2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @evenheading @thispage @| @|
8 @oddheading @| @| @thispage @|
16 @item UK - British English
26 @tex $\\Rightarrow$ @end tex
36 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
41 I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
44 I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
46 The stress of one tone over others.
49 I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
50 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
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
75 I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
76 NL: accelerando, DK: accelerando, S: accelerando, N:
82 I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
85 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
86 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
87 movement in slow tempo, esepecially the scond (slow) movement of
88 @w{@ar{}@strong{sonata}s}, symphonies etc.
91 I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
92 DK: 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: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
107 Bratschenschl@"ussel, NL: alt 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.flagStyle = ""
153 { \property Grace.flagStyle = ""
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: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
221 h@aa{}ndskrift, 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: clef de ut cinqui@`eme ligne, clef de troisi@`eme
250 ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
253 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
254 @w{@ar{}@strong{f clef}}
257 I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
258 bassleutel, DK: basn@o{}gle, S: basklav, N:
260 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
264 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
266 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
267 an abbreviation for double bass @w{@ar{}@strong{strings}}.
270 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
272 Line connecting a series of notes (shorter than a quarter note). The number of
273 beams determine the note value of the connected notes.
278 \property Score.barNonAuto = ##t
280 \property Voice.textStyle = "large"
281 \notes\relative c'' {
283 [g16_"1/16" g g g] s16
284 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
285 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
289 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
292 Note value used for counting, most often half-, fourth- and eighth notes. The
293 base counting value and the number of them per measure is indicated at the
301 \notes\relative c'' { g4 c b a | g1 \bar "||";}
303 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
307 @w{@ar{}@strong{tie}}
310 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
311 accolade, teksthaak, DK: klamme, S: klammer, N:
313 Symbol at the start of a system connecting staffs. Curly braces are used
314 for connecting piano staves, angular brackets for connecting parts in an
315 orchestral or choral score.
320 \context GrandStaff <
321 \property GrandStaff.minVerticalAlign = 12
322 \notes\relative c'' { \clef treble; g4 e c2 }
323 \notes\relative c { \clef bass; c1 \bar "|."; } >
329 %\context StaffGroup <
330 \context ChoirStaff <
331 \property StaffGroup.minVerticalAlign = 12
332 \notes\relative c'' { \clef treble; g4 e c2 }
333 \notes\relative c { \clef bass; c1 \bar "|."; } >
337 I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
338 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
340 A family of blown musical instruments made of brass all using a cup formed
341 mouth piece. The brass instruments commonly used in a symphony orchestra are
342 trumpet, trombone, french horn and tube.
345 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
346 repercussieteken, DK:
347 vejrtr@ae{}kningstegn, S: andningstecken, N: .
349 Indication of where to breathe in vocal and wind instrument parts.
352 I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
354 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
360 \property Score.barNonAuto = ##t
361 \notes\relative c'' { g\breve }
365 I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
368 I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
369 c-n@o{}gle, S: c-klav, N:
371 Clef symbol indicating the position of the central C. Used on all note
377 \property Score.barNonAuto = ##t
378 \property Staff.clefStyle = #"fullSizeChanges"
379 \property Staff.textStyle = #"large"
380 \property Lyrics.textStyle = #"large"
383 \clef soprano; c1 s s
384 \clef mezzosoprano; c s s
389 \context Lyrics \lyrics {
390 Soprano Mezzosoprano Alto Tenor Baritone
395 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
397 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
400 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
402 An extended, improvisatory style section inserted near the end of
403 movement. The purpose of a cadenza is to give the singer or player a chance to
404 exhibit her technichal skill and not the least her ability to improvise. Since
405 the middle of the 19'th century, however, most cadences have been written down
409 I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
411 @w{@ar{}@strong{counterpoint}}
414 I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
416 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
417 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
420 @w{@ar{}@strong{middle C}}
423 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
425 Three or more tones sounding simultaneously. In traditional European music the
426 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
427 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
428 chords may be extended with more thirds. Four- @emph{seventh chords} and five
429 tone @emph{ninth} major chords are most often used as dominants
430 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
431 third above the lower notes to define their quality as major or minor. Such
432 chords are denoted open chords
437 \property Score.barNonAuto = ##t
438 \property Voice.textNonEmpty = ##t
439 \property Voice.textStyle = "large"
441 \notes\relative c'' {
444 <g_"dimished" bes des>
445 <g_"augmented~" b dis>
446 <g_"seventh-chord~" b d f>
447 <g_"ninth-chord" b d f a> s s2
451 @item chromatic scale
452 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
453 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
455 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
460 \property Score.barNonAuto = ##t
461 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
465 I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
468 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
470 @item church mode; ecclesiastical mode
471 I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
472 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
474 @w{@ar{}@strong{diatonic scale}}
477 I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
478 sleutel, DK: n@o{}gle, S: klav, N:
480 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
483 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
485 Difference in pitch between a note derived from pure tuning and the same note
486 derived from some other tuning method. @w{@ar{}@strong{temperament}}
489 @w{@ar{}@strong{meter}}
491 @item compound interval
492 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
493 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
495 Intervals larger than an octave
497 @w{@ar{}@strong{interval}}
500 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
501 complementair interval, DK: komplement@ae{}rinterval, S:
502 komplement@"arintervall (?), N:
504 @w{@ar{}@strong{inverted interval}}
506 @item conjunct movement
507 I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
508 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
510 Melody moving in the narrow steps of the scale;
515 \key g \major; \time 4/4;
516 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
520 I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
523 @w{@ar{}@strong{harmony}}
526 I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
528 @w{@ar{}@strong{alto}}
531 I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
532 kontrapunkt, S: kontrapunkt, N: .
534 From latin @emph{punctus contra punctum}, note against note. The combination
535 into a single musical fabric of lines or parts which have distinct melodic
536 significance. A frequently used polyphonic technique is imitation, in its
537 strictest form found in the canon needing only one part to be written down
538 while the other parts are performed with a given displacement. Imitation is
539 also the contrapuntal technique used in the @emph{fugue} which, since the
540 music of the baroque era, has been one of the most popular polyphonic
546 \property Score.timeSignatureStyle = "C2/2"
547 \context GrandStaff <
552 < \context Voice = rha {
554 r1 | r2 r8 g'8 bes d, |
555 cis4 d r8 e!16 f g8 f16 e |
556 f8 g16 a bes8 a16 g a8
558 \context Voice = rhb {
567 < \context Voice = lha {
569 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
570 r8 a16 g f8 g16 a bes8 g e! cis' |
573 \context Voice = lhb {
582 I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
583 kontratenor, S: kontratenor, counter tenor, N: kontratenor
585 @w{@ar{}@strong{contralto}}
588 A music copyist did fast freehand scores and parts on preprinted staff lines
589 for performance. Some of their conventions (e.g.: the placement of noteheads
590 on stems) varied slightly from those of engravers. Some of their working
591 methods were superior and could well be adopted by music typesetters. This
592 required more skill than engraving.
595 I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
596 crescendo, S: crescendo, N:@w{ }crescendo.
598 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
599 abbreviation "cresc.".
604 \key g \major; \time 4/4;
605 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
609 I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
610 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
612 In a separate part notes belonging to another part with the purpose of hinting
613 when to start playing. Usually printed in a smaller type.
616 I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
619 I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
620 capo, DK: da capo, S: da capo, N: .
622 The term indicates repetition of the piece from the beginning to the end or to
623 a certain place marked @emph{fine}. Mostly abbreviated D.C.
626 I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
627 dal segno, S: dal segno, N: .
629 abbreviated d.s. Repetition, not from the beginning, but from another place
630 frequently near the beginning marked by a sign:
635 \property Voice.textStyle = "large"
636 \key g \major; \time 4/4;
637 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
641 I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
642 decrescendo, N: decrescendo
644 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
645 or the abbreviation "decresc.".
650 \key g \major; \time 4/4;
651 \notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
654 @item descending interval
655 I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
656 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
657 fallande intervall, N:
659 An distance between a starting higher note and a lower ending note.
662 I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
663 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
665 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
666 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
667 keybord are diatonic.
669 The church modes are used in gregorial chant and pre baroque early music but
670 also to some extent in newer jazz music.
676 \property Score.barNonAuto = ##t
677 \property Lyrics.textStyle = "large"
678 \property Voice.textStyle = "large"
682 \property Voice.textScriptPadding = #-10
684 \property Voice.textScriptPadding = #-4
686 \context Lyrics \lyrics { Ionian }
691 \property Score.barNonAuto = ##t
692 \property Lyrics.textStyle = "large"
693 \property Voice.textStyle = "large"
697 \property Voice.textScriptPadding = #-10
700 \property Voice.textScriptPadding = #-4
702 \context Lyrics \lyrics { Dorian }
707 \property Score.barNonAuto = ##t
708 \property Lyrics.textStyle = "large"
709 \property Voice.textStyle = "large"
712 \property Voice.textScriptPadding = #-10
715 \property Voice.textScriptPadding = #-4
717 \context Lyrics \lyrics { Phrygian }
722 \property Score.barNonAuto = ##t
723 \property Lyrics.textStyle = "large"
724 \property Voice.textStyle = "large"
728 \property Voice.textScriptPadding = #-4
730 \property Voice.textScriptPadding = #0
732 \context Lyrics \lyrics { Lydian }
737 \property Score.barNonAuto = ##t
738 \property Lyrics.textStyle = "large"
739 \property Voice.textStyle = "large"
741 \notes\relative c'' {
743 \property Voice.textScriptPadding = #-4
745 \property Voice.textScriptPadding = #0
747 \context Lyrics \lyrics { Mixolydian }
752 \property Score.barNonAuto = ##t
753 \property Lyrics.textStyle = "large"
754 \property Voice.textStyle = "large"
756 \notes\relative c'' {
758 \property Voice.textScriptPadding = #-4
760 \property Voice.textScriptPadding = #0
762 \context Lyrics \lyrics { Aeolian }
765 From the beginning of the 17th century the scales used in European
766 compositional music are primarily the major and the minor scales. In the
767 harmonic minor scale type an augmented second (A) occurs between the 6th and
772 \property Score.barNonAuto = ##t
773 \property Lyrics.textStyle = "large"
774 \property Voice.textStyle = "large"
778 \property Voice.textScriptPadding = #-10
780 \property Voice.textScriptPadding = #-4
782 \context Lyrics \lyrics { Major }
787 \property Score.barNonAuto = ##t
788 \property Lyrics.textStyle = "large"
789 \property Voice.textStyle = "large"
791 \notes\relative c'' {
793 \property Voice.textScriptPadding = #-4
795 \property Voice.textScriptPadding = #0
797 \context Lyrics \lyrics { "ancient minor" }
802 \property Score.barNonAuto = ##t
803 \property Lyrics.textStyle = "large"
804 \property Voice.textStyle = "large"
806 \notes\relative c'' {
808 \property Voice.textScriptPadding = #-4
810 \property Voice.textScriptPadding = #0
812 \property Voice.textScriptPadding = #1
816 \context Lyrics \lyrics { "Harmonic minor" }
821 \property Score.barNonAuto = ##t
822 \property Lyrics.textStyle = "large"
823 \property Voice.textStyle = "large"
825 \notes\relative c'' {
827 \property Voice.textScriptPadding = #-4
829 \property Voice.textScriptPadding = #0
831 \property Voice.textScriptPadding = #-1
833 \property Voice.textScriptPadding = #-4
836 \context Lyrics \lyrics { "Melodic minor" }
839 @item diminished interval
840 I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
841 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
844 @w{@ar{}@strong{interval}}
847 I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
848 S:@w{ }diminuendo, N:@w{ }diminuendo.
850 @w{@ar{}@strong{decrescendo}}
852 @item disjunct movement
853 I: moto disgiunto, F: mouvement disjoint, D:
854 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
857 Melody moving in steps greater than those of the
858 scale. Opposite of @ar{}@strong{conjunct movement}.
866 \partial 8; e8 | a4. gis8 b a e cis |
867 fis2 d4. \bar "||"; }
870 @item dissonant interval; dissonance
871 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
872 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
875 @w{@ar{}@strong{harmony}}
877 @item dominant ninth chord
878 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
879 Dominantnoneakkord, NL: dominant noon akkoord, DK:
880 dominantnoneakkord, S: dominantnonackord, N: .
882 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
884 @item dominant seventh chord
885 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
886 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
887 dominantseptimackord, N:
889 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
892 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
895 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
898 I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
899 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
901 @w{@ar{}@strong{diatonic scale}}
903 @item dot (augmentation dot)
904 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
907 @w{@ar{}@strong{dotted note}}
910 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
911 DK: punkteret node, S: punkterad not, N:
913 @w{@ar{}@strong{note value}}
915 @item double appoggiatura
916 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
917 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
919 @w{@ar{}@strong{appoggiatura}}
921 @item double bar line
922 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
923 dobbeltstreg, S: dubbelstreck, N: .
925 Indicates the end of a section within a movement.
927 @item double dotted note
928 I: nota doppiamente puntata, F: note doublement point@'ee, D:
929 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
930 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
932 @w{@ar{}@strong{note value}}
936 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
937 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
939 @w{@ar{}@strong{accidental}}
942 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
943 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
945 @w{@ar{}@strong{accidental}}
948 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
949 dobbelttrille, S: dubbeldrill, N: .
951 A simultaneous trill on two notes, usually in the distance of a third.
954 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
955 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
957 @w{@ar{}@strong{meter}}
960 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
962 @w{@ar{}@strong{note value}}
965 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
968 @w{@ar{}@strong{note value}}
971 @w{@ar{}@strong{syntonic comma}}
974 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
977 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
978 ottendedelsnode, S: @aa{}ttondelsnot, N: .
980 @w{@ar{}@strong{note value}}
983 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
984 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
986 @w{@ar{}@strong{note value}}
989 I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
992 Engraving means incising or etching a metal plate for
993 printing. Photoengraving means drawing music with ink in a manner
994 similar to drafting or engineering drawing, using similar tools.
996 The traditional process of music printing is done through cutting in a
997 plate of metal. Now also the term for the art of music typesetting.
1000 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
1001 enharmonisk, S: enharmonisk, N: .
1003 Two notes, intervals, or scales are enharmonic if they have different names
1009 \property Score.barNonAuto = ##t
1010 \property Voice.textStyle = "large"
1011 \notes\relative c'' {
1012 gis1_"g sharp" s as1_"a flat" s s
1013 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1017 @item equal temperament
1018 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1019 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1020 temperatur, S: liksv@"avande temperatur, N: .
1022 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1023 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1025 @item expression mark
1026 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1027 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1028 f@"oredragsbeteckning, N: .
1030 Performance indications concerning 1. volume, dynamics (for example
1031 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1032 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1035 I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1038 I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1039 F-n@o{}gle, S: f-klav, N: .
1041 The position between the dots of the key symbol is the line of the F below
1042 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1043 clef symbol indicates that the notes must be played an octave higher (for
1044 example bass recorder) while 8 below the clef symbol indicates playing an
1045 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1051 \property Score.barNonAuto = ##t
1052 \property Staff.clefStyle = #"fullSizeChanges"
1053 \property Lyrics.textStyle = "large"
1070 \context Lyrics \lyrics {
1081 I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1083 Prolonged note or rest of indefinite duration.
1089 \notes\relative c'' {
1090 a4 b c2^\fermata \bar "|."; }
1094 I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1097 @w{@ar{}@strong{interval}}
1100 @w{@ar{}@strong{thorough bass}}
1103 I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1104 fingers@ae{}tning, S: fingers@"attning, N: .
1106 The methodical use of fingers in the playing of instruments.
1109 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1110 DK: fane, S: flagga, N: .
1112 Ornament at the end of the stem of a note used for notes with values less than
1113 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1118 \property Score.barNonAuto = ##t
1120 \property Voice.textStyle = "large"
1121 \notes\relative c'' {
1129 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1131 @w{@ar{}@strong{accidental}}
1133 @item forefall; backfall
1134 @w{@ar{}@strong{appoggiatura}}
1137 I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1139 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1140 @emph{mezzoforte} (@b{mf}) medium loud.
1143 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1145 @w{@ar{}@strong{interval}}
1148 I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1150 @w{@ar{}@strong{counterpoint}}
1152 @item functional harmony
1153 I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1154 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1156 A system of harmonic analysis. It is based on the idea that, in a given key,
1157 there are only three functionally different chords: tonic (T, the chord on the
1158 first note of the scale), subdominant (S, the chord on the fourth note) and
1159 dominant (D, the chord on the fifth note). Other are considered to be variants
1166 \property Score.barNonAuto = ##t
1167 \property Lyrics.textStyle = "large"
1168 \property Voice.textStyle = "large"
1170 \notes\relative c'' {
1171 < g1 e c > < a f d > < b g e >
1172 < c a f > < d b g > < e c a > < f d b > }
1173 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1177 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1180 I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1181 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1183 A clef symbol indicating the G above central C. Used on the first and second
1184 note lines. A digit 8 above the clef symbol indicates that the notes must be
1185 played an octave higher while 8 below the clef symbol indicates playing or
1186 singing an octave lower (most tenor parts in choral scores are notated like
1192 \property Score.barNonAuto = ##t
1193 \property Staff.clefStyle = #"fullSizeChanges"
1194 \property Lyrics.textStyle = "large"
1196 \notes\relative c'' {
1206 \context Lyrics \lyrics {
1207 "french violin clef"
1215 I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1216 glissando, N: glissando.
1218 Letting the pitch slide fluently from one note to the other
1221 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1222 NL: versieringen, DK: forsiringer, S: ornament, N: .
1224 Notes printed in small types to indicate that their time values are not
1225 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1228 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1229 S: ackolad, b@"ojd klammer, N: .
1231 @w{@ar{}@strong{brace}}
1233 A combination of two staffs with a brace. Usually used for piano music.
1236 I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1242 I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1243 halvnode, S: halvnot, N: .
1245 @w{@ar{}@strong{note value}}
1248 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1249 rust, DK: halvnodespause, S: halvpaus, N: .
1251 @w{@ar{}@strong{note value}}
1253 @item harmonic cadence
1254 I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1255 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1257 Sequence of chords that terminate a musical phrase or
1258 section. @ar{}@w{}@strong{functional harmony}
1263 \context GrandStaff <
1264 \notes\relative c'' {
1267 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1268 \property Lyrics.textStyle = "large"
1272 \partial 4; c4 | f, g c2
1274 \context Lyrics \lyrics { T S D T } >
1278 I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1279 samklang, S: samklang, N:
1281 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1282 @emph{consonances} and @emph{dissonances}.
1289 \property Score.barNonAuto = ##t
1290 \property Voice.textStyle = "large"
1291 \notes\relative c'' {
1298 <g1_"decime" b'> s s
1307 \property Score.barNonAuto = ##t
1308 \property Voice.textStyle = "large"
1309 \notes\relative c'' {
1316 Three note harmony @w{@ar{}@strong{chord}}
1319 I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1322 Music in which one voice leads melodically followed by the other voices more
1323 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1326 I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1329 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1330 diminished or augmented. The augmented fourth and the diminished fifth are
1331 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1332 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1338 \property Score.barNonAuto = ##t
1339 \property Lyrics.textStyle = "large"
1340 \property Voice.textStyle = "large"
1342 \notes\relative c'' {
1347 < gis^"dimin" bes > s
1348 < g!^"minor" bes > s
1352 \context Lyrics \lyrics {
1353 unisone second second second third third third third }
1359 \property Score.barNonAuto = ##t
1360 \property Lyrics.textStyle = "large"
1361 \property Voice.textStyle = "large"
1363 \notes\relative c'' {
1364 < g1^"perfect" c > s
1366 < g^"perfect" d' > s
1368 < gis^"dimin" es' > s
1369 < g!^"minor" es' > s
1373 \context Lyrics \lyrics {
1374 fourth fourth fifth fifth sixth sixth sixth sixth }
1380 \property Score.barNonAuto = ##t
1381 \property Lyrics.textStyle = "large"
1382 \property Voice.textStyle = "large"
1384 \notes\relative c'' {
1385 < gis1^"dimin" f'! > s
1386 < g!^"minor" f'! > s
1387 < g^"major" fis' > s
1391 < g^"minor" bes' > s
1394 \context Lyrics \lyrics {
1395 seventh seventh seventh octave none none decime decime }
1398 @item inverted interval
1399 I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1400 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1402 The difference between an interval and an octave.
1407 \property Score.barNonAuto = ##t
1408 \property Voice.textStyle = "large"
1409 \notes\relative c'' {
1410 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1411 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1412 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1416 @item just intonation
1417 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1418 stemming, DK: ren stemning, S: ren st@"amning, N: .
1420 Tuning system in which the notes are obtained by adding and subtracting
1421 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1424 I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1427 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1428 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1431 I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1432 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1433 S: tonartssignatur, N: .
1435 The sharps or flats appearing at the beginning of each staff indicating the
1436 key of the music. @w{@ar{}@strong{accidental}}
1439 I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1442 Very slow in tempo, usually combined with great
1443 expressiveness. @emph{Larghetto} less slow than largo.
1446 I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1449 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1450 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1451 upwards) to the tonic scale degree.
1453 @item ledger line; leger line
1455 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1456 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1458 A ledger line is an extension of the staff.
1463 \property Score.barNonAuto = ##t
1464 \notes\relative c'' { a,1 s c'' }
1468 I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1471 To be performed without any perceptible interruption between the notes (a)
1472 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1473 @w{@ar{}@strong{staccato}} (d)
1478 \property Score.barNonAuto = ##t
1480 \property Lyrics.textStyle = "large"
1482 \notes\relative c'' {
1484 c4-- d-- e-- \bar "||";
1485 c4-.( d-. )e-. \bar "||";
1486 c4-. d-. e-. \bar "||";
1488 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1492 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1495 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1496 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1498 A pond with lilies floating in it, also the name of a music typesetter.
1501 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1504 @w{@ar{}@strong{staff}}
1506 @item long appoggiatura
1507 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1508 forslag, S: l@aa{}ngt f@"orslag, N: .
1510 @w{@ar{}@strong{appoggiatura}}
1513 I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1515 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1520 \property Score.barNonAuto = ##t
1521 \notes\relative c'' {
1522 \property Voice.noteHeadStyle = #'mensural
1527 @item major interval
1528 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1529 groot interval, DK: stort interval, S: stort intervall, N: .
1531 @w{@ar{}@strong{interval}}
1534 I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1536 @w{@ar{}@strong{diatonic scale}}
1538 @item meantone temperament
1539 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1540 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1542 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1543 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1544 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1545 tuning keyboard instruments for performance of pre-1650 music.
1548 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1550 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1551 bears an accent. Such groups in numbers of two or more recur consistently
1552 throughout the composition and are marked from each other by
1553 bar-lines. @w{@ar{}@strong{meter}}
1556 I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1559 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1560 a third from that of another chord. For example the tonic chord may be
1561 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1562 harmony}} @w{@ar{}@strong{relative key}}.
1564 @item melodic cadence
1566 @w{@ar{}@strong{cadenza}}
1569 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1572 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1573 which remains unaltered throughout a composition or a section of it. For
1574 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1575 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1576 those. According to whether there are two, three or four units to the measure,
1577 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1578 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1583 \notes\relative c'' {
1586 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1590 \notes\relative c' {
1593 f8 f f f a16 g a f |
1594 c'8 c c c e16 d e c \bar "||";}
1598 \notes\relative c'' {
1601 d4 b8 g b d d c a4 |
1602 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1606 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1607 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1609 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1612 @item metronomic indication
1613 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1614 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1616 Exact tempo indication (in beats per minute). Also denoted by
1617 M.M. (M@"alzel's Metronom)
1620 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1621 mezzosopran, S: mezzosopran, N: mezzosopran.
1623 The female voice between @w{@ar{}@strong{soprano}} and
1624 @w{@ar{}@strong{contralto}}.
1627 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1628 enstreget c, S: ettstruket c, N:
1630 First C below the 440 Hz A.
1635 \property Score.barNonAuto = ##t
1636 \property Staff.clefStyle = #"fullSizeChanges"
1637 \notes\relative c' {
1644 @item minor interval
1645 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1646 interval, DK: lille interval, S: litet intervall, N: .
1648 @w{@ar{}@strong{interval}}
1651 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1653 @w{@ar{}@strong{diatonic scale}}
1656 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1658 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1661 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1664 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1665 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1666 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1670 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1673 @w{@ar{}@strong{ornament}}
1676 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1678 The briefest intelligible and self-contained fragment of a musical theme or
1684 \property Score.timeSignatureStyle = "C2/2"
1686 \property Voice.textStyle = "large"
1687 \notes\relative c'' {
1690 \partial 8; g16_"------" fis |
1691 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1692 g8 g,16 a b8 cis d16 s
1697 I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1699 Greater musical works like @w{@ar{}@strong{symphony}} and
1700 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1701 independant pieces called movements.
1704 I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1705 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1710 \notes\relative c'' {
1712 \property Score.skipBars=##t R1*3
1716 @item mixolydian mode
1717 @w{@ar{}@strong{diatonic scale}}
1720 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1721 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1723 @w{@ar{}@strong{accidental}}
1725 @item neighbour tones
1726 @w{@ar{}@strong{appoggiatura}}
1729 I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1731 @w{@ar{}@strong{interval}}
1734 @w{@ar{}@strong{legato}}
1737 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1739 Notes are signs by means of which music is fixed in writing. The term is also
1740 used for the sound indicated by a note, and even for the key of the piano
1741 which produces the sound. However, a clear distinction between the terms tone
1742 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1746 I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1747 nootballetje, DK: nodehovede, S: nothuvud, N: .
1749 A head like sign which indicates pitch by its position on a
1750 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1751 by a variety of shapes such as hollow or black heads with or without
1752 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1753 instruments (often having no defined pitch) the note head may indicate the
1757 I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1758 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1760 Note values (durations) are measured as fractions, normally 1/2, of the next
1761 higher note value. The longest duration normally used is called @emph{brevis},
1762 but sometimes (mostly in pre baroque music) the double length note value
1763 @emph{longa} is used.
1768 \property Voice.textStyle = "large"
1769 \property Score.barNonAuto = ##t
1770 \notes\relative c'' {
1771 \property Voice.noteHeadStyle = #'mensural
1772 g\longa_"longa" g\breve_"breve"
1773 \property Voice.noteHeadStyle = ##f
1774 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1775 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1779 \property Voice.textStyle = "large"
1780 \property Score.barNonAuto = ##t
1781 \notes\relative c'' {
1782 r\longa_"longa" r\breve_"breve"
1783 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1784 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1787 An augmentation dot after a note multiplies the duration by one and a
1788 half. Another dot adds yet a fourth of the duration.
1794 \property Voice.textStyle = "large"
1795 \notes\relative c'' {
1797 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1798 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1801 Alternatively note values may be subdivided by other ratios. Most common is
1802 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1803 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1809 \property Voice.textStyle = "large"
1811 \notes\relative c'' {
1813 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1814 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1816 \times 3/2 {g4_"duplets" g} |
1818 \times 6/4 {g8_"quadruplets" g g g} |
1819 g8 g g g g4 \bar "||";}
1826 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1829 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1831 @w{@ar{}@strong{interval}}
1833 @item ornament; embellishment; accessory
1834 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1835 NL: versiering, DK: forsiring, S: ornament, N: .
1837 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1838 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1839 middle of the 19th century and onwards the trill is performed with the main
1840 note first while in the music from the preceding baroque and classic periods
1841 the upper note is played first.
1845 \context Staff = sa {
1847 \property Voice.textStyle = "large"
1848 \notes\relative c'' {
1849 c2._"pre-1850" b4\trill | c1 \bar "||";
1850 c2._"post-1850" b4\trill | c1 \bar "||";
1853 \notes\relative c'' {
1854 c2. c32 b c b c b c b | c1
1855 c2. b32 c b c \times 4/5 { b c b c b } | c1
1860 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1861 @emph{prall} (inverted mordent).
1867 \context Staff = sa {
1869 \property Voice.textStyle = "large"
1870 \notes\relative c'' {
1871 a4_"turn" b\turn c2 \bar "||";
1872 g4_"mordent" a b\mordent a \bar "||";
1873 e'4_"prall" d\prall c2 \bar "||";
1876 \notes\relative c'' {
1879 e'4 [e8 ~ e32 d e d] c2
1884 @w{@ar{}@strong{appoggiatura}}
1887 I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1889 Ossia (otherwise) marks an alternative. It is an added staff or piano
1890 score, usually only a few measures long, which presents another version
1891 of the music, for example for small hands.
1894 I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1896 1. In instrumental or choral music the music for the single instrument
1897 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1898 melodic line of the contrapuntal web.
1901 I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1904 A family of musical instruments which are played on by striking or
1905 shaking. Percussion instruments commonly used in a symphony orchestra are
1906 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1907 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1910 @item perfect interval
1912 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1913 interval, DK: rent interval, S: rent intervall, N: .
1915 @w{@ar{}@strong{interval}}
1918 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1920 A natural division of the melodic line, comparable to a sentence of speech.
1923 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1926 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1927 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1930 I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1932 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1933 @emph{mezzopiano} (@b{mp}) medium soft.
1936 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1940 I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1941 pizzicato, S: pizzicato.
1943 Play by plucking the strings.
1946 I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1949 Music written in a combination of several simultaneous voices (parts) of a
1950 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1953 @w{@ar{}@strong{legato}}
1956 I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1957 presto, S: presto, N: .
1959 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1960 denotes the highest possible degree of speed.
1962 @item Pythagorean comma
1963 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1964 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1966 A sequence of fifths starting on C eventually circles back to C, but this C,
1967 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1968 obtained by adding 7 octaves. The difference between those two pitches is
1969 called the Pythagorean comma.
1972 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1975 @w{@ar{}@strong{note value}}
1978 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1979 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1981 @w{@ar{}@strong{note value}}
1984 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1985 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1987 @w{@ar{}@strong{note value}}
1990 I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1993 @w{@ar{}@strong{note value}}
1996 I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1997 rallentando, S: rallentando, N: rallentando.
1999 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
2002 I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
2003 paralleltoneart, S: parallelltonart, N: .
2005 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
2006 the same @w{@ar{}@strong{signature}}.
2012 \property Score.barNonAuto = ##t
2013 \property Voice.textStyle = "large"
2014 \notes\relative c' {
2016 es1_"e flat major" f g as bes c d es
2019 c,1_"c minor" d es f g a! b! c \bar "||";
2024 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2025 gen@-ta@-gel@-se, S: repris, N: .
2032 \notes\relative c'' {
2033 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2038 I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2040 @w{@ar{}@strong{note value}}
2043 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2045 (a) metrical rhythm in which every time value is a multiple or fraction of a
2046 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2047 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2048 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2049 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2050 accent. In modern notation such music appears as a free alternation of
2051 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2052 common metrical unit (beat).
2055 I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2056 ritardando, S: ritardando, N: .
2058 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2061 I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2064 Immediate reduction of speed.
2067 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2069 @w{@ar{}@strong{diatonic scale}}
2072 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2073 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2075 Names and symbols used in harmonic analysis to denote tones of the scale as
2076 roots of chords. The most important are degrees I = tonic (T), IV =
2077 sub@-do@-mi@-nant (S) and V = dominant (D).
2083 \property Score.barNonAuto = ##t
2084 \property Lyrics.textStyle = "large"
2085 \property Lyrics.minVerticalAlign = 8
2087 \notes\relative c' {
2089 \context Lyrics \lyrics {
2090 < { I II III IV V VI VII I }
2095 @w{@ar{}@strong{functional harmony}}
2098 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2101 A copy of orchestral, choral or chamber music showing what each instrument is
2102 to play, each voice to sing, having each part arranged one underneath the
2103 other on different @w{@ar{}@strong{stave}}s.
2106 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2108 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2109 @w{@ar{}@strong{diatonic scale}} consists of alternating
2110 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2111 of a se@-cond depends on the scale degrees in question.
2114 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2117 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2118 interval in European composed music. The interval between two neighbouring
2119 tones on the piano keyboard - including black and white keys - is a
2120 semitone. An octave may be divided into 12
2121 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2126 \property Score.barNonAuto = ##t
2127 \notes\relative c'' { g1 gis s a bes s b c }
2131 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2133 @w{@ar{}@strong{interval}}
2135 @item sextuplet, sextolet
2136 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2139 @w{@ar{}@strong{note value}}
2142 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2144 @w{@ar{}@strong{accidental}}
2146 @item short appoggiatura
2147 @w{@ar{}@strong{appoggiatura}}
2149 @item sixteenth note
2150 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2151 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2154 @w{@ar{}@strong{note value}}
2156 @item sixteenth rest
2157 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2158 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2159 sextondelspaus, N: .
2161 @w{@ar{}@strong{note value}}
2164 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2166 @w{@ar{}@strong{interval}}
2168 @item sixty-fourth note
2169 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2170 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2171 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2172 sextiofj@"ardedelsnot, N: .
2174 @w{@ar{}@strong{note value}}
2176 @item sixty-fourth rest
2177 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2178 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2179 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2180 sextiofj@"ardedelspaus, N: .
2182 @w{@ar{}@strong{note value}}
2185 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2186 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2187 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2189 A slur above or below a group of notes indicates that they are to be played
2190 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2194 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2195 solmisation, S: solmisation, N: .
2197 General term for systems of designating the degrees of the
2198 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2199 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2200 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2203 I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2205 In its present-day meaning a sonata denotes an instrumental composition for
2206 piano or for some other instrument with piano accompaniment, which consists of
2207 three or four independant pieces, called movements.
2210 I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2211 sonatevorm, DK: sonateform, S: sonatform, N: .
2213 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2214 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2215 falls in three sections called @emph{exposition}, @emph{development} and
2216 @emph{recapitulation}. In the exposition the composer introduces his musical
2217 ideas, consisting of a number of themes; in the development section he
2218 "develops" this material, and in the recapitulation he repeats the exposition,
2219 with certain modifications however. The exposition contains a number of themes
2220 which fall into two groups, often called first and second subject. Other
2221 melodies occurring in each group are considered as continuations of these
2222 two. The second theme is in another key, normally in the key of the
2223 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2224 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2225 tonic is @w{@ar{}@strong{minor}}.
2228 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2230 The highest female voice.
2233 I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2234 staccato, S: staccato, N:
2236 Playing the note(s) short. Staccato is indicated by a dot above or below the
2244 \notes\relative c'' {
2246 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2251 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2252 partij, DK: nodesystem, S: notsystem, N: .
2254 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2255 between which the musical notes are written, thus indicating (in connection
2256 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2257 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2260 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2263 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2264 note. @w{@ar{}@strong{beam}}
2269 \property Score.noAutoBeaming = ##t
2270 \property Score.barNonAuto = ##t
2272 \property Voice.textStyle = "large"
2273 \notes\relative c'' {
2282 I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2285 A family of stringed musical instruments played with a bow. Strings commonly
2286 used in a symphony orchestra are violin, viola, violoncello and double bass.
2289 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2290 D: betonet taktslag, S: betonat taktslag, N: .
2292 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2293 @w{@ar{}@strong{rhythm}}
2296 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2297 subdominant, S: subdominant, N: .
2299 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2303 I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2304 Submediant, S: submediant, N: .
2306 The sixth @w{@ar{}@strong{scale degree}}.
2309 I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2312 The seventh @w{@ar{}@strong{scale degree}}
2315 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2316 superdominant, S: superdominant, N: .
2318 The sixth @w{@ar{}@strong{scale degree}}
2321 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2322 supertonika, S: supertonika, N: .
2324 The second @w{@ar{}@strong{scale degree}}.
2327 I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2330 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2333 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2335 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2336 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2337 rhythm rests upon the grouping of equal beats into groups of two or three,
2338 with a regularly recurrent accent on the first beat of each group. Any
2339 deviation from this scheme is felt as a disturbance or contradiction between
2340 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2346 \property Voice.textStyle = "large"
2348 \notes\relative c' {
2351 e c'4 e,8 c'4 e,8 c' ( | ) c2
2355 @item syntonic comma; dydimic comma
2357 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2358 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2360 Difference between the natural third and the third obtained by Pythagorean
2361 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2364 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2367 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2368 writing down of keyboard, chamber, choral or orchestral music.
2371 I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2372 DK: temperatur, S: temperatur, N: .
2374 Systems of tuning in which the intervals deviate from the accoustically pure
2375 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2378 @item tempo indication
2379 I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2380 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2381 tempobeteckning, N: .
2383 The rate of speed of a composition or a section thereof, ranging from the
2384 slowest to the quickest, as is indicated by tempo marks as
2385 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2386 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2389 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2391 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2394 I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2396 @w{@ar{}@strong{note value}}
2399 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2401 @w{@ar{}@strong{interval}}
2403 @item thirty-second note
2405 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2406 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2407 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2409 @w{@ar{}@strong{note value}}
2411 @item thirty-second rest
2413 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2414 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2415 trettiotv@aa{}ondelspaus, N: .
2417 @w{@ar{}@strong{note value}}
2419 @item thorough bass; figured bass
2420 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2421 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2423 A method of indicating an accompaniment part by the bass notes only, together
2424 with figures designating the chief @w{@ar{}@strong{interval}}s and
2425 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2430 \context GrandStaff <
2431 \notes\relative c'' {
2435 < \context Voice = rha {
2438 \context Voice = rhb {
2440 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2443 \property Voice.textStyle = "large"
2444 \property Lyrics.textStyle = "Large"
2445 \property Lyrics.minVerticalAlign = 6
2447 \notes\relative c' {
2450 es8 c () c bes () bes as () as g16 f | es4
2452 \context Lyrics \lyrics {
2453 < { "" "6" "4" "6" "4" "6" "4" "6" }
2454 { "" "" "2" "" "2" "" "2" "" } >
2460 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2461 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2463 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2464 connects two succesive notes of the same pitch, and which has the function of
2465 uniting them into a single sound equal to the combined durations.
2470 \property Score.barNonAuto = ##t
2471 \notes\relative c'' { g2 ~ g4. }
2474 @item time signature
2476 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2477 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2478 taktartssignatur, N: .
2480 @w{@ar{}@strong{meter}}
2483 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2485 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2486 a primary building material of music. Music from the 20th century may be based
2487 on non tone related sounds.
2490 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2492 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2495 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2496 transposition, S: transponering, N: .
2498 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2505 \notes\relative c'' {
2507 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2508 \transpose bes\relative c'' {
2510 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2515 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2516 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2519 @w{@ar{}@strong{G clef}}
2522 I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2525 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2526 the same tone, produced by a rapid up-and-down movement movement of the bow
2527 (a). The term is also used for the rapid alternation (b) between two notes of
2528 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2529 (@w{@ar{}@strong{interval}}).
2535 \property Score.barNonAuto = ##t
2536 \property Voice.textStyle = "large"
2537 \notes\relative c' {
2538 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2539 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2540 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2545 I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2546 drieklank, DK: treklang, S: treklang, N:
2548 @w{@ar{}@strong{chord}}
2551 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2552 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2554 @w{@ar{}@strong{ornament}}
2557 I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2558 maatsoort, DK: tredelt takt, S: tretakt, N: .
2560 @w{@ar{}@strong{meter}}
2563 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2565 @w{@ar{}@strong{note value}}
2568 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2571 @w{@ar{}@strong{interval}}
2574 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2575 stemmegaffel, S: st@"amgaffel, N: .
2577 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2578 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2580 @item turn; gruppetto
2581 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2585 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2588 Playing of the same notes or the same melody by various instruments (voices)
2589 or by the whole orchestra (choir), either at exactly the same pitch or in a
2593 I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
2596 Initial note(s) of a melody occurring before the first bar
2597 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2604 \notes\relative c' {
2605 \partial 4; f4 | bes4. a8 bes4 c |
2606 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2610 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2612 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2613 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2614 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2615 of a polyphonic composition.
2618 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2619 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2621 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2624 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2625 DK: helnode, S: helnot, N: .
2627 @w{@ar{}@strong{note value}}
2630 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2631 rust, DK: helnodespause, S: helpaus, N: .
2633 @w{@ar{}@strong{note value}}
2636 I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2639 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2640 tones on the piano keyboard with exactly one key between them - including
2641 black and white keys - is a whole tone.
2644 I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2645 S: tr@"abl@aa{}sare, N: .
2647 A family of blown wooden musical instruments. Today some of these instruments
2648 are actually made from metal. The woodwind instruments commonly used in a
2649 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2656 @item DURATION NAMES, NOTES AND RESTS
2659 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2661 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2662 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2666 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2667 @tab longa @tab longa @tab longa
2671 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2672 brevis @tab brevis @tab brevis @tab brevis
2676 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2677 Ganze @tab hele @tab hel @tab hel @tab
2681 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2682 halve @tab halv @tab halv @tab
2686 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2687 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2691 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2692 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2696 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2697 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2702 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2703 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2704 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2708 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2709 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2710 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2711 sextio@-fj@"arde@-del @tab
2714 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2722 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2724 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2725 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2729 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2733 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2734 cis @tab cis @tab cis
2738 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2739 des @tab des @tab des
2743 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2747 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2751 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2755 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2759 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2764 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2768 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2769 ais @tab ais @tab ais
2773 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2778 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2785 @item ---------------------
2789 @item Literature used
2790 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2791 quotes from its articles have been included into the item explanation texts.
2793 Hugo Riemans Musiklexicon, Berlin 1929
2796 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2797 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.