1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2006 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2006 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@arrow{}@strong{\word\}}@c
114 @arrow{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
154 * ancient minor scale::
159 * ascending interval::
160 * augmented interval::
192 * compound interval::
194 * conjunct movement::
207 * descending interval::
209 * diminished interval::
211 * disjunct movement::
213 * dissonant interval::
214 * dominant ninth chord::
215 * dominant seventh chord::
218 * dot (augmentation dot)::
220 * double appoggiatura::
222 * double dotted note::
231 * ecclesiastical mode::
237 * equal temperament::
251 * functional harmony::
265 * inverted interval::
278 * long appoggiatura::
283 * meantone temperament::
290 * metronomic indication::
327 * Pythagorean comma::
349 * short appoggiatura::
353 * sixty-fourth note::
354 * sixty-fourth rest::
382 * thirty-second note::
383 * thirty-second rest::
432 FI: aksentti, korostus.
434 The stress of one tone over others.
444 ES: alteración accidental,
446 F: altération accidentelle,
447 D: Vorzeichen, Versetzungszeichen, Akzidenz,
448 NL: toevallig (verplaatsings)teken,
450 S: tillfälligt förtecken,
451 FI: tilapäinen etumerkki.
453 An accidental has the effect of an @aref{alteration} of a note. A
454 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
455 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
456 lowers it by a whole tone. A natural cancels the effect of a previous
459 @lilypond[fragment,notime,line-width=13.0\cm]
460 \set Score.automaticBars = ##f
462 \context Staff \relative c'' {
463 \set Staff.extraNatural = ##f
464 gis1 gisis ges geses g!
467 \override Lyrics .LyricText #'self-alignment-X = #-1
468 sharp "db. sharp" flat "db. flat" natural
478 F: accelerando, en accélérant,
479 D: accelerando, schneller werden,
483 FI: accelerando, kiihdyttäen.
497 FI: adagio, hitaasti.
499 It.@: comfortable, easy.
500 1.@tie{}Slow tempo, slower -- especially in even meter -- than
501 @aref{andante} and faster than @aref{largo}.
502 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
503 @aref{sonata}s, symphonies, etc.
511 D: Allegro, Schnell, Fröhlich, Lustig,
515 FI: allegro, nopeasti.
517 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
518 tempo, especially the first and last movements of a @aref{sonata}.
527 NL: verhoging of verlaging,
532 An alteration is the modification, raising or lowering, of a note's
533 pitch. It is established by an @aref{accidental}.
545 FI: altto, matala naisääni.
547 A female voice of low range (@emph{contralto}). Originally the alto was a
548 high male voice (hence the name), which by the use of falsetto reached the
549 height of the female voice. This type of voice is also known as
550 @aref{counter tenor}.
555 ES: clave de do en tercera,
556 I: chiave di contralto,
557 F: clef d'ut troisième ligne,
558 D: Altschlüssel, Bratschenschlüssel,
564 C clef setting middle C on the middle line of the staff
577 FI: ambitus, ääniala, soitinala.
579 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
580 of pitches for a given voice in a part of music. It may also denote
581 the pitch range that a musical instrument is capable of playing.
586 @c TODO: add more languages for anacrusis
589 An anacrusis (also known as pickup or upbeat) is an incomplete measure
590 of music before a section of music.
592 @node ancient minor scale
593 @section ancient minor scale
595 ES: escala menor antigua,
596 I: scala minore naturale,
597 F: forme du mode mineur ancien, troisème mode, mode hellénique
599 NL: authentieke mineurtoonladder,
602 FI: luonnollinen molliasteikko.
604 @aref{diatonic scale}.
606 @lilypond[fragment,notime,line-width=13.0\cm]
607 \set Score.automaticBars = ##f
624 Walking tempo/character.
627 @section appoggiatura
631 F: appoggiature, (port de voix),
636 FI: appoggiatura, etuhele.
638 Ornamental note, usually a second, that is melodically connected with the
639 main note following it. In music before the 19th century a.@: were usually
640 performed on the beat, after that mostly before the beat. While the short
641 a.@: is performed as a short note regardless of the duration of the main note
642 the duration of the long a.@: is proportional to that of the main note.
644 @lilypond[line-width=13.0\cm]
645 \context Voice \relative c'' {
649 %\override Score.TextScript #'font-style = #'large
650 <d a fis>4_"notation" r
651 { \override Stem #'flag-style = #'()
653 \revert Stem #'flag-style
656 { \override Stem #'flag-style = #'()
658 \revert Stem #'flag-style
661 \cadenzaOn a4 \bar "||" \cadenzaOff
663 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
664 \cadenzaOn a4 \bar "||" \cadenzaOff
668 An appoggiatura may have more notes preceding the main note.
670 @lilypond[line-width=13.0\cm]
674 % \override Score.TextScript #'font-style = #'large
675 \grace { bes16 } as8_"notation" as16 bes as8 g |
676 \grace { as16[( bes] } < c as >4-)
677 \grace { as16[( bes] } < c as >4-) \bar "||"
678 \grace { bes16 } as8_"performance" as16 bes as8 g |
679 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
680 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
691 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
693 DK: arpeggio, akkordbrydning,
695 FI: arpeggio, murtosointu.
697 @lilypond[fragment,line-width=13.0\cm]
698 \context PianoStaff <<
699 \context Staff = SA \relative c'' {
702 r8 g16 c e g, c e r8 g,16 c e g, c e |
703 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
704 \context Staff = SB \relative c' {
706 << \context Voice = va {
708 r16 e8. ( e4) r16 e8. ( e4) |
709 r16 d8. ( d4) r16 d8. ( d4) }
710 \context Voice = vb {
718 @section articulation
720 @c TODO: add languages for articulation.
721 Articulation refers to notation which indicates how a note or notes should
722 be played. Slurs, accents, staccato, and legato are all examples of
726 @node ascending interval
727 @section ascending interval
729 ES: intervalo ascendente,
730 I: intervallo ascendente,
731 F: intervalle ascendant,
732 D: steigendes Intervall,
733 NL: stijgend interval,
734 DK:@w{ }stigende interval,
735 S: stigande intervall,
736 FI: nouseva intervalli.
738 A distance between a starting lower note and a higher ending note.
740 @node augmented interval
741 @section augmented interval
743 ES: intervalo aumentado,
744 I: intervallo aumentato,
745 F: intervalle augmenté,
746 D: übermäßiges Intervall,
747 NL: overmatig interval,
748 DK: forstørret interval,
749 S: överstigande intervall,
750 FI: ylinouseva intervalli.
759 F: manuscrit, autographe
760 D: Autograph, Handschrift,
762 DK: håndskrift, autograf,
764 FI: käsinkirjoitettu nuotti.
766 1.@tie{}A manuscript in the composer's own hand.
767 2.@tie{}Music prepared for photoreproduction by freehand drawing,
768 with the aid of a straightedge ruler and T-square only,
769 which attempts to emulate engraving.
770 This required more skill than did engraving.
797 ES: barra, línea divisoria,
798 I: stanghetta, barra (di divisione),
799 F: barre (de mesure),
816 FI: baritoni, keskikorkuinen miesääni.
818 The male voice intermediate between the @aref{bass} and the
821 @c F: clef de troisième ligne dropped
824 @section baritone clef
826 ES: clave de fa en tercera,
827 I: chiave di baritono,
828 F: clef d' Ut cinquième ligne, clef de Fa troisième,
835 C or F clef setting middle C on the upper staff line.
836 @aref{C clef}, @aref{F clef}.
841 ES: clave de fa en cuarta,
843 F: clé de fa quatrième ligne,
850 A clef setting with middle C on the first top ledger line.
863 FI: basso, matala miesääni.
865 1.@tie{}The lowest male voice.
866 2.@tie{}Sometimes, especially in jazz music, used as
867 an abbreviation for double bass.
882 Line connecting a series of notes (shorter than a quarter note).
883 The number of beams determines the note value of the connected notes.
885 @lilypond[fragment,notime,line-width=13.0\cm]
886 \set Score.automaticBars = ##f
887 %\override TextScript #'font-style = #'large
890 g16_"1/16"[ g g g] s16
891 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
892 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
898 ES: tiempo, parte (de compás)
901 D: Takt, Taktschlag, Zeit (im Takt),
907 Note value used for counting, most often half-, fourth-, and eighth notes.
908 The base counting value and the number of them per measure is indicated at
909 the start of the music.
911 @lilypond[fragment,line-width=13.0\cm]
914 \relative c'' { g4 c b a | g1 \bar "||"}
916 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
930 D: Klammer, Akkolade,
931 NL: accolade, teksthaak,
934 FI: yhdistävä sulkumerkki.
936 Symbol at the start of a system connecting staves. Curly braces are used
937 for connecting piano staves, angular brackets for connecting parts in an
938 orchestral or choral score.
940 @lilypond[fragment,ragged-right]
941 \context GrandStaff <<
942 \relative c''\context Staff = SA { \clef treble g4 e c2 }
943 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
946 @lilypond[fragment,ragged-right]
947 \context StaffGroup <<
948 % \set StaffGroup.minVerticalAlign = #12
949 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
950 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
962 S: brassinstrument, mässingsinstrument,
965 A family of blown musical instruments made of brass, all using a cup formed
966 mouth piece. The brass instruments commonly used in a symphony orchestra are
967 trumpet, trombone, french horn, and tube.
975 D: Atemzeichen, Trennungszeichen,
976 NL: repercussieteken,
977 DK: vejrtrækningstegn,
981 Indication of where to breathe in vocal and wind instrument parts.
994 @aref{note value}, twice as long as a whole note. Mainly used
997 @lilypond[fragment,notime,ragged-right]
998 \set Score.automaticBars = ##f
999 \relative c'' { g\breve }
1026 Clef symbol indicating the position of the middle C. Used on all note
1029 @lilypond[fragment,notime,line-width=13.0\cm]
1030 \set Score.automaticBars = ##f
1031 \override Score.Clef #'full-size-change = ##t
1033 \context Staff \relative c' {
1035 \clef mezzosoprano c
1040 \context Lyrics \lyrics {
1041 \override Lyrics .LyricText #'self-alignment-X = #-1
1042 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1057 FI: kadenssi, lopuke.
1059 @aref{harmonic cadence}, @aref{functional harmony}.
1071 FI: kadenssi, lopuke.
1073 An extended, improvisatory style section inserted near the end of
1074 movement. The purpose of a cadenza is to give singers or players a chance
1075 to exhibit their technical skill and -- not last -- their ability to
1076 improvise. Since the middle of the 19th century, however, most cadences have
1077 been written down by the composer.
1089 FI: kaanon, tarkka jäljittely.
1091 @aref{counterpoint}.
1103 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1104 viritysjärjestelmässä.
1106 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1107 of an equally tempered @aref{semitone}).
1108 @aref{equal temperament}.
1127 Three or more tones sounding simultaneously. In traditional European music
1129 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1131 minor @aref{third}) as well as @emph{minor} (minor + major third)
1132 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1133 and five-tone @emph{ninth} major chords are most often used as dominants
1134 (@aref{functional harmony}). A special case is chords having no
1135 third above the lower notes to define their quality as major or minor. Such
1136 chords are denoted open chords
1138 @lilypond[fragment,notime,line-width=13.0\cm]
1139 \set Score.automaticBars = ##f
1140 %\override TextScript #'font-style = #'large
1142 \context Staff \relative c'' {
1143 \set Staff.extraNatural = ##f
1162 @node chromatic scale
1163 @section chromatic scale
1165 ES: escala cromática,
1167 F: gamme chromatique,
1168 D: chro@-ma@-ti@-sche Tonleiter,
1169 NL: chromatische toonladder,
1170 DK: kromatisk skala,
1172 FI: kromaattinen asteikko.
1174 A scale consisting of all 12 @aref{semitone}s.
1176 @lilypond[fragment,notime,line-width=13.0\cm]
1177 \set Score.automaticBars = ##f
1178 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1182 @section chromaticism
1193 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1196 @section church mode
1198 ES: modo eclesiástico,
1199 I: modo ecclesiastico,
1200 F: mode ecclésiastique,
1205 FI: moodi, kirkkosävellaji.
1207 @aref{diatonic scale}.
1215 D: Schlüssel, Notenschlüssel,
1219 FI: avain, nuottiavain.
1221 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1228 A @emph{cluster} is a range of simultaneously sounding pitches that
1229 may change over time. The set of available pitches to apply usually
1230 depends on the acoustic source. Thus, in piano music, a cluster
1231 typically consists of a continuous range of the semitones as provided
1232 by the piano's fixed set of a chromatic scale. In choral music, each
1233 singer of the choir typically may sing an arbitrary pitch within the
1234 cluster's range that is not bound to any diatonic, chromatic or other
1235 scale. In electronic music, a cluster (theoretically) may even cover
1236 a continuous range of pitches, thus resulting in colored noise, such
1239 Clusters can be denoted in the context of ordinary staff notation by
1240 engraving simple geometrical shapes that replace ordinary notation of
1241 notes. Ordinary notes as musical events specify starting time and
1242 duration of pitches; however, the duration of a note is expressed by
1243 the shape of the note head rather than by the horizontal graphical
1244 extent of the note symbol. In contrast, the shape of a cluster
1245 geometrically describes the development of a range of pitches
1246 (vertical extent) over time (horizontal extent). Still, the
1247 geometrical shape of a cluster covers the area in which any single
1248 pitch contained in the cluster would be notated as an ordinary note.
1250 @lilypond[fragment,relative=2,verbatim,ragged-right]
1251 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1264 FI: komma, korvinkuultava ero äänenkorkeudessa.
1266 Difference in pitch between a note derived from pure tuning and the same note
1267 derived from some other tuning method. @aref{temperament}.
1270 @section common meter
1274 @node compound interval
1275 @section compound interval
1277 ES: intervalo compuesto,
1278 I: intervallo composto,
1279 F: intervalle composé,
1280 D: weites Intervall,
1281 NL: samengesteld interval,
1282 DK: sammensat interval,
1283 S: sammansatt intervall,
1284 FI: oktaavia laajempi intervalli.
1286 Intervals larger than an octave.
1293 ES: intervalo invertido,
1295 F: intervalle complémentaire,
1296 D: Komplementärintervall,
1297 NL: complementair interval,
1298 DK: komplementærinterval,
1299 S: komplementärintervall (?),
1300 FI: täydentävä intervalli.
1302 @aref{inverted interval}.
1304 @node conjunct movement
1305 @section conjunct movement
1307 ES: movimiento conjunto,
1309 F: mouvement conjoint,
1310 D: schritt@-weise, stufenweise Bewegung,
1311 NL: stapsgewijze, trapsgewijze beweging,
1312 DK: trinvis bevægelse,
1314 FI: asteittainen liike.
1316 Progressing melodically by intervals of a second. The opposite of a
1317 @aref{disjunct movement}.
1319 @lilypond[fragment,line-width=13.0\cm]
1320 \key g \major \time 4/4
1321 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1334 FI: konsonanssi, sopusointi.
1353 @section counterpoint
1362 FI: kontrapunkti, ääni ääntä vastaan.
1364 From latin @emph{punctus contra punctum}, note against note. The combination
1365 into a single musical fabric of lines or parts which have distinct melodic
1366 significance. A frequently used polyphonic technique is imitation, in its
1367 strictest form found in the canon needing only one part to be written down
1368 while the other parts are performed with a given displacement. Imitation is
1369 also the contrapunctal technique used in the @emph{fugue} which, since the
1370 music of the baroque era, has been one of the most popular polyphonic
1371 composition methods.
1373 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1374 \set Score.implicitTimeSignatureVisibility = #all-invisible
1375 \override Score.TimeSignature #'break-visibility = #all-invisible
1376 \context PianoStaff <<
1377 \context Staff = SA \relative c' {
1381 << \context Voice = rha {
1383 r1 | r2 r8 g'8 bes d, |
1384 cis4 d r8 e!16 f g8 f16 e |
1385 f8 g16 a bes8 a16 g a8
1387 \context Voice = rhb {
1393 \context Staff = SB \relative c' {
1396 << \context Voice = lha {
1398 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1399 r8 a16 g f8 g16 a bes8 g e! cis' |
1402 \context Voice = lhb {
1411 @section counter tenor
1416 D: Countertenor, Kontratenor,
1419 S: kontratenor, counter tenor,
1425 @section copying music
1427 A music copyist did fast freehand scores and parts on preprinted staff lines
1428 for performance. Some of their conventions (e.g., the placement of note heads
1429 on stems) varied slightly from those of engravers. Some of their working
1430 methods were superior and could well be adopted by music typesetters. This
1431 required more skill than engraving.
1439 D: Crescendo, lauter werden,
1443 FI: cresendo, voimistuen.
1445 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1446 abbreviation @q{cresc.}.
1448 @lilypond[fragment,ragged-right]
1449 \key g \major \time 4/4
1450 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1458 F: petites notes précédent l'entrée d'in instrument, réplique,
1465 In a separate part notes belonging to another part with the purpose of hinting
1466 when to start playing. Usually printed in a smaller type.
1474 A custos is a staff symbol that appears at the end of a staff line
1475 with monophonic musical contents (i.e., with a single voice). It
1476 anticipates the pitch of the first note of the following line and thus
1477 helps the player or singer to manage line breaks during performance,
1478 thus enhancing readability of a score.
1480 Custodes were frequently used in music notation until the 16th
1481 century. There were different appearences for different notation
1482 styles. Nowadays, they have survived only in special forms of musical
1483 notation such as via the editio vaticana dating back to the beginning
1489 % \override Staff.Custos #'neutral-position = #4
1490 \override Staff.Custos #'neutral-direction = #down
1491 \override Staff.Custos #'style = #'hufnagel
1499 \consists Custos_engraver
1523 F: da capo, depuis le commencement,
1524 D: da capo, von Anfang,
1528 FI: da capo, alusta.
1530 The term indicates repetition of the piece from the beginning to the end or
1531 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1538 F: dal segno, depuis le signe,
1539 D: dal segno, ab dem Zeichen,
1543 FI: dal segno, lähtien merkistä.
1545 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1546 another place frequently near the beginning marked by a sign:
1548 @lilypond[fragment,ragged-right]
1549 %\override TextScript #'font-style = #'large
1550 \override TextScript #'font-shape = #'italic
1551 \key g \major \time 4/4
1556 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1562 @section decrescendo
1566 D: Decrescendo, leiser werden,
1570 FI: decresendo, hiljentyen.
1572 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1573 or the abbreviation @q{decresc.}.
1575 @lilypond[fragment,ragged-right]
1577 \key g \major \time 4/4
1578 d4 \> c b a | g1 \! \bar "|."
1582 @node descending interval
1583 @section descending interval
1585 ES: intervalo descendente,
1586 I: intervallo discendente,
1587 F: intervalle descendant,
1588 D: fallendes Intervall, absteigendes Intervall,
1589 NL: dalend interval,
1590 DK: faldende interval,
1591 S: fallande intervall,
1592 FI: laskeva intervalli.
1594 A distance between a starting higher note and a lower ending note.
1596 @node diatonic scale
1597 @section diatonic scale
1599 ES: escala diatónica,
1601 F: gamme diatonique,
1602 D: diatonische Tonleiter,
1603 NL: diatonische toonladder,
1604 DK: diatonisk skala,
1606 FI: diatoninen asteikko.
1608 A scale consisting of 5@w{ }@aref{whole tone}s and
1609 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1610 of a piano keybord are diatonic.
1612 The church modes are used in gregorial chant and in pre-baroque early
1613 music but also to some extent in newer jazz music.
1615 @lilypond[fragment,notime,ragged-right]
1616 \set Score.automaticBars = ##f
1617 %\override Score.LyricText #'font-style = #'large
1618 %\override Score.TextScript #'font-style = #'large
1620 \context Staff \relative c' {
1622 \override TextScript #'padding = #-4
1623 e^"~~ S" f g a b^"~~ S" c
1625 \context Lyrics \lyrics {
1631 @lilypond[fragment,notime,ragged-right]
1632 \set Score.automaticBars = ##f
1634 \context Staff \relative c' {
1636 \override TextScript #'padding = #-4
1637 e^"~~ S" f g a b^"~~ S" c d
1645 @lilypond[fragment,notime,ragged-right]
1646 \set Score.automaticBars = ##f
1649 \override TextScript #'padding = #-4
1650 e1^"~~ S" f g a b^"~~ S" c d e
1658 @lilypond[fragment,notime,ragged-right]
1659 \set Score.automaticBars = ##f
1663 \override TextScript #'padding = #-4
1664 b^"~~ S" c d e^"~~ S" f
1672 @lilypond[fragment,notime,ragged-right]
1673 \set Score.automaticBars = ##f
1677 \override TextScript #'padding = #-4
1678 b^"~~ S" c d e^"~~ S" f g }
1685 @lilypond[fragment,notime,ragged-right]
1686 \set Score.automaticBars = ##f
1687 %\override Score.LyricText #'font-style = #'large
1688 %\override Score.TextScript #'font-style = #'large
1692 \override TextScript #'padding = #-4
1693 b^"~~ S" c d e^"~~ S" f g a
1701 From the beginning of the 17th century the scales used in European
1702 compositional music are primarily the major and the minor scales. In the
1703 harmonic minor scale type an augmented second (A) occurs between the 6th and
1706 @lilypond[fragment,notime,ragged-right]
1707 \set Score.automaticBars = ##f
1711 \override TextScript #'padding = #-4
1712 e^"~~ S" f g a b^"~~ S" c
1720 @lilypond[fragment,notime,ragged-right]
1721 \set Score.automaticBars = ##f
1725 \override TextScript #'padding = #-4
1726 b^"~~ S" c d e^"~~ S" f g a
1734 @lilypond[fragment,notime,ragged-right]
1735 \set Score.automaticBars = ##f
1739 \override TextScript #'padding = #-4
1740 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1742 \context Lyrics \lyrics {
1748 @lilypond[fragment,notime,line-width=13.0\cm]
1749 \set Score.automaticBars = ##f
1750 %\override Score.LyricText #'font-style = #'large
1751 %\override Score.TextScript #'font-style = #'large
1755 \override TextScript #'padding = #-4
1756 b^"~~ S" c d e fis gis^"~~ S"
1757 a g! f!^"~~ S" e d c^"~~ S" b a
1765 @node diminished interval
1766 @section diminished interval
1768 ES: intervalo disminuido,
1769 I: intervallo diminuito,
1770 F: intervalle diminué,
1771 D: vermindertes Intervall,
1772 NL: verminderd interval,
1773 DK: formindsket interval,
1774 S: förminskat intervall,
1775 FI: vähennetty intervalli.
1789 FI: diminuendo, hiljentyen.
1793 @node disjunct movement
1794 @section disjunct movement
1796 ES: movimiento disjunto,
1798 F: mouvement disjoint,
1799 D: sprunghafte Bewegung,
1800 NL: sprongsgewijze beweging,
1801 DK: springende bevægelse,
1802 S: hoppande rörelse,
1803 FI: melodian hyppivä liike.
1805 Progressing melodically by intervals larger than a major second.
1806 Opposite of @aref{conjunct movement}.
1808 @lilypond[fragment,ragged-right]
1813 a4. gis8 b a e cis |
1814 fis2 d4. \bar "||" }
1820 @ref{dissonant interval}.
1822 @node dissonant interval
1823 @section dissonant interval
1825 ES: intervalo disonante, disonancia,
1826 I: intervallo dissonante, dissonanza,
1829 NL: dissonant interval; dissonant,
1830 DK: dissonerende interval, dissonans,
1832 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1836 @node dominant ninth chord
1837 @section dominant ninth chord
1839 ES: acorde de novena de dominante,
1840 I: accordo di nona di dominante,
1841 F: accord de neuvième dominante,
1842 D: Domi@-nant@-nonen@-akkord,
1843 NL: dominant noon akkoord,
1844 DK: dominantnoneakkord,
1845 S: dominantnonackord,
1846 FI: dominanttinoonisointu.
1848 @aref{chord}, @aref{functional harmony}.
1850 @node dominant seventh chord
1851 @section dominant seventh chord
1853 ES: acorde de séptima de dominante,
1854 I: accordo di settima di dominante,
1855 F: accord de septième dominante,
1856 D: Dominantseptakkord,
1857 NL: dominant septiem akkoord,
1858 DK: dominantseptimakkord,
1859 S: dominantseptimackord,
1860 FI: dominanttiseptimisointu.
1862 @aref{chord}, @aref{functional harmony}.
1874 FI: dominantti, huippusointu.
1876 The fifth @aref{scale degree},
1877 @aref{functional harmony}.
1880 @section dorian mode
1885 D: dorisch, dorischer Kirchenton,
1886 NL: dorische toonladder,
1891 @aref{diatonic scale}.
1893 @node dot (augmentation dot)
1894 @section dot (augmentation dot)
1897 I: punto (di valore),
1899 D: Punkt (Verlängerungspunkt),
1908 @section dotted note
1910 ES: nota con puntillo,
1914 NL: gepuncteerde noot,
1917 FI: pisteellinen nuotti.
1921 @node double appoggiatura
1922 @section double appoggiatura
1924 ES: apoyatura doble,
1925 I: appoggiatura doppia,
1926 F: appoggiature double,
1927 D: doppelter Vorschlag,
1928 NL: dubbele voorslag,
1929 DK: dobbelt forslag,
1931 FI: kaksoisappogiatura, kaksoisetuhele.
1933 @aref{appoggiatura}.
1935 @node double bar line
1936 @section double bar line
1942 NL: dubbele maatstreep,
1945 FI: kaksoistahtiviiva.
1947 Indicates the end of a section within a movement.
1949 @node double dotted note
1950 @section double dotted note
1952 ES: nota con doble puntillo,
1953 I: nota doppiamente puntata,
1954 F: note doublement pointée,
1955 D: doppelt punktierte Note,
1956 NL: dubbelgepuncteerde noot,
1957 DK: dob@-belt@-punk@-te@-ret node,
1958 S: dub@-bel@-punk@-te@-rad not,
1959 FI: kaksoispisteellinen nuotti.
1964 @section double flat
1973 FI: kaksoisalennusmerkki.
1978 @section double sharp
1980 ES: doble sostenido,
1985 DK: dob@-belt@-kryds,
1987 FI: kaksoisylennysmerkki.
1992 @section double trill
1998 NL: dubbele triller,
2003 A simultaneous trill on two notes, usually in the distance of a third.
2006 @section duple meter
2012 NL: tweedelige maatsoort,
2043 FI: kesto, aika-arvo.
2048 @section dydimic comma
2050 @aref{syntonic comma}.
2064 @node ecclesiastical mode
2065 @section ecclesiastical mode
2070 @section eighth note
2076 D: Achtel, Achtelnote,
2078 DK: ottendedelsnode,
2080 FI: kahdeksasosanuotti.
2085 @section eighth rest
2087 ES: silencio de corchea,
2093 DK: ottendedelspause,
2095 FI: kahdeksasosatauko.
2100 @section embellishment
2111 D: Notenstechen, Notendruck
2117 Engraving means incising or etching a metal plate for
2118 printing. Photoengraving means drawing music with ink in a manner
2119 similar to drafting or engineering drawing, using similar tools.
2121 The traditional process of music printing is done through cutting in a
2122 plate of metal. Now also the term for the art of music typesetting.
2136 Two notes, intervals, or scales are enharmonic if they have different names
2139 @lilypond[fragment,notime,line-width=13.0\cm]
2140 \set Score.automaticBars = ##f
2142 \context Staff \relative c'' {
2143 gis1 as <des g,!> <cis g!>
2145 \context Lyrics \lyrics {
2146 \override Lyrics .LyricText #'self-alignment-X = #-1
2147 "g sharp " "a flat " "dim fifth " "augm fourth"
2152 @node equal temperament
2153 @section equal temperament
2155 ES: temperamento igual,
2156 I: temperamento equabile,
2157 F: tempérament égal,
2158 D: gleichschwebende Stimmung,
2159 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2160 DK: ligesvævende temperatur,
2161 S: liksvävande temperatur,
2164 Tuning system dividing the octave into 12 equal @aref{semitone}s
2165 (precisely 100 @aref{cent}s). @aref{temperament}.
2167 @node expression mark
2168 @section expression mark
2171 I: segno d'espressione,
2172 F: signe d'expression, indication de nuance,
2174 NL: voordrachtsteken,
2175 DK: foredragsbetegnelse,
2176 S: föredragsbeteckning,
2177 FI: nyanssiosoitus, esitysmerkki.
2179 Performance indications concerning 1. volume, dynamics (for example
2180 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2181 @aref{andante}, @aref{allegro}).
2207 The position between the dots of the key symbol is the line of the F below
2208 central@w{ }C. Used on the third, fourth and fifth note line. A
2209 digit@w{ }8 above the clef symbol indicates that the notes must be played
2210 an octave higher (for example bass recorder) while 8@w{ }below the clef
2211 symbol indicates playing an octave lower (for example on double bass
2214 @lilypond[fragment,notime,line-width=13.0\cm]
2215 \set Score.automaticBars = ##f
2216 \override Staff.Clef #'full-size-change = ##t
2240 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2247 F: point d'orgue, point d'arrêt,
2252 FI: fermaatti, pidäke.
2254 Prolonged note or rest of indefinite duration.
2256 @lilypond[fragment,ragged-right]
2259 a4 b c2^\fermata \bar "|."
2278 @section figured bass
2280 @aref{thorough bass}.
2294 The methodical use of fingers in the playing of instruments.
2300 I: coda (uncinata), bandiera,
2308 Ornament at the end of the stem of a note used for notes with values
2309 less than a quarter note. The number of flags determines the
2312 @lilypond[fragment,notime,ragged-right]
2313 \set Score.automaticBars = ##f
2314 %\override Score.TextScript #'font-style = #'large
2340 @aref{appoggiatura}.
2352 FI: forte, voimakkaasti.
2354 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2355 @emph{mezzoforte} (@b{mf}) medium loud.
2383 @aref{counterpoint}.
2385 @node functional harmony
2386 @section functional harmony
2388 ES: armonía funcional,
2389 I: armonia funzionale,
2390 F: étude des functions,
2392 NL: functionele harmonie,
2393 DK: funktionsanalyse, funktionsharmonik,
2395 FI: harmoniajärjestelmä.
2397 A system of harmonic analysis. It is based on the idea that, in a given key,
2398 there are only three functionally different chords: tonic (T, the chord on the
2399 first note of the scale), subdominant (S, the chord on the fourth note), and
2400 dominant (D, the chord on the fifth note). Others are considered to be
2401 variants of the base chords.
2403 @lilypond[fragment,notime,line-width=13.0\cm]
2404 \set Score.automaticBars = ##f
2406 \context Voice \relative c'' {
2407 <g e c >1 < a f d > < b g e >
2408 <c a f > < d b g > < e c a > < f d b > }
2409 \context Lyrics \lyrics {
2410 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2432 D: G-Schlüssel, Violinschlüssel,
2438 A clef symbol indicating the G above central@w{ }C. Used on the first
2439 and second note lines. A digit 8 above the clef symbol indicates that
2440 the notes must be played an octave higher while 8 below the clef symbol
2441 indicates playing or singing an octave lower (most tenor parts in choral
2442 scores are notated like that).
2444 @lilypond[fragment,notime,ragged-right]
2446 \set Score.automaticBars = ##f
2447 \override Staff.Clef #'full-size-change = ##t
2450 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2460 \context Lyrics \lyrics {
2461 \override Lyrics . LyricText #'X-offset = #-5
2462 "french violin clef"
2480 FI: glissando, liukuen.
2482 Letting the pitch slide fluently from one note to the other.
2485 @section grace notes
2487 ES: notas de adorno,
2490 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2496 Notes printed in small types to indicate that their time values are not
2497 counted in the rhythm of the bar. @aref{appoggiatura}.
2500 @section grand staff
2502 ES: sistema de piano,
2508 S: ackolad, böjd klammer,
2509 FI: kaksoisnuottiviivasto.
2513 A combination of two staves with a brace. Usually used for piano music.
2525 FI: grave, raskaasti.
2541 D: Halbe, halbe Note,
2552 ES: silencio de blanca,
2564 @node harmonic cadence
2565 @section harmonic cadence
2567 ES: cadencia (armónica),
2568 I: cadenza (armonica),
2569 F: cadence harmonique,
2571 NL: harmonische cadens,
2572 DK: harmonisk kadence,
2573 S: (harmonisk) kadens,
2574 FI: harmoninen kadenssi.
2576 A sequence of chords that terminates a musical phrase or
2577 section. @aref{functional harmony}.
2579 @lilypond[fragment,ragged-right]
2580 \context PianoStaff <<
2581 \context Staff = SA \relative c'' {
2585 \partial 4 < c g e >4 |
2586 < c a f > < b g d > < c g e >2
2589 \context Staff = SB \relative c {
2591 \partial 4 c4 | f, g c2
2608 D: Harmonie, Zusammenklang,
2612 FI: harmonia, yhteissointi.
2614 Tones sounding simultaneously. Two note harmonies fall into the categories
2615 @emph{consonances} and @emph{dissonances}.
2619 @lilypond[fragment,notime,line-width=13.0\cm]
2620 \set Score.automaticBars = ##f
2621 %\override Score.TextScript #'font-style = #'large
2622 \context Voice \relative c'' {
2635 @lilypond[fragment,notime,line-width=13.0\cm]
2636 \set Score.automaticBars = ##f
2637 %\override Score.TextScript #'font-style = #'large
2638 \context Voice \relative c'' {
2639 <g a>1_"second " s s
2640 <g f'>_"seventh " s s
2645 Three note harmony @aref{chord}.
2657 FI: homofonia, yksiäänisyys.
2659 Music in which one voice leads melodically followed by the other voices more
2660 or less in the same rhythm. In contrast to @aref{polyphony}.
2672 FI: intervalli, kahden sävelen korkeusero.
2674 Difference in pitch between two notes. Intervals may be perfect, minor,
2676 diminished, or augmented. The augmented fourth and the diminished fifth are
2677 identical (@aref{enharmonic}) and are called @emph{tritonus}
2678 because they consist of three @aref{whole tone}s. The addition
2679 of such two intervals forms an octave.
2681 @lilypond[fragment,notime,line-width=13.0\cm]
2682 \set Score.automaticBars = ##f
2684 \context Voice \relative c'' {
2694 \context Lyrics \lyrics {
2695 "unisone " "second " "second " "second "
2696 "third " "third " "third " "third"
2701 @lilypond[fragment,notime,line-width=13.0\cm]
2702 \set Score.automaticBars = ##f
2704 \context Staff \relative c'' {
2715 "fourth " "fourth " "fifth " "fifth "
2716 "sixth " "sixth " "sixth " "sixth"
2721 @lilypond[fragment,notime,line-width=13.0\cm]
2722 \set Score.automaticBars = ##f
2724 \context Staff \relative c'' {
2725 < gis f'! >1^"dimin"
2734 \context Lyrics \lyrics {
2735 "seventh " "seventh " "seventh " "octave "
2736 "ninth " "ninth " "tenth " "tenth"
2741 @node inverted interval
2742 @section inverted interval
2744 ES: intervalo invertido,
2745 I: intervallo rivolto,
2746 F: intervalle reversé,
2747 D: umgekehrtes Intervall,
2748 NL: interval inversie,
2749 DK: omvendingsinterval,
2750 S: intervallets omvändning,
2751 FI: käänteisintervalli.
2753 The difference between an interval and an octave.
2755 @lilypond[fragment,notime,line-width=13.0\cm]
2756 \set Score.automaticBars = ##f
2757 %\override Score.TextScript #'font-style = #'large
2758 \context Staff \relative c'' {
2759 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2760 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2761 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2765 @node just intonation
2766 @section just intonation
2768 ES: entonación justa,
2769 I: intonazione giusta,
2770 F: intonation juste,
2777 Tuning system in which the notes are obtained by adding and subtracting
2778 natural fifths and thirds. @aref{temperament}.
2792 According to the 12@w{ }tones of the @aref{chromatic scale}
2793 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2794 @aref{key signature}.
2797 @section key signature
2799 ES: armadura (de la clave),
2800 I: armatura di chiave,
2801 F: armure, armature [de la clé],
2802 D: Vorzeichen, Tonart,
2803 NL: toon@-soort (voortekens),
2806 FI: sävellajiosoitus.
2808 The sharps or flats appearing at the beginning of each staff indicating the
2809 key of the music. @aref{accidental}.
2817 D: Largo, Langsam, Breit,
2821 FI: largo, hitaasti, leveästi.
2823 Very slow in tempo, usually combined with great
2824 expressiveness. @emph{Larghetto} is less slow than largo.
2827 @section leading note
2838 The seventh @aref{scale degree}, a @aref{semitone} below
2839 the tonic; so called because of its strong tendency to @q{lead up} (resolve
2840 upwards) to the tonic scale degree.
2843 @section ledger line
2845 ES: línea adicional,
2846 I: tagli addizionali,
2847 F: ligne supplémentaire,
2854 A ledger line is an extension of the staff.
2856 @lilypond[fragment,notime,ragged-right]
2857 \set Score.automaticBars = ##f
2858 \relative c'' { a,1 s c'' }
2873 To be performed (a) without any perceptible interruption between the notes,
2874 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2875 (d) @aref{staccato}.
2877 @lilypond[fragment,notime,line-width=13.0\cm]
2878 \set Score.automaticBars = ##f
2880 \context Staff \relative c'' {
2881 c4-( d e-) \bar "||"
2882 c4-- d-- e-- \bar "||"
2883 c4-.-( d-. e-.-) \bar "||"
2884 c4-. d-. e-. \bar "||"
2896 @section legato curve
2898 @aref{slur}, @aref{legato}.
2908 ES: estanque de nenúfares,
2909 I: stagno del giglio,
2913 NL: le@-lie@-vij@-ver,
2918 A pond with lilies floating in it, also the name of a music typesetter.
2925 A ligature is a coherent graphical symbol that represents at least two
2926 distinct notes. Ligatures originally appeared in the manuscripts of
2927 Gregorian chant notation roughly since the 9th century to denote
2928 ascending or descending sequences of notes. In early notation,
2929 ligatures were used for monophonic tunes (Gregorian chant) and very
2930 soon denoted also the way of performance in the sense of articulation.
2931 With the invention of the metric system of the white mensural
2932 notation, the need for ligatures to denote such patterns disappeared.
2940 D: Linie, Notenlinie,
2944 FI: viiva, nuottiviiva.
2948 @node long appoggiatura
2949 @section long appoggiatura
2951 ES: apoyatura larga,
2952 I: appoggiatura lunga,
2953 F: appoggiature longue,
2954 D: langer Vorschlag,
2958 FI: pitkä appoggiatura, pitkä etuhele.
2960 @aref{appoggiatura}.
2974 Note value: double length of @aref{breve}.
2977 @lilypond[fragment,notime,ragged-right]
2978 \set Score.automaticBars = ##f
2980 \override NoteHead #'style = #'mensural
2988 ES: letra (de la canción),
2997 @node major interval
2998 @section major interval
3000 ES: intervalo mayor,
3001 I: intervallo maggiore,
3002 F: intervalle majeur,
3003 D: großes Intervall,
3007 FI: suuri intervalli.
3023 @aref{diatonic scale}.
3025 @node meantone temperament
3026 @section meantone temperament
3028 ES: afinación mesotónica,
3029 I: accordatura mesotonica,
3030 F: tempérament mésotonique,
3031 D: mitteltönige Stimmung,
3032 NL: middenstemming, middentoonstemming,
3033 DK: middeltonetemperatur,
3034 S: medeltonstemperatur,
3035 FI: keskisävelviritys.
3037 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3038 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3039 @aref{temperament} only a limited set of keys are playable.
3040 Used for tuning keyboard instruments for performance of pre-1650 music.
3054 A group of @aref{beat}s (units of musical time) the first of which
3055 bears an accent. Such groups in numbers of two or more recur consistently
3056 throughout the composition and are marked from each other by
3057 bar-lines. @aref{meter}.
3063 I: mediante, modale,
3071 1.@tie{}The third @b{scale degree}.
3072 2.@tie{}A @aref{chord} having its base tone
3073 a third from that of another chord. For example, the tonic chord may be
3074 replaced by its lower mediant (variant tonic). @aref{functional
3075 harmony}, @aref{relative key}.
3083 FI: melisma, laulettavan tavun sävelkuvio.
3085 A melisma (plural: melismata) is a group of notes or tones sung on one
3086 syllable in plainsong
3088 @node melodic cadence
3089 @section melodic cadence
3098 F: indication de mesure, mesure,
3105 The basic scheme of @aref{note value}s and
3106 @aref{accent}s which remains unaltered throughout a composition
3107 or a section of it. For instance, 3/4 meter means that the basic
3108 @aref{note value}s are quarter notes and that a
3109 @aref{measure} consists of three of those. According to
3110 whether there are two, three, or four units to the measure,
3111 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3112 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3114 @lilypond[fragment,line-width=13.0\cm]
3118 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3121 @lilypond[fragment,line-width=13.0\cm]
3125 f8 f f f a16 g a f |
3126 c'8 c c c e16 d e c \bar "||"}
3129 @lilypond[fragment,line-width=13.0\cm]
3133 d4 b8 g b d d c a4 |
3134 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3149 Device indicating the exact tempo of a piece. @aref{metronomic
3152 @node metronomic indication
3153 @section metronomic indication
3155 ES: indicación metronómica,
3156 I: indicazione metronomica,
3157 F: indication métronomique,
3159 NL: metronoom aanduiding,
3161 S: metronomangivelse,
3162 FI: metronomiosoitus.
3164 Exact tempo indication (in beats per minute). Also denoted by
3165 M.M.@: (Mälzels Metronom).
3168 @section mezzo-soprano
3179 The female voice between @aref{soprano} and
3188 D: eingestrichenes@w{ }c,
3190 DK: enstreget@w{ }c,
3191 S: ettstruket@w{ }c,
3194 First C below the 440 Hz A.
3196 @lilypond[fragment,notime,ragged-right]
3197 \set Score.automaticBars = ##f
3198 \override Staff.Clef #'full-size-change = ##t
3218 @aref{diatonic scale}.
3220 @node minor interval
3221 @section minor interval
3223 ES: intervalo menor,
3224 I: intervallo minore,
3225 F: intervalle mineur,
3226 D: kleines Intervall,
3230 FI: pieni intervalli.
3244 FI: moodi, kirkkosävelasteikko.
3246 @aref{church mode}, @aref{diatonic scale}.
3258 FI: modulaatio, sävellajin vaihdos.
3260 Moving from one @aref{key} to another. For example, the second
3261 subject of a @aref{sonata form} movement modulates to the dominant
3262 key if the key is major and to the @aref{relative key} if the key
3274 FI: mordent, korukuvio.
3293 FI: teema, sävelaihe.
3295 The briefest intelligible and self-contained fragment of a musical theme or
3298 @lilypond[line-width=13.0\cm]
3301 \set Score.implicitTimeSignatureVisibility = #all-invisible
3302 \override Score.TimeSignature #'break-visibility = #all-invisible
3305 \partial 8 g16\startGroup fis |
3306 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3307 g8 g,16 a b8 cis d16 s
3311 \Staff \consists "Horizontal_bracket_engraver"
3328 Greater musical works like @aref{symphony} and
3329 @aref{sonata} most often consist of several -- more or less --
3330 independant pieces called movements.
3333 @section multibar rest
3335 ES: compases de espera,
3339 D: mehrtaktige Pause,
3342 FI: usean tahdin mittainen tauko.
3344 @lilypond[fragment,ragged-right]
3347 \set Score.skipBars = ##t R1*3
3352 @node mixolydian mode
3353 @section mixolydian mode
3355 @aref{diatonic scale}.
3358 @section natural sign
3363 D: Auflösungszeichen,
3364 NL: herstellingsteken,
3365 DK: op@-løsningstegn,
3366 S: återställningstecken,
3371 @node neighbour tones
3372 @section neighbour tones
3374 @aref{appoggiatura}.
3407 Notes are signs by means of which music is fixed in writing. The term is also
3408 used for the sound indicated by a note, and even for the key of the piano
3409 which produces the sound. However, a clear distinction between the terms tone
3410 and @aref{note} is strongly recommended. Briefly, one sees a note,
3417 I: testa, testina, capocchia,
3425 A head-like sign which indicates pitch by its position on a
3426 @aref{staff} provided with a @aref{clef}, and duration
3427 by a variety of shapes such as hollow or black heads with or without
3428 @aref{stem}s, @aref{flag}s, etc. For percussion
3429 instruments (often having no defined pitch) the note head may indicate the
3435 ES: valor (duración),
3437 F: durée, valeur (d'une note),
3442 FI: nuotin aika-arvo.
3444 Note values (durations) are measured as fractions, normally 1/2, of the next
3445 higher note value. The longest duration normally used is called
3447 but sometimes (mostly in pre-baroque music) the double length note value
3448 @emph{longa} is used.
3450 @lilypond[fragment,notime,line-width=13.0\cm]
3451 %\override Score.TextScript #'font-style = #'large
3452 \set Score.automaticBars = ##f
3454 \override NoteHead #'style = #'mensural
3455 a\longa_"longa" a\breve_"breve"
3456 \revert NoteHead #'style
3457 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3458 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3461 @lilypond[fragment,notime,line-width=13.0\cm]
3462 %\override Score.TextScript #'font-style = #'large
3463 \set Score.automaticBars = ##f
3465 r\longa_"longa" r\breve_"breve"
3466 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3467 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3470 An augmentation dot after a note multiplies the duration by one and a
3471 half. Another dot adds yet a fourth of the duration.
3473 @lilypond[fragment,line-width=13.0\cm]
3474 %\override Score.TextScript #'font-style = #'large
3477 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3478 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3481 Alternatively note values may be subdivided by other ratios. Most common is
3482 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3483 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3484 dotted notes are also frequently used.
3486 @lilypond[fragment,line-width=13.0\cm]
3487 %\override Score.TextScript #'font-style = #'large
3490 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3491 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3495 @lilypond[fragment,line-width=13.0\cm]
3498 \times 3/2 {g4_"duplets" g} |
3500 \times 6/4 {g8_"quadruplets" g g g} |
3501 g8 g g g g4 \bar "||"
3506 @section octave sign
3508 @aref{G clef}, @aref{F clef}.
3528 I: abbellimento, fioriture,
3529 F: agrément, ornement,
3530 D: Verzierung, Ornament,
3536 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3537 with the diatonic @aref{second} above it. In the music from the
3538 middle of the 19th century and onwards the trill is performed with the main
3539 note first while in the music from the preceding baroque and classic periods
3540 the upper note is played first.
3542 @lilypond[fragment,line-width=13.0\cm]
3544 \context Staff = sa {
3545 % \override Score.TextScript #'font-style = #'large
3547 c2._"pre-1850" b4\trill | c1 \bar "||"
3548 c2._"post-1850" b4\trill | c1 \bar "||"
3552 c2. c32 b c b c b c b | c1
3553 c2. b32 c b c \times 4/5 { b c b c b } | c1
3558 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3560 @emph{prall} (inverted mordent).
3562 @lilypond[fragment,line-width=13.0\cm]
3564 \context Staff = sa {
3565 % \override Score.TextScript #'font-style = #'large
3567 a4_"turn" b\turn c2 \bar "||"
3568 g4_"mordent" a b\mordent a \bar "||"
3569 e'4_"prall" d\prall c2 \bar "||"
3575 e'4 e32[ d e d ~ d8] c2
3580 @aref{appoggiatura}.
3592 FI: ossia, vaihtoehtoinen esitystapa.
3594 Ossia (otherwise) marks an alternative. It is an added staff or piano
3595 score, usually only a few measures long, which presents another version
3596 of the music, for example for small hands.
3608 FI: stemma, instrumenttiosuus.
3610 1.@tie{}In instrumental or choral music the music for the single instrument
3611 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3612 melodic line of the contrapunctal web.
3630 D: Schlagzeug, Schlagwerk,
3636 A family of musical instruments which are played on by striking or
3637 shaking. Percussion instruments commonly used in a symphony orchestra are
3638 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3639 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3642 @node perfect interval
3643 @section perfect interval
3645 ES: intervalo justo,
3646 I: intervallo giusto,
3647 F: intervalle juste,
3648 D: reines Intervall,
3652 FI: puhdas intervalli.
3668 A natural division of the melodic line, comparable to a sentence of speech.
3680 FI: fraseeraus, jäsentäminen.
3682 The clear rendering in musical performance of the @aref{phrase}s of
3683 the melody. Phrasing may be indicated by a @aref{slur}.
3697 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3698 @emph{mezzopiano} (@b{mp}) medium soft.
3719 NL: pizzicato, getokkeld,
3722 FI: pizzicato, näppäillen.
3724 Play by plucking the strings.
3732 D: Polyphonie, Mehrstimmigkeit,
3736 FI: polyfonia, moniäänisyys.
3738 Music written in a combination of several simultaneous voices (parts) of a
3739 more or less pronounced individuality. @aref{counterpoint}.
3752 D: Presto, Sehr schnell,
3753 NL: presto, Sehr schnell,
3756 FI: presto, hyvin nopeasti.
3758 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3759 denotes the highest possible degree of speed.
3761 @node Pythagorean comma
3762 @section Pythagorean comma
3764 ES: coma pitagórica,
3765 I: comma pitagorico,
3766 F: comma pythagoricien,
3767 D: Pythagoräisches Komma,
3768 NL: komma van Pythagoras,
3769 DK: pythagoræisk komma,
3770 S: pytagoreiskt komma,
3771 FI: pytagorinen komma.
3773 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3774 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3775 24 @aref{cent}s higher than the@w{ }C obtained by adding
3776 7@w{ }octaves. The difference between those two pitches is called the
3794 @section quarter note
3797 I: semiminima, nera,
3800 D: Viertel, Viertelnote,
3804 FI: neljännesosanuotti.
3809 @section quarter rest
3811 ES: silencio de negra,
3812 I: pausa di semiminima,
3817 DK:@w{ }fjerdedelspause,
3819 FI: neljännesosatauko.
3838 @section rallentando
3843 D: rallentando, langsamer werden,
3847 FI: rallerdando, hidastuen.
3849 Abbreviation "rall.". @aref{ritardando}.
3852 @section relative key
3855 I: tonalità relativa,
3856 F: tonalité relative,
3858 NL: paralleltoonsoort,
3859 DK: paralleltoneart,
3861 FI: rinnakkaissävellaji.
3863 @aref{major} and @aref{minor} @aref{key}
3864 with the same @aref{key signature}.
3866 @lilypond[fragment,notime,line-width=13.0\cm]
3867 \set Score.automaticBars = ##f
3868 %\override Score.TextScript #'font-style = #'large
3871 es1_"e flat major" f g as bes c d es
3876 @lilypond[fragment,notime,line-width=13.0\cm]
3877 \set Score.automaticBars = ##f
3878 %\override Score.TextScript #'font-style = #'large
3881 c1_"c minor" d es f g a! b! c \bar "||"
3890 F: barre de reprise,
3893 DK: gen@-ta@-gel@-se,
3897 @lilypond[fragment,line-width=13.0\cm]
3901 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3905 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3906 @c specify the rest's value.
3934 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3935 fixed unit of time, called @aref{beat}, and in which the normal
3936 @aref{accent} recurs in regular intervals, called
3937 @aref{measure}. The basic scheme of time values is called
3938 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3939 accent. In modern notation such music appears as a free alternation of
3940 different measures. (c) Free rhythm, i.e., the use of temporal values having
3941 no common metrical unit (beat).
3949 D: Ritardando, langsamer werden,
3953 FI: ritardando, hidastuen,
3955 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3967 FI: ritenuto, hidastaen.
3969 Immediate reduction of speed.
3981 FI: asteikko, sävelasteikko.
3983 @aref{diatonic scale}.
3986 @section scale degree
3988 ES: grado (de la escala),
3989 I: grado della scala,
3990 F: degré [de la gamme],
3992 NL: trap [van de toonladder],
3995 FI: sävelaste, asteikon sävel.
3997 Names and symbols used in harmonic analysis to denote tones of the scale as
3998 roots of chords. The most important are degrees I = tonic (T), IV =
3999 sub@-do@-mi@-nant (S) and V = dominant (D).
4001 @lilypond[fragment,notime,line-width=13.0\cm]
4002 \set Score.automaticBars = ##f
4004 \context Staff \relative c' {
4008 << { I II III IV V VI VII I }
4014 @aref{functional harmony}.
4022 D: Partitur (full score), Klavierauszug (vocal score)
4028 A copy of orchestral, choral, or chamber music showing what each instrument is
4029 to play, each voice to sing, having each part arranged one underneath the
4030 other on different staves @aref{staff}.
4044 The @aref{interval} between two neigbouring tones of a scale. A
4045 @aref{diatonic scale} consists of alternating
4046 @aref{semitone}s and @aref{whole tone}s, hence the size
4047 of a se@-cond depends on the scale degrees in question.
4061 The @aref{interval} of a minor second. The (usually) smallest
4062 interval in European composed music. The interval between two neighbouring
4063 tones on the piano keyboard -- including black and white keys -- is a
4064 semitone. An octave may be divided into 12@w{ }semitones.
4065 @aref{interval}, @aref{chromatic scale}.
4067 @lilypond[fragment,notime,line-width=13.0\cm]
4068 \set Score.automaticBars = ##f
4069 \relative c'' { g1 gis s a bes s b! c }
4124 @node short appoggiatura
4125 @section short appoggiatura
4127 @aref{appoggiatura}.
4129 @node sixteenth note
4130 @section sixteenth note
4136 D: Sechzehntel, Sechzehntelnote,
4137 NL: zes@-ti@-ende noot,
4138 DK: sekstendedelsnode,
4140 FI: kuudestoistaosanuotti.
4144 @node sixteenth rest
4145 @section sixteenth rest
4147 ES: silencio de semicorchea,
4148 I: pausa di semicroma,
4150 UK: semiquaver rest,
4151 D: Sechzehntelpause,
4153 DK: sekstendedelspause,
4173 @node sixty-fourth note
4174 @section sixty-fourth note
4178 F: quadruple croche,
4179 UK: hemidemisemiquaver,
4180 D: Vierundsechzigstel, Vierundsechzigstelnote,
4181 NL: vierenzestigste noot,
4182 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4183 S: sextiofjärdedelsnot,
4184 FI: kuudeskymmenesneljäsosanuotti.
4188 @node sixty-fourth rest
4189 @section sixty-fourth rest
4191 ES: silencio de semifusa,
4192 I: pausa di semibiscroma,
4193 F: seizième de soupir,
4194 UK: hemidemisemiquaver rest,
4195 D: Vierundsechzigstelpause,
4196 NL: vierenzestigste rust,
4197 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4198 S: sextiofjärdedelspaus,
4199 FI: kuudeskymmenesneljäsosatauko.
4206 ES: ligadura (de expresión),
4207 I: legatura (di portamento or espressiva),
4209 D: Bogen, Legatobogen, Phrasierungsbogen,
4210 NL: fraseringsboog, legatoboog, streekboog,
4211 DK: legatobue, fraseringsbue,
4215 A slur above or below a group of notes indicates that they are to be played
4216 @aref{legato}, e.g., with one stroke of the violin bow or with one
4220 @section solmization
4229 FI: suhteelliset laulunimet.
4231 General term for systems of designating the degrees of the
4232 @aref{scale}, not by letters, but by syllables (@emph{do}
4233 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4234 (@emph{ti})). @aref{scale degree}.
4248 In its present-day meaning a sonata denotes an instrumental composition for
4249 piano or for some other instrument with piano accompaniment, which consists of
4250 three or four independant pieces, called movements.
4253 @section sonata form
4257 F: [en] forme de sonate,
4259 NL: hoofdvorm, sonatevorm,
4264 A form used frequently for single movements of the @aref{sonata},
4265 @aref{symphony}, quartet, etc. A movement written in sonata form
4266 falls into three sections called @emph{exposition}, @emph{development} and
4267 @emph{recapitulation}. In the exposition the composer introduces some musical
4268 ideas, consisting of a number of themes; in the development section the
4269 composer @q{develops} this material, and in the recapitulation the composer
4270 repeats the exposition, with certain modifications. The exposition contains a
4271 number of themes that fall into two groups, often called first and second
4272 subject. Other melodies occurring in each group are considered as
4273 continuations of these two. The second theme is in another key, normally in
4274 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4275 @aref{relative key} if the tonic is @aref{minor}.
4292 FI: sopraano, korkea naisääni.
4294 The highest female voice.
4301 F: staccato, piqué, détaché,
4306 FI: staccato, lyhyesti, terävästi.
4308 Playing the note(s) short. Staccato is indicated by a dot above or below the
4311 @lilypond[fragment,ragged-right]
4316 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4325 I: pentagramma, rigo (musicale),
4328 NL: (noten)balk, partij,
4333 A staff (pl. staves) is a series of (normally five) horizontal lines
4334 upon and between which the musical notes are written, thus indicating
4335 (in connection with a @aref{clef}) their pitch. Staves for
4336 @aref{percussion} instruments may have fewer lines.
4349 D: Hals, Notenhals, Stiel,
4355 Vertical line above or below a @aref{note head} shorter than a
4356 whole note. @aref{beam}.
4358 @lilypond[fragment,notime,line-width=13.0\cm]
4359 \set Score.autoBeaming = ##f
4360 \set Score.automaticBars = ##f
4361 %\override Score.TextScript #'font-style = #'large
4382 A family of stringed musical instruments played with a bow. Strings commonly
4383 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4386 @section strong beat
4391 D: betonter Taktteil oder Taktschlag,
4393 D: betonet taktslag,
4394 S: betonat taktslag,
4395 FI: tahdin vahva isku.
4397 @aref{beat}, @aref{accent}, @aref{measure},
4401 @section subdominant
4410 FI: subdominantti, alidominantti.
4412 The fourth @aref{scale degree}. @aref{functional harmony}.
4426 The sixth @aref{scale degree}.
4438 FI: subtoonika, alitoonika.
4440 The seventh @aref{scale degree}.
4443 @section superdominant
4454 The sixth @aref{scale degree}.
4468 The second @aref{scale degree}.
4476 D: Sinfonie, Symphonie,
4482 A symphony may be defined as a @aref{sonata} for orchestra.
4485 @section syncopation
4496 Any deliberate upsetting of the normal pulse of @aref{meter},
4497 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4498 rhythm rests upon the grouping of equal beats into groups of two or three,
4499 with a regularly recurrent accent on the first beat of each group. Any
4500 deviation from this scheme is felt as a disturbance or contradiction between
4501 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4503 @lilypond[fragment,ragged-right]
4508 e c'4 e,8 c'4 e,8 c' ( | c2)
4512 @node syntonic comma
4513 @section syntonic comma
4516 I: comma sintonico (o didimico),
4517 F: comma syntonique,
4518 D: syntonisches Komma,
4519 NL: syntonische komma,
4520 DK: syntonisk komma,
4521 S: syntoniskt komma,
4522 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4523 viritysjärjestelmässä.
4525 Difference between the natural third and the third obtained by Pythagorean
4526 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4538 FI: nuottijärjestelmä.
4540 The collection of staves @aref{staff}, two or more, as used for
4541 writing down of keyboard, chamber, choral, or orchestral music.
4544 @section temperament
4549 D: Stimmung, Tem@-pe@-ra@-tur,
4550 NL: stemming, temperatuur,
4553 FI: viritysjärjestelmä.
4555 Systems of tuning in which the intervals deviate from the acoustically pure
4556 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4558 @node tempo indication
4559 @section tempo indication
4561 ES: indicación de tempo,
4562 I: indicazione di tempo,
4563 F: indication de tempo,
4564 D: Zeitmaß, Tempobezeichnung,
4565 NL: tempo aanduiding,
4570 The rate of speed of a composition or a section thereof, ranging from the
4571 slowest to the quickest, as is indicated by tempo marks as
4572 @aref{largo}, @aref{adagio}, @aref{andante},
4573 @aref{allegro}, and @aref{presto}.
4585 FI: tenori, korkea miesääni.
4587 The highest male voice (apart from @aref{counter tenor}).
4606 ES: subrayado (tenuto),
4615 An indication that a particular note should be held for the whole
4616 length, although this can vary depending on the composer and era.
4632 @node thirty-second note
4633 @section thirty-second note
4639 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4640 NL: twee-endertig@-ste noot,
4641 DK: toogtredivtedelsnode,
4642 S: trettiotvåondelsnot,
4643 FI: kolmanneskymmeneskahdesosanuotti.
4647 @node thirty-second rest
4648 @section thirty-second rest
4650 ES: silencio de fusa,
4651 I: pausa di biscroma,
4652 F: huitième de soupir,
4653 UK: demisemiquaver rest,
4654 D: Zweiunddreissigstel@-pause,
4656 DK: toogtredivtedelspause,
4657 S: trettiotvåondelspaus,
4658 FI: kolmanneskymmeneskahdesosatauko.
4663 @section thorough bass
4666 I: basso continuo, basso numerato,
4667 F: basse chiffrée, basse continue,
4668 D: Generalbass, bezifferter Bass,
4669 NL: basso continuo, becijferde bas
4672 FI: kenraalibasso, numeroitu basso.
4674 A method of indicating an accompaniment part by the bass notes only, together
4675 with figures designating the chief @aref{interval}s and
4676 @aref{chord}s to be played above the bass notes.
4678 @lilypond[fragment,line-width=13.0\cm]
4679 \context GrandStaff <<
4680 \context Staff = lh \relative c'' {
4684 << \context Voice = rha {
4687 \context Voice = rhb {
4689 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4693 \context Staff = rh \relative c' {
4696 es8 c d bes c as bes16 as g f | es4
4698 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4706 ES: ligadura de prolongación,
4707 I: legatura (di valore),
4710 NL: overbinding, bindingsboog,
4712 S: bindebåge, överbindning,
4715 A curved line, identical in appearance with the @aref{slur}, which
4716 connects two succesive notes of the same pitch, and which has the function of
4717 uniting them into a single sound (tone) equal to the combined durations.
4719 @lilypond[fragment,notime,ragged-right]
4720 \set Score.automaticBars = ##f
4721 \relative c'' { g2 ~ g4. }
4729 @node time signature
4730 @section time signature
4732 ES: indicación de compás,
4734 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
4735 D: Taktangabe, Angabe der Taktart,
4738 S: taktartssignatur,
4755 A sound of definite pitch and duration, as distinct from @emph{noise}.
4756 Tone is a primary building material of music.
4757 Music from the 20th century may be based on atonal sounds.
4771 The first @aref{scale degree}.
4772 @aref{functional harmony}.
4775 @section transposition
4786 Shifting a melody up or down in pitch, while keeping the same
4789 @lilypond[fragment,line-width=13.0\cm]
4794 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4799 @lilypond[fragment,line-width=13.0\cm]
4802 \transpose c bes \relative c'' {
4804 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4810 @section treble clef
4813 I: chiave di violino,
4815 D: Violinschlüssel, Sopranschlüssel,
4817 DK:@w{ }diskantnøgle,
4835 On stringed instruments (@aref{strings}) the quick reiteration of
4836 the same tone, produced by a rapid up-and-down movement of the bow
4837 (a). The term is also used for the rapid alternation (b) between two notes of
4838 a @aref{chord}, usually in the distance of a third
4841 @lilypond[fragment,notime,ragged-right]
4842 \set Score.automaticBars = ##f
4843 %\override Score.TextScript #'font-style = #'large
4846 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4847 \repeat "tremolo" 8 { e32_"b" g }
4856 F: triade, accord parfait, accord de trois sons,
4870 F: trille, tremblement, battement (cadence),
4880 @section triple meter
4882 ES: compás ternario,
4886 NL: driedelige maatsoort,
4922 @section tuning fork
4925 I: diapason, corista,
4933 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4934 give the international pitch for the tone @emph{a} (440 vibrations per
4961 FI: unisono, yksiäänisesti.
4963 Playing of the same notes or the same melody by various instruments (voices)
4964 or by the whole orchestra (choir), either at exactly the same pitch or in a
4972 F: anacrouse, levée,
4979 Initial note(s) of a melody occurring before the first bar
4980 line. @aref{measure}, @aref{meter}.
4982 @lilypond[fragment,line-width=13.0\cm]
4986 \partial 4 f4 | bes4. a8 bes4 c |
4987 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
5000 FI: ääni, lauluääni.
5002 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
5003 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
5004 2.@tie{}A melodic layer or part of a polyphonic composition.
5010 I: tempo debole, arsi,
5012 D: unbetonter Taktteil oder Taktschlag,
5014 DK: ubetonet taktslag,
5015 S: obetonat taktslag,
5016 FI: tahdin heikko isku.
5018 @aref{beat}, @aref{measure}, @aref{rhythm}.
5027 D: Ganze, ganze Note,
5038 ES: silencio de redonda,
5039 I: pausa di semibreve,
5042 D: ganze Pause, ganztaktige Pause,
5062 The @aref{interval} of a major second. The interval between two
5063 tones on the piano keyboard with exactly one key between them -- including
5064 black and white keys -- is a whole tone.
5078 A family of blown wooden musical instruments. Today some of these instruments
5079 are actually made from metal. The woodwind instruments commonly used in a
5080 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5082 @node Duration names notes and rests
5083 @chapter Duration names, notes and rests
5086 @item DURATION NAMES, NOTES AND RESTS
5089 @multitable @columnfractions .15 .26 .33 .26
5094 @tab @strong{F (note name / rest name)}
5106 @item @strong{longa}
5121 @item @strong{breve}
5124 @tab brève / double-pause
5136 @item @strong{whole}
5146 @tab koko@-nuotti/@w{-tauko}
5154 @tab blanche / demi-pause
5161 @tab puoli@-nuotti/@w{-tauko}
5166 @item @strong{quarter}
5176 @tab neljännesosa@-nuotti/@w{-tauko}
5181 @item @strong{eighth}
5184 @tab croche / demi-soupir
5191 @tab kahdeksasosa@-nuotti/@w{-tauko}
5196 @item @strong{sixteenth}
5199 @tab double croche / quart de soupir
5206 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5211 @item @strong{thirty-second}
5214 @tab triple croche / huitième de soupir
5216 @tab Zweiunddreissigstel
5217 @tab tweeendertigste
5218 @tab toogtredivtedel
5220 @tab trettiotvåondel
5221 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5226 @item @strong{sixty-fourth}
5227 @tab hemidemisemiquaver
5229 @tab quadruple croche / seizième de soupir
5231 @tab Vierundsechzigstel
5232 @tab vierenzestigste
5233 @tab fireogtred@-sindstyvendedel
5235 @tab sextiofjärdedel
5236 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5240 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5243 @chapter Pitch names
5249 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5250 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5252 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5253 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5257 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5261 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5263 cis @tab cis @tab cis
5267 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5269 des @tab des @tab des
5273 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5277 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5281 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5285 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5290 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5296 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5300 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5302 ais @tab ais @tab ais
5306 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5312 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5317 @node Literature used
5318 @unnumbered Literature used
5321 @item The Harvard Dictionary of Music, London 1944. Many more or less
5322 literal quotes from its articles have been included into the item
5325 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5327 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5329 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5332 @item Webster's Revised Unabridged Dictionary, Springfield 1913.