1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2006 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
76 @item Fran@,{c}ois Pinard
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2006 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@arrow{}@strong{\word\}}@c
114 @arrow{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
154 * ancient minor scale::
159 * ascending interval::
160 * augmented interval::
192 * compound interval::
194 * conjunct movement::
207 * descending interval::
209 * diminished interval::
211 * disjunct movement::
213 * dissonant interval::
214 * dominant ninth chord::
215 * dominant seventh chord::
218 * dot (augmentation dot)::
220 * double appoggiatura::
222 * double dotted note::
231 * ecclesiastical mode::
237 * equal temperament::
251 * functional harmony::
265 * inverted interval::
278 * long appoggiatura::
283 * meantone temperament::
290 * metronomic indication::
326 * Pythagorean comma::
348 * short appoggiatura::
352 * sixty-fourth note::
353 * sixty-fourth rest::
381 * thirty-second note::
382 * thirty-second rest::
431 FI: aksentti, korostus.
433 The stress of one tone over others.
443 ES: alteración accidental,
445 F: altération accidentelle,
446 D: Vorzeichen, Versetzungszeichen, Akzidenz,
447 NL: toevallig (verplaatsings)teken,
449 S: tillfälligt förtecken,
450 FI: tilapäinen etumerkki.
452 An accidental has the effect of an @aref{alteration} of a note. A
453 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
454 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
455 lowers it by a whole tone. A natural cancels the effect of a previous
458 @lilypond[fragment,notime,line-width=13.0\cm]
459 \set Score.automaticBars = ##f
461 \context Staff \relative c'' {
462 gis1 gisis ges geses g!
465 \override Lyrics .LyricText #'self-alignment-X = #-1
466 sharp "db. sharp" flat "db. flat" natural
476 F: accelerando, en accélérant,
477 D: accelerando, schneller werden,
481 FI: accelerando, kiihdyttäen.
495 FI: adagio, hitaasti.
497 It.@: comfortable, easy.
498 1.@tie{}Slow tempo, slower -- especially in even meter -- than
499 @aref{andante} and faster than @aref{largo}.
500 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
501 @aref{sonata}s, symphonies, etc.
509 D: Allegro, Schnell, Fröhlich, Lustig,
513 FI: allegro, nopeasti.
515 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
516 tempo, especially the first and last movements of a @aref{sonata}.
525 NL: verhoging of verlaging,
530 An alteration is the modification, raising or lowering, of a note's
531 pitch. It is established by an @aref{accidental}.
543 FI: altto, matala naisääni.
545 A female voice of low range (@emph{contralto}). Originally the alto was a
546 high male voice (hence the name), which by the use of falsetto reached the
547 height of the female voice. This type of voice is also known as
548 @aref{counter tenor}.
553 ES: clave de do en tercera,
554 I: chiave di contralto,
555 F: clef d'ut troisième ligne,
556 D: Altschlüssel, Bratschenschlüssel,
562 C clef setting middle C on the middle line of the staff
575 FI: ambitus, ääniala, soitinala.
577 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
578 of pitches for a given voice in a part of music. It may also denote
579 the pitch range that a musical instrument is capable of playing.
584 @c TODO: add more languages for anacrusis
587 An anacrusis (also known as pickup or upbeat) is an incomplete measure
588 of music before a section of music.
590 @node ancient minor scale
591 @section ancient minor scale
593 ES: escala menor antigua,
594 I: scala minore naturale,
595 F: forme du mode mineur ancien, troisème mode, mode hellénique
597 NL: authentieke mineurtoonladder,
600 FI: luonnollinen molliasteikko.
602 @aref{diatonic scale}.
604 @lilypond[fragment,notime,line-width=13.0\cm]
605 \set Score.automaticBars = ##f
622 Walking tempo/character.
625 @section appoggiatura
629 F: appogiature, (port de voix),
634 FI: appoggiatura, etuhele.
636 Ornamental note, usually a second, that is melodically connected with the
637 main note following it. In music before the 19th century a.@: were usually
638 performed on the beat, after that mostly before the beat. While the short
639 a.@: is performed as a short note regardless of the duration of the main note
640 the duration of the long a.@: is proportional to that of the main note.
642 @lilypond[line-width=13.0\cm]
643 \context Voice \relative c'' {
647 %\override Score.TextScript #'font-style = #'large
648 <d a fis>4_"notation" r
649 { \override Stem #'flag-style = #'()
651 \revert Stem #'flag-style
654 { \override Stem #'flag-style = #'()
656 \revert Stem #'flag-style
659 \cadenzaOn a4 \bar "||" \cadenzaOff
661 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
662 \cadenzaOn a4 \bar "||" \cadenzaOff
666 An appoggiatura may have more notes preceding the main note.
668 @lilypond[line-width=13.0\cm]
672 % \override Score.TextScript #'font-style = #'large
673 \grace { bes16 } as8_"notation" as16 bes as8 g |
674 \grace { as16[( bes] } < c as >4-)
675 \grace { as16[( bes] } < c as >4-) \bar "||"
676 \grace { bes16 } as8_"performance" as16 bes as8 g |
677 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
678 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
689 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
691 DK: arpeggio, akkordbrydning,
693 FI: arpeggio, murtosointu.
695 @lilypond[fragment,line-width=13.0\cm]
696 \context PianoStaff <<
697 \context Staff = SA \relative c'' {
700 r8 g16 c e g, c e r8 g,16 c e g, c e |
701 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
702 \context Staff = SB \relative c' {
704 << \context Voice = va {
706 r16 e8. ( e4) r16 e8. ( e4) |
707 r16 d8. ( d4) r16 d8. ( d4) }
708 \context Voice = vb {
716 @section articulation
718 @c TODO: add languages for articulation.
719 Articulation refers to notation which indicates how a note or notes should
720 be played. Slurs, accents, staccato, and legato are all examples of
724 @node ascending interval
725 @section ascending interval
727 ES: intervalo ascendente,
728 I: intervallo ascendente,
729 F: intervalle ascendant,
730 D: steigendes Intervall,
731 NL: stijgend interval,
732 DK:@w{ }stigende interval,
733 S: stigande intervall,
734 FI: nouseva intervalli.
736 A distance between a starting lower note and a higher ending note.
738 @node augmented interval
739 @section augmented interval
741 ES: intervalo aumentado,
742 I: intervallo aumentato,
743 F: intervalle augmenté,
744 D: übermäßiges Intervall,
745 NL: overmatig interval,
746 DK: forstørret interval,
747 S: överstigande intervall,
748 FI: ylinouseva intervalli.
758 D: Autograph, Handschrift,
760 DK: håndskrift, autograf,
762 FI: käsinkirjoitettu nuotti.
764 1.@tie{}A manuscript in the composer's own hand.
765 2.@tie{}Music prepared for photoreproduction by freehand drawing,
766 with the aid of a straightedge ruler and T-square only,
767 which attempts to emulate engraving.
768 This required more skill than did engraving.
795 ES: barra, línea divisoria,
796 I: stanghetta, barra (di divisione),
797 F: barre (de mesure),
814 FI: baritoni, keskikorkuinen miesääni.
816 The male voice intermediate between the @aref{bass} and the
819 @c F: clef de troisième ligne dropped
822 @section baritone clef
824 ES: clave de fa en tercera,
825 I: chiave di baritono,
826 F: clef d' Ut cinquième ligne, clef de Fa troisième,
833 C or F clef setting middle C on the upper staff line.
834 @aref{C clef}, @aref{F clef}.
839 ES: clave de fa en cuarta,
841 F: clé de fa quatrième ligne,
848 A clef setting with middle C on the first top ledger line.
861 FI: basso, matala miesääni.
863 1.@tie{}The lowest male voice.
864 2.@tie{}Sometimes, especially in jazz music, used as
865 an abbreviation for double bass.
880 Line connecting a series of notes (shorter than a quarter note).
881 The number of beams determines the note value of the connected notes.
883 @lilypond[fragment,notime,line-width=13.0\cm]
884 \set Score.automaticBars = ##f
885 %\override TextScript #'font-style = #'large
888 g16_"1/16"[ g g g] s16
889 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
890 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
896 ES: tiempo, parte (de compás)
899 D: Takt, Taktschlag, Zeit (im Takt),
905 Note value used for counting, most often half-, fourth-, and eighth notes.
906 The base counting value and the number of them per measure is indicated at
907 the start of the music.
909 @lilypond[fragment,line-width=13.0\cm]
912 \relative c'' { g4 c b a | g1 \bar "||"}
914 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
928 D: Klammer, Akkolade,
929 NL: accolade, teksthaak,
932 FI: yhdistävä sulkumerkki.
934 Symbol at the start of a system connecting staves. Curly braces are used
935 for connecting piano staves, angular brackets for connecting parts in an
936 orchestral or choral score.
938 @lilypond[fragment,ragged-right]
939 \context GrandStaff <<
940 \relative c''\context Staff = SA { \clef treble g4 e c2 }
941 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
944 @lilypond[fragment,ragged-right]
945 \context StaffGroup <<
946 % \set StaffGroup.minVerticalAlign = #12
947 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
948 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
960 S: brassinstrument, mässingsinstrument,
963 A family of blown musical instruments made of brass, all using a cup formed
964 mouth piece. The brass instruments commonly used in a symphony orchestra are
965 trumpet, trombone, french horn, and tube.
973 D: Atemzeichen, Trennungszeichen,
974 NL: repercussieteken,
975 DK: vejrtrækningstegn,
979 Indication of where to breathe in vocal and wind instrument parts.
992 @aref{note value}, twice as long as a whole note. Mainly used
995 @lilypond[fragment,notime,ragged-right]
996 \set Score.automaticBars = ##f
997 \relative c'' { g\breve }
1024 Clef symbol indicating the position of the middle C. Used on all note
1027 @lilypond[fragment,notime,line-width=13.0\cm]
1028 \set Score.automaticBars = ##f
1029 \override Score.Clef #'full-size-change = ##t
1031 \context Staff \relative c' {
1033 \clef mezzosoprano c
1038 \context Lyrics \lyrics {
1039 \override Lyrics .LyricText #'self-alignment-X = #-1
1040 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1055 FI: kadenssi, lopuke.
1057 @aref{harmonic cadence}, @aref{functional harmony}.
1069 FI: kadenssi, lopuke.
1071 An extended, improvisatory style section inserted near the end of
1072 movement. The purpose of a cadenza is to give singers or players a chance
1073 to exhibit their technical skill and -- not last -- their ability to
1074 improvise. Since the middle of the 19th century, however, most cadences have
1075 been written down by the composer.
1087 FI: kaanon, tarkka jäljittely.
1089 @aref{counterpoint}.
1101 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1102 viritysjärjestelmässä.
1104 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1105 of an equally tempered @aref{semitone}).
1106 @aref{equal temperament}.
1125 Three or more tones sounding simultaneously. In traditional European music
1127 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1129 minor @aref{third}) as well as @emph{minor} (minor + major third)
1130 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1131 and five-tone @emph{ninth} major chords are most often used as dominants
1132 (@aref{functional harmony}). A special case is chords having no
1133 third above the lower notes to define their quality as major or minor. Such
1134 chords are denoted open chords
1136 @lilypond[fragment,notime,line-width=13.0\cm]
1137 \set Score.automaticBars = ##f
1138 %\override TextScript #'font-style = #'large
1140 \context Staff \relative c'' {
1159 @node chromatic scale
1160 @section chromatic scale
1162 ES: escala cromática,
1164 F: gamme chromatique,
1165 D: chro@-ma@-ti@-sche Tonleiter,
1166 NL: chromatische toonladder,
1167 DK: kromatisk skala,
1169 FI: kromaattinen asteikko.
1171 A scale consisting of all 12 @aref{semitone}s.
1173 @lilypond[fragment,notime,line-width=13.0\cm]
1174 \set Score.automaticBars = ##f
1175 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1179 @section chromaticism
1190 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1193 @section church mode
1195 ES: modo eclesiástico,
1196 I: modo ecclesiastico,
1197 F: mode ecclésiastique,
1202 FI: moodi, kirkkosävellaji.
1204 @aref{diatonic scale}.
1212 D: Schlüssel, Notenschlüssel,
1216 FI: avain, nuottiavain.
1218 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1225 A @emph{cluster} is a range of simultaneously sounding pitches that
1226 may change over time. The set of available pitches to apply usually
1227 depends on the acoustic source. Thus, in piano music, a cluster
1228 typically consists of a continuous range of the semitones as provided
1229 by the piano's fixed set of a chromatic scale. In choral music, each
1230 singer of the choir typically may sing an arbitrary pitch within the
1231 cluster's range that is not bound to any diatonic, chromatic or other
1232 scale. In electronic music, a cluster (theoretically) may even cover
1233 a continuous range of pitches, thus resulting in colored noise, such
1236 Clusters can be denoted in the context of ordinary staff notation by
1237 engraving simple geometrical shapes that replace ordinary notation of
1238 notes. Ordinary notes as musical events specify starting time and
1239 duration of pitches; however, the duration of a note is expressed by
1240 the shape of the note head rather than by the horizontal graphical
1241 extent of the note symbol. In contrast, the shape of a cluster
1242 geometrically describes the development of a range of pitches
1243 (vertical extent) over time (horizontal extent). Still, the
1244 geometrical shape of a cluster covers the area in which any single
1245 pitch contained in the cluster would be notated as an ordinary note.
1247 @lilypond[fragment,relative=2,verbatim,ragged-right]
1248 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1261 FI: komma, korvinkuultava ero äänenkorkeudessa.
1263 Difference in pitch between a note derived from pure tuning and the same note
1264 derived from some other tuning method. @aref{temperament}.
1267 @section common meter
1271 @node compound interval
1272 @section compound interval
1274 ES: intervalo compuesto,
1275 I: intervallo composto,
1276 F: intervalle composé,
1277 D: weites Intervall,
1278 NL: samengesteld interval,
1279 DK: sammensat interval,
1280 S: sammansatt intervall,
1281 FI: oktaavia laajempi intervalli.
1283 Intervals larger than an octave.
1290 ES: intervalo invertido,
1292 F: intervalle complémentaire,
1293 D: Komplementärintervall,
1294 NL: complementair interval,
1295 DK: komplementærinterval,
1296 S: komplementärintervall (?),
1297 FI: täydentävä intervalli.
1299 @aref{inverted interval}.
1301 @node conjunct movement
1302 @section conjunct movement
1304 ES: movimiento conjunto,
1306 F: mouvement conjoint,
1307 D: schritt@-weise, stufenweise Bewegung,
1308 NL: stapsgewijze, trapsgewijze beweging,
1309 DK: trinvis bevægelse,
1311 FI: asteittainen liike.
1313 Progressing melodically by intervals of a second. The opposite of a
1314 @aref{disjunct movement}.
1316 @lilypond[fragment,line-width=13.0\cm]
1317 \key g \major \time 4/4
1318 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1331 FI: konsonanssi, sopusointi.
1350 @section counterpoint
1359 FI: kontrapunkti, ääni ääntä vastaan.
1361 From latin @emph{punctus contra punctum}, note against note. The combination
1362 into a single musical fabric of lines or parts which have distinct melodic
1363 significance. A frequently used polyphonic technique is imitation, in its
1364 strictest form found in the canon needing only one part to be written down
1365 while the other parts are performed with a given displacement. Imitation is
1366 also the contrapunctal technique used in the @emph{fugue} which, since the
1367 music of the baroque era, has been one of the most popular polyphonic
1368 composition methods.
1370 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1371 \set Score.implicitTimeSignatureVisibility = #all-invisible
1372 \override Score.TimeSignature #'break-visibility = #all-invisible
1373 \context PianoStaff <<
1374 \context Staff = SA \relative c' {
1378 << \context Voice = rha {
1380 r1 | r2 r8 g'8 bes d, |
1381 cis4 d r8 e!16 f g8 f16 e |
1382 f8 g16 a bes8 a16 g a8
1384 \context Voice = rhb {
1390 \context Staff = SB \relative c' {
1393 << \context Voice = lha {
1395 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1396 r8 a16 g f8 g16 a bes8 g e! cis' |
1399 \context Voice = lhb {
1408 @section counter tenor
1413 D: Countertenor, Kontratenor,
1416 S: kontratenor, counter tenor,
1422 @section copying music
1424 A music copyist did fast freehand scores and parts on preprinted staff lines
1425 for performance. Some of their conventions (e.g., the placement of note heads
1426 on stems) varied slightly from those of engravers. Some of their working
1427 methods were superior and could well be adopted by music typesetters. This
1428 required more skill than engraving.
1436 D: Crescendo, lauter werden,
1440 FI: cresendo, voimistuen.
1442 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1443 abbreviation @q{cresc.}.
1445 @lilypond[fragment,ragged-right]
1446 \key g \major \time 4/4
1447 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1455 F: petites notes précédent l'entrée d'in instrument, réplique,
1462 In a separate part notes belonging to another part with the purpose of hinting
1463 when to start playing. Usually printed in a smaller type.
1468 A custos is a staff symbol that appears at the end of a staff line
1469 with monophonic musical contents (i.e., with a single voice). It
1470 anticipates the pitch of the first note of the following line and thus
1471 helps the player or singer to manage line breaks during performance,
1472 thus enhancing readability of a score.
1474 Custodes were frequently used in music notation until the 16th
1475 century. There were different appearences for different notation
1476 styles. Nowadays, they have survived only in special forms of musical
1477 notation such as via the editio vaticana dating back to the beginning
1483 % \override Staff.Custos #'neutral-position = #4
1484 \override Staff.Custos #'neutral-direction = #down
1485 \override Staff.Custos #'style = #'hufnagel
1493 \consists Custos_engraver
1517 F: da capo, depuis le commencement,
1518 D: da capo, von Anfang,
1522 FI: da capo, alusta.
1524 The term indicates repetition of the piece from the beginning to the end or
1525 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1532 F: dal segno, depuis le signe,
1533 D: dal segno, ab dem Zeichen,
1537 FI: dal segno, lähtien merkistä.
1539 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1540 another place frequently near the beginning marked by a sign:
1542 @lilypond[fragment,ragged-right]
1543 %\override TextScript #'font-style = #'large
1544 \override TextScript #'font-shape = #'italic
1545 \key g \major \time 4/4
1550 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1556 @section decrescendo
1560 D: Decrescendo, leiser werden,
1564 FI: decresendo, hiljentyen.
1566 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1567 or the abbreviation @q{decresc.}.
1569 @lilypond[fragment,ragged-right]
1571 \key g \major \time 4/4
1572 d4 \> c b a | g1 \! \bar "|."
1576 @node descending interval
1577 @section descending interval
1579 ES: intervalo descendente,
1580 I: intervallo discendente,
1581 F: intervalle descendant,
1582 D: fallendes Intervall, absteigendes Intervall,
1583 NL: dalend interval,
1584 DK: faldende interval,
1585 S: fallande intervall,
1586 FI: laskeva intervalli.
1588 A distance between a starting higher note and a lower ending note.
1590 @node diatonic scale
1591 @section diatonic scale
1593 ES: escala diatónica,
1595 F: gamme diatonique,
1596 D: diatonische Tonleiter,
1597 NL: diatonische toonladder,
1598 DK: diatonisk skala,
1600 FI: diatoninen asteikko.
1602 A scale consisting of 5@w{ }@aref{whole tone}s and
1603 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1604 of a piano keybord are diatonic.
1606 The church modes are used in gregorial chant and in pre-baroque early
1607 music but also to some extent in newer jazz music.
1609 @lilypond[fragment,notime,ragged-right]
1610 \set Score.automaticBars = ##f
1611 %\override Score.LyricText #'font-style = #'large
1612 %\override Score.TextScript #'font-style = #'large
1614 \context Staff \relative c' {
1616 \override TextScript #'padding = #-4
1617 e^"~~ S" f g a b^"~~ S" c
1619 \context Lyrics \lyrics {
1625 @lilypond[fragment,notime,ragged-right]
1626 \set Score.automaticBars = ##f
1628 \context Staff \relative c' {
1630 \override TextScript #'padding = #-4
1631 e^"~~ S" f g a b^"~~ S" c d
1639 @lilypond[fragment,notime,ragged-right]
1640 \set Score.automaticBars = ##f
1643 \override TextScript #'padding = #-4
1644 e1^"~~ S" f g a b^"~~ S" c d e
1652 @lilypond[fragment,notime,ragged-right]
1653 \set Score.automaticBars = ##f
1657 \override TextScript #'padding = #-4
1658 b^"~~ S" c d e^"~~ S" f
1666 @lilypond[fragment,notime,ragged-right]
1667 \set Score.automaticBars = ##f
1671 \override TextScript #'padding = #-4
1672 b^"~~ S" c d e^"~~ S" f g }
1679 @lilypond[fragment,notime,ragged-right]
1680 \set Score.automaticBars = ##f
1681 %\override Score.LyricText #'font-style = #'large
1682 %\override Score.TextScript #'font-style = #'large
1686 \override TextScript #'padding = #-4
1687 b^"~~ S" c d e^"~~ S" f g a
1695 From the beginning of the 17th century the scales used in European
1696 compositional music are primarily the major and the minor scales. In the
1697 harmonic minor scale type an augmented second (A) occurs between the 6th and
1700 @lilypond[fragment,notime,ragged-right]
1701 \set Score.automaticBars = ##f
1705 \override TextScript #'padding = #-4
1706 e^"~~ S" f g a b^"~~ S" c
1714 @lilypond[fragment,notime,ragged-right]
1715 \set Score.automaticBars = ##f
1719 \override TextScript #'padding = #-4
1720 b^"~~ S" c d e^"~~ S" f g a
1728 @lilypond[fragment,notime,ragged-right]
1729 \set Score.automaticBars = ##f
1733 \override TextScript #'padding = #-4
1734 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1736 \context Lyrics \lyrics {
1742 @lilypond[fragment,notime,line-width=13.0\cm]
1743 \set Score.automaticBars = ##f
1744 %\override Score.LyricText #'font-style = #'large
1745 %\override Score.TextScript #'font-style = #'large
1749 \override TextScript #'padding = #-4
1750 b^"~~ S" c d e fis gis^"~~ S"
1751 a g! f!^"~~ S" e d c^"~~ S" b a
1759 @node diminished interval
1760 @section diminished interval
1762 ES: intervalo disminuido,
1763 I: intervallo diminuito,
1764 F: intervalle diminué,
1765 D: vermindertes Intervall,
1766 NL: verminderd interval,
1767 DK: formindsket interval,
1768 S: förminskat intervall,
1769 FI: vähennetty intervalli.
1783 FI: diminuendo, hiljentyen.
1787 @node disjunct movement
1788 @section disjunct movement
1790 ES: movimiento disjunto,
1792 F: mouvement disjoint,
1793 D: sprunghafte Bewegung,
1794 NL: sprongsgewijze beweging,
1795 DK: springende bevægelse,
1796 S: hoppande rörelse,
1797 FI: melodian hyppivä liike.
1799 Progressing melodically by intervals larger than a major second.
1800 Opposite of @aref{conjunct movement}.
1802 @lilypond[fragment,ragged-right]
1807 a4. gis8 b a e cis |
1808 fis2 d4. \bar "||" }
1814 @ref{dissonant interval}.
1816 @node dissonant interval
1817 @section dissonant interval
1819 ES: intervalo disonante, disonancia,
1820 I: intervallo dissonante, dissonanza,
1823 NL: dissonant interval; dissonant,
1824 DK: dissonerende interval, dissonans,
1826 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1830 @node dominant ninth chord
1831 @section dominant ninth chord
1833 ES: acorde de novena de dominante,
1834 I: accordo di nona di dominante,
1835 F: accord de neuvième dominante,
1836 D: Domi@-nant@-nonen@-akkord,
1837 NL: dominant noon akkoord,
1838 DK: dominantnoneakkord,
1839 S: dominantnonackord,
1840 FI: dominanttinoonisointu.
1842 @aref{chord}, @aref{functional harmony}.
1844 @node dominant seventh chord
1845 @section dominant seventh chord
1847 ES: acorde de séptima de dominante,
1848 I: accordo di settima di dominante,
1849 F: accord de septième dominante,
1850 D: Dominantseptakkord,
1851 NL: dominant septiem akkoord,
1852 DK: dominantseptimakkord,
1853 S: dominantseptimackord,
1854 FI: dominanttiseptimisointu.
1856 @aref{chord}, @aref{functional harmony}.
1868 FI: dominantti, huippusointu.
1870 The fifth @aref{scale degree},
1871 @aref{functional harmony}.
1874 @section dorian mode
1879 D: dorisch, dorischer Kirchenton,
1880 NL: dorische toonladder,
1885 @aref{diatonic scale}.
1887 @node dot (augmentation dot)
1888 @section dot (augmentation dot)
1891 I: punto (di valore),
1893 D: Punkt (Verlängerungspunkt),
1902 @section dotted note
1904 ES: nota con puntillo,
1908 NL: gepuncteerde noot,
1911 FI: pisteellinen nuotti.
1915 @node double appoggiatura
1916 @section double appoggiatura
1918 ES: apoyatura doble,
1919 I: appoggiatura doppia,
1920 F: appoggiature double,
1921 D: doppelter Vorschlag,
1922 NL: dubbele voorslag,
1923 DK: dobbelt forslag,
1925 FI: kaksoisappogiatura, kaksoisetuhele.
1927 @aref{appoggiatura}.
1929 @node double bar line
1930 @section double bar line
1936 NL: dubbele maatstreep,
1939 FI: kaksoistahtiviiva.
1941 Indicates the end of a section within a movement.
1943 @node double dotted note
1944 @section double dotted note
1946 ES: nota con doble puntillo,
1947 I: nota doppiamente puntata,
1948 F: note doublement pointée,
1949 D: doppelt punktierte Note,
1950 NL: dubbelgepuncteerde noot,
1951 DK: dob@-belt@-punk@-te@-ret node,
1952 S: dub@-bel@-punk@-te@-rad not,
1953 FI: kaksoispisteellinen nuotti.
1958 @section double flat
1967 FI: kaksoisalennusmerkki.
1972 @section double sharp
1974 ES: doble sostenido,
1979 DK: dob@-belt@-kryds,
1981 FI: kaksoisylennysmerkki.
1986 @section double trill
1992 NL: dubbele triller,
1997 A simultaneous trill on two notes, usually in the distance of a third.
2000 @section duple meter
2006 NL: tweedelige maatsoort,
2037 FI: kesto, aika-arvo.
2042 @section dydimic comma
2044 @aref{syntonic comma}.
2058 @node ecclesiastical mode
2059 @section ecclesiastical mode
2064 @section eighth note
2070 D: Achtel, Achtelnote,
2072 DK: ottendedelsnode,
2074 FI: kahdeksasosanuotti.
2079 @section eighth rest
2081 ES: silencio de corchea,
2087 DK: ottendedelspause,
2089 FI: kahdeksasosatauko.
2094 @section embellishment
2105 D: Notenstechen, Notendruck
2111 Engraving means incising or etching a metal plate for
2112 printing. Photoengraving means drawing music with ink in a manner
2113 similar to drafting or engineering drawing, using similar tools.
2115 The traditional process of music printing is done through cutting in a
2116 plate of metal. Now also the term for the art of music typesetting.
2130 Two notes, intervals, or scales are enharmonic if they have different names
2133 @lilypond[fragment,notime,line-width=13.0\cm]
2134 \set Score.automaticBars = ##f
2136 \context Staff \relative c'' {
2137 gis1 as <des g,!> <cis g!>
2139 \context Lyrics \lyrics {
2140 \override Lyrics .LyricText #'self-alignment-X = #-1
2141 "g sharp " "a flat " "dim fifth " "augm fourth"
2146 @node equal temperament
2147 @section equal temperament
2149 ES: temperamento igual,
2150 I: temperamento equabile,
2151 F: tempérament égal,
2152 D: gleichschwebende Stimmung,
2153 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2154 DK: ligesvævende temperatur,
2155 S: liksvävande temperatur,
2158 Tuning system dividing the octave into 12 equal @aref{semitone}s
2159 (precisely 100 @aref{cent}s). @aref{temperament}.
2161 @node expression mark
2162 @section expression mark
2165 I: segno d'espressione,
2166 F: signe d'expression, indication de nuance,
2168 NL: voordrachtsteken,
2169 DK: foredragsbetegnelse,
2170 S: föredragsbeteckning,
2171 FI: nyanssiosoitus, esitysmerkki.
2173 Performance indications concerning 1. volume, dynamics (for example
2174 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2175 @aref{andante}, @aref{allegro}).
2201 The position between the dots of the key symbol is the line of the F below
2202 central@w{ }C. Used on the third, fourth and fifth note line. A
2203 digit@w{ }8 above the clef symbol indicates that the notes must be played
2204 an octave higher (for example bass recorder) while 8@w{ }below the clef
2205 symbol indicates playing an octave lower (for example on double bass
2208 @lilypond[fragment,notime,line-width=13.0\cm]
2209 \set Score.automaticBars = ##f
2210 \override Staff.Clef #'full-size-change = ##t
2234 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2241 F: point d'orgue, point d'arr@^et,
2246 FI: fermaatti, pidäke.
2248 Prolonged note or rest of indefinite duration.
2250 @lilypond[fragment,ragged-right]
2253 a4 b c2^\fermata \bar "|."
2272 @section figured bass
2274 @aref{thorough bass}.
2288 The methodical use of fingers in the playing of instruments.
2294 I: coda (uncinata), bandiera,
2302 Ornament at the end of the stem of a note used for notes with values
2303 less than a quarter note. The number of flags determines the
2306 @lilypond[fragment,notime,ragged-right]
2307 \set Score.automaticBars = ##f
2308 %\override Score.TextScript #'font-style = #'large
2334 @aref{appoggiatura}.
2346 FI: forte, voimakkaasti.
2348 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2349 @emph{mezzoforte} (@b{mf}) medium loud.
2377 @aref{counterpoint}.
2379 @node functional harmony
2380 @section functional harmony
2382 ES: armonía funcional,
2383 I: armonia funzionale,
2384 F: étude des functions,
2386 NL: functionele harmonie,
2387 DK: funktionsanalyse, funktionsharmonik,
2389 FI: harmoniajärjestelmä.
2391 A system of harmonic analysis. It is based on the idea that, in a given key,
2392 there are only three functionally different chords: tonic (T, the chord on the
2393 first note of the scale), subdominant (S, the chord on the fourth note), and
2394 dominant (D, the chord on the fifth note). Others are considered to be
2395 variants of the base chords.
2397 @lilypond[fragment,notime,line-width=13.0\cm]
2398 \set Score.automaticBars = ##f
2400 \context Voice \relative c'' {
2401 <g e c >1 < a f d > < b g e >
2402 <c a f > < d b g > < e c a > < f d b > }
2403 \context Lyrics \lyrics {
2404 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2426 D: G-Schlüssel, Violinschlüssel,
2432 A clef symbol indicating the G above central@w{ }C. Used on the first
2433 and second note lines. A digit 8 above the clef symbol indicates that
2434 the notes must be played an octave higher while 8 below the clef symbol
2435 indicates playing or singing an octave lower (most tenor parts in choral
2436 scores are notated like that).
2438 @lilypond[fragment,notime,ragged-right]
2440 \set Score.automaticBars = ##f
2441 \override Staff.Clef #'full-size-change = ##t
2444 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2454 \context Lyrics \lyrics {
2455 \override Lyrics . LyricText #'X-offset = #-5
2456 "french violin clef"
2474 FI: glissando, liukuen.
2476 Letting the pitch slide fluently from one note to the other.
2479 @section grace notes
2481 ES: notas de adorno,
2484 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2490 Notes printed in small types to indicate that their time values are not
2491 counted in the rhythm of the bar. @aref{appoggiatura}.
2494 @section grand staff
2496 ES: sistema de piano,
2502 S: ackolad, böjd klammer,
2503 FI: kaksoisnuottiviivasto.
2507 A combination of two staves with a brace. Usually used for piano music.
2519 FI: grave, raskaasti.
2535 D: Halbe, halbe Note,
2546 ES: silencio de blanca,
2558 @node harmonic cadence
2559 @section harmonic cadence
2561 ES: cadencia (armónica),
2562 I: cadenza (armonica),
2563 F: cadence harmonique,
2565 NL: harmonische cadens,
2566 DK: harmonisk kadence,
2567 S: (harmonisk) kadens,
2568 FI: harmoninen kadenssi.
2570 A sequence of chords that terminates a musical phrase or
2571 section. @aref{functional harmony}.
2573 @lilypond[fragment,ragged-right]
2574 \context PianoStaff <<
2575 \context Staff = SA \relative c'' {
2579 \partial 4 < c g e >4 |
2580 < c a f > < b g d > < c g e >2
2583 \context Staff = SB \relative c {
2585 \partial 4 c4 | f, g c2
2602 D: Harmonie, Zusammenklang,
2606 FI: harmonia, yhteissointi.
2608 Tones sounding simultaneously. Two note harmonies fall into the categories
2609 @emph{consonances} and @emph{dissonances}.
2613 @lilypond[fragment,notime,line-width=13.0\cm]
2614 \set Score.automaticBars = ##f
2615 %\override Score.TextScript #'font-style = #'large
2616 \context Voice \relative c'' {
2629 @lilypond[fragment,notime,line-width=13.0\cm]
2630 \set Score.automaticBars = ##f
2631 %\override Score.TextScript #'font-style = #'large
2632 \context Voice \relative c'' {
2633 <g a>1_"second " s s
2634 <g f'>_"seventh " s s
2639 Three note harmony @aref{chord}.
2651 FI: homofonia, yksiäänisyys.
2653 Music in which one voice leads melodically followed by the other voices more
2654 or less in the same rhythm. In contrast to @aref{polyphony}.
2666 FI: intervalli, kahden sävelen korkeusero.
2668 Difference in pitch between two notes. Intervals may be perfect, minor,
2670 diminished, or augmented. The augmented fourth and the diminished fifth are
2671 identical (@aref{enharmonic}) and are called @emph{tritonus}
2672 because they consist of three @aref{whole tone}s. The addition
2673 of such two intervals forms an octave.
2675 @lilypond[fragment,notime,line-width=13.0\cm]
2676 \set Score.automaticBars = ##f
2678 \context Voice \relative c'' {
2688 \context Lyrics \lyrics {
2689 "unisone " "second " "second " "second "
2690 "third " "third " "third " "third"
2695 @lilypond[fragment,notime,line-width=13.0\cm]
2696 \set Score.automaticBars = ##f
2698 \context Staff \relative c'' {
2709 "fourth " "fourth " "fifth " "fifth "
2710 "sixth " "sixth " "sixth " "sixth"
2715 @lilypond[fragment,notime,line-width=13.0\cm]
2716 \set Score.automaticBars = ##f
2718 \context Staff \relative c'' {
2719 < gis f'! >1^"dimin"
2728 \context Lyrics \lyrics {
2729 "seventh " "seventh " "seventh " "octave "
2730 "ninth " "ninth " "tenth " "tenth"
2735 @node inverted interval
2736 @section inverted interval
2738 ES: intervalo invertido,
2739 I: intervallo rivolto,
2740 F: intervalle reversé,
2741 D: umgekehrtes Intervall,
2742 NL: interval inversie,
2743 DK: omvendingsinterval,
2744 S: intervallets omvändning,
2745 FI: käänteisintervalli.
2747 The difference between an interval and an octave.
2749 @lilypond[fragment,notime,line-width=13.0\cm]
2750 \set Score.automaticBars = ##f
2751 %\override Score.TextScript #'font-style = #'large
2752 \context Staff \relative c'' {
2753 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2754 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2755 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2759 @node just intonation
2760 @section just intonation
2762 ES: entonación justa,
2763 I: intonazione giusta,
2764 F: intonation juste,
2771 Tuning system in which the notes are obtained by adding and subtracting
2772 natural fifths and thirds. @aref{temperament}.
2786 According to the 12@w{ }tones of the @aref{chromatic scale}
2787 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2788 @aref{key signature}.
2791 @section key signature
2793 ES: armadura (de la clave),
2794 I: armatura di chiave,
2795 F: armure, armature [de la clé],
2796 D: Vorzeichen, Tonart,
2797 NL: toon@-soort (voortekens),
2800 FI: sävellajiosoitus.
2802 The sharps or flats appearing at the beginning of each staff indicating the
2803 key of the music. @aref{accidental}.
2811 D: Largo, Langsam, Breit,
2815 FI: largo, hitaasti, leveästi.
2817 Very slow in tempo, usually combined with great
2818 expressiveness. @emph{Larghetto} is less slow than largo.
2821 @section leading note
2832 The seventh @aref{scale degree}, a @aref{semitone} below
2833 the tonic; so called because of its strong tendency to @q{lead up} (resolve
2834 upwards) to the tonic scale degree.
2837 @section ledger line
2839 ES: línea adicional,
2840 I: tagli addizionali,
2841 F: ligne supplémentaire,
2848 A ledger line is an extension of the staff.
2850 @lilypond[fragment,notime,ragged-right]
2851 \set Score.automaticBars = ##f
2852 \relative c'' { a,1 s c'' }
2867 To be performed (a) without any perceptible interruption between the notes,
2868 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2869 (d) @aref{staccato}.
2871 @lilypond[fragment,notime,line-width=13.0\cm]
2872 \set Score.automaticBars = ##f
2874 \context Staff \relative c'' {
2875 c4-( d e-) \bar "||"
2876 c4-- d-- e-- \bar "||"
2877 c4-.-( d-. e-.-) \bar "||"
2878 c4-. d-. e-. \bar "||"
2890 @section legato curve
2892 @aref{slur}, @aref{legato}.
2902 ES: estanque de nenúfares,
2903 I: stagno del giglio,
2907 NL: le@-lie@-vij@-ver,
2912 A pond with lilies floating in it, also the name of a music typesetter.
2919 A ligature is a coherent graphical symbol that represents at least two
2920 distinct notes. Ligatures originally appeared in the manuscripts of
2921 Gregorian chant notation roughly since the 9th century to denote
2922 ascending or descending sequences of notes. In early notation,
2923 ligatures were used for monophonic tunes (Gregorian chant) and very
2924 soon denoted also the way of performance in the sense of articulation.
2925 With the invention of the metric system of the white mensural
2926 notation, the need for ligatures to denote such patterns disappeared.
2934 D: Linie, Notenlinie,
2938 FI: viiva, nuottiviiva.
2942 @node long appoggiatura
2943 @section long appoggiatura
2945 ES: apoyatura larga,
2946 I: appoggiatura lunga,
2947 F: appoggiature longue,
2948 D: langer Vorschlag,
2952 FI: pitkä appoggiatura, pitkä etuhele.
2954 @aref{appoggiatura}.
2968 Note value: double length of @aref{breve}.
2971 @lilypond[fragment,notime,ragged-right]
2972 \set Score.automaticBars = ##f
2974 \override NoteHead #'style = #'mensural
2982 ES: letra (de la canción),
2991 @node major interval
2992 @section major interval
2994 ES: intervalo mayor,
2995 I: intervallo maggiore,
2996 F: intervalle majeur,
2997 D: großes Intervall,
3001 FI: suuri intervalli.
3017 @aref{diatonic scale}.
3019 @node meantone temperament
3020 @section meantone temperament
3022 ES: afinación mesotónica,
3023 I: accordatura mesotonica,
3024 F: tempérament mésotonique,
3025 D: mitteltönige Stimmung,
3026 NL: middenstemming, middentoonstemming,
3027 DK: middeltonetemperatur,
3028 S: medeltonstemperatur,
3029 FI: keskisävelviritys.
3031 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3032 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3033 @aref{temperament} only a limited set of keys are playable.
3034 Used for tuning keyboard instruments for performance of pre-1650 music.
3048 A group of @aref{beat}s (units of musical time) the first of which
3049 bears an accent. Such groups in numbers of two or more recur consistently
3050 throughout the composition and are marked from each other by
3051 bar-lines. @aref{meter}.
3057 I: mediante, modale,
3065 1.@tie{}The third @b{scale degree}.
3066 2.@tie{}A @aref{chord} having its base tone
3067 a third from that of another chord. For example, the tonic chord may be
3068 replaced by its lower mediant (variant tonic). @aref{functional
3069 harmony}, @aref{relative key}.
3076 FI: melisma, laulettavan tavun sävelkuvio.
3078 A melisma (plural: melismata) is a group of notes or tones sung on one
3079 syllable in plainsong
3081 @node melodic cadence
3082 @section melodic cadence
3091 F: indication de mésure,
3098 The basic scheme of @aref{note value}s and
3099 @aref{accent}s which remains unaltered throughout a composition
3100 or a section of it. For instance, 3/4 meter means that the basic
3101 @aref{note value}s are quarter notes and that a
3102 @aref{measure} consists of three of those. According to
3103 whether there are two, three, or four units to the measure,
3104 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3105 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3107 @lilypond[fragment,line-width=13.0\cm]
3111 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3114 @lilypond[fragment,line-width=13.0\cm]
3118 f8 f f f a16 g a f |
3119 c'8 c c c e16 d e c \bar "||"}
3122 @lilypond[fragment,line-width=13.0\cm]
3126 d4 b8 g b d d c a4 |
3127 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3142 Device indicating the exact tempo of a piece. @aref{metronomic
3145 @node metronomic indication
3146 @section metronomic indication
3148 ES: indicación metronómica,
3149 I: indicazione metronomica,
3150 F: indication métronomique,
3152 NL: metronoom aanduiding,
3154 S: metronomangivelse,
3155 FI: metronomiosoitus.
3157 Exact tempo indication (in beats per minute). Also denoted by
3158 M.M.@: (Mälzels Metronom).
3161 @section mezzo-soprano
3172 The female voice between @aref{soprano} and
3181 D: eingestrichenes@w{ }c,
3183 DK: enstreget@w{ }c,
3184 S: ettstruket@w{ }c,
3187 First C below the 440 Hz A.
3189 @lilypond[fragment,notime,ragged-right]
3190 \set Score.automaticBars = ##f
3191 \override Staff.Clef #'full-size-change = ##t
3211 @aref{diatonic scale}.
3213 @node minor interval
3214 @section minor interval
3216 ES: intervalo menor,
3217 I: intervallo minore,
3218 F: intervalle mineur,
3219 D: kleines Intervall,
3223 FI: pieni intervalli.
3237 FI: moodi, kirkkosävelasteikko.
3239 @aref{church mode}, @aref{diatonic scale}.
3251 FI: modulaatio, sävellajin vaihdos.
3253 Moving from one @aref{key} to another. For example, the second
3254 subject of a @aref{sonata form} movement modulates to the dominant
3255 key if the key is major and to the @aref{relative key} if the key
3267 FI: mordent, korukuvio.
3286 FI: teema, sävelaihe.
3288 The briefest intelligible and self-contained fragment of a musical theme or
3291 @lilypond[line-width=13.0\cm]
3294 \set Score.implicitTimeSignatureVisibility = #all-invisible
3295 \override Score.TimeSignature #'break-visibility = #all-invisible
3298 \partial 8 g16\startGroup fis |
3299 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3300 g8 g,16 a b8 cis d16 s
3304 \Staff \consists "Horizontal_bracket_engraver"
3321 Greater musical works like @aref{symphony} and
3322 @aref{sonata} most often consist of several -- more or less --
3323 independant pieces called movements.
3326 @section multibar rest
3328 ES: compases de espera,
3332 D: mehrtaktige Pause,
3335 FI: usean tahdin mittainen tauko.
3337 @lilypond[fragment,ragged-right]
3340 \set Score.skipBars = ##t R1*3
3345 @node mixolydian mode
3346 @section mixolydian mode
3348 @aref{diatonic scale}.
3351 @section natural sign
3356 D: Auflösungszeichen,
3357 NL: herstellingsteken,
3358 DK: op@-løsningstegn,
3359 S: återställningstecken,
3364 @node neighbour tones
3365 @section neighbour tones
3367 @aref{appoggiatura}.
3400 Notes are signs by means of which music is fixed in writing. The term is also
3401 used for the sound indicated by a note, and even for the key of the piano
3402 which produces the sound. However, a clear distinction between the terms tone
3403 and @aref{note} is strongly recommended. Briefly, one sees a note,
3410 I: testa, testina, capocchia,
3411 F: t@^ete de la note,
3418 A head-like sign which indicates pitch by its position on a
3419 @aref{staff} provided with a @aref{clef}, and duration
3420 by a variety of shapes such as hollow or black heads with or without
3421 @aref{stem}s, @aref{flag}s, etc. For percussion
3422 instruments (often having no defined pitch) the note head may indicate the
3428 ES: valor (duración),
3430 F: durée, valeur (d'une note),
3435 FI: nuotin aika-arvo.
3437 Note values (durations) are measured as fractions, normally 1/2, of the next
3438 higher note value. The longest duration normally used is called
3440 but sometimes (mostly in pre-baroque music) the double length note value
3441 @emph{longa} is used.
3443 @lilypond[fragment,notime,line-width=13.0\cm]
3444 %\override Score.TextScript #'font-style = #'large
3445 \set Score.automaticBars = ##f
3447 \override NoteHead #'style = #'mensural
3448 a\longa_"longa" a\breve_"breve"
3449 \revert NoteHead #'style
3450 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3451 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3454 @lilypond[fragment,notime,line-width=13.0\cm]
3455 %\override Score.TextScript #'font-style = #'large
3456 \set Score.automaticBars = ##f
3458 r\longa_"longa" r\breve_"breve"
3459 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3460 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3463 An augmentation dot after a note multiplies the duration by one and a
3464 half. Another dot adds yet a fourth of the duration.
3466 @lilypond[fragment,line-width=13.0\cm]
3467 %\override Score.TextScript #'font-style = #'large
3470 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3471 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3474 Alternatively note values may be subdivided by other ratios. Most common is
3475 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3476 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3477 dotted notes are also frequently used.
3479 @lilypond[fragment,line-width=13.0\cm]
3480 %\override Score.TextScript #'font-style = #'large
3483 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3484 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3488 @lilypond[fragment,line-width=13.0\cm]
3491 \times 3/2 {g4_"duplets" g} |
3493 \times 6/4 {g8_"quadruplets" g g g} |
3494 g8 g g g g4 \bar "||"
3499 @section octave sign
3501 @aref{G clef}, @aref{F clef}.
3521 I: abbellimento, fioriture,
3522 F: agrément, ornement,
3523 D: Verzierung, Ornament,
3529 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3530 with the diatonic @aref{second} above it. In the music from the
3531 middle of the 19th century and onwards the trill is performed with the main
3532 note first while in the music from the preceding baroque and classic periods
3533 the upper note is played first.
3535 @lilypond[fragment,line-width=13.0\cm]
3537 \context Staff = sa {
3538 % \override Score.TextScript #'font-style = #'large
3540 c2._"pre-1850" b4\trill | c1 \bar "||"
3541 c2._"post-1850" b4\trill | c1 \bar "||"
3545 c2. c32 b c b c b c b | c1
3546 c2. b32 c b c \times 4/5 { b c b c b } | c1
3551 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3553 @emph{prall} (inverted mordent).
3555 @lilypond[fragment,line-width=13.0\cm]
3557 \context Staff = sa {
3558 % \override Score.TextScript #'font-style = #'large
3560 a4_"turn" b\turn c2 \bar "||"
3561 g4_"mordent" a b\mordent a \bar "||"
3562 e'4_"prall" d\prall c2 \bar "||"
3568 e'4 e32[ d e d ~ d8] c2
3573 @aref{appoggiatura}.
3585 FI: ossia, vaihtoehtoinen esitystapa.
3587 Ossia (otherwise) marks an alternative. It is an added staff or piano
3588 score, usually only a few measures long, which presents another version
3589 of the music, for example for small hands.
3601 FI: stemma, instrumenttiosuus.
3603 1.@tie{}In instrumental or choral music the music for the single instrument
3604 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3605 melodic line of the contrapunctal web.
3618 D: Schlagzeug, Schlagwerk,
3624 A family of musical instruments which are played on by striking or
3625 shaking. Percussion instruments commonly used in a symphony orchestra are
3626 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3627 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3630 @node perfect interval
3631 @section perfect interval
3633 ES: intervalo justo,
3634 I: intervallo giusto,
3635 F: intervalle juste,
3636 D: reines Intervall,
3640 FI: puhdas intervalli.
3656 A natural division of the melodic line, comparable to a sentence of speech.
3668 FI: fraseeraus, jäsentäminen.
3670 The clear rendering in musical performance of the @aref{phrase}s of
3671 the melody. Phrasing may be indicated by a @aref{slur}.
3685 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3686 @emph{mezzopiano} (@b{mp}) medium soft.
3707 NL: pizzicato, getokkeld,
3710 FI: pizzicato, näppäillen.
3712 Play by plucking the strings.
3720 D: Polyphonie, Mehrstimmigkeit,
3724 FI: polyfonia, moniäänisyys.
3726 Music written in a combination of several simultaneous voices (parts) of a
3727 more or less pronounced individuality. @aref{counterpoint}.
3740 D: Presto, Sehr schnell,
3741 NL: presto, Sehr schnell,
3744 FI: presto, hyvin nopeasti.
3746 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3747 denotes the highest possible degree of speed.
3749 @node Pythagorean comma
3750 @section Pythagorean comma
3752 ES: coma pitagórica,
3753 I: comma pitagorico,
3754 F: comma pythagoricien,
3755 D: Pythagoräisches Komma,
3756 NL: komma van Pythagoras,
3757 DK: pythagoræisk komma,
3758 S: pytagoreiskt komma,
3759 FI: pytagorinen komma.
3761 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3762 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3763 24 @aref{cent}s higher than the@w{ }C obtained by adding
3764 7@w{ }octaves. The difference between those two pitches is called the
3782 @section quarter note
3785 I: semiminima, nera,
3788 D: Viertel, Viertelnote,
3792 FI: neljännesosanuotti.
3797 @section quarter rest
3799 ES: silencio de negra,
3800 I: pausa di semiminima,
3805 DK:@w{ }fjerdedelspause,
3807 FI: neljännesosatauko.
3826 @section rallentando
3831 D: rallentando, langsamer werden,
3835 FI: rallerdando, hidastuen.
3837 Abbreviation "rall.". @aref{ritardando}.
3840 @section relative key
3843 I: tonalità relativa,
3844 F: tonalité relative,
3846 NL: paralleltoonsoort,
3847 DK: paralleltoneart,
3849 FI: rinnakkaissävellaji.
3851 @aref{major} and @aref{minor} @aref{key}
3852 with the same @aref{key signature}.
3854 @lilypond[fragment,notime,line-width=13.0\cm]
3855 \set Score.automaticBars = ##f
3856 %\override Score.TextScript #'font-style = #'large
3859 es1_"e flat major" f g as bes c d es
3864 @lilypond[fragment,notime,line-width=13.0\cm]
3865 \set Score.automaticBars = ##f
3866 %\override Score.TextScript #'font-style = #'large
3869 c1_"c minor" d es f g a! b! c \bar "||"
3878 F: barre de reprise,
3881 DK: gen@-ta@-gel@-se,
3885 @lilypond[fragment,line-width=13.0\cm]
3889 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3893 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3894 @c specify the rest's value.
3922 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3923 fixed unit of time, called @aref{beat}, and in which the normal
3924 @aref{accent} recurs in regular intervals, called
3925 @aref{measure}. The basic scheme of time values is called
3926 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3927 accent. In modern notation such music appears as a free alternation of
3928 different measures. (c) Free rhythm, i.e., the use of temporal values having
3929 no common metrical unit (beat).
3937 D: Ritardando, langsamer werden,
3941 FI: ritardando, hidastuen,
3943 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3955 FI: ritenuto, hidastaen.
3957 Immediate reduction of speed.
3969 FI: asteikko, sävelasteikko.
3971 @aref{diatonic scale}.
3974 @section scale degree
3976 ES: grado (de la escala),
3977 I: grado della scala,
3978 F: degré [de la gamme],
3980 NL: trap [van de toonladder],
3983 FI: sävelaste, asteikon sävel.
3985 Names and symbols used in harmonic analysis to denote tones of the scale as
3986 roots of chords. The most important are degrees I = tonic (T), IV =
3987 sub@-do@-mi@-nant (S) and V = dominant (D).
3989 @lilypond[fragment,notime,line-width=13.0\cm]
3990 \set Score.automaticBars = ##f
3992 \context Staff \relative c' {
3996 << { I II III IV V VI VII I }
4002 @aref{functional harmony}.
4010 D: Partitur (full score), Klavierauszug (vocal score)
4016 A copy of orchestral, choral, or chamber music showing what each instrument is
4017 to play, each voice to sing, having each part arranged one underneath the
4018 other on different staves @aref{staff}.
4032 The @aref{interval} between two neigbouring tones of a scale. A
4033 @aref{diatonic scale} consists of alternating
4034 @aref{semitone}s and @aref{whole tone}s, hence the size
4035 of a se@-cond depends on the scale degrees in question.
4049 The @aref{interval} of a minor second. The (usually) smallest
4050 interval in European composed music. The interval between two neighbouring
4051 tones on the piano keyboard -- including black and white keys -- is a
4052 semitone. An octave may be divided into 12@w{ }semitones.
4053 @aref{interval}, @aref{chromatic scale}.
4055 @lilypond[fragment,notime,line-width=13.0\cm]
4056 \set Score.automaticBars = ##f
4057 \relative c'' { g1 gis s a bes s b! c }
4112 @node short appoggiatura
4113 @section short appoggiatura
4115 @aref{appoggiatura}.
4117 @node sixteenth note
4118 @section sixteenth note
4124 D: Sechzehntel, Sechzehntelnote,
4125 NL: zes@-ti@-ende noot,
4126 DK: sekstendedelsnode,
4128 FI: kuudestoistaosanuotti.
4132 @node sixteenth rest
4133 @section sixteenth rest
4135 ES: silencio de semicorchea,
4136 I: pausa di semicroma,
4138 UK: semiquaver rest,
4139 D: Sechzehntelpause,
4141 DK: sekstendedelspause,
4161 @node sixty-fourth note
4162 @section sixty-fourth note
4166 F: quadruple croche,
4167 UK: hemidemisemiquaver,
4168 D: Vierundsechzigstel, Vierundsechzigstelnote,
4169 NL: vierenzestigste noot,
4170 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4171 S: sextiofjärdedelsnot,
4172 FI: kuudeskymmenesneljäsosanuotti.
4176 @node sixty-fourth rest
4177 @section sixty-fourth rest
4179 ES: silencio de semifusa,
4180 I: pausa di semibiscroma,
4181 F: seizième de soupir,
4182 UK: hemidemisemiquaver rest,
4183 D: Vierundsechzigstelpause,
4184 NL: vierenzestigste rust,
4185 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4186 S: sextiofjärdedelspaus,
4187 FI: kuudeskymmenesneljäsosatauko.
4194 ES: ligadura (de expresión),
4195 I: legatura (di portamento or espressiva),
4197 D: Bogen, Legatobogen, Phrasierungsbogen,
4198 NL: fraseringsboog, legatoboog, streekboog,
4199 DK: legatobue, fraseringsbue,
4203 A slur above or below a group of notes indicates that they are to be played
4204 @aref{legato}, e.g., with one stroke of the violin bow or with one
4208 @section solmization
4217 FI: suhteelliset laulunimet.
4219 General term for systems of designating the degrees of the
4220 @aref{scale}, not by letters, but by syllables (@emph{do}
4221 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4222 (@emph{ti})). @aref{scale degree}.
4236 In its present-day meaning a sonata denotes an instrumental composition for
4237 piano or for some other instrument with piano accompaniment, which consists of
4238 three or four independant pieces, called movements.
4241 @section sonata form
4245 F: [en] forme de sonate,
4247 NL: hoofdvorm, sonatevorm,
4252 A form used frequently for single movements of the @aref{sonata},
4253 @aref{symphony}, quartet, etc. A movement written in sonata form
4254 falls into three sections called @emph{exposition}, @emph{development} and
4255 @emph{recapitulation}. In the exposition the composer introduces some musical
4256 ideas, consisting of a number of themes; in the development section the
4257 composer @q{develops} this material, and in the recapitulation the composer
4258 repeats the exposition, with certain modifications. The exposition contains a
4259 number of themes that fall into two groups, often called first and second
4260 subject. Other melodies occurring in each group are considered as
4261 continuations of these two. The second theme is in another key, normally in
4262 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4263 @aref{relative key} if the tonic is @aref{minor}.
4280 FI: sopraano, korkea naisääni.
4282 The highest female voice.
4289 F: staccato, piqué, détaché,
4294 FI: staccato, lyhyesti, terävästi.
4296 Playing the note(s) short. Staccato is indicated by a dot above or below the
4299 @lilypond[fragment,ragged-right]
4304 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4313 I: pentagramma, rigo (musicale),
4316 NL: (noten)balk, partij,
4321 A staff (pl. staves) is a series of (normally five) horizontal lines
4322 upon and between which the musical notes are written, thus indicating
4323 (in connection with a @aref{clef}) their pitch. Staves for
4324 @aref{percussion} instruments may have fewer lines.
4337 D: Hals, Notenhals, Stiel,
4343 Vertical line above or below a @aref{note head} shorter than a
4344 whole note. @aref{beam}.
4346 @lilypond[fragment,notime,line-width=13.0\cm]
4347 \set Score.autoBeaming = ##f
4348 \set Score.automaticBars = ##f
4349 %\override Score.TextScript #'font-style = #'large
4370 A family of stringed musical instruments played with a bow. Strings commonly
4371 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4374 @section strong beat
4379 D: betonter Taktteil oder Taktschlag,
4381 D: betonet taktslag,
4382 S: betonat taktslag,
4383 FI: tahdin vahva isku.
4385 @aref{beat}, @aref{accent}, @aref{measure},
4389 @section subdominant
4398 FI: subdominantti, alidominantti.
4400 The fourth @aref{scale degree}. @aref{functional harmony}.
4414 The sixth @aref{scale degree}.
4426 FI: subtoonika, alitoonika.
4428 The seventh @aref{scale degree}.
4431 @section superdominant
4442 The sixth @aref{scale degree}.
4456 The second @aref{scale degree}.
4464 D: Sinfonie, Symphonie,
4470 A symphony may be defined as a @aref{sonata} for orchestra.
4473 @section syncopation
4484 Any deliberate upsetting of the normal pulse of @aref{meter},
4485 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4486 rhythm rests upon the grouping of equal beats into groups of two or three,
4487 with a regularly recurrent accent on the first beat of each group. Any
4488 deviation from this scheme is felt as a disturbance or contradiction between
4489 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4491 @lilypond[fragment,ragged-right]
4496 e c'4 e,8 c'4 e,8 c' ( | c2)
4500 @node syntonic comma
4501 @section syntonic comma
4504 I: comma sintonico (o didimico),
4505 F: comma syntonique,
4506 D: syntonisches Komma,
4507 NL: syntonische komma,
4508 DK: syntonisk komma,
4509 S: syntoniskt komma,
4510 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4511 viritysjärjestelmässä.
4513 Difference between the natural third and the third obtained by Pythagorean
4514 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4526 FI: nuottijärjestelmä.
4528 The collection of staves @aref{staff}, two or more, as used for
4529 writing down of keyboard, chamber, choral, or orchestral music.
4532 @section temperament
4537 D: Stimmung, Tem@-pe@-ra@-tur,
4538 NL: stemming, temperatuur,
4541 FI: viritysjärjestelmä.
4543 Systems of tuning in which the intervals deviate from the acoustically pure
4544 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4546 @node tempo indication
4547 @section tempo indication
4549 ES: indicación de tempo,
4550 I: indicazione di tempo,
4551 F: indication de temps,
4552 D: Zeitmaß, Tempobezeichnung,
4553 NL: tempo aanduiding,
4558 The rate of speed of a composition or a section thereof, ranging from the
4559 slowest to the quickest, as is indicated by tempo marks as
4560 @aref{largo}, @aref{adagio}, @aref{andante},
4561 @aref{allegro}, and @aref{presto}.
4573 FI: tenori, korkea miesääni.
4575 The highest male voice (apart from @aref{counter tenor}).
4594 ES: subrayado (tenuto),
4603 An indication that a particular note should be held for the whole
4604 length, although this can vary depending on the composer and era.
4620 @node thirty-second note
4621 @section thirty-second note
4627 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4628 NL: twee-endertig@-ste noot,
4629 DK: toogtredivtedelsnode,
4630 S: trettiotvåondelsnot,
4631 FI: kolmanneskymmeneskahdesosanuotti.
4635 @node thirty-second rest
4636 @section thirty-second rest
4638 ES: silencio de fusa,
4639 I: pausa di biscroma,
4640 F: huitième de soupir,
4641 UK: demisemiquaver rest,
4642 D: Zweiunddreissigstel@-pause,
4644 DK: toogtredivtedelspause,
4645 S: trettiotvåondelspaus,
4646 FI: kolmanneskymmeneskahdesosatauko.
4651 @section thorough bass
4654 I: basso continuo, basso numerato,
4656 D: Generalbass, bezifferter Bass,
4657 NL: basso continuo, becijferde bas
4660 FI: kenraalibasso, numeroitu basso.
4662 A method of indicating an accompaniment part by the bass notes only, together
4663 with figures designating the chief @aref{interval}s and
4664 @aref{chord}s to be played above the bass notes.
4666 @lilypond[fragment,line-width=13.0\cm]
4667 \context GrandStaff <<
4668 \context Staff = lh \relative c'' {
4672 << \context Voice = rha {
4675 \context Voice = rhb {
4677 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4681 \context Staff = rh \relative c' {
4684 es8 c d bes c as bes16 as g f | es4
4686 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4694 ES: ligadura de prolongación,
4695 I: legatura (di valore),
4698 NL: overbinding, bindingsboog,
4700 S: bindebåge, överbindning,
4703 A curved line, identical in appearance with the @aref{slur}, which
4704 connects two succesive notes of the same pitch, and which has the function of
4705 uniting them into a single sound (tone) equal to the combined durations.
4707 @lilypond[fragment,notime,ragged-right]
4708 \set Score.automaticBars = ##f
4709 \relative c'' { g2 ~ g4. }
4717 @node time signature
4718 @section time signature
4720 ES: indicación de compás,
4722 F: chiffrage (chiffres indicateurs), signe de valeur,
4723 D: Taktangabe, Angabe der Taktart,
4726 S: taktartssignatur,
4743 A sound of definite pitch and duration, as distinct from @emph{noise}.
4744 Tone is a primary building material of music.
4745 Music from the 20th century may be based on atonal sounds.
4759 The first @aref{scale degree}.
4760 @aref{functional harmony}.
4763 @section transposition
4774 Shifting a melody up or down in pitch, while keeping the same
4777 @lilypond[fragment,line-width=13.0\cm]
4782 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4787 @lilypond[fragment,line-width=13.0\cm]
4790 \transpose c bes \relative c'' {
4792 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4798 @section treble clef
4801 I: chiave di violino,
4803 D: Violinschlüssel, Sopranschlüssel,
4805 DK:@w{ }diskantnøgle,
4823 On stringed instruments (@aref{strings}) the quick reiteration of
4824 the same tone, produced by a rapid up-and-down movement of the bow
4825 (a). The term is also used for the rapid alternation (b) between two notes of
4826 a @aref{chord}, usually in the distance of a third
4829 @lilypond[fragment,notime,ragged-right]
4830 \set Score.automaticBars = ##f
4831 %\override Score.TextScript #'font-style = #'large
4834 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4835 \repeat "tremolo" 8 { e32_"b" g }
4844 F: triade, accord parfait, accord de trois sons,
4858 F: trille, tremblement, battement (cadence),
4868 @section triple meter
4870 ES: compás ternario,
4874 NL: driedelige maatsoort,
4910 @section tuning fork
4913 I: diapason, corista,
4921 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4922 give the international pitch for the tone @emph{a} (440 vibrations per
4949 FI: unisono, yksiäänisesti.
4951 Playing of the same notes or the same melody by various instruments (voices)
4952 or by the whole orchestra (choir), either at exactly the same pitch or in a
4960 F: anacrouse, levée,
4967 Initial note(s) of a melody occurring before the first bar
4968 line. @aref{measure}, @aref{meter}.
4970 @lilypond[fragment,line-width=13.0\cm]
4974 \partial 4 f4 | bes4. a8 bes4 c |
4975 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4988 FI: ääni, lauluääni.
4990 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4991 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4992 2.@tie{}A melodic layer or part of a polyphonic composition.
4998 I: tempo debole, arsi,
5000 D: unbetonter Taktteil oder Taktschlag,
5002 DK: ubetonet taktslag,
5003 S: obetonat taktslag,
5004 FI: tahdin heikko isku.
5006 @aref{beat}, @aref{measure}, @aref{rhythm}.
5015 D: Ganze, ganze Note,
5026 ES: silencio de redonda,
5027 I: pausa di semibreve,
5030 D: ganze Pause, ganztaktige Pause,
5050 The @aref{interval} of a major second. The interval between two
5051 tones on the piano keyboard with exactly one key between them -- including
5052 black and white keys -- is a whole tone.
5066 A family of blown wooden musical instruments. Today some of these instruments
5067 are actually made from metal. The woodwind instruments commonly used in a
5068 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5070 @node Duration names notes and rests
5071 @chapter Duration names, notes and rests
5074 @item DURATION NAMES, NOTES AND RESTS
5077 @multitable @columnfractions .15 .26 .33 .26
5082 @tab @strong{F (note name / rest name)}
5094 @item @strong{longa}
5109 @item @strong{breve}
5112 @tab brève / double-pause
5124 @item @strong{whole}
5134 @tab koko@-nuotti/@w{-tauko}
5142 @tab blanche / demi-pause
5149 @tab puoli@-nuotti/@w{-tauko}
5154 @item @strong{quarter}
5164 @tab neljännesosa@-nuotti/@w{-tauko}
5169 @item @strong{eighth}
5172 @tab croche / demi-soupir
5179 @tab kahdeksasosa@-nuotti/@w{-tauko}
5184 @item @strong{sixteenth}
5187 @tab double croche / quart de soupir
5194 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5199 @item @strong{thirty-second}
5202 @tab triple croche / huitième de soupir
5204 @tab Zweiunddreissigstel
5205 @tab tweeendertigste
5206 @tab toogtredivtedel
5208 @tab trettiotvåondel
5209 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5214 @item @strong{sixty-fourth}
5215 @tab hemidemisemiquaver
5217 @tab quadruple croche / seizième de soupir
5219 @tab Vierundsechzigstel
5220 @tab vierenzestigste
5221 @tab fireogtred@-sindstyvendedel
5223 @tab sextiofjärdedel
5224 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5228 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5231 @chapter Pitch names
5237 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5238 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5240 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5241 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5245 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5249 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5251 cis @tab cis @tab cis
5255 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5257 des @tab des @tab des
5261 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5265 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5269 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5273 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5278 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5284 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5288 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5290 ais @tab ais @tab ais
5294 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5300 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5305 @node Literature used
5306 @unnumbered Literature used
5309 @item The Harvard Dictionary of Music, London 1944. Many more or less
5310 literal quotes from its articles have been included into the item
5313 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5315 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5317 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5320 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
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