2 \input texinfo @c -*-texinfo-*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
8 This document is also available in @uref{music-glossary.ps.gz,gzipped
9 PostScript} and @uref{music-glossary.pdf,PDF}.
14 @author Christian Mondrup @c Original author of LilyPond glossary
16 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
18 @author Han-Wen Nienhuys @c Dutch glossary
19 @author Jan Nieuwenhuizen @c Dutch glossary
20 @author Dadiv Gonzalez @c Spanish glossary
21 @author Bjoern Jacke @c German glossary
22 @author Neil Jerram @c English glossary translations
23 @author Mats Bengtsson @c Swedish glossary
24 @author Adrian Mariano @c Italian glossary
25 @author Heikki Junes @c Finnish glossary
27 @c Fixes by Jean-Pierre Coulon and `Dirk'
31 Copyright @copyright{} 1999--2004 by the authors
34 Permission is granted to copy, distribute and/or modify this document
35 under the terms of the GNU Free Documentation License, Version 1.1
36 or any later version published by the Free Software Foundation,
37 without Invariant Sections.
42 @c FIXME: multiple omfcreators?
44 @omfcreator Christian Mondrup
45 @omfdescription Glossary of musical terms with translations
47 @omfcategory Applications|Publishing
54 @chapter Music Glossary
65 @item Christian Mondrup
66 Original author of LilyPond glossary, Danish glossary,
69 @item Fran@,{c}ois Pinard
70 Original glossary of GNU music project, French glossary,
71 @item Han-Wen Nienhuys
73 @item Jan Nieuwenhuizen
78 English glossary translations.
81 Copyright 1999--2004 by the authors
84 Permission is granted to copy, distribute and/or modify this document
85 under the terms of the GNU Free Documentation License, Version 1.1
86 or any later version published by the Free Software Foundation,
87 without Invariant Sections.
97 @c @everyheading @| @thispage @|
98 @c @evenheading @thispage @| @|
99 @c @oddheading @| @| @thispage @|
103 @tex $\\Rightarrow$ @end tex@c
114 We do not use refs for Info:
116 @w{@ar{}\word\}@c vs:
117 @w{@ar{}@pxref{\word\}}@c
119 they look too intrusive (says Han-Wen).
126 @w{@ar{}@strong{\word\}}@c
129 @ar{}@ref{\word\, @strong{\word\}}@c
137 @c If we want hypelinks, we must add anchors.
138 @c Hmm, we need the @achor command in the item description itself
139 @c (not before or after) to get mozilla jump to the right place.
142 @item \word\@anchor{\word\}
144 @macro aitemii{one,two}
145 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
147 @macro aitemiii{one,two,three}
148 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
158 @item UK - British English
165 This is an example reference, that points you to the @aref{accent}
190 FI: aksentti, korostus,
193 The stress of one tone over others.
195 @c F: how to distinguish between accidental and key-sig alteration?
199 I: alterazione, accidente,
201 D: Vorzeichen, Versetzungszeichen,
204 S: tillf@"alligt f@"ortecken,
205 FI: tilap@"ainen etumerkki,
208 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
209 @c Akzidenz, NL: toevallig teken, I: accidento.
211 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
212 by a @aref{whole tone}, a flat lowers it by a semitone and a double
213 flat lowers it by a whole tone. A natural cancels the effect of a previous
217 \set Score.automaticBars = ##f
218 %\override TextScript #'font-style = #'large
220 \context Staff \notes\relative c'' {
221 gis1 s s gisis s s ges s s geses s s g!
223 \context Lyrics \lyrics {
224 \override Lyrics .LyricText #'self-alignment-X = #-1
225 "sharp " "db. sharp " "flat " "db. flat " natural
232 F: accelerando, en acc@'el@'erant,
233 D: accelerando, schneller werden,
237 FI: accelerando, kiihdytt@"aen,
250 FI: adagio, hitaasti,
253 It. comfortable, easy.
254 1. Slow tempo, slower -- especially in even meter -- than
255 @aref{andante} and faster than @aref{largo}.
256 2. A movement in slow tempo, especially the second (slow) movement of
257 @aref{sonata}s, symphonies, etc.
263 D: Allegro, Schnell, Fr@"ohlich, Lustig,
267 FI: allegro, nopeasti,
270 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
271 especially the first and last movements of a @aref{sonata}.
281 FI: altto, matala nais@"a@"ani,
284 A female voice of low range (@emph{contralto}). Originally the alto was a high
285 male voice (hence the name) which by the use of falsetto reached the height of
286 the female voice. This type of voice is also known as @aref{counter
290 ES: clave de do en tercera,
291 I: chiave di contralto,
292 F: clef d'ut troisi@`eme ligne,
293 D: Altschl@"ussel, Bratschenschl@"ussel,
300 C clef setting central C on the middle line of the staff
311 FI: ambitus, @"a@"aniala, soitinala,
314 The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
316 @aitem{ancient minor scale}
317 I: scala minore naturale,
318 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
320 NL: authentieke mineurtoonladder,
323 FI: luonnollinen molliasteikko,
327 \set Score.automaticBars = ##f
328 \notes\relative c'' {
340 FI: andante, k@"ayden,
343 Walking tempo/character.
348 F: appogiature, (port de voix),
353 FI: appoggiatura, etuhele,
356 Ornamental note, usually a second, that is melodically connected with the main
357 note that follows it. In music before the 19th century a. were usually
358 performed on the beat, after that mostly before the beat. While the short
359 a. is performed as a short note regardless of the duration of the main note
360 the duration of the long a. is proportional to that of the main note.
363 \context Voice \notes\relative c'' {
367 %\override Score.TextScript #'font-style = #'large
368 <d a fis>4_"notation" r
369 { \override Stem #'flag-style = #'()
371 \revert Stem #'flag-style
374 { \override Stem #'flag-style = #'()
376 \revert Stem #'flag-style
379 \cadenzaOn a4 \bar "||" \cadenzaOff }
380 \notes\relative c'' {
381 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
382 \cadenzaOn a4 \bar "||" \cadenzaOff }
385 An appoggiatura may have more notes preceding the main note.
388 \notes\relative c'' {
391 % \override Score.TextScript #'font-style = #'large
392 \grace { bes16 } as8_"notation" as16 bes as8 g |
393 \grace { as16[( bes] } < c as >4-)
394 \grace { as16[( bes] } < c as >4-) \bar "||"
395 \grace { bes16 } as8_"performance" as16 bes as8 g |
396 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
397 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
406 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
408 DK: arpeggio, akkordbrydning,
410 FI: arpeggio, murtosointu,
414 \notes \context PianoStaff <<
415 \context Staff = SA \relative c'' {
418 r8 g16 c e g, c e r8 g,16 c e g, c e |
419 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
420 \context Staff = SB \relative c' {
422 << \context Voice = va {
424 r16 e8. ( e4) r16 e8. ( e4) |
425 r16 d8. ( d4) r16 d8. ( d4) }
426 \context Voice = vb {
433 @aitem{ascending interval}
434 ES: Intervalo ascendente,
435 I: intervallo ascendente,
436 F: intervalle ascendant,
437 D: steigendes Intervall,
438 NL: stijgend interval,
439 DK:@w{ }stigende interval,
440 S: stigande intervall,
441 FI: nouseva intervalli,
444 A distance between a starting lower note and a higher ending note.
446 @aitem{augmented interval}
447 ES: intervalo aumentado,
448 I: intervallo aumentato,
449 F: intervalle augment@'e,
450 D: @"uberm@"a@ss{}iges Intervall,
451 NL: overmatig interval,
452 DK: forst@o{}rret interval,
453 S: @"overstigande intervall,
454 FI: ylinouseva intervalli,
462 D: Autograph, Handschrift,
464 DK: h@aa{}ndskrift, autograf,
466 FI: k@"asinkirjoitettu nuotti,
469 1. A manuscript in the composer's own hand.
470 2. Music prepared for photoreproduction by freehand drawing,
471 with only the aid of a straightedge ruler and T-square,
472 which attempts to emulate engraving.
473 This required more skill than did engraving.
486 @aitemii{backfall,forefall}
491 I: stanghetta, barra (di divisione),
492 F: barre (de mesure),
501 ES: comp@'as, @aref{measure}.
504 ES: bar@'{@dotless{i}}tono,
511 FI: baritoni, keskikorkuinen mies@"a@"ani,
514 The male voice intermediate between the @aref{bass} and the
517 @c F: clef de troisi@`eme ligne dropped
519 @aitem{baritone clef}
520 ES: clave de fa en tercera,
521 I: chiave di baritono,
522 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
523 D: Baritonschl@"ussel,
530 C or F clef setting central C on the upper staff line.
531 @aref{C clef}, @aref{F clef}.
534 ES: clave de fa en cuarta,
536 F: cl@'e de fa quatri@`eme ligne,
544 A clef setting with central C on the first top ledger line.
554 FI: basso, matala mies@"a@"ani,
557 1. The lowest of men's voices.
558 2. Sometimes, especially in jazz music, used as
559 an abbreviation for double bass.
572 Line connecting a series of notes (shorter than a quarter note).
573 The number of beams determine the note value of the connected notes.
576 \set Score.automaticBars = ##f
577 %\override TextScript #'font-style = #'large
578 \notes\relative c'' {
580 g16_"1/16"[ g g g] s16
581 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
582 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
589 D: Takt, Taktschlag, Zeit (im Takt),
596 Note value used for counting, most often half-, fourth-, and eighth notes.
597 The base counting value and the number of them per measure is indicated at
598 the start of the music.
603 \notes\relative c'' { g4 c b a | g1 \bar "||"}
605 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
615 D: Klammer, Akkolade,
616 NL: accolade, teksthaak,
619 FI: yhdist@"av@"a sulkumerkki,
622 Symbol at the start of a system connecting staves. Curly braces are used
623 for connecting piano staves, angular brackets for connecting parts in an
624 orchestral or choral score.
627 \notes\context GrandStaff <<
628 \relative c''\context Staff = SA { \clef treble g4 e c2 }
629 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
633 \context StaffGroup <<
634 % \set StaffGroup.minVerticalAlign = #12
635 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
636 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
645 DK: messingbl@ae{}sere,
646 S: brassinstrument, m@"assingsinstrument,
650 A family of blown musical instruments made of brass all using a cup formed
651 mouth piece. The brass instruments commonly used in a symphony orchestra are
652 trumpet, trombone, french horn, and tube.
657 D: Atemzeichen, Trennungszeichen,
658 NL: repercussieteken,
659 DK: vejrtr@ae{}kningstegn,
664 Indication of where to breathe in vocal and wind instrument parts.
677 @aref{note value} twice as long as a whole note. Mainly used
681 \set Score.automaticBars = ##f
682 \notes\relative c'' { g\breve }
707 Clef symbol indicating the position of the central C. Used on all note
711 \set Score.automaticBars = ##f
712 \override Score.Clef #'full-size-change = ##t
713 %\override Score.LyricText #'font-style = #'large
715 \context Staff \notes\relative c' {
717 \clef mezzosoprano c s s
722 \context Lyrics \lyrics {
723 \override Lyrics .LyricText #'self-alignment-X = #-1
724 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
736 FI: kadenssi, lopuke,
739 @aref{harmonic cadence}, @aref{functional harmony}.
749 FI: kadenssi, lopuke,
752 An extended, improvisatory style section inserted near the end of
753 movement. The purpose of a cadenza is to give the singer or player a chance to
754 exhibit her technichal skill and not the least her ability to improvise. Since
755 the middle of the 19th century, however, most cadences have been written down
766 FI: kaanon, tarkka j@"aljittely,
779 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
782 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
783 equally tempered @aref{semitone}).
784 @aref{equal temperament}.
800 Three or more tones sounding simultaneously. In traditional European music the
801 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
802 minor @aref{third}) as well as @emph{minor} (minor + major third)
803 chords may be extended with more thirds. Four-tone @emph{seventh chords}
804 and five-tone @emph{ninth} major chords are most often used as dominants
805 (@aref{functional harmony}). A special case is chords having no
806 third above the lower notes to define their quality as major or minor. Such
807 chords are denoted open chords
810 \set Score.automaticBars = ##f
811 %\override TextScript #'font-style = #'large
813 \context Staff \notes\relative c'' {
821 \context Lyrics \lyrics{
822 \override Lyrics .LyricText #'self-alignment-X = #-1
823 "major " "minor " "diminished " "augmented "
824 "seventh-chord " "ninth-chord "
828 @aitem{chromatic scale}
829 ES: escala crom@'atica,
831 F: gamme chromatique,
832 D: chromatische Tonleiter,
833 NL: chromatische toonladder,
836 FI: kromaattinen asteikko,
839 A scale consisting of all 11 @aref{semitone}s.
842 \set Score.automaticBars = ##f
843 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
857 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
859 @aitemii{church mode,ecclesiastical mode}
860 ES: modo eclesi@'astico,
861 I: modo ecclesiastico,
862 F: mode eccl@'esiastique,
867 FI: moodi, kirkkos@"avellaji,
870 @aref{diatonic scale}.
876 D: Schl@"ussel, Notenschl@"ussel,
880 FI: avain, nuottiavain,
883 @aref{C clef}, @aref{F clef}, @aref{G clef}.
892 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
895 Difference in pitch between a note derived from pure tuning and the same note
896 derived from some other tuning method. @aref{temperament}.
901 @aitem{compound interval}
902 ES: intervalo compuesto,
903 I: intervallo composto,
904 F: intervalle compos@'e,
906 NL: samengesteld interval,
907 DK: sammensat interval,
908 S: sammansatt intervall,
909 FI: oktaavia laajempi intervalli,
912 Intervals larger than an octave.
918 F: intervalle compl@'ementaire,
919 D: Komplement@"arintervall,
920 NL: complementair interval,
921 DK: komplement@ae{}rinterval,
922 S: komplement@"arintervall (?),
923 FI: t@"aydent@"av@"a intervalli,
926 @aref{inverted interval}.
928 @aitem{conjunct movement}
929 ES: movimiento conjunto,
931 F: mouvement conjoint,
932 D: schrittweise, stufenweise Bewegung,
933 NL: stapsgewijze, trapsgewijze beweging,
934 DK: trinvis bev@ae{}gelse,
935 S: stegvis r@"orelse,
936 FI: asteittainen liike,
939 Melody moving in the narrow steps of the scale.
942 \key g \major \time 4/4
943 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
954 FI: konsonanssi, sopusointi,
980 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
983 From latin @emph{punctus contra punctum}, note against note. The combination
984 into a single musical fabric of lines or parts which have distinct melodic
985 significance. A frequently used polyphonic technique is imitation, in its
986 strictest form found in the canon needing only one part to be written down
987 while the other parts are performed with a given displacement. Imitation is
988 also the contrapunctal technique used in the @emph{fugue} which, since the
989 music of the baroque era, has been one of the most popular polyphonic
992 @lilypond[staffsize=11,noquote]
993 \override Score.TimeSignature #'style =\turnOff
994 \notes\context PianoStaff <<
995 \context Staff = SA \relative c' {
999 << \context Voice = rha {
1001 r1 | r2 r8 g'8 bes d, |
1002 cis4 d r8 e!16 f g8 f16 e |
1003 f8 g16 a bes8 a16 g a8
1005 \context Voice = rhb {
1011 \context Staff = SB \relative c' {
1014 << \context Voice = lha {
1016 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1017 r8 a16 g f8 g16 a bes8 g e! cis' |
1020 \context Voice = lhb {
1028 @aitem{counter tenor}
1035 S: kontratenor, counter tenor,
1041 @aitem{Copying, Music}
1042 A music copyist did fast freehand scores and parts on preprinted staff lines
1043 for performance. Some of their conventions (e.g., the placement of noteheads
1044 on stems) varied slightly from those of engravers. Some of their working
1045 methods were superior and could well be adopted by music typesetters. This
1046 required more skill than engraving.
1052 D: Crescendo, lauter werden,
1056 FI: cresendo, voimistuen,
1059 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1060 abbreviation ``cresc.''.
1063 \key g \major \time 4/4
1064 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1070 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1078 In a separate part notes belonging to another part with the purpose of hinting
1079 when to start playing. Usually printed in a smaller type.
1083 A custos is a staff symbol that appears at the end of a staff line
1084 with monophonic musical contents (i.e. with a single voice). It
1085 anticipates the pitch of the first note of the following line and thus
1086 helps the player or singer to manage line breaks during performance,
1087 thus enhancing readability of a score.
1089 Custodes were frequently used in music notation until the 16th
1090 century. There were different appearences for different notation
1091 styles. Nowadays, they have survived only in special forms of musical
1092 notation such as via the editio vaticana dating back to the beginning
1098 \override Staff.Custos #'neutral-position = #4
1099 \override Staff.Custos #'neutral-direction = #-1
1100 \override Staff.Custos #'adjust-if-on-staffline = ##t
1102 \override Staff.Custos #'style = #'hufnagel
1104 \break < d' a' f''>1
1109 \consists Custos_engraver
1130 F: da capo, depuis le commencement,
1131 D: da capo, von Anfang,
1135 FI: da capo, alusta,
1138 The term indicates repetition of the piece from the beginning to the end or to
1139 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1144 F: dal segno, depuis le signe,
1149 FI: dal segno, merkkiin asti,
1152 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1153 another place frequently near the beginning marked by a sign:
1156 %\override TextScript #'font-style = #'large
1157 \override TextScript #'font-shape = #'italic
1158 \key g \major \time 4/4
1159 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1165 D: Decrescendo, leiser werden,
1169 FI: decresendo, hiljentyen,
1172 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1173 or the abbreviation ``decresc.''.
1176 \notes\relative c'' {
1177 \key g \major \time 4/4
1178 d4 \> c b a | g1 \! \bar "|."
1182 @aitem{descending interval}
1183 ES: intervalo descendente,
1184 I: intervallo discendente,
1185 F: intervalle descendant,
1186 D: fallendes Intervall, absteigendes Intervall,
1187 NL: dalend interval,
1188 DK: faldende interval,
1189 S: fallande intervall,
1190 FI: laskeva intervalli,
1193 A distance between a starting higher note and a lower ending note.
1195 @aitem{diatonic scale}
1196 ES: escala diat@'onica,
1198 F: gamme diatonique,
1199 D: diatonische Tonleiter,
1200 NL: diatonische toonladder,
1201 DK: diatonisk skala,
1203 FI: diatoninen asteikko,
1206 A scale consisting of 5@w{ }@aref{whole tone}s and
1207 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1208 of a piano keybord are diatonic.
1210 The church modes are used in gregorial chant and pre baroque early music but
1211 also to some extent in newer jazz music.
1213 @lilypond[notime,linewidth=110\mm]
1214 \set Score.automaticBars = ##f
1215 %\override Score.LyricText #'font-style = #'large
1216 %\override Score.TextScript #'font-style = #'large
1218 \context Staff \notes\relative c' {
1220 \override TextScript #'padding = #-4
1221 e^"~~ S" f g a b^"~~ S" c
1223 \context Lyrics \lyrics {
1229 \set Score.automaticBars = ##f
1230 %\override Score.LyricText #'font-style = #'large
1231 %\override Score.TextScript #'font-style = #'large
1233 \context Staff \notes\relative c' {
1235 \override TextScript #'padding = #-4
1236 e^"~~ S" f g a b^"~~ S" c d
1238 \context Lyrics \lyrics {
1244 \set Score.automaticBars = ##f
1245 %\override Score.LyricText #'font-style = #'large
1246 %\override Score.TextScript #'font-style = #'large
1248 \notes\relative c' {
1249 \override TextScript #'padding = #-4
1250 e1^"~~ S" f g a b^"~~ S" c d e
1252 \context Lyrics \lyrics {
1258 \set Score.automaticBars = ##f
1259 %\override Score.LyricText #'font-style = #'large
1260 %\override Score.TextScript #'font-style = #'large
1262 \notes\relative c' {
1264 \override TextScript #'padding = #-4
1265 b^"~~ S" c d e^"~~ S" f
1267 \context Lyrics \lyrics {
1273 \set Score.automaticBars = ##f
1274 %\override Score.LyricText #'font-style = #'large
1275 %\override Score.TextScript #'font-style = #'large
1277 \notes\relative c'' {
1279 \override TextScript #'padding = #-4
1280 b^"~~ S" c d e^"~~ S" f g }
1281 \context Lyrics \lyrics {
1287 \set Score.automaticBars = ##f
1288 %\override Score.LyricText #'font-style = #'large
1289 %\override Score.TextScript #'font-style = #'large
1291 \notes\relative c'' {
1293 \override TextScript #'padding = #-4
1294 b^"~~ S" c d e^"~~ S" f g a
1296 \context Lyrics \lyrics {
1301 From the beginning of the 17th century the scales used in European
1302 compositional music are primarily the major and the minor scales. In the
1303 harmonic minor scale type an augmented second (A) occurs between the 6th and
1307 \set Score.automaticBars = ##f
1308 %\override Score.LyricText #'font-style = #'large
1309 %\override Score.TextScript #'font-style = #'large
1311 \notes\relative c' {
1313 \override TextScript #'padding = #-4
1314 e^"~~ S" f g a b^"~~ S" c
1316 \context Lyrics \lyrics {
1322 \set Score.automaticBars = ##f
1323 %\override Score.LyricText #'font-style = #'large
1324 %\override Score.TextScript #'font-style = #'large
1326 \notes\relative c'' {
1328 \override TextScript #'padding = #-4
1329 b^"~~ S" c d e^"~~ S" f g a
1331 \context Lyrics \lyrics {
1337 \set Score.automaticBars = ##f
1338 %\override Score.LyricText #'font-style = #'large
1339 %\override Score.TextScript #'font-style = #'large
1341 \notes\relative c'' {
1343 \override TextScript #'padding = #-4
1344 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1346 \context Lyrics \lyrics {
1352 \set Score.automaticBars = ##f
1353 %\override Score.LyricText #'font-style = #'large
1354 %\override Score.TextScript #'font-style = #'large
1356 \notes\relative c'' {
1358 \override TextScript #'padding = #-4
1359 b^"~~ S" c d e fis gis^"~~ S"
1360 a g! f!^"~~ S" e d c^"~~ S" b a
1362 \context Lyrics \lyrics {
1367 @aitem{diminished interval}
1368 ES: intervalo disminu@'{@dotless{i}}do,
1369 I: intervallo diminuito,
1370 F: intervalle diminu@'e,
1371 D: vermindertes Intervall,
1372 NL: verminderd interval,
1373 DK: formindsket interval,
1374 S: f@"orminskat intervall,
1375 FI: v@"ahennetty intervalli,
1388 FI: diminuendo, hiljentyen,
1393 @aitem{disjunct movement}
1394 ES: movimiendo disjunto,
1396 F: mouvement disjoint,
1397 D: sprunghafte Bewegung,
1398 NL: sprongsgewijze beweging,
1399 DK: springende bev@ae{}gelse,
1400 S: hoppande r@"orelse,
1401 FI: melodian hyppiv@"a liike,
1404 Melody moving in steps greater than those of the
1405 scale. Opposite of @aref{conjunct movement}.
1410 \notes\relative c' {
1412 a4. gis8 b a e cis |
1413 fis2 d4. \bar "||" }
1416 @aitemii{dissonant interval,dissonance}
1417 ES: intervalo disonante, disonancias,
1418 I: intervallo dissonante, dissonanza,
1421 NL: dissonant interval; dissonant,
1422 DK: dissonerende interval, dissonans,
1424 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1429 @aitem{dominant ninth chord}
1430 I: accordo di nona di dominante,
1431 F: accord de neuvi@`eme dominante,
1432 D: Dominantnoneakkord,
1433 NL: dominant noon akkoord,
1434 DK: dominantnoneakkord,
1435 S: dominantnonackord,
1436 FI: dominanttinoonisointu,
1439 @aref{chord}, @aref{functional harmony}.
1441 @aitem{dominant seventh chord}
1442 ES: acorde de s@'eptima de dominante,
1443 I: accordo di settima di dominante,
1444 F: accord de septi@`eme dominante,
1445 D: Dominantseptakkord,
1446 NL: dominant septiem akkoord,
1447 DK: dominantseptimakkord,
1448 S: dominantseptimackord,
1449 FI: dominanttiseptimisointu,
1452 @aref{chord}, @aref{functional harmony}.
1462 FI: dominantti, huippusointu,
1465 The fifth @aref{scale degree},
1466 @aref{functional harmony}.
1472 D: dorisch, dorischer Kirchenton,
1473 NL: dorische toonladder,
1479 @aref{diatonic scale}.
1481 @aitem{dot (augmentation dot)}
1483 I: punto (di valore),
1485 D: Punkt (Verl@"angerungspunkt),
1495 ES: nota con puntillo,
1499 NL: gepuncteerde noot,
1502 FI: pisteellinen nuotti,
1507 @aitem{double appoggiatura}
1508 ES: apoyatura doble,
1509 I: appoggiatura doppia,
1510 F: appoggiature double,
1511 D: doppelter Vorschlag,
1512 NL: dubbele voorslag,
1513 DK: dobbelt forslag,
1515 FI: kaksoisappogiatura, kaksoisetuhele,
1518 @aref{appoggiatura}.
1520 @aitem{double bar line}
1524 NL: dubbele maatstreep,
1527 FI: kaksoistahtiviiva,
1530 Indicates the end of a section within a movement.
1532 @aitem{double dotted note}
1533 ES: nota con dos puntillos,
1534 I: nota doppiamente puntata,
1535 F: note doublement point@'ee,
1536 D: doppelt punktierte Note,
1537 NL: dubbelgepuncteerde noot,
1538 DK: dob@-belt@-punk@-te@-ret node,
1539 S: dub@-bel@-punk@-te@-rad not,
1540 FI: kaksoispisteellinen nuotti,
1553 FI: kaksoisalennusmerkki,
1558 @aitem{double sharp}
1559 ES: doble sostenido,
1564 DK: dob@-belt@-kryds,
1566 FI: kaksoisylennysmerkki,
1571 @aitem{double trill}
1576 NL: dubbele triller,
1582 A simultaneous trill on two notes, usually in the distance of a third.
1589 NL: tweedelige maatsoort,
1618 FI: kesto, aika-arvo,
1623 @aitem{dydimic comma}
1624 @aref{syntonic comma}.
1642 D: Achtel, Achtelnote,
1644 DK: ottendedelsnode,
1645 S: @aa{}ttondelsnot,
1646 FI: kahdeksasosanuotti,
1652 ES: silencio de corchea,
1658 DK: ottendedelspause,
1659 S: @aa{}ttonddelspaus,
1660 FI: kahdeksasosatauko,
1669 D: Notenstechen, Notendruck
1676 Engraving means incising or etching a metal plate for
1677 printing. Photoengraving means drawing music with ink in a manner
1678 similar to drafting or engineering drawing, using similar tools.
1680 The traditional process of music printing is done through cutting in a
1681 plate of metal. Now also the term for the art of music typesetting.
1694 Two notes, intervals, or scales are enharmonic if they have different names
1698 \set Score.automaticBars = ##f
1699 %\override Score.TextScript #'font-style = #'large
1701 \context Staff \notes\relative c'' {
1702 gis1 s s as s s <des g,!> s s <cis g!> s s
1704 \context Lyrics \lyrics {
1705 \override Lyrics .LyricText #'self-alignment-X = #-1
1706 "g sharp " "a flat " "dim fifth " "augm fourth"
1710 @aitem{equal temperament}
1712 I: temperamento equabile,
1713 F: temp@'erament @'egal,
1714 D: gleichschwebende Stimmung,
1715 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1716 DK: ligesv@ae{}vende temperatur,
1717 S: liksv@"avande temperatur,
1721 Tuning system dividing the octave into 12 equal @aref{semitone}s
1722 (precisely 100 @aref{cent}s). @aref{temperament}.
1724 @aitem{expression mark}
1726 I: segno d'espressione,
1727 F: signe d'expression, indication de nuance,
1729 NL: voordrachtsteken,
1730 DK: foredragsbetegnelse,
1731 S: f@"oredragsbeteckning,
1732 FI: nyanssiosoitus, esitysmerkki,
1735 Performance indications concerning 1. volume, dynamics (for example
1736 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1737 @aref{andante}, @aref{allegro}).
1761 The position between the dots of the key symbol is the line of the F below
1762 central@w{ }C. Used on the third, fourth and fifth note line. A
1763 digit@w{ }8 above the clef symbol indicates that the notes must be played
1764 an octave higher (for example bass recorder) while 8@w{ }below the clef
1765 symbol indicates playing an octave lower (for example on double bass
1769 \set Score.automaticBars = ##f
1770 \override Staff.Clef #'full-size-change = ##t
1771 %\override Score.LyricText #'font-style = #'large
1785 \context Lyrics \lyrics {
1786 \override Lyrics .LyricText #'self-alignment-X = #-1
1795 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1800 F: point d'orgue, point d'arr@^et,
1805 FI: fermaatti, pid@"ake,
1808 Prolonged note or rest of indefinite duration.
1812 \notes\relative c'' {
1813 a4 b c2^\fermata \bar "|."
1830 @aitem{figured bass}
1831 ES: bajo cifrado, @aref{thorough bass}.
1839 DK: fingers@ae{}tning,
1840 S: fingers@"attning,
1844 The methodical use of fingers in the playing of instruments.
1846 @aitem{flag,pennant}
1848 I: coda (uncinata), bandiera,
1850 D: Fahne, F@"ahnchen,
1857 Ornament at the end of the stem of a note used for notes with values
1858 less than a quarter note. The number of flags determines the
1862 \set Score.automaticBars = ##f
1863 %\override Score.TextScript #'font-style = #'large
1864 \notes\relative c'' {
1885 @aitemii{forefall,backfall}
1886 @aref{appoggiatura}.
1896 FI: forte, voimakkaasti,
1899 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1900 @emph{mezzoforte} (@b{mf}) medium loud.
1926 @aref{counterpoint}.
1928 @aitem{functional harmony}
1929 ES: armon@'{@dotless{i}}a funcional,
1930 I: armonia funzionale,
1931 F: @'etude des functions,
1933 NL: functionele harmonie,
1934 DK: funktionsanalyse, funktionsharmonik,
1936 FI: harmoniaj@"arjestelm@"a,
1939 A system of harmonic analysis. It is based on the idea that, in a given key,
1940 there are only three functionally different chords: tonic (T, the chord on the
1941 first note of the scale), subdominant (S, the chord on the fourth note), and
1942 dominant (D, the chord on the fifth note). Other are considered to be
1943 variants of the base chords.
1946 \set Score.automaticBars = ##f
1947 %\override Score.LyricText #'font-style = #'large
1948 %\override Score.TextScript #'font-style = #'large
1950 \context Voice \notes\relative c'' {
1951 <g e c >1 < a f d > < b g e >
1952 <c a f > < d b g > < e c a > < f d b > }
1953 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1971 D: G-Schl@"ussel, Violinschl@"ussel,
1978 A clef symbol indicating the G above central@w{ }C. Used on the first
1979 and second note lines. A digit 8 above the clef symbol indicates that
1980 the notes must be played an octave higher while 8 below the clef symbol
1981 indicates playing or singing an octave lower (most tenor parts in choral
1982 scores are notated like that).
1985 \set Score.automaticBars = ##f
1986 \override Staff.Clef #'full-size-change = ##t
1987 %\override Score.LyricText #'font-style = #'large
1989 \notes\relative c'' {
1999 \context Lyrics \lyrics {
2000 \override Lyrics .LyricText #'self-alignment-X = #-1
2001 "french violin clef "
2016 FI: glissando, liukuen,
2019 Letting the pitch slide fluently from one note to the other.
2025 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
2032 Notes printed in small types to indicate that their time values are not
2033 counted in the rhythm of the bar. @aref{appoggiatura}.
2041 S: ackolad, b@"ojd klammer,
2042 FI: kaksoisnuottiviivasto,
2047 A combination of two staves with a brace. Usually used for piano music.
2057 FI: grave, raskaasti,
2067 D: Halbe, halbe Note,
2090 @aitem{harmonic cadence}
2091 ES: cadencia (arm@'onica),
2092 I: cadenza (armonica),
2093 F: cadence harmonique,
2095 NL: harmonische cadens,
2096 DK: harmonisk kadence,
2097 S: (harmonisk) kadens,
2098 FI: harmoninen kadenssi,
2101 Sequence of chords that terminate a musical phrase or
2102 section. @aref{functional harmony}.
2105 \notes\context PianoStaff <<
2106 \context Staff = SA \relative c'' {
2110 \partial 4 < c g e >4 |
2111 < c a f > < b g d > < c g e >2
2113 % %\override Score.LyricText #'font-style = #'large
2115 \context Staff = SB \relative c {
2117 \partial 4 c4 | f, g c2
2120 \context Lyrics \lyrics {
2127 ES: armon@'{@dotless{i}}a,
2130 D: Harmonie, Zusammenklang,
2134 FI: harmonia, yhteissointi,
2137 Tones sounding simultaneously. Two note harmonies fall into the categories
2138 @emph{consonances} and @emph{dissonances}.
2143 \set Score.automaticBars = ##f
2144 %\override Score.TextScript #'font-style = #'large
2145 \context Voice \notes\relative c'' {
2159 \set Score.automaticBars = ##f
2160 %\override Score.TextScript #'font-style = #'large
2161 \context Voice \notes\relative c'' {
2162 <g a>1_"second " s s
2163 <g f'>_"seventh " s s
2168 Three note harmony @aref{chord}.
2171 ES: homofon@'{@dotless{i}}a,
2178 FI: homofonia, yksi@"a@"anisyys,
2181 Music in which one voice leads melodically followed by the other voices more
2182 or less in the same rhythm. In contrast to @aref{polyphony}.
2192 FI: intervalli, kahden s@"avelen korkeusero,
2195 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2196 diminished, or augmented. The augmented fourth and the diminished fifth are
2197 identical (@aref{enharmonic}) and are called @emph{tritonus}
2198 because they consist of three @aref{whole tone}s. The addition
2199 of such two forms an octave.
2202 \set Score.automaticBars = ##f
2203 %\override Score.LyricText #'font-style = #'large
2204 %\override Score.TextScript #'font-style = #'large
2206 \context Voice \notes\relative c'' {
2211 < gis bes >^"dimin" s
2212 < g! bes >^"minor" s
2216 \context Lyrics \lyrics {
2217 "unisone " "second " "second " "second "
2218 "third " "third " "third " "third "
2223 \set Score.automaticBars = ##f
2224 %\override Score.LyricText #'font-style = #'large
2225 %\override Score.TextScript #'font-style = #'large
2227 \context Staff \notes\relative c'' {
2230 < g d' >^"perfect" s
2232 < gis es' >^"dimin" s
2233 < g! es' >^"minor" s
2237 \context Lyrics \lyrics {
2238 "fourth " "fourth " "fifth " "fifth "
2239 "sixth " "sixth " "sixth " "sixth "
2244 \set Score.automaticBars = ##f
2245 %\override Score.LyricText #'font-style = #'large
2246 %\override Score.TextScript #'font-style = #'large
2248 \context Staff \notes\relative c'' {
2249 < gis f'! >1^"dimin" s
2250 < g! f'! >^"minor" s
2251 < g fis' >^"major" s
2255 < g bes' >^"minor" s
2258 \context Lyrics \lyrics {
2259 "seventh " "seventh " "seventh " "octave "
2260 "none " "none " "decime " "decime "
2264 @aitem{inverted interval}
2265 ES: intervalo invertido,
2266 I: intervallo rivolto,
2267 F: intervalle revers@'e,
2268 D: umgekehrtes Intervall,
2269 NL: interval inversie,
2270 DK: omvendingsinterval,
2271 S: intervallets omv@"andning,
2272 FI: k@"a@"anteisintervalli,
2275 The difference between an interval and an octave.
2278 \set Score.automaticBars = ##f
2279 %\override Score.TextScript #'font-style = #'large
2280 \context Staff \notes\relative c'' {
2281 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2282 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2283 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2287 @aitem{just intonation}
2288 I: intonazione giusta,
2289 F: intonation juste,
2297 Tuning system in which the notes are obtained by adding and subtracting
2298 natural fifths and thirds. @aref{temperament}.
2311 According to the 12@w{ }tones of the @aref{chromatic scale}
2312 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2313 @aref{key signature}.
2315 @aitem{key signature}
2316 ES: armadura de clave,
2317 I: armatura di chiave,
2318 F: armure, armature [de la cl@'e],
2319 D: Vorzeichen, Tonart,
2320 NL: toon@-soort (voortekens),
2323 FI: s@"avellajiosoitus,
2326 The sharps or flats appearing at the beginning of each staff indicating the
2327 key of the music. @aref{accidental}.
2333 D: Largo, Langsam, Breit,
2337 FI: largo, hitaasti, leve@"asti,
2340 Very slow in tempo, usually combined with great
2341 expressiveness. @emph{Larghetto} is less slow than largo.
2343 @aitem{leading note}
2354 The seventh @aref{scale degree}, a @aref{semitone} below
2355 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2356 upwards) to the tonic scale degree.
2358 @aitemii{ledger line,leger line}
2359 ES: l@'{@dotless{i}}neas adicionales,
2360 I: tagli addizionali,
2361 F: ligne suppl@'ementaire,
2364 DK: hj@ae{}lpelinie,
2369 A ledger line is an extension of the staff.
2372 \set Score.automaticBars = ##f
2373 \notes\relative c'' { a,1 s c'' }
2387 To be performed (a) without any perceptible interruption between the notes
2388 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2389 (d) @aref{staccato}.
2392 \set Score.automaticBars = ##f
2394 \context Staff \notes\relative c'' {
2395 c4-( d e-) \bar "||"
2396 c4-- d-- e-- \bar "||"
2397 c4-.-( d-. e-.-) \bar "||"
2398 c4-. d-. e-. \bar "||"
2400 \context Lyrics \lyrics {
2401 % \override Lyrics .LyricText #'font-style = #'large
2409 @aitem{legato curve}
2410 @aref{slur}, @aref{legato}.
2413 ES: estanque de lilas,
2414 I: stagno del giglio,
2418 NL: le@-lie@-vij@-ver,
2424 A pond with lilies floating in it, also the name of a music typesetter.
2427 ES: l@'{@dotless{i}}nea,
2430 D: Linie, Notenlinie,
2434 FI: viiva, nuottiviiva,
2439 @aitem{long appoggiatura}
2440 ES: apoyatura larga,
2441 I: appoggiatura lunga,
2442 F: appoggiature longue,
2443 D: langer Vorschlag,
2446 S: l@aa{}ngt f@"orslag,
2447 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2450 @aref{appoggiatura}.
2463 Note value: double length of @aref{breve}.
2467 \set Score.automaticBars = ##f
2468 \notes\relative c'' {
2469 \override NoteHead #'style = #'mensural
2474 @aitemii{lyrics,song texts}
2485 @aitem{major interval}
2486 ES: intervalo mayor,
2487 I: intervallo maggiore,
2488 F: intervalle majeur,
2489 D: gro@ss{}es Intervall,
2493 FI: suuri intervalli,
2509 @aref{diatonic scale}.
2511 @aitem{meantone temperament}
2512 I: accordatura mesotonica,
2513 F: temp@'erament m@'esotonique,
2514 D: mittelt@"onige Stimmung,
2515 NL: middenstemming, middentoonstemming,
2516 DK: middeltonetemperatur,
2517 S: medeltonstemperatur,
2518 FI: keskis@"avelviritys,
2521 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2522 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2523 @aref{temperament} only a limited set of keys are playable.
2524 Used for tuning keyboard instruments for performance of pre-1650 music.
2526 @aitem{measure, bar}
2537 A group of @aref{beat}s (units of musical time) the first of which
2538 bears an accent. Such groups in numbers of two or more recur consistently
2539 throughout the composition and are marked from each other by
2540 bar-lines. @aref{meter}.
2544 I: mediante, modale,
2553 1. The third @b{scale degree}.
2554 2. A @aref{chord} having its base tone
2555 a third from that of another chord. For example, the tonic chord may be
2556 replaced by its lower mediant (variant tonic). @aref{functional
2557 harmony}, @aref{relative key}.
2562 FI: melisma, laulettavan tavun s@"avelkuvio,
2564 A melisma (plural: melismata) is a group of notes or tones sung on one
2565 syllable in plainsong
2567 @aitem{melodic cadence}
2573 F: indication de m@'esure,
2581 The basic scheme of @aref{note value}s and
2582 @aref{accent}s which remains unaltered throughout a composition
2583 or a section of it. For instance, 3/4 meter means that the basic
2584 @aref{note value}s are quarter notes and that a
2585 @aref{measure} consists of three of those. According to
2586 whether there are two, three or four units to the measure,
2587 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2588 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2591 \notes\relative c'' {
2594 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2598 \notes\relative c' {
2601 f8 f f f a16 g a f |
2602 c'8 c c c e16 d e c \bar "||"}
2606 \notes\relative c'' {
2609 d4 b8 g b d d c a4 |
2610 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2624 Device indicating the exact tempo of a piece. @aref{metronomic
2627 @aitem{metronomic indication}
2628 ES: indicaci@'on metron@'omica,
2629 I: indicazione metronomica,
2630 F: indication m@'etronomique,
2632 NL: metronoom aanduiding,
2634 S: metronomangivelse,
2635 FI: metronomiosoitus,
2638 Exact tempo indication (in beats per minute). Also denoted by
2639 M.M. (M@"alzels Metronom).
2641 @aitem{mezzo-soprano}
2652 The female voice between @aref{soprano} and
2659 D: eingestrichenes@w{ }c,
2661 DK: enstreget@w{ }c,
2662 S: ettstruket@w{ }c,
2666 First C below the 440 Hz A.
2669 \set Score.automaticBars = ##f
2670 \override Staff.Clef #'full-size-change = ##t
2671 \notes\relative c' {
2689 @aref{diatonic scale}.
2691 @aitem{minor interval}
2692 ES: intervalo mayor,
2693 I: intervallo minore,
2694 F: intervalle mineur,
2695 D: kleines Intervall,
2699 FI: pieni intervalli,
2712 FI: moodi, kirkkos@"avelasteikko,
2715 @aref{church mode}, @aref{diatonic scale}.
2725 FI: modulaatio, s@"avellajin vaihdos,
2728 Moving from one @aref{key} to another. For example, the second
2729 subject of a @aref{sonata form} movement modulates to the dominant
2730 key if the key is major and to the @aref{relative key} if the key
2740 FI: mordent, korukuvio,
2745 @aitemii{motive,motif}
2753 FI: teema, s@"avelaihe,
2756 The briefest intelligible and self-contained fragment of a musical theme or
2760 \override Score.TimeSignature #'style = \turnOff
2761 %\override Score.TextScript #'font-style = #'large
2762 \notes\relative c'' {
2765 \partial 8 g16_"------" fis |
2766 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2767 g8 g,16 a b8 cis d16 s
2782 Greater musical works like @aref{symphony} and
2783 @aref{sonata} most often consist of several -- more or less --
2784 independant pieces called movements.
2786 @aitem{multibar rest}
2787 ES: compases de espera,
2791 D: mehrtaktige Pause,
2794 FI: usean tahdin mittainen tauko,
2798 \notes\relative c'' {
2800 \set Score.skipBars = ##t R1*3
2805 @aitem{mixolydian mode}
2806 @aref{diatonic scale}.
2808 @aitem{natural sign}
2812 D: Aufl@"osungszeichen,
2813 NL: herstellingsteken,
2814 DK: op@-l@o{}sningstegn,
2815 S: @aa{}terst@"allningstecken,
2821 @aitem{neighbour tones}
2822 @aref{appoggiatura}.
2851 Notes are signs by means of which music is fixed in writing. The term is also
2852 used for the sound indicated by a note, and even for the key of the piano
2853 which produces the sound. However, a clear distinction between the terms tone
2854 and @aref{note} is strongly recommended. Briefly, one sees a note,
2859 I: testa, testina, capocchia,
2860 F: t@^ete de la note,
2868 A head like sign which indicates pitch by its position on a
2869 @aref{staff} provided with a @aref{clef}, and duration
2870 by a variety of shapes such as hollow or black heads with or without
2871 @aref{stem}s, @aref{flag}s, etc. For percussion
2872 instruments (often having no defined pitch) the note head may indicate the
2878 F: dur@'ee, valeur (d'une note),
2883 FI: nuotin aika-arvo,
2886 Note values (durations) are measured as fractions, normally 1/2, of the next
2887 higher note value. The longest duration normally used is called @emph{brevis},
2888 but sometimes (mostly in pre baroque music) the double length note value
2889 @emph{longa} is used.
2892 %\override Score.TextScript #'font-style = #'large
2893 \set Score.automaticBars = ##f
2894 \notes\relative c'' {
2895 \override NoteHead #'style = #'mensural
2896 g\longa_"longa" g\breve_"breve"
2897 \revert NoteHead #'style
2898 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2899 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2903 %\override Score.TextScript #'font-style = #'large
2904 \set Score.automaticBars = ##f
2905 \notes\relative c'' {
2906 r\longa_"longa" r\breve_"breve"
2907 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2908 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2911 An augmentation dot after a note multiplies the duration by one and a
2912 half. Another dot adds yet a fourth of the duration.
2915 %\override Score.TextScript #'font-style = #'large
2916 \notes\relative c'' {
2918 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2919 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2922 Alternatively note values may be subdivided by other ratios. Most common is
2923 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2924 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2925 dotted notes are also frequently used.
2928 %\override Score.TextScript #'font-style = #'large
2929 \notes\relative c'' {
2931 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2932 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2937 \notes\relative c'' {
2939 \times 3/2 {g4_"duplets" g} |
2941 \times 6/4 {g8_"quadruplets" g g g} |
2942 g8 g g g g4 \bar "||"
2947 @aref{G clef}, @aref{F clef}.
2962 @aitemiii{ornament,embellishment,accessory}
2964 I: abbellimento, fioriture,
2965 F: agr@'ement, ornement,
2966 D: Verzierung, Ornament,
2973 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2974 with the diatonic @aref{second} above it. In the music from the
2975 middle of the 19th century and onwards the trill is performed with the main
2976 note first while in the music from the preceding baroque and classic periods
2977 the upper note is played first.
2981 \context Staff = sa {
2982 % \override Score.TextScript #'font-style = #'large
2983 \notes\relative c'' {
2984 c2._"pre-1850" b4\trill | c1 \bar "||"
2985 c2._"post-1850" b4\trill | c1 \bar "||"
2988 \notes\relative c'' {
2989 c2. c32 b c b c b c b | c1
2990 c2. b32 c b c \times 4/5 { b c b c b } | c1
2995 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2996 @emph{prall} (inverted mordent).
3000 \context Staff = sa {
3001 % \override Score.TextScript #'font-style = #'large
3002 \notes\relative c'' {
3003 a4_"turn" b\turn c2 \bar "||"
3004 g4_"mordent" a b\mordent a \bar "||"
3005 e'4_"prall" d\prall c2 \bar "||"
3008 \notes\relative c'' {
3011 e'4 e32[ d e d ~ d8] c2
3016 @aref{appoggiatura}.
3026 FI: ossia, vaihtoehtoinen esitystapa,
3029 Ossia (otherwise) marks an alternative. It is an added staff or piano
3030 score, usually only a few measures long, which presents another version
3031 of the music, for example for small hands.
3041 FI: stemma, instrumenttiosuus,
3044 1. In instrumental or choral music the music for the single instrument
3045 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3046 melodic line of the contrapunctal web.
3052 D: Schlagzeug, Schlagwerk,
3056 FI: ly@"om@"asoittimet,
3059 A family of musical instruments which are played on by striking or
3060 shaking. Percussion instruments commonly used in a symphony orchestra are
3061 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3062 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3065 @aitem{perfect interval}
3066 ES: intervalo justo,
3067 I: intervallo giusto,
3068 F: intervalle juste,
3069 D: reines Intervall,
3073 FI: puhdas intervalli,
3089 A natural division of the melodic line, comparable to a sentence of speech.
3099 FI: fraseeraus, j@"asent@"aminen,
3102 The clear rendering in musical performance of the @aref{phrase}s of
3103 the melody. Phrasing may be indicated by a @aref{slur}.
3116 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3117 @emph{mezzopiano} (@b{mp}) medium soft.
3135 NL: pizzicato, getokkeld,
3138 FI: pizzicato, n@"app@"aillen,
3141 Play by plucking the strings.
3144 ES: polifon@'{@dotless{i}}a,
3151 FI: polyfonia, moni@"a@"anisyys,
3154 Music written in a combination of several simultaneous voices (parts) of a
3155 more or less pronounced individuality. @aref{counterpoint}.
3164 D: Presto, Sehr schnell,
3165 NL: presto, Sehr schnell,
3168 FI: presto, hyvin nopeasti,
3171 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3172 denotes the highest possible degree of speed.
3174 @aitem{Pythagorean comma}
3175 ES: coma pitag@'orico,
3176 I: comma pitagorico,
3177 F: comma pythagoricien,
3178 D: Pythagor@"aisches Komma,
3179 NL: komma van Pythagoras,
3180 DK: pythagor@ae{}isk komma,
3181 S: pytagoreiskt komma,
3182 FI: pytagorinen komma,
3185 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3186 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3187 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3188 7@w{ }octaves. The difference between those two pitches is called the
3204 @aitem{quarter note}
3206 I: semiminima, nera,
3209 D: Viertel, Viertelnote,
3213 FI: nelj@"annesosanuotti,
3218 @aitem{quarter rest}
3219 ES: silencio de negra,
3220 I: pausa di semiminima,
3225 DK:@w{ }fjerdedelspause,
3226 S: fj@"ardedelspaus,
3227 FI: nelj@"annesosatauko,
3249 D: rallentando, langsamer werden,
3253 FI. rallerdando, hidastuen,
3256 Abbreviation "rall.". @aref{ritardando}.
3258 @aitem{relative key}
3260 I: tonalit@`a relativa,
3261 F: tonalit@'e relative,
3263 NL: paralleltoonsoort,
3264 DK: paralleltoneart,
3266 FI: rinnakkaiss@"avellaji,
3269 @aref{major} and @aref{minor} @aref{key}
3270 with the same @aref{key signature}.
3273 \set Score.automaticBars = ##f
3274 %\override Score.TextScript #'font-style = #'large
3275 \notes\relative c' {
3277 es1_"e flat major" f g as bes c d es
3283 \set Score.automaticBars = ##f
3284 %\override Score.TextScript #'font-style = #'large
3285 \notes\relative c' {
3287 c1_"c minor" d es f g a! b! c \bar "||"
3292 ES: barra de repetici@'on,
3294 F: barre de reprise,
3297 DK: gen@-ta@-gel@-se,
3305 \notes\relative c'' {
3306 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3310 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3311 @c specify the rest's value.
3337 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3338 fixed unit of time, called @aref{beat}, and in which the normal
3339 @aref{accent} recurs in regular intervals, called
3340 @aref{measure}. The basic scheme scheme of time values is called
3341 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3342 accent. In modern notation such music appears as a free alternation of
3343 different measures. (c) Free rhythm, i.e., the use of temporal values having
3344 no common metrical unit (beat).
3350 D: Ritardando, langsamer werden,
3354 FI. ritardando, hidastuen,
3357 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3367 FI: ritenuto, hidastaen,
3370 Immediate reduction of speed.
3380 FI: asteikko, s@"avelasteikko,
3383 @aref{diatonic scale}.
3385 @aitem{scale degree}
3386 ES: grados de la escala,
3387 I: grado della scala,
3388 F: degr@'e [de la gamme],
3390 NL: trap [van de toonladder],
3393 FI: s@"avelaste, asteikon s@"avel,
3396 Names and symbols used in harmonic analysis to denote tones of the scale as
3397 roots of chords. The most important are degrees I = tonic (T), IV =
3398 sub@-do@-mi@-nant (S) and V = dominant (D).
3401 \set Score.automaticBars = ##f
3402 %\override Score.LyricText #'font-style = #'large
3403 %\set minVerticalAlign = #8
3405 \context Staff \notes\relative c' {
3408 \context Lyrics \lyrics {
3409 << { I II III IV V VI VII I }
3414 @aref{functional harmony}.
3420 D: Partitur (full score), Klavierauszug (vocal score)
3427 A copy of orchestral, choral or chamber music showing what each instrument is
3428 to play, each voice to sing, having each part arranged one underneath the
3429 other on different staves @aref{staff}.
3442 The @aref{interval} between two neigbouring tones of a scale. A
3443 @aref{diatonic scale} consists of alternating
3444 @aref{semitone}s and @aref{whole tone}s, hence the size
3445 of a se@-cond depends on the scale degrees in question.
3458 The @aref{interval} of a minor second. The (usually) smallest
3459 interval in European composed music. The interval between two neighbouring
3460 tones on the piano keyboard -- including black and white keys -- is a
3461 semitone. An octave may be divided into 12@w{ }semitones.
3462 @aref{interval}, @aref{chromatic scale}.
3465 \set Score.automaticBars = ##f
3466 \notes\relative c'' { g1 gis s a bes s b! c }
3482 @aitem{sextuplet, sextolet}
3507 @aitem{short appoggiatura}
3508 @aref{appoggiatura}.
3510 @aitem{sixteenth note}
3515 D: Sechzehntel, Sechzehntelnote,
3516 NL: zes@-ti@-ende noot,
3517 DK: sekstendedelsnode,
3519 FI: kuudestoistaosanuotti,
3524 @aitem{sixteenth rest}
3525 ES: silencia de semicorchea,
3526 I: pausa di semicroma,
3528 UK: semiquaver rest,
3529 D: Sechzehntelpause,
3531 DK: sekstendedelspause,
3551 @aitem{sixty-fourth note}
3554 F: quadruple croche,
3555 UK: hemidemisemiquaver,
3556 D: Vierundsechzigstel, Vierundsechzigstelnote,
3557 NL: vierenzestigste noot,
3558 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3559 S: sextiofj@"ardedelsnot,
3560 FI: kuudeskymmenesnelj@"asosanuotti,
3565 @aitem{sixty-fourth rest}
3566 ES: silencia de semifusa,
3567 I: pausa di semibiscroma,
3568 F: seizi@`eme de soupir,
3569 UK: hemidemisemiquaver rest,
3570 D: Vierundsechzigstelpause,
3571 NL: vierenzestigste rust,
3572 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3573 S: sextiofj@"ardedelspaus,
3574 FI: kuudeskymmenesnelj@"asosatauko,
3581 I: legatura (di portamento or espressiva),
3582 F: liaison, coul@'e,
3583 D: Bogen, Legatobogen, Phrasierungsbogen,
3584 NL: fraseringsboog, legatoboog, streekboog,
3585 DK: legatobue, fraseringsbue,
3590 A slur above or below a group of notes indicates that they are to be played
3591 @aref{legato}, e.g., with one stroke of the violin bow or with one
3601 FI: suhteelliset laulunimet,
3604 General term for systems of designating the degrees of the
3605 @aref{scale}, not by letters, but by syllables (@emph{do}
3606 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3607 (@emph{ti})). @aref{scale degree}.
3620 In its present-day meaning a sonata denotes an instrumental composition for
3621 piano or for some other instrument with piano accompaniment, which consists of
3622 three or four independant pieces, called movements.
3627 F: [en] forme de sonate,
3629 NL: hoofdvorm, sonatevorm,
3635 A form used frequently for single movements of the @aref{sonata},
3636 @aref{symphony}, quartet, etc. A movement written in sonata form
3637 falls into three sections called @emph{exposition}, @emph{development} and
3638 @emph{recapitulation}. In the exposition the composer introduces his musical
3639 ideas, consisting of a number of themes; in the development section he
3640 "develops" this material, and in the recapitulation he repeats the exposition,
3641 with certain modifications, however. The exposition contains a number of themes
3642 which fall into two groups, often called first and second subject. Other
3643 melodies occurring in each group are considered as continuations of these
3644 two. The second theme is in another key, normally in the key of the
3645 @aref{dominant} if the @aref{tonic} is
3646 @aref{major}, and in the @aref{relative key} if the
3647 tonic is @aref{minor}.
3657 FI: sopraano, korkea nais@"a@"ani,
3660 The highest female voice.
3665 F: staccato, piqu@'e, d@'etach@'e,
3670 FI: staccato, lyhyesti, ter@"av@"asti,
3673 Playing the note(s) short. Staccato is indicated by a dot above or below the
3679 \notes\relative c'' {
3681 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3688 I: pentagramma, rigo (musicale),
3691 NL: (noten)balk, partij,
3697 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3698 which the musical notes are written, thus indicating (in connection
3699 with a @aref{clef}) their pitch. Staves for
3700 @aref{percussion} instruments may have fewer lines.
3706 D: Hals, Notenhals, Stiel,
3713 Vertical line above or below a @aref{note head} shorter than a
3714 whole note. @aref{beam}.
3717 \set Score.autoBeaming = ##f
3718 \set Score.automaticBars = ##f
3719 %\override Score.TextScript #'font-style = #'large
3720 \notes\relative c'' {
3739 A family of stringed musical instruments played with a bow. Strings commonly
3740 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3746 D: betonter Taktteil oder Taktschlag,
3748 D: betonet taktslag,
3749 S: betonat taktslag,
3750 FI: tahdin vahva isku,
3753 @aref{beat}, @aref{accent}, @aref{measure},
3764 FI: subdominantti, alidominantti,
3767 The fourth @aref{scale degree}. @aref{functional
3778 FI: alikeskis@"avel,
3781 The sixth @aref{scale degree}.
3791 FI: subtoonika, alitoonika,
3794 The seventh @aref{scale degree}.
3796 @aitem{superdominant}
3807 The sixth @aref{scale degree}.
3820 The second @aref{scale degree}.
3823 ES: sinfon@'{@dotless{i}}a,
3826 D: Sinfonie, Symphonie,
3833 A symphony may be defined as a @aref{sonata} for orchestra.
3846 Any deliberate upsetting of the normal pulse of @aref{meter},
3847 @aref{accent} and @aref{rhythm}. Our system of musical
3848 rhythm rests upon the grouping of equal beats into groups of two or three,
3849 with a regularly recurrent accent on the first beat of each group. Any
3850 deviation from this scheme is felt as a disturbance or contradiction between
3851 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3855 \notes\relative c' {
3858 e c'4 e,8 c'4 e,8 c' ( | c2)
3862 @aitemii{syntonic comma,dydimic comma}
3863 I: comma sintonico (o didimico),
3864 F: comma syntonique,
3865 D: syntonisches Komma,
3866 NL: syntonische komma,
3867 DK: syntonisk komma,
3868 S: syntoniskt komma,
3869 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3872 Difference between the natural third and the third obtained by Pythagorean
3873 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3882 FI: nuottij@"arjestelm@"a,
3885 The collection of staves @aref{staff}, two or more, as used for
3886 writing down of keyboard, chamber, choral, or orchestral music.
3892 D: Stimmung, Temperatur,
3893 NL: stemming, temperatuur,
3896 FI: viritysj@"arjestelm@"a,
3899 Systems of tuning in which the intervals deviate from the acoustically pure
3900 intervals. @aref{meantone temperament}, @aref{equal
3903 @aitem{tempo indication}
3904 ES: indicaci@'on de tempo,
3905 I: indicazione di tempo,
3906 F: indication de temps,
3907 D: Zeitma@ss{}, Tempobezeichnung,
3908 NL: tempo aanduiding,
3911 FI: tempomerkint@"a,
3914 The rate of speed of a composition or a section thereof, ranging from the
3915 slowest to the quickest, as is indicated by tempo marks as
3916 @aref{largo}, @aref{adagio}, @aref{andante},
3917 @aref{allegro}, and @aref{presto}.
3927 FI: tenori, korkea mies@"a@"ani,
3930 The highest voice of men (apart from @aref{counter tenor}).
3958 @aitem{thirty-second note}
3963 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3964 NL: twee-endertig@-ste noot,
3965 DK: toogtredivtedelsnode,
3966 S: trettiotv@aa{}ondelsnot,
3967 FI: kolmanneskymmeneskahdesosanuotti,
3972 @aitem{thirty-second rest}
3973 ES: silencio de fusa,
3974 I: pausa di biscroma,
3975 F: huiti@`eme de soupir,
3976 UK: demisemiquaver rest,
3977 D: Zweiunddreissigstel@-pause,
3979 DK: toogtredivtedelspause,
3980 S: trettiotv@aa{}ondelspaus,
3981 FI: kolmanneskymmeneskahdesosatauko,
3986 @aitemii{thorough bass,figured bass}
3988 I: basso continuo, basso numerato,
3989 F: basse chiffr@'ee,
3990 D: Generalbass, bezifferter Bass,
3991 NL: basso continuo, becijferde bas
3994 FI: kenraalibasso, numeroitu basso,
3997 A method of indicating an accompaniment part by the bass notes only, together
3998 with figures designating the chief @aref{interval}s and
3999 @aref{chord}s to be played above the bass notes.
4002 \context GrandStaff <<
4003 \context Staff = lh \notes\relative c'' {
4007 << \context Voice = rha {
4010 \context Voice = rhb {
4012 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4016 \context Staff = rh \notes\relative c' {
4019 es8 c d bes c as bes16 as g f | es4
4021 \context Lyrics \lyrics {
4022 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4023 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4024 { "" "" "" "2" "" "" "" "" "" "2" } >>
4030 ES: ligadura de prolongaci@'on,
4031 I: legatura (di valore),
4034 NL: overbinding, bindingsboog,
4036 S: bindeb@aa{}ge, @"overbindning,
4040 A curved line, identical in appearance with the @aref{slur}, which
4041 connects two succesive notes of the same pitch, and which has the function of
4042 uniting them into a single sound equal to the combined durations.
4045 \set Score.automaticBars = ##f
4046 \notes\relative c'' { g2 ~ g4. }
4049 @aitem{time signature}
4050 ES: cifra indicadora de comp@'as,
4052 F: chiffrage (chiffres indicateurs), signe de valeur,
4053 D: Taktangabe, Angabe der Taktart,
4056 S: taktartssignatur,
4073 A sound of definite pitch and duration, as distinct from @emph{noise}.
4074 Tone is a primary building material of music.
4075 Music from the 20th century may be based on non tone related sounds.
4088 The first @aref{scale degree}.
4089 @aref{functional harmony}.
4091 @aitem{transposition}
4092 ES: transposici@'on,
4102 Shifting a melody up or down in pitch, while keeping the same
4108 \notes\relative c'' {
4110 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4118 \transpose c bes \relative c'' {
4120 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4127 I: chiave di violino,
4129 D: Violinschl@"ussel, Sopranschl@"ussel,
4131 DK:@w{ }diskantn@o{}gle,
4149 On stringed instruments (@aref{strings}) the quick reiteration of
4150 the same tone, produced by a rapid up-and-down movement movement of the bow
4151 (a). The term is also used for the rapid alternation (b) between two notes of
4152 a @aref{chord}, usually in the distance of a third
4156 \set Score.automaticBars = ##f
4157 %\override Score.TextScript #'font-style = #'large
4158 \notes\relative c' {
4160 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4161 \repeat "tremolo" 8 { e32_"b" g }
4166 ES: tr@'{@dotless{i}}ada,
4168 F: triade, accord parfait, accord de trois sons,
4178 @aitemii{trill,shake}
4181 F: trille, tremblement, battement (cadence),
4191 @aitem{triple meter}
4192 ES: comp@'as compuesto,
4196 NL: driedelige maatsoort,
4218 ES: tr@'{@dotless{i}}tono,
4232 I: diapason, corista,
4241 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4242 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4244 @aitemii{turn,gruppetto}
4258 ES: un@'{@dotless{i}}sono,
4265 FI: unisono, yksi@"a@"anisesti,
4268 Playing of the same notes or the same melody by various instruments (voices)
4269 or by the whole orchestra (choir), either at exactly the same pitch or in a
4273 ES: entrada anacr@'usica,
4275 F: anacrouse, lev@'ee,
4283 Initial note(s) of a melody occurring before the first bar
4284 line. @aref{measure}, @aref{meter}.
4289 \notes\relative c' {
4290 \partial 4 f4 | bes4. a8 bes4 c |
4291 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4302 FI: @"a@"ani, laulu@"a@"ani,
4305 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4306 @aref{contralto}, @aref{tenor},
4307 @aref{baritone}, @aref{bass}.
4308 2. A melodic layer or part of a polyphonic composition.
4312 I: tempo debole, arsi,
4314 D: unbetonter Taktteil oder Taktschlag,
4316 DK: ubetonet taktslag,
4317 S: obetonat taktslag,
4318 FI: tahdin heikko isku,
4321 @aref{beat}, @aref{measure}, @aref{rhythm}.
4328 D: Ganze, ganze Note,
4338 ES: silencio de redonda,
4339 I: pausa di semibreve,
4342 D: ganze Pause, ganztaktige Pause,
4362 The @aref{interval} of a major second. The interval between two
4363 tones on the piano keyboard with exactly one key between them -- including
4364 black and white keys -- is a whole tone.
4372 DK tr@ae{}bl@ae{}sere,
4373 S: tr@"abl@aa{}sare,
4377 A family of blown wooden musical instruments. Today some of these instruments
4378 are actually made from metal. The woodwind instruments commonly used in a
4379 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4386 @item DURATION NAMES, NOTES AND RESTS
4389 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4391 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4392 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4396 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4397 @tab longa @tab longa @tab longa @tab longa
4401 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4402 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4406 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4407 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4411 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4412 halve @tab halv @tab halv @tab puoli- @tab
4416 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4417 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4421 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4422 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4426 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4427 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4428 @tab kuudestoistaosa- @tab
4432 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4433 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4434 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4438 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4439 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4440 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4441 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4444 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4452 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4454 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4455 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4460 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4464 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4465 cis @tab cis @tab Cis @tab cis
4469 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4470 des @tab des @tab Des @tab des
4474 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4478 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4482 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4486 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4490 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4491 @tab as @tab As @tab as
4495 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4499 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4500 ais @tab ais @tab Ais @tab ais
4504 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4505 @tab b @tab B @tab b
4509 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4517 @item ---------------------
4521 @item Literature used
4522 The Harvard Dictionary of Music, London 1944. Many more or less literal
4523 quotes from its articles have been included into the item explanation texts.
4525 Hugo Riemanns Musiklexicon, Berlin 1929.
4527 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4528 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.