1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
6 <!--- @@WEB-TITLE@@=Music Glossary --->
10 This document is also available in @uref{glossary.ps.gz,gzipped
11 PostScript} and @uref{glossary.pdf,PDF}.
16 @author Christian Mondrup
17 @author spanish by David Gonz@'alez
18 @c License PD, BSD-ish, GNU GPL, GNU FDL?
20 Copyright @copyright{} 1999--2002 by the authors
26 @chapter Music Glossary
34 spanish by Davi Gonz@'alez
36 Copyright 1999-2002 by the authors
38 @c License PD, BSD-ish, GNU GPL, GNU FDL?
47 @c @everyheading @| @thispage @|
48 @c @evenheading @thispage @| @|
49 @c @oddheading @| @| @thispage @|
53 @tex $\\Rightarrow$ @end tex@c
64 We don't use refs for Info:
67 @w{@ar{}@pxref{\word\}}@c
69 they look too intrusive (says Han-Wen).
75 @w{@ar{}@strong{\word\}}@c
78 @ar{}@ref{\word\, @strong{\word\}}@c
86 @c If we want hypelinks, we must add anchors.
87 @c Hmm, we need the @achor command in the item description itself
88 @c (not before or after) to get mozilla jump to the right place.
91 @item \word\@anchor{\word\}
93 @macro aitemii{one,two}
94 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
96 @macro aitemiii{one,two,three}
97 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
107 @item UK - British English
113 This is an example reference, that points you to the @aref{accent}
139 The stress of one tone over others.
141 @c F: how to distinguish between accidental and key-sig alteration?
145 I: alterazione, accidente,
147 D: Vorzeichen, Versetzungszeichen,
150 S: tillf@"alligt f@"ortecken,
153 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
154 @c Akzidenz, NL: toevallig teken, I: accidento.
156 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
157 by a @aref{whole tone}, a flat lowers it by a semitone and a double
158 flat lowers it by a whole tone. A natural cancels the effect of a previous
161 @lilypond[13pt,notime]
162 \property Score.barNonAuto = ##t
163 \property Voice.TextScript \set #'font-style = #'large
165 \context Staff \notes\relative c'' {
166 gis1 s s gisis s s ges s s geses s s g!
168 \context Lyrics \lyrics {
169 \property Lyrics . LyricText \override #'alignment = #-1
170 "sharp " "db. sharp " "flat " "db. flat " natural
177 F: accelerando, en acc@'el@'erant,
178 D: accelerando, schneller werden,
196 It. comfortable, easy.
197 1. Slow tempo, slower -- especially in even meter -- than
198 @aref{andante} and faster than @aref{largo}.
199 2. A movement in slow tempo, especially the second (slow) movement of
200 @aref{sonata}s, symphonies, etc.
206 D: Allegro, Schnell, Fr@"ohlich, Lustig,
212 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
213 especially the first and last movements of a @aref{sonata}.
225 A female voice of low range (@emph{contralto}). Originally the alto was a high
226 male voice (hence the name) which by the use of falsetto reached the height of
227 the female voice. This type of voice is also known as @aref{counter
231 ES: clave de do en tercera,
232 I: chiave di contralto,
233 F: clef d'ut troisi@`eme ligne,
234 D: Altschl@"ussel, Bratschenschl@"ussel,
240 C clef setting central C on the middle line of the staff
243 @aitem{ancient minor scale}
244 I: scala minore naturale,
245 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
252 @lilypond[13pt,notime]
253 \property Score.barNonAuto = ##t
254 \notes\relative c'' {
268 Walking tempo/character.
273 F: appogiature, (port de voix),
280 Ornamental note, usually a second, that is melodically connected with the main
281 note that follows it. In music before the 19th century a. were usually
282 performed on the beat, after that mostly before the beat. While the short
283 a. is performed as a short note regardless of the duration of the main note
284 the duration of the long a. is proportional to that of the main note.
287 \context Voice \notes\relative c'' {
291 \property Score.TextScript \set #'font-style = #'large
292 <d4_"notation" a fis> r
293 { \property Voice.Stem \override #'flag-style = #""
295 \property Voice.Stem \revert #'flag-style
298 { \property Voice.Stem \override #'flag-style = #""
300 \property Voice.Stem \revert #'flag-style
303 \cadenzaOn a4 \bar "||" \cadenzaOff }
304 \notes\relative c'' {
305 <d4_"performance" a fis> r g16 () fis e fis a () g fis g |
306 \cadenzaOn a4 \bar "||" \cadenzaOff }
309 An appoggiatura may have more notes preceding the main note.
312 \notes\relative c'' {
315 \property Score.TextScript \set #'font-style = #'large
316 \grace { bes16 } as8_"notation" as16 bes as8 g |
317 \grace { [as16 ( bes] } < ) c4 as >
318 \grace { [as16 ( bes] } < ) c4 as > \bar "||"
319 \grace { bes16 } as8_"performance" as16 bes as8 g |
320 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
321 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
330 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
332 DK: arpeggio, akkordbrydning,
337 \notes \context PianoStaff <
338 \context Staff = SA \relative c'' {
341 r8 g16 c e g, c e r8 g,16 c e g, c e |
342 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
343 \context Staff = SB \relative c' {
345 < \context Voice = va {
347 r16 e8. () e4 r16 e8. () e4 |
348 r16 d8. () d4 r16 d8. () d4 }
349 \context Voice = vb {
356 @aitem{ascending interval}
357 ES: Intervalo ascendente,
358 I: intervallo ascendente,
359 F: intervalle ascendant,
360 D: steigendes Intervall,
361 NL: stijgend interval,
362 DK:@w{ }stigende interval,
363 S: stigande intervall,
366 A distance between a starting lower note and a higher ending note.
368 @aitem{augmented interval}
369 ES: intervalo aumentado,
370 I: intervallo aumentato,
371 F: intervalle augment@'e,
372 D: @"uberm@"a@ss{}iges Intervall,
373 NL: overmatig interval,
374 DK: forst@o{}rret interval,
375 S: @"overstigande intervall,
383 D: Autograph, Handschrift,
385 DK: h@aa{}ndskrift, autograf,
389 1. A manuscript in the composer's own hand.
390 2. Music prepared for photoreproduction by freehand drawing,
391 with only the aid of a straightedge ruler and T-square,
392 which attempts to emulate engraving.
393 This required more skill than did engraving.
405 @aitemii{backfall,forefall}
410 I: stanghetta, barra (di divisione),
411 F: barre (de mesure),
419 ES: comp@'as, @aref{measure}.
422 ES: bar@'{@dotless{i}}tono,
431 The male voice intermediate between the @aref{bass} and the
434 @c F: clef de troisi@`eme ligne dropped
436 @aitem{baritone clef}
437 ES: clave de fa en tercera,
438 I: chiave di baritono,
439 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
440 D: Baritonschl@"ussel,
446 C or F clef setting central C on the upper staff line.
447 @aref{C clef}, @aref{F clef}.
450 ES: clave de fa en cuarta,
452 F: cl@'e de fa quatri@`eme ligne,
459 A clef setting with central C on the first top ledger line.
471 1. The lowest of men's voices.
472 2. Sometimes, especially in jazz music, used as
473 an abbreviation for double bass.
485 Line connecting a series of notes (shorter than a quarter note).
486 The number of beams determine the note value of the connected notes.
488 @lilypond[13pt,notime]
489 \property Score.barNonAuto = ##t
490 \property Voice.TextScript \set #'font-style = #'large
491 \notes\relative c'' {
493 [g16_"1/16" g g g] s16
494 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
495 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
502 D: Takt, Taktschlag, Zeit (im Takt),
508 Note value used for counting, most often half-, fourth-, and eighth notes.
509 The base counting value and the number of them per measure is indicated at
510 the start of the music.
515 \notes\relative c'' { g4 c b a | g1 \bar "||"}
517 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
527 D: Klammer, Akkolade,
528 NL: accolade, teksthaak,
533 Symbol at the start of a system connecting staves. Curly braces are used
534 for connecting piano staves, angular brackets for connecting parts in an
535 orchestral or choral score.
538 \notes\context GrandStaff <
539 \relative c''\context Staff = SA { \clef treble g4 e c2 }
540 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
544 \context StaffGroup <
545 % \property StaffGroup.minVerticalAlign = #12
546 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
547 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
556 DK: messingbl@ae{}sere,
557 S: brassinstrument, m@"assingsinstrument,
560 A family of blown musical instruments made of brass all using a cup formed
561 mouth piece. The brass instruments commonly used in a symphony orchestra are
562 trumpet, trombone, french horn, and tube.
567 D: Atemzeichen, Trennungszeichen,
568 NL: repercussieteken,
569 DK: vejrtr@ae{}kningstegn,
573 Indication of where to breathe in vocal and wind instrument parts.
585 @aref{note value} twice as long as a whole note. Mainly used
588 @lilypond[13pt,notime]
589 \property Score.barNonAuto = ##t
590 \notes\relative c'' { g\breve }
613 Clef symbol indicating the position of the central C. Used on all note
616 @lilypond[13pt,notime]
617 \property Score.barNonAuto = ##t
618 \property Score.Clef \override #'full-size-change = ##t
619 \property Score.LyricText \set #'font-style = #'large
621 \context Staff \notes\relative c' {
623 \clef mezzosoprano c s s
628 \context Lyrics \lyrics {
629 \property Lyrics . LyricText \override #'alignment = #-1
630 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
644 @aref{harmonic cadence}, @aref{functional harmony}.
656 An extended, improvisatory style section inserted near the end of
657 movement. The purpose of a cadenza is to give the singer or player a chance to
658 exhibit her technichal skill and not the least her ability to improvise. Since
659 the middle of the 19th century, however, most cadences have been written down
684 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
685 equally tempered @aref{semitone}).
686 @aref{equal temperament}.
701 Three or more tones sounding simultaneously. In traditional European music the
702 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
703 minor @aref{third}) as well as @emph{minor} (minor + major third)
704 chords may be extended with more thirds. Four-tone @emph{seventh chords}
705 and five-tone @emph{ninth} major chords are most often used as dominants
706 (@aref{functional harmony}). A special case is chords having no
707 third above the lower notes to define their quality as major or minor. Such
708 chords are denoted open chords
710 @lilypond[13pt,notime]
711 \property Score.barNonAuto = ##t
712 \property Voice.TextScript \set #'font-style = #'large
714 \context Staff \notes\relative c'' {
722 \context Lyrics \lyrics{
723 \property Lyrics . LyricText \override #'alignment = #-1
724 "major " "minor " "diminished " "augmented "
725 "seventh-chord " "ninth-chord "
729 @aitem{chromatic scale}
730 ES: escala crom@'atica,
732 F: gamme chromatique,
733 D: chromatische Tonleiter,
734 NL: chromatische toonladder,
739 A scale consisting of all 11 @aref{semitone}s.
741 @lilypond[13pt,notime]
742 \property Score.barNonAuto = ##t
743 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
756 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
758 @aitemii{church mode,ecclesiastical mode}
759 ES: modo eclesi@'astico,
760 I: modo ecclesiastico,
761 F: mode eccl@'esiastique,
768 @aref{diatonic scale}.
774 D: Schl@"ussel, Notenschl@"ussel,
780 @aref{C clef}, @aref{F clef}, @aref{G clef}.
791 Difference in pitch between a note derived from pure tuning and the same note
792 derived from some other tuning method. @aref{temperament}.
797 @aitem{compound interval}
798 ES: intervalo compuesto,
799 I: intervallo composto,
800 F: intervalle compos@'e,
802 NL: samengesteld interval,
803 DK: sammensat interval,
804 S: sammansatt intervall,
807 Intervals larger than an octave.
813 F: intervalle compl@'ementaire,
814 D: Komplement@"arintervall,
815 NL: complementair interval,
816 DK: komplement@ae{}rinterval,
817 S: komplement@"arintervall (?),
820 @aref{inverted interval}.
822 @aitem{conjunct movement}
823 ES: movimiento conjunto,
825 F: mouvement conjoint,
826 D: schrittweise, stufenweise Bewegung,
828 DK: trinvis bev@ae{}gelse,
829 S: stegvis r@"orelse,
832 Melody moving in the narrow steps of the scale.
835 \key g \major \time 4/4
836 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
873 From latin @emph{punctus contra punctum}, note against note. The combination
874 into a single musical fabric of lines or parts which have distinct melodic
875 significance. A frequently used polyphonic technique is imitation, in its
876 strictest form found in the canon needing only one part to be written down
877 while the other parts are performed with a given displacement. Imitation is
878 also the contrapunctal technique used in the @emph{fugue} which, since the
879 music of the baroque era, has been one of the most popular polyphonic
882 @lilypond[11pt,noquote]
883 \property Score.TimeSignature \override #'style = #'()
884 \notes\context PianoStaff <
885 \context Staff = SA \relative c' {
889 < \context Voice = rha {
891 r1 | r2 r8 g'8 bes d, |
892 cis4 d r8 e!16 f g8 f16 e |
893 f8 g16 a bes8 a16 g a8
895 \context Voice = rhb {
901 \context Staff = SB \relative c' {
904 < \context Voice = lha {
906 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
907 r8 a16 g f8 g16 a bes8 g e! cis' |
910 \context Voice = lhb {
918 @aitem{counter tenor}
925 S: kontratenor, counter tenor,
930 @aitem{Copying, Music}
931 A music copyist did fast freehand scores and parts on preprinted staff lines
932 for performance. Some of their conventions (e.g., the placement of noteheads
933 on stems) varied slightly from those of engravers. Some of their working
934 methods were superior and could well be adopted by music typesetters. This
935 required more skill than engraving.
941 D: Crescendo, lauter werden,
947 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
948 abbreviation ``cresc.''.
951 \key g \major \time 4/4
952 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
958 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
965 In a separate part notes belonging to another part with the purpose of hinting
966 when to start playing. Usually printed in a smaller type.
981 F: da capo, depuis le commencement,
982 D: da capo, von Anfang,
988 The term indicates repetition of the piece from the beginning to the end or to
989 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
994 F: dal segno, depuis le signe,
1001 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1002 another place frequently near the beginning marked by a sign:
1005 \property Voice.TextScript \set #'font-style = #'large
1006 \property Voice.TextScript \set #'font-shape = #'italic
1007 \key g \major \time 4/4
1008 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1014 D: Decrescendo, leiser werden,
1020 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1021 or the abbreviation ``decresc.''.
1024 \notes\relative c'' {
1025 \key g \major \time 4/4
1026 d4 \> c b a | \! g1 \bar "|."
1030 @aitem{descending interval}
1031 ES: intervalo descendente,
1032 I: intervallo discendente,
1033 F: intervalle descendant,
1034 D: fallendes Intervall, absteigendes Intervall,
1035 NL: dalend interval,
1036 DK: faldende interval,
1037 S: fallande intervall,
1040 A distance between a starting higher note and a lower ending note.
1042 @aitem{diatonic scale}
1043 ES: escala diat@'onica,
1045 F: gamme diatonique,
1046 D: diatonische Tonleiter,
1047 NL: diatonische toonladder,
1048 DK: diatonisk skala,
1052 A scale consisting of 5@w{ }@aref{whole tone}s and
1053 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1054 of a piano keybord are diatonic.
1056 The church modes are used in gregorial chant and pre baroque early music but
1057 also to some extent in newer jazz music.
1059 @lilypond[13pt,notime,linewidth=110mm]
1060 \property Score.barNonAuto = ##t
1061 \property Score.LyricText \set #'font-style = #'large
1062 \property Score.TextScript \set #'font-style = #'large
1064 \context Staff \notes\relative c' {
1066 \property Voice.TextScript \set #'padding = #-4
1067 e^"~~ S" f g a b^"~~ S" c
1069 \context Lyrics \lyrics {
1074 @lilypond[13pt,notime]
1075 \property Score.barNonAuto = ##t
1076 \property Score.LyricText \set #'font-style = #'large
1077 \property Score.TextScript \set #'font-style = #'large
1079 \context Staff \notes\relative c' {
1081 \property Voice.TextScript \set #'padding = #-4
1082 e^"~~ S" f g a b^"~~ S" c d
1084 \context Lyrics \lyrics {
1089 @lilypond[13pt,notime]
1090 \property Score.barNonAuto = ##t
1091 \property Score.LyricText \set #'font-style = #'large
1092 \property Score.TextScript \set #'font-style = #'large
1094 \notes\relative c' {
1095 \property Voice.TextScript \set #'padding = #-4
1096 e1^"~~ S" f g a b^"~~ S" c d e
1098 \context Lyrics \lyrics {
1103 @lilypond[13pt,notime]
1104 \property Score.barNonAuto = ##t
1105 \property Score.LyricText \set #'font-style = #'large
1106 \property Score.TextScript \set #'font-style = #'large
1108 \notes\relative c' {
1110 \property Voice.TextScript \set #'padding = #-4
1111 b^"~~ S" c d e^"~~ S" f
1113 \context Lyrics \lyrics {
1118 @lilypond[13pt,notime]
1119 \property Score.barNonAuto = ##t
1120 \property Score.LyricText \set #'font-style = #'large
1121 \property Score.TextScript \set #'font-style = #'large
1123 \notes\relative c'' {
1125 \property Voice.TextScript \set #'padding = #-4
1126 b^"~~ S" c d e^"~~ S" f g }
1127 \context Lyrics \lyrics {
1132 @lilypond[13pt,notime]
1133 \property Score.barNonAuto = ##t
1134 \property Score.LyricText \set #'font-style = #'large
1135 \property Score.TextScript \set #'font-style = #'large
1137 \notes\relative c'' {
1139 \property Voice.TextScript \set #'padding = #-4
1140 b^"~~ S" c d e^"~~ S" f g a
1142 \context Lyrics \lyrics {
1147 From the beginning of the 17th century the scales used in European
1148 compositional music are primarily the major and the minor scales. In the
1149 harmonic minor scale type an augmented second (A) occurs between the 6th and
1152 @lilypond[13pt,notime]
1153 \property Score.barNonAuto = ##t
1154 \property Score.LyricText \set #'font-style = #'large
1155 \property Score.TextScript \set #'font-style = #'large
1157 \notes\relative c' {
1159 \property Voice.TextScript \set #'padding = #-4
1160 e^"~~ S" f g a b^"~~ S" c
1162 \context Lyrics \lyrics {
1167 @lilypond[13pt,notime]
1168 \property Score.barNonAuto = ##t
1169 \property Score.LyricText \set #'font-style = #'large
1170 \property Score.TextScript \set #'font-style = #'large
1172 \notes\relative c'' {
1174 \property Voice.TextScript \set #'padding = #-4
1175 b^"~~ S" c d e^"~~ S" f g a
1177 \context Lyrics \lyrics {
1182 @lilypond[13pt,notime]
1183 \property Score.barNonAuto = ##t
1184 \property Score.LyricText \set #'font-style = #'large
1185 \property Score.TextScript \set #'font-style = #'large
1187 \notes\relative c'' {
1189 \property Voice.TextScript \set #'padding = #-4
1190 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1192 \context Lyrics \lyrics {
1197 @lilypond[13pt,notime]
1198 \property Score.barNonAuto = ##t
1199 \property Score.LyricText \set #'font-style = #'large
1200 \property Score.TextScript \set #'font-style = #'large
1202 \notes\relative c'' {
1204 \property Voice.TextScript \set #'padding = #-4
1205 b^"~~ S" c d e fis gis^"~~ S"
1206 a g! f!^"~~ S" e d c^"~~ S" b a
1208 \context Lyrics \lyrics {
1213 @aitem{diminished interval}
1214 ES: intervalo disminu@'{@dotless{i}}do,
1215 I: intervallo diminuito,
1216 F: intervalle diminu@'e,
1217 D: vermindertes Intervall,
1218 NL: verminderd interval,
1219 DK: formindsket interval,
1220 S: f@"orminskat intervall,
1237 @aitem{disjunct movement}
1238 ES: movimiendo disjunto,
1240 F: mouvement disjoint,
1241 D: sprunghafte Bewegung,
1243 DK: springende bev@ae{}gelse,
1244 S: hoppande r@"orelse,
1247 Melody moving in steps greater than those of the
1248 scale. Opposite of @aref{conjunct movement}.
1253 \notes\relative c' {
1255 a4. gis8 b a e cis |
1256 fis2 d4. \bar "||" }
1259 @aitemii{dissonant interval,dissonance}
1260 ES: intervalo disonante, disonancias,
1261 I: intervallo dissonante, dissonanza,
1264 NL: dissonant interval; dissonant,
1265 DK: dissonerende interval, dissonans,
1271 @aitem{dominant ninth chord}
1272 I: accordo di nona di dominante,
1273 F: accord de neuvi@`eme dominante,
1274 D: Dominantnoneakkord,
1275 NL: dominant noon akkoord,
1276 DK: dominantnoneakkord,
1277 S: dominantnonackord,
1280 @aref{chord}, @aref{functional harmony}.
1282 @aitem{dominant seventh chord}
1283 ES: acorde de s@'eptima de dominante,
1284 I: accordo di settima di dominante,
1285 F: accord de septi@`eme dominante,
1286 D: Dominantseptakkord,
1287 NL: dominant septiem akkoord,
1288 DK: dominantseptimakkord,
1289 S: dominantseptimackord,
1292 @aref{chord}, @aref{functional harmony}.
1304 The fifth @aref{scale degree},
1305 @aref{functional harmony}.
1311 D: dorisch, dorischer Kirchenton,
1312 NL: dorische toonladder,
1317 @aref{diatonic scale}.
1319 @aitem{dot (augmentation dot)}
1321 I: punto (di valore),
1323 D: Punkt (Verl@"angerungspunkt),
1332 ES: nota con puntillo,
1336 NL: gepuncteerde noot,
1343 @aitem{double appoggiatura}
1344 ES: apoyatura doble,
1345 I: appoggiatura doppia,
1346 F: appoggiature double,
1347 D: doppelter Vorschlag,
1348 NL: dubbele voorslag,
1349 DK: dobbelt forslag,
1353 @aref{appoggiatura}.
1355 @aitem{double bar line}
1359 NL: dubbele maatstreep,
1364 Indicates the end of a section within a movement.
1366 @aitem{double dotted note}
1367 ES: nota con dos puntillos,
1368 I: nota doppiamente puntata,
1369 F: note doublement point@'ee,
1370 D: doppelt punktierte Note,
1371 NL: dubbelgepuncteerde noot,
1372 DK: dob@-belt@-punk@-te@-ret node,
1373 S: dub@-bel@-punk@-te@-rad not,
1390 @aitem{double sharp}
1391 ES: doble sostenido,
1396 DK: dob@-belt@-kryds,
1402 @aitem{double trill}
1407 NL: dubbele triller,
1412 A simultaneous trill on two notes, usually in the distance of a third.
1419 NL: tweedelige maatsoort,
1450 @aitem{dydimic comma}
1451 @aref{syntonic comma}.
1468 D: Achtel, Achtelnote,
1470 DK: ottendedelsnode,
1471 S: @aa{}ttondelsnot,
1477 ES: silencio de corchea,
1483 DK: ottendedelspause,
1484 S: @aa{}ttonddelspaus,
1493 D: Notenstechen, Notendruck
1499 Engraving means incising or etching a metal plate for
1500 printing. Photoengraving means drawing music with ink in a manner
1501 similar to drafting or engineering drawing, using similar tools.
1503 The traditional process of music printing is done through cutting in a
1504 plate of metal. Now also the term for the art of music typesetting.
1516 Two notes, intervals, or scales are enharmonic if they have different names
1519 @lilypond[13pt,notime]
1520 \property Score.barNonAuto = ##t
1521 \property Score.TextScript \set #'font-style = #'large
1523 \context Staff \notes\relative c'' {
1524 gis1 s s as s s <des g,!> s s <cis g!> s s
1526 \context Lyrics \lyrics {
1527 \property Lyrics . LyricText \override #'alignment = #-1
1528 "g sharp " "a flat " "dim fifth " "augm fourth"
1532 @aitem{equal temperament}
1534 I: temperamento equabile,
1535 F: temp@'erament @'egal,
1536 D: gleichschwebende Stimmung,
1537 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1538 DK: ligesv@ae{}vende temperatur,
1539 S: liksv@"avande temperatur,
1542 Tuning system dividing the octave into 12 equal @aref{semitone}s
1543 (precisely 100 @aref{cent}s). @aref{temperament}.
1545 @aitem{expression mark}
1547 I: segno d'espressione,
1548 F: signe d'expression, indication de nuance,
1550 NL: voordrachtsteken,
1551 DK: foredragsbetegnelse,
1552 S: f@"oredragsbeteckning,
1555 Performance indications concerning 1. volume, dynamics (for example
1556 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1557 @aref{andante}, @aref{allegro}).
1579 The position between the dots of the key symbol is the line of the F below
1580 central@w{ }C. Used on the third, fourth and fifth note line. A
1581 digit@w{ }8 above the clef symbol indicates that the notes must be played
1582 an octave higher (for example bass recorder) while 8@w{ }below the clef
1583 symbol indicates playing an octave lower (for example on double bass
1586 @lilypond[13pt,notime]
1587 \property Score.barNonAuto = ##t
1588 \property Staff.Clef \override #'full-size-change = ##t
1589 \property Score.LyricText \set #'font-style = #'large
1603 \context Lyrics \lyrics {
1604 \property Lyrics . LyricText \override #'alignment = #-1
1613 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1618 F: point d'orgue, point d'arr@^et,
1625 Prolonged note or rest of indefinite duration.
1629 \notes\relative c'' {
1630 a4 b c2^\fermata \bar "|."
1646 @aitem{figured bass}
1647 ES: bajo cifrado, @aref{thorough bass}.
1655 DK: fingers@ae{}tning,
1656 S: fingers@"attning,
1659 The methodical use of fingers in the playing of instruments.
1661 @aitem{flag,pennant}
1663 I: coda (uncinata), bandiera,
1665 D: Fahne, F@"ahnchen,
1671 Ornament at the end of the stem of a note used for notes with values
1672 less than a quarter note. The number of flags determines the
1675 @lilypond[13pt,notime]
1676 \property Score.barNonAuto = ##t
1677 \property Score.TextScript \set #'font-style = #'large
1678 \notes\relative c'' {
1698 @aitemii{forefall,backfall}
1699 @aref{appoggiatura}.
1711 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1712 @emph{mezzoforte} (@b{mf}) medium loud.
1736 @aref{counterpoint}.
1738 @aitem{functional harmony}
1739 ES: armon@'{@dotless{i}}a funcional,
1740 I: armonia funzionale,
1741 F: @'etude des functions,
1744 DK: funktionsanalyse, funktionsharmonik,
1748 A system of harmonic analysis. It is based on the idea that, in a given key,
1749 there are only three functionally different chords: tonic (T, the chord on the
1750 first note of the scale), subdominant (S, the chord on the fourth note), and
1751 dominant (D, the chord on the fifth note). Other are considered to be
1752 variants of the base chords.
1754 @lilypond[13pt,notime]
1755 \property Score.barNonAuto = ##t
1756 \property Score.LyricText \set #'font-style = #'large
1757 \property Score.TextScript \set #'font-style = #'large
1759 \context Voice \notes\relative c'' {
1760 < g1 e c > < a f d > < b g e >
1761 < c a f > < d b g > < e c a > < f d b > }
1762 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1779 D: G-Schl@"ussel, Violinschl@"ussel,
1785 A clef symbol indicating the G above central@w{ }C. Used on the first
1786 and second note lines. A digit 8 above the clef symbol indicates that
1787 the notes must be played an octave higher while 8 below the clef symbol
1788 indicates playing or singing an octave lower (most tenor parts in choral
1789 scores are notated like that).
1791 @lilypond[13pt,notime]
1792 \property Score.barNonAuto = ##t
1793 \property Staff.Clef \set #'full-size-change = ##t
1794 \property Score.LyricText \set #'font-style = #'large
1796 \notes\relative c'' {
1806 \context Lyrics \lyrics {
1807 \property Lyrics . LyricText \override #'alignment = #-1
1808 "french violin clef "
1825 Letting the pitch slide fluently from one note to the other.
1831 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1837 Notes printed in small types to indicate that their time values are not
1838 counted in the rhythm of the bar. @aref{appoggiatura}.
1846 S: ackolad, b@"ojd klammer,
1851 A combination of two staves with a brace. Usually used for piano music.
1870 D: Halbe, halbe Note,
1891 @aitem{harmonic cadence}
1892 ES: cadencia (arm@'onica),
1893 I: cadenza (armonica),
1894 F: cadence harmonique,
1896 NL: harmonische cadens,
1897 DK: harmonisk kadence,
1898 S: (harmonisk) kadens,
1901 Sequence of chords that terminate a musical phrase or
1902 section. @aref{functional harmony}.
1905 \notes\context PianoStaff <
1906 \context Staff = SA \relative c'' {
1910 \partial 4 < c4 g e > |
1911 < c a f > < b g d > < c2 g e >
1913 \property Score.LyricText \set #'font-style = #'large
1915 \context Staff = SB \relative c {
1917 \partial 4 c4 | f, g c2
1920 \context Lyrics \lyrics {
1927 ES: armon@'{@dotless{i}}a,
1930 D: Harmonie, Zusammenklang,
1936 Tones sounding simultaneously. Two note harmonies fall into the categories
1937 @emph{consonances} and @emph{dissonances}.
1941 @lilypond[13pt,notime]
1942 \property Score.barNonAuto = ##t
1943 \property Score.TextScript \set #'font-style = #'large
1944 \context Voice \notes\relative c'' {
1951 <g1_"decime" b'> s s
1957 @lilypond[13pt,notime]
1958 \property Score.barNonAuto = ##t
1959 \property Score.TextScript \set #'font-style = #'large
1960 \context Voice \notes\relative c'' {
1961 <g1_"second " a> s s
1962 <g1_"seventh " f'> s s
1967 Three note harmony @aref{chord}.
1970 ES: homofon@'{@dotless{i}}a,
1979 Music in which one voice leads melodically followed by the other voices more
1980 or less in the same rhythm. In contrast to @aref{polyphony}.
1992 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1993 diminished, or augmented. The augmented fourth and the diminished fifth are
1994 identical (@aref{enharmonic}) and are called @emph{tritonus}
1995 because they consist of three @aref{whole tone}s. The addition
1996 of such two forms an octave.
1998 @lilypond[13pt,notime]
1999 \property Score.barNonAuto = ##t
2000 \property Score.LyricText \set #'font-style = #'large
2001 \property Score.TextScript \set #'font-style = #'large
2003 \context Voice \notes\relative c'' {
2008 < gis^"dimin" bes > s
2009 < g!^"minor" bes > s
2013 \context Lyrics \lyrics {
2014 "unisone " "second " "second " "second "
2015 "third " "third " "third " "third "
2019 @lilypond[13pt,notime]
2020 \property Score.barNonAuto = ##t
2021 \property Score.LyricText \set #'font-style = #'large
2022 \property Score.TextScript \set #'font-style = #'large
2024 \context Staff \notes\relative c'' {
2025 < g1^"perfect" c > s
2027 < g^"perfect" d' > s
2029 < gis^"dimin" es' > s
2030 < g!^"minor" es' > s
2034 \context Lyrics \lyrics {
2035 "fourth " "fourth " "fifth " "fifth "
2036 "sixth " "sixth " "sixth " "sixth "
2040 @lilypond[13pt,notime]
2041 \property Score.barNonAuto = ##t
2042 \property Score.LyricText \set #'font-style = #'large
2043 \property Score.TextScript \set #'font-style = #'large
2045 \context Staff \notes\relative c'' {
2046 < gis1^"dimin" f'! > s
2047 < g!^"minor" f'! > s
2048 < g^"major" fis' > s
2052 < g^"minor" bes' > s
2055 \context Lyrics \lyrics {
2056 "seventh " "seventh " "seventh " "octave "
2057 "none " "none " "decime " "decime "
2061 @aitem{inverted interval}
2062 ES: intervalo invertido,
2063 I: intervallo rivolto,
2064 F: intervalle revers@'e,
2065 D: umgekehrtes Intervall,
2066 NL: interval inversie,
2067 DK: omvendingsinterval,
2068 S: intervallets omv@"andning,
2071 The difference between an interval and an octave.
2073 @lilypond[13pt,notime]
2074 \property Score.barNonAuto = ##t
2075 \property Score.TextScript \set #'font-style = #'large
2076 \context Staff \notes\relative c'' {
2077 < g1_"second " a > s s < g'_"seventh " a, > s s \bar "||"
2078 < g,_"third " b > s s < g'_"sixth " b, > s s \bar "||"
2079 < g,_"fourth " c > s s < g'_"fifth " c, > s s \bar "||"
2083 @aitem{just intonation}
2084 I: intonazione giusta,
2085 F: intonation juste,
2092 Tuning system in which the notes are obtained by adding and subtracting
2093 natural fifths and thirds. @aref{temperament}.
2105 According to the 12@w{ }tones of the @aref{chromatic scale}
2106 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2107 @aref{key signature}.
2109 @aitem{key signature}
2110 ES: armadura de clave,
2111 I: armatura di chiave,
2112 F: armure, armature [de la cl@'e],
2113 D: Vorzeichen, Tonart,
2114 NL: toon@-soort (voortekens),
2119 The sharps or flats appearing at the beginning of each staff indicating the
2120 key of the music. @aref{accidental}.
2126 D: Largo, Langsam, Breit,
2132 Very slow in tempo, usually combined with great
2133 expressiveness. @emph{Larghetto} is less slow than largo.
2135 @aitem{leading note}
2145 The seventh @aref{scale degree}, a @aref{semitone} below
2146 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2147 upwards) to the tonic scale degree.
2149 @aitemii{ledger line,leger line}
2150 ES: l@'{@dotless{i}}neas adicionales,
2151 I: tagli addizionali,
2152 F: ligne suppl@'ementaire,
2155 DK: hj@ae{}lpelinie,
2159 A ledger line is an extension of the staff.
2161 @lilypond[13pt,notime]
2162 \property Score.barNonAuto = ##t
2163 \notes\relative c'' { a,1 s c'' }
2176 To be performed without any perceptible interruption between the notes (a)
2177 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
2178 @aref{staccato} (d).
2180 @lilypond[13pt,notime]
2181 \property Score.barNonAuto = ##t
2183 \context Staff \notes\relative c'' {
2185 c4-- d-- e-- \bar "||"
2186 c4-.( d-. )e-. \bar "||"
2187 c4-. d-. e-. \bar "||"
2189 \context Lyrics \lyrics {
2190 \property Lyrics . LyricText \set #'font-style = #'large
2198 @aitem{legato curve}
2199 @aref{slur}, @aref{legato}.
2202 ES: estanque de lilas,
2203 I: stagno del giglio,
2207 NL: le@-lie@-vij@-ver,
2212 A pond with lilies floating in it, also the name of a music typesetter.
2215 ES: l@'{@dotless{i}}nea,
2218 D: Linie, Notenlinie,
2226 @aitem{long appoggiatura}
2227 ES: apoyatura larga,
2228 I: appoggiatura lunga,
2229 F: appoggiature longue,
2230 D: langer Vorschlag,
2232 S: l@aa{}ngt f@"orslag,
2235 @aref{appoggiatura}.
2247 Note value: double length of @aref{breve}.
2250 @lilypond[13pt,notime]
2251 \property Score.barNonAuto = ##t
2252 \notes\relative c'' {
2253 \property Voice.NoteHead \set #'style = #'mensural
2258 @aitemii{lyrics,song texts}
2268 @aitem{major interval}
2269 ES: intervalo mayor,
2270 I: intervallo maggiore,
2271 F: intervalle majeur,
2272 D: gro@ss{}es Intervall,
2290 @aref{diatonic scale}.
2292 @aitem{meantone temperament}
2293 I: accordatura mesotonica,
2294 F: temp@'erament m@'esotonique,
2295 D: mittelt@"onige Stimmung,
2297 DK: middeltonetemperatur,
2298 S: medeltonstemperatur,
2301 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2302 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2303 @aref{temperament} only a limited set of keys are playable.
2304 Used for tuning keyboard instruments for performance of pre-1650 music.
2306 @aitem{measure, bar}
2316 A group of @aref{beat}s (units of musical time) the first of which
2317 bears an accent. Such groups in numbers of two or more recur consistently
2318 throughout the composition and are marked from each other by
2319 bar-lines. @aref{meter}.
2323 I: mediante, modale,
2331 1. The third @b{scale degree}.
2332 2. A @aref{chord} having its base tone
2333 a third from that of another chord. For example, the tonic chord may be
2334 replaced by its lower mediant (variant tonic). @aref{functional
2335 harmony}, @aref{relative key}.
2337 @aitem{melodic cadence}
2343 F: indication de m@'esure,
2350 The basic scheme of @aref{note value}s and
2351 @aref{accent}s which remains unaltered throughout a composition
2352 or a section of it. For instance, 3/4 meter means that the basic
2353 @aref{note value}s are quarter notes and that a
2354 @aref{measure} consists of three of those. According to
2355 whether there are two, three or four units to the measure,
2356 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2357 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2360 \notes\relative c'' {
2363 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2367 \notes\relative c' {
2370 f8 f f f a16 g a f |
2371 c'8 c c c e16 d e c \bar "||"}
2375 \notes\relative c'' {
2378 d4 b8 g b d d c a4 |
2379 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2392 Device indicating the exact tempo of a piece. @aref{metronomic
2395 @aitem{metronomic indication}
2396 ES: indicaci@'on metron@'omica,
2397 I: indicazione metronomica,
2398 F: indication m@'etronomique,
2400 NL: metronoom aanduiding,
2402 S: metronomangivelse,
2405 Exact tempo indication (in beats per minute). Also denoted by
2406 M.M. (M@"alzels Metronom).
2408 @aitem{mezzo-soprano}
2418 The female voice between @aref{soprano} and
2425 D: eingestrichenes@w{ }c,
2427 DK: enstreget@w{ }c,
2428 S: ettstruket@w{ }c,
2431 First C below the 440 Hz A.
2433 @lilypond[13pt,notime]
2434 \property Score.barNonAuto = ##t
2435 \property Staff.Clef \set #'full-size-change = ##t
2436 \notes\relative c' {
2453 @aref{diatonic scale}.
2455 @aitem{minor interval}
2456 ES: intervalo mayor,
2457 I: intervallo minore,
2458 F: intervalle mineur,
2459 D: kleines Intervall,
2477 @aref{church mode}, @aref{diatonic scale}.
2489 Moving from one @aref{key} to another. For example, the second
2490 subject of a @aref{sonata form} movement modulates to the dominant
2491 key if the key is major and to the @aref{relative key} if the key
2505 @aitemii{motive,motif}
2515 The briefest intelligible and self-contained fragment of a musical theme or
2519 \property Score.TimeSignature \override #'style = #'()
2520 \property Score.TextScript \set #'font-style = #'large
2521 \notes\relative c'' {
2524 \partial 8 g16_"------" fis |
2525 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2526 g8 g,16 a b8 cis d16 s
2540 Greater musical works like @aref{symphony} and
2541 @aref{sonata} most often consist of several -- more or less --
2542 independant pieces called movements.
2544 @aitem{multibar rest}
2545 ES: compases de espera,
2549 D: mehrtaktige Pause,
2555 \notes\relative c'' {
2557 \property Score.skipBars=##t R1*3
2562 @aitem{mixolydian mode}
2563 @aref{diatonic scale}.
2565 @aitem{natural sign}
2569 D: Aufl@"osungszeichen,
2570 NL: herstellingsteken,
2571 DK: op@-l@o{}sningstegn,
2572 S: @aa{}terst@"allningstecken,
2577 @aitem{neighbour tones}
2578 @aref{appoggiatura}.
2605 Notes are signs by means of which music is fixed in writing. The term is also
2606 used for the sound indicated by a note, and even for the key of the piano
2607 which produces the sound. However, a clear distinction between the terms tone
2608 and @aref{note} is strongly recommended. Briefly, one sees a note,
2613 I: testa, testina, capocchia,
2614 F: t@^ete de la note,
2621 A head like sign which indicates pitch by its position on a
2622 @aref{staff} provided with a @aref{clef}, and duration
2623 by a variety of shapes such as hollow or black heads with or without
2624 @aref{stem}s, @aref{flag}s, etc. For percussion
2625 instruments (often having no defined pitch) the note head may indicate the
2631 F: dur@'ee, valeur (d'une note),
2638 Note values (durations) are measured as fractions, normally 1/2, of the next
2639 higher note value. The longest duration normally used is called @emph{brevis},
2640 but sometimes (mostly in pre baroque music) the double length note value
2641 @emph{longa} is used.
2643 @lilypond[13pt,notime]
2644 \property Score.TextScript \set #'font-style = #'large
2645 \property Score.barNonAuto = ##t
2646 \notes\relative c'' {
2647 \property Voice.NoteHead \override #'style = #'mensural
2648 g\longa_"longa" g\breve_"breve"
2649 \property Voice.NoteHead \revert #'style
2650 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2651 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2654 @lilypond[13pt,notime]
2655 \property Score.TextScript \set #'font-style = #'large
2656 \property Score.barNonAuto = ##t
2657 \notes\relative c'' {
2658 r\longa_"longa" r\breve_"breve"
2659 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2660 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2663 An augmentation dot after a note multiplies the duration by one and a
2664 half. Another dot adds yet a fourth of the duration.
2667 \property Score.TextScript \set #'font-style = #'large
2668 \notes\relative c'' {
2670 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2671 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2674 Alternatively note values may be subdivided by other ratios. Most common is
2675 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2676 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2677 dotted notes are also frequently used.
2680 \property Score.TextScript \set #'font-style = #'large
2681 \notes\relative c'' {
2683 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2684 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2689 \notes\relative c'' {
2691 \times 3/2 {g4_"duplets" g} |
2693 \times 6/4 {g8_"quadruplets" g g g} |
2694 g8 g g g g4 \bar "||"
2699 @aref{G clef}, @aref{F clef}.
2713 @aitemiii{ornament,embellishment,accessory}
2715 I: abbellimento, fioriture,
2716 F: agr@'ement, ornement,
2717 D: Verzierung, Ornament,
2723 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2724 with the diatonic @aref{second} above it. In the music from the
2725 middle of the 19th century and onwards the trill is performed with the main
2726 note first while in the music from the preceding baroque and classic periods
2727 the upper note is played first.
2731 \context Staff = sa {
2732 \property Score.TextScript \set #'font-style = #'large
2733 \notes\relative c'' {
2734 c2._"pre-1850" b4\trill | c1 \bar "||"
2735 c2._"post-1850" b4\trill | c1 \bar "||"
2738 \notes\relative c'' {
2739 c2. c32 b c b c b c b | c1
2740 c2. b32 c b c \times 4/5 { b c b c b } | c1
2745 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2746 @emph{prall} (inverted mordent).
2750 \context Staff = sa {
2751 \property Score.TextScript \set #'font-style = #'large
2752 \notes\relative c'' {
2753 a4_"turn" b\turn c2 \bar "||"
2754 g4_"mordent" a b\mordent a \bar "||"
2755 e'4_"prall" d\prall c2 \bar "||"
2758 \notes\relative c'' {
2761 e'4 [e32 d e d ~ d8] c2
2766 @aref{appoggiatura}.
2778 Ossia (otherwise) marks an alternative. It is an added staff or piano
2779 score, usually only a few measures long, which presents another version
2780 of the music, for example for small hands.
2792 1. In instrumental or choral music the music for the single instrument
2793 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2794 melodic line of the contrapunctal web.
2800 D: Schlagzeug, Schlagwerk,
2806 A family of musical instruments which are played on by striking or
2807 shaking. Percussion instruments commonly used in a symphony orchestra are
2808 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2809 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2812 @aitem{perfect interval}
2813 ES: intervalo justo,
2814 I: intervallo giusto,
2815 F: intervalle juste,
2816 D: reines Intervall,
2834 A natural division of the melodic line, comparable to a sentence of speech.
2846 The clear rendering in musical performance of the @aref{phrase}s of
2847 the melody. Phrasing may be indicated by a @aref{slur}.
2859 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
2860 @emph{mezzopiano} (@b{mp}) medium soft.
2877 NL: pizzicato, getokkeld,
2882 Play by plucking the strings.
2885 ES: polifon@'{@dotless{i}}a,
2894 Music written in a combination of several simultaneous voices (parts) of a
2895 more or less pronounced individuality. @aref{counterpoint}.
2904 D: Presto, Sehr schnell,
2905 NL: presto, Sehr schnell,
2910 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
2911 denotes the highest possible degree of speed.
2913 @aitem{Pythagorean comma}
2914 ES: coma pitag@'orico,
2915 I: comma pitagorico,
2916 F: comma pythagoricien,
2917 D: Pythagor@"aisches Komma,
2918 NL: komma van Pythagoras,
2919 DK: pythagor@ae{}isk komma,
2920 S: pytagoreiskt komma,
2923 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
2924 but this@w{ }C, obtained by adding 12@w{ }fifths, is
2925 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
2926 7@w{ }octaves. The difference between those two pitches is called the
2941 @aitem{quarter note}
2943 I: semiminima, nera,
2946 D: Viertel, Viertelnote,
2954 @aitem{quarter rest}
2955 ES: silencio de negra,
2956 I: pausa di semiminima,
2961 DK:@w{ }fjerdedelspause,
2962 S: fj@"ardedelspaus,
2983 D: rallentando, langsamer werden,
2989 Abbreviation "rall.". @aref{ritardando}.
2991 @aitem{relative key}
2993 I: tonalit@`a relativa,
2994 F: tonalit@'e relative,
2996 DK: paralleltoneart,
3000 @aref{major} and @aref{minor} @aref{key}
3001 with the same @aref{key signature}.
3003 @lilypond[13pt,notime]
3004 \property Score.barNonAuto = ##t
3005 \property Score.TextScript \set #'font-style = #'large
3006 \notes\relative c' {
3008 es1_"e flat major" f g as bes c d es
3013 @lilypond[13pt,notime]
3014 \property Score.barNonAuto = ##t
3015 \property Score.TextScript \set #'font-style = #'large
3016 \notes\relative c' {
3018 c1_"c minor" d es f g a! b! c \bar "||"
3023 ES: barra de repetici@'on,
3025 F: barre de reprise,
3028 DK: gen@-ta@-gel@-se,
3035 \notes\relative c'' {
3036 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3040 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3041 @c specify the rest's value.
3065 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3066 fixed unit of time, called @aref{beat}, and in which the normal
3067 @aref{accent} recurs in regular intervals, called
3068 @aref{measure}. The basic scheme scheme of time values is called
3069 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3070 accent. In modern notation such music appears as a free alternation of
3071 different measures. (c) Free rhythm, i.e., the use of temporal values having
3072 no common metrical unit (beat).
3078 D: Ritardando, langsamer werden,
3084 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3096 Immediate reduction of speed.
3108 @aref{diatonic scale}.
3110 @aitem{scale degree}
3111 ES: grados de la escala,
3112 I: grado della scala,
3113 F: degr@'e [de la gamme],
3115 NL: trap [van de toonladder],
3120 Names and symbols used in harmonic analysis to denote tones of the scale as
3121 roots of chords. The most important are degrees I = tonic (T), IV =
3122 sub@-do@-mi@-nant (S) and V = dominant (D).
3124 @lilypond[13pt,notime]
3125 \property Score.barNonAuto = ##t
3126 \property Score.LyricText \set #'font-style = #'large
3127 %\property Lyrics.minVerticalAlign = #8
3129 \context Staff \notes\relative c' {
3132 \context Lyrics \lyrics {
3133 < { I II III IV V VI VII I }
3138 @aref{functional harmony}.
3144 D: Partitur (full score), Klavierauszug (vocal score)
3150 A copy of orchestral, choral or chamber music showing what each instrument is
3151 to play, each voice to sing, having each part arranged one underneath the
3152 other on different staves @aref{staff}.
3164 The @aref{interval} between two neigbouring tones of a scale. A
3165 @aref{diatonic scale} consists of alternating
3166 @aref{semitone}s and @aref{whole tone}s, hence the size
3167 of a se@-cond depends on the scale degrees in question.
3179 The @aref{interval} of a minor second. The (usually) smallest
3180 interval in European composed music. The interval between two neighbouring
3181 tones on the piano keyboard -- including black and white keys -- is a
3182 semitone. An octave may be divided into 12@w{ }semitones.
3183 @aref{interval}, @aref{chromatic scale}.
3185 @lilypond[13pt,notime]
3186 \property Score.barNonAuto = ##t
3187 \notes\relative c'' { g1 gis s a bes s b! c }
3202 @aitem{sextuplet, sextolet}
3225 @aitem{short appoggiatura}
3226 @aref{appoggiatura}.
3228 @aitem{sixteenth note}
3233 D: Sechzehntel, Sechzehntelnote,
3234 NL: zes@-ti@-ende noot,
3235 DK: sekstendedelsnode,
3241 @aitem{sixteenth rest}
3242 ES: silencia de semicorchea,
3243 I: pausa di semicroma,
3245 UK: semiquaver rest,
3246 D: Sechzehntelpause,
3248 DK: sekstendedelspause,
3266 @aitem{sixty-fourth note}
3269 F: quadruple croche,
3270 UK: hemidemisemiquaver,
3271 D: Vierundsechzigstel, Vierundsechzigstelnote,
3272 NL: vierenzestigste noot,
3273 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3274 S: sextiofj@"ardedelsnot,
3279 @aitem{sixty-fourth rest}
3280 ES: silencia de semifusa,
3281 I: pausa di semibiscroma,
3282 F: seizi@`eme de soupir,
3283 UK: hemidemisemiquaver rest,
3284 D: Vierundsechzigstelpause,
3285 NL: vierenzestigste rust,
3286 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3287 S: sextiofj@"ardedelspaus,
3294 I: legatura (di portamento or espressiva),
3295 F: liaison, coul@'e,
3296 D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen,
3297 NL: binding, bindingsboog,
3298 DK: legatobue, fraseringsbue,
3302 A slur above or below a group of notes indicates that they are to be played
3303 @aref{legato}, e.g., with one stroke of the violin bow or with one
3315 General term for systems of designating the degrees of the
3316 @aref{scale}, not by letters, but by syllables (@emph{do}
3317 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3318 (@emph{ti})). @aref{scale degree}.
3330 In its present-day meaning a sonata denotes an instrumental composition for
3331 piano or for some other instrument with piano accompaniment, which consists of
3332 three or four independant pieces, called movements.
3337 F: [en] forme de sonate,
3339 NL: hoofdvorm, sonatevorm,
3344 A form used frequently for single movements of the @aref{sonata},
3345 @aref{symphony}, quartet, etc. A movement written in sonata form
3346 falls into three sections called @emph{exposition}, @emph{development} and
3347 @emph{recapitulation}. In the exposition the composer introduces his musical
3348 ideas, consisting of a number of themes; in the development section he
3349 "develops" this material, and in the recapitulation he repeats the exposition,
3350 with certain modifications, however. The exposition contains a number of themes
3351 which fall into two groups, often called first and second subject. Other
3352 melodies occurring in each group are considered as continuations of these
3353 two. The second theme is in another key, normally in the key of the
3354 @aref{dominant} if the @aref{tonic} is
3355 @aref{major}, and in the @aref{relative key} if the
3356 tonic is @aref{minor}.
3368 The highest female voice.
3373 F: staccato, piqu@'e, d@'etach@'e,
3380 Playing the note(s) short. Staccato is indicated by a dot above or below the
3386 \notes\relative c'' {
3388 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3395 I: pentagramma, rigo (musicale),
3398 NL: (noten)balk, partij,
3403 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3404 which the musical notes are written, thus indicating (in connection
3405 with a @aref{clef}) their pitch. Staves for
3406 @aref{percussion} instruments may have fewer lines.
3412 D: Hals, Notenhals, Stiel,
3418 Vertical line above or below a @aref{note head} shorter than a
3419 whole note. @aref{beam}.
3421 @lilypond[13pt,notime]
3422 \property Score.autoBeaming = ##f
3423 \property Score.barNonAuto = ##t
3424 \property Score.TextScript \set #'font-style = #'large
3425 \notes\relative c'' {
3443 A family of stringed musical instruments played with a bow. Strings commonly
3444 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3450 D: betonter Taktteil oder Taktschlag,
3452 D: betonet taktslag,
3453 S: betonat taktslag,
3456 @aref{beat}, @aref{accent}, @aref{measure},
3469 The fourth @aref{scale degree}. @aref{functional
3482 The sixth @aref{scale degree}.
3494 The seventh @aref{scale degree}.
3496 @aitem{superdominant}
3506 The sixth @aref{scale degree}.
3518 The second @aref{scale degree}.
3521 ES: sinfon@'{@dotless{i}}a,
3524 D: Sinfonie, Symphonie,
3530 A symphony may be defined as a @aref{sonata} for orchestra.
3542 Any deliberate upsetting of the normal pulse of @aref{meter},
3543 @aref{accent} and @aref{rhythm}. Our system of musical
3544 rhythm rests upon the grouping of equal beats into groups of two or three,
3545 with a regularly recurrent accent on the first beat of each group. Any
3546 deviation from this scheme is felt as a disturbance or contradiction between
3547 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3551 \notes\relative c' {
3554 e c'4 e,8 c'4 e,8 c' ( | ) c2
3558 @aitemii{syntonic comma,dydimic comma}
3559 I: comma sintonico (o didimico),
3560 F: comma syntonique,
3561 D: syntonisches Komma,
3562 NL: syntonische komma,
3563 DK: syntonisk komma,
3564 S: syntoniskt komma,
3567 Difference between the natural third and the third obtained by Pythagorean
3568 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3579 The collection of staves @aref{staff}, two or more, as used for
3580 writing down of keyboard, chamber, choral, or orchestral music.
3586 D: Stimmung, Temperatur,
3592 Systems of tuning in which the intervals deviate from the acoustically pure
3593 intervals. @aref{meantone temperament}, @aref{equal
3596 @aitem{tempo indication}
3597 ES: indicaci@'on de tempo,
3598 I: indicazione di tempo,
3599 F: indication de temps,
3600 D: Zeitma@ss{}, Tempobezeichnung,
3601 NL: tempo aanduiding,
3606 The rate of speed of a composition or a section thereof, ranging from the
3607 slowest to the quickest, as is indicated by tempo marks as
3608 @aref{largo}, @aref{adagio}, @aref{andante},
3609 @aref{allegro}, and @aref{presto}.
3621 The highest voice of men (apart from @aref{counter tenor}).
3647 @aitem{thirty-second note}
3652 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3653 NL: twee-endertig@-ste noot,
3654 DK: toogtredivtedelsnode,
3655 S: trettiotv@aa{}ondelsnot,
3660 @aitem{thirty-second rest}
3661 ES: silencio de fusa,
3662 I: pausa di biscroma,
3663 F: huiti@`eme de soupir,
3664 UK: demisemiquaver rest,
3665 D: Zweiunddreissigstel@-pause,
3667 DK: toogtredivtedelspause,
3668 S: trettiotv@aa{}ondelspaus,
3673 @aitemii{thorough bass,figured bass}
3675 I: basso continuo, basso numerato,
3676 F: basse chiffr@'ee,
3677 D: Generalbass, bezifferter Bass,
3683 A method of indicating an accompaniment part by the bass notes only, together
3684 with figures designating the chief @aref{interval}s and
3685 @aref{chord}s to be played above the bass notes.
3688 \context GrandStaff <
3689 \context Staff = lh \notes\relative c'' {
3693 < \context Voice = rha {
3696 \context Voice = rhb {
3698 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
3702 \context Staff = rh \notes\relative c' {
3705 es8 c d bes c as bes16 as g f | es4
3707 \context Lyrics \lyrics {
3708 \property Lyrics . LyricText \set #'font-style = #'Large
3709 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3710 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3711 { "" "" "" "2" "" "" "" "" "" "2" } >
3717 ES: ligadura de prolongaci@'on,
3718 I: legatura (di valore),
3723 S: bindeb@aa{}ge, @"overbindning,
3726 A curved line, identical in appearance with the @aref{slur}, which
3727 connects two succesive notes of the same pitch, and which has the function of
3728 uniting them into a single sound equal to the combined durations.
3730 @lilypond[13pt,notime]
3731 \property Score.barNonAuto = ##t
3732 \notes\relative c'' { g2 ~ g4. }
3735 @aitem{time signature}
3736 ES: cifra indicadora de comp@'as,
3738 F: chiffrage (chiffres indicateurs), signe de valeur,
3739 D: Taktangabe, Angabe der Taktart,
3742 S: taktartssignatur,
3757 A sound of definite pitch and duration, as distinct from @emph{noise}.
3758 Tone is a primary building material of music.
3759 Music from the 20th century may be based on non tone related sounds.
3771 The first @aref{scale degree}.
3772 @aref{functional harmony}.
3774 @aitem{transposition}
3775 ES: transposici@'on,
3784 Shifting a melody up or down in pitch, while keeping the same
3790 \notes\relative c'' {
3792 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3800 \transpose bes\relative c'' {
3802 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3809 I: chiave di violino,
3811 D: Violinschl@"ussel, Sopranschl@"ussel,
3813 DK:@w{ }diskantn@o{}gle,
3829 On stringed instruments (@aref{strings}) the quick reiteration of
3830 the same tone, produced by a rapid up-and-down movement movement of the bow
3831 (a). The term is also used for the rapid alternation (b) between two notes of
3832 a @aref{chord}, usually in the distance of a third
3835 @lilypond[13pt,notime]
3836 \property Score.barNonAuto = ##t
3837 \property Score.TextScript \set #'font-style = #'large
3838 \notes\relative c' {
3840 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3841 \repeat "tremolo" 8 { e32_"b" g }
3846 ES: tr@'{@dotless{i}}ada,
3848 F: triade, accord parfait, accord de trois sons,
3857 @aitemii{trill,shake}
3860 F: trille, tremblement, battement (cadence),
3869 @aitem{triple meter}
3870 ES: comp@'as compuesto,
3874 NL: driedelige maatsoort,
3894 ES: tr@'{@dotless{i}}tono,
3907 I: diapason, corista,
3915 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
3916 give the international pitch for the tone @emph{a} (440 vibrations per second.)
3918 @aitemii{turn,gruppetto}
3931 ES: un@'{@dotless{i}}sono,
3940 Playing of the same notes or the same melody by various instruments (voices)
3941 or by the whole orchestra (choir), either at exactly the same pitch or in a
3945 ES: entrada anacr@'usica,
3947 F: anacrouse, lev@'ee,
3954 Initial note(s) of a melody occurring before the first bar
3955 line. @aref{measure}, @aref{meter}.
3960 \notes\relative c' {
3961 \partial 4 f4 | bes4. a8 bes4 c |
3962 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
3975 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
3976 @aref{contralto}, @aref{tenor},
3977 @aref{baritone}, @aref{bass}.
3978 2. A melodic layer or part of a polyphonic composition.
3982 I: tempo debole, arsi,
3984 D: unbetonter Taktteil oder Taktschlag,
3986 DK: ubetonet taktslag,
3987 S: obetonat taktslag,
3990 @aref{beat}, @aref{measure}, @aref{rhythm}.
3997 D: Ganze, ganze Note,
4006 ES: silencio de redonda,
4007 I: pausa di semibreve,
4010 D: ganze Pause, ganztaktige Pause,
4028 The @aref{interval} of a major second. The interval between two
4029 tones on the piano keyboard with exactly one key between them -- including
4030 black and white keys -- is a whole tone.
4038 DK tr@ae{}bl@ae{}sere,
4039 S: tr@"abl@aa{}sare,
4042 A family of blown wooden musical instruments. Today some of these instruments
4043 are actually made from metal. The woodwind instruments commonly used in a
4044 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4051 @item DURATION NAMES, NOTES AND RESTS
4054 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4056 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4057 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
4061 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4062 @tab longa @tab longa @tab longa
4066 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4067 brevis @tab brevis @tab brevis @tab brevis
4071 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4072 Ganze @tab hele @tab hel @tab hel @tab
4076 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4077 halve @tab halv @tab halv @tab
4081 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4082 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
4086 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4087 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
4091 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4092 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4097 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4098 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4099 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
4103 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4104 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4105 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4106 sextio@-fj@"arde@-del @tab
4109 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
4117 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
4119 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4120 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
4124 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4128 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4129 cis @tab cis @tab cis
4133 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4134 des @tab des @tab des
4138 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4142 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4146 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4150 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4154 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4159 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4163 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4164 ais @tab ais @tab ais
4168 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4173 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4181 @item ---------------------
4185 @item Literature used
4186 The Harvard Dictionary of Music, London 1944. Many more or less literal
4187 quotes from its articles have been included into the item explanation texts.
4189 Hugo Riemanns Musiklexicon, Berlin 1929
4191 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4192 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.