2 @setfilename glossary.info
5 <!--- @@WEB-TITLE@@=Glossary --->
11 @c @everyheading @| @thispage @|
12 @c @evenheading @thispage @| @|
13 @c @oddheading @| @| @thispage @|
16 glossary by Christian Mondrup
18 spanish by David Gonz@'alez <dgonzal@quanta.net.py>
29 @item UK - British English
39 @tex $\\Rightarrow$ @end tex
49 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
55 : la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
58 ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
60 The stress of one tone over others.
62 @c F: how to distinguish between accidental and key-sig alteration?
65 ES: alteraci@'on, I: alterazione, accidente, F: alt@'eration D: Vorzeichen,
66 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
69 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
70 @c Akzidenz, NL: toevallig teken, I: accidento.
72 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
73 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
74 flat lowers it by a whole tone. A natural cancels the effect of a previous
80 \property Score.barNonAuto = ##t
81 \property Voice.TextScript \set #'font-style = #'large
84 gisis1_"db. sharp" s s2
86 geses1_"db. flat" s s2
91 ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
92 NL: accelerando, DK: accelerando, S: accelerando, N:
98 ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
101 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
102 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
103 movement in slow tempo, esepecially the scond (slow) movement of
104 @w{@ar{}@strong{sonata}s}, symphonies etc.
107 ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
108 DK: allegro, S: allegro, N: allegro.
110 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
111 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
114 ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
116 A female voice of low range (@emph{contralto}). Originally the alto was a high
117 male voice (hence the name) which by the use of falsetto reached the height of
118 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
122 ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
123 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
125 C clef setting central C on the middle line of the staff
126 @w{@ar{}@strong{C clef}}
128 @item ancient minor scale
129 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
130 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
135 \property Score.barNonAuto = ##t
136 \notes\relative c'' {
141 ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
144 walking tempo/character
147 ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
148 DK: forslag, S: f@"orslag, N:
150 Ornamental note, usually a second, that is melodically connected with the main
151 note that follows it. In music before the 19'th century a. were usually
152 performed on the beat, after that mostly before the beat. While the short
153 a. is performed as a short note regardless of the duration of the main note
154 the duration of the long a. is proportionate to that of the main note.
159 \context Voice\notes\relative c'' {
163 \property Score.TextScript \set #'font-style = #'large
164 <d4_"notation" a fis> r
165 { \property Voice.Stem \override #'flag-style = #""
167 \property Voice.Stem \revert #'flag-style
170 { \property Voice.Stem \override #'flag-style = #""
172 \property Voice.Stem \revert #'flag-style
174 g8 fis16 g | a4 \bar "||" }
175 \notes\relative c'' {
176 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
179 An appoggiatura may have more notes preceding the main note.
184 \notes\relative c'' {
187 \property Score.TextScript \set #'font-style = #'large
188 \grace { bes16 } as8_"notation" as16 bes as8 g |
189 \grace { [as16 ( bes] } < ) c4 as >
190 \grace { [as16 ( bes] } < ) c4 as > \bar "||"
191 \grace { bes16 } as8_"performance" as16 bes as8 g |
192 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
193 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
199 ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
200 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
205 \notes \context PianoStaff <
206 \context Staff = SA \relative c'' {
209 r8 g16 c e g, c e r8 g,16 c e g, c e |
210 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
211 \context Staff = SB \relative c' {
213 < \context Voice = va {
215 r16 e8. () e4 r16 e8. () e4 |
216 r16 d8. () d4 r16 d8. () d4 }
217 \context Voice = vb {
224 @item ascending interval
225 ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
226 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
228 A distance between a starting lower note and a higher ending note.
230 @item augmented interval
231 ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
232 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
233 @"overstigande intervall, N:
235 @w{@ar{}@strong{interval}}
238 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
239 h@aa{}ndskrift, autograf, S: handskrift, N: .
241 1. A manuscript in the composer's own hand. 2. Music prepared for
242 photoreproduction by freehand drawing, with only the aid of a
243 straightedge ruler and T-square, which attempts to emulate
244 engraving. This required more skill than did engraving.
247 ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
249 @item backfall; forefall
250 @w{@ar{}@strong{appoggiatura}}
253 ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
254 maatstreep, DK: taktstreg, S: taktstreck, N:
257 ES: comp@'as, @w{@ar{}@strong{measure}}
260 ES: bar@'{@dotless{i}}tono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
263 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
264 @w{@ar{}@strong{tenor}}.
266 @c F: clef de troisi@`eme ligne dropped
269 ES: clave de fa en tercera
270 I: chiave di baritono, F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
273 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
274 @w{@ar{}@strong{f clef}}
277 ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
278 bassleutel, DK: basn@o{}gle, S: basklav, N:
280 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
284 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
286 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
287 an abbreviation for double bass @w{@ar{}@strong{strings}}.
290 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
292 Line connecting a series of notes (shorter than a quarter note). The number of
293 beams determine the note value of the connected notes.
298 \property Score.barNonAuto = ##t
299 \property Voice.TextScript \set #'font-style = #'large
300 \notes\relative c'' {
302 [g16_"1/16" g g g] s16
303 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
304 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
308 ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
311 Note value used for counting, most often half-, fourth- and eighth notes. The
312 base counting value and the number of them per measure is indicated at the
320 \notes\relative c'' { g4 c b a | g1 \bar "||"}
322 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
326 @w{@ar{}@strong{tie}}
330 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
331 accolade, teksthaak, DK: klamme, S: klammer, N:
333 Symbol at the start of a system connecting staves. Curly braces are used
334 for connecting piano staves, angular brackets for connecting parts in an
335 orchestral or choral score.
338 \notes\context GrandStaff <
339 \relative c''\context Staff = SA { \clef treble g4 e c2 }
340 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
344 \context StaffGroup <
345 % \property StaffGroup.minVerticalAlign = #12
346 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
347 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
351 ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
352 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
354 A family of blown musical instruments made of brass all using a cup formed
355 mouth piece. The brass instruments commonly used in a symphony orchestra are
356 trumpet, trombone, french horn and tube.
359 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
360 repercussieteken, DK:
361 vejrtr@ae{}kningstegn, S: andningstecken, N: .
363 Indication of where to breathe in vocal and wind instrument parts.
366 ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
368 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
374 \property Score.barNonAuto = ##t
375 \notes\relative c'' { g\breve }
379 ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
382 ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
383 c-n@o{}gle, S: c-klav, N:
385 Clef symbol indicating the position of the central C. Used on all note
391 \property Score.barNonAuto = ##t
392 \property Score.Clef \override #'full-size-change = ##t
393 \property Score.LyricText \set #'font-style = #'large
395 \context Staff \notes\relative c' {
402 \context Lyrics \lyrics {
403 Soprano Mezzosoprano Alto Tenor Baritone
408 ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
410 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
413 ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
415 An extended, improvisatory style section inserted near the end of
416 movement. The purpose of a cadenza is to give the singer or player a chance to
417 exhibit her technichal skill and not the least her ability to improvise. Since
418 the middle of the 19'th century, however, most cadences have been written down
422 ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
424 @w{@ar{}@strong{counterpoint}}
427 ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
429 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
430 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
433 @w{@ar{}@strong{middle C}}
436 ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
438 Three or more tones sounding simultaneously. In traditional European music the
439 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
440 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
441 chords may be extended with more thirds. Four- @emph{seventh chords} and five
442 tone @emph{ninth} major chords are most often used as dominants
443 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
444 third above the lower notes to define their quality as major or minor. Such
445 chords are denoted open chords
450 \property Score.barNonAuto = ##t
451 \property Voice.TextScript \set #'font-style = #'large
453 \notes\relative c'' {
456 <g_"dimished" bes des>
457 <g_"augmented~" b dis>
458 <g_"seventh-chord~" b d f>
459 <g_"ninth-chord" b d f a> s s2
463 @item chromatic scale
464 ES: escala crom@'atica, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
465 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
467 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
472 \property Score.barNonAuto = ##t
473 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
477 ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
480 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
482 @item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo
483 ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
484 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
486 @w{@ar{}@strong{diatonic scale}}
489 ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
490 sleutel, DK: n@o{}gle, S: klav, N:
492 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
495 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
497 Difference in pitch between a note derived from pure tuning and the same note
498 derived from some other tuning method. @w{@ar{}@strong{temperament}}
501 @w{@ar{}@strong{meter}}
503 @item compound interval
504 ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
505 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
507 Intervals larger than an octave
509 @w{@ar{}@strong{interval}}
512 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
513 complementair interval, DK: komplement@ae{}rinterval, S:
514 komplement@"arintervall (?), N:
516 @w{@ar{}@strong{inverted interval}}
518 @item conjunct movement
519 ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
520 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
522 Melody moving in the narrow steps of the scale;
527 \key g \major \time 4/4
528 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
532 ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
535 @w{@ar{}@strong{harmony}}
538 ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
540 @w{@ar{}@strong{alto}}
543 ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
544 kontrapunkt, S: kontrapunkt, N: .
546 From latin @emph{punctus contra punctum}, note against note. The combination
547 into a single musical fabric of lines or parts which have distinct melodic
548 significance. A frequently used polyphonic technique is imitation, in its
549 strictest form found in the canon needing only one part to be written down
550 while the other parts are performed with a given displacement. Imitation is
551 also the contrapuntal technique used in the @emph{fugue} which, since the
552 music of the baroque era, has been one of the most popular polyphonic
558 \property Score.TimeSignature \override #'style = #'C2/2
559 \notes\context PianoStaff <
560 \context Staff = SA \relative c' {
564 < \context Voice = rha {
566 r1 | r2 r8 g'8 bes d, |
567 cis4 d r8 e!16 f g8 f16 e |
568 f8 g16 a bes8 a16 g a8
570 \context Voice = rhb {
576 \context Staff = SB \relative c' {
579 < \context Voice = lha {
581 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
582 r8 a16 g f8 g16 a bes8 g e! cis' |
585 \context Voice = lhb {
594 ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
595 kontratenor, S: kontratenor, counter tenor, N: kontratenor
597 @w{@ar{}@strong{contralto}}
600 A music copyist did fast freehand scores and parts on preprinted staff lines
601 for performance. Some of their conventions (e.g.: the placement of noteheads
602 on stems) varied slightly from those of engravers. Some of their working
603 methods were superior and could well be adopted by music typesetters. This
604 required more skill than engraving.
607 ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
608 crescendo, S: crescendo, N:@w{ }crescendo.
610 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
611 abbreviation "cresc.".
616 \key g \major \time 4/4
617 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
621 ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
622 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
624 In a separate part notes belonging to another part with the purpose of hinting
625 when to start playing. Usually printed in a smaller type.
628 ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
631 ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
632 capo, DK: da capo, S: da capo, N: .
634 The term indicates repetition of the piece from the beginning to the end or to
635 a certain place marked @emph{fine}. Mostly abbreviated D.C.
638 ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
639 dal segno, S: dal segno, N: .
641 abbreviated d.s. Repetition, not from the beginning, but from another place
642 frequently near the beginning marked by a sign:
647 \property Voice.TextScript \set #'font-style = #'large
648 \key g \major \time 4/4
649 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
653 ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
654 decrescendo, N: decrescendo
656 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
657 or the abbreviation "decresc.".
662 \context Staff \notes\relative c'' {\key g \major \time 4/4
663 d4 \> c b a | \! g1 \bar "|." }
666 @item descending interval
667 ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
668 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
669 fallande intervall, N:
671 An distance between a starting higher note and a lower ending note.
674 ES: escala diat@'onica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
675 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
677 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
678 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
679 keybord are diatonic.
681 The church modes are used in gregorial chant and pre baroque early music but
682 also to some extent in newer jazz music.
687 \property Score.barNonAuto = ##t
688 \property Score.LyricText \set #'font-style = #'large
689 \property Score.TextScript \set #'font-style = #'large
691 \context Staff \notes\relative c' {
693 \property Voice.TextScript \set #'padding = #-10
695 \property Voice.TextScript \set #'padding = #-4
697 \context Lyrics \lyrics { Ionian }
701 \property Score.barNonAuto = ##t
702 \property Score.LyricText \set #'font-style = #'large
703 \property Score.TextScript \set #'font-style = #'large
707 \property Voice.TextScript \set #'padding = #-10
710 \property Voice.TextScript \set #'padding = #-4
712 \context Lyrics \lyrics { Dorian }
716 \property Score.barNonAuto = ##t
717 \property Score.LyricText \set #'font-style = #'large
718 \property Score.TextScript \set #'font-style = #'large
721 \property Voice.TextScript \set #'padding = #-10
724 \property Voice.TextScript \set #'padding = #-4
726 \context Lyrics \lyrics { Phrygian }
730 \property Score.barNonAuto = ##t
731 \property Score.LyricText \set #'font-style = #'large
732 \property Score.TextScript \set #'font-style = #'large
736 \property Voice.TextScript \set #'padding = #-4
738 \property Voice.TextScript \set #'padding = #0
740 \context Lyrics \lyrics { Lydian }
744 \property Score.barNonAuto = ##t
745 \property Score.LyricText \set #'font-style = #'large
746 \property Score.TextScript \set #'font-style = #'large
748 \notes\relative c'' {
750 \property Voice.TextScript \set #'padding = #-4
752 \property Voice.TextScript \set #'padding = #0
754 \context Lyrics \lyrics { Mixolydian }
758 \property Score.barNonAuto = ##t
759 \property Score.LyricText \set #'font-style = #'large
760 \property Score.TextScript \set #'font-style = #'large
762 \notes\relative c'' {
764 \property Voice.TextScript \set #'padding = #-4
766 \property Voice.TextScript \set #'padding = #0
768 \context Lyrics \lyrics { Aeolian }
771 From the beginning of the 17th century the scales used in European
772 compositional music are primarily the major and the minor scales. In the
773 harmonic minor scale type an augmented second (A) occurs between the 6th and
777 \property Score.barNonAuto = ##t
778 \property Score.LyricText \set #'font-style = #'large
779 \property Score.TextScript \set #'font-style = #'large
783 \property Voice.TextScript \set #'padding = #-10
785 \property Voice.TextScript \set #'padding = #-4
787 \context Lyrics \lyrics { Major }
791 \property Score.barNonAuto = ##t
792 \property Score.LyricText \set #'font-style = #'large
793 \property Score.TextScript \set #'font-style = #'large
795 \notes\relative c'' {
797 \property Voice.TextScript \set #'padding = #-4
799 \property Voice.TextScript \set #'padding = #0
801 \context Lyrics \lyrics { "ancient minor" }
805 \property Score.barNonAuto = ##t
806 \property Score.LyricText \set #'font-style = #'large
807 \property Score.TextScript \set #'font-style = #'large
809 \notes\relative c'' {
811 \property Voice.TextScript \set #'padding = #-4
813 \property Voice.TextScript \set #'padding = #0
815 \property Voice.TextScript \set #'padding = #1
819 \context Lyrics \lyrics { "Harmonic minor" }
823 \property Score.barNonAuto = ##t
824 \property Score.LyricText \set #'font-style = #'large
825 \property Score.TextScript \set #'font-style = #'large
827 \notes\relative c'' {
829 \property Voice.TextScript \set #'padding = #-4
831 \property Voice.TextScript \set #'padding = #0
833 \property Voice.TextScript \set #'padding = #-1
835 \property Voice.TextScript \set #'padding = #-4
838 \context Lyrics \lyrics { "Melodic minor" }
841 @item diminished interval
842 ES: intervalo disminu@'{@dotless{i}}do, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
843 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
846 @w{@ar{}@strong{interval}}
849 ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
850 S:@w{ }diminuendo, N:@w{ }diminuendo.
852 @w{@ar{}@strong{decrescendo}}
854 @item disjunct movement
855 ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
856 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
859 Melody moving in steps greater than those of the
860 scale. Opposite of @ar{}@strong{conjunct movement}.
868 \partial 8 e8 | a4. gis8 b a e cis |
872 @item dissonant interval; dissonance
873 ES: intervalo disonante, disonancias,
874 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
875 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
878 @w{@ar{}@strong{harmony}}
880 @item dominant ninth chord
881 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
882 Dominantnoneakkord, NL: dominant noon akkoord, DK:
883 dominantnoneakkord, S: dominantnonackord, N: .
885 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
887 @item dominant seventh chord
888 ES: acorde de s@'eptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
889 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
890 dominantseptimackord, N:
892 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
895 ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
898 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
901 ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
902 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
904 @w{@ar{}@strong{diatonic scale}}
906 @item dot (augmentation dot)
907 ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
910 @w{@ar{}@strong{dotted note}}
913 ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
914 DK: punkteret node, S: punkterad not, N:
916 @w{@ar{}@strong{note value}}
918 @item double appoggiatura
919 ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
920 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
922 @w{@ar{}@strong{appoggiatura}}
924 @item double bar line
925 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
926 dobbeltstreg, S: dubbelstreck, N: .
928 Indicates the end of a section within a movement.
930 @item double dotted note
931 ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
932 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
933 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
935 @w{@ar{}@strong{note value}}
939 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
940 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
942 @w{@ar{}@strong{accidental}}
945 ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
946 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
948 @w{@ar{}@strong{accidental}}
951 ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
952 dobbelttrille, S: dubbeldrill, N: .
954 A simultaneous trill on two notes, usually in the distance of a third.
957 ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
958 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
960 @w{@ar{}@strong{meter}}
963 ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
965 @w{@ar{}@strong{note value}}
968 ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
971 @w{@ar{}@strong{note value}}
974 @w{@ar{}@strong{syntonic comma}}
977 ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
980 ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
981 ottendedelsnode, S: @aa{}ttondelsnot, N: .
983 @w{@ar{}@strong{note value}}
986 ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
987 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
989 @w{@ar{}@strong{note value}}
992 ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
995 Engraving means incising or etching a metal plate for
996 printing. Photoengraving means drawing music with ink in a manner
997 similar to drafting or engineering drawing, using similar tools.
999 The traditional process of music printing is done through cutting in a
1000 plate of metal. Now also the term for the art of music typesetting.
1003 ES: enharm@'onico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
1004 enharmonisk, S: enharmonisk, N: .
1006 Two notes, intervals, or scales are enharmonic if they have different names
1011 \property Score.barNonAuto = ##t
1012 \property Score.TextScript \set #'font-style = #'large
1013 \notes\relative c'' {
1014 gis1_"g sharp" s as1_"a flat" s s
1015 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1019 @item equal temperament
1020 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1021 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1022 temperatur, S: liksv@"avande temperatur, N: .
1024 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1025 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1027 @item expression mark
1028 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1029 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1030 f@"oredragsbeteckning, N: .
1032 Performance indications concerning 1. volume, dynamics (for example
1033 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1034 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1037 ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1040 ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1041 F-n@o{}gle, S: f-klav, N: .
1043 The position between the dots of the key symbol is the line of the F below
1044 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1045 clef symbol indicates that the notes must be played an octave higher (for
1046 example bass recorder) while 8 below the clef symbol indicates playing an
1047 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1051 \property Score.barNonAuto = ##t
1052 \property Staff.Clef \override #'full-size-change = ##t
1053 \property Score.LyricText \set #'font-style = #'large
1068 \context Lyrics \lyrics {
1077 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1080 ES: Calder@'on, I: corona, F: F: point d'orgue, point d'arr@^et,
1081 D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1083 Prolonged note or rest of indefinite duration.
1088 \notes\relative c'' {
1089 a4 b c2^\fermata \bar "|." }
1093 ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1096 @w{@ar{}@strong{interval}}
1099 ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
1102 ES: digitaci@'on, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1103 fingers@ae{}tning, S: fingers@"attning, N: .
1105 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
1113 less than a quarter note. The number of flags determines the
1114 @w{@ar{}@strong{note value}}.
1118 \property Score.barNonAuto = ##t
1119 \property Score.TextScript \set #'font-style = #'large
1120 \notes\relative c'' {
1128 ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1130 @w{@ar{}@strong{accidental}}
1132 @item forefall; backfall
1133 @w{@ar{}@strong{appoggiatura}}
1136 ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1138 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1139 @emph{mezzoforte} (@b{mf}) medium loud.
1142 ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1144 @w{@ar{}@strong{interval}}
1147 ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1149 @w{@ar{}@strong{counterpoint}}
1151 @item functional harmony
1152 ES: armon@'{@dotless{i}}a funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1153 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1155 A system of harmonic analysis. It is based on the idea that, in a given key,
1156 there are only three functionally different chords: tonic (T, the chord on the
1157 first note of the scale), subdominant (S, the chord on the fourth note) and
1158 dominant (D, the chord on the fifth note). Other are considered to be variants
1164 \property Score.barNonAuto = ##t
1165 \property Score.LyricText \set #'font-style = #'large
1166 \property Score.TextScript \set #'font-style = #'large
1168 \context Voice \notes\relative c'' {
1169 < g1 e c > < a f d > < b g e >
1170 < c a f > < d b g > < e c a > < f d b > }
1171 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1175 ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1178 ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1179 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1181 A clef symbol indicating the G above central C. Used on the first and second
1182 note lines. A digit 8 above the clef symbol indicates that the notes must be
1183 played an octave higher while 8 below the clef symbol indicates playing or
1184 singing an octave lower (most tenor parts in choral scores are notated like
1190 \property Score.barNonAuto = ##t
1191 \property Staff.Clef \set #'full-size-change = ##t
1192 \property Score.LyricText \set #'font-style = #'large
1194 \notes\relative c'' {
1204 \context Lyrics \lyrics {
1205 "french violin clef"
1213 ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1214 glissando, N: glissando.
1216 Letting the pitch slide fluently from one note to the other
1219 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1220 NL: versieringen, DK: forsiringer, S: ornament, N: .
1222 Notes printed in small types to indicate that their time values are not
1223 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1226 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1227 S: ackolad, b@"ojd klammer, N: .
1229 @w{@ar{}@strong{brace}}
1231 A combination of two staves with a brace. Usually used for piano music.
1234 ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1240 ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1241 halvnode, S: halvnot, N: .
1243 @w{@ar{}@strong{note value}}
1246 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1247 rust, DK: halvnodespause, S: halvpaus, N: .
1249 @w{@ar{}@strong{note value}}
1251 @item harmonic cadence
1252 ES: cadencia (arm@'onica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1253 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1255 Sequence of chords that terminate a musical phrase or
1256 section. @ar{}@w{}@strong{functional harmony}
1261 \notes\context PianoStaff <
1262 \context Staff = SA \relative c'' {
1265 \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
1266 \property Score.LyricText \set #'font-style = #'large
1268 \context Staff = SB \relative c {
1270 \partial 4 c4 | f, g c2
1272 \context Lyrics \lyrics { T S D T } >
1276 ES: armon@'{@dotless{i}}a , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1277 samklang, S: samklang, N:
1279 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1280 @emph{consonances} and @emph{dissonances}.
1287 \property Score.barNonAuto = ##t
1288 \property Score.TextScript \set #'font-style = #'large
1289 \context Voice \notes\relative c'' {
1296 <g1_"decime" b'> s s
1305 \property Score.barNonAuto = ##t
1306 \property Score.TextScript \set #'font-style = #'large
1307 \context Voice \notes\relative c'' {
1314 Three note harmony @w{@ar{}@strong{chord}}
1317 ES: homofon@'{@dotless{i}}a, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1320 Music in which one voice leads melodically followed by the other voices more
1321 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1324 ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1327 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1328 diminished or augmented. The augmented fourth and the diminished fifth are
1329 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1330 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1336 \property Score.barNonAuto = ##t
1337 \property Score.LyricText \set #'font-style = #'large
1338 \property Score.TextScript \set #'font-style = #'large
1340 \context Voice \notes\relative c'' {
1345 < gis^"dimin" bes > s
1346 < g!^"minor" bes > s
1350 \context Lyrics \lyrics {
1351 unisone second second second third third third third }
1357 \property Score.barNonAuto = ##t
1358 \property Score.LyricText \set #'font-style = #'large
1359 \property Score.TextScript \set #'font-style = #'large
1361 \context Staff \notes\relative c'' {
1362 < g1^"perfect" c > s
1364 < g^"perfect" d' > s
1366 < gis^"dimin" es' > s
1367 < g!^"minor" es' > s
1371 \context Lyrics \lyrics {
1372 fourth fourth fifth fifth sixth sixth sixth sixth }
1378 \property Score.barNonAuto = ##t
1379 \property Score.LyricText \set #'font-style = #'large
1380 \property Score.TextScript \set #'font-style = #'large
1382 \context Staff \notes\relative c'' {
1383 < gis1^"dimin" f'! > s
1384 < g!^"minor" f'! > s
1385 < g^"major" fis' > s
1389 < g^"minor" bes' > s
1392 \context Lyrics \lyrics {
1393 seventh seventh seventh octave none none decime decime }
1396 @item inverted interval
1397 ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1398 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1400 The difference between an interval and an octave.
1405 \property Score.barNonAuto = ##t
1406 \property Score.TextScript \set #'font-style = #'large
1407 \context Staff \notes\relative c'' {
1408 < g1_"second" a > s < g'_"seventh" a, > s \bar "||"
1409 < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
1410 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
1414 @item just intonation
1415 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1416 stemming, DK: ren stemning, S: ren st@"amning, N: .
1418 Tuning system in which the notes are obtained by adding and subtracting
1419 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1422 ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1425 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1426 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1429 ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1430 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1431 S: tonartssignatur, N: .
1433 The sharps or flats appearing at the beginning of each staff indicating the
1434 key of the music. @w{@ar{}@strong{accidental}}
1437 ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1440 Very slow in tempo, usually combined with great
1441 expressiveness. @emph{Larghetto} less slow than largo.
1444 ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1447 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1448 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1449 upwards) to the tonic scale degree.
1451 @item ledger line; leger line
1453 ES: l@'{@dotless{i}}neas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1454 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1456 A ledger line is an extension of the staff.
1461 \property Score.barNonAuto = ##t
1462 \notes\relative c'' { a,1 s c'' }
1466 ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1469 To be performed without any perceptible interruption between the notes (a)
1470 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1471 @w{@ar{}@strong{staccato}} (d)
1476 \property Score.barNonAuto = ##t
1478 \context Staff \notes\relative c'' {
1480 c4-- d-- e-- \bar "||"
1481 c4-.( d-. )e-. \bar "||"
1482 c4-. d-. e-. \bar "||"
1484 \context Lyrics \lyrics {
1485 \property Lyrics . LyricText \set #'font-style = #'large
1486 a "" "" b "" "" c "" "" d }
1490 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1493 ES: estanque de lilas,
1494 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1495 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1497 A pond with lilies floating in it, also the name of a music typesetter.
1500 ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1503 @w{@ar{}@strong{staff}}
1505 @item long appoggiatura
1506 ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1507 forslag, S: l@aa{}ngt f@"orslag, N: .
1509 @w{@ar{}@strong{appoggiatura}}
1512 ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1514 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1519 \property Score.barNonAuto = ##t
1520 \notes\relative c'' {
1521 \property Voice.NoteHead \set #'style = #'mensural
1526 @item major interval
1527 ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1528 groot interval, DK: stort interval, S: stort intervall, N: .
1530 @w{@ar{}@strong{interval}}
1533 ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1535 @w{@ar{}@strong{diatonic scale}}
1537 @item meantone temperament
1538 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1539 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1541 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1542 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1543 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1544 tuning keyboard instruments for performance of pre-1650 music.
1547 ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1549 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1550 bears an accent. Such groups in numbers of two or more recur consistently
1551 throughout the composition and are marked from each other by
1552 bar-lines. @w{@ar{}@strong{meter}}
1555 ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1558 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1559 a third from that of another chord. For example the tonic chord may be
1560 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1561 harmony}} @w{@ar{}@strong{relative key}}.
1563 @item melodic cadence
1565 @w{@ar{}@strong{cadenza}}
1568 ES: comp@'as, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1571 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1572 which remains unaltered throughout a composition or a section of it. For
1573 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1574 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1575 those. According to whether there are two, three or four units to the measure,
1576 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1577 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1582 \notes\relative c'' {
1585 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
1589 \notes\relative c' {
1592 f8 f f f a16 g a f |
1593 c'8 c c c e16 d e c \bar "||"}
1597 \notes\relative c'' {
1600 d4 b8 g b d d c a4 |
1601 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
1605 ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1606 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1608 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1611 @item metronomic indication
1612 ES: indicaci@'on metron@'omica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1613 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1615 Exact tempo indication (in beats per minute). Also denoted by
1616 M.M. (M@"alzel's Metronom)
1619 ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1620 mezzosopran, S: mezzosopran, N: mezzosopran.
1622 The female voice between @w{@ar{}@strong{soprano}} and
1623 @w{@ar{}@strong{contralto}}.
1626 ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1627 enstreget c, S: ettstruket c, N:
1629 First C below the 440 Hz A.
1634 \property Score.barNonAuto = ##t
1635 \property Staff.Clef \set #'full-size-change = ##t
1636 \notes\relative c' {
1643 @item minor interval
1644 ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1645 interval, DK: lille interval, S: litet intervall, N: .
1647 @w{@ar{}@strong{interval}}
1650 ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1652 @w{@ar{}@strong{diatonic scale}}
1655 ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1657 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1660 ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1663 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1664 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1665 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1669 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1672 @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.TimeSignature \override #'style = #'C2/2
1685 \property Score.TextScript \set #'font-style = #'large
1686 \notes\relative c'' {
1689 \partial 8 g16_"------" fis |
1690 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1691 g8 g,16 a b8 cis d16 s
1696 ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1698 Greater musical works like @w{@ar{}@strong{symphony}} and
1699 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1700 independant pieces called movements.
1703 ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1704 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1709 \notes\relative c'' {
1711 \property Score.skipBars=##t R1*3
1715 @item mixolydian mode
1716 @w{@ar{}@strong{diatonic scale}}
1719 ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1720 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1722 @w{@ar{}@strong{accidental}}
1724 @item neighbour tones
1725 @w{@ar{}@strong{appoggiatura}}
1728 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1730 @w{@ar{}@strong{interval}}
1733 @w{@ar{}@strong{legato}}
1736 ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1738 Notes are signs by means of which music is fixed in writing. The term is also
1739 used for the sound indicated by a note, and even for the key of the piano
1740 which produces the sound. However, a clear distinction between the terms tone
1741 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1745 ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1746 nootballetje, DK: nodehovede, S: nothuvud, N: .
1748 A head like sign which indicates pitch by its position on a
1749 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1750 by a variety of shapes such as hollow or black heads with or without
1751 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1752 instruments (often having no defined pitch) the note head may indicate the
1756 ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1757 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1759 Note values (durations) are measured as fractions, normally 1/2, of the next
1760 higher note value. The longest duration normally used is called @emph{brevis},
1761 but sometimes (mostly in pre baroque music) the double length note value
1762 @emph{longa} is used.
1767 \property Score.TextScript \set #'font-style = #'large
1768 \property Score.barNonAuto = ##t
1769 \notes\relative c'' {
1770 \property Voice.NoteHead \override #'style = #'mensural
1771 g\longa_"longa" g\breve_"breve"
1772 \property Voice.NoteHead \revert #'style
1773 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1774 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1778 \property Score.TextScript \set #'font-style = #'large
1779 \property Score.barNonAuto = ##t
1780 \notes\relative c'' {
1781 r\longa_"longa" r\breve_"breve"
1782 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1783 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1786 An augmentation dot after a note multiplies the duration by one and a
1787 half. Another dot adds yet a fourth of the duration.
1792 \property Score.TextScript \set #'font-style = #'large
1793 \notes\relative c'' {
1795 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
1796 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
1799 Alternatively note values may be subdivided by other ratios. Most common is
1800 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1801 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1807 \property Score.TextScript \set #'font-style = #'large
1808 \notes\relative c'' {
1810 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
1811 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
1813 \times 3/2 {g4_"duplets" g} |
1815 \times 6/4 {g8_"quadruplets" g g g} |
1816 g8 g g g g4 \bar "||"}
1823 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1826 ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1828 @w{@ar{}@strong{interval}}
1830 @item ornament; embellishment; accessory
1832 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1833 NL: versiering, DK: forsiring, S: ornament, N: .
1835 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1836 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1837 middle of the 19th century and onwards the trill is performed with the main
1838 note first while in the music from the preceding baroque and classic periods
1839 the upper note is played first.
1843 \context Staff = sa {
1844 \property Score.TextScript \set #'font-style = #'large
1845 \notes\relative c'' {
1846 c2._"pre-1850" b4\trill | c1 \bar "||"
1847 c2._"post-1850" b4\trill | c1 \bar "||"
1850 \notes\relative c'' {
1851 c2. c32 b c b c b c b | c1
1852 c2. b32 c b c \times 4/5 { b c b c b } | c1
1857 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1858 @emph{prall} (inverted mordent).
1864 \context Staff = sa {
1865 \property Score.TextScript \set #'font-style = #'large
1866 \notes\relative c'' {
1867 a4_"turn" b\turn c2 \bar "||"
1868 g4_"mordent" a b\mordent a \bar "||"
1869 e'4_"prall" d\prall c2 \bar "||"
1872 \notes\relative c'' {
1875 e'4 [e8 ~ e32 d e d] c2
1880 @w{@ar{}@strong{appoggiatura}}
1883 ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1885 Ossia (otherwise) marks an alternative. It is an added staff or piano
1886 score, usually only a few measures long, which presents another version
1887 of the music, for example for small hands.
1890 ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1892 1. In instrumental or choral music the music for the single instrument
1893 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1894 melodic line of the contrapuntal web.
1897 ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1900 A family of musical instruments which are played on by striking or
1901 shaking. Percussion instruments commonly used in a symphony orchestra are
1902 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1903 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1906 @item perfect interval
1907 ES: intervalo justo,
1908 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1909 interval, DK: rent interval, S: rent intervall, N: .
1911 @w{@ar{}@strong{interval}}
1914 ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1916 A natural division of the melodic line, comparable to a sentence of speech.
1919 ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1922 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1923 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1926 ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1928 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1929 @emph{mezzopiano} (@b{mp}) medium soft.
1932 ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1936 ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1937 pizzicato, S: pizzicato.
1939 Play by plucking the strings.
1942 ES: polifon@'{@dotless{i}}a, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1945 Music written in a combination of several simultaneous voices (parts) of a
1946 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1949 @w{@ar{}@strong{legato}}
1952 ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1953 presto, S: presto, N: .
1955 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1956 denotes the highest possible degree of speed.
1958 @item Pythagorean comma
1959 ES: coma pitag@'orico,
1960 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1961 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1963 A sequence of fifths starting on C eventually circles back to C, but this C,
1964 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1965 obtained by adding 7 octaves. The difference between those two pitches is
1966 called the Pythagorean comma.
1969 ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1972 @w{@ar{}@strong{note value}}
1975 ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1976 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1978 @w{@ar{}@strong{note value}}
1981 ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1982 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1984 @w{@ar{}@strong{note value}}
1987 ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S:
1990 @w{@ar{}@strong{note value}}
1993 ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1994 rallentando, S: rallentando, N: rallentando.
1996 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1999 ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
2000 paralleltoneart, S: parallelltonart, N: .
2002 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
2003 the same @w{@ar{}@strong{signature}}.
2008 \property Score.barNonAuto = ##t
2009 \property Score.TextScript \set #'font-style = #'large
2010 \notes\relative c' {
2012 es1_"e flat major" f g as bes c d es
2015 c,1_"c minor" d es f g a! b! c \bar "||"
2020 ES: barra de repetici@'on, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2021 gen@-ta@-gel@-se, S: repris, N: .
2028 \notes\relative c'' {
2029 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2033 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
2034 @c specify the rest's value.
2036 ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2038 @w{@ar{}@strong{note value}}
2041 ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2043 (a) metrical rhythm in which every time value is a multiple or fraction of a
2044 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2045 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2046 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2047 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2048 accent. In modern notation such music appears as a free alternation of
2049 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2050 common metrical unit (beat).
2053 ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2054 ritardando, S: ritardando, N: .
2056 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2059 ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2062 Immediate reduction of speed.
2065 ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2067 @w{@ar{}@strong{diatonic scale}}
2070 ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2071 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2073 Names and symbols used in harmonic analysis to denote tones of the scale as
2074 roots of chords. The most important are degrees I = tonic (T), IV =
2075 sub@-do@-mi@-nant (S) and V = dominant (D).
2080 \property Score.barNonAuto = ##t
2081 \property Score.LyricText \set #'font-style = #'large
2082 %\property Lyrics.minVerticalAlign = #8
2084 \context Staff \notes\relative c' {
2086 \context Lyrics \lyrics {
2087 < { I II III IV V VI VII I }
2092 @w{@ar{}@strong{functional harmony}}
2095 ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2098 A copy of orchestral, choral or chamber music showing what each instrument is
2099 to play, each voice to sing, having each part arranged one underneath the
2100 other on different @w{@ar{}@strong{stave}}s.
2103 ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2105 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2106 @w{@ar{}@strong{diatonic scale}} consists of alternating
2107 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2108 of a se@-cond depends on the scale degrees in question.
2111 ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2114 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2115 interval in European composed music. The interval between two neighbouring
2116 tones on the piano keyboard - including black and white keys - is a
2117 semitone. An octave may be divided into 12
2118 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2123 \property Score.barNonAuto = ##t
2124 \notes\relative c'' { g1 gis s a bes s b c }
2128 ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2130 @w{@ar{}@strong{interval}}
2132 @item sextuplet, sextolet
2133 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2136 @w{@ar{}@strong{note value}}
2139 ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2141 @w{@ar{}@strong{accidental}}
2143 @item short appoggiatura
2144 @w{@ar{}@strong{appoggiatura}}
2146 @item sixteenth note
2147 ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2148 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2151 @w{@ar{}@strong{note value}}
2153 @item sixteenth rest
2154 ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2155 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2156 sextondelspaus, N: .
2158 @w{@ar{}@strong{note value}}
2161 ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2163 @w{@ar{}@strong{interval}}
2165 @item sixty-fourth note
2167 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2168 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2169 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2170 sextiofj@"ardedelsnot, N: .
2172 @w{@ar{}@strong{note value}}
2174 @item sixty-fourth rest
2175 ES: silencia de semifusa,
2176 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2177 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2178 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2179 sextiofj@"ardedelspaus, N: .
2181 @w{@ar{}@strong{note value}}
2184 ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2185 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2186 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2188 A slur above or below a group of notes indicates that they are to be played
2189 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2193 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2194 solmisation, S: solmisation, N: .
2196 General term for systems of designating the degrees of the
2197 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2198 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2199 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2202 ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2204 In its present-day meaning a sonata denotes an instrumental composition for
2205 piano or for some other instrument with piano accompaniment, which consists of
2206 three or four independant pieces, called movements.
2209 ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2210 sonatevorm, DK: sonateform, S: sonatform, N: .
2212 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2213 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2214 falls in three sections called @emph{exposition}, @emph{development} and
2215 @emph{recapitulation}. In the exposition the composer introduces his musical
2216 ideas, consisting of a number of themes; in the development section he
2217 "develops" this material, and in the recapitulation he repeats the exposition,
2218 with certain modifications however. The exposition contains a number of themes
2219 which fall into two groups, often called first and second subject. Other
2220 melodies occurring in each group are considered as continuations of these
2221 two. The second theme is in another key, normally in the key of the
2222 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2223 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2224 tonic is @w{@ar{}@strong{minor}}.
2227 ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2229 The highest female voice.
2232 ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2233 staccato, S: staccato, N:
2235 Playing the note(s) short. Staccato is indicated by a dot above or below the
2243 \notes\relative c'' {
2245 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2250 ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2251 partij, DK: nodesystem, S: notsystem, N: .
2253 pl. staves. A series of (normally 5) horizontal lines upon and between
2254 which the musical notes are written, thus indicating (in connection
2255 with a @w{@ar{}@strong{clef}}) their pitch. Staves for
2256 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2259 ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2262 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2263 note. @w{@ar{}@strong{beam}}
2268 \property Score.autoBeaming = ##f
2269 \property Score.barNonAuto = ##t
2270 \property Score.TextScript \set #'font-style = #'large
2271 \notes\relative c'' {
2280 ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2283 A family of stringed musical instruments played with a bow. Strings commonly
2284 used in a symphony orchestra are violin, viola, violoncello and double bass.
2287 ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2288 D: betonet taktslag, S: betonat taktslag, N: .
2290 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2291 @w{@ar{}@strong{rhythm}}
2294 ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2295 subdominant, S: subdominant, N: .
2297 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2301 ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2302 Submediant, S: submediant, N: .
2304 The sixth @w{@ar{}@strong{scale degree}}.
2307 ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2310 The seventh @w{@ar{}@strong{scale degree}}
2313 ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2314 superdominant, S: superdominant, N: .
2316 The sixth @w{@ar{}@strong{scale degree}}
2319 ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2320 supertonika, S: supertonika, N: .
2322 The second @w{@ar{}@strong{scale degree}}.
2325 ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2328 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2331 ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2333 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2334 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2335 rhythm rests upon the grouping of equal beats into groups of two or three,
2336 with a regularly recurrent accent on the first beat of each group. Any
2337 deviation from this scheme is felt as a disturbance or contradiction between
2338 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2343 \property Score.TextScript \set #'font-style = #'large
2345 \notes\relative c' {
2348 e c'4 e,8 c'4 e,8 c' ( | ) c2
2352 @item syntonic comma; dydimic comma
2354 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2355 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2357 Difference between the natural third and the third obtained by Pythagorean
2358 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2361 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2364 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2365 writing down of keyboard, chamber, choral or orchestral music.
2368 ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2369 DK: temperatur, S: temperatur, N: .
2371 Systems of tuning in which the intervals deviate from the accoustically pure
2372 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2375 @item tempo indication
2376 ES: indicaci@'on de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2377 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2378 tempobeteckning, N: .
2380 The rate of speed of a composition or a section thereof, ranging from the
2381 slowest to the quickest, as is indicated by tempo marks as
2382 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2383 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2386 ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2388 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2391 ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2393 @w{@ar{}@strong{note value}}
2396 ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2398 @w{@ar{}@strong{interval}}
2400 @item thirty-second note
2402 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2403 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2404 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2406 @w{@ar{}@strong{note value}}
2408 @item thirty-second rest
2409 ES: silencio de fusa,
2410 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2411 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2412 trettiotv@aa{}ondelspaus, N: .
2414 @w{@ar{}@strong{note value}}
2416 @item thorough bass; figured bass
2418 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2419 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2421 A method of indicating an accompaniment part by the bass notes only, together
2422 with figures designating the chief @w{@ar{}@strong{interval}}s and
2423 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2428 \context GrandStaff <
2429 \context Staff = lh \notes\relative c'' {
2433 < \context Voice = rha {
2436 \context Voice = rhb {
2438 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2442 \context Staff = rh \notes\relative c' {
2445 es8 c () c bes () bes as () as g16 f | es4
2447 \context Lyrics \lyrics {
2448 \property Lyrics . LyricText \set #'font-style = #'Large
2449 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
2450 < { "" "6" "4" "6" "4" "6" "4" "6" }
2451 { "" "" "2" "" "2" "" "2" "" } >
2457 ES: ligadura de prolongaci@'on,
2458 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2459 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2461 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2462 connects two succesive notes of the same pitch, and which has the function of
2463 uniting them into a single sound equal to the combined durations.
2468 \property Score.barNonAuto = ##t
2469 \notes\relative c'' { g2 ~ g4. }
2472 @item time signature
2474 ES: cifra indicadora de comp@'as,
2475 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2476 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2477 taktartssignatur, N: .
2479 @w{@ar{}@strong{meter}}
2482 ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2484 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2485 a primary building material of music. Music from the 20th century may be based
2486 on non tone related sounds.
2489 ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2491 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2494 ES: transposici@'on, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2495 transposition, S: transponering, N: .
2497 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2504 \notes\relative c'' {
2506 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2507 \transpose bes\relative c'' {
2509 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2514 ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2515 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2518 @w{@ar{}@strong{G clef}}
2521 ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2524 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2525 the same tone, produced by a rapid up-and-down movement movement of the bow
2526 (a). The term is also used for the rapid alternation (b) between two notes of
2527 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2528 (@w{@ar{}@strong{interval}}).
2533 \property Score.barNonAuto = ##t
2534 \property Score.TextScript \set #'font-style = #'large
2535 \notes\relative c' {
2536 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2537 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2538 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2543 ES: tr@'{@dotless{i}}ada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2544 drieklank, DK: treklang, S: treklang, N:
2546 @w{@ar{}@strong{chord}}
2550 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2551 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2553 @w{@ar{}@strong{ornament}}
2556 ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2557 maatsoort, DK: tredelt takt, S: tretakt, N: .
2559 @w{@ar{}@strong{meter}}
2562 ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2564 @w{@ar{}@strong{note value}}
2567 ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2570 @w{@ar{}@strong{interval}}
2573 ES: diapas@'on, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2574 stemmegaffel, S: st@"amgaffel, N: .
2576 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2577 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2579 @item turn; gruppetto
2581 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2585 ES: un@'{@dotless{i}}sono, 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 ES: entrada anacr@'usica, I: anacrusi, F: anacrouse, lev@'ee, 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 ES: voz, 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 ES: tiempo d@'ebil, 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 ES: redonda, 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 ES: silencio de redonda, 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 ES: tono, 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 ES: maderas, I: legni, F: les 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.