1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2006 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
76 @item Fran@,{c}ois Pinard
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2006 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@arrow{}@strong{\word\}}@c
114 @arrow{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
153 * ancient minor scale::
157 * ascending interval::
158 * augmented interval::
190 * compound interval::
192 * conjunct movement::
205 * descending interval::
207 * diminished interval::
209 * disjunct movement::
211 * dissonant interval::
212 * dominant ninth chord::
213 * dominant seventh chord::
216 * dot (augmentation dot)::
218 * double appoggiatura::
220 * double dotted note::
229 * ecclesiastical mode::
235 * equal temperament::
249 * functional harmony::
263 * inverted interval::
276 * long appoggiatura::
281 * meantone temperament::
288 * metronomic indication::
324 * Pythagorean comma::
346 * short appoggiatura::
350 * sixty-fourth note::
351 * sixty-fourth rest::
379 * thirty-second note::
380 * thirty-second rest::
429 FI: aksentti, korostus.
431 The stress of one tone over others.
441 ES: alteración accidental,
443 F: altération accidentelle,
444 D: Vorzeichen, Versetzungszeichen, Akzidenz,
445 NL: toevallig (verplaatsings)teken,
447 S: tillfälligt förtecken,
448 FI: tilapäinen etumerkki.
450 An accidental has the effect of an @aref{alteration} of a note. A
451 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
452 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
453 lowers it by a whole tone. A natural cancels the effect of a previous
456 @lilypond[fragment,notime,line-width=13.0\cm]
457 \set Score.automaticBars = ##f
459 \context Staff \relative c'' {
460 gis1 gisis ges geses g!
463 \override Lyrics .LyricText #'self-alignment-X = #-1
464 sharp "db. sharp" flat "db. flat" natural
474 F: accelerando, en accélérant,
475 D: accelerando, schneller werden,
479 FI: accelerando, kiihdyttäen.
493 FI: adagio, hitaasti.
495 It.@: comfortable, easy.
496 1.@tie{}Slow tempo, slower -- especially in even meter -- than
497 @aref{andante} and faster than @aref{largo}.
498 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
499 @aref{sonata}s, symphonies, etc.
507 D: Allegro, Schnell, Fröhlich, Lustig,
511 FI: allegro, nopeasti.
513 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
514 tempo, especially the first and last movements of a @aref{sonata}.
523 NL: verhoging of verlaging,
528 An alteration is the modification, raising or lowering, of a note's
529 pitch. It is established by an @aref{accidental}.
541 FI: altto, matala naisääni.
543 A female voice of low range (@emph{contralto}). Originally the alto was a
544 high male voice (hence the name), which by the use of falsetto reached the
545 height of the female voice. This type of voice is also known as
546 @aref{counter tenor}.
551 ES: clave de do en tercera,
552 I: chiave di contralto,
553 F: clef d'ut troisième ligne,
554 D: Altschlüssel, Bratschenschlüssel,
560 C clef setting middle C on the middle line of the staff
573 FI: ambitus, ääniala, soitinala.
575 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
576 of pitches for a given voice in a part of music. It may also denote
577 the pitch range that a musical instrument is capable of playing.
579 @node ancient minor scale
580 @section ancient minor scale
582 ES: escala menor antigua,
583 I: scala minore naturale,
584 F: forme du mode mineur ancien, troisème mode, mode hellénique
586 NL: authentieke mineurtoonladder,
589 FI: luonnollinen molliasteikko.
591 @aref{diatonic scale}.
593 @lilypond[fragment,notime,line-width=13.0\cm]
594 \set Score.automaticBars = ##f
611 Walking tempo/character.
614 @section appoggiatura
618 F: appogiature, (port de voix),
623 FI: appoggiatura, etuhele.
625 Ornamental note, usually a second, that is melodically connected with the
626 main note following it. In music before the 19th century a.@: were usually
627 performed on the beat, after that mostly before the beat. While the short
628 a.@: is performed as a short note regardless of the duration of the main note
629 the duration of the long a.@: is proportional to that of the main note.
631 @lilypond[line-width=13.0\cm]
632 \context Voice \relative c'' {
636 %\override Score.TextScript #'font-style = #'large
637 <d a fis>4_"notation" r
638 { \override Stem #'flag-style = #'()
640 \revert Stem #'flag-style
643 { \override Stem #'flag-style = #'()
645 \revert Stem #'flag-style
648 \cadenzaOn a4 \bar "||" \cadenzaOff
650 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
651 \cadenzaOn a4 \bar "||" \cadenzaOff
655 An appoggiatura may have more notes preceding the main note.
657 @lilypond[line-width=13.0\cm]
661 % \override Score.TextScript #'font-style = #'large
662 \grace { bes16 } as8_"notation" as16 bes as8 g |
663 \grace { as16[( bes] } < c as >4-)
664 \grace { as16[( bes] } < c as >4-) \bar "||"
665 \grace { bes16 } as8_"performance" as16 bes as8 g |
666 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
667 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
678 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
680 DK: arpeggio, akkordbrydning,
682 FI: arpeggio, murtosointu.
684 @lilypond[fragment,line-width=13.0\cm]
685 \context PianoStaff <<
686 \context Staff = SA \relative c'' {
689 r8 g16 c e g, c e r8 g,16 c e g, c e |
690 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
691 \context Staff = SB \relative c' {
693 << \context Voice = va {
695 r16 e8. ( e4) r16 e8. ( e4) |
696 r16 d8. ( d4) r16 d8. ( d4) }
697 \context Voice = vb {
704 @node ascending interval
705 @section ascending interval
707 ES: intervalo ascendente,
708 I: intervallo ascendente,
709 F: intervalle ascendant,
710 D: steigendes Intervall,
711 NL: stijgend interval,
712 DK:@w{ }stigende interval,
713 S: stigande intervall,
714 FI: nouseva intervalli.
716 A distance between a starting lower note and a higher ending note.
718 @node augmented interval
719 @section augmented interval
721 ES: intervalo aumentado,
722 I: intervallo aumentato,
723 F: intervalle augmenté,
724 D: übermäßiges Intervall,
725 NL: overmatig interval,
726 DK: forstørret interval,
727 S: överstigande intervall,
728 FI: ylinouseva intervalli.
738 D: Autograph, Handschrift,
740 DK: håndskrift, autograf,
742 FI: käsinkirjoitettu nuotti.
744 1.@tie{}A manuscript in the composer's own hand.
745 2.@tie{}Music prepared for photoreproduction by freehand drawing,
746 with the aid of a straightedge ruler and T-square only,
747 which attempts to emulate engraving.
748 This required more skill than did engraving.
775 ES: barra, línea divisoria,
776 I: stanghetta, barra (di divisione),
777 F: barre (de mesure),
794 FI: baritoni, keskikorkuinen miesääni.
796 The male voice intermediate between the @aref{bass} and the
799 @c F: clef de troisième ligne dropped
802 @section baritone clef
804 ES: clave de fa en tercera,
805 I: chiave di baritono,
806 F: clef d' Ut cinquième ligne, clef de Fa troisième,
813 C or F clef setting middle C on the upper staff line.
814 @aref{C clef}, @aref{F clef}.
819 ES: clave de fa en cuarta,
821 F: clé de fa quatrième ligne,
828 A clef setting with middle C on the first top ledger line.
841 FI: basso, matala miesääni.
843 1.@tie{}The lowest male voice.
844 2.@tie{}Sometimes, especially in jazz music, used as
845 an abbreviation for double bass.
860 Line connecting a series of notes (shorter than a quarter note).
861 The number of beams determines the note value of the connected notes.
863 @lilypond[fragment,notime,line-width=13.0\cm]
864 \set Score.automaticBars = ##f
865 %\override TextScript #'font-style = #'large
868 g16_"1/16"[ g g g] s16
869 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
870 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
876 ES: tiempo, parte (de compás)
879 D: Takt, Taktschlag, Zeit (im Takt),
885 Note value used for counting, most often half-, fourth-, and eighth notes.
886 The base counting value and the number of them per measure is indicated at
887 the start of the music.
889 @lilypond[fragment,line-width=13.0\cm]
892 \relative c'' { g4 c b a | g1 \bar "||"}
894 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
908 D: Klammer, Akkolade,
909 NL: accolade, teksthaak,
912 FI: yhdistävä sulkumerkki.
914 Symbol at the start of a system connecting staves. Curly braces are used
915 for connecting piano staves, angular brackets for connecting parts in an
916 orchestral or choral score.
918 @lilypond[fragment,ragged-right]
919 \context GrandStaff <<
920 \relative c''\context Staff = SA { \clef treble g4 e c2 }
921 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
924 @lilypond[fragment,ragged-right]
925 \context StaffGroup <<
926 % \set StaffGroup.minVerticalAlign = #12
927 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
928 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
940 S: brassinstrument, mässingsinstrument,
943 A family of blown musical instruments made of brass, all using a cup formed
944 mouth piece. The brass instruments commonly used in a symphony orchestra are
945 trumpet, trombone, french horn, and tube.
953 D: Atemzeichen, Trennungszeichen,
954 NL: repercussieteken,
955 DK: vejrtrækningstegn,
959 Indication of where to breathe in vocal and wind instrument parts.
972 @aref{note value}, twice as long as a whole note. Mainly used
975 @lilypond[fragment,notime,ragged-right]
976 \set Score.automaticBars = ##f
977 \relative c'' { g\breve }
1004 Clef symbol indicating the position of the middle C. Used on all note
1007 @lilypond[fragment,notime,line-width=13.0\cm]
1008 \set Score.automaticBars = ##f
1009 \override Score.Clef #'full-size-change = ##t
1011 \context Staff \relative c' {
1013 \clef mezzosoprano c
1018 \context Lyrics \lyrics {
1019 \override Lyrics .LyricText #'self-alignment-X = #-1
1020 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1035 FI: kadenssi, lopuke.
1037 @aref{harmonic cadence}, @aref{functional harmony}.
1049 FI: kadenssi, lopuke.
1051 An extended, improvisatory style section inserted near the end of
1052 movement. The purpose of a cadenza is to give singers or players a chance
1053 to exhibit their technical skill and -- not last -- their ability to
1054 improvise. Since the middle of the 19th century, however, most cadences have
1055 been written down by the composer.
1067 FI: kaanon, tarkka jäljittely.
1069 @aref{counterpoint}.
1081 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1082 viritysjärjestelmässä.
1084 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1085 of an equally tempered @aref{semitone}).
1086 @aref{equal temperament}.
1105 Three or more tones sounding simultaneously. In traditional European music
1107 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1109 minor @aref{third}) as well as @emph{minor} (minor + major third)
1110 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1111 and five-tone @emph{ninth} major chords are most often used as dominants
1112 (@aref{functional harmony}). A special case is chords having no
1113 third above the lower notes to define their quality as major or minor. Such
1114 chords are denoted open chords
1116 @lilypond[fragment,notime,line-width=13.0\cm]
1117 \set Score.automaticBars = ##f
1118 %\override TextScript #'font-style = #'large
1120 \context Staff \relative c'' {
1139 @node chromatic scale
1140 @section chromatic scale
1142 ES: escala cromática,
1144 F: gamme chromatique,
1145 D: chro@-ma@-ti@-sche Tonleiter,
1146 NL: chromatische toonladder,
1147 DK: kromatisk skala,
1149 FI: kromaattinen asteikko.
1151 A scale consisting of all 12 @aref{semitone}s.
1153 @lilypond[fragment,notime,line-width=13.0\cm]
1154 \set Score.automaticBars = ##f
1155 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1159 @section chromaticism
1170 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1173 @section church mode
1175 ES: modo eclesiástico,
1176 I: modo ecclesiastico,
1177 F: mode ecclésiastique,
1182 FI: moodi, kirkkosävellaji.
1184 @aref{diatonic scale}.
1192 D: Schlüssel, Notenschlüssel,
1196 FI: avain, nuottiavain.
1198 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1205 A @emph{cluster} is a range of simultaneously sounding pitches that
1206 may change over time. The set of available pitches to apply usually
1207 depends on the acoustic source. Thus, in piano music, a cluster
1208 typically consists of a continuous range of the semitones as provided
1209 by the piano's fixed set of a chromatic scale. In choral music, each
1210 singer of the choir typically may sing an arbitrary pitch within the
1211 cluster's range that is not bound to any diatonic, chromatic or other
1212 scale. In electronic music, a cluster (theoretically) may even cover
1213 a continuous range of pitches, thus resulting in colored noise, such
1216 Clusters can be denoted in the context of ordinary staff notation by
1217 engraving simple geometrical shapes that replace ordinary notation of
1218 notes. Ordinary notes as musical events specify starting time and
1219 duration of pitches; however, the duration of a note is expressed by
1220 the shape of the note head rather than by the horizontal graphical
1221 extent of the note symbol. In contrast, the shape of a cluster
1222 geometrically describes the development of a range of pitches
1223 (vertical extent) over time (horizontal extent). Still, the
1224 geometrical shape of a cluster covers the area in which any single
1225 pitch contained in the cluster would be notated as an ordinary note.
1227 @lilypond[fragment,relative=2,verbatim,ragged-right]
1228 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1241 FI: komma, korvinkuultava ero äänenkorkeudessa.
1243 Difference in pitch between a note derived from pure tuning and the same note
1244 derived from some other tuning method. @aref{temperament}.
1247 @section common meter
1251 @node compound interval
1252 @section compound interval
1254 ES: intervalo compuesto,
1255 I: intervallo composto,
1256 F: intervalle composé,
1257 D: weites Intervall,
1258 NL: samengesteld interval,
1259 DK: sammensat interval,
1260 S: sammansatt intervall,
1261 FI: oktaavia laajempi intervalli.
1263 Intervals larger than an octave.
1270 ES: intervalo invertido,
1272 F: intervalle complémentaire,
1273 D: Komplementärintervall,
1274 NL: complementair interval,
1275 DK: komplementærinterval,
1276 S: komplementärintervall (?),
1277 FI: täydentävä intervalli.
1279 @aref{inverted interval}.
1281 @node conjunct movement
1282 @section conjunct movement
1284 ES: movimiento conjunto,
1286 F: mouvement conjoint,
1287 D: schritt@-weise, stufenweise Bewegung,
1288 NL: stapsgewijze, trapsgewijze beweging,
1289 DK: trinvis bevægelse,
1291 FI: asteittainen liike.
1293 Progressing melodically by intervals of a second. The opposite of a
1294 @aref{disjunct movement}.
1296 @lilypond[fragment,line-width=13.0\cm]
1297 \key g \major \time 4/4
1298 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1311 FI: konsonanssi, sopusointi.
1330 @section counterpoint
1339 FI: kontrapunkti, ääni ääntä vastaan.
1341 From latin @emph{punctus contra punctum}, note against note. The combination
1342 into a single musical fabric of lines or parts which have distinct melodic
1343 significance. A frequently used polyphonic technique is imitation, in its
1344 strictest form found in the canon needing only one part to be written down
1345 while the other parts are performed with a given displacement. Imitation is
1346 also the contrapunctal technique used in the @emph{fugue} which, since the
1347 music of the baroque era, has been one of the most popular polyphonic
1348 composition methods.
1350 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1351 \override Score.TimeSignature #'break-visibility = #all-invisible
1352 \context PianoStaff <<
1353 \context Staff = SA \relative c' {
1357 << \context Voice = rha {
1359 r1 | r2 r8 g'8 bes d, |
1360 cis4 d r8 e!16 f g8 f16 e |
1361 f8 g16 a bes8 a16 g a8
1363 \context Voice = rhb {
1369 \context Staff = SB \relative c' {
1372 << \context Voice = lha {
1374 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1375 r8 a16 g f8 g16 a bes8 g e! cis' |
1378 \context Voice = lhb {
1387 @section counter tenor
1392 D: Countertenor, Kontratenor,
1395 S: kontratenor, counter tenor,
1401 @section copying music
1403 A music copyist did fast freehand scores and parts on preprinted staff lines
1404 for performance. Some of their conventions (e.g., the placement of note heads
1405 on stems) varied slightly from those of engravers. Some of their working
1406 methods were superior and could well be adopted by music typesetters. This
1407 required more skill than engraving.
1415 D: Crescendo, lauter werden,
1419 FI: cresendo, voimistuen.
1421 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1422 abbreviation ``cresc.''.
1424 @lilypond[fragment,ragged-right]
1425 \key g \major \time 4/4
1426 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1434 F: petites notes précédent l'entrée d'in instrument, réplique,
1441 In a separate part notes belonging to another part with the purpose of hinting
1442 when to start playing. Usually printed in a smaller type.
1447 A custos is a staff symbol that appears at the end of a staff line
1448 with monophonic musical contents (i.e., with a single voice). It
1449 anticipates the pitch of the first note of the following line and thus
1450 helps the player or singer to manage line breaks during performance,
1451 thus enhancing readability of a score.
1453 Custodes were frequently used in music notation until the 16th
1454 century. There were different appearences for different notation
1455 styles. Nowadays, they have survived only in special forms of musical
1456 notation such as via the editio vaticana dating back to the beginning
1462 % \override Staff.Custos #'neutral-position = #4
1463 \override Staff.Custos #'neutral-direction = #down
1464 \override Staff.Custos #'style = #'hufnagel
1472 \consists Custos_engraver
1496 F: da capo, depuis le commencement,
1497 D: da capo, von Anfang,
1501 FI: da capo, alusta.
1503 The term indicates repetition of the piece from the beginning to the end or
1504 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1511 F: dal segno, depuis le signe,
1512 D: dal segno, ab dem Zeichen,
1516 FI: dal segno, lähtien merkistä.
1518 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1519 another place frequently near the beginning marked by a sign:
1521 @lilypond[fragment,ragged-right]
1522 %\override TextScript #'font-style = #'large
1523 \override TextScript #'font-shape = #'italic
1524 \key g \major \time 4/4
1529 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1535 @section decrescendo
1539 D: Decrescendo, leiser werden,
1543 FI: decresendo, hiljentyen.
1545 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1546 or the abbreviation ``decresc.''.
1548 @lilypond[fragment,ragged-right]
1550 \key g \major \time 4/4
1551 d4 \> c b a | g1 \! \bar "|."
1555 @node descending interval
1556 @section descending interval
1558 ES: intervalo descendente,
1559 I: intervallo discendente,
1560 F: intervalle descendant,
1561 D: fallendes Intervall, absteigendes Intervall,
1562 NL: dalend interval,
1563 DK: faldende interval,
1564 S: fallande intervall,
1565 FI: laskeva intervalli.
1567 A distance between a starting higher note and a lower ending note.
1569 @node diatonic scale
1570 @section diatonic scale
1572 ES: escala diatónica,
1574 F: gamme diatonique,
1575 D: diatonische Tonleiter,
1576 NL: diatonische toonladder,
1577 DK: diatonisk skala,
1579 FI: diatoninen asteikko.
1581 A scale consisting of 5@w{ }@aref{whole tone}s and
1582 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1583 of a piano keybord are diatonic.
1585 The church modes are used in gregorial chant and in pre-baroque early
1586 music but also to some extent in newer jazz music.
1588 @lilypond[fragment,notime,ragged-right]
1589 \set Score.automaticBars = ##f
1590 %\override Score.LyricText #'font-style = #'large
1591 %\override Score.TextScript #'font-style = #'large
1593 \context Staff \relative c' {
1595 \override TextScript #'padding = #-4
1596 e^"~~ S" f g a b^"~~ S" c
1598 \context Lyrics \lyrics {
1604 @lilypond[fragment,notime,ragged-right]
1605 \set Score.automaticBars = ##f
1607 \context Staff \relative c' {
1609 \override TextScript #'padding = #-4
1610 e^"~~ S" f g a b^"~~ S" c d
1618 @lilypond[fragment,notime,ragged-right]
1619 \set Score.automaticBars = ##f
1622 \override TextScript #'padding = #-4
1623 e1^"~~ S" f g a b^"~~ S" c d e
1631 @lilypond[fragment,notime,ragged-right]
1632 \set Score.automaticBars = ##f
1636 \override TextScript #'padding = #-4
1637 b^"~~ S" c d e^"~~ S" f
1645 @lilypond[fragment,notime,ragged-right]
1646 \set Score.automaticBars = ##f
1650 \override TextScript #'padding = #-4
1651 b^"~~ S" c d e^"~~ S" f g }
1658 @lilypond[fragment,notime,ragged-right]
1659 \set Score.automaticBars = ##f
1660 %\override Score.LyricText #'font-style = #'large
1661 %\override Score.TextScript #'font-style = #'large
1665 \override TextScript #'padding = #-4
1666 b^"~~ S" c d e^"~~ S" f g a
1674 From the beginning of the 17th century the scales used in European
1675 compositional music are primarily the major and the minor scales. In the
1676 harmonic minor scale type an augmented second (A) occurs between the 6th and
1679 @lilypond[fragment,notime,ragged-right]
1680 \set Score.automaticBars = ##f
1684 \override TextScript #'padding = #-4
1685 e^"~~ S" f g a b^"~~ S" c
1693 @lilypond[fragment,notime,ragged-right]
1694 \set Score.automaticBars = ##f
1698 \override TextScript #'padding = #-4
1699 b^"~~ S" c d e^"~~ S" f g a
1707 @lilypond[fragment,notime,ragged-right]
1708 \set Score.automaticBars = ##f
1712 \override TextScript #'padding = #-4
1713 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1715 \context Lyrics \lyrics {
1721 @lilypond[fragment,notime,line-width=13.0\cm]
1722 \set Score.automaticBars = ##f
1723 %\override Score.LyricText #'font-style = #'large
1724 %\override Score.TextScript #'font-style = #'large
1728 \override TextScript #'padding = #-4
1729 b^"~~ S" c d e fis gis^"~~ S"
1730 a g! f!^"~~ S" e d c^"~~ S" b a
1738 @node diminished interval
1739 @section diminished interval
1741 ES: intervalo disminuido,
1742 I: intervallo diminuito,
1743 F: intervalle diminué,
1744 D: vermindertes Intervall,
1745 NL: verminderd interval,
1746 DK: formindsket interval,
1747 S: förminskat intervall,
1748 FI: vähennetty intervalli.
1762 FI: diminuendo, hiljentyen.
1766 @node disjunct movement
1767 @section disjunct movement
1769 ES: movimiento disjunto,
1771 F: mouvement disjoint,
1772 D: sprunghafte Bewegung,
1773 NL: sprongsgewijze beweging,
1774 DK: springende bevægelse,
1775 S: hoppande rörelse,
1776 FI: melodian hyppivä liike.
1778 Progressing melodically by intervals larger than a major second.
1779 Opposite of @aref{conjunct movement}.
1781 @lilypond[fragment,ragged-right]
1786 a4. gis8 b a e cis |
1787 fis2 d4. \bar "||" }
1793 @ref{dissonant interval}.
1795 @node dissonant interval
1796 @section dissonant interval
1798 ES: intervalo disonante, disonancia,
1799 I: intervallo dissonante, dissonanza,
1802 NL: dissonant interval; dissonant,
1803 DK: dissonerende interval, dissonans,
1805 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1809 @node dominant ninth chord
1810 @section dominant ninth chord
1812 ES: acorde de novena de dominante,
1813 I: accordo di nona di dominante,
1814 F: accord de neuvième dominante,
1815 D: Domi@-nant@-nonen@-akkord,
1816 NL: dominant noon akkoord,
1817 DK: dominantnoneakkord,
1818 S: dominantnonackord,
1819 FI: dominanttinoonisointu.
1821 @aref{chord}, @aref{functional harmony}.
1823 @node dominant seventh chord
1824 @section dominant seventh chord
1826 ES: acorde de séptima de dominante,
1827 I: accordo di settima di dominante,
1828 F: accord de septième dominante,
1829 D: Dominantseptakkord,
1830 NL: dominant septiem akkoord,
1831 DK: dominantseptimakkord,
1832 S: dominantseptimackord,
1833 FI: dominanttiseptimisointu.
1835 @aref{chord}, @aref{functional harmony}.
1847 FI: dominantti, huippusointu.
1849 The fifth @aref{scale degree},
1850 @aref{functional harmony}.
1853 @section dorian mode
1858 D: dorisch, dorischer Kirchenton,
1859 NL: dorische toonladder,
1864 @aref{diatonic scale}.
1866 @node dot (augmentation dot)
1867 @section dot (augmentation dot)
1870 I: punto (di valore),
1872 D: Punkt (Verlängerungspunkt),
1881 @section dotted note
1883 ES: nota con puntillo,
1887 NL: gepuncteerde noot,
1890 FI: pisteellinen nuotti.
1894 @node double appoggiatura
1895 @section double appoggiatura
1897 ES: apoyatura doble,
1898 I: appoggiatura doppia,
1899 F: appoggiature double,
1900 D: doppelter Vorschlag,
1901 NL: dubbele voorslag,
1902 DK: dobbelt forslag,
1904 FI: kaksoisappogiatura, kaksoisetuhele.
1906 @aref{appoggiatura}.
1908 @node double bar line
1909 @section double bar line
1915 NL: dubbele maatstreep,
1918 FI: kaksoistahtiviiva.
1920 Indicates the end of a section within a movement.
1922 @node double dotted note
1923 @section double dotted note
1925 ES: nota con doble puntillo,
1926 I: nota doppiamente puntata,
1927 F: note doublement pointée,
1928 D: doppelt punktierte Note,
1929 NL: dubbelgepuncteerde noot,
1930 DK: dob@-belt@-punk@-te@-ret node,
1931 S: dub@-bel@-punk@-te@-rad not,
1932 FI: kaksoispisteellinen nuotti.
1937 @section double flat
1946 FI: kaksoisalennusmerkki.
1951 @section double sharp
1953 ES: doble sostenido,
1958 DK: dob@-belt@-kryds,
1960 FI: kaksoisylennysmerkki.
1965 @section double trill
1971 NL: dubbele triller,
1976 A simultaneous trill on two notes, usually in the distance of a third.
1979 @section duple meter
1985 NL: tweedelige maatsoort,
2016 FI: kesto, aika-arvo.
2021 @section dydimic comma
2023 @aref{syntonic comma}.
2037 @node ecclesiastical mode
2038 @section ecclesiastical mode
2043 @section eighth note
2049 D: Achtel, Achtelnote,
2051 DK: ottendedelsnode,
2053 FI: kahdeksasosanuotti.
2058 @section eighth rest
2060 ES: silencio de corchea,
2066 DK: ottendedelspause,
2068 FI: kahdeksasosatauko.
2073 @section embellishment
2084 D: Notenstechen, Notendruck
2090 Engraving means incising or etching a metal plate for
2091 printing. Photoengraving means drawing music with ink in a manner
2092 similar to drafting or engineering drawing, using similar tools.
2094 The traditional process of music printing is done through cutting in a
2095 plate of metal. Now also the term for the art of music typesetting.
2109 Two notes, intervals, or scales are enharmonic if they have different names
2112 @lilypond[fragment,notime,line-width=13.0\cm]
2113 \set Score.automaticBars = ##f
2115 \context Staff \relative c'' {
2116 gis1 as <des g,!> <cis g!>
2118 \context Lyrics \lyrics {
2119 \override Lyrics .LyricText #'self-alignment-X = #-1
2120 "g sharp " "a flat " "dim fifth " "augm fourth"
2125 @node equal temperament
2126 @section equal temperament
2128 ES: temperamento igual,
2129 I: temperamento equabile,
2130 F: tempérament égal,
2131 D: gleichschwebende Stimmung,
2132 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2133 DK: ligesvævende temperatur,
2134 S: liksvävande temperatur,
2137 Tuning system dividing the octave into 12 equal @aref{semitone}s
2138 (precisely 100 @aref{cent}s). @aref{temperament}.
2140 @node expression mark
2141 @section expression mark
2144 I: segno d'espressione,
2145 F: signe d'expression, indication de nuance,
2147 NL: voordrachtsteken,
2148 DK: foredragsbetegnelse,
2149 S: föredragsbeteckning,
2150 FI: nyanssiosoitus, esitysmerkki.
2152 Performance indications concerning 1. volume, dynamics (for example
2153 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2154 @aref{andante}, @aref{allegro}).
2180 The position between the dots of the key symbol is the line of the F below
2181 central@w{ }C. Used on the third, fourth and fifth note line. A
2182 digit@w{ }8 above the clef symbol indicates that the notes must be played
2183 an octave higher (for example bass recorder) while 8@w{ }below the clef
2184 symbol indicates playing an octave lower (for example on double bass
2187 @lilypond[fragment,notime,line-width=13.0\cm]
2188 \set Score.automaticBars = ##f
2189 \override Staff.Clef #'full-size-change = ##t
2213 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2220 F: point d'orgue, point d'arr@^et,
2225 FI: fermaatti, pidäke.
2227 Prolonged note or rest of indefinite duration.
2229 @lilypond[fragment,ragged-right]
2232 a4 b c2^\fermata \bar "|."
2251 @section figured bass
2253 @aref{thorough bass}.
2267 The methodical use of fingers in the playing of instruments.
2273 I: coda (uncinata), bandiera,
2281 Ornament at the end of the stem of a note used for notes with values
2282 less than a quarter note. The number of flags determines the
2285 @lilypond[fragment,notime,ragged-right]
2286 \set Score.automaticBars = ##f
2287 %\override Score.TextScript #'font-style = #'large
2313 @aref{appoggiatura}.
2325 FI: forte, voimakkaasti.
2327 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2328 @emph{mezzoforte} (@b{mf}) medium loud.
2356 @aref{counterpoint}.
2358 @node functional harmony
2359 @section functional harmony
2361 ES: armonía funcional,
2362 I: armonia funzionale,
2363 F: étude des functions,
2365 NL: functionele harmonie,
2366 DK: funktionsanalyse, funktionsharmonik,
2368 FI: harmoniajärjestelmä.
2370 A system of harmonic analysis. It is based on the idea that, in a given key,
2371 there are only three functionally different chords: tonic (T, the chord on the
2372 first note of the scale), subdominant (S, the chord on the fourth note), and
2373 dominant (D, the chord on the fifth note). Others are considered to be
2374 variants of the base chords.
2376 @lilypond[fragment,notime,line-width=13.0\cm]
2377 \set Score.automaticBars = ##f
2379 \context Voice \relative c'' {
2380 <g e c >1 < a f d > < b g e >
2381 <c a f > < d b g > < e c a > < f d b > }
2382 \context Lyrics \lyrics {
2383 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2405 D: G-Schlüssel, Violinschlüssel,
2411 A clef symbol indicating the G above central@w{ }C. Used on the first
2412 and second note lines. A digit 8 above the clef symbol indicates that
2413 the notes must be played an octave higher while 8 below the clef symbol
2414 indicates playing or singing an octave lower (most tenor parts in choral
2415 scores are notated like that).
2417 @lilypond[fragment,notime,ragged-right]
2419 \set Score.automaticBars = ##f
2420 \override Staff.Clef #'full-size-change = ##t
2423 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2433 \context Lyrics \lyrics {
2434 \override Lyrics . LyricText #'X-offset = #-5
2435 "french violin clef"
2453 FI: glissando, liukuen.
2455 Letting the pitch slide fluently from one note to the other.
2458 @section grace notes
2460 ES: notas de adorno,
2463 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2469 Notes printed in small types to indicate that their time values are not
2470 counted in the rhythm of the bar. @aref{appoggiatura}.
2473 @section grand staff
2475 ES: sistema de piano,
2481 S: ackolad, böjd klammer,
2482 FI: kaksoisnuottiviivasto.
2486 A combination of two staves with a brace. Usually used for piano music.
2498 FI: grave, raskaasti.
2514 D: Halbe, halbe Note,
2525 ES: silencio de blanca,
2537 @node harmonic cadence
2538 @section harmonic cadence
2540 ES: cadencia (armónica),
2541 I: cadenza (armonica),
2542 F: cadence harmonique,
2544 NL: harmonische cadens,
2545 DK: harmonisk kadence,
2546 S: (harmonisk) kadens,
2547 FI: harmoninen kadenssi.
2549 A sequence of chords that terminates a musical phrase or
2550 section. @aref{functional harmony}.
2552 @lilypond[fragment,ragged-right]
2553 \context PianoStaff <<
2554 \context Staff = SA \relative c'' {
2558 \partial 4 < c g e >4 |
2559 < c a f > < b g d > < c g e >2
2562 \context Staff = SB \relative c {
2564 \partial 4 c4 | f, g c2
2581 D: Harmonie, Zusammenklang,
2585 FI: harmonia, yhteissointi.
2587 Tones sounding simultaneously. Two note harmonies fall into the categories
2588 @emph{consonances} and @emph{dissonances}.
2592 @lilypond[fragment,notime,line-width=13.0\cm]
2593 \set Score.automaticBars = ##f
2594 %\override Score.TextScript #'font-style = #'large
2595 \context Voice \relative c'' {
2608 @lilypond[fragment,notime,line-width=13.0\cm]
2609 \set Score.automaticBars = ##f
2610 %\override Score.TextScript #'font-style = #'large
2611 \context Voice \relative c'' {
2612 <g a>1_"second " s s
2613 <g f'>_"seventh " s s
2618 Three note harmony @aref{chord}.
2630 FI: homofonia, yksiäänisyys.
2632 Music in which one voice leads melodically followed by the other voices more
2633 or less in the same rhythm. In contrast to @aref{polyphony}.
2645 FI: intervalli, kahden sävelen korkeusero.
2647 Difference in pitch between two notes. Intervals may be perfect, minor,
2649 diminished, or augmented. The augmented fourth and the diminished fifth are
2650 identical (@aref{enharmonic}) and are called @emph{tritonus}
2651 because they consist of three @aref{whole tone}s. The addition
2652 of such two intervals forms an octave.
2654 @lilypond[fragment,notime,line-width=13.0\cm]
2655 \set Score.automaticBars = ##f
2657 \context Voice \relative c'' {
2667 \context Lyrics \lyrics {
2668 "unisone " "second " "second " "second "
2669 "third " "third " "third " "third"
2674 @lilypond[fragment,notime,line-width=13.0\cm]
2675 \set Score.automaticBars = ##f
2677 \context Staff \relative c'' {
2688 "fourth " "fourth " "fifth " "fifth "
2689 "sixth " "sixth " "sixth " "sixth"
2694 @lilypond[fragment,notime,line-width=13.0\cm]
2695 \set Score.automaticBars = ##f
2697 \context Staff \relative c'' {
2698 < gis f'! >1^"dimin"
2707 \context Lyrics \lyrics {
2708 "seventh " "seventh " "seventh " "octave "
2709 "ninth " "ninth " "tenth " "tenth"
2714 @node inverted interval
2715 @section inverted interval
2717 ES: intervalo invertido,
2718 I: intervallo rivolto,
2719 F: intervalle reversé,
2720 D: umgekehrtes Intervall,
2721 NL: interval inversie,
2722 DK: omvendingsinterval,
2723 S: intervallets omvändning,
2724 FI: käänteisintervalli.
2726 The difference between an interval and an octave.
2728 @lilypond[fragment,notime,line-width=13.0\cm]
2729 \set Score.automaticBars = ##f
2730 %\override Score.TextScript #'font-style = #'large
2731 \context Staff \relative c'' {
2732 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2733 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2734 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2738 @node just intonation
2739 @section just intonation
2741 ES: entonación justa,
2742 I: intonazione giusta,
2743 F: intonation juste,
2750 Tuning system in which the notes are obtained by adding and subtracting
2751 natural fifths and thirds. @aref{temperament}.
2765 According to the 12@w{ }tones of the @aref{chromatic scale}
2766 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2767 @aref{key signature}.
2770 @section key signature
2772 ES: armadura (de la clave),
2773 I: armatura di chiave,
2774 F: armure, armature [de la clé],
2775 D: Vorzeichen, Tonart,
2776 NL: toon@-soort (voortekens),
2779 FI: sävellajiosoitus.
2781 The sharps or flats appearing at the beginning of each staff indicating the
2782 key of the music. @aref{accidental}.
2790 D: Largo, Langsam, Breit,
2794 FI: largo, hitaasti, leveästi.
2796 Very slow in tempo, usually combined with great
2797 expressiveness. @emph{Larghetto} is less slow than largo.
2800 @section leading note
2811 The seventh @aref{scale degree}, a @aref{semitone} below
2812 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2813 upwards) to the tonic scale degree.
2816 @section ledger line
2818 ES: línea adicional,
2819 I: tagli addizionali,
2820 F: ligne supplémentaire,
2827 A ledger line is an extension of the staff.
2829 @lilypond[fragment,notime,ragged-right]
2830 \set Score.automaticBars = ##f
2831 \relative c'' { a,1 s c'' }
2846 To be performed (a) without any perceptible interruption between the notes,
2847 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2848 (d) @aref{staccato}.
2850 @lilypond[fragment,notime,line-width=13.0\cm]
2851 \set Score.automaticBars = ##f
2853 \context Staff \relative c'' {
2854 c4-( d e-) \bar "||"
2855 c4-- d-- e-- \bar "||"
2856 c4-.-( d-. e-.-) \bar "||"
2857 c4-. d-. e-. \bar "||"
2869 @section legato curve
2871 @aref{slur}, @aref{legato}.
2881 ES: estanque de nenúfares,
2882 I: stagno del giglio,
2886 NL: le@-lie@-vij@-ver,
2891 A pond with lilies floating in it, also the name of a music typesetter.
2898 A ligature is a coherent graphical symbol that represents at least two
2899 distinct notes. Ligatures originally appeared in the manuscripts of
2900 Gregorian chant notation roughly since the 9th century to denote
2901 ascending or descending sequences of notes. In early notation,
2902 ligatures were used for monophonic tunes (Gregorian chant) and very
2903 soon denoted also the way of performance in the sense of articulation.
2904 With the invention of the metric system of the white mensural
2905 notation, the need for ligatures to denote such patterns disappeared.
2913 D: Linie, Notenlinie,
2917 FI: viiva, nuottiviiva.
2921 @node long appoggiatura
2922 @section long appoggiatura
2924 ES: apoyatura larga,
2925 I: appoggiatura lunga,
2926 F: appoggiature longue,
2927 D: langer Vorschlag,
2931 FI: pitkä appoggiatura, pitkä etuhele.
2933 @aref{appoggiatura}.
2947 Note value: double length of @aref{breve}.
2950 @lilypond[fragment,notime,ragged-right]
2951 \set Score.automaticBars = ##f
2953 \override NoteHead #'style = #'mensural
2961 ES: letra (de la canción),
2970 @node major interval
2971 @section major interval
2973 ES: intervalo mayor,
2974 I: intervallo maggiore,
2975 F: intervalle majeur,
2976 D: großes Intervall,
2980 FI: suuri intervalli.
2996 @aref{diatonic scale}.
2998 @node meantone temperament
2999 @section meantone temperament
3001 ES: afinación mesotónica,
3002 I: accordatura mesotonica,
3003 F: tempérament mésotonique,
3004 D: mitteltönige Stimmung,
3005 NL: middenstemming, middentoonstemming,
3006 DK: middeltonetemperatur,
3007 S: medeltonstemperatur,
3008 FI: keskisävelviritys.
3010 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3011 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3012 @aref{temperament} only a limited set of keys are playable.
3013 Used for tuning keyboard instruments for performance of pre-1650 music.
3027 A group of @aref{beat}s (units of musical time) the first of which
3028 bears an accent. Such groups in numbers of two or more recur consistently
3029 throughout the composition and are marked from each other by
3030 bar-lines. @aref{meter}.
3036 I: mediante, modale,
3044 1.@tie{}The third @b{scale degree}.
3045 2.@tie{}A @aref{chord} having its base tone
3046 a third from that of another chord. For example, the tonic chord may be
3047 replaced by its lower mediant (variant tonic). @aref{functional
3048 harmony}, @aref{relative key}.
3055 FI: melisma, laulettavan tavun sävelkuvio.
3057 A melisma (plural: melismata) is a group of notes or tones sung on one
3058 syllable in plainsong
3060 @node melodic cadence
3061 @section melodic cadence
3070 F: indication de mésure,
3077 The basic scheme of @aref{note value}s and
3078 @aref{accent}s which remains unaltered throughout a composition
3079 or a section of it. For instance, 3/4 meter means that the basic
3080 @aref{note value}s are quarter notes and that a
3081 @aref{measure} consists of three of those. According to
3082 whether there are two, three, or four units to the measure,
3083 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3084 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3086 @lilypond[fragment,line-width=13.0\cm]
3090 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3093 @lilypond[fragment,line-width=13.0\cm]
3097 f8 f f f a16 g a f |
3098 c'8 c c c e16 d e c \bar "||"}
3101 @lilypond[fragment,line-width=13.0\cm]
3105 d4 b8 g b d d c a4 |
3106 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3121 Device indicating the exact tempo of a piece. @aref{metronomic
3124 @node metronomic indication
3125 @section metronomic indication
3127 ES: indicación metronómica,
3128 I: indicazione metronomica,
3129 F: indication métronomique,
3131 NL: metronoom aanduiding,
3133 S: metronomangivelse,
3134 FI: metronomiosoitus.
3136 Exact tempo indication (in beats per minute). Also denoted by
3137 M.M.@: (Mälzels Metronom).
3140 @section mezzo-soprano
3151 The female voice between @aref{soprano} and
3160 D: eingestrichenes@w{ }c,
3162 DK: enstreget@w{ }c,
3163 S: ettstruket@w{ }c,
3166 First C below the 440 Hz A.
3168 @lilypond[fragment,notime,ragged-right]
3169 \set Score.automaticBars = ##f
3170 \override Staff.Clef #'full-size-change = ##t
3190 @aref{diatonic scale}.
3192 @node minor interval
3193 @section minor interval
3195 ES: intervalo menor,
3196 I: intervallo minore,
3197 F: intervalle mineur,
3198 D: kleines Intervall,
3202 FI: pieni intervalli.
3216 FI: moodi, kirkkosävelasteikko.
3218 @aref{church mode}, @aref{diatonic scale}.
3230 FI: modulaatio, sävellajin vaihdos.
3232 Moving from one @aref{key} to another. For example, the second
3233 subject of a @aref{sonata form} movement modulates to the dominant
3234 key if the key is major and to the @aref{relative key} if the key
3246 FI: mordent, korukuvio.
3265 FI: teema, sävelaihe.
3267 The briefest intelligible and self-contained fragment of a musical theme or
3270 @lilypond[line-width=13.0\cm]
3273 \override Score.TimeSignature #'break-visibility = #all-invisible
3274 %\override Score.TextScript #'font-style = #'large
3277 \partial 8 g16\startGroup fis |
3278 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3279 g8 g,16 a b8 cis d16 s
3283 \Staff \consists "Horizontal_bracket_engraver"
3300 Greater musical works like @aref{symphony} and
3301 @aref{sonata} most often consist of several -- more or less --
3302 independant pieces called movements.
3305 @section multibar rest
3307 ES: compases de espera,
3311 D: mehrtaktige Pause,
3314 FI: usean tahdin mittainen tauko.
3316 @lilypond[fragment,ragged-right]
3319 \set Score.skipBars = ##t R1*3
3324 @node mixolydian mode
3325 @section mixolydian mode
3327 @aref{diatonic scale}.
3330 @section natural sign
3335 D: Auflösungszeichen,
3336 NL: herstellingsteken,
3337 DK: op@-løsningstegn,
3338 S: återställningstecken,
3343 @node neighbour tones
3344 @section neighbour tones
3346 @aref{appoggiatura}.
3379 Notes are signs by means of which music is fixed in writing. The term is also
3380 used for the sound indicated by a note, and even for the key of the piano
3381 which produces the sound. However, a clear distinction between the terms tone
3382 and @aref{note} is strongly recommended. Briefly, one sees a note,
3389 I: testa, testina, capocchia,
3390 F: t@^ete de la note,
3397 A head-like sign which indicates pitch by its position on a
3398 @aref{staff} provided with a @aref{clef}, and duration
3399 by a variety of shapes such as hollow or black heads with or without
3400 @aref{stem}s, @aref{flag}s, etc. For percussion
3401 instruments (often having no defined pitch) the note head may indicate the
3407 ES: valor (duración),
3409 F: durée, valeur (d'une note),
3414 FI: nuotin aika-arvo.
3416 Note values (durations) are measured as fractions, normally 1/2, of the next
3417 higher note value. The longest duration normally used is called
3419 but sometimes (mostly in pre-baroque music) the double length note value
3420 @emph{longa} is used.
3422 @lilypond[fragment,notime,line-width=13.0\cm]
3423 %\override Score.TextScript #'font-style = #'large
3424 \set Score.automaticBars = ##f
3426 \override NoteHead #'style = #'mensural
3427 a\longa_"longa" a\breve_"breve"
3428 \revert NoteHead #'style
3429 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3430 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3433 @lilypond[fragment,notime,line-width=13.0\cm]
3434 %\override Score.TextScript #'font-style = #'large
3435 \set Score.automaticBars = ##f
3437 r\longa_"longa" r\breve_"breve"
3438 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3439 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3442 An augmentation dot after a note multiplies the duration by one and a
3443 half. Another dot adds yet a fourth of the duration.
3445 @lilypond[fragment,line-width=13.0\cm]
3446 %\override Score.TextScript #'font-style = #'large
3449 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3450 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3453 Alternatively note values may be subdivided by other ratios. Most common is
3454 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3455 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3456 dotted notes are also frequently used.
3458 @lilypond[fragment,line-width=13.0\cm]
3459 %\override Score.TextScript #'font-style = #'large
3462 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3463 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3467 @lilypond[fragment,line-width=13.0\cm]
3470 \times 3/2 {g4_"duplets" g} |
3472 \times 6/4 {g8_"quadruplets" g g g} |
3473 g8 g g g g4 \bar "||"
3478 @section octave sign
3480 @aref{G clef}, @aref{F clef}.
3500 I: abbellimento, fioriture,
3501 F: agrément, ornement,
3502 D: Verzierung, Ornament,
3508 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3509 with the diatonic @aref{second} above it. In the music from the
3510 middle of the 19th century and onwards the trill is performed with the main
3511 note first while in the music from the preceding baroque and classic periods
3512 the upper note is played first.
3514 @lilypond[fragment,line-width=13.0\cm]
3516 \context Staff = sa {
3517 % \override Score.TextScript #'font-style = #'large
3519 c2._"pre-1850" b4\trill | c1 \bar "||"
3520 c2._"post-1850" b4\trill | c1 \bar "||"
3524 c2. c32 b c b c b c b | c1
3525 c2. b32 c b c \times 4/5 { b c b c b } | c1
3530 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3532 @emph{prall} (inverted mordent).
3534 @lilypond[fragment,line-width=13.0\cm]
3536 \context Staff = sa {
3537 % \override Score.TextScript #'font-style = #'large
3539 a4_"turn" b\turn c2 \bar "||"
3540 g4_"mordent" a b\mordent a \bar "||"
3541 e'4_"prall" d\prall c2 \bar "||"
3547 e'4 e32[ d e d ~ d8] c2
3552 @aref{appoggiatura}.
3564 FI: ossia, vaihtoehtoinen esitystapa.
3566 Ossia (otherwise) marks an alternative. It is an added staff or piano
3567 score, usually only a few measures long, which presents another version
3568 of the music, for example for small hands.
3580 FI: stemma, instrumenttiosuus.
3582 1.@tie{}In instrumental or choral music the music for the single instrument
3583 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3584 melodic line of the contrapunctal web.
3597 D: Schlagzeug, Schlagwerk,
3603 A family of musical instruments which are played on by striking or
3604 shaking. Percussion instruments commonly used in a symphony orchestra are
3605 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3606 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3609 @node perfect interval
3610 @section perfect interval
3612 ES: intervalo justo,
3613 I: intervallo giusto,
3614 F: intervalle juste,
3615 D: reines Intervall,
3619 FI: puhdas intervalli.
3635 A natural division of the melodic line, comparable to a sentence of speech.
3647 FI: fraseeraus, jäsentäminen.
3649 The clear rendering in musical performance of the @aref{phrase}s of
3650 the melody. Phrasing may be indicated by a @aref{slur}.
3664 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3665 @emph{mezzopiano} (@b{mp}) medium soft.
3686 NL: pizzicato, getokkeld,
3689 FI: pizzicato, näppäillen.
3691 Play by plucking the strings.
3699 D: Polyphonie, Mehrstimmigkeit,
3703 FI: polyfonia, moniäänisyys.
3705 Music written in a combination of several simultaneous voices (parts) of a
3706 more or less pronounced individuality. @aref{counterpoint}.
3719 D: Presto, Sehr schnell,
3720 NL: presto, Sehr schnell,
3723 FI: presto, hyvin nopeasti.
3725 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3726 denotes the highest possible degree of speed.
3728 @node Pythagorean comma
3729 @section Pythagorean comma
3731 ES: coma pitagórica,
3732 I: comma pitagorico,
3733 F: comma pythagoricien,
3734 D: Pythagoräisches Komma,
3735 NL: komma van Pythagoras,
3736 DK: pythagoræisk komma,
3737 S: pytagoreiskt komma,
3738 FI: pytagorinen komma.
3740 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3741 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3742 24 @aref{cent}s higher than the@w{ }C obtained by adding
3743 7@w{ }octaves. The difference between those two pitches is called the
3761 @section quarter note
3764 I: semiminima, nera,
3767 D: Viertel, Viertelnote,
3771 FI: neljännesosanuotti.
3776 @section quarter rest
3778 ES: silencio de negra,
3779 I: pausa di semiminima,
3784 DK:@w{ }fjerdedelspause,
3786 FI: neljännesosatauko.
3805 @section rallentando
3810 D: rallentando, langsamer werden,
3814 FI: rallerdando, hidastuen.
3816 Abbreviation "rall.". @aref{ritardando}.
3819 @section relative key
3822 I: tonalità relativa,
3823 F: tonalité relative,
3825 NL: paralleltoonsoort,
3826 DK: paralleltoneart,
3828 FI: rinnakkaissävellaji.
3830 @aref{major} and @aref{minor} @aref{key}
3831 with the same @aref{key signature}.
3833 @lilypond[fragment,notime,line-width=13.0\cm]
3834 \set Score.automaticBars = ##f
3835 %\override Score.TextScript #'font-style = #'large
3838 es1_"e flat major" f g as bes c d es
3843 @lilypond[fragment,notime,line-width=13.0\cm]
3844 \set Score.automaticBars = ##f
3845 %\override Score.TextScript #'font-style = #'large
3848 c1_"c minor" d es f g a! b! c \bar "||"
3857 F: barre de reprise,
3860 DK: gen@-ta@-gel@-se,
3864 @lilypond[fragment,line-width=13.0\cm]
3868 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3872 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3873 @c specify the rest's value.
3901 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3902 fixed unit of time, called @aref{beat}, and in which the normal
3903 @aref{accent} recurs in regular intervals, called
3904 @aref{measure}. The basic scheme of time values is called
3905 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3906 accent. In modern notation such music appears as a free alternation of
3907 different measures. (c) Free rhythm, i.e., the use of temporal values having
3908 no common metrical unit (beat).
3916 D: Ritardando, langsamer werden,
3920 FI: ritardando, hidastuen,
3922 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3934 FI: ritenuto, hidastaen.
3936 Immediate reduction of speed.
3948 FI: asteikko, sävelasteikko.
3950 @aref{diatonic scale}.
3953 @section scale degree
3955 ES: grado (de la escala),
3956 I: grado della scala,
3957 F: degré [de la gamme],
3959 NL: trap [van de toonladder],
3962 FI: sävelaste, asteikon sävel.
3964 Names and symbols used in harmonic analysis to denote tones of the scale as
3965 roots of chords. The most important are degrees I = tonic (T), IV =
3966 sub@-do@-mi@-nant (S) and V = dominant (D).
3968 @lilypond[fragment,notime,line-width=13.0\cm]
3969 \set Score.automaticBars = ##f
3971 \context Staff \relative c' {
3975 << { I II III IV V VI VII I }
3981 @aref{functional harmony}.
3989 D: Partitur (full score), Klavierauszug (vocal score)
3995 A copy of orchestral, choral, or chamber music showing what each instrument is
3996 to play, each voice to sing, having each part arranged one underneath the
3997 other on different staves @aref{staff}.
4011 The @aref{interval} between two neigbouring tones of a scale. A
4012 @aref{diatonic scale} consists of alternating
4013 @aref{semitone}s and @aref{whole tone}s, hence the size
4014 of a se@-cond depends on the scale degrees in question.
4028 The @aref{interval} of a minor second. The (usually) smallest
4029 interval in European composed music. The interval between two neighbouring
4030 tones on the piano keyboard -- including black and white keys -- is a
4031 semitone. An octave may be divided into 12@w{ }semitones.
4032 @aref{interval}, @aref{chromatic scale}.
4034 @lilypond[fragment,notime,line-width=13.0\cm]
4035 \set Score.automaticBars = ##f
4036 \relative c'' { g1 gis s a bes s b! c }
4091 @node short appoggiatura
4092 @section short appoggiatura
4094 @aref{appoggiatura}.
4096 @node sixteenth note
4097 @section sixteenth note
4103 D: Sechzehntel, Sechzehntelnote,
4104 NL: zes@-ti@-ende noot,
4105 DK: sekstendedelsnode,
4107 FI: kuudestoistaosanuotti.
4111 @node sixteenth rest
4112 @section sixteenth rest
4114 ES: silencio de semicorchea,
4115 I: pausa di semicroma,
4117 UK: semiquaver rest,
4118 D: Sechzehntelpause,
4120 DK: sekstendedelspause,
4140 @node sixty-fourth note
4141 @section sixty-fourth note
4145 F: quadruple croche,
4146 UK: hemidemisemiquaver,
4147 D: Vierundsechzigstel, Vierundsechzigstelnote,
4148 NL: vierenzestigste noot,
4149 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4150 S: sextiofjärdedelsnot,
4151 FI: kuudeskymmenesneljäsosanuotti.
4155 @node sixty-fourth rest
4156 @section sixty-fourth rest
4158 ES: silencio de semifusa,
4159 I: pausa di semibiscroma,
4160 F: seizième de soupir,
4161 UK: hemidemisemiquaver rest,
4162 D: Vierundsechzigstelpause,
4163 NL: vierenzestigste rust,
4164 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4165 S: sextiofjärdedelspaus,
4166 FI: kuudeskymmenesneljäsosatauko.
4173 ES: ligadura (de expresión),
4174 I: legatura (di portamento or espressiva),
4176 D: Bogen, Legatobogen, Phrasierungsbogen,
4177 NL: fraseringsboog, legatoboog, streekboog,
4178 DK: legatobue, fraseringsbue,
4182 A slur above or below a group of notes indicates that they are to be played
4183 @aref{legato}, e.g., with one stroke of the violin bow or with one
4187 @section solmization
4196 FI: suhteelliset laulunimet.
4198 General term for systems of designating the degrees of the
4199 @aref{scale}, not by letters, but by syllables (@emph{do}
4200 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4201 (@emph{ti})). @aref{scale degree}.
4215 In its present-day meaning a sonata denotes an instrumental composition for
4216 piano or for some other instrument with piano accompaniment, which consists of
4217 three or four independant pieces, called movements.
4220 @section sonata form
4224 F: [en] forme de sonate,
4226 NL: hoofdvorm, sonatevorm,
4231 A form used frequently for single movements of the @aref{sonata},
4232 @aref{symphony}, quartet, etc. A movement written in sonata form
4233 falls into three sections called @emph{exposition}, @emph{development} and
4234 @emph{recapitulation}. In the exposition the composer introduces some musical
4235 ideas, consisting of a number of themes; in the development section the
4236 composer `develops' this material, and in the recapitulation the composer
4237 repeats the exposition, with certain modifications. The exposition contains a
4238 number of themes that fall into two groups, often called first and second
4239 subject. Other melodies occurring in each group are considered as
4240 continuations of these two. The second theme is in another key, normally in
4241 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4242 @aref{relative key} if the tonic is @aref{minor}.
4259 FI: sopraano, korkea naisääni.
4261 The highest female voice.
4268 F: staccato, piqué, détaché,
4273 FI: staccato, lyhyesti, terävästi.
4275 Playing the note(s) short. Staccato is indicated by a dot above or below the
4278 @lilypond[fragment,ragged-right]
4283 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4292 I: pentagramma, rigo (musicale),
4295 NL: (noten)balk, partij,
4300 A staff (pl. staves) is a series of (normally five) horizontal lines
4301 upon and between which the musical notes are written, thus indicating
4302 (in connection with a @aref{clef}) their pitch. Staves for
4303 @aref{percussion} instruments may have fewer lines.
4316 D: Hals, Notenhals, Stiel,
4322 Vertical line above or below a @aref{note head} shorter than a
4323 whole note. @aref{beam}.
4325 @lilypond[fragment,notime,line-width=13.0\cm]
4326 \set Score.autoBeaming = ##f
4327 \set Score.automaticBars = ##f
4328 %\override Score.TextScript #'font-style = #'large
4349 A family of stringed musical instruments played with a bow. Strings commonly
4350 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4353 @section strong beat
4358 D: betonter Taktteil oder Taktschlag,
4360 D: betonet taktslag,
4361 S: betonat taktslag,
4362 FI: tahdin vahva isku.
4364 @aref{beat}, @aref{accent}, @aref{measure},
4368 @section subdominant
4377 FI: subdominantti, alidominantti.
4379 The fourth @aref{scale degree}. @aref{functional harmony}.
4393 The sixth @aref{scale degree}.
4405 FI: subtoonika, alitoonika.
4407 The seventh @aref{scale degree}.
4410 @section superdominant
4421 The sixth @aref{scale degree}.
4435 The second @aref{scale degree}.
4443 D: Sinfonie, Symphonie,
4449 A symphony may be defined as a @aref{sonata} for orchestra.
4452 @section syncopation
4463 Any deliberate upsetting of the normal pulse of @aref{meter},
4464 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4465 rhythm rests upon the grouping of equal beats into groups of two or three,
4466 with a regularly recurrent accent on the first beat of each group. Any
4467 deviation from this scheme is felt as a disturbance or contradiction between
4468 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4470 @lilypond[fragment,ragged-right]
4475 e c'4 e,8 c'4 e,8 c' ( | c2)
4479 @node syntonic comma
4480 @section syntonic comma
4483 I: comma sintonico (o didimico),
4484 F: comma syntonique,
4485 D: syntonisches Komma,
4486 NL: syntonische komma,
4487 DK: syntonisk komma,
4488 S: syntoniskt komma,
4489 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4490 viritysjärjestelmässä.
4492 Difference between the natural third and the third obtained by Pythagorean
4493 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4505 FI: nuottijärjestelmä.
4507 The collection of staves @aref{staff}, two or more, as used for
4508 writing down of keyboard, chamber, choral, or orchestral music.
4511 @section temperament
4516 D: Stimmung, Tem@-pe@-ra@-tur,
4517 NL: stemming, temperatuur,
4520 FI: viritysjärjestelmä.
4522 Systems of tuning in which the intervals deviate from the acoustically pure
4523 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4525 @node tempo indication
4526 @section tempo indication
4528 ES: indicación de tempo,
4529 I: indicazione di tempo,
4530 F: indication de temps,
4531 D: Zeitmaß, Tempobezeichnung,
4532 NL: tempo aanduiding,
4537 The rate of speed of a composition or a section thereof, ranging from the
4538 slowest to the quickest, as is indicated by tempo marks as
4539 @aref{largo}, @aref{adagio}, @aref{andante},
4540 @aref{allegro}, and @aref{presto}.
4552 FI: tenori, korkea miesääni.
4554 The highest male voice (apart from @aref{counter tenor}).
4573 ES: subrayado (tenuto),
4582 An indication that a particular note should be held for the whole
4583 length, although this can vary depending on the composer and era.
4599 @node thirty-second note
4600 @section thirty-second note
4606 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4607 NL: twee-endertig@-ste noot,
4608 DK: toogtredivtedelsnode,
4609 S: trettiotvåondelsnot,
4610 FI: kolmanneskymmeneskahdesosanuotti.
4614 @node thirty-second rest
4615 @section thirty-second rest
4617 ES: silencio de fusa,
4618 I: pausa di biscroma,
4619 F: huitième de soupir,
4620 UK: demisemiquaver rest,
4621 D: Zweiunddreissigstel@-pause,
4623 DK: toogtredivtedelspause,
4624 S: trettiotvåondelspaus,
4625 FI: kolmanneskymmeneskahdesosatauko.
4630 @section thorough bass
4633 I: basso continuo, basso numerato,
4635 D: Generalbass, bezifferter Bass,
4636 NL: basso continuo, becijferde bas
4639 FI: kenraalibasso, numeroitu basso.
4641 A method of indicating an accompaniment part by the bass notes only, together
4642 with figures designating the chief @aref{interval}s and
4643 @aref{chord}s to be played above the bass notes.
4645 @lilypond[fragment,line-width=13.0\cm]
4646 \context GrandStaff <<
4647 \context Staff = lh \relative c'' {
4651 << \context Voice = rha {
4654 \context Voice = rhb {
4656 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4660 \context Staff = rh \relative c' {
4663 es8 c d bes c as bes16 as g f | es4
4665 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4673 ES: ligadura de prolongación,
4674 I: legatura (di valore),
4677 NL: overbinding, bindingsboog,
4679 S: bindebåge, överbindning,
4682 A curved line, identical in appearance with the @aref{slur}, which
4683 connects two succesive notes of the same pitch, and which has the function of
4684 uniting them into a single sound (tone) equal to the combined durations.
4686 @lilypond[fragment,notime,ragged-right]
4687 \set Score.automaticBars = ##f
4688 \relative c'' { g2 ~ g4. }
4696 @node time signature
4697 @section time signature
4699 ES: indicación de compás,
4701 F: chiffrage (chiffres indicateurs), signe de valeur,
4702 D: Taktangabe, Angabe der Taktart,
4705 S: taktartssignatur,
4722 A sound of definite pitch and duration, as distinct from @emph{noise}.
4723 Tone is a primary building material of music.
4724 Music from the 20th century may be based on atonal sounds.
4738 The first @aref{scale degree}.
4739 @aref{functional harmony}.
4742 @section transposition
4753 Shifting a melody up or down in pitch, while keeping the same
4756 @lilypond[fragment,line-width=13.0\cm]
4761 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4766 @lilypond[fragment,line-width=13.0\cm]
4769 \transpose c bes \relative c'' {
4771 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4777 @section treble clef
4780 I: chiave di violino,
4782 D: Violinschlüssel, Sopranschlüssel,
4784 DK:@w{ }diskantnøgle,
4802 On stringed instruments (@aref{strings}) the quick reiteration of
4803 the same tone, produced by a rapid up-and-down movement of the bow
4804 (a). The term is also used for the rapid alternation (b) between two notes of
4805 a @aref{chord}, usually in the distance of a third
4808 @lilypond[fragment,notime,ragged-right]
4809 \set Score.automaticBars = ##f
4810 %\override Score.TextScript #'font-style = #'large
4813 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4814 \repeat "tremolo" 8 { e32_"b" g }
4823 F: triade, accord parfait, accord de trois sons,
4837 F: trille, tremblement, battement (cadence),
4847 @section triple meter
4849 ES: compás ternario,
4853 NL: driedelige maatsoort,
4889 @section tuning fork
4892 I: diapason, corista,
4900 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4901 give the international pitch for the tone @emph{a} (440 vibrations per
4928 FI: unisono, yksiäänisesti.
4930 Playing of the same notes or the same melody by various instruments (voices)
4931 or by the whole orchestra (choir), either at exactly the same pitch or in a
4939 F: anacrouse, levée,
4946 Initial note(s) of a melody occurring before the first bar
4947 line. @aref{measure}, @aref{meter}.
4949 @lilypond[fragment,line-width=13.0\cm]
4953 \partial 4 f4 | bes4. a8 bes4 c |
4954 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4967 FI: ääni, lauluääni.
4969 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4970 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4971 2.@tie{}A melodic layer or part of a polyphonic composition.
4977 I: tempo debole, arsi,
4979 D: unbetonter Taktteil oder Taktschlag,
4981 DK: ubetonet taktslag,
4982 S: obetonat taktslag,
4983 FI: tahdin heikko isku.
4985 @aref{beat}, @aref{measure}, @aref{rhythm}.
4994 D: Ganze, ganze Note,
5005 ES: silencio de redonda,
5006 I: pausa di semibreve,
5009 D: ganze Pause, ganztaktige Pause,
5029 The @aref{interval} of a major second. The interval between two
5030 tones on the piano keyboard with exactly one key between them -- including
5031 black and white keys -- is a whole tone.
5045 A family of blown wooden musical instruments. Today some of these instruments
5046 are actually made from metal. The woodwind instruments commonly used in a
5047 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5049 @node Duration names notes and rests
5050 @chapter Duration names, notes and rests
5053 @item DURATION NAMES, NOTES AND RESTS
5056 @multitable @columnfractions .15 .26 .33 .26
5061 @tab @strong{F (note name / rest name)}
5073 @item @strong{longa}
5088 @item @strong{breve}
5091 @tab brève / double-pause
5103 @item @strong{whole}
5113 @tab koko@-nuotti/@w{-tauko}
5121 @tab blanche / demi-pause
5128 @tab puoli@-nuotti/@w{-tauko}
5133 @item @strong{quarter}
5143 @tab neljännesosa@-nuotti/@w{-tauko}
5148 @item @strong{eighth}
5151 @tab croche / demi-soupir
5158 @tab kahdeksasosa@-nuotti/@w{-tauko}
5163 @item @strong{sixteenth}
5166 @tab double croche / quart de soupir
5173 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5178 @item @strong{thirty-second}
5181 @tab triple croche / huitième de soupir
5183 @tab Zweiunddreissigstel
5184 @tab tweeendertigste
5185 @tab toogtredivtedel
5187 @tab trettiotvåondel
5188 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5193 @item @strong{sixty-fourth}
5194 @tab hemidemisemiquaver
5196 @tab quadruple croche / seizième de soupir
5198 @tab Vierundsechzigstel
5199 @tab vierenzestigste
5200 @tab fireogtred@-sindstyvendedel
5202 @tab sextiofjärdedel
5203 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5207 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5210 @chapter Pitch names
5216 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5217 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5219 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5220 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5224 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5228 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5230 cis @tab cis @tab cis
5234 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5236 des @tab des @tab des
5240 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5244 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5248 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5252 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5257 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5263 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5267 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5269 ais @tab ais @tab ais
5273 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5279 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5284 @node Literature used
5285 @unnumbered Literature used
5288 @item The Harvard Dictionary of Music, London 1944. Many more or less
5289 literal quotes from its articles have been included into the item
5292 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5294 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5296 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5299 @item Webster's Revised Unabridged Dictionary, Springfield 1913.