2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @c @evenheading @thispage @| @|
8 @c @oddheading @| @| @thispage @|
16 @item UK - British English
26 @tex $\\Rightarrow$ @end tex
36 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
41 I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
44 I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
46 The stress of one tone over others.
49 I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
50 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
53 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
54 @c Akzidenz, NL: toevallig teken, I: accidento.
56 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
57 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
58 flat lowers it by a whole tone. A natural cancels the effect of a previous
64 \property Score.barNonAuto = ##t
65 \property Voice.TextScript \set #'font-style = #'large
68 gisis1_"db. sharp" s s2
70 geses1_"db. flat" s s2
75 I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
76 NL: accelerando, DK: accelerando, S: accelerando, N:
82 I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
85 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
86 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
87 movement in slow tempo, esepecially the scond (slow) movement of
88 @w{@ar{}@strong{sonata}s}, symphonies etc.
91 I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
92 DK: allegro, S: allegro, N: allegro.
94 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
95 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
98 I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
100 A female voice of low range (@emph{contralto}). Originally the alto was a high
101 male voice (hence the name) which by the use of falsetto reached the height of
102 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
106 I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
107 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
109 C clef setting central C on the middle line of the staff
110 @w{@ar{}@strong{C clef}}
112 @item ancient minor scale
113 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
114 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
119 \property Score.barNonAuto = ##t
120 \notes\relative c'' {
125 I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
128 walking tempo/character
131 I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
132 DK: forslag, S: f@"orslag, N:
134 Ornamental note, usually a second, that is melodically connected with the main
135 note that follows it. In music before the 19'th century a. were usually
136 performed on the beat, after that mostly before the beat. While the short
137 a. is performed as a short note regardless of the duration of the main note
138 the duration of the long a. is proportionate to that of the main note.
144 %\property Voice.textNonEmpty = ##f
145 \property Voice.TextScript \set #'font-style = #'large
146 \notes\relative c'' {
149 <d4_"notation" a fis> r
150 { \property Grace.Stem \override #'flag-style = ##f
153 { \property Grace.Stem \override #'flag-style = ##f
155 g8 fis16 g | a4 \bar "||"; }
156 \notes\relative c'' {
157 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
160 An appoggiatura may have more notes preceding the main note.
166 \property Voice.TextScript \set #'font-style = #'large
167 \notes\relative c'' {
170 \grace { bes16 } as8_"notation" as16 bes as8 g |
171 \grace { [as16 ( bes] } < ) c4 as >
172 \grace { [as16 ( bes] } < ) c4 as > \bar "||";
173 \grace { bes16 } as8_"performance" as16 bes as8 g |
174 < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. }
175 \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } >
181 I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
182 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
187 \notes \context PianoStaff <
188 \context Staff = SA \relative c'' {
191 r8 g16 c e g, c e r8 g,16 c e g, c e |
192 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
193 \context Staff = SB \relative c' {
195 < \context Voice = va {
197 r16 e8. () e4 r16 e8. () e4 |
198 r16 d8. () d4 r16 d8. () d4 }
199 \context Voice = vb {
206 @item ascending interval
207 I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
208 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
210 A distance between a starting lower note and a higher ending note.
212 @item augmented interval
213 I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
214 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
215 @"overstigande intervall, N:
217 @w{@ar{}@strong{interval}}
220 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
221 h@aa{}ndskrift, autograf, S: handskrift, N: .
223 1. A manuscript in the composer's own hand. 2. Music prepared for
224 photoreproduction by freehand drawing, with only the aid of a
225 straightedge ruler and T-square, which attempts to emulate
226 engraving. This required more skill than did engraving.
229 I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
231 @item backfall; forefall
232 @w{@ar{}@strong{appoggiatura}}
235 I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
236 maatstreep, DK: taktstreg, S: taktstreck, N:
239 @w{@ar{}@strong{measure}}
242 I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
245 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
246 @w{@ar{}@strong{tenor}}.
249 I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
250 ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
253 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
254 @w{@ar{}@strong{f clef}}
257 I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
258 bassleutel, DK: basn@o{}gle, S: basklav, N:
260 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
264 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
266 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
267 an abbreviation for double bass @w{@ar{}@strong{strings}}.
270 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
272 Line connecting a series of notes (shorter than a quarter note). The number of
273 beams determine the note value of the connected notes.
278 \property Score.barNonAuto = ##t
280 \property Voice.TextScript \set #'font-style = #'large
281 \notes\relative c'' {
283 [g16_"1/16" g g g] s16
284 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
285 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
289 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
292 Note value used for counting, most often half-, fourth- and eighth notes. The
293 base counting value and the number of them per measure is indicated at the
301 \notes\relative c'' { g4 c b a | g1 \bar "||";}
303 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
307 @w{@ar{}@strong{tie}}
310 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
311 accolade, teksthaak, DK: klamme, S: klammer, N:
313 Symbol at the start of a system connecting staffs. Curly braces are used
314 for connecting piano staves, angular brackets for connecting parts in an
315 orchestral or choral score.
318 \notes\context GrandStaff <
319 \relative c''\context Staff = SA { \clef treble; g4 e c2 }
320 \relative c \context Staff = SB { \clef bass; c1 \bar "|."; } >
324 \context StaffGroup <
325 % \property StaffGroup.minVerticalAlign = 12
326 \notes\relative c'' \context Staff = SA { \clef treble; g4 e c2 }
327 \notes\relative c \context Staff = SB { \clef bass; c1 \bar "|."; } >
331 I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
332 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
334 A family of blown musical instruments made of brass all using a cup formed
335 mouth piece. The brass instruments commonly used in a symphony orchestra are
336 trumpet, trombone, french horn and tube.
339 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
340 repercussieteken, DK:
341 vejrtr@ae{}kningstegn, S: andningstecken, N: .
343 Indication of where to breathe in vocal and wind instrument parts.
346 I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
348 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
354 \property Score.barNonAuto = ##t
355 \notes\relative c'' { g\breve }
359 I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
362 I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
363 c-n@o{}gle, S: c-klav, N:
365 Clef symbol indicating the position of the central C. Used on all note
371 \property Score.barNonAuto = ##t
372 \property Score.Clef \override #'full-size-change = ##t
373 \property Score.LyricText \set #'font-style = #'large
375 \context Staff \notes\relative c' {
377 \clef mezzosoprano; c
382 \context Lyrics \lyrics {
383 Soprano Mezzosoprano Alto Tenor Baritone
388 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
390 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
393 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
395 An extended, improvisatory style section inserted near the end of
396 movement. The purpose of a cadenza is to give the singer or player a chance to
397 exhibit her technichal skill and not the least her ability to improvise. Since
398 the middle of the 19'th century, however, most cadences have been written down
402 I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
404 @w{@ar{}@strong{counterpoint}}
407 I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
409 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
410 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
413 @w{@ar{}@strong{middle C}}
416 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
418 Three or more tones sounding simultaneously. In traditional European music the
419 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
420 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
421 chords may be extended with more thirds. Four- @emph{seventh chords} and five
422 tone @emph{ninth} major chords are most often used as dominants
423 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
424 third above the lower notes to define their quality as major or minor. Such
425 chords are denoted open chords
430 \property Score.barNonAuto = ##t
431 \property Voice.textNonEmpty = ##t
432 \property Voice.TextScript \set #'font-style = #'large
434 \notes\relative c'' {
437 <g_"dimished" bes des>
438 <g_"augmented~" b dis>
439 <g_"seventh-chord~" b d f>
440 <g_"ninth-chord" b d f a> s s2
444 @item chromatic scale
445 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
446 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
448 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
453 \property Score.barNonAuto = ##t
454 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
458 I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
461 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
463 @item church mode; ecclesiastical mode
464 I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
465 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
467 @w{@ar{}@strong{diatonic scale}}
470 I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
471 sleutel, DK: n@o{}gle, S: klav, N:
473 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
476 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
478 Difference in pitch between a note derived from pure tuning and the same note
479 derived from some other tuning method. @w{@ar{}@strong{temperament}}
482 @w{@ar{}@strong{meter}}
484 @item compound interval
485 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
486 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
488 Intervals larger than an octave
490 @w{@ar{}@strong{interval}}
493 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
494 complementair interval, DK: komplement@ae{}rinterval, S:
495 komplement@"arintervall (?), N:
497 @w{@ar{}@strong{inverted interval}}
499 @item conjunct movement
500 I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
501 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
503 Melody moving in the narrow steps of the scale;
508 \key g \major; \time 4/4;
509 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
513 I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
516 @w{@ar{}@strong{harmony}}
519 I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
521 @w{@ar{}@strong{alto}}
524 I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
525 kontrapunkt, S: kontrapunkt, N: .
527 From latin @emph{punctus contra punctum}, note against note. The combination
528 into a single musical fabric of lines or parts which have distinct melodic
529 significance. A frequently used polyphonic technique is imitation, in its
530 strictest form found in the canon needing only one part to be written down
531 while the other parts are performed with a given displacement. Imitation is
532 also the contrapuntal technique used in the @emph{fugue} which, since the
533 music of the baroque era, has been one of the most popular polyphonic
539 \property Score.TimeSignature \override #'style = #'C2/2
540 \notes\context PianoStaff <
541 \context Staff = SA \relative c' {
545 < \context Voice = rha {
547 r1 | r2 r8 g'8 bes d, |
548 cis4 d r8 e!16 f g8 f16 e |
549 f8 g16 a bes8 a16 g a8
551 \context Voice = rhb {
557 \context Staff = SB \relative c' {
560 < \context Voice = lha {
562 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
563 r8 a16 g f8 g16 a bes8 g e! cis' |
566 \context Voice = lhb {
575 I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
576 kontratenor, S: kontratenor, counter tenor, N: kontratenor
578 @w{@ar{}@strong{contralto}}
581 A music copyist did fast freehand scores and parts on preprinted staff lines
582 for performance. Some of their conventions (e.g.: the placement of noteheads
583 on stems) varied slightly from those of engravers. Some of their working
584 methods were superior and could well be adopted by music typesetters. This
585 required more skill than engraving.
588 I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
589 crescendo, S: crescendo, N:@w{ }crescendo.
591 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
592 abbreviation "cresc.".
597 \key g \major; \time 4/4;
598 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
602 I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
603 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
605 In a separate part notes belonging to another part with the purpose of hinting
606 when to start playing. Usually printed in a smaller type.
609 I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
612 I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
613 capo, DK: da capo, S: da capo, N: .
615 The term indicates repetition of the piece from the beginning to the end or to
616 a certain place marked @emph{fine}. Mostly abbreviated D.C.
619 I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
620 dal segno, S: dal segno, N: .
622 abbreviated d.s. Repetition, not from the beginning, but from another place
623 frequently near the beginning marked by a sign:
628 \property Voice.TextScript \set #'font-style = #'large
629 \key g \major; \time 4/4;
630 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
634 I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
635 decrescendo, N: decrescendo
637 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
638 or the abbreviation "decresc.".
643 \context Staff \notes\relative c'' {\key g \major; \time 4/4;
644 d4 \> c b a | \! g1 \bar "|."; }
647 @item descending interval
648 I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
649 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
650 fallande intervall, N:
652 An distance between a starting higher note and a lower ending note.
655 I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
656 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
658 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
659 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
660 keybord are diatonic.
662 The church modes are used in gregorial chant and pre baroque early music but
663 also to some extent in newer jazz music.
669 \property Score.barNonAuto = ##t
670 \property Lyrics.LyricText \set #'font-style = #'large
671 \property Voice.TextScript \set #'font-style = #'large
675 \property Voice.TextScript \set #'padding = #-10
677 \property Voice.TextScript \set #'padding = #-4
679 \context Lyrics \lyrics { Ionian }
684 \property Score.barNonAuto = ##t
685 \property Lyrics.LyricText \set #'font-style = #'large
686 \property Voice.TextScript \set #'font-style = #'large
690 \property Voice.TextScript \set #'padding = #-10
693 \property Voice.TextScript \set #'padding = #-4
695 \context Lyrics \lyrics { Dorian }
700 \property Score.barNonAuto = ##t
701 \property Lyrics.LyricText \set #'font-style = #'large
702 \property Voice.TextScript \set #'font-style = #'large
705 \property Voice.TextScript \set #'padding = #-10
708 \property Voice.TextScript \set #'padding = #-4
710 \context Lyrics \lyrics { Phrygian }
715 \property Score.barNonAuto = ##t
716 \property Lyrics.LyricText \set #'font-style = #'large
717 \property Voice.TextScript \set #'font-style = #'large
721 \property Voice.TextScript \set #'padding = #-4
723 \property Voice.TextScript \set #'padding = #0
725 \context Lyrics \lyrics { Lydian }
730 \property Score.barNonAuto = ##t
731 \property Lyrics.LyricText \set #'font-style = #'large
732 \property Voice.TextScript \set #'font-style = #'large
734 \notes\relative c'' {
736 \property Voice.TextScript \set #'padding = #-4
738 \property Voice.TextScript \set #'padding = #0
740 \context Lyrics \lyrics { Mixolydian }
745 \property Score.barNonAuto = ##t
746 \property Lyrics.LyricText \set #'font-style = #'large
747 \property Voice.TextScript \set #'font-style = #'large
749 \notes\relative c'' {
751 \property Voice.TextScript \set #'padding = #-4
753 \property Voice.TextScript \set #'padding = #0
755 \context Lyrics \lyrics { Aeolian }
758 From the beginning of the 17th century the scales used in European
759 compositional music are primarily the major and the minor scales. In the
760 harmonic minor scale type an augmented second (A) occurs between the 6th and
765 \property Score.barNonAuto = ##t
766 \property Lyrics.LyricText \set #'font-style = #'large
767 \property Voice.TextScript \set #'font-style = #'large
771 \property Voice.TextScript \set #'padding = #-10
773 \property Voice.TextScript \set #'padding = #-4
775 \context Lyrics \lyrics { Major }
780 \property Score.barNonAuto = ##t
781 \property Lyrics.LyricText \set #'font-style = #'large
782 \property Voice.TextScript \set #'font-style = #'large
784 \notes\relative c'' {
786 \property Voice.TextScript \set #'padding = #-4
788 \property Voice.TextScript \set #'padding = #0
790 \context Lyrics \lyrics { "ancient minor" }
795 \property Score.barNonAuto = ##t
796 \property Lyrics.LyricText \set #'font-style = #'large
797 \property Voice.TextScript \set #'font-style = #'large
799 \notes\relative c'' {
801 \property Voice.TextScript \set #'padding = #-4
803 \property Voice.TextScript \set #'padding = #0
805 \property Voice.TextScript \set #'padding = #1
809 \context Lyrics \lyrics { "Harmonic minor" }
814 \property Score.barNonAuto = ##t
815 \property Lyrics.LyricText \set #'font-style = #'large
816 \property Voice.TextScript \set #'font-style = #'large
818 \notes\relative c'' {
820 \property Voice.TextScript \set #'padding = #-4
822 \property Voice.TextScript \set #'padding = #0
824 \property Voice.TextScript \set #'padding = #-1
826 \property Voice.TextScript \set #'padding = #-4
829 \context Lyrics \lyrics { "Melodic minor" }
832 @item diminished interval
833 I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
834 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
837 @w{@ar{}@strong{interval}}
840 I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
841 S:@w{ }diminuendo, N:@w{ }diminuendo.
843 @w{@ar{}@strong{decrescendo}}
845 @item disjunct movement
846 I: moto disgiunto, F: mouvement disjoint, D:
847 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
850 Melody moving in steps greater than those of the
851 scale. Opposite of @ar{}@strong{conjunct movement}.
859 \partial 8; e8 | a4. gis8 b a e cis |
860 fis2 d4. \bar "||"; }
863 @item dissonant interval; dissonance
864 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
865 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
868 @w{@ar{}@strong{harmony}}
870 @item dominant ninth chord
871 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
872 Dominantnoneakkord, NL: dominant noon akkoord, DK:
873 dominantnoneakkord, S: dominantnonackord, N: .
875 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
877 @item dominant seventh chord
878 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
879 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
880 dominantseptimackord, N:
882 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
885 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
888 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
891 I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
892 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
894 @w{@ar{}@strong{diatonic scale}}
896 @item dot (augmentation dot)
897 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
900 @w{@ar{}@strong{dotted note}}
903 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
904 DK: punkteret node, S: punkterad not, N:
906 @w{@ar{}@strong{note value}}
908 @item double appoggiatura
909 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
910 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
912 @w{@ar{}@strong{appoggiatura}}
914 @item double bar line
915 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
916 dobbeltstreg, S: dubbelstreck, N: .
918 Indicates the end of a section within a movement.
920 @item double dotted note
921 I: nota doppiamente puntata, F: note doublement point@'ee, D:
922 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
923 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
925 @w{@ar{}@strong{note value}}
929 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
930 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
932 @w{@ar{}@strong{accidental}}
935 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
936 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
938 @w{@ar{}@strong{accidental}}
941 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
942 dobbelttrille, S: dubbeldrill, N: .
944 A simultaneous trill on two notes, usually in the distance of a third.
947 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
948 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
950 @w{@ar{}@strong{meter}}
953 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
955 @w{@ar{}@strong{note value}}
958 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
961 @w{@ar{}@strong{note value}}
964 @w{@ar{}@strong{syntonic comma}}
967 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
970 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
971 ottendedelsnode, S: @aa{}ttondelsnot, N: .
973 @w{@ar{}@strong{note value}}
976 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
977 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
979 @w{@ar{}@strong{note value}}
982 I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
985 Engraving means incising or etching a metal plate for
986 printing. Photoengraving means drawing music with ink in a manner
987 similar to drafting or engineering drawing, using similar tools.
989 The traditional process of music printing is done through cutting in a
990 plate of metal. Now also the term for the art of music typesetting.
993 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
994 enharmonisk, S: enharmonisk, N: .
996 Two notes, intervals, or scales are enharmonic if they have different names
1001 \property Score.barNonAuto = ##t
1002 \property Voice.TextScript \set #'font-style = #'large
1003 \notes\relative c'' {
1004 gis1_"g sharp" s as1_"a flat" s s
1005 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1009 @item equal temperament
1010 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1011 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1012 temperatur, S: liksv@"avande temperatur, N: .
1014 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1015 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1017 @item expression mark
1018 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1019 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1020 f@"oredragsbeteckning, N: .
1022 Performance indications concerning 1. volume, dynamics (for example
1023 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1024 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1027 I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1030 I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1031 F-n@o{}gle, S: f-klav, N: .
1033 The position between the dots of the key symbol is the line of the F below
1034 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1035 clef symbol indicates that the notes must be played an octave higher (for
1036 example bass recorder) while 8 below the clef symbol indicates playing an
1037 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1041 \property Score.barNonAuto = ##t
1042 \property Staff.Clef \override #'full-size-change = ##t
1043 \property Lyrics.LyricText \set #'font-style = #'large
1058 \context Lyrics \lyrics {
1068 I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1070 Prolonged note or rest of indefinite duration.
1075 \notes\relative c'' {
1076 a4 b c2^\fermata \bar "|."; }
1080 I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1083 @w{@ar{}@strong{interval}}
1086 @w{@ar{}@strong{thorough bass}}
1089 I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1090 fingers@ae{}tning, S: fingers@"attning, N: .
1092 The methodical use of fingers in the playing of instruments.
1095 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1096 DK: fane, S: flagga, N: .
1098 Ornament at the end of the stem of a note used for notes with values less than
1099 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1103 \property Score.barNonAuto = ##t
1105 \property Voice.TextScript \set #'font-style = #'large
1106 \notes\relative c'' {
1114 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1116 @w{@ar{}@strong{accidental}}
1118 @item forefall; backfall
1119 @w{@ar{}@strong{appoggiatura}}
1122 I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1124 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1125 @emph{mezzoforte} (@b{mf}) medium loud.
1128 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1130 @w{@ar{}@strong{interval}}
1133 I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1135 @w{@ar{}@strong{counterpoint}}
1137 @item functional harmony
1138 I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1139 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1141 A system of harmonic analysis. It is based on the idea that, in a given key,
1142 there are only three functionally different chords: tonic (T, the chord on the
1143 first note of the scale), subdominant (S, the chord on the fourth note) and
1144 dominant (D, the chord on the fifth note). Other are considered to be variants
1151 \property Score.barNonAuto = ##t
1152 \property Lyrics.LyricText \set #'font-style = #'large
1153 \property Voice.TextScript \set #'font-style = #'large
1155 \notes\relative c'' {
1156 < g1 e c > < a f d > < b g e >
1157 < c a f > < d b g > < e c a > < f d b > }
1158 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1162 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1165 I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1166 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1168 A clef symbol indicating the G above central C. Used on the first and second
1169 note lines. A digit 8 above the clef symbol indicates that the notes must be
1170 played an octave higher while 8 below the clef symbol indicates playing or
1171 singing an octave lower (most tenor parts in choral scores are notated like
1177 \property Score.barNonAuto = ##t
1178 \property Staff.Clef \set #'full-size-change = ##t
1179 \property Lyrics.LyricText \set #'font-style = #'large
1181 \notes\relative c'' {
1191 \context Lyrics \lyrics {
1192 "french violin clef"
1200 I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1201 glissando, N: glissando.
1203 Letting the pitch slide fluently from one note to the other
1206 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1207 NL: versieringen, DK: forsiringer, S: ornament, N: .
1209 Notes printed in small types to indicate that their time values are not
1210 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1213 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1214 S: ackolad, b@"ojd klammer, N: .
1216 @w{@ar{}@strong{brace}}
1218 A combination of two staffs with a brace. Usually used for piano music.
1221 I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1227 I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1228 halvnode, S: halvnot, N: .
1230 @w{@ar{}@strong{note value}}
1233 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1234 rust, DK: halvnodespause, S: halvpaus, N: .
1236 @w{@ar{}@strong{note value}}
1238 @item harmonic cadence
1239 I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1240 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1242 Sequence of chords that terminate a musical phrase or
1243 section. @ar{}@w{}@strong{functional harmony}
1248 \notes\context PianoStaff <
1249 \context Staff = SA \relative c'' {
1252 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1253 \property Lyrics.LyricText \set #'font-style = #'large
1255 \context Staff = SB \relative c {
1257 \partial 4; c4 | f, g c2
1259 \context Lyrics \lyrics { T S D T } >
1263 I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1264 samklang, S: samklang, N:
1266 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1267 @emph{consonances} and @emph{dissonances}.
1274 \property Score.barNonAuto = ##t
1275 \property Voice.TextScript \set #'font-style = #'large
1276 \notes\relative c'' {
1283 <g1_"decime" b'> s s
1292 \property Score.barNonAuto = ##t
1293 \property Voice.TextScript \set #'font-style = #'large
1294 \notes\relative c'' {
1301 Three note harmony @w{@ar{}@strong{chord}}
1304 I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1307 Music in which one voice leads melodically followed by the other voices more
1308 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1311 I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1314 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1315 diminished or augmented. The augmented fourth and the diminished fifth are
1316 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1317 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1323 \property Score.barNonAuto = ##t
1324 \property Score.LyricText \set #'font-style = #'large
1325 \property Score.TextScript \set #'font-style = #'large
1327 \context Staff \notes\relative c'' {
1332 < gis^"dimin" bes > s
1333 < g!^"minor" bes > s
1337 \context Lyrics \lyrics {
1338 unisone second second second third third third third }
1344 \property Score.barNonAuto = ##t
1345 \property Score.LyricText \set #'font-style = #'large
1346 \property Score.TextScript \set #'font-style = #'large
1348 \context Staff \notes\relative c'' {
1349 < g1^"perfect" c > s
1351 < g^"perfect" d' > s
1353 < gis^"dimin" es' > s
1354 < g!^"minor" es' > s
1358 \context Lyrics \lyrics {
1359 fourth fourth fifth fifth sixth sixth sixth sixth }
1365 \property Score.barNonAuto = ##t
1366 \property Score.LyricText \set #'font-style = #'large
1367 \property Score.TextScript \set #'font-style = #'large
1369 \context Staff \notes\relative c'' {
1370 < gis1^"dimin" f'! > s
1371 < g!^"minor" f'! > s
1372 < g^"major" fis' > s
1376 < g^"minor" bes' > s
1379 \context Lyrics \lyrics {
1380 seventh seventh seventh octave none none decime decime }
1383 @item inverted interval
1384 I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1385 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1387 The difference between an interval and an octave.
1392 \property Score.barNonAuto = ##t
1393 \property Score.TextScript \set #'font-style = #'large
1394 \context Staff \notes\relative c'' {
1395 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1396 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1397 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1401 @item just intonation
1402 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1403 stemming, DK: ren stemning, S: ren st@"amning, N: .
1405 Tuning system in which the notes are obtained by adding and subtracting
1406 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1409 I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1412 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1413 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1416 I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1417 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1418 S: tonartssignatur, N: .
1420 The sharps or flats appearing at the beginning of each staff indicating the
1421 key of the music. @w{@ar{}@strong{accidental}}
1424 I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1427 Very slow in tempo, usually combined with great
1428 expressiveness. @emph{Larghetto} less slow than largo.
1431 I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1434 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1435 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1436 upwards) to the tonic scale degree.
1438 @item ledger line; leger line
1440 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1441 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1443 A ledger line is an extension of the staff.
1448 \property Score.barNonAuto = ##t
1449 \notes\relative c'' { a,1 s c'' }
1453 I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1456 To be performed without any perceptible interruption between the notes (a)
1457 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1458 @w{@ar{}@strong{staccato}} (d)
1463 \property Score.barNonAuto = ##t
1465 \property Lyrics.LyricText \set #'font-style = #'large
1467 \notes\relative c'' {
1469 c4-- d-- e-- \bar "||";
1470 c4-.( d-. )e-. \bar "||";
1471 c4-. d-. e-. \bar "||";
1473 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1477 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1480 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1481 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1483 A pond with lilies floating in it, also the name of a music typesetter.
1486 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1489 @w{@ar{}@strong{staff}}
1491 @item long appoggiatura
1492 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1493 forslag, S: l@aa{}ngt f@"orslag, N: .
1495 @w{@ar{}@strong{appoggiatura}}
1498 I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1500 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1505 \property Score.barNonAuto = ##t
1506 \notes\relative c'' {
1507 \property Voice.NoteHead \set #'style = #'mensural
1512 @item major interval
1513 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1514 groot interval, DK: stort interval, S: stort intervall, N: .
1516 @w{@ar{}@strong{interval}}
1519 I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1521 @w{@ar{}@strong{diatonic scale}}
1523 @item meantone temperament
1524 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1525 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1527 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1528 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1529 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1530 tuning keyboard instruments for performance of pre-1650 music.
1533 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1535 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1536 bears an accent. Such groups in numbers of two or more recur consistently
1537 throughout the composition and are marked from each other by
1538 bar-lines. @w{@ar{}@strong{meter}}
1541 I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1544 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1545 a third from that of another chord. For example the tonic chord may be
1546 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1547 harmony}} @w{@ar{}@strong{relative key}}.
1549 @item melodic cadence
1551 @w{@ar{}@strong{cadenza}}
1554 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1557 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1558 which remains unaltered throughout a composition or a section of it. For
1559 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1560 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1561 those. According to whether there are two, three or four units to the measure,
1562 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1563 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1568 \notes\relative c'' {
1571 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1575 \notes\relative c' {
1578 f8 f f f a16 g a f |
1579 c'8 c c c e16 d e c \bar "||";}
1583 \notes\relative c'' {
1586 d4 b8 g b d d c a4 |
1587 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1591 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1592 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1594 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1597 @item metronomic indication
1598 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1599 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1601 Exact tempo indication (in beats per minute). Also denoted by
1602 M.M. (M@"alzel's Metronom)
1605 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1606 mezzosopran, S: mezzosopran, N: mezzosopran.
1608 The female voice between @w{@ar{}@strong{soprano}} and
1609 @w{@ar{}@strong{contralto}}.
1612 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1613 enstreget c, S: ettstruket c, N:
1615 First C below the 440 Hz A.
1620 \property Score.barNonAuto = ##t
1621 \property Staff.Clef \set #'full-size-change = ##t
1622 \notes\relative c' {
1629 @item minor interval
1630 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1631 interval, DK: lille interval, S: litet intervall, N: .
1633 @w{@ar{}@strong{interval}}
1636 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1638 @w{@ar{}@strong{diatonic scale}}
1641 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1643 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1646 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1649 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1650 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1651 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1655 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1658 @w{@ar{}@strong{ornament}}
1661 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1663 The briefest intelligible and self-contained fragment of a musical theme or
1669 \property Score.TimeSignature \override #'style = #'C2/2
1671 \property Voice.TextScript \set #'font-style = #'large
1672 \notes\relative c'' {
1675 \partial 8; g16_"------" fis |
1676 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1677 g8 g,16 a b8 cis d16 s
1682 I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1684 Greater musical works like @w{@ar{}@strong{symphony}} and
1685 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1686 independant pieces called movements.
1689 I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1690 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1695 \notes\relative c'' {
1697 \property Score.skipBars=##t R1*3
1701 @item mixolydian mode
1702 @w{@ar{}@strong{diatonic scale}}
1705 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1706 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1708 @w{@ar{}@strong{accidental}}
1710 @item neighbour tones
1711 @w{@ar{}@strong{appoggiatura}}
1714 I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1716 @w{@ar{}@strong{interval}}
1719 @w{@ar{}@strong{legato}}
1722 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1724 Notes are signs by means of which music is fixed in writing. The term is also
1725 used for the sound indicated by a note, and even for the key of the piano
1726 which produces the sound. However, a clear distinction between the terms tone
1727 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1731 I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1732 nootballetje, DK: nodehovede, S: nothuvud, N: .
1734 A head like sign which indicates pitch by its position on a
1735 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1736 by a variety of shapes such as hollow or black heads with or without
1737 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1738 instruments (often having no defined pitch) the note head may indicate the
1742 I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1743 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1745 Note values (durations) are measured as fractions, normally 1/2, of the next
1746 higher note value. The longest duration normally used is called @emph{brevis},
1747 but sometimes (mostly in pre baroque music) the double length note value
1748 @emph{longa} is used.
1753 \property Voice.TextScript \set #'font-style = #'large
1754 \property Score.barNonAuto = ##t
1755 \notes\relative c'' {
1756 \property Voice.NoteHead \override #'style = #'mensural
1757 g\longa_"longa" g\breve_"breve"
1758 \property Voice.NoteHead \revert #'style
1759 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1760 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1764 \property Voice.TextScript \set #'font-style = #'large
1765 \property Score.barNonAuto = ##t
1766 \notes\relative c'' {
1767 r\longa_"longa" r\breve_"breve"
1768 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1769 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1772 An augmentation dot after a note multiplies the duration by one and a
1773 half. Another dot adds yet a fourth of the duration.
1779 \property Voice.TextScript \set #'font-style = #'large
1780 \notes\relative c'' {
1782 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1783 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1786 Alternatively note values may be subdivided by other ratios. Most common is
1787 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1788 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1794 \property Voice.TextScript \set #'font-style = #'large
1796 \notes\relative c'' {
1798 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1799 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1801 \times 3/2 {g4_"duplets" g} |
1803 \times 6/4 {g8_"quadruplets" g g g} |
1804 g8 g g g g4 \bar "||";}
1811 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1814 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1816 @w{@ar{}@strong{interval}}
1818 @item ornament; embellishment; accessory
1819 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1820 NL: versiering, DK: forsiring, S: ornament, N: .
1822 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1823 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1824 middle of the 19th century and onwards the trill is performed with the main
1825 note first while in the music from the preceding baroque and classic periods
1826 the upper note is played first.
1830 \context Staff = sa {
1832 \property Voice.TextScript \set #'font-style = #'large
1833 \notes\relative c'' {
1834 c2._"pre-1850" b4\trill | c1 \bar "||";
1835 c2._"post-1850" b4\trill | c1 \bar "||";
1838 \notes\relative c'' {
1839 c2. c32 b c b c b c b | c1
1840 c2. b32 c b c \times 4/5 { b c b c b } | c1
1845 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1846 @emph{prall} (inverted mordent).
1852 \context Staff = sa {
1854 \property Voice.TextScript \set #'font-style = #'large
1855 \notes\relative c'' {
1856 a4_"turn" b\turn c2 \bar "||";
1857 g4_"mordent" a b\mordent a \bar "||";
1858 e'4_"prall" d\prall c2 \bar "||";
1861 \notes\relative c'' {
1864 e'4 [e8 ~ e32 d e d] c2
1869 @w{@ar{}@strong{appoggiatura}}
1872 I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1874 Ossia (otherwise) marks an alternative. It is an added staff or piano
1875 score, usually only a few measures long, which presents another version
1876 of the music, for example for small hands.
1879 I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1881 1. In instrumental or choral music the music for the single instrument
1882 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1883 melodic line of the contrapuntal web.
1886 I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1889 A family of musical instruments which are played on by striking or
1890 shaking. Percussion instruments commonly used in a symphony orchestra are
1891 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1892 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1895 @item perfect interval
1897 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1898 interval, DK: rent interval, S: rent intervall, N: .
1900 @w{@ar{}@strong{interval}}
1903 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1905 A natural division of the melodic line, comparable to a sentence of speech.
1908 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1911 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1912 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1915 I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1917 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1918 @emph{mezzopiano} (@b{mp}) medium soft.
1921 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1925 I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1926 pizzicato, S: pizzicato.
1928 Play by plucking the strings.
1931 I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1934 Music written in a combination of several simultaneous voices (parts) of a
1935 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1938 @w{@ar{}@strong{legato}}
1941 I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1942 presto, S: presto, N: .
1944 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1945 denotes the highest possible degree of speed.
1947 @item Pythagorean comma
1948 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1949 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1951 A sequence of fifths starting on C eventually circles back to C, but this C,
1952 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1953 obtained by adding 7 octaves. The difference between those two pitches is
1954 called the Pythagorean comma.
1957 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1960 @w{@ar{}@strong{note value}}
1963 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1964 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1966 @w{@ar{}@strong{note value}}
1969 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1970 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1972 @w{@ar{}@strong{note value}}
1975 I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1978 @w{@ar{}@strong{note value}}
1981 I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1982 rallentando, S: rallentando, N: rallentando.
1984 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1987 I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1988 paralleltoneart, S: parallelltonart, N: .
1990 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1991 the same @w{@ar{}@strong{signature}}.
1997 \property Score.barNonAuto = ##t
1998 \property Voice.TextScript \set #'font-style = #'large
1999 \notes\relative c' {
2001 es1_"e flat major" f g as bes c d es
2004 c,1_"c minor" d es f g a! b! c \bar "||";
2009 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2010 gen@-ta@-gel@-se, S: repris, N: .
2017 \notes\relative c'' {
2018 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2023 I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2025 @w{@ar{}@strong{note value}}
2028 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2030 (a) metrical rhythm in which every time value is a multiple or fraction of a
2031 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2032 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2033 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2034 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2035 accent. In modern notation such music appears as a free alternation of
2036 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2037 common metrical unit (beat).
2040 I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2041 ritardando, S: ritardando, N: .
2043 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2046 I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2049 Immediate reduction of speed.
2052 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2054 @w{@ar{}@strong{diatonic scale}}
2057 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2058 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2060 Names and symbols used in harmonic analysis to denote tones of the scale as
2061 roots of chords. The most important are degrees I = tonic (T), IV =
2062 sub@-do@-mi@-nant (S) and V = dominant (D).
2068 \property Score.barNonAuto = ##t
2069 \property Lyrics.LyricText \set #'font-style = #'large
2070 %\property Lyrics.minVerticalAlign = 8
2072 \notes\relative c' {
2074 \context Lyrics \lyrics {
2075 < { I II III IV V VI VII I }
2080 @w{@ar{}@strong{functional harmony}}
2083 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2086 A copy of orchestral, choral or chamber music showing what each instrument is
2087 to play, each voice to sing, having each part arranged one underneath the
2088 other on different @w{@ar{}@strong{stave}}s.
2091 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2093 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2094 @w{@ar{}@strong{diatonic scale}} consists of alternating
2095 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2096 of a se@-cond depends on the scale degrees in question.
2099 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2102 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2103 interval in European composed music. The interval between two neighbouring
2104 tones on the piano keyboard - including black and white keys - is a
2105 semitone. An octave may be divided into 12
2106 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2111 \property Score.barNonAuto = ##t
2112 \notes\relative c'' { g1 gis s a bes s b c }
2116 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2118 @w{@ar{}@strong{interval}}
2120 @item sextuplet, sextolet
2121 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2124 @w{@ar{}@strong{note value}}
2127 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2129 @w{@ar{}@strong{accidental}}
2131 @item short appoggiatura
2132 @w{@ar{}@strong{appoggiatura}}
2134 @item sixteenth note
2135 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2136 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2139 @w{@ar{}@strong{note value}}
2141 @item sixteenth rest
2142 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2143 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2144 sextondelspaus, N: .
2146 @w{@ar{}@strong{note value}}
2149 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2151 @w{@ar{}@strong{interval}}
2153 @item sixty-fourth note
2154 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2155 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2156 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2157 sextiofj@"ardedelsnot, N: .
2159 @w{@ar{}@strong{note value}}
2161 @item sixty-fourth rest
2162 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2163 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2164 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2165 sextiofj@"ardedelspaus, N: .
2167 @w{@ar{}@strong{note value}}
2170 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2171 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2172 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2174 A slur above or below a group of notes indicates that they are to be played
2175 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2179 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2180 solmisation, S: solmisation, N: .
2182 General term for systems of designating the degrees of the
2183 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2184 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2185 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2188 I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2190 In its present-day meaning a sonata denotes an instrumental composition for
2191 piano or for some other instrument with piano accompaniment, which consists of
2192 three or four independant pieces, called movements.
2195 I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2196 sonatevorm, DK: sonateform, S: sonatform, N: .
2198 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2199 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2200 falls in three sections called @emph{exposition}, @emph{development} and
2201 @emph{recapitulation}. In the exposition the composer introduces his musical
2202 ideas, consisting of a number of themes; in the development section he
2203 "develops" this material, and in the recapitulation he repeats the exposition,
2204 with certain modifications however. The exposition contains a number of themes
2205 which fall into two groups, often called first and second subject. Other
2206 melodies occurring in each group are considered as continuations of these
2207 two. The second theme is in another key, normally in the key of the
2208 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2209 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2210 tonic is @w{@ar{}@strong{minor}}.
2213 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2215 The highest female voice.
2218 I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2219 staccato, S: staccato, N:
2221 Playing the note(s) short. Staccato is indicated by a dot above or below the
2229 \notes\relative c'' {
2231 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2236 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2237 partij, DK: nodesystem, S: notsystem, N: .
2239 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2240 between which the musical notes are written, thus indicating (in connection
2241 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2242 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2245 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2248 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2249 note. @w{@ar{}@strong{beam}}
2254 \property Score.noAutoBeaming = ##t
2255 \property Score.barNonAuto = ##t
2257 \property Voice.TextScript \set #'font-style = #'large
2258 \notes\relative c'' {
2267 I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2270 A family of stringed musical instruments played with a bow. Strings commonly
2271 used in a symphony orchestra are violin, viola, violoncello and double bass.
2274 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2275 D: betonet taktslag, S: betonat taktslag, N: .
2277 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2278 @w{@ar{}@strong{rhythm}}
2281 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2282 subdominant, S: subdominant, N: .
2284 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2288 I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2289 Submediant, S: submediant, N: .
2291 The sixth @w{@ar{}@strong{scale degree}}.
2294 I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2297 The seventh @w{@ar{}@strong{scale degree}}
2300 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2301 superdominant, S: superdominant, N: .
2303 The sixth @w{@ar{}@strong{scale degree}}
2306 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2307 supertonika, S: supertonika, N: .
2309 The second @w{@ar{}@strong{scale degree}}.
2312 I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2315 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2318 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2320 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2321 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2322 rhythm rests upon the grouping of equal beats into groups of two or three,
2323 with a regularly recurrent accent on the first beat of each group. Any
2324 deviation from this scheme is felt as a disturbance or contradiction between
2325 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2331 \property Voice.TextScript \set #'font-style = #'large
2333 \notes\relative c' {
2336 e c'4 e,8 c'4 e,8 c' ( | ) c2
2340 @item syntonic comma; dydimic comma
2342 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2343 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2345 Difference between the natural third and the third obtained by Pythagorean
2346 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2349 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2352 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2353 writing down of keyboard, chamber, choral or orchestral music.
2356 I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2357 DK: temperatur, S: temperatur, N: .
2359 Systems of tuning in which the intervals deviate from the accoustically pure
2360 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2363 @item tempo indication
2364 I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2365 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2366 tempobeteckning, N: .
2368 The rate of speed of a composition or a section thereof, ranging from the
2369 slowest to the quickest, as is indicated by tempo marks as
2370 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2371 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2374 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2376 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2379 I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2381 @w{@ar{}@strong{note value}}
2384 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2386 @w{@ar{}@strong{interval}}
2388 @item thirty-second note
2390 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2391 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2392 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2394 @w{@ar{}@strong{note value}}
2396 @item thirty-second rest
2398 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2399 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2400 trettiotv@aa{}ondelspaus, N: .
2402 @w{@ar{}@strong{note value}}
2404 @item thorough bass; figured bass
2405 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2406 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2408 A method of indicating an accompaniment part by the bass notes only, together
2409 with figures designating the chief @w{@ar{}@strong{interval}}s and
2410 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2415 \context GrandStaff <
2416 \notes\relative c'' {
2420 < \context Voice = rha {
2423 \context Voice = rhb {
2425 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2428 \property Voice.TextScript \set #'font-style = #'large
2429 \property Lyrics.LyricText \set #'font-style = #'Large
2430 \property Lyrics.minVerticalAlign = 6
2432 \notes\relative c' {
2435 es8 c () c bes () bes as () as g16 f | es4
2437 \context Lyrics \lyrics {
2438 < { "" "6" "4" "6" "4" "6" "4" "6" }
2439 { "" "" "2" "" "2" "" "2" "" } >
2445 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2446 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2448 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2449 connects two succesive notes of the same pitch, and which has the function of
2450 uniting them into a single sound equal to the combined durations.
2455 \property Score.barNonAuto = ##t
2456 \notes\relative c'' { g2 ~ g4. }
2459 @item time signature
2461 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2462 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2463 taktartssignatur, N: .
2465 @w{@ar{}@strong{meter}}
2468 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2470 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2471 a primary building material of music. Music from the 20th century may be based
2472 on non tone related sounds.
2475 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2477 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2480 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2481 transposition, S: transponering, N: .
2483 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2490 \notes\relative c'' {
2492 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2493 \transpose bes\relative c'' {
2495 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2500 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2501 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2504 @w{@ar{}@strong{G clef}}
2507 I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2510 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2511 the same tone, produced by a rapid up-and-down movement movement of the bow
2512 (a). The term is also used for the rapid alternation (b) between two notes of
2513 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2514 (@w{@ar{}@strong{interval}}).
2520 \property Score.barNonAuto = ##t
2521 \property Voice.TextScript \set #'font-style = #'large
2522 \notes\relative c' {
2523 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2524 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2525 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2530 I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2531 drieklank, DK: treklang, S: treklang, N:
2533 @w{@ar{}@strong{chord}}
2536 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2537 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2539 @w{@ar{}@strong{ornament}}
2542 I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2543 maatsoort, DK: tredelt takt, S: tretakt, N: .
2545 @w{@ar{}@strong{meter}}
2548 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2550 @w{@ar{}@strong{note value}}
2553 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2556 @w{@ar{}@strong{interval}}
2559 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2560 stemmegaffel, S: st@"amgaffel, N: .
2562 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2563 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2565 @item turn; gruppetto
2566 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2570 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2573 Playing of the same notes or the same melody by various instruments (voices)
2574 or by the whole orchestra (choir), either at exactly the same pitch or in a
2578 I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
2581 Initial note(s) of a melody occurring before the first bar
2582 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2589 \notes\relative c' {
2590 \partial 4; f4 | bes4. a8 bes4 c |
2591 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2595 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2597 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2598 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2599 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2600 of a polyphonic composition.
2603 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2604 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2606 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2609 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2610 DK: helnode, S: helnot, N: .
2612 @w{@ar{}@strong{note value}}
2615 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2616 rust, DK: helnodespause, S: helpaus, N: .
2618 @w{@ar{}@strong{note value}}
2621 I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2624 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2625 tones on the piano keyboard with exactly one key between them - including
2626 black and white keys - is a whole tone.
2629 I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2630 S: tr@"abl@aa{}sare, N: .
2632 A family of blown wooden musical instruments. Today some of these instruments
2633 are actually made from metal. The woodwind instruments commonly used in a
2634 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2641 @item DURATION NAMES, NOTES AND RESTS
2644 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2646 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2647 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2651 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2652 @tab longa @tab longa @tab longa
2656 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2657 brevis @tab brevis @tab brevis @tab brevis
2661 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2662 Ganze @tab hele @tab hel @tab hel @tab
2666 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2667 halve @tab halv @tab halv @tab
2671 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2672 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2676 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2677 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2681 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2682 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2687 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2688 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2689 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2693 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2694 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2695 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2696 sextio@-fj@"arde@-del @tab
2699 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2707 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2709 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2710 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2714 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2718 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2719 cis @tab cis @tab cis
2723 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2724 des @tab des @tab des
2728 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2732 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2736 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2740 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2744 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2749 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2753 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2754 ais @tab ais @tab ais
2758 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2763 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2770 @item ---------------------
2774 @item Literature used
2775 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2776 quotes from its articles have been included into the item explanation texts.
2778 Hugo Riemans Musiklexicon, Berlin 1929
2781 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2782 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.