2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @c @evenheading @thispage @| @|
8 @c @oddheading @| @| @thispage @|
11 glossary by Christian Mondrup
13 spanish by David González <dgonzal@quanta.net.py>
24 @item UK - British English
34 @tex $\\Rightarrow$ @end tex
44 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
50 : la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
53 ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
55 The stress of one tone over others.
58 ES: alteración, I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
59 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
62 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
63 @c Akzidenz, NL: toevallig teken, I: accidento.
65 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
66 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
67 flat lowers it by a whole tone. A natural cancels the effect of a previous
73 \property Score.barNonAuto = ##t
74 \property Voice.TextScript \set #'font-style = #'large
77 gisis1_"db. sharp" s s2
79 geses1_"db. flat" s s2
84 ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
85 NL: accelerando, DK: accelerando, S: accelerando, N:
91 ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
94 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
95 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
96 movement in slow tempo, esepecially the scond (slow) movement of
97 @w{@ar{}@strong{sonata}s}, symphonies etc.
100 ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
101 DK: allegro, S: allegro, N: allegro.
103 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
104 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
107 ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
109 A female voice of low range (@emph{contralto}). Originally the alto was a high
110 male voice (hence the name) which by the use of falsetto reached the height of
111 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
115 ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
116 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
118 C clef setting central C on the middle line of the staff
119 @w{@ar{}@strong{C clef}}
121 @item ancient minor scale
122 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
123 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
128 \property Score.barNonAuto = ##t
129 \notes\relative c'' {
134 ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
137 walking tempo/character
140 ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
141 DK: forslag, S: f@"orslag, N:
143 Ornamental note, usually a second, that is melodically connected with the main
144 note that follows it. In music before the 19'th century a. were usually
145 performed on the beat, after that mostly before the beat. While the short
146 a. is performed as a short note regardless of the duration of the main note
147 the duration of the long a. is proportionate to that of the main note.
152 \notes\relative c'' {
156 \property Score.TextScript \set #'font-style = #'large
157 <d4_"notation" a fis> r
158 { \property Grace.Stem \override #'flag-style = #""
161 { \property Grace.Stem \override #'flag-style = #""
163 g8 fis16 g | a4 \bar "||" }
164 \notes\relative c'' {
165 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
168 An appoggiatura may have more notes preceding the main note.
173 \notes\relative c'' {
176 \property Score.TextScript \set #'font-style = #'large
177 \grace { bes16 } as8_"notation" as16 bes as8 g |
178 \grace { [as16 ( bes] } < ) c4 as >
179 \grace { [as16 ( bes] } < ) c4 as > \bar "||"
180 \grace { bes16 } as8_"performance" as16 bes as8 g |
181 < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. }
182 \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } >
188 ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
189 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
194 \notes \context PianoStaff <
195 \context Staff = SA \relative c'' {
198 r8 g16 c e g, c e r8 g,16 c e g, c e |
199 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
200 \context Staff = SB \relative c' {
202 < \context Voice = va {
204 r16 e8. () e4 r16 e8. () e4 |
205 r16 d8. () d4 r16 d8. () d4 }
206 \context Voice = vb {
213 @item ascending interval
214 ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
215 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
217 A distance between a starting lower note and a higher ending note.
219 @item augmented interval
220 ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
221 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
222 @"overstigande intervall, N:
224 @w{@ar{}@strong{interval}}
227 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
228 h@aa{}ndskrift, autograf, S: handskrift, N: .
230 1. A manuscript in the composer's own hand. 2. Music prepared for
231 photoreproduction by freehand drawing, with only the aid of a
232 straightedge ruler and T-square, which attempts to emulate
233 engraving. This required more skill than did engraving.
236 ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
238 @item backfall; forefall
239 @w{@ar{}@strong{appoggiatura}}
242 ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
243 maatstreep, DK: taktstreg, S: taktstreck, N:
246 ES: compás, @w{@ar{}@strong{measure}}
249 ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
252 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
253 @w{@ar{}@strong{tenor}}.
256 ES: clave de fa en tercera
257 I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
258 ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
261 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
262 @w{@ar{}@strong{f clef}}
265 ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
266 bassleutel, DK: basn@o{}gle, S: basklav, N:
268 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
272 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
274 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
275 an abbreviation for double bass @w{@ar{}@strong{strings}}.
278 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
280 Line connecting a series of notes (shorter than a quarter note). The number of
281 beams determine the note value of the connected notes.
286 \property Score.barNonAuto = ##t
287 \property Voice.TextScript \set #'font-style = #'large
288 \notes\relative c'' {
290 [g16_"1/16" g g g] s16
291 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
292 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
296 ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
299 Note value used for counting, most often half-, fourth- and eighth notes. The
300 base counting value and the number of them per measure is indicated at the
308 \notes\relative c'' { g4 c b a | g1 \bar "||"}
310 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
314 @w{@ar{}@strong{tie}}
318 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
319 accolade, teksthaak, DK: klamme, S: klammer, N:
321 Symbol at the start of a system connecting staffs. Curly braces are used
322 for connecting piano staves, angular brackets for connecting parts in an
323 orchestral or choral score.
326 \notes\context GrandStaff <
327 \relative c''\context Staff = SA { \clef treble g4 e c2 }
328 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
332 \context StaffGroup <
333 % \property StaffGroup.minVerticalAlign = #12
334 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
335 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
339 ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
340 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
342 A family of blown musical instruments made of brass all using a cup formed
343 mouth piece. The brass instruments commonly used in a symphony orchestra are
344 trumpet, trombone, french horn and tube.
347 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
348 repercussieteken, DK:
349 vejrtr@ae{}kningstegn, S: andningstecken, N: .
351 Indication of where to breathe in vocal and wind instrument parts.
354 ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
356 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
362 \property Score.barNonAuto = ##t
363 \notes\relative c'' { g\breve }
367 ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
370 ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
371 c-n@o{}gle, S: c-klav, N:
373 Clef symbol indicating the position of the central C. Used on all note
379 \property Score.barNonAuto = ##t
380 \property Score.Clef \override #'full-size-change = ##t
381 \property Score.LyricText \set #'font-style = #'large
383 \context Staff \notes\relative c' {
390 \context Lyrics \lyrics {
391 Soprano Mezzosoprano Alto Tenor Baritone
396 ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
398 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
401 ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
403 An extended, improvisatory style section inserted near the end of
404 movement. The purpose of a cadenza is to give the singer or player a chance to
405 exhibit her technichal skill and not the least her ability to improvise. Since
406 the middle of the 19'th century, however, most cadences have been written down
410 ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
412 @w{@ar{}@strong{counterpoint}}
415 ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
417 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
418 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
421 @w{@ar{}@strong{middle C}}
424 ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
426 Three or more tones sounding simultaneously. In traditional European music the
427 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
428 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
429 chords may be extended with more thirds. Four- @emph{seventh chords} and five
430 tone @emph{ninth} major chords are most often used as dominants
431 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
432 third above the lower notes to define their quality as major or minor. Such
433 chords are denoted open chords
438 \property Score.barNonAuto = ##t
439 \property Voice.TextScript \set #'font-style = #'large
441 \notes\relative c'' {
444 <g_"dimished" bes des>
445 <g_"augmented~" b dis>
446 <g_"seventh-chord~" b d f>
447 <g_"ninth-chord" b d f a> s s2
451 @item chromatic scale
452 ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
453 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
455 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
460 \property Score.barNonAuto = ##t
461 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
465 ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
468 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
470 @item church mode; ecclesiastical mode ES: modo eclesiástico, I: modo
471 ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
472 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
474 @w{@ar{}@strong{diatonic scale}}
477 ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
478 sleutel, DK: n@o{}gle, S: klav, N:
480 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
483 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
485 Difference in pitch between a note derived from pure tuning and the same note
486 derived from some other tuning method. @w{@ar{}@strong{temperament}}
489 @w{@ar{}@strong{meter}}
491 @item compound interval
492 ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
493 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
495 Intervals larger than an octave
497 @w{@ar{}@strong{interval}}
500 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
501 complementair interval, DK: komplement@ae{}rinterval, S:
502 komplement@"arintervall (?), N:
504 @w{@ar{}@strong{inverted interval}}
506 @item conjunct movement
507 ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
508 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
510 Melody moving in the narrow steps of the scale;
515 \key g \major \time 4/4
516 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
520 ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
523 @w{@ar{}@strong{harmony}}
526 ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
528 @w{@ar{}@strong{alto}}
531 ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
532 kontrapunkt, S: kontrapunkt, N: .
534 From latin @emph{punctus contra punctum}, note against note. The combination
535 into a single musical fabric of lines or parts which have distinct melodic
536 significance. A frequently used polyphonic technique is imitation, in its
537 strictest form found in the canon needing only one part to be written down
538 while the other parts are performed with a given displacement. Imitation is
539 also the contrapuntal technique used in the @emph{fugue} which, since the
540 music of the baroque era, has been one of the most popular polyphonic
546 \property Score.TimeSignature \override #'style = #'C2/2
547 \notes\context PianoStaff <
548 \context Staff = SA \relative c' {
552 < \context Voice = rha {
554 r1 | r2 r8 g'8 bes d, |
555 cis4 d r8 e!16 f g8 f16 e |
556 f8 g16 a bes8 a16 g a8
558 \context Voice = rhb {
564 \context Staff = SB \relative c' {
567 < \context Voice = lha {
569 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
570 r8 a16 g f8 g16 a bes8 g e! cis' |
573 \context Voice = lhb {
582 ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
583 kontratenor, S: kontratenor, counter tenor, N: kontratenor
585 @w{@ar{}@strong{contralto}}
588 A music copyist did fast freehand scores and parts on preprinted staff lines
589 for performance. Some of their conventions (e.g.: the placement of noteheads
590 on stems) varied slightly from those of engravers. Some of their working
591 methods were superior and could well be adopted by music typesetters. This
592 required more skill than engraving.
595 ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
596 crescendo, S: crescendo, N:@w{ }crescendo.
598 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
599 abbreviation "cresc.".
604 \key g \major \time 4/4
605 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
609 ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
610 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
612 In a separate part notes belonging to another part with the purpose of hinting
613 when to start playing. Usually printed in a smaller type.
616 ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
619 ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
620 capo, DK: da capo, S: da capo, N: .
622 The term indicates repetition of the piece from the beginning to the end or to
623 a certain place marked @emph{fine}. Mostly abbreviated D.C.
626 ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
627 dal segno, S: dal segno, N: .
629 abbreviated d.s. Repetition, not from the beginning, but from another place
630 frequently near the beginning marked by a sign:
635 \property Voice.TextScript \set #'font-style = #'large
636 \key g \major \time 4/4
637 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
641 ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
642 decrescendo, N: decrescendo
644 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
645 or the abbreviation "decresc.".
650 \context Staff \notes\relative c'' {\key g \major \time 4/4
651 d4 \> c b a | \! g1 \bar "|." }
654 @item descending interval
655 ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
656 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
657 fallande intervall, N:
659 An distance between a starting higher note and a lower ending note.
662 ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
663 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
665 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
666 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
667 keybord are diatonic.
669 The church modes are used in gregorial chant and pre baroque early music but
670 also to some extent in newer jazz music.
675 \property Score.barNonAuto = ##t
676 \property Lyrics.LyricText \set #'font-style = #'large
677 \property Voice.TextScript \set #'font-style = #'large
681 \property Voice.TextScript \set #'padding = #-10
683 \property Voice.TextScript \set #'padding = #-4
685 \context Lyrics \lyrics { Ionian }
689 \property Score.barNonAuto = ##t
690 \property Lyrics.LyricText \set #'font-style = #'large
691 \property Voice.TextScript \set #'font-style = #'large
695 \property Voice.TextScript \set #'padding = #-10
698 \property Voice.TextScript \set #'padding = #-4
700 \context Lyrics \lyrics { Dorian }
704 \property Score.barNonAuto = ##t
705 \property Lyrics.LyricText \set #'font-style = #'large
706 \property Voice.TextScript \set #'font-style = #'large
709 \property Voice.TextScript \set #'padding = #-10
712 \property Voice.TextScript \set #'padding = #-4
714 \context Lyrics \lyrics { Phrygian }
718 \property Score.barNonAuto = ##t
719 \property Lyrics.LyricText \set #'font-style = #'large
720 \property Voice.TextScript \set #'font-style = #'large
724 \property Voice.TextScript \set #'padding = #-4
726 \property Voice.TextScript \set #'padding = #0
728 \context Lyrics \lyrics { Lydian }
732 \property Score.barNonAuto = ##t
733 \property Lyrics.LyricText \set #'font-style = #'large
734 \property Voice.TextScript \set #'font-style = #'large
736 \notes\relative c'' {
738 \property Voice.TextScript \set #'padding = #-4
740 \property Voice.TextScript \set #'padding = #0
742 \context Lyrics \lyrics { Mixolydian }
746 \property Score.barNonAuto = ##t
747 \property Lyrics.LyricText \set #'font-style = #'large
748 \property Voice.TextScript \set #'font-style = #'large
750 \notes\relative c'' {
752 \property Voice.TextScript \set #'padding = #-4
754 \property Voice.TextScript \set #'padding = #0
756 \context Lyrics \lyrics { Aeolian }
759 From the beginning of the 17th century the scales used in European
760 compositional music are primarily the major and the minor scales. In the
761 harmonic minor scale type an augmented second (A) occurs between the 6th and
765 \property Score.barNonAuto = ##t
766 \property Lyrics.LyricText \set #'font-style = #'large
767 \property Voice.TextScript \set #'font-style = #'large
771 \property Voice.TextScript \set #'padding = #-10
773 \property Voice.TextScript \set #'padding = #-4
775 \context Lyrics \lyrics { Major }
779 \property Score.barNonAuto = ##t
780 \property Lyrics.LyricText \set #'font-style = #'large
781 \property Voice.TextScript \set #'font-style = #'large
783 \notes\relative c'' {
785 \property Voice.TextScript \set #'padding = #-4
787 \property Voice.TextScript \set #'padding = #0
789 \context Lyrics \lyrics { "ancient minor" }
793 \property Score.barNonAuto = ##t
794 \property Lyrics.LyricText \set #'font-style = #'large
795 \property Voice.TextScript \set #'font-style = #'large
797 \notes\relative c'' {
799 \property Voice.TextScript \set #'padding = #-4
801 \property Voice.TextScript \set #'padding = #0
803 \property Voice.TextScript \set #'padding = #1
807 \context Lyrics \lyrics { "Harmonic minor" }
811 \property Score.barNonAuto = ##t
812 \property Lyrics.LyricText \set #'font-style = #'large
813 \property Voice.TextScript \set #'font-style = #'large
815 \notes\relative c'' {
817 \property Voice.TextScript \set #'padding = #-4
819 \property Voice.TextScript \set #'padding = #0
821 \property Voice.TextScript \set #'padding = #-1
823 \property Voice.TextScript \set #'padding = #-4
826 \context Lyrics \lyrics { "Melodic minor" }
829 @item diminished interval
830 ES: intervalo disminuído, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
831 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
834 @w{@ar{}@strong{interval}}
837 ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
838 S:@w{ }diminuendo, N:@w{ }diminuendo.
840 @w{@ar{}@strong{decrescendo}}
842 @item disjunct movement
843 ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
844 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
847 Melody moving in steps greater than those of the
848 scale. Opposite of @ar{}@strong{conjunct movement}.
856 \partial 8 e8 | a4. gis8 b a e cis |
860 @item dissonant interval; dissonance
861 ES: intervalo disonante, disonancias,
862 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
863 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
866 @w{@ar{}@strong{harmony}}
868 @item dominant ninth chord
869 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
870 Dominantnoneakkord, NL: dominant noon akkoord, DK:
871 dominantnoneakkord, S: dominantnonackord, N: .
873 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
875 @item dominant seventh chord
876 ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
877 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
878 dominantseptimackord, N:
880 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
883 ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
886 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
889 ES: modo dórico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
890 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
892 @w{@ar{}@strong{diatonic scale}}
894 @item dot (augmentation dot)
895 ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
898 @w{@ar{}@strong{dotted note}}
901 ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
902 DK: punkteret node, S: punkterad not, N:
904 @w{@ar{}@strong{note value}}
906 @item double appoggiatura
907 ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
908 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
910 @w{@ar{}@strong{appoggiatura}}
912 @item double bar line
913 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
914 dobbeltstreg, S: dubbelstreck, N: .
916 Indicates the end of a section within a movement.
918 @item double dotted note
919 ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
920 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
921 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
923 @w{@ar{}@strong{note value}}
927 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
928 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
930 @w{@ar{}@strong{accidental}}
933 ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
934 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
936 @w{@ar{}@strong{accidental}}
939 ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
940 dobbelttrille, S: dubbeldrill, N: .
942 A simultaneous trill on two notes, usually in the distance of a third.
945 ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
946 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
948 @w{@ar{}@strong{meter}}
951 ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
953 @w{@ar{}@strong{note value}}
956 ES: duración, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
959 @w{@ar{}@strong{note value}}
962 @w{@ar{}@strong{syntonic comma}}
965 ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
968 ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
969 ottendedelsnode, S: @aa{}ttondelsnot, N: .
971 @w{@ar{}@strong{note value}}
974 ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
975 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
977 @w{@ar{}@strong{note value}}
980 ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
983 Engraving means incising or etching a metal plate for
984 printing. Photoengraving means drawing music with ink in a manner
985 similar to drafting or engineering drawing, using similar tools.
987 The traditional process of music printing is done through cutting in a
988 plate of metal. Now also the term for the art of music typesetting.
991 ES: enharmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
992 enharmonisk, S: enharmonisk, N: .
994 Two notes, intervals, or scales are enharmonic if they have different names
999 \property Score.barNonAuto = ##t
1000 \property Voice.TextScript \set #'font-style = #'large
1001 \notes\relative c'' {
1002 gis1_"g sharp" s as1_"a flat" s s
1003 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1007 @item equal temperament
1008 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1009 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1010 temperatur, S: liksv@"avande temperatur, N: .
1012 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1013 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1015 @item expression mark
1016 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1017 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1018 f@"oredragsbeteckning, N: .
1020 Performance indications concerning 1. volume, dynamics (for example
1021 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1022 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1025 ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1028 ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1029 F-n@o{}gle, S: f-klav, N: .
1031 The position between the dots of the key symbol is the line of the F below
1032 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1033 clef symbol indicates that the notes must be played an octave higher (for
1034 example bass recorder) while 8 below the clef symbol indicates playing an
1035 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1039 \property Score.barNonAuto = ##t
1040 \property Staff.Clef \override #'full-size-change = ##t
1041 \property Lyrics.LyricText \set #'font-style = #'large
1056 \context Lyrics \lyrics {
1066 ES: Calderón, I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1068 Prolonged note or rest of indefinite duration.
1073 \notes\relative c'' {
1074 a4 b c2^\fermata \bar "|." }
1078 ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1081 @w{@ar{}@strong{interval}}
1084 ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
1087 ES: digitación, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1088 fingers@ae{}tning, S: fingers@"attning, N: .
1090 The methodical use of fingers in the playing of instruments.
1094 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1095 DK: fane, S: flagga, N: .
1097 Ornament at the end of the stem of a note used for notes with values less than
1098 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1102 \property Score.barNonAuto = ##t
1103 \property Voice.TextScript \set #'font-style = #'large
1104 \notes\relative c'' {
1112 ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1114 @w{@ar{}@strong{accidental}}
1116 @item forefall; backfall
1117 @w{@ar{}@strong{appoggiatura}}
1120 ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1122 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1123 @emph{mezzoforte} (@b{mf}) medium loud.
1126 ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1128 @w{@ar{}@strong{interval}}
1131 ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1133 @w{@ar{}@strong{counterpoint}}
1135 @item functional harmony
1136 ES: armonía funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1137 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1139 A system of harmonic analysis. It is based on the idea that, in a given key,
1140 there are only three functionally different chords: tonic (T, the chord on the
1141 first note of the scale), subdominant (S, the chord on the fourth note) and
1142 dominant (D, the chord on the fifth note). Other are considered to be variants
1148 \property Score.barNonAuto = ##t
1149 \property Lyrics.LyricText \set #'font-style = #'large
1150 \property Voice.TextScript \set #'font-style = #'large
1152 \notes\relative c'' {
1153 < g1 e c > < a f d > < b g e >
1154 < c a f > < d b g > < e c a > < f d b > }
1155 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1159 ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1162 ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1163 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1165 A clef symbol indicating the G above central C. Used on the first and second
1166 note lines. A digit 8 above the clef symbol indicates that the notes must be
1167 played an octave higher while 8 below the clef symbol indicates playing or
1168 singing an octave lower (most tenor parts in choral scores are notated like
1174 \property Score.barNonAuto = ##t
1175 \property Staff.Clef \set #'full-size-change = ##t
1176 \property Lyrics.LyricText \set #'font-style = #'large
1178 \notes\relative c'' {
1188 \context Lyrics \lyrics {
1189 "french violin clef"
1197 ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1198 glissando, N: glissando.
1200 Letting the pitch slide fluently from one note to the other
1203 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1204 NL: versieringen, DK: forsiringer, S: ornament, N: .
1206 Notes printed in small types to indicate that their time values are not
1207 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1210 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1211 S: ackolad, b@"ojd klammer, N: .
1213 @w{@ar{}@strong{brace}}
1215 A combination of two staffs with a brace. Usually used for piano music.
1218 ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1224 ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1225 halvnode, S: halvnot, N: .
1227 @w{@ar{}@strong{note value}}
1230 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1231 rust, DK: halvnodespause, S: halvpaus, N: .
1233 @w{@ar{}@strong{note value}}
1235 @item harmonic cadence
1236 ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1237 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1239 Sequence of chords that terminate a musical phrase or
1240 section. @ar{}@w{}@strong{functional harmony}
1245 \notes\context PianoStaff <
1246 \context Staff = SA \relative c'' {
1249 \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
1250 \property Lyrics.LyricText \set #'font-style = #'large
1252 \context Staff = SB \relative c {
1254 \partial 4 c4 | f, g c2
1256 \context Lyrics \lyrics { T S D T } >
1260 ES: armonía , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1261 samklang, S: samklang, N:
1263 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1264 @emph{consonances} and @emph{dissonances}.
1271 \property Score.barNonAuto = ##t
1272 \property Voice.TextScript \set #'font-style = #'large
1273 \notes\relative c'' {
1280 <g1_"decime" b'> s s
1289 \property Score.barNonAuto = ##t
1290 \property Voice.TextScript \set #'font-style = #'large
1291 \notes\relative c'' {
1298 Three note harmony @w{@ar{}@strong{chord}}
1301 ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1304 Music in which one voice leads melodically followed by the other voices more
1305 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1308 ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1311 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1312 diminished or augmented. The augmented fourth and the diminished fifth are
1313 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1314 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1320 \property Score.barNonAuto = ##t
1321 \property Score.LyricText \set #'font-style = #'large
1322 \property Score.TextScript \set #'font-style = #'large
1324 \context Staff \notes\relative c'' {
1329 < gis^"dimin" bes > s
1330 < g!^"minor" bes > s
1334 \context Lyrics \lyrics {
1335 unisone second second second third third third third }
1341 \property Score.barNonAuto = ##t
1342 \property Score.LyricText \set #'font-style = #'large
1343 \property Score.TextScript \set #'font-style = #'large
1345 \context Staff \notes\relative c'' {
1346 < g1^"perfect" c > s
1348 < g^"perfect" d' > s
1350 < gis^"dimin" es' > s
1351 < g!^"minor" es' > s
1355 \context Lyrics \lyrics {
1356 fourth fourth fifth fifth sixth sixth sixth sixth }
1362 \property Score.barNonAuto = ##t
1363 \property Score.LyricText \set #'font-style = #'large
1364 \property Score.TextScript \set #'font-style = #'large
1366 \context Staff \notes\relative c'' {
1367 < gis1^"dimin" f'! > s
1368 < g!^"minor" f'! > s
1369 < g^"major" fis' > s
1373 < g^"minor" bes' > s
1376 \context Lyrics \lyrics {
1377 seventh seventh seventh octave none none decime decime }
1380 @item inverted interval
1381 ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1382 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1384 The difference between an interval and an octave.
1389 \property Score.barNonAuto = ##t
1390 \property Score.TextScript \set #'font-style = #'large
1391 \context Staff \notes\relative c'' {
1392 < g1_"second" a > s < g'_"seventh" a, > s \bar "||"
1393 < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
1394 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
1398 @item just intonation
1399 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1400 stemming, DK: ren stemning, S: ren st@"amning, N: .
1402 Tuning system in which the notes are obtained by adding and subtracting
1403 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1406 ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1409 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1410 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1413 ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1414 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1415 S: tonartssignatur, N: .
1417 The sharps or flats appearing at the beginning of each staff indicating the
1418 key of the music. @w{@ar{}@strong{accidental}}
1421 ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1424 Very slow in tempo, usually combined with great
1425 expressiveness. @emph{Larghetto} less slow than largo.
1428 ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1431 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1432 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1433 upwards) to the tonic scale degree.
1435 @item ledger line; leger line
1437 ES: líneas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1438 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1440 A ledger line is an extension of the staff.
1445 \property Score.barNonAuto = ##t
1446 \notes\relative c'' { a,1 s c'' }
1450 ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1453 To be performed without any perceptible interruption between the notes (a)
1454 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1455 @w{@ar{}@strong{staccato}} (d)
1460 \property Score.barNonAuto = ##t
1462 \context Staff \notes\relative c'' {
1464 c4-- d-- e-- \bar "||"
1465 c4-.( d-. )e-. \bar "||"
1466 c4-. d-. e-. \bar "||"
1468 \context Lyrics \lyrics {
1469 \property Lyrics . LyricText \set #'font-style = #'large
1470 a "" "" b "" "" c "" "" d }
1474 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1477 ES: estanque de lilas,
1478 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1479 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1481 A pond with lilies floating in it, also the name of a music typesetter.
1484 ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1487 @w{@ar{}@strong{staff}}
1489 @item long appoggiatura
1490 ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1491 forslag, S: l@aa{}ngt f@"orslag, N: .
1493 @w{@ar{}@strong{appoggiatura}}
1496 ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1498 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1503 \property Score.barNonAuto = ##t
1504 \notes\relative c'' {
1505 \property Voice.NoteHead \set #'style = #'mensural
1510 @item major interval
1511 ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1512 groot interval, DK: stort interval, S: stort intervall, N: .
1514 @w{@ar{}@strong{interval}}
1517 ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1519 @w{@ar{}@strong{diatonic scale}}
1521 @item meantone temperament
1522 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1523 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1525 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1526 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1527 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1528 tuning keyboard instruments for performance of pre-1650 music.
1531 ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1533 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1534 bears an accent. Such groups in numbers of two or more recur consistently
1535 throughout the composition and are marked from each other by
1536 bar-lines. @w{@ar{}@strong{meter}}
1539 ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1542 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1543 a third from that of another chord. For example the tonic chord may be
1544 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1545 harmony}} @w{@ar{}@strong{relative key}}.
1547 @item melodic cadence
1549 @w{@ar{}@strong{cadenza}}
1552 ES: compás, I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1555 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1556 which remains unaltered throughout a composition or a section of it. For
1557 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1558 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1559 those. According to whether there are two, three or four units to the measure,
1560 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1561 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1566 \notes\relative c'' {
1569 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
1573 \notes\relative c' {
1576 f8 f f f a16 g a f |
1577 c'8 c c c e16 d e c \bar "||"}
1581 \notes\relative c'' {
1584 d4 b8 g b d d c a4 |
1585 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
1589 ES: metrónomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1590 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1592 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1595 @item metronomic indication
1596 ES: indicación metronómica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1597 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1599 Exact tempo indication (in beats per minute). Also denoted by
1600 M.M. (M@"alzel's Metronom)
1603 ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1604 mezzosopran, S: mezzosopran, N: mezzosopran.
1606 The female voice between @w{@ar{}@strong{soprano}} and
1607 @w{@ar{}@strong{contralto}}.
1610 ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1611 enstreget c, S: ettstruket c, N:
1613 First C below the 440 Hz A.
1618 \property Score.barNonAuto = ##t
1619 \property Staff.Clef \set #'full-size-change = ##t
1620 \notes\relative c' {
1627 @item minor interval
1628 ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1629 interval, DK: lille interval, S: litet intervall, N: .
1631 @w{@ar{}@strong{interval}}
1634 ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1636 @w{@ar{}@strong{diatonic scale}}
1639 ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1641 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1644 ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1647 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1648 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1649 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1653 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1656 @w{@ar{}@strong{ornament}}
1660 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1662 The briefest intelligible and self-contained fragment of a musical theme or
1668 \property Score.TimeSignature \override #'style = #'C2/2
1669 \property Voice.TextScript \set #'font-style = #'large
1670 \notes\relative c'' {
1673 \partial 8 g16_"------" fis |
1674 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1675 g8 g,16 a b8 cis d16 s
1680 ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1682 Greater musical works like @w{@ar{}@strong{symphony}} and
1683 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1684 independant pieces called movements.
1687 ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1688 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1693 \notes\relative c'' {
1695 \property Score.skipBars=##t R1*3
1699 @item mixolydian mode
1700 @w{@ar{}@strong{diatonic scale}}
1703 ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1704 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1706 @w{@ar{}@strong{accidental}}
1708 @item neighbour tones
1709 @w{@ar{}@strong{appoggiatura}}
1712 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1714 @w{@ar{}@strong{interval}}
1717 @w{@ar{}@strong{legato}}
1720 ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1722 Notes are signs by means of which music is fixed in writing. The term is also
1723 used for the sound indicated by a note, and even for the key of the piano
1724 which produces the sound. However, a clear distinction between the terms tone
1725 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1729 ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1730 nootballetje, DK: nodehovede, S: nothuvud, N: .
1732 A head like sign which indicates pitch by its position on a
1733 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1734 by a variety of shapes such as hollow or black heads with or without
1735 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1736 instruments (often having no defined pitch) the note head may indicate the
1740 ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1741 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1743 Note values (durations) are measured as fractions, normally 1/2, of the next
1744 higher note value. The longest duration normally used is called @emph{brevis},
1745 but sometimes (mostly in pre baroque music) the double length note value
1746 @emph{longa} is used.
1751 \property Voice.TextScript \set #'font-style = #'large
1752 \property Score.barNonAuto = ##t
1753 \notes\relative c'' {
1754 \property Voice.NoteHead \override #'style = #'mensural
1755 g\longa_"longa" g\breve_"breve"
1756 \property Voice.NoteHead \revert #'style
1757 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1758 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1762 \property Voice.TextScript \set #'font-style = #'large
1763 \property Score.barNonAuto = ##t
1764 \notes\relative c'' {
1765 r\longa_"longa" r\breve_"breve"
1766 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1767 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1770 An augmentation dot after a note multiplies the duration by one and a
1771 half. Another dot adds yet a fourth of the duration.
1776 \property Voice.TextScript \set #'font-style = #'large
1777 \notes\relative c'' {
1779 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
1780 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
1783 Alternatively note values may be subdivided by other ratios. Most common is
1784 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1785 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1791 \property Voice.TextScript \set #'font-style = #'large
1792 \notes\relative c'' {
1794 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
1795 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
1797 \times 3/2 {g4_"duplets" g} |
1799 \times 6/4 {g8_"quadruplets" g g g} |
1800 g8 g g g g4 \bar "||"}
1807 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1810 ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1812 @w{@ar{}@strong{interval}}
1814 @item ornament; embellishment; accessory
1816 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1817 NL: versiering, DK: forsiring, S: ornament, N: .
1819 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1820 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1821 middle of the 19th century and onwards the trill is performed with the main
1822 note first while in the music from the preceding baroque and classic periods
1823 the upper note is played first.
1827 \context Staff = sa {
1828 \property Voice.TextScript \set #'font-style = #'large
1829 \notes\relative c'' {
1830 c2._"pre-1850" b4\trill | c1 \bar "||"
1831 c2._"post-1850" b4\trill | c1 \bar "||"
1834 \notes\relative c'' {
1835 c2. c32 b c b c b c b | c1
1836 c2. b32 c b c \times 4/5 { b c b c b } | c1
1841 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1842 @emph{prall} (inverted mordent).
1848 \context Staff = sa {
1849 \property Voice.TextScript \set #'font-style = #'large
1850 \notes\relative c'' {
1851 a4_"turn" b\turn c2 \bar "||"
1852 g4_"mordent" a b\mordent a \bar "||"
1853 e'4_"prall" d\prall c2 \bar "||"
1856 \notes\relative c'' {
1859 e'4 [e8 ~ e32 d e d] c2
1864 @w{@ar{}@strong{appoggiatura}}
1867 ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1869 Ossia (otherwise) marks an alternative. It is an added staff or piano
1870 score, usually only a few measures long, which presents another version
1871 of the music, for example for small hands.
1874 ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1876 1. In instrumental or choral music the music for the single instrument
1877 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1878 melodic line of the contrapuntal web.
1881 ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1884 A family of musical instruments which are played on by striking or
1885 shaking. Percussion instruments commonly used in a symphony orchestra are
1886 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1887 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1890 @item perfect interval
1891 ES: intervalo justo,
1892 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1893 interval, DK: rent interval, S: rent intervall, N: .
1895 @w{@ar{}@strong{interval}}
1898 ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1900 A natural division of the melodic line, comparable to a sentence of speech.
1903 ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1906 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1907 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1910 ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1912 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1913 @emph{mezzopiano} (@b{mp}) medium soft.
1916 ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1920 ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1921 pizzicato, S: pizzicato.
1923 Play by plucking the strings.
1926 ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1929 Music written in a combination of several simultaneous voices (parts) of a
1930 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1933 @w{@ar{}@strong{legato}}
1936 ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1937 presto, S: presto, N: .
1939 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1940 denotes the highest possible degree of speed.
1942 @item Pythagorean comma
1943 ES: coma pitagórico,
1944 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1945 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1947 A sequence of fifths starting on C eventually circles back to C, but this C,
1948 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1949 obtained by adding 7 octaves. The difference between those two pitches is
1950 called the Pythagorean comma.
1953 ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1956 @w{@ar{}@strong{note value}}
1959 ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1960 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1962 @w{@ar{}@strong{note value}}
1965 ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1966 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1968 @w{@ar{}@strong{note value}}
1971 ES: quintillo, I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1974 @w{@ar{}@strong{note value}}
1977 ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1978 rallentando, S: rallentando, N: rallentando.
1980 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1983 ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1984 paralleltoneart, S: parallelltonart, N: .
1986 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1987 the same @w{@ar{}@strong{signature}}.
1992 \property Score.barNonAuto = ##t
1993 \property Voice.TextScript \set #'font-style = #'large
1994 \notes\relative c' {
1996 es1_"e flat major" f g as bes c d es
1999 c,1_"c minor" d es f g a! b! c \bar "||"
2004 ES: barra de repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2005 gen@-ta@-gel@-se, S: repris, N: .
2012 \notes\relative c'' {
2013 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2018 ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2020 @w{@ar{}@strong{note value}}
2023 ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2025 (a) metrical rhythm in which every time value is a multiple or fraction of a
2026 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2027 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2028 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2029 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2030 accent. In modern notation such music appears as a free alternation of
2031 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2032 common metrical unit (beat).
2035 ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2036 ritardando, S: ritardando, N: .
2038 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2041 ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2044 Immediate reduction of speed.
2047 ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2049 @w{@ar{}@strong{diatonic scale}}
2052 ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2053 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2055 Names and symbols used in harmonic analysis to denote tones of the scale as
2056 roots of chords. The most important are degrees I = tonic (T), IV =
2057 sub@-do@-mi@-nant (S) and V = dominant (D).
2062 \property Score.barNonAuto = ##t
2063 \property Score.LyricText \set #'font-style = #'large
2064 %\property Lyrics.minVerticalAlign = #8
2066 \context Staff \notes\relative c' {
2068 \context Lyrics \lyrics {
2069 < { I II III IV V VI VII I }
2074 @w{@ar{}@strong{functional harmony}}
2077 ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2080 A copy of orchestral, choral or chamber music showing what each instrument is
2081 to play, each voice to sing, having each part arranged one underneath the
2082 other on different @w{@ar{}@strong{stave}}s.
2085 ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2087 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2088 @w{@ar{}@strong{diatonic scale}} consists of alternating
2089 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2090 of a se@-cond depends on the scale degrees in question.
2093 ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2096 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2097 interval in European composed music. The interval between two neighbouring
2098 tones on the piano keyboard - including black and white keys - is a
2099 semitone. An octave may be divided into 12
2100 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2105 \property Score.barNonAuto = ##t
2106 \notes\relative c'' { g1 gis s a bes s b c }
2110 ES: séptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2112 @w{@ar{}@strong{interval}}
2114 @item sextuplet, sextolet
2115 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2118 @w{@ar{}@strong{note value}}
2121 ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2123 @w{@ar{}@strong{accidental}}
2125 @item short appoggiatura
2126 @w{@ar{}@strong{appoggiatura}}
2128 @item sixteenth note
2129 ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2130 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2133 @w{@ar{}@strong{note value}}
2135 @item sixteenth rest
2136 ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2137 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2138 sextondelspaus, N: .
2140 @w{@ar{}@strong{note value}}
2143 ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2145 @w{@ar{}@strong{interval}}
2147 @item sixty-fourth note
2149 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2150 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2151 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2152 sextiofj@"ardedelsnot, N: .
2154 @w{@ar{}@strong{note value}}
2156 @item sixty-fourth rest
2157 ES: silencia de semifusa,
2158 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2159 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2160 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2161 sextiofj@"ardedelspaus, N: .
2163 @w{@ar{}@strong{note value}}
2166 ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2167 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2168 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2170 A slur above or below a group of notes indicates that they are to be played
2171 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2175 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2176 solmisation, S: solmisation, N: .
2178 General term for systems of designating the degrees of the
2179 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2180 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2181 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2184 ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2186 In its present-day meaning a sonata denotes an instrumental composition for
2187 piano or for some other instrument with piano accompaniment, which consists of
2188 three or four independant pieces, called movements.
2191 ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2192 sonatevorm, DK: sonateform, S: sonatform, N: .
2194 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2195 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2196 falls in three sections called @emph{exposition}, @emph{development} and
2197 @emph{recapitulation}. In the exposition the composer introduces his musical
2198 ideas, consisting of a number of themes; in the development section he
2199 "develops" this material, and in the recapitulation he repeats the exposition,
2200 with certain modifications however. The exposition contains a number of themes
2201 which fall into two groups, often called first and second subject. Other
2202 melodies occurring in each group are considered as continuations of these
2203 two. The second theme is in another key, normally in the key of the
2204 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2205 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2206 tonic is @w{@ar{}@strong{minor}}.
2209 ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2211 The highest female voice.
2214 ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2215 staccato, S: staccato, N:
2217 Playing the note(s) short. Staccato is indicated by a dot above or below the
2225 \notes\relative c'' {
2227 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2232 ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2233 partij, DK: nodesystem, S: notsystem, N: .
2235 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2236 between which the musical notes are written, thus indicating (in connection
2237 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2238 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2241 ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2244 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2245 note. @w{@ar{}@strong{beam}}
2250 \property Score.noAutoBeaming = ##t
2251 \property Score.barNonAuto = ##t
2252 \property Voice.TextScript \set #'font-style = #'large
2253 \notes\relative c'' {
2262 ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2265 A family of stringed musical instruments played with a bow. Strings commonly
2266 used in a symphony orchestra are violin, viola, violoncello and double bass.
2269 ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2270 D: betonet taktslag, S: betonat taktslag, N: .
2272 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2273 @w{@ar{}@strong{rhythm}}
2276 ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2277 subdominant, S: subdominant, N: .
2279 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2283 ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2284 Submediant, S: submediant, N: .
2286 The sixth @w{@ar{}@strong{scale degree}}.
2289 ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2292 The seventh @w{@ar{}@strong{scale degree}}
2295 ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2296 superdominant, S: superdominant, N: .
2298 The sixth @w{@ar{}@strong{scale degree}}
2301 ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2302 supertonika, S: supertonika, N: .
2304 The second @w{@ar{}@strong{scale degree}}.
2307 ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2310 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2313 ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2315 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2316 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2317 rhythm rests upon the grouping of equal beats into groups of two or three,
2318 with a regularly recurrent accent on the first beat of each group. Any
2319 deviation from this scheme is felt as a disturbance or contradiction between
2320 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2325 \property Voice.TextScript \set #'font-style = #'large
2327 \notes\relative c' {
2330 e c'4 e,8 c'4 e,8 c' ( | ) c2
2334 @item syntonic comma; dydimic comma
2336 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2337 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2339 Difference between the natural third and the third obtained by Pythagorean
2340 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2343 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2346 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2347 writing down of keyboard, chamber, choral or orchestral music.
2350 ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2351 DK: temperatur, S: temperatur, N: .
2353 Systems of tuning in which the intervals deviate from the accoustically pure
2354 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2357 @item tempo indication
2358 ES: indicación de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2359 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2360 tempobeteckning, N: .
2362 The rate of speed of a composition or a section thereof, ranging from the
2363 slowest to the quickest, as is indicated by tempo marks as
2364 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2365 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2368 ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2370 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2373 ES: décima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2375 @w{@ar{}@strong{note value}}
2378 ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2380 @w{@ar{}@strong{interval}}
2382 @item thirty-second note
2384 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2385 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2386 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2388 @w{@ar{}@strong{note value}}
2390 @item thirty-second rest
2391 ES: silencio de fusa,
2392 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2393 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2394 trettiotv@aa{}ondelspaus, N: .
2396 @w{@ar{}@strong{note value}}
2398 @item thorough bass; figured bass
2400 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2401 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2403 A method of indicating an accompaniment part by the bass notes only, together
2404 with figures designating the chief @w{@ar{}@strong{interval}}s and
2405 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2410 \context GrandStaff <
2411 \context Staff = lh \notes\relative c'' {
2415 < \context Voice = rha {
2418 \context Voice = rhb {
2420 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2424 \context Staff = rh \notes\relative c' {
2427 es8 c () c bes () bes as () as g16 f | es4
2429 \context Lyrics \lyrics {
2430 \property Lyrics . LyricText \set #'font-style = #'Large
2431 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
2432 < { "" "6" "4" "6" "4" "6" "4" "6" }
2433 { "" "" "2" "" "2" "" "2" "" } >
2439 ES: ligadura de prolongación,
2440 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2441 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2443 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2444 connects two succesive notes of the same pitch, and which has the function of
2445 uniting them into a single sound equal to the combined durations.
2450 \property Score.barNonAuto = ##t
2451 \notes\relative c'' { g2 ~ g4. }
2454 @item time signature
2456 ES: cifra indicadora de compás,
2457 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2458 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2459 taktartssignatur, N: .
2461 @w{@ar{}@strong{meter}}
2464 ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2466 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2467 a primary building material of music. Music from the 20th century may be based
2468 on non tone related sounds.
2471 ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2473 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2476 ES: transposición, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2477 transposition, S: transponering, N: .
2479 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2486 \notes\relative c'' {
2488 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2489 \transpose bes\relative c'' {
2491 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2496 ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2497 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2500 @w{@ar{}@strong{G clef}}
2503 ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2506 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2507 the same tone, produced by a rapid up-and-down movement movement of the bow
2508 (a). The term is also used for the rapid alternation (b) between two notes of
2509 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2510 (@w{@ar{}@strong{interval}}).
2515 \property Score.barNonAuto = ##t
2516 \property Voice.TextScript \set #'font-style = #'large
2517 \notes\relative c' {
2518 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2519 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2520 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2525 ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2526 drieklank, DK: treklang, S: treklang, N:
2528 @w{@ar{}@strong{chord}}
2532 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2533 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2535 @w{@ar{}@strong{ornament}}
2538 ES: compás compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2539 maatsoort, DK: tredelt takt, S: tretakt, N: .
2541 @w{@ar{}@strong{meter}}
2544 ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2546 @w{@ar{}@strong{note value}}
2549 ES: trítono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2552 @w{@ar{}@strong{interval}}
2555 ES: diapasón, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2556 stemmegaffel, S: st@"amgaffel, N: .
2558 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2559 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2561 @item turn; gruppetto
2563 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2567 ES: unísono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2570 Playing of the same notes or the same melody by various instruments (voices)
2571 or by the whole orchestra (choir), either at exactly the same pitch or in a
2575 ES: entrada anacrúsica, I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
2578 Initial note(s) of a melody occurring before the first bar
2579 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2586 \notes\relative c' {
2587 \partial 4 f4 | bes4. a8 bes4 c |
2588 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
2592 ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2594 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2595 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2596 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2597 of a polyphonic composition.
2600 ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2601 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2603 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2606 ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2607 DK: helnode, S: helnot, N: .
2609 @w{@ar{}@strong{note value}}
2612 ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2613 rust, DK: helnodespause, S: helpaus, N: .
2615 @w{@ar{}@strong{note value}}
2618 ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2621 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2622 tones on the piano keyboard with exactly one key between them - including
2623 black and white keys - is a whole tone.
2626 ES: maderas, I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2627 S: tr@"abl@aa{}sare, N: .
2629 A family of blown wooden musical instruments. Today some of these instruments
2630 are actually made from metal. The woodwind instruments commonly used in a
2631 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2638 @item DURATION NAMES, NOTES AND RESTS
2641 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2643 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2644 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2648 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2649 @tab longa @tab longa @tab longa
2653 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2654 brevis @tab brevis @tab brevis @tab brevis
2658 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2659 Ganze @tab hele @tab hel @tab hel @tab
2663 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2664 halve @tab halv @tab halv @tab
2668 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2669 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2673 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2674 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2678 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2679 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2684 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2685 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2686 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2690 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2691 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2692 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2693 sextio@-fj@"arde@-del @tab
2696 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2704 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2706 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2707 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2711 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2715 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2716 cis @tab cis @tab cis
2720 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2721 des @tab des @tab des
2725 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2729 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2733 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2737 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2741 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2746 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2750 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2751 ais @tab ais @tab ais
2755 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2760 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2767 @item ---------------------
2771 @item Literature used
2772 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2773 quotes from its articles have been included into the item explanation texts.
2775 Hugo Riemans Musiklexicon, Berlin 1929
2778 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2779 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.