''

[lilypond.git] / Documentation / user / glossary.tely

\input texinfo
@setfilename glossary.info

@html
<!--- @@WEB-TITLE@@=Glossary --->
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@c @pagesizes 10.3in

@c @everyheading @| @thispage @|
@c @evenheading @thispage @| @| 
@c @oddheading @| @| @thispage @|

@ignore
 glossary by Christian Mondrup

 spanish by David Gonz@'alez <dgonzal@quanta.net.py> 

@end ignore


@itemize 
@item ES - Spanish
@item I - Italian 
@item F - French 
@item D - German 
@item NL - Nederlands 
@item UK - British English 
@item DK - Danish 
@item S - Swedish
@item N - Norwegian 
@end itemize

@ 

@macro ar{}
@iftex
@tex $\\Rightarrow$ @end tex
@end iftex
@ifhtml
-->
@end ifhtml
@ifinfo
-->
@end ifinfo
@end macro

A reference is indicated by @ar{} followed by the term in @strong{boldface}. 

@table @strong

@item A
ES: la
: la, F: la,  D: A, a, NL: a, DK: a, S: a, N: a.

@item accent
ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N: 

The stress of one tone over others.

@c F: how to distinguish between accidental and key-sig alteration?

@item accidental
ES: alteraci@'on, I: alterazione, accidente, F: alt@'eration D: Vorzeichen,
Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt 
f@"ortecken, N:

@c F: alt@'eration accidentelle,  D: Vorzeichen, Versetzungszeichen,
@c Akzidenz, NL: toevallig teken, I: accidento.  

A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
flat lowers it by a whole tone. A natural cancels the effect of a previous
accidental.

@

@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' {
  gis1_"sharp" s s2
  gisis1_"db. sharp" s s2
  ges1_"flat" s s2
  geses1_"db. flat" s s2 
  g!1_"natural" s2
}
@end lilypond
@item accelerando
ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
NL: accelerando, DK: accelerando, S: accelerando, N:

Still faster tempo.


@item adagio
ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
adagio, N: adagio.

It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
movement in slow tempo, esepecially the scond (slow) movement of
@w{@ar{}@strong{sonata}s}, symphonies etc.

@item allegro
ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
DK: allegro, S: allegro, N: allegro.

It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
especially the first and last movements of a @w{@ar{}@strong{sonata}}.

@item alto
ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.

A female voice of low range (@emph{contralto}). Originally the alto was a high
male voice (hence the name) which by the use of falsetto reached the height of
the female voice. This type of voice is also known as @w{@ar{}@strong{counter
tenor}}.

@item alto clef
ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:

C clef setting central C on the middle line of the staff 
@w{@ar{}@strong{C clef}}

@item ancient minor scale
I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .

@

@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\notes\relative c'' {
a1 b c d e f g a }
@end lilypond

@item andante
ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
N: andante. 

walking tempo/character

@item appoggiatura
ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
DK: forslag, S: f@"orslag, N:

Ornamental note, usually a second, that is melodically connected with the main
note that follows it. In music before the 19'th century a. were usually
performed on the beat, after that mostly before the beat. While the short
a. is performed as a short note regardless of the duration of the main note
the duration of the long a. is proportionate to that of the main note. 

@

@lilypond[13pt,eps]
\context Voice\notes\relative c'' {
\key d \major
\time 4/4

\property Score.TextScript \set #'font-style = #'large
<d4_"notation" a fis> r 
{ \property Voice.Stem \override #'flag-style = #""
  \grace g16
  \property Voice.Stem \revert #'flag-style
   }
fis8 e16 fis 
{ \property Voice.Stem \override #'flag-style = #""
  \grace a16
  \property Voice.Stem \revert #'flag-style
  }
g8 fis16 g | a4 \bar "||" }
\notes\relative c'' {
<d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
@end lilypond

An appoggiatura may have more notes preceding the main note.

@

@lilypond[13pt,eps]
\notes\relative c'' {
  \key as \major
  \time 2/4
  \property Score.TextScript \set #'font-style = #'large
  \grace { bes16 } as8_"notation" as16 bes as8 g |
  \grace { [as16 ( bes] } < ) c4 as > 
  \grace { [as16 ( bes] } < ) c4 as > \bar "||"
  \grace { bes16 } as8_"performance" as16 bes as8 g |
  < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
    \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
  \bar "||"
}
@end lilypond

@item arpeggio
ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:

@

@lilypond[13pt,eps]
  \notes \context PianoStaff <
  \context Staff = SA \relative c'' { 
    \time 4/4
    \clef treble 
    r8 g16 c e g, c e r8 g,16 c e g, c e |
    r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
  \context Staff = SB \relative c' {
    \clef bass 
    < \context Voice = va { 
        \stemUp 
        r16 e8. () e4 r16 e8. () e4 |
        r16 d8. () d4 r16 d8. () d4 }
      \context Voice = vb { 
        \stemDown 
        c2 c | c c } >
  }
>
@end lilypond

@item ascending interval
ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:

A distance between a starting lower note and a higher ending note.

@item augmented interval
ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
@"overstigande intervall, N:

@w{@ar{}@strong{interval}}

@item autograph 
I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
h@aa{}ndskrift, autograf, S: handskrift, N: .

1. A manuscript in the composer's own hand. 2.  Music prepared for
photoreproduction by freehand drawing, with only the aid of a
straightedge ruler and T-square, which attempts to emulate
engraving. This required more skill than did engraving.

@item B
ES: si, I: si, F: si,  D: H, h, NL: b, DK: h, S: h, N: h.

@item backfall; forefall 
@w{@ar{}@strong{appoggiatura}}

@item bar line
ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
maatstreep, DK: taktstreg, S: taktstreck, N:

@item bar
ES: comp@'as, @w{@ar{}@strong{measure}}

@item baritone
ES: bar@'{@dotless{i}}tono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
baryton.

The male voice intermediate between the @w{@ar{}@strong{bass}} and the
@w{@ar{}@strong{tenor}}.

@c  F: clef de troisi@`eme ligne dropped

@item baritone clef
ES:  clave de fa en tercera
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:
barytonklav, N: .

C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
@w{@ar{}@strong{f clef}}

@item bass clef
ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
bassleutel, DK: basn@o{}gle, S: basklav, N:

A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
clef}}

@item bass
I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.

1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
an abbreviation for double bass @w{@ar{}@strong{strings}}.

@item beam
I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:

Line connecting a series of notes (shorter than a quarter note). The number of
beams determine the note value of the connected notes.

@

@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\property Voice.TextScript \set #'font-style = #'large
\notes\relative c'' { 
  [g8_"1/8" g g g] s16
  [g16_"1/16" g g g] s16
  [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
  [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
@end lilypond

@item beat
ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
taktslag, N:

Note value used for counting, most often half-, fourth- and eighth notes. The
base counting value and the number of them per measure is indicated at the
start of the music.

@

@lilypond[13pt,eps]
\key g \major
\time 4/4
\notes\relative c'' { g4 c b a | g1 \bar "||"}
\time 3/8
\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond

@item bind
@w{@ar{}@strong{tie}}

@item brace
ES:  llave, corchete
I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
accolade, teksthaak, DK: klamme, S: klammer, N:

Symbol at the start of a system connecting staves. Curly braces are used
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.

@lilypond[13pt,eps]
\notes\context GrandStaff < 
  \relative c''\context Staff = SA  { \clef treble g4 e c2 }
  \relative c \context Staff = SB { \clef bass c1 \bar "|." } > 
@end lilypond

@lilypond[13pt,eps] 
\context StaffGroup < 
%  \property StaffGroup.minVerticalAlign = #12
  \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
  \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } > 
@end lilypond

@item brass
ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:

A family of blown musical instruments made of brass all using a cup formed
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn and tube.

@item breath mark
I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
repercussieteken, DK:
vejrtr@ae{}kningstegn, S: andningstecken, N: .

Indication of where to breathe in vocal and wind instrument parts.

@item breve
ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:

@w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
in pre-1650 music.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\notes\relative c'' { g\breve } 
@end lilypond

@item C
ES: do, I: do, F: ut,  D: C, c, NL: c, DK: c, S: c, N: c

@item C clef
ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
c-n@o{}gle, S: c-klav, N:

Clef symbol indicating the position of the central C. Used on all note
lines.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.Clef \override #'full-size-change = ##t
\property Score.LyricText \set #'font-style = #'large
\addlyrics
\context Staff \notes\relative c' { 
  \clef soprano c1 
  \clef mezzosoprano c 
  \clef alto c 
  \clef tenor c 
  \clef baritone c 
}
\context Lyrics \lyrics { 
  Soprano Mezzosoprano Alto Tenor Baritone 
}
@end lilypond

@item cadence
ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .

@w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}

@item cadenza
ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .

An extended, improvisatory style section inserted near the end of
movement. The purpose of a cadenza is to give the singer or player a chance to
exhibit her technichal skill and not the least her ability to improvise. Since
the middle of the 19'th century, however, most cadences have been written down
by the composer.

@item canon
ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .

@w{@ar{}@strong{counterpoint}}

@item cent
ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .

Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}

@item central C
@w{@ar{}@strong{middle C}}

@item chord
ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .

Three or more tones sounding simultaneously. In traditional European music the
base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
chords may be extended with more thirds. Four- @emph{seventh chords} and five
tone @emph{ninth} major chords are most often used as dominants
(@w{@ar{}@strong{functional harmony}}). A special case is chords having no
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Voice.TextScript \set #'font-style = #'large
\time 4/4
\notes\relative c'' {
  <g1_"major" b d> 
  <g_"minor" bes d> 
  <g_"dimished" bes des>
  <g_"augmented~" b dis>
  <g_"seventh-chord~" b d f>
  <g_"ninth-chord" b d f a> s s2
}
@end lilypond

@item chromatic scale
ES: escala crom@'atica, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .

A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond

@item chromaticism
ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
kromatik, N:

Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).

@item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo
ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:

@w{@ar{}@strong{diatonic scale}}

@item clef
ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
sleutel, DK: n@o{}gle, S: klav, N:

@w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}

@item comma
I: comma, F: comma,  D: Komma, NL: komma, DK: komma, S: komma, N:

Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @w{@ar{}@strong{temperament}}

@item common meter
@w{@ar{}@strong{meter}}

@item compound interval
ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .

Intervals larger than an octave

@w{@ar{}@strong{interval}}

@item complement
I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
complementair interval, DK: komplement@ae{}rinterval, S:
komplement@"arintervall (?), N:

@w{@ar{}@strong{inverted interval}}

@item conjunct movement
ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:

Melody moving in the narrow steps of the scale;

@

@lilypond[13pt,eps] 
\key g \major \time 4/4
\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond

@item consonance
ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
konsonans, N:

@w{@ar{}@strong{harmony}}

@item contralto
ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:

@w{@ar{}@strong{alto}}

@item counterpoint
ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
kontrapunkt, S: kontrapunkt, N: .

From latin @emph{punctus contra punctum}, note against note. The combination
into a single musical fabric of lines or parts which have distinct melodic
significance. A frequently used polyphonic technique is imitation, in its
strictest form found in the canon needing only one part to be written down
while the other parts are performed with a given displacement. Imitation is
also the contrapuntal technique used in the @emph{fugue} which, since the
music of the baroque era, has been one of the most popular polyphonic
composition methods.

@

@lilypond[13pt,eps]
\property Score.TimeSignature \override #'style = #'C2/2
\notes\context PianoStaff <
  \context Staff = SA \relative c' { 
    \key bes \major
    \time 4/4
    \clef treble 
    < \context Voice = rha {
        \stemUp
        r1 | r2 r8 g'8 bes d, | 
        cis4 d r8 e!16 f g8 f16 e |
        f8 g16 a bes8 a16 g a8 
      }
      \context Voice = rhb { 
        \stemDown
        r1 | r | r | r2 s8
      }
    >
  }
  \context Staff = SB \relative c' {
    \clef bass 
    \key bes \major
    < \context Voice = lha {
        \stemUp
        r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
        r8 a16 g f8 g16 a bes8 g e! cis' |
        d4. e!8 f 
      }
      \context Voice = lhb { 
        \stemDown 
        r1 | r | r | r2 s8
      } >
  }
>
@end lilypond

@item counter tenor
ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
kontratenor, S: kontratenor, counter tenor, N: kontratenor

@w{@ar{}@strong{contralto}}

@item Copying, Music
A music copyist did fast freehand scores and parts on preprinted staff lines
for performance. Some of their conventions (e.g.: the placement of noteheads
on stems) varied slightly from those of engravers. Some of their working
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.

@item crescendo
ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
crescendo, S: crescendo, N:@w{ }crescendo.

Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation "cresc.".

@

@lilypond[13pt,eps] 
\key g \major \time 4/4
\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
@end lilypond

@item cue-notes
ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:

In a separate part notes belonging to another part with the purpose of hinting
when to start playing.  Usually printed in a smaller type.

@item D
ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d

@item da capo
ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
capo, DK: da capo, S: da capo, N: .

The term indicates repetition of the piece from the beginning to the end or to
a certain place marked @emph{fine}. Mostly abbreviated D.C.

@item dal segno
ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
dal segno, S: dal segno, N: .

abbreviated d.s. Repetition, not from the beginning, but from another place
frequently near the beginning marked by a sign:

@

@lilypond[13pt,eps] 
\property Voice.TextScript \set #'font-style = #'large
\key g \major \time 4/4
\notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_"d.s." \bar "|." }
@end lilypond

@item decrescendo
ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
decrescendo, N: decrescendo

Decreasing tone volume. Indicated by a leftwards opening horizontal wedge  
or the abbreviation "decresc.".

@

@lilypond[13pt,eps] 
\context Staff \notes\relative c'' {\key g \major \time 4/4
 d4 \> c b a | \! g1 \bar "|." }
@end lilypond

@item descending interval
ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
fallande intervall, N:

An distance between a starting higher note and a lower ending note.

@item diatonic scale
ES: escala diat@'onica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:

A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
@w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
keybord are diatonic.

The church modes are used in gregorial chant and pre baroque early music but
also to some extent in newer jazz music.
 
@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
 \context Staff \notes\relative c' { 
  c1 d
  \property Voice.TextScript \set #'padding = #-10
  e^"~~ S" f g a 
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c }
  \context Lyrics \lyrics { Ionian }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c' { 
  d1
  \property Voice.TextScript \set #'padding = #-10
  e^"~~ S"
  f g a 
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d }
  \context Lyrics \lyrics { Dorian }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c' { 
  \property Voice.TextScript \set #'padding = #-10
  e1^"~~ S"
  f g a 
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d e }
  \context Lyrics \lyrics { Phrygian }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c' { 
  f1 g a 
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d 
  \property Voice.TextScript \set #'padding = #0
  e^"~~ S" f }
  \context Lyrics \lyrics { Lydian }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c'' { 
  g1 a 
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d 
  \property Voice.TextScript \set #'padding = #0
  e^"~~ S" f g }
  \context Lyrics \lyrics { Mixolydian }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d 
  \property Voice.TextScript \set #'padding = #0
  e^"~~ S" f g a }
  \context Lyrics \lyrics { Aeolian }
@end lilypond

From the beginning of the 17th century the scales used in European
compositional music are primarily the major and the minor scales. In the
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c' { 
  c1 d
  \property Voice.TextScript \set #'padding = #-10
  e^"~~ S" f g a 
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c }
  \context Lyrics \lyrics { Major }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d 
  \property Voice.TextScript \set #'padding = #0
  e^"~~ S" f g a }
  \context Lyrics \lyrics { "ancient minor" }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d 
  \property Voice.TextScript \set #'padding = #0
  e^"~~ S" 
  \property Voice.TextScript \set #'padding = #1
  f!^"~~ A" 
  gis^"~~ S" 
  a }
  \context Lyrics \lyrics { "Harmonic minor" }
@end lilypond

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.TextScript \set #'padding = #-4
  b^"~~ S" c d e fis 
  \property Voice.TextScript \set #'padding = #0
  gis^"~~ S" a g! 
  \property Voice.TextScript \set #'padding = #-1
  f!^"~~ S" e d 
  \property Voice.TextScript \set #'padding = #-4
  c^"~~ S" b a
}
  \context Lyrics \lyrics { "Melodic minor" }
@end lilypond

@item diminished interval
ES: intervalo disminu@'{@dotless{i}}do, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
intervall, N: .

@w{@ar{}@strong{interval}}

@item diminuendo
ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
S:@w{ }diminuendo, N:@w{ }diminuendo.

@w{@ar{}@strong{decrescendo}}

@item disjunct movement
ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
r@"orelse, N:

Melody moving in steps greater than those of the
scale. Opposite of @ar{}@strong{conjunct movement}.

@

@lilypond[13pt,eps]
\key a \major
\time 4/4
\notes\relative c' { 
  \partial 8 e8 | a4. gis8 b a e cis |
  fis2 d4. \bar "||" }
@end lilypond

@item dissonant interval; dissonance
ES: intervalo disonante, disonancias,
I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
dissonans, N: .

@w{@ar{}@strong{harmony}}

@item dominant ninth chord
I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
Dominantnoneakkord, NL: dominant noon akkoord, DK:
dominantnoneakkord, S: dominantnonackord, N: .

@w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}

@item dominant seventh chord
ES: acorde de s@'eptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
dominantseptimackord, N:

@w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}

@item dominant
ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
dominant, N: .

The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}

@item dorian mode
ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:

@w{@ar{}@strong{diatonic scale}}

@item dot (augmentation dot)
ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
punkt, S: punkt, N:

@w{@ar{}@strong{dotted note}}

@item dotted note
ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
DK: punkteret node, S: punkterad not, N:

@w{@ar{}@strong{note value}}

@item double appoggiatura
ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:

@w{@ar{}@strong{appoggiatura}}

@item double bar line
I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
dobbeltstreg, S: dubbelstreck, N: .

Indicates the end of a section within a movement.

@item double dotted note
ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .

@w{@ar{}@strong{note value}}

@item double flat
ES: doble bemol, 
I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol, 
DK:@w{ }dob@-belt-b, S: dubbelbe, N: .

@w{@ar{}@strong{accidental}}

@item double sharp
ES: doble sostenido, I: doppio diesis, F: double di@`ese,  D: Doppelkreuz, NL: dubbelkruis, 
DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .

@w{@ar{}@strong{accidental}}

@item double trill
ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
dobbelttrille, S: dubbeldrill, N: .

A simultaneous trill on two notes, usually in the distance of a third.

@item duple meter
ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .

@w{@ar{}@strong{meter}}

@item duplet
ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .

@w{@ar{}@strong{note value}}

@item duration
ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
tonl@"angd, N: .

@w{@ar{}@strong{note value}}

@item dydimic comma
@w{@ar{}@strong{syntonic comma}}

@item E
ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.

@item eighth note
ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
ottendedelsnode, S: @aa{}ttondelsnot, N: .

@w{@ar{}@strong{note value}}

@item eighth rest
ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .

@w{@ar{}@strong{note value}}

@item engraving
ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
nottryck, N: .

Engraving means incising or etching a metal plate for
printing. Photoengraving means drawing music with ink in a manner
similar to drafting or engineering drawing, using similar tools.

The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.

@item enharmonic
ES: enharm@'onico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
enharmonisk, S: enharmonisk, N: .

Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.


@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\property Score.TextScript \set #'font-style = #'large
\notes\relative c'' {
  gis1_"g sharp" s as1_"a flat" s s
  < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
}
@end lilypond

@item equal temperament 
I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
temperatur, S: liksv@"avande temperatur, N: .

Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
(precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}

@item expression mark
I: segno d'espressione, F: signe d'expression, indication de nuance, D:
Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
f@"oredragsbeteckning, N: .

Performance indications concerning 1. volume, dynamics (for example
@w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
@w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
 
@item F
ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.

@item F clef
ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
F-n@o{}gle, S: f-klav, N: .

The position between the dots of the key symbol is the line of the F below
central C. Used on the third, fourth and fifth note line. A digit 8 above the
clef symbol indicates that the notes must be played an octave higher (for
example bass recorder) while 8 below the clef symbol indicates playing an
octave lower (for example on double bass @w{@ar{}@strong{strings}}).


@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Staff.Clef \override #'full-size-change = ##t
\property Score.LyricText \set #'font-style = #'large
\addlyrics
\notes\relative c { 
%  \clef "F3"
  \clef varbaritone
  f1
  \clef bass
  f1
  \clef subbass
  f1
  \clef "F^8"
  f1
  \clef "F_8"
  f1
} 
\context Lyrics \lyrics { 
  baritone 
  bass 
  "sub-bass" 
  "octaved up" 
  "octaved down" 
}
@end lilypond

@c F:  'point d'orgue' on a note, 'point d'arret' on a rest.

@item fermata
ES: Calder@'on, I: corona, F: F: point d'orgue, point d'arr@^et,
D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .

Prolonged note or rest of indefinite duration.


@lilypond[13pt,eps]
\time 4/4
\notes\relative c'' {
a4 b c2^\fermata \bar "|." }
@end lilypond

@item fifth
ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
kvint.

@w{@ar{}@strong{interval}}

@item figured bass
ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}

@item fingering
ES: digitaci@'on, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
fingers@ae{}tning, S: fingers@"attning, N: .

The methodical use of fingers in the playing of instruments.

@item flag; pennant 
ES: corchete, 
I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
DK: fane, S: flagga, N: .

Ornament at the end of the stem of a note used for notes with values
less than a quarter note. The number of flags determines the
@w{@ar{}@strong{note value}}.


@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\property Score.TextScript \set #'font-style = #'large
\notes\relative c'' { 
  g8_"1/8" s8 
  g16_"1/16" s8 
  g32_"1/32" s8 
  g64_"1/64" s8 }
@end lilypond

@item flat
ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .

@w{@ar{}@strong{accidental}}

@item forefall; backfall  
@w{@ar{}@strong{appoggiatura}}

@item forte
ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .

Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.

@item fourth
ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .

@w{@ar{}@strong{interval}}

@item fugue
ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .

@w{@ar{}@strong{counterpoint}}

@item functional harmony
ES: armon@'{@dotless{i}}a funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:

A system of harmonic analysis. It is based on the idea that, in a given key,
there are only three functionally different chords: tonic (T, the chord on the
first note of the scale), subdominant (S, the chord on the fourth note) and
dominant (D, the chord on the fifth note). Other are considered to be variants
of the base chords.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\context Voice \notes\relative c'' {
  < g1 e c > < a f d > < b g e > 
  < c a f > < d b g > < e c a > < f d b > }
\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
@end lilypond

@item G
ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.

@item G clef
ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .

A clef symbol indicating the G above central C. Used on the first and second
note lines. A digit 8 above the clef symbol indicates that the notes must be
played an octave higher while 8 below the clef symbol indicates playing or
singing an octave lower (most tenor parts in choral scores are notated like
that). 

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Staff.Clef \set #'full-size-change = ##t
\property Score.LyricText \set #'font-style = #'large
\addlyrics
\notes\relative c'' { 
  \clef french 
  g1
  \clef treble 
  g
  \clef "G^8" 
  g
  \clef "G_8" 
  g
}
\context Lyrics \lyrics { 
  "french violin clef" 
  "violin clef" 
  "octaved up"
  "octaved down"
}
@end lilypond

@item glissando
ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
glissando, N: glissando.

Letting the pitch  slide fluently from one note to the other

@item grace notes
I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
NL: versieringen, DK: forsiringer, S: ornament, N: .

Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}

@item grand staff
I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
S: ackolad, b@"ojd klammer, N: .

@w{@ar{}@strong{brace}}

A combination of two staves with a brace.  Usually used for piano music.

@item grave
ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
.

Slow, solemn.

@item half note
ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
halvnode, S: halvnot, N: .

@w{@ar{}@strong{note value}}

@item half rest
I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
rust, DK: halvnodespause, S: halvpaus, N: .

@w{@ar{}@strong{note value}}

@item harmonic cadence
ES: cadencia (arm@'onica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .

Sequence of chords that terminate a musical phrase or
section. @ar{}@w{}@strong{functional harmony}

@

@lilypond[13pt,eps] 
\notes\context PianoStaff < 
  \context Staff = SA \relative c'' { 
    \time 4/4
    \clef treble 
    \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
  \property Score.LyricText \set #'font-style = #'large
  \addlyrics
  \context Staff = SB \relative c { 
    \clef bass 
    \partial 4 c4 | f, g c2
    \bar "|." } 
  \context Lyrics \lyrics { T S D T } > 
@end lilypond

@item harmony
ES: armon@'{@dotless{i}}a       , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
samklang, S: samklang, N:

Tones sounding simultaneously. Two note harmonies fall into the cathegories
@emph{consonances} and @emph{dissonances}.

Consonances:

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.TextScript \set #'font-style = #'large
\context Voice \notes\relative c'' {
  <g1_"unisone" g> s
  <g1_"third" b> s
  <g1_"fourth" c> s
  <g1_"fifth" d'> s
  <g1_"sixth" e'> s
  <g1_"octave" g'> s
  <g1_"decime" b'> s s
}
@end lilypond

Dissonances:

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.TextScript \set #'font-style = #'large
\context Voice  \notes\relative c'' {
  <g1_"second" a> s
  <g1_"seventh" f'> s 
  <g1_"ninth" a'> s s
}
@end lilypond

Three note harmony @w{@ar{}@strong{chord}}

@item homophony
ES: homofon@'{@dotless{i}}a, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
homofoni, N: .

Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.

@item interval
ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
intervall, N: .

Difference in pitch between two notes. Intervals may be perfect, minor, major,
diminished or augmented. The augmented fourth and the diminished fifth are
identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
forms an octave.

@ 

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\context Voice \notes\relative c'' {
  < g1 g > s
  < g^"minor" as > s
  < g^"major" a! > s
  < g^"augm" ais > s
  < gis^"dimin" bes > s
  < g!^"minor" bes > s
  < g^"major" b! > s 
  < g^"augm" bis > s 
}
\context Lyrics \lyrics { 
  unisone second second second third third third third } 
@end lilypond

@ 

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\context Staff \notes\relative c'' {
  < g1^"perfect" c > s
  < g^"augm" cis > s
  < g^"perfect" d' > s
  < g^"dim" des' > s
  < gis^"dimin" es' > s
  < g!^"minor" es' > s
  < g^"major" e'! > s
  < g^"augm" eis' > s
}
\context Lyrics \lyrics { 
  fourth fourth fifth fifth sixth sixth sixth sixth } 
@end lilypond

@ 

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.LyricText \set #'font-style = #'large
\property Score.TextScript \set #'font-style = #'large
\addlyrics
\context Staff \notes\relative c'' {
  < gis1^"dimin" f'! > s
  < g!^"minor" f'! > s
  < g^"major" fis' > s
  < g g' > s
  < g^"minor" as' > s
  < g^"major" a'! > s
  < g^"minor" bes' > s
  < g^"major" b'! > s
}
\context Lyrics \lyrics { 
  seventh seventh seventh octave none none decime decime } 
@end lilypond

@item inverted interval
ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .

The difference between an interval and an octave.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t
\property Score.TextScript \set #'font-style = #'large
\context Staff \notes\relative c'' {
  < g1_"second" a > s < g'_"seventh" a, > s \bar "||" 
  < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
  < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
}
@end lilypond

@item just intonation
I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
stemming, DK: ren stemning, S: ren st@"amning, N: .

Tuning system in which the notes are obtained by adding and subtracting
@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}

@item key
ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
tonart, N: .

According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}

@item key signature
ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, 
S: tonartssignatur, N: .

The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @w{@ar{}@strong{accidental}}

@item largo
ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
N: largo

Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} less slow than largo.

@item leading note
ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
ledton, N: .

The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
upwards) to the tonic scale degree.

@item ledger line; leger line

ES: l@'{@dotless{i}}neas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .

A ledger line is an extension of the staff.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c'' { a,1 s c'' } 
@end lilypond

@item legato
ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
.

To be performed without any perceptible interruption between the notes (a)
unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
@w{@ar{}@strong{staccato}} (d)

@

@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\addlyrics
\context Staff \notes\relative c'' { 
  c4( d )e \bar "||" 
  c4-- d-- e-- \bar "||" 
  c4-.( d-. )e-. \bar "||" 
  c4-. d-. e-. \bar "||" 
}
\context Lyrics \lyrics {
  \property Lyrics . LyricText \set #'font-style = #'large
  a "" "" b "" "" c "" "" d  }
@end lilypond

@item legato curve
@w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}

@item lilypond
ES: estanque de lilas, 
I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .

A pond with  lilies floating in it, also the name of a music typesetter.

@item line
ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
notlinje, N: .

@w{@ar{}@strong{staff}}

@item long appoggiatura
ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
forslag, S: l@aa{}ngt f@"orslag, N: .

@w{@ar{}@strong{appoggiatura}}

@item longa
ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa

note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c'' { 
  \property Voice.NoteHead \set #'style = #'mensural
  g\longa 
} 
@end lilypond

@item major interval
ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
groot interval, DK: stort interval, S: stort intervall, N: .

@w{@ar{}@strong{interval}}

@item major
ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.

@w{@ar{}@strong{diatonic scale}}

@item meantone temperament
I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .

Temperament yielding acoustically pure thirds by decreasing the natural fifth
by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
@w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
tuning keyboard instruments for performance of pre-1650 music.

@item measure, bar
ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.

A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
bears an accent. Such groups in numbers of two or more recur consistently
throughout the composition and are marked from each other by
bar-lines. @w{@ar{}@strong{meter}}

@item mediant
ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
mediant, N: .

1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
a third from that of another chord. For example the tonic chord may be
replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
harmony}} @w{@ar{}@strong{relative key}}.

@item melodic cadence

@w{@ar{}@strong{cadenza}}

@item meter, time
ES: comp@'as, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
S: taktart, N: .

The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
which remains unaltered throughout a composition or a section of it. For
instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
those. According to whether there are two, three or four units to the measure,
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.

@

@lilypond[13pt,eps]
\notes\relative c'' { 
  \time 3/4
  \key f \major
  c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond

@lilypond[13pt,eps]
\notes\relative c' { 
  \time 6/8
  \key f \major
  f8 f f f a16 g a f | 
  c'8 c c c e16 d e c \bar "||"}
@end lilypond

@lilypond[13pt,eps]
\notes\relative c'' { 
  \time 5/4
  \key g \major
  d4 b8 g b d d c a4 | 
  g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
@end lilypond

@item metronome
ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, 
DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.

Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
indication}}

@item metronomic indication
ES: indicaci@'on metron@'omica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .

Exact tempo indication (in beats per minute).  Also denoted by
M.M. (M@"alzel's Metronom) 

@item mezzo-soprano
ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
mezzosopran, S: mezzosopran, N: mezzosopran.

The female voice between @w{@ar{}@strong{soprano}} and
@w{@ar{}@strong{contralto}}.

@item middle C
ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
enstreget c, S: ettstruket c, N:

First C below the 440 Hz A.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Staff.Clef \set #'full-size-change = ##t
\notes\relative c' { 
  \clef bass c1 s
  \clef alto c s
  \clef treble c s
} 
@end lilypond

@item minor interval
ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
interval, DK: lille interval, S: litet intervall, N: .

@w{@ar{}@strong{interval}}

@item minor
ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .

@w{@ar{}@strong{diatonic scale}}

@item mode
ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .

@w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}

@item modulation
ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
S: modulering, N: .

Moving from one @w{@ar{}@strong{key}} to another. For example the second
subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
is minor.

@item mordent
I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
.

@w{@ar{}@strong{ornament}}

@item motive; motif
ES: tema, 
I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .

The briefest intelligible and self-contained fragment of a musical theme or
subject. 

@

@lilypond[13pt,eps] 
\property Score.TimeSignature \override #'style = #'C2/2
\property Score.TextScript \set #'font-style = #'large
\notes\relative c'' { 
  \time 4/4
  \key g \major 
  \partial 8 g16_"------" fis |
  g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
  g8 g,16 a b8 cis d16 s 
} 
@end lilypond

@item movement
ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .

Greater musical works like @w{@ar{}@strong{symphony}} and
@w{@ar{}@strong{sonata}} most often consist of several - more or less -
independant pieces called movements.

@item multibar rest
ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .

@

@lilypond[13pt,eps]
\notes\relative c'' {
a1
\property Score.skipBars=##t R1*3 
a1 }
@end lilypond

@item mixolydian mode
@w{@ar{}@strong{diatonic scale}}

@item natural sign
ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, 
DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .

@w{@ar{}@strong{accidental}}

@item neighbour tones
@w{@ar{}@strong{appoggiatura}}

@item ninth
 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .

@w{@ar{}@strong{interval}}

@item non-legato
@w{@ar{}@strong{legato}}

@item note
ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,

Notes are signs by means of which music is fixed in writing. The term is also
used for the sound indicated by a note, and even for the key of the piano
which produces the sound. However, a clear distinction between the terms tone
and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
and hears a tone.

@item note head
ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
nootballetje, DK: nodehovede, S: nothuvud, N: .

A head like sign which indicates pitch by its position on a
@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
by a variety of shapes such as hollow or black heads with or without
@w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
instruments (often having no defined pitch) the note head may indicate the
instrument.

@item note value
ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .

Note values (durations) are measured as fractions, normally 1/2, of the next
higher note value. The longest duration normally used is called @emph{brevis},
but sometimes (mostly in pre baroque music) the double length note value
@emph{longa} is used.

@

@lilypond[13pt,eps]
\property Score.TextScript \set #'font-style = #'large
\property Score.barNonAuto = ##t
\notes\relative c'' { 
  \property Voice.NoteHead \override #'style = #'mensural
  g\longa_"longa" g\breve_"breve" 
  \property Voice.NoteHead \revert #'style
  g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
  g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
@end lilypond

@lilypond[13pt,eps]
\property Score.TextScript \set #'font-style = #'large
\property Score.barNonAuto = ##t
\notes\relative c'' { 
  r\longa_"longa" r\breve_"breve" 
  r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
  r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
@end lilypond

An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.

@

@lilypond[13pt,eps]
\property Score.TextScript \set #'font-style = #'large
\notes\relative c'' { 
  \time 4/4
  g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||" 
  g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
@end lilypond

Alternatively note values may be subdivided by other ratios. Most common is
subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
frequently used.

@

@lilypond[13pt,eps]
\property Score.TextScript \set #'font-style = #'large
\notes\relative c'' { 
  \time 4/4
  \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||" 
  \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
  \time 3/4
  \times 3/2 {g4_"duplets" g} |
  g4 g g \bar "||"
  \times 6/4 {g8_"quadruplets" g g g} |
  g8 g g g g4 \bar "||"}
@end lilypond

@


@item octave sign
@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}

@item octave
ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .

@w{@ar{}@strong{interval}}

@item ornament; embellishment; accessory
ES: adorno, 
I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
NL: versiering, DK: forsiring, S: ornament, N: .

Most commonly used is the @emph{trill}, the rapid alternation of a given note
with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
middle of the 19th century and onwards the trill is performed with the main
note first while in the music from the preceding baroque and classic periods
the upper note is played first.

@lilypond[13pt,eps]
<
  \context Staff = sa {
        \property Score.TextScript \set #'font-style = #'large
    \notes\relative c'' { 
      c2._"pre-1850"  b4\trill | c1 \bar "||"
      c2._"post-1850" b4\trill | c1 \bar "||"
    }
  }
  \notes\relative c'' {
    c2. c32 b c b c b c b | c1
    c2. b32 c b c \times 4/5 { b c b c b } | c1
  }
>
@end lilypond

Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
@emph{prall} (inverted mordent).

@

@lilypond[13pt,eps]
<
  \context Staff = sa {
        \property Score.TextScript \set #'font-style = #'large
    \notes\relative c'' { 
      a4_"turn" b\turn c2 \bar "||"
      g4_"mordent" a b\mordent a \bar "||"
      e'4_"prall" d\prall c2 \bar "||"
    } 
  }
  \notes\relative c'' { 
    a4 [c16 b a b] c2 
    g4 a [b16 a b8] a4
    e'4 [e8 ~ e32 d e d] c2
  } 
>
@end lilypond

@w{@ar{}@strong{appoggiatura}}

@item ossia
ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .

Ossia (otherwise) marks an alternative. It is an added staff or piano
score, usually only a few measures long, which presents another version
of the music, for example for small hands.

@item part
ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .

1. In instrumental or choral music the music for the single instrument
or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
melodic line of the contrapuntal web.

@item percussion
ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
slagverk, N: .

A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
and xylophone.

@item perfect interval
ES: intervalo justo, 
I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
interval, DK: rent interval, S: rent intervall, N: .

@w{@ar{}@strong{interval}}

@item phrase
ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .

A natural division of the melodic line, comparable to a sentence of speech.

@item phrasing
ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
fra@-se@-ring, N: .

The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.

@item piano
ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .

@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.

@item pitch
ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
tonh@"ojd, N: .

@item pizzicato
ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
pizzicato, S: pizzicato.

Play by plucking the strings.

@item polyphony
ES: polifon@'{@dotless{i}}a, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
polyfoni, N: .

Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}

@item portato
@w{@ar{}@strong{legato}}

@item presto
ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
presto, S: presto, N: .

Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
denotes the highest possible degree of speed.

@item Pythagorean comma
ES: coma pitag@'orico, 
I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .

A sequence of fifths starting on C eventually circles back to C, but this C,
obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
obtained by adding 7 octaves. The difference between those two pitches is
called the Pythagorean comma.

@item quadruplet
ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
N: .

@w{@ar{}@strong{note value}}

@item quarter note
ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:

@w{@ar{}@strong{note value}}

@item quarter rest
ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .

@w{@ar{}@strong{note value}}

@item quintuplet
ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S:
kvintol, N: .

@w{@ar{}@strong{note value}}

@item rallentando
ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
rallentando, S: rallentando, N: rallentando.

Abbreviation "rall.". @w{@ar{}@strong{ritardando}}

@item relative key
ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
paralleltoneart, S: parallelltonart, N: .

@w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
the same @w{@ar{}@strong{signature}}.

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.TextScript \set #'font-style = #'large
\notes\relative c' { 
  \key es \major
  es1_"e flat major" f g as bes c d es 
  \bar "||" s16 
  \key es \major
  c,1_"c minor" d es f g a! b! c \bar "||"
}
@end lilypond

@item repeat
ES: barra de repetici@'on, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
gen@-ta@-gel@-se, S: repris, N: .

@

@lilypond[13pt,eps]
\key g \major
\time 4/4
\notes\relative c'' { 
  \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
}
@end lilypond

@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c     specify the rest's value.
@item rest
ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .

@w{@ar{}@strong{note value}}

@item rhythm
ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .

(a) metrical rhythm in which every time value is a multiple or fraction of a
fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
@w{@ar{}@strong{accent}} recurs in regular intervals, called
@w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
@w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
accent. In modern notation such music appears as a free alternation of
different measures. (c) Free rhythm, i.e. the use of temporal values having no
common metrical unit (beat).

@item ritardando
ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
ritardando, S: ritardando, N: .

Gradually slackening in speed. Mostly abbreviated to rit. or ritard. 

@item ritenuto
ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
ritenuto, N: .

Immediate reduction of speed.

@item scale
ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .

@w{@ar{}@strong{diatonic scale}}

@item scale degree
ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
[van de toonladder], DK: skalatrin, S: skalsteg (?), N: .

Names and symbols used in harmonic analysis to denote tones of the scale as
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.LyricText \set #'font-style = #'large
%\property Lyrics.minVerticalAlign = #8
\addlyrics
\context Staff \notes\relative c' { 
  c1 d e f g a b c }
\context Lyrics \lyrics { 
  < { I II III IV V VI VII I } 
    { T "" "" S D } >
}
@end lilypond

@w{@ar{}@strong{functional harmony}}

@item score
ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
partitur, N: .

A copy of orchestral, choral or chamber music showing what each instrument is
to play, each voice to sing, having each part arranged one underneath the
other on different @w{@ar{}@strong{stave}}s.

@item second
ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .

The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
@w{@ar{}@strong{diatonic scale}} consists of alternating
@w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
of a se@-cond depends on the scale degrees in question.

@item semitone
ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
halvton, N: .

The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
interval in European composed music. The interval between two neighbouring
tones on the piano keyboard - including black and white keys - is a
semitone. An octave may be divided into 12
semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}

@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c'' { g1 gis s a bes s b c }
@end lilypond

@item seventh
ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .

@w{@ar{}@strong{interval}}

@item sextuplet, sextolet
I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
.

@w{@ar{}@strong{note value}}

@item sharp
ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .

@w{@ar{}@strong{accidental}}

@item short appoggiatura
@w{@ar{}@strong{appoggiatura}}

@item sixteenth note
ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
sextondelsnot, N: .

@w{@ar{}@strong{note value}}

@item sixteenth rest
ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
sextondelspaus, N: .

@w{@ar{}@strong{note value}}

@item sixth
ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .

@w{@ar{}@strong{interval}}

@item sixty-fourth note
ES: semifusa, 
I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
sextiofj@"ardedelsnot, N: .

@w{@ar{}@strong{note value}}

@item sixty-fourth rest
ES: silencia de semifusa, 
I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
sextiofj@"ardedelspaus, N: .

@w{@ar{}@strong{note value}}

@item slur
ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog, 
DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .

A slur above or below a group of notes indicates that they are to be played
@w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
breath in singing.

@item solmization
I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
solmisation, S: solmisation, N: .

General term for systems of designating the degrees of the
@w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})). @w{@ar{}@strong{scale degree}}.

@item sonata
ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .

In its present-day meaning a sonata denotes an instrumental composition for
piano or for some other instrument with piano accompaniment, which consists of
three or four independant pieces, called movements.

@item sonata form
ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
sonatevorm, DK: sonateform, S: sonatform, N: .

A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
@w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
falls in three sections called @emph{exposition}, @emph{development} and
@emph{recapitulation}. In the exposition the composer introduces his musical
ideas, consisting of a number of themes; in the development section he
"develops" this material, and in the recapitulation he repeats the exposition,
with certain modifications however. The exposition contains a number of themes
which fall into two groups, often called first and second subject. Other
melodies occurring in each group are considered as continuations of these
two. The second theme is in another key, normally in the key of the
@w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
@w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
tonic is @w{@ar{}@strong{minor}}.

@item soprano
ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .

The highest female voice.

@item staccato
ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
staccato, S: staccato, N:

Playing the note(s) short. Staccato is indicated by a dot above or below the
notehead.

@

@lilypond[13pt,eps]
\key d \major
\time 4/4
\notes\relative c'' { 
  \partial 8 a8 | 
  d4-\staccato cis-\staccato b-\staccato cis-\staccato | 
  d2. \bar "||" }
@end lilypond

@item staff
ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
partij, DK: nodesystem, S: notsystem, N: .

pl. staves. A series of (normally 5) horizontal lines upon and between
which the musical notes are written, thus indicating (in connection
with a @w{@ar{}@strong{clef}}) their pitch. Staves for
@w{@ar{}@strong{percussion}} instruments may have fewer lines.

@item stem
ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
N: .

Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
note. @w{@ar{}@strong{beam}}

@

@lilypond[13pt,eps]
\property Score.autoBeaming = ##f
\property Score.barNonAuto = ##t
\property Score.TextScript \set #'font-style = #'large
\notes\relative c'' { 
  g2_"1/2" g' s16
  g,4_"1/4" g' s16
  g,8_"1/8" g' s16
  g,16_"1/16" g' s16
}
@end lilypond

@item strings
ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
str@aa{}kar, N: .

A family of stringed musical instruments played with a bow. Strings commonly
used in a symphony orchestra are violin, viola, violoncello and double bass.

@item strong beat
ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
D: betonet taktslag, S: betonat taktslag, N: .

@w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
@w{@ar{}@strong{rhythm}}

@item subdominant
ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
subdominant, S: subdominant, N: .

The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
harmony}}

@item submediant
ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
Submediant, S: submediant, N: .

The sixth @w{@ar{}@strong{scale degree}}.

@item subtonic
ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
subtonika, N: .

The seventh @w{@ar{}@strong{scale degree}}

@item superdominant
ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
superdominant, S: superdominant, N: .

The sixth @w{@ar{}@strong{scale degree}} 

@item supertonic
ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
supertonika, S: supertonika, N: .

The second @w{@ar{}@strong{scale degree}}.

@item symphony
ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
N: .

A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.

@item syncopation
ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .

Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
@w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
rhythm rests upon the grouping of equal beats into groups of two or three,
with a regularly recurrent accent on the first beat of each group. Any
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.

@

@lilypond[13pt,eps]
\property Score.TextScript \set #'font-style = #'large
\time 4/4
\notes\relative c' {
  \partial 4
  d8 dis |
  e c'4 e,8 c'4 e,8 c' ( | ) c2
}
@end lilypond

@item syntonic comma; dydimic comma

I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .

Difference between the natural third and the third obtained by Pythagorean
tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.

@item system
I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
system, N: .

The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
writing down of keyboard, chamber, choral or orchestral music.

@item temperament
ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
DK: temperatur, S: temperatur, N: .

Systems of tuning in which the intervals deviate from the accoustically pure
intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
temperament}}

@item tempo indication
ES: indicaci@'on de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
tempobeteckning, N: .

The rate of speed of a composition or a section thereof, ranging from the
slowest to the quickest, as is indicated by tempo marks as
@w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
@w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.

@item tenor
ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .

The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
 
@item tenth
ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .

@w{@ar{}@strong{note value}}

@item third
ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .

@w{@ar{}@strong{interval}}

@item thirty-second note
ES: fusa, 
I: biscroma, F: triple croche, UK: demisemiquaver, D:
Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .

@w{@ar{}@strong{note value}}

@item thirty-second rest
ES: silencio de fusa, 
I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
trettiotv@aa{}ondelspaus, N: .

@w{@ar{}@strong{note value}}

@item thorough bass; figured bass
ES: bajo cifrado, 
I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .

A method of indicating an accompaniment part by the bass notes only, together
with figures designating the chief @w{@ar{}@strong{interval}}s and
@w{@ar{}@strong{chord}}s to be played above the bass notes.
 
@

@lilypond[13pt,eps]
\context GrandStaff <
  \context Staff = lh \notes\relative c'' { 
    \time 4/4
    \key es \major
    \clef treble 
    < \context Voice = rha { 
        \stemUp
        es4 d c bes | bes } 
      \context Voice = rhb { 
        \stemDown
        < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > } 
    >
  }
  \addlyrics
    \context Staff = rh \notes\relative c' { 
    \clef bass
    \key es \major
    es8 c () c bes () bes as () as g16 f | es4 
  }
  \context Lyrics \lyrics { 
    \property Lyrics . LyricText \set #'font-style = #'Large
    \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
    < { "" "6" "4" "6" "4" "6" "4" "6" }
      { "" "" "2" "" "2" "" "2" "" } >
  } 
>
@end lilypond

@item tie; bind
ES: ligadura de prolongaci@'on, 
I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
bindebue, S: bindeb@aa{}ge, @"overbindning, N: .

A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound equal to the combined durations.

@

@lilypond[13pt,eps]
\property Score.barNonAuto = ##t
\notes\relative c'' { g2 ~ g4. }
@end lilypond

@item time signature

ES: cifra indicadora de comp@'as, 
I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur,  D:
Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
taktartssignatur, N: .

@w{@ar{}@strong{meter}}

@item tone
ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .

A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
a primary building material of music. Music from the 20th century may be based
on non tone related sounds.

@item tonic
ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .

The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}

@item transposition
ES: transposici@'on, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
transposition, S: transponering, N: .

Shifting a melody up or down in pitch, while keeping the same relative pitches.

@

@lilypond[13pt,eps]
\context Staff {
  \time 3/4
  \notes\relative c'' {
    \key g \major
    d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
  \transpose bes\relative c'' {
    \key g \major
    d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
}
@end lilypond

@item treble clef
ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
N: .

@w{@ar{}@strong{G clef}}

@item tremolo
ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
.

On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
the same tone, produced by a rapid up-and-down movement movement of the bow
(a). The term is also used for the rapid alternation (b) between two notes of
a @w{@ar{}@strong{chord}}, usually in the distance of a third
(@w{@ar{}@strong{interval}}).
 
@

@lilypond[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Score.TextScript \set #'font-style = #'large
\notes\relative c' {
  % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
  % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
  e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
} 
@end lilypond

@item triad
ES: tr@'{@dotless{i}}ada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
drieklank, DK: treklang, S: treklang, N:

@w{@ar{}@strong{chord}}

@item trill; shake
ES: trino, 
I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.

@w{@ar{}@strong{ornament}}

@item triple meter
ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
maatsoort, DK: tredelt takt, S: tretakt, N: .

@w{@ar{}@strong{meter}}

@item triplet
ES: tresillo, I: terzina, F: triolet,  D: Triole, NL: triool, DK: triol, S: triol, N: .

@w{@ar{}@strong{note value}}

@item tritone
ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
.

@w{@ar{}@strong{interval}}

@item tuning fork
ES: diapas@'on, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
stemmegaffel, S: st@"amgaffel, N: .

A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
give the international pitch for the tone @emph{a} (440 vibrations per second.)
 
@item turn; gruppetto
ES: grupo, 
I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
S: dubbelslag, N: .

@item unison
ES: un@'{@dotless{i}}sono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
unison, N: .

Playing of the same notes or the same melody by various instruments (voices)
or by the whole orchestra (choir), either at exactly the same pitch or in a
different octave.

@item upbeat
ES: entrada anacr@'usica, I: anacrusi, F: anacrouse,  lev@'ee, D: Auftakt, NL: opmaat, DK: optakt, S:
upptakt, N:

Initial note(s) of a melody occurring before the first bar
line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}

@

@lilypond[13pt,eps]
\key f \major
\time 4/4
\notes\relative c' { 
  \partial 4 f4 | bes4. a8 bes4 c | 
  bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond

@item voice
ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,

1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
@w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
@w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
of a polyphonic composition.

@item weak beat
ES: tiempo d@'ebil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .

@w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}

@item whole note
ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
DK: helnode, S: helnot, N: .

@w{@ar{}@strong{note value}}

@item whole rest
ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
rust, DK: helnodespause, S: helpaus, N: .

@w{@ar{}@strong{note value}}

@item whole tone
ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
helton, N: .

The @w{@ar{}@strong{interval}} of a major second. The interval between two
tones on the piano keyboard with exactly one key between them - including
black and white keys - is a whole tone.

@item woodwind
ES: maderas, I: legni, F: les bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
S: tr@"abl@aa{}sare, N: .

A family of blown wooden musical instruments. Today some of these instruments
are actually made from metal. The woodwind instruments commonly used in a
symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.

@end table

@page

@table @strong
@item DURATION NAMES, NOTES AND RESTS
@end table

@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111 

@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}

@item

@item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
@tab longa @tab longa @tab longa

@item

@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
brevis @tab brevis @tab brevis @tab brevis

@item

@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab 
Ganze @tab hele @tab hel @tab hel @tab

@item

@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab 
halve @tab halv @tab halv @tab 

@item

@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab  
Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab 

@item

@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab 
achtste @tab ottende@-del @tab @aa{}tton@-del @tab 

@item

@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
@tab

@item

@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab

@item

@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
sextio@-fj@"arde@-del @tab

@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab 

@page

@table @strong
@item PITCH NAMES
@end table

@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125 

@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}

@item

@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c

@item

@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
cis @tab cis @tab cis

@item

@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
des @tab des @tab des

@item

@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d

@item

@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e

@item

@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f

@item

@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g

@item

@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
@tab as @tab as

@item

@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a

@item

@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
ais @tab ais @tab ais

@item

@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
@tab b @tab b

@item

@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h

@end multitable
@

@table @strong

@item ---------------------

@

@item Literature used
The Harvard Dictionary of Music, London 1944. Many more or less litteral
quotes from its articles have been included into the item explanation texts.

Hugo Riemans Musiklexicon, Berlin 1929


Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.

@end table

@bye