2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @c @evenheading @thispage @| @|
8 @c @oddheading @| @| @thispage @|
16 @item UK - British English
26 @tex $\\Rightarrow$ @end tex
36 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
41 I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
44 I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
46 The stress of one tone over others.
49 I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
50 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
53 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
54 @c Akzidenz, NL: toevallig teken, I: accidento.
56 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
57 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
58 flat lowers it by a whole tone. A natural cancels the effect of a previous
64 \property Score.barNonAuto = ##t
65 \property Voice.TextScript \set #'font-style = #'large
68 gisis1_"db. sharp" s s2
70 geses1_"db. flat" s s2
75 I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
76 NL: accelerando, DK: accelerando, S: accelerando, N:
82 I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
85 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
86 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
87 movement in slow tempo, esepecially the scond (slow) movement of
88 @w{@ar{}@strong{sonata}s}, symphonies etc.
91 I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
92 DK: allegro, S: allegro, N: allegro.
94 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
95 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
98 I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
100 A female voice of low range (@emph{contralto}). Originally the alto was a high
101 male voice (hence the name) which by the use of falsetto reached the height of
102 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
106 I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
107 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
109 C clef setting central C on the middle line of the staff
110 @w{@ar{}@strong{C clef}}
112 @item ancient minor scale
113 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
114 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
119 \property Score.barNonAuto = ##t
120 \notes\relative c'' {
125 I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
128 walking tempo/character
131 I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
132 DK: forslag, S: f@"orslag, N:
134 Ornamental note, usually a second, that is melodically connected with the main
135 note that follows it. In music before the 19'th century a. were usually
136 performed on the beat, after that mostly before the beat. While the short
137 a. is performed as a short note regardless of the duration of the main note
138 the duration of the long a. is proportionate to that of the main note.
144 %\property Voice.textNonEmpty = ##f
145 \property Voice.TextScript \set #'font-style = #'large
146 \notes\relative c'' {
149 <d4_"notation" a fis> r
150 { \property Grace.Stem \override #'flag-style = ##f
153 { \property Grace.Stem \override #'flag-style = ##f
155 g8 fis16 g | a4 \bar "||"; }
156 \notes\relative c'' {
157 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
160 An appoggiatura may have more notes preceding the main note.
166 \property Voice.TextScript \set #'font-style = #'large
167 \notes\relative c'' {
170 \grace { bes16 } as8_"notation" as16 bes as8 g |
171 \grace { [as16 ( bes] } < ) c4 as >
172 \grace { [as16 ( bes] } < ) c4 as > \bar "||";
173 \grace { bes16 } as8_"performance" as16 bes as8 g |
174 < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. }
175 \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } >
181 I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
182 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
187 \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: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
221 h@aa{}ndskrift, autograf, S: handskrift, N: .
223 1. A manuscript in the composer's own hand. 2. Music prepared for
224 photoreproduction by freehand drawing, with only the aid of a
225 straightedge ruler and T-square, which attempts to emulate
226 engraving. This required more skill than did engraving.
229 I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
231 @item backfall; forefall
232 @w{@ar{}@strong{appoggiatura}}
235 I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
236 maatstreep, DK: taktstreg, S: taktstreck, N:
239 @w{@ar{}@strong{measure}}
242 I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
245 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
246 @w{@ar{}@strong{tenor}}.
249 I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
250 ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
253 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
254 @w{@ar{}@strong{f clef}}
257 I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
258 bassleutel, DK: basn@o{}gle, S: basklav, N:
260 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
264 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
266 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
267 an abbreviation for double bass @w{@ar{}@strong{strings}}.
270 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
272 Line connecting a series of notes (shorter than a quarter note). The number of
273 beams determine the note value of the connected notes.
278 \property Score.barNonAuto = ##t
280 \property Voice.TextScript \set #'font-style = #'large
281 \notes\relative c'' {
283 [g16_"1/16" g g g] s16
284 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
285 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
289 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
292 Note value used for counting, most often half-, fourth- and eighth notes. The
293 base counting value and the number of them per measure is indicated at the
301 \notes\relative c'' { g4 c b a | g1 \bar "||";}
303 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
307 @w{@ar{}@strong{tie}}
310 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
311 accolade, teksthaak, DK: klamme, S: klammer, N:
313 Symbol at the start of a system connecting staffs. Curly braces are used
314 for connecting piano staves, angular brackets for connecting parts in an
315 orchestral or choral score.
320 \context GrandStaff <
321 \property GrandStaff.minVerticalAlign = 12
322 \notes\relative c'' { \clef treble; g4 e c2 }
323 \notes\relative c { \clef bass; c1 \bar "|."; } >
329 %\context StaffGroup <
330 \context ChoirStaff <
331 \property StaffGroup.minVerticalAlign = 12
332 \notes\relative c'' { \clef treble; g4 e c2 }
333 \notes\relative c { \clef bass; c1 \bar "|."; } >
337 I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
338 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
340 A family of blown musical instruments made of brass all using a cup formed
341 mouth piece. The brass instruments commonly used in a symphony orchestra are
342 trumpet, trombone, french horn and tube.
345 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
346 repercussieteken, DK:
347 vejrtr@ae{}kningstegn, S: andningstecken, N: .
349 Indication of where to breathe in vocal and wind instrument parts.
352 I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
354 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
360 \property Score.barNonAuto = ##t
361 \notes\relative c'' { g\breve }
365 I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
368 I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
369 c-n@o{}gle, S: c-klav, N:
371 Clef symbol indicating the position of the central C. Used on all note
377 \property Score.barNonAuto = ##t
378 \property Staff.clefStyle = #"fullSizeChanges"
379 \property Staff.textStyle = #"large"
380 \property Lyrics.textStyle = #"large"
383 \clef soprano; c1 s s
384 \clef mezzosoprano; c s s
389 \context Lyrics \lyrics {
390 Soprano Mezzosoprano Alto Tenor Baritone
395 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
397 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
400 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
402 An extended, improvisatory style section inserted near the end of
403 movement. The purpose of a cadenza is to give the singer or player a chance to
404 exhibit her technichal skill and not the least her ability to improvise. Since
405 the middle of the 19'th century, however, most cadences have been written down
409 I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
411 @w{@ar{}@strong{counterpoint}}
414 I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
416 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
417 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
420 @w{@ar{}@strong{middle C}}
423 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
425 Three or more tones sounding simultaneously. In traditional European music the
426 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
427 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
428 chords may be extended with more thirds. Four- @emph{seventh chords} and five
429 tone @emph{ninth} major chords are most often used as dominants
430 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
431 third above the lower notes to define their quality as major or minor. Such
432 chords are denoted open chords
437 \property Score.barNonAuto = ##t
438 \property Voice.textNonEmpty = ##t
439 \property Voice.TextScript \set #'font-style = #'large
441 \notes\relative c'' {
444 <g_"dimished" bes des>
445 <g_"augmented~" b dis>
446 <g_"seventh-chord~" b d f>
447 <g_"ninth-chord" b d f a> s s2
451 @item chromatic scale
452 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
453 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
455 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
460 \property Score.barNonAuto = ##t
461 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
465 I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
468 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
470 @item church mode; ecclesiastical mode
471 I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
472 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
474 @w{@ar{}@strong{diatonic scale}}
477 I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
478 sleutel, DK: n@o{}gle, S: klav, N:
480 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
483 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
485 Difference in pitch between a note derived from pure tuning and the same note
486 derived from some other tuning method. @w{@ar{}@strong{temperament}}
489 @w{@ar{}@strong{meter}}
491 @item compound interval
492 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
493 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
495 Intervals larger than an octave
497 @w{@ar{}@strong{interval}}
500 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
501 complementair interval, DK: komplement@ae{}rinterval, S:
502 komplement@"arintervall (?), N:
504 @w{@ar{}@strong{inverted interval}}
506 @item conjunct movement
507 I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
508 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
510 Melody moving in the narrow steps of the scale;
515 \key g \major; \time 4/4;
516 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
520 I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
523 @w{@ar{}@strong{harmony}}
526 I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
528 @w{@ar{}@strong{alto}}
531 I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
532 kontrapunkt, S: kontrapunkt, N: .
534 From latin @emph{punctus contra punctum}, note against note. The combination
535 into a single musical fabric of lines or parts which have distinct melodic
536 significance. A frequently used polyphonic technique is imitation, in its
537 strictest form found in the canon needing only one part to be written down
538 while the other parts are performed with a given displacement. Imitation is
539 also the contrapuntal technique used in the @emph{fugue} which, since the
540 music of the baroque era, has been one of the most popular polyphonic
546 \property Score.TimeSignature \override #'style = #'C2/2
547 \context GrandStaff <
552 < \context Voice = rha {
554 r1 | r2 r8 g'8 bes d, |
555 cis4 d r8 e!16 f g8 f16 e |
556 f8 g16 a bes8 a16 g a8
558 \context Voice = rhb {
567 < \context Voice = lha {
569 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
570 r8 a16 g f8 g16 a bes8 g e! cis' |
573 \context Voice = lhb {
582 I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
583 kontratenor, S: kontratenor, counter tenor, N: kontratenor
585 @w{@ar{}@strong{contralto}}
588 A music copyist did fast freehand scores and parts on preprinted staff lines
589 for performance. Some of their conventions (e.g.: the placement of noteheads
590 on stems) varied slightly from those of engravers. Some of their working
591 methods were superior and could well be adopted by music typesetters. This
592 required more skill than engraving.
595 I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
596 crescendo, S: crescendo, N:@w{ }crescendo.
598 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
599 abbreviation "cresc.".
604 \key g \major; \time 4/4;
605 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
609 I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
610 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
612 In a separate part notes belonging to another part with the purpose of hinting
613 when to start playing. Usually printed in a smaller type.
616 I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
619 I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
620 capo, DK: da capo, S: da capo, N: .
622 The term indicates repetition of the piece from the beginning to the end or to
623 a certain place marked @emph{fine}. Mostly abbreviated D.C.
626 I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
627 dal segno, S: dal segno, N: .
629 abbreviated d.s. Repetition, not from the beginning, but from another place
630 frequently near the beginning marked by a sign:
635 \property Voice.TextScript \set #'font-style = #'large
636 \key g \major; \time 4/4;
637 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
641 I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
642 decrescendo, N: decrescendo
644 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
645 or the abbreviation "decresc.".
650 \key g \major; \time 4/4;
651 \notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
654 @item descending interval
655 I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
656 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
657 fallande intervall, N:
659 An distance between a starting higher note and a lower ending note.
662 I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
663 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
665 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
666 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
667 keybord are diatonic.
669 The church modes are used in gregorial chant and pre baroque early music but
670 also to some extent in newer jazz music.
676 \property Score.barNonAuto = ##t
677 \property Lyrics.LyricText \set #'font-style = #'large
678 \property Voice.TextScript \set #'font-style = #'large
682 \property Voice.textScriptPadding = #-10
684 \property Voice.textScriptPadding = #-4
686 \context Lyrics \lyrics { Ionian }
691 \property Score.barNonAuto = ##t
692 \property Lyrics.LyricText \set #'font-style = #'large
693 \property Voice.TextScript \set #'font-style = #'large
697 \property Voice.textScriptPadding = #-10
700 \property Voice.textScriptPadding = #-4
702 \context Lyrics \lyrics { Dorian }
707 \property Score.barNonAuto = ##t
708 \property Lyrics.LyricText \set #'font-style = #'large
709 \property Voice.TextScript \set #'font-style = #'large
712 \property Voice.textScriptPadding = #-10
715 \property Voice.textScriptPadding = #-4
717 \context Lyrics \lyrics { Phrygian }
722 \property Score.barNonAuto = ##t
723 \property Lyrics.LyricText \set #'font-style = #'large
724 \property Voice.TextScript \set #'font-style = #'large
728 \property Voice.textScriptPadding = #-4
730 \property Voice.textScriptPadding = #0
732 \context Lyrics \lyrics { Lydian }
737 \property Score.barNonAuto = ##t
738 \property Lyrics.LyricText \set #'font-style = #'large
739 \property Voice.TextScript \set #'font-style = #'large
741 \notes\relative c'' {
743 \property Voice.textScriptPadding = #-4
745 \property Voice.textScriptPadding = #0
747 \context Lyrics \lyrics { Mixolydian }
752 \property Score.barNonAuto = ##t
753 \property Lyrics.LyricText \set #'font-style = #'large
754 \property Voice.TextScript \set #'font-style = #'large
756 \notes\relative c'' {
758 \property Voice.textScriptPadding = #-4
760 \property Voice.textScriptPadding = #0
762 \context Lyrics \lyrics { Aeolian }
765 From the beginning of the 17th century the scales used in European
766 compositional music are primarily the major and the minor scales. In the
767 harmonic minor scale type an augmented second (A) occurs between the 6th and
772 \property Score.barNonAuto = ##t
773 \property Lyrics.LyricText \set #'font-style = #'large
774 \property Voice.TextScript \set #'font-style = #'large
778 \property Voice.textScriptPadding = #-10
780 \property Voice.textScriptPadding = #-4
782 \context Lyrics \lyrics { Major }
787 \property Score.barNonAuto = ##t
788 \property Lyrics.LyricText \set #'font-style = #'large
789 \property Voice.TextScript \set #'font-style = #'large
791 \notes\relative c'' {
793 \property Voice.textScriptPadding = #-4
795 \property Voice.textScriptPadding = #0
797 \context Lyrics \lyrics { "ancient minor" }
802 \property Score.barNonAuto = ##t
803 \property Lyrics.LyricText \set #'font-style = #'large
804 \property Voice.TextScript \set #'font-style = #'large
806 \notes\relative c'' {
808 \property Voice.textScriptPadding = #-4
810 \property Voice.textScriptPadding = #0
812 \property Voice.textScriptPadding = #1
816 \context Lyrics \lyrics { "Harmonic minor" }
821 \property Score.barNonAuto = ##t
822 \property Lyrics.LyricText \set #'font-style = #'large
823 \property Voice.TextScript \set #'font-style = #'large
825 \notes\relative c'' {
827 \property Voice.textScriptPadding = #-4
829 \property Voice.textScriptPadding = #0
831 \property Voice.textScriptPadding = #-1
833 \property Voice.textScriptPadding = #-4
836 \context Lyrics \lyrics { "Melodic minor" }
839 @item diminished interval
840 I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
841 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
844 @w{@ar{}@strong{interval}}
847 I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
848 S:@w{ }diminuendo, N:@w{ }diminuendo.
850 @w{@ar{}@strong{decrescendo}}
852 @item disjunct movement
853 I: moto disgiunto, F: mouvement disjoint, D:
854 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
857 Melody moving in steps greater than those of the
858 scale. Opposite of @ar{}@strong{conjunct movement}.
866 \partial 8; e8 | a4. gis8 b a e cis |
867 fis2 d4. \bar "||"; }
870 @item dissonant interval; dissonance
871 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
872 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
875 @w{@ar{}@strong{harmony}}
877 @item dominant ninth chord
878 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
879 Dominantnoneakkord, NL: dominant noon akkoord, DK:
880 dominantnoneakkord, S: dominantnonackord, N: .
882 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
884 @item dominant seventh chord
885 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
886 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
887 dominantseptimackord, N:
889 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
892 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
895 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
898 I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
899 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
901 @w{@ar{}@strong{diatonic scale}}
903 @item dot (augmentation dot)
904 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
907 @w{@ar{}@strong{dotted note}}
910 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
911 DK: punkteret node, S: punkterad not, N:
913 @w{@ar{}@strong{note value}}
915 @item double appoggiatura
916 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
917 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
919 @w{@ar{}@strong{appoggiatura}}
921 @item double bar line
922 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
923 dobbeltstreg, S: dubbelstreck, N: .
925 Indicates the end of a section within a movement.
927 @item double dotted note
928 I: nota doppiamente puntata, F: note doublement point@'ee, D:
929 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
930 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
932 @w{@ar{}@strong{note value}}
936 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
937 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
939 @w{@ar{}@strong{accidental}}
942 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
943 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
945 @w{@ar{}@strong{accidental}}
948 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
949 dobbelttrille, S: dubbeldrill, N: .
951 A simultaneous trill on two notes, usually in the distance of a third.
954 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
955 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
957 @w{@ar{}@strong{meter}}
960 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
962 @w{@ar{}@strong{note value}}
965 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
968 @w{@ar{}@strong{note value}}
971 @w{@ar{}@strong{syntonic comma}}
974 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
977 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
978 ottendedelsnode, S: @aa{}ttondelsnot, N: .
980 @w{@ar{}@strong{note value}}
983 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
984 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
986 @w{@ar{}@strong{note value}}
989 I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
992 Engraving means incising or etching a metal plate for
993 printing. Photoengraving means drawing music with ink in a manner
994 similar to drafting or engineering drawing, using similar tools.
996 The traditional process of music printing is done through cutting in a
997 plate of metal. Now also the term for the art of music typesetting.
1000 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
1001 enharmonisk, S: enharmonisk, N: .
1003 Two notes, intervals, or scales are enharmonic if they have different names
1008 \property Score.barNonAuto = ##t
1009 \property Voice.TextScript \set #'font-style = #'large
1010 \notes\relative c'' {
1011 gis1_"g sharp" s as1_"a flat" s s
1012 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1016 @item equal temperament
1017 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1018 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1019 temperatur, S: liksv@"avande temperatur, N: .
1021 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1022 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1024 @item expression mark
1025 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1026 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1027 f@"oredragsbeteckning, N: .
1029 Performance indications concerning 1. volume, dynamics (for example
1030 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1031 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1034 I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1037 I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1038 F-n@o{}gle, S: f-klav, N: .
1040 The position between the dots of the key symbol is the line of the F below
1041 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1042 clef symbol indicates that the notes must be played an octave higher (for
1043 example bass recorder) while 8 below the clef symbol indicates playing an
1044 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1048 \property Score.barNonAuto = ##t
1049 \property Staff.clefStyle = #"fullSizeChanges"
1050 \property Lyrics.LyricText \set #'font-style = #'large
1067 \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.
1084 \notes\relative c'' {
1085 a4 b c2^\fermata \bar "|."; }
1089 I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
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}}.
1112 \property Score.barNonAuto = ##t
1114 \property Voice.TextScript \set #'font-style = #'large
1115 \notes\relative c'' {
1123 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1125 @w{@ar{}@strong{accidental}}
1127 @item forefall; backfall
1128 @w{@ar{}@strong{appoggiatura}}
1131 I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1133 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1134 @emph{mezzoforte} (@b{mf}) medium loud.
1137 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1139 @w{@ar{}@strong{interval}}
1142 I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1144 @w{@ar{}@strong{counterpoint}}
1146 @item functional harmony
1147 I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1148 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1150 A system of harmonic analysis. It is based on the idea that, in a given key,
1151 there are only three functionally different chords: tonic (T, the chord on the
1152 first note of the scale), subdominant (S, the chord on the fourth note) and
1153 dominant (D, the chord on the fifth note). Other are considered to be variants
1160 \property Score.barNonAuto = ##t
1161 \property Lyrics.LyricText \set #'font-style = #'large
1162 \property Voice.TextScript \set #'font-style = #'large
1164 \notes\relative c'' {
1165 < g1 e c > < a f d > < b g e >
1166 < c a f > < d b g > < e c a > < f d b > }
1167 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1171 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1174 I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1175 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1177 A clef symbol indicating the G above central C. Used on the first and second
1178 note lines. A digit 8 above the clef symbol indicates that the notes must be
1179 played an octave higher while 8 below the clef symbol indicates playing or
1180 singing an octave lower (most tenor parts in choral scores are notated like
1186 \property Score.barNonAuto = ##t
1187 \property Staff.clefStyle = #"fullSizeChanges"
1188 \property Lyrics.LyricText \set #'font-style = #'large
1190 \notes\relative c'' {
1200 \context Lyrics \lyrics {
1201 "french violin clef"
1209 I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1210 glissando, N: glissando.
1212 Letting the pitch slide fluently from one note to the other
1215 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1216 NL: versieringen, DK: forsiringer, S: ornament, N: .
1218 Notes printed in small types to indicate that their time values are not
1219 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1222 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1223 S: ackolad, b@"ojd klammer, N: .
1225 @w{@ar{}@strong{brace}}
1227 A combination of two staffs with a brace. Usually used for piano music.
1230 I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1236 I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1237 halvnode, S: halvnot, N: .
1239 @w{@ar{}@strong{note value}}
1242 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1243 rust, DK: halvnodespause, S: halvpaus, N: .
1245 @w{@ar{}@strong{note value}}
1247 @item harmonic cadence
1248 I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1249 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1251 Sequence of chords that terminate a musical phrase or
1252 section. @ar{}@w{}@strong{functional harmony}
1257 \context GrandStaff <
1258 \notes\relative c'' {
1261 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1262 \property Lyrics.LyricText \set #'font-style = #'large
1266 \partial 4; c4 | f, g c2
1268 \context Lyrics \lyrics { T S D T } >
1272 I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1273 samklang, S: samklang, N:
1275 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1276 @emph{consonances} and @emph{dissonances}.
1283 \property Score.barNonAuto = ##t
1284 \property Voice.TextScript \set #'font-style = #'large
1285 \notes\relative c'' {
1292 <g1_"decime" b'> s s
1301 \property Score.barNonAuto = ##t
1302 \property Voice.TextScript \set #'font-style = #'large
1303 \notes\relative c'' {
1310 Three note harmony @w{@ar{}@strong{chord}}
1313 I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1316 Music in which one voice leads melodically followed by the other voices more
1317 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1320 I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1323 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1324 diminished or augmented. The augmented fourth and the diminished fifth are
1325 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1326 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1332 \property Score.barNonAuto = ##t
1333 \property Lyrics.LyricText \set #'font-style = #'large
1334 \property Voice.TextScript \set #'font-style = #'large
1336 \notes\relative c'' {
1341 < gis^"dimin" bes > s
1342 < g!^"minor" bes > s
1346 \context Lyrics \lyrics {
1347 unisone second second second third third third third }
1353 \property Score.barNonAuto = ##t
1354 \property Lyrics.LyricText \set #'font-style = #'large
1355 \property Voice.TextScript \set #'font-style = #'large
1357 \notes\relative c'' {
1358 < g1^"perfect" c > s
1360 < g^"perfect" d' > s
1362 < gis^"dimin" es' > s
1363 < g!^"minor" es' > s
1367 \context Lyrics \lyrics {
1368 fourth fourth fifth fifth sixth sixth sixth sixth }
1374 \property Score.barNonAuto = ##t
1375 \property Lyrics.LyricText \set #'font-style = #'large
1376 \property Voice.TextScript \set #'font-style = #'large
1378 \notes\relative c'' {
1379 < gis1^"dimin" f'! > s
1380 < g!^"minor" f'! > s
1381 < g^"major" fis' > s
1385 < g^"minor" bes' > s
1388 \context Lyrics \lyrics {
1389 seventh seventh seventh octave none none decime decime }
1392 @item inverted interval
1393 I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1394 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1396 The difference between an interval and an octave.
1401 \property Score.barNonAuto = ##t
1402 \property Voice.TextScript \set #'font-style = #'large
1403 \notes\relative c'' {
1404 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1405 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1406 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1410 @item just intonation
1411 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1412 stemming, DK: ren stemning, S: ren st@"amning, N: .
1414 Tuning system in which the notes are obtained by adding and subtracting
1415 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1418 I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1421 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1422 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1425 I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1426 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1427 S: tonartssignatur, N: .
1429 The sharps or flats appearing at the beginning of each staff indicating the
1430 key of the music. @w{@ar{}@strong{accidental}}
1433 I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1436 Very slow in tempo, usually combined with great
1437 expressiveness. @emph{Larghetto} less slow than largo.
1440 I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1443 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1444 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1445 upwards) to the tonic scale degree.
1447 @item ledger line; leger line
1449 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1450 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1452 A ledger line is an extension of the staff.
1457 \property Score.barNonAuto = ##t
1458 \notes\relative c'' { a,1 s c'' }
1462 I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1465 To be performed without any perceptible interruption between the notes (a)
1466 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1467 @w{@ar{}@strong{staccato}} (d)
1472 \property Score.barNonAuto = ##t
1474 \property Lyrics.LyricText \set #'font-style = #'large
1476 \notes\relative c'' {
1478 c4-- d-- e-- \bar "||";
1479 c4-.( d-. )e-. \bar "||";
1480 c4-. d-. e-. \bar "||";
1482 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1486 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1489 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1490 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1492 A pond with lilies floating in it, also the name of a music typesetter.
1495 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1498 @w{@ar{}@strong{staff}}
1500 @item long appoggiatura
1501 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1502 forslag, S: l@aa{}ngt f@"orslag, N: .
1504 @w{@ar{}@strong{appoggiatura}}
1507 I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1509 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1514 \property Score.barNonAuto = ##t
1515 \notes\relative c'' {
1516 \property Voice.noteHeadStyle = #'mensural
1521 @item major interval
1522 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1523 groot interval, DK: stort interval, S: stort intervall, N: .
1525 @w{@ar{}@strong{interval}}
1528 I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1530 @w{@ar{}@strong{diatonic scale}}
1532 @item meantone temperament
1533 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1534 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1536 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1537 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1538 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1539 tuning keyboard instruments for performance of pre-1650 music.
1542 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1544 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1545 bears an accent. Such groups in numbers of two or more recur consistently
1546 throughout the composition and are marked from each other by
1547 bar-lines. @w{@ar{}@strong{meter}}
1550 I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1553 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1554 a third from that of another chord. For example the tonic chord may be
1555 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1556 harmony}} @w{@ar{}@strong{relative key}}.
1558 @item melodic cadence
1560 @w{@ar{}@strong{cadenza}}
1563 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1566 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1567 which remains unaltered throughout a composition or a section of it. For
1568 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1569 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1570 those. According to whether there are two, three or four units to the measure,
1571 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1572 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1577 \notes\relative c'' {
1580 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1584 \notes\relative c' {
1587 f8 f f f a16 g a f |
1588 c'8 c c c e16 d e c \bar "||";}
1592 \notes\relative c'' {
1595 d4 b8 g b d d c a4 |
1596 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1600 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1601 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1603 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1606 @item metronomic indication
1607 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1608 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1610 Exact tempo indication (in beats per minute). Also denoted by
1611 M.M. (M@"alzel's Metronom)
1614 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1615 mezzosopran, S: mezzosopran, N: mezzosopran.
1617 The female voice between @w{@ar{}@strong{soprano}} and
1618 @w{@ar{}@strong{contralto}}.
1621 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1622 enstreget c, S: ettstruket c, N:
1624 First C below the 440 Hz A.
1629 \property Score.barNonAuto = ##t
1630 \property Staff.clefStyle = #"fullSizeChanges"
1631 \notes\relative c' {
1638 @item minor interval
1639 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1640 interval, DK: lille interval, S: litet intervall, N: .
1642 @w{@ar{}@strong{interval}}
1645 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1647 @w{@ar{}@strong{diatonic scale}}
1650 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1652 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1655 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1658 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1659 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1660 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1664 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1667 @w{@ar{}@strong{ornament}}
1670 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1672 The briefest intelligible and self-contained fragment of a musical theme or
1678 \property Score.TimeSignature \override #'style = #'C2/2
1680 \property Voice.TextScript \set #'font-style = #'large
1681 \notes\relative c'' {
1684 \partial 8; g16_"------" fis |
1685 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1686 g8 g,16 a b8 cis d16 s
1691 I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1693 Greater musical works like @w{@ar{}@strong{symphony}} and
1694 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1695 independant pieces called movements.
1698 I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1699 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1704 \notes\relative c'' {
1706 \property Score.skipBars=##t R1*3
1710 @item mixolydian mode
1711 @w{@ar{}@strong{diatonic scale}}
1714 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1715 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1717 @w{@ar{}@strong{accidental}}
1719 @item neighbour tones
1720 @w{@ar{}@strong{appoggiatura}}
1723 I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1725 @w{@ar{}@strong{interval}}
1728 @w{@ar{}@strong{legato}}
1731 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1733 Notes are signs by means of which music is fixed in writing. The term is also
1734 used for the sound indicated by a note, and even for the key of the piano
1735 which produces the sound. However, a clear distinction between the terms tone
1736 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1740 I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1741 nootballetje, DK: nodehovede, S: nothuvud, N: .
1743 A head like sign which indicates pitch by its position on a
1744 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1745 by a variety of shapes such as hollow or black heads with or without
1746 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1747 instruments (often having no defined pitch) the note head may indicate the
1751 I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1752 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1754 Note values (durations) are measured as fractions, normally 1/2, of the next
1755 higher note value. The longest duration normally used is called @emph{brevis},
1756 but sometimes (mostly in pre baroque music) the double length note value
1757 @emph{longa} is used.
1762 \property Voice.TextScript \set #'font-style = #'large
1763 \property Score.barNonAuto = ##t
1764 \notes\relative c'' {
1765 \property Voice.noteHeadStyle = #'mensural
1766 g\longa_"longa" g\breve_"breve"
1767 \property Voice.noteHeadStyle = ##f
1768 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1769 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1773 \property Voice.TextScript \set #'font-style = #'large
1774 \property Score.barNonAuto = ##t
1775 \notes\relative c'' {
1776 r\longa_"longa" r\breve_"breve"
1777 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1778 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1781 An augmentation dot after a note multiplies the duration by one and a
1782 half. Another dot adds yet a fourth of the duration.
1788 \property Voice.TextScript \set #'font-style = #'large
1789 \notes\relative c'' {
1791 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1792 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1795 Alternatively note values may be subdivided by other ratios. Most common is
1796 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1797 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1803 \property Voice.TextScript \set #'font-style = #'large
1805 \notes\relative c'' {
1807 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1808 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1810 \times 3/2 {g4_"duplets" g} |
1812 \times 6/4 {g8_"quadruplets" g g g} |
1813 g8 g g g g4 \bar "||";}
1820 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1823 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1825 @w{@ar{}@strong{interval}}
1827 @item ornament; embellishment; accessory
1828 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1829 NL: versiering, DK: forsiring, S: ornament, N: .
1831 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1832 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1833 middle of the 19th century and onwards the trill is performed with the main
1834 note first while in the music from the preceding baroque and classic periods
1835 the upper note is played first.
1839 \context Staff = sa {
1841 \property Voice.TextScript \set #'font-style = #'large
1842 \notes\relative c'' {
1843 c2._"pre-1850" b4\trill | c1 \bar "||";
1844 c2._"post-1850" b4\trill | c1 \bar "||";
1847 \notes\relative c'' {
1848 c2. c32 b c b c b c b | c1
1849 c2. b32 c b c \times 4/5 { b c b c b } | c1
1854 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1855 @emph{prall} (inverted mordent).
1861 \context Staff = sa {
1863 \property Voice.TextScript \set #'font-style = #'large
1864 \notes\relative c'' {
1865 a4_"turn" b\turn c2 \bar "||";
1866 g4_"mordent" a b\mordent a \bar "||";
1867 e'4_"prall" d\prall c2 \bar "||";
1870 \notes\relative c'' {
1873 e'4 [e8 ~ e32 d e d] c2
1878 @w{@ar{}@strong{appoggiatura}}
1881 I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1883 Ossia (otherwise) marks an alternative. It is an added staff or piano
1884 score, usually only a few measures long, which presents another version
1885 of the music, for example for small hands.
1888 I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1890 1. In instrumental or choral music the music for the single instrument
1891 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1892 melodic line of the contrapuntal web.
1895 I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1898 A family of musical instruments which are played on by striking or
1899 shaking. Percussion instruments commonly used in a symphony orchestra are
1900 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1901 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1904 @item perfect interval
1906 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1907 interval, DK: rent interval, S: rent intervall, N: .
1909 @w{@ar{}@strong{interval}}
1912 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1914 A natural division of the melodic line, comparable to a sentence of speech.
1917 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1920 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1921 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1924 I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1926 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1927 @emph{mezzopiano} (@b{mp}) medium soft.
1930 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1934 I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1935 pizzicato, S: pizzicato.
1937 Play by plucking the strings.
1940 I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1943 Music written in a combination of several simultaneous voices (parts) of a
1944 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1947 @w{@ar{}@strong{legato}}
1950 I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1951 presto, S: presto, N: .
1953 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1954 denotes the highest possible degree of speed.
1956 @item Pythagorean comma
1957 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1958 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1960 A sequence of fifths starting on C eventually circles back to C, but this C,
1961 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1962 obtained by adding 7 octaves. The difference between those two pitches is
1963 called the Pythagorean comma.
1966 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1969 @w{@ar{}@strong{note value}}
1972 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1973 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1975 @w{@ar{}@strong{note value}}
1978 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1979 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1981 @w{@ar{}@strong{note value}}
1984 I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1987 @w{@ar{}@strong{note value}}
1990 I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1991 rallentando, S: rallentando, N: rallentando.
1993 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1996 I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1997 paralleltoneart, S: parallelltonart, N: .
1999 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
2000 the same @w{@ar{}@strong{signature}}.
2006 \property Score.barNonAuto = ##t
2007 \property Voice.TextScript \set #'font-style = #'large
2008 \notes\relative c' {
2010 es1_"e flat major" f g as bes c d es
2013 c,1_"c minor" d es f g a! b! c \bar "||";
2018 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2019 gen@-ta@-gel@-se, S: repris, N: .
2026 \notes\relative c'' {
2027 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2032 I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2034 @w{@ar{}@strong{note value}}
2037 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2039 (a) metrical rhythm in which every time value is a multiple or fraction of a
2040 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2041 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2042 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2043 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2044 accent. In modern notation such music appears as a free alternation of
2045 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2046 common metrical unit (beat).
2049 I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2050 ritardando, S: ritardando, N: .
2052 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2055 I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2058 Immediate reduction of speed.
2061 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2063 @w{@ar{}@strong{diatonic scale}}
2066 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2067 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2069 Names and symbols used in harmonic analysis to denote tones of the scale as
2070 roots of chords. The most important are degrees I = tonic (T), IV =
2071 sub@-do@-mi@-nant (S) and V = dominant (D).
2077 \property Score.barNonAuto = ##t
2078 \property Lyrics.LyricText \set #'font-style = #'large
2079 \property Lyrics.minVerticalAlign = 8
2081 \notes\relative c' {
2083 \context Lyrics \lyrics {
2084 < { I II III IV V VI VII I }
2089 @w{@ar{}@strong{functional harmony}}
2092 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2095 A copy of orchestral, choral or chamber music showing what each instrument is
2096 to play, each voice to sing, having each part arranged one underneath the
2097 other on different @w{@ar{}@strong{stave}}s.
2100 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2102 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2103 @w{@ar{}@strong{diatonic scale}} consists of alternating
2104 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2105 of a se@-cond depends on the scale degrees in question.
2108 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2111 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2112 interval in European composed music. The interval between two neighbouring
2113 tones on the piano keyboard - including black and white keys - is a
2114 semitone. An octave may be divided into 12
2115 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2120 \property Score.barNonAuto = ##t
2121 \notes\relative c'' { g1 gis s a bes s b c }
2125 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2127 @w{@ar{}@strong{interval}}
2129 @item sextuplet, sextolet
2130 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2133 @w{@ar{}@strong{note value}}
2136 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2138 @w{@ar{}@strong{accidental}}
2140 @item short appoggiatura
2141 @w{@ar{}@strong{appoggiatura}}
2143 @item sixteenth note
2144 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2145 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2148 @w{@ar{}@strong{note value}}
2150 @item sixteenth rest
2151 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2152 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2153 sextondelspaus, N: .
2155 @w{@ar{}@strong{note value}}
2158 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2160 @w{@ar{}@strong{interval}}
2162 @item sixty-fourth note
2163 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2164 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2165 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2166 sextiofj@"ardedelsnot, N: .
2168 @w{@ar{}@strong{note value}}
2170 @item sixty-fourth rest
2171 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2172 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2173 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2174 sextiofj@"ardedelspaus, N: .
2176 @w{@ar{}@strong{note value}}
2179 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2180 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2181 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2183 A slur above or below a group of notes indicates that they are to be played
2184 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2188 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2189 solmisation, S: solmisation, N: .
2191 General term for systems of designating the degrees of the
2192 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2193 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2194 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2197 I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2199 In its present-day meaning a sonata denotes an instrumental composition for
2200 piano or for some other instrument with piano accompaniment, which consists of
2201 three or four independant pieces, called movements.
2204 I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2205 sonatevorm, DK: sonateform, S: sonatform, N: .
2207 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2208 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2209 falls in three sections called @emph{exposition}, @emph{development} and
2210 @emph{recapitulation}. In the exposition the composer introduces his musical
2211 ideas, consisting of a number of themes; in the development section he
2212 "develops" this material, and in the recapitulation he repeats the exposition,
2213 with certain modifications however. The exposition contains a number of themes
2214 which fall into two groups, often called first and second subject. Other
2215 melodies occurring in each group are considered as continuations of these
2216 two. The second theme is in another key, normally in the key of the
2217 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2218 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2219 tonic is @w{@ar{}@strong{minor}}.
2222 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2224 The highest female voice.
2227 I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2228 staccato, S: staccato, N:
2230 Playing the note(s) short. Staccato is indicated by a dot above or below the
2238 \notes\relative c'' {
2240 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2245 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2246 partij, DK: nodesystem, S: notsystem, N: .
2248 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2249 between which the musical notes are written, thus indicating (in connection
2250 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2251 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2254 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2257 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2258 note. @w{@ar{}@strong{beam}}
2263 \property Score.noAutoBeaming = ##t
2264 \property Score.barNonAuto = ##t
2266 \property Voice.TextScript \set #'font-style = #'large
2267 \notes\relative c'' {
2276 I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2279 A family of stringed musical instruments played with a bow. Strings commonly
2280 used in a symphony orchestra are violin, viola, violoncello and double bass.
2283 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2284 D: betonet taktslag, S: betonat taktslag, N: .
2286 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2287 @w{@ar{}@strong{rhythm}}
2290 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2291 subdominant, S: subdominant, N: .
2293 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2297 I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2298 Submediant, S: submediant, N: .
2300 The sixth @w{@ar{}@strong{scale degree}}.
2303 I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2306 The seventh @w{@ar{}@strong{scale degree}}
2309 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2310 superdominant, S: superdominant, N: .
2312 The sixth @w{@ar{}@strong{scale degree}}
2315 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2316 supertonika, S: supertonika, N: .
2318 The second @w{@ar{}@strong{scale degree}}.
2321 I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2324 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2327 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2329 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2330 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2331 rhythm rests upon the grouping of equal beats into groups of two or three,
2332 with a regularly recurrent accent on the first beat of each group. Any
2333 deviation from this scheme is felt as a disturbance or contradiction between
2334 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2340 \property Voice.TextScript \set #'font-style = #'large
2342 \notes\relative c' {
2345 e c'4 e,8 c'4 e,8 c' ( | ) c2
2349 @item syntonic comma; dydimic comma
2351 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2352 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2354 Difference between the natural third and the third obtained by Pythagorean
2355 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2358 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2361 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2362 writing down of keyboard, chamber, choral or orchestral music.
2365 I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2366 DK: temperatur, S: temperatur, N: .
2368 Systems of tuning in which the intervals deviate from the accoustically pure
2369 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2372 @item tempo indication
2373 I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2374 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2375 tempobeteckning, N: .
2377 The rate of speed of a composition or a section thereof, ranging from the
2378 slowest to the quickest, as is indicated by tempo marks as
2379 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2380 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2383 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2385 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2388 I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2390 @w{@ar{}@strong{note value}}
2393 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2395 @w{@ar{}@strong{interval}}
2397 @item thirty-second note
2399 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2400 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2401 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2403 @w{@ar{}@strong{note value}}
2405 @item thirty-second rest
2407 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2408 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2409 trettiotv@aa{}ondelspaus, N: .
2411 @w{@ar{}@strong{note value}}
2413 @item thorough bass; figured bass
2414 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2415 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2417 A method of indicating an accompaniment part by the bass notes only, together
2418 with figures designating the chief @w{@ar{}@strong{interval}}s and
2419 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2424 \context GrandStaff <
2425 \notes\relative c'' {
2429 < \context Voice = rha {
2432 \context Voice = rhb {
2434 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2437 \property Voice.TextScript \set #'font-style = #'large
2438 \property Lyrics.LyricText \set #'font-style = #'Large
2439 \property Lyrics.minVerticalAlign = 6
2441 \notes\relative c' {
2444 es8 c () c bes () bes as () as g16 f | es4
2446 \context Lyrics \lyrics {
2447 < { "" "6" "4" "6" "4" "6" "4" "6" }
2448 { "" "" "2" "" "2" "" "2" "" } >
2454 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2455 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2457 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2458 connects two succesive notes of the same pitch, and which has the function of
2459 uniting them into a single sound equal to the combined durations.
2464 \property Score.barNonAuto = ##t
2465 \notes\relative c'' { g2 ~ g4. }
2468 @item time signature
2470 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2471 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2472 taktartssignatur, N: .
2474 @w{@ar{}@strong{meter}}
2477 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2479 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2480 a primary building material of music. Music from the 20th century may be based
2481 on non tone related sounds.
2484 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2486 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2489 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2490 transposition, S: transponering, N: .
2492 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2499 \notes\relative c'' {
2501 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2502 \transpose bes\relative c'' {
2504 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2509 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2510 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2513 @w{@ar{}@strong{G clef}}
2516 I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2519 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2520 the same tone, produced by a rapid up-and-down movement movement of the bow
2521 (a). The term is also used for the rapid alternation (b) between two notes of
2522 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2523 (@w{@ar{}@strong{interval}}).
2529 \property Score.barNonAuto = ##t
2530 \property Voice.TextScript \set #'font-style = #'large
2531 \notes\relative c' {
2532 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2533 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2534 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2539 I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2540 drieklank, DK: treklang, S: treklang, N:
2542 @w{@ar{}@strong{chord}}
2545 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2546 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2548 @w{@ar{}@strong{ornament}}
2551 I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2552 maatsoort, DK: tredelt takt, S: tretakt, N: .
2554 @w{@ar{}@strong{meter}}
2557 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2559 @w{@ar{}@strong{note value}}
2562 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2565 @w{@ar{}@strong{interval}}
2568 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2569 stemmegaffel, S: st@"amgaffel, N: .
2571 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2572 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2574 @item turn; gruppetto
2575 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2579 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2582 Playing of the same notes or the same melody by various instruments (voices)
2583 or by the whole orchestra (choir), either at exactly the same pitch or in a
2587 I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
2590 Initial note(s) of a melody occurring before the first bar
2591 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2598 \notes\relative c' {
2599 \partial 4; f4 | bes4. a8 bes4 c |
2600 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2604 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2606 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2607 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2608 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2609 of a polyphonic composition.
2612 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2613 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2615 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2618 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2619 DK: helnode, S: helnot, N: .
2621 @w{@ar{}@strong{note value}}
2624 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2625 rust, DK: helnodespause, S: helpaus, N: .
2627 @w{@ar{}@strong{note value}}
2630 I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2633 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2634 tones on the piano keyboard with exactly one key between them - including
2635 black and white keys - is a whole tone.
2638 I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2639 S: tr@"abl@aa{}sare, N: .
2641 A family of blown wooden musical instruments. Today some of these instruments
2642 are actually made from metal. The woodwind instruments commonly used in a
2643 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2650 @item DURATION NAMES, NOTES AND RESTS
2653 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2655 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2656 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2660 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2661 @tab longa @tab longa @tab longa
2665 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2666 brevis @tab brevis @tab brevis @tab brevis
2670 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2671 Ganze @tab hele @tab hel @tab hel @tab
2675 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2676 halve @tab halv @tab halv @tab
2680 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2681 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2685 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2686 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2690 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2691 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2696 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2697 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2698 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2702 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2703 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2704 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2705 sextio@-fj@"arde@-del @tab
2708 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2716 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2718 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2719 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2723 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2727 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2728 cis @tab cis @tab cis
2732 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2733 des @tab des @tab des
2737 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2741 @item @strong{e-flat} [todo]
2745 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2749 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2753 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2757 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2762 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2766 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2767 ais @tab ais @tab ais
2771 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2776 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2783 @item ---------------------
2787 @item Literature used
2788 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2789 quotes from its articles have been included into the item explanation texts.
2791 Hugo Riemans Musiklexicon, Berlin 1929
2794 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2795 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.