbeltstreg, S: dubbelstreck, N: .
922 Indicates the end of a section within a movement.
924 @item double dotted note
925 I: nota doppiamente puntata, F: note doublement point@'ee, D:
926 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
927 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
929 @w{@ar{}@strong{note value}}
933 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
934 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
936 @w{@ar{}@strong{accidental}}
939 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
940 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
942 @w{@ar{}@strong{accidental}}
945 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
946 dobbelttrille, S: dubbeldrill, N: .
948 A simultaneous trill on two notes, usually in the distance of a third.
951 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
952 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
954 @w{@ar{}@strong{meter}}
957 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
959 @w{@ar{}@strong{note value}}
962 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
965 @w{@ar{}@strong{note value}}
968 @w{@ar{}@strong{syntonic comma}}
971 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
974 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
975 ottendedelsnode, S: @aa{}ttondelsnot, N: .
977 @w{@ar{}@strong{note value}}
980 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
981 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
983 @w{@ar{}@strong{note value}}
986 I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
989 Engraving means incising or etching a metal plate for
990 printing. Photoengraving means drawing music with ink in a manner
991 similar to drafting or engineering drawing, using similar tools.
993 The traditional process of music printing is done through cutting in a
994 plate of metal. Now also the term for the art of music typesetting.
997 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
998 enharmonisk, S: enharmonisk, N: .
1000 Two notes, intervals, or scales are enharmonic if they have different names
1006 \property Score.barNonAuto = ##t
1007 \property Voice.textStyle = "large"
1008 \notes\relative c'' {
1009 gis1_"g sharp" s as1_"a flat" s s
1010 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1014 @item equal temperament
1015 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1016 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1017 temperatur, S: liksv@"avande temperatur, N: .
1019 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1020 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1022 @item expression mark
1023 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1024 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1025 f@"oredragsbeteckning, N: .
1027 Performance indications concerning 1. volume, dynamics (for example
1028 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1029 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1032 I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1035 I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1036 F-n@o{}gle, S: f-klav, N: .
1038 The position between the dots of the key symbol is the line of the F below
1039 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1040 clef symbol indicates that the notes must be played an octave higher (for
1041 example bass recorder) while 8 below the clef symbol indicates playing an
1042 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1048 \property Score.barNonAuto = ##t
1049 \property Staff.clefStyle = #"fullSizeChanges"
1050 \property Lyrics.textStyle = "large"
1067 \context Lyrics \lyrics {
1078 I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1080 Prolonged note or rest of indefinite duration.
1086 \notes\relative c'' {
1087 a4 b c2^\fermata \bar "|."; }
1091 I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint.
1093 @w{@ar{}@strong{interval}}
1096 @w{@ar{}@strong{thorough bass}}
1099 I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1100 fingers@ae{}tning, S: fingers@"attning, N: .
1102 The methodical use of fingers in the playing of instruments.
1105 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1106 DK: fane, S: flagga, N: .
1108 Ornament at the end of the stem of a note used for notes with values less than
1109 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1114 \property Score.barNonAuto = ##t
1116 \property Voice.textStyle = "large"
1117 \notes\relative c'' {
1125 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1127 @w{@ar{}@strong{accidental}}
1129 @item forefall; backfall
1130 @w{@ar{}@strong{appoggiatura}}
1133 I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1135 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1136 @emph{mezzoforte} (@b{mf}) medium loud.
1139 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1141 @w{@ar{}@strong{interval}}
1144 I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1146 @w{@ar{}@strong{counterpoint}}
1148 @item functional harmony
1149 I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse,
1150 funktionsharmonik, S: funktionsl@"ara, N:
1152 A system of harmonic analysis. It is based on the idea that, in a given key,
1153 there are only three functionally different chords: tonic (T, the chord on the
1154 first note of the scale), subdominant (S, the chord on the fourth note) and
1155 dominant (D, the chord on the fifth note). Other are considered to be variants
1162 \property Score.barNonAuto = ##t
1163 \property Lyrics.textStyle = "large"
1164 \property Voice.textStyle = "large"
1166 \notes\relative c'' {
1167 < g1 e c > < a f d > < b g e >
1168 < c a f > < d b g > < e c a > < f d b > }
1169 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1173 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1176 I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1177 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1179 A clef symbol indicating the G above central C. Used on the first and second
1180 note lines. A digit 8 above the clef symbol indicates that the notes must be
1181 played an octave higher while 8 below the clef symbol indicates playing or
1182 singing an octave lower (most tenor parts in choral scores are notated like
1188 \property Score.barNonAuto = ##t
1189 \property Staff.clefStyle = #"fullSizeChanges"
1190 \property Lyrics.textStyle = "large"
1192 \notes\relative c'' {
1202 \context Lyrics \lyrics {
1203 "french violin clef"
1211 I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1212 glissando, N: glissando.
1214 Letting the pitch slide fluently from one note to the other
1217 I: abbellimenti, F: fioriture, petite[s] note[s], D: Verzierungen,
1218 Vorschl@"age, Vorschlagsnoten, NL: versieringen, DK: forsiringer, S: ornament,
1221 Notes printed in small types to indicate that their time values are not
1222 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1225 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1226 S: ackolad, b@"ojd klammer, N: .
1228 @w{@ar{}@strong{brace}}
1230 A combination of two staffs with a brace. Usually used for piano music.
1233 I: grave, F: grave, D: grave, langsam, traurig, NL: , DK: grave, S: grave, N:
1239 I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1240 halvnode, S: halvnot, N: .
1242 @w{@ar{}@strong{note value}}
1245 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1246 rust, DK: halvnodespause, S: halvnotspaus, N: .
1248 @w{@ar{}@strong{note value}}
1250 @item harmonic cadence
1251 I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1252 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1254 Sequence of chords that terminate a musical phrase or
1255 section. @ar{}@w{}@strong{functional harmony}
1260 \context GrandStaff <
1261 \notes\relative c'' {
1264 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1265 \property Lyrics.textStyle = "large"
1269 \partial 4; c4 | f, g c2
1271 \context Lyrics \lyrics { T S D T } >
1275 I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1276 samklang, S: samklang, N:
1278 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1279 @emph{consonances} and @emph{dissonances}.
1286 \property Score.barNonAuto = ##t
1287 \property Voice.textStyle = "large"
1288 \notes\relative c'' {
1295 <g1_"decime" b'> s s
1304 \property Score.barNonAuto = ##t
1305 \property Voice.textStyle = "large"
1306 \notes\relative c'' {
1313 Three note harmony @w{@ar{}@strong{chord}}
1316 I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1319 Music in which one voice leads melodically followed by the other voices more
1320 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1323 I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1326 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1327 diminished or augmented. The augmented fourth and the diminished fifth are
1328 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1329 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1335 \property Score.barNonAuto = ##t
1336 \property Lyrics.textStyle = "large"
1337 \property Voice.textStyle = "large"
1339 \notes\relative c'' {
1344 < gis^"dimin" bes > s
1345 < g!^"minor" bes > s
1349 \context Lyrics \lyrics {
1350 unisone second second second third third third third }
1356 \property Score.barNonAuto = ##t
1357 \property Lyrics.textStyle = "large"
1358 \property Voice.textStyle = "large"
1360 \notes\relative c'' {
1361 < g1^"perfect" c > s
1363 < g^"perfect" d' > s
1365 < gis^"dimin" es' > s
1366 < g!^"minor" es' > s
1370 \context Lyrics \lyrics {
1371 fourth fourth fifth fifth sixth sixth sixth sixth }
1377 \property Score.barNonAuto = ##t
1378 \property Lyrics.textStyle = "large"
1379 \property Voice.textStyle = "large"
1381 \notes\relative c'' {
1382 < gis1^"dimin" f'! > s
1383 < g!^"minor" f'! > s
1384 < g^"major" fis' > s
1388 < g^"minor" bes' > s
1391 \context Lyrics \lyrics {
1392 seventh seventh seventh octave none none decime decime }
1395 @item inverted interval
1396 I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1397 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1399 The difference between an interval and an octave.
1404 \property Score.barNonAuto = ##t
1405 \property Voice.textStyle = "large"
1406 \notes\relative c'' {
1407 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1408 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1409 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1413 @item just intonation
1414 I: intonazione giusta, F: , D: reine Stimmung, NL: reine stemming, DK: ren
1415 stemning, S: ren st@"amning, N: .
1417 Tuning system in which the notes are obtained by adding and subtracting
1418 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1421 I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1424 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1425 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1428 I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1429 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: largo, N: .
1431 The sharps or flats appearing at the beginning of each staff indicating the
1432 key of the music. @w{@ar{}@strong{accidental}}
1435 I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1438 Very slow in tempo, usually combined with great
1439 expressiveness. @emph{Larghetto} less slow than largo.
1442 I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1445 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1446 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1447 upwards) to the tonic scale degree.
1449 @item ledger line; leger line
1451 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1452 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: .
1454 A ledger line is an extension of the staff.
1459 \property Score.barNonAuto = ##t
1460 \notes\relative c'' { a,1 s c'' }
1464 I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1467 To be performed without any perceptible interruption between the notes (a)
1468 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1469 @w{@ar{}@strong{staccato}} (d)
1474 \property Score.barNonAuto = ##t
1476 \property Lyrics.textStyle = "large"
1478 \notes\relative c'' {
1480 c4-- d-- e-- \bar "||";
1481 c4-.( d-. )e-. \bar "||";
1482 c4-. d-. e-. \bar "||";
1484 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1488 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1491 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1492 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1494 A pond with lilies floating in it, also the name of a music typesetter.
1497 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1500 @w{@ar{}@strong{staff}}
1502 @item long appoggiatura
1503 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1504 forslag, S: l@aa{}ngt f@"orslag, N: .
1506 @w{@ar{}@strong{appoggiatura}}
1509 I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1511 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1516 \property Score.barNonAuto = ##t
1517 \notes\relative c'' {
1518 \property Voice.noteHeadStyle = "mensural"
1523 @item major interval
1524 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1525 groot interval, DK: stort interval, S: stort intervall, N: .
1527 @w{@ar{}@strong{interval}}
1530 I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1532 @w{@ar{}@strong{diatonic scale}}
1534 @item meantone temperament
1535 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1536 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1538 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1539 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1540 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1541 tuning keyboard instruments for performance of pre-1650 music.
1544 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1546 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1547 bears an accent. Such groups in numbers of two or more recur consistently
1548 throughout the composition and are marked from each other by
1549 bar-lines. @w{@ar{}@strong{meter}}
1552 I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1555 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1556 a third from that of another chord. For example the tonic chord may be
1557 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1558 harmony}} @w{@ar{}@strong{relative key}}.
1560 @item melodic cadence
1562 @w{@ar{}@strong{cadenza}}
1565 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1568 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1569 which remains unaltered throughout a composition or a section of it. For
1570 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1571 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1572 those. According to whether there are two, three or four units to the measure,
1573 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1574 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1579 \notes\relative c'' {
1582 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1586 \notes\relative c' {
1589 f8 f f f a16 g a f |
1590 c'8 c c c e16 d e c \bar "||";}
1594 \notes\relative c'' {
1597 d4 b8 g b d d c a4 |
1598 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1602 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1603 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1605 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1608 @item metronomic indication
1609 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1610 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1612 Exact tempo indication (in beats per minute). Also denoted by
1613 M.M. (M@"alzel's Metronom)
1616 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1617 mezzosopran, S: mezzosopran, N: mezzosopran.
1619 The female voice between @w{@ar{}@strong{soprano}} and
1620 @w{@ar{}@strong{contralto}}.
1623 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1624 enstreget c, S: ettstruket c, N:
1626 First C below the 440 Hz A.
1631 \property Score.barNonAuto = ##t
1632 \property Staff.clefStyle = #"fullSizeChanges"
1633 \notes\relative c' {
1640 @item minor interval
1641 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1642 interval, DK: lille interval, S: litet intervall, N: .
1644 @w{@ar{}@strong{interval}}
1647 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1649 @w{@ar{}@strong{diatonic scale}}
1652 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1654 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1657 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1660 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1661 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1662 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1666 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1669 @w{@ar{}@strong{ornament}}
1672 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1674 The briefest intelligible and self-contained fragment of a musical theme or
1680 \property Score.timeSignatureStyle = "C2/2"
1682 \property Voice.textStyle = "large"
1683 \notes\relative c'' {
1686 \partial 8; g16_"------" fis |
1687 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1688 g8 g,16 a b8 cis d16 s
1693 I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1695 Greater musical works like @w{@ar{}@strong{symphony}} and
1696 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1697 independant pieces called movements.
1700 I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1701 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1706 \notes\relative c'' {
1708 \property Score.skipBars=##t R1*3
1712 @item mixolydian mode
1713 @w{@ar{}@strong{diatonic scale}}
1716 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1717 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1719 @w{@ar{}@strong{accidental}}
1721 @item neighbour tones
1722 @w{@ar{}@strong{appoggiatura}}
1725 I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1727 @w{@ar{}@strong{interval}}
1730 @w{@ar{}@strong{legato}}
1733 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1735 Notes are signs by means of which music is fixed in writing. The term is also
1736 used for the sound indicated by a note, and even for the key of the piano
1737 which produces the sound. However, a clear distinction between the terms tone
1738 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1742 I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N:
1745 A head like sign which indicates pitch by its position on a
1746 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1747 by a variety of shapes such as hollow or black heads with or without
1748 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1749 instruments (often having no defined pitch) the note head may indicate the
1753 I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1754 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1756 Note values (durations) are measured as fractions, normally 1/2, of the next
1757 higher note value. The longest duration normally used is called @emph{brevis},
1758 but sometimes (mostly in pre baroque music) the double length note value
1759 @emph{longa} is used.
1764 \property Voice.textStyle = "large"
1765 \property Score.barNonAuto = ##t
1766 \notes\relative c'' {
1767 \property Voice.noteHeadStyle = "mensural"
1768 g\longa_"longa" g\breve_"breve"
1769 \property Voice.noteHeadStyle = ""
1770 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1771 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1775 \property Voice.textStyle = "large"
1776 \property Score.barNonAuto = ##t
1777 \notes\relative c'' {
1778 r\longa_"longa" r\breve_"breve"
1779 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1780 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1783 An augmentation dot after a note multiplies the duration by one and a
1784 half. Another dot adds yet a fourth of the duration.
1790 \property Voice.textStyle = "large"
1791 \notes\relative c'' {
1793 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1794 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1797 Alternatively note values may be subdivided by other ratios. Most common is
1798 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1799 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1805 \property Voice.textStyle = "large"
1807 \notes\relative c'' {
1809 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1810 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1812 \times 3/2 {g4_"duplets" g} |
1814 \times 6/4 {g8_"quadruplets" g g g} |
1815 g8 g g g g4 \bar "||";}
1822 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1825 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1827 @w{@ar{}@strong{interval}}
1829 @item ornament; embellishment; accessory
1830 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1831 NL: versiering, DK: forsiring, S: ornament, N: .
1833 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1834 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1835 middle of the 19th century and onwards the trill is performed with the main
1836 note first while in the music from the preceding baroque and classic periods
1837 the upper note is played first.
1841 \context Staff = sa {
1843 \property Voice.textStyle = "large"
1844 \notes\relative c'' {
1845 c2._"pre-1850" b4\trill | c1 \bar "||";
1846 c2._"post-1850" b4\trill | c1 \bar "||";
1849 \notes\relative c'' {
1850 c2. c32 b c b c b c b | c1
1851 c2. b32 c b c \times 4/5 { b c b c b } | c1
1856 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1857 @emph{prall} (inverted mordent).
1863 \context Staff = sa {
1865 \property Voice.textStyle = "large"
1866 \notes\relative c'' {
1867 a4_"turn" b\turn c2 \bar "||";
1868 g4_"mordent" a b\mordent a \bar "||";
1869 e'4_"prall" d\prall c2 \bar "||";
1872 \notes\relative c'' {
1875 e'4 [e8 ~ e32 d e d] c2
1880 @w{@ar{}@strong{appoggiatura}}
1883 I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1885 Ossia (otherwise) marks an alternative. It is an added staff or piano
1886 score, usually only a few measures long, which presents another version
1887 of the music, for example for small hands.
1890 I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1892 1. In instrumental or choral music the music for the single instrument
1893 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1894 melodic line of the contrapuntal web.
1897 I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1900 A family of musical instruments which are played on by striking or
1901 shaking. Percussion instruments commonly used in a symphony orchestra are
1902 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1903 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1906 @item perfect interval
1908 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1909 interval, DK: rent interval, S: rent intervall, N: .
1911 @w{@ar{}@strong{interval}}
1914 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1916 A natural division of the melodic line, comparable to a sentence of speech.
1919 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1922 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1923 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1926 I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1928 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1929 @emph{mezzopiano} (@b{mp}) medium soft.
1932 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1936 I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1937 pizzicato, S: pizzicato.
1939 Play by plucking the strings.
1942 I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1945 Music written in a combination of several simultaneous voices (parts) of a
1946 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1949 @w{@ar{}@strong{legato}}
1952 I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1953 presto, S: presto, N: .
1955 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1956 denotes the highest possible degree of speed.
1958 @item Pythagorean comma
1959 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1960 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1962 A sequence of fifths starting on C eventually circles back to C, but this C,
1963 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1964 obtained by adding 7 octaves. The difference between those two pitches is
1965 called the Pythagorean comma.
1968 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1971 @w{@ar{}@strong{note value}}
1974 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1975 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1977 @w{@ar{}@strong{note value}}
1980 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1981 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1983 @w{@ar{}@strong{note value}}
1986 I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1989 @w{@ar{}@strong{note value}}
1992 I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1993 rallentando, S: rallentando, N: rallentando.
1995 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1998 I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1999 paralleltoneart, S: parallelltonart, N: .
2001 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
2002 the same @w{@ar{}@strong{signature}}.
2008 \property Score.barNonAuto = ##t
2009 \property Voice.textStyle = "large"
2010 \notes\relative c' {
2012 es1_"e flat major" f g as bes c d es
2015 c,1_"c minor" d es f g a! b! c \bar "||";
2020 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2021 gen@-ta@-gel@-se, S: repris, N: .
2028 \notes\relative c'' {
2029 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2034 I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2036 @w{@ar{}@strong{note value}}
2039 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2041 (a) metrical rhythm in which every time value is a multiple or fraction of a
2042 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2043 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2044 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2045 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2046 accent. In modern notation such music appears as a free alternation of
2047 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2048 common metrical unit (beat).
2051 I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2052 ritardando, S: ritardando, N: .
2054 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2057 I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2060 Immediate reduction of speed.
2063 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2065 @w{@ar{}@strong{diatonic scale}}
2068 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2069 [van de toonladder], DK: skalatrin, S: skalatrin (?), N: .
2071 Names and symbols used in harmonic analysis to denote tones of the scale as
2072 roots of chords. The most important are degrees I = tonic (T), IV =
2073 sub@-do@-mi@-nant (S) and V = dominant (D).
2079 \property Score.barNonAuto = ##t
2080 \property Lyrics.textStyle = "large"
2081 \property Lyrics.minVerticalAlign = 8
2083 \notes\relative c' {
2085 \context Lyrics \lyrics {
2086 < { I II III IV V VI VII I }
2091 @w{@ar{}@strong{functional harmony}}
2094 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2097 A copy of orchestral, choral or chamber music showing what each instrument is
2098 to play, each voice to sing, having each part arranged one underneath the
2099 other on different @w{@ar{}@strong{stave}}s.
2102 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2104 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2105 @w{@ar{}@strong{diatonic scale}} consists of alternating
2106 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2107 of a se@-cond depends on the scale degrees in question.
2110 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2113 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2114 interval in European composed music. The interval between two neighbouring
2115 tones on the piano keyboard - including black and white keys - is a
2116 semitone. An octave may be divided into 12
2117 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2122 \property Score.barNonAuto = ##t
2123 \notes\relative c'' { g1 gis s a bes s b c }
2127 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2129 @w{@ar{}@strong{interval}}
2131 @item sextuplet, sextolet
2132 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2135 @w{@ar{}@strong{note value}}
2138 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2140 @w{@ar{}@strong{accidental}}
2142 @item short appoggiatura
2143 @w{@ar{}@strong{appoggiatura}}
2145 @item sixteenth note
2146 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2147 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2150 @w{@ar{}@strong{note value}}
2152 @item sixteenth rest
2153 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2154 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2155 sextondelspaus, N: .
2157 @w{@ar{}@strong{note value}}
2160 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2162 @w{@ar{}@strong{interval}}
2164 @item sixty-fourth note
2165 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2166 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2167 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2168 sextiofj@"ardedelsnot, N: .
2170 @w{@ar{}@strong{note value}}
2172 @item sixty-fourth rest
2173 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2174 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2175 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2176 sextiofj@"ardedelspaus, N: .
2178 @w{@ar{}@strong{note value}}
2181 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2182 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2183 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2185 A slur above or below a group of notes indicates that they are to be played
2186 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2190 I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S:
2193 General term for systems of designating the degrees of the
2194 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2195 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2196 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2199 I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2201 In its present-day meaning a sonata denotes an instrumental composition for
2202 piano or for some other instrument with piano accompaniment, which consists of
2203 three or four independant pieces, called movements.
2206 I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2207 sonatevorm, DK: sonateform, S: sonatform, N: .
2209 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2210 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2211 falls in three sections called @emph{exposition}, @emph{development} and
2212 @emph{recapitulation}. In the exposition the composer introduces his musical
2213 ideas, consisting of a number of themes; in the development section he
2214 "develops" this material, and in the recapitulation he repeats the exposition,
2215 with certain modifications however. The exposition contains a number of themes
2216 which fall into two groups, often called first and second subject. Other
2217 melodies occurring in each group are considered as continuations of these
2218 two. The second theme is in another key, normally in the key of the
2219 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2220 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2221 tonic is @w{@ar{}@strong{minor}}.
2224 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2226 The highest female voice.
2229 I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2230 staccato, S: staccato, N:
2232 Playing the note(s) short. Staccato is indicated by a dot above or below the
2240 \notes\relative c'' {
2242 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2247 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2248 partij, DK: nodesystem, S: notsystem, N: .
2250 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2251 between which the musical notes are written, thus indicating (in connection
2252 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2253 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2256 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2259 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2260 note. @w{@ar{}@strong{beam}}
2265 \property Score.noAutoBeaming = ##t
2266 \property Score.barNonAuto = ##t
2268 \property Voice.textStyle = "large"
2269 \notes\relative c'' {
2278 I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2281 A family of stringed musical instruments played with a bow. Strings commonly
2282 used in a symphony orchestra are violin, viola, violoncello and double bass.
2285 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2286 D: betonet taktslag, S: betonat taktslag, N: .
2288 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2289 @w{@ar{}@strong{rhythm}}
2292 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2293 subdominant, S: subdominant, N: .
2295 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2299 I: sopratonica, F: , D: Submediant, NL: submediant, DK: Submediant, S:
2302 The sixth @w{@ar{}@strong{scale degree}}.
2305 I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2308 The seventh @w{@ar{}@strong{scale degree}}
2311 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2312 superdominant, S: superdominant, N: .
2314 The sixth @w{@ar{}@strong{scale degree}}
2317 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2318 supertonika, S: supertonika, N: .
2320 The second @w{@ar{}@strong{scale degree}}.
2323 I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2326 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2329 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2331 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2332 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2333 rhythm rests upon the grouping of equal beats into groups of two or three,
2334 with a regularly recurrent accent on the first beat of each group. Any
2335 deviation from this scheme is felt as a disturbance or contradiction between
2336 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2342 \property Voice.textStyle = "large"
2344 \notes\relative c' {
2347 e c'4 e,8 c'4 e,8 c' ( | ) c2
2351 @item syntonic comma; dydimic comma
2353 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2354 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2356 Difference between the natural third and the third obtained by Pythagorean
2357 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2360 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2363 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2364 writing down of keyboard, chamber, choral or orchestral music.
2367 I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2368 DK: temperatur, S: temperatur, N: .
2370 Systems of tuning in which the intervals deviate from the accoustically pure
2371 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2374 @item tempo indication
2375 I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2376 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2377 tempobeteckning, N: .
2379 The rate of speed of a composition or a section thereof, ranging from the
2380 slowest to the quickest, as is indicated by tempo marks as
2381 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2382 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2385 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2387 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2390 I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2392 @w{@ar{}@strong{note value}}
2395 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2397 @w{@ar{}@strong{interval}}
2399 @item thirty-second note
2401 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2402 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: 32e noot, DK:
2403 toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2405 @w{@ar{}@strong{note value}}
2407 @item thirty-second rest
2409 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2410 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2411 trettiotv@aa{}ondelspaus, N: .
2413 @w{@ar{}@strong{note value}}
2415 @item thorough bass; figured bass
2416 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2417 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2419 A method of indicating an accompaniment part by the bass notes only, together
2420 with figures designating the chief @w{@ar{}@strong{interval}}s and
2421 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2426 \context GrandStaff <
2427 \notes\relative c'' {
2431 < \context Voice = rha {
2434 \context Voice = rhb {
2436 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2439 \property Voice.textStyle = "large"
2440 \property Lyrics.textStyle = "Large"
2441 \property Lyrics.minVerticalAlign = 6
2443 \notes\relative c' {
2446 es8 c () c bes () bes as () as g16 f | es4
2448 \context Lyrics \lyrics {
2449 < { "" "6" "4" "6" "4" "6" "4" "6" }
2450 { "" "" "2" "" "2" "" "2" "" } >
2456 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2457 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2459 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2460 connects two succesive notes of the same pitch, and which has the function of
2461 uniting them into a single sound equal to the combined durations.
2466 \property Score.barNonAuto = ##t
2467 \notes\relative c'' { g2 ~ g4. }
2470 @item time signature
2472 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2473 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2474 taktartssignatur, N: .
2476 @w{@ar{}@strong{meter}}
2479 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2481 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2482 a primary building material of music. Music from the 20th century may be based
2483 on non tone related sounds.
2486 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2488 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2491 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2492 transposition, S: transponering, N: .
2494 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2501 \notes\relative c'' {
2503 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2504 \transpose bes\relative c'' {
2506 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2511 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2512 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2515 @w{@ar{}@strong{G clef}}
2518 I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2521 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2522 the same tone, produced by a rapid up-and-down movement movement of the bow
2523 (a). The term is also used for the rapid alternation (b) between two notes of
2524 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2525 (@w{@ar{}@strong{interval}}).
2531 \property Score.barNonAuto = ##t
2532 \property Voice.textStyle = "large"
2533 \notes\relative c' {
2534 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2539 I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N:
2541 @w{@ar{}@strong{chord}}
2544 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2545 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2547 @w{@ar{}@strong{ornament}}
2550 I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2551 maatsoort, DK: tredelt takt, S: tretakt, N: .
2553 @w{@ar{}@strong{meter}}
2556 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2558 @w{@ar{}@strong{note value}}
2561 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2564 @w{@ar{}@strong{interval}}
2567 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2568 stemmegaffel, S: st@"amgaffel, N: .
2570 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2571 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2573 @item turn; gruppetto
2574 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2578 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2581 Playing of the same notes or the same melody by various instruments (voices)
2582 or by the whole orchestra (choir), either at exactly the same pitch or in a
2586 I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, I: , DK: optakt, S:
2589 Initial note(s) of a melody occurring before the first bar
2590 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2597 \notes\relative c' {
2598 \partial 4; f4 | bes4. a8 bes4 c |
2599 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2603 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2605 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2606 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2607 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2608 of a polyphonic composition.
2611 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2612 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2614 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2617 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2618 DK: helnode, S: helnot, N: .
2620 @w{@ar{}@strong{note value}}
2623 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2624 rust, DK: helnodespause, S: helnotspaus, N: .
2626 @w{@ar{}@strong{note value}}
2629 I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2632 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2633 tones on the piano keyboard with exactly one key between them - including
2634 black and white keys - is a whole tone.
2637 I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S:
2638 tr@"abl@aa{}sare, N: .
2640 A family of blown wooden musical instruments. Today some of these instruments
2641 are actually made from metal. The woodwind instruments commonly used in a
2642 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2649 @item DURATION NAMES, NOTES AND RESTS
2652 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2654 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2655 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2659 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2660 @tab longa @tab longa @tab longa
2664 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2665 brevis @tab brevis @tab brevis @tab brevis
2669 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2670 Ganze @tab hele @tab hel @tab hel @tab
2674 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2675 halve @tab halv @tab halv @tab
2679 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2680 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2684 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2685 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2689 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2690 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2695 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2696 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab 32e @tab
2697 toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2701 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2702 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2703 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2704 sextio@-fj@"arde@-del @tab
2707 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2715 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2717 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2718 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2722 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2726 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2727 cis @tab cis @tab cis
2731 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2732 des @tab des @tab des
2736 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2740 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2744 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2748 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2752 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2757 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2761 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2762 ais @tab ais @tab ais
2766 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2771 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2778 @item ---------------------
2782 @item Literature used
2783 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2784 quotes from its articles have been included into the item explanation texts.
2786 Hugo Riemans Musiklexicon, Berlin 1929
2788 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.