1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
6 <!--- @@WEB-TITLE@@=Music Glossary --->
10 This document is also available in @uref{music-glossary.ps.gz,gzipped
11 PostScript} and @uref{music-glossary.pdf,PDF}.
16 @author Christian Mondrup
17 @author spanish by David Gonz@'alez
18 @c License PD, BSD-ish, GNU GPL, GNU FDL?
20 Copyright @copyright{} 1999--2002 by the authors
26 @chapter Music Glossary
34 spanish by Davi Gonz@'alez
36 Copyright 1999-2002 by the authors
38 @c License PD, BSD-ish, GNU GPL, GNU FDL?
47 @c @everyheading @| @thispage @|
48 @c @evenheading @thispage @| @|
49 @c @oddheading @| @| @thispage @|
53 @tex $\\Rightarrow$ @end tex@c
64 We don't use refs for Info:
67 @w{@ar{}@pxref{\word\}}@c
69 they look too intrusive (says Han-Wen).
75 @w{@ar{}@strong{\word\}}@c
78 @ar{}@ref{\word\, @strong{\word\}}@c
86 @c If we want hypelinks, we must add anchors.
87 @c Hmm, we need the @achor command in the item description itself
88 @c (not before or after) to get mozilla jump to the right place.
91 @item \word\@anchor{\word\}
93 @macro aitemii{one,two}
94 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
96 @macro aitemiii{one,two,three}
97 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
107 @item UK - British English
114 This is an example reference, that points you to the @aref{accent}
139 FI: aksentti, korostus,
142 The stress of one tone over others.
144 @c F: how to distinguish between accidental and key-sig alteration?
148 I: alterazione, accidente,
150 D: Vorzeichen, Versetzungszeichen,
153 S: tillf@"alligt f@"ortecken,
154 FI: tilap@"ainen etumerkki,
157 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
158 @c Akzidenz, NL: toevallig teken, I: accidento.
160 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
161 by a @aref{whole tone}, a flat lowers it by a semitone and a double
162 flat lowers it by a whole tone. A natural cancels the effect of a previous
165 @lilypond[13pt,notime]
166 \property Score.barNonAuto = ##t
167 \property Voice.TextScript \set #'font-style = #'large
169 \context Staff \notes\relative c'' {
170 gis1 s s gisis s s ges s s geses s s g!
172 \context Lyrics \lyrics {
173 \property Lyrics . LyricText \override #'alignment = #-1
174 "sharp " "db. sharp " "flat " "db. flat " natural
181 F: accelerando, en acc@'el@'erant,
182 D: accelerando, schneller werden,
186 FI: accelerando, kiihdytt@"aen,
199 FI: adagio, hitaasti,
202 It. comfortable, easy.
203 1. Slow tempo, slower -- especially in even meter -- than
204 @aref{andante} and faster than @aref{largo}.
205 2. A movement in slow tempo, especially the second (slow) movement of
206 @aref{sonata}s, symphonies, etc.
212 D: Allegro, Schnell, Fr@"ohlich, Lustig,
216 FI: allegro, nopeasti,
219 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
220 especially the first and last movements of a @aref{sonata}.
230 FI: altto, matala nais@"a@"ani,
233 A female voice of low range (@emph{contralto}). Originally the alto was a high
234 male voice (hence the name) which by the use of falsetto reached the height of
235 the female voice. This type of voice is also known as @aref{counter
239 ES: clave de do en tercera,
240 I: chiave di contralto,
241 F: clef d'ut troisi@`eme ligne,
242 D: Altschl@"ussel, Bratschenschl@"ussel,
249 C clef setting central C on the middle line of the staff
260 FI: ambitus, ääniala, soitinala,
263 The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
265 @aitem{ancient minor scale}
266 I: scala minore naturale,
267 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
269 NL: authentieke mineurtoonladder,
272 FI: luonnollinen molliasteikko,
275 @lilypond[13pt,notime]
276 \property Score.barNonAuto = ##t
277 \notes\relative c'' {
289 FI: andante, k@"ayden,
292 Walking tempo/character.
297 F: appogiature, (port de voix),
302 FI: appoggiatura, etuhele,
305 Ornamental note, usually a second, that is melodically connected with the main
306 note that follows it. In music before the 19th century a. were usually
307 performed on the beat, after that mostly before the beat. While the short
308 a. is performed as a short note regardless of the duration of the main note
309 the duration of the long a. is proportional to that of the main note.
312 \context Voice \notes\relative c'' {
316 \property Score.TextScript \set #'font-style = #'large
317 <<d a fis>>4_"notation" r
318 { \property Voice.Stem \override #'flag-style = #""
320 \property Voice.Stem \revert #'flag-style
323 { \property Voice.Stem \override #'flag-style = #""
325 \property Voice.Stem \revert #'flag-style
328 \cadenzaOn a4 \bar "||" \cadenzaOff }
329 \notes\relative c'' {
330 <<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
331 \cadenzaOn a4 \bar "||" \cadenzaOff }
334 An appoggiatura may have more notes preceding the main note.
337 \notes\relative c'' {
340 \property Score.TextScript \set #'font-style = #'large
341 \grace { bes16 } as8_"notation" as16 bes as8 g |
342 \grace { [as16-( bes] } << c as >>4-)
343 \grace { [as16-( bes] } << c as >>4-) \bar "||"
344 \grace { bes16 } as8_"performance" as16 bes as8 g |
345 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
346 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
355 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
357 DK: arpeggio, akkordbrydning,
359 FI: arpeggio, murtosointu,
363 \notes \context PianoStaff <
364 \context Staff = SA \relative c'' {
367 r8 g16 c e g, c e r8 g,16 c e g, c e |
368 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
369 \context Staff = SB \relative c' {
371 < \context Voice = va {
373 r16 e8. () e4 r16 e8. () e4 |
374 r16 d8. () d4 r16 d8. () d4 }
375 \context Voice = vb {
382 @aitem{ascending interval}
383 ES: Intervalo ascendente,
384 I: intervallo ascendente,
385 F: intervalle ascendant,
386 D: steigendes Intervall,
387 NL: stijgend interval,
388 DK:@w{ }stigende interval,
389 S: stigande intervall,
390 FI: nouseva intervalli,
393 A distance between a starting lower note and a higher ending note.
395 @aitem{augmented interval}
396 ES: intervalo aumentado,
397 I: intervallo aumentato,
398 F: intervalle augment@'e,
399 D: @"uberm@"a@ss{}iges Intervall,
400 NL: overmatig interval,
401 DK: forst@o{}rret interval,
402 S: @"overstigande intervall,
403 FI: ylinouseva intervalli,
411 D: Autograph, Handschrift,
413 DK: h@aa{}ndskrift, autograf,
415 FI: k@"asinkirjoitettu nuotti,
418 1. A manuscript in the composer's own hand.
419 2. Music prepared for photoreproduction by freehand drawing,
420 with only the aid of a straightedge ruler and T-square,
421 which attempts to emulate engraving.
422 This required more skill than did engraving.
435 @aitemii{backfall,forefall}
440 I: stanghetta, barra (di divisione),
441 F: barre (de mesure),
450 ES: comp@'as, @aref{measure}.
453 ES: bar@'{@dotless{i}}tono,
460 FI: baritoni, keskikorkuinen mies@"a@"ani,
463 The male voice intermediate between the @aref{bass} and the
466 @c F: clef de troisi@`eme ligne dropped
468 @aitem{baritone clef}
469 ES: clave de fa en tercera,
470 I: chiave di baritono,
471 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
472 D: Baritonschl@"ussel,
479 C or F clef setting central C on the upper staff line.
480 @aref{C clef}, @aref{F clef}.
483 ES: clave de fa en cuarta,
485 F: cl@'e de fa quatri@`eme ligne,
493 A clef setting with central C on the first top ledger line.
503 FI: basso, matala mies@"a@"ani,
506 1. The lowest of men's voices.
507 2. Sometimes, especially in jazz music, used as
508 an abbreviation for double bass.
521 Line connecting a series of notes (shorter than a quarter note).
522 The number of beams determine the note value of the connected notes.
524 @lilypond[13pt,notime]
525 \property Score.barNonAuto = ##t
526 \property Voice.TextScript \set #'font-style = #'large
527 \notes\relative c'' {
529 [g16_"1/16" g g g] s16
530 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
531 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
538 D: Takt, Taktschlag, Zeit (im Takt),
545 Note value used for counting, most often half-, fourth-, and eighth notes.
546 The base counting value and the number of them per measure is indicated at
547 the start of the music.
552 \notes\relative c'' { g4 c b a | g1 \bar "||"}
554 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
564 D: Klammer, Akkolade,
565 NL: accolade, teksthaak,
568 FI: yhdist@"av@"a sulkumerkki,
571 Symbol at the start of a system connecting staves. Curly braces are used
572 for connecting piano staves, angular brackets for connecting parts in an
573 orchestral or choral score.
576 \notes\context GrandStaff <
577 \relative c''\context Staff = SA { \clef treble g4 e c2 }
578 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
582 \context StaffGroup <
583 % \property StaffGroup.minVerticalAlign = #12
584 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
585 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
594 DK: messingbl@ae{}sere,
595 S: brassinstrument, m@"assingsinstrument,
599 A family of blown musical instruments made of brass all using a cup formed
600 mouth piece. The brass instruments commonly used in a symphony orchestra are
601 trumpet, trombone, french horn, and tube.
606 D: Atemzeichen, Trennungszeichen,
607 NL: repercussieteken,
608 DK: vejrtr@ae{}kningstegn,
613 Indication of where to breathe in vocal and wind instrument parts.
626 @aref{note value} twice as long as a whole note. Mainly used
629 @lilypond[13pt,notime]
630 \property Score.barNonAuto = ##t
631 \notes\relative c'' { g\breve }
656 Clef symbol indicating the position of the central C. Used on all note
659 @lilypond[13pt,notime]
660 \property Score.barNonAuto = ##t
661 \property Score.Clef \override #'full-size-change = ##t
662 \property Score.LyricText \set #'font-style = #'large
664 \context Staff \notes\relative c' {
666 \clef mezzosoprano c s s
671 \context Lyrics \lyrics {
672 \property Lyrics . LyricText \override #'alignment = #-1
673 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
685 FI: kadenssi, lopuke,
688 @aref{harmonic cadence}, @aref{functional harmony}.
698 FI: kadenssi, lopuke,
701 An extended, improvisatory style section inserted near the end of
702 movement. The purpose of a cadenza is to give the singer or player a chance to
703 exhibit her technichal skill and not the least her ability to improvise. Since
704 the middle of the 19th century, however, most cadences have been written down
715 FI: kaanon, tarkka j@"aljittely,
728 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
731 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
732 equally tempered @aref{semitone}).
733 @aref{equal temperament}.
749 Three or more tones sounding simultaneously. In traditional European music the
750 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
751 minor @aref{third}) as well as @emph{minor} (minor + major third)
752 chords may be extended with more thirds. Four-tone @emph{seventh chords}
753 and five-tone @emph{ninth} major chords are most often used as dominants
754 (@aref{functional harmony}). A special case is chords having no
755 third above the lower notes to define their quality as major or minor. Such
756 chords are denoted open chords
758 @lilypond[13pt,notime]
759 \property Score.barNonAuto = ##t
760 \property Voice.TextScript \set #'font-style = #'large
762 \context Staff \notes\relative c'' {
770 \context Lyrics \lyrics{
771 \property Lyrics . LyricText \override #'alignment = #-1
772 "major " "minor " "diminished " "augmented "
773 "seventh-chord " "ninth-chord "
777 @aitem{chromatic scale}
778 ES: escala crom@'atica,
780 F: gamme chromatique,
781 D: chromatische Tonleiter,
782 NL: chromatische toonladder,
785 FI: kromaattinen asteikko,
788 A scale consisting of all 11 @aref{semitone}s.
790 @lilypond[13pt,notime]
791 \property Score.barNonAuto = ##t
792 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
806 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
808 @aitemii{church mode,ecclesiastical mode}
809 ES: modo eclesi@'astico,
810 I: modo ecclesiastico,
811 F: mode eccl@'esiastique,
816 FI: moodi, kirkkos@"avellaji,
819 @aref{diatonic scale}.
825 D: Schl@"ussel, Notenschl@"ussel,
829 FI: avain, nuottiavain,
832 @aref{C clef}, @aref{F clef}, @aref{G clef}.
841 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
844 Difference in pitch between a note derived from pure tuning and the same note
845 derived from some other tuning method. @aref{temperament}.
850 @aitem{compound interval}
851 ES: intervalo compuesto,
852 I: intervallo composto,
853 F: intervalle compos@'e,
855 NL: samengesteld interval,
856 DK: sammensat interval,
857 S: sammansatt intervall,
858 FI: oktaavia laajempi intervalli,
861 Intervals larger than an octave.
867 F: intervalle compl@'ementaire,
868 D: Komplement@"arintervall,
869 NL: complementair interval,
870 DK: komplement@ae{}rinterval,
871 S: komplement@"arintervall (?),
872 FI: t@"aydent@"av@"a intervalli,
875 @aref{inverted interval}.
877 @aitem{conjunct movement}
878 ES: movimiento conjunto,
880 F: mouvement conjoint,
881 D: schrittweise, stufenweise Bewegung,
882 NL: stapsgewijze, trapsgewijze beweging,
883 DK: trinvis bev@ae{}gelse,
884 S: stegvis r@"orelse,
885 FI: asteittainen liike,
888 Melody moving in the narrow steps of the scale.
891 \key g \major \time 4/4
892 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
903 FI: konsonanssi, sopusointi,
929 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
932 From latin @emph{punctus contra punctum}, note against note. The combination
933 into a single musical fabric of lines or parts which have distinct melodic
934 significance. A frequently used polyphonic technique is imitation, in its
935 strictest form found in the canon needing only one part to be written down
936 while the other parts are performed with a given displacement. Imitation is
937 also the contrapunctal technique used in the @emph{fugue} which, since the
938 music of the baroque era, has been one of the most popular polyphonic
941 @lilypond[11pt,noquote]
942 \property Score.TimeSignature \override #'style = #'()
943 \notes\context PianoStaff <
944 \context Staff = SA \relative c' {
948 < \context Voice = rha {
950 r1 | r2 r8 g'8 bes d, |
951 cis4 d r8 e!16 f g8 f16 e |
952 f8 g16 a bes8 a16 g a8
954 \context Voice = rhb {
960 \context Staff = SB \relative c' {
963 < \context Voice = lha {
965 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
966 r8 a16 g f8 g16 a bes8 g e! cis' |
969 \context Voice = lhb {
977 @aitem{counter tenor}
984 S: kontratenor, counter tenor,
990 @aitem{Copying, Music}
991 A music copyist did fast freehand scores and parts on preprinted staff lines
992 for performance. Some of their conventions (e.g., the placement of noteheads
993 on stems) varied slightly from those of engravers. Some of their working
994 methods were superior and could well be adopted by music typesetters. This
995 required more skill than engraving.
1001 D: Crescendo, lauter werden,
1005 FI: cresendo, voimistuen,
1008 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1009 abbreviation ``cresc.''.
1012 \key g \major \time 4/4
1013 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
1019 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1027 In a separate part notes belonging to another part with the purpose of hinting
1028 when to start playing. Usually printed in a smaller type.
1032 A custos is a staff symbol that appears at the end of a staff line
1033 with monophonic musical contents (i.e. with a single voice). It
1034 anticipates the pitch of the first note of the following line and thus
1035 helps the player or singer to manage line breaks during performance,
1036 thus enhancing readability of a score.
1038 Custodes were frequently used in music notation until the 16th
1039 century. There were different appearences for different notation
1040 styles. Nowadays, they have survived only in special forms of musical
1041 notation such as via the editio vaticana dating back to the beginning
1047 \property Staff.Custos \set #'neutral-position = #4
1048 \property Staff.Custos \set #'neutral-direction = #-1
1049 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1051 \property Staff.Custos \set #'style = #'hufnagel
1052 c'1^"Custos style = \#'hufnagel"
1053 \break << d' a' f''>>1
1058 \consists Custos_engraver
1078 F: da capo, depuis le commencement,
1079 D: da capo, von Anfang,
1083 FI: da capo, alusta,
1086 The term indicates repetition of the piece from the beginning to the end or to
1087 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1092 F: dal segno, depuis le signe,
1097 FI: dal segno, merkkiin asti,
1100 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1101 another place frequently near the beginning marked by a sign:
1104 \property Voice.TextScript \set #'font-style = #'large
1105 \property Voice.TextScript \set #'font-shape = #'italic
1106 \key g \major \time 4/4
1107 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1113 D: Decrescendo, leiser werden,
1117 FI: decresendo, hiljentyen,
1120 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1121 or the abbreviation ``decresc.''.
1124 \notes\relative c'' {
1125 \key g \major \time 4/4
1126 d4 \> c b a | \! g1 \bar "|."
1130 @aitem{descending interval}
1131 ES: intervalo descendente,
1132 I: intervallo discendente,
1133 F: intervalle descendant,
1134 D: fallendes Intervall, absteigendes Intervall,
1135 NL: dalend interval,
1136 DK: faldende interval,
1137 S: fallande intervall,
1138 FI: laskeva intervalli,
1141 A distance between a starting higher note and a lower ending note.
1143 @aitem{diatonic scale}
1144 ES: escala diat@'onica,
1146 F: gamme diatonique,
1147 D: diatonische Tonleiter,
1148 NL: diatonische toonladder,
1149 DK: diatonisk skala,
1151 FI: diatoninen asteikko,
1154 A scale consisting of 5@w{ }@aref{whole tone}s and
1155 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1156 of a piano keybord are diatonic.
1158 The church modes are used in gregorial chant and pre baroque early music but
1159 also to some extent in newer jazz music.
1161 @lilypond[13pt,notime,linewidth=110mm]
1162 \property Score.barNonAuto = ##t
1163 \property Score.LyricText \set #'font-style = #'large
1164 \property Score.TextScript \set #'font-style = #'large
1166 \context Staff \notes\relative c' {
1168 \property Voice.TextScript \set #'padding = #-4
1169 e^"~~ S" f g a b^"~~ S" c
1171 \context Lyrics \lyrics {
1176 @lilypond[13pt,notime]
1177 \property Score.barNonAuto = ##t
1178 \property Score.LyricText \set #'font-style = #'large
1179 \property Score.TextScript \set #'font-style = #'large
1181 \context Staff \notes\relative c' {
1183 \property Voice.TextScript \set #'padding = #-4
1184 e^"~~ S" f g a b^"~~ S" c d
1186 \context Lyrics \lyrics {
1191 @lilypond[13pt,notime]
1192 \property Score.barNonAuto = ##t
1193 \property Score.LyricText \set #'font-style = #'large
1194 \property Score.TextScript \set #'font-style = #'large
1196 \notes\relative c' {
1197 \property Voice.TextScript \set #'padding = #-4
1198 e1^"~~ S" f g a b^"~~ S" c d e
1200 \context Lyrics \lyrics {
1205 @lilypond[13pt,notime]
1206 \property Score.barNonAuto = ##t
1207 \property Score.LyricText \set #'font-style = #'large
1208 \property Score.TextScript \set #'font-style = #'large
1210 \notes\relative c' {
1212 \property Voice.TextScript \set #'padding = #-4
1213 b^"~~ S" c d e^"~~ S" f
1215 \context Lyrics \lyrics {
1220 @lilypond[13pt,notime]
1221 \property Score.barNonAuto = ##t
1222 \property Score.LyricText \set #'font-style = #'large
1223 \property Score.TextScript \set #'font-style = #'large
1225 \notes\relative c'' {
1227 \property Voice.TextScript \set #'padding = #-4
1228 b^"~~ S" c d e^"~~ S" f g }
1229 \context Lyrics \lyrics {
1234 @lilypond[13pt,notime]
1235 \property Score.barNonAuto = ##t
1236 \property Score.LyricText \set #'font-style = #'large
1237 \property Score.TextScript \set #'font-style = #'large
1239 \notes\relative c'' {
1241 \property Voice.TextScript \set #'padding = #-4
1242 b^"~~ S" c d e^"~~ S" f g a
1244 \context Lyrics \lyrics {
1249 From the beginning of the 17th century the scales used in European
1250 compositional music are primarily the major and the minor scales. In the
1251 harmonic minor scale type an augmented second (A) occurs between the 6th and
1254 @lilypond[13pt,notime]
1255 \property Score.barNonAuto = ##t
1256 \property Score.LyricText \set #'font-style = #'large
1257 \property Score.TextScript \set #'font-style = #'large
1259 \notes\relative c' {
1261 \property Voice.TextScript \set #'padding = #-4
1262 e^"~~ S" f g a b^"~~ S" c
1264 \context Lyrics \lyrics {
1269 @lilypond[13pt,notime]
1270 \property Score.barNonAuto = ##t
1271 \property Score.LyricText \set #'font-style = #'large
1272 \property Score.TextScript \set #'font-style = #'large
1274 \notes\relative c'' {
1276 \property Voice.TextScript \set #'padding = #-4
1277 b^"~~ S" c d e^"~~ S" f g a
1279 \context Lyrics \lyrics {
1284 @lilypond[13pt,notime]
1285 \property Score.barNonAuto = ##t
1286 \property Score.LyricText \set #'font-style = #'large
1287 \property Score.TextScript \set #'font-style = #'large
1289 \notes\relative c'' {
1291 \property Voice.TextScript \set #'padding = #-4
1292 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1294 \context Lyrics \lyrics {
1299 @lilypond[13pt,notime]
1300 \property Score.barNonAuto = ##t
1301 \property Score.LyricText \set #'font-style = #'large
1302 \property Score.TextScript \set #'font-style = #'large
1304 \notes\relative c'' {
1306 \property Voice.TextScript \set #'padding = #-4
1307 b^"~~ S" c d e fis gis^"~~ S"
1308 a g! f!^"~~ S" e d c^"~~ S" b a
1310 \context Lyrics \lyrics {
1315 @aitem{diminished interval}
1316 ES: intervalo disminu@'{@dotless{i}}do,
1317 I: intervallo diminuito,
1318 F: intervalle diminu@'e,
1319 D: vermindertes Intervall,
1320 NL: verminderd interval,
1321 DK: formindsket interval,
1322 S: f@"orminskat intervall,
1323 FI: v@"ahennetty intervalli,
1336 FI: diminuendo, hiljentyen,
1341 @aitem{disjunct movement}
1342 ES: movimiendo disjunto,
1344 F: mouvement disjoint,
1345 D: sprunghafte Bewegung,
1346 NL: sprongsgewijze beweging,
1347 DK: springende bev@ae{}gelse,
1348 S: hoppande r@"orelse,
1349 FI: melodian hyppiv@"a liike,
1352 Melody moving in steps greater than those of the
1353 scale. Opposite of @aref{conjunct movement}.
1358 \notes\relative c' {
1360 a4. gis8 b a e cis |
1361 fis2 d4. \bar "||" }
1364 @aitemii{dissonant interval,dissonance}
1365 ES: intervalo disonante, disonancias,
1366 I: intervallo dissonante, dissonanza,
1369 NL: dissonant interval; dissonant,
1370 DK: dissonerende interval, dissonans,
1372 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1377 @aitem{dominant ninth chord}
1378 I: accordo di nona di dominante,
1379 F: accord de neuvi@`eme dominante,
1380 D: Dominantnoneakkord,
1381 NL: dominant noon akkoord,
1382 DK: dominantnoneakkord,
1383 S: dominantnonackord,
1384 FI: dominanttinoonisointu,
1387 @aref{chord}, @aref{functional harmony}.
1389 @aitem{dominant seventh chord}
1390 ES: acorde de s@'eptima de dominante,
1391 I: accordo di settima di dominante,
1392 F: accord de septi@`eme dominante,
1393 D: Dominantseptakkord,
1394 NL: dominant septiem akkoord,
1395 DK: dominantseptimakkord,
1396 S: dominantseptimackord,
1397 FI: dominanttiseptimisointu,
1400 @aref{chord}, @aref{functional harmony}.
1410 FI: dominantti, huippusointu,
1413 The fifth @aref{scale degree},
1414 @aref{functional harmony}.
1420 D: dorisch, dorischer Kirchenton,
1421 NL: dorische toonladder,
1427 @aref{diatonic scale}.
1429 @aitem{dot (augmentation dot)}
1431 I: punto (di valore),
1433 D: Punkt (Verl@"angerungspunkt),
1443 ES: nota con puntillo,
1447 NL: gepuncteerde noot,
1450 FI: pisteellinen nuotti,
1455 @aitem{double appoggiatura}
1456 ES: apoyatura doble,
1457 I: appoggiatura doppia,
1458 F: appoggiature double,
1459 D: doppelter Vorschlag,
1460 NL: dubbele voorslag,
1461 DK: dobbelt forslag,
1463 FI: kaksoisappogiatura, kaksoisetuhele,
1466 @aref{appoggiatura}.
1468 @aitem{double bar line}
1472 NL: dubbele maatstreep,
1475 FI: kaksoistahtiviiva,
1478 Indicates the end of a section within a movement.
1480 @aitem{double dotted note}
1481 ES: nota con dos puntillos,
1482 I: nota doppiamente puntata,
1483 F: note doublement point@'ee,
1484 D: doppelt punktierte Note,
1485 NL: dubbelgepuncteerde noot,
1486 DK: dob@-belt@-punk@-te@-ret node,
1487 S: dub@-bel@-punk@-te@-rad not,
1488 FI: kaksoispisteellinen nuotti,
1501 FI: kaksoisalennusmerkki,
1506 @aitem{double sharp}
1507 ES: doble sostenido,
1512 DK: dob@-belt@-kryds,
1514 FI: kaksoisylennysmerkki,
1519 @aitem{double trill}
1524 NL: dubbele triller,
1530 A simultaneous trill on two notes, usually in the distance of a third.
1537 NL: tweedelige maatsoort,
1566 FI: kesto, aika-arvo,
1571 @aitem{dydimic comma}
1572 @aref{syntonic comma}.
1590 D: Achtel, Achtelnote,
1592 DK: ottendedelsnode,
1593 S: @aa{}ttondelsnot,
1594 FI: kahdeksasosanuotti,
1600 ES: silencio de corchea,
1606 DK: ottendedelspause,
1607 S: @aa{}ttonddelspaus,
1608 FI: kahdeksasosatauko,
1617 D: Notenstechen, Notendruck
1624 Engraving means incising or etching a metal plate for
1625 printing. Photoengraving means drawing music with ink in a manner
1626 similar to drafting or engineering drawing, using similar tools.
1628 The traditional process of music printing is done through cutting in a
1629 plate of metal. Now also the term for the art of music typesetting.
1642 Two notes, intervals, or scales are enharmonic if they have different names
1645 @lilypond[13pt,notime]
1646 \property Score.barNonAuto = ##t
1647 \property Score.TextScript \set #'font-style = #'large
1649 \context Staff \notes\relative c'' {
1650 gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
1652 \context Lyrics \lyrics {
1653 \property Lyrics . LyricText \override #'alignment = #-1
1654 "g sharp " "a flat " "dim fifth " "augm fourth"
1658 @aitem{equal temperament}
1660 I: temperamento equabile,
1661 F: temp@'erament @'egal,
1662 D: gleichschwebende Stimmung,
1663 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1664 DK: ligesv@ae{}vende temperatur,
1665 S: liksv@"avande temperatur,
1669 Tuning system dividing the octave into 12 equal @aref{semitone}s
1670 (precisely 100 @aref{cent}s). @aref{temperament}.
1672 @aitem{expression mark}
1674 I: segno d'espressione,
1675 F: signe d'expression, indication de nuance,
1677 NL: voordrachtsteken,
1678 DK: foredragsbetegnelse,
1679 S: f@"oredragsbeteckning,
1680 FI: nyanssiosoitus, esitysmerkki,
1683 Performance indications concerning 1. volume, dynamics (for example
1684 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1685 @aref{andante}, @aref{allegro}).
1709 The position between the dots of the key symbol is the line of the F below
1710 central@w{ }C. Used on the third, fourth and fifth note line. A
1711 digit@w{ }8 above the clef symbol indicates that the notes must be played
1712 an octave higher (for example bass recorder) while 8@w{ }below the clef
1713 symbol indicates playing an octave lower (for example on double bass
1716 @lilypond[13pt,notime]
1717 \property Score.barNonAuto = ##t
1718 \property Staff.Clef \override #'full-size-change = ##t
1719 \property Score.LyricText \set #'font-style = #'large
1733 \context Lyrics \lyrics {
1734 \property Lyrics . LyricText \override #'alignment = #-1
1743 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1748 F: point d'orgue, point d'arr@^et,
1753 FI: fermaatti, pid@"ake,
1756 Prolonged note or rest of indefinite duration.
1760 \notes\relative c'' {
1761 a4 b c2^\fermata \bar "|."
1778 @aitem{figured bass}
1779 ES: bajo cifrado, @aref{thorough bass}.
1787 DK: fingers@ae{}tning,
1788 S: fingers@"attning,
1792 The methodical use of fingers in the playing of instruments.
1794 @aitem{flag,pennant}
1796 I: coda (uncinata), bandiera,
1798 D: Fahne, F@"ahnchen,
1805 Ornament at the end of the stem of a note used for notes with values
1806 less than a quarter note. The number of flags determines the
1809 @lilypond[13pt,notime]
1810 \property Score.barNonAuto = ##t
1811 \property Score.TextScript \set #'font-style = #'large
1812 \notes\relative c'' {
1833 @aitemii{forefall,backfall}
1834 @aref{appoggiatura}.
1844 FI: forte, voimakkaasti,
1847 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1848 @emph{mezzoforte} (@b{mf}) medium loud.
1874 @aref{counterpoint}.
1876 @aitem{functional harmony}
1877 ES: armon@'{@dotless{i}}a funcional,
1878 I: armonia funzionale,
1879 F: @'etude des functions,
1881 NL: functionele harmonie,
1882 DK: funktionsanalyse, funktionsharmonik,
1884 FI: harmoniaj@"arjestelm@"a,
1887 A system of harmonic analysis. It is based on the idea that, in a given key,
1888 there are only three functionally different chords: tonic (T, the chord on the
1889 first note of the scale), subdominant (S, the chord on the fourth note), and
1890 dominant (D, the chord on the fifth note). Other are considered to be
1891 variants of the base chords.
1893 @lilypond[13pt,notime]
1894 \property Score.barNonAuto = ##t
1895 \property Score.LyricText \set #'font-style = #'large
1896 \property Score.TextScript \set #'font-style = #'large
1898 \context Voice \notes\relative c'' {
1899 <<g e c >>1 << a f d >> << b g e >>
1900 <<c a f >> << d b g >> << e c a >> << f d b >> }
1901 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1919 D: G-Schl@"ussel, Violinschl@"ussel,
1926 A clef symbol indicating the G above central@w{ }C. Used on the first
1927 and second note lines. A digit 8 above the clef symbol indicates that
1928 the notes must be played an octave higher while 8 below the clef symbol
1929 indicates playing or singing an octave lower (most tenor parts in choral
1930 scores are notated like that).
1932 @lilypond[13pt,notime]
1933 \property Score.barNonAuto = ##t
1934 \property Staff.Clef \set #'full-size-change = ##t
1935 \property Score.LyricText \set #'font-style = #'large
1937 \notes\relative c'' {
1947 \context Lyrics \lyrics {
1948 \property Lyrics . LyricText \override #'alignment = #-1
1949 "french violin clef "
1964 FI: glissando, liukuen,
1967 Letting the pitch slide fluently from one note to the other.
1973 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1980 Notes printed in small types to indicate that their time values are not
1981 counted in the rhythm of the bar. @aref{appoggiatura}.
1989 S: ackolad, b@"ojd klammer,
1990 FI: kaksoisnuottiviivasto,
1995 A combination of two staves with a brace. Usually used for piano music.
2005 FI: grave, raskaasti,
2015 D: Halbe, halbe Note,
2038 @aitem{harmonic cadence}
2039 ES: cadencia (arm@'onica),
2040 I: cadenza (armonica),
2041 F: cadence harmonique,
2043 NL: harmonische cadens,
2044 DK: harmonisk kadence,
2045 S: (harmonisk) kadens,
2046 FI: harmoninen kadenssi,
2049 Sequence of chords that terminate a musical phrase or
2050 section. @aref{functional harmony}.
2053 \notes\context PianoStaff <
2054 \context Staff = SA \relative c'' {
2058 \partial 4 << c g e >>4 |
2059 << c a f >> << b g d >> << c g e >>2
2061 \property Score.LyricText \set #'font-style = #'large
2063 \context Staff = SB \relative c {
2065 \partial 4 c4 | f, g c2
2068 \context Lyrics \lyrics {
2075 ES: armon@'{@dotless{i}}a,
2078 D: Harmonie, Zusammenklang,
2082 FI: harmonia, yhteissointi,
2085 Tones sounding simultaneously. Two note harmonies fall into the categories
2086 @emph{consonances} and @emph{dissonances}.
2090 @lilypond[13pt,notime]
2091 \property Score.barNonAuto = ##t
2092 \property Score.TextScript \set #'font-style = #'large
2093 \context Voice \notes\relative c'' {
2094 <<g g>>1_"unisone " s
2099 <<g g'>>_"octave " s
2100 <<g b'>>_"decime" s s
2106 @lilypond[13pt,notime]
2107 \property Score.barNonAuto = ##t
2108 \property Score.TextScript \set #'font-style = #'large
2109 \context Voice \notes\relative c'' {
2110 <<g a>>1_"second " s s
2111 <<g f'>>_"seventh " s s
2112 <<g a'>>_"ninth" s s
2116 Three note harmony @aref{chord}.
2119 ES: homofon@'{@dotless{i}}a,
2126 FI: homofonia, yksi@"a@"anisyys,
2129 Music in which one voice leads melodically followed by the other voices more
2130 or less in the same rhythm. In contrast to @aref{polyphony}.
2140 FI: intervalli, kahden s@"avelen korkeusero,
2143 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2144 diminished, or augmented. The augmented fourth and the diminished fifth are
2145 identical (@aref{enharmonic}) and are called @emph{tritonus}
2146 because they consist of three @aref{whole tone}s. The addition
2147 of such two forms an octave.
2149 @lilypond[13pt,notime]
2150 \property Score.barNonAuto = ##t
2151 \property Score.LyricText \set #'font-style = #'large
2152 \property Score.TextScript \set #'font-style = #'large
2154 \context Voice \notes\relative c'' {
2156 << g as >>^"minor" s
2158 << g ais >>^"augm" s
2159 << gis bes >>^"dimin" s
2160 << g! bes >>^"minor" s
2161 << g b! >>^"major" s
2162 << g bis >>^"augm" s
2164 \context Lyrics \lyrics {
2165 "unisone " "second " "second " "second "
2166 "third " "third " "third " "third "
2170 @lilypond[13pt,notime]
2171 \property Score.barNonAuto = ##t
2172 \property Score.LyricText \set #'font-style = #'large
2173 \property Score.TextScript \set #'font-style = #'large
2175 \context Staff \notes\relative c'' {
2176 << g c >>^"perfect" s
2177 << g cis >>^"augm" s
2178 << g d' >>^"perfect" s
2179 << g des' >> ^"dim" s
2180 << gis es' >>^"dimin" s
2181 << g! es' >>^"minor" s
2182 << g e'! >>^"major" s
2183 << g eis' >>^"augm" s
2185 \context Lyrics \lyrics {
2186 "fourth " "fourth " "fifth " "fifth "
2187 "sixth " "sixth " "sixth " "sixth "
2191 @lilypond[13pt,notime]
2192 \property Score.barNonAuto = ##t
2193 \property Score.LyricText \set #'font-style = #'large
2194 \property Score.TextScript \set #'font-style = #'large
2196 \context Staff \notes\relative c'' {
2197 << gis f'! >>1^"dimin" s
2198 << g! f'! >>^"minor" s
2199 << g fis' >>^"major" s
2201 << g as' >>^"minor" s
2202 << g a'! >>^"major" s
2203 << g bes' >>^"minor" s
2204 << g b'! >>^"major" s
2206 \context Lyrics \lyrics {
2207 "seventh " "seventh " "seventh " "octave "
2208 "none " "none " "decime " "decime "
2212 @aitem{inverted interval}
2213 ES: intervalo invertido,
2214 I: intervallo rivolto,
2215 F: intervalle revers@'e,
2216 D: umgekehrtes Intervall,
2217 NL: interval inversie,
2218 DK: omvendingsinterval,
2219 S: intervallets omv@"andning,
2220 FI: k@"a@"anteisintervalli,
2223 The difference between an interval and an octave.
2225 @lilypond[13pt,notime]
2226 \property Score.barNonAuto = ##t
2227 \property Score.TextScript \set #'font-style = #'large
2228 \context Staff \notes\relative c'' {
2229 << g a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
2230 << g, b >>_"third " s s << g' b, >>_"sixth " s s \bar "||"
2231 << g, c >>_"fourth " s s << g' c, >>_"fifth " s s \bar "||"
2235 @aitem{just intonation}
2236 I: intonazione giusta,
2237 F: intonation juste,
2245 Tuning system in which the notes are obtained by adding and subtracting
2246 natural fifths and thirds. @aref{temperament}.
2259 According to the 12@w{ }tones of the @aref{chromatic scale}
2260 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2261 @aref{key signature}.
2263 @aitem{key signature}
2264 ES: armadura de clave,
2265 I: armatura di chiave,
2266 F: armure, armature [de la cl@'e],
2267 D: Vorzeichen, Tonart,
2268 NL: toon@-soort (voortekens),
2271 FI: s@"avellajiosoitus,
2274 The sharps or flats appearing at the beginning of each staff indicating the
2275 key of the music. @aref{accidental}.
2281 D: Largo, Langsam, Breit,
2285 FI: largo, hitaasti, leve@"asti,
2288 Very slow in tempo, usually combined with great
2289 expressiveness. @emph{Larghetto} is less slow than largo.
2291 @aitem{leading note}
2302 The seventh @aref{scale degree}, a @aref{semitone} below
2303 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2304 upwards) to the tonic scale degree.
2306 @aitemii{ledger line,leger line}
2307 ES: l@'{@dotless{i}}neas adicionales,
2308 I: tagli addizionali,
2309 F: ligne suppl@'ementaire,
2312 DK: hj@ae{}lpelinie,
2317 A ledger line is an extension of the staff.
2319 @lilypond[13pt,notime]
2320 \property Score.barNonAuto = ##t
2321 \notes\relative c'' { a,1 s c'' }
2335 To be performed without any perceptible interruption between the notes (a)
2336 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
2337 @aref{staccato} (d).
2339 @lilypond[13pt,notime]
2340 \property Score.barNonAuto = ##t
2342 \context Staff \notes\relative c'' {
2344 c4-- d-- e-- \bar "||"
2345 c4-.( d-. )e-. \bar "||"
2346 c4-. d-. e-. \bar "||"
2348 \context Lyrics \lyrics {
2349 \property Lyrics . LyricText \set #'font-style = #'large
2357 @aitem{legato curve}
2358 @aref{slur}, @aref{legato}.
2361 ES: estanque de lilas,
2362 I: stagno del giglio,
2366 NL: le@-lie@-vij@-ver,
2372 A pond with lilies floating in it, also the name of a music typesetter.
2375 ES: l@'{@dotless{i}}nea,
2378 D: Linie, Notenlinie,
2382 FI: viiva, nuottiviiva,
2387 @aitem{long appoggiatura}
2388 ES: apoyatura larga,
2389 I: appoggiatura lunga,
2390 F: appoggiature longue,
2391 D: langer Vorschlag,
2394 S: l@aa{}ngt f@"orslag,
2395 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2398 @aref{appoggiatura}.
2411 Note value: double length of @aref{breve}.
2414 @lilypond[13pt,notime]
2415 \property Score.barNonAuto = ##t
2416 \notes\relative c'' {
2417 \property Voice.NoteHead \set #'style = #'mensural
2422 @aitemii{lyrics,song texts}
2433 @aitem{major interval}
2434 ES: intervalo mayor,
2435 I: intervallo maggiore,
2436 F: intervalle majeur,
2437 D: gro@ss{}es Intervall,
2441 FI: suuri intervalli,
2457 @aref{diatonic scale}.
2459 @aitem{meantone temperament}
2460 I: accordatura mesotonica,
2461 F: temp@'erament m@'esotonique,
2462 D: mittelt@"onige Stimmung,
2463 NL: middenstemming, middentoonstemming,
2464 DK: middeltonetemperatur,
2465 S: medeltonstemperatur,
2466 FI: keskis@"avelviritys,
2469 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2470 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2471 @aref{temperament} only a limited set of keys are playable.
2472 Used for tuning keyboard instruments for performance of pre-1650 music.
2474 @aitem{measure, bar}
2485 A group of @aref{beat}s (units of musical time) the first of which
2486 bears an accent. Such groups in numbers of two or more recur consistently
2487 throughout the composition and are marked from each other by
2488 bar-lines. @aref{meter}.
2492 I: mediante, modale,
2501 1. The third @b{scale degree}.
2502 2. A @aref{chord} having its base tone
2503 a third from that of another chord. For example, the tonic chord may be
2504 replaced by its lower mediant (variant tonic). @aref{functional
2505 harmony}, @aref{relative key}.
2510 FI: melisma, laulettavan tavun sävelkuvio,
2512 A melisma (plural: melismata) is a group of notes or tones sung on one
2513 syllable in plainsong
2515 @aitem{melodic cadence}
2521 F: indication de m@'esure,
2529 The basic scheme of @aref{note value}s and
2530 @aref{accent}s which remains unaltered throughout a composition
2531 or a section of it. For instance, 3/4 meter means that the basic
2532 @aref{note value}s are quarter notes and that a
2533 @aref{measure} consists of three of those. According to
2534 whether there are two, three or four units to the measure,
2535 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2536 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2539 \notes\relative c'' {
2542 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2546 \notes\relative c' {
2549 f8 f f f a16 g a f |
2550 c'8 c c c e16 d e c \bar "||"}
2554 \notes\relative c'' {
2557 d4 b8 g b d d c a4 |
2558 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2572 Device indicating the exact tempo of a piece. @aref{metronomic
2575 @aitem{metronomic indication}
2576 ES: indicaci@'on metron@'omica,
2577 I: indicazione metronomica,
2578 F: indication m@'etronomique,
2580 NL: metronoom aanduiding,
2582 S: metronomangivelse,
2583 FI: metronomiosoitus,
2586 Exact tempo indication (in beats per minute). Also denoted by
2587 M.M. (M@"alzels Metronom).
2589 @aitem{mezzo-soprano}
2600 The female voice between @aref{soprano} and
2607 D: eingestrichenes@w{ }c,
2609 DK: enstreget@w{ }c,
2610 S: ettstruket@w{ }c,
2614 First C below the 440 Hz A.
2616 @lilypond[13pt,notime]
2617 \property Score.barNonAuto = ##t
2618 \property Staff.Clef \set #'full-size-change = ##t
2619 \notes\relative c' {
2637 @aref{diatonic scale}.
2639 @aitem{minor interval}
2640 ES: intervalo mayor,
2641 I: intervallo minore,
2642 F: intervalle mineur,
2643 D: kleines Intervall,
2647 FI: pieni intervalli,
2660 FI: moodi, kirkkos@"avelasteikko,
2663 @aref{church mode}, @aref{diatonic scale}.
2673 FI: modulaatio, s@"avellajin vaihdos,
2676 Moving from one @aref{key} to another. For example, the second
2677 subject of a @aref{sonata form} movement modulates to the dominant
2678 key if the key is major and to the @aref{relative key} if the key
2688 FI: mordent, korukuvio,
2693 @aitemii{motive,motif}
2701 FI: teema, s@"avelaihe,
2704 The briefest intelligible and self-contained fragment of a musical theme or
2708 \property Score.TimeSignature \override #'style = #'()
2709 \property Score.TextScript \set #'font-style = #'large
2710 \notes\relative c'' {
2713 \partial 8 g16_"------" fis |
2714 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2715 g8 g,16 a b8 cis d16 s
2730 Greater musical works like @aref{symphony} and
2731 @aref{sonata} most often consist of several -- more or less --
2732 independant pieces called movements.
2734 @aitem{multibar rest}
2735 ES: compases de espera,
2739 D: mehrtaktige Pause,
2742 FI: usean tahdin mittainen tauko,
2746 \notes\relative c'' {
2748 \property Score.skipBars=##t R1*3
2753 @aitem{mixolydian mode}
2754 @aref{diatonic scale}.
2756 @aitem{natural sign}
2760 D: Aufl@"osungszeichen,
2761 NL: herstellingsteken,
2762 DK: op@-l@o{}sningstegn,
2763 S: @aa{}terst@"allningstecken,
2769 @aitem{neighbour tones}
2770 @aref{appoggiatura}.
2799 Notes are signs by means of which music is fixed in writing. The term is also
2800 used for the sound indicated by a note, and even for the key of the piano
2801 which produces the sound. However, a clear distinction between the terms tone
2802 and @aref{note} is strongly recommended. Briefly, one sees a note,
2807 I: testa, testina, capocchia,
2808 F: t@^ete de la note,
2816 A head like sign which indicates pitch by its position on a
2817 @aref{staff} provided with a @aref{clef}, and duration
2818 by a variety of shapes such as hollow or black heads with or without
2819 @aref{stem}s, @aref{flag}s, etc. For percussion
2820 instruments (often having no defined pitch) the note head may indicate the
2826 F: dur@'ee, valeur (d'une note),
2831 FI: nuotin aika-arvo,
2834 Note values (durations) are measured as fractions, normally 1/2, of the next
2835 higher note value. The longest duration normally used is called @emph{brevis},
2836 but sometimes (mostly in pre baroque music) the double length note value
2837 @emph{longa} is used.
2839 @lilypond[13pt,notime]
2840 \property Score.TextScript \set #'font-style = #'large
2841 \property Score.barNonAuto = ##t
2842 \notes\relative c'' {
2843 \property Voice.NoteHead \override #'style = #'mensural
2844 g\longa_"longa" g\breve_"breve"
2845 \property Voice.NoteHead \revert #'style
2846 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2847 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2850 @lilypond[13pt,notime]
2851 \property Score.TextScript \set #'font-style = #'large
2852 \property Score.barNonAuto = ##t
2853 \notes\relative c'' {
2854 r\longa_"longa" r\breve_"breve"
2855 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2856 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2859 An augmentation dot after a note multiplies the duration by one and a
2860 half. Another dot adds yet a fourth of the duration.
2863 \property Score.TextScript \set #'font-style = #'large
2864 \notes\relative c'' {
2866 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2867 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2870 Alternatively note values may be subdivided by other ratios. Most common is
2871 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2872 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2873 dotted notes are also frequently used.
2876 \property Score.TextScript \set #'font-style = #'large
2877 \notes\relative c'' {
2879 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2880 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2885 \notes\relative c'' {
2887 \times 3/2 {g4_"duplets" g} |
2889 \times 6/4 {g8_"quadruplets" g g g} |
2890 g8 g g g g4 \bar "||"
2895 @aref{G clef}, @aref{F clef}.
2910 @aitemiii{ornament,embellishment,accessory}
2912 I: abbellimento, fioriture,
2913 F: agr@'ement, ornement,
2914 D: Verzierung, Ornament,
2921 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2922 with the diatonic @aref{second} above it. In the music from the
2923 middle of the 19th century and onwards the trill is performed with the main
2924 note first while in the music from the preceding baroque and classic periods
2925 the upper note is played first.
2929 \context Staff = sa {
2930 \property Score.TextScript \set #'font-style = #'large
2931 \notes\relative c'' {
2932 c2._"pre-1850" b4\trill | c1 \bar "||"
2933 c2._"post-1850" b4\trill | c1 \bar "||"
2936 \notes\relative c'' {
2937 c2. c32 b c b c b c b | c1
2938 c2. b32 c b c \times 4/5 { b c b c b } | c1
2943 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2944 @emph{prall} (inverted mordent).
2948 \context Staff = sa {
2949 \property Score.TextScript \set #'font-style = #'large
2950 \notes\relative c'' {
2951 a4_"turn" b\turn c2 \bar "||"
2952 g4_"mordent" a b\mordent a \bar "||"
2953 e'4_"prall" d\prall c2 \bar "||"
2956 \notes\relative c'' {
2959 e'4 [e32 d e d ~ d8] c2
2964 @aref{appoggiatura}.
2974 FI: ossia, vaihtoehtoinen esitystapa,
2977 Ossia (otherwise) marks an alternative. It is an added staff or piano
2978 score, usually only a few measures long, which presents another version
2979 of the music, for example for small hands.
2989 FI: stemma, instrumenttiosuus,
2992 1. In instrumental or choral music the music for the single instrument
2993 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2994 melodic line of the contrapunctal web.
3000 D: Schlagzeug, Schlagwerk,
3004 FI: ly@"om@"asoittimet,
3007 A family of musical instruments which are played on by striking or
3008 shaking. Percussion instruments commonly used in a symphony orchestra are
3009 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3010 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3013 @aitem{perfect interval}
3014 ES: intervalo justo,
3015 I: intervallo giusto,
3016 F: intervalle juste,
3017 D: reines Intervall,
3021 FI: puhdas intervalli,
3037 A natural division of the melodic line, comparable to a sentence of speech.
3047 FI: fraseeraus, j@"asent@"aminen,
3050 The clear rendering in musical performance of the @aref{phrase}s of
3051 the melody. Phrasing may be indicated by a @aref{slur}.
3064 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3065 @emph{mezzopiano} (@b{mp}) medium soft.
3083 NL: pizzicato, getokkeld,
3086 FI: pizzicato, n@"app@"aillen,
3089 Play by plucking the strings.
3092 ES: polifon@'{@dotless{i}}a,
3099 FI: polyfonia, moni@"a@"anisyys,
3102 Music written in a combination of several simultaneous voices (parts) of a
3103 more or less pronounced individuality. @aref{counterpoint}.
3112 D: Presto, Sehr schnell,
3113 NL: presto, Sehr schnell,
3116 FI: presto, hyvin nopeasti,
3119 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3120 denotes the highest possible degree of speed.
3122 @aitem{Pythagorean comma}
3123 ES: coma pitag@'orico,
3124 I: comma pitagorico,
3125 F: comma pythagoricien,
3126 D: Pythagor@"aisches Komma,
3127 NL: komma van Pythagoras,
3128 DK: pythagor@ae{}isk komma,
3129 S: pytagoreiskt komma,
3130 FI: pytagorinen komma,
3133 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3134 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3135 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3136 7@w{ }octaves. The difference between those two pitches is called the
3152 @aitem{quarter note}
3154 I: semiminima, nera,
3157 D: Viertel, Viertelnote,
3161 FI: nelj@"annesosanuotti,
3166 @aitem{quarter rest}
3167 ES: silencio de negra,
3168 I: pausa di semiminima,
3173 DK:@w{ }fjerdedelspause,
3174 S: fj@"ardedelspaus,
3175 FI: nelj@"annesosatauko,
3197 D: rallentando, langsamer werden,
3201 FI. rallerdando, hidastuen,
3204 Abbreviation "rall.". @aref{ritardando}.
3206 @aitem{relative key}
3208 I: tonalit@`a relativa,
3209 F: tonalit@'e relative,
3211 NL: paralleltoonsoort,
3212 DK: paralleltoneart,
3214 FI: rinnakkaiss@"avellaji,
3217 @aref{major} and @aref{minor} @aref{key}
3218 with the same @aref{key signature}.
3220 @lilypond[13pt,notime]
3221 \property Score.barNonAuto = ##t
3222 \property Score.TextScript \set #'font-style = #'large
3223 \notes\relative c' {
3225 es1_"e flat major" f g as bes c d es
3230 @lilypond[13pt,notime]
3231 \property Score.barNonAuto = ##t
3232 \property Score.TextScript \set #'font-style = #'large
3233 \notes\relative c' {
3235 c1_"c minor" d es f g a! b! c \bar "||"
3240 ES: barra de repetici@'on,
3242 F: barre de reprise,
3245 DK: gen@-ta@-gel@-se,
3253 \notes\relative c'' {
3254 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3258 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3259 @c specify the rest's value.
3285 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3286 fixed unit of time, called @aref{beat}, and in which the normal
3287 @aref{accent} recurs in regular intervals, called
3288 @aref{measure}. The basic scheme scheme of time values is called
3289 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3290 accent. In modern notation such music appears as a free alternation of
3291 different measures. (c) Free rhythm, i.e., the use of temporal values having
3292 no common metrical unit (beat).
3298 D: Ritardando, langsamer werden,
3302 FI. ritardando, hidastuen,
3305 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3315 FI: ritenuto, hidastaen,
3318 Immediate reduction of speed.
3328 FI: asteikko, s@"avelasteikko,
3331 @aref{diatonic scale}.
3333 @aitem{scale degree}
3334 ES: grados de la escala,
3335 I: grado della scala,
3336 F: degr@'e [de la gamme],
3338 NL: trap [van de toonladder],
3341 FI: s@"avelaste, asteikon s@"avel,
3344 Names and symbols used in harmonic analysis to denote tones of the scale as
3345 roots of chords. The most important are degrees I = tonic (T), IV =
3346 sub@-do@-mi@-nant (S) and V = dominant (D).
3348 @lilypond[13pt,notime]
3349 \property Score.barNonAuto = ##t
3350 \property Score.LyricText \set #'font-style = #'large
3351 %\property Lyrics.minVerticalAlign = #8
3353 \context Staff \notes\relative c' {
3356 \context Lyrics \lyrics {
3357 < { I II III IV V VI VII I }
3362 @aref{functional harmony}.
3368 D: Partitur (full score), Klavierauszug (vocal score)
3375 A copy of orchestral, choral or chamber music showing what each instrument is
3376 to play, each voice to sing, having each part arranged one underneath the
3377 other on different staves @aref{staff}.
3390 The @aref{interval} between two neigbouring tones of a scale. A
3391 @aref{diatonic scale} consists of alternating
3392 @aref{semitone}s and @aref{whole tone}s, hence the size
3393 of a se@-cond depends on the scale degrees in question.
3406 The @aref{interval} of a minor second. The (usually) smallest
3407 interval in European composed music. The interval between two neighbouring
3408 tones on the piano keyboard -- including black and white keys -- is a
3409 semitone. An octave may be divided into 12@w{ }semitones.
3410 @aref{interval}, @aref{chromatic scale}.
3412 @lilypond[13pt,notime]
3413 \property Score.barNonAuto = ##t
3414 \notes\relative c'' { g1 gis s a bes s b! c }
3430 @aitem{sextuplet, sextolet}
3455 @aitem{short appoggiatura}
3456 @aref{appoggiatura}.
3458 @aitem{sixteenth note}
3463 D: Sechzehntel, Sechzehntelnote,
3464 NL: zes@-ti@-ende noot,
3465 DK: sekstendedelsnode,
3467 FI: kuudestoistaosanuotti,
3472 @aitem{sixteenth rest}
3473 ES: silencia de semicorchea,
3474 I: pausa di semicroma,
3476 UK: semiquaver rest,
3477 D: Sechzehntelpause,
3479 DK: sekstendedelspause,
3499 @aitem{sixty-fourth note}
3502 F: quadruple croche,
3503 UK: hemidemisemiquaver,
3504 D: Vierundsechzigstel, Vierundsechzigstelnote,
3505 NL: vierenzestigste noot,
3506 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3507 S: sextiofj@"ardedelsnot,
3508 FI: kuudeskymmenesnelj@"asosanuotti,
3513 @aitem{sixty-fourth rest}
3514 ES: silencia de semifusa,
3515 I: pausa di semibiscroma,
3516 F: seizi@`eme de soupir,
3517 UK: hemidemisemiquaver rest,
3518 D: Vierundsechzigstelpause,
3519 NL: vierenzestigste rust,
3520 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3521 S: sextiofj@"ardedelspaus,
3522 FI: kuudeskymmenesnelj@"asosatauko,
3529 I: legatura (di portamento or espressiva),
3530 F: liaison, coul@'e,
3531 D: Bogen, Legatobogen, Phrasierungsbogen,
3532 NL: fraseringsboog, legatoboog, streekboog,
3533 DK: legatobue, fraseringsbue,
3538 A slur above or below a group of notes indicates that they are to be played
3539 @aref{legato}, e.g., with one stroke of the violin bow or with one
3549 FI: suhteelliset laulunimet,
3552 General term for systems of designating the degrees of the
3553 @aref{scale}, not by letters, but by syllables (@emph{do}
3554 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3555 (@emph{ti})). @aref{scale degree}.
3568 In its present-day meaning a sonata denotes an instrumental composition for
3569 piano or for some other instrument with piano accompaniment, which consists of
3570 three or four independant pieces, called movements.
3575 F: [en] forme de sonate,
3577 NL: hoofdvorm, sonatevorm,
3583 A form used frequently for single movements of the @aref{sonata},
3584 @aref{symphony}, quartet, etc. A movement written in sonata form
3585 falls into three sections called @emph{exposition}, @emph{development} and
3586 @emph{recapitulation}. In the exposition the composer introduces his musical
3587 ideas, consisting of a number of themes; in the development section he
3588 "develops" this material, and in the recapitulation he repeats the exposition,
3589 with certain modifications, however. The exposition contains a number of themes
3590 which fall into two groups, often called first and second subject. Other
3591 melodies occurring in each group are considered as continuations of these
3592 two. The second theme is in another key, normally in the key of the
3593 @aref{dominant} if the @aref{tonic} is
3594 @aref{major}, and in the @aref{relative key} if the
3595 tonic is @aref{minor}.
3605 FI: sopraano, korkea nais@"a@"ani,
3608 The highest female voice.
3613 F: staccato, piqu@'e, d@'etach@'e,
3618 FI: staccato, lyhyesti, ter@"av@"asti,
3621 Playing the note(s) short. Staccato is indicated by a dot above or below the
3627 \notes\relative c'' {
3629 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3636 I: pentagramma, rigo (musicale),
3639 NL: (noten)balk, partij,
3645 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3646 which the musical notes are written, thus indicating (in connection
3647 with a @aref{clef}) their pitch. Staves for
3648 @aref{percussion} instruments may have fewer lines.
3654 D: Hals, Notenhals, Stiel,
3661 Vertical line above or below a @aref{note head} shorter than a
3662 whole note. @aref{beam}.
3664 @lilypond[13pt,notime]
3665 \property Score.autoBeaming = ##f
3666 \property Score.barNonAuto = ##t
3667 \property Score.TextScript \set #'font-style = #'large
3668 \notes\relative c'' {
3687 A family of stringed musical instruments played with a bow. Strings commonly
3688 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3694 D: betonter Taktteil oder Taktschlag,
3696 D: betonet taktslag,
3697 S: betonat taktslag,
3698 FI: tahdin vahva isku,
3701 @aref{beat}, @aref{accent}, @aref{measure},
3712 FI: subdominantti, alidominantti,
3715 The fourth @aref{scale degree}. @aref{functional
3726 FI: alikeskis@"avel,
3729 The sixth @aref{scale degree}.
3739 FI: subtoonika, alitoonika,
3742 The seventh @aref{scale degree}.
3744 @aitem{superdominant}
3755 The sixth @aref{scale degree}.
3768 The second @aref{scale degree}.
3771 ES: sinfon@'{@dotless{i}}a,
3774 D: Sinfonie, Symphonie,
3781 A symphony may be defined as a @aref{sonata} for orchestra.
3794 Any deliberate upsetting of the normal pulse of @aref{meter},
3795 @aref{accent} and @aref{rhythm}. Our system of musical
3796 rhythm rests upon the grouping of equal beats into groups of two or three,
3797 with a regularly recurrent accent on the first beat of each group. Any
3798 deviation from this scheme is felt as a disturbance or contradiction between
3799 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3803 \notes\relative c' {
3806 e c'4 e,8 c'4 e,8 c' ( | ) c2
3810 @aitemii{syntonic comma,dydimic comma}
3811 I: comma sintonico (o didimico),
3812 F: comma syntonique,
3813 D: syntonisches Komma,
3814 NL: syntonische komma,
3815 DK: syntonisk komma,
3816 S: syntoniskt komma,
3817 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3820 Difference between the natural third and the third obtained by Pythagorean
3821 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3830 FI: nuottij@"arjestelm@"a,
3833 The collection of staves @aref{staff}, two or more, as used for
3834 writing down of keyboard, chamber, choral, or orchestral music.
3840 D: Stimmung, Temperatur,
3841 NL: stemming, temperatuur,
3844 FI: viritysj@"arjestelm@"a,
3847 Systems of tuning in which the intervals deviate from the acoustically pure
3848 intervals. @aref{meantone temperament}, @aref{equal
3851 @aitem{tempo indication}
3852 ES: indicaci@'on de tempo,
3853 I: indicazione di tempo,
3854 F: indication de temps,
3855 D: Zeitma@ss{}, Tempobezeichnung,
3856 NL: tempo aanduiding,
3859 FI: tempomerkint@"a,
3862 The rate of speed of a composition or a section thereof, ranging from the
3863 slowest to the quickest, as is indicated by tempo marks as
3864 @aref{largo}, @aref{adagio}, @aref{andante},
3865 @aref{allegro}, and @aref{presto}.
3875 FI: tenori, korkea mies@"a@"ani,
3878 The highest voice of men (apart from @aref{counter tenor}).
3906 @aitem{thirty-second note}
3911 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3912 NL: twee-endertig@-ste noot,
3913 DK: toogtredivtedelsnode,
3914 S: trettiotv@aa{}ondelsnot,
3915 FI: kolmanneskymmeneskahdesosanuotti,
3920 @aitem{thirty-second rest}
3921 ES: silencio de fusa,
3922 I: pausa di biscroma,
3923 F: huiti@`eme de soupir,
3924 UK: demisemiquaver rest,
3925 D: Zweiunddreissigstel@-pause,
3927 DK: toogtredivtedelspause,
3928 S: trettiotv@aa{}ondelspaus,
3929 FI: kolmanneskymmeneskahdesosatauko,
3934 @aitemii{thorough bass,figured bass}
3936 I: basso continuo, basso numerato,
3937 F: basse chiffr@'ee,
3938 D: Generalbass, bezifferter Bass,
3939 NL: basso continuo, becijferde bas
3942 FI: kenraalibasso, numeroitu basso,
3945 A method of indicating an accompaniment part by the bass notes only, together
3946 with figures designating the chief @aref{interval}s and
3947 @aref{chord}s to be played above the bass notes.
3950 \context GrandStaff <
3951 \context Staff = lh \notes\relative c'' {
3955 < \context Voice = rha {
3958 \context Voice = rhb {
3960 << bes g >>8 as << as f >> g << g es >> f << d f >> es | << g es >>4 }
3964 \context Staff = rh \notes\relative c' {
3967 es8 c d bes c as bes16 as g f | es4
3969 \context Lyrics \lyrics {
3970 \property Lyrics . LyricText \set #'font-style = #'Large
3971 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3972 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3973 { "" "" "" "2" "" "" "" "" "" "2" } >
3979 ES: ligadura de prolongaci@'on,
3980 I: legatura (di valore),
3983 NL: overbinding, bindingsboog,
3985 S: bindeb@aa{}ge, @"overbindning,
3989 A curved line, identical in appearance with the @aref{slur}, which
3990 connects two succesive notes of the same pitch, and which has the function of
3991 uniting them into a single sound equal to the combined durations.
3993 @lilypond[13pt,notime]
3994 \property Score.barNonAuto = ##t
3995 \notes\relative c'' { g2 ~ g4. }
3998 @aitem{time signature}
3999 ES: cifra indicadora de comp@'as,
4001 F: chiffrage (chiffres indicateurs), signe de valeur,
4002 D: Taktangabe, Angabe der Taktart,
4005 S: taktartssignatur,
4022 A sound of definite pitch and duration, as distinct from @emph{noise}.
4023 Tone is a primary building material of music.
4024 Music from the 20th century may be based on non tone related sounds.
4037 The first @aref{scale degree}.
4038 @aref{functional harmony}.
4040 @aitem{transposition}
4041 ES: transposici@'on,
4051 Shifting a melody up or down in pitch, while keeping the same
4057 \notes\relative c'' {
4059 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4067 \transpose c bes \relative c'' {
4069 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4076 I: chiave di violino,
4078 D: Violinschl@"ussel, Sopranschl@"ussel,
4080 DK:@w{ }diskantn@o{}gle,
4098 On stringed instruments (@aref{strings}) the quick reiteration of
4099 the same tone, produced by a rapid up-and-down movement movement of the bow
4100 (a). The term is also used for the rapid alternation (b) between two notes of
4101 a @aref{chord}, usually in the distance of a third
4104 @lilypond[13pt,notime]
4105 \property Score.barNonAuto = ##t
4106 \property Score.TextScript \set #'font-style = #'large
4107 \notes\relative c' {
4109 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4110 \repeat "tremolo" 8 { e32_"b" g }
4115 ES: tr@'{@dotless{i}}ada,
4117 F: triade, accord parfait, accord de trois sons,
4127 @aitemii{trill,shake}
4130 F: trille, tremblement, battement (cadence),
4140 @aitem{triple meter}
4141 ES: comp@'as compuesto,
4145 NL: driedelige maatsoort,
4167 ES: tr@'{@dotless{i}}tono,
4181 I: diapason, corista,
4190 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4191 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4193 @aitemii{turn,gruppetto}
4207 ES: un@'{@dotless{i}}sono,
4214 FI: unisono, yksi@"a@"anisesti,
4217 Playing of the same notes or the same melody by various instruments (voices)
4218 or by the whole orchestra (choir), either at exactly the same pitch or in a
4222 ES: entrada anacr@'usica,
4224 F: anacrouse, lev@'ee,
4232 Initial note(s) of a melody occurring before the first bar
4233 line. @aref{measure}, @aref{meter}.
4238 \notes\relative c' {
4239 \partial 4 f4 | bes4. a8 bes4 c |
4240 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
4251 FI: @"a@"ani, laulu@"a@"ani,
4254 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4255 @aref{contralto}, @aref{tenor},
4256 @aref{baritone}, @aref{bass}.
4257 2. A melodic layer or part of a polyphonic composition.
4261 I: tempo debole, arsi,
4263 D: unbetonter Taktteil oder Taktschlag,
4265 DK: ubetonet taktslag,
4266 S: obetonat taktslag,
4267 FI: tahdin heikko isku,
4270 @aref{beat}, @aref{measure}, @aref{rhythm}.
4277 D: Ganze, ganze Note,
4287 ES: silencio de redonda,
4288 I: pausa di semibreve,
4291 D: ganze Pause, ganztaktige Pause,
4311 The @aref{interval} of a major second. The interval between two
4312 tones on the piano keyboard with exactly one key between them -- including
4313 black and white keys -- is a whole tone.
4321 DK tr@ae{}bl@ae{}sere,
4322 S: tr@"abl@aa{}sare,
4326 A family of blown wooden musical instruments. Today some of these instruments
4327 are actually made from metal. The woodwind instruments commonly used in a
4328 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4335 @item DURATION NAMES, NOTES AND RESTS
4338 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4340 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4341 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4345 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4346 @tab longa @tab longa @tab longa @tab longa
4350 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4351 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4355 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4356 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4360 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4361 halve @tab halv @tab halv @tab puoli- @tab
4365 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4366 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4370 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4371 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4375 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4376 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4377 @tab kuudestoistaosa- @tab
4381 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4382 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4383 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4387 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4388 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4389 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4390 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4393 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4401 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4403 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4404 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4409 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4413 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4414 cis @tab cis @tab Cis @tab cis
4418 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4419 des @tab des @tab Des @tab des
4423 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4427 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4431 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4435 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4439 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4440 @tab as @tab As @tab as
4444 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4448 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4449 ais @tab ais @tab Ais @tab ais
4453 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4454 @tab b @tab B @tab b
4458 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4466 @item ---------------------
4470 @item Literature used
4471 The Harvard Dictionary of Music, London 1944. Many more or less literal
4472 quotes from its articles have been included into the item explanation texts.
4474 Hugo Riemanns Musiklexicon, Berlin 1929
4476 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4477 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.