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 Dadiv Gonzalez @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 accidentelle,
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
455 %\override TextScript #'font-style = #'large
457 \context Staff \relative c'' {
458 gis1 gisis ges geses g!
460 \context Lyrics \lyrics {
461 \override Lyrics .LyricText #'self-alignment-X = #-1
462 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 I: scala minore naturale,
580 F: forme du mode mineur ancien, troisème mode, mode hellénique
582 NL: authentieke mineurtoonladder,
585 FI: luonnollinen molliasteikko.
587 @aref{diatonic scale}.
589 @lilypond[fragment,notime,line-width=13.0\cm]
590 \set Score.automaticBars = ##f
607 Walking tempo/character.
610 @section appoggiatura
614 F: appogiature, (port de voix),
619 FI: appoggiatura, etuhele.
621 Ornamental note, usually a second, that is melodically connected with the
622 main note following it. In music before the 19th century a.@: were usually
623 performed on the beat, after that mostly before the beat. While the short
624 a.@: is performed as a short note regardless of the duration of the main note
625 the duration of the long a.@: is proportional to that of the main note.
627 @lilypond[line-width=13.0\cm]
628 \context Voice \relative c'' {
632 %\override Score.TextScript #'font-style = #'large
633 <d a fis>4_"notation" r
634 { \override Stem #'flag-style = #'()
636 \revert Stem #'flag-style
639 { \override Stem #'flag-style = #'()
641 \revert Stem #'flag-style
644 \cadenzaOn a4 \bar "||" \cadenzaOff
646 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
647 \cadenzaOn a4 \bar "||" \cadenzaOff
651 An appoggiatura may have more notes preceding the main note.
653 @lilypond[line-width=13.0\cm]
657 % \override Score.TextScript #'font-style = #'large
658 \grace { bes16 } as8_"notation" as16 bes as8 g |
659 \grace { as16[( bes] } < c as >4-)
660 \grace { as16[( bes] } < c as >4-) \bar "||"
661 \grace { bes16 } as8_"performance" as16 bes as8 g |
662 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
663 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
674 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
676 DK: arpeggio, akkordbrydning,
678 FI: arpeggio, murtosointu.
680 @lilypond[fragment,line-width=13.0\cm]
681 \context PianoStaff <<
682 \context Staff = SA \relative c'' {
685 r8 g16 c e g, c e r8 g,16 c e g, c e |
686 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
687 \context Staff = SB \relative c' {
689 << \context Voice = va {
691 r16 e8. ( e4) r16 e8. ( e4) |
692 r16 d8. ( d4) r16 d8. ( d4) }
693 \context Voice = vb {
700 @node ascending interval
701 @section ascending interval
703 ES: Intervalo ascendente,
704 I: intervallo ascendente,
705 F: intervalle ascendant,
706 D: steigendes Intervall,
707 NL: stijgend interval,
708 DK:@w{ }stigende interval,
709 S: stigande intervall,
710 FI: nouseva intervalli.
712 A distance between a starting lower note and a higher ending note.
714 @node augmented interval
715 @section augmented interval
717 ES: intervalo aumentado,
718 I: intervallo aumentato,
719 F: intervalle augmenté,
720 D: übermäßiges Intervall,
721 NL: overmatig interval,
722 DK: forstørret interval,
723 S: överstigande intervall,
724 FI: ylinouseva intervalli.
733 D: Autograph, Handschrift,
735 DK: håndskrift, autograf,
737 FI: käsinkirjoitettu nuotti.
739 1.@tie{}A manuscript in the composer's own hand.
740 2.@tie{}Music prepared for photoreproduction by freehand drawing,
741 with the aid of a straightedge ruler and T-square only,
742 which attempts to emulate engraving.
743 This required more skill than did engraving.
765 ES: compás, @aref{measure}.
771 I: stanghetta, barra (di divisione),
772 F: barre (de mesure),
789 FI: baritoni, keskikorkuinen miesääni.
791 The male voice intermediate between the @aref{bass} and the
794 @c F: clef de troisième ligne dropped
797 @section baritone clef
799 ES: clave de fa en tercera,
800 I: chiave di baritono,
801 F: clef d' Ut cinquième ligne, clef de Fa troisième,
808 C or F clef setting middle C on the upper staff line.
809 @aref{C clef}, @aref{F clef}.
814 ES: clave de fa en cuarta,
816 F: clé de fa quatrième ligne,
823 A clef setting with middle C on the first top ledger line.
835 FI: basso, matala miesääni.
837 1.@tie{}The lowest male voice.
838 2.@tie{}Sometimes, especially in jazz music, used as
839 an abbreviation for double bass.
853 Line connecting a series of notes (shorter than a quarter note).
854 The number of beams determines the note value of the connected notes.
856 @lilypond[fragment,notime,line-width=13.0\cm]
857 \set Score.automaticBars = ##f
858 %\override TextScript #'font-style = #'large
861 g16_"1/16"[ g g g] s16
862 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
863 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
872 D: Takt, Taktschlag, Zeit (im Takt),
878 Note value used for counting, most often half-, fourth-, and eighth notes.
879 The base counting value and the number of them per measure is indicated at
880 the start of the music.
882 @lilypond[fragment,line-width=13.0\cm]
885 \relative c'' { g4 c b a | g1 \bar "||"}
887 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
901 D: Klammer, Akkolade,
902 NL: accolade, teksthaak,
905 FI: yhdistävä sulkumerkki.
907 Symbol at the start of a system connecting staves. Curly braces are used
908 for connecting piano staves, angular brackets for connecting parts in an
909 orchestral or choral score.
911 @lilypond[fragment,ragged-right]
912 \context GrandStaff <<
913 \relative c''\context Staff = SA { \clef treble g4 e c2 }
914 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
917 @lilypond[fragment,ragged-right]
918 \context StaffGroup <<
919 % \set StaffGroup.minVerticalAlign = #12
920 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
921 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
933 S: brassinstrument, mässingsinstrument,
936 A family of blown musical instruments made of brass, all using a cup formed
937 mouth piece. The brass instruments commonly used in a symphony orchestra are
938 trumpet, trombone, french horn, and tube.
945 D: Atemzeichen, Trennungszeichen,
946 NL: repercussieteken,
947 DK: vejrtrækningstegn,
951 Indication of where to breathe in vocal and wind instrument parts.
964 @aref{note value}, twice as long as a whole note. Mainly used
967 @lilypond[fragment,notime,ragged-right]
968 \set Score.automaticBars = ##f
969 \relative c'' { g\breve }
996 Clef symbol indicating the position of the middle C. Used on all note
999 @lilypond[fragment,notime,line-width=13.0\cm]
1000 \set Score.automaticBars = ##f
1001 \override Score.Clef #'full-size-change = ##t
1002 %\override Score.LyricText #'font-style = #'large
1004 \context Staff \relative c' {
1005 \clef soprano c1 s s
1006 \clef mezzosoprano c s s
1009 \clef baritone c s s
1011 \context Lyrics \lyrics {
1012 \override Lyrics .LyricText #'self-alignment-X = #-1
1013 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1027 FI: kadenssi, lopuke.
1029 @aref{harmonic cadence}, @aref{functional harmony}.
1041 FI: kadenssi, lopuke.
1043 An extended, improvisatory style section inserted near the end of
1044 movement. The purpose of a cadenza is to give singers or players a chance
1045 to exhibit their technical skill and -- not last -- their ability to
1046 improvise. Since the middle of the 19th century, however, most cadences have
1047 been written down by the composer.
1059 FI: kaanon, tarkka jäljittely.
1061 @aref{counterpoint}.
1073 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1074 viritysjärjestelmässä.
1076 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1077 of an equally tempered @aref{semitone}).
1078 @aref{equal temperament}.
1097 Three or more tones sounding simultaneously. In traditional European music
1099 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1101 minor @aref{third}) as well as @emph{minor} (minor + major third)
1102 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1103 and five-tone @emph{ninth} major chords are most often used as dominants
1104 (@aref{functional harmony}). A special case is chords having no
1105 third above the lower notes to define their quality as major or minor. Such
1106 chords are denoted open chords
1108 @lilypond[fragment,notime,line-width=13.0\cm]
1109 \set Score.automaticBars = ##f
1110 %\override TextScript #'font-style = #'large
1112 \context Staff \relative c'' {
1120 \context Lyrics \lyrics{
1130 @node chromatic scale
1131 @section chromatic scale
1133 ES: escala cromática,
1135 F: gamme chromatique,
1136 D: chro@-ma@-ti@-sche Tonleiter,
1137 NL: chromatische toonladder,
1138 DK: kromatisk skala,
1140 FI: kromaattinen asteikko.
1142 A scale consisting of all 12 @aref{semitone}s.
1144 @lilypond[fragment,notime,line-width=13.0\cm]
1145 \set Score.automaticBars = ##f
1146 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1150 @section chromaticism
1161 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1164 @section church mode
1166 ES: modo eclesiástico,
1167 I: modo ecclesiastico,
1168 F: mode ecclésiastique,
1173 FI: moodi, kirkkosävellaji.
1175 @aref{diatonic scale}.
1183 D: Schlüssel, Notenschlüssel,
1187 FI: avain, nuottiavain.
1189 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1194 A @emph{cluster} is a range of simultaneously sounding pitches that
1195 may change over time. The set of available pitches to apply usually
1196 depends on the acoustic source. Thus, in piano music, a cluster
1197 typically consists of a continuous range of the semitones as provided
1198 by the piano's fixed set of a chromatic scale. In choral music, each
1199 singer of the choir typically may sing an arbitrary pitch within the
1200 cluster's range that is not bound to any diatonic, chromatic or other
1201 scale. In electronic music, a cluster (theoretically) may even cover
1202 a continuous range of pitches, thus resulting in colored noise, such
1205 Clusters can be denoted in the context of ordinary staff notation by
1206 engraving simple geometrical shapes that replace ordinary notation of
1207 notes. Ordinary notes as musical events specify starting time and
1208 duration of pitches; however, the duration of a note is expressed by
1209 the shape of the note head rather than by the horizontal graphical
1210 extent of the note symbol. In contrast, the shape of a cluster
1211 geometrically describes the development of a range of pitches
1212 (vertical extent) over time (horizontal extent). Still, the
1213 geometrical shape of a cluster covers the area in which any single
1214 pitch contained in the cluster would be notated as an ordinary note.
1216 @lilypond[fragment,relative=2,verbatim,ragged-right]
1217 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1229 FI: komma, korvinkuultava ero äänenkorkeudessa.
1231 Difference in pitch between a note derived from pure tuning and the same note
1232 derived from some other tuning method. @aref{temperament}.
1235 @section common meter
1239 @node compound interval
1240 @section compound interval
1242 ES: intervalo compuesto,
1243 I: intervallo composto,
1244 F: intervalle composé,
1245 D: weites Intervall,
1246 NL: samengesteld interval,
1247 DK: sammensat interval,
1248 S: sammansatt intervall,
1249 FI: oktaavia laajempi intervalli.
1251 Intervals larger than an octave.
1259 F: intervalle complémentaire,
1260 D: Komplementärintervall,
1261 NL: complementair interval,
1262 DK: komplementærinterval,
1263 S: komplementärintervall (?),
1264 FI: täydentävä intervalli.
1266 @aref{inverted interval}.
1268 @node conjunct movement
1269 @section conjunct movement
1271 ES: movimiento conjunto,
1273 F: mouvement conjoint,
1274 D: schritt@-weise, stufenweise Bewegung,
1275 NL: stapsgewijze, trapsgewijze beweging,
1276 DK: trinvis bevægelse,
1278 FI: asteittainen liike.
1280 Progressing melodically by intervals of a second. The opposite of a
1281 @aref{disjunct movement}.
1283 @lilypond[fragment,line-width=13.0\cm]
1284 \key g \major \time 4/4
1285 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1298 FI: konsonanssi, sopusointi.
1317 @section counterpoint
1326 FI: kontrapunkti, ääni ääntä vastaan.
1328 From latin @emph{punctus contra punctum}, note against note. The combination
1329 into a single musical fabric of lines or parts which have distinct melodic
1330 significance. A frequently used polyphonic technique is imitation, in its
1331 strictest form found in the canon needing only one part to be written down
1332 while the other parts are performed with a given displacement. Imitation is
1333 also the contrapunctal technique used in the @emph{fugue} which, since the
1334 music of the baroque era, has been one of the most popular polyphonic
1335 composition methods.
1337 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1338 \override Score.TimeSignature #'break-visibility = #all-invisible
1339 \context PianoStaff <<
1340 \context Staff = SA \relative c' {
1344 << \context Voice = rha {
1346 r1 | r2 r8 g'8 bes d, |
1347 cis4 d r8 e!16 f g8 f16 e |
1348 f8 g16 a bes8 a16 g a8
1350 \context Voice = rhb {
1356 \context Staff = SB \relative c' {
1359 << \context Voice = lha {
1361 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1362 r8 a16 g f8 g16 a bes8 g e! cis' |
1365 \context Voice = lhb {
1374 @section counter tenor
1379 D: Countertenor, Kontratenor,
1382 S: kontratenor, counter tenor,
1388 @section copying music
1390 A music copyist did fast freehand scores and parts on preprinted staff lines
1391 for performance. Some of their conventions (e.g., the placement of note heads
1392 on stems) varied slightly from those of engravers. Some of their working
1393 methods were superior and could well be adopted by music typesetters. This
1394 required more skill than engraving.
1402 D: Crescendo, lauter werden,
1406 FI: cresendo, voimistuen.
1408 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1409 abbreviation ``cresc.''.
1411 @lilypond[fragment,ragged-right]
1412 \key g \major \time 4/4
1413 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1421 F: petites notes précédent l'entrée d'in instrument, réplique,
1428 In a separate part notes belonging to another part with the purpose of hinting
1429 when to start playing. Usually printed in a smaller type.
1434 A custos is a staff symbol that appears at the end of a staff line
1435 with monophonic musical contents (i.e., with a single voice). It
1436 anticipates the pitch of the first note of the following line and thus
1437 helps the player or singer to manage line breaks during performance,
1438 thus enhancing readability of a score.
1440 Custodes were frequently used in music notation until the 16th
1441 century. There were different appearences for different notation
1442 styles. Nowadays, they have survived only in special forms of musical
1443 notation such as via the editio vaticana dating back to the beginning
1449 % \override Staff.Custos #'neutral-position = #4
1450 \override Staff.Custos #'neutral-direction = #down
1451 \override Staff.Custos #'style = #'hufnagel
1459 \consists Custos_engraver
1483 F: da capo, depuis le commencement,
1484 D: da capo, von Anfang,
1488 FI: da capo, alusta.
1490 The term indicates repetition of the piece from the beginning to the end or
1491 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1498 F: dal segno, depuis le signe,
1499 D: dal segno, ab dem Zeichen,
1503 FI: dal segno, lähtien merkistä.
1505 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1506 another place frequently near the beginning marked by a sign:
1508 @lilypond[fragment,ragged-right]
1509 %\override TextScript #'font-style = #'large
1510 \override TextScript #'font-shape = #'italic
1511 \key g \major \time 4/4
1516 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1522 @section decrescendo
1526 D: Decrescendo, leiser werden,
1530 FI: decresendo, hiljentyen.
1532 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1533 or the abbreviation ``decresc.''.
1535 @lilypond[fragment,ragged-right]
1537 \key g \major \time 4/4
1538 d4 \> c b a | g1 \! \bar "|."
1542 @node descending interval
1543 @section descending interval
1545 ES: intervalo descendente,
1546 I: intervallo discendente,
1547 F: intervalle descendant,
1548 D: fallendes Intervall, absteigendes Intervall,
1549 NL: dalend interval,
1550 DK: faldende interval,
1551 S: fallande intervall,
1552 FI: laskeva intervalli.
1554 A distance between a starting higher note and a lower ending note.
1556 @node diatonic scale
1557 @section diatonic scale
1559 ES: escala diatónica,
1561 F: gamme diatonique,
1562 D: diatonische Tonleiter,
1563 NL: diatonische toonladder,
1564 DK: diatonisk skala,
1566 FI: diatoninen asteikko.
1568 A scale consisting of 5@w{ }@aref{whole tone}s and
1569 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1570 of a piano keybord are diatonic.
1572 The church modes are used in gregorial chant and in pre-baroque early
1573 music but also to some extent in newer jazz music.
1575 @lilypond[fragment,notime,ragged-right]
1576 \set Score.automaticBars = ##f
1577 %\override Score.LyricText #'font-style = #'large
1578 %\override Score.TextScript #'font-style = #'large
1580 \context Staff \relative c' {
1582 \override TextScript #'padding = #-4
1583 e^"~~ S" f g a b^"~~ S" c
1585 \context Lyrics \lyrics {
1590 @lilypond[fragment,notime,ragged-right]
1591 \set Score.automaticBars = ##f
1592 %\override Score.LyricText #'font-style = #'large
1593 %\override Score.TextScript #'font-style = #'large
1595 \context Staff \relative c' {
1597 \override TextScript #'padding = #-4
1598 e^"~~ S" f g a b^"~~ S" c d
1600 \context Lyrics \lyrics {
1605 @lilypond[fragment,notime,ragged-right]
1606 \set Score.automaticBars = ##f
1607 %\override Score.LyricText #'font-style = #'large
1608 %\override Score.TextScript #'font-style = #'large
1611 \override TextScript #'padding = #-4
1612 e1^"~~ S" f g a b^"~~ S" c d e
1614 \context Lyrics \lyrics {
1619 @lilypond[fragment,notime,ragged-right]
1620 \set Score.automaticBars = ##f
1621 %\override Score.LyricText #'font-style = #'large
1622 %\override Score.TextScript #'font-style = #'large
1626 \override TextScript #'padding = #-4
1627 b^"~~ S" c d e^"~~ S" f
1629 \context Lyrics \lyrics {
1634 @lilypond[fragment,notime,ragged-right]
1635 \set Score.automaticBars = ##f
1636 %\override Score.LyricText #'font-style = #'large
1637 %\override Score.TextScript #'font-style = #'large
1641 \override TextScript #'padding = #-4
1642 b^"~~ S" c d e^"~~ S" f g }
1643 \context Lyrics \lyrics {
1648 @lilypond[fragment,notime,ragged-right]
1649 \set Score.automaticBars = ##f
1650 %\override Score.LyricText #'font-style = #'large
1651 %\override Score.TextScript #'font-style = #'large
1655 \override TextScript #'padding = #-4
1656 b^"~~ S" c d e^"~~ S" f g a
1658 \context Lyrics \lyrics {
1663 From the beginning of the 17th century the scales used in European
1664 compositional music are primarily the major and the minor scales. In the
1665 harmonic minor scale type an augmented second (A) occurs between the 6th and
1668 @lilypond[fragment,notime,ragged-right]
1669 \set Score.automaticBars = ##f
1670 %\override Score.LyricText #'font-style = #'large
1671 %\override Score.TextScript #'font-style = #'large
1675 \override TextScript #'padding = #-4
1676 e^"~~ S" f g a b^"~~ S" c
1678 \context Lyrics \lyrics {
1683 @lilypond[fragment,notime,ragged-right]
1684 \set Score.automaticBars = ##f
1685 %\override Score.LyricText #'font-style = #'large
1686 %\override Score.TextScript #'font-style = #'large
1690 \override TextScript #'padding = #-4
1691 b^"~~ S" c d e^"~~ S" f g a
1693 \context Lyrics \lyrics {
1698 @lilypond[fragment,notime,ragged-right]
1699 \set Score.automaticBars = ##f
1700 %\override Score.LyricText #'font-style = #'large
1701 %\override Score.TextScript #'font-style = #'large
1705 \override TextScript #'padding = #-4
1706 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1708 \context Lyrics \lyrics {
1713 @lilypond[fragment,notime,line-width=13.0\cm]
1714 \set Score.automaticBars = ##f
1715 %\override Score.LyricText #'font-style = #'large
1716 %\override Score.TextScript #'font-style = #'large
1720 \override TextScript #'padding = #-4
1721 b^"~~ S" c d e fis gis^"~~ S"
1722 a g! f!^"~~ S" e d c^"~~ S" b a
1724 \context Lyrics \lyrics {
1729 @node diminished interval
1730 @section diminished interval
1732 ES: intervalo disminuído,
1733 I: intervallo diminuito,
1734 F: intervalle diminué,
1735 D: vermindertes Intervall,
1736 NL: verminderd interval,
1737 DK: formindsket interval,
1738 S: förminskat intervall,
1739 FI: vähennetty intervalli.
1753 FI: diminuendo, hiljentyen.
1757 @node disjunct movement
1758 @section disjunct movement
1760 ES: movimiendo disjunto,
1762 F: mouvement disjoint,
1763 D: sprunghafte Bewegung,
1764 NL: sprongsgewijze beweging,
1765 DK: springende bevægelse,
1766 S: hoppande rörelse,
1767 FI: melodian hyppivä liike.
1769 Progressing melodically by intervals larger than a major second.
1770 Opposite of @aref{conjunct movement}.
1772 @lilypond[fragment,ragged-right]
1777 a4. gis8 b a e cis |
1778 fis2 d4. \bar "||" }
1784 @ref{dissonant interval}.
1786 @node dissonant interval
1787 @section dissonant interval
1789 ES: intervalo disonante, disonancias,
1790 I: intervallo dissonante, dissonanza,
1793 NL: dissonant interval; dissonant,
1794 DK: dissonerende interval, dissonans,
1796 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1800 @node dominant ninth chord
1801 @section dominant ninth chord
1803 I: accordo di nona di dominante,
1804 F: accord de neuvième dominante,
1805 D: Domi@-nant@-nonen@-akkord,
1806 NL: dominant noon akkoord,
1807 DK: dominantnoneakkord,
1808 S: dominantnonackord,
1809 FI: dominanttinoonisointu.
1811 @aref{chord}, @aref{functional harmony}.
1813 @node dominant seventh chord
1814 @section dominant seventh chord
1816 ES: acorde de séptima de dominante,
1817 I: accordo di settima di dominante,
1818 F: accord de septième dominante,
1819 D: Dominantseptakkord,
1820 NL: dominant septiem akkoord,
1821 DK: dominantseptimakkord,
1822 S: dominantseptimackord,
1823 FI: dominanttiseptimisointu.
1825 @aref{chord}, @aref{functional harmony}.
1837 FI: dominantti, huippusointu.
1839 The fifth @aref{scale degree},
1840 @aref{functional harmony}.
1843 @section dorian mode
1848 D: dorisch, dorischer Kirchenton,
1849 NL: dorische toonladder,
1854 @aref{diatonic scale}.
1856 @node dot (augmentation dot)
1857 @section dot (augmentation dot)
1860 I: punto (di valore),
1862 D: Punkt (Verlängerungspunkt),
1871 @section dotted note
1873 ES: nota con puntillo,
1877 NL: gepuncteerde noot,
1880 FI: pisteellinen nuotti.
1884 @node double appoggiatura
1885 @section double appoggiatura
1887 ES: apoyatura doble,
1888 I: appoggiatura doppia,
1889 F: appoggiature double,
1890 D: doppelter Vorschlag,
1891 NL: dubbele voorslag,
1892 DK: dobbelt forslag,
1894 FI: kaksoisappogiatura, kaksoisetuhele.
1896 @aref{appoggiatura}.
1898 @node double bar line
1899 @section double bar line
1904 NL: dubbele maatstreep,
1907 FI: kaksoistahtiviiva.
1909 Indicates the end of a section within a movement.
1911 @node double dotted note
1912 @section double dotted note
1914 ES: nota con dos puntillos,
1915 I: nota doppiamente puntata,
1916 F: note doublement pointée,
1917 D: doppelt punktierte Note,
1918 NL: dubbelgepuncteerde noot,
1919 DK: dob@-belt@-punk@-te@-ret node,
1920 S: dub@-bel@-punk@-te@-rad not,
1921 FI: kaksoispisteellinen nuotti.
1926 @section double flat
1935 FI: kaksoisalennusmerkki.
1940 @section double sharp
1942 ES: doble sostenido,
1947 DK: dob@-belt@-kryds,
1949 FI: kaksoisylennysmerkki.
1954 @section double trill
1960 NL: dubbele triller,
1965 A simultaneous trill on two notes, usually in the distance of a third.
1968 @section duple meter
1974 NL: tweedelige maatsoort,
2005 FI: kesto, aika-arvo.
2010 @section dydimic comma
2012 @aref{syntonic comma}.
2026 @node ecclesiastical mode
2027 @section ecclesiastical mode
2032 @section eighth note
2038 D: Achtel, Achtelnote,
2040 DK: ottendedelsnode,
2042 FI: kahdeksasosanuotti.
2047 @section eighth rest
2049 ES: silencio de corchea,
2055 DK: ottendedelspause,
2057 FI: kahdeksasosatauko.
2062 @section embellishment
2073 D: Notenstechen, Notendruck
2079 Engraving means incising or etching a metal plate for
2080 printing. Photoengraving means drawing music with ink in a manner
2081 similar to drafting or engineering drawing, using similar tools.
2083 The traditional process of music printing is done through cutting in a
2084 plate of metal. Now also the term for the art of music typesetting.
2098 Two notes, intervals, or scales are enharmonic if they have different names
2101 @lilypond[fragment,notime,line-width=13.0\cm]
2102 \set Score.automaticBars = ##f
2103 %\override Score.TextScript #'font-style = #'large
2105 \context Staff \relative c'' {
2106 gis1 s s as s s <des g,!> s s <cis g!> s s
2108 \context Lyrics \lyrics {
2109 \override Lyrics .LyricText #'self-alignment-X = #-1
2110 "g sharp " "a flat " "dim fifth " "augm fourth"
2114 @node equal temperament
2115 @section equal temperament
2118 I: temperamento equabile,
2119 F: tempérament égal,
2120 D: gleichschwebende Stimmung,
2121 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2122 DK: ligesvævende temperatur,
2123 S: liksvävande temperatur,
2126 Tuning system dividing the octave into 12 equal @aref{semitone}s
2127 (precisely 100 @aref{cent}s). @aref{temperament}.
2129 @node expression mark
2130 @section expression mark
2133 I: segno d'espressione,
2134 F: signe d'expression, indication de nuance,
2136 NL: voordrachtsteken,
2137 DK: foredragsbetegnelse,
2138 S: föredragsbeteckning,
2139 FI: nyanssiosoitus, esitysmerkki.
2141 Performance indications concerning 1. volume, dynamics (for example
2142 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2143 @aref{andante}, @aref{allegro}).
2169 The position between the dots of the key symbol is the line of the F below
2170 central@w{ }C. Used on the third, fourth and fifth note line. A
2171 digit@w{ }8 above the clef symbol indicates that the notes must be played
2172 an octave higher (for example bass recorder) while 8@w{ }below the clef
2173 symbol indicates playing an octave lower (for example on double bass
2176 @lilypond[fragment,notime,line-width=13.0\cm]
2177 \set Score.automaticBars = ##f
2178 \override Staff.Clef #'full-size-change = ##t
2179 %\override Score.LyricText #'font-style = #'large
2193 \context Lyrics \lyrics {
2194 % \override Lyrics .LyricText #'self-alignment-X = #-1
2203 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2210 F: point d'orgue, point d'arr@^et,
2215 FI: fermaatti, pidäke.
2217 Prolonged note or rest of indefinite duration.
2219 @lilypond[fragment,ragged-right]
2222 a4 b c2^\fermata \bar "|."
2241 @section figured bass
2243 ES: bajo cifrado, @aref{thorough bass}.
2257 The methodical use of fingers in the playing of instruments.
2263 I: coda (uncinata), bandiera,
2271 Ornament at the end of the stem of a note used for notes with values
2272 less than a quarter note. The number of flags determines the
2275 @lilypond[fragment,notime,ragged-right]
2276 \set Score.automaticBars = ##f
2277 %\override Score.TextScript #'font-style = #'large
2303 @aref{appoggiatura}.
2315 FI: forte, voimakkaasti.
2317 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2318 @emph{mezzoforte} (@b{mf}) medium loud.
2346 @aref{counterpoint}.
2348 @node functional harmony
2349 @section functional harmony
2351 ES: armonía funcional,
2352 I: armonia funzionale,
2353 F: étude des functions,
2355 NL: functionele harmonie,
2356 DK: funktionsanalyse, funktionsharmonik,
2358 FI: harmoniajärjestelmä.
2360 A system of harmonic analysis. It is based on the idea that, in a given key,
2361 there are only three functionally different chords: tonic (T, the chord on the
2362 first note of the scale), subdominant (S, the chord on the fourth note), and
2363 dominant (D, the chord on the fifth note). Others are considered to be
2364 variants of the base chords.
2366 @lilypond[fragment,notime,line-width=13.0\cm]
2367 \set Score.automaticBars = ##f
2368 %\override Score.LyricText #'font-style = #'large
2369 %\override Score.TextScript #'font-style = #'large
2371 \context Voice \relative c'' {
2372 <g e c >1 < a f d > < b g e >
2373 <c a f > < d b g > < e c a > < f d b > }
2374 \context Lyrics \lyrics {
2375 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2396 D: G-Schlüssel, Violinschlüssel,
2402 A clef symbol indicating the G above central@w{ }C. Used on the first
2403 and second note lines. A digit 8 above the clef symbol indicates that
2404 the notes must be played an octave higher while 8 below the clef symbol
2405 indicates playing or singing an octave lower (most tenor parts in choral
2406 scores are notated like that).
2408 @lilypond[fragment,notime,ragged-right]
2410 \set Score.automaticBars = ##f
2411 \override Staff.Clef #'full-size-change = ##t
2414 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2424 \context Lyrics \lyrics {
2425 \override Lyrics . LyricText #'X-offset = #-5
2426 "french violin clef"
2444 FI: glissando, liukuen.
2446 Letting the pitch slide fluently from one note to the other.
2449 @section grace notes
2454 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2460 Notes printed in small types to indicate that their time values are not
2461 counted in the rhythm of the bar. @aref{appoggiatura}.
2464 @section grand staff
2471 S: ackolad, böjd klammer,
2472 FI: kaksoisnuottiviivasto.
2476 A combination of two staves with a brace. Usually used for piano music.
2488 FI: grave, raskaasti.
2504 D: Halbe, halbe Note,
2527 @node harmonic cadence
2528 @section harmonic cadence
2530 ES: cadencia (armónica),
2531 I: cadenza (armonica),
2532 F: cadence harmonique,
2534 NL: harmonische cadens,
2535 DK: harmonisk kadence,
2536 S: (harmonisk) kadens,
2537 FI: harmoninen kadenssi.
2539 A sequence of chords that terminates a musical phrase or
2540 section. @aref{functional harmony}.
2542 @lilypond[fragment,ragged-right]
2543 \context PianoStaff <<
2544 \context Staff = SA \relative c'' {
2548 \partial 4 < c g e >4 |
2549 < c a f > < b g d > < c g e >2
2551 % %\override Score.LyricText #'font-style = #'large
2553 \context Staff = SB \relative c {
2555 \partial 4 c4 | f, g c2
2558 \context Lyrics \lyrics {
2570 D: Harmonie, Zusammenklang,
2574 FI: harmonia, yhteissointi.
2576 Tones sounding simultaneously. Two note harmonies fall into the categories
2577 @emph{consonances} and @emph{dissonances}.
2581 @lilypond[fragment,notime,line-width=13.0\cm]
2582 \set Score.automaticBars = ##f
2583 %\override Score.TextScript #'font-style = #'large
2584 \context Voice \relative c'' {
2597 @lilypond[fragment,notime,line-width=13.0\cm]
2598 \set Score.automaticBars = ##f
2599 %\override Score.TextScript #'font-style = #'large
2600 \context Voice \relative c'' {
2601 <g a>1_"second " s s
2602 <g f'>_"seventh " s s
2607 Three note harmony @aref{chord}.
2619 FI: homofonia, yksiäänisyys.
2621 Music in which one voice leads melodically followed by the other voices more
2622 or less in the same rhythm. In contrast to @aref{polyphony}.
2634 FI: intervalli, kahden sävelen korkeusero.
2636 Difference in pitch between two notes. Intervals may be perfect, minor,
2638 diminished, or augmented. The augmented fourth and the diminished fifth are
2639 identical (@aref{enharmonic}) and are called @emph{tritonus}
2640 because they consist of three @aref{whole tone}s. The addition
2641 of such two intervals forms an octave.
2643 @lilypond[fragment,notime,line-width=13.0\cm]
2644 \set Score.automaticBars = ##f
2645 %\override Score.LyricText #'font-style = #'large
2646 %\override Score.TextScript #'font-style = #'large
2648 \context Voice \relative c'' {
2653 < gis bes >^"dimin" s
2654 < g! bes >^"minor" s
2658 \context Lyrics \lyrics {
2659 "unisone " "second " "second " "second "
2660 "third " "third " "third " "third"
2664 @lilypond[fragment,notime,line-width=13.0\cm]
2665 \set Score.automaticBars = ##f
2666 %\override Score.LyricText #'font-style = #'large
2667 %\override Score.TextScript #'font-style = #'large
2669 \context Staff \relative c'' {
2670 < g c >1^"perfect" s
2672 < g d' >^"perfect" s
2673 < g des' > ^"dimin" s
2674 < gis es' >^"dimin" s
2675 < g! es' >^"minor" s
2679 \context Lyrics \lyrics {
2680 "fourth " "fourth " "fifth " "fifth "
2681 "sixth " "sixth " "sixth " "sixth"
2685 @lilypond[fragment,notime,line-width=13.0\cm]
2686 \set Score.automaticBars = ##f
2687 %\override Score.LyricText #'font-style = #'large
2688 %\override Score.TextScript #'font-style = #'large
2690 \context Staff \relative c'' {
2691 < gis f'! >1^"dimin" s
2692 < g! f'! >^"minor" s
2693 < g fis' >^"major" s
2697 < g bes' >^"minor" s
2700 \context Lyrics \lyrics {
2701 "seventh " "seventh " "seventh " "octave "
2702 "none " "none " "decime " "decime"
2706 @node inverted interval
2707 @section inverted interval
2709 ES: intervalo invertido,
2710 I: intervallo rivolto,
2711 F: intervalle reversé,
2712 D: umgekehrtes Intervall,
2713 NL: interval inversie,
2714 DK: omvendingsinterval,
2715 S: intervallets omvändning,
2716 FI: käänteisintervalli.
2718 The difference between an interval and an octave.
2720 @lilypond[fragment,notime,line-width=13.0\cm]
2721 \set Score.automaticBars = ##f
2722 %\override Score.TextScript #'font-style = #'large
2723 \context Staff \relative c'' {
2724 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2725 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2726 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2730 @node just intonation
2731 @section just intonation
2733 I: intonazione giusta,
2734 F: intonation juste,
2741 Tuning system in which the notes are obtained by adding and subtracting
2742 natural fifths and thirds. @aref{temperament}.
2756 According to the 12@w{ }tones of the @aref{chromatic scale}
2757 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2758 @aref{key signature}.
2761 @section key signature
2763 ES: armadura de clave,
2764 I: armatura di chiave,
2765 F: armure, armature [de la clé],
2766 D: Vorzeichen, Tonart,
2767 NL: toon@-soort (voortekens),
2770 FI: sävellajiosoitus.
2772 The sharps or flats appearing at the beginning of each staff indicating the
2773 key of the music. @aref{accidental}.
2781 D: Largo, Langsam, Breit,
2785 FI: largo, hitaasti, leveästi.
2787 Very slow in tempo, usually combined with great
2788 expressiveness. @emph{Larghetto} is less slow than largo.
2791 @section leading note
2802 The seventh @aref{scale degree}, a @aref{semitone} below
2803 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2804 upwards) to the tonic scale degree.
2807 @section ledger line
2809 ES: líneas adicionales,
2810 I: tagli addizionali,
2811 F: ligne supplémentaire,
2818 A ledger line is an extension of the staff.
2820 @lilypond[fragment,notime,ragged-right]
2821 \set Score.automaticBars = ##f
2822 \relative c'' { a,1 s c'' }
2837 To be performed (a) without any perceptible interruption between the notes,
2838 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2839 (d) @aref{staccato}.
2841 @lilypond[fragment,notime,line-width=13.0\cm]
2842 \set Score.automaticBars = ##f
2844 \context Staff \relative c'' {
2845 c4-( d e-) \bar "||"
2846 c4-- d-- e-- \bar "||"
2847 c4-.-( d-. e-.-) \bar "||"
2848 c4-. d-. e-. \bar "||"
2850 \context Lyrics \lyrics {
2851 % \override Lyrics .LyricText #'font-style = #'large
2860 @section legato curve
2862 @aref{slur}, @aref{legato}.
2872 ES: estanque de lilas,
2873 I: stagno del giglio,
2877 NL: le@-lie@-vij@-ver,
2882 A pond with lilies floating in it, also the name of a music typesetter.
2887 A ligature is a coherent graphical symbol that represents at least two
2888 distinct notes. Ligatures originally appeared in the manuscripts of
2889 Gregorian chant notation roughly since the 9th century to denote
2890 ascending or descending sequences of notes. In early notation,
2891 ligatures were used for monophonic tunes (Gregorian chant) and very
2892 soon denoted also the way of performance in the sense of articulation.
2893 With the invention of the metric system of the white mensural
2894 notation, the need for ligatures to denote such patterns disappeared.
2902 D: Linie, Notenlinie,
2906 FI: viiva, nuottiviiva.
2910 @node long appoggiatura
2911 @section long appoggiatura
2913 ES: apoyatura larga,
2914 I: appoggiatura lunga,
2915 F: appoggiature longue,
2916 D: langer Vorschlag,
2920 FI: pitkä appoggiatura, pitkä etuhele.
2922 @aref{appoggiatura}.
2936 Note value: double length of @aref{breve}.
2939 @lilypond[fragment,notime,ragged-right]
2940 \set Score.automaticBars = ##f
2942 \override NoteHead #'style = #'mensural
2959 @node major interval
2960 @section major interval
2962 ES: intervalo mayor,
2963 I: intervallo maggiore,
2964 F: intervalle majeur,
2965 D: großes Intervall,
2969 FI: suuri intervalli.
2985 @aref{diatonic scale}.
2987 @node meantone temperament
2988 @section meantone temperament
2990 I: accordatura mesotonica,
2991 F: tempérament mésotonique,
2992 D: mitteltönige Stimmung,
2993 NL: middenstemming, middentoonstemming,
2994 DK: middeltonetemperatur,
2995 S: medeltonstemperatur,
2996 FI: keskisävelviritys.
2998 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2999 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3000 @aref{temperament} only a limited set of keys are playable.
3001 Used for tuning keyboard instruments for performance of pre-1650 music.
3015 A group of @aref{beat}s (units of musical time) the first of which
3016 bears an accent. Such groups in numbers of two or more recur consistently
3017 throughout the composition and are marked from each other by
3018 bar-lines. @aref{meter}.
3024 I: mediante, modale,
3032 1.@tie{}The third @b{scale degree}.
3033 2.@tie{}A @aref{chord} having its base tone
3034 a third from that of another chord. For example, the tonic chord may be
3035 replaced by its lower mediant (variant tonic). @aref{functional
3036 harmony}, @aref{relative key}.
3042 FI: melisma, laulettavan tavun sävelkuvio.
3044 A melisma (plural: melismata) is a group of notes or tones sung on one
3045 syllable in plainsong
3047 @node melodic cadence
3048 @section melodic cadence
3057 F: indication de mésure,
3064 The basic scheme of @aref{note value}s and
3065 @aref{accent}s which remains unaltered throughout a composition
3066 or a section of it. For instance, 3/4 meter means that the basic
3067 @aref{note value}s are quarter notes and that a
3068 @aref{measure} consists of three of those. According to
3069 whether there are two, three, or four units to the measure,
3070 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3071 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3073 @lilypond[fragment,line-width=13.0\cm]
3077 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3080 @lilypond[fragment,line-width=13.0\cm]
3084 f8 f f f a16 g a f |
3085 c'8 c c c e16 d e c \bar "||"}
3088 @lilypond[fragment,line-width=13.0\cm]
3092 d4 b8 g b d d c a4 |
3093 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3108 Device indicating the exact tempo of a piece. @aref{metronomic
3111 @node metronomic indication
3112 @section metronomic indication
3114 ES: indicación metronómica,
3115 I: indicazione metronomica,
3116 F: indication métronomique,
3118 NL: metronoom aanduiding,
3120 S: metronomangivelse,
3121 FI: metronomiosoitus.
3123 Exact tempo indication (in beats per minute). Also denoted by
3124 M.M.@: (Mälzels Metronom).
3127 @section mezzo-soprano
3138 The female voice between @aref{soprano} and
3147 D: eingestrichenes@w{ }c,
3149 DK: enstreget@w{ }c,
3150 S: ettstruket@w{ }c,
3153 First C below the 440 Hz A.
3155 @lilypond[fragment,notime,ragged-right]
3156 \set Score.automaticBars = ##f
3157 \override Staff.Clef #'full-size-change = ##t
3177 @aref{diatonic scale}.
3179 @node minor interval
3180 @section minor interval
3182 ES: intervalo mayor,
3183 I: intervallo minore,
3184 F: intervalle mineur,
3185 D: kleines Intervall,
3189 FI: pieni intervalli.
3203 FI: moodi, kirkkosävelasteikko.
3205 @aref{church mode}, @aref{diatonic scale}.
3217 FI: modulaatio, sävellajin vaihdos.
3219 Moving from one @aref{key} to another. For example, the second
3220 subject of a @aref{sonata form} movement modulates to the dominant
3221 key if the key is major and to the @aref{relative key} if the key
3233 FI: mordent, korukuvio.
3252 FI: teema, sävelaihe.
3254 The briefest intelligible and self-contained fragment of a musical theme or
3257 @lilypond[fragment,line-width=13.0\cm]
3258 \override Score.TimeSignature #'break-visibility = #all-invisible
3259 %\override Score.TextScript #'font-style = #'large
3263 \partial 8 g16_"------" fis |
3264 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3265 g8 g,16 a b8 cis d16 s
3281 Greater musical works like @aref{symphony} and
3282 @aref{sonata} most often consist of several -- more or less --
3283 independant pieces called movements.
3286 @section multibar rest
3288 ES: compases de espera,
3292 D: mehrtaktige Pause,
3295 FI: usean tahdin mittainen tauko.
3297 @lilypond[fragment,ragged-right]
3300 \set Score.skipBars = ##t R1*3
3305 @node mixolydian mode
3306 @section mixolydian mode
3308 @aref{diatonic scale}.
3311 @section natural sign
3316 D: Auflösungszeichen,
3317 NL: herstellingsteken,
3318 DK: op@-løsningstegn,
3319 S: återställningstecken,
3324 @node neighbour tones
3325 @section neighbour tones
3327 @aref{appoggiatura}.
3360 Notes are signs by means of which music is fixed in writing. The term is also
3361 used for the sound indicated by a note, and even for the key of the piano
3362 which produces the sound. However, a clear distinction between the terms tone
3363 and @aref{note} is strongly recommended. Briefly, one sees a note,
3370 I: testa, testina, capocchia,
3371 F: t@^ete de la note,
3378 A head-like sign which indicates pitch by its position on a
3379 @aref{staff} provided with a @aref{clef}, and duration
3380 by a variety of shapes such as hollow or black heads with or without
3381 @aref{stem}s, @aref{flag}s, etc. For percussion
3382 instruments (often having no defined pitch) the note head may indicate the
3390 F: durée, valeur (d'une note),
3395 FI: nuotin aika-arvo.
3397 Note values (durations) are measured as fractions, normally 1/2, of the next
3398 higher note value. The longest duration normally used is called
3400 but sometimes (mostly in pre-baroque music) the double length note value
3401 @emph{longa} is used.
3403 @lilypond[fragment,notime,line-width=13.0\cm]
3404 %\override Score.TextScript #'font-style = #'large
3405 \set Score.automaticBars = ##f
3407 \override NoteHead #'style = #'mensural
3408 a\longa_"longa" a\breve_"breve"
3409 \revert NoteHead #'style
3410 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3411 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3414 @lilypond[fragment,notime,line-width=13.0\cm]
3415 %\override Score.TextScript #'font-style = #'large
3416 \set Score.automaticBars = ##f
3418 r\longa_"longa" r\breve_"breve"
3419 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3420 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3423 An augmentation dot after a note multiplies the duration by one and a
3424 half. Another dot adds yet a fourth of the duration.
3426 @lilypond[fragment,line-width=13.0\cm]
3427 %\override Score.TextScript #'font-style = #'large
3430 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3431 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3434 Alternatively note values may be subdivided by other ratios. Most common is
3435 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3436 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3437 dotted notes are also frequently used.
3439 @lilypond[fragment,line-width=13.0\cm]
3440 %\override Score.TextScript #'font-style = #'large
3443 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3444 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3448 @lilypond[fragment,line-width=13.0\cm]
3451 \times 3/2 {g4_"duplets" g} |
3453 \times 6/4 {g8_"quadruplets" g g g} |
3454 g8 g g g g4 \bar "||"
3459 @section octave sign
3461 @aref{G clef}, @aref{F clef}.
3481 I: abbellimento, fioriture,
3482 F: agrément, ornement,
3483 D: Verzierung, Ornament,
3489 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3490 with the diatonic @aref{second} above it. In the music from the
3491 middle of the 19th century and onwards the trill is performed with the main
3492 note first while in the music from the preceding baroque and classic periods
3493 the upper note is played first.
3495 @lilypond[fragment,line-width=13.0\cm]
3497 \context Staff = sa {
3498 % \override Score.TextScript #'font-style = #'large
3500 c2._"pre-1850" b4\trill | c1 \bar "||"
3501 c2._"post-1850" b4\trill | c1 \bar "||"
3505 c2. c32 b c b c b c b | c1
3506 c2. b32 c b c \times 4/5 { b c b c b } | c1
3511 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3513 @emph{prall} (inverted mordent).
3515 @lilypond[fragment,line-width=13.0\cm]
3517 \context Staff = sa {
3518 % \override Score.TextScript #'font-style = #'large
3520 a4_"turn" b\turn c2 \bar "||"
3521 g4_"mordent" a b\mordent a \bar "||"
3522 e'4_"prall" d\prall c2 \bar "||"
3528 e'4 e32[ d e d ~ d8] c2
3533 @aref{appoggiatura}.
3545 FI: ossia, vaihtoehtoinen esitystapa.
3547 Ossia (otherwise) marks an alternative. It is an added staff or piano
3548 score, usually only a few measures long, which presents another version
3549 of the music, for example for small hands.
3561 FI: stemma, instrumenttiosuus.
3563 1.@tie{}In instrumental or choral music the music for the single instrument
3564 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3565 melodic line of the contrapunctal web.
3578 D: Schlagzeug, Schlagwerk,
3584 A family of musical instruments which are played on by striking or
3585 shaking. Percussion instruments commonly used in a symphony orchestra are
3586 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3587 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3590 @node perfect interval
3591 @section perfect interval
3593 ES: intervalo justo,
3594 I: intervallo giusto,
3595 F: intervalle juste,
3596 D: reines Intervall,
3600 FI: puhdas intervalli.
3616 A natural division of the melodic line, comparable to a sentence of speech.
3628 FI: fraseeraus, jäsentäminen.
3630 The clear rendering in musical performance of the @aref{phrase}s of
3631 the melody. Phrasing may be indicated by a @aref{slur}.
3645 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3646 @emph{mezzopiano} (@b{mp}) medium soft.
3667 NL: pizzicato, getokkeld,
3670 FI: pizzicato, näppäillen.
3672 Play by plucking the strings.
3680 D: Polyphonie, Mehrstimmigkeit,
3684 FI: polyfonia, moniäänisyys.
3686 Music written in a combination of several simultaneous voices (parts) of a
3687 more or less pronounced individuality. @aref{counterpoint}.
3700 D: Presto, Sehr schnell,
3701 NL: presto, Sehr schnell,
3704 FI: presto, hyvin nopeasti.
3706 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3707 denotes the highest possible degree of speed.
3709 @node Pythagorean comma
3710 @section Pythagorean comma
3712 ES: coma pitagórico,
3713 I: comma pitagorico,
3714 F: comma pythagoricien,
3715 D: Pythagoräisches Komma,
3716 NL: komma van Pythagoras,
3717 DK: pythagoræisk komma,
3718 S: pytagoreiskt komma,
3719 FI: pytagorinen komma.
3721 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3722 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3723 24 @aref{cent}s higher than the@w{ }C obtained by adding
3724 7@w{ }octaves. The difference between those two pitches is called the
3742 @section quarter note
3745 I: semiminima, nera,
3748 D: Viertel, Viertelnote,
3752 FI: neljännesosanuotti.
3757 @section quarter rest
3759 ES: silencio de negra,
3760 I: pausa di semiminima,
3765 DK:@w{ }fjerdedelspause,
3767 FI: neljännesosatauko.
3786 @section rallentando
3791 D: rallentando, langsamer werden,
3795 FI: rallerdando, hidastuen.
3797 Abbreviation "rall.". @aref{ritardando}.
3800 @section relative key
3803 I: tonalità relativa,
3804 F: tonalité relative,
3806 NL: paralleltoonsoort,
3807 DK: paralleltoneart,
3809 FI: rinnakkaissävellaji.
3811 @aref{major} and @aref{minor} @aref{key}
3812 with the same @aref{key signature}.
3814 @lilypond[fragment,notime,line-width=13.0\cm]
3815 \set Score.automaticBars = ##f
3816 %\override Score.TextScript #'font-style = #'large
3819 es1_"e flat major" f g as bes c d es
3824 @lilypond[fragment,notime,line-width=13.0\cm]
3825 \set Score.automaticBars = ##f
3826 %\override Score.TextScript #'font-style = #'large
3829 c1_"c minor" d es f g a! b! c \bar "||"
3836 ES: barra de repetición,
3838 F: barre de reprise,
3841 DK: gen@-ta@-gel@-se,
3845 @lilypond[fragment,line-width=13.0\cm]
3849 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3853 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3854 @c specify the rest's value.
3882 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3883 fixed unit of time, called @aref{beat}, and in which the normal
3884 @aref{accent} recurs in regular intervals, called
3885 @aref{measure}. The basic scheme of time values is called
3886 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3887 accent. In modern notation such music appears as a free alternation of
3888 different measures. (c) Free rhythm, i.e., the use of temporal values having
3889 no common metrical unit (beat).
3897 D: Ritardando, langsamer werden,
3901 FI: ritardando, hidastuen,
3903 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3915 FI: ritenuto, hidastaen.
3917 Immediate reduction of speed.
3929 FI: asteikko, sävelasteikko.
3931 @aref{diatonic scale}.
3934 @section scale degree
3936 ES: grados de la escala,
3937 I: grado della scala,
3938 F: degré [de la gamme],
3940 NL: trap [van de toonladder],
3943 FI: sävelaste, asteikon sävel.
3945 Names and symbols used in harmonic analysis to denote tones of the scale as
3946 roots of chords. The most important are degrees I = tonic (T), IV =
3947 sub@-do@-mi@-nant (S) and V = dominant (D).
3949 @lilypond[fragment,notime,line-width=13.0\cm]
3950 \set Score.automaticBars = ##f
3951 %\override Score.LyricText #'font-style = #'large
3952 %\set minVerticalAlign = #8
3954 \context Staff \relative c' {
3957 \context Lyrics \lyrics {
3958 << { I II III IV V VI VII I }
3963 @aref{functional harmony}.
3971 D: Partitur (full score), Klavierauszug (vocal score)
3977 A copy of orchestral, choral, or chamber music showing what each instrument is
3978 to play, each voice to sing, having each part arranged one underneath the
3979 other on different staves @aref{staff}.
3993 The @aref{interval} between two neigbouring tones of a scale. A
3994 @aref{diatonic scale} consists of alternating
3995 @aref{semitone}s and @aref{whole tone}s, hence the size
3996 of a se@-cond depends on the scale degrees in question.
4010 The @aref{interval} of a minor second. The (usually) smallest
4011 interval in European composed music. The interval between two neighbouring
4012 tones on the piano keyboard -- including black and white keys -- is a
4013 semitone. An octave may be divided into 12@w{ }semitones.
4014 @aref{interval}, @aref{chromatic scale}.
4016 @lilypond[fragment,notime,line-width=13.0\cm]
4017 \set Score.automaticBars = ##f
4018 \relative c'' { g1 gis s a bes s b! c }
4072 @node short appoggiatura
4073 @section short appoggiatura
4075 @aref{appoggiatura}.
4077 @node sixteenth note
4078 @section sixteenth note
4084 D: Sechzehntel, Sechzehntelnote,
4085 NL: zes@-ti@-ende noot,
4086 DK: sekstendedelsnode,
4088 FI: kuudestoistaosanuotti.
4092 @node sixteenth rest
4093 @section sixteenth rest
4095 ES: silencia de semicorchea,
4096 I: pausa di semicroma,
4098 UK: semiquaver rest,
4099 D: Sechzehntelpause,
4101 DK: sekstendedelspause,
4121 @node sixty-fourth note
4122 @section sixty-fourth note
4126 F: quadruple croche,
4127 UK: hemidemisemiquaver,
4128 D: Vierundsechzigstel, Vierundsechzigstelnote,
4129 NL: vierenzestigste noot,
4130 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4131 S: sextiofjärdedelsnot,
4132 FI: kuudeskymmenesneljäsosanuotti.
4136 @node sixty-fourth rest
4137 @section sixty-fourth rest
4139 ES: silencia de semifusa,
4140 I: pausa di semibiscroma,
4141 F: seizième de soupir,
4142 UK: hemidemisemiquaver rest,
4143 D: Vierundsechzigstelpause,
4144 NL: vierenzestigste rust,
4145 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4146 S: sextiofjärdedelspaus,
4147 FI: kuudeskymmenesneljäsosatauko.
4155 I: legatura (di portamento or espressiva),
4157 D: Bogen, Legatobogen, Phrasierungsbogen,
4158 NL: fraseringsboog, legatoboog, streekboog,
4159 DK: legatobue, fraseringsbue,
4163 A slur above or below a group of notes indicates that they are to be played
4164 @aref{legato}, e.g., with one stroke of the violin bow or with one
4168 @section solmization
4176 FI: suhteelliset laulunimet.
4178 General term for systems of designating the degrees of the
4179 @aref{scale}, not by letters, but by syllables (@emph{do}
4180 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4181 (@emph{ti})). @aref{scale degree}.
4195 In its present-day meaning a sonata denotes an instrumental composition for
4196 piano or for some other instrument with piano accompaniment, which consists of
4197 three or four independant pieces, called movements.
4200 @section sonata form
4204 F: [en] forme de sonate,
4206 NL: hoofdvorm, sonatevorm,
4211 A form used frequently for single movements of the @aref{sonata},
4212 @aref{symphony}, quartet, etc. A movement written in sonata form
4213 falls into three sections called @emph{exposition}, @emph{development} and
4214 @emph{recapitulation}. In the exposition the composer introduces some musical
4215 ideas, consisting of a number of themes; in the development section the
4216 composer `develops' this material, and in the recapitulation the composer
4217 repeats the exposition, with certain modifications. The exposition contains a
4218 number of themes that fall into two groups, often called first and second
4219 subject. Other melodies occurring in each group are considered as
4220 continuations of these two. The second theme is in another key, normally in
4221 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4222 @aref{relative key} if the tonic is @aref{minor}.
4239 FI: sopraano, korkea naisääni.
4241 The highest female voice.
4248 F: staccato, piqué, détaché,
4253 FI: staccato, lyhyesti, terävästi.
4255 Playing the note(s) short. Staccato is indicated by a dot above or below the
4258 @lilypond[fragment,ragged-right]
4263 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4272 I: pentagramma, rigo (musicale),
4275 NL: (noten)balk, partij,
4280 A staff (pl. staves) is a series of (normally five) horizontal lines
4281 upon and between which the musical notes are written, thus indicating
4282 (in connection with a @aref{clef}) their pitch. Staves for
4283 @aref{percussion} instruments may have fewer lines.
4296 D: Hals, Notenhals, Stiel,
4302 Vertical line above or below a @aref{note head} shorter than a
4303 whole note. @aref{beam}.
4305 @lilypond[fragment,notime,line-width=13.0\cm]
4306 \set Score.autoBeaming = ##f
4307 \set Score.automaticBars = ##f
4308 %\override Score.TextScript #'font-style = #'large
4329 A family of stringed musical instruments played with a bow. Strings commonly
4330 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4333 @section strong beat
4338 D: betonter Taktteil oder Taktschlag,
4340 D: betonet taktslag,
4341 S: betonat taktslag,
4342 FI: tahdin vahva isku.
4344 @aref{beat}, @aref{accent}, @aref{measure},
4348 @section subdominant
4357 FI: subdominantti, alidominantti.
4359 The fourth @aref{scale degree}. @aref{functional harmony}.
4373 The sixth @aref{scale degree}.
4385 FI: subtoonika, alitoonika.
4387 The seventh @aref{scale degree}.
4390 @section superdominant
4401 The sixth @aref{scale degree}.
4415 The second @aref{scale degree}.
4423 D: Sinfonie, Symphonie,
4429 A symphony may be defined as a @aref{sonata} for orchestra.
4432 @section syncopation
4443 Any deliberate upsetting of the normal pulse of @aref{meter},
4444 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4445 rhythm rests upon the grouping of equal beats into groups of two or three,
4446 with a regularly recurrent accent on the first beat of each group. Any
4447 deviation from this scheme is felt as a disturbance or contradiction between
4448 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4450 @lilypond[fragment,ragged-right]
4455 e c'4 e,8 c'4 e,8 c' ( | c2)
4459 @node syntonic comma
4460 @section syntonic comma
4462 I: comma sintonico (o didimico),
4463 F: comma syntonique,
4464 D: syntonisches Komma,
4465 NL: syntonische komma,
4466 DK: syntonisk komma,
4467 S: syntoniskt komma,
4468 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4469 viritysjärjestelmässä.
4471 Difference between the natural third and the third obtained by Pythagorean
4472 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4483 FI: nuottijärjestelmä.
4485 The collection of staves @aref{staff}, two or more, as used for
4486 writing down of keyboard, chamber, choral, or orchestral music.
4489 @section temperament
4494 D: Stimmung, Tem@-pe@-ra@-tur,
4495 NL: stemming, temperatuur,
4498 FI: viritysjärjestelmä.
4500 Systems of tuning in which the intervals deviate from the acoustically pure
4501 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4503 @node tempo indication
4504 @section tempo indication
4506 ES: indicación de tempo,
4507 I: indicazione di tempo,
4508 F: indication de temps,
4509 D: Zeitmaß, Tempobezeichnung,
4510 NL: tempo aanduiding,
4515 The rate of speed of a composition or a section thereof, ranging from the
4516 slowest to the quickest, as is indicated by tempo marks as
4517 @aref{largo}, @aref{adagio}, @aref{andante},
4518 @aref{allegro}, and @aref{presto}.
4530 FI: tenori, korkea miesääni.
4532 The highest male voice (apart from @aref{counter tenor}).
4560 An indication that a particular note should be held for the whole
4561 length, although this can vary depending on the composer and era.
4577 @node thirty-second note
4578 @section thirty-second note
4584 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4585 NL: twee-endertig@-ste noot,
4586 DK: toogtredivtedelsnode,
4587 S: trettiotvåondelsnot,
4588 FI: kolmanneskymmeneskahdesosanuotti.
4592 @node thirty-second rest
4593 @section thirty-second rest
4595 ES: silencio de fusa,
4596 I: pausa di biscroma,
4597 F: huitième de soupir,
4598 UK: demisemiquaver rest,
4599 D: Zweiunddreissigstel@-pause,
4601 DK: toogtredivtedelspause,
4602 S: trettiotvåondelspaus,
4603 FI: kolmanneskymmeneskahdesosatauko.
4608 @section thorough bass
4611 I: basso continuo, basso numerato,
4613 D: Generalbass, bezifferter Bass,
4614 NL: basso continuo, becijferde bas
4617 FI: kenraalibasso, numeroitu basso.
4619 A method of indicating an accompaniment part by the bass notes only, together
4620 with figures designating the chief @aref{interval}s and
4621 @aref{chord}s to be played above the bass notes.
4623 @lilypond[fragment,line-width=13.0\cm]
4624 \context GrandStaff <<
4625 \context Staff = lh \relative c'' {
4629 << \context Voice = rha {
4632 \context Voice = rhb {
4634 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4638 \context Staff = rh \relative c' {
4641 es8 c d bes c as bes16 as g f | es4
4643 \context Lyrics \lyrics {
4644 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4645 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4646 { "" "" "" "2" "" "" "" "" "" "2" } >>
4654 ES: ligadura de prolongación,
4655 I: legatura (di valore),
4658 NL: overbinding, bindingsboog,
4660 S: bindebåge, överbindning,
4663 A curved line, identical in appearance with the @aref{slur}, which
4664 connects two succesive notes of the same pitch, and which has the function of
4665 uniting them into a single sound (tone) equal to the combined durations.
4667 @lilypond[fragment,notime,ragged-right]
4668 \set Score.automaticBars = ##f
4669 \relative c'' { g2 ~ g4. }
4677 @node time signature
4678 @section time signature
4680 ES: cifra indicadora de compás,
4682 F: chiffrage (chiffres indicateurs), signe de valeur,
4683 D: Taktangabe, Angabe der Taktart,
4686 S: taktartssignatur,
4703 A sound of definite pitch and duration, as distinct from @emph{noise}.
4704 Tone is a primary building material of music.
4705 Music from the 20th century may be based on atonal sounds.
4719 The first @aref{scale degree}.
4720 @aref{functional harmony}.
4723 @section transposition
4734 Shifting a melody up or down in pitch, while keeping the same
4737 @lilypond[fragment,line-width=13.0\cm]
4742 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4747 @lilypond[fragment,line-width=13.0\cm]
4750 \transpose c bes \relative c'' {
4752 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4758 @section treble clef
4761 I: chiave di violino,
4763 D: Violinschlüssel, Sopranschlüssel,
4765 DK:@w{ }diskantnøgle,
4783 On stringed instruments (@aref{strings}) the quick reiteration of
4784 the same tone, produced by a rapid up-and-down movement of the bow
4785 (a). The term is also used for the rapid alternation (b) between two notes of
4786 a @aref{chord}, usually in the distance of a third
4789 @lilypond[fragment,notime,ragged-right]
4790 \set Score.automaticBars = ##f
4791 %\override Score.TextScript #'font-style = #'large
4794 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4795 \repeat "tremolo" 8 { e32_"b" g }
4804 F: triade, accord parfait, accord de trois sons,
4818 F: trille, tremblement, battement (cadence),
4828 @section triple meter
4830 ES: compás compuesto,
4834 NL: driedelige maatsoort,
4870 @section tuning fork
4873 I: diapason, corista,
4881 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4882 give the international pitch for the tone @emph{a} (440 vibrations per
4909 FI: unisono, yksiäänisesti.
4911 Playing of the same notes or the same melody by various instruments (voices)
4912 or by the whole orchestra (choir), either at exactly the same pitch or in a
4918 ES: entrada anacrúsica,
4920 F: anacrouse, levée,
4927 Initial note(s) of a melody occurring before the first bar
4928 line. @aref{measure}, @aref{meter}.
4930 @lilypond[fragment,line-width=13.0\cm]
4934 \partial 4 f4 | bes4. a8 bes4 c |
4935 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4948 FI: ääni, lauluääni.
4950 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4951 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4952 2.@tie{}A melodic layer or part of a polyphonic composition.
4958 I: tempo debole, arsi,
4960 D: unbetonter Taktteil oder Taktschlag,
4962 DK: ubetonet taktslag,
4963 S: obetonat taktslag,
4964 FI: tahdin heikko isku.
4966 @aref{beat}, @aref{measure}, @aref{rhythm}.
4975 D: Ganze, ganze Note,
4986 ES: silencio de redonda,
4987 I: pausa di semibreve,
4990 D: ganze Pause, ganztaktige Pause,
5010 The @aref{interval} of a major second. The interval between two
5011 tones on the piano keyboard with exactly one key between them -- including
5012 black and white keys -- is a whole tone.
5026 A family of blown wooden musical instruments. Today some of these instruments
5027 are actually made from metal. The woodwind instruments commonly used in a
5028 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5030 @node Duration names notes and rests
5031 @chapter Duration names, notes and rests
5034 @item DURATION NAMES, NOTES AND RESTS
5037 @multitable @columnfractions .15 .26 .33 .26
5042 @tab @strong{F (note name / rest name)}
5054 @item @strong{longa}
5069 @item @strong{breve}
5072 @tab brève / double-pause
5084 @item @strong{whole}
5094 @tab koko@-nuotti/@w{-tauko}
5102 @tab blanche / demi-pause
5109 @tab puoli@-nuotti/@w{-tauko}
5114 @item @strong{quarter}
5124 @tab neljännesosa@-nuotti/@w{-tauko}
5129 @item @strong{eighth}
5132 @tab croche / demi-soupir
5139 @tab kahdeksasosa@-nuotti/@w{-tauko}
5144 @item @strong{sixteenth}
5147 @tab double croche / quart de soupir
5154 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5159 @item @strong{thirty-second}
5162 @tab triple croche / huitième de soupir
5164 @tab Zweiunddreissigstel
5165 @tab tweeendertigste
5166 @tab toogtredivtedel
5168 @tab trettiotvåondel
5169 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5174 @item @strong{sixty-fourth}
5175 @tab hemidemisemiquaver
5177 @tab quadruple croche / seizième de soupir
5179 @tab Vierundsechzigstel
5180 @tab vierenzestigste
5181 @tab fireogtred@-sindstyvendedel
5183 @tab sextiofjärdedel
5184 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5188 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5191 @chapter Pitch names
5197 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5198 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5200 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5201 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5205 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5209 @item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab
5211 cis @tab cis @tab cis
5215 @item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab
5217 des @tab des @tab des
5221 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5225 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5229 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5233 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5238 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5244 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5248 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5250 ais @tab ais @tab ais
5254 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5260 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5265 @node Literature used
5266 @unnumbered Literature used
5269 @item The Harvard Dictionary of Music, London 1944. Many more or less
5270 literal quotes from its articles have been included into the item
5273 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5275 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5277 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5280 @item Webster's Revised Unabridged Dictionary, Springfield 1913.