1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
10 * Glossary: (music-glossary). Glossary of music terms.
14 This document is also available in
15 @uref{source/Documentation/user/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author David González @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2006 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
64 This glossary was brought you by
71 @item Christian Mondrup
72 Original author of LilyPond glossary, Danish glossary,
75 @item Fran@,{c}ois Pinard
76 Original glossary of GNU music project, French glossary,
77 @item Han-Wen Nienhuys
79 @item Jan Nieuwenhuizen
84 English glossary translations,
86 Finnish glossary translations.
89 Copyright 1999--2006 by the authors
92 Permission is granted to copy, distribute and/or modify this document
93 under the terms of the GNU Free Documentation License, Version 1.1
94 or any later version published by the Free Software Foundation,
95 without Invariant Sections.
101 @c @everyheading @| @thispage @|
102 @c @evenheading @thispage @| @|
103 @c @oddheading @| @| @thispage @|
105 @include macros.itexi
110 @w{@arrow{}@strong{\word\}}@c
113 @arrow{}@ref{\word\, @strong{\word\}}@c
118 * Musical terms A-Z::
119 * Duration names notes and rests::
124 @node Musical terms A-Z
125 @chapter Musical terms A-Z
127 Languages in this order.
134 @item UK - British English
152 * ancient minor scale::
156 * ascending interval::
157 * augmented interval::
189 * compound interval::
191 * conjunct movement::
204 * descending interval::
206 * diminished interval::
208 * disjunct movement::
210 * dissonant interval::
211 * dominant ninth chord::
212 * dominant seventh chord::
215 * dot (augmentation dot)::
217 * double appoggiatura::
219 * double dotted note::
228 * ecclesiastical mode::
234 * equal temperament::
248 * functional harmony::
262 * inverted interval::
275 * long appoggiatura::
280 * meantone temperament::
287 * metronomic indication::
323 * Pythagorean comma::
345 * short appoggiatura::
349 * sixty-fourth note::
350 * sixty-fourth rest::
378 * thirty-second note::
379 * thirty-second rest::
428 FI: aksentti, korostus.
430 The stress of one tone over others.
440 ES: alteración accidental,
442 F: altération accidentelle,
443 D: Vorzeichen, Versetzungszeichen, Akzidenz,
444 NL: toevallig (verplaatsings)teken,
446 S: tillfälligt förtecken,
447 FI: tilapäinen etumerkki.
449 An accidental has the effect of an @aref{alteration} of a note. A
450 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
451 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
452 lowers it by a whole tone. A natural cancels the effect of a previous
455 @lilypond[fragment,notime,line-width=13.0\cm]
456 \set Score.automaticBars = ##f
458 \context Staff \relative c'' {
459 gis1 gisis ges geses g!
462 \override Lyrics .LyricText #'self-alignment-X = #-1
463 sharp "db. sharp" flat "db. flat" natural
473 F: accelerando, en accélérant,
474 D: accelerando, schneller werden,
478 FI: accelerando, kiihdyttäen.
492 FI: adagio, hitaasti.
494 It.@: comfortable, easy.
495 1.@tie{}Slow tempo, slower -- especially in even meter -- than
496 @aref{andante} and faster than @aref{largo}.
497 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
498 @aref{sonata}s, symphonies, etc.
506 D: Allegro, Schnell, Fröhlich, Lustig,
510 FI: allegro, nopeasti.
512 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
513 tempo, especially the first and last movements of a @aref{sonata}.
522 NL: verhoging of verlaging,
527 An alteration is the modification, raising or lowering, of a note's
528 pitch. It is established by an @aref{accidental}.
540 FI: altto, matala naisääni.
542 A female voice of low range (@emph{contralto}). Originally the alto was a
543 high male voice (hence the name), which by the use of falsetto reached the
544 height of the female voice. This type of voice is also known as
545 @aref{counter tenor}.
550 ES: clave de do en tercera,
551 I: chiave di contralto,
552 F: clef d'ut troisième ligne,
553 D: Altschlüssel, Bratschenschlüssel,
559 C clef setting middle C on the middle line of the staff
572 FI: ambitus, ääniala, soitinala.
574 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
575 of pitches for a given voice in a part of music. It may also denote
576 the pitch range that a musical instrument is capable of playing.
578 @node ancient minor scale
579 @section ancient minor scale
581 ES: escala menor antigua,
582 I: scala minore naturale,
583 F: forme du mode mineur ancien, troisème mode, mode hellénique
585 NL: authentieke mineurtoonladder,
588 FI: luonnollinen molliasteikko.
590 @aref{diatonic scale}.
592 @lilypond[fragment,notime,line-width=13.0\cm]
593 \set Score.automaticBars = ##f
610 Walking tempo/character.
613 @section appoggiatura
617 F: appogiature, (port de voix),
622 FI: appoggiatura, etuhele.
624 Ornamental note, usually a second, that is melodically connected with the
625 main note following it. In music before the 19th century a.@: were usually
626 performed on the beat, after that mostly before the beat. While the short
627 a.@: is performed as a short note regardless of the duration of the main note
628 the duration of the long a.@: is proportional to that of the main note.
630 @lilypond[line-width=13.0\cm]
631 \context Voice \relative c'' {
635 %\override Score.TextScript #'font-style = #'large
636 <d a fis>4_"notation" r
637 { \override Stem #'flag-style = #'()
639 \revert Stem #'flag-style
642 { \override Stem #'flag-style = #'()
644 \revert Stem #'flag-style
647 \cadenzaOn a4 \bar "||" \cadenzaOff
649 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
650 \cadenzaOn a4 \bar "||" \cadenzaOff
654 An appoggiatura may have more notes preceding the main note.
656 @lilypond[line-width=13.0\cm]
660 % \override Score.TextScript #'font-style = #'large
661 \grace { bes16 } as8_"notation" as16 bes as8 g |
662 \grace { as16[( bes] } < c as >4-)
663 \grace { as16[( bes] } < c as >4-) \bar "||"
664 \grace { bes16 } as8_"performance" as16 bes as8 g |
665 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
666 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
677 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
679 DK: arpeggio, akkordbrydning,
681 FI: arpeggio, murtosointu.
683 @lilypond[fragment,line-width=13.0\cm]
684 \context PianoStaff <<
685 \context Staff = SA \relative c'' {
688 r8 g16 c e g, c e r8 g,16 c e g, c e |
689 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
690 \context Staff = SB \relative c' {
692 << \context Voice = va {
694 r16 e8. ( e4) r16 e8. ( e4) |
695 r16 d8. ( d4) r16 d8. ( d4) }
696 \context Voice = vb {
703 @node ascending interval
704 @section ascending interval
706 ES: intervalo ascendente,
707 I: intervallo ascendente,
708 F: intervalle ascendant,
709 D: steigendes Intervall,
710 NL: stijgend interval,
711 DK:@w{ }stigende interval,
712 S: stigande intervall,
713 FI: nouseva intervalli.
715 A distance between a starting lower note and a higher ending note.
717 @node augmented interval
718 @section augmented interval
720 ES: intervalo aumentado,
721 I: intervallo aumentato,
722 F: intervalle augmenté,
723 D: übermäßiges Intervall,
724 NL: overmatig interval,
725 DK: forstørret interval,
726 S: överstigande intervall,
727 FI: ylinouseva intervalli.
737 D: Autograph, Handschrift,
739 DK: håndskrift, autograf,
741 FI: käsinkirjoitettu nuotti.
743 1.@tie{}A manuscript in the composer's own hand.
744 2.@tie{}Music prepared for photoreproduction by freehand drawing,
745 with the aid of a straightedge ruler and T-square only,
746 which attempts to emulate engraving.
747 This required more skill than did engraving.
774 ES: barra, línea divisoria,
775 I: stanghetta, barra (di divisione),
776 F: barre (de mesure),
793 FI: baritoni, keskikorkuinen miesääni.
795 The male voice intermediate between the @aref{bass} and the
798 @c F: clef de troisième ligne dropped
801 @section baritone clef
803 ES: clave de fa en tercera,
804 I: chiave di baritono,
805 F: clef d' Ut cinquième ligne, clef de Fa troisième,
812 C or F clef setting middle C on the upper staff line.
813 @aref{C clef}, @aref{F clef}.
818 ES: clave de fa en cuarta,
820 F: clé de fa quatrième ligne,
827 A clef setting with middle C on the first top ledger line.
840 FI: basso, matala miesääni.
842 1.@tie{}The lowest male voice.
843 2.@tie{}Sometimes, especially in jazz music, used as
844 an abbreviation for double bass.
859 Line connecting a series of notes (shorter than a quarter note).
860 The number of beams determines the note value of the connected notes.
862 @lilypond[fragment,notime,line-width=13.0\cm]
863 \set Score.automaticBars = ##f
864 %\override TextScript #'font-style = #'large
867 g16_"1/16"[ g g g] s16
868 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
869 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
875 ES: tiempo, parte (de compás)
878 D: Takt, Taktschlag, Zeit (im Takt),
884 Note value used for counting, most often half-, fourth-, and eighth notes.
885 The base counting value and the number of them per measure is indicated at
886 the start of the music.
888 @lilypond[fragment,line-width=13.0\cm]
891 \relative c'' { g4 c b a | g1 \bar "||"}
893 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
907 D: Klammer, Akkolade,
908 NL: accolade, teksthaak,
911 FI: yhdistävä sulkumerkki.
913 Symbol at the start of a system connecting staves. Curly braces are used
914 for connecting piano staves, angular brackets for connecting parts in an
915 orchestral or choral score.
917 @lilypond[fragment,ragged-right]
918 \context GrandStaff <<
919 \relative c''\context Staff = SA { \clef treble g4 e c2 }
920 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
923 @lilypond[fragment,ragged-right]
924 \context StaffGroup <<
925 % \set StaffGroup.minVerticalAlign = #12
926 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
927 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
939 S: brassinstrument, mässingsinstrument,
942 A family of blown musical instruments made of brass, all using a cup formed
943 mouth piece. The brass instruments commonly used in a symphony orchestra are
944 trumpet, trombone, french horn, and tube.
952 D: Atemzeichen, Trennungszeichen,
953 NL: repercussieteken,
954 DK: vejrtrækningstegn,
958 Indication of where to breathe in vocal and wind instrument parts.
971 @aref{note value}, twice as long as a whole note. Mainly used
974 @lilypond[fragment,notime,ragged-right]
975 \set Score.automaticBars = ##f
976 \relative c'' { g\breve }
1003 Clef symbol indicating the position of the middle C. Used on all note
1006 @lilypond[fragment,notime,line-width=13.0\cm]
1007 \set Score.automaticBars = ##f
1008 \override Score.Clef #'full-size-change = ##t
1010 \context Staff \relative c' {
1012 \clef mezzosoprano c
1017 \context Lyrics \lyrics {
1018 \override Lyrics .LyricText #'self-alignment-X = #-1
1019 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1034 FI: kadenssi, lopuke.
1036 @aref{harmonic cadence}, @aref{functional harmony}.
1048 FI: kadenssi, lopuke.
1050 An extended, improvisatory style section inserted near the end of
1051 movement. The purpose of a cadenza is to give singers or players a chance
1052 to exhibit their technical skill and -- not last -- their ability to
1053 improvise. Since the middle of the 19th century, however, most cadences have
1054 been written down by the composer.
1066 FI: kaanon, tarkka jäljittely.
1068 @aref{counterpoint}.
1080 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1081 viritysjärjestelmässä.
1083 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1084 of an equally tempered @aref{semitone}).
1085 @aref{equal temperament}.
1104 Three or more tones sounding simultaneously. In traditional European music
1106 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1108 minor @aref{third}) as well as @emph{minor} (minor + major third)
1109 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1110 and five-tone @emph{ninth} major chords are most often used as dominants
1111 (@aref{functional harmony}). A special case is chords having no
1112 third above the lower notes to define their quality as major or minor. Such
1113 chords are denoted open chords
1115 @lilypond[fragment,notime,line-width=13.0\cm]
1116 \set Score.automaticBars = ##f
1117 %\override TextScript #'font-style = #'large
1119 \context Staff \relative c'' {
1138 @node chromatic scale
1139 @section chromatic scale
1141 ES: escala cromática,
1143 F: gamme chromatique,
1144 D: chro@-ma@-ti@-sche Tonleiter,
1145 NL: chromatische toonladder,
1146 DK: kromatisk skala,
1148 FI: kromaattinen asteikko.
1150 A scale consisting of all 12 @aref{semitone}s.
1152 @lilypond[fragment,notime,line-width=13.0\cm]
1153 \set Score.automaticBars = ##f
1154 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1158 @section chromaticism
1169 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1172 @section church mode
1174 ES: modo eclesiástico,
1175 I: modo ecclesiastico,
1176 F: mode ecclésiastique,
1181 FI: moodi, kirkkosävellaji.
1183 @aref{diatonic scale}.
1191 D: Schlüssel, Notenschlüssel,
1195 FI: avain, nuottiavain.
1197 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1204 A @emph{cluster} is a range of simultaneously sounding pitches that
1205 may change over time. The set of available pitches to apply usually
1206 depends on the acoustic source. Thus, in piano music, a cluster
1207 typically consists of a continuous range of the semitones as provided
1208 by the piano's fixed set of a chromatic scale. In choral music, each
1209 singer of the choir typically may sing an arbitrary pitch within the
1210 cluster's range that is not bound to any diatonic, chromatic or other
1211 scale. In electronic music, a cluster (theoretically) may even cover
1212 a continuous range of pitches, thus resulting in colored noise, such
1215 Clusters can be denoted in the context of ordinary staff notation by
1216 engraving simple geometrical shapes that replace ordinary notation of
1217 notes. Ordinary notes as musical events specify starting time and
1218 duration of pitches; however, the duration of a note is expressed by
1219 the shape of the note head rather than by the horizontal graphical
1220 extent of the note symbol. In contrast, the shape of a cluster
1221 geometrically describes the development of a range of pitches
1222 (vertical extent) over time (horizontal extent). Still, the
1223 geometrical shape of a cluster covers the area in which any single
1224 pitch contained in the cluster would be notated as an ordinary note.
1226 @lilypond[fragment,relative=2,verbatim,ragged-right]
1227 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1240 FI: komma, korvinkuultava ero äänenkorkeudessa.
1242 Difference in pitch between a note derived from pure tuning and the same note
1243 derived from some other tuning method. @aref{temperament}.
1246 @section common meter
1250 @node compound interval
1251 @section compound interval
1253 ES: intervalo compuesto,
1254 I: intervallo composto,
1255 F: intervalle composé,
1256 D: weites Intervall,
1257 NL: samengesteld interval,
1258 DK: sammensat interval,
1259 S: sammansatt intervall,
1260 FI: oktaavia laajempi intervalli.
1262 Intervals larger than an octave.
1269 ES: intervalo invertido,
1271 F: intervalle complémentaire,
1272 D: Komplementärintervall,
1273 NL: complementair interval,
1274 DK: komplementærinterval,
1275 S: komplementärintervall (?),
1276 FI: täydentävä intervalli.
1278 @aref{inverted interval}.
1280 @node conjunct movement
1281 @section conjunct movement
1283 ES: movimiento conjunto,
1285 F: mouvement conjoint,
1286 D: schritt@-weise, stufenweise Bewegung,
1287 NL: stapsgewijze, trapsgewijze beweging,
1288 DK: trinvis bevægelse,
1290 FI: asteittainen liike.
1292 Progressing melodically by intervals of a second. The opposite of a
1293 @aref{disjunct movement}.
1295 @lilypond[fragment,line-width=13.0\cm]
1296 \key g \major \time 4/4
1297 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1310 FI: konsonanssi, sopusointi.
1329 @section counterpoint
1338 FI: kontrapunkti, ääni ääntä vastaan.
1340 From latin @emph{punctus contra punctum}, note against note. The combination
1341 into a single musical fabric of lines or parts which have distinct melodic
1342 significance. A frequently used polyphonic technique is imitation, in its
1343 strictest form found in the canon needing only one part to be written down
1344 while the other parts are performed with a given displacement. Imitation is
1345 also the contrapunctal technique used in the @emph{fugue} which, since the
1346 music of the baroque era, has been one of the most popular polyphonic
1347 composition methods.
1349 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1350 \override Score.TimeSignature #'break-visibility = #all-invisible
1351 \context PianoStaff <<
1352 \context Staff = SA \relative c' {
1356 << \context Voice = rha {
1358 r1 | r2 r8 g'8 bes d, |
1359 cis4 d r8 e!16 f g8 f16 e |
1360 f8 g16 a bes8 a16 g a8
1362 \context Voice = rhb {
1368 \context Staff = SB \relative c' {
1371 << \context Voice = lha {
1373 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1374 r8 a16 g f8 g16 a bes8 g e! cis' |
1377 \context Voice = lhb {
1386 @section counter tenor
1391 D: Countertenor, Kontratenor,
1394 S: kontratenor, counter tenor,
1400 @section copying music
1402 A music copyist did fast freehand scores and parts on preprinted staff lines
1403 for performance. Some of their conventions (e.g., the placement of note heads
1404 on stems) varied slightly from those of engravers. Some of their working
1405 methods were superior and could well be adopted by music typesetters. This
1406 required more skill than engraving.
1414 D: Crescendo, lauter werden,
1418 FI: cresendo, voimistuen.
1420 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1421 abbreviation ``cresc.''.
1423 @lilypond[fragment,ragged-right]
1424 \key g \major \time 4/4
1425 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1433 F: petites notes précédent l'entrée d'in instrument, réplique,
1440 In a separate part notes belonging to another part with the purpose of hinting
1441 when to start playing. Usually printed in a smaller type.
1446 A custos is a staff symbol that appears at the end of a staff line
1447 with monophonic musical contents (i.e., with a single voice). It
1448 anticipates the pitch of the first note of the following line and thus
1449 helps the player or singer to manage line breaks during performance,
1450 thus enhancing readability of a score.
1452 Custodes were frequently used in music notation until the 16th
1453 century. There were different appearences for different notation
1454 styles. Nowadays, they have survived only in special forms of musical
1455 notation such as via the editio vaticana dating back to the beginning
1461 % \override Staff.Custos #'neutral-position = #4
1462 \override Staff.Custos #'neutral-direction = #down
1463 \override Staff.Custos #'style = #'hufnagel
1471 \consists Custos_engraver
1495 F: da capo, depuis le commencement,
1496 D: da capo, von Anfang,
1500 FI: da capo, alusta.
1502 The term indicates repetition of the piece from the beginning to the end or
1503 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1510 F: dal segno, depuis le signe,
1511 D: dal segno, ab dem Zeichen,
1515 FI: dal segno, lähtien merkistä.
1517 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1518 another place frequently near the beginning marked by a sign:
1520 @lilypond[fragment,ragged-right]
1521 %\override TextScript #'font-style = #'large
1522 \override TextScript #'font-shape = #'italic
1523 \key g \major \time 4/4
1528 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1534 @section decrescendo
1538 D: Decrescendo, leiser werden,
1542 FI: decresendo, hiljentyen.
1544 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1545 or the abbreviation ``decresc.''.
1547 @lilypond[fragment,ragged-right]
1549 \key g \major \time 4/4
1550 d4 \> c b a | g1 \! \bar "|."
1554 @node descending interval
1555 @section descending interval
1557 ES: intervalo descendente,
1558 I: intervallo discendente,
1559 F: intervalle descendant,
1560 D: fallendes Intervall, absteigendes Intervall,
1561 NL: dalend interval,
1562 DK: faldende interval,
1563 S: fallande intervall,
1564 FI: laskeva intervalli.
1566 A distance between a starting higher note and a lower ending note.
1568 @node diatonic scale
1569 @section diatonic scale
1571 ES: escala diatónica,
1573 F: gamme diatonique,
1574 D: diatonische Tonleiter,
1575 NL: diatonische toonladder,
1576 DK: diatonisk skala,
1578 FI: diatoninen asteikko.
1580 A scale consisting of 5@w{ }@aref{whole tone}s and
1581 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1582 of a piano keybord are diatonic.
1584 The church modes are used in gregorial chant and in pre-baroque early
1585 music but also to some extent in newer jazz music.
1587 @lilypond[fragment,notime,ragged-right]
1588 \set Score.automaticBars = ##f
1589 %\override Score.LyricText #'font-style = #'large
1590 %\override Score.TextScript #'font-style = #'large
1592 \context Staff \relative c' {
1594 \override TextScript #'padding = #-4
1595 e^"~~ S" f g a b^"~~ S" c
1597 \context Lyrics \lyrics {
1603 @lilypond[fragment,notime,ragged-right]
1604 \set Score.automaticBars = ##f
1606 \context Staff \relative c' {
1608 \override TextScript #'padding = #-4
1609 e^"~~ S" f g a b^"~~ S" c d
1617 @lilypond[fragment,notime,ragged-right]
1618 \set Score.automaticBars = ##f
1621 \override TextScript #'padding = #-4
1622 e1^"~~ S" f g a b^"~~ S" c d e
1630 @lilypond[fragment,notime,ragged-right]
1631 \set Score.automaticBars = ##f
1635 \override TextScript #'padding = #-4
1636 b^"~~ S" c d e^"~~ S" f
1644 @lilypond[fragment,notime,ragged-right]
1645 \set Score.automaticBars = ##f
1649 \override TextScript #'padding = #-4
1650 b^"~~ S" c d e^"~~ S" f g }
1657 @lilypond[fragment,notime,ragged-right]
1658 \set Score.automaticBars = ##f
1659 %\override Score.LyricText #'font-style = #'large
1660 %\override Score.TextScript #'font-style = #'large
1664 \override TextScript #'padding = #-4
1665 b^"~~ S" c d e^"~~ S" f g a
1673 From the beginning of the 17th century the scales used in European
1674 compositional music are primarily the major and the minor scales. In the
1675 harmonic minor scale type an augmented second (A) occurs between the 6th and
1678 @lilypond[fragment,notime,ragged-right]
1679 \set Score.automaticBars = ##f
1683 \override TextScript #'padding = #-4
1684 e^"~~ S" f g a b^"~~ S" c
1692 @lilypond[fragment,notime,ragged-right]
1693 \set Score.automaticBars = ##f
1697 \override TextScript #'padding = #-4
1698 b^"~~ S" c d e^"~~ S" f g a
1706 @lilypond[fragment,notime,ragged-right]
1707 \set Score.automaticBars = ##f
1711 \override TextScript #'padding = #-4
1712 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1714 \context Lyrics \lyrics {
1720 @lilypond[fragment,notime,line-width=13.0\cm]
1721 \set Score.automaticBars = ##f
1722 %\override Score.LyricText #'font-style = #'large
1723 %\override Score.TextScript #'font-style = #'large
1727 \override TextScript #'padding = #-4
1728 b^"~~ S" c d e fis gis^"~~ S"
1729 a g! f!^"~~ S" e d c^"~~ S" b a
1737 @node diminished interval
1738 @section diminished interval
1740 ES: intervalo disminuido,
1741 I: intervallo diminuito,
1742 F: intervalle diminué,
1743 D: vermindertes Intervall,
1744 NL: verminderd interval,
1745 DK: formindsket interval,
1746 S: förminskat intervall,
1747 FI: vähennetty intervalli.
1761 FI: diminuendo, hiljentyen.
1765 @node disjunct movement
1766 @section disjunct movement
1768 ES: movimiento disjunto,
1770 F: mouvement disjoint,
1771 D: sprunghafte Bewegung,
1772 NL: sprongsgewijze beweging,
1773 DK: springende bevægelse,
1774 S: hoppande rörelse,
1775 FI: melodian hyppivä liike.
1777 Progressing melodically by intervals larger than a major second.
1778 Opposite of @aref{conjunct movement}.
1780 @lilypond[fragment,ragged-right]
1785 a4. gis8 b a e cis |
1786 fis2 d4. \bar "||" }
1792 @ref{dissonant interval}.
1794 @node dissonant interval
1795 @section dissonant interval
1797 ES: intervalo disonante, disonancia,
1798 I: intervallo dissonante, dissonanza,
1801 NL: dissonant interval; dissonant,
1802 DK: dissonerende interval, dissonans,
1804 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1808 @node dominant ninth chord
1809 @section dominant ninth chord
1811 ES: acorde de novena de dominante,
1812 I: accordo di nona di dominante,
1813 F: accord de neuvième dominante,
1814 D: Domi@-nant@-nonen@-akkord,
1815 NL: dominant noon akkoord,
1816 DK: dominantnoneakkord,
1817 S: dominantnonackord,
1818 FI: dominanttinoonisointu.
1820 @aref{chord}, @aref{functional harmony}.
1822 @node dominant seventh chord
1823 @section dominant seventh chord
1825 ES: acorde de séptima de dominante,
1826 I: accordo di settima di dominante,
1827 F: accord de septième dominante,
1828 D: Dominantseptakkord,
1829 NL: dominant septiem akkoord,
1830 DK: dominantseptimakkord,
1831 S: dominantseptimackord,
1832 FI: dominanttiseptimisointu.
1834 @aref{chord}, @aref{functional harmony}.
1846 FI: dominantti, huippusointu.
1848 The fifth @aref{scale degree},
1849 @aref{functional harmony}.
1852 @section dorian mode
1857 D: dorisch, dorischer Kirchenton,
1858 NL: dorische toonladder,
1863 @aref{diatonic scale}.
1865 @node dot (augmentation dot)
1866 @section dot (augmentation dot)
1869 I: punto (di valore),
1871 D: Punkt (Verlängerungspunkt),
1880 @section dotted note
1882 ES: nota con puntillo,
1886 NL: gepuncteerde noot,
1889 FI: pisteellinen nuotti.
1893 @node double appoggiatura
1894 @section double appoggiatura
1896 ES: apoyatura doble,
1897 I: appoggiatura doppia,
1898 F: appoggiature double,
1899 D: doppelter Vorschlag,
1900 NL: dubbele voorslag,
1901 DK: dobbelt forslag,
1903 FI: kaksoisappogiatura, kaksoisetuhele.
1905 @aref{appoggiatura}.
1907 @node double bar line
1908 @section double bar line
1914 NL: dubbele maatstreep,
1917 FI: kaksoistahtiviiva.
1919 Indicates the end of a section within a movement.
1921 @node double dotted note
1922 @section double dotted note
1924 ES: nota con doble puntillo,
1925 I: nota doppiamente puntata,
1926 F: note doublement pointée,
1927 D: doppelt punktierte Note,
1928 NL: dubbelgepuncteerde noot,
1929 DK: dob@-belt@-punk@-te@-ret node,
1930 S: dub@-bel@-punk@-te@-rad not,
1931 FI: kaksoispisteellinen nuotti.
1936 @section double flat
1945 FI: kaksoisalennusmerkki.
1950 @section double sharp
1952 ES: doble sostenido,
1957 DK: dob@-belt@-kryds,
1959 FI: kaksoisylennysmerkki.
1964 @section double trill
1970 NL: dubbele triller,
1975 A simultaneous trill on two notes, usually in the distance of a third.
1978 @section duple meter
1984 NL: tweedelige maatsoort,
2015 FI: kesto, aika-arvo.
2020 @section dydimic comma
2022 @aref{syntonic comma}.
2036 @node ecclesiastical mode
2037 @section ecclesiastical mode
2042 @section eighth note
2048 D: Achtel, Achtelnote,
2050 DK: ottendedelsnode,
2052 FI: kahdeksasosanuotti.
2057 @section eighth rest
2059 ES: silencio de corchea,
2065 DK: ottendedelspause,
2067 FI: kahdeksasosatauko.
2072 @section embellishment
2083 D: Notenstechen, Notendruck
2089 Engraving means incising or etching a metal plate for
2090 printing. Photoengraving means drawing music with ink in a manner
2091 similar to drafting or engineering drawing, using similar tools.
2093 The traditional process of music printing is done through cutting in a
2094 plate of metal. Now also the term for the art of music typesetting.
2108 Two notes, intervals, or scales are enharmonic if they have different names
2111 @lilypond[fragment,notime,line-width=13.0\cm]
2112 \set Score.automaticBars = ##f
2114 \context Staff \relative c'' {
2115 gis1 as <des g,!> <cis g!>
2117 \context Lyrics \lyrics {
2118 \override Lyrics .LyricText #'self-alignment-X = #-1
2119 "g sharp " "a flat " "dim fifth " "augm fourth"
2124 @node equal temperament
2125 @section equal temperament
2127 ES: temperamento igual,
2128 I: temperamento equabile,
2129 F: tempérament égal,
2130 D: gleichschwebende Stimmung,
2131 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2132 DK: ligesvævende temperatur,
2133 S: liksvävande temperatur,
2136 Tuning system dividing the octave into 12 equal @aref{semitone}s
2137 (precisely 100 @aref{cent}s). @aref{temperament}.
2139 @node expression mark
2140 @section expression mark
2143 I: segno d'espressione,
2144 F: signe d'expression, indication de nuance,
2146 NL: voordrachtsteken,
2147 DK: foredragsbetegnelse,
2148 S: föredragsbeteckning,
2149 FI: nyanssiosoitus, esitysmerkki.
2151 Performance indications concerning 1. volume, dynamics (for example
2152 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2153 @aref{andante}, @aref{allegro}).
2179 The position between the dots of the key symbol is the line of the F below
2180 central@w{ }C. Used on the third, fourth and fifth note line. A
2181 digit@w{ }8 above the clef symbol indicates that the notes must be played
2182 an octave higher (for example bass recorder) while 8@w{ }below the clef
2183 symbol indicates playing an octave lower (for example on double bass
2186 @lilypond[fragment,notime,line-width=13.0\cm]
2187 \set Score.automaticBars = ##f
2188 \override Staff.Clef #'full-size-change = ##t
2212 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2219 F: point d'orgue, point d'arr@^et,
2224 FI: fermaatti, pidäke.
2226 Prolonged note or rest of indefinite duration.
2228 @lilypond[fragment,ragged-right]
2231 a4 b c2^\fermata \bar "|."
2250 @section figured bass
2252 @aref{thorough bass}.
2266 The methodical use of fingers in the playing of instruments.
2272 I: coda (uncinata), bandiera,
2280 Ornament at the end of the stem of a note used for notes with values
2281 less than a quarter note. The number of flags determines the
2284 @lilypond[fragment,notime,ragged-right]
2285 \set Score.automaticBars = ##f
2286 %\override Score.TextScript #'font-style = #'large
2312 @aref{appoggiatura}.
2324 FI: forte, voimakkaasti.
2326 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2327 @emph{mezzoforte} (@b{mf}) medium loud.
2355 @aref{counterpoint}.
2357 @node functional harmony
2358 @section functional harmony
2360 ES: armonía funcional,
2361 I: armonia funzionale,
2362 F: étude des functions,
2364 NL: functionele harmonie,
2365 DK: funktionsanalyse, funktionsharmonik,
2367 FI: harmoniajärjestelmä.
2369 A system of harmonic analysis. It is based on the idea that, in a given key,
2370 there are only three functionally different chords: tonic (T, the chord on the
2371 first note of the scale), subdominant (S, the chord on the fourth note), and
2372 dominant (D, the chord on the fifth note). Others are considered to be
2373 variants of the base chords.
2375 @lilypond[fragment,notime,line-width=13.0\cm]
2376 \set Score.automaticBars = ##f
2378 \context Voice \relative c'' {
2379 <g e c >1 < a f d > < b g e >
2380 <c a f > < d b g > < e c a > < f d b > }
2381 \context Lyrics \lyrics {
2382 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2404 D: G-Schlüssel, Violinschlüssel,
2410 A clef symbol indicating the G above central@w{ }C. Used on the first
2411 and second note lines. A digit 8 above the clef symbol indicates that
2412 the notes must be played an octave higher while 8 below the clef symbol
2413 indicates playing or singing an octave lower (most tenor parts in choral
2414 scores are notated like that).
2416 @lilypond[fragment,notime,ragged-right]
2418 \set Score.automaticBars = ##f
2419 \override Staff.Clef #'full-size-change = ##t
2422 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2432 \context Lyrics \lyrics {
2433 \override Lyrics . LyricText #'X-offset = #-5
2434 "french violin clef"
2452 FI: glissando, liukuen.
2454 Letting the pitch slide fluently from one note to the other.
2457 @section grace notes
2459 ES: notas de adorno,
2462 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2468 Notes printed in small types to indicate that their time values are not
2469 counted in the rhythm of the bar. @aref{appoggiatura}.
2472 @section grand staff
2474 ES: sistema de piano,
2480 S: ackolad, böjd klammer,
2481 FI: kaksoisnuottiviivasto.
2485 A combination of two staves with a brace. Usually used for piano music.
2497 FI: grave, raskaasti.
2513 D: Halbe, halbe Note,
2524 ES: silencio de blanca,
2536 @node harmonic cadence
2537 @section harmonic cadence
2539 ES: cadencia (armónica),
2540 I: cadenza (armonica),
2541 F: cadence harmonique,
2543 NL: harmonische cadens,
2544 DK: harmonisk kadence,
2545 S: (harmonisk) kadens,
2546 FI: harmoninen kadenssi.
2548 A sequence of chords that terminates a musical phrase or
2549 section. @aref{functional harmony}.
2551 @lilypond[fragment,ragged-right]
2552 \context PianoStaff <<
2553 \context Staff = SA \relative c'' {
2557 \partial 4 < c g e >4 |
2558 < c a f > < b g d > < c g e >2
2561 \context Staff = SB \relative c {
2563 \partial 4 c4 | f, g c2
2580 D: Harmonie, Zusammenklang,
2584 FI: harmonia, yhteissointi.
2586 Tones sounding simultaneously. Two note harmonies fall into the categories
2587 @emph{consonances} and @emph{dissonances}.
2591 @lilypond[fragment,notime,line-width=13.0\cm]
2592 \set Score.automaticBars = ##f
2593 %\override Score.TextScript #'font-style = #'large
2594 \context Voice \relative c'' {
2607 @lilypond[fragment,notime,line-width=13.0\cm]
2608 \set Score.automaticBars = ##f
2609 %\override Score.TextScript #'font-style = #'large
2610 \context Voice \relative c'' {
2611 <g a>1_"second " s s
2612 <g f'>_"seventh " s s
2617 Three note harmony @aref{chord}.
2629 FI: homofonia, yksiäänisyys.
2631 Music in which one voice leads melodically followed by the other voices more
2632 or less in the same rhythm. In contrast to @aref{polyphony}.
2644 FI: intervalli, kahden sävelen korkeusero.
2646 Difference in pitch between two notes. Intervals may be perfect, minor,
2648 diminished, or augmented. The augmented fourth and the diminished fifth are
2649 identical (@aref{enharmonic}) and are called @emph{tritonus}
2650 because they consist of three @aref{whole tone}s. The addition
2651 of such two intervals forms an octave.
2653 @lilypond[fragment,notime,line-width=13.0\cm]
2654 \set Score.automaticBars = ##f
2656 \context Voice \relative c'' {
2666 \context Lyrics \lyrics {
2667 "unisone " "second " "second " "second "
2668 "third " "third " "third " "third"
2673 @lilypond[fragment,notime,line-width=13.0\cm]
2674 \set Score.automaticBars = ##f
2676 \context Staff \relative c'' {
2687 "fourth " "fourth " "fifth " "fifth "
2688 "sixth " "sixth " "sixth " "sixth"
2693 @lilypond[fragment,notime,line-width=13.0\cm]
2694 \set Score.automaticBars = ##f
2696 \context Staff \relative c'' {
2697 < gis f'! >1^"dimin"
2706 \context Lyrics \lyrics {
2707 "seventh " "seventh " "seventh " "octave "
2708 "ninth " "ninth " "tenth " "tenth"
2713 @node inverted interval
2714 @section inverted interval
2716 ES: intervalo invertido,
2717 I: intervallo rivolto,
2718 F: intervalle reversé,
2719 D: umgekehrtes Intervall,
2720 NL: interval inversie,
2721 DK: omvendingsinterval,
2722 S: intervallets omvändning,
2723 FI: käänteisintervalli.
2725 The difference between an interval and an octave.
2727 @lilypond[fragment,notime,line-width=13.0\cm]
2728 \set Score.automaticBars = ##f
2729 %\override Score.TextScript #'font-style = #'large
2730 \context Staff \relative c'' {
2731 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2732 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2733 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2737 @node just intonation
2738 @section just intonation
2740 ES: entonación justa,
2741 I: intonazione giusta,
2742 F: intonation juste,
2749 Tuning system in which the notes are obtained by adding and subtracting
2750 natural fifths and thirds. @aref{temperament}.
2764 According to the 12@w{ }tones of the @aref{chromatic scale}
2765 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2766 @aref{key signature}.
2769 @section key signature
2771 ES: armadura (de la clave),
2772 I: armatura di chiave,
2773 F: armure, armature [de la clé],
2774 D: Vorzeichen, Tonart,
2775 NL: toon@-soort (voortekens),
2778 FI: sävellajiosoitus.
2780 The sharps or flats appearing at the beginning of each staff indicating the
2781 key of the music. @aref{accidental}.
2789 D: Largo, Langsam, Breit,
2793 FI: largo, hitaasti, leveästi.
2795 Very slow in tempo, usually combined with great
2796 expressiveness. @emph{Larghetto} is less slow than largo.
2799 @section leading note
2810 The seventh @aref{scale degree}, a @aref{semitone} below
2811 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2812 upwards) to the tonic scale degree.
2815 @section ledger line
2817 ES: línea adicional,
2818 I: tagli addizionali,
2819 F: ligne supplémentaire,
2826 A ledger line is an extension of the staff.
2828 @lilypond[fragment,notime,ragged-right]
2829 \set Score.automaticBars = ##f
2830 \relative c'' { a,1 s c'' }
2845 To be performed (a) without any perceptible interruption between the notes,
2846 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2847 (d) @aref{staccato}.
2849 @lilypond[fragment,notime,line-width=13.0\cm]
2850 \set Score.automaticBars = ##f
2852 \context Staff \relative c'' {
2853 c4-( d e-) \bar "||"
2854 c4-- d-- e-- \bar "||"
2855 c4-.-( d-. e-.-) \bar "||"
2856 c4-. d-. e-. \bar "||"
2868 @section legato curve
2870 @aref{slur}, @aref{legato}.
2880 ES: estanque de nenúfares,
2881 I: stagno del giglio,
2885 NL: le@-lie@-vij@-ver,
2890 A pond with lilies floating in it, also the name of a music typesetter.
2897 A ligature is a coherent graphical symbol that represents at least two
2898 distinct notes. Ligatures originally appeared in the manuscripts of
2899 Gregorian chant notation roughly since the 9th century to denote
2900 ascending or descending sequences of notes. In early notation,
2901 ligatures were used for monophonic tunes (Gregorian chant) and very
2902 soon denoted also the way of performance in the sense of articulation.
2903 With the invention of the metric system of the white mensural
2904 notation, the need for ligatures to denote such patterns disappeared.
2912 D: Linie, Notenlinie,
2916 FI: viiva, nuottiviiva.
2920 @node long appoggiatura
2921 @section long appoggiatura
2923 ES: apoyatura larga,
2924 I: appoggiatura lunga,
2925 F: appoggiature longue,
2926 D: langer Vorschlag,
2930 FI: pitkä appoggiatura, pitkä etuhele.
2932 @aref{appoggiatura}.
2946 Note value: double length of @aref{breve}.
2949 @lilypond[fragment,notime,ragged-right]
2950 \set Score.automaticBars = ##f
2952 \override NoteHead #'style = #'mensural
2960 ES: letra (de la canción),
2969 @node major interval
2970 @section major interval
2972 ES: intervalo mayor,
2973 I: intervallo maggiore,
2974 F: intervalle majeur,
2975 D: großes Intervall,
2979 FI: suuri intervalli.
2995 @aref{diatonic scale}.
2997 @node meantone temperament
2998 @section meantone temperament
3000 ES: afinación mesotónica,
3001 I: accordatura mesotonica,
3002 F: tempérament mésotonique,
3003 D: mitteltönige Stimmung,
3004 NL: middenstemming, middentoonstemming,
3005 DK: middeltonetemperatur,
3006 S: medeltonstemperatur,
3007 FI: keskisävelviritys.
3009 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3010 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3011 @aref{temperament} only a limited set of keys are playable.
3012 Used for tuning keyboard instruments for performance of pre-1650 music.
3026 A group of @aref{beat}s (units of musical time) the first of which
3027 bears an accent. Such groups in numbers of two or more recur consistently
3028 throughout the composition and are marked from each other by
3029 bar-lines. @aref{meter}.
3035 I: mediante, modale,
3043 1.@tie{}The third @b{scale degree}.
3044 2.@tie{}A @aref{chord} having its base tone
3045 a third from that of another chord. For example, the tonic chord may be
3046 replaced by its lower mediant (variant tonic). @aref{functional
3047 harmony}, @aref{relative key}.
3054 FI: melisma, laulettavan tavun sävelkuvio.
3056 A melisma (plural: melismata) is a group of notes or tones sung on one
3057 syllable in plainsong
3059 @node melodic cadence
3060 @section melodic cadence
3069 F: indication de mésure,
3076 The basic scheme of @aref{note value}s and
3077 @aref{accent}s which remains unaltered throughout a composition
3078 or a section of it. For instance, 3/4 meter means that the basic
3079 @aref{note value}s are quarter notes and that a
3080 @aref{measure} consists of three of those. According to
3081 whether there are two, three, or four units to the measure,
3082 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3083 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3085 @lilypond[fragment,line-width=13.0\cm]
3089 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3092 @lilypond[fragment,line-width=13.0\cm]
3096 f8 f f f a16 g a f |
3097 c'8 c c c e16 d e c \bar "||"}
3100 @lilypond[fragment,line-width=13.0\cm]
3104 d4 b8 g b d d c a4 |
3105 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3120 Device indicating the exact tempo of a piece. @aref{metronomic
3123 @node metronomic indication
3124 @section metronomic indication
3126 ES: indicación metronómica,
3127 I: indicazione metronomica,
3128 F: indication métronomique,
3130 NL: metronoom aanduiding,
3132 S: metronomangivelse,
3133 FI: metronomiosoitus.
3135 Exact tempo indication (in beats per minute). Also denoted by
3136 M.M.@: (Mälzels Metronom).
3139 @section mezzo-soprano
3150 The female voice between @aref{soprano} and
3159 D: eingestrichenes@w{ }c,
3161 DK: enstreget@w{ }c,
3162 S: ettstruket@w{ }c,
3165 First C below the 440 Hz A.
3167 @lilypond[fragment,notime,ragged-right]
3168 \set Score.automaticBars = ##f
3169 \override Staff.Clef #'full-size-change = ##t
3189 @aref{diatonic scale}.
3191 @node minor interval
3192 @section minor interval
3194 ES: intervalo menor,
3195 I: intervallo minore,
3196 F: intervalle mineur,
3197 D: kleines Intervall,
3201 FI: pieni intervalli.
3215 FI: moodi, kirkkosävelasteikko.
3217 @aref{church mode}, @aref{diatonic scale}.
3229 FI: modulaatio, sävellajin vaihdos.
3231 Moving from one @aref{key} to another. For example, the second
3232 subject of a @aref{sonata form} movement modulates to the dominant
3233 key if the key is major and to the @aref{relative key} if the key
3245 FI: mordent, korukuvio.
3264 FI: teema, sävelaihe.
3266 The briefest intelligible and self-contained fragment of a musical theme or
3269 @lilypond[line-width=13.0\cm]
3272 \override Score.TimeSignature #'break-visibility = #all-invisible
3273 %\override Score.TextScript #'font-style = #'large
3276 \partial 8 g16\startGroup fis |
3277 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3278 g8 g,16 a b8 cis d16 s
3282 \Staff \consists "Horizontal_bracket_engraver"
3299 Greater musical works like @aref{symphony} and
3300 @aref{sonata} most often consist of several -- more or less --
3301 independant pieces called movements.
3304 @section multibar rest
3306 ES: compases de espera,
3310 D: mehrtaktige Pause,
3313 FI: usean tahdin mittainen tauko.
3315 @lilypond[fragment,ragged-right]
3318 \set Score.skipBars = ##t R1*3
3323 @node mixolydian mode
3324 @section mixolydian mode
3326 @aref{diatonic scale}.
3329 @section natural sign
3334 D: Auflösungszeichen,
3335 NL: herstellingsteken,
3336 DK: op@-løsningstegn,
3337 S: återställningstecken,
3342 @node neighbour tones
3343 @section neighbour tones
3345 @aref{appoggiatura}.
3378 Notes are signs by means of which music is fixed in writing. The term is also
3379 used for the sound indicated by a note, and even for the key of the piano
3380 which produces the sound. However, a clear distinction between the terms tone
3381 and @aref{note} is strongly recommended. Briefly, one sees a note,
3388 I: testa, testina, capocchia,
3389 F: t@^ete de la note,
3396 A head-like sign which indicates pitch by its position on a
3397 @aref{staff} provided with a @aref{clef}, and duration
3398 by a variety of shapes such as hollow or black heads with or without
3399 @aref{stem}s, @aref{flag}s, etc. For percussion
3400 instruments (often having no defined pitch) the note head may indicate the
3406 ES: valor (duración),
3408 F: durée, valeur (d'une note),
3413 FI: nuotin aika-arvo.
3415 Note values (durations) are measured as fractions, normally 1/2, of the next
3416 higher note value. The longest duration normally used is called
3418 but sometimes (mostly in pre-baroque music) the double length note value
3419 @emph{longa} is used.
3421 @lilypond[fragment,notime,line-width=13.0\cm]
3422 %\override Score.TextScript #'font-style = #'large
3423 \set Score.automaticBars = ##f
3425 \override NoteHead #'style = #'mensural
3426 a\longa_"longa" a\breve_"breve"
3427 \revert NoteHead #'style
3428 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3429 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3432 @lilypond[fragment,notime,line-width=13.0\cm]
3433 %\override Score.TextScript #'font-style = #'large
3434 \set Score.automaticBars = ##f
3436 r\longa_"longa" r\breve_"breve"
3437 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3438 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3441 An augmentation dot after a note multiplies the duration by one and a
3442 half. Another dot adds yet a fourth of the duration.
3444 @lilypond[fragment,line-width=13.0\cm]
3445 %\override Score.TextScript #'font-style = #'large
3448 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3449 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3452 Alternatively note values may be subdivided by other ratios. Most common is
3453 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3454 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3455 dotted notes are also frequently used.
3457 @lilypond[fragment,line-width=13.0\cm]
3458 %\override Score.TextScript #'font-style = #'large
3461 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3462 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3466 @lilypond[fragment,line-width=13.0\cm]
3469 \times 3/2 {g4_"duplets" g} |
3471 \times 6/4 {g8_"quadruplets" g g g} |
3472 g8 g g g g4 \bar "||"
3477 @section octave sign
3479 @aref{G clef}, @aref{F clef}.
3499 I: abbellimento, fioriture,
3500 F: agrément, ornement,
3501 D: Verzierung, Ornament,
3507 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3508 with the diatonic @aref{second} above it. In the music from the
3509 middle of the 19th century and onwards the trill is performed with the main
3510 note first while in the music from the preceding baroque and classic periods
3511 the upper note is played first.
3513 @lilypond[fragment,line-width=13.0\cm]
3515 \context Staff = sa {
3516 % \override Score.TextScript #'font-style = #'large
3518 c2._"pre-1850" b4\trill | c1 \bar "||"
3519 c2._"post-1850" b4\trill | c1 \bar "||"
3523 c2. c32 b c b c b c b | c1
3524 c2. b32 c b c \times 4/5 { b c b c b } | c1
3529 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3531 @emph{prall} (inverted mordent).
3533 @lilypond[fragment,line-width=13.0\cm]
3535 \context Staff = sa {
3536 % \override Score.TextScript #'font-style = #'large
3538 a4_"turn" b\turn c2 \bar "||"
3539 g4_"mordent" a b\mordent a \bar "||"
3540 e'4_"prall" d\prall c2 \bar "||"
3546 e'4 e32[ d e d ~ d8] c2
3551 @aref{appoggiatura}.
3563 FI: ossia, vaihtoehtoinen esitystapa.
3565 Ossia (otherwise) marks an alternative. It is an added staff or piano
3566 score, usually only a few measures long, which presents another version
3567 of the music, for example for small hands.
3579 FI: stemma, instrumenttiosuus.
3581 1.@tie{}In instrumental or choral music the music for the single instrument
3582 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3583 melodic line of the contrapunctal web.
3596 D: Schlagzeug, Schlagwerk,
3602 A family of musical instruments which are played on by striking or
3603 shaking. Percussion instruments commonly used in a symphony orchestra are
3604 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3605 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3608 @node perfect interval
3609 @section perfect interval
3611 ES: intervalo justo,
3612 I: intervallo giusto,
3613 F: intervalle juste,
3614 D: reines Intervall,
3618 FI: puhdas intervalli.
3634 A natural division of the melodic line, comparable to a sentence of speech.
3646 FI: fraseeraus, jäsentäminen.
3648 The clear rendering in musical performance of the @aref{phrase}s of
3649 the melody. Phrasing may be indicated by a @aref{slur}.
3663 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3664 @emph{mezzopiano} (@b{mp}) medium soft.
3685 NL: pizzicato, getokkeld,
3688 FI: pizzicato, näppäillen.
3690 Play by plucking the strings.
3698 D: Polyphonie, Mehrstimmigkeit,
3702 FI: polyfonia, moniäänisyys.
3704 Music written in a combination of several simultaneous voices (parts) of a
3705 more or less pronounced individuality. @aref{counterpoint}.
3718 D: Presto, Sehr schnell,
3719 NL: presto, Sehr schnell,
3722 FI: presto, hyvin nopeasti.
3724 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3725 denotes the highest possible degree of speed.
3727 @node Pythagorean comma
3728 @section Pythagorean comma
3730 ES: coma pitagórica,
3731 I: comma pitagorico,
3732 F: comma pythagoricien,
3733 D: Pythagoräisches Komma,
3734 NL: komma van Pythagoras,
3735 DK: pythagoræisk komma,
3736 S: pytagoreiskt komma,
3737 FI: pytagorinen komma.
3739 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3740 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3741 24 @aref{cent}s higher than the@w{ }C obtained by adding
3742 7@w{ }octaves. The difference between those two pitches is called the
3760 @section quarter note
3763 I: semiminima, nera,
3766 D: Viertel, Viertelnote,
3770 FI: neljännesosanuotti.
3775 @section quarter rest
3777 ES: silencio de negra,
3778 I: pausa di semiminima,
3783 DK:@w{ }fjerdedelspause,
3785 FI: neljännesosatauko.
3804 @section rallentando
3809 D: rallentando, langsamer werden,
3813 FI: rallerdando, hidastuen.
3815 Abbreviation "rall.". @aref{ritardando}.
3818 @section relative key
3821 I: tonalità relativa,
3822 F: tonalité relative,
3824 NL: paralleltoonsoort,
3825 DK: paralleltoneart,
3827 FI: rinnakkaissävellaji.
3829 @aref{major} and @aref{minor} @aref{key}
3830 with the same @aref{key signature}.
3832 @lilypond[fragment,notime,line-width=13.0\cm]
3833 \set Score.automaticBars = ##f
3834 %\override Score.TextScript #'font-style = #'large
3837 es1_"e flat major" f g as bes c d es
3842 @lilypond[fragment,notime,line-width=13.0\cm]
3843 \set Score.automaticBars = ##f
3844 %\override Score.TextScript #'font-style = #'large
3847 c1_"c minor" d es f g a! b! c \bar "||"
3856 F: barre de reprise,
3859 DK: gen@-ta@-gel@-se,
3863 @lilypond[fragment,line-width=13.0\cm]
3867 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3871 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3872 @c specify the rest's value.
3900 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3901 fixed unit of time, called @aref{beat}, and in which the normal
3902 @aref{accent} recurs in regular intervals, called
3903 @aref{measure}. The basic scheme of time values is called
3904 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3905 accent. In modern notation such music appears as a free alternation of
3906 different measures. (c) Free rhythm, i.e., the use of temporal values having
3907 no common metrical unit (beat).
3915 D: Ritardando, langsamer werden,
3919 FI: ritardando, hidastuen,
3921 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3933 FI: ritenuto, hidastaen.
3935 Immediate reduction of speed.
3947 FI: asteikko, sävelasteikko.
3949 @aref{diatonic scale}.
3952 @section scale degree
3954 ES: grado (de la escala),
3955 I: grado della scala,
3956 F: degré [de la gamme],
3958 NL: trap [van de toonladder],
3961 FI: sävelaste, asteikon sävel.
3963 Names and symbols used in harmonic analysis to denote tones of the scale as
3964 roots of chords. The most important are degrees I = tonic (T), IV =
3965 sub@-do@-mi@-nant (S) and V = dominant (D).
3967 @lilypond[fragment,notime,line-width=13.0\cm]
3968 \set Score.automaticBars = ##f
3970 \context Staff \relative c' {
3974 << { I II III IV V VI VII I }
3980 @aref{functional harmony}.
3988 D: Partitur (full score), Klavierauszug (vocal score)
3994 A copy of orchestral, choral, or chamber music showing what each instrument is
3995 to play, each voice to sing, having each part arranged one underneath the
3996 other on different staves @aref{staff}.
4010 The @aref{interval} between two neigbouring tones of a scale. A
4011 @aref{diatonic scale} consists of alternating
4012 @aref{semitone}s and @aref{whole tone}s, hence the size
4013 of a se@-cond depends on the scale degrees in question.
4027 The @aref{interval} of a minor second. The (usually) smallest
4028 interval in European composed music. The interval between two neighbouring
4029 tones on the piano keyboard -- including black and white keys -- is a
4030 semitone. An octave may be divided into 12@w{ }semitones.
4031 @aref{interval}, @aref{chromatic scale}.
4033 @lilypond[fragment,notime,line-width=13.0\cm]
4034 \set Score.automaticBars = ##f
4035 \relative c'' { g1 gis s a bes s b! c }
4090 @node short appoggiatura
4091 @section short appoggiatura
4093 @aref{appoggiatura}.
4095 @node sixteenth note
4096 @section sixteenth note
4102 D: Sechzehntel, Sechzehntelnote,
4103 NL: zes@-ti@-ende noot,
4104 DK: sekstendedelsnode,
4106 FI: kuudestoistaosanuotti.
4110 @node sixteenth rest
4111 @section sixteenth rest
4113 ES: silencio de semicorchea,
4114 I: pausa di semicroma,
4116 UK: semiquaver rest,
4117 D: Sechzehntelpause,
4119 DK: sekstendedelspause,
4139 @node sixty-fourth note
4140 @section sixty-fourth note
4144 F: quadruple croche,
4145 UK: hemidemisemiquaver,
4146 D: Vierundsechzigstel, Vierundsechzigstelnote,
4147 NL: vierenzestigste noot,
4148 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4149 S: sextiofjärdedelsnot,
4150 FI: kuudeskymmenesneljäsosanuotti.
4154 @node sixty-fourth rest
4155 @section sixty-fourth rest
4157 ES: silencio de semifusa,
4158 I: pausa di semibiscroma,
4159 F: seizième de soupir,
4160 UK: hemidemisemiquaver rest,
4161 D: Vierundsechzigstelpause,
4162 NL: vierenzestigste rust,
4163 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4164 S: sextiofjärdedelspaus,
4165 FI: kuudeskymmenesneljäsosatauko.
4172 ES: ligadura (de expresión),
4173 I: legatura (di portamento or espressiva),
4175 D: Bogen, Legatobogen, Phrasierungsbogen,
4176 NL: fraseringsboog, legatoboog, streekboog,
4177 DK: legatobue, fraseringsbue,
4181 A slur above or below a group of notes indicates that they are to be played
4182 @aref{legato}, e.g., with one stroke of the violin bow or with one
4186 @section solmization
4195 FI: suhteelliset laulunimet.
4197 General term for systems of designating the degrees of the
4198 @aref{scale}, not by letters, but by syllables (@emph{do}
4199 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4200 (@emph{ti})). @aref{scale degree}.
4214 In its present-day meaning a sonata denotes an instrumental composition for
4215 piano or for some other instrument with piano accompaniment, which consists of
4216 three or four independant pieces, called movements.
4219 @section sonata form
4223 F: [en] forme de sonate,
4225 NL: hoofdvorm, sonatevorm,
4230 A form used frequently for single movements of the @aref{sonata},
4231 @aref{symphony}, quartet, etc. A movement written in sonata form
4232 falls into three sections called @emph{exposition}, @emph{development} and
4233 @emph{recapitulation}. In the exposition the composer introduces some musical
4234 ideas, consisting of a number of themes; in the development section the
4235 composer `develops' this material, and in the recapitulation the composer
4236 repeats the exposition, with certain modifications. The exposition contains a
4237 number of themes that fall into two groups, often called first and second
4238 subject. Other melodies occurring in each group are considered as
4239 continuations of these two. The second theme is in another key, normally in
4240 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4241 @aref{relative key} if the tonic is @aref{minor}.
4258 FI: sopraano, korkea naisääni.
4260 The highest female voice.
4267 F: staccato, piqué, détaché,
4272 FI: staccato, lyhyesti, terävästi.
4274 Playing the note(s) short. Staccato is indicated by a dot above or below the
4277 @lilypond[fragment,ragged-right]
4282 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4291 I: pentagramma, rigo (musicale),
4294 NL: (noten)balk, partij,
4299 A staff (pl. staves) is a series of (normally five) horizontal lines
4300 upon and between which the musical notes are written, thus indicating
4301 (in connection with a @aref{clef}) their pitch. Staves for
4302 @aref{percussion} instruments may have fewer lines.
4315 D: Hals, Notenhals, Stiel,
4321 Vertical line above or below a @aref{note head} shorter than a
4322 whole note. @aref{beam}.
4324 @lilypond[fragment,notime,line-width=13.0\cm]
4325 \set Score.autoBeaming = ##f
4326 \set Score.automaticBars = ##f
4327 %\override Score.TextScript #'font-style = #'large
4348 A family of stringed musical instruments played with a bow. Strings commonly
4349 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4352 @section strong beat
4357 D: betonter Taktteil oder Taktschlag,
4359 D: betonet taktslag,
4360 S: betonat taktslag,
4361 FI: tahdin vahva isku.
4363 @aref{beat}, @aref{accent}, @aref{measure},
4367 @section subdominant
4376 FI: subdominantti, alidominantti.
4378 The fourth @aref{scale degree}. @aref{functional harmony}.
4392 The sixth @aref{scale degree}.
4404 FI: subtoonika, alitoonika.
4406 The seventh @aref{scale degree}.
4409 @section superdominant
4420 The sixth @aref{scale degree}.
4434 The second @aref{scale degree}.
4442 D: Sinfonie, Symphonie,
4448 A symphony may be defined as a @aref{sonata} for orchestra.
4451 @section syncopation
4462 Any deliberate upsetting of the normal pulse of @aref{meter},
4463 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4464 rhythm rests upon the grouping of equal beats into groups of two or three,
4465 with a regularly recurrent accent on the first beat of each group. Any
4466 deviation from this scheme is felt as a disturbance or contradiction between
4467 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4469 @lilypond[fragment,ragged-right]
4474 e c'4 e,8 c'4 e,8 c' ( | c2)
4478 @node syntonic comma
4479 @section syntonic comma
4482 I: comma sintonico (o didimico),
4483 F: comma syntonique,
4484 D: syntonisches Komma,
4485 NL: syntonische komma,
4486 DK: syntonisk komma,
4487 S: syntoniskt komma,
4488 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4489 viritysjärjestelmässä.
4491 Difference between the natural third and the third obtained by Pythagorean
4492 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4504 FI: nuottijärjestelmä.
4506 The collection of staves @aref{staff}, two or more, as used for
4507 writing down of keyboard, chamber, choral, or orchestral music.
4510 @section temperament
4515 D: Stimmung, Tem@-pe@-ra@-tur,
4516 NL: stemming, temperatuur,
4519 FI: viritysjärjestelmä.
4521 Systems of tuning in which the intervals deviate from the acoustically pure
4522 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4524 @node tempo indication
4525 @section tempo indication
4527 ES: indicación de tempo,
4528 I: indicazione di tempo,
4529 F: indication de temps,
4530 D: Zeitmaß, Tempobezeichnung,
4531 NL: tempo aanduiding,
4536 The rate of speed of a composition or a section thereof, ranging from the
4537 slowest to the quickest, as is indicated by tempo marks as
4538 @aref{largo}, @aref{adagio}, @aref{andante},
4539 @aref{allegro}, and @aref{presto}.
4551 FI: tenori, korkea miesääni.
4553 The highest male voice (apart from @aref{counter tenor}).
4572 ES: subrayado (tenuto),
4581 An indication that a particular note should be held for the whole
4582 length, although this can vary depending on the composer and era.
4598 @node thirty-second note
4599 @section thirty-second note
4605 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4606 NL: twee-endertig@-ste noot,
4607 DK: toogtredivtedelsnode,
4608 S: trettiotvåondelsnot,
4609 FI: kolmanneskymmeneskahdesosanuotti.
4613 @node thirty-second rest
4614 @section thirty-second rest
4616 ES: silencio de fusa,
4617 I: pausa di biscroma,
4618 F: huitième de soupir,
4619 UK: demisemiquaver rest,
4620 D: Zweiunddreissigstel@-pause,
4622 DK: toogtredivtedelspause,
4623 S: trettiotvåondelspaus,
4624 FI: kolmanneskymmeneskahdesosatauko.
4629 @section thorough bass
4632 I: basso continuo, basso numerato,
4634 D: Generalbass, bezifferter Bass,
4635 NL: basso continuo, becijferde bas
4638 FI: kenraalibasso, numeroitu basso.
4640 A method of indicating an accompaniment part by the bass notes only, together
4641 with figures designating the chief @aref{interval}s and
4642 @aref{chord}s to be played above the bass notes.
4644 @lilypond[fragment,line-width=13.0\cm]
4645 \context GrandStaff <<
4646 \context Staff = lh \relative c'' {
4650 << \context Voice = rha {
4653 \context Voice = rhb {
4655 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4659 \context Staff = rh \relative c' {
4662 es8 c d bes c as bes16 as g f | es4
4664 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4672 ES: ligadura de prolongación,
4673 I: legatura (di valore),
4676 NL: overbinding, bindingsboog,
4678 S: bindebåge, överbindning,
4681 A curved line, identical in appearance with the @aref{slur}, which
4682 connects two succesive notes of the same pitch, and which has the function of
4683 uniting them into a single sound (tone) equal to the combined durations.
4685 @lilypond[fragment,notime,ragged-right]
4686 \set Score.automaticBars = ##f
4687 \relative c'' { g2 ~ g4. }
4695 @node time signature
4696 @section time signature
4698 ES: indicación de compás,
4700 F: chiffrage (chiffres indicateurs), signe de valeur,
4701 D: Taktangabe, Angabe der Taktart,
4704 S: taktartssignatur,
4721 A sound of definite pitch and duration, as distinct from @emph{noise}.
4722 Tone is a primary building material of music.
4723 Music from the 20th century may be based on atonal sounds.
4737 The first @aref{scale degree}.
4738 @aref{functional harmony}.
4741 @section transposition
4752 Shifting a melody up or down in pitch, while keeping the same
4755 @lilypond[fragment,line-width=13.0\cm]
4760 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4765 @lilypond[fragment,line-width=13.0\cm]
4768 \transpose c bes \relative c'' {
4770 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4776 @section treble clef
4779 I: chiave di violino,
4781 D: Violinschlüssel, Sopranschlüssel,
4783 DK:@w{ }diskantnøgle,
4801 On stringed instruments (@aref{strings}) the quick reiteration of
4802 the same tone, produced by a rapid up-and-down movement of the bow
4803 (a). The term is also used for the rapid alternation (b) between two notes of
4804 a @aref{chord}, usually in the distance of a third
4807 @lilypond[fragment,notime,ragged-right]
4808 \set Score.automaticBars = ##f
4809 %\override Score.TextScript #'font-style = #'large
4812 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4813 \repeat "tremolo" 8 { e32_"b" g }
4822 F: triade, accord parfait, accord de trois sons,
4836 F: trille, tremblement, battement (cadence),
4846 @section triple meter
4848 ES: compás ternario,
4852 NL: driedelige maatsoort,
4888 @section tuning fork
4891 I: diapason, corista,
4899 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4900 give the international pitch for the tone @emph{a} (440 vibrations per
4927 FI: unisono, yksiäänisesti.
4929 Playing of the same notes or the same melody by various instruments (voices)
4930 or by the whole orchestra (choir), either at exactly the same pitch or in a
4938 F: anacrouse, levée,
4945 Initial note(s) of a melody occurring before the first bar
4946 line. @aref{measure}, @aref{meter}.
4948 @lilypond[fragment,line-width=13.0\cm]
4952 \partial 4 f4 | bes4. a8 bes4 c |
4953 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4966 FI: ääni, lauluääni.
4968 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4969 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4970 2.@tie{}A melodic layer or part of a polyphonic composition.
4976 I: tempo debole, arsi,
4978 D: unbetonter Taktteil oder Taktschlag,
4980 DK: ubetonet taktslag,
4981 S: obetonat taktslag,
4982 FI: tahdin heikko isku.
4984 @aref{beat}, @aref{measure}, @aref{rhythm}.
4993 D: Ganze, ganze Note,
5004 ES: silencio de redonda,
5005 I: pausa di semibreve,
5008 D: ganze Pause, ganztaktige Pause,
5028 The @aref{interval} of a major second. The interval between two
5029 tones on the piano keyboard with exactly one key between them -- including
5030 black and white keys -- is a whole tone.
5044 A family of blown wooden musical instruments. Today some of these instruments
5045 are actually made from metal. The woodwind instruments commonly used in a
5046 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5048 @node Duration names notes and rests
5049 @chapter Duration names, notes and rests
5052 @item DURATION NAMES, NOTES AND RESTS
5055 @multitable @columnfractions .15 .26 .33 .26
5060 @tab @strong{F (note name / rest name)}
5072 @item @strong{longa}
5087 @item @strong{breve}
5090 @tab brève / double-pause
5102 @item @strong{whole}
5112 @tab koko@-nuotti/@w{-tauko}
5120 @tab blanche / demi-pause
5127 @tab puoli@-nuotti/@w{-tauko}
5132 @item @strong{quarter}
5142 @tab neljännesosa@-nuotti/@w{-tauko}
5147 @item @strong{eighth}
5150 @tab croche / demi-soupir
5157 @tab kahdeksasosa@-nuotti/@w{-tauko}
5162 @item @strong{sixteenth}
5165 @tab double croche / quart de soupir
5172 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5177 @item @strong{thirty-second}
5180 @tab triple croche / huitième de soupir
5182 @tab Zweiunddreissigstel
5183 @tab tweeendertigste
5184 @tab toogtredivtedel
5186 @tab trettiotvåondel
5187 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5192 @item @strong{sixty-fourth}
5193 @tab hemidemisemiquaver
5195 @tab quadruple croche / seizième de soupir
5197 @tab Vierundsechzigstel
5198 @tab vierenzestigste
5199 @tab fireogtred@-sindstyvendedel
5201 @tab sextiofjärdedel
5202 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5206 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5209 @chapter Pitch names
5215 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5216 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5218 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5219 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5223 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5227 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5229 cis @tab cis @tab cis
5233 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5235 des @tab des @tab des
5239 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5243 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5247 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5251 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5256 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5262 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5266 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5268 ais @tab ais @tab ais
5272 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5278 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5283 @node Literature used
5284 @unnumbered Literature used
5287 @item The Harvard Dictionary of Music, London 1944. Many more or less
5288 literal quotes from its articles have been included into the item
5291 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5293 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5295 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5298 @item Webster's Revised Unabridged Dictionary, Springfield 1913.