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,
76 @item Fran@,{c}ois Pinard
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::
326 * Pythagorean comma::
348 * short appoggiatura::
352 * sixty-fourth note::
353 * sixty-fourth rest::
381 * thirty-second note::
382 * thirty-second rest::
431 FI: aksentti, korostus.
433 The stress of one tone over others.
443 ES: alteración accidental,
445 F: altération accidentelle,
446 D: Vorzeichen, Versetzungszeichen, Akzidenz,
447 NL: toevallig (verplaatsings)teken,
449 S: tillfälligt förtecken,
450 FI: tilapäinen etumerkki.
452 An accidental has the effect of an @aref{alteration} of a note. A
453 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
454 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
455 lowers it by a whole tone. A natural cancels the effect of a previous
458 @lilypond[fragment,notime,line-width=13.0\cm]
459 \set Score.automaticBars = ##f
461 \context Staff \relative c'' {
462 \set Staff.extraNatural = ##f
463 gis1 gisis ges geses g!
466 \override Lyrics .LyricText #'self-alignment-X = #-1
467 sharp "db. sharp" flat "db. flat" natural
477 F: accelerando, en accélérant,
478 D: accelerando, schneller werden,
482 FI: accelerando, kiihdyttäen.
496 FI: adagio, hitaasti.
498 It.@: comfortable, easy.
499 1.@tie{}Slow tempo, slower -- especially in even meter -- than
500 @aref{andante} and faster than @aref{largo}.
501 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
502 @aref{sonata}s, symphonies, etc.
510 D: Allegro, Schnell, Fröhlich, Lustig,
514 FI: allegro, nopeasti.
516 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
517 tempo, especially the first and last movements of a @aref{sonata}.
526 NL: verhoging of verlaging,
531 An alteration is the modification, raising or lowering, of a note's
532 pitch. It is established by an @aref{accidental}.
544 FI: altto, matala naisääni.
546 A female voice of low range (@emph{contralto}). Originally the alto was a
547 high male voice (hence the name), which by the use of falsetto reached the
548 height of the female voice. This type of voice is also known as
549 @aref{counter tenor}.
554 ES: clave de do en tercera,
555 I: chiave di contralto,
556 F: clef d'ut troisième ligne,
557 D: Altschlüssel, Bratschenschlüssel,
563 C clef setting middle C on the middle line of the staff
576 FI: ambitus, ääniala, soitinala.
578 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
579 of pitches for a given voice in a part of music. It may also denote
580 the pitch range that a musical instrument is capable of playing.
585 @c TODO: add more languages for anacrusis
588 An anacrusis (also known as pickup or upbeat) is an incomplete measure
589 of music before a section of music.
591 @node ancient minor scale
592 @section ancient minor scale
594 ES: escala menor antigua,
595 I: scala minore naturale,
596 F: forme du mode mineur ancien, troisème mode, mode hellénique
598 NL: authentieke mineurtoonladder,
601 FI: luonnollinen molliasteikko.
603 @aref{diatonic scale}.
605 @lilypond[fragment,notime,line-width=13.0\cm]
606 \set Score.automaticBars = ##f
623 Walking tempo/character.
626 @section appoggiatura
630 F: appoggiature, (port de voix),
635 FI: appoggiatura, etuhele.
637 Ornamental note, usually a second, that is melodically connected with the
638 main note following it. In music before the 19th century a.@: were usually
639 performed on the beat, after that mostly before the beat. While the short
640 a.@: is performed as a short note regardless of the duration of the main note
641 the duration of the long a.@: is proportional to that of the main note.
643 @lilypond[line-width=13.0\cm]
644 \context Voice \relative c'' {
648 %\override Score.TextScript #'font-style = #'large
649 <d a fis>4_"notation" r
650 { \override Stem #'flag-style = #'()
652 \revert Stem #'flag-style
655 { \override Stem #'flag-style = #'()
657 \revert Stem #'flag-style
660 \cadenzaOn a4 \bar "||" \cadenzaOff
662 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
663 \cadenzaOn a4 \bar "||" \cadenzaOff
667 An appoggiatura may have more notes preceding the main note.
669 @lilypond[line-width=13.0\cm]
673 % \override Score.TextScript #'font-style = #'large
674 \grace { bes16 } as8_"notation" as16 bes as8 g |
675 \grace { as16[( bes] } < c as >4-)
676 \grace { as16[( bes] } < c as >4-) \bar "||"
677 \grace { bes16 } as8_"performance" as16 bes as8 g |
678 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
679 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
690 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
692 DK: arpeggio, akkordbrydning,
694 FI: arpeggio, murtosointu.
696 @lilypond[fragment,line-width=13.0\cm]
697 \context PianoStaff <<
698 \context Staff = SA \relative c'' {
701 r8 g16 c e g, c e r8 g,16 c e g, c e |
702 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
703 \context Staff = SB \relative c' {
705 << \context Voice = va {
707 r16 e8. ( e4) r16 e8. ( e4) |
708 r16 d8. ( d4) r16 d8. ( d4) }
709 \context Voice = vb {
717 @section articulation
719 @c TODO: add languages for articulation.
720 Articulation refers to notation which indicates how a note or notes should
721 be played. Slurs, accents, staccato, and legato are all examples of
725 @node ascending interval
726 @section ascending interval
728 ES: intervalo ascendente,
729 I: intervallo ascendente,
730 F: intervalle ascendant,
731 D: steigendes Intervall,
732 NL: stijgend interval,
733 DK:@w{ }stigende interval,
734 S: stigande intervall,
735 FI: nouseva intervalli.
737 A distance between a starting lower note and a higher ending note.
739 @node augmented interval
740 @section augmented interval
742 ES: intervalo aumentado,
743 I: intervallo aumentato,
744 F: intervalle augmenté,
745 D: übermäßiges Intervall,
746 NL: overmatig interval,
747 DK: forstørret interval,
748 S: överstigande intervall,
749 FI: ylinouseva intervalli.
758 F: manuscrit, autographe
759 D: Autograph, Handschrift,
761 DK: håndskrift, autograf,
763 FI: käsinkirjoitettu nuotti.
765 1.@tie{}A manuscript in the composer's own hand.
766 2.@tie{}Music prepared for photoreproduction by freehand drawing,
767 with the aid of a straightedge ruler and T-square only,
768 which attempts to emulate engraving.
769 This required more skill than did engraving.
796 ES: barra, línea divisoria,
797 I: stanghetta, barra (di divisione),
798 F: barre (de mesure),
815 FI: baritoni, keskikorkuinen miesääni.
817 The male voice intermediate between the @aref{bass} and the
820 @c F: clef de troisième ligne dropped
823 @section baritone clef
825 ES: clave de fa en tercera,
826 I: chiave di baritono,
827 F: clef d' Ut cinquième ligne, clef de Fa troisième,
834 C or F clef setting middle C on the upper staff line.
835 @aref{C clef}, @aref{F clef}.
840 ES: clave de fa en cuarta,
842 F: clé de fa quatrième ligne,
849 A clef setting with middle C on the first top ledger line.
862 FI: basso, matala miesääni.
864 1.@tie{}The lowest male voice.
865 2.@tie{}Sometimes, especially in jazz music, used as
866 an abbreviation for double bass.
881 Line connecting a series of notes (shorter than a quarter note).
882 The number of beams determines the note value of the connected notes.
884 @lilypond[fragment,notime,line-width=13.0\cm]
885 \set Score.automaticBars = ##f
886 %\override TextScript #'font-style = #'large
889 g16_"1/16"[ g g g] s16
890 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
891 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
897 ES: tiempo, parte (de compás)
900 D: Takt, Taktschlag, Zeit (im Takt),
906 Note value used for counting, most often half-, fourth-, and eighth notes.
907 The base counting value and the number of them per measure is indicated at
908 the start of the music.
910 @lilypond[fragment,line-width=13.0\cm]
913 \relative c'' { g4 c b a | g1 \bar "||"}
915 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
929 D: Klammer, Akkolade,
930 NL: accolade, teksthaak,
933 FI: yhdistävä sulkumerkki.
935 Symbol at the start of a system connecting staves. Curly braces are used
936 for connecting piano staves, angular brackets for connecting parts in an
937 orchestral or choral score.
939 @lilypond[fragment,ragged-right]
940 \context GrandStaff <<
941 \relative c''\context Staff = SA { \clef treble g4 e c2 }
942 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
945 @lilypond[fragment,ragged-right]
946 \context StaffGroup <<
947 % \set StaffGroup.minVerticalAlign = #12
948 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
949 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
961 S: brassinstrument, mässingsinstrument,
964 A family of blown musical instruments made of brass, all using a cup formed
965 mouth piece. The brass instruments commonly used in a symphony orchestra are
966 trumpet, trombone, french horn, and tube.
974 D: Atemzeichen, Trennungszeichen,
975 NL: repercussieteken,
976 DK: vejrtrækningstegn,
980 Indication of where to breathe in vocal and wind instrument parts.
993 @aref{note value}, twice as long as a whole note. Mainly used
996 @lilypond[fragment,notime,ragged-right]
997 \set Score.automaticBars = ##f
998 \relative c'' { g\breve }
1025 Clef symbol indicating the position of the middle C. Used on all note
1028 @lilypond[fragment,notime,line-width=13.0\cm]
1029 \set Score.automaticBars = ##f
1030 \override Score.Clef #'full-size-change = ##t
1032 \context Staff \relative c' {
1034 \clef mezzosoprano c
1039 \context Lyrics \lyrics {
1040 \override Lyrics .LyricText #'self-alignment-X = #-1
1041 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1056 FI: kadenssi, lopuke.
1058 @aref{harmonic cadence}, @aref{functional harmony}.
1070 FI: kadenssi, lopuke.
1072 An extended, improvisatory style section inserted near the end of
1073 movement. The purpose of a cadenza is to give singers or players a chance
1074 to exhibit their technical skill and -- not last -- their ability to
1075 improvise. Since the middle of the 19th century, however, most cadences have
1076 been written down by the composer.
1088 FI: kaanon, tarkka jäljittely.
1090 @aref{counterpoint}.
1102 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1103 viritysjärjestelmässä.
1105 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1106 of an equally tempered @aref{semitone}).
1107 @aref{equal temperament}.
1126 Three or more tones sounding simultaneously. In traditional European music
1128 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1130 minor @aref{third}) as well as @emph{minor} (minor + major third)
1131 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1132 and five-tone @emph{ninth} major chords are most often used as dominants
1133 (@aref{functional harmony}). A special case is chords having no
1134 third above the lower notes to define their quality as major or minor. Such
1135 chords are denoted open chords
1137 @lilypond[fragment,notime,line-width=13.0\cm]
1138 \set Score.automaticBars = ##f
1139 %\override TextScript #'font-style = #'large
1141 \context Staff \relative c'' {
1142 \set Staff.extraNatural = ##f
1161 @node chromatic scale
1162 @section chromatic scale
1164 ES: escala cromática,
1166 F: gamme chromatique,
1167 D: chro@-ma@-ti@-sche Tonleiter,
1168 NL: chromatische toonladder,
1169 DK: kromatisk skala,
1171 FI: kromaattinen asteikko.
1173 A scale consisting of all 12 @aref{semitone}s.
1175 @lilypond[fragment,notime,line-width=13.0\cm]
1176 \set Score.automaticBars = ##f
1177 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1181 @section chromaticism
1192 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1195 @section church mode
1197 ES: modo eclesiástico,
1198 I: modo ecclesiastico,
1199 F: mode ecclésiastique,
1204 FI: moodi, kirkkosävellaji.
1206 @aref{diatonic scale}.
1214 D: Schlüssel, Notenschlüssel,
1218 FI: avain, nuottiavain.
1220 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1227 A @emph{cluster} is a range of simultaneously sounding pitches that
1228 may change over time. The set of available pitches to apply usually
1229 depends on the acoustic source. Thus, in piano music, a cluster
1230 typically consists of a continuous range of the semitones as provided
1231 by the piano's fixed set of a chromatic scale. In choral music, each
1232 singer of the choir typically may sing an arbitrary pitch within the
1233 cluster's range that is not bound to any diatonic, chromatic or other
1234 scale. In electronic music, a cluster (theoretically) may even cover
1235 a continuous range of pitches, thus resulting in colored noise, such
1238 Clusters can be denoted in the context of ordinary staff notation by
1239 engraving simple geometrical shapes that replace ordinary notation of
1240 notes. Ordinary notes as musical events specify starting time and
1241 duration of pitches; however, the duration of a note is expressed by
1242 the shape of the note head rather than by the horizontal graphical
1243 extent of the note symbol. In contrast, the shape of a cluster
1244 geometrically describes the development of a range of pitches
1245 (vertical extent) over time (horizontal extent). Still, the
1246 geometrical shape of a cluster covers the area in which any single
1247 pitch contained in the cluster would be notated as an ordinary note.
1249 @lilypond[fragment,relative=2,verbatim,ragged-right]
1250 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1263 FI: komma, korvinkuultava ero äänenkorkeudessa.
1265 Difference in pitch between a note derived from pure tuning and the same note
1266 derived from some other tuning method. @aref{temperament}.
1269 @section common meter
1273 @node compound interval
1274 @section compound interval
1276 ES: intervalo compuesto,
1277 I: intervallo composto,
1278 F: intervalle composé,
1279 D: weites Intervall,
1280 NL: samengesteld interval,
1281 DK: sammensat interval,
1282 S: sammansatt intervall,
1283 FI: oktaavia laajempi intervalli.
1285 Intervals larger than an octave.
1292 ES: intervalo invertido,
1294 F: intervalle complémentaire,
1295 D: Komplementärintervall,
1296 NL: complementair interval,
1297 DK: komplementærinterval,
1298 S: komplementärintervall (?),
1299 FI: täydentävä intervalli.
1301 @aref{inverted interval}.
1303 @node conjunct movement
1304 @section conjunct movement
1306 ES: movimiento conjunto,
1308 F: mouvement conjoint,
1309 D: schritt@-weise, stufenweise Bewegung,
1310 NL: stapsgewijze, trapsgewijze beweging,
1311 DK: trinvis bevægelse,
1313 FI: asteittainen liike.
1315 Progressing melodically by intervals of a second. The opposite of a
1316 @aref{disjunct movement}.
1318 @lilypond[fragment,line-width=13.0\cm]
1319 \key g \major \time 4/4
1320 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1333 FI: konsonanssi, sopusointi.
1352 @section counterpoint
1361 FI: kontrapunkti, ääni ääntä vastaan.
1363 From latin @emph{punctus contra punctum}, note against note. The combination
1364 into a single musical fabric of lines or parts which have distinct melodic
1365 significance. A frequently used polyphonic technique is imitation, in its
1366 strictest form found in the canon needing only one part to be written down
1367 while the other parts are performed with a given displacement. Imitation is
1368 also the contrapunctal technique used in the @emph{fugue} which, since the
1369 music of the baroque era, has been one of the most popular polyphonic
1370 composition methods.
1372 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1373 \set Score.implicitTimeSignatureVisibility = #all-invisible
1374 \override Score.TimeSignature #'break-visibility = #all-invisible
1375 \context PianoStaff <<
1376 \context Staff = SA \relative c' {
1380 << \context Voice = rha {
1382 r1 | r2 r8 g'8 bes d, |
1383 cis4 d r8 e!16 f g8 f16 e |
1384 f8 g16 a bes8 a16 g a8
1386 \context Voice = rhb {
1392 \context Staff = SB \relative c' {
1395 << \context Voice = lha {
1397 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1398 r8 a16 g f8 g16 a bes8 g e! cis' |
1401 \context Voice = lhb {
1410 @section counter tenor
1415 D: Countertenor, Kontratenor,
1418 S: kontratenor, counter tenor,
1424 @section copying music
1426 A music copyist did fast freehand scores and parts on preprinted staff lines
1427 for performance. Some of their conventions (e.g., the placement of note heads
1428 on stems) varied slightly from those of engravers. Some of their working
1429 methods were superior and could well be adopted by music typesetters. This
1430 required more skill than engraving.
1438 D: Crescendo, lauter werden,
1442 FI: cresendo, voimistuen.
1444 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1445 abbreviation @q{cresc.}.
1447 @lilypond[fragment,ragged-right]
1448 \key g \major \time 4/4
1449 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1457 F: petites notes précédent l'entrée d'in instrument, réplique,
1464 In a separate part notes belonging to another part with the purpose of hinting
1465 when to start playing. Usually printed in a smaller type.
1473 A custos is a staff symbol that appears at the end of a staff line
1474 with monophonic musical contents (i.e., with a single voice). It
1475 anticipates the pitch of the first note of the following line and thus
1476 helps the player or singer to manage line breaks during performance,
1477 thus enhancing readability of a score.
1479 Custodes were frequently used in music notation until the 16th
1480 century. There were different appearences for different notation
1481 styles. Nowadays, they have survived only in special forms of musical
1482 notation such as via the editio vaticana dating back to the beginning
1488 % \override Staff.Custos #'neutral-position = #4
1489 \override Staff.Custos #'neutral-direction = #down
1490 \override Staff.Custos #'style = #'hufnagel
1498 \consists Custos_engraver
1522 F: da capo, depuis le commencement,
1523 D: da capo, von Anfang,
1527 FI: da capo, alusta.
1529 The term indicates repetition of the piece from the beginning to the end or
1530 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1537 F: dal segno, depuis le signe,
1538 D: dal segno, ab dem Zeichen,
1542 FI: dal segno, lähtien merkistä.
1544 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1545 another place frequently near the beginning marked by a sign:
1547 @lilypond[fragment,ragged-right]
1548 %\override TextScript #'font-style = #'large
1549 \override TextScript #'font-shape = #'italic
1550 \key g \major \time 4/4
1555 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1561 @section decrescendo
1565 D: Decrescendo, leiser werden,
1569 FI: decresendo, hiljentyen.
1571 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1572 or the abbreviation @q{decresc.}.
1574 @lilypond[fragment,ragged-right]
1576 \key g \major \time 4/4
1577 d4 \> c b a | g1 \! \bar "|."
1581 @node descending interval
1582 @section descending interval
1584 ES: intervalo descendente,
1585 I: intervallo discendente,
1586 F: intervalle descendant,
1587 D: fallendes Intervall, absteigendes Intervall,
1588 NL: dalend interval,
1589 DK: faldende interval,
1590 S: fallande intervall,
1591 FI: laskeva intervalli.
1593 A distance between a starting higher note and a lower ending note.
1595 @node diatonic scale
1596 @section diatonic scale
1598 ES: escala diatónica,
1600 F: gamme diatonique,
1601 D: diatonische Tonleiter,
1602 NL: diatonische toonladder,
1603 DK: diatonisk skala,
1605 FI: diatoninen asteikko.
1607 A scale consisting of 5@w{ }@aref{whole tone}s and
1608 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1609 of a piano keybord are diatonic.
1611 The church modes are used in gregorial chant and in pre-baroque early
1612 music but also to some extent in newer jazz music.
1614 @lilypond[fragment,notime,ragged-right]
1615 \set Score.automaticBars = ##f
1616 %\override Score.LyricText #'font-style = #'large
1617 %\override Score.TextScript #'font-style = #'large
1619 \context Staff \relative c' {
1621 \override TextScript #'padding = #-4
1622 e^"~~ S" f g a b^"~~ S" c
1624 \context Lyrics \lyrics {
1630 @lilypond[fragment,notime,ragged-right]
1631 \set Score.automaticBars = ##f
1633 \context Staff \relative c' {
1635 \override TextScript #'padding = #-4
1636 e^"~~ S" f g a b^"~~ S" c d
1644 @lilypond[fragment,notime,ragged-right]
1645 \set Score.automaticBars = ##f
1648 \override TextScript #'padding = #-4
1649 e1^"~~ S" f g a b^"~~ S" c d e
1657 @lilypond[fragment,notime,ragged-right]
1658 \set Score.automaticBars = ##f
1662 \override TextScript #'padding = #-4
1663 b^"~~ S" c d e^"~~ S" f
1671 @lilypond[fragment,notime,ragged-right]
1672 \set Score.automaticBars = ##f
1676 \override TextScript #'padding = #-4
1677 b^"~~ S" c d e^"~~ S" f g }
1684 @lilypond[fragment,notime,ragged-right]
1685 \set Score.automaticBars = ##f
1686 %\override Score.LyricText #'font-style = #'large
1687 %\override Score.TextScript #'font-style = #'large
1691 \override TextScript #'padding = #-4
1692 b^"~~ S" c d e^"~~ S" f g a
1700 From the beginning of the 17th century the scales used in European
1701 compositional music are primarily the major and the minor scales. In the
1702 harmonic minor scale type an augmented second (A) occurs between the 6th and
1705 @lilypond[fragment,notime,ragged-right]
1706 \set Score.automaticBars = ##f
1710 \override TextScript #'padding = #-4
1711 e^"~~ S" f g a b^"~~ S" c
1719 @lilypond[fragment,notime,ragged-right]
1720 \set Score.automaticBars = ##f
1724 \override TextScript #'padding = #-4
1725 b^"~~ S" c d e^"~~ S" f g a
1733 @lilypond[fragment,notime,ragged-right]
1734 \set Score.automaticBars = ##f
1738 \override TextScript #'padding = #-4
1739 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1741 \context Lyrics \lyrics {
1747 @lilypond[fragment,notime,line-width=13.0\cm]
1748 \set Score.automaticBars = ##f
1749 %\override Score.LyricText #'font-style = #'large
1750 %\override Score.TextScript #'font-style = #'large
1754 \override TextScript #'padding = #-4
1755 b^"~~ S" c d e fis gis^"~~ S"
1756 a g! f!^"~~ S" e d c^"~~ S" b a
1764 @node diminished interval
1765 @section diminished interval
1767 ES: intervalo disminuido,
1768 I: intervallo diminuito,
1769 F: intervalle diminué,
1770 D: vermindertes Intervall,
1771 NL: verminderd interval,
1772 DK: formindsket interval,
1773 S: förminskat intervall,
1774 FI: vähennetty intervalli.
1788 FI: diminuendo, hiljentyen.
1792 @node disjunct movement
1793 @section disjunct movement
1795 ES: movimiento disjunto,
1797 F: mouvement disjoint,
1798 D: sprunghafte Bewegung,
1799 NL: sprongsgewijze beweging,
1800 DK: springende bevægelse,
1801 S: hoppande rörelse,
1802 FI: melodian hyppivä liike.
1804 Progressing melodically by intervals larger than a major second.
1805 Opposite of @aref{conjunct movement}.
1807 @lilypond[fragment,ragged-right]
1812 a4. gis8 b a e cis |
1813 fis2 d4. \bar "||" }
1819 @ref{dissonant interval}.
1821 @node dissonant interval
1822 @section dissonant interval
1824 ES: intervalo disonante, disonancia,
1825 I: intervallo dissonante, dissonanza,
1828 NL: dissonant interval; dissonant,
1829 DK: dissonerende interval, dissonans,
1831 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1835 @node dominant ninth chord
1836 @section dominant ninth chord
1838 ES: acorde de novena de dominante,
1839 I: accordo di nona di dominante,
1840 F: accord de neuvième dominante,
1841 D: Domi@-nant@-nonen@-akkord,
1842 NL: dominant noon akkoord,
1843 DK: dominantnoneakkord,
1844 S: dominantnonackord,
1845 FI: dominanttinoonisointu.
1847 @aref{chord}, @aref{functional harmony}.
1849 @node dominant seventh chord
1850 @section dominant seventh chord
1852 ES: acorde de séptima de dominante,
1853 I: accordo di settima di dominante,
1854 F: accord de septième dominante,
1855 D: Dominantseptakkord,
1856 NL: dominant septiem akkoord,
1857 DK: dominantseptimakkord,
1858 S: dominantseptimackord,
1859 FI: dominanttiseptimisointu.
1861 @aref{chord}, @aref{functional harmony}.
1873 FI: dominantti, huippusointu.
1875 The fifth @aref{scale degree},
1876 @aref{functional harmony}.
1879 @section dorian mode
1884 D: dorisch, dorischer Kirchenton,
1885 NL: dorische toonladder,
1890 @aref{diatonic scale}.
1892 @node dot (augmentation dot)
1893 @section dot (augmentation dot)
1896 I: punto (di valore),
1898 D: Punkt (Verlängerungspunkt),
1907 @section dotted note
1909 ES: nota con puntillo,
1913 NL: gepuncteerde noot,
1916 FI: pisteellinen nuotti.
1920 @node double appoggiatura
1921 @section double appoggiatura
1923 ES: apoyatura doble,
1924 I: appoggiatura doppia,
1925 F: appoggiature double,
1926 D: doppelter Vorschlag,
1927 NL: dubbele voorslag,
1928 DK: dobbelt forslag,
1930 FI: kaksoisappogiatura, kaksoisetuhele.
1932 @aref{appoggiatura}.
1934 @node double bar line
1935 @section double bar line
1941 NL: dubbele maatstreep,
1944 FI: kaksoistahtiviiva.
1946 Indicates the end of a section within a movement.
1948 @node double dotted note
1949 @section double dotted note
1951 ES: nota con doble puntillo,
1952 I: nota doppiamente puntata,
1953 F: note doublement pointée,
1954 D: doppelt punktierte Note,
1955 NL: dubbelgepuncteerde noot,
1956 DK: dob@-belt@-punk@-te@-ret node,
1957 S: dub@-bel@-punk@-te@-rad not,
1958 FI: kaksoispisteellinen nuotti.
1963 @section double flat
1972 FI: kaksoisalennusmerkki.
1977 @section double sharp
1979 ES: doble sostenido,
1984 DK: dob@-belt@-kryds,
1986 FI: kaksoisylennysmerkki.
1991 @section double trill
1997 NL: dubbele triller,
2002 A simultaneous trill on two notes, usually in the distance of a third.
2005 @section duple meter
2011 NL: tweedelige maatsoort,
2042 FI: kesto, aika-arvo.
2047 @section dydimic comma
2049 @aref{syntonic comma}.
2063 @node ecclesiastical mode
2064 @section ecclesiastical mode
2069 @section eighth note
2075 D: Achtel, Achtelnote,
2077 DK: ottendedelsnode,
2079 FI: kahdeksasosanuotti.
2084 @section eighth rest
2086 ES: silencio de corchea,
2092 DK: ottendedelspause,
2094 FI: kahdeksasosatauko.
2099 @section embellishment
2110 D: Notenstechen, Notendruck
2116 Engraving means incising or etching a metal plate for
2117 printing. Photoengraving means drawing music with ink in a manner
2118 similar to drafting or engineering drawing, using similar tools.
2120 The traditional process of music printing is done through cutting in a
2121 plate of metal. Now also the term for the art of music typesetting.
2135 Two notes, intervals, or scales are enharmonic if they have different names
2138 @lilypond[fragment,notime,line-width=13.0\cm]
2139 \set Score.automaticBars = ##f
2141 \context Staff \relative c'' {
2142 gis1 as <des g,!> <cis g!>
2144 \context Lyrics \lyrics {
2145 \override Lyrics .LyricText #'self-alignment-X = #-1
2146 "g sharp " "a flat " "dim fifth " "augm fourth"
2151 @node equal temperament
2152 @section equal temperament
2154 ES: temperamento igual,
2155 I: temperamento equabile,
2156 F: tempérament égal,
2157 D: gleichschwebende Stimmung,
2158 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2159 DK: ligesvævende temperatur,
2160 S: liksvävande temperatur,
2163 Tuning system dividing the octave into 12 equal @aref{semitone}s
2164 (precisely 100 @aref{cent}s). @aref{temperament}.
2166 @node expression mark
2167 @section expression mark
2170 I: segno d'espressione,
2171 F: signe d'expression, indication de nuance,
2173 NL: voordrachtsteken,
2174 DK: foredragsbetegnelse,
2175 S: föredragsbeteckning,
2176 FI: nyanssiosoitus, esitysmerkki.
2178 Performance indications concerning 1. volume, dynamics (for example
2179 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2180 @aref{andante}, @aref{allegro}).
2206 The position between the dots of the key symbol is the line of the F below
2207 central@w{ }C. Used on the third, fourth and fifth note line. A
2208 digit@w{ }8 above the clef symbol indicates that the notes must be played
2209 an octave higher (for example bass recorder) while 8@w{ }below the clef
2210 symbol indicates playing an octave lower (for example on double bass
2213 @lilypond[fragment,notime,line-width=13.0\cm]
2214 \set Score.automaticBars = ##f
2215 \override Staff.Clef #'full-size-change = ##t
2239 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2246 F: point d'orgue, point d'arr@^et,
2251 FI: fermaatti, pidäke.
2253 Prolonged note or rest of indefinite duration.
2255 @lilypond[fragment,ragged-right]
2258 a4 b c2^\fermata \bar "|."
2277 @section figured bass
2279 @aref{thorough bass}.
2293 The methodical use of fingers in the playing of instruments.
2299 I: coda (uncinata), bandiera,
2307 Ornament at the end of the stem of a note used for notes with values
2308 less than a quarter note. The number of flags determines the
2311 @lilypond[fragment,notime,ragged-right]
2312 \set Score.automaticBars = ##f
2313 %\override Score.TextScript #'font-style = #'large
2339 @aref{appoggiatura}.
2351 FI: forte, voimakkaasti.
2353 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2354 @emph{mezzoforte} (@b{mf}) medium loud.
2382 @aref{counterpoint}.
2384 @node functional harmony
2385 @section functional harmony
2387 ES: armonía funcional,
2388 I: armonia funzionale,
2389 F: étude des functions,
2391 NL: functionele harmonie,
2392 DK: funktionsanalyse, funktionsharmonik,
2394 FI: harmoniajärjestelmä.
2396 A system of harmonic analysis. It is based on the idea that, in a given key,
2397 there are only three functionally different chords: tonic (T, the chord on the
2398 first note of the scale), subdominant (S, the chord on the fourth note), and
2399 dominant (D, the chord on the fifth note). Others are considered to be
2400 variants of the base chords.
2402 @lilypond[fragment,notime,line-width=13.0\cm]
2403 \set Score.automaticBars = ##f
2405 \context Voice \relative c'' {
2406 <g e c >1 < a f d > < b g e >
2407 <c a f > < d b g > < e c a > < f d b > }
2408 \context Lyrics \lyrics {
2409 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2431 D: G-Schlüssel, Violinschlüssel,
2437 A clef symbol indicating the G above central@w{ }C. Used on the first
2438 and second note lines. A digit 8 above the clef symbol indicates that
2439 the notes must be played an octave higher while 8 below the clef symbol
2440 indicates playing or singing an octave lower (most tenor parts in choral
2441 scores are notated like that).
2443 @lilypond[fragment,notime,ragged-right]
2445 \set Score.automaticBars = ##f
2446 \override Staff.Clef #'full-size-change = ##t
2449 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2459 \context Lyrics \lyrics {
2460 \override Lyrics . LyricText #'X-offset = #-5
2461 "french violin clef"
2479 FI: glissando, liukuen.
2481 Letting the pitch slide fluently from one note to the other.
2484 @section grace notes
2486 ES: notas de adorno,
2489 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2495 Notes printed in small types to indicate that their time values are not
2496 counted in the rhythm of the bar. @aref{appoggiatura}.
2499 @section grand staff
2501 ES: sistema de piano,
2507 S: ackolad, böjd klammer,
2508 FI: kaksoisnuottiviivasto.
2512 A combination of two staves with a brace. Usually used for piano music.
2524 FI: grave, raskaasti.
2540 D: Halbe, halbe Note,
2551 ES: silencio de blanca,
2563 @node harmonic cadence
2564 @section harmonic cadence
2566 ES: cadencia (armónica),
2567 I: cadenza (armonica),
2568 F: cadence harmonique,
2570 NL: harmonische cadens,
2571 DK: harmonisk kadence,
2572 S: (harmonisk) kadens,
2573 FI: harmoninen kadenssi.
2575 A sequence of chords that terminates a musical phrase or
2576 section. @aref{functional harmony}.
2578 @lilypond[fragment,ragged-right]
2579 \context PianoStaff <<
2580 \context Staff = SA \relative c'' {
2584 \partial 4 < c g e >4 |
2585 < c a f > < b g d > < c g e >2
2588 \context Staff = SB \relative c {
2590 \partial 4 c4 | f, g c2
2607 D: Harmonie, Zusammenklang,
2611 FI: harmonia, yhteissointi.
2613 Tones sounding simultaneously. Two note harmonies fall into the categories
2614 @emph{consonances} and @emph{dissonances}.
2618 @lilypond[fragment,notime,line-width=13.0\cm]
2619 \set Score.automaticBars = ##f
2620 %\override Score.TextScript #'font-style = #'large
2621 \context Voice \relative c'' {
2634 @lilypond[fragment,notime,line-width=13.0\cm]
2635 \set Score.automaticBars = ##f
2636 %\override Score.TextScript #'font-style = #'large
2637 \context Voice \relative c'' {
2638 <g a>1_"second " s s
2639 <g f'>_"seventh " s s
2644 Three note harmony @aref{chord}.
2656 FI: homofonia, yksiäänisyys.
2658 Music in which one voice leads melodically followed by the other voices more
2659 or less in the same rhythm. In contrast to @aref{polyphony}.
2671 FI: intervalli, kahden sävelen korkeusero.
2673 Difference in pitch between two notes. Intervals may be perfect, minor,
2675 diminished, or augmented. The augmented fourth and the diminished fifth are
2676 identical (@aref{enharmonic}) and are called @emph{tritonus}
2677 because they consist of three @aref{whole tone}s. The addition
2678 of such two intervals forms an octave.
2680 @lilypond[fragment,notime,line-width=13.0\cm]
2681 \set Score.automaticBars = ##f
2683 \context Voice \relative c'' {
2693 \context Lyrics \lyrics {
2694 "unisone " "second " "second " "second "
2695 "third " "third " "third " "third"
2700 @lilypond[fragment,notime,line-width=13.0\cm]
2701 \set Score.automaticBars = ##f
2703 \context Staff \relative c'' {
2714 "fourth " "fourth " "fifth " "fifth "
2715 "sixth " "sixth " "sixth " "sixth"
2720 @lilypond[fragment,notime,line-width=13.0\cm]
2721 \set Score.automaticBars = ##f
2723 \context Staff \relative c'' {
2724 < gis f'! >1^"dimin"
2733 \context Lyrics \lyrics {
2734 "seventh " "seventh " "seventh " "octave "
2735 "ninth " "ninth " "tenth " "tenth"
2740 @node inverted interval
2741 @section inverted interval
2743 ES: intervalo invertido,
2744 I: intervallo rivolto,
2745 F: intervalle reversé,
2746 D: umgekehrtes Intervall,
2747 NL: interval inversie,
2748 DK: omvendingsinterval,
2749 S: intervallets omvändning,
2750 FI: käänteisintervalli.
2752 The difference between an interval and an octave.
2754 @lilypond[fragment,notime,line-width=13.0\cm]
2755 \set Score.automaticBars = ##f
2756 %\override Score.TextScript #'font-style = #'large
2757 \context Staff \relative c'' {
2758 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2759 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2760 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2764 @node just intonation
2765 @section just intonation
2767 ES: entonación justa,
2768 I: intonazione giusta,
2769 F: intonation juste,
2776 Tuning system in which the notes are obtained by adding and subtracting
2777 natural fifths and thirds. @aref{temperament}.
2791 According to the 12@w{ }tones of the @aref{chromatic scale}
2792 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2793 @aref{key signature}.
2796 @section key signature
2798 ES: armadura (de la clave),
2799 I: armatura di chiave,
2800 F: armure, armature [de la clé],
2801 D: Vorzeichen, Tonart,
2802 NL: toon@-soort (voortekens),
2805 FI: sävellajiosoitus.
2807 The sharps or flats appearing at the beginning of each staff indicating the
2808 key of the music. @aref{accidental}.
2816 D: Largo, Langsam, Breit,
2820 FI: largo, hitaasti, leveästi.
2822 Very slow in tempo, usually combined with great
2823 expressiveness. @emph{Larghetto} is less slow than largo.
2826 @section leading note
2837 The seventh @aref{scale degree}, a @aref{semitone} below
2838 the tonic; so called because of its strong tendency to @q{lead up} (resolve
2839 upwards) to the tonic scale degree.
2842 @section ledger line
2844 ES: línea adicional,
2845 I: tagli addizionali,
2846 F: ligne supplémentaire,
2853 A ledger line is an extension of the staff.
2855 @lilypond[fragment,notime,ragged-right]
2856 \set Score.automaticBars = ##f
2857 \relative c'' { a,1 s c'' }
2872 To be performed (a) without any perceptible interruption between the notes,
2873 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2874 (d) @aref{staccato}.
2876 @lilypond[fragment,notime,line-width=13.0\cm]
2877 \set Score.automaticBars = ##f
2879 \context Staff \relative c'' {
2880 c4-( d e-) \bar "||"
2881 c4-- d-- e-- \bar "||"
2882 c4-.-( d-. e-.-) \bar "||"
2883 c4-. d-. e-. \bar "||"
2895 @section legato curve
2897 @aref{slur}, @aref{legato}.
2907 ES: estanque de nenúfares,
2908 I: stagno del giglio,
2912 NL: le@-lie@-vij@-ver,
2917 A pond with lilies floating in it, also the name of a music typesetter.
2924 A ligature is a coherent graphical symbol that represents at least two
2925 distinct notes. Ligatures originally appeared in the manuscripts of
2926 Gregorian chant notation roughly since the 9th century to denote
2927 ascending or descending sequences of notes. In early notation,
2928 ligatures were used for monophonic tunes (Gregorian chant) and very
2929 soon denoted also the way of performance in the sense of articulation.
2930 With the invention of the metric system of the white mensural
2931 notation, the need for ligatures to denote such patterns disappeared.
2939 D: Linie, Notenlinie,
2943 FI: viiva, nuottiviiva.
2947 @node long appoggiatura
2948 @section long appoggiatura
2950 ES: apoyatura larga,
2951 I: appoggiatura lunga,
2952 F: appoggiature longue,
2953 D: langer Vorschlag,
2957 FI: pitkä appoggiatura, pitkä etuhele.
2959 @aref{appoggiatura}.
2973 Note value: double length of @aref{breve}.
2976 @lilypond[fragment,notime,ragged-right]
2977 \set Score.automaticBars = ##f
2979 \override NoteHead #'style = #'mensural
2987 ES: letra (de la canción),
2996 @node major interval
2997 @section major interval
2999 ES: intervalo mayor,
3000 I: intervallo maggiore,
3001 F: intervalle majeur,
3002 D: großes Intervall,
3006 FI: suuri intervalli.
3022 @aref{diatonic scale}.
3024 @node meantone temperament
3025 @section meantone temperament
3027 ES: afinación mesotónica,
3028 I: accordatura mesotonica,
3029 F: tempérament mésotonique,
3030 D: mitteltönige Stimmung,
3031 NL: middenstemming, middentoonstemming,
3032 DK: middeltonetemperatur,
3033 S: medeltonstemperatur,
3034 FI: keskisävelviritys.
3036 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3037 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3038 @aref{temperament} only a limited set of keys are playable.
3039 Used for tuning keyboard instruments for performance of pre-1650 music.
3053 A group of @aref{beat}s (units of musical time) the first of which
3054 bears an accent. Such groups in numbers of two or more recur consistently
3055 throughout the composition and are marked from each other by
3056 bar-lines. @aref{meter}.
3062 I: mediante, modale,
3070 1.@tie{}The third @b{scale degree}.
3071 2.@tie{}A @aref{chord} having its base tone
3072 a third from that of another chord. For example, the tonic chord may be
3073 replaced by its lower mediant (variant tonic). @aref{functional
3074 harmony}, @aref{relative key}.
3082 FI: melisma, laulettavan tavun sävelkuvio.
3084 A melisma (plural: melismata) is a group of notes or tones sung on one
3085 syllable in plainsong
3087 @node melodic cadence
3088 @section melodic cadence
3097 F: indication de mesure, mesure,
3104 The basic scheme of @aref{note value}s and
3105 @aref{accent}s which remains unaltered throughout a composition
3106 or a section of it. For instance, 3/4 meter means that the basic
3107 @aref{note value}s are quarter notes and that a
3108 @aref{measure} consists of three of those. According to
3109 whether there are two, three, or four units to the measure,
3110 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3111 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3113 @lilypond[fragment,line-width=13.0\cm]
3117 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3120 @lilypond[fragment,line-width=13.0\cm]
3124 f8 f f f a16 g a f |
3125 c'8 c c c e16 d e c \bar "||"}
3128 @lilypond[fragment,line-width=13.0\cm]
3132 d4 b8 g b d d c a4 |
3133 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3148 Device indicating the exact tempo of a piece. @aref{metronomic
3151 @node metronomic indication
3152 @section metronomic indication
3154 ES: indicación metronómica,
3155 I: indicazione metronomica,
3156 F: indication métronomique,
3158 NL: metronoom aanduiding,
3160 S: metronomangivelse,
3161 FI: metronomiosoitus.
3163 Exact tempo indication (in beats per minute). Also denoted by
3164 M.M.@: (Mälzels Metronom).
3167 @section mezzo-soprano
3178 The female voice between @aref{soprano} and
3187 D: eingestrichenes@w{ }c,
3189 DK: enstreget@w{ }c,
3190 S: ettstruket@w{ }c,
3193 First C below the 440 Hz A.
3195 @lilypond[fragment,notime,ragged-right]
3196 \set Score.automaticBars = ##f
3197 \override Staff.Clef #'full-size-change = ##t
3217 @aref{diatonic scale}.
3219 @node minor interval
3220 @section minor interval
3222 ES: intervalo menor,
3223 I: intervallo minore,
3224 F: intervalle mineur,
3225 D: kleines Intervall,
3229 FI: pieni intervalli.
3243 FI: moodi, kirkkosävelasteikko.
3245 @aref{church mode}, @aref{diatonic scale}.
3257 FI: modulaatio, sävellajin vaihdos.
3259 Moving from one @aref{key} to another. For example, the second
3260 subject of a @aref{sonata form} movement modulates to the dominant
3261 key if the key is major and to the @aref{relative key} if the key
3273 FI: mordent, korukuvio.
3292 FI: teema, sävelaihe.
3294 The briefest intelligible and self-contained fragment of a musical theme or
3297 @lilypond[line-width=13.0\cm]
3300 \set Score.implicitTimeSignatureVisibility = #all-invisible
3301 \override Score.TimeSignature #'break-visibility = #all-invisible
3304 \partial 8 g16\startGroup fis |
3305 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3306 g8 g,16 a b8 cis d16 s
3310 \Staff \consists "Horizontal_bracket_engraver"
3327 Greater musical works like @aref{symphony} and
3328 @aref{sonata} most often consist of several -- more or less --
3329 independant pieces called movements.
3332 @section multibar rest
3334 ES: compases de espera,
3338 D: mehrtaktige Pause,
3341 FI: usean tahdin mittainen tauko.
3343 @lilypond[fragment,ragged-right]
3346 \set Score.skipBars = ##t R1*3
3351 @node mixolydian mode
3352 @section mixolydian mode
3354 @aref{diatonic scale}.
3357 @section natural sign
3362 D: Auflösungszeichen,
3363 NL: herstellingsteken,
3364 DK: op@-løsningstegn,
3365 S: återställningstecken,
3370 @node neighbour tones
3371 @section neighbour tones
3373 @aref{appoggiatura}.
3406 Notes are signs by means of which music is fixed in writing. The term is also
3407 used for the sound indicated by a note, and even for the key of the piano
3408 which produces the sound. However, a clear distinction between the terms tone
3409 and @aref{note} is strongly recommended. Briefly, one sees a note,
3416 I: testa, testina, capocchia,
3417 F: t@^ete de la note,
3424 A head-like sign which indicates pitch by its position on a
3425 @aref{staff} provided with a @aref{clef}, and duration
3426 by a variety of shapes such as hollow or black heads with or without
3427 @aref{stem}s, @aref{flag}s, etc. For percussion
3428 instruments (often having no defined pitch) the note head may indicate the
3434 ES: valor (duración),
3436 F: durée, valeur (d'une note),
3441 FI: nuotin aika-arvo.
3443 Note values (durations) are measured as fractions, normally 1/2, of the next
3444 higher note value. The longest duration normally used is called
3446 but sometimes (mostly in pre-baroque music) the double length note value
3447 @emph{longa} is used.
3449 @lilypond[fragment,notime,line-width=13.0\cm]
3450 %\override Score.TextScript #'font-style = #'large
3451 \set Score.automaticBars = ##f
3453 \override NoteHead #'style = #'mensural
3454 a\longa_"longa" a\breve_"breve"
3455 \revert NoteHead #'style
3456 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3457 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3460 @lilypond[fragment,notime,line-width=13.0\cm]
3461 %\override Score.TextScript #'font-style = #'large
3462 \set Score.automaticBars = ##f
3464 r\longa_"longa" r\breve_"breve"
3465 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3466 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3469 An augmentation dot after a note multiplies the duration by one and a
3470 half. Another dot adds yet a fourth of the duration.
3472 @lilypond[fragment,line-width=13.0\cm]
3473 %\override Score.TextScript #'font-style = #'large
3476 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3477 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3480 Alternatively note values may be subdivided by other ratios. Most common is
3481 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3482 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3483 dotted notes are also frequently used.
3485 @lilypond[fragment,line-width=13.0\cm]
3486 %\override Score.TextScript #'font-style = #'large
3489 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3490 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3494 @lilypond[fragment,line-width=13.0\cm]
3497 \times 3/2 {g4_"duplets" g} |
3499 \times 6/4 {g8_"quadruplets" g g g} |
3500 g8 g g g g4 \bar "||"
3505 @section octave sign
3507 @aref{G clef}, @aref{F clef}.
3527 I: abbellimento, fioriture,
3528 F: agrément, ornement,
3529 D: Verzierung, Ornament,
3535 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3536 with the diatonic @aref{second} above it. In the music from the
3537 middle of the 19th century and onwards the trill is performed with the main
3538 note first while in the music from the preceding baroque and classic periods
3539 the upper note is played first.
3541 @lilypond[fragment,line-width=13.0\cm]
3543 \context Staff = sa {
3544 % \override Score.TextScript #'font-style = #'large
3546 c2._"pre-1850" b4\trill | c1 \bar "||"
3547 c2._"post-1850" b4\trill | c1 \bar "||"
3551 c2. c32 b c b c b c b | c1
3552 c2. b32 c b c \times 4/5 { b c b c b } | c1
3557 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3559 @emph{prall} (inverted mordent).
3561 @lilypond[fragment,line-width=13.0\cm]
3563 \context Staff = sa {
3564 % \override Score.TextScript #'font-style = #'large
3566 a4_"turn" b\turn c2 \bar "||"
3567 g4_"mordent" a b\mordent a \bar "||"
3568 e'4_"prall" d\prall c2 \bar "||"
3574 e'4 e32[ d e d ~ d8] c2
3579 @aref{appoggiatura}.
3591 FI: ossia, vaihtoehtoinen esitystapa.
3593 Ossia (otherwise) marks an alternative. It is an added staff or piano
3594 score, usually only a few measures long, which presents another version
3595 of the music, for example for small hands.
3607 FI: stemma, instrumenttiosuus.
3609 1.@tie{}In instrumental or choral music the music for the single instrument
3610 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3611 melodic line of the contrapunctal web.
3624 D: Schlagzeug, Schlagwerk,
3630 A family of musical instruments which are played on by striking or
3631 shaking. Percussion instruments commonly used in a symphony orchestra are
3632 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3633 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3636 @node perfect interval
3637 @section perfect interval
3639 ES: intervalo justo,
3640 I: intervallo giusto,
3641 F: intervalle juste,
3642 D: reines Intervall,
3646 FI: puhdas intervalli.
3662 A natural division of the melodic line, comparable to a sentence of speech.
3674 FI: fraseeraus, jäsentäminen.
3676 The clear rendering in musical performance of the @aref{phrase}s of
3677 the melody. Phrasing may be indicated by a @aref{slur}.
3691 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3692 @emph{mezzopiano} (@b{mp}) medium soft.
3713 NL: pizzicato, getokkeld,
3716 FI: pizzicato, näppäillen.
3718 Play by plucking the strings.
3726 D: Polyphonie, Mehrstimmigkeit,
3730 FI: polyfonia, moniäänisyys.
3732 Music written in a combination of several simultaneous voices (parts) of a
3733 more or less pronounced individuality. @aref{counterpoint}.
3746 D: Presto, Sehr schnell,
3747 NL: presto, Sehr schnell,
3750 FI: presto, hyvin nopeasti.
3752 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3753 denotes the highest possible degree of speed.
3755 @node Pythagorean comma
3756 @section Pythagorean comma
3758 ES: coma pitagórica,
3759 I: comma pitagorico,
3760 F: comma pythagoricien,
3761 D: Pythagoräisches Komma,
3762 NL: komma van Pythagoras,
3763 DK: pythagoræisk komma,
3764 S: pytagoreiskt komma,
3765 FI: pytagorinen komma.
3767 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3768 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3769 24 @aref{cent}s higher than the@w{ }C obtained by adding
3770 7@w{ }octaves. The difference between those two pitches is called the
3788 @section quarter note
3791 I: semiminima, nera,
3794 D: Viertel, Viertelnote,
3798 FI: neljännesosanuotti.
3803 @section quarter rest
3805 ES: silencio de negra,
3806 I: pausa di semiminima,
3811 DK:@w{ }fjerdedelspause,
3813 FI: neljännesosatauko.
3832 @section rallentando
3837 D: rallentando, langsamer werden,
3841 FI: rallerdando, hidastuen.
3843 Abbreviation "rall.". @aref{ritardando}.
3846 @section relative key
3849 I: tonalità relativa,
3850 F: tonalité relative,
3852 NL: paralleltoonsoort,
3853 DK: paralleltoneart,
3855 FI: rinnakkaissävellaji.
3857 @aref{major} and @aref{minor} @aref{key}
3858 with the same @aref{key signature}.
3860 @lilypond[fragment,notime,line-width=13.0\cm]
3861 \set Score.automaticBars = ##f
3862 %\override Score.TextScript #'font-style = #'large
3865 es1_"e flat major" f g as bes c d es
3870 @lilypond[fragment,notime,line-width=13.0\cm]
3871 \set Score.automaticBars = ##f
3872 %\override Score.TextScript #'font-style = #'large
3875 c1_"c minor" d es f g a! b! c \bar "||"
3884 F: barre de reprise,
3887 DK: gen@-ta@-gel@-se,
3891 @lilypond[fragment,line-width=13.0\cm]
3895 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3899 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3900 @c specify the rest's value.
3928 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3929 fixed unit of time, called @aref{beat}, and in which the normal
3930 @aref{accent} recurs in regular intervals, called
3931 @aref{measure}. The basic scheme of time values is called
3932 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3933 accent. In modern notation such music appears as a free alternation of
3934 different measures. (c) Free rhythm, i.e., the use of temporal values having
3935 no common metrical unit (beat).
3943 D: Ritardando, langsamer werden,
3947 FI: ritardando, hidastuen,
3949 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3961 FI: ritenuto, hidastaen.
3963 Immediate reduction of speed.
3975 FI: asteikko, sävelasteikko.
3977 @aref{diatonic scale}.
3980 @section scale degree
3982 ES: grado (de la escala),
3983 I: grado della scala,
3984 F: degré [de la gamme],
3986 NL: trap [van de toonladder],
3989 FI: sävelaste, asteikon sävel.
3991 Names and symbols used in harmonic analysis to denote tones of the scale as
3992 roots of chords. The most important are degrees I = tonic (T), IV =
3993 sub@-do@-mi@-nant (S) and V = dominant (D).
3995 @lilypond[fragment,notime,line-width=13.0\cm]
3996 \set Score.automaticBars = ##f
3998 \context Staff \relative c' {
4002 << { I II III IV V VI VII I }
4008 @aref{functional harmony}.
4016 D: Partitur (full score), Klavierauszug (vocal score)
4022 A copy of orchestral, choral, or chamber music showing what each instrument is
4023 to play, each voice to sing, having each part arranged one underneath the
4024 other on different staves @aref{staff}.
4038 The @aref{interval} between two neigbouring tones of a scale. A
4039 @aref{diatonic scale} consists of alternating
4040 @aref{semitone}s and @aref{whole tone}s, hence the size
4041 of a se@-cond depends on the scale degrees in question.
4055 The @aref{interval} of a minor second. The (usually) smallest
4056 interval in European composed music. The interval between two neighbouring
4057 tones on the piano keyboard -- including black and white keys -- is a
4058 semitone. An octave may be divided into 12@w{ }semitones.
4059 @aref{interval}, @aref{chromatic scale}.
4061 @lilypond[fragment,notime,line-width=13.0\cm]
4062 \set Score.automaticBars = ##f
4063 \relative c'' { g1 gis s a bes s b! c }
4118 @node short appoggiatura
4119 @section short appoggiatura
4121 @aref{appoggiatura}.
4123 @node sixteenth note
4124 @section sixteenth note
4130 D: Sechzehntel, Sechzehntelnote,
4131 NL: zes@-ti@-ende noot,
4132 DK: sekstendedelsnode,
4134 FI: kuudestoistaosanuotti.
4138 @node sixteenth rest
4139 @section sixteenth rest
4141 ES: silencio de semicorchea,
4142 I: pausa di semicroma,
4144 UK: semiquaver rest,
4145 D: Sechzehntelpause,
4147 DK: sekstendedelspause,
4167 @node sixty-fourth note
4168 @section sixty-fourth note
4172 F: quadruple croche,
4173 UK: hemidemisemiquaver,
4174 D: Vierundsechzigstel, Vierundsechzigstelnote,
4175 NL: vierenzestigste noot,
4176 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4177 S: sextiofjärdedelsnot,
4178 FI: kuudeskymmenesneljäsosanuotti.
4182 @node sixty-fourth rest
4183 @section sixty-fourth rest
4185 ES: silencio de semifusa,
4186 I: pausa di semibiscroma,
4187 F: seizième de soupir,
4188 UK: hemidemisemiquaver rest,
4189 D: Vierundsechzigstelpause,
4190 NL: vierenzestigste rust,
4191 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4192 S: sextiofjärdedelspaus,
4193 FI: kuudeskymmenesneljäsosatauko.
4200 ES: ligadura (de expresión),
4201 I: legatura (di portamento or espressiva),
4203 D: Bogen, Legatobogen, Phrasierungsbogen,
4204 NL: fraseringsboog, legatoboog, streekboog,
4205 DK: legatobue, fraseringsbue,
4209 A slur above or below a group of notes indicates that they are to be played
4210 @aref{legato}, e.g., with one stroke of the violin bow or with one
4214 @section solmization
4223 FI: suhteelliset laulunimet.
4225 General term for systems of designating the degrees of the
4226 @aref{scale}, not by letters, but by syllables (@emph{do}
4227 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4228 (@emph{ti})). @aref{scale degree}.
4242 In its present-day meaning a sonata denotes an instrumental composition for
4243 piano or for some other instrument with piano accompaniment, which consists of
4244 three or four independant pieces, called movements.
4247 @section sonata form
4251 F: [en] forme de sonate,
4253 NL: hoofdvorm, sonatevorm,
4258 A form used frequently for single movements of the @aref{sonata},
4259 @aref{symphony}, quartet, etc. A movement written in sonata form
4260 falls into three sections called @emph{exposition}, @emph{development} and
4261 @emph{recapitulation}. In the exposition the composer introduces some musical
4262 ideas, consisting of a number of themes; in the development section the
4263 composer @q{develops} this material, and in the recapitulation the composer
4264 repeats the exposition, with certain modifications. The exposition contains a
4265 number of themes that fall into two groups, often called first and second
4266 subject. Other melodies occurring in each group are considered as
4267 continuations of these two. The second theme is in another key, normally in
4268 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4269 @aref{relative key} if the tonic is @aref{minor}.
4286 FI: sopraano, korkea naisääni.
4288 The highest female voice.
4295 F: staccato, piqué, détaché,
4300 FI: staccato, lyhyesti, terävästi.
4302 Playing the note(s) short. Staccato is indicated by a dot above or below the
4305 @lilypond[fragment,ragged-right]
4310 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4319 I: pentagramma, rigo (musicale),
4322 NL: (noten)balk, partij,
4327 A staff (pl. staves) is a series of (normally five) horizontal lines
4328 upon and between which the musical notes are written, thus indicating
4329 (in connection with a @aref{clef}) their pitch. Staves for
4330 @aref{percussion} instruments may have fewer lines.
4343 D: Hals, Notenhals, Stiel,
4349 Vertical line above or below a @aref{note head} shorter than a
4350 whole note. @aref{beam}.
4352 @lilypond[fragment,notime,line-width=13.0\cm]
4353 \set Score.autoBeaming = ##f
4354 \set Score.automaticBars = ##f
4355 %\override Score.TextScript #'font-style = #'large
4376 A family of stringed musical instruments played with a bow. Strings commonly
4377 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4380 @section strong beat
4385 D: betonter Taktteil oder Taktschlag,
4387 D: betonet taktslag,
4388 S: betonat taktslag,
4389 FI: tahdin vahva isku.
4391 @aref{beat}, @aref{accent}, @aref{measure},
4395 @section subdominant
4404 FI: subdominantti, alidominantti.
4406 The fourth @aref{scale degree}. @aref{functional harmony}.
4420 The sixth @aref{scale degree}.
4432 FI: subtoonika, alitoonika.
4434 The seventh @aref{scale degree}.
4437 @section superdominant
4448 The sixth @aref{scale degree}.
4462 The second @aref{scale degree}.
4470 D: Sinfonie, Symphonie,
4476 A symphony may be defined as a @aref{sonata} for orchestra.
4479 @section syncopation
4490 Any deliberate upsetting of the normal pulse of @aref{meter},
4491 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4492 rhythm rests upon the grouping of equal beats into groups of two or three,
4493 with a regularly recurrent accent on the first beat of each group. Any
4494 deviation from this scheme is felt as a disturbance or contradiction between
4495 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4497 @lilypond[fragment,ragged-right]
4502 e c'4 e,8 c'4 e,8 c' ( | c2)
4506 @node syntonic comma
4507 @section syntonic comma
4510 I: comma sintonico (o didimico),
4511 F: comma syntonique,
4512 D: syntonisches Komma,
4513 NL: syntonische komma,
4514 DK: syntonisk komma,
4515 S: syntoniskt komma,
4516 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4517 viritysjärjestelmässä.
4519 Difference between the natural third and the third obtained by Pythagorean
4520 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4532 FI: nuottijärjestelmä.
4534 The collection of staves @aref{staff}, two or more, as used for
4535 writing down of keyboard, chamber, choral, or orchestral music.
4538 @section temperament
4543 D: Stimmung, Tem@-pe@-ra@-tur,
4544 NL: stemming, temperatuur,
4547 FI: viritysjärjestelmä.
4549 Systems of tuning in which the intervals deviate from the acoustically pure
4550 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4552 @node tempo indication
4553 @section tempo indication
4555 ES: indicación de tempo,
4556 I: indicazione di tempo,
4557 F: indication de tempo,
4558 D: Zeitmaß, Tempobezeichnung,
4559 NL: tempo aanduiding,
4564 The rate of speed of a composition or a section thereof, ranging from the
4565 slowest to the quickest, as is indicated by tempo marks as
4566 @aref{largo}, @aref{adagio}, @aref{andante},
4567 @aref{allegro}, and @aref{presto}.
4579 FI: tenori, korkea miesääni.
4581 The highest male voice (apart from @aref{counter tenor}).
4600 ES: subrayado (tenuto),
4609 An indication that a particular note should be held for the whole
4610 length, although this can vary depending on the composer and era.
4626 @node thirty-second note
4627 @section thirty-second note
4633 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4634 NL: twee-endertig@-ste noot,
4635 DK: toogtredivtedelsnode,
4636 S: trettiotvåondelsnot,
4637 FI: kolmanneskymmeneskahdesosanuotti.
4641 @node thirty-second rest
4642 @section thirty-second rest
4644 ES: silencio de fusa,
4645 I: pausa di biscroma,
4646 F: huitième de soupir,
4647 UK: demisemiquaver rest,
4648 D: Zweiunddreissigstel@-pause,
4650 DK: toogtredivtedelspause,
4651 S: trettiotvåondelspaus,
4652 FI: kolmanneskymmeneskahdesosatauko.
4657 @section thorough bass
4660 I: basso continuo, basso numerato,
4661 F: basse chiffrée, basse continue,
4662 D: Generalbass, bezifferter Bass,
4663 NL: basso continuo, becijferde bas
4666 FI: kenraalibasso, numeroitu basso.
4668 A method of indicating an accompaniment part by the bass notes only, together
4669 with figures designating the chief @aref{interval}s and
4670 @aref{chord}s to be played above the bass notes.
4672 @lilypond[fragment,line-width=13.0\cm]
4673 \context GrandStaff <<
4674 \context Staff = lh \relative c'' {
4678 << \context Voice = rha {
4681 \context Voice = rhb {
4683 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4687 \context Staff = rh \relative c' {
4690 es8 c d bes c as bes16 as g f | es4
4692 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4700 ES: ligadura de prolongación,
4701 I: legatura (di valore),
4704 NL: overbinding, bindingsboog,
4706 S: bindebåge, överbindning,
4709 A curved line, identical in appearance with the @aref{slur}, which
4710 connects two succesive notes of the same pitch, and which has the function of
4711 uniting them into a single sound (tone) equal to the combined durations.
4713 @lilypond[fragment,notime,ragged-right]
4714 \set Score.automaticBars = ##f
4715 \relative c'' { g2 ~ g4. }
4723 @node time signature
4724 @section time signature
4726 ES: indicación de compás,
4728 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
4729 D: Taktangabe, Angabe der Taktart,
4732 S: taktartssignatur,
4749 A sound of definite pitch and duration, as distinct from @emph{noise}.
4750 Tone is a primary building material of music.
4751 Music from the 20th century may be based on atonal sounds.
4765 The first @aref{scale degree}.
4766 @aref{functional harmony}.
4769 @section transposition
4780 Shifting a melody up or down in pitch, while keeping the same
4783 @lilypond[fragment,line-width=13.0\cm]
4788 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4793 @lilypond[fragment,line-width=13.0\cm]
4796 \transpose c bes \relative c'' {
4798 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4804 @section treble clef
4807 I: chiave di violino,
4809 D: Violinschlüssel, Sopranschlüssel,
4811 DK:@w{ }diskantnøgle,
4829 On stringed instruments (@aref{strings}) the quick reiteration of
4830 the same tone, produced by a rapid up-and-down movement of the bow
4831 (a). The term is also used for the rapid alternation (b) between two notes of
4832 a @aref{chord}, usually in the distance of a third
4835 @lilypond[fragment,notime,ragged-right]
4836 \set Score.automaticBars = ##f
4837 %\override Score.TextScript #'font-style = #'large
4840 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4841 \repeat "tremolo" 8 { e32_"b" g }
4850 F: triade, accord parfait, accord de trois sons,
4864 F: trille, tremblement, battement (cadence),
4874 @section triple meter
4876 ES: compás ternario,
4880 NL: driedelige maatsoort,
4916 @section tuning fork
4919 I: diapason, corista,
4927 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4928 give the international pitch for the tone @emph{a} (440 vibrations per
4955 FI: unisono, yksiäänisesti.
4957 Playing of the same notes or the same melody by various instruments (voices)
4958 or by the whole orchestra (choir), either at exactly the same pitch or in a
4966 F: anacrouse, levée,
4973 Initial note(s) of a melody occurring before the first bar
4974 line. @aref{measure}, @aref{meter}.
4976 @lilypond[fragment,line-width=13.0\cm]
4980 \partial 4 f4 | bes4. a8 bes4 c |
4981 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4994 FI: ääni, lauluääni.
4996 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4997 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4998 2.@tie{}A melodic layer or part of a polyphonic composition.
5004 I: tempo debole, arsi,
5006 D: unbetonter Taktteil oder Taktschlag,
5008 DK: ubetonet taktslag,
5009 S: obetonat taktslag,
5010 FI: tahdin heikko isku.
5012 @aref{beat}, @aref{measure}, @aref{rhythm}.
5021 D: Ganze, ganze Note,
5032 ES: silencio de redonda,
5033 I: pausa di semibreve,
5036 D: ganze Pause, ganztaktige Pause,
5056 The @aref{interval} of a major second. The interval between two
5057 tones on the piano keyboard with exactly one key between them -- including
5058 black and white keys -- is a whole tone.
5072 A family of blown wooden musical instruments. Today some of these instruments
5073 are actually made from metal. The woodwind instruments commonly used in a
5074 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5076 @node Duration names notes and rests
5077 @chapter Duration names, notes and rests
5080 @item DURATION NAMES, NOTES AND RESTS
5083 @multitable @columnfractions .15 .26 .33 .26
5088 @tab @strong{F (note name / rest name)}
5100 @item @strong{longa}
5115 @item @strong{breve}
5118 @tab brève / double-pause
5130 @item @strong{whole}
5140 @tab koko@-nuotti/@w{-tauko}
5148 @tab blanche / demi-pause
5155 @tab puoli@-nuotti/@w{-tauko}
5160 @item @strong{quarter}
5170 @tab neljännesosa@-nuotti/@w{-tauko}
5175 @item @strong{eighth}
5178 @tab croche / demi-soupir
5185 @tab kahdeksasosa@-nuotti/@w{-tauko}
5190 @item @strong{sixteenth}
5193 @tab double croche / quart de soupir
5200 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5205 @item @strong{thirty-second}
5208 @tab triple croche / huitième de soupir
5210 @tab Zweiunddreissigstel
5211 @tab tweeendertigste
5212 @tab toogtredivtedel
5214 @tab trettiotvåondel
5215 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5220 @item @strong{sixty-fourth}
5221 @tab hemidemisemiquaver
5223 @tab quadruple croche / seizième de soupir
5225 @tab Vierundsechzigstel
5226 @tab vierenzestigste
5227 @tab fireogtred@-sindstyvendedel
5229 @tab sextiofjärdedel
5230 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5234 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5237 @chapter Pitch names
5243 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5244 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5246 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5247 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5251 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5255 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5257 cis @tab cis @tab cis
5261 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5263 des @tab des @tab des
5267 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5271 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5275 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5279 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5284 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5290 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5294 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5296 ais @tab ais @tab ais
5300 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5306 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5311 @node Literature used
5312 @unnumbered Literature used
5315 @item The Harvard Dictionary of Music, London 1944. Many more or less
5316 literal quotes from its articles have been included into the item
5319 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5321 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5323 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5326 @item Webster's Revised Unabridged Dictionary, Springfield 1913.