2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @evenheading @thispage @| @|
8 @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: f@"ortecken, N:
52 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
53 @c Akzidenz, NL: toevallig teken, I: accidento.
55 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
56 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
57 flat lowers it by a whole tone. A natural cancels the effect of a previous
63 \property Score.barNonAuto = ##t
64 \property Voice.textStyle = "large"
67 gisis1_"db. sharp" s s2
69 geses1_"db. flat" s s2
75 I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N:
78 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
79 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
80 movement in slow tempo, esepecially the scond (slow) movement of
81 @w{@ar{}@strong{sonata}s}, symphonies etc.
84 I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK:
85 accelerando, S: accelerando, N:
90 I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK:
91 allegro, S: allegro, N: allegro.
93 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
94 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
97 I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
99 A female voice of low range (@emph{contralto}). Originally the alto was a high
100 male voice (hence the name) which by the use of falsetto reached the height of
101 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
105 I: chiave di contralto, F: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt
106 sleutel, DK: altn@o{}gle, S: altklav, N:
108 C clef setting central C on the middle line of the staff
109 @w{@ar{}@strong{C clef}}
111 @item ancient minor scale
112 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
113 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
118 \property Score.barNonAuto = ##t
119 \notes\relative c'' {
124 I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
127 walking tempo/character
130 I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
131 DK: forslag, S: f@"orslag, N:
133 Ornamental note, usually a second, that is melodically connected with the main
134 note that follows it. In music before the 19'th century a. were usually
135 performed on the beat, after that mostly before the beat. While the short
136 a. is performed as a short note regardless of the duration of the main note
137 the duration of the long a. is proportionate to that of the main note.
143 %\property Voice.textEmptyDimension = ##t
144 \property Voice.textStyle = "large"
145 \notes\relative c'' {
148 <d4_"notation" a fis> r
149 { \property Grace.stemStyle = ""
152 { \property Grace.stemStyle = ""
154 g8 fis16 g | a4 \bar "||"; }
155 \notes\relative c'' {
156 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
159 An appoggiatura may have more notes preceding the main note.
165 \property Voice.textStyle = "large"
166 \notes\relative c'' {
169 \grace { bes16 } as8_"notation" as16 bes as8 g |
170 \grace { [as16 ( bes] } < ) c4 as >
171 \grace { [as16 ( bes] } < ) c4 as > \bar "||";
172 \grace { bes16 } as8_"performance" as16 bes as8 g |
173 < \context Voice = va { \stemup as32 bes c8. as32 bes c8. }
174 \context Voice = vb { \stemdown as16 ~ as8. as16 ~ as8. } >
180 I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
181 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
186 \context GrandStaff <
187 \notes\relative c'' {
190 r8 g16 c e g, c e r8 g,16 c e g, c e |
191 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
194 < \context Voice = va {
196 r16 e8. () e4 r16 e8. () e4 |
197 r16 d8. () d4 r16 d8. () d4 }
198 \context Voice = vb {
205 @item ascending interval
206 I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
207 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
209 A distance between a starting lower note and a higher ending note.
211 @item augmented interval
212 I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
213 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
214 @"overstigande intervall, N:
216 @w{@ar{}@strong{interval}}
219 I: autografo, F: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift,
220 autograf, S: handskrift, N: .
222 1. A manuscript in the composer's own hand. 2. Music prepared for
223 photoreproduction by freehand drawing, with only the aid of a
224 straightedge ruler and T-square, which attempts to emulate
225 engraving. This required more skill than did engraving.
228 I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
230 @item backfall; forefall
231 @w{@ar{}@strong{appoggiatura}}
234 I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
235 maatstreep, DK: taktstreg, S: taktstreck, N:
238 @w{@ar{}@strong{measure}}
241 I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
244 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
245 @w{@ar{}@strong{tenor}}.
248 I: chiave di baritono, F: , D: Barytonschl@"ussel, NL: baritonsleutel, DK:
249 barytonn@o{}gle, S: barytonklav, N: .
251 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
252 @w{@ar{}@strong{f clef}}
255 I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK:
256 basn@o{}gle, S: basklav, N:
258 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
262 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
264 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
265 an abbreviation for double bass @w{@ar{}@strong{strings}}.
268 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
270 Line connecting a series of notes (shorter than a quarter note). The number of
271 beams determine the note value of the connected notes.
276 \property Score.barNonAuto = ##t
278 \property Voice.textStyle = "large"
279 \notes\relative c'' {
281 [g16_"1/16" g g g] s16
282 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
283 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
287 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
290 Note value used for counting, most often half-, fourth- and eighth notes. The
291 base counting value and the number of them per measure is indicated at the
299 \notes\relative c'' { g4 c b a | g1 \bar "||";}
301 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
305 @w{@ar{}@strong{tie}}
308 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
309 accolade, teksthaak, DK: klamme, S: klammer, N:
311 Symbol at the start of a system connecting staffs. Curly braces are used
312 for connecting piano staves, angular brackets for connecting parts in an
313 orchestral or choral score.
318 \context GrandStaff <
319 \property GrandStaff.minVerticalAlign = 12
320 \notes\relative c'' { \clef treble; g4 e c2 }
321 \notes\relative c { \clef bass; c1 \bar "|."; } >
327 %\context StaffGroup <
328 \context ChoirStaff <
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 Staff.clefStyle = #"fullSizeChanges"
377 \property Staff.textStyle = #"large"
378 \property Lyrics.textStyle = #"large"
381 \clef soprano; c1 s s
382 \clef mezzosoprano; c s s
387 \context Lyrics \lyrics {
388 Soprano Mezzosoprano Alto Tenor Baritone
393 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
395 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
398 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
400 An extended, improvisatory style section inserted near the end of
401 movement. The purpose of a cadenza is to give the singer or player a chance to
402 exhibit her technichal skill and not the least her ability to improvise. Since
403 the middle of the 19'th century, however, most cadences have been written down
407 I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
409 @w{@ar{}@strong{counterpoint}}
412 I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: .
414 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
415 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
418 @w{@ar{}@strong{middle C}}
421 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
423 Three or more tones sounding simultaneously. In traditional European music the
424 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
425 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
426 chords may be extended with more thirds. Four- @emph{seventh chords} and five
427 tone @emph{ninth} major chords are most often used as dominants
428 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
429 third above the lower notes to define their quality as major or minor. Such
430 chords are denoted open chords
435 \property Score.barNonAuto = ##t
436 \property Voice.textNonEmpty = ##t
437 \property Voice.textStyle = "large"
439 \notes\relative c'' {
442 <g_"dimished" bes des>
443 <g_"augmented~" b dis>
444 <g_"seventh-chord~" b d f>
445 <g_"ninth-chord" b d f a> s s2
449 @item chromatic scale
450 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
451 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
453 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
458 \property Score.barNonAuto = ##t
459 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
463 I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik,
466 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
468 @item church mode; ecclesiastical mode
469 I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
470 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
472 @w{@ar{}@strong{diatonic scale}}
475 I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
476 sleutel, DK: n@o{}gle, S: klav, N:
478 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
481 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
483 Difference in pitch between a note derived from pure tuning and the same note
484 derived from some other tuning method. @w{@ar{}@strong{temperament}}
487 @w{@ar{}@strong{meter}}
489 @item compound interval
490 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
491 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
493 Intervals larger than an octave
495 @w{@ar{}@strong{interval}}
498 I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK:
499 komplement@ae{}rinterval, S: komplement@"arintervall (?), N:
501 @w{@ar{}@strong{inverted interval}}
503 @item conjunct movement
504 I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis
505 bev@ae{}gelse, S: stegvis r@"orelse, N:
507 Melody moving in the narrow steps of the scale;
513 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
517 I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
520 @w{@ar{}@strong{harmony}}
523 I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
525 @w{@ar{}@strong{alto}}
528 I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
529 kontrapunkt, S: kontrapunkt, N: .
531 From latin @emph{punctus contra punctum}, note against note. The combination
532 into a single musical fabric of lines or parts which have distinct melodic
533 significance. A frequently used polyphonic technique is imitation, in its
534 strictest form found in the canon needing only one part to be written down
535 while the other parts are performed with a given displacement. Imitation is
536 also the contrapuntal technique used in the @emph{fugue} which, since the
537 music of the baroque era, has been one of the most popular polyphonic
543 \property Score.timeSignatureStyle = "C2/2"
544 \context GrandStaff <
549 < \context Voice = rha {
551 r1 | r2 r8 g'8 bes d, |
552 cis4 d r8 e!16 f g8 f16 e |
553 f8 g16 a bes8 a16 g a8
555 \context Voice = rhb {
564 < \context Voice = lha {
566 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
567 r8 a16 g f8 g16 a bes8 g e! cis' |
570 \context Voice = lhb {
579 I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
580 kontratenor, S: kontratenor, counter tenor, N: kontratenor
582 @w{@ar{}@strong{contralto}}
585 A music copyist did fast freehand scores and parts on preprinted staff lines
586 for performance. Some of their conventions (e.g.: the placement of noteheads
587 on stems) varied slightly from those of engravers. Some of their working
588 methods were superior and could well be adopted by music typesetters. This
589 required more skill than engraving.
592 I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
593 crescendo, S: crescendo, N:@w{ }crescendo.
595 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
596 abbreviation "cresc.".
602 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
606 I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S:
609 In a separate part notes belonging to another part with the purpose of hinting
610 when to start playing. Usually printed in a smaller type.
613 I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
616 I: da capo, F: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo,
619 The term indicates repetition of the piece from the beginning to the end or to
620 a certain place marked @emph{fine}. Mostly abbreviated D.C.
623 I: dal segno, F: , D: dal segno, NL: dal segno, DK: dal segno, S: dal
626 abbreviated d.s. Repetition, not from the beginning, but from another place
627 frequently near the beginning marked by a sign:
632 \property Voice.textStyle = "large"
634 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
638 I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
639 decrescendo, N: decrescendo
641 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
642 or the abbreviation "decresc.".
648 \notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
651 @item descending interval
652 I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
653 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
654 fallande intervall, N:
656 An distance between a starting higher note and a lower ending note.
659 I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
660 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
662 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
663 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
664 keybord are diatonic.
666 The church modes are used in gregorial chant and pre baroque early music but
667 also to some extent in newer jazz music.
673 \property Score.barNonAuto = ##t
674 \property Lyrics.textStyle = "large"
675 \property Voice.textStyle = "large"
679 \property Voice.textScriptPadding = #-10
681 \property Voice.textScriptPadding = #-4
683 \context Lyrics \lyrics { Ionian }
688 \property Score.barNonAuto = ##t
689 \property Lyrics.textStyle = "large"
690 \property Voice.textStyle = "large"
694 \property Voice.textScriptPadding = #-10
697 \property Voice.textScriptPadding = #-4
699 \context Lyrics \lyrics { Dorian }
704 \property Score.barNonAuto = ##t
705 \property Lyrics.textStyle = "large"
706 \property Voice.textStyle = "large"
709 \property Voice.textScriptPadding = #-10
712 \property Voice.textScriptPadding = #-4
714 \context Lyrics \lyrics { Phrygian }
719 \property Score.barNonAuto = ##t
720 \property Lyrics.textStyle = "large"
721 \property Voice.textStyle = "large"
725 \property Voice.textScriptPadding = #-4
727 \property Voice.textScriptPadding = #0
729 \context Lyrics \lyrics { Lydian }
734 \property Score.barNonAuto = ##t
735 \property Lyrics.textStyle = "large"
736 \property Voice.textStyle = "large"
738 \notes\relative c'' {
740 \property Voice.textScriptPadding = #-4
742 \property Voice.textScriptPadding = #0
744 \context Lyrics \lyrics { Mixolydian }
749 \property Score.barNonAuto = ##t
750 \property Lyrics.textStyle = "large"
751 \property Voice.textStyle = "large"
753 \notes\relative c'' {
755 \property Voice.textScriptPadding = #-4
757 \property Voice.textScriptPadding = #0
759 \context Lyrics \lyrics { Aeolian }
762 From the beginning of the 17th century the scales used in European
763 compositional music are primarily the major and the minor scales. In the
764 harmonic minor scale type an augmented second (A) occurs between the 6th and
769 \property Score.barNonAuto = ##t
770 \property Lyrics.textStyle = "large"
771 \property Voice.textStyle = "large"
775 \property Voice.textScriptPadding = #-10
777 \property Voice.textScriptPadding = #-4
779 \context Lyrics \lyrics { Major }
784 \property Score.barNonAuto = ##t
785 \property Lyrics.textStyle = "large"
786 \property Voice.textStyle = "large"
788 \notes\relative c'' {
790 \property Voice.textScriptPadding = #-4
792 \property Voice.textScriptPadding = #0
794 \context Lyrics \lyrics { "ancient minor" }
799 \property Score.barNonAuto = ##t
800 \property Lyrics.textStyle = "large"
801 \property Voice.textStyle = "large"
803 \notes\relative c'' {
805 \property Voice.textScriptPadding = #-4
807 \property Voice.textScriptPadding = #0
809 \property Voice.textScriptPadding = #1
813 \context Lyrics \lyrics { "Harmonic minor" }
818 \property Score.barNonAuto = ##t
819 \property Lyrics.textStyle = "large"
820 \property Voice.textStyle = "large"
822 \notes\relative c'' {
824 \property Voice.textScriptPadding = #-4
826 \property Voice.textScriptPadding = #0
828 \property Voice.textScriptPadding = #-1
830 \property Voice.textScriptPadding = #-4
833 \context Lyrics \lyrics { "Melodic minor" }
836 @item diminished interval
837 I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
838 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
841 @w{@ar{}@strong{interval}}
844 I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
845 S:@w{ }diminuendo, N:@w{ }diminuendo.
847 @w{@ar{}@strong{decrescendo}}
849 @item disjunct movement
850 I: moto disgiunto, F: mouvement disjoint, D: , NL: , DK: springende
851 bev@ae{}gelse, S: hoppande r@"orelse, N:
853 Melody moving in steps greater than those of the
854 scale. Opposite of @ar{}@strong{conjunct movement}.
862 \partial 8; e8 | a4. gis8 b a e cis |
863 fis2 d4. \bar "||"; }
866 @item dissonant interval; dissonance
867 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
868 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
871 @w{@ar{}@strong{harmony}}
873 @item dominant ninth chord
874 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
875 Dominantnoneakkord, NL: dominant noon akkoord, DK:
876 dominantnoneakkord, S: dominantnonackord, N: .
878 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
880 @item dominant seventh chord
881 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
882 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
883 dominantseptimackord, N:
885 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
888 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
891 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
894 I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
895 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N:
897 @w{@ar{}@strong{diatonic scale}}
899 @item dot (augmentation dot)
900 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
903 @w{@ar{}@strong{dotted note}}
906 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
907 DK: punkteret node, S: punkterad not, N:
909 @w{@ar{}@strong{note value}}
911 @item double appoggiatura
912 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
913 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
915 @w{@ar{}@strong{appoggiatura}}
917 @item double bar line
918 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
919 dobbeltstreg, S: dubbelstreck, N: .
921 Indicates the end of a section within a movement.
923 @item double dotted note
924 I: nota doppiamente puntata, F: note doublement point@'ee, D:
925 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
926 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
928 @w{@ar{}@strong{note value}}
932 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
933 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
935 @w{@ar{}@strong{accidental}}
938 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
939 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
941 @w{@ar{}@strong{accidental}}
944 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
945 dobbelttrille, S: dubbeldrill, N: .
947 A simultaneous trill on two notes, usually in the distance of a third.
950 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
951 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
953 @w{@ar{}@strong{meter}}
956 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
958 @w{@ar{}@strong{note value}}
961 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
964 @w{@ar{}@strong{note value}}
967 @w{@ar{}@strong{syntonic comma}}
970 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
973 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
974 ottendedelsnode, S: @aa{}ttondelsnot, N: .
976 @w{@ar{}@strong{note value}}
979 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
980 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
982 @w{@ar{}@strong{note value}}
985 I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
988 Engraving means incising or etching a metal plate for
989 printing. Photoengraving means drawing music with ink in a manner
990 similar to drafting or engineering drawing, using similar tools.
992 The traditional process of music printing is done through cutting in a
993 plate of metal. Now also the term for the art of music typesetting.
996 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
997 enharmonisk, S: enharmonisk, N: .
999 Two notes, intervals, or scales are enharmonic if they have different names
1005 \property Score.barNonAuto = ##t
1006 \property Voice.textStyle = "large"
1007 \notes\relative c'' {
1008 gis1_"g sharp" s as1_"a flat" s s
1009 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1013 @item equal temperament
1014 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1015 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1016 temperatur, S: liksv@"avande temperatur, N: .
1018 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1019 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1021 @item expression mark
1022 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1023 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1024 f@"oredragsbeteckning, N: .
1026 Performance indications concerning 1. volume, dynamics (for example
1027 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1028 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1031 I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1034 I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1035 F-n@o{}gle, S: f-klav, N: .
1037 The position between the dots of the key symbol is the line of the F below
1038 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1039 clef symbol indicates that the notes must be played an octave higher (for
1040 example bass recorder) while 8 below the clef symbol indicates playing an
1041 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1047 \property Score.barNonAuto = ##t
1048 \property Staff.clefStyle = #"fullSizeChanges"
1049 \property Lyrics.textStyle = "large"
1066 \context Lyrics \lyrics {
1077 I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1079 Prolonged note or rest of indefinite duration.
1085 \notes\relative c'' {
1086 a4 b c2^\fermata \bar "|."; }
1090 I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint.
1092 @w{@ar{}@strong{interval}}
1095 @w{@ar{}@strong{thorough bass}}
1098 I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1099 fingers@ae{}tning, S: fingers@"attning, N: .
1101 The methodical use of fingers in the playing of instruments.
1104 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1105 DK: fane, S: flagga, N: .
1107 Ornament at the end of the stem of a note used for notes with values less than
1108 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1113 \property Score.barNonAuto = ##t
1115 \property Voice.textStyle = "large"
1116 \notes\relative c'' {
1124 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1126 @w{@ar{}@strong{accidental}}
1128 @item forefall; backfall
1129 @w{@ar{}@strong{appoggiatura}}
1132 I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1134 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1135 @emph{mezzoforte} (@b{mf}) medium loud.
1138 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1140 @w{@ar{}@strong{interval}}
1143 I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1145 @w{@ar{}@strong{counterpoint}}
1147 @item functional harmony
1148 I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse,
1149 funktionsharmonik, S: funktionsl@"ara, N:
1151 A system of harmonic analysis. It is based on the idea that, in a given key,
1152 there are only three functionally different chords: tonic (T, the chord on the
1153 first note of the scale), subdominant (S, the chord on the fourth note) and
1154 dominant (D, the chord on the fifth note). Other are considered to be variants
1161 \property Score.barNonAuto = ##t
1162 \property Lyrics.textStyle = "large"
1163 \property Voice.textStyle = "large"
1165 \notes\relative c'' {
1166 < g1 e c > < a f d > < b g e >
1167 < c a f > < d b g > < e c a > < f d b > }
1168 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1172 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1175 I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1176 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1178 A clef symbol indicating the G above central C. Used on the first and second
1179 note lines. A digit 8 above the clef symbol indicates that the notes must be
1180 played an octave higher while 8 below the clef symbol indicates playing or
1181 singing an octave lower (most tenor parts in choral scores are notated like
1187 \property Score.barNonAuto = ##t
1188 \property Staff.clefStyle = #"fullSizeChanges"
1189 \property Lyrics.textStyle = "large"
1191 \notes\relative c'' {
1201 \context Lyrics \lyrics {
1202 "french violin clef"
1210 I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1211 glissando, N: glissando.
1213 Letting the pitch slide fluently from one note to the other
1216 I: abbellimenti, F: fioriture, petite[s] note[s], D: Verzierungen,
1217 Vorschl@"age, Vorschlagsnoten, NL: versieringen, DK: forsiringer, S: ornament,
1220 Notes printed in small types to indicate that their time values are not
1221 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1224 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1225 S: ackolad, b@"ojd klammer, N: .
1227 @w{@ar{}@strong{brace}}
1229 A combination of two staffs with a brace. Usually used for piano music.
1232 I: grave, F: grave, D: grave, langsam, traurig, NL: , DK: grave, S: grave, N:
1238 I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1239 halvnode, S: halvnot, N: .
1241 @w{@ar{}@strong{note value}}
1244 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1245 rust, DK: halvnodespause, S: halvnotspaus, N: .
1247 @w{@ar{}@strong{note value}}
1249 @item harmonic cadence
1250 I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1251 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1253 Sequence of chords that terminate a musical phrase or
1254 section. @ar{}@w{}@strong{functional harmony}
1259 \context GrandStaff <
1260 \notes\relative c'' {
1263 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1264 \property Lyrics.textStyle = "large"
1268 \partial 4; c4 | f, g c2
1270 \context Lyrics \lyrics { T S D T } >
1274 I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1275 samklang, S: samklang, N:
1277 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1278 @emph{consonances} and @emph{dissonances}.
1285 \property Score.barNonAuto = ##t
1286 \property Voice.textStyle = "large"
1287 \notes\relative c'' {
1294 <g1_"decime" b'> s s
1303 \property Score.barNonAuto = ##t
1304 \property Voice.textStyle = "large"
1305 \notes\relative c'' {
1312 Three note harmony @w{@ar{}@strong{chord}}
1315 I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1318 Music in which one voice leads melodically followed by the other voices more
1319 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1322 I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1325 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1326 diminished or augmented. The augmented fourth and the diminished fifth are
1327 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1328 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1334 \property Score.barNonAuto = ##t
1335 \property Lyrics.textStyle = "large"
1336 \property Voice.textStyle = "large"
1338 \notes\relative c'' {
1343 < gis^"dimin" bes > s
1344 < g!^"minor" bes > s
1348 \context Lyrics \lyrics {
1349 unisone second second second third third third third }
1355 \property Score.barNonAuto = ##t
1356 \property Lyrics.textStyle = "large"
1357 \property Voice.textStyle = "large"
1359 \notes\relative c'' {
1360 < g1^"perfect" c > s
1362 < g^"perfect" d' > s
1364 < gis^"dimin" es' > s
1365 < g!^"minor" es' > s
1369 \context Lyrics \lyrics {
1370 fourth fourth fifth fifth sixth sixth sixth sixth }
1376 \property Score.barNonAuto = ##t
1377 \property Lyrics.textStyle = "large"
1378 \property Voice.textStyle = "large"
1380 \notes\relative c'' {
1381 < gis1^"dimin" f'! > s
1382 < g!^"minor" f'! > s
1383 < g^"major" fis' > s
1387 < g^"minor" bes' > s
1390 \context Lyrics \lyrics {
1391 seventh seventh seventh octave none none decime decime }
1394 @item inverted interval
1395 I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1396 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1398 The difference between an interval and an octave.
1403 \property Score.barNonAuto = ##t
1404 \property Voice.textStyle = "large"
1405 \notes\relative c'' {
1406 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1407 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1408 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1412 @item just intonation
1413 I: intonazione giusta, F: , D: reine Stimmung, NL: reine stemming, DK: ren
1414 stemning, S: ren st@"amning, N: .
1416 Tuning system in which the notes are obtained by adding and subtracting
1417 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1420 I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1423 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1424 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1427 I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1428 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: largo, N: .
1430 The sharps or flats appearing at the beginning of each staff indicating the
1431 key of the music. @w{@ar{}@strong{accidental}}
1434 I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1437 Very slow in tempo, usually combined with great
1438 expressiveness. @emph{Larghetto} less slow than largo.
1441 I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1444 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1445 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1446 upwards) to the tonic scale degree.
1448 @item ledger line; leger line
1450 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1451 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: .
1453 A ledger line is an extension of the staff.
1458 \property Score.barNonAuto = ##t
1459 \notes\relative c'' { a,1 s c'' }
1463 I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1466 To be performed without any perceptible interruption between the notes (a)
1467 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1468 @w{@ar{}@strong{staccato}} (d)
1473 \property Score.barNonAuto = ##t
1475 \property Lyrics.textStyle = "large"
1477 \notes\relative c'' {
1479 c4-- d-- e-- \bar "||";
1480 c4-.( d-. )e-. \bar "||";
1481 c4-. d-. e-. \bar "||";
1483 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1487 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1490 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1491 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1493 A pond with lilies floating in it, also the name of a music typesetter.
1496 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1499 @w{@ar{}@strong{staff}}
1501 @item long appoggiatura
1502 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1503 forslag, S: l@aa{}ngt f@"orslag, N: .
1505 @w{@ar{}@strong{appoggiatura}}
1508 I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1510 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1515 \property Score.barNonAuto = ##t
1516 \notes\relative c'' {
1517 \property Voice.noteHeadStyle = "mensural"
1522 @item major interval
1523 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1524 groot interval, DK: stort interval, S: stort intervall, N: .
1526 @w{@ar{}@strong{interval}}
1529 I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1531 @w{@ar{}@strong{diatonic scale}}
1533 @item meantone temperament
1534 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1535 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1537 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1538 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1539 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1540 tuning keyboard instruments for performance of pre-1650 music.
1543 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1545 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1546 bears an accent. Such groups in numbers of two or more recur consistently
1547 throughout the composition and are marked from each other by
1548 bar-lines. @w{@ar{}@strong{meter}}
1551 I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1554 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1555 a third from that of another chord. For example the tonic chord may be
1556 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1557 harmony}} @w{@ar{}@strong{relative key}}.
1559 @item melodic cadence
1561 @w{@ar{}@strong{cadenza}}
1564 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1567 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1568 which remains unaltered throughout a composition or a section of it. For
1569 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1570 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1571 those. According to whether there are two, three or four units to the measure,
1572 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1573 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1578 \notes\relative c'' {
1581 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1585 \notes\relative c' {
1588 f8 f f f a16 g a f |
1589 c'8 c c c e16 d e c \bar "||";}
1593 \notes\relative c'' {
1596 d4 b8 g b d d c a4 |
1597 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1601 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1602 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1604 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1607 @item metronomic indication
1608 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1609 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1611 Exact tempo indication (in beats per minute). Also denoted by
1612 M.M. (M@"alzel's Metronom)
1615 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1616 mezzosopran, S: mezzosopran, N: mezzosopran.
1618 The female voice between @w{@ar{}@strong{soprano}} and
1619 @w{@ar{}@strong{contralto}}.
1622 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1623 enstreget c, S: ettstruket c, N:
1625 First C below the 440 Hz A.
1630 \property Score.barNonAuto = ##t
1631 \property Staff.clefStyle = #"fullSizeChanges"
1632 \notes\relative c' {
1639 @item minor interval
1640 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1641 interval, DK: lille interval, S: litet intervall, N: .
1643 @w{@ar{}@strong{interval}}
1646 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1648 @w{@ar{}@strong{diatonic scale}}
1651 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1653 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1656 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1659 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1660 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1661 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1665 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1668 @w{@ar{}@strong{ornament}}
1671 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1673 The briefest intelligible and self-contained fragment of a musical theme or
1679 \property Score.timeSignatureStyle = "C2/2"
1681 \property Voice.textStyle = "large"
1682 \notes\relative c'' {
1685 \partial 8; g16_"------" fis |
1686 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1687 g8 g,16 a b8 cis d16 s
1692 I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1694 Greater musical works like @w{@ar{}@strong{symphony}} and
1695 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1696 independant pieces called movements.
1699 I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1700 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1705 \notes\relative c'' {
1707 \property Score.skipBars=##t R1*3
1711 @item mixolydian mode
1712 @w{@ar{}@strong{diatonic scale}}
1715 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1716 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1718 @w{@ar{}@strong{accidental}}
1720 @item neighbour tones
1721 @w{@ar{}@strong{appoggiatura}}
1724 I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1726 @w{@ar{}@strong{interval}}
1729 @w{@ar{}@strong{legato}}
1732 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1734 Notes are signs by means of which music is fixed in writing. The term is also
1735 used for the sound indicated by a note, and even for the key of the piano
1736 which produces the sound. However, a clear distinction between the terms tone
1737 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1741 I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N:
1744 A head like sign which indicates pitch by its position on a
1745 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1746 by a variety of shapes such as hollow or black heads with or without
1747 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1748 instruments (often having no defined pitch) the note head may indicate the
1752 I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1753 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1755 Note values (durations) are measured as fractions, normally 1/2, of the next
1756 higher note value. The longest duration normally used is called @emph{brevis},
1757 but sometimes (mostly in pre baroque music) the double length note value
1758 @emph{longa} is used.
1763 \property Voice.textStyle = "large"
1764 \property Score.barNonAuto = ##t
1765 \notes\relative c'' {
1766 \property Voice.noteHeadStyle = "mensural"
1767 g\longa_"longa" g\breve_"breve"
1768 \property Voice.noteHeadStyle = ""
1769 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1770 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1774 \property Voice.textStyle = "large"
1775 \property Score.barNonAuto = ##t
1776 \notes\relative c'' {
1777 r\longa_"longa" r\breve_"breve"
1778 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1779 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1782 An augmentation dot after a note multiplies the duration by one and a
1783 half. Another dot adds yet a fourth of the duration.
1789 \property Voice.textStyle = "large"
1790 \notes\relative c'' {
1792 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1793 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1796 Alternatively note values may be subdivided by other ratios. Most common is
1797 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1798 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1804 \property Voice.textStyle = "large"
1806 \notes\relative c'' {
1808 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1809 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1811 \times 3/2 {g4_"duplets" g} |
1813 \times 6/4 {g8_"quadruplets" g g g} |
1814 g8 g g g g4 \bar "||";}
1821 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1824 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1826 @w{@ar{}@strong{interval}}
1828 @item ornament; embellishment; accessory
1829 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1830 NL: versiering, DK: forsiring, S: ornament, N: .
1832 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1833 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1834 middle of the 19th century and onwards the trill is performed with the main
1835 note first while in the music from the preceding baroque and classic periods
1836 the upper note is played first.
1840 \context Staff = sa {
1842 \property Voice.textStyle = "large"
1843 \notes\relative c'' {
1844 c2._"pre-1850" b4\trill | c1 \bar "||";
1845 c2._"post-1850" b4\trill | c1 \bar "||";
1848 \notes\relative c'' {
1849 c2. c32 b c b c b c b | c1
1850 c2. b32 c b c \times 4/5 { b c b c b } | c1
1855 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1856 @emph{prall} (inverted mordent).
1862 \context Staff = sa {
1864 \property Voice.textStyle = "large"
1865 \notes\relative c'' {
1866 a4_"turn" b\turn c2 \bar "||";
1867 g4_"mordent" a b\mordent a \bar "||";
1868 e'4_"prall" d\prall c2 \bar "||";
1871 \notes\relative c'' {
1874 e'4 [e8 ~ e32 d e d] c2
1879 @w{@ar{}@strong{appoggiatura}}
1882 I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1884 Ossia (otherwise) marks an alternative. It is an added staff or piano
1885 score, usually only a few measures long, which presents another version
1886 of the music, for example for small hands.
1889 I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1891 1. In instrumental or choral music the music for the single instrument
1892 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1893 melodic line of the contrapuntal web.
1896 I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1899 A family of musical instruments which are played on by striking or
1900 shaking. Percussion instruments commonly used in a symphony orchestra are
1901 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1902 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1905 @item perfect interval
1907 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1908 interval, DK: rent interval, S: rent intervall, N: .
1910 @w{@ar{}@strong{interval}}
1913 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1915 A natural division of the melodic line, comparable to a sentence of speech.
1918 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1921 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1922 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1925 I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1927 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1928 @emph{mezzopiano} (@b{mp}) medium soft.
1931 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1935 I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1936 pizzicato, S: pizzicato.
1938 Play by plucking the strings.
1941 I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1944 Music written in a combination of several simultaneous voices (parts) of a
1945 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1948 @w{@ar{}@strong{legato}}
1951 I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1952 presto, S: presto, N: .
1954 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1955 denotes the highest possible degree of speed.
1957 @item Pythagorean comma
1958 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1959 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1961 A sequence of fifths starting on C eventually circles back to C, but this C,
1962 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1963 obtained by adding 7 octaves. The difference between those two pitches is
1964 called the Pythagorean comma.
1967 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1970 @w{@ar{}@strong{note value}}
1973 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1974 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1976 @w{@ar{}@strong{note value}}
1979 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1980 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1982 @w{@ar{}@strong{note value}}
1985 I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1988 @w{@ar{}@strong{note value}}
1991 I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1992 rallentando, S: rallentando, N: rallentando.
1994 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1997 I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1998 paralleltoneart, S: parallelltonart, N: .
2000 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
2001 the same @w{@ar{}@strong{signature}}.
2007 \property Score.barNonAuto = ##t
2008 \property Voice.textStyle = "large"
2009 \notes\relative c' {
2011 es1_"e flat major" f g as bes c d es
2014 c,1_"c minor" d es f g a! b! c \bar "||";
2019 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2020 gen@-ta@-gel@-se, S: repris, N: .
2027 \notes\relative c'' {
2028 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2033 I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2035 @w{@ar{}@strong{note value}}
2038 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2040 (a) metrical rhythm in which every time value is a multiple or fraction of a
2041 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2042 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2043 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2044 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2045 accent. In modern notation such music appears as a free alternation of
2046 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2047 common metrical unit (beat).
2050 I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2051 ritardando, S: ritardando, N: .
2053 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2056 I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2059 Immediate reduction of speed.
2062 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2064 @w{@ar{}@strong{diatonic scale}}
2067 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2068 [van de toonladder], DK: skalatrin, S: skalatrin (?), N: .
2070 Names and symbols used in harmonic analysis to denote tones of the scale as
2071 roots of chords. The most important are degrees I = tonic (T), IV =
2072 sub@-do@-mi@-nant (S) and V = dominant (D).
2078 \property Score.barNonAuto = ##t
2079 \property Lyrics.textStyle = "large"
2080 \property Lyrics.minVerticalAlign = 8
2082 \notes\relative c' {
2084 \context Lyrics \lyrics {
2085 < { I II III IV V VI VII I }
2090 @w{@ar{}@strong{functional harmony}}
2093 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2096 A copy of orchestral, choral or chamber music showing what each instrument is
2097 to play, each voice to sing, having each part arranged one underneath the
2098 other on different @w{@ar{}@strong{stave}}s.
2101 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2103 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2104 @w{@ar{}@strong{diatonic scale}} consists of alternating
2105 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2106 of a se@-cond depends on the scale degrees in question.
2109 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2112 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2113 interval in European composed music. The interval between two neighbouring
2114 tones on the piano keyboard - including black and white keys - is a
2115 semitone. An octave may be divided into 12
2116 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2121 \property Score.barNonAuto = ##t
2122 \notes\relative c'' { g1 gis s a bes s b c }
2126 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2128 @w{@ar{}@strong{interval}}
2130 @item sextuplet, sextolet
2131 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2134 @w{@ar{}@strong{note value}}
2137 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2139 @w{@ar{}@strong{accidental}}
2141 @item short appoggiatura
2142 @w{@ar{}@strong{appoggiatura}}
2144 @item sixteenth note
2145 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2146 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2149 @w{@ar{}@strong{note value}}
2151 @item sixteenth rest
2152 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2153 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2154 sextondelspaus, N: .
2156 @w{@ar{}@strong{note value}}
2159 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2161 @w{@ar{}@strong{interval}}
2163 @item sixty-fourth note
2164 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2165 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2166 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2167 sextiofj@"ardedelsnot, N: .
2169 @w{@ar{}@strong{note value}}
2171 @item sixty-fourth rest
2172 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2173 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2174 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2175 sextiofj@"ardedelspaus, N: .
2177 @w{@ar{}@strong{note value}}
2180 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2181 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2182 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2184 A slur above or below a group of notes indicates that they are to be played
2185 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2189 I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S:
2192 General term for systems of designating the degrees of the
2193 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2194 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2195 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2198 I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2200 In its present-day meaning a sonata denotes an instrumental composition for
2201 piano or for some other instrument with piano accompaniment, which consists of
2202 three or four independant pieces, called movements.
2205 I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2206 sonatevorm, DK: sonateform, S: sonatform, N: .
2208 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2209 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2210 falls in three sections called @emph{exposition}, @emph{development} and
2211 @emph{recapitulation}. In the exposition the composer introduces his musical
2212 ideas, consisting of a number of themes; in the development section he
2213 "develops" this material, and in the recapitulation he repeats the exposition,
2214 with certain modifications however. The exposition contains a number of themes
2215 which fall into two groups, often called first and second subject. Other
2216 melodies occurring in each group are considered as continuations of these
2217 two. The second theme is in another key, normally in the key of the
2218 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2219 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2220 tonic is @w{@ar{}@strong{minor}}.
2223 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2225 The highest female voice.
2228 I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2229 staccato, S: staccato, N:
2231 Playing the note(s) short. Staccato is indicated by a dot above or below the
2239 \notes\relative c'' {
2241 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2246 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2247 partij, DK: nodesystem, S: notsystem, N: .
2249 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2250 between which the musical notes are written, thus indicating (in connection
2251 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2252 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2255 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2258 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2259 note. @w{@ar{}@strong{beam}}
2264 \property Score.noAutoBeaming = ##t
2265 \property Score.barNonAuto = ##t
2267 \property Voice.textStyle = "large"
2268 \notes\relative c'' {
2277 I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2280 A family of stringed musical instruments played with a bow. Strings commonly
2281 used in a symphony orchestra are violin, viola, violoncello and double bass.
2284 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2285 D: betonet taktslag, S: betonat taktslag, N: .
2287 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2288 @w{@ar{}@strong{rhythm}}
2291 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2292 subdominant, S: subdominant, N: .
2294 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2298 I: sopratonica, F: , D: Submediant, NL: submediant, DK: Submediant, S:
2301 The sixth @w{@ar{}@strong{scale degree}}.
2304 I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2307 The seventh @w{@ar{}@strong{scale degree}}
2310 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2311 superdominant, S: superdominant, N: .
2313 The sixth @w{@ar{}@strong{scale degree}}
2316 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2317 supertonika, S: supertonika, N: .
2319 The second @w{@ar{}@strong{scale degree}}.
2322 I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2325 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2328 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2330 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2331 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2332 rhythm rests upon the grouping of equal beats into groups of two or three,
2333 with a regularly recurrent accent on the first beat of each group. Any
2334 deviation from this scheme is felt as a disturbance or contradiction between
2335 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2341 \property Voice.textStyle = "large"
2343 \notes\relative c' {
2346 e c'4 e,8 c'4 e,8 c' ( | ) c2
2350 @item syntonic comma; dydimic comma
2352 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2353 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2355 Difference between the natural third and the third obtained by Pythagorean
2356 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2359 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2362 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2363 writing down of keyboard, chamber, choral or orchestral music.
2366 I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2367 DK: temperatur, S: temperatur, N: .
2369 Systems of tuning in which the intervals deviate from the accoustically pure
2370 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2373 @item tempo indication
2374 I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2375 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2376 tempobeteckning, N: .
2378 The rate of speed of a composition or a section thereof, ranging from the
2379 slowest to the quickest, as is indicated by tempo marks as
2380 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2381 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2384 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2386 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2389 I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2391 @w{@ar{}@strong{note value}}
2394 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2396 @w{@ar{}@strong{interval}}
2398 @item thirty-second note
2400 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2401 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL:
2402 twee-endertigste noot, DK: toogtredivtedelsnode, S:
2403 trettiotv@aa{}ondelsnot, N: .
2405 @w{@ar{}@strong{note value}}
2407 @item thirty-second rest
2409 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2410 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2411 trettiotv@aa{}ondelspaus, N: .
2413 @w{@ar{}@strong{note value}}
2415 @item thorough bass; figured bass
2416 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2417 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2419 A method of indicating an accompaniment part by the bass notes only, together
2420 with figures designating the chief @w{@ar{}@strong{interval}}s and
2421 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2426 \context GrandStaff <
2427 \notes\relative c'' {
2431 < \context Voice = rha {
2434 \context Voice = rhb {
2436 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2439 \property Voice.textStyle = "large"
2440 \property Lyrics.textStyle = "Large"
2441 \property Lyrics.minVerticalAlign = 6
2443 \notes\relative c' {
2446 es8 c () c bes () bes as () as g16 f | es4
2448 \context Lyrics \lyrics {
2449 < { "" "6" "4" "6" "4" "6" "4" "6" }
2450 { "" "" "2" "" "2" "" "2" "" } >
2456 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2457 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2459 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2460 connects two succesive notes of the same pitch, and which has the function of
2461 uniting them into a single sound equal to the combined durations.
2466 \property Score.barNonAuto = ##t
2467 \notes\relative c'' { g2 ~ g4. }
2470 @item time signature
2472 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2473 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2474 taktartssignatur, N: .
2476 @w{@ar{}@strong{meter}}
2479 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2481 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2482 a primary building material of music. Music from the 20th century may be based
2483 on non tone related sounds.
2486 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2488 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2491 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2492 transposition, S: transponering, N: .
2494 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2501 \notes\relative c'' {
2503 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2504 \transpose bes\relative c'' {
2506 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2511 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2512 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2515 @w{@ar{}@strong{G clef}}
2518 I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2521 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2522 the same tone, produced by a rapid up-and-down movement movement of the bow
2523 (a). The term is also used for the rapid alternation (b) between two notes of
2524 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2525 (@w{@ar{}@strong{interval}}).
2531 \property Score.barNonAuto = ##t
2532 \property Voice.textStyle = "large"
2533 \notes\relative c' {
2534 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2539 I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N:
2541 @w{@ar{}@strong{chord}}
2544 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2545 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2547 @w{@ar{}@strong{ornament}}
2550 I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2551 maatsoort, DK: tredelt takt, S: tretakt, N: .
2553 @w{@ar{}@strong{meter}}
2556 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2558 @w{@ar{}@strong{note value}}
2561 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2564 @w{@ar{}@strong{interval}}
2567 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2568 stemmegaffel, S: st@"amgaffel, N: .
2570 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2571 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2573 @item turn; gruppetto
2574 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2578 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2581 Playing of the same notes or the same melody by various instruments (voices)
2582 or by the whole orchestra (choir), either at exactly the same pitch or in a
2586 I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, I: , DK: optakt, S:
2589 Initial note(s) of a melody occurring before the first bar
2590 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2597 \notes\relative c' {
2598 \partial 4; f4 | bes4. a8 bes4 c |
2599 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2603 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2605 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2606 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2607 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2608 of a polyphonic composition.
2611 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2612 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2614 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2617 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2618 DK: helnode, S: helnot, N: .
2620 @w{@ar{}@strong{note value}}
2623 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2624 rust, DK: helnodespause, S: helnotspaus, N: .
2626 @w{@ar{}@strong{note value}}
2629 I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2632 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2633 tones on the piano keyboard with exactly one key between them - including
2634 black and white keys - is a whole tone.
2637 I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S:
2638 tr@"abl@aa{}sare, N: .
2640 A family of blown wooden musical instruments. Today some of these instruments
2641 are actually made from metal. The woodwind instruments commonly used in a
2642 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2649 @item DURATION NAMES, NOTES AND RESTS
2652 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2654 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2655 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2659 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2660 @tab longa @tab longa @tab longa
2664 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2665 brevis @tab brevis @tab brevis @tab brevis
2669 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2670 Ganze @tab hele @tab hel @tab hel @tab
2674 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2675 halve @tab halv @tab halv @tab
2679 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2680 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2684 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2685 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2689 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2690 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2695 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2696 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab 32e @tab
2697 toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2701 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2702 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2703 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2704 sextio@-fj@"arde@-del @tab
2707 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2715 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2717 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2718 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2722 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2726 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2727 cis @tab cis @tab cis
2731 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2732 des @tab des @tab des
2736 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2740 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2744 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2748 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2752 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2757 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2761 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2762 ais @tab ais @tab ais
2766 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2771 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2778 @item ---------------------
2782 @item Literature used
2783 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2784 quotes from its articles have been included into the item explanation texts.
2786 Hugo Riemans Musiklexicon, Berlin 1929
2788 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.