1 \input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @dircategory GNU music project
8 * Glossary: (lilypond/music-glossary). Glossary of music terms.
12 This document is also available in @uref{music-glossary.ps.gz,gzipped
13 PostScript} and @uref{music-glossary.pdf,PDF}.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
22 @author Han-Wen Nienhuys @c Dutch glossary
23 @author Jan Nieuwenhuizen @c Dutch glossary
24 @author Dadiv Gonzalez @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Mats Bengtsson @c Swedish glossary
28 @author Adrian Mariano @c Italian glossary
29 @author Heikki Junes @c Finnish glossary
31 @c Fixes by Jean-Pierre Coulon and `Dirk'
34 Copyright @copyright{} 1999--2005 by the authors
37 Permission is granted to copy, distribute and/or modify this document
38 under the terms of the GNU Free Documentation License, Version 1.1
39 or any later version published by the Free Software Foundation,
40 without Invariant Sections.
45 @c FIXME: multiple omfcreators?
47 @omfcreator Christian Mondrup
48 @omfdescription Glossary of musical terms with translations
50 @omfcategory Applications|Publishing
57 @c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
68 @item Christian Mondrup
69 Original author of LilyPond glossary, Danish glossary,
72 @item Fran@,{c}ois Pinard
73 Original glossary of GNU music project, French glossary,
74 @item Han-Wen Nienhuys
76 @item Jan Nieuwenhuizen
81 English glossary translations,
83 Finnish glossary translations.
86 Copyright 1999--2005 by the authors
89 Permission is granted to copy, distribute and/or modify this document
90 under the terms of the GNU Free Documentation License, Version 1.1
91 or any later version published by the Free Software Foundation,
92 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
110 We do not use refs for Info:
112 @w{@arrow{}\word\}@c vs:
113 @w{@arrow{}@pxref{\word\}}@c
115 they look too intrusive (says Han-Wen).
122 @w{@arrow{}@strong{\word\}}@c
125 @arrow{}@ref{\word\, @strong{\word\}}@c
133 @c If we want hyperlinks, we must add anchors.
134 @c We need the @anchor command in the item description itself
135 @c (not before or after) to get mozilla jump to the right place.
137 @c Note that the @aitem macro and friends should always be finished
138 @c with `@c' to avoid spurious spaces:
144 @item \word\@anchor{\word\}
146 @macro aitemii{one,two}
147 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
149 @macro aitemiii{one,two,three}
150 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
160 @item UK - British English
166 This is an example reference, that points you to the @aref{accent}
169 @c All `@table @strong' replaced by `@table @code'
170 @c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
192 FI: aksentti, korostus.
194 The stress of one tone over others.
196 @c F: how to distinguish between accidental and key-sig alteration?
200 I: alterazione, accidente,
202 D: Vorzeichen, Versetzungszeichen,
205 S: tillfälligt förtecken,
206 FI: tilapäinen etumerkki.
208 @c F: altération 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
216 @lilypond[fragment,notime,linewidth=13.0\cm]
217 \set Score.automaticBars = ##f
218 %\override TextScript #'font-style = #'large
220 \context Staff \relative c'' {
221 gis1 gisis ges geses g!
223 \context Lyrics \lyrics {
224 \override Lyrics .LyricText #'self-alignment-X = #-1
225 sharp "db. sharp" flat "db. flat" natural
229 @aitem{accelerando}@c
232 F: accelerando, en accélérant,
233 D: accelerando, schneller werden,
237 FI: accelerando, kiihdyttäen.
249 FI: adagio, hitaasti.
251 It.@: comfortable, easy.
252 1.@tie{}Slow tempo, slower -- especially in even meter -- than
253 @aref{andante} and faster than @aref{largo}.
254 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
255 @aref{sonata}s, symphonies, etc.
261 D: Allegro, Schnell, Fröhlich, Lustig,
265 FI: allegro, nopeasti.
267 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
268 tempo, especially the first and last movements of a @aref{sonata}.
278 FI: altto, matala naisääni.
280 A female voice of low range (@emph{contralto}). Originally the alto was a
281 high male voice (hence the name), which by the use of falsetto reached the
282 height of the female voice. This type of voice is also known as
283 @aref{counter tenor}.
286 ES: clave de do en tercera,
287 I: chiave di contralto,
288 F: clef d'ut troisième ligne,
289 D: Altschlüssel, Bratschenschlüssel,
295 C clef setting middle C on the middle line of the staff
306 FI: ambitus, ääniala, soitinala.
308 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
309 of pitches for a given voice in a part of music. It may also denote
310 the pitch range that a musical instrument is capable of playing.
312 @aitem{ancient minor scale}@c
313 I: scala minore naturale,
314 F: forme du mode mineur ancien, troisème mode, mode hellénique
316 NL: authentieke mineurtoonladder,
319 FI: luonnollinen molliasteikko.
321 @aref{diatonic scale} (ancient minor).
323 @lilypond[fragment,notime,linewidth=13.0\cm]
324 \set Score.automaticBars = ##f
339 Walking tempo/character.
341 @aitem{appoggiatura}@c
344 F: appogiature, (port de voix),
349 FI: appoggiatura, etuhele.
351 Ornamental note, usually a second, that is melodically connected with the
352 main note following it. In music before the 19th century a.@: were usually
353 performed on the beat, after that mostly before the beat. While the short
354 a.@: is performed as a short note regardless of the duration of the main note
355 the duration of the long a.@: is proportional to that of the main note.
357 @lilypond[linewidth=13.0\cm]
358 \context Voice \relative c'' {
362 %\override Score.TextScript #'font-style = #'large
363 <d a fis>4_"notation" r
364 { \override Stem #'flag-style = #'()
366 \revert Stem #'flag-style
369 { \override Stem #'flag-style = #'()
371 \revert Stem #'flag-style
374 \cadenzaOn a4 \bar "||" \cadenzaOff
376 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
377 \cadenzaOn a4 \bar "||" \cadenzaOff
381 An appoggiatura may have more notes preceding the main note.
383 @lilypond[linewidth=13.0\cm]
387 % \override Score.TextScript #'font-style = #'large
388 \grace { bes16 } as8_"notation" as16 bes as8 g |
389 \grace { as16[( bes] } < c as >4-)
390 \grace { as16[( bes] } < c as >4-) \bar "||"
391 \grace { bes16 } as8_"performance" as16 bes as8 g |
392 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
393 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
402 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
404 DK: arpeggio, akkordbrydning,
406 FI: arpeggio, murtosointu.
408 @lilypond[fragment,linewidth=13.0\cm]
409 \context PianoStaff <<
410 \context Staff = SA \relative c'' {
413 r8 g16 c e g, c e r8 g,16 c e g, c e |
414 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
415 \context Staff = SB \relative c' {
417 << \context Voice = va {
419 r16 e8. ( e4) r16 e8. ( e4) |
420 r16 d8. ( d4) r16 d8. ( d4) }
421 \context Voice = vb {
428 @aitem{ascending interval}@c
429 ES: Intervalo ascendente,
430 I: intervallo ascendente,
431 F: intervalle ascendant,
432 D: steigendes Intervall,
433 NL: stijgend interval,
434 DK:@w{ }stigende interval,
435 S: stigande intervall,
436 FI: nouseva intervalli.
438 A distance between a starting lower note and a higher ending note.
440 @aitem{augmented interval}@c
441 ES: intervalo aumentado,
442 I: intervallo aumentato,
443 F: intervalle augmenté,
444 D: übermäßiges Intervall,
445 NL: overmatig interval,
446 DK: forstørret interval,
447 S: överstigande intervall,
448 FI: ylinouseva intervalli.
455 D: Autograph, Handschrift,
457 DK: håndskrift, autograf,
459 FI: käsinkirjoitettu nuotti.
461 1.@tie{}A manuscript in the composer's own hand.
462 2.@tie{}Music prepared for photoreproduction by freehand drawing,
463 with the aid of a straightedge ruler and T-square only,
464 which attempts to emulate engraving.
465 This required more skill than did engraving.
477 @aitemii{backfall,forefall}@c
482 I: stanghetta, barra (di divisione),
483 F: barre (de mesure),
491 ES: compás, @aref{measure}.
501 FI: baritoni, keskikorkuinen miesääni.
503 The male voice intermediate between the @aref{bass} and the
506 @c F: clef de troisième ligne dropped
508 @aitem{baritone clef}@c
509 ES: clave de fa en tercera,
510 I: chiave di baritono,
511 F: clef d' Ut cinquième ligne, clef de Fa troisième,
518 C or F clef setting middle C on the upper staff line.
519 @aref{C clef}, @aref{F clef}.
522 ES: clave de fa en cuarta,
524 F: clé de fa quatrième ligne,
531 A clef setting with middle C on the first top ledger line.
541 FI: basso, matala miesääni.
543 1.@tie{}The lowest male voice.
544 2.@tie{}Sometimes, especially in jazz music, used as
545 an abbreviation for double bass.
557 Line connecting a series of notes (shorter than a quarter note).
558 The number of beams determines the note value of the connected notes.
560 @lilypond[fragment,notime,linewidth=13.0\cm]
561 \set Score.automaticBars = ##f
562 %\override TextScript #'font-style = #'large
565 g16_"1/16"[ g g g] s16
566 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
567 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
574 D: Takt, Taktschlag, Zeit (im Takt),
580 Note value used for counting, most often half-, fourth-, and eighth notes.
581 The base counting value and the number of them per measure is indicated at
582 the start of the music.
584 @lilypond[fragment,linewidth=13.0\cm]
587 \relative c'' { g4 c b a | g1 \bar "||"}
589 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
599 D: Klammer, Akkolade,
600 NL: accolade, teksthaak,
603 FI: yhdistävä sulkumerkki.
605 Symbol at the start of a system connecting staves. Curly braces are used
606 for connecting piano staves, angular brackets for connecting parts in an
607 orchestral or choral score.
609 @lilypond[fragment,raggedright]
610 \context GrandStaff <<
611 \relative c''\context Staff = SA { \clef treble g4 e c2 }
612 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
615 @lilypond[fragment,raggedright]
616 \context StaffGroup <<
617 % \set StaffGroup.minVerticalAlign = #12
618 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
619 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
629 S: brassinstrument, mässingsinstrument,
632 A family of blown musical instruments made of brass, all using a cup formed
633 mouth piece. The brass instruments commonly used in a symphony orchestra are
634 trumpet, trombone, french horn, and tube.
636 @aitem{breath mark}@c
639 D: Atemzeichen, Trennungszeichen,
640 NL: repercussieteken,
641 DK: vejrtrækningstegn,
645 Indication of where to breathe in vocal and wind instrument parts.
657 @aref{note value} twice as long as a whole note. Mainly used
660 @lilypond[fragment,notime,raggedright]
661 \set Score.automaticBars = ##f
662 \relative c'' { g\breve }
685 Clef symbol indicating the position of the middle C. Used on all note
688 @lilypond[fragment,notime,linewidth=13.0\cm]
689 \set Score.automaticBars = ##f
690 \override Score.Clef #'full-size-change = ##t
691 %\override Score.LyricText #'font-style = #'large
693 \context Staff \relative c' {
695 \clef mezzosoprano c s s
700 \context Lyrics \lyrics {
701 \override Lyrics .LyricText #'self-alignment-X = #-1
702 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
714 FI: kadenssi, lopuke.
716 @aref{harmonic cadence}, @aref{functional harmony}.
726 FI: kadenssi, lopuke.
728 An extended, improvisatory style section inserted near the end of
729 movement. The purpose of a cadenza is to give singers or players a chance
730 to exhibit their technical skill and -- not last -- their ability to
731 improvise. Since the middle of the 19th century, however, most cadences have
732 been written down by the composer.
742 FI: kaanon, tarkka jäljittely.
754 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
756 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
757 of an equally tempered @aref{semitone}).
758 @aref{equal temperament}.
773 Three or more tones sounding simultaneously. In traditional European music the
774 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
775 minor @aref{third}) as well as @emph{minor} (minor + major third)
776 chords may be extended with more thirds. Four-tone @emph{seventh chords}
777 and five-tone @emph{ninth} major chords are most often used as dominants
778 (@aref{functional harmony}). A special case is chords having no
779 third above the lower notes to define their quality as major or minor. Such
780 chords are denoted open chords
782 @lilypond[fragment,notime,linewidth=13.0\cm]
783 \set Score.automaticBars = ##f
784 %\override TextScript #'font-style = #'large
786 \context Staff \relative c'' {
794 \context Lyrics \lyrics{
804 @aitem{chromatic scale}@c
805 ES: escala cromática,
807 F: gamme chromatique,
808 D: chro@-ma@-ti@-sche Tonleiter,
809 NL: chromatische toonladder,
812 FI: kromaattinen asteikko.
814 A scale consisting of all 12 @aref{semitone}s.
816 @lilypond[fragment,notime,linewidth=13.0\cm]
817 \set Score.automaticBars = ##f
818 \relative c' { c1 cis d dis e f fis g gis a ais b c }
821 @aitem{chromaticism}@c
831 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
833 @aitemii{church mode,ecclesiastical mode}@c
834 ES: modo eclesiástico,
835 I: modo ecclesiastico,
836 F: mode ecclésiastique,
841 FI: moodi, kirkkosävellaji.
843 @aref{diatonic scale}.
849 D: Schlüssel, Notenschlüssel,
853 FI: avain, nuottiavain.
855 @aref{C clef}, @aref{F clef}, @aref{G clef}.
858 A @emph{cluster} is a range of simultaneously sounding pitches that
859 may change over time. The set of available pitches to apply usually
860 depends on the acoustic source. Thus, in piano music, a cluster
861 typically consists of a continuous range of the semitones as provided
862 by the piano's fixed set of a chromatic scale. In choral music, each
863 singer of the choir typically may sing an arbitrary pitch within the
864 cluster's range that is not bound to any diatonic, chromatic or other
865 scale. In electronic music, a cluster (theoretically) may even cover
866 a continuous range of pitches, thus resulting in colored noise, such
869 Clusters can be denoted in the context of ordinary staff notation by
870 engraving simple geometrical shapes that replace ordinary notation of
871 notes. Ordinary notes as musical events specify starting time and
872 duration of pitches; however, the duration of a note is expressed by
873 the shape of the note head rather than by the horizontal graphical
874 extent of the note symbol. In contrast, the shape of a cluster
875 geometrically describes the development of a range of pitches
876 (vertical extent) over time (horizontal extent). Still, the
877 geometrical shape of a cluster covers the area in which any single
878 pitch contained in the cluster would be notated as an ordinary note.
880 @lilypond[fragment,relative=2,verbatim,raggedright]
881 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
891 FI: komma, korvinkuultava ero äänenkorkeudessa.
893 Difference in pitch between a note derived from pure tuning and the same note
894 derived from some other tuning method. @aref{temperament}.
896 @aitem{common meter}@c
899 @aitem{compound interval}@c
900 ES: intervalo compuesto,
901 I: intervallo composto,
902 F: intervalle composé,
904 NL: samengesteld interval,
905 DK: sammensat interval,
906 S: sammansatt intervall,
907 FI: oktaavia laajempi intervalli.
909 Intervals larger than an octave.
915 F: intervalle complémentaire,
916 D: Komplementärintervall,
917 NL: complementair interval,
918 DK: komplementærinterval,
919 S: komplementärintervall (?),
920 FI: täydentävä intervalli.
922 @aref{inverted interval}.
924 @aitem{conjunct movement}@c
925 ES: movimiento conjunto,
927 F: mouvement conjoint,
928 D: schritt@-weise, stufenweise Bewegung,
929 NL: stapsgewijze, trapsgewijze beweging,
930 DK: trinvis bevægelse,
932 FI: asteittainen liike.
934 Progressing melodically by intervals of a second. The opposite of a
935 @aref{disjunct movement}.
937 @lilypond[fragment,linewidth=13.0\cm]
938 \key g \major \time 4/4
939 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
950 FI: konsonanssi, sopusointi.
966 @aitem{counterpoint}@c
974 FI: kontrapunkti, ääni ääntä vastaan.
976 From latin @emph{punctus contra punctum}, note against note. The combination
977 into a single musical fabric of lines or parts which have distinct melodic
978 significance. A frequently used polyphonic technique is imitation, in its
979 strictest form found in the canon needing only one part to be written down
980 while the other parts are performed with a given displacement. Imitation is
981 also the contrapunctal technique used in the @emph{fugue} which, since the
982 music of the baroque era, has been one of the most popular polyphonic
985 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
986 \override Score.TimeSignature #'break-visibility = #all-invisible
987 \context PianoStaff <<
988 \context Staff = SA \relative c' {
992 << \context Voice = rha {
994 r1 | r2 r8 g'8 bes d, |
995 cis4 d r8 e!16 f g8 f16 e |
996 f8 g16 a bes8 a16 g a8
998 \context Voice = rhb {
1004 \context Staff = SB \relative c' {
1007 << \context Voice = lha {
1009 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1010 r8 a16 g f8 g16 a bes8 g e! cis' |
1013 \context Voice = lhb {
1021 @aitem{counter tenor}@c
1025 D: Countertenor, Kontratenor,
1028 S: kontratenor, counter tenor,
1033 @aitem{copying, music}@c
1034 A music copyist did fast freehand scores and parts on preprinted staff lines
1035 for performance. Some of their conventions (e.g., the placement of note heads
1036 on stems) varied slightly from those of engravers. Some of their working
1037 methods were superior and could well be adopted by music typesetters. This
1038 required more skill than engraving.
1044 D: Crescendo, lauter werden,
1048 FI: cresendo, voimistuen.
1050 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1051 abbreviation ``cresc.''.
1053 @lilypond[fragment,raggedright]
1054 \key g \major \time 4/4
1055 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1061 F: petites notes précédent l'entrée d'in instrument, réplique,
1068 In a separate part notes belonging to another part with the purpose of hinting
1069 when to start playing. Usually printed in a smaller type.
1072 A custos is a staff symbol that appears at the end of a staff line
1073 with monophonic musical contents (i.e., with a single voice). It
1074 anticipates the pitch of the first note of the following line and thus
1075 helps the player or singer to manage line breaks during performance,
1076 thus enhancing readability of a score.
1078 Custodes were frequently used in music notation until the 16th
1079 century. There were different appearences for different notation
1080 styles. Nowadays, they have survived only in special forms of musical
1081 notation such as via the editio vaticana dating back to the beginning
1087 % \override Staff.Custos #'neutral-position = #4
1088 \override Staff.Custos #'neutral-direction = #-1
1089 \override Staff.Custos #'style = #'hufnagel
1097 \consists Custos_engraver
1117 F: da capo, depuis le commencement,
1118 D: da capo, von Anfang,
1122 FI: da capo, alusta.
1124 The term indicates repetition of the piece from the beginning to the end or
1125 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1130 F: dal segno, depuis le signe,
1131 D: dal segno, ab dem Zeichen,
1135 FI: dal segno, lähtien merkistä.
1137 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1138 another place frequently near the beginning marked by a sign:
1140 @lilypond[fragment,raggedright]
1141 %\override TextScript #'font-style = #'large
1142 \override TextScript #'font-shape = #'italic
1143 \key g \major \time 4/4
1148 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
1153 @aitem{decrescendo}@c
1156 D: Decrescendo, leiser werden,
1160 FI: decresendo, hiljentyen.
1162 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1163 or the abbreviation ``decresc.''.
1165 @lilypond[fragment,raggedright]
1167 \key g \major \time 4/4
1168 d4 \> c b a | g1 \! \bar "|."
1172 @aitem{descending interval}@c
1173 ES: intervalo descendente,
1174 I: intervallo discendente,
1175 F: intervalle descendant,
1176 D: fallendes Intervall, absteigendes Intervall,
1177 NL: dalend interval,
1178 DK: faldende interval,
1179 S: fallande intervall,
1180 FI: laskeva intervalli.
1182 A distance between a starting higher note and a lower ending note.
1184 @aitem{diatonic scale}@c
1185 ES: escala diatónica,
1187 F: gamme diatonique,
1188 D: diatonische Tonleiter,
1189 NL: diatonische toonladder,
1190 DK: diatonisk skala,
1192 FI: diatoninen asteikko.
1194 A scale consisting of 5@w{ }@aref{whole tone}s and
1195 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1196 of a piano keybord are diatonic.
1198 The church modes are used in gregorial chant and in pre-baroque early
1199 music but also to some extent in newer jazz music.
1201 @lilypond[fragment,notime,raggedright]
1202 \set Score.automaticBars = ##f
1203 %\override Score.LyricText #'font-style = #'large
1204 %\override Score.TextScript #'font-style = #'large
1206 \context Staff \relative c' {
1208 \override TextScript #'padding = #-4
1209 e^"~~ S" f g a b^"~~ S" c
1211 \context Lyrics \lyrics {
1216 @lilypond[fragment,notime,raggedright]
1217 \set Score.automaticBars = ##f
1218 %\override Score.LyricText #'font-style = #'large
1219 %\override Score.TextScript #'font-style = #'large
1221 \context Staff \relative c' {
1223 \override TextScript #'padding = #-4
1224 e^"~~ S" f g a b^"~~ S" c d
1226 \context Lyrics \lyrics {
1231 @lilypond[fragment,notime,raggedright]
1232 \set Score.automaticBars = ##f
1233 %\override Score.LyricText #'font-style = #'large
1234 %\override Score.TextScript #'font-style = #'large
1237 \override TextScript #'padding = #-4
1238 e1^"~~ S" f g a b^"~~ S" c d e
1240 \context Lyrics \lyrics {
1245 @lilypond[fragment,notime,raggedright]
1246 \set Score.automaticBars = ##f
1247 %\override Score.LyricText #'font-style = #'large
1248 %\override Score.TextScript #'font-style = #'large
1252 \override TextScript #'padding = #-4
1253 b^"~~ S" c d e^"~~ S" f
1255 \context Lyrics \lyrics {
1260 @lilypond[fragment,notime,raggedright]
1261 \set Score.automaticBars = ##f
1262 %\override Score.LyricText #'font-style = #'large
1263 %\override Score.TextScript #'font-style = #'large
1267 \override TextScript #'padding = #-4
1268 b^"~~ S" c d e^"~~ S" f g }
1269 \context Lyrics \lyrics {
1274 @lilypond[fragment,notime,raggedright]
1275 \set Score.automaticBars = ##f
1276 %\override Score.LyricText #'font-style = #'large
1277 %\override Score.TextScript #'font-style = #'large
1281 \override TextScript #'padding = #-4
1282 b^"~~ S" c d e^"~~ S" f g a
1284 \context Lyrics \lyrics {
1289 From the beginning of the 17th century the scales used in European
1290 compositional music are primarily the major and the minor scales. In the
1291 harmonic minor scale type an augmented second (A) occurs between the 6th and
1294 @lilypond[fragment,notime,raggedright]
1295 \set Score.automaticBars = ##f
1296 %\override Score.LyricText #'font-style = #'large
1297 %\override Score.TextScript #'font-style = #'large
1301 \override TextScript #'padding = #-4
1302 e^"~~ S" f g a b^"~~ S" c
1304 \context Lyrics \lyrics {
1309 @lilypond[fragment,notime,raggedright]
1310 \set Score.automaticBars = ##f
1311 %\override Score.LyricText #'font-style = #'large
1312 %\override Score.TextScript #'font-style = #'large
1316 \override TextScript #'padding = #-4
1317 b^"~~ S" c d e^"~~ S" f g a
1319 \context Lyrics \lyrics {
1324 @lilypond[fragment,notime,raggedright]
1325 \set Score.automaticBars = ##f
1326 %\override Score.LyricText #'font-style = #'large
1327 %\override Score.TextScript #'font-style = #'large
1331 \override TextScript #'padding = #-4
1332 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1334 \context Lyrics \lyrics {
1339 @lilypond[fragment,notime,linewidth=13.0\cm]
1340 \set Score.automaticBars = ##f
1341 %\override Score.LyricText #'font-style = #'large
1342 %\override Score.TextScript #'font-style = #'large
1346 \override TextScript #'padding = #-4
1347 b^"~~ S" c d e fis gis^"~~ S"
1348 a g! f!^"~~ S" e d c^"~~ S" b a
1350 \context Lyrics \lyrics {
1355 @aitem{diminished interval}@c
1356 ES: intervalo disminuído,
1357 I: intervallo diminuito,
1358 F: intervalle diminué,
1359 D: vermindertes Intervall,
1360 NL: verminderd interval,
1361 DK: formindsket interval,
1362 S: förminskat intervall,
1363 FI: vähennetty intervalli.
1367 @aitem{diminuendo}@c
1375 FI: diminuendo, hiljentyen.
1379 @aitem{disjunct movement}@c
1380 ES: movimiendo disjunto,
1382 F: mouvement disjoint,
1383 D: sprunghafte Bewegung,
1384 NL: sprongsgewijze beweging,
1385 DK: springende bevægelse,
1386 S: hoppande rörelse,
1387 FI: melodian hyppivä liike.
1389 Progressing melodically by intervals larger than a major second.
1390 Opposite of @aref{conjunct movement}.
1392 @lilypond[fragment,raggedright]
1397 a4. gis8 b a e cis |
1398 fis2 d4. \bar "||" }
1401 @aitemii{dissonant interval,dissonance}@c
1402 ES: intervalo disonante, disonancias,
1403 I: intervallo dissonante, dissonanza,
1406 NL: dissonant interval; dissonant,
1407 DK: dissonerende interval, dissonans,
1409 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1413 @aitem{dominant ninth chord}@c
1414 I: accordo di nona di dominante,
1415 F: accord de neuvième dominante,
1416 D: Domi@-nant@-nonen@-akkord,
1417 NL: dominant noon akkoord,
1418 DK: dominantnoneakkord,
1419 S: dominantnonackord,
1420 FI: dominanttinoonisointu.
1422 @aref{chord}, @aref{functional harmony}.
1424 @aitem{dominant seventh chord}@c
1425 ES: acorde de séptima de dominante,
1426 I: accordo di settima di dominante,
1427 F: accord de septième dominante,
1428 D: Dominantseptakkord,
1429 NL: dominant septiem akkoord,
1430 DK: dominantseptimakkord,
1431 S: dominantseptimackord,
1432 FI: dominanttiseptimisointu.
1434 @aref{chord}, @aref{functional harmony}.
1444 FI: dominantti, huippusointu.
1446 The fifth @aref{scale degree},
1447 @aref{functional harmony}.
1449 @aitem{dorian mode}@c
1453 D: dorisch, dorischer Kirchenton,
1454 NL: dorische toonladder,
1459 @aref{diatonic scale}.
1461 @aitem{dot (augmentation dot)}@c
1463 I: punto (di valore),
1465 D: Punkt (Verlängerungspunkt),
1473 @aitem{dotted note}@c
1474 ES: nota con puntillo,
1478 NL: gepuncteerde noot,
1481 FI: pisteellinen nuotti.
1485 @aitem{double appoggiatura}@c
1486 ES: apoyatura doble,
1487 I: appoggiatura doppia,
1488 F: appoggiature double,
1489 D: doppelter Vorschlag,
1490 NL: dubbele voorslag,
1491 DK: dobbelt forslag,
1493 FI: kaksoisappogiatura, kaksoisetuhele.
1495 @aref{appoggiatura}.
1497 @aitem{double bar line}@c
1501 NL: dubbele maatstreep,
1504 FI: kaksoistahtiviiva.
1506 Indicates the end of a section within a movement.
1508 @aitem{double dotted note}@c
1509 ES: nota con dos puntillos,
1510 I: nota doppiamente puntata,
1511 F: note doublement pointée,
1512 D: doppelt punktierte Note,
1513 NL: dubbelgepuncteerde noot,
1514 DK: dob@-belt@-punk@-te@-ret node,
1515 S: dub@-bel@-punk@-te@-rad not,
1516 FI: kaksoispisteellinen nuotti.
1520 @aitem{double flat}@c
1528 FI: kaksoisalennusmerkki.
1532 @aitem{double sharp}@c
1533 ES: doble sostenido,
1538 DK: dob@-belt@-kryds,
1540 FI: kaksoisylennysmerkki.
1544 @aitem{double trill}@c
1549 NL: dubbele triller,
1554 A simultaneous trill on two notes, usually in the distance of a third.
1556 @aitem{duple meter}@c
1561 NL: tweedelige maatsoort,
1588 FI: kesto, aika-arvo.
1592 @aitem{dydimic comma}@c
1593 @aref{syntonic comma}.
1605 @aitem{eighth note}@c
1610 D: Achtel, Achtelnote,
1612 DK: ottendedelsnode,
1614 FI: kahdeksasosanuotti.
1618 @aitem{eighth rest}@c
1619 ES: silencio de corchea,
1625 DK: ottendedelspause,
1627 FI: kahdeksasosatauko.
1635 D: Notenstechen, Notendruck
1641 Engraving means incising or etching a metal plate for
1642 printing. Photoengraving means drawing music with ink in a manner
1643 similar to drafting or engineering drawing, using similar tools.
1645 The traditional process of music printing is done through cutting in a
1646 plate of metal. Now also the term for the art of music typesetting.
1648 @aitem{enharmonic}@c
1658 Two notes, intervals, or scales are enharmonic if they have different names
1661 @lilypond[fragment,notime,linewidth=13.0\cm]
1662 \set Score.automaticBars = ##f
1663 %\override Score.TextScript #'font-style = #'large
1665 \context Staff \relative c'' {
1666 gis1 s s as s s <des g,!> s s <cis g!> s s
1668 \context Lyrics \lyrics {
1669 \override Lyrics .LyricText #'self-alignment-X = #-1
1670 "g sharp " "a flat " "dim fifth " "augm fourth"
1674 @aitem{equal temperament}@c
1676 I: temperamento equabile,
1677 F: tempérament égal,
1678 D: gleichschwebende Stimmung,
1679 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1680 DK: ligesvævende temperatur,
1681 S: liksvävande temperatur,
1684 Tuning system dividing the octave into 12 equal @aref{semitone}s
1685 (precisely 100 @aref{cent}s). @aref{temperament}.
1687 @aitem{expression mark}@c
1689 I: segno d'espressione,
1690 F: signe d'expression, indication de nuance,
1692 NL: voordrachtsteken,
1693 DK: foredragsbetegnelse,
1694 S: föredragsbeteckning,
1695 FI: nyanssiosoitus, esitysmerkki.
1697 Performance indications concerning 1. volume, dynamics (for example
1698 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1699 @aref{andante}, @aref{allegro}).
1721 The position between the dots of the key symbol is the line of the F below
1722 central@w{ }C. Used on the third, fourth and fifth note line. A
1723 digit@w{ }8 above the clef symbol indicates that the notes must be played
1724 an octave higher (for example bass recorder) while 8@w{ }below the clef
1725 symbol indicates playing an octave lower (for example on double bass
1728 @lilypond[fragment,notime,linewidth=13.0\cm]
1729 \set Score.automaticBars = ##f
1730 \override Staff.Clef #'full-size-change = ##t
1731 %\override Score.LyricText #'font-style = #'large
1745 \context Lyrics \lyrics {
1746 % \override Lyrics .LyricText #'self-alignment-X = #-1
1755 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1760 F: point d'orgue, point d'arr@^et,
1765 FI: fermaatti, pidäke.
1767 Prolonged note or rest of indefinite duration.
1769 @lilypond[fragment,raggedright]
1772 a4 b c2^\fermata \bar "|."
1788 @aitem{figured bass}@c
1789 ES: bajo cifrado, @aref{thorough bass}.
1801 The methodical use of fingers in the playing of instruments.
1803 @aitemii{flag,pennant}@c
1805 I: coda (uncinata), bandiera,
1813 Ornament at the end of the stem of a note used for notes with values
1814 less than a quarter note. The number of flags determines the
1817 @lilypond[fragment,notime,raggedright]
1818 \set Score.automaticBars = ##f
1819 %\override Score.TextScript #'font-style = #'large
1840 @aitemii{forefall,backfall}@c
1841 @aref{appoggiatura}.
1851 FI: forte, voimakkaasti.
1853 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1854 @emph{mezzoforte} (@b{mf}) medium loud.
1878 @aref{counterpoint}.
1880 @aitem{functional harmony}@c
1881 ES: armonía funcional,
1882 I: armonia funzionale,
1883 F: étude des functions,
1885 NL: functionele harmonie,
1886 DK: funktionsanalyse, funktionsharmonik,
1888 FI: harmoniajärjestelmä.
1890 A system of harmonic analysis. It is based on the idea that, in a given key,
1891 there are only three functionally different chords: tonic (T, the chord on the
1892 first note of the scale), subdominant (S, the chord on the fourth note), and
1893 dominant (D, the chord on the fifth note). Others are considered to be
1894 variants of the base chords.
1896 @lilypond[fragment,notime,linewidth=13.0\cm]
1897 \set Score.automaticBars = ##f
1898 %\override Score.LyricText #'font-style = #'large
1899 %\override Score.TextScript #'font-style = #'large
1901 \context Voice \relative c'' {
1902 <g e c >1 < a f d > < b g e >
1903 <c a f > < d b g > < e c a > < f d b > }
1904 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
1921 D: G-Schlüssel, Violinschlüssel,
1927 A clef symbol indicating the G above central@w{ }C. Used on the first
1928 and second note lines. A digit 8 above the clef symbol indicates that
1929 the notes must be played an octave higher while 8 below the clef symbol
1930 indicates playing or singing an octave lower (most tenor parts in choral
1931 scores are notated like that).
1933 @lilypond[fragment,notime,linewidth=13.0\cm]
1934 \set Score.automaticBars = ##f
1935 \override Staff.Clef #'full-size-change = ##t
1936 %\override Score.LyricText #'font-style = #'large
1948 \context Lyrics \lyrics {
1949 \override Lyrics .LyricText #'self-alignment-X = #-1
1950 "french violin clef "
1965 FI: glissando, liukuen.
1967 Letting the pitch slide fluently from one note to the other.
1969 @aitem{grace notes}@c
1973 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
1979 Notes printed in small types to indicate that their time values are not
1980 counted in the rhythm of the bar. @aref{appoggiatura}.
1982 @aitem{grand staff}@c
1988 S: ackolad, böjd klammer,
1989 FI: kaksoisnuottiviivasto.
1993 A combination of two staves with a brace. Usually used for piano music.
2003 FI: grave, raskaasti.
2012 D: Halbe, halbe Note,
2033 @aitem{harmonic cadence}@c
2034 ES: cadencia (armónica),
2035 I: cadenza (armonica),
2036 F: cadence harmonique,
2038 NL: harmonische cadens,
2039 DK: harmonisk kadence,
2040 S: (harmonisk) kadens,
2041 FI: harmoninen kadenssi.
2043 A sequence of chords that terminates a musical phrase or
2044 section. @aref{functional harmony}.
2046 @lilypond[fragment,raggedright]
2047 \context PianoStaff <<
2048 \context Staff = SA \relative c'' {
2052 \partial 4 < c g e >4 |
2053 < c a f > < b g d > < c g e >2
2055 % %\override Score.LyricText #'font-style = #'large
2057 \context Staff = SB \relative c {
2059 \partial 4 c4 | f, g c2
2062 \context Lyrics \lyrics {
2072 D: Harmonie, Zusammenklang,
2076 FI: harmonia, yhteissointi.
2078 Tones sounding simultaneously. Two note harmonies fall into the categories
2079 @emph{consonances} and @emph{dissonances}.
2083 @lilypond[fragment,notime,linewidth=13.0\cm]
2084 \set Score.automaticBars = ##f
2085 %\override Score.TextScript #'font-style = #'large
2086 \context Voice \relative c'' {
2099 @lilypond[fragment,notime,linewidth=13.0\cm]
2100 \set Score.automaticBars = ##f
2101 %\override Score.TextScript #'font-style = #'large
2102 \context Voice \relative c'' {
2103 <g a>1_"second " s s
2104 <g f'>_"seventh " s s
2109 Three note harmony @aref{chord}.
2119 FI: homofonia, yksiäänisyys.
2121 Music in which one voice leads melodically followed by the other voices more
2122 or less in the same rhythm. In contrast to @aref{polyphony}.
2132 FI: intervalli, kahden sävelen korkeusero.
2134 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2135 diminished, or augmented. The augmented fourth and the diminished fifth are
2136 identical (@aref{enharmonic}) and are called @emph{tritonus}
2137 because they consist of three @aref{whole tone}s. The addition
2138 of such two intervals forms an octave.
2140 @lilypond[fragment,notime,linewidth=13.0\cm]
2141 \set Score.automaticBars = ##f
2142 %\override Score.LyricText #'font-style = #'large
2143 %\override Score.TextScript #'font-style = #'large
2145 \context Voice \relative c'' {
2150 < gis bes >^"dimin" s
2151 < g! bes >^"minor" s
2155 \context Lyrics \lyrics {
2156 "unisone " "second " "second " "second "
2157 "third " "third " "third " "third"
2161 @lilypond[fragment,notime,linewidth=13.0\cm]
2162 \set Score.automaticBars = ##f
2163 %\override Score.LyricText #'font-style = #'large
2164 %\override Score.TextScript #'font-style = #'large
2166 \context Staff \relative c'' {
2167 < g c >1^"perfect" s
2169 < g d' >^"perfect" s
2170 < g des' > ^"dimin" s
2171 < gis es' >^"dimin" s
2172 < g! es' >^"minor" s
2176 \context Lyrics \lyrics {
2177 "fourth " "fourth " "fifth " "fifth "
2178 "sixth " "sixth " "sixth " "sixth"
2182 @lilypond[fragment,notime,linewidth=13.0\cm]
2183 \set Score.automaticBars = ##f
2184 %\override Score.LyricText #'font-style = #'large
2185 %\override Score.TextScript #'font-style = #'large
2187 \context Staff \relative c'' {
2188 < gis f'! >1^"dimin" s
2189 < g! f'! >^"minor" s
2190 < g fis' >^"major" s
2194 < g bes' >^"minor" s
2197 \context Lyrics \lyrics {
2198 "seventh " "seventh " "seventh " "octave "
2199 "none " "none " "decime " "decime"
2203 @aitem{inverted interval}@c
2204 ES: intervalo invertido,
2205 I: intervallo rivolto,
2206 F: intervalle reversé,
2207 D: umgekehrtes Intervall,
2208 NL: interval inversie,
2209 DK: omvendingsinterval,
2210 S: intervallets omvändning,
2211 FI: käänteisintervalli.
2213 The difference between an interval and an octave.
2215 @lilypond[fragment,notime,linewidth=13.0\cm]
2216 \set Score.automaticBars = ##f
2217 %\override Score.TextScript #'font-style = #'large
2218 \context Staff \relative c'' {
2219 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2220 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2221 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2225 @aitem{just intonation}@c
2226 I: intonazione giusta,
2227 F: intonation juste,
2234 Tuning system in which the notes are obtained by adding and subtracting
2235 natural fifths and thirds. @aref{temperament}.
2247 According to the 12@w{ }tones of the @aref{chromatic scale}
2248 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2249 @aref{key signature}.
2251 @aitem{key signature}@c
2252 ES: armadura de clave,
2253 I: armatura di chiave,
2254 F: armure, armature [de la clé],
2255 D: Vorzeichen, Tonart,
2256 NL: toon@-soort (voortekens),
2259 FI: sävellajiosoitus.
2261 The sharps or flats appearing at the beginning of each staff indicating the
2262 key of the music. @aref{accidental}.
2268 D: Largo, Langsam, Breit,
2272 FI: largo, hitaasti, leveästi.
2274 Very slow in tempo, usually combined with great
2275 expressiveness. @emph{Larghetto} is less slow than largo.
2277 @aitem{leading note}@c
2287 The seventh @aref{scale degree}, a @aref{semitone} below
2288 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2289 upwards) to the tonic scale degree.
2291 @aitemii{ledger line,leger line}@c
2292 ES: líneas adicionales,
2293 I: tagli addizionali,
2294 F: ligne supplémentaire,
2301 A ledger line is an extension of the staff.
2303 @lilypond[fragment,notime,raggedright]
2304 \set Score.automaticBars = ##f
2305 \relative c'' { a,1 s c'' }
2318 To be performed (a) without any perceptible interruption between the notes,
2319 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2320 (d) @aref{staccato}.
2322 @lilypond[fragment,notime,linewidth=13.0\cm]
2323 \set Score.automaticBars = ##f
2325 \context Staff \relative c'' {
2326 c4-( d e-) \bar "||"
2327 c4-- d-- e-- \bar "||"
2328 c4-.-( d-. e-.-) \bar "||"
2329 c4-. d-. e-. \bar "||"
2331 \context Lyrics \lyrics {
2332 % \override Lyrics .LyricText #'font-style = #'large
2340 @aitem{legato curve}@c
2341 @aref{slur}, @aref{legato}.
2344 ES: estanque de lilas,
2345 I: stagno del giglio,
2349 NL: le@-lie@-vij@-ver,
2354 A pond with lilies floating in it, also the name of a music typesetter.
2357 A ligature is a coherent graphical symbol that represents at least two
2358 distinct notes. Ligatures originally appeared in the manuscripts of
2359 Gregorian chant notation roughly since the 9th century to denote
2360 ascending or descending sequences of notes. In early notation,
2361 ligatures were used for monophonic tunes (Gregorian chant) and very
2362 soon denoted also the way of performance in the sense of articulation.
2363 With the invention of the metric system of the white mensural
2364 notation, the need for ligatures to denote such patterns disappeared.
2370 D: Linie, Notenlinie,
2374 FI: viiva, nuottiviiva.
2378 @aitem{long appoggiatura}@c
2379 ES: apoyatura larga,
2380 I: appoggiatura lunga,
2381 F: appoggiature longue,
2382 D: langer Vorschlag,
2386 FI: pitkä appoggiatura, pitkä etuhele.
2388 @aref{appoggiatura}.
2400 Note value: double length of @aref{breve}.
2403 @lilypond[fragment,notime,raggedright]
2404 \set Score.automaticBars = ##f
2406 \override NoteHead #'style = #'mensural
2411 @aitemii{lyrics,song texts}@c
2421 @aitem{major interval}@c
2422 ES: intervalo mayor,
2423 I: intervallo maggiore,
2424 F: intervalle majeur,
2425 D: großes Intervall,
2429 FI: suuri intervalli.
2443 @aref{diatonic scale}.
2445 @aitem{meantone temperament}@c
2446 I: accordatura mesotonica,
2447 F: tempérament mésotonique,
2448 D: mitteltönige Stimmung,
2449 NL: middenstemming, middentoonstemming,
2450 DK: middeltonetemperatur,
2451 S: medeltonstemperatur,
2452 FI: keskisävelviritys.
2454 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2455 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2456 @aref{temperament} only a limited set of keys are playable.
2457 Used for tuning keyboard instruments for performance of pre-1650 music.
2459 @aitemii{measure,bar}@c
2469 A group of @aref{beat}s (units of musical time) the first of which
2470 bears an accent. Such groups in numbers of two or more recur consistently
2471 throughout the composition and are marked from each other by
2472 bar-lines. @aref{meter}.
2476 I: mediante, modale,
2484 1.@tie{}The third @b{scale degree}.
2485 2.@tie{}A @aref{chord} having its base tone
2486 a third from that of another chord. For example, the tonic chord may be
2487 replaced by its lower mediant (variant tonic). @aref{functional
2488 harmony}, @aref{relative key}.
2492 FI: melisma, laulettavan tavun sävelkuvio.
2494 A melisma (plural: melismata) is a group of notes or tones sung on one
2495 syllable in plainsong
2497 @aitem{melodic cadence}@c
2500 @aitemii{meter,time}@c
2503 F: indication de mésure,
2510 The basic scheme of @aref{note value}s and
2511 @aref{accent}s which remains unaltered throughout a composition
2512 or a section of it. For instance, 3/4 meter means that the basic
2513 @aref{note value}s are quarter notes and that a
2514 @aref{measure} consists of three of those. According to
2515 whether there are two, three, or four units to the measure,
2516 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2517 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2519 @lilypond[fragment,linewidth=13.0\cm]
2523 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2526 @lilypond[fragment,linewidth=13.0\cm]
2530 f8 f f f a16 g a f |
2531 c'8 c c c e16 d e c \bar "||"}
2534 @lilypond[fragment,linewidth=13.0\cm]
2538 d4 b8 g b d d c a4 |
2539 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2552 Device indicating the exact tempo of a piece. @aref{metronomic
2555 @aitem{metronomic indication}@c
2556 ES: indicación metronómica,
2557 I: indicazione metronomica,
2558 F: indication métronomique,
2560 NL: metronoom aanduiding,
2562 S: metronomangivelse,
2563 FI: metronomiosoitus.
2565 Exact tempo indication (in beats per minute). Also denoted by
2566 M.M.@: (Mälzels Metronom).
2568 @aitem{mezzo-soprano}@c
2578 The female voice between @aref{soprano} and
2585 D: eingestrichenes@w{ }c,
2587 DK: enstreget@w{ }c,
2588 S: ettstruket@w{ }c,
2591 First C below the 440 Hz A.
2593 @lilypond[fragment,notime,raggedright]
2594 \set Score.automaticBars = ##f
2595 \override Staff.Clef #'full-size-change = ##t
2613 @aref{diatonic scale}.
2615 @aitem{minor interval}@c
2616 ES: intervalo mayor,
2617 I: intervallo minore,
2618 F: intervalle mineur,
2619 D: kleines Intervall,
2623 FI: pieni intervalli.
2635 FI: moodi, kirkkosävelasteikko.
2637 @aref{church mode}, @aref{diatonic scale}.
2639 @aitem{modulation}@c
2647 FI: modulaatio, sävellajin vaihdos.
2649 Moving from one @aref{key} to another. For example, the second
2650 subject of a @aref{sonata form} movement modulates to the dominant
2651 key if the key is major and to the @aref{relative key} if the key
2661 FI: mordent, korukuvio.
2665 @aitemii{motive,motif}@c
2673 FI: teema, sävelaihe.
2675 The briefest intelligible and self-contained fragment of a musical theme or
2678 @lilypond[fragment,linewidth=13.0\cm]
2679 \override Score.TimeSignature #'break-visibility = #all-invisible
2680 %\override Score.TextScript #'font-style = #'large
2684 \partial 8 g16_"------" fis |
2685 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2686 g8 g,16 a b8 cis d16 s
2700 Greater musical works like @aref{symphony} and
2701 @aref{sonata} most often consist of several -- more or less --
2702 independant pieces called movements.
2704 @aitem{multibar rest}@c
2705 ES: compases de espera,
2709 D: mehrtaktige Pause,
2712 FI: usean tahdin mittainen tauko.
2714 @lilypond[fragment,raggedright]
2717 \set Score.skipBars = ##t R1*3
2722 @aitem{mixolydian mode}@c
2723 @aref{diatonic scale}.
2725 @aitem{natural sign}@c
2729 D: Auflösungszeichen,
2730 NL: herstellingsteken,
2731 DK: op@-løsningstegn,
2732 S: återställningstecken,
2737 @aitem{neighbour tones}@c
2738 @aref{appoggiatura}.
2752 @aitem{non-legato}@c
2765 Notes are signs by means of which music is fixed in writing. The term is also
2766 used for the sound indicated by a note, and even for the key of the piano
2767 which produces the sound. However, a clear distinction between the terms tone
2768 and @aref{note} is strongly recommended. Briefly, one sees a note,
2773 I: testa, testina, capocchia,
2774 F: t@^ete de la note,
2781 A head-like sign which indicates pitch by its position on a
2782 @aref{staff} provided with a @aref{clef}, and duration
2783 by a variety of shapes such as hollow or black heads with or without
2784 @aref{stem}s, @aref{flag}s, etc. For percussion
2785 instruments (often having no defined pitch) the note head may indicate the
2788 @aitem{note value}@c
2791 F: durée, valeur (d'une note),
2796 FI: nuotin aika-arvo.
2798 Note values (durations) are measured as fractions, normally 1/2, of the next
2799 higher note value. The longest duration normally used is called @emph{brevis},
2800 but sometimes (mostly in pre-baroque music) the double length note value
2801 @emph{longa} is used.
2803 @lilypond[fragment,notime,linewidth=13.0\cm]
2804 %\override Score.TextScript #'font-style = #'large
2805 \set Score.automaticBars = ##f
2807 \override NoteHead #'style = #'mensural
2808 a\longa_"longa" a\breve_"breve"
2809 \revert NoteHead #'style
2810 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
2811 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
2814 @lilypond[fragment,notime,linewidth=13.0\cm]
2815 %\override Score.TextScript #'font-style = #'large
2816 \set Score.automaticBars = ##f
2818 r\longa_"longa" r\breve_"breve"
2819 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2820 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2823 An augmentation dot after a note multiplies the duration by one and a
2824 half. Another dot adds yet a fourth of the duration.
2826 @lilypond[fragment,linewidth=13.0\cm]
2827 %\override Score.TextScript #'font-style = #'large
2830 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2831 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2834 Alternatively note values may be subdivided by other ratios. Most common is
2835 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2836 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2837 dotted notes are also frequently used.
2839 @lilypond[fragment,linewidth=13.0\cm]
2840 %\override Score.TextScript #'font-style = #'large
2843 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2844 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2848 @lilypond[fragment,linewidth=13.0\cm]
2851 \times 3/2 {g4_"duplets" g} |
2853 \times 6/4 {g8_"quadruplets" g g g} |
2854 g8 g g g g4 \bar "||"
2858 @aitem{octave sign}@c
2859 @aref{G clef}, @aref{F clef}.
2873 @aitemiii{ornament,embellishment,accessory}@c
2875 I: abbellimento, fioriture,
2876 F: agrément, ornement,
2877 D: Verzierung, Ornament,
2883 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2884 with the diatonic @aref{second} above it. In the music from the
2885 middle of the 19th century and onwards the trill is performed with the main
2886 note first while in the music from the preceding baroque and classic periods
2887 the upper note is played first.
2889 @lilypond[fragment,linewidth=13.0\cm]
2891 \context Staff = sa {
2892 % \override Score.TextScript #'font-style = #'large
2894 c2._"pre-1850" b4\trill | c1 \bar "||"
2895 c2._"post-1850" b4\trill | c1 \bar "||"
2899 c2. c32 b c b c b c b | c1
2900 c2. b32 c b c \times 4/5 { b c b c b } | c1
2905 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
2906 @emph{prall} (inverted mordent).
2908 @lilypond[fragment,linewidth=13.0\cm]
2910 \context Staff = sa {
2911 % \override Score.TextScript #'font-style = #'large
2913 a4_"turn" b\turn c2 \bar "||"
2914 g4_"mordent" a b\mordent a \bar "||"
2915 e'4_"prall" d\prall c2 \bar "||"
2921 e'4 e32[ d e d ~ d8] c2
2926 @aref{appoggiatura}.
2936 FI: ossia, vaihtoehtoinen esitystapa.
2938 Ossia (otherwise) marks an alternative. It is an added staff or piano
2939 score, usually only a few measures long, which presents another version
2940 of the music, for example for small hands.
2950 FI: stemma, instrumenttiosuus.
2952 1.@tie{}In instrumental or choral music the music for the single instrument
2953 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
2954 melodic line of the contrapunctal web.
2956 @aitem{percussion}@c
2960 D: Schlagzeug, Schlagwerk,
2966 A family of musical instruments which are played on by striking or
2967 shaking. Percussion instruments commonly used in a symphony orchestra are
2968 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2969 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2972 @aitem{perfect interval}@c
2973 ES: intervalo justo,
2974 I: intervallo giusto,
2975 F: intervalle juste,
2976 D: reines Intervall,
2980 FI: puhdas intervalli.
2994 A natural division of the melodic line, comparable to a sentence of speech.
3004 FI: fraseeraus, jäsentäminen.
3006 The clear rendering in musical performance of the @aref{phrase}s of
3007 the melody. Phrasing may be indicated by a @aref{slur}.
3019 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3020 @emph{mezzopiano} (@b{mp}) medium soft.
3037 NL: pizzicato, getokkeld,
3040 FI: pizzicato, näppäillen.
3042 Play by plucking the strings.
3048 D: Polyphonie, Mehrstimmigkeit,
3052 FI: polyfonia, moniäänisyys.
3054 Music written in a combination of several simultaneous voices (parts) of a
3055 more or less pronounced individuality. @aref{counterpoint}.
3064 D: Presto, Sehr schnell,
3065 NL: presto, Sehr schnell,
3068 FI: presto, hyvin nopeasti.
3070 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3071 denotes the highest possible degree of speed.
3073 @aitem{Pythagorean comma}@c
3074 ES: coma pitagórico,
3075 I: comma pitagorico,
3076 F: comma pythagoricien,
3077 D: Pythagoräisches Komma,
3078 NL: komma van Pythagoras,
3079 DK: pythagoræisk komma,
3080 S: pytagoreiskt komma,
3081 FI: pytagorinen komma.
3083 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3084 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3085 24 @aref{cent}s higher than the@w{ }C obtained by adding
3086 7@w{ }octaves. The difference between those two pitches is called the
3089 @aitem{quadruplet}@c
3101 @aitem{quarter note}@c
3103 I: semiminima, nera,
3106 D: Viertel, Viertelnote,
3110 FI: neljännesosanuotti.
3114 @aitem{quarter rest}@c
3115 ES: silencio de negra,
3116 I: pausa di semiminima,
3121 DK:@w{ }fjerdedelspause,
3123 FI: neljännesosatauko.
3127 @aitem{quintuplet}@c
3139 @aitem{rallentando}@c
3143 D: rallentando, langsamer werden,
3147 FI: rallerdando, hidastuen.
3149 Abbreviation "rall.". @aref{ritardando}.
3151 @aitem{relative key}@c
3153 I: tonalità relativa,
3154 F: tonalité relative,
3156 NL: paralleltoonsoort,
3157 DK: paralleltoneart,
3159 FI: rinnakkaissävellaji.
3161 @aref{major} and @aref{minor} @aref{key}
3162 with the same @aref{key signature}.
3164 @lilypond[fragment,notime,linewidth=13.0\cm]
3165 \set Score.automaticBars = ##f
3166 %\override Score.TextScript #'font-style = #'large
3169 es1_"e flat major" f g as bes c d es
3174 @lilypond[fragment,notime,linewidth=13.0\cm]
3175 \set Score.automaticBars = ##f
3176 %\override Score.TextScript #'font-style = #'large
3179 c1_"c minor" d es f g a! b! c \bar "||"
3184 ES: barra de repetición,
3186 F: barre de reprise,
3189 DK: gen@-ta@-gel@-se,
3193 @lilypond[fragment,linewidth=13.0\cm]
3197 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3201 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3202 @c specify the rest's value.
3226 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3227 fixed unit of time, called @aref{beat}, and in which the normal
3228 @aref{accent} recurs in regular intervals, called
3229 @aref{measure}. The basic scheme of time values is called
3230 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3231 accent. In modern notation such music appears as a free alternation of
3232 different measures. (c) Free rhythm, i.e., the use of temporal values having
3233 no common metrical unit (beat).
3235 @aitem{ritardando}@c
3239 D: Ritardando, langsamer werden,
3243 FI: ritardando, hidastuen,
3245 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3255 FI: ritenuto, hidastaen.
3257 Immediate reduction of speed.
3267 FI: asteikko, sävelasteikko.
3269 @aref{diatonic scale}.
3271 @aitem{scale degree}@c
3272 ES: grados de la escala,
3273 I: grado della scala,
3274 F: degré [de la gamme],
3276 NL: trap [van de toonladder],
3279 FI: sävelaste, asteikon sävel.
3281 Names and symbols used in harmonic analysis to denote tones of the scale as
3282 roots of chords. The most important are degrees I = tonic (T), IV =
3283 sub@-do@-mi@-nant (S) and V = dominant (D).
3285 @lilypond[fragment,notime,linewidth=13.0\cm]
3286 \set Score.automaticBars = ##f
3287 %\override Score.LyricText #'font-style = #'large
3288 %\set minVerticalAlign = #8
3290 \context Staff \relative c' {
3293 \context Lyrics \lyrics {
3294 << { I II III IV V VI VII I }
3299 @aref{functional harmony}.
3305 D: Partitur (full score), Klavierauszug (vocal score)
3311 A copy of orchestral, choral, or chamber music showing what each instrument is
3312 to play, each voice to sing, having each part arranged one underneath the
3313 other on different staves @aref{staff}.
3325 The @aref{interval} between two neigbouring tones of a scale. A
3326 @aref{diatonic scale} consists of alternating
3327 @aref{semitone}s and @aref{whole tone}s, hence the size
3328 of a se@-cond depends on the scale degrees in question.
3340 The @aref{interval} of a minor second. The (usually) smallest
3341 interval in European composed music. The interval between two neighbouring
3342 tones on the piano keyboard -- including black and white keys -- is a
3343 semitone. An octave may be divided into 12@w{ }semitones.
3344 @aref{interval}, @aref{chromatic scale}.
3346 @lilypond[fragment,notime,linewidth=13.0\cm]
3347 \set Score.automaticBars = ##f
3348 \relative c'' { g1 gis s a bes s b! c }
3363 @aitem{sextuplet, sextolet}@c
3386 @aitem{short appoggiatura}@c
3387 @aref{appoggiatura}.
3389 @aitem{sixteenth note}@c
3394 D: Sechzehntel, Sechzehntelnote,
3395 NL: zes@-ti@-ende noot,
3396 DK: sekstendedelsnode,
3398 FI: kuudestoistaosanuotti.
3402 @aitem{sixteenth rest}@c
3403 ES: silencia de semicorchea,
3404 I: pausa di semicroma,
3406 UK: semiquaver rest,
3407 D: Sechzehntelpause,
3409 DK: sekstendedelspause,
3427 @aitem{sixty-fourth note}@c
3430 F: quadruple croche,
3431 UK: hemidemisemiquaver,
3432 D: Vierundsechzigstel, Vierundsechzigstelnote,
3433 NL: vierenzestigste noot,
3434 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3435 S: sextiofjärdedelsnot,
3436 FI: kuudeskymmenesneljäsosanuotti.
3440 @aitem{sixty-fourth rest}@c
3441 ES: silencia de semifusa,
3442 I: pausa di semibiscroma,
3443 F: seizième de soupir,
3444 UK: hemidemisemiquaver rest,
3445 D: Vierundsechzigstelpause,
3446 NL: vierenzestigste rust,
3447 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3448 S: sextiofjärdedelspaus,
3449 FI: kuudeskymmenesneljäsosatauko.
3455 I: legatura (di portamento or espressiva),
3457 D: Bogen, Legatobogen, Phrasierungsbogen,
3458 NL: fraseringsboog, legatoboog, streekboog,
3459 DK: legatobue, fraseringsbue,
3463 A slur above or below a group of notes indicates that they are to be played
3464 @aref{legato}, e.g., with one stroke of the violin bow or with one
3467 @aitem{solmization}@c
3474 FI: suhteelliset laulunimet.
3476 General term for systems of designating the degrees of the
3477 @aref{scale}, not by letters, but by syllables (@emph{do}
3478 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3479 (@emph{ti})). @aref{scale degree}.
3491 In its present-day meaning a sonata denotes an instrumental composition for
3492 piano or for some other instrument with piano accompaniment, which consists of
3493 three or four independant pieces, called movements.
3495 @aitem{sonata form}@c
3498 F: [en] forme de sonate,
3500 NL: hoofdvorm, sonatevorm,
3505 A form used frequently for single movements of the @aref{sonata},
3506 @aref{symphony}, quartet, etc. A movement written in sonata form
3507 falls into three sections called @emph{exposition}, @emph{development} and
3508 @emph{recapitulation}. In the exposition the composer introduces some musical
3509 ideas, consisting of a number of themes; in the development section the
3510 composer `develops' this material, and in the recapitulation the composer
3511 repeats the exposition, with certain modifications. The exposition contains a
3512 number of themes that fall into two groups, often called first and second
3513 subject. Other melodies occurring in each group are considered as
3514 continuations of these two. The second theme is in another key, normally in
3515 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
3516 @aref{relative key} if the tonic is @aref{minor}.
3526 FI: sopraano, korkea naisääni.
3528 The highest female voice.
3533 F: staccato, piqué, détaché,
3538 FI: staccato, lyhyesti, terävästi.
3540 Playing the note(s) short. Staccato is indicated by a dot above or below the
3543 @lilypond[fragment,raggedright]
3548 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3553 @aitemii{staff, pl. staves}@c
3555 I: pentagramma, rigo (musicale),
3558 NL: (noten)balk, partij,
3563 A series of (normally five) horizontal lines upon and between
3564 which the musical notes are written, thus indicating (in connection
3565 with a @aref{clef}) their pitch. Staves for
3566 @aref{percussion} instruments may have fewer lines.
3572 D: Hals, Notenhals, Stiel,
3578 Vertical line above or below a @aref{note head} shorter than a
3579 whole note. @aref{beam}.
3581 @lilypond[fragment,notime,linewidth=13.0\cm]
3582 \set Score.autoBeaming = ##f
3583 \set Score.automaticBars = ##f
3584 %\override Score.TextScript #'font-style = #'large
3603 A family of stringed musical instruments played with a bow. Strings commonly
3604 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3606 @aitem{strong beat}@c
3610 D: betonter Taktteil oder Taktschlag,
3612 D: betonet taktslag,
3613 S: betonat taktslag,
3614 FI: tahdin vahva isku.
3616 @aref{beat}, @aref{accent}, @aref{measure},
3619 @aitem{subdominant}@c
3627 FI: subdominantti, alidominantti.
3629 The fourth @aref{scale degree}. @aref{functional harmony}.
3631 @aitem{submediant}@c
3641 The sixth @aref{scale degree}.
3651 FI: subtoonika, alitoonika.
3653 The seventh @aref{scale degree}.
3655 @aitem{superdominant}@c
3665 The sixth @aref{scale degree}.
3667 @aitem{supertonic}@c
3677 The second @aref{scale degree}.
3683 D: Sinfonie, Symphonie,
3689 A symphony may be defined as a @aref{sonata} for orchestra.
3691 @aitem{syncopation}@c
3701 Any deliberate upsetting of the normal pulse of @aref{meter},
3702 @aref{accent}, and @aref{rhythm}. The occidental system of musical
3703 rhythm rests upon the grouping of equal beats into groups of two or three,
3704 with a regularly recurrent accent on the first beat of each group. Any
3705 deviation from this scheme is felt as a disturbance or contradiction between
3706 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3708 @lilypond[fragment,raggedright]
3713 e c'4 e,8 c'4 e,8 c' ( | c2)
3717 @aitemii{syntonic comma,dydimic comma}@c
3718 I: comma sintonico (o didimico),
3719 F: comma syntonique,
3720 D: syntonisches Komma,
3721 NL: syntonische komma,
3722 DK: syntonisk komma,
3723 S: syntoniskt komma,
3724 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
3726 Difference between the natural third and the third obtained by Pythagorean
3727 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3736 FI: nuottijärjestelmä.
3738 The collection of staves @aref{staff}, two or more, as used for
3739 writing down of keyboard, chamber, choral, or orchestral music.
3741 @aitem{temperament}@c
3745 D: Stimmung, Tem@-pe@-ra@-tur,
3746 NL: stemming, temperatuur,
3749 FI: viritysjärjestelmä.
3751 Systems of tuning in which the intervals deviate from the acoustically pure
3752 intervals. @aref{meantone temperament}, @aref{equal temperament}.
3754 @aitem{tempo indication}@c
3755 ES: indicación de tempo,
3756 I: indicazione di tempo,
3757 F: indication de temps,
3758 D: Zeitmaß, Tempobezeichnung,
3759 NL: tempo aanduiding,
3764 The rate of speed of a composition or a section thereof, ranging from the
3765 slowest to the quickest, as is indicated by tempo marks as
3766 @aref{largo}, @aref{adagio}, @aref{andante},
3767 @aref{allegro}, and @aref{presto}.
3777 FI: tenori, korkea miesääni.
3779 The highest male voice (apart from @aref{counter tenor}).
3805 @aitem{thirty-second note}@c
3810 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3811 NL: twee-endertig@-ste noot,
3812 DK: toogtredivtedelsnode,
3813 S: trettiotvåondelsnot,
3814 FI: kolmanneskymmeneskahdesosanuotti.
3818 @aitem{thirty-second rest}@c
3819 ES: silencio de fusa,
3820 I: pausa di biscroma,
3821 F: huitième de soupir,
3822 UK: demisemiquaver rest,
3823 D: Zweiunddreissigstel@-pause,
3825 DK: toogtredivtedelspause,
3826 S: trettiotvåondelspaus,
3827 FI: kolmanneskymmeneskahdesosatauko.
3831 @aitemii{thorough bass,figured bass}@c
3833 I: basso continuo, basso numerato,
3835 D: Generalbass, bezifferter Bass,
3836 NL: basso continuo, becijferde bas
3839 FI: kenraalibasso, numeroitu basso.
3841 A method of indicating an accompaniment part by the bass notes only, together
3842 with figures designating the chief @aref{interval}s and
3843 @aref{chord}s to be played above the bass notes.
3845 @lilypond[fragment,linewidth=13.0\cm]
3846 \context GrandStaff <<
3847 \context Staff = lh \relative c'' {
3851 << \context Voice = rha {
3854 \context Voice = rhb {
3856 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3860 \context Staff = rh \relative c' {
3863 es8 c d bes c as bes16 as g f | es4
3865 \context Lyrics \lyrics {
3866 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3867 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3868 { "" "" "" "2" "" "" "" "" "" "2" } >>
3873 @aitemii{tie,bind}@c
3874 ES: ligadura de prolongación,
3875 I: legatura (di valore),
3878 NL: overbinding, bindingsboog,
3880 S: bindebåge, överbindning,
3883 A curved line, identical in appearance with the @aref{slur}, which
3884 connects two succesive notes of the same pitch, and which has the function of
3885 uniting them into a single sound (tone) equal to the combined durations.
3887 @lilypond[fragment,notime,raggedright]
3888 \set Score.automaticBars = ##f
3889 \relative c'' { g2 ~ g4. }
3892 @aitem{time signature}@c
3893 ES: cifra indicadora de compás,
3895 F: chiffrage (chiffres indicateurs), signe de valeur,
3896 D: Taktangabe, Angabe der Taktart,
3899 S: taktartssignatur,
3914 A sound of definite pitch and duration, as distinct from @emph{noise}.
3915 Tone is a primary building material of music.
3916 Music from the 20th century may be based on atonal sounds.
3928 The first @aref{scale degree}.
3929 @aref{functional harmony}.
3931 @aitem{transposition}@c
3941 Shifting a melody up or down in pitch, while keeping the same
3944 @lilypond[fragment,linewidth=13.0\cm]
3949 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3954 @lilypond[fragment,linewidth=13.0\cm]
3957 \transpose c bes \relative c'' {
3959 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3964 @aitem{treble clef}@c
3966 I: chiave di violino,
3968 D: Violinschlüssel, Sopranschlüssel,
3970 DK:@w{ }diskantnøgle,
3986 On stringed instruments (@aref{strings}) the quick reiteration of
3987 the same tone, produced by a rapid up-and-down movement of the bow
3988 (a). The term is also used for the rapid alternation (b) between two notes of
3989 a @aref{chord}, usually in the distance of a third
3992 @lilypond[fragment,notime,raggedright]
3993 \set Score.automaticBars = ##f
3994 %\override Score.TextScript #'font-style = #'large
3997 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3998 \repeat "tremolo" 8 { e32_"b" g }
4005 F: triade, accord parfait, accord de trois sons,
4014 @aitemii{trill,shake}@c
4017 F: trille, tremblement, battement (cadence),
4026 @aitem{triple meter}@c
4027 ES: compás compuesto,
4031 NL: driedelige maatsoort,
4062 @aitem{tuning fork}@c
4064 I: diapason, corista,
4072 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4073 give the international pitch for the tone @emph{a} (440 vibrations per second).
4075 @aitemii{turn,gruppetto}@c
4095 FI: unisono, yksiäänisesti.
4097 Playing of the same notes or the same melody by various instruments (voices)
4098 or by the whole orchestra (choir), either at exactly the same pitch or in a
4102 ES: entrada anacrúsica,
4104 F: anacrouse, levée,
4111 Initial note(s) of a melody occurring before the first bar
4112 line. @aref{measure}, @aref{meter}.
4114 @lilypond[fragment,linewidth=13.0\cm]
4118 \partial 4 f4 | bes4. a8 bes4 c |
4119 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4130 FI: ääni, lauluääni.
4132 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4133 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4134 2.@tie{}A melodic layer or part of a polyphonic composition.
4138 I: tempo debole, arsi,
4140 D: unbetonter Taktteil oder Taktschlag,
4142 DK: ubetonet taktslag,
4143 S: obetonat taktslag,
4144 FI: tahdin heikko isku.
4146 @aref{beat}, @aref{measure}, @aref{rhythm}.
4148 @aitem{whole note}@c
4153 D: Ganze, ganze Note,
4161 @aitem{whole rest}@c
4162 ES: silencio de redonda,
4163 I: pausa di semibreve,
4166 D: ganze Pause, ganztaktige Pause,
4174 @aitem{whole tone}@c
4184 The @aref{interval} of a major second. The interval between two
4185 tones on the piano keyboard with exactly one key between them -- including
4186 black and white keys -- is a whole tone.
4198 A family of blown wooden musical instruments. Today some of these instruments
4199 are actually made from metal. The woodwind instruments commonly used in a
4200 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4207 @item DURATION NAMES, NOTES AND RESTS
4210 @multitable @columnfractions .15 .26 .33 .26
4227 @item @strong{longa}
4242 @item @strong{breve}
4257 @item @strong{whole}
4267 @tab koko@-nuotti/@w{-tauko}
4282 @tab puoli@-nuotti/@w{-tauko}
4287 @item @strong{quarter}
4297 @tab neljännesosa@-nuotti/@w{-tauko}
4302 @item @strong{eighth}
4312 @tab kahdeksasosa@-nuotti/@w{-tauko}
4317 @item @strong{sixteenth}
4327 @tab kuudestoistaosa@-nuotti/@w{-tauko}
4332 @item @strong{thirty-second}
4337 @tab Zweiunddreissigstel
4338 @tab tweeendertigste
4339 @tab toogtredivtedel
4341 @tab trettiotvåondel
4342 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
4347 @item @strong{sixty-fourth}
4348 @tab hemidemisemiquaver
4350 @tab quadruple croche
4352 @tab Vierundsechzigstel
4353 @tab vierenzestigste
4354 @tab fireogtred@-sindstyvendedel
4356 @tab sextiofjärdedel
4357 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
4361 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4369 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
4371 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4372 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4376 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4380 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
4381 cis @tab cis @tab cis
4385 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
4386 des @tab des @tab des
4390 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
4394 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4398 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4402 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4406 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
4411 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4415 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
4416 ais @tab ais @tab ais
4420 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
4425 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4430 @unnumbered Literature used
4433 @item The Harvard Dictionary of Music, London 1944. Many more or less
4434 literal quotes from its articles have been included into the item
4437 @item Hugo Riemanns Musiklexicon, Berlin 1929.
4439 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
4441 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
4444 @item Webster's Revised Unabridged Dictionary, Springfield 1913.