1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @dircategory GNU music project
10 * Glossary: (lilypond/music-glossary). Glossary of music terms.
14 This document is also available in
15 @uref{source/Documentation/user/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author David González @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2006 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
61 This glossary was brought you by
69 @item Christian Mondrup
70 Original author of LilyPond glossary, Danish glossary,
73 @item Fran@,{c}ois Pinard
74 Original glossary of GNU music project, French glossary,
75 @item Han-Wen Nienhuys
77 @item Jan Nieuwenhuizen
82 English glossary translations,
84 Finnish glossary translations.
87 Copyright 1999--2006 by the authors
90 Permission is granted to copy, distribute and/or modify this document
91 under the terms of the GNU Free Documentation License, Version 1.1
92 or any later version published by the Free Software Foundation,
93 without Invariant Sections.
99 @c @everyheading @| @thispage @|
100 @c @evenheading @thispage @| @|
101 @c @oddheading @| @| @thispage @|
103 @include macros.itexi
108 @w{@arrow{}@strong{\word\}}@c
111 @arrow{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
132 @item UK - British English
150 * ancient minor scale::
154 * ascending interval::
155 * augmented interval::
187 * compound interval::
189 * conjunct movement::
202 * descending interval::
204 * diminished interval::
206 * disjunct movement::
208 * dissonant interval::
209 * dominant ninth chord::
210 * dominant seventh chord::
213 * dot (augmentation dot)::
215 * double appoggiatura::
217 * double dotted note::
226 * ecclesiastical mode::
232 * equal temperament::
246 * functional harmony::
260 * inverted interval::
273 * long appoggiatura::
278 * meantone temperament::
285 * metronomic indication::
321 * Pythagorean comma::
343 * short appoggiatura::
347 * sixty-fourth note::
348 * sixty-fourth rest::
376 * thirty-second note::
377 * thirty-second rest::
426 FI: aksentti, korostus.
428 The stress of one tone over others.
438 ES: alteración accidental,
440 F: altération accidentelle,
441 D: Vorzeichen, Versetzungszeichen, Akzidenz,
442 NL: toevallig (verplaatsings)teken,
444 S: tillfälligt förtecken,
445 FI: tilapäinen etumerkki.
447 An accidental has the effect of an @aref{alteration} of a note. A
448 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
449 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
450 lowers it by a whole tone. A natural cancels the effect of a previous
453 @lilypond[fragment,notime,line-width=13.0\cm]
454 \set Score.automaticBars = ##f
456 \context Staff \relative c'' {
457 gis1 gisis ges geses g!
460 \override Lyrics .LyricText #'self-alignment-X = #-1
461 sharp "db. sharp" flat "db. flat" natural
471 F: accelerando, en accélérant,
472 D: accelerando, schneller werden,
476 FI: accelerando, kiihdyttäen.
490 FI: adagio, hitaasti.
492 It.@: comfortable, easy.
493 1.@tie{}Slow tempo, slower -- especially in even meter -- than
494 @aref{andante} and faster than @aref{largo}.
495 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
496 @aref{sonata}s, symphonies, etc.
504 D: Allegro, Schnell, Fröhlich, Lustig,
508 FI: allegro, nopeasti.
510 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
511 tempo, especially the first and last movements of a @aref{sonata}.
520 NL: verhoging of verlaging,
525 An alteration is the modification, raising or lowering, of a note's
526 pitch. It is established by an @aref{accidental}.
538 FI: altto, matala naisääni.
540 A female voice of low range (@emph{contralto}). Originally the alto was a
541 high male voice (hence the name), which by the use of falsetto reached the
542 height of the female voice. This type of voice is also known as
543 @aref{counter tenor}.
548 ES: clave de do en tercera,
549 I: chiave di contralto,
550 F: clef d'ut troisième ligne,
551 D: Altschlüssel, Bratschenschlüssel,
557 C clef setting middle C on the middle line of the staff
570 FI: ambitus, ääniala, soitinala.
572 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
573 of pitches for a given voice in a part of music. It may also denote
574 the pitch range that a musical instrument is capable of playing.
576 @node ancient minor scale
577 @section ancient minor scale
579 ES: escala menor antigua,
580 I: scala minore naturale,
581 F: forme du mode mineur ancien, troisème mode, mode hellénique
583 NL: authentieke mineurtoonladder,
586 FI: luonnollinen molliasteikko.
588 @aref{diatonic scale}.
590 @lilypond[fragment,notime,line-width=13.0\cm]
591 \set Score.automaticBars = ##f
608 Walking tempo/character.
611 @section appoggiatura
615 F: appogiature, (port de voix),
620 FI: appoggiatura, etuhele.
622 Ornamental note, usually a second, that is melodically connected with the
623 main note following it. In music before the 19th century a.@: were usually
624 performed on the beat, after that mostly before the beat. While the short
625 a.@: is performed as a short note regardless of the duration of the main note
626 the duration of the long a.@: is proportional to that of the main note.
628 @lilypond[line-width=13.0\cm]
629 \context Voice \relative c'' {
633 %\override Score.TextScript #'font-style = #'large
634 <d a fis>4_"notation" r
635 { \override Stem #'flag-style = #'()
637 \revert Stem #'flag-style
640 { \override Stem #'flag-style = #'()
642 \revert Stem #'flag-style
645 \cadenzaOn a4 \bar "||" \cadenzaOff
647 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
648 \cadenzaOn a4 \bar "||" \cadenzaOff
652 An appoggiatura may have more notes preceding the main note.
654 @lilypond[line-width=13.0\cm]
658 % \override Score.TextScript #'font-style = #'large
659 \grace { bes16 } as8_"notation" as16 bes as8 g |
660 \grace { as16[( bes] } < c as >4-)
661 \grace { as16[( bes] } < c as >4-) \bar "||"
662 \grace { bes16 } as8_"performance" as16 bes as8 g |
663 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
664 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
675 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
677 DK: arpeggio, akkordbrydning,
679 FI: arpeggio, murtosointu.
681 @lilypond[fragment,line-width=13.0\cm]
682 \context PianoStaff <<
683 \context Staff = SA \relative c'' {
686 r8 g16 c e g, c e r8 g,16 c e g, c e |
687 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
688 \context Staff = SB \relative c' {
690 << \context Voice = va {
692 r16 e8. ( e4) r16 e8. ( e4) |
693 r16 d8. ( d4) r16 d8. ( d4) }
694 \context Voice = vb {
701 @node ascending interval
702 @section ascending interval
704 ES: intervalo ascendente,
705 I: intervallo ascendente,
706 F: intervalle ascendant,
707 D: steigendes Intervall,
708 NL: stijgend interval,
709 DK:@w{ }stigende interval,
710 S: stigande intervall,
711 FI: nouseva intervalli.
713 A distance between a starting lower note and a higher ending note.
715 @node augmented interval
716 @section augmented interval
718 ES: intervalo aumentado,
719 I: intervallo aumentato,
720 F: intervalle augmenté,
721 D: übermäßiges Intervall,
722 NL: overmatig interval,
723 DK: forstørret interval,
724 S: överstigande intervall,
725 FI: ylinouseva intervalli.
735 D: Autograph, Handschrift,
737 DK: håndskrift, autograf,
739 FI: käsinkirjoitettu nuotti.
741 1.@tie{}A manuscript in the composer's own hand.
742 2.@tie{}Music prepared for photoreproduction by freehand drawing,
743 with the aid of a straightedge ruler and T-square only,
744 which attempts to emulate engraving.
745 This required more skill than did engraving.
772 ES: barra, línea divisoria,
773 I: stanghetta, barra (di divisione),
774 F: barre (de mesure),
791 FI: baritoni, keskikorkuinen miesääni.
793 The male voice intermediate between the @aref{bass} and the
796 @c F: clef de troisième ligne dropped
799 @section baritone clef
801 ES: clave de fa en tercera,
802 I: chiave di baritono,
803 F: clef d' Ut cinquième ligne, clef de Fa troisième,
810 C or F clef setting middle C on the upper staff line.
811 @aref{C clef}, @aref{F clef}.
816 ES: clave de fa en cuarta,
818 F: clé de fa quatrième ligne,
825 A clef setting with middle C on the first top ledger line.
838 FI: basso, matala miesääni.
840 1.@tie{}The lowest male voice.
841 2.@tie{}Sometimes, especially in jazz music, used as
842 an abbreviation for double bass.
857 Line connecting a series of notes (shorter than a quarter note).
858 The number of beams determines the note value of the connected notes.
860 @lilypond[fragment,notime,line-width=13.0\cm]
861 \set Score.automaticBars = ##f
862 %\override TextScript #'font-style = #'large
865 g16_"1/16"[ g g g] s16
866 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
867 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
873 ES: tiempo, parte (de compás)
876 D: Takt, Taktschlag, Zeit (im Takt),
882 Note value used for counting, most often half-, fourth-, and eighth notes.
883 The base counting value and the number of them per measure is indicated at
884 the start of the music.
886 @lilypond[fragment,line-width=13.0\cm]
889 \relative c'' { g4 c b a | g1 \bar "||"}
891 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
905 D: Klammer, Akkolade,
906 NL: accolade, teksthaak,
909 FI: yhdistävä sulkumerkki.
911 Symbol at the start of a system connecting staves. Curly braces are used
912 for connecting piano staves, angular brackets for connecting parts in an
913 orchestral or choral score.
915 @lilypond[fragment,ragged-right]
916 \context GrandStaff <<
917 \relative c''\context Staff = SA { \clef treble g4 e c2 }
918 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
921 @lilypond[fragment,ragged-right]
922 \context StaffGroup <<
923 % \set StaffGroup.minVerticalAlign = #12
924 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
925 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
937 S: brassinstrument, mässingsinstrument,
940 A family of blown musical instruments made of brass, all using a cup formed
941 mouth piece. The brass instruments commonly used in a symphony orchestra are
942 trumpet, trombone, french horn, and tube.
950 D: Atemzeichen, Trennungszeichen,
951 NL: repercussieteken,
952 DK: vejrtrækningstegn,
956 Indication of where to breathe in vocal and wind instrument parts.
969 @aref{note value}, twice as long as a whole note. Mainly used
972 @lilypond[fragment,notime,ragged-right]
973 \set Score.automaticBars = ##f
974 \relative c'' { g\breve }
1001 Clef symbol indicating the position of the middle C. Used on all note
1004 @lilypond[fragment,notime,line-width=13.0\cm]
1005 \set Score.automaticBars = ##f
1006 \override Score.Clef #'full-size-change = ##t
1008 \context Staff \relative c' {
1010 \clef mezzosoprano c
1015 \context Lyrics \lyrics {
1016 \override Lyrics .LyricText #'self-alignment-X = #-1
1017 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1032 FI: kadenssi, lopuke.
1034 @aref{harmonic cadence}, @aref{functional harmony}.
1046 FI: kadenssi, lopuke.
1048 An extended, improvisatory style section inserted near the end of
1049 movement. The purpose of a cadenza is to give singers or players a chance
1050 to exhibit their technical skill and -- not last -- their ability to
1051 improvise. Since the middle of the 19th century, however, most cadences have
1052 been written down by the composer.
1064 FI: kaanon, tarkka jäljittely.
1066 @aref{counterpoint}.
1078 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1079 viritysjärjestelmässä.
1081 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1082 of an equally tempered @aref{semitone}).
1083 @aref{equal temperament}.
1102 Three or more tones sounding simultaneously. In traditional European music
1104 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1106 minor @aref{third}) as well as @emph{minor} (minor + major third)
1107 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1108 and five-tone @emph{ninth} major chords are most often used as dominants
1109 (@aref{functional harmony}). A special case is chords having no
1110 third above the lower notes to define their quality as major or minor. Such
1111 chords are denoted open chords
1113 @lilypond[fragment,notime,line-width=13.0\cm]
1114 \set Score.automaticBars = ##f
1115 %\override TextScript #'font-style = #'large
1117 \context Staff \relative c'' {
1136 @node chromatic scale
1137 @section chromatic scale
1139 ES: escala cromática,
1141 F: gamme chromatique,
1142 D: chro@-ma@-ti@-sche Tonleiter,
1143 NL: chromatische toonladder,
1144 DK: kromatisk skala,
1146 FI: kromaattinen asteikko.
1148 A scale consisting of all 12 @aref{semitone}s.
1150 @lilypond[fragment,notime,line-width=13.0\cm]
1151 \set Score.automaticBars = ##f
1152 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1156 @section chromaticism
1167 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1170 @section church mode
1172 ES: modo eclesiástico,
1173 I: modo ecclesiastico,
1174 F: mode ecclésiastique,
1179 FI: moodi, kirkkosävellaji.
1181 @aref{diatonic scale}.
1189 D: Schlüssel, Notenschlüssel,
1193 FI: avain, nuottiavain.
1195 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1202 A @emph{cluster} is a range of simultaneously sounding pitches that
1203 may change over time. The set of available pitches to apply usually
1204 depends on the acoustic source. Thus, in piano music, a cluster
1205 typically consists of a continuous range of the semitones as provided
1206 by the piano's fixed set of a chromatic scale. In choral music, each
1207 singer of the choir typically may sing an arbitrary pitch within the
1208 cluster's range that is not bound to any diatonic, chromatic or other
1209 scale. In electronic music, a cluster (theoretically) may even cover
1210 a continuous range of pitches, thus resulting in colored noise, such
1213 Clusters can be denoted in the context of ordinary staff notation by
1214 engraving simple geometrical shapes that replace ordinary notation of
1215 notes. Ordinary notes as musical events specify starting time and
1216 duration of pitches; however, the duration of a note is expressed by
1217 the shape of the note head rather than by the horizontal graphical
1218 extent of the note symbol. In contrast, the shape of a cluster
1219 geometrically describes the development of a range of pitches
1220 (vertical extent) over time (horizontal extent). Still, the
1221 geometrical shape of a cluster covers the area in which any single
1222 pitch contained in the cluster would be notated as an ordinary note.
1224 @lilypond[fragment,relative=2,verbatim,ragged-right]
1225 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1238 FI: komma, korvinkuultava ero äänenkorkeudessa.
1240 Difference in pitch between a note derived from pure tuning and the same note
1241 derived from some other tuning method. @aref{temperament}.
1244 @section common meter
1248 @node compound interval
1249 @section compound interval
1251 ES: intervalo compuesto,
1252 I: intervallo composto,
1253 F: intervalle composé,
1254 D: weites Intervall,
1255 NL: samengesteld interval,
1256 DK: sammensat interval,
1257 S: sammansatt intervall,
1258 FI: oktaavia laajempi intervalli.
1260 Intervals larger than an octave.
1267 ES: intervalo invertido,
1269 F: intervalle complémentaire,
1270 D: Komplementärintervall,
1271 NL: complementair interval,
1272 DK: komplementærinterval,
1273 S: komplementärintervall (?),
1274 FI: täydentävä intervalli.
1276 @aref{inverted interval}.
1278 @node conjunct movement
1279 @section conjunct movement
1281 ES: movimiento conjunto,
1283 F: mouvement conjoint,
1284 D: schritt@-weise, stufenweise Bewegung,
1285 NL: stapsgewijze, trapsgewijze beweging,
1286 DK: trinvis bevægelse,
1288 FI: asteittainen liike.
1290 Progressing melodically by intervals of a second. The opposite of a
1291 @aref{disjunct movement}.
1293 @lilypond[fragment,line-width=13.0\cm]
1294 \key g \major \time 4/4
1295 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1308 FI: konsonanssi, sopusointi.
1327 @section counterpoint
1336 FI: kontrapunkti, ääni ääntä vastaan.
1338 From latin @emph{punctus contra punctum}, note against note. The combination
1339 into a single musical fabric of lines or parts which have distinct melodic
1340 significance. A frequently used polyphonic technique is imitation, in its
1341 strictest form found in the canon needing only one part to be written down
1342 while the other parts are performed with a given displacement. Imitation is
1343 also the contrapunctal technique used in the @emph{fugue} which, since the
1344 music of the baroque era, has been one of the most popular polyphonic
1345 composition methods.
1347 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1348 \override Score.TimeSignature #'break-visibility = #all-invisible
1349 \context PianoStaff <<
1350 \context Staff = SA \relative c' {
1354 << \context Voice = rha {
1356 r1 | r2 r8 g'8 bes d, |
1357 cis4 d r8 e!16 f g8 f16 e |
1358 f8 g16 a bes8 a16 g a8
1360 \context Voice = rhb {
1366 \context Staff = SB \relative c' {
1369 << \context Voice = lha {
1371 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1372 r8 a16 g f8 g16 a bes8 g e! cis' |
1375 \context Voice = lhb {
1384 @section counter tenor
1389 D: Countertenor, Kontratenor,
1392 S: kontratenor, counter tenor,
1398 @section copying music
1400 A music copyist did fast freehand scores and parts on preprinted staff lines
1401 for performance. Some of their conventions (e.g., the placement of note heads
1402 on stems) varied slightly from those of engravers. Some of their working
1403 methods were superior and could well be adopted by music typesetters. This
1404 required more skill than engraving.
1412 D: Crescendo, lauter werden,
1416 FI: cresendo, voimistuen.
1418 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1419 abbreviation ``cresc.''.
1421 @lilypond[fragment,ragged-right]
1422 \key g \major \time 4/4
1423 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1431 F: petites notes précédent l'entrée d'in instrument, réplique,
1438 In a separate part notes belonging to another part with the purpose of hinting
1439 when to start playing. Usually printed in a smaller type.
1444 A custos is a staff symbol that appears at the end of a staff line
1445 with monophonic musical contents (i.e., with a single voice). It
1446 anticipates the pitch of the first note of the following line and thus
1447 helps the player or singer to manage line breaks during performance,
1448 thus enhancing readability of a score.
1450 Custodes were frequently used in music notation until the 16th
1451 century. There were different appearences for different notation
1452 styles. Nowadays, they have survived only in special forms of musical
1453 notation such as via the editio vaticana dating back to the beginning
1459 % \override Staff.Custos #'neutral-position = #4
1460 \override Staff.Custos #'neutral-direction = #down
1461 \override Staff.Custos #'style = #'hufnagel
1469 \consists Custos_engraver
1493 F: da capo, depuis le commencement,
1494 D: da capo, von Anfang,
1498 FI: da capo, alusta.
1500 The term indicates repetition of the piece from the beginning to the end or
1501 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1508 F: dal segno, depuis le signe,
1509 D: dal segno, ab dem Zeichen,
1513 FI: dal segno, lähtien merkistä.
1515 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1516 another place frequently near the beginning marked by a sign:
1518 @lilypond[fragment,ragged-right]
1519 %\override TextScript #'font-style = #'large
1520 \override TextScript #'font-shape = #'italic
1521 \key g \major \time 4/4
1526 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1532 @section decrescendo
1536 D: Decrescendo, leiser werden,
1540 FI: decresendo, hiljentyen.
1542 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1543 or the abbreviation ``decresc.''.
1545 @lilypond[fragment,ragged-right]
1547 \key g \major \time 4/4
1548 d4 \> c b a | g1 \! \bar "|."
1552 @node descending interval
1553 @section descending interval
1555 ES: intervalo descendente,
1556 I: intervallo discendente,
1557 F: intervalle descendant,
1558 D: fallendes Intervall, absteigendes Intervall,
1559 NL: dalend interval,
1560 DK: faldende interval,
1561 S: fallande intervall,
1562 FI: laskeva intervalli.
1564 A distance between a starting higher note and a lower ending note.
1566 @node diatonic scale
1567 @section diatonic scale
1569 ES: escala diatónica,
1571 F: gamme diatonique,
1572 D: diatonische Tonleiter,
1573 NL: diatonische toonladder,
1574 DK: diatonisk skala,
1576 FI: diatoninen asteikko.
1578 A scale consisting of 5@w{ }@aref{whole tone}s and
1579 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1580 of a piano keybord are diatonic.
1582 The church modes are used in gregorial chant and in pre-baroque early
1583 music but also to some extent in newer jazz music.
1585 @lilypond[fragment,notime,ragged-right]
1586 \set Score.automaticBars = ##f
1587 %\override Score.LyricText #'font-style = #'large
1588 %\override Score.TextScript #'font-style = #'large
1590 \context Staff \relative c' {
1592 \override TextScript #'padding = #-4
1593 e^"~~ S" f g a b^"~~ S" c
1595 \context Lyrics \lyrics {
1601 @lilypond[fragment,notime,ragged-right]
1602 \set Score.automaticBars = ##f
1604 \context Staff \relative c' {
1606 \override TextScript #'padding = #-4
1607 e^"~~ S" f g a b^"~~ S" c d
1615 @lilypond[fragment,notime,ragged-right]
1616 \set Score.automaticBars = ##f
1619 \override TextScript #'padding = #-4
1620 e1^"~~ S" f g a b^"~~ S" c d e
1628 @lilypond[fragment,notime,ragged-right]
1629 \set Score.automaticBars = ##f
1633 \override TextScript #'padding = #-4
1634 b^"~~ S" c d e^"~~ S" f
1642 @lilypond[fragment,notime,ragged-right]
1643 \set Score.automaticBars = ##f
1647 \override TextScript #'padding = #-4
1648 b^"~~ S" c d e^"~~ S" f g }
1655 @lilypond[fragment,notime,ragged-right]
1656 \set Score.automaticBars = ##f
1657 %\override Score.LyricText #'font-style = #'large
1658 %\override Score.TextScript #'font-style = #'large
1662 \override TextScript #'padding = #-4
1663 b^"~~ S" c d e^"~~ S" f g a
1671 From the beginning of the 17th century the scales used in European
1672 compositional music are primarily the major and the minor scales. In the
1673 harmonic minor scale type an augmented second (A) occurs between the 6th and
1676 @lilypond[fragment,notime,ragged-right]
1677 \set Score.automaticBars = ##f
1681 \override TextScript #'padding = #-4
1682 e^"~~ S" f g a b^"~~ S" c
1690 @lilypond[fragment,notime,ragged-right]
1691 \set Score.automaticBars = ##f
1695 \override TextScript #'padding = #-4
1696 b^"~~ S" c d e^"~~ S" f g a
1704 @lilypond[fragment,notime,ragged-right]
1705 \set Score.automaticBars = ##f
1709 \override TextScript #'padding = #-4
1710 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1712 \context Lyrics \lyrics {
1718 @lilypond[fragment,notime,line-width=13.0\cm]
1719 \set Score.automaticBars = ##f
1720 %\override Score.LyricText #'font-style = #'large
1721 %\override Score.TextScript #'font-style = #'large
1725 \override TextScript #'padding = #-4
1726 b^"~~ S" c d e fis gis^"~~ S"
1727 a g! f!^"~~ S" e d c^"~~ S" b a
1735 @node diminished interval
1736 @section diminished interval
1738 ES: intervalo disminuido,
1739 I: intervallo diminuito,
1740 F: intervalle diminué,
1741 D: vermindertes Intervall,
1742 NL: verminderd interval,
1743 DK: formindsket interval,
1744 S: förminskat intervall,
1745 FI: vähennetty intervalli.
1759 FI: diminuendo, hiljentyen.
1763 @node disjunct movement
1764 @section disjunct movement
1766 ES: movimiendo disjunto,
1768 F: mouvement disjoint,
1769 D: sprunghafte Bewegung,
1770 NL: sprongsgewijze beweging,
1771 DK: springende bevægelse,
1772 S: hoppande rörelse,
1773 FI: melodian hyppivä liike.
1775 Progressing melodically by intervals larger than a major second.
1776 Opposite of @aref{conjunct movement}.
1778 @lilypond[fragment,ragged-right]
1783 a4. gis8 b a e cis |
1784 fis2 d4. \bar "||" }
1790 @ref{dissonant interval}.
1792 @node dissonant interval
1793 @section dissonant interval
1795 ES: intervalo disonante, disonancia,
1796 I: intervallo dissonante, dissonanza,
1799 NL: dissonant interval; dissonant,
1800 DK: dissonerende interval, dissonans,
1802 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1806 @node dominant ninth chord
1807 @section dominant ninth chord
1809 ES: acorde de novena de dominante,
1810 I: accordo di nona di dominante,
1811 F: accord de neuvième dominante,
1812 D: Domi@-nant@-nonen@-akkord,
1813 NL: dominant noon akkoord,
1814 DK: dominantnoneakkord,
1815 S: dominantnonackord,
1816 FI: dominanttinoonisointu.
1818 @aref{chord}, @aref{functional harmony}.
1820 @node dominant seventh chord
1821 @section dominant seventh chord
1823 ES: acorde de séptima de dominante,
1824 I: accordo di settima di dominante,
1825 F: accord de septième dominante,
1826 D: Dominantseptakkord,
1827 NL: dominant septiem akkoord,
1828 DK: dominantseptimakkord,
1829 S: dominantseptimackord,
1830 FI: dominanttiseptimisointu.
1832 @aref{chord}, @aref{functional harmony}.
1844 FI: dominantti, huippusointu.
1846 The fifth @aref{scale degree},
1847 @aref{functional harmony}.
1850 @section dorian mode
1855 D: dorisch, dorischer Kirchenton,
1856 NL: dorische toonladder,
1861 @aref{diatonic scale}.
1863 @node dot (augmentation dot)
1864 @section dot (augmentation dot)
1867 I: punto (di valore),
1869 D: Punkt (Verlängerungspunkt),
1878 @section dotted note
1880 ES: nota con puntillo,
1884 NL: gepuncteerde noot,
1887 FI: pisteellinen nuotti.
1891 @node double appoggiatura
1892 @section double appoggiatura
1894 ES: apoyatura doble,
1895 I: appoggiatura doppia,
1896 F: appoggiature double,
1897 D: doppelter Vorschlag,
1898 NL: dubbele voorslag,
1899 DK: dobbelt forslag,
1901 FI: kaksoisappogiatura, kaksoisetuhele.
1903 @aref{appoggiatura}.
1905 @node double bar line
1906 @section double bar line
1912 NL: dubbele maatstreep,
1915 FI: kaksoistahtiviiva.
1917 Indicates the end of a section within a movement.
1919 @node double dotted note
1920 @section double dotted note
1922 ES: nota con doble puntillo,
1923 I: nota doppiamente puntata,
1924 F: note doublement pointée,
1925 D: doppelt punktierte Note,
1926 NL: dubbelgepuncteerde noot,
1927 DK: dob@-belt@-punk@-te@-ret node,
1928 S: dub@-bel@-punk@-te@-rad not,
1929 FI: kaksoispisteellinen nuotti.
1934 @section double flat
1943 FI: kaksoisalennusmerkki.
1948 @section double sharp
1950 ES: doble sostenido,
1955 DK: dob@-belt@-kryds,
1957 FI: kaksoisylennysmerkki.
1962 @section double trill
1968 NL: dubbele triller,
1973 A simultaneous trill on two notes, usually in the distance of a third.
1976 @section duple meter
1982 NL: tweedelige maatsoort,
2013 FI: kesto, aika-arvo.
2018 @section dydimic comma
2020 @aref{syntonic comma}.
2034 @node ecclesiastical mode
2035 @section ecclesiastical mode
2040 @section eighth note
2046 D: Achtel, Achtelnote,
2048 DK: ottendedelsnode,
2050 FI: kahdeksasosanuotti.
2055 @section eighth rest
2057 ES: silencio de corchea,
2063 DK: ottendedelspause,
2065 FI: kahdeksasosatauko.
2070 @section embellishment
2081 D: Notenstechen, Notendruck
2087 Engraving means incising or etching a metal plate for
2088 printing. Photoengraving means drawing music with ink in a manner
2089 similar to drafting or engineering drawing, using similar tools.
2091 The traditional process of music printing is done through cutting in a
2092 plate of metal. Now also the term for the art of music typesetting.
2106 Two notes, intervals, or scales are enharmonic if they have different names
2109 @lilypond[fragment,notime,line-width=13.0\cm]
2110 \set Score.automaticBars = ##f
2112 \context Staff \relative c'' {
2113 gis1 as <des g,!> <cis g!>
2115 \context Lyrics \lyrics {
2116 \override Lyrics .LyricText #'self-alignment-X = #-1
2117 "g sharp " "a flat " "dim fifth " "augm fourth"
2122 @node equal temperament
2123 @section equal temperament
2125 ES: temperamento igual,
2126 I: temperamento equabile,
2127 F: tempérament égal,
2128 D: gleichschwebende Stimmung,
2129 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2130 DK: ligesvævende temperatur,
2131 S: liksvävande temperatur,
2134 Tuning system dividing the octave into 12 equal @aref{semitone}s
2135 (precisely 100 @aref{cent}s). @aref{temperament}.
2137 @node expression mark
2138 @section expression mark
2141 I: segno d'espressione,
2142 F: signe d'expression, indication de nuance,
2144 NL: voordrachtsteken,
2145 DK: foredragsbetegnelse,
2146 S: föredragsbeteckning,
2147 FI: nyanssiosoitus, esitysmerkki.
2149 Performance indications concerning 1. volume, dynamics (for example
2150 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2151 @aref{andante}, @aref{allegro}).
2177 The position between the dots of the key symbol is the line of the F below
2178 central@w{ }C. Used on the third, fourth and fifth note line. A
2179 digit@w{ }8 above the clef symbol indicates that the notes must be played
2180 an octave higher (for example bass recorder) while 8@w{ }below the clef
2181 symbol indicates playing an octave lower (for example on double bass
2184 @lilypond[fragment,notime,line-width=13.0\cm]
2185 \set Score.automaticBars = ##f
2186 \override Staff.Clef #'full-size-change = ##t
2210 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2217 F: point d'orgue, point d'arr@^et,
2222 FI: fermaatti, pidäke.
2224 Prolonged note or rest of indefinite duration.
2226 @lilypond[fragment,ragged-right]
2229 a4 b c2^\fermata \bar "|."
2248 @section figured bass
2250 @aref{thorough bass}.
2264 The methodical use of fingers in the playing of instruments.
2270 I: coda (uncinata), bandiera,
2278 Ornament at the end of the stem of a note used for notes with values
2279 less than a quarter note. The number of flags determines the
2282 @lilypond[fragment,notime,ragged-right]
2283 \set Score.automaticBars = ##f
2284 %\override Score.TextScript #'font-style = #'large
2310 @aref{appoggiatura}.
2322 FI: forte, voimakkaasti.
2324 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2325 @emph{mezzoforte} (@b{mf}) medium loud.
2353 @aref{counterpoint}.
2355 @node functional harmony
2356 @section functional harmony
2358 ES: armonía funcional,
2359 I: armonia funzionale,
2360 F: étude des functions,
2362 NL: functionele harmonie,
2363 DK: funktionsanalyse, funktionsharmonik,
2365 FI: harmoniajärjestelmä.
2367 A system of harmonic analysis. It is based on the idea that, in a given key,
2368 there are only three functionally different chords: tonic (T, the chord on the
2369 first note of the scale), subdominant (S, the chord on the fourth note), and
2370 dominant (D, the chord on the fifth note). Others are considered to be
2371 variants of the base chords.
2373 @lilypond[fragment,notime,line-width=13.0\cm]
2374 \set Score.automaticBars = ##f
2376 \context Voice \relative c'' {
2377 <g e c >1 < a f d > < b g e >
2378 <c a f > < d b g > < e c a > < f d b > }
2379 \context Lyrics \lyrics {
2380 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2402 D: G-Schlüssel, Violinschlüssel,
2408 A clef symbol indicating the G above central@w{ }C. Used on the first
2409 and second note lines. A digit 8 above the clef symbol indicates that
2410 the notes must be played an octave higher while 8 below the clef symbol
2411 indicates playing or singing an octave lower (most tenor parts in choral
2412 scores are notated like that).
2414 @lilypond[fragment,notime,ragged-right]
2416 \set Score.automaticBars = ##f
2417 \override Staff.Clef #'full-size-change = ##t
2420 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2430 \context Lyrics \lyrics {
2431 \override Lyrics . LyricText #'X-offset = #-5
2432 "french violin clef"
2450 FI: glissando, liukuen.
2452 Letting the pitch slide fluently from one note to the other.
2455 @section grace notes
2457 ES: notas de adorno,
2460 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2466 Notes printed in small types to indicate that their time values are not
2467 counted in the rhythm of the bar. @aref{appoggiatura}.
2470 @section grand staff
2472 ES: sistema de piano,
2478 S: ackolad, böjd klammer,
2479 FI: kaksoisnuottiviivasto.
2483 A combination of two staves with a brace. Usually used for piano music.
2495 FI: grave, raskaasti.
2511 D: Halbe, halbe Note,
2522 ES: silencio de blanca,
2534 @node harmonic cadence
2535 @section harmonic cadence
2537 ES: cadencia (armónica),
2538 I: cadenza (armonica),
2539 F: cadence harmonique,
2541 NL: harmonische cadens,
2542 DK: harmonisk kadence,
2543 S: (harmonisk) kadens,
2544 FI: harmoninen kadenssi.
2546 A sequence of chords that terminates a musical phrase or
2547 section. @aref{functional harmony}.
2549 @lilypond[fragment,ragged-right]
2550 \context PianoStaff <<
2551 \context Staff = SA \relative c'' {
2555 \partial 4 < c g e >4 |
2556 < c a f > < b g d > < c g e >2
2559 \context Staff = SB \relative c {
2561 \partial 4 c4 | f, g c2
2578 D: Harmonie, Zusammenklang,
2582 FI: harmonia, yhteissointi.
2584 Tones sounding simultaneously. Two note harmonies fall into the categories
2585 @emph{consonances} and @emph{dissonances}.
2589 @lilypond[fragment,notime,line-width=13.0\cm]
2590 \set Score.automaticBars = ##f
2591 %\override Score.TextScript #'font-style = #'large
2592 \context Voice \relative c'' {
2605 @lilypond[fragment,notime,line-width=13.0\cm]
2606 \set Score.automaticBars = ##f
2607 %\override Score.TextScript #'font-style = #'large
2608 \context Voice \relative c'' {
2609 <g a>1_"second " s s
2610 <g f'>_"seventh " s s
2615 Three note harmony @aref{chord}.
2627 FI: homofonia, yksiäänisyys.
2629 Music in which one voice leads melodically followed by the other voices more
2630 or less in the same rhythm. In contrast to @aref{polyphony}.
2642 FI: intervalli, kahden sävelen korkeusero.
2644 Difference in pitch between two notes. Intervals may be perfect, minor,
2646 diminished, or augmented. The augmented fourth and the diminished fifth are
2647 identical (@aref{enharmonic}) and are called @emph{tritonus}
2648 because they consist of three @aref{whole tone}s. The addition
2649 of such two intervals forms an octave.
2651 @lilypond[fragment,notime,line-width=13.0\cm]
2652 \set Score.automaticBars = ##f
2654 \context Voice \relative c'' {
2664 \context Lyrics \lyrics {
2665 "unisone " "second " "second " "second "
2666 "third " "third " "third " "third"
2671 @lilypond[fragment,notime,line-width=13.0\cm]
2672 \set Score.automaticBars = ##f
2674 \context Staff \relative c'' {
2685 "fourth " "fourth " "fifth " "fifth "
2686 "sixth " "sixth " "sixth " "sixth"
2691 @lilypond[fragment,notime,line-width=13.0\cm]
2692 \set Score.automaticBars = ##f
2694 \context Staff \relative c'' {
2695 < gis f'! >1^"dimin"
2704 \context Lyrics \lyrics {
2705 "seventh " "seventh " "seventh " "octave "
2706 "none " "none " "decime " "decime"
2711 @node inverted interval
2712 @section inverted interval
2714 ES: intervalo invertido,
2715 I: intervallo rivolto,
2716 F: intervalle reversé,
2717 D: umgekehrtes Intervall,
2718 NL: interval inversie,
2719 DK: omvendingsinterval,
2720 S: intervallets omvändning,
2721 FI: käänteisintervalli.
2723 The difference between an interval and an octave.
2725 @lilypond[fragment,notime,line-width=13.0\cm]
2726 \set Score.automaticBars = ##f
2727 %\override Score.TextScript #'font-style = #'large
2728 \context Staff \relative c'' {
2729 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2730 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2731 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2735 @node just intonation
2736 @section just intonation
2738 ES: entonación justa,
2739 I: intonazione giusta,
2740 F: intonation juste,
2747 Tuning system in which the notes are obtained by adding and subtracting
2748 natural fifths and thirds. @aref{temperament}.
2762 According to the 12@w{ }tones of the @aref{chromatic scale}
2763 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2764 @aref{key signature}.
2767 @section key signature
2769 ES: armadura (de la clave),
2770 I: armatura di chiave,
2771 F: armure, armature [de la clé],
2772 D: Vorzeichen, Tonart,
2773 NL: toon@-soort (voortekens),
2776 FI: sävellajiosoitus.
2778 The sharps or flats appearing at the beginning of each staff indicating the
2779 key of the music. @aref{accidental}.
2787 D: Largo, Langsam, Breit,
2791 FI: largo, hitaasti, leveästi.
2793 Very slow in tempo, usually combined with great
2794 expressiveness. @emph{Larghetto} is less slow than largo.
2797 @section leading note
2808 The seventh @aref{scale degree}, a @aref{semitone} below
2809 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2810 upwards) to the tonic scale degree.
2813 @section ledger line
2815 ES: línea adicional,
2816 I: tagli addizionali,
2817 F: ligne supplémentaire,
2824 A ledger line is an extension of the staff.
2826 @lilypond[fragment,notime,ragged-right]
2827 \set Score.automaticBars = ##f
2828 \relative c'' { a,1 s c'' }
2843 To be performed (a) without any perceptible interruption between the notes,
2844 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2845 (d) @aref{staccato}.
2847 @lilypond[fragment,notime,line-width=13.0\cm]
2848 \set Score.automaticBars = ##f
2850 \context Staff \relative c'' {
2851 c4-( d e-) \bar "||"
2852 c4-- d-- e-- \bar "||"
2853 c4-.-( d-. e-.-) \bar "||"
2854 c4-. d-. e-. \bar "||"
2866 @section legato curve
2868 @aref{slur}, @aref{legato}.
2878 ES: estanque de nenúfares,
2879 I: stagno del giglio,
2883 NL: le@-lie@-vij@-ver,
2888 A pond with lilies floating in it, also the name of a music typesetter.
2895 A ligature is a coherent graphical symbol that represents at least two
2896 distinct notes. Ligatures originally appeared in the manuscripts of
2897 Gregorian chant notation roughly since the 9th century to denote
2898 ascending or descending sequences of notes. In early notation,
2899 ligatures were used for monophonic tunes (Gregorian chant) and very
2900 soon denoted also the way of performance in the sense of articulation.
2901 With the invention of the metric system of the white mensural
2902 notation, the need for ligatures to denote such patterns disappeared.
2910 D: Linie, Notenlinie,
2914 FI: viiva, nuottiviiva.
2918 @node long appoggiatura
2919 @section long appoggiatura
2921 ES: apoyatura larga,
2922 I: appoggiatura lunga,
2923 F: appoggiature longue,
2924 D: langer Vorschlag,
2928 FI: pitkä appoggiatura, pitkä etuhele.
2930 @aref{appoggiatura}.
2944 Note value: double length of @aref{breve}.
2947 @lilypond[fragment,notime,ragged-right]
2948 \set Score.automaticBars = ##f
2950 \override NoteHead #'style = #'mensural
2958 ES: letra (de la canción),
2967 @node major interval
2968 @section major interval
2970 ES: intervalo mayor,
2971 I: intervallo maggiore,
2972 F: intervalle majeur,
2973 D: großes Intervall,
2977 FI: suuri intervalli.
2993 @aref{diatonic scale}.
2995 @node meantone temperament
2996 @section meantone temperament
2998 ES: afinación mesotónica,
2999 I: accordatura mesotonica,
3000 F: tempérament mésotonique,
3001 D: mitteltönige Stimmung,
3002 NL: middenstemming, middentoonstemming,
3003 DK: middeltonetemperatur,
3004 S: medeltonstemperatur,
3005 FI: keskisävelviritys.
3007 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3008 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3009 @aref{temperament} only a limited set of keys are playable.
3010 Used for tuning keyboard instruments for performance of pre-1650 music.
3024 A group of @aref{beat}s (units of musical time) the first of which
3025 bears an accent. Such groups in numbers of two or more recur consistently
3026 throughout the composition and are marked from each other by
3027 bar-lines. @aref{meter}.
3033 I: mediante, modale,
3041 1.@tie{}The third @b{scale degree}.
3042 2.@tie{}A @aref{chord} having its base tone
3043 a third from that of another chord. For example, the tonic chord may be
3044 replaced by its lower mediant (variant tonic). @aref{functional
3045 harmony}, @aref{relative key}.
3052 FI: melisma, laulettavan tavun sävelkuvio.
3054 A melisma (plural: melismata) is a group of notes or tones sung on one
3055 syllable in plainsong
3057 @node melodic cadence
3058 @section melodic cadence
3067 F: indication de mésure,
3074 The basic scheme of @aref{note value}s and
3075 @aref{accent}s which remains unaltered throughout a composition
3076 or a section of it. For instance, 3/4 meter means that the basic
3077 @aref{note value}s are quarter notes and that a
3078 @aref{measure} consists of three of those. According to
3079 whether there are two, three, or four units to the measure,
3080 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3081 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3083 @lilypond[fragment,line-width=13.0\cm]
3087 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3090 @lilypond[fragment,line-width=13.0\cm]
3094 f8 f f f a16 g a f |
3095 c'8 c c c e16 d e c \bar "||"}
3098 @lilypond[fragment,line-width=13.0\cm]
3102 d4 b8 g b d d c a4 |
3103 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3118 Device indicating the exact tempo of a piece. @aref{metronomic
3121 @node metronomic indication
3122 @section metronomic indication
3124 ES: indicación metronómica,
3125 I: indicazione metronomica,
3126 F: indication métronomique,
3128 NL: metronoom aanduiding,
3130 S: metronomangivelse,
3131 FI: metronomiosoitus.
3133 Exact tempo indication (in beats per minute). Also denoted by
3134 M.M.@: (Mälzels Metronom).
3137 @section mezzo-soprano
3148 The female voice between @aref{soprano} and
3157 D: eingestrichenes@w{ }c,
3159 DK: enstreget@w{ }c,
3160 S: ettstruket@w{ }c,
3163 First C below the 440 Hz A.
3165 @lilypond[fragment,notime,ragged-right]
3166 \set Score.automaticBars = ##f
3167 \override Staff.Clef #'full-size-change = ##t
3187 @aref{diatonic scale}.
3189 @node minor interval
3190 @section minor interval
3192 ES: intervalo menor,
3193 I: intervallo minore,
3194 F: intervalle mineur,
3195 D: kleines Intervall,
3199 FI: pieni intervalli.
3213 FI: moodi, kirkkosävelasteikko.
3215 @aref{church mode}, @aref{diatonic scale}.
3227 FI: modulaatio, sävellajin vaihdos.
3229 Moving from one @aref{key} to another. For example, the second
3230 subject of a @aref{sonata form} movement modulates to the dominant
3231 key if the key is major and to the @aref{relative key} if the key
3243 FI: mordent, korukuvio.
3262 FI: teema, sävelaihe.
3264 The briefest intelligible and self-contained fragment of a musical theme or
3267 @lilypond[fragment,line-width=13.0\cm]
3268 \override Score.TimeSignature #'break-visibility = #all-invisible
3269 %\override Score.TextScript #'font-style = #'large
3273 \partial 8 g16_"------" fis |
3274 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3275 g8 g,16 a b8 cis d16 s
3291 Greater musical works like @aref{symphony} and
3292 @aref{sonata} most often consist of several -- more or less --
3293 independant pieces called movements.
3296 @section multibar rest
3298 ES: compases de espera,
3302 D: mehrtaktige Pause,
3305 FI: usean tahdin mittainen tauko.
3307 @lilypond[fragment,ragged-right]
3310 \set Score.skipBars = ##t R1*3
3315 @node mixolydian mode
3316 @section mixolydian mode
3318 @aref{diatonic scale}.
3321 @section natural sign
3326 D: Auflösungszeichen,
3327 NL: herstellingsteken,
3328 DK: op@-løsningstegn,
3329 S: återställningstecken,
3334 @node neighbour tones
3335 @section neighbour tones
3337 @aref{appoggiatura}.
3370 Notes are signs by means of which music is fixed in writing. The term is also
3371 used for the sound indicated by a note, and even for the key of the piano
3372 which produces the sound. However, a clear distinction between the terms tone
3373 and @aref{note} is strongly recommended. Briefly, one sees a note,
3380 I: testa, testina, capocchia,
3381 F: t@^ete de la note,
3388 A head-like sign which indicates pitch by its position on a
3389 @aref{staff} provided with a @aref{clef}, and duration
3390 by a variety of shapes such as hollow or black heads with or without
3391 @aref{stem}s, @aref{flag}s, etc. For percussion
3392 instruments (often having no defined pitch) the note head may indicate the
3398 ES: valor (duración),
3400 F: durée, valeur (d'une note),
3405 FI: nuotin aika-arvo.
3407 Note values (durations) are measured as fractions, normally 1/2, of the next
3408 higher note value. The longest duration normally used is called
3410 but sometimes (mostly in pre-baroque music) the double length note value
3411 @emph{longa} is used.
3413 @lilypond[fragment,notime,line-width=13.0\cm]
3414 %\override Score.TextScript #'font-style = #'large
3415 \set Score.automaticBars = ##f
3417 \override NoteHead #'style = #'mensural
3418 a\longa_"longa" a\breve_"breve"
3419 \revert NoteHead #'style
3420 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3421 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3424 @lilypond[fragment,notime,line-width=13.0\cm]
3425 %\override Score.TextScript #'font-style = #'large
3426 \set Score.automaticBars = ##f
3428 r\longa_"longa" r\breve_"breve"
3429 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3430 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3433 An augmentation dot after a note multiplies the duration by one and a
3434 half. Another dot adds yet a fourth of the duration.
3436 @lilypond[fragment,line-width=13.0\cm]
3437 %\override Score.TextScript #'font-style = #'large
3440 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3441 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3444 Alternatively note values may be subdivided by other ratios. Most common is
3445 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3446 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3447 dotted notes are also frequently used.
3449 @lilypond[fragment,line-width=13.0\cm]
3450 %\override Score.TextScript #'font-style = #'large
3453 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3454 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3458 @lilypond[fragment,line-width=13.0\cm]
3461 \times 3/2 {g4_"duplets" g} |
3463 \times 6/4 {g8_"quadruplets" g g g} |
3464 g8 g g g g4 \bar "||"
3469 @section octave sign
3471 @aref{G clef}, @aref{F clef}.
3491 I: abbellimento, fioriture,
3492 F: agrément, ornement,
3493 D: Verzierung, Ornament,
3499 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3500 with the diatonic @aref{second} above it. In the music from the
3501 middle of the 19th century and onwards the trill is performed with the main
3502 note first while in the music from the preceding baroque and classic periods
3503 the upper note is played first.
3505 @lilypond[fragment,line-width=13.0\cm]
3507 \context Staff = sa {
3508 % \override Score.TextScript #'font-style = #'large
3510 c2._"pre-1850" b4\trill | c1 \bar "||"
3511 c2._"post-1850" b4\trill | c1 \bar "||"
3515 c2. c32 b c b c b c b | c1
3516 c2. b32 c b c \times 4/5 { b c b c b } | c1
3521 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3523 @emph{prall} (inverted mordent).
3525 @lilypond[fragment,line-width=13.0\cm]
3527 \context Staff = sa {
3528 % \override Score.TextScript #'font-style = #'large
3530 a4_"turn" b\turn c2 \bar "||"
3531 g4_"mordent" a b\mordent a \bar "||"
3532 e'4_"prall" d\prall c2 \bar "||"
3538 e'4 e32[ d e d ~ d8] c2
3543 @aref{appoggiatura}.
3555 FI: ossia, vaihtoehtoinen esitystapa.
3557 Ossia (otherwise) marks an alternative. It is an added staff or piano
3558 score, usually only a few measures long, which presents another version
3559 of the music, for example for small hands.
3571 FI: stemma, instrumenttiosuus.
3573 1.@tie{}In instrumental or choral music the music for the single instrument
3574 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3575 melodic line of the contrapunctal web.
3588 D: Schlagzeug, Schlagwerk,
3594 A family of musical instruments which are played on by striking or
3595 shaking. Percussion instruments commonly used in a symphony orchestra are
3596 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3597 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3600 @node perfect interval
3601 @section perfect interval
3603 ES: intervalo justo,
3604 I: intervallo giusto,
3605 F: intervalle juste,
3606 D: reines Intervall,
3610 FI: puhdas intervalli.
3626 A natural division of the melodic line, comparable to a sentence of speech.
3638 FI: fraseeraus, jäsentäminen.
3640 The clear rendering in musical performance of the @aref{phrase}s of
3641 the melody. Phrasing may be indicated by a @aref{slur}.
3655 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3656 @emph{mezzopiano} (@b{mp}) medium soft.
3677 NL: pizzicato, getokkeld,
3680 FI: pizzicato, näppäillen.
3682 Play by plucking the strings.
3690 D: Polyphonie, Mehrstimmigkeit,
3694 FI: polyfonia, moniäänisyys.
3696 Music written in a combination of several simultaneous voices (parts) of a
3697 more or less pronounced individuality. @aref{counterpoint}.
3710 D: Presto, Sehr schnell,
3711 NL: presto, Sehr schnell,
3714 FI: presto, hyvin nopeasti.
3716 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3717 denotes the highest possible degree of speed.
3719 @node Pythagorean comma
3720 @section Pythagorean comma
3722 ES: coma pitagórica,
3723 I: comma pitagorico,
3724 F: comma pythagoricien,
3725 D: Pythagoräisches Komma,
3726 NL: komma van Pythagoras,
3727 DK: pythagoræisk komma,
3728 S: pytagoreiskt komma,
3729 FI: pytagorinen komma.
3731 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3732 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3733 24 @aref{cent}s higher than the@w{ }C obtained by adding
3734 7@w{ }octaves. The difference between those two pitches is called the
3752 @section quarter note
3755 I: semiminima, nera,
3758 D: Viertel, Viertelnote,
3762 FI: neljännesosanuotti.
3767 @section quarter rest
3769 ES: silencio de negra,
3770 I: pausa di semiminima,
3775 DK:@w{ }fjerdedelspause,
3777 FI: neljännesosatauko.
3796 @section rallentando
3801 D: rallentando, langsamer werden,
3805 FI: rallerdando, hidastuen.
3807 Abbreviation "rall.". @aref{ritardando}.
3810 @section relative key
3813 I: tonalità relativa,
3814 F: tonalité relative,
3816 NL: paralleltoonsoort,
3817 DK: paralleltoneart,
3819 FI: rinnakkaissävellaji.
3821 @aref{major} and @aref{minor} @aref{key}
3822 with the same @aref{key signature}.
3824 @lilypond[fragment,notime,line-width=13.0\cm]
3825 \set Score.automaticBars = ##f
3826 %\override Score.TextScript #'font-style = #'large
3829 es1_"e flat major" f g as bes c d es
3834 @lilypond[fragment,notime,line-width=13.0\cm]
3835 \set Score.automaticBars = ##f
3836 %\override Score.TextScript #'font-style = #'large
3839 c1_"c minor" d es f g a! b! c \bar "||"
3848 F: barre de reprise,
3851 DK: gen@-ta@-gel@-se,
3855 @lilypond[fragment,line-width=13.0\cm]
3859 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3863 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3864 @c specify the rest's value.
3892 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3893 fixed unit of time, called @aref{beat}, and in which the normal
3894 @aref{accent} recurs in regular intervals, called
3895 @aref{measure}. The basic scheme of time values is called
3896 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3897 accent. In modern notation such music appears as a free alternation of
3898 different measures. (c) Free rhythm, i.e., the use of temporal values having
3899 no common metrical unit (beat).
3907 D: Ritardando, langsamer werden,
3911 FI: ritardando, hidastuen,
3913 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3925 FI: ritenuto, hidastaen.
3927 Immediate reduction of speed.
3939 FI: asteikko, sävelasteikko.
3941 @aref{diatonic scale}.
3944 @section scale degree
3946 ES: grado (de la escala),
3947 I: grado della scala,
3948 F: degré [de la gamme],
3950 NL: trap [van de toonladder],
3953 FI: sävelaste, asteikon sävel.
3955 Names and symbols used in harmonic analysis to denote tones of the scale as
3956 roots of chords. The most important are degrees I = tonic (T), IV =
3957 sub@-do@-mi@-nant (S) and V = dominant (D).
3959 @lilypond[fragment,notime,line-width=13.0\cm]
3960 \set Score.automaticBars = ##f
3962 \context Staff \relative c' {
3966 << { I II III IV V VI VII I }
3972 @aref{functional harmony}.
3980 D: Partitur (full score), Klavierauszug (vocal score)
3986 A copy of orchestral, choral, or chamber music showing what each instrument is
3987 to play, each voice to sing, having each part arranged one underneath the
3988 other on different staves @aref{staff}.
4002 The @aref{interval} between two neigbouring tones of a scale. A
4003 @aref{diatonic scale} consists of alternating
4004 @aref{semitone}s and @aref{whole tone}s, hence the size
4005 of a se@-cond depends on the scale degrees in question.
4019 The @aref{interval} of a minor second. The (usually) smallest
4020 interval in European composed music. The interval between two neighbouring
4021 tones on the piano keyboard -- including black and white keys -- is a
4022 semitone. An octave may be divided into 12@w{ }semitones.
4023 @aref{interval}, @aref{chromatic scale}.
4025 @lilypond[fragment,notime,line-width=13.0\cm]
4026 \set Score.automaticBars = ##f
4027 \relative c'' { g1 gis s a bes s b! c }
4082 @node short appoggiatura
4083 @section short appoggiatura
4085 @aref{appoggiatura}.
4087 @node sixteenth note
4088 @section sixteenth note
4094 D: Sechzehntel, Sechzehntelnote,
4095 NL: zes@-ti@-ende noot,
4096 DK: sekstendedelsnode,
4098 FI: kuudestoistaosanuotti.
4102 @node sixteenth rest
4103 @section sixteenth rest
4105 ES: silencio de semicorchea,
4106 I: pausa di semicroma,
4108 UK: semiquaver rest,
4109 D: Sechzehntelpause,
4111 DK: sekstendedelspause,
4131 @node sixty-fourth note
4132 @section sixty-fourth note
4136 F: quadruple croche,
4137 UK: hemidemisemiquaver,
4138 D: Vierundsechzigstel, Vierundsechzigstelnote,
4139 NL: vierenzestigste noot,
4140 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4141 S: sextiofjärdedelsnot,
4142 FI: kuudeskymmenesneljäsosanuotti.
4146 @node sixty-fourth rest
4147 @section sixty-fourth rest
4149 ES: silencio de semifusa,
4150 I: pausa di semibiscroma,
4151 F: seizième de soupir,
4152 UK: hemidemisemiquaver rest,
4153 D: Vierundsechzigstelpause,
4154 NL: vierenzestigste rust,
4155 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4156 S: sextiofjärdedelspaus,
4157 FI: kuudeskymmenesneljäsosatauko.
4164 ES: ligadura (de expresión),
4165 I: legatura (di portamento or espressiva),
4167 D: Bogen, Legatobogen, Phrasierungsbogen,
4168 NL: fraseringsboog, legatoboog, streekboog,
4169 DK: legatobue, fraseringsbue,
4173 A slur above or below a group of notes indicates that they are to be played
4174 @aref{legato}, e.g., with one stroke of the violin bow or with one
4178 @section solmization
4187 FI: suhteelliset laulunimet.
4189 General term for systems of designating the degrees of the
4190 @aref{scale}, not by letters, but by syllables (@emph{do}
4191 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4192 (@emph{ti})). @aref{scale degree}.
4206 In its present-day meaning a sonata denotes an instrumental composition for
4207 piano or for some other instrument with piano accompaniment, which consists of
4208 three or four independant pieces, called movements.
4211 @section sonata form
4215 F: [en] forme de sonate,
4217 NL: hoofdvorm, sonatevorm,
4222 A form used frequently for single movements of the @aref{sonata},
4223 @aref{symphony}, quartet, etc. A movement written in sonata form
4224 falls into three sections called @emph{exposition}, @emph{development} and
4225 @emph{recapitulation}. In the exposition the composer introduces some musical
4226 ideas, consisting of a number of themes; in the development section the
4227 composer `develops' this material, and in the recapitulation the composer
4228 repeats the exposition, with certain modifications. The exposition contains a
4229 number of themes that fall into two groups, often called first and second
4230 subject. Other melodies occurring in each group are considered as
4231 continuations of these two. The second theme is in another key, normally in
4232 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4233 @aref{relative key} if the tonic is @aref{minor}.
4250 FI: sopraano, korkea naisääni.
4252 The highest female voice.
4259 F: staccato, piqué, détaché,
4264 FI: staccato, lyhyesti, terävästi.
4266 Playing the note(s) short. Staccato is indicated by a dot above or below the
4269 @lilypond[fragment,ragged-right]
4274 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4283 I: pentagramma, rigo (musicale),
4286 NL: (noten)balk, partij,
4291 A staff (pl. staves) is a series of (normally five) horizontal lines
4292 upon and between which the musical notes are written, thus indicating
4293 (in connection with a @aref{clef}) their pitch. Staves for
4294 @aref{percussion} instruments may have fewer lines.
4307 D: Hals, Notenhals, Stiel,
4313 Vertical line above or below a @aref{note head} shorter than a
4314 whole note. @aref{beam}.
4316 @lilypond[fragment,notime,line-width=13.0\cm]
4317 \set Score.autoBeaming = ##f
4318 \set Score.automaticBars = ##f
4319 %\override Score.TextScript #'font-style = #'large
4340 A family of stringed musical instruments played with a bow. Strings commonly
4341 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4344 @section strong beat
4349 D: betonter Taktteil oder Taktschlag,
4351 D: betonet taktslag,
4352 S: betonat taktslag,
4353 FI: tahdin vahva isku.
4355 @aref{beat}, @aref{accent}, @aref{measure},
4359 @section subdominant
4368 FI: subdominantti, alidominantti.
4370 The fourth @aref{scale degree}. @aref{functional harmony}.
4384 The sixth @aref{scale degree}.
4396 FI: subtoonika, alitoonika.
4398 The seventh @aref{scale degree}.
4401 @section superdominant
4412 The sixth @aref{scale degree}.
4426 The second @aref{scale degree}.
4434 D: Sinfonie, Symphonie,
4440 A symphony may be defined as a @aref{sonata} for orchestra.
4443 @section syncopation
4454 Any deliberate upsetting of the normal pulse of @aref{meter},
4455 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4456 rhythm rests upon the grouping of equal beats into groups of two or three,
4457 with a regularly recurrent accent on the first beat of each group. Any
4458 deviation from this scheme is felt as a disturbance or contradiction between
4459 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4461 @lilypond[fragment,ragged-right]
4466 e c'4 e,8 c'4 e,8 c' ( | c2)
4470 @node syntonic comma
4471 @section syntonic comma
4474 I: comma sintonico (o didimico),
4475 F: comma syntonique,
4476 D: syntonisches Komma,
4477 NL: syntonische komma,
4478 DK: syntonisk komma,
4479 S: syntoniskt komma,
4480 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4481 viritysjärjestelmässä.
4483 Difference between the natural third and the third obtained by Pythagorean
4484 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4496 FI: nuottijärjestelmä.
4498 The collection of staves @aref{staff}, two or more, as used for
4499 writing down of keyboard, chamber, choral, or orchestral music.
4502 @section temperament
4507 D: Stimmung, Tem@-pe@-ra@-tur,
4508 NL: stemming, temperatuur,
4511 FI: viritysjärjestelmä.
4513 Systems of tuning in which the intervals deviate from the acoustically pure
4514 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4516 @node tempo indication
4517 @section tempo indication
4519 ES: indicación de tempo,
4520 I: indicazione di tempo,
4521 F: indication de temps,
4522 D: Zeitmaß, Tempobezeichnung,
4523 NL: tempo aanduiding,
4528 The rate of speed of a composition or a section thereof, ranging from the
4529 slowest to the quickest, as is indicated by tempo marks as
4530 @aref{largo}, @aref{adagio}, @aref{andante},
4531 @aref{allegro}, and @aref{presto}.
4543 FI: tenori, korkea miesääni.
4545 The highest male voice (apart from @aref{counter tenor}).
4564 ES: subrayado (tenuto),
4573 An indication that a particular note should be held for the whole
4574 length, although this can vary depending on the composer and era.
4590 @node thirty-second note
4591 @section thirty-second note
4597 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4598 NL: twee-endertig@-ste noot,
4599 DK: toogtredivtedelsnode,
4600 S: trettiotvåondelsnot,
4601 FI: kolmanneskymmeneskahdesosanuotti.
4605 @node thirty-second rest
4606 @section thirty-second rest
4608 ES: silencio de fusa,
4609 I: pausa di biscroma,
4610 F: huitième de soupir,
4611 UK: demisemiquaver rest,
4612 D: Zweiunddreissigstel@-pause,
4614 DK: toogtredivtedelspause,
4615 S: trettiotvåondelspaus,
4616 FI: kolmanneskymmeneskahdesosatauko.
4621 @section thorough bass
4624 I: basso continuo, basso numerato,
4626 D: Generalbass, bezifferter Bass,
4627 NL: basso continuo, becijferde bas
4630 FI: kenraalibasso, numeroitu basso.
4632 A method of indicating an accompaniment part by the bass notes only, together
4633 with figures designating the chief @aref{interval}s and
4634 @aref{chord}s to be played above the bass notes.
4636 @lilypond[fragment,line-width=13.0\cm]
4637 \context GrandStaff <<
4638 \context Staff = lh \relative c'' {
4642 << \context Voice = rha {
4645 \context Voice = rhb {
4647 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4651 \context Staff = rh \relative c' {
4654 es8 c d bes c as bes16 as g f | es4
4656 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4664 ES: ligadura de prolongación,
4665 I: legatura (di valore),
4668 NL: overbinding, bindingsboog,
4670 S: bindebåge, överbindning,
4673 A curved line, identical in appearance with the @aref{slur}, which
4674 connects two succesive notes of the same pitch, and which has the function of
4675 uniting them into a single sound (tone) equal to the combined durations.
4677 @lilypond[fragment,notime,ragged-right]
4678 \set Score.automaticBars = ##f
4679 \relative c'' { g2 ~ g4. }
4687 @node time signature
4688 @section time signature
4690 ES: indicación de compás,
4692 F: chiffrage (chiffres indicateurs), signe de valeur,
4693 D: Taktangabe, Angabe der Taktart,
4696 S: taktartssignatur,
4713 A sound of definite pitch and duration, as distinct from @emph{noise}.
4714 Tone is a primary building material of music.
4715 Music from the 20th century may be based on atonal sounds.
4729 The first @aref{scale degree}.
4730 @aref{functional harmony}.
4733 @section transposition
4744 Shifting a melody up or down in pitch, while keeping the same
4747 @lilypond[fragment,line-width=13.0\cm]
4752 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4757 @lilypond[fragment,line-width=13.0\cm]
4760 \transpose c bes \relative c'' {
4762 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4768 @section treble clef
4771 I: chiave di violino,
4773 D: Violinschlüssel, Sopranschlüssel,
4775 DK:@w{ }diskantnøgle,
4793 On stringed instruments (@aref{strings}) the quick reiteration of
4794 the same tone, produced by a rapid up-and-down movement of the bow
4795 (a). The term is also used for the rapid alternation (b) between two notes of
4796 a @aref{chord}, usually in the distance of a third
4799 @lilypond[fragment,notime,ragged-right]
4800 \set Score.automaticBars = ##f
4801 %\override Score.TextScript #'font-style = #'large
4804 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4805 \repeat "tremolo" 8 { e32_"b" g }
4814 F: triade, accord parfait, accord de trois sons,
4828 F: trille, tremblement, battement (cadence),
4838 @section triple meter
4840 ES: compás ternario,
4844 NL: driedelige maatsoort,
4880 @section tuning fork
4883 I: diapason, corista,
4891 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4892 give the international pitch for the tone @emph{a} (440 vibrations per
4919 FI: unisono, yksiäänisesti.
4921 Playing of the same notes or the same melody by various instruments (voices)
4922 or by the whole orchestra (choir), either at exactly the same pitch or in a
4930 F: anacrouse, levée,
4937 Initial note(s) of a melody occurring before the first bar
4938 line. @aref{measure}, @aref{meter}.
4940 @lilypond[fragment,line-width=13.0\cm]
4944 \partial 4 f4 | bes4. a8 bes4 c |
4945 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4958 FI: ääni, lauluääni.
4960 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4961 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4962 2.@tie{}A melodic layer or part of a polyphonic composition.
4968 I: tempo debole, arsi,
4970 D: unbetonter Taktteil oder Taktschlag,
4972 DK: ubetonet taktslag,
4973 S: obetonat taktslag,
4974 FI: tahdin heikko isku.
4976 @aref{beat}, @aref{measure}, @aref{rhythm}.
4985 D: Ganze, ganze Note,
4996 ES: silencio de redonda,
4997 I: pausa di semibreve,
5000 D: ganze Pause, ganztaktige Pause,
5020 The @aref{interval} of a major second. The interval between two
5021 tones on the piano keyboard with exactly one key between them -- including
5022 black and white keys -- is a whole tone.
5036 A family of blown wooden musical instruments. Today some of these instruments
5037 are actually made from metal. The woodwind instruments commonly used in a
5038 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5040 @node Duration names notes and rests
5041 @chapter Duration names, notes and rests
5044 @item DURATION NAMES, NOTES AND RESTS
5047 @multitable @columnfractions .15 .26 .33 .26
5052 @tab @strong{F (note name / rest name)}
5064 @item @strong{longa}
5079 @item @strong{breve}
5082 @tab brève / double-pause
5094 @item @strong{whole}
5104 @tab koko@-nuotti/@w{-tauko}
5112 @tab blanche / demi-pause
5119 @tab puoli@-nuotti/@w{-tauko}
5124 @item @strong{quarter}
5134 @tab neljännesosa@-nuotti/@w{-tauko}
5139 @item @strong{eighth}
5142 @tab croche / demi-soupir
5149 @tab kahdeksasosa@-nuotti/@w{-tauko}
5154 @item @strong{sixteenth}
5157 @tab double croche / quart de soupir
5164 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5169 @item @strong{thirty-second}
5172 @tab triple croche / huitième de soupir
5174 @tab Zweiunddreissigstel
5175 @tab tweeendertigste
5176 @tab toogtredivtedel
5178 @tab trettiotvåondel
5179 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5184 @item @strong{sixty-fourth}
5185 @tab hemidemisemiquaver
5187 @tab quadruple croche / seizième de soupir
5189 @tab Vierundsechzigstel
5190 @tab vierenzestigste
5191 @tab fireogtred@-sindstyvendedel
5193 @tab sextiofjärdedel
5194 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5198 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5201 @chapter Pitch names
5207 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5208 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5210 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5211 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5215 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5219 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5221 cis @tab cis @tab cis
5225 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5227 des @tab des @tab des
5231 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5235 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5239 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5243 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5248 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5254 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5258 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5260 ais @tab ais @tab ais
5264 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5270 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5275 @node Literature used
5276 @unnumbered Literature used
5279 @item The Harvard Dictionary of Music, London 1944. Many more or less
5280 literal quotes from its articles have been included into the item
5283 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5285 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5287 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5290 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
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