2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @c @evenheading @thispage @| @|
8 @c @oddheading @| @| @thispage @|
11 glossary by Christian Mondrup
13 spanish by David Gonz@'alez <dgonzal@quanta.net.py>
24 @item UK - British English
34 @tex $\\Rightarrow$ @end tex
44 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
50 : la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
53 ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
55 The stress of one tone over others.
57 @c F: how to distinguish between accidental and key-sig alteration?
60 ES: alteraci@'on, I: alterazione, accidente, F: alt@'eration D: Vorzeichen,
61 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
64 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
65 @c Akzidenz, NL: toevallig teken, I: accidento.
67 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
68 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
69 flat lowers it by a whole tone. A natural cancels the effect of a previous
75 \property Score.barNonAuto = ##t
76 \property Voice.TextScript \set #'font-style = #'large
79 gisis1_"db. sharp" s s2
81 geses1_"db. flat" s s2
86 ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
87 NL: accelerando, DK: accelerando, S: accelerando, N:
93 ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
96 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
97 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
98 movement in slow tempo, esepecially the scond (slow) movement of
99 @w{@ar{}@strong{sonata}s}, symphonies etc.
102 ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
103 DK: allegro, S: allegro, N: allegro.
105 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
106 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
109 ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
111 A female voice of low range (@emph{contralto}). Originally the alto was a high
112 male voice (hence the name) which by the use of falsetto reached the height of
113 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
117 ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
118 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
120 C clef setting central C on the middle line of the staff
121 @w{@ar{}@strong{C clef}}
123 @item ancient minor scale
124 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
125 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
130 \property Score.barNonAuto = ##t
131 \notes\relative c'' {
136 ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
139 walking tempo/character
142 ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
143 DK: forslag, S: f@"orslag, N:
145 Ornamental note, usually a second, that is melodically connected with the main
146 note that follows it. In music before the 19'th century a. were usually
147 performed on the beat, after that mostly before the beat. While the short
148 a. is performed as a short note regardless of the duration of the main note
149 the duration of the long a. is proportionate to that of the main note.
154 \context Voice\notes\relative c'' {
158 \property Score.TextScript \set #'font-style = #'large
159 <d4_"notation" a fis> r
160 { \property Voice.Stem \override #'flag-style = #""
162 \property Voice.Stem \revert #'flag-style
165 { \property Voice.Stem \override #'flag-style = #""
167 \property Voice.Stem \revert #'flag-style
169 g8 fis16 g | a4 \bar "||" }
170 \notes\relative c'' {
171 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
174 An appoggiatura may have more notes preceding the main note.
179 \notes\relative c'' {
182 \property Score.TextScript \set #'font-style = #'large
183 \grace { bes16 } as8_"notation" as16 bes as8 g |
184 \grace { [as16 ( bes] } < ) c4 as >
185 \grace { [as16 ( bes] } < ) c4 as > \bar "||"
186 \grace { bes16 } as8_"performance" as16 bes as8 g |
187 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
188 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
194 ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
195 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
200 \notes \context PianoStaff <
201 \context Staff = SA \relative c'' {
204 r8 g16 c e g, c e r8 g,16 c e g, c e |
205 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
206 \context Staff = SB \relative c' {
208 < \context Voice = va {
210 r16 e8. () e4 r16 e8. () e4 |
211 r16 d8. () d4 r16 d8. () d4 }
212 \context Voice = vb {
219 @item ascending interval
220 ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
221 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
223 A distance between a starting lower note and a higher ending note.
225 @item augmented interval
226 ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
227 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
228 @"overstigande intervall, N:
230 @w{@ar{}@strong{interval}}
233 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
234 h@aa{}ndskrift, autograf, S: handskrift, N: .
236 1. A manuscript in the composer's own hand. 2. Music prepared for
237 photoreproduction by freehand drawing, with only the aid of a
238 straightedge ruler and T-square, which attempts to emulate
239 engraving. This required more skill than did engraving.
242 ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
244 @item backfall; forefall
245 @w{@ar{}@strong{appoggiatura}}
248 ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
249 maatstreep, DK: taktstreg, S: taktstreck, N:
252 ES: comp@'as, @w{@ar{}@strong{measure}}
255 ES: bar@'{@dotless{i}}tono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
258 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
259 @w{@ar{}@strong{tenor}}.
261 @c F: clef de troisi@`eme ligne dropped
264 ES: clave de fa en tercera
265 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:
268 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
269 @w{@ar{}@strong{f clef}}
272 ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
273 bassleutel, DK: basn@o{}gle, S: basklav, N:
275 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
279 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
281 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
282 an abbreviation for double bass @w{@ar{}@strong{strings}}.
285 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
287 Line connecting a series of notes (shorter than a quarter note). The number of
288 beams determine the note value of the connected notes.
293 \property Score.barNonAuto = ##t
294 \property Voice.TextScript \set #'font-style = #'large
295 \notes\relative c'' {
297 [g16_"1/16" g g g] s16
298 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
299 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
303 ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
306 Note value used for counting, most often half-, fourth- and eighth notes. The
307 base counting value and the number of them per measure is indicated at the
315 \notes\relative c'' { g4 c b a | g1 \bar "||"}
317 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
321 @w{@ar{}@strong{tie}}
325 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
326 accolade, teksthaak, DK: klamme, S: klammer, N:
328 Symbol at the start of a system connecting staves. Curly braces are used
329 for connecting piano staves, angular brackets for connecting parts in an
330 orchestral or choral score.
333 \notes\context GrandStaff <
334 \relative c''\context Staff = SA { \clef treble g4 e c2 }
335 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
339 \context StaffGroup <
340 % \property StaffGroup.minVerticalAlign = #12
341 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
342 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
346 ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
347 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
349 A family of blown musical instruments made of brass all using a cup formed
350 mouth piece. The brass instruments commonly used in a symphony orchestra are
351 trumpet, trombone, french horn and tube.
354 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
355 repercussieteken, DK:
356 vejrtr@ae{}kningstegn, S: andningstecken, N: .
358 Indication of where to breathe in vocal and wind instrument parts.
361 ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
363 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
369 \property Score.barNonAuto = ##t
370 \notes\relative c'' { g\breve }
374 ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
377 ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
378 c-n@o{}gle, S: c-klav, N:
380 Clef symbol indicating the position of the central C. Used on all note
386 \property Score.barNonAuto = ##t
387 \property Score.Clef \override #'full-size-change = ##t
388 \property Score.LyricText \set #'font-style = #'large
390 \context Staff \notes\relative c' {
397 \context Lyrics \lyrics {
398 Soprano Mezzosoprano Alto Tenor Baritone
403 ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
405 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
408 ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
410 An extended, improvisatory style section inserted near the end of
411 movement. The purpose of a cadenza is to give the singer or player a chance to
412 exhibit her technichal skill and not the least her ability to improvise. Since
413 the middle of the 19'th century, however, most cadences have been written down
417 ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
419 @w{@ar{}@strong{counterpoint}}
422 ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
424 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
425 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
428 @w{@ar{}@strong{middle C}}
431 ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
433 Three or more tones sounding simultaneously. In traditional European music the
434 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
435 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
436 chords may be extended with more thirds. Four- @emph{seventh chords} and five
437 tone @emph{ninth} major chords are most often used as dominants
438 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
439 third above the lower notes to define their quality as major or minor. Such
440 chords are denoted open chords
445 \property Score.barNonAuto = ##t
446 \property Voice.TextScript \set #'font-style = #'large
448 \notes\relative c'' {
451 <g_"dimished" bes des>
452 <g_"augmented~" b dis>
453 <g_"seventh-chord~" b d f>
454 <g_"ninth-chord" b d f a> s s2
458 @item chromatic scale
459 ES: escala crom@'atica, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
460 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
462 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
467 \property Score.barNonAuto = ##t
468 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
472 ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
475 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
477 @item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo
478 ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
479 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
481 @w{@ar{}@strong{diatonic scale}}
484 ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
485 sleutel, DK: n@o{}gle, S: klav, N:
487 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
490 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
492 Difference in pitch between a note derived from pure tuning and the same note
493 derived from some other tuning method. @w{@ar{}@strong{temperament}}
496 @w{@ar{}@strong{meter}}
498 @item compound interval
499 ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
500 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
502 Intervals larger than an octave
504 @w{@ar{}@strong{interval}}
507 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
508 complementair interval, DK: komplement@ae{}rinterval, S:
509 komplement@"arintervall (?), N:
511 @w{@ar{}@strong{inverted interval}}
513 @item conjunct movement
514 ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
515 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
517 Melody moving in the narrow steps of the scale;
522 \key g \major \time 4/4
523 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
527 ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
530 @w{@ar{}@strong{harmony}}
533 ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
535 @w{@ar{}@strong{alto}}
538 ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
539 kontrapunkt, S: kontrapunkt, N: .
541 From latin @emph{punctus contra punctum}, note against note. The combination
542 into a single musical fabric of lines or parts which have distinct melodic
543 significance. A frequently used polyphonic technique is imitation, in its
544 strictest form found in the canon needing only one part to be written down
545 while the other parts are performed with a given displacement. Imitation is
546 also the contrapuntal technique used in the @emph{fugue} which, since the
547 music of the baroque era, has been one of the most popular polyphonic
553 \property Score.TimeSignature \override #'style = #'C2/2
554 \notes\context PianoStaff <
555 \context Staff = SA \relative c' {
559 < \context Voice = rha {
561 r1 | r2 r8 g'8 bes d, |
562 cis4 d r8 e!16 f g8 f16 e |
563 f8 g16 a bes8 a16 g a8
565 \context Voice = rhb {
571 \context Staff = SB \relative c' {
574 < \context Voice = lha {
576 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
577 r8 a16 g f8 g16 a bes8 g e! cis' |
580 \context Voice = lhb {
589 ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
590 kontratenor, S: kontratenor, counter tenor, N: kontratenor
592 @w{@ar{}@strong{contralto}}
595 A music copyist did fast freehand scores and parts on preprinted staff lines
596 for performance. Some of their conventions (e.g.: the placement of noteheads
597 on stems) varied slightly from those of engravers. Some of their working
598 methods were superior and could well be adopted by music typesetters. This
599 required more skill than engraving.
602 ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
603 crescendo, S: crescendo, N:@w{ }crescendo.
605 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
606 abbreviation "cresc.".
611 \key g \major \time 4/4
612 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
616 ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
617 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
619 In a separate part notes belonging to another part with the purpose of hinting
620 when to start playing. Usually printed in a smaller type.
623 ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
626 ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
627 capo, DK: da capo, S: da capo, N: .
629 The term indicates repetition of the piece from the beginning to the end or to
630 a certain place marked @emph{fine}. Mostly abbreviated D.C.
633 ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
634 dal segno, S: dal segno, N: .
636 abbreviated d.s. Repetition, not from the beginning, but from another place
637 frequently near the beginning marked by a sign:
642 \property Voice.TextScript \set #'font-style = #'large
643 \key g \major \time 4/4
644 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
648 ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
649 decrescendo, N: decrescendo
651 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
652 or the abbreviation "decresc.".
657 \context Staff \notes\relative c'' {\key g \major \time 4/4
658 d4 \> c b a | \! g1 \bar "|." }
661 @item descending interval
662 ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
663 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
664 fallande intervall, N:
666 An distance between a starting higher note and a lower ending note.
669 ES: escala diat@'onica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
670 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
672 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
673 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
674 keybord are diatonic.
676 The church modes are used in gregorial chant and pre baroque early music but
677 also to some extent in newer jazz music.
682 \property Score.barNonAuto = ##t
683 \property Score.LyricText \set #'font-style = #'large
684 \property Score.TextScript \set #'font-style = #'large
686 \context Staff \notes\relative c' {
688 \property Voice.TextScript \set #'padding = #-10
690 \property Voice.TextScript \set #'padding = #-4
692 \context Lyrics \lyrics { Ionian }
696 \property Score.barNonAuto = ##t
697 \property Score.LyricText \set #'font-style = #'large
698 \property Score.TextScript \set #'font-style = #'large
702 \property Voice.TextScript \set #'padding = #-10
705 \property Voice.TextScript \set #'padding = #-4
707 \context Lyrics \lyrics { Dorian }
711 \property Score.barNonAuto = ##t
712 \property Score.LyricText \set #'font-style = #'large
713 \property Score.TextScript \set #'font-style = #'large
716 \property Voice.TextScript \set #'padding = #-10
719 \property Voice.TextScript \set #'padding = #-4
721 \context Lyrics \lyrics { Phrygian }
725 \property Score.barNonAuto = ##t
726 \property Score.LyricText \set #'font-style = #'large
727 \property Score.TextScript \set #'font-style = #'large
731 \property Voice.TextScript \set #'padding = #-4
733 \property Voice.TextScript \set #'padding = #0
735 \context Lyrics \lyrics { Lydian }
739 \property Score.barNonAuto = ##t
740 \property Score.LyricText \set #'font-style = #'large
741 \property Score.TextScript \set #'font-style = #'large
743 \notes\relative c'' {
745 \property Voice.TextScript \set #'padding = #-4
747 \property Voice.TextScript \set #'padding = #0
749 \context Lyrics \lyrics { Mixolydian }
753 \property Score.barNonAuto = ##t
754 \property Score.LyricText \set #'font-style = #'large
755 \property Score.TextScript \set #'font-style = #'large
757 \notes\relative c'' {
759 \property Voice.TextScript \set #'padding = #-4
761 \property Voice.TextScript \set #'padding = #0
763 \context Lyrics \lyrics { Aeolian }
766 From the beginning of the 17th century the scales used in European
767 compositional music are primarily the major and the minor scales. In the
768 harmonic minor scale type an augmented second (A) occurs between the 6th and
772 \property Score.barNonAuto = ##t
773 \property Score.LyricText \set #'font-style = #'large
774 \property Score.TextScript \set #'font-style = #'large
778 \property Voice.TextScript \set #'padding = #-10
780 \property Voice.TextScript \set #'padding = #-4
782 \context Lyrics \lyrics { Major }
786 \property Score.barNonAuto = ##t
787 \property Score.LyricText \set #'font-style = #'large
788 \property Score.TextScript \set #'font-style = #'large
790 \notes\relative c'' {
792 \property Voice.TextScript \set #'padding = #-4
794 \property Voice.TextScript \set #'padding = #0
796 \context Lyrics \lyrics { "ancient minor" }
800 \property Score.barNonAuto = ##t
801 \property Score.LyricText \set #'font-style = #'large
802 \property Score.TextScript \set #'font-style = #'large
804 \notes\relative c'' {
806 \property Voice.TextScript \set #'padding = #-4
808 \property Voice.TextScript \set #'padding = #0
810 \property Voice.TextScript \set #'padding = #1
814 \context Lyrics \lyrics { "Harmonic minor" }
818 \property Score.barNonAuto = ##t
819 \property Score.LyricText \set #'font-style = #'large
820 \property Score.TextScript \set #'font-style = #'large
822 \notes\relative c'' {
824 \property Voice.TextScript \set #'padding = #-4
826 \property Voice.TextScript \set #'padding = #0
828 \property Voice.TextScript \set #'padding = #-1
830 \property Voice.TextScript \set #'padding = #-4
833 \context Lyrics \lyrics { "Melodic minor" }
836 @item diminished interval
837 ES: intervalo disminu@'{@dotless{i}}do, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
838 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
841 @w{@ar{}@strong{interval}}
844 ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
845 S:@w{ }diminuendo, N:@w{ }diminuendo.
847 @w{@ar{}@strong{decrescendo}}
849 @item disjunct movement
850 ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
851 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
854 Melody moving in steps greater than those of the
855 scale. Opposite of @ar{}@strong{conjunct movement}.
863 \partial 8 e8 | a4. gis8 b a e cis |
867 @item dissonant interval; dissonance
868 ES: intervalo disonante, disonancias,
869 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
870 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
873 @w{@ar{}@strong{harmony}}
875 @item dominant ninth chord
876 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
877 Dominantnoneakkord, NL: dominant noon akkoord, DK:
878 dominantnoneakkord, S: dominantnonackord, N: .
880 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
882 @item dominant seventh chord
883 ES: acorde de s@'eptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
884 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
885 dominantseptimackord, N:
887 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
890 ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
893 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
896 ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
897 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
899 @w{@ar{}@strong{diatonic scale}}
901 @item dot (augmentation dot)
902 ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
905 @w{@ar{}@strong{dotted note}}
908 ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
909 DK: punkteret node, S: punkterad not, N:
911 @w{@ar{}@strong{note value}}
913 @item double appoggiatura
914 ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
915 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
917 @w{@ar{}@strong{appoggiatura}}
919 @item double bar line
920 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
921 dobbeltstreg, S: dubbelstreck, N: .
923 Indicates the end of a section within a movement.
925 @item double dotted note
926 ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
927 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
928 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
930 @w{@ar{}@strong{note value}}
934 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
935 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
937 @w{@ar{}@strong{accidental}}
940 ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
941 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
943 @w{@ar{}@strong{accidental}}
946 ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
947 dobbelttrille, S: dubbeldrill, N: .
949 A simultaneous trill on two notes, usually in the distance of a third.
952 ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
953 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
955 @w{@ar{}@strong{meter}}
958 ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
960 @w{@ar{}@strong{note value}}
963 ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
966 @w{@ar{}@strong{note value}}
969 @w{@ar{}@strong{syntonic comma}}
972 ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
975 ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
976 ottendedelsnode, S: @aa{}ttondelsnot, N: .
978 @w{@ar{}@strong{note value}}
981 ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
982 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
984 @w{@ar{}@strong{note value}}
987 ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
990 Engraving means incising or etching a metal plate for
991 printing. Photoengraving means drawing music with ink in a manner
992 similar to drafting or engineering drawing, using similar tools.
994 The traditional process of music printing is done through cutting in a
995 plate of metal. Now also the term for the art of music typesetting.
998 ES: enharm@'onico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
999 enharmonisk, S: enharmonisk, N: .
1001 Two notes, intervals, or scales are enharmonic if they have different names
1006 \property Score.barNonAuto = ##t
1007 \property Score.TextScript \set #'font-style = #'large
1008 \notes\relative c'' {
1009 gis1_"g sharp" s as1_"a flat" s s
1010 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1014 @item equal temperament
1015 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1016 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1017 temperatur, S: liksv@"avande temperatur, N: .
1019 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1020 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1022 @item expression mark
1023 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1024 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1025 f@"oredragsbeteckning, N: .
1027 Performance indications concerning 1. volume, dynamics (for example
1028 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1029 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1032 ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1035 ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1036 F-n@o{}gle, S: f-klav, N: .
1038 The position between the dots of the key symbol is the line of the F below
1039 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1040 clef symbol indicates that the notes must be played an octave higher (for
1041 example bass recorder) while 8 below the clef symbol indicates playing an
1042 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1046 \property Score.barNonAuto = ##t
1047 \property Staff.Clef \override #'full-size-change = ##t
1048 \property Score.LyricText \set #'font-style = #'large
1063 \context Lyrics \lyrics {
1072 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1075 ES: Calder@'on, I: corona, F: F: point d'orgue, point d'arr@^et,
1076 D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1078 Prolonged note or rest of indefinite duration.
1083 \notes\relative c'' {
1084 a4 b c2^\fermata \bar "|." }
1088 ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1091 @w{@ar{}@strong{interval}}
1094 ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
1097 ES: digitaci@'on, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1098 fingers@ae{}tning, S: fingers@"attning, N: .
1100 The methodical use of fingers in the playing of instruments.
1104 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1105 DK: fane, S: flagga, N: .
1107 Ornament at the end of the stem of a note used for notes with values
1108 less than a quarter note. The number of flags determines the
1109 @w{@ar{}@strong{note value}}.
1113 \property Score.barNonAuto = ##t
1114 \property Score.TextScript \set #'font-style = #'large
1115 \notes\relative c'' {
1123 ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1125 @w{@ar{}@strong{accidental}}
1127 @item forefall; backfall
1128 @w{@ar{}@strong{appoggiatura}}
1131 ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1133 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1134 @emph{mezzoforte} (@b{mf}) medium loud.
1137 ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1139 @w{@ar{}@strong{interval}}
1142 ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1144 @w{@ar{}@strong{counterpoint}}
1146 @item functional harmony
1147 ES: armon@'{@dotless{i}}a funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1148 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1150 A system of harmonic analysis. It is based on the idea that, in a given key,
1151 there are only three functionally different chords: tonic (T, the chord on the
1152 first note of the scale), subdominant (S, the chord on the fourth note) and
1153 dominant (D, the chord on the fifth note). Other are considered to be variants
1159 \property Score.barNonAuto = ##t
1160 \property Score.LyricText \set #'font-style = #'large
1161 \property Score.TextScript \set #'font-style = #'large
1163 \context Voice \notes\relative c'' {
1164 < g1 e c > < a f d > < b g e >
1165 < c a f > < d b g > < e c a > < f d b > }
1166 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1170 ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1173 ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1174 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1176 A clef symbol indicating the G above central C. Used on the first and second
1177 note lines. A digit 8 above the clef symbol indicates that the notes must be
1178 played an octave higher while 8 below the clef symbol indicates playing or
1179 singing an octave lower (most tenor parts in choral scores are notated like
1185 \property Score.barNonAuto = ##t
1186 \property Staff.Clef \set #'full-size-change = ##t
1187 \property Score.LyricText \set #'font-style = #'large
1189 \notes\relative c'' {
1199 \context Lyrics \lyrics {
1200 "french violin clef"
1208 ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1209 glissando, N: glissando.
1211 Letting the pitch slide fluently from one note to the other
1214 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1215 NL: versieringen, DK: forsiringer, S: ornament, N: .
1217 Notes printed in small types to indicate that their time values are not
1218 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1221 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1222 S: ackolad, b@"ojd klammer, N: .
1224 @w{@ar{}@strong{brace}}
1226 A combination of two staves with a brace. Usually used for piano music.
1229 ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1235 ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1236 halvnode, S: halvnot, N: .
1238 @w{@ar{}@strong{note value}}
1241 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1242 rust, DK: halvnodespause, S: halvpaus, N: .
1244 @w{@ar{}@strong{note value}}
1246 @item harmonic cadence
1247 ES: cadencia (arm@'onica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1248 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1250 Sequence of chords that terminate a musical phrase or
1251 section. @ar{}@w{}@strong{functional harmony}
1256 \notes\context PianoStaff <
1257 \context Staff = SA \relative c'' {
1260 \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
1261 \property Score.LyricText \set #'font-style = #'large
1263 \context Staff = SB \relative c {
1265 \partial 4 c4 | f, g c2
1267 \context Lyrics \lyrics { T S D T } >
1271 ES: armon@'{@dotless{i}}a , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1272 samklang, S: samklang, N:
1274 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1275 @emph{consonances} and @emph{dissonances}.
1282 \property Score.barNonAuto = ##t
1283 \property Score.TextScript \set #'font-style = #'large
1284 \context Voice \notes\relative c'' {
1291 <g1_"decime" b'> s s
1300 \property Score.barNonAuto = ##t
1301 \property Score.TextScript \set #'font-style = #'large
1302 \context Voice \notes\relative c'' {
1309 Three note harmony @w{@ar{}@strong{chord}}
1312 ES: homofon@'{@dotless{i}}a, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1315 Music in which one voice leads melodically followed by the other voices more
1316 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1319 ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1322 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1323 diminished or augmented. The augmented fourth and the diminished fifth are
1324 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1325 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1331 \property Score.barNonAuto = ##t
1332 \property Score.LyricText \set #'font-style = #'large
1333 \property Score.TextScript \set #'font-style = #'large
1335 \context Voice \notes\relative c'' {
1340 < gis^"dimin" bes > s
1341 < g!^"minor" bes > s
1345 \context Lyrics \lyrics {
1346 unisone second second second third third third third }
1352 \property Score.barNonAuto = ##t
1353 \property Score.LyricText \set #'font-style = #'large
1354 \property Score.TextScript \set #'font-style = #'large
1356 \context Staff \notes\relative c'' {
1357 < g1^"perfect" c > s
1359 < g^"perfect" d' > s
1361 < gis^"dimin" es' > s
1362 < g!^"minor" es' > s
1366 \context Lyrics \lyrics {
1367 fourth fourth fifth fifth sixth sixth sixth sixth }
1373 \property Score.barNonAuto = ##t
1374 \property Score.LyricText \set #'font-style = #'large
1375 \property Score.TextScript \set #'font-style = #'large
1377 \context Staff \notes\relative c'' {
1378 < gis1^"dimin" f'! > s
1379 < g!^"minor" f'! > s
1380 < g^"major" fis' > s
1384 < g^"minor" bes' > s
1387 \context Lyrics \lyrics {
1388 seventh seventh seventh octave none none decime decime }
1391 @item inverted interval
1392 ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1393 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1395 The difference between an interval and an octave.
1400 \property Score.barNonAuto = ##t
1401 \property Score.TextScript \set #'font-style = #'large
1402 \context Staff \notes\relative c'' {
1403 < g1_"second" a > s < g'_"seventh" a, > s \bar "||"
1404 < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
1405 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
1409 @item just intonation
1410 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1411 stemming, DK: ren stemning, S: ren st@"amning, N: .
1413 Tuning system in which the notes are obtained by adding and subtracting
1414 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1417 ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1420 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1421 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1424 ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1425 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1426 S: tonartssignatur, N: .
1428 The sharps or flats appearing at the beginning of each staff indicating the
1429 key of the music. @w{@ar{}@strong{accidental}}
1432 ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1435 Very slow in tempo, usually combined with great
1436 expressiveness. @emph{Larghetto} less slow than largo.
1439 ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1442 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1443 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1444 upwards) to the tonic scale degree.
1446 @item ledger line; leger line
1448 ES: l@'{@dotless{i}}neas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1449 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1451 A ledger line is an extension of the staff.
1456 \property Score.barNonAuto = ##t
1457 \notes\relative c'' { a,1 s c'' }
1461 ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1464 To be performed without any perceptible interruption between the notes (a)
1465 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1466 @w{@ar{}@strong{staccato}} (d)
1471 \property Score.barNonAuto = ##t
1473 \context Staff \notes\relative c'' {
1475 c4-- d-- e-- \bar "||"
1476 c4-.( d-. )e-. \bar "||"
1477 c4-. d-. e-. \bar "||"
1479 \context Lyrics \lyrics {
1480 \property Lyrics . LyricText \set #'font-style = #'large
1481 a "" "" b "" "" c "" "" d }
1485 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1488 ES: estanque de lilas,
1489 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1490 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1492 A pond with lilies floating in it, also the name of a music typesetter.
1495 ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1498 @w{@ar{}@strong{staff}}
1500 @item long appoggiatura
1501 ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1502 forslag, S: l@aa{}ngt f@"orslag, N: .
1504 @w{@ar{}@strong{appoggiatura}}
1507 ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1509 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1514 \property Score.barNonAuto = ##t
1515 \notes\relative c'' {
1516 \property Voice.NoteHead \set #'style = #'mensural
1521 @item major interval
1522 ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1523 groot interval, DK: stort interval, S: stort intervall, N: .
1525 @w{@ar{}@strong{interval}}
1528 ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1530 @w{@ar{}@strong{diatonic scale}}
1532 @item meantone temperament
1533 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1534 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1536 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1537 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1538 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1539 tuning keyboard instruments for performance of pre-1650 music.
1542 ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1544 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1545 bears an accent. Such groups in numbers of two or more recur consistently
1546 throughout the composition and are marked from each other by
1547 bar-lines. @w{@ar{}@strong{meter}}
1550 ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1553 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1554 a third from that of another chord. For example the tonic chord may be
1555 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1556 harmony}} @w{@ar{}@strong{relative key}}.
1558 @item melodic cadence
1560 @w{@ar{}@strong{cadenza}}
1563 ES: comp@'as, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1566 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1567 which remains unaltered throughout a composition or a section of it. For
1568 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1569 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1570 those. According to whether there are two, three or four units to the measure,
1571 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1572 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1577 \notes\relative c'' {
1580 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
1584 \notes\relative c' {
1587 f8 f f f a16 g a f |
1588 c'8 c c c e16 d e c \bar "||"}
1592 \notes\relative c'' {
1595 d4 b8 g b d d c a4 |
1596 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
1600 ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1601 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1603 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1606 @item metronomic indication
1607 ES: indicaci@'on metron@'omica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1608 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1610 Exact tempo indication (in beats per minute). Also denoted by
1611 M.M. (M@"alzel's Metronom)
1614 ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1615 mezzosopran, S: mezzosopran, N: mezzosopran.
1617 The female voice between @w{@ar{}@strong{soprano}} and
1618 @w{@ar{}@strong{contralto}}.
1621 ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1622 enstreget c, S: ettstruket c, N:
1624 First C below the 440 Hz A.
1629 \property Score.barNonAuto = ##t
1630 \property Staff.Clef \set #'full-size-change = ##t
1631 \notes\relative c' {
1638 @item minor interval
1639 ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1640 interval, DK: lille interval, S: litet intervall, N: .
1642 @w{@ar{}@strong{interval}}
1645 ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1647 @w{@ar{}@strong{diatonic scale}}
1650 ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1652 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1655 ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1658 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1659 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1660 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1664 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1667 @w{@ar{}@strong{ornament}}
1671 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1673 The briefest intelligible and self-contained fragment of a musical theme or
1679 \property Score.TimeSignature \override #'style = #'C2/2
1680 \property Score.TextScript \set #'font-style = #'large
1681 \notes\relative c'' {
1684 \partial 8 g16_"------" fis |
1685 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1686 g8 g,16 a b8 cis d16 s
1691 ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1693 Greater musical works like @w{@ar{}@strong{symphony}} and
1694 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1695 independant pieces called movements.
1698 ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1699 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1704 \notes\relative c'' {
1706 \property Score.skipBars=##t R1*3
1710 @item mixolydian mode
1711 @w{@ar{}@strong{diatonic scale}}
1714 ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1715 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1717 @w{@ar{}@strong{accidental}}
1719 @item neighbour tones
1720 @w{@ar{}@strong{appoggiatura}}
1723 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1725 @w{@ar{}@strong{interval}}
1728 @w{@ar{}@strong{legato}}
1731 ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1733 Notes are signs by means of which music is fixed in writing. The term is also
1734 used for the sound indicated by a note, and even for the key of the piano
1735 which produces the sound. However, a clear distinction between the terms tone
1736 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1740 ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1741 nootballetje, DK: nodehovede, S: nothuvud, N: .
1743 A head like sign which indicates pitch by its position on a
1744 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1745 by a variety of shapes such as hollow or black heads with or without
1746 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1747 instruments (often having no defined pitch) the note head may indicate the
1751 ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1752 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1754 Note values (durations) are measured as fractions, normally 1/2, of the next
1755 higher note value. The longest duration normally used is called @emph{brevis},
1756 but sometimes (mostly in pre baroque music) the double length note value
1757 @emph{longa} is used.
1762 \property Score.TextScript \set #'font-style = #'large
1763 \property Score.barNonAuto = ##t
1764 \notes\relative c'' {
1765 \property Voice.NoteHead \override #'style = #'mensural
1766 g\longa_"longa" g\breve_"breve"
1767 \property Voice.NoteHead \revert #'style
1768 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1769 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1773 \property Score.TextScript \set #'font-style = #'large
1774 \property Score.barNonAuto = ##t
1775 \notes\relative c'' {
1776 r\longa_"longa" r\breve_"breve"
1777 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1778 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1781 An augmentation dot after a note multiplies the duration by one and a
1782 half. Another dot adds yet a fourth of the duration.
1787 \property Score.TextScript \set #'font-style = #'large
1788 \notes\relative c'' {
1790 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
1791 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
1794 Alternatively note values may be subdivided by other ratios. Most common is
1795 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1796 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1802 \property Score.TextScript \set #'font-style = #'large
1803 \notes\relative c'' {
1805 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
1806 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
1808 \times 3/2 {g4_"duplets" g} |
1810 \times 6/4 {g8_"quadruplets" g g g} |
1811 g8 g g g g4 \bar "||"}
1818 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1821 ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1823 @w{@ar{}@strong{interval}}
1825 @item ornament; embellishment; accessory
1827 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1828 NL: versiering, DK: forsiring, S: ornament, N: .
1830 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1831 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1832 middle of the 19th century and onwards the trill is performed with the main
1833 note first while in the music from the preceding baroque and classic periods
1834 the upper note is played first.
1838 \context Staff = sa {
1839 \property Score.TextScript \set #'font-style = #'large
1840 \notes\relative c'' {
1841 c2._"pre-1850" b4\trill | c1 \bar "||"
1842 c2._"post-1850" b4\trill | c1 \bar "||"
1845 \notes\relative c'' {
1846 c2. c32 b c b c b c b | c1
1847 c2. b32 c b c \times 4/5 { b c b c b } | c1
1852 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1853 @emph{prall} (inverted mordent).
1859 \context Staff = sa {
1860 \property Score.TextScript \set #'font-style = #'large
1861 \notes\relative c'' {
1862 a4_"turn" b\turn c2 \bar "||"
1863 g4_"mordent" a b\mordent a \bar "||"
1864 e'4_"prall" d\prall c2 \bar "||"
1867 \notes\relative c'' {
1870 e'4 [e8 ~ e32 d e d] c2
1875 @w{@ar{}@strong{appoggiatura}}
1878 ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1880 Ossia (otherwise) marks an alternative. It is an added staff or piano
1881 score, usually only a few measures long, which presents another version
1882 of the music, for example for small hands.
1885 ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1887 1. In instrumental or choral music the music for the single instrument
1888 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1889 melodic line of the contrapuntal web.
1892 ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1895 A family of musical instruments which are played on by striking or
1896 shaking. Percussion instruments commonly used in a symphony orchestra are
1897 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1898 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1901 @item perfect interval
1902 ES: intervalo justo,
1903 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1904 interval, DK: rent interval, S: rent intervall, N: .
1906 @w{@ar{}@strong{interval}}
1909 ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1911 A natural division of the melodic line, comparable to a sentence of speech.
1914 ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1917 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1918 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1921 ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1923 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1924 @emph{mezzopiano} (@b{mp}) medium soft.
1927 ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1931 ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1932 pizzicato, S: pizzicato.
1934 Play by plucking the strings.
1937 ES: polifon@'{@dotless{i}}a, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1940 Music written in a combination of several simultaneous voices (parts) of a
1941 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1944 @w{@ar{}@strong{legato}}
1947 ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1948 presto, S: presto, N: .
1950 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1951 denotes the highest possible degree of speed.
1953 @item Pythagorean comma
1954 ES: coma pitag@'orico,
1955 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1956 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1958 A sequence of fifths starting on C eventually circles back to C, but this C,
1959 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1960 obtained by adding 7 octaves. The difference between those two pitches is
1961 called the Pythagorean comma.
1964 ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1967 @w{@ar{}@strong{note value}}
1970 ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1971 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1973 @w{@ar{}@strong{note value}}
1976 ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1977 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1979 @w{@ar{}@strong{note value}}
1982 ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S:
1985 @w{@ar{}@strong{note value}}
1988 ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1989 rallentando, S: rallentando, N: rallentando.
1991 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1994 ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1995 paralleltoneart, S: parallelltonart, N: .
1997 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1998 the same @w{@ar{}@strong{signature}}.
2003 \property Score.barNonAuto = ##t
2004 \property Score.TextScript \set #'font-style = #'large
2005 \notes\relative c' {
2007 es1_"e flat major" f g as bes c d es
2010 c,1_"c minor" d es f g a! b! c \bar "||"
2015 ES: barra de repetici@'on, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2016 gen@-ta@-gel@-se, S: repris, N: .
2023 \notes\relative c'' {
2024 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2028 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
2029 @c specify the rest's value.
2031 ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2033 @w{@ar{}@strong{note value}}
2036 ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2038 (a) metrical rhythm in which every time value is a multiple or fraction of a
2039 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2040 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2041 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2042 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2043 accent. In modern notation such music appears as a free alternation of
2044 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2045 common metrical unit (beat).
2048 ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2049 ritardando, S: ritardando, N: .
2051 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2054 ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2057 Immediate reduction of speed.
2060 ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2062 @w{@ar{}@strong{diatonic scale}}
2065 ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2066 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2068 Names and symbols used in harmonic analysis to denote tones of the scale as
2069 roots of chords. The most important are degrees I = tonic (T), IV =
2070 sub@-do@-mi@-nant (S) and V = dominant (D).
2075 \property Score.barNonAuto = ##t
2076 \property Score.LyricText \set #'font-style = #'large
2077 %\property Lyrics.minVerticalAlign = #8
2079 \context Staff \notes\relative c' {
2081 \context Lyrics \lyrics {
2082 < { I II III IV V VI VII I }
2087 @w{@ar{}@strong{functional harmony}}
2090 ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2093 A copy of orchestral, choral or chamber music showing what each instrument is
2094 to play, each voice to sing, having each part arranged one underneath the
2095 other on different @w{@ar{}@strong{stave}}s.
2098 ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2100 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2101 @w{@ar{}@strong{diatonic scale}} consists of alternating
2102 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2103 of a se@-cond depends on the scale degrees in question.
2106 ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2109 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2110 interval in European composed music. The interval between two neighbouring
2111 tones on the piano keyboard - including black and white keys - is a
2112 semitone. An octave may be divided into 12
2113 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2118 \property Score.barNonAuto = ##t
2119 \notes\relative c'' { g1 gis s a bes s b c }
2123 ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2125 @w{@ar{}@strong{interval}}
2127 @item sextuplet, sextolet
2128 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2131 @w{@ar{}@strong{note value}}
2134 ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2136 @w{@ar{}@strong{accidental}}
2138 @item short appoggiatura
2139 @w{@ar{}@strong{appoggiatura}}
2141 @item sixteenth note
2142 ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2143 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2146 @w{@ar{}@strong{note value}}
2148 @item sixteenth rest
2149 ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2150 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2151 sextondelspaus, N: .
2153 @w{@ar{}@strong{note value}}
2156 ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2158 @w{@ar{}@strong{interval}}
2160 @item sixty-fourth note
2162 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2163 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2164 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2165 sextiofj@"ardedelsnot, N: .
2167 @w{@ar{}@strong{note value}}
2169 @item sixty-fourth rest
2170 ES: silencia de semifusa,
2171 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2172 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2173 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2174 sextiofj@"ardedelspaus, N: .
2176 @w{@ar{}@strong{note value}}
2179 ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2180 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2181 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2183 A slur above or below a group of notes indicates that they are to be played
2184 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2188 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2189 solmisation, S: solmisation, N: .
2191 General term for systems of designating the degrees of the
2192 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2193 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2194 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2197 ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2199 In its present-day meaning a sonata denotes an instrumental composition for
2200 piano or for some other instrument with piano accompaniment, which consists of
2201 three or four independant pieces, called movements.
2204 ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2205 sonatevorm, DK: sonateform, S: sonatform, N: .
2207 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2208 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2209 falls in three sections called @emph{exposition}, @emph{development} and
2210 @emph{recapitulation}. In the exposition the composer introduces his musical
2211 ideas, consisting of a number of themes; in the development section he
2212 "develops" this material, and in the recapitulation he repeats the exposition,
2213 with certain modifications however. The exposition contains a number of themes
2214 which fall into two groups, often called first and second subject. Other
2215 melodies occurring in each group are considered as continuations of these
2216 two. The second theme is in another key, normally in the key of the
2217 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2218 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2219 tonic is @w{@ar{}@strong{minor}}.
2222 ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2224 The highest female voice.
2227 ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2228 staccato, S: staccato, N:
2230 Playing the note(s) short. Staccato is indicated by a dot above or below the
2238 \notes\relative c'' {
2240 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2245 ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2246 partij, DK: nodesystem, S: notsystem, N: .
2248 pl. staves. A series of (normally 5) horizontal lines upon and between
2249 which the musical notes are written, thus indicating (in connection
2250 with a @w{@ar{}@strong{clef}}) their pitch. Staves for
2251 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2254 ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2257 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2258 note. @w{@ar{}@strong{beam}}
2263 \property Score.noAutoBeaming = ##t
2264 \property Score.barNonAuto = ##t
2265 \property Score.TextScript \set #'font-style = #'large
2266 \notes\relative c'' {
2275 ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2278 A family of stringed musical instruments played with a bow. Strings commonly
2279 used in a symphony orchestra are violin, viola, violoncello and double bass.
2282 ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2283 D: betonet taktslag, S: betonat taktslag, N: .
2285 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2286 @w{@ar{}@strong{rhythm}}
2289 ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2290 subdominant, S: subdominant, N: .
2292 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2296 ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2297 Submediant, S: submediant, N: .
2299 The sixth @w{@ar{}@strong{scale degree}}.
2302 ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2305 The seventh @w{@ar{}@strong{scale degree}}
2308 ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2309 superdominant, S: superdominant, N: .
2311 The sixth @w{@ar{}@strong{scale degree}}
2314 ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2315 supertonika, S: supertonika, N: .
2317 The second @w{@ar{}@strong{scale degree}}.
2320 ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2323 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2326 ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2328 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2329 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2330 rhythm rests upon the grouping of equal beats into groups of two or three,
2331 with a regularly recurrent accent on the first beat of each group. Any
2332 deviation from this scheme is felt as a disturbance or contradiction between
2333 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2338 \property Score.TextScript \set #'font-style = #'large
2340 \notes\relative c' {
2343 e c'4 e,8 c'4 e,8 c' ( | ) c2
2347 @item syntonic comma; dydimic comma
2349 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2350 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2352 Difference between the natural third and the third obtained by Pythagorean
2353 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2356 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2359 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2360 writing down of keyboard, chamber, choral or orchestral music.
2363 ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2364 DK: temperatur, S: temperatur, N: .
2366 Systems of tuning in which the intervals deviate from the accoustically pure
2367 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2370 @item tempo indication
2371 ES: indicaci@'on de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2372 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2373 tempobeteckning, N: .
2375 The rate of speed of a composition or a section thereof, ranging from the
2376 slowest to the quickest, as is indicated by tempo marks as
2377 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2378 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2381 ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2383 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2386 ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2388 @w{@ar{}@strong{note value}}
2391 ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2393 @w{@ar{}@strong{interval}}
2395 @item thirty-second note
2397 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2398 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2399 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2401 @w{@ar{}@strong{note value}}
2403 @item thirty-second rest
2404 ES: silencio de fusa,
2405 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2406 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2407 trettiotv@aa{}ondelspaus, N: .
2409 @w{@ar{}@strong{note value}}
2411 @item thorough bass; figured bass
2413 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2414 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2416 A method of indicating an accompaniment part by the bass notes only, together
2417 with figures designating the chief @w{@ar{}@strong{interval}}s and
2418 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2423 \context GrandStaff <
2424 \context Staff = lh \notes\relative c'' {
2428 < \context Voice = rha {
2431 \context Voice = rhb {
2433 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2437 \context Staff = rh \notes\relative c' {
2440 es8 c () c bes () bes as () as g16 f | es4
2442 \context Lyrics \lyrics {
2443 \property Lyrics . LyricText \set #'font-style = #'Large
2444 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
2445 < { "" "6" "4" "6" "4" "6" "4" "6" }
2446 { "" "" "2" "" "2" "" "2" "" } >
2452 ES: ligadura de prolongaci@'on,
2453 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2454 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2456 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2457 connects two succesive notes of the same pitch, and which has the function of
2458 uniting them into a single sound equal to the combined durations.
2463 \property Score.barNonAuto = ##t
2464 \notes\relative c'' { g2 ~ g4. }
2467 @item time signature
2469 ES: cifra indicadora de comp@'as,
2470 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2471 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2472 taktartssignatur, N: .
2474 @w{@ar{}@strong{meter}}
2477 ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2479 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2480 a primary building material of music. Music from the 20th century may be based
2481 on non tone related sounds.
2484 ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2486 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2489 ES: transposici@'on, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2490 transposition, S: transponering, N: .
2492 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2499 \notes\relative c'' {
2501 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2502 \transpose bes\relative c'' {
2504 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2509 ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2510 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2513 @w{@ar{}@strong{G clef}}
2516 ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2519 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2520 the same tone, produced by a rapid up-and-down movement movement of the bow
2521 (a). The term is also used for the rapid alternation (b) between two notes of
2522 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2523 (@w{@ar{}@strong{interval}}).
2528 \property Score.barNonAuto = ##t
2529 \property Score.TextScript \set #'font-style = #'large
2530 \notes\relative c' {
2531 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2532 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2533 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2538 ES: tr@'{@dotless{i}}ada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2539 drieklank, DK: treklang, S: treklang, N:
2541 @w{@ar{}@strong{chord}}
2545 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2546 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2548 @w{@ar{}@strong{ornament}}
2551 ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2552 maatsoort, DK: tredelt takt, S: tretakt, N: .
2554 @w{@ar{}@strong{meter}}
2557 ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2559 @w{@ar{}@strong{note value}}
2562 ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2565 @w{@ar{}@strong{interval}}
2568 ES: diapas@'on, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2569 stemmegaffel, S: st@"amgaffel, N: .
2571 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2572 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2574 @item turn; gruppetto
2576 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2580 ES: un@'{@dotless{i}}sono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2583 Playing of the same notes or the same melody by various instruments (voices)
2584 or by the whole orchestra (choir), either at exactly the same pitch or in a
2588 ES: entrada anacr@'usica, I: anacrusi, F: anacrouse, lev@'ee, D: Auftakt, NL: opmaat, DK: optakt, S:
2591 Initial note(s) of a melody occurring before the first bar
2592 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2599 \notes\relative c' {
2600 \partial 4 f4 | bes4. a8 bes4 c |
2601 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
2605 ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2607 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2608 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2609 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2610 of a polyphonic composition.
2613 ES: tiempo d@'ebil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2614 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2616 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2619 ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2620 DK: helnode, S: helnot, N: .
2622 @w{@ar{}@strong{note value}}
2625 ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2626 rust, DK: helnodespause, S: helpaus, N: .
2628 @w{@ar{}@strong{note value}}
2631 ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2634 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2635 tones on the piano keyboard with exactly one key between them - including
2636 black and white keys - is a whole tone.
2639 ES: maderas, I: legni, F: les bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2640 S: tr@"abl@aa{}sare, N: .
2642 A family of blown wooden musical instruments. Today some of these instruments
2643 are actually made from metal. The woodwind instruments commonly used in a
2644 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2651 @item DURATION NAMES, NOTES AND RESTS
2654 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2656 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2657 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2661 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2662 @tab longa @tab longa @tab longa
2666 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2667 brevis @tab brevis @tab brevis @tab brevis
2671 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2672 Ganze @tab hele @tab hel @tab hel @tab
2676 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2677 halve @tab halv @tab halv @tab
2681 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2682 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2686 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2687 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2691 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2692 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2697 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2698 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2699 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2703 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2704 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2705 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2706 sextio@-fj@"arde@-del @tab
2709 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2717 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2719 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2720 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2724 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2728 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2729 cis @tab cis @tab cis
2733 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2734 des @tab des @tab des
2738 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2742 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2746 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2750 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2754 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2759 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2763 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2764 ais @tab ais @tab ais
2768 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2773 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2780 @item ---------------------
2784 @item Literature used
2785 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2786 quotes from its articles have been included into the item explanation texts.
2788 Hugo Riemans Musiklexicon, Berlin 1929
2791 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2792 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.