1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
5 @dircategory GNU music project
7 * Glossary: (lilypond/music-glossary). Glossary of music terms.
11 This document is also available in @uref{music-glossary.ps.gz,gzipped
12 PostScript} and @uref{music-glossary.pdf,PDF}.
17 @author Christian Mondrup @c Original author of LilyPond glossary
19 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
21 @author Han-Wen Nienhuys @c Dutch glossary
22 @author Jan Nieuwenhuizen @c Dutch glossary
23 @author Dadiv Gonzalez @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Mats Bengtsson @c Swedish glossary
27 @author Adrian Mariano @c Italian glossary
28 @author Heikki Junes @c Finnish glossary
30 @c Fixes by Jean-Pierre Coulon and `Dirk'
33 Copyright @copyright{} 1999--2004 by the authors
36 Permission is granted to copy, distribute and/or modify this document
37 under the terms of the GNU Free Documentation License, Version 1.1
38 or any later version published by the Free Software Foundation,
39 without Invariant Sections.
44 @c FIXME: multiple omfcreators?
46 @omfcreator Christian Mondrup
47 @omfdescription Glossary of musical terms with translations
49 @omfcategory Applications|Publishing
56 @c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
67 @item Christian Mondrup
68 Original author of LilyPond glossary, Danish glossary,
71 @item Fran@,{c}ois Pinard
72 Original glossary of GNU music project, French glossary,
73 @item Han-Wen Nienhuys
75 @item Jan Nieuwenhuizen
80 English glossary translations,
82 Finnish glossary translations.
85 Copyright 1999--2004 by the authors
88 Permission is granted to copy, distribute and/or modify this document
89 under the terms of the GNU Free Documentation License, Version 1.1
90 or any later version published by the Free Software Foundation,
91 without Invariant Sections.
101 @c @everyheading @| @thispage @|
102 @c @evenheading @thispage @| @|
103 @c @oddheading @| @| @thispage @|
105 @include macros.itexi
109 We do not use refs for Info:
111 @w{@arrow{}\word\}@c vs:
112 @w{@arrow{}@pxref{\word\}}@c
114 they look too intrusive (says Han-Wen).
121 @w{@arrow{}@strong{\word\}}@c
124 @arrow{}@ref{\word\, @strong{\word\}}@c
132 @c If we want hypelinks, we must add anchors.
133 @c Hmm, we need the @achor command in the item description itself
134 @c (not before or after) to get mozilla jump to the right place.
137 @item \word\@anchor{\word\}
139 @macro aitemii{one,two}
140 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
142 @macro aitemiii{one,two,three}
143 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
153 @item UK - British English
159 This is an example reference, that points you to the @aref{accent}
162 @c All `@table @strong' replaced by `@table @samp'
163 @c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
184 FI: aksentti, korostus.
186 The stress of one tone over others.
188 @c F: how to distinguish between accidental and key-sig alteration?
192 I: alterazione, accidente,
194 D: Vorzeichen, Versetzungszeichen,
197 S: tillf@"alligt f@"ortecken,
198 FI: tilap@"ainen etumerkki.
200 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
201 @c Akzidenz, NL: toevallig teken, I: accidento.
203 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
204 by a @aref{whole tone}, a flat lowers it by a semitone and a double
205 flat lowers it by a whole tone. A natural cancels the effect of a previous
208 @lilypond[fragment,notime]
209 \set Score.automaticBars = ##f
210 %\override TextScript #'font-style = #'large
212 \context Staff \relative c'' {
213 gis1 s s gisis s s ges s s geses s s g!
215 \context Lyrics \lyrics {
216 \override Lyrics .LyricText #'self-alignment-X = #-1
217 "sharp " "db. sharp " "flat " "db. flat " natural
224 F: accelerando, en acc@'el@'erant,
225 D: accelerando, schneller werden,
229 FI: accelerando, kiihdytt@"aen.
241 FI: adagio, hitaasti.
243 It. comfortable, easy.
244 1. Slow tempo, slower -- especially in even meter -- than
245 @aref{andante} and faster than @aref{largo}.
246 2. A movement in slow tempo, especially the second (slow) movement of
247 @aref{sonata}s, symphonies, etc.
253 D: Allegro, Schnell, Fr@"ohlich, Lustig,
257 FI: allegro, nopeasti.
259 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
260 especially the first and last movements of a @aref{sonata}.
270 FI: altto, matala nais@"a@"ani.
272 A female voice of low range (@emph{contralto}). Originally the alto was a high
273 male voice (hence the name) which by the use of falsetto reached the height of
274 the female voice. This type of voice is also known as @aref{counter
278 ES: clave de do en tercera,
279 I: chiave di contralto,
280 F: clef d'ut troisi@`eme ligne,
281 D: Altschl@"ussel, Bratschenschl@"ussel,
287 C clef setting middle C on the middle line of the staff
298 FI: ambitus, @"a@"aniala, soitinala.
300 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
301 of pitches for a given voice in a part of music. It may also denote
302 the pitch range that a musical instrument is capable of playing.
304 @aitem{ancient minor scale}
305 I: scala minore naturale,
306 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
308 NL: authentieke mineurtoonladder,
311 FI: luonnollinen molliasteikko.
313 @aref{diatonic scale} (ancient minor).
315 @lilypond[fragment,notime]
316 \set Score.automaticBars = ##f
329 FI: andante, k@"ayden.
331 Walking tempo/character.
336 F: appogiature, (port de voix),
341 FI: appoggiatura, etuhele.
343 Ornamental note, usually a second, that is melodically connected with the main
344 note following it. In music before the 19th century a. were usually
345 performed on the beat, after that mostly before the beat. While the short
346 a. is performed as a short note regardless of the duration of the main note
347 the duration of the long a. is proportional to that of the main note.
350 \context Voice \relative c'' {
354 %\override Score.TextScript #'font-style = #'large
355 <d a fis>4_"notation" r
356 { \override Stem #'flag-style = #'()
358 \revert Stem #'flag-style
361 { \override Stem #'flag-style = #'()
363 \revert Stem #'flag-style
366 \cadenzaOn a4 \bar "||" \cadenzaOff }
368 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
369 \cadenzaOn a4 \bar "||" \cadenzaOff }
372 An appoggiatura may have more notes preceding the main note.
378 % \override Score.TextScript #'font-style = #'large
379 \grace { bes16 } as8_"notation" as16 bes as8 g |
380 \grace { as16[( bes] } < c as >4-)
381 \grace { as16[( bes] } < c as >4-) \bar "||"
382 \grace { bes16 } as8_"performance" as16 bes as8 g |
383 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
384 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
393 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
395 DK: arpeggio, akkordbrydning,
397 FI: arpeggio, murtosointu.
400 \context PianoStaff <<
401 \context Staff = SA \relative c'' {
404 r8 g16 c e g, c e r8 g,16 c e g, c e |
405 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
406 \context Staff = SB \relative c' {
408 << \context Voice = va {
410 r16 e8. ( e4) r16 e8. ( e4) |
411 r16 d8. ( d4) r16 d8. ( d4) }
412 \context Voice = vb {
419 @aitem{ascending interval}
420 ES: Intervalo ascendente,
421 I: intervallo ascendente,
422 F: intervalle ascendant,
423 D: steigendes Intervall,
424 NL: stijgend interval,
425 DK:@w{ }stigende interval,
426 S: stigande intervall,
427 FI: nouseva intervalli.
429 A distance between a starting lower note and a higher ending note.
431 @aitem{augmented interval}
432 ES: intervalo aumentado,
433 I: intervallo aumentato,
434 F: intervalle augment@'e,
435 D: @"uberm@"a@ss{}iges Intervall,
436 NL: overmatig interval,
437 DK: forst@o{}rret interval,
438 S: @"overstigande intervall,
439 FI: ylinouseva intervalli.
446 D: Autograph, Handschrift,
448 DK: h@aa{}ndskrift, autograf,
450 FI: k@"asinkirjoitettu nuotti.
452 1. A manuscript in the composer's own hand.
453 2. Music prepared for photoreproduction by freehand drawing,
454 with the aid of a straightedge ruler and T-square only,
455 which attempts to emulate engraving.
456 This required more skill than did engraving.
468 @aitemii{backfall,forefall}
473 I: stanghetta, barra (di divisione),
474 F: barre (de mesure),
482 ES: comp@'as, @aref{measure}.
485 ES: bar@'{@dotless{i}}tono,
492 FI: baritoni, keskikorkuinen mies@"a@"ani.
494 The male voice intermediate between the @aref{bass} and the
497 @c F: clef de troisi@`eme ligne dropped
499 @aitem{baritone clef}
500 ES: clave de fa en tercera,
501 I: chiave di baritono,
502 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
503 D: Baritonschl@"ussel,
509 C or F clef setting middle C on the upper staff line.
510 @aref{C clef}, @aref{F clef}.
513 ES: clave de fa en cuarta,
515 F: cl@'e de fa quatri@`eme ligne,
522 A clef setting with middle C on the first top ledger line.
532 FI: basso, matala mies@"a@"ani.
534 1. The lowest of men's voices.
535 2. Sometimes, especially in jazz music, used as
536 an abbreviation for double bass.
548 Line connecting a series of notes (shorter than a quarter note).
549 The number of beams determine the note value of the connected notes.
551 @lilypond[fragment,notime]
552 \set Score.automaticBars = ##f
553 %\override TextScript #'font-style = #'large
556 g16_"1/16"[ g g g] s16
557 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
558 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
565 D: Takt, Taktschlag, Zeit (im Takt),
571 Note value used for counting, most often half-, fourth-, and eighth notes.
572 The base counting value and the number of them per measure is indicated at
573 the start of the music.
578 \relative c'' { g4 c b a | g1 \bar "||"}
580 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
590 D: Klammer, Akkolade,
591 NL: accolade, teksthaak,
594 FI: yhdist@"av@"a sulkumerkki.
596 Symbol at the start of a system connecting staves. Curly braces are used
597 for connecting piano staves, angular brackets for connecting parts in an
598 orchestral or choral score.
601 \context GrandStaff <<
602 \relative c''\context Staff = SA { \clef treble g4 e c2 }
603 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
607 \context StaffGroup <<
608 % \set StaffGroup.minVerticalAlign = #12
609 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
610 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
619 DK: messingbl@ae{}sere,
620 S: brassinstrument, m@"assingsinstrument,
623 A family of blown musical instruments made of brass all using a cup formed
624 mouth piece. The brass instruments commonly used in a symphony orchestra are
625 trumpet, trombone, french horn, and tube.
630 D: Atemzeichen, Trennungszeichen,
631 NL: repercussieteken,
632 DK: vejrtr@ae{}kningstegn,
636 Indication of where to breathe in vocal and wind instrument parts.
648 @aref{note value} twice as long as a whole note. Mainly used
651 @lilypond[fragment,notime]
652 \set Score.automaticBars = ##f
653 \relative c'' { g\breve }
676 Clef symbol indicating the position of the middle C. Used on all note
679 @lilypond[fragment,notime]
680 \set Score.automaticBars = ##f
681 \override Score.Clef #'full-size-change = ##t
682 %\override Score.LyricText #'font-style = #'large
684 \context Staff \relative c' {
686 \clef mezzosoprano c s s
691 \context Lyrics \lyrics {
692 \override Lyrics .LyricText #'self-alignment-X = #-1
693 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
705 FI: kadenssi, lopuke.
707 @aref{harmonic cadence}, @aref{functional harmony}.
717 FI: kadenssi, lopuke.
719 An extended, improvisatory style section inserted near the end of
720 movement. The purpose of a cadenza is to give singers or players a chance to
721 exhibit their technical skill and not the least their ability to improvise. Since
722 the middle of the 19th century, however, most cadences have been written down
733 FI: kaanon, tarkka j@"aljittely.
745 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
747 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
748 equally tempered @aref{semitone}).
749 @aref{equal temperament}.
764 Three or more tones sounding simultaneously. In traditional European music the
765 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
766 minor @aref{third}) as well as @emph{minor} (minor + major third)
767 chords may be extended with more thirds. Four-tone @emph{seventh chords}
768 and five-tone @emph{ninth} major chords are most often used as dominants
769 (@aref{functional harmony}). A special case is chords having no
770 third above the lower notes to define their quality as major or minor. Such
771 chords are denoted open chords
773 @lilypond[fragment,notime]
774 \set Score.automaticBars = ##f
775 %\override TextScript #'font-style = #'large
777 \context Staff \relative c'' {
785 \context Lyrics \lyrics{
786 \override Lyrics .LyricText #'self-alignment-X = #-1
787 "major " "minor " "diminished " "augmented "
788 "seventh-chord " "ninth-chord "
792 @aitem{chromatic scale}
793 ES: escala crom@'atica,
795 F: gamme chromatique,
796 D: chromatische Tonleiter,
797 NL: chromatische toonladder,
800 FI: kromaattinen asteikko.
802 A scale consisting of all 12 @aref{semitone}s.
804 @lilypond[fragment,notime]
805 \set Score.automaticBars = ##f
806 \relative c' { c1 cis d dis e f fis g gis a ais b c }
819 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
821 @aitemii{church mode,ecclesiastical mode}
822 ES: modo eclesi@'astico,
823 I: modo ecclesiastico,
824 F: mode eccl@'esiastique,
829 FI: moodi, kirkkos@"avellaji.
831 @aref{diatonic scale}.
837 D: Schl@"ussel, Notenschl@"ussel,
841 FI: avain, nuottiavain.
843 @aref{C clef}, @aref{F clef}, @aref{G clef}.
847 A @emph{cluster} is a range of simultaneously sounding pitches that
848 may change over time. The set of available pitches to apply usually
849 depends on the acoustic source. Thus, in piano music, a cluster
850 typically consists of a continuous range of the semitones as provided
851 by the piano's fixed set of a chromatic scale. In choral music, each
852 singer of the choir typically may sing an arbitrary pitch within the
853 cluster's range that is not bound to any diatonic, chromatic or other
854 scale. In electronic music, a cluster (theoretically) may even cover
855 a continuous range of pitches, thus resulting in colored noise, such
858 Clusters can be denoted in the context of ordinary staff notation by
859 engraving simple geometrical shapes that replace ordinary notation of
860 notes. Ordinary notes as musical events specify starting time and
861 duration of pitches; however, the duration of a note is expressed by
862 the shape of the note head rather than by the horizontal graphical
863 extent of the note symbol. In contrast, the shape of a cluster
864 geometrically describes the development of a range of pitches
865 (vertical extent) over time (horizontal extent). Still, the
866 geometrical shape of a cluster covers the area in which any single
867 pitch contained in the cluster would be notated as an ordinary note.
869 @lilypond[fragment,relative=2,verbatim]
870 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
881 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
883 Difference in pitch between a note derived from pure tuning and the same note
884 derived from some other tuning method. @aref{temperament}.
889 @aitem{compound interval}
890 ES: intervalo compuesto,
891 I: intervallo composto,
892 F: intervalle compos@'e,
894 NL: samengesteld interval,
895 DK: sammensat interval,
896 S: sammansatt intervall,
897 FI: oktaavia laajempi intervalli.
899 Intervals larger than an octave.
905 F: intervalle compl@'ementaire,
906 D: Komplement@"arintervall,
907 NL: complementair interval,
908 DK: komplement@ae{}rinterval,
909 S: komplement@"arintervall (?),
910 FI: t@"aydent@"av@"a intervalli.
912 @aref{inverted interval}.
914 @aitem{conjunct movement}
915 ES: movimiento conjunto,
917 F: mouvement conjoint,
918 D: schrittweise, stufenweise Bewegung,
919 NL: stapsgewijze, trapsgewijze beweging,
920 DK: trinvis bev@ae{}gelse,
921 S: stegvis r@"orelse,
922 FI: asteittainen liike.
924 Progressing melodically by intervals of a second. Opposite of @aref{disjunct movement}.
928 \key g \major \time 4/4
929 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
940 FI: konsonanssi, sopusointi.
964 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
966 From latin @emph{punctus contra punctum}, note against note. The combination
967 into a single musical fabric of lines or parts which have distinct melodic
968 significance. A frequently used polyphonic technique is imitation, in its
969 strictest form found in the canon needing only one part to be written down
970 while the other parts are performed with a given displacement. Imitation is
971 also the contrapunctal technique used in the @emph{fugue} which, since the
972 music of the baroque era, has been one of the most popular polyphonic
975 @lilypond[fragment,staffsize=11]
976 \override Score.TimeSignature #'break-visibility = #all-invisible
977 \context PianoStaff <<
978 \context Staff = SA \relative c' {
982 << \context Voice = rha {
984 r1 | r2 r8 g'8 bes d, |
985 cis4 d r8 e!16 f g8 f16 e |
986 f8 g16 a bes8 a16 g a8
988 \context Voice = rhb {
994 \context Staff = SB \relative c' {
997 << \context Voice = lha {
999 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1000 r8 a16 g f8 g16 a bes8 g e! cis' |
1003 \context Voice = lhb {
1011 @aitem{counter tenor}
1018 S: kontratenor, counter tenor,
1023 @aitem{Copying, Music}
1024 A music copyist did fast freehand scores and parts on preprinted staff lines
1025 for performance. Some of their conventions (e.g., the placement of note heads
1026 on stems) varied slightly from those of engravers. Some of their working
1027 methods were superior and could well be adopted by music typesetters. This
1028 required more skill than engraving.
1034 D: Crescendo, lauter werden,
1038 FI: cresendo, voimistuen.
1040 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1041 abbreviation ``cresc.''.
1044 \key g \major \time 4/4
1045 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1051 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1058 In a separate part notes belonging to another part with the purpose of hinting
1059 when to start playing. Usually printed in a smaller type.
1063 A custos is a staff symbol that appears at the end of a staff line
1064 with monophonic musical contents (i.e. with a single voice). It
1065 anticipates the pitch of the first note of the following line and thus
1066 helps the player or singer to manage line breaks during performance,
1067 thus enhancing readability of a score.
1069 Custodes were frequently used in music notation until the 16th
1070 century. There were different appearences for different notation
1071 styles. Nowadays, they have survived only in special forms of musical
1072 notation such as via the editio vaticana dating back to the beginning
1078 % \override Staff.Custos #'neutral-position = #4
1079 \override Staff.Custos #'neutral-direction = #-1
1081 \override Staff.Custos #'style = #'hufnagel
1083 \break < d' a' f''>1
1088 \consists Custos_engraver
1108 F: da capo, depuis le commencement,
1109 D: da capo, von Anfang,
1113 FI: da capo, alusta.
1115 The term indicates repetition of the piece from the beginning to the end or to
1116 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1121 F: dal segno, depuis le signe,
1126 FI: dal segno, lähtien merkistä.
1128 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1129 another place frequently near the beginning marked by a sign:
1132 %\override TextScript #'font-style = #'large
1133 \override TextScript #'font-shape = #'italic
1134 \key g \major \time 4/4
1135 \relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
1141 D: Decrescendo, leiser werden,
1145 FI: decresendo, hiljentyen.
1147 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1148 or the abbreviation ``decresc.''.
1152 \key g \major \time 4/4
1153 d4 \> c b a | g1 \! \bar "|."
1157 @aitem{descending interval}
1158 ES: intervalo descendente,
1159 I: intervallo discendente,
1160 F: intervalle descendant,
1161 D: fallendes Intervall, absteigendes Intervall,
1162 NL: dalend interval,
1163 DK: faldende interval,
1164 S: fallande intervall,
1165 FI: laskeva intervalli.
1167 A distance between a starting higher note and a lower ending note.
1169 @aitem{diatonic scale}
1170 ES: escala diat@'onica,
1172 F: gamme diatonique,
1173 D: diatonische Tonleiter,
1174 NL: diatonische toonladder,
1175 DK: diatonisk skala,
1177 FI: diatoninen asteikko.
1179 A scale consisting of 5@w{ }@aref{whole tone}s and
1180 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1181 of a piano keybord are diatonic.
1183 The church modes are used in gregorial chant and in pre baroque early music but
1184 also to some extent in newer jazz music.
1186 @lilypond[fragment,notime,linewidth=110\mm]
1187 \set Score.automaticBars = ##f
1188 %\override Score.LyricText #'font-style = #'large
1189 %\override Score.TextScript #'font-style = #'large
1191 \context Staff \relative c' {
1193 \override TextScript #'padding = #-4
1194 e^"~~ S" f g a b^"~~ S" c
1196 \context Lyrics \lyrics {
1201 @lilypond[fragment,notime]
1202 \set Score.automaticBars = ##f
1203 %\override Score.LyricText #'font-style = #'large
1204 %\override Score.TextScript #'font-style = #'large
1206 \context Staff \relative c' {
1208 \override TextScript #'padding = #-4
1209 e^"~~ S" f g a b^"~~ S" c d
1211 \context Lyrics \lyrics {
1216 @lilypond[fragment,notime]
1217 \set Score.automaticBars = ##f
1218 %\override Score.LyricText #'font-style = #'large
1219 %\override Score.TextScript #'font-style = #'large
1222 \override TextScript #'padding = #-4
1223 e1^"~~ S" f g a b^"~~ S" c d e
1225 \context Lyrics \lyrics {
1230 @lilypond[fragment,notime]
1231 \set Score.automaticBars = ##f
1232 %\override Score.LyricText #'font-style = #'large
1233 %\override Score.TextScript #'font-style = #'large
1237 \override TextScript #'padding = #-4
1238 b^"~~ S" c d e^"~~ S" f
1240 \context Lyrics \lyrics {
1245 @lilypond[fragment,notime]
1246 \set Score.automaticBars = ##f
1247 %\override Score.LyricText #'font-style = #'large
1248 %\override Score.TextScript #'font-style = #'large
1252 \override TextScript #'padding = #-4
1253 b^"~~ S" c d e^"~~ S" f g }
1254 \context Lyrics \lyrics {
1259 @lilypond[fragment,notime]
1260 \set Score.automaticBars = ##f
1261 %\override Score.LyricText #'font-style = #'large
1262 %\override Score.TextScript #'font-style = #'large
1266 \override TextScript #'padding = #-4
1267 b^"~~ S" c d e^"~~ S" f g a
1269 \context Lyrics \lyrics {
1274 From the beginning of the 17th century the scales used in European
1275 compositional music are primarily the major and the minor scales. In the
1276 harmonic minor scale type an augmented second (A) occurs between the 6th and
1279 @lilypond[fragment,notime]
1280 \set Score.automaticBars = ##f
1281 %\override Score.LyricText #'font-style = #'large
1282 %\override Score.TextScript #'font-style = #'large
1286 \override TextScript #'padding = #-4
1287 e^"~~ S" f g a b^"~~ S" c
1289 \context Lyrics \lyrics {
1294 @lilypond[fragment,notime]
1295 \set Score.automaticBars = ##f
1296 %\override Score.LyricText #'font-style = #'large
1297 %\override Score.TextScript #'font-style = #'large
1301 \override TextScript #'padding = #-4
1302 b^"~~ S" c d e^"~~ S" f g a
1304 \context Lyrics \lyrics {
1309 @lilypond[fragment,notime]
1310 \set Score.automaticBars = ##f
1311 %\override Score.LyricText #'font-style = #'large
1312 %\override Score.TextScript #'font-style = #'large
1316 \override TextScript #'padding = #-4
1317 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1319 \context Lyrics \lyrics {
1324 @lilypond[fragment,notime]
1325 \set Score.automaticBars = ##f
1326 %\override Score.LyricText #'font-style = #'large
1327 %\override Score.TextScript #'font-style = #'large
1331 \override TextScript #'padding = #-4
1332 b^"~~ S" c d e fis gis^"~~ S"
1333 a g! f!^"~~ S" e d c^"~~ S" b a
1335 \context Lyrics \lyrics {
1340 @aitem{diminished interval}
1341 ES: intervalo disminu@'{@dotless{i}}do,
1342 I: intervallo diminuito,
1343 F: intervalle diminu@'e,
1344 D: vermindertes Intervall,
1345 NL: verminderd interval,
1346 DK: formindsket interval,
1347 S: f@"orminskat intervall,
1348 FI: v@"ahennetty intervalli.
1360 FI: diminuendo, hiljentyen.
1364 @aitem{disjunct movement}
1365 ES: movimiendo disjunto,
1367 F: mouvement disjoint,
1368 D: sprunghafte Bewegung,
1369 NL: sprongsgewijze beweging,
1370 DK: springende bev@ae{}gelse,
1371 S: hoppande r@"orelse,
1372 FI: melodian hyppiv@"a liike.
1374 Progressing melodically by intervals larger than a major second.
1375 Opposite of @aref{conjunct movement}.
1382 a4. gis8 b a e cis |
1383 fis2 d4. \bar "||" }
1386 @aitemii{dissonant interval,dissonance}
1387 ES: intervalo disonante, disonancias,
1388 I: intervallo dissonante, dissonanza,
1391 NL: dissonant interval; dissonant,
1392 DK: dissonerende interval, dissonans,
1394 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1398 @aitem{dominant ninth chord}
1399 I: accordo di nona di dominante,
1400 F: accord de neuvi@`eme dominante,
1401 D: Dominantnoneakkord,
1402 NL: dominant noon akkoord,
1403 DK: dominantnoneakkord,
1404 S: dominantnonackord,
1405 FI: dominanttinoonisointu.
1407 @aref{chord}, @aref{functional harmony}.
1409 @aitem{dominant seventh chord}
1410 ES: acorde de s@'eptima de dominante,
1411 I: accordo di settima di dominante,
1412 F: accord de septi@`eme dominante,
1413 D: Dominantseptakkord,
1414 NL: dominant septiem akkoord,
1415 DK: dominantseptimakkord,
1416 S: dominantseptimackord,
1417 FI: dominanttiseptimisointu.
1419 @aref{chord}, @aref{functional harmony}.
1429 FI: dominantti, huippusointu.
1431 The fifth @aref{scale degree},
1432 @aref{functional harmony}.
1438 D: dorisch, dorischer Kirchenton,
1439 NL: dorische toonladder,
1444 @aref{diatonic scale}.
1446 @aitem{dot (augmentation dot)}
1448 I: punto (di valore),
1450 D: Punkt (Verl@"angerungspunkt),
1459 ES: nota con puntillo,
1463 NL: gepuncteerde noot,
1466 FI: pisteellinen nuotti.
1470 @aitem{double appoggiatura}
1471 ES: apoyatura doble,
1472 I: appoggiatura doppia,
1473 F: appoggiature double,
1474 D: doppelter Vorschlag,
1475 NL: dubbele voorslag,
1476 DK: dobbelt forslag,
1478 FI: kaksoisappogiatura, kaksoisetuhele.
1480 @aref{appoggiatura}.
1482 @aitem{double bar line}
1486 NL: dubbele maatstreep,
1489 FI: kaksoistahtiviiva.
1491 Indicates the end of a section within a movement.
1493 @aitem{double dotted note}
1494 ES: nota con dos puntillos,
1495 I: nota doppiamente puntata,
1496 F: note doublement point@'ee,
1497 D: doppelt punktierte Note,
1498 NL: dubbelgepuncteerde noot,
1499 DK: dob@-belt@-punk@-te@-ret node,
1500 S: dub@-bel@-punk@-te@-rad not,
1501 FI: kaksoispisteellinen nuotti.
1513 FI: kaksoisalennusmerkki.
1517 @aitem{double sharp}
1518 ES: doble sostenido,
1523 DK: dob@-belt@-kryds,
1525 FI: kaksoisylennysmerkki.
1529 @aitem{double trill}
1534 NL: dubbele triller,
1539 A simultaneous trill on two notes, usually in the distance of a third.
1546 NL: tweedelige maatsoort,
1573 FI: kesto, aika-arvo.
1577 @aitem{dydimic comma}
1578 @aref{syntonic comma}.
1595 D: Achtel, Achtelnote,
1597 DK: ottendedelsnode,
1598 S: @aa{}ttondelsnot,
1599 FI: kahdeksasosanuotti.
1604 ES: silencio de corchea,
1610 DK: ottendedelspause,
1611 S: @aa{}ttonddelspaus,
1612 FI: kahdeksasosatauko.
1620 D: Notenstechen, Notendruck
1626 Engraving means incising or etching a metal plate for
1627 printing. Photoengraving means drawing music with ink in a manner
1628 similar to drafting or engineering drawing, using similar tools.
1630 The traditional process of music printing is done through cutting in a
1631 plate of metal. Now also the term for the art of music typesetting.
1643 Two notes, intervals, or scales are enharmonic if they have different names
1646 @lilypond[fragment,notime]
1647 \set Score.automaticBars = ##f
1648 %\override Score.TextScript #'font-style = #'large
1650 \context Staff \relative c'' {
1651 gis1 s s as s s <des g,!> s s <cis g!> s s
1653 \context Lyrics \lyrics {
1654 \override Lyrics .LyricText #'self-alignment-X = #-1
1655 "g sharp " "a flat " "dim fifth " "augm fourth"
1659 @aitem{equal temperament}
1661 I: temperamento equabile,
1662 F: temp@'erament @'egal,
1663 D: gleichschwebende Stimmung,
1664 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1665 DK: ligesv@ae{}vende temperatur,
1666 S: liksv@"avande temperatur,
1669 Tuning system dividing the octave into 12 equal @aref{semitone}s
1670 (precisely 100 @aref{cent}s). @aref{temperament}.
1672 @aitem{expression mark}
1674 I: segno d'espressione,
1675 F: signe d'expression, indication de nuance,
1677 NL: voordrachtsteken,
1678 DK: foredragsbetegnelse,
1679 S: f@"oredragsbeteckning,
1680 FI: nyanssiosoitus, esitysmerkki.
1682 Performance indications concerning 1. volume, dynamics (for example
1683 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1684 @aref{andante}, @aref{allegro}).
1706 The position between the dots of the key symbol is the line of the F below
1707 central@w{ }C. Used on the third, fourth and fifth note line. A
1708 digit@w{ }8 above the clef symbol indicates that the notes must be played
1709 an octave higher (for example bass recorder) while 8@w{ }below the clef
1710 symbol indicates playing an octave lower (for example on double bass
1713 @lilypond[fragment,notime]
1714 \set Score.automaticBars = ##f
1715 \override Staff.Clef #'full-size-change = ##t
1716 %\override Score.LyricText #'font-style = #'large
1730 \context Lyrics \lyrics {
1731 \override Lyrics .LyricText #'self-alignment-X = #-1
1740 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1745 F: point d'orgue, point d'arr@^et,
1750 FI: fermaatti, pid@"ake.
1752 Prolonged note or rest of indefinite duration.
1757 a4 b c2^\fermata \bar "|."
1773 @aitem{figured bass}
1774 ES: bajo cifrado, @aref{thorough bass}.
1782 DK: fingers@ae{}tning,
1783 S: fingers@"attning,
1786 The methodical use of fingers in the playing of instruments.
1788 @aitemii{flag,pennant}
1790 I: coda (uncinata), bandiera,
1792 D: Fahne, F@"ahnchen,
1798 Ornament at the end of the stem of a note used for notes with values
1799 less than a quarter note. The number of flags determines the
1802 @lilypond[fragment,notime]
1803 \set Score.automaticBars = ##f
1804 %\override Score.TextScript #'font-style = #'large
1825 @aitemii{forefall,backfall}
1826 @aref{appoggiatura}.
1836 FI: forte, voimakkaasti.
1838 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1839 @emph{mezzoforte} (@b{mf}) medium loud.
1863 @aref{counterpoint}.
1865 @aitem{functional harmony}
1866 ES: armon@'{@dotless{i}}a funcional,
1867 I: armonia funzionale,
1868 F: @'etude des functions,
1870 NL: functionele harmonie,
1871 DK: funktionsanalyse, funktionsharmonik,
1873 FI: harmoniaj@"arjestelm@"a.
1875 A system of harmonic analysis. It is based on the idea that, in a given key,
1876 there are only three functionally different chords: tonic (T, the chord on the
1877 first note of the scale), subdominant (S, the chord on the fourth note), and
1878 dominant (D, the chord on the fifth note). Other are considered to be
1879 variants of the base chords.
1881 @lilypond[fragment,notime]
1882 \set Score.automaticBars = ##f
1883 %\override Score.LyricText #'font-style = #'large
1884 %\override Score.TextScript #'font-style = #'large
1886 \context Voice \relative c'' {
1887 <g e c >1 < a f d > < b g e >
1888 <c a f > < d b g > < e c a > < f d b > }
1889 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1906 D: G-Schl@"ussel, Violinschl@"ussel,
1912 A clef symbol indicating the G above central@w{ }C. Used on the first
1913 and second note lines. A digit 8 above the clef symbol indicates that
1914 the notes must be played an octave higher while 8 below the clef symbol
1915 indicates playing or singing an octave lower (most tenor parts in choral
1916 scores are notated like that).
1918 @lilypond[fragment,notime]
1919 \set Score.automaticBars = ##f
1920 \override Staff.Clef #'full-size-change = ##t
1921 %\override Score.LyricText #'font-style = #'large
1933 \context Lyrics \lyrics {
1934 \override Lyrics .LyricText #'self-alignment-X = #-1
1935 "french violin clef "
1950 FI: glissando, liukuen.
1952 Letting the pitch slide fluently from one note to the other.
1958 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1964 Notes printed in small types to indicate that their time values are not
1965 counted in the rhythm of the bar. @aref{appoggiatura}.
1973 S: ackolad, b@"ojd klammer,
1974 FI: kaksoisnuottiviivasto.
1978 A combination of two staves with a brace. Usually used for piano music.
1988 FI: grave, raskaasti.
1997 D: Halbe, halbe Note,
2018 @aitem{harmonic cadence}
2019 ES: cadencia (arm@'onica),
2020 I: cadenza (armonica),
2021 F: cadence harmonique,
2023 NL: harmonische cadens,
2024 DK: harmonisk kadence,
2025 S: (harmonisk) kadens,
2026 FI: harmoninen kadenssi.
2028 Sequence of chords that terminate a musical phrase or
2029 section. @aref{functional harmony}.
2032 \context PianoStaff <<
2033 \context Staff = SA \relative c'' {
2037 \partial 4 < c g e >4 |
2038 < c a f > < b g d > < c g e >2
2040 % %\override Score.LyricText #'font-style = #'large
2042 \context Staff = SB \relative c {
2044 \partial 4 c4 | f, g c2
2047 \context Lyrics \lyrics {
2054 ES: armon@'{@dotless{i}}a,
2057 D: Harmonie, Zusammenklang,
2061 FI: harmonia, yhteissointi.
2063 Tones sounding simultaneously. Two note harmonies fall into the categories
2064 @emph{consonances} and @emph{dissonances}.
2068 @lilypond[fragment,notime]
2069 \set Score.automaticBars = ##f
2070 %\override Score.TextScript #'font-style = #'large
2071 \context Voice \relative c'' {
2084 @lilypond[fragment,notime]
2085 \set Score.automaticBars = ##f
2086 %\override Score.TextScript #'font-style = #'large
2087 \context Voice \relative c'' {
2088 <g a>1_"second " s s
2089 <g f'>_"seventh " s s
2094 Three note harmony @aref{chord}.
2097 ES: homofon@'{@dotless{i}}a,
2104 FI: homofonia, yksi@"a@"anisyys.
2106 Music in which one voice leads melodically followed by the other voices more
2107 or less in the same rhythm. In contrast to @aref{polyphony}.
2117 FI: intervalli, kahden s@"avelen korkeusero.
2119 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2120 diminished, or augmented. The augmented fourth and the diminished fifth are
2121 identical (@aref{enharmonic}) and are called @emph{tritonus}
2122 because they consist of three @aref{whole tone}s. The addition
2123 of such two forms an octave.
2125 @lilypond[fragment,notime]
2126 \set Score.automaticBars = ##f
2127 %\override Score.LyricText #'font-style = #'large
2128 %\override Score.TextScript #'font-style = #'large
2130 \context Voice \relative c'' {
2135 < gis bes >^"dimin" s
2136 < g! bes >^"minor" s
2140 \context Lyrics \lyrics {
2141 "unisone " "second " "second " "second "
2142 "third " "third " "third " "third "
2146 @lilypond[fragment,notime]
2147 \set Score.automaticBars = ##f
2148 %\override Score.LyricText #'font-style = #'large
2149 %\override Score.TextScript #'font-style = #'large
2151 \context Staff \relative c'' {
2154 < g d' >^"perfect" s
2155 < g des' > ^"dimin" s
2156 < gis es' >^"dimin" s
2157 < g! es' >^"minor" s
2161 \context Lyrics \lyrics {
2162 "fourth " "fourth " "fifth " "fifth "
2163 "sixth " "sixth " "sixth " "sixth "
2167 @lilypond[fragment,notime]
2168 \set Score.automaticBars = ##f
2169 %\override Score.LyricText #'font-style = #'large
2170 %\override Score.TextScript #'font-style = #'large
2172 \context Staff \relative c'' {
2173 < gis f'! >1^"dimin" s
2174 < g! f'! >^"minor" s
2175 < g fis' >^"major" s
2179 < g bes' >^"minor" s
2182 \context Lyrics \lyrics {
2183 "seventh " "seventh " "seventh " "octave "
2184 "none " "none " "decime " "decime "
2188 @aitem{inverted interval}
2189 ES: intervalo invertido,
2190 I: intervallo rivolto,
2191 F: intervalle revers@'e,
2192 D: umgekehrtes Intervall,
2193 NL: interval inversie,
2194 DK: omvendingsinterval,
2195 S: intervallets omv@"andning,
2196 FI: k@"a@"anteisintervalli.
2198 The difference between an interval and an octave.
2200 @lilypond[fragment,notime]
2201 \set Score.automaticBars = ##f
2202 %\override Score.TextScript #'font-style = #'large
2203 \context Staff \relative c'' {
2204 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2205 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2206 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2210 @aitem{just intonation}
2211 I: intonazione giusta,
2212 F: intonation juste,
2219 Tuning system in which the notes are obtained by adding and subtracting
2220 natural fifths and thirds. @aref{temperament}.
2232 According to the 12@w{ }tones of the @aref{chromatic scale}
2233 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2234 @aref{key signature}.
2236 @aitem{key signature}
2237 ES: armadura de clave,
2238 I: armatura di chiave,
2239 F: armure, armature [de la cl@'e],
2240 D: Vorzeichen, Tonart,
2241 NL: toon@-soort (voortekens),
2244 FI: s@"avellajiosoitus.
2246 The sharps or flats appearing at the beginning of each staff indicating the
2247 key of the music. @aref{accidental}.
2253 D: Largo, Langsam, Breit,
2257 FI: largo, hitaasti, leve@"asti.
2259 Very slow in tempo, usually combined with great
2260 expressiveness. @emph{Larghetto} is less slow than largo.
2262 @aitem{leading note}
2272 The seventh @aref{scale degree}, a @aref{semitone} below
2273 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2274 upwards) to the tonic scale degree.
2276 @aitemii{ledger line,leger line}
2277 ES: l@'{@dotless{i}}neas adicionales,
2278 I: tagli addizionali,
2279 F: ligne suppl@'ementaire,
2282 DK: hj@ae{}lpelinie,
2286 A ledger line is an extension of the staff.
2288 @lilypond[fragment,notime]
2289 \set Score.automaticBars = ##f
2290 \relative c'' { a,1 s c'' }
2303 To be performed (a) without any perceptible interruption between the notes,
2304 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2305 (d) @aref{staccato}.
2307 @lilypond[fragment,notime]
2308 \set Score.automaticBars = ##f
2310 \context Staff \relative c'' {
2311 c4-( d e-) \bar "||"
2312 c4-- d-- e-- \bar "||"
2313 c4-.-( d-. e-.-) \bar "||"
2314 c4-. d-. e-. \bar "||"
2316 \context Lyrics \lyrics {
2317 % \override Lyrics .LyricText #'font-style = #'large
2325 @aitem{legato curve}
2326 @aref{slur}, @aref{legato}.
2329 ES: estanque de lilas,
2330 I: stagno del giglio,
2334 NL: le@-lie@-vij@-ver,
2339 A pond with lilies floating in it, also the name of a music typesetter.
2343 A ligature is a coherent graphical symbol that represents at least two
2344 distinct notes. Ligatures originally appeared in the manuscripts of
2345 Gregorian chant notation roughly since the 9th century to denote
2346 ascending or descending sequences of notes. In early notation,
2347 ligatures were used for monophonic tunes (Gregorian chant) and very
2348 soon denoted also the way of performance in the sense of articulation.
2349 With the invention of the metric system of the white mensural
2350 notation, the need for ligatures to denote such patterns disappeared.
2355 ES: l@'{@dotless{i}}nea,
2358 D: Linie, Notenlinie,
2362 FI: viiva, nuottiviiva.
2366 @aitem{long appoggiatura}
2367 ES: apoyatura larga,
2368 I: appoggiatura lunga,
2369 F: appoggiature longue,
2370 D: langer Vorschlag,
2373 S: l@aa{}ngt f@"orslag,
2374 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2376 @aref{appoggiatura}.
2388 Note value: double length of @aref{breve}.
2391 @lilypond[fragment,notime]
2392 \set Score.automaticBars = ##f
2394 \override NoteHead #'style = #'mensural
2399 @aitemii{lyrics,song texts}
2409 @aitem{major interval}
2410 ES: intervalo mayor,
2411 I: intervallo maggiore,
2412 F: intervalle majeur,
2413 D: gro@ss{}es Intervall,
2417 FI: suuri intervalli.
2431 @aref{diatonic scale}.
2433 @aitem{meantone temperament}
2434 I: accordatura mesotonica,
2435 F: temp@'erament m@'esotonique,
2436 D: mittelt@"onige Stimmung,
2437 NL: middenstemming, middentoonstemming,
2438 DK: middeltonetemperatur,
2439 S: medeltonstemperatur,
2440 FI: keskis@"avelviritys.
2442 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2443 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2444 @aref{temperament} only a limited set of keys are playable.
2445 Used for tuning keyboard instruments for performance of pre-1650 music.
2447 @aitemii{measure,bar}
2457 A group of @aref{beat}s (units of musical time) the first of which
2458 bears an accent. Such groups in numbers of two or more recur consistently
2459 throughout the composition and are marked from each other by
2460 bar-lines. @aref{meter}.
2464 I: mediante, modale,
2472 1. The third @b{scale degree}.
2473 2. A @aref{chord} having its base tone
2474 a third from that of another chord. For example, the tonic chord may be
2475 replaced by its lower mediant (variant tonic). @aref{functional
2476 harmony}, @aref{relative key}.
2481 FI: melisma, laulettavan tavun s@"avelkuvio.
2483 A melisma (plural: melismata) is a group of notes or tones sung on one
2484 syllable in plainsong
2486 @aitem{melodic cadence}
2489 @aitemii{meter,time}
2492 F: indication de m@'esure,
2499 The basic scheme of @aref{note value}s and
2500 @aref{accent}s which remains unaltered throughout a composition
2501 or a section of it. For instance, 3/4 meter means that the basic
2502 @aref{note value}s are quarter notes and that a
2503 @aref{measure} consists of three of those. According to
2504 whether there are two, three or four units to the measure,
2505 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2506 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2512 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2519 f8 f f f a16 g a f |
2520 c'8 c c c e16 d e c \bar "||"}
2527 d4 b8 g b d d c a4 |
2528 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2541 Device indicating the exact tempo of a piece. @aref{metronomic
2544 @aitem{metronomic indication}
2545 ES: indicaci@'on metron@'omica,
2546 I: indicazione metronomica,
2547 F: indication m@'etronomique,
2549 NL: metronoom aanduiding,
2551 S: metronomangivelse,
2552 FI: metronomiosoitus.
2554 Exact tempo indication (in beats per minute). Also denoted by
2555 M.M. (M@"alzels Metronom).
2557 @aitem{mezzo-soprano}
2567 The female voice between @aref{soprano} and
2574 D: eingestrichenes@w{ }c,
2576 DK: enstreget@w{ }c,
2577 S: ettstruket@w{ }c,
2580 First C below the 440 Hz A.
2582 @lilypond[fragment,notime]
2583 \set Score.automaticBars = ##f
2584 \override Staff.Clef #'full-size-change = ##t
2602 @aref{diatonic scale}.
2604 @aitem{minor interval}
2605 ES: intervalo mayor,
2606 I: intervallo minore,
2607 F: intervalle mineur,
2608 D: kleines Intervall,
2612 FI: pieni intervalli.
2624 FI: moodi, kirkkos@"avelasteikko.
2626 @aref{church mode}, @aref{diatonic scale}.
2636 FI: modulaatio, s@"avellajin vaihdos.
2638 Moving from one @aref{key} to another. For example, the second
2639 subject of a @aref{sonata form} movement modulates to the dominant
2640 key if the key is major and to the @aref{relative key} if the key
2650 FI: mordent, korukuvio.
2654 @aitemii{motive,motif}
2662 FI: teema, s@"avelaihe.
2664 The briefest intelligible and self-contained fragment of a musical theme or
2668 \override Score.TimeSignature #'break-visibility = #all-invisible
2669 %\override Score.TextScript #'font-style = #'large
2673 \partial 8 g16_"------" fis |
2674 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2675 g8 g,16 a b8 cis d16 s
2689 Greater musical works like @aref{symphony} and
2690 @aref{sonata} most often consist of several -- more or less --
2691 independant pieces called movements.
2693 @aitem{multibar rest}
2694 ES: compases de espera,
2698 D: mehrtaktige Pause,
2701 FI: usean tahdin mittainen tauko.
2706 \set Score.skipBars = ##t R1*3
2711 @aitem{mixolydian mode}
2712 @aref{diatonic scale}.
2714 @aitem{natural sign}
2718 D: Aufl@"osungszeichen,
2719 NL: herstellingsteken,
2720 DK: op@-l@o{}sningstegn,
2721 S: @aa{}terst@"allningstecken,
2726 @aitem{neighbour tones}
2727 @aref{appoggiatura}.
2754 Notes are signs by means of which music is fixed in writing. The term is also
2755 used for the sound indicated by a note, and even for the key of the piano
2756 which produces the sound. However, a clear distinction between the terms tone
2757 and @aref{note} is strongly recommended. Briefly, one sees a note,
2762 I: testa, testina, capocchia,
2763 F: t@^ete de la note,
2770 A head like sign which indicates pitch by its position on a
2771 @aref{staff} provided with a @aref{clef}, and duration
2772 by a variety of shapes such as hollow or black heads with or without
2773 @aref{stem}s, @aref{flag}s, etc. For percussion
2774 instruments (often having no defined pitch) the note head may indicate the
2780 F: dur@'ee, valeur (d'une note),
2785 FI: nuotin aika-arvo.
2787 Note values (durations) are measured as fractions, normally 1/2, of the next
2788 higher note value. The longest duration normally used is called @emph{brevis},
2789 but sometimes (mostly in pre baroque music) the double length note value
2790 @emph{longa} is used.
2792 @lilypond[fragment,notime]
2793 %\override Score.TextScript #'font-style = #'large
2794 \set Score.automaticBars = ##f
2796 \override NoteHead #'style = #'mensural
2797 g\longa_"longa" g\breve_"breve"
2798 \revert NoteHead #'style
2799 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2800 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2803 @lilypond[fragment,notime]
2804 %\override Score.TextScript #'font-style = #'large
2805 \set Score.automaticBars = ##f
2807 r\longa_"longa" r\breve_"breve"
2808 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2809 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2812 An augmentation dot after a note multiplies the duration by one and a
2813 half. Another dot adds yet a fourth of the duration.
2816 %\override Score.TextScript #'font-style = #'large
2819 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2820 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2823 Alternatively note values may be subdivided by other ratios. Most common is
2824 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2825 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2826 dotted notes are also frequently used.
2829 %\override Score.TextScript #'font-style = #'large
2832 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2833 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2840 \times 3/2 {g4_"duplets" g} |
2842 \times 6/4 {g8_"quadruplets" g g g} |
2843 g8 g g g g4 \bar "||"
2848 @aref{G clef}, @aref{F clef}.
2862 @aitemiii{ornament,embellishment,accessory}
2864 I: abbellimento, fioriture,
2865 F: agr@'ement, ornement,
2866 D: Verzierung, Ornament,
2872 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2873 with the diatonic @aref{second} above it. In the music from the
2874 middle of the 19th century and onwards the trill is performed with the main
2875 note first while in the music from the preceding baroque and classic periods
2876 the upper note is played first.
2880 \context Staff = sa {
2881 % \override Score.TextScript #'font-style = #'large
2883 c2._"pre-1850" b4\trill | c1 \bar "||"
2884 c2._"post-1850" b4\trill | c1 \bar "||"
2888 c2. c32 b c b c b c b | c1
2889 c2. b32 c b c \times 4/5 { b c b c b } | c1
2894 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
2895 @emph{prall} (inverted mordent).
2899 \context Staff = sa {
2900 % \override Score.TextScript #'font-style = #'large
2902 a4_"turn" b\turn c2 \bar "||"
2903 g4_"mordent" a b\mordent a \bar "||"
2904 e'4_"prall" d\prall c2 \bar "||"
2910 e'4 e32[ d e d ~ d8] c2
2915 @aref{appoggiatura}.
2925 FI: ossia, vaihtoehtoinen esitystapa.
2927 Ossia (otherwise) marks an alternative. It is an added staff or piano
2928 score, usually only a few measures long, which presents another version
2929 of the music, for example for small hands.
2939 FI: stemma, instrumenttiosuus.
2941 1. In instrumental or choral music the music for the single instrument
2942 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2943 melodic line of the contrapunctal web.
2949 D: Schlagzeug, Schlagwerk,
2953 FI: ly@"om@"asoittimet.
2955 A family of musical instruments which are played on by striking or
2956 shaking. Percussion instruments commonly used in a symphony orchestra are
2957 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2958 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2961 @aitem{perfect interval}
2962 ES: intervalo justo,
2963 I: intervallo giusto,
2964 F: intervalle juste,
2965 D: reines Intervall,
2969 FI: puhdas intervalli.
2983 A natural division of the melodic line, comparable to a sentence of speech.
2993 FI: fraseeraus, j@"asent@"aminen.
2995 The clear rendering in musical performance of the @aref{phrase}s of
2996 the melody. Phrasing may be indicated by a @aref{slur}.
3008 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3009 @emph{mezzopiano} (@b{mp}) medium soft.
3026 NL: pizzicato, getokkeld,
3029 FI: pizzicato, n@"app@"aillen.
3031 Play by plucking the strings.
3034 ES: polifon@'{@dotless{i}}a,
3041 FI: polyfonia, moni@"a@"anisyys.
3043 Music written in a combination of several simultaneous voices (parts) of a
3044 more or less pronounced individuality. @aref{counterpoint}.
3053 D: Presto, Sehr schnell,
3054 NL: presto, Sehr schnell,
3057 FI: presto, hyvin nopeasti.
3059 Very quick, i.e. quicker than @aref{allegro}; @emph{prestissimo}
3060 denotes the highest possible degree of speed.
3062 @aitem{Pythagorean comma}
3063 ES: coma pitag@'orico,
3064 I: comma pitagorico,
3065 F: comma pythagoricien,
3066 D: Pythagor@"aisches Komma,
3067 NL: komma van Pythagoras,
3068 DK: pythagor@ae{}isk komma,
3069 S: pytagoreiskt komma,
3070 FI: pytagorinen komma.
3072 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3073 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3074 24 @aref{cent}s higher than the@w{ }C obtained by adding
3075 7@w{ }octaves. The difference between those two pitches is called the
3090 @aitem{quarter note}
3092 I: semiminima, nera,
3095 D: Viertel, Viertelnote,
3099 FI: nelj@"annesosanuotti.
3103 @aitem{quarter rest}
3104 ES: silencio de negra,
3105 I: pausa di semiminima,
3110 DK:@w{ }fjerdedelspause,
3111 S: fj@"ardedelspaus,
3112 FI: nelj@"annesosatauko.
3132 D: rallentando, langsamer werden,
3136 FI. rallerdando, hidastuen.
3138 Abbreviation "rall.". @aref{ritardando}.
3140 @aitem{relative key}
3142 I: tonalit@`a relativa,
3143 F: tonalit@'e relative,
3145 NL: paralleltoonsoort,
3146 DK: paralleltoneart,
3148 FI: rinnakkaiss@"avellaji.
3150 @aref{major} and @aref{minor} @aref{key}
3151 with the same @aref{key signature}.
3153 @lilypond[fragment,notime]
3154 \set Score.automaticBars = ##f
3155 %\override Score.TextScript #'font-style = #'large
3158 es1_"e flat major" f g as bes c d es
3163 @lilypond[fragment,notime]
3164 \set Score.automaticBars = ##f
3165 %\override Score.TextScript #'font-style = #'large
3168 c1_"c minor" d es f g a! b! c \bar "||"
3173 ES: barra de repetici@'on,
3175 F: barre de reprise,
3178 DK: gen@-ta@-gel@-se,
3186 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3190 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3191 @c specify the rest's value.
3215 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3216 fixed unit of time, called @aref{beat}, and in which the normal
3217 @aref{accent} recurs in regular intervals, called
3218 @aref{measure}. The basic scheme scheme of time values is called
3219 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3220 accent. In modern notation such music appears as a free alternation of
3221 different measures. (c) Free rhythm, i.e., the use of temporal values having
3222 no common metrical unit (beat).
3228 D: Ritardando, langsamer werden,
3232 FI. ritardando, hidastuen,
3234 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3244 FI: ritenuto, hidastaen.
3246 Immediate reduction of speed.
3256 FI: asteikko, s@"avelasteikko.
3258 @aref{diatonic scale}.
3260 @aitem{scale degree}
3261 ES: grados de la escala,
3262 I: grado della scala,
3263 F: degr@'e [de la gamme],
3265 NL: trap [van de toonladder],
3268 FI: s@"avelaste, asteikon s@"avel.
3270 Names and symbols used in harmonic analysis to denote tones of the scale as
3271 roots of chords. The most important are degrees I = tonic (T), IV =
3272 sub@-do@-mi@-nant (S) and V = dominant (D).
3274 @lilypond[fragment,notime]
3275 \set Score.automaticBars = ##f
3276 %\override Score.LyricText #'font-style = #'large
3277 %\set minVerticalAlign = #8
3279 \context Staff \relative c' {
3282 \context Lyrics \lyrics {
3283 << { I II III IV V VI VII I }
3288 @aref{functional harmony}.
3294 D: Partitur (full score), Klavierauszug (vocal score)
3300 A copy of orchestral, choral, or chamber music showing what each instrument is
3301 to play, each voice to sing, having each part arranged one underneath the
3302 other on different staves @aref{staff}.
3314 The @aref{interval} between two neigbouring tones of a scale. A
3315 @aref{diatonic scale} consists of alternating
3316 @aref{semitone}s and @aref{whole tone}s, hence the size
3317 of a se@-cond depends on the scale degrees in question.
3329 The @aref{interval} of a minor second. The (usually) smallest
3330 interval in European composed music. The interval between two neighbouring
3331 tones on the piano keyboard -- including black and white keys -- is a
3332 semitone. An octave may be divided into 12@w{ }semitones.
3333 @aref{interval}, @aref{chromatic scale}.
3335 @lilypond[fragment,notime]
3336 \set Score.automaticBars = ##f
3337 \relative c'' { g1 gis s a bes s b! c }
3352 @aitem{sextuplet, sextolet}
3375 @aitem{short appoggiatura}
3376 @aref{appoggiatura}.
3378 @aitem{sixteenth note}
3383 D: Sechzehntel, Sechzehntelnote,
3384 NL: zes@-ti@-ende noot,
3385 DK: sekstendedelsnode,
3387 FI: kuudestoistaosanuotti.
3391 @aitem{sixteenth rest}
3392 ES: silencia de semicorchea,
3393 I: pausa di semicroma,
3395 UK: semiquaver rest,
3396 D: Sechzehntelpause,
3398 DK: sekstendedelspause,
3416 @aitem{sixty-fourth note}
3419 F: quadruple croche,
3420 UK: hemidemisemiquaver,
3421 D: Vierundsechzigstel, Vierundsechzigstelnote,
3422 NL: vierenzestigste noot,
3423 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3424 S: sextiofj@"ardedelsnot,
3425 FI: kuudeskymmenesnelj@"asosanuotti.
3429 @aitem{sixty-fourth rest}
3430 ES: silencia de semifusa,
3431 I: pausa di semibiscroma,
3432 F: seizi@`eme de soupir,
3433 UK: hemidemisemiquaver rest,
3434 D: Vierundsechzigstelpause,
3435 NL: vierenzestigste rust,
3436 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3437 S: sextiofj@"ardedelspaus,
3438 FI: kuudeskymmenesnelj@"asosatauko.
3444 I: legatura (di portamento or espressiva),
3445 F: liaison, coul@'e,
3446 D: Bogen, Legatobogen, Phrasierungsbogen,
3447 NL: fraseringsboog, legatoboog, streekboog,
3448 DK: legatobue, fraseringsbue,
3452 A slur above or below a group of notes indicates that they are to be played
3453 @aref{legato}, e.g., with one stroke of the violin bow or with one
3463 FI: suhteelliset laulunimet.
3465 General term for systems of designating the degrees of the
3466 @aref{scale}, not by letters, but by syllables (@emph{do}
3467 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3468 (@emph{ti})). @aref{scale degree}.
3480 In its present-day meaning a sonata denotes an instrumental composition for
3481 piano or for some other instrument with piano accompaniment, which consists of
3482 three or four independant pieces, called movements.
3487 F: [en] forme de sonate,
3489 NL: hoofdvorm, sonatevorm,
3494 A form used frequently for single movements of the @aref{sonata},
3495 @aref{symphony}, quartet, etc. A movement written in sonata form
3496 falls into three sections called @emph{exposition}, @emph{development} and
3497 @emph{recapitulation}. In the exposition the composer introduces some musical
3498 ideas, consisting of a number of themes; in the development section the composer
3499 "develops" this material, and in the recapitulation the composer repeats the exposition,
3500 with certain modificationsr. The exposition contains a number of themes
3501 which fall into two groups, often called first and second subject. Other
3502 melodies occurring in each group are considered as continuations of these
3503 two. The second theme is in another key, normally in the key of the
3504 @aref{dominant} if the @aref{tonic} is
3505 @aref{major}, and in the @aref{relative key} if the
3506 tonic is @aref{minor}.
3516 FI: sopraano, korkea nais@"a@"ani.
3518 The highest female voice.
3523 F: staccato, piqu@'e, d@'etach@'e,
3528 FI: staccato, lyhyesti, ter@"av@"asti.
3530 Playing the note(s) short. Staccato is indicated by a dot above or below the
3538 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3543 @aitemii{staff,pl. staves}
3545 I: pentagramma, rigo (musicale),
3548 NL: (noten)balk, partij,
3553 A series of (normally@w{ }5) horizontal lines upon and between
3554 which the musical notes are written, thus indicating (in connection
3555 with a @aref{clef}) their pitch. Staves for
3556 @aref{percussion} instruments may have fewer lines.
3562 D: Hals, Notenhals, Stiel,
3568 Vertical line above or below a @aref{note head} shorter than a
3569 whole note. @aref{beam}.
3571 @lilypond[fragment,notime]
3572 \set Score.autoBeaming = ##f
3573 \set Score.automaticBars = ##f
3574 %\override Score.TextScript #'font-style = #'large
3593 A family of stringed musical instruments played with a bow. Strings commonly
3594 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3600 D: betonter Taktteil oder Taktschlag,
3602 D: betonet taktslag,
3603 S: betonat taktslag,
3604 FI: tahdin vahva isku.
3606 @aref{beat}, @aref{accent}, @aref{measure},
3617 FI: subdominantti, alidominantti.
3619 The fourth @aref{scale degree}. @aref{functional
3630 FI: alikeskis@"avel.
3632 The sixth @aref{scale degree}.
3642 FI: subtoonika, alitoonika.
3644 The seventh @aref{scale degree}.
3646 @aitem{superdominant}
3656 The sixth @aref{scale degree}.
3668 The second @aref{scale degree}.
3671 ES: sinfon@'{@dotless{i}}a,
3674 D: Sinfonie, Symphonie,
3680 A symphony may be defined as a @aref{sonata} for orchestra.
3692 Any deliberate upsetting of the normal pulse of @aref{meter},
3693 @aref{accent} and @aref{rhythm}. Our system of musical
3694 rhythm rests upon the grouping of equal beats into groups of two or three,
3695 with a regularly recurrent accent on the first beat of each group. Any
3696 deviation from this scheme is felt as a disturbance or contradiction between
3697 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3704 e c'4 e,8 c'4 e,8 c' ( | c2)
3708 @aitemii{syntonic comma,dydimic comma}
3709 I: comma sintonico (o didimico),
3710 F: comma syntonique,
3711 D: syntonisches Komma,
3712 NL: syntonische komma,
3713 DK: syntonisk komma,
3714 S: syntoniskt komma,
3715 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3717 Difference between the natural third and the third obtained by Pythagorean
3718 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3727 FI: nuottij@"arjestelm@"a.
3729 The collection of staves @aref{staff}, two or more, as used for
3730 writing down of keyboard, chamber, choral, or orchestral music.
3736 D: Stimmung, Temperatur,
3737 NL: stemming, temperatuur,
3740 FI: viritysj@"arjestelm@"a.
3742 Systems of tuning in which the intervals deviate from the acoustically pure
3743 intervals. @aref{meantone temperament}, @aref{equal
3746 @aitem{tempo indication}
3747 ES: indicaci@'on de tempo,
3748 I: indicazione di tempo,
3749 F: indication de temps,
3750 D: Zeitma@ss{}, Tempobezeichnung,
3751 NL: tempo aanduiding,
3754 FI: tempomerkint@"a.
3756 The rate of speed of a composition or a section thereof, ranging from the
3757 slowest to the quickest, as is indicated by tempo marks as
3758 @aref{largo}, @aref{adagio}, @aref{andante},
3759 @aref{allegro}, and @aref{presto}.
3769 FI: tenori, korkea mies@"a@"ani.
3771 The highest voice of men (apart from @aref{counter tenor}).
3797 @aitem{thirty-second note}
3802 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3803 NL: twee-endertig@-ste noot,
3804 DK: toogtredivtedelsnode,
3805 S: trettiotv@aa{}ondelsnot,
3806 FI: kolmanneskymmeneskahdesosanuotti.
3810 @aitem{thirty-second rest}
3811 ES: silencio de fusa,
3812 I: pausa di biscroma,
3813 F: huiti@`eme de soupir,
3814 UK: demisemiquaver rest,
3815 D: Zweiunddreissigstel@-pause,
3817 DK: toogtredivtedelspause,
3818 S: trettiotv@aa{}ondelspaus,
3819 FI: kolmanneskymmeneskahdesosatauko.
3823 @aitemii{thorough bass,figured bass}
3825 I: basso continuo, basso numerato,
3826 F: basse chiffr@'ee,
3827 D: Generalbass, bezifferter Bass,
3828 NL: basso continuo, becijferde bas
3831 FI: kenraalibasso, numeroitu basso.
3833 A method of indicating an accompaniment part by the bass notes only, together
3834 with figures designating the chief @aref{interval}s and
3835 @aref{chord}s to be played above the bass notes.
3838 \context GrandStaff <<
3839 \context Staff = lh \relative c'' {
3843 << \context Voice = rha {
3846 \context Voice = rhb {
3848 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3852 \context Staff = rh \relative c' {
3855 es8 c d bes c as bes16 as g f | es4
3857 \context Lyrics \lyrics {
3858 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3859 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3860 { "" "" "" "2" "" "" "" "" "" "2" } >>
3866 ES: ligadura de prolongaci@'on,
3867 I: legatura (di valore),
3870 NL: overbinding, bindingsboog,
3872 S: bindeb@aa{}ge, @"overbindning,
3875 A curved line, identical in appearance with the @aref{slur}, which
3876 connects two succesive notes of the same pitch, and which has the function of
3877 uniting them into a single sound equal to the combined durations.
3879 @lilypond[fragment,notime]
3880 \set Score.automaticBars = ##f
3881 \relative c'' { g2 ~ g4. }
3884 @aitem{time signature}
3885 ES: cifra indicadora de comp@'as,
3887 F: chiffrage (chiffres indicateurs), signe de valeur,
3888 D: Taktangabe, Angabe der Taktart,
3891 S: taktartssignatur,
3906 A sound of definite pitch and duration, as distinct from @emph{noise}.
3907 Tone is a primary building material of music.
3908 Music from the 20th century may be based on non tone related sounds.
3920 The first @aref{scale degree}.
3921 @aref{functional harmony}.
3923 @aitem{transposition}
3924 ES: transposici@'on,
3933 Shifting a melody up or down in pitch, while keeping the same
3941 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3949 \transpose c bes \relative c'' {
3951 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3958 I: chiave di violino,
3960 D: Violinschl@"ussel, Sopranschl@"ussel,
3962 DK:@w{ }diskantn@o{}gle,
3978 On stringed instruments (@aref{strings}) the quick reiteration of
3979 the same tone, produced by a rapid up-and-down movement movement of the bow
3980 (a). The term is also used for the rapid alternation (b) between two notes of
3981 a @aref{chord}, usually in the distance of a third
3984 @lilypond[fragment,notime]
3985 \set Score.automaticBars = ##f
3986 %\override Score.TextScript #'font-style = #'large
3989 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3990 \repeat "tremolo" 8 { e32_"b" g }
3995 ES: tr@'{@dotless{i}}ada,
3997 F: triade, accord parfait, accord de trois sons,
4006 @aitemii{trill,shake}
4009 F: trille, tremblement, battement (cadence),
4018 @aitem{triple meter}
4019 ES: comp@'as compuesto,
4023 NL: driedelige maatsoort,
4043 ES: tr@'{@dotless{i}}tono,
4056 I: diapason, corista,
4064 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4065 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4067 @aitemii{turn,gruppetto}
4080 ES: un@'{@dotless{i}}sono,
4087 FI: unisono, yksi@"a@"anisesti.
4089 Playing of the same notes or the same melody by various instruments (voices)
4090 or by the whole orchestra (choir), either at exactly the same pitch or in a
4094 ES: entrada anacr@'usica,
4096 F: anacrouse, lev@'ee,
4103 Initial note(s) of a melody occurring before the first bar
4104 line. @aref{measure}, @aref{meter}.
4110 \partial 4 f4 | bes4. a8 bes4 c |
4111 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4122 FI: @"a@"ani, laulu@"a@"ani.
4124 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4125 @aref{contralto}, @aref{tenor},
4126 @aref{baritone}, @aref{bass}.
4127 2. A melodic layer or part of a polyphonic composition.
4131 I: tempo debole, arsi,
4133 D: unbetonter Taktteil oder Taktschlag,
4135 DK: ubetonet taktslag,
4136 S: obetonat taktslag,
4137 FI: tahdin heikko isku.
4139 @aref{beat}, @aref{measure}, @aref{rhythm}.
4146 D: Ganze, ganze Note,
4155 ES: silencio de redonda,
4156 I: pausa di semibreve,
4159 D: ganze Pause, ganztaktige Pause,
4177 The @aref{interval} of a major second. The interval between two
4178 tones on the piano keyboard with exactly one key between them -- including
4179 black and white keys -- is a whole tone.
4187 DK tr@ae{}bl@ae{}sere,
4188 S: tr@"abl@aa{}sare,
4191 A family of blown wooden musical instruments. Today some of these instruments
4192 are actually made from metal. The woodwind instruments commonly used in a
4193 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4200 @item DURATION NAMES, NOTES AND RESTS
4203 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4205 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4206 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4210 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4211 @tab longa @tab longa @tab longa
4215 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4216 brevis @tab brevis @tab brevis @tab brevis
4220 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4221 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4225 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4226 halve @tab halv @tab halv @tab puoli- @tab
4230 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4231 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4235 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4236 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4240 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4241 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4242 @tab kuudestoistaosa- @tab
4246 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4247 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4248 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4252 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4253 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4254 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4255 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4258 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4266 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4268 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4269 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4273 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4277 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4278 cis @tab cis @tab cis
4282 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4283 des @tab des @tab des
4287 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4291 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4295 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4299 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4303 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4308 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4312 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4313 ais @tab ais @tab ais
4317 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4322 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4330 @item ---------------------
4334 @item Literature used
4335 The Harvard Dictionary of Music, London 1944. Many more or less literal
4336 quotes from its articles have been included into the item explanation texts.
4338 Hugo Riemanns Musiklexicon, Berlin 1929.
4340 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4341 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
4343 Webster's Revised Unabridged Dictionary, Springfield 1913.