3 @setfilename glossary.info
7 @c @everyheading @| @thispage @|
8 @evenheading @thispage @| @|
9 @oddheading @| @| @thispage @|
17 @item UK - British English
27 @tex $\\Rightarrow$ @end tex
37 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
42 I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
45 I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
47 The stress of one tone over others.
50 I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
51 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: f@"ortecken, N:
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.textStyle = "large"
68 gisis1_"db. sharp" s s2
70 geses1_"db. flat" s s2
76 I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N:
79 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
80 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
81 movement in slow tempo, esepecially the scond (slow) movement of
82 @w{@ar{}@strong{sonata}s}, symphonies etc.
85 I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK:
86 accelerando, S: accelerando, N:
91 I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK:
92 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: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt
107 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.
143 \property Voice.textEmptyDimension = ##t
145 \property Voice.textStyle = "large"
146 \notes\relative c'' {
149 <d4_"notation" a fis> r
150 { \property Grace.stemStyle = ""
153 { \property Grace.stemStyle = ""
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.textStyle = "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 Akkord,
182 NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
187 \context GrandStaff <
188 \notes\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 "||"; }
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: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift,
221 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: , D: Barytonschl@"ussel, NL: baritonsleutel, DK:
250 barytonn@o{}gle, S: barytonklav, N: .
252 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
253 @w{@ar{}@strong{f clef}}
256 I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK:
257 basn@o{}gle, S: basklav, N:
259 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
263 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
265 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
266 an abbreviation for double bass @w{@ar{}@strong{strings}}.
269 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
271 Line connecting a series of notes (shorter than a quarter note). The number of
272 beams determine the note value of the connected notes.
277 \property Score.barNonAuto = ##t
279 \property Voice.textStyle = "large"
280 \notes\relative c'' {
282 [g16_"1/16" g g g] s16
283 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
284 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
288 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
291 Note value used for counting, most often half-, fourth- and eighth notes. The
292 base counting value and the number of them per measure is indicated at the
300 \notes\relative c'' { g4 c b a | g1 \bar "||";}
302 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
306 @w{@ar{}@strong{tie}}
309 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
310 accolade, teksthaak, DK: klamme, S: klammer, N:
312 Symbol at the start of a system connecting staffs. Curly braces are used
313 for connecting piano staves, angular brackets for connecting parts in an
314 orchestral or choral score.
319 \context GrandStaff <
320 \property GrandStaff.minVerticalAlign = 12
321 \notes\relative c'' { \clef treble; g4 e c2 }
322 \notes\relative c { \clef bass; c1 \bar "|."; } >
328 \context StaffGroup <
329 \property StaffGroup.minVerticalAlign = 12
330 \notes\relative c'' { \clef treble; g4 e c2 }
331 \notes\relative c { \clef bass; c1 \bar "|."; } >
335 I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
336 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
338 A family of blown musical instruments made of brass all using a cup formed
339 mouth piece. The brass instruments commonly used in a symphony orchestra are
340 trumpet, trombone, french horn and tube.
343 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
344 repercussieteken, DK:
345 vejrtr@ae{}kningstegn, S: andningstecken, N: .
347 Indication of where to breathe in vocal and wind instrument parts.
350 I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
352 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
358 \property Score.barNonAuto = ##t
359 \notes\relative c'' { g\breve }
363 I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
366 I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
367 c-n@o{}gle, S: c-klav, N:
369 Clef symbol indicating the position of the central C. Used on all note
375 \property Score.barNonAuto = ##t
376 \property Lyrics.textStyle = "large"
377 \property Voice.clefStyle = "fullSizeChanges"
386 \context Lyrics \lyrics { Soprano Mezzosoprano Alto Tenor Baritone }
390 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
392 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
395 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
397 An extended, improvisatory style section inserted near the end of
398 movement. The purpose of a cadenza is to give the singer or player a chance to
399 exhibit her technichal skill and not the least her ability to improvise. Since
400 the middle of the 19'th century, however, most cadences have been written down
404 I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
406 @w{@ar{}@strong{counterpoint}}
409 I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: .
411 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
412 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
415 @w{@ar{}@strong{middle C}}
418 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
420 Three or more tones sounding simultaneously. In traditional European music the
421 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
422 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
423 chords may be extended with more thirds. Four- @emph{seventh chords} and five
424 tone @emph{ninth} major chords are most often used as dominants
425 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
426 third above the lower notes to define their quality as major or minor. Such
427 chords are denoted open chords
432 \property Score.barNonAuto = ##t
433 \property Voice.textStyle = "large"
435 \notes\relative c'' {
438 <g_"dimished" bes des>
439 <g_"augmented~" b dis>
440 <g_"seventh-chord~" b d f>
441 <g_"ninth-chord" b d f a>
445 @item chromatic scale
446 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
447 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
449 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
454 \property Score.barNonAuto = ##t
455 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
459 I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik,
462 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
464 @item church mode; ecclesiastical mode
465 I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
466 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
468 @w{@ar{}@strong{diatonic scale}}
471 I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
472 sleutel, DK: n@o{}gle, S: klav, N:
474 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
477 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
479 Difference in pitch between a note derived from pure tuning and the same note
480 derived from some other tuning method. @w{@ar{}@strong{temperament}}
483 @w{@ar{}@strong{meter}}
485 @item compound interval
486 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
487 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
489 Intervals larger than an octave
491 @w{@ar{}@strong{interval}}
494 I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK:
495 komplement@ae{}rinterval, S: komplement@"arintervall (?), N:
497 @w{@ar{}@strong{inverted interval}}
499 @item conjunct movement
500 I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis
501 bev@ae{}gelse, S: stegvis r@"orelse, N:
503 Melody moving in the narrow steps of the scale;
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.timeSignatureStyle = "C2/2"
540 \context GrandStaff <
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 {
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.".
598 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
602 I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S:
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: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo,
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: , D: dal segno, NL: dal segno, DK: dal segno, S: dal
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.textStyle = "large"
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.".
644 \notes\relative c'' { 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.textStyle = "large"
671 \property Voice.textStyle = "large"
675 \property Voice.textScriptPadding = #-10
677 \property Voice.textScriptPadding = #-4
679 \context Lyrics \lyrics { Ionian }
684 \property Score.barNonAuto = ##t
685 \property Lyrics.textStyle = "large"
686 \property Voice.textStyle = "large"
690 \property Voice.textScriptPadding = #-10
693 \property Voice.textScriptPadding = #-4
695 \context Lyrics \lyrics { Dorian }
700 \property Score.barNonAuto = ##t
701 \property Lyrics.textStyle = "large"
702 \property Voice.textStyle = "large"
705 \property Voice.textScriptPadding = #-10
708 \property Voice.textScriptPadding = #-4
710 \context Lyrics \lyrics { Phrygian }
715 \property Score.barNonAuto = ##t
716 \property Lyrics.textStyle = "large"
717 \property Voice.textStyle = "large"
721 \property Voice.textScriptPadding = #-4
723 \property Voice.textScriptPadding = #0
725 \context Lyrics \lyrics { Lydian }
730 \property Score.barNonAuto = ##t
731 \property Lyrics.textStyle = "large"
732 \property Voice.textStyle = "large"
734 \notes\relative c'' {
736 \property Voice.textScriptPadding = #-4
738 \property Voice.textScriptPadding = #0
740 \context Lyrics \lyrics { Mixolydian }
745 \property Score.barNonAuto = ##t
746 \property Lyrics.textStyle = "large"
747 \property Voice.textStyle = "large"
749 \notes\relative c'' {
751 \property Voice.textScriptPadding = #-4
753 \property Voice.textScriptPadding = #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.textStyle = "large"
767 \property Voice.textStyle = "large"
771 \property Voice.textScriptPadding = #-10
773 \property Voice.textScriptPadding = #-4
775 \context Lyrics \lyrics { Major }
780 \property Score.barNonAuto = ##t
781 \property Lyrics.textStyle = "large"
782 \property Voice.textStyle = "large"
784 \notes\relative c'' {
786 \property Voice.textScriptPadding = #-4
788 \property Voice.textScriptPadding = #0
790 \context Lyrics \lyrics { "ancient minor" }
795 \property Score.barNonAuto = ##t
796 \property Lyrics.textStyle = "large"
797 \property Voice.textStyle = "large"
799 \notes\relative c'' {
801 \property Voice.textScriptPadding = #-4
803 \property Voice.textScriptPadding = #0
805 \property Voice.textScriptPadding = #1
809 \context Lyrics \lyrics { "Harmonic minor" }
814 \property Score.barNonAuto = ##t
815 \property Lyrics.textStyle = "large"
816 \property Voice.textStyle = "large"
818 \notes\relative c'' {
820 \property Voice.textScriptPadding = #-4
822 \property Voice.textScriptPadding = #0
824 \property Voice.textScriptPadding = "-1"
826 \property Voice.textScriptPadding = #-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: , NL: , DK: springende
847 bev@ae{}gelse, S: hoppande r@"orelse, N:
849 Melody moving in steps greater than those of the
850 scale. Opposite of @ar{}@strong{conjunct movement}.
858 \partial 8; e8 | a4. gis8 b a e cis |
859 fis2 d4. \bar "||"; }
862 @item dissonant interval; dissonance
863 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
864 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
867 @w{@ar{}@strong{harmony}}
869 @item dominant ninth chord
870 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
871 Dominantnoneakkord, NL: dominant noon akkoord, DK:
872 dominantnoneakkord, S: dominantnonackord, N: .
874 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
876 @item dominant seventh chord
877 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
878 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
879 dominantseptimackord, N:
881 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
884 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
887 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
890 I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
891 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N:
893 @w{@ar{}@strong{diatonic scale}}
895 @item dot (augmentation dot)
896 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
899 @w{@ar{}@strong{dotted note}}
902 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
903 DK: punkteret node, S: punkterad not, N:
905 @w{@ar{}@strong{note value}}
907 @item double appoggiatura
908 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
909 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
911 @w{@ar{}@strong{appoggiatura}}
913 @item double bar line
914 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
915 dobbeltstreg, S: dubbelstreck, N: .
917 Indicates the end of a section within a movement.
919 @item double dotted note
920 I: nota doppiamente puntata, F: note doublement point@'ee, D:
921 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
922 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
924 @w{@ar{}@strong{note value}}
928 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
929 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
931 @w{@ar{}@strong{accidental}}
934 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
935 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
937 @w{@ar{}@strong{accidental}}
940 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
941 dobbelttrille, S: dubbeldrill, N: .
943 A simultaneous trill on two notes, usually in the distance of a third.
946 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
947 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
949 @w{@ar{}@strong{meter}}
952 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
954 @w{@ar{}@strong{note value}}
957 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
960 @w{@ar{}@strong{note value}}
963 @w{@ar{}@strong{syntonic comma}}
966 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
969 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
970 ottendedelsnode, S: @aa{}ttondelsnot, N: .
972 @w{@ar{}@strong{note value}}
975 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
976 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
978 @w{@ar{}@strong{note value}}
981 I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
984 Engraving means incising or etching a metal plate for
985 printing. Photoengraving means drawing music with ink in a manner
986 similar to drafting or engineering drawing, using similar tools.
988 The traditional process of music printing is done through cutting in a
989 plate of metal. Now also the term for the art of music typesetting.
992 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
993 enharmonisk, S: enharmonisk, N: .
995 Two notes, intervals, or scales are enharmonic if they have different names
1001 \property Score.barNonAuto = ##t
1002 \property Voice.textStyle = "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}}).
1043 \property Score.barNonAuto = ##t
1044 \property Voice.clefStyle = "fullSizeChanges"
1045 \property Lyrics.textStyle = "large"
1059 \context Lyrics \lyrics {
1070 I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1072 Prolonged note or rest of indefinite duration.
1078 \notes\relative c'' {
1079 a4 b c2^\fermata \bar "|."; }
1083 I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint.
1085 @w{@ar{}@strong{interval}}
1088 @w{@ar{}@strong{thorough bass}}
1091 I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1092 fingers@ae{}tning, S: fingers@"attning, N: .
1094 The methodical use of fingers in the playing of instruments.
1097 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1098 DK: fane, S: flagga, N: .
1100 Ornament at the end of the stem of a note used for notes with values less than
1101 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1106 \property Score.barNonAuto = ##t
1108 \property Voice.textStyle = "large"
1109 \notes\relative c'' {
1117 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1119 @w{@ar{}@strong{accidental}}
1121 @item forefall; backfall
1122 @w{@ar{}@strong{appoggiatura}}
1125 I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1127 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1128 @emph{mezzoforte} (@b{mf}) medium loud.
1131 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1133 @w{@ar{}@strong{interval}}
1136 I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1138 @w{@ar{}@strong{counterpoint}}
1140 @item functional harmony
1141 I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse,
1142 funktionsharmonik, S: funktionsl@"ara, N:
1144 A system of harmonic analysis. It is based on the idea that, in a given key,
1145 there are only three functionally different chords: tonic (T, the chord on the
1146 first note of the scale), subdominant (S, the chord on the fourth note) and
1147 dominant (D, the chord on the fifth note). Other are considered to be variants
1154 \property Score.barNonAuto = ##t
1155 \property Lyrics.textStyle = "large"
1156 \property Voice.textStyle = "large"
1158 \notes\relative c'' {
1159 < g1 e c > < a f d > < b g e >
1160 < c a f > < d b g > < e c a > < f d b > }
1161 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1165 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1168 I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1169 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1171 A clef symbol indicating the G above central C. Used on the first and second
1172 note lines. A digit 8 above the clef symbol indicates that the notes must be
1173 played an octave higher while 8 below the clef symbol indicates playing or
1174 singing an octave lower (most tenor parts in choral scores are notated like
1180 \property Score.barNonAuto = ##t
1181 \property Lyrics.textStyle = "large"
1182 \property Voice.clefStyle = "fullSizeChanges"
1184 \notes\relative c'' {
1185 \clef "G1"; g1 s s s s
1187 \clef "G^8"; g' s s s
1188 \clef "G_8"; g,, s s
1190 \context Lyrics \lyrics {
1191 "french violin clef"
1199 I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1200 glissando, N: glissando.
1202 Letting the pitch slide fluently from one note to the other
1205 I: abbellimenti, F: fioriture, petite[s] note[s], D: Verzierungen,
1206 Vorschl@"age, Vorschlagsnoten, NL: versieringen, DK: forsiringer, S: ornament,
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: , 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: halvnotspaus, 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 \context GrandStaff <
1249 \notes\relative c'' {
1252 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1253 \property Lyrics.textStyle = "large"
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.textStyle = "large"
1276 \notes\relative c'' {
1283 <g1_"decime" b'> s s
1292 \property Score.barNonAuto = ##t
1293 \property Voice.textStyle = "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 Lyrics.textStyle = "large"
1325 \property Voice.textStyle = "large"
1327 \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 Lyrics.textStyle = "large"
1346 \property Voice.textStyle = "large"
1348 \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 Lyrics.textStyle = "large"
1367 \property Voice.textStyle = "large"
1369 \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 Voice.textStyle = "large"
1394 \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: , D: reine Stimmung, NL: reine stemming, DK: ren
1403 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, S: largo, N: .
1419 The sharps or flats appearing at the beginning of each staff indicating the
1420 key of the music. @w{@ar{}@strong{accidental}}
1423 I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1426 Very slow in tempo, usually combined with great
1427 expressiveness. @emph{Larghetto} less slow than largo.
1430 I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1433 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1434 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1435 upwards) to the tonic scale degree.
1437 @item ledger line; leger line
1439 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1440 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: .
1442 A ledger line is an extension of the staff.
1447 \property Score.barNonAuto = ##t
1448 \notes\relative c'' { a,1 s c'' }
1452 I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1455 To be performed without any perceptible interruption between the notes (a)
1456 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1457 @w{@ar{}@strong{staccato}} (d)
1462 \property Score.barNonAuto = ##t
1464 \property Lyrics.textStyle = "large"
1466 \notes\relative c'' {
1468 c4-- d-- e-- \bar "||";
1469 c4-.( d-. )e-. \bar "||";
1470 c4-. d-. e-. \bar "||";
1472 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1476 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1479 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1480 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1482 A pond with lilies floating in it, also the name of a music typesetter.
1485 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1488 @w{@ar{}@strong{staff}}
1490 @item long appoggiatura
1491 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1492 forslag, S: l@aa{}ngt f@"orslag, N: .
1494 @w{@ar{}@strong{appoggiatura}}
1497 I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1499 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1504 \property Score.barNonAuto = ##t
1505 \notes\relative c'' { g\longa }
1508 @item major interval
1509 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1510 groot interval, DK: stort interval, S: stort intervall, N: .
1512 @w{@ar{}@strong{interval}}
1515 I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1517 @w{@ar{}@strong{diatonic scale}}
1519 @item meantone temperament
1520 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1521 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1523 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1524 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1525 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1526 tuning keyboard instruments for performance of pre-1650 music.
1529 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1531 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1532 bears an accent. Such groups in numbers of two or more recur consistently
1533 throughout the composition and are marked from each other by
1534 bar-lines. @w{@ar{}@strong{meter}}
1537 I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1540 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1541 a third from that of another chord. For example the tonic chord may be
1542 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1543 harmony}} @w{@ar{}@strong{relative key}}.
1545 @item melodic cadence
1547 @w{@ar{}@strong{cadenza}}
1550 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1553 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1554 which remains unaltered throughout a composition or a section of it. For
1555 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1556 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1557 those. According to whether there are two, three or four units to the measure,
1558 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1559 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1564 \notes\relative c'' {
1567 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1571 \notes\relative c' {
1574 f8 f f f a16 g a f |
1575 c'8 c c c e16 d e c \bar "||";}
1579 \notes\relative c'' {
1582 d4 b8 g b d d c a4 |
1583 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1587 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1588 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1590 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1593 @item metronomic indication
1594 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1595 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1597 Exact tempo indication (in beats per minute). Also denoted by
1598 M.M. (M@"alzel's Metronom)
1601 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1602 mezzosopran, S: mezzosopran, N: mezzosopran.
1604 The female voice between @w{@ar{}@strong{soprano}} and
1605 @w{@ar{}@strong{contralto}}.
1608 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1609 enstreget c, S: ettstruket c, N:
1611 First C below the 440 Hz A.
1616 \property Score.barNonAuto = ##t
1617 \property Voice.clefStyle = "fullSizeChanges"
1618 \notes\relative c' {
1625 @item minor interval
1626 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1627 interval, DK: lille interval, S: litet intervall, N: .
1629 @w{@ar{}@strong{interval}}
1632 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1634 @w{@ar{}@strong{diatonic scale}}
1637 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1639 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1642 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1645 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1646 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1647 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1651 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1654 @w{@ar{}@strong{ornament}}
1657 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1659 The briefest intelligible and self-contained fragment of a musical theme or
1665 \property Score.timeSignatureStyle = "C2/2"
1667 \property Voice.textStyle = "large"
1668 \notes\relative c'' {
1671 \partial 8; g16_"------" fis |
1672 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1673 g8 g,16 a b8 cis d16 s
1678 I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1680 Greater musical works like @w{@ar{}@strong{symphony}} and
1681 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1682 independant pieces called movements.
1685 I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1686 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1691 \notes\relative c'' {
1693 \property Score.skipBars=##t R1*3
1697 @item mixolydian mode
1698 @w{@ar{}@strong{diatonic scale}}
1701 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1702 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1704 @w{@ar{}@strong{accidental}}
1706 @item neighbour tones
1707 @w{@ar{}@strong{appoggiatura}}
1710 I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1712 @w{@ar{}@strong{interval}}
1715 @w{@ar{}@strong{legato}}
1718 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1720 Notes are signs by means of which music is fixed in writing. The term is, also
1721 used for the sound indicated by a note, and even for the key of the piano
1722 which produces the sound. However, a clear distinction between the terms tone
1723 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1727 I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N:
1730 A head like sign which indicates pitch by its position on a
1731 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1732 by a variety of shapes such as hollow or black heads with or without
1733 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1734 instruments (often having no defined pitch) the note head may indicate the
1738 I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1739 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1741 Note values (durations) are measured as fractions, normally 1/2, of the next
1742 higher note value. The longest duration normally used is called @emph{brevis},
1743 but sometimes (mostly in pre baroque music) the double length note value
1744 @emph{longa} is used.
1749 \property Voice.textStyle = "large"
1750 \property Score.barNonAuto = ##t
1751 \notes\relative c'' {
1752 g\longa_"longa" g\breve_"breve"
1753 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1754 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1758 \property Voice.textStyle = "large"
1759 \property Score.barNonAuto = ##t
1760 \notes\relative c'' {
1761 r\longa_"longa" r\breve_"breve"
1762 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1763 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1766 An augmentation dot after a note multiplies the duration by one and a
1767 half. Another dot adds yet a fourth of the duration.
1773 \property Voice.textStyle = "large"
1774 \notes\relative c'' {
1776 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1777 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1780 Alternatively note values may be subdivided by other ratios. Most common is
1781 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1782 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1788 \property Voice.textStyle = "large"
1790 \notes\relative c'' {
1792 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1793 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1795 \times 3/2 {g4_"duplets" g} |
1797 \times 6/4 {g8_"quadruplets" g g g} |
1798 g8 g g g g4 \bar "||";}
1802 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1805 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1807 @w{@ar{}@strong{interval}}
1809 @item ornament; embellishment; accessory
1810 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1811 NL: versiering, DK: forsiring, S: ornament, N: .
1813 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1814 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1815 middle of the 19th century and onwards the trill is performed with the main
1816 note first while in the music from the preceding baroque and classic periods
1817 the upper note is played first.
1823 \context Staff = sa {
1825 \property Voice.textStyle = "large"
1826 \notes\relative c'' {
1827 c2._"pre-1850" b4\trill | c1 \bar "||";
1828 c2._"post-1850" b4\trill | c1 \bar "||";
1831 \notes\relative c'' {
1832 c2. c32 b c b c b c b | c1
1833 c2. b32 c b c \times 4/5 { b c b c b } | c1
1838 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1839 @emph{prall} (inverted mordent).
1845 \context Staff = sa {
1847 \property Voice.textStyle = "large"
1848 \notes\relative c'' {
1849 a4_"turn" b\turn c2 \bar "||";
1850 g4_"mordent" a b\mordent a \bar "||";
1851 e'4_"prall" d\prall c2 \bar "||";
1854 \notes\relative c'' {
1857 e'4 [e8 ~ e32 d e d] c2
1862 @w{@ar{}@strong{appoggiatura}}
1865 I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1867 Ossia (otherwise) marks an alternative. It is an added staff or piano
1868 score, usually only a few measures long, which presents another version
1869 of the music, for example for small hands.
1872 I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1874 1. In instrumental or choral music the music for the single instrument
1875 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1876 melodic line of the contrapuntal web.
1879 I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1882 A family of musical instruments which are played on by striking or
1883 shaking. Percussion instruments commonly used in a symphony orchestra are
1884 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1885 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1888 @item perfect interval
1890 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1891 interval, DK: rent interval, S: rent intervall, N: .
1893 @w{@ar{}@strong{interval}}
1896 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1898 A natural division of the melodic line, comparable to a sentence of speech.
1901 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1904 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1905 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1908 I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1910 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1911 @emph{mezzopiano} (@b{mp}) medium soft.
1914 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1918 I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1919 pizzicato, S: pizzicato.
1921 Play by plucking the strings.
1924 I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1927 Music written in a combination of several simultaneous voices (parts) of a
1928 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1931 @w{@ar{}@strong{legato}}
1934 I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1935 presto, S: presto, N: .
1937 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1938 denotes the highest possible degree of speed.
1940 @item Pythagorean comma
1941 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1942 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1944 A sequence of fifths starting on C eventually circles back to C, but this C,
1945 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1946 obtained by adding 7 octaves. The difference between those two pitches is
1947 called the Pythagorean comma.
1950 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1953 @w{@ar{}@strong{note value}}
1956 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1957 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1959 @w{@ar{}@strong{note value}}
1962 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1963 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1965 @w{@ar{}@strong{note value}}
1968 I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1971 @w{@ar{}@strong{note value}}
1974 I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1975 rallentando, S: rallentando, N: rallentando.
1977 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1980 I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1981 paralleltoneart, S: parallelltonart, N: .
1983 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1984 the same @w{@ar{}@strong{signature}}.
1990 \property Score.barNonAuto = ##t
1991 \property Voice.textStyle = "large"
1992 \notes\relative c' {
1994 es1_"e flat major" f g as bes c d es
1997 c,1_"c minor" d es f g a! b! c \bar "||";
2002 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2003 gen@-ta@-gel@-se, S: repris, N: .
2010 \notes\relative c'' {
2011 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2016 I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2018 @w{@ar{}@strong{note value}}
2021 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2023 (a) metrical rhythm in which every time value is a multiple or fraction of a
2024 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2025 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2026 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2027 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2028 accent. In modern notation such music appears as a free alternation of
2029 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2030 common metrical unit (beat).
2033 I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2034 ritardando, S: ritardando, N: .
2036 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2039 I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2042 Immediate reduction of speed.
2045 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2047 @w{@ar{}@strong{diatonic scale}}
2050 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2051 [van de toonladder], DK: skalatrin, S: skalatrin (?), N: .
2053 Names and symbols used in harmonic analysis to denote tones of the scale as
2054 roots of chords. The most important are degrees I = tonic (T), IV =
2055 sub@-do@-mi@-nant (S) and V = dominant (D).
2061 \property Score.barNonAuto = ##t
2062 \property Lyrics.textStyle = "large"
2063 \property Lyrics.minVerticalAlign = 8
2065 \notes\relative c' {
2067 \context Lyrics \lyrics {
2068 < { I II III IV V VI VII I }
2073 @w{@ar{}@strong{functional harmony}}
2076 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2079 A copy of orchestral, choral or chamber music showing what each instrument is
2080 to play, each voice to sing, having each part arranged one underneath the
2081 other on different @w{@ar{}@strong{stave}}s.
2084 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2086 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2087 @w{@ar{}@strong{diatonic scale}} consists of alternating
2088 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2089 of a se@-cond depends on the scale degrees in question.
2092 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2095 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2096 interval in European composed music. The interval between two neighbouring
2097 tones on the piano keyboard - including black and white keys - is a
2098 semitone. An octave may be divided into 12
2099 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2104 \property Score.barNonAuto = ##t
2105 \notes\relative c'' { g1 gis s a bes s b c }
2109 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2111 @w{@ar{}@strong{interval}}
2113 @item sextuplet, sextolet
2114 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2117 @w{@ar{}@strong{note value}}
2120 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2122 @w{@ar{}@strong{accidental}}
2124 @item short appoggiatura
2125 @w{@ar{}@strong{appoggiatura}}
2127 @item sixteenth note
2128 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2129 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2132 @w{@ar{}@strong{note value}}
2134 @item sixteenth rest
2135 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2136 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2137 sextondelspaus, N: .
2139 @w{@ar{}@strong{note value}}
2142 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2144 @w{@ar{}@strong{interval}}
2146 @item sixty-fourth note
2147 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2148 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2149 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2150 sextiofj@"ardedelsnot, N: .
2152 @w{@ar{}@strong{note value}}
2154 @item sixty-fourth rest
2155 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2156 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2157 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2158 sextiofj@"ardedelspaus, N: .
2160 @w{@ar{}@strong{note value}}
2163 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2164 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2165 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2167 A slur above or below a group of notes indicates that they are to be played
2168 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2172 I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S:
2175 General term for systems of designating the degrees of the
2176 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2177 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2178 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2181 I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2183 In its present-day meaning a sonata denotes an instrumental composition for
2184 piano or for some other instrument with piano accompaniment, which consists of
2185 three or four independant pieces, called movements.
2188 I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2189 sonatevorm, DK: sonateform, S: sonatform, N: .
2191 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2192 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2193 falls in three sections called @emph{exposition}, @emph{development} and
2194 @emph{recapitulation}. In the exposition the composer introduces his musical
2195 ideas, consisting of a number of themes; in the development section he
2196 "develops" this material, and in the recapitulation he repeats the exposition,
2197 with certain modifications however. The exposition contains a number of themes
2198 which fall into two groups, often called first and second subject. Other
2199 melodies occurring in each group are considered as continuations of these
2200 two. The second theme is in another key, normally in the key of the
2201 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2202 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2203 tonic is @w{@ar{}@strong{minor}}.
2206 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2208 The highest female voice.
2211 I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2212 staccato, S: staccato, N:
2214 Playing the note(s) short. Staccato is indicated by a dot above or below the
2222 \notes\relative c'' {
2224 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2229 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2230 partij, DK: nodesystem, S: notsystem, N: .
2232 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2233 between which the musical notes are written, thus indicating (in connection
2234 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2235 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2238 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2241 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2242 note. @w{@ar{}@strong{beam}}
2247 \property Score.noAutoBeaming = ##t
2248 \property Score.barNonAuto = ##t
2250 \property Voice.textStyle = "large"
2251 \notes\relative c'' {
2260 I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2263 A family of stringed musical instruments played with a bow. Strings commonly
2264 used in a symphony orchestra are violin, viola, violoncello and double bass.
2267 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2268 D: betonet taktslag, S: betonat taktslag, N: .
2270 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2271 @w{@ar{}@strong{rhythm}}
2274 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2275 subdominant, S: subdominant, N: .
2277 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2281 I: sopratonica, F: , D: Submediant, NL: submediant, DK: Submediant, S:
2284 The sixth @w{@ar{}@strong{scale degree}}.
2287 I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2290 The seventh @w{@ar{}@strong{scale degree}}
2293 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2294 superdominant, S: superdominant, N: .
2296 The sixth @w{@ar{}@strong{scale degree}}
2299 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2300 supertonika, S: supertonika, N: .
2302 The second @w{@ar{}@strong{scale degree}}.
2305 I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2308 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2311 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2313 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2314 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2315 rhythm rests upon the grouping of equal beats into groups of two or three,
2316 with a regularly recurrent accent on the first beat of each group. Any
2317 deviation from this scheme is felt as a disturbance or contradiction between
2318 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2324 \property Voice.textStyle = "large"
2326 \notes\relative c' {
2329 e c'4 e,8 c'4 e,8 c' ( | ) c2
2333 @item syntonic comma; dydimic comma
2335 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2336 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2338 Difference between the natural third and the third obtained by Pythagorean
2339 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2342 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2345 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2346 writing down of keyboard, chamber, choral or orchestral music.
2349 I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2350 DK: temperatur, S: temperatur, N: .
2352 Systems of tuning in which the intervals deviate from the accoustically pure
2353 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2356 @item tempo indication
2357 I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2358 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2359 tempobeteckning, N: .
2361 The rate of speed of a composition or a section thereof, ranging from the
2362 slowest to the quickest, as is indicated by tempo marks as
2363 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2364 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2367 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2369 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2372 I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2374 @w{@ar{}@strong{note value}}
2377 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2379 @w{@ar{}@strong{interval}}
2381 @item thirty-second note
2383 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2384 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: 32e noot, DK:
2385 toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2387 @w{@ar{}@strong{note value}}
2389 @item thirty-second rest
2391 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2392 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2393 trettiotv@aa{}ondelspaus, N: .
2395 @w{@ar{}@strong{note value}}
2397 @item thorough bass; figured bass
2398 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2399 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2401 A method of indicating an accompaniment part by the bass notes only, together
2402 with figures designating the chief @w{@ar{}@strong{interval}}s and
2403 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2408 \context GrandStaff <
2409 \notes\relative c'' {
2413 < \context Voice = rha {
2416 \context Voice = rhb {
2418 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2421 \property Voice.textStyle = "large"
2422 \property Lyrics.textStyle = "Large"
2423 \property Lyrics.minVerticalAlign = 6
2425 \notes\relative c' {
2428 es8 c () c bes () bes as () as g16 f | es4
2430 \context Lyrics \lyrics {
2431 < { "" "6" "4" "6" "4" "6" "4" "6" }
2432 { "" "" "2" "" "2" "" "2" "" } >
2438 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2439 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2441 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2442 connects two succesive notes of the same pitch, and which has the function of
2443 uniting them into a single sound equal to the combined durations.
2448 \property Score.barNonAuto = ##t
2449 \notes\relative c'' { g2 ~ g4. }
2452 @item time signature
2454 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2455 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2456 taktartssignatur, N: .
2458 @w{@ar{}@strong{meter}}
2461 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2463 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2464 a primary building material of music. Music from the 20th century may be based
2465 on non tone related sounds.
2468 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2470 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2473 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2474 transposition, S: transponering, N: .
2476 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2483 \notes\relative c'' {
2485 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2486 \transpose bes\relative c'' {
2488 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2493 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2494 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2497 @w{@ar{}@strong{G clef}}
2500 I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2503 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2504 the same tone, produced by a rapid up-and-down movement movement of the bow
2505 (a). The term is also used for the rapid alternation (b) between two notes of
2506 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2507 (@w{@ar{}@strong{interval}}).
2513 \property Score.barNonAuto = ##t
2514 \property Voice.textStyle = "large"
2515 \notes\relative c' {
2516 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2521 I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N:
2523 @w{@ar{}@strong{chord}}
2526 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2527 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2529 @w{@ar{}@strong{ornament}}
2532 I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2533 maatsoort, DK: tredelt takt, S: tretakt, N: .
2535 @w{@ar{}@strong{meter}}
2538 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2540 @w{@ar{}@strong{note value}}
2543 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2546 @w{@ar{}@strong{interval}}
2549 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2550 stemmegaffel, S: st@"amgaffel, N: .
2552 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2553 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2555 @item turn; gruppetto
2556 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2560 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2563 Playing of the same notes or the same melody by various instruments (voices)
2564 or by the whole orchestra (choir), either at exactly the same pitch or in a
2568 I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, I: , DK: optakt, S:
2571 Initial note(s) of a melody occurring before the first bar
2572 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2579 \notes\relative c' {
2580 \partial 4; f4 | bes4. a8 bes4 c |
2581 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2585 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2587 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2588 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2589 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2590 of a polyphonic composition.
2593 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2594 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2596 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2599 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2600 DK: helnode, S: helnot, N: .
2602 @w{@ar{}@strong{note value}}
2605 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2606 rust, DK: helnodespause, S: helnotspaus, N: .
2608 @w{@ar{}@strong{note value}}
2611 I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2614 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2615 tones on the piano keyboard with exactly one key between them - including
2616 black and white keys - is a whole tone.
2619 I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S:
2620 tr@"abl@aa{}sare, N: .
2622 A family of blown wooden musical instruments. Today some of these instruments
2623 are actually made from metal. The woodwind instruments commonly used in a
2624 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2628 @item ---------------------
2632 @item Literature used
2633 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2634 quotes from its articles have been included into the item explanation texts.
2636 Hugo Riemans Musiklexicon, Berlin 1929
2638 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.