1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2006 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2006 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@arrow{}@strong{\word\}}@c
114 @arrow{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
154 * ancient minor scale::
159 * ascending interval::
160 * augmented interval::
192 * compound interval::
194 * conjunct movement::
207 * descending interval::
209 * diminished interval::
211 * disjunct movement::
213 * dissonant interval::
214 * dominant ninth chord::
215 * dominant seventh chord::
218 * dot (augmentation dot)::
220 * double appoggiatura::
222 * double dotted note::
231 * ecclesiastical mode::
237 * equal temperament::
251 * functional harmony::
265 * inverted interval::
278 * long appoggiatura::
283 * meantone temperament::
290 * metronomic indication::
327 * Pythagorean comma::
349 * short appoggiatura::
353 * sixty-fourth note::
354 * sixty-fourth rest::
382 * thirty-second note::
383 * thirty-second rest::
432 FI: aksentti, korostus.
434 The stress of one tone over others.
444 ES: alteración accidental,
446 F: altération accidentelle,
447 D: Vorzeichen, Versetzungszeichen, Akzidenz,
448 NL: toevallig (verplaatsings)teken,
450 S: tillfälligt förtecken,
451 FI: tilapäinen etumerkki.
453 An accidental has the effect of an @aref{alteration} of a note. A
454 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
455 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
456 lowers it by a whole tone. A natural cancels the effect of a previous
459 @lilypond[fragment,notime,line-width=13.0\cm]
460 \set Score.automaticBars = ##f
462 \context Staff \relative c'' {
463 \set Staff.extraNatural = ##f
464 gis1 gisis ges geses g!
467 \override Lyrics .LyricText #'self-alignment-X = #-1
468 sharp "db. sharp" flat "db. flat" natural
478 F: accelerando, en accélérant,
479 D: accelerando, schneller werden,
483 FI: accelerando, kiihdyttäen.
497 FI: adagio, hitaasti.
499 It.@: comfortable, easy.
500 1.@tie{}Slow tempo, slower -- especially in even meter -- than
501 @aref{andante} and faster than @aref{largo}.
502 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
503 @aref{sonata}s, symphonies, etc.
511 D: Allegro, Schnell, Fröhlich, Lustig,
515 FI: allegro, nopeasti.
517 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
518 tempo, especially the first and last movements of a @aref{sonata}.
527 NL: verhoging of verlaging,
532 An alteration is the modification, raising or lowering, of a note's
533 pitch. It is established by an @aref{accidental}.
545 FI: altto, matala naisääni.
547 A female voice of low range (@emph{contralto}). Originally the alto was a
548 high male voice (hence the name), which by the use of falsetto reached the
549 height of the female voice. This type of voice is also known as
550 @aref{counter tenor}.
555 ES: clave de do en tercera,
556 I: chiave di contralto,
557 F: clef d'ut troisième ligne,
558 D: Altschlüssel, Bratschenschlüssel,
564 C clef setting middle C on the middle line of the staff
577 FI: ambitus, ääniala, soitinala.
579 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
580 of pitches for a given voice in a part of music. It may also denote
581 the pitch range that a musical instrument is capable of playing.
586 @c TODO: add more languages for anacrusis
590 An anacrusis (also known as pickup or upbeat) is an incomplete measure
591 of music before a section of music.
593 @node ancient minor scale
594 @section ancient minor scale
596 ES: escala menor antigua,
597 I: scala minore naturale,
598 F: forme du mode mineur ancien, troisème mode, mode hellénique
600 NL: authentieke mineurtoonladder,
603 FI: luonnollinen molliasteikko.
605 @aref{diatonic scale}.
607 @lilypond[fragment,notime,line-width=13.0\cm]
608 \set Score.automaticBars = ##f
625 Walking tempo/character.
628 @section appoggiatura
632 F: appoggiature, (port de voix),
637 FI: appoggiatura, etuhele.
639 Ornamental note, usually a second, that is melodically connected with the
640 main note following it. In music before the 19th century a.@: were usually
641 performed on the beat, after that mostly before the beat. While the short
642 a.@: is performed as a short note regardless of the duration of the main note
643 the duration of the long a.@: is proportional to that of the main note.
645 @lilypond[line-width=13.0\cm]
646 \context Voice \relative c'' {
650 %\override Score.TextScript #'font-style = #'large
651 <d a fis>4_"notation" r
652 { \override Stem #'flag-style = #'()
654 \revert Stem #'flag-style
657 { \override Stem #'flag-style = #'()
659 \revert Stem #'flag-style
662 \cadenzaOn a4 \bar "||" \cadenzaOff
664 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
665 \cadenzaOn a4 \bar "||" \cadenzaOff
669 An appoggiatura may have more notes preceding the main note.
671 @lilypond[line-width=13.0\cm]
675 % \override Score.TextScript #'font-style = #'large
676 \grace { bes16 } as8_"notation" as16 bes as8 g |
677 \grace { as16[( bes] } < c as >4-)
678 \grace { as16[( bes] } < c as >4-) \bar "||"
679 \grace { bes16 } as8_"performance" as16 bes as8 g |
680 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
681 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
692 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
694 DK: arpeggio, akkordbrydning,
696 FI: arpeggio, murtosointu.
698 @lilypond[fragment,line-width=13.0\cm]
699 \context PianoStaff <<
700 \context Staff = SA \relative c'' {
703 r8 g16 c e g, c e r8 g,16 c e g, c e |
704 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
705 \context Staff = SB \relative c' {
707 << \context Voice = va {
709 r16 e8. ( e4) r16 e8. ( e4) |
710 r16 d8. ( d4) r16 d8. ( d4) }
711 \context Voice = vb {
719 @section articulation
721 @c TODO: add languages for articulation.
722 Articulation refers to notation which indicates how a note or notes should
723 be played. Slurs, accents, staccato, and legato are all examples of
727 @node ascending interval
728 @section ascending interval
730 ES: intervalo ascendente,
731 I: intervallo ascendente,
732 F: intervalle ascendant,
733 D: steigendes Intervall,
734 NL: stijgend interval,
735 DK:@w{ }stigende interval,
736 S: stigande intervall,
737 FI: nouseva intervalli.
739 A distance between a starting lower note and a higher ending note.
741 @node augmented interval
742 @section augmented interval
744 ES: intervalo aumentado,
745 I: intervallo aumentato,
746 F: intervalle augmenté,
747 D: übermäßiges Intervall,
748 NL: overmatig interval,
749 DK: forstørret interval,
750 S: överstigande intervall,
751 FI: ylinouseva intervalli.
760 F: manuscrit, autographe
761 D: Autograph, Handschrift,
763 DK: håndskrift, autograf,
765 FI: käsinkirjoitettu nuotti.
767 1.@tie{}A manuscript in the composer's own hand.
768 2.@tie{}Music prepared for photoreproduction by freehand drawing,
769 with the aid of a straightedge ruler and T-square only,
770 which attempts to emulate engraving.
771 This required more skill than did engraving.
798 ES: barra, línea divisoria,
799 I: stanghetta, barra (di divisione),
800 F: barre (de mesure),
817 FI: baritoni, keskikorkuinen miesääni.
819 The male voice intermediate between the @aref{bass} and the
822 @c F: clef de troisième ligne dropped
825 @section baritone clef
827 ES: clave de fa en tercera,
828 I: chiave di baritono,
829 F: clef d' Ut cinquième ligne, clef de Fa troisième,
836 C or F clef setting middle C on the upper staff line.
837 @aref{C clef}, @aref{F clef}.
842 ES: clave de fa en cuarta,
844 F: clé de fa quatrième ligne,
851 A clef setting with middle C on the first top ledger line.
864 FI: basso, matala miesääni.
866 1.@tie{}The lowest male voice.
867 2.@tie{}Sometimes, especially in jazz music, used as
868 an abbreviation for double bass.
883 Line connecting a series of notes (shorter than a quarter note).
884 The number of beams determines the note value of the connected notes.
886 @lilypond[fragment,notime,line-width=13.0\cm]
887 \set Score.automaticBars = ##f
888 %\override TextScript #'font-style = #'large
891 g16_"1/16"[ g g g] s16
892 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
893 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
899 ES: tiempo, parte (de compás)
902 D: Takt, Taktschlag, Zeit (im Takt),
908 Note value used for counting, most often half-, fourth-, and eighth notes.
909 The base counting value and the number of them per measure is indicated at
910 the start of the music.
912 @lilypond[fragment,line-width=13.0\cm]
915 \relative c'' { g4 c b a | g1 \bar "||"}
917 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
931 D: Klammer, Akkolade,
932 NL: accolade, teksthaak,
935 FI: yhdistävä sulkumerkki.
937 Symbol at the start of a system connecting staves. Curly braces are used
938 for connecting piano staves, angular brackets for connecting parts in an
939 orchestral or choral score.
941 @lilypond[fragment,ragged-right]
942 \context GrandStaff <<
943 \relative c''\context Staff = SA { \clef treble g4 e c2 }
944 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
947 @lilypond[fragment,ragged-right]
948 \context StaffGroup <<
949 % \set StaffGroup.minVerticalAlign = #12
950 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
951 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
963 S: brassinstrument, mässingsinstrument,
966 A family of blown musical instruments made of brass, all using a cup formed
967 mouth piece. The brass instruments commonly used in a symphony orchestra are
968 trumpet, trombone, french horn, and tube.
976 D: Atemzeichen, Trennungszeichen,
977 NL: repercussieteken,
978 DK: vejrtrækningstegn,
982 Indication of where to breathe in vocal and wind instrument parts.
995 @aref{note value}, twice as long as a whole note. Mainly used
998 @lilypond[fragment,notime,ragged-right]
999 \set Score.automaticBars = ##f
1000 \relative c'' { g\breve }
1027 Clef symbol indicating the position of the middle C. Used on all note
1030 @lilypond[fragment,notime,line-width=13.0\cm]
1031 \set Score.automaticBars = ##f
1032 \override Score.Clef #'full-size-change = ##t
1034 \context Staff \relative c' {
1036 \clef mezzosoprano c
1041 \context Lyrics \lyrics {
1042 \override Lyrics .LyricText #'self-alignment-X = #-1
1043 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1058 FI: kadenssi, lopuke.
1060 @aref{harmonic cadence}, @aref{functional harmony}.
1072 FI: kadenssi, lopuke.
1074 An extended, improvisatory style section inserted near the end of
1075 movement. The purpose of a cadenza is to give singers or players a chance
1076 to exhibit their technical skill and -- not last -- their ability to
1077 improvise. Since the middle of the 19th century, however, most cadences have
1078 been written down by the composer.
1090 FI: kaanon, tarkka jäljittely.
1092 @aref{counterpoint}.
1104 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1105 viritysjärjestelmässä.
1107 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1108 of an equally tempered @aref{semitone}).
1109 @aref{equal temperament}.
1128 Three or more tones sounding simultaneously. In traditional European music
1130 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1132 minor @aref{third}) as well as @emph{minor} (minor + major third)
1133 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1134 and five-tone @emph{ninth} major chords are most often used as dominants
1135 (@aref{functional harmony}). A special case is chords having no
1136 third above the lower notes to define their quality as major or minor. Such
1137 chords are denoted open chords
1139 @lilypond[fragment,notime,line-width=13.0\cm]
1140 \set Score.automaticBars = ##f
1141 %\override TextScript #'font-style = #'large
1143 \context Staff \relative c'' {
1144 \set Staff.extraNatural = ##f
1163 @node chromatic scale
1164 @section chromatic scale
1166 ES: escala cromática,
1168 F: gamme chromatique,
1169 D: chro@-ma@-ti@-sche Tonleiter,
1170 NL: chromatische toonladder,
1171 DK: kromatisk skala,
1173 FI: kromaattinen asteikko.
1175 A scale consisting of all 12 @aref{semitone}s.
1177 @lilypond[fragment,notime,line-width=13.0\cm]
1178 \set Score.automaticBars = ##f
1179 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1183 @section chromaticism
1194 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1197 @section church mode
1199 ES: modo eclesiástico,
1200 I: modo ecclesiastico,
1201 F: mode ecclésiastique,
1206 FI: moodi, kirkkosävellaji.
1208 @aref{diatonic scale}.
1216 D: Schlüssel, Notenschlüssel,
1220 FI: avain, nuottiavain.
1222 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1229 A @emph{cluster} is a range of simultaneously sounding pitches that
1230 may change over time. The set of available pitches to apply usually
1231 depends on the acoustic source. Thus, in piano music, a cluster
1232 typically consists of a continuous range of the semitones as provided
1233 by the piano's fixed set of a chromatic scale. In choral music, each
1234 singer of the choir typically may sing an arbitrary pitch within the
1235 cluster's range that is not bound to any diatonic, chromatic or other
1236 scale. In electronic music, a cluster (theoretically) may even cover
1237 a continuous range of pitches, thus resulting in colored noise, such
1240 Clusters can be denoted in the context of ordinary staff notation by
1241 engraving simple geometrical shapes that replace ordinary notation of
1242 notes. Ordinary notes as musical events specify starting time and
1243 duration of pitches; however, the duration of a note is expressed by
1244 the shape of the note head rather than by the horizontal graphical
1245 extent of the note symbol. In contrast, the shape of a cluster
1246 geometrically describes the development of a range of pitches
1247 (vertical extent) over time (horizontal extent). Still, the
1248 geometrical shape of a cluster covers the area in which any single
1249 pitch contained in the cluster would be notated as an ordinary note.
1251 @lilypond[fragment,relative=2,verbatim,ragged-right]
1252 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1265 FI: komma, korvinkuultava ero äänenkorkeudessa.
1267 Difference in pitch between a note derived from pure tuning and the same note
1268 derived from some other tuning method. @aref{temperament}.
1271 @section common meter
1275 @node compound interval
1276 @section compound interval
1278 ES: intervalo compuesto,
1279 I: intervallo composto,
1280 F: intervalle composé,
1281 D: weites Intervall,
1282 NL: samengesteld interval,
1283 DK: sammensat interval,
1284 S: sammansatt intervall,
1285 FI: oktaavia laajempi intervalli.
1287 Intervals larger than an octave.
1294 ES: intervalo invertido,
1296 F: intervalle complémentaire,
1297 D: Komplementärintervall,
1298 NL: complementair interval,
1299 DK: komplementærinterval,
1300 S: komplementärintervall (?),
1301 FI: täydentävä intervalli.
1303 @aref{inverted interval}.
1305 @node conjunct movement
1306 @section conjunct movement
1308 ES: movimiento conjunto,
1310 F: mouvement conjoint,
1311 D: schritt@-weise, stufenweise Bewegung,
1312 NL: stapsgewijze, trapsgewijze beweging,
1313 DK: trinvis bevægelse,
1315 FI: asteittainen liike.
1317 Progressing melodically by intervals of a second. The opposite of a
1318 @aref{disjunct movement}.
1320 @lilypond[fragment,line-width=13.0\cm]
1321 \key g \major \time 4/4
1322 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1335 FI: konsonanssi, sopusointi.
1354 @section counterpoint
1363 FI: kontrapunkti, ääni ääntä vastaan.
1365 From latin @emph{punctus contra punctum}, note against note. The combination
1366 into a single musical fabric of lines or parts which have distinct melodic
1367 significance. A frequently used polyphonic technique is imitation, in its
1368 strictest form found in the canon needing only one part to be written down
1369 while the other parts are performed with a given displacement. Imitation is
1370 also the contrapunctal technique used in the @emph{fugue} which, since the
1371 music of the baroque era, has been one of the most popular polyphonic
1372 composition methods.
1374 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1375 \set Score.implicitTimeSignatureVisibility = #all-invisible
1376 \override Score.TimeSignature #'break-visibility = #all-invisible
1377 \context PianoStaff <<
1378 \context Staff = SA \relative c' {
1382 << \context Voice = rha {
1384 r1 | r2 r8 g'8 bes d, |
1385 cis4 d r8 e!16 f g8 f16 e |
1386 f8 g16 a bes8 a16 g a8
1388 \context Voice = rhb {
1394 \context Staff = SB \relative c' {
1397 << \context Voice = lha {
1399 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1400 r8 a16 g f8 g16 a bes8 g e! cis' |
1403 \context Voice = lhb {
1412 @section counter tenor
1417 D: Countertenor, Kontratenor,
1420 S: kontratenor, counter tenor,
1426 @section copying music
1428 A music copyist did fast freehand scores and parts on preprinted staff lines
1429 for performance. Some of their conventions (e.g., the placement of note heads
1430 on stems) varied slightly from those of engravers. Some of their working
1431 methods were superior and could well be adopted by music typesetters. This
1432 required more skill than engraving.
1440 D: Crescendo, lauter werden,
1444 FI: cresendo, voimistuen.
1446 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1447 abbreviation @q{cresc.}.
1449 @lilypond[fragment,ragged-right]
1450 \key g \major \time 4/4
1451 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1459 F: petites notes précédent l'entrée d'in instrument, réplique,
1466 In a separate part notes belonging to another part with the purpose of hinting
1467 when to start playing. Usually printed in a smaller type.
1475 A custos is a staff symbol that appears at the end of a staff line
1476 with monophonic musical contents (i.e., with a single voice). It
1477 anticipates the pitch of the first note of the following line and thus
1478 helps the player or singer to manage line breaks during performance,
1479 thus enhancing readability of a score.
1481 Custodes were frequently used in music notation until the 16th
1482 century. There were different appearences for different notation
1483 styles. Nowadays, they have survived only in special forms of musical
1484 notation such as via the editio vaticana dating back to the beginning
1490 % \override Staff.Custos #'neutral-position = #4
1491 \override Staff.Custos #'neutral-direction = #down
1492 \override Staff.Custos #'style = #'hufnagel
1500 \consists Custos_engraver
1524 F: da capo, depuis le commencement,
1525 D: da capo, von Anfang,
1529 FI: da capo, alusta.
1531 The term indicates repetition of the piece from the beginning to the end or
1532 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1539 F: dal segno, depuis le signe,
1540 D: dal segno, ab dem Zeichen,
1544 FI: dal segno, lähtien merkistä.
1546 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1547 another place frequently near the beginning marked by a sign:
1549 @lilypond[fragment,ragged-right]
1550 %\override TextScript #'font-style = #'large
1551 \override TextScript #'font-shape = #'italic
1552 \key g \major \time 4/4
1557 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1563 @section decrescendo
1567 D: Decrescendo, leiser werden,
1571 FI: decresendo, hiljentyen.
1573 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1574 or the abbreviation @q{decresc.}.
1576 @lilypond[fragment,ragged-right]
1578 \key g \major \time 4/4
1579 d4 \> c b a | g1 \! \bar "|."
1583 @node descending interval
1584 @section descending interval
1586 ES: intervalo descendente,
1587 I: intervallo discendente,
1588 F: intervalle descendant,
1589 D: fallendes Intervall, absteigendes Intervall,
1590 NL: dalend interval,
1591 DK: faldende interval,
1592 S: fallande intervall,
1593 FI: laskeva intervalli.
1595 A distance between a starting higher note and a lower ending note.
1597 @node diatonic scale
1598 @section diatonic scale
1600 ES: escala diatónica,
1602 F: gamme diatonique,
1603 D: diatonische Tonleiter,
1604 NL: diatonische toonladder,
1605 DK: diatonisk skala,
1607 FI: diatoninen asteikko.
1609 A scale consisting of 5@w{ }@aref{whole tone}s and
1610 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1611 of a piano keybord are diatonic.
1613 The church modes are used in gregorial chant and in pre-baroque early
1614 music but also to some extent in newer jazz music.
1616 @lilypond[fragment,notime,ragged-right]
1617 \set Score.automaticBars = ##f
1618 %\override Score.LyricText #'font-style = #'large
1619 %\override Score.TextScript #'font-style = #'large
1621 \context Staff \relative c' {
1623 \override TextScript #'padding = #-4
1624 e^"~~ S" f g a b^"~~ S" c
1626 \context Lyrics \lyrics {
1632 @lilypond[fragment,notime,ragged-right]
1633 \set Score.automaticBars = ##f
1635 \context Staff \relative c' {
1637 \override TextScript #'padding = #-4
1638 e^"~~ S" f g a b^"~~ S" c d
1646 @lilypond[fragment,notime,ragged-right]
1647 \set Score.automaticBars = ##f
1650 \override TextScript #'padding = #-4
1651 e1^"~~ S" f g a b^"~~ S" c d e
1659 @lilypond[fragment,notime,ragged-right]
1660 \set Score.automaticBars = ##f
1664 \override TextScript #'padding = #-4
1665 b^"~~ S" c d e^"~~ S" f
1673 @lilypond[fragment,notime,ragged-right]
1674 \set Score.automaticBars = ##f
1678 \override TextScript #'padding = #-4
1679 b^"~~ S" c d e^"~~ S" f g }
1686 @lilypond[fragment,notime,ragged-right]
1687 \set Score.automaticBars = ##f
1688 %\override Score.LyricText #'font-style = #'large
1689 %\override Score.TextScript #'font-style = #'large
1693 \override TextScript #'padding = #-4
1694 b^"~~ S" c d e^"~~ S" f g a
1702 From the beginning of the 17th century the scales used in European
1703 compositional music are primarily the major and the minor scales. In the
1704 harmonic minor scale type an augmented second (A) occurs between the 6th and
1707 @lilypond[fragment,notime,ragged-right]
1708 \set Score.automaticBars = ##f
1712 \override TextScript #'padding = #-4
1713 e^"~~ S" f g a b^"~~ S" c
1721 @lilypond[fragment,notime,ragged-right]
1722 \set Score.automaticBars = ##f
1726 \override TextScript #'padding = #-4
1727 b^"~~ S" c d e^"~~ S" f g a
1735 @lilypond[fragment,notime,ragged-right]
1736 \set Score.automaticBars = ##f
1740 \override TextScript #'padding = #-4
1741 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1743 \context Lyrics \lyrics {
1749 @lilypond[fragment,notime,line-width=13.0\cm]
1750 \set Score.automaticBars = ##f
1751 %\override Score.LyricText #'font-style = #'large
1752 %\override Score.TextScript #'font-style = #'large
1756 \override TextScript #'padding = #-4
1757 b^"~~ S" c d e fis gis^"~~ S"
1758 a g! f!^"~~ S" e d c^"~~ S" b a
1766 @node diminished interval
1767 @section diminished interval
1769 ES: intervalo disminuido,
1770 I: intervallo diminuito,
1771 F: intervalle diminué,
1772 D: vermindertes Intervall,
1773 NL: verminderd interval,
1774 DK: formindsket interval,
1775 S: förminskat intervall,
1776 FI: vähennetty intervalli.
1790 FI: diminuendo, hiljentyen.
1794 @node disjunct movement
1795 @section disjunct movement
1797 ES: movimiento disjunto,
1799 F: mouvement disjoint,
1800 D: sprunghafte Bewegung,
1801 NL: sprongsgewijze beweging,
1802 DK: springende bevægelse,
1803 S: hoppande rörelse,
1804 FI: melodian hyppivä liike.
1806 Progressing melodically by intervals larger than a major second.
1807 Opposite of @aref{conjunct movement}.
1809 @lilypond[fragment,ragged-right]
1814 a4. gis8 b a e cis |
1815 fis2 d4. \bar "||" }
1821 @ref{dissonant interval}.
1823 @node dissonant interval
1824 @section dissonant interval
1826 ES: intervalo disonante, disonancia,
1827 I: intervallo dissonante, dissonanza,
1830 NL: dissonant interval; dissonant,
1831 DK: dissonerende interval, dissonans,
1833 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1837 @node dominant ninth chord
1838 @section dominant ninth chord
1840 ES: acorde de novena de dominante,
1841 I: accordo di nona di dominante,
1842 F: accord de neuvième dominante,
1843 D: Domi@-nant@-nonen@-akkord,
1844 NL: dominant noon akkoord,
1845 DK: dominantnoneakkord,
1846 S: dominantnonackord,
1847 FI: dominanttinoonisointu.
1849 @aref{chord}, @aref{functional harmony}.
1851 @node dominant seventh chord
1852 @section dominant seventh chord
1854 ES: acorde de séptima de dominante,
1855 I: accordo di settima di dominante,
1856 F: accord de septième dominante,
1857 D: Dominantseptakkord,
1858 NL: dominant septiem akkoord,
1859 DK: dominantseptimakkord,
1860 S: dominantseptimackord,
1861 FI: dominanttiseptimisointu.
1863 @aref{chord}, @aref{functional harmony}.
1875 FI: dominantti, huippusointu.
1877 The fifth @aref{scale degree},
1878 @aref{functional harmony}.
1881 @section dorian mode
1886 D: dorisch, dorischer Kirchenton,
1887 NL: dorische toonladder,
1892 @aref{diatonic scale}.
1894 @node dot (augmentation dot)
1895 @section dot (augmentation dot)
1898 I: punto (di valore),
1900 D: Punkt (Verlängerungspunkt),
1909 @section dotted note
1911 ES: nota con puntillo,
1915 NL: gepuncteerde noot,
1918 FI: pisteellinen nuotti.
1922 @node double appoggiatura
1923 @section double appoggiatura
1925 ES: apoyatura doble,
1926 I: appoggiatura doppia,
1927 F: appoggiature double,
1928 D: doppelter Vorschlag,
1929 NL: dubbele voorslag,
1930 DK: dobbelt forslag,
1932 FI: kaksoisappogiatura, kaksoisetuhele.
1934 @aref{appoggiatura}.
1936 @node double bar line
1937 @section double bar line
1943 NL: dubbele maatstreep,
1946 FI: kaksoistahtiviiva.
1948 Indicates the end of a section within a movement.
1950 @node double dotted note
1951 @section double dotted note
1953 ES: nota con doble puntillo,
1954 I: nota doppiamente puntata,
1955 F: note doublement pointée,
1956 D: doppelt punktierte Note,
1957 NL: dubbelgepuncteerde noot,
1958 DK: dob@-belt@-punk@-te@-ret node,
1959 S: dub@-bel@-punk@-te@-rad not,
1960 FI: kaksoispisteellinen nuotti.
1965 @section double flat
1974 FI: kaksoisalennusmerkki.
1979 @section double sharp
1981 ES: doble sostenido,
1986 DK: dob@-belt@-kryds,
1988 FI: kaksoisylennysmerkki.
1993 @section double trill
1999 NL: dubbele triller,
2004 A simultaneous trill on two notes, usually in the distance of a third.
2007 @section duple meter
2013 NL: tweedelige maatsoort,
2044 FI: kesto, aika-arvo.
2049 @section dydimic comma
2051 @aref{syntonic comma}.
2065 @node ecclesiastical mode
2066 @section ecclesiastical mode
2071 @section eighth note
2077 D: Achtel, Achtelnote,
2079 DK: ottendedelsnode,
2081 FI: kahdeksasosanuotti.
2086 @section eighth rest
2088 ES: silencio de corchea,
2094 DK: ottendedelspause,
2096 FI: kahdeksasosatauko.
2101 @section embellishment
2112 D: Notenstechen, Notendruck
2118 Engraving means incising or etching a metal plate for
2119 printing. Photoengraving means drawing music with ink in a manner
2120 similar to drafting or engineering drawing, using similar tools.
2122 The traditional process of music printing is done through cutting in a
2123 plate of metal. Now also the term for the art of music typesetting.
2137 Two notes, intervals, or scales are enharmonic if they have different names
2140 @lilypond[fragment,notime,line-width=13.0\cm]
2141 \set Score.automaticBars = ##f
2143 \context Staff \relative c'' {
2144 gis1 as <des g,!> <cis g!>
2146 \context Lyrics \lyrics {
2147 \override Lyrics .LyricText #'self-alignment-X = #-1
2148 "g sharp " "a flat " "dim fifth " "augm fourth"
2153 @node equal temperament
2154 @section equal temperament
2156 ES: temperamento igual,
2157 I: temperamento equabile,
2158 F: tempérament égal,
2159 D: gleichschwebende Stimmung,
2160 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2161 DK: ligesvævende temperatur,
2162 S: liksvävande temperatur,
2165 Tuning system dividing the octave into 12 equal @aref{semitone}s
2166 (precisely 100 @aref{cent}s). @aref{temperament}.
2168 @node expression mark
2169 @section expression mark
2172 I: segno d'espressione,
2173 F: signe d'expression, indication de nuance,
2175 NL: voordrachtsteken,
2176 DK: foredragsbetegnelse,
2177 S: föredragsbeteckning,
2178 FI: nyanssiosoitus, esitysmerkki.
2180 Performance indications concerning 1. volume, dynamics (for example
2181 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2182 @aref{andante}, @aref{allegro}).
2208 The position between the dots of the key symbol is the line of the F below
2209 central@w{ }C. Used on the third, fourth and fifth note line. A
2210 digit@w{ }8 above the clef symbol indicates that the notes must be played
2211 an octave higher (for example bass recorder) while 8@w{ }below the clef
2212 symbol indicates playing an octave lower (for example on double bass
2215 @lilypond[fragment,notime,line-width=13.0\cm]
2216 \set Score.automaticBars = ##f
2217 \override Staff.Clef #'full-size-change = ##t
2241 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2248 F: point d'orgue, point d'arrêt,
2253 FI: fermaatti, pidäke.
2255 Prolonged note or rest of indefinite duration.
2257 @lilypond[fragment,ragged-right]
2260 a4 b c2^\fermata \bar "|."
2279 @section figured bass
2281 @aref{thorough bass}.
2295 The methodical use of fingers in the playing of instruments.
2301 I: coda (uncinata), bandiera,
2309 Ornament at the end of the stem of a note used for notes with values
2310 less than a quarter note. The number of flags determines the
2313 @lilypond[fragment,notime,ragged-right]
2314 \set Score.automaticBars = ##f
2315 %\override Score.TextScript #'font-style = #'large
2341 @aref{appoggiatura}.
2353 FI: forte, voimakkaasti.
2355 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2356 @emph{mezzoforte} (@b{mf}) medium loud.
2384 @aref{counterpoint}.
2386 @node functional harmony
2387 @section functional harmony
2389 ES: armonía funcional,
2390 I: armonia funzionale,
2391 F: étude des functions,
2393 NL: functionele harmonie,
2394 DK: funktionsanalyse, funktionsharmonik,
2396 FI: harmoniajärjestelmä.
2398 A system of harmonic analysis. It is based on the idea that, in a given key,
2399 there are only three functionally different chords: tonic (T, the chord on the
2400 first note of the scale), subdominant (S, the chord on the fourth note), and
2401 dominant (D, the chord on the fifth note). Others are considered to be
2402 variants of the base chords.
2404 @lilypond[fragment,notime,line-width=13.0\cm]
2405 \set Score.automaticBars = ##f
2407 \context Voice \relative c'' {
2408 <g e c >1 < a f d > < b g e >
2409 <c a f > < d b g > < e c a > < f d b > }
2410 \context Lyrics \lyrics {
2411 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2433 D: G-Schlüssel, Violinschlüssel,
2439 A clef symbol indicating the G above central@w{ }C. Used on the first
2440 and second note lines. A digit 8 above the clef symbol indicates that
2441 the notes must be played an octave higher while 8 below the clef symbol
2442 indicates playing or singing an octave lower (most tenor parts in choral
2443 scores are notated like that).
2445 @lilypond[fragment,notime,ragged-right]
2447 \set Score.automaticBars = ##f
2448 \override Staff.Clef #'full-size-change = ##t
2451 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2461 \context Lyrics \lyrics {
2462 \override Lyrics . LyricText #'X-offset = #-5
2463 "french violin clef"
2481 FI: glissando, liukuen.
2483 Letting the pitch slide fluently from one note to the other.
2486 @section grace notes
2488 ES: notas de adorno,
2491 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2497 Notes printed in small types to indicate that their time values are not
2498 counted in the rhythm of the bar. @aref{appoggiatura}.
2501 @section grand staff
2503 ES: sistema de piano,
2509 S: ackolad, böjd klammer,
2510 FI: kaksoisnuottiviivasto.
2514 A combination of two staves with a brace. Usually used for piano music.
2526 FI: grave, raskaasti.
2542 D: Halbe, halbe Note,
2553 ES: silencio de blanca,
2565 @node harmonic cadence
2566 @section harmonic cadence
2568 ES: cadencia (armónica),
2569 I: cadenza (armonica),
2570 F: cadence harmonique,
2572 NL: harmonische cadens,
2573 DK: harmonisk kadence,
2574 S: (harmonisk) kadens,
2575 FI: harmoninen kadenssi.
2577 A sequence of chords that terminates a musical phrase or
2578 section. @aref{functional harmony}.
2580 @lilypond[fragment,ragged-right]
2581 \context PianoStaff <<
2582 \context Staff = SA \relative c'' {
2586 \partial 4 < c g e >4 |
2587 < c a f > < b g d > < c g e >2
2590 \context Staff = SB \relative c {
2592 \partial 4 c4 | f, g c2
2609 D: Harmonie, Zusammenklang,
2613 FI: harmonia, yhteissointi.
2615 Tones sounding simultaneously. Two note harmonies fall into the categories
2616 @emph{consonances} and @emph{dissonances}.
2620 @lilypond[fragment,notime,line-width=13.0\cm]
2621 \set Score.automaticBars = ##f
2622 %\override Score.TextScript #'font-style = #'large
2623 \context Voice \relative c'' {
2636 @lilypond[fragment,notime,line-width=13.0\cm]
2637 \set Score.automaticBars = ##f
2638 %\override Score.TextScript #'font-style = #'large
2639 \context Voice \relative c'' {
2640 <g a>1_"second " s s
2641 <g f'>_"seventh " s s
2646 Three note harmony @aref{chord}.
2658 FI: homofonia, yksiäänisyys.
2660 Music in which one voice leads melodically followed by the other voices more
2661 or less in the same rhythm. In contrast to @aref{polyphony}.
2673 FI: intervalli, kahden sävelen korkeusero.
2675 Difference in pitch between two notes. Intervals may be perfect, minor,
2677 diminished, or augmented. The augmented fourth and the diminished fifth are
2678 identical (@aref{enharmonic}) and are called @emph{tritonus}
2679 because they consist of three @aref{whole tone}s. The addition
2680 of such two intervals forms an octave.
2682 @lilypond[fragment,notime,line-width=13.0\cm]
2683 \set Score.automaticBars = ##f
2685 \context Voice \relative c'' {
2695 \context Lyrics \lyrics {
2696 "unisone " "second " "second " "second "
2697 "third " "third " "third " "third"
2702 @lilypond[fragment,notime,line-width=13.0\cm]
2703 \set Score.automaticBars = ##f
2705 \context Staff \relative c'' {
2716 "fourth " "fourth " "fifth " "fifth "
2717 "sixth " "sixth " "sixth " "sixth"
2722 @lilypond[fragment,notime,line-width=13.0\cm]
2723 \set Score.automaticBars = ##f
2725 \context Staff \relative c'' {
2726 < gis f'! >1^"dimin"
2735 \context Lyrics \lyrics {
2736 "seventh " "seventh " "seventh " "octave "
2737 "ninth " "ninth " "tenth " "tenth"
2742 @node inverted interval
2743 @section inverted interval
2745 ES: intervalo invertido,
2746 I: intervallo rivolto,
2747 F: intervalle reversé,
2748 D: umgekehrtes Intervall,
2749 NL: interval inversie,
2750 DK: omvendingsinterval,
2751 S: intervallets omvändning,
2752 FI: käänteisintervalli.
2754 The difference between an interval and an octave.
2756 @lilypond[fragment,notime,line-width=13.0\cm]
2757 \set Score.automaticBars = ##f
2758 %\override Score.TextScript #'font-style = #'large
2759 \context Staff \relative c'' {
2760 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2761 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2762 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2766 @node just intonation
2767 @section just intonation
2769 ES: entonación justa,
2770 I: intonazione giusta,
2771 F: intonation juste,
2778 Tuning system in which the notes are obtained by adding and subtracting
2779 natural fifths and thirds. @aref{temperament}.
2793 According to the 12@w{ }tones of the @aref{chromatic scale}
2794 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2795 @aref{key signature}.
2798 @section key signature
2800 ES: armadura (de la clave),
2801 I: armatura di chiave,
2802 F: armure, armature [de la clé],
2803 D: Vorzeichen, Tonart,
2804 NL: toon@-soort (voortekens),
2807 FI: sävellajiosoitus.
2809 The sharps or flats appearing at the beginning of each staff indicating the
2810 key of the music. @aref{accidental}.
2818 D: Largo, Langsam, Breit,
2822 FI: largo, hitaasti, leveästi.
2824 Very slow in tempo, usually combined with great
2825 expressiveness. @emph{Larghetto} is less slow than largo.
2828 @section leading note
2839 The seventh @aref{scale degree}, a @aref{semitone} below
2840 the tonic; so called because of its strong tendency to @q{lead up} (resolve
2841 upwards) to the tonic scale degree.
2844 @section ledger line
2846 ES: línea adicional,
2847 I: tagli addizionali,
2848 F: ligne supplémentaire,
2855 A ledger line is an extension of the staff.
2857 @lilypond[fragment,notime,ragged-right]
2858 \set Score.automaticBars = ##f
2859 \relative c'' { a,1 s c'' }
2874 To be performed (a) without any perceptible interruption between the notes,
2875 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2876 (d) @aref{staccato}.
2878 @lilypond[fragment,notime,line-width=13.0\cm]
2879 \set Score.automaticBars = ##f
2881 \context Staff \relative c'' {
2882 c4-( d e-) \bar "||"
2883 c4-- d-- e-- \bar "||"
2884 c4-.-( d-. e-.-) \bar "||"
2885 c4-. d-. e-. \bar "||"
2897 @section legato curve
2899 @aref{slur}, @aref{legato}.
2909 ES: estanque de nenúfares,
2910 I: stagno del giglio,
2914 NL: le@-lie@-vij@-ver,
2919 A pond with lilies floating in it, also the name of a music typesetter.
2926 A ligature is a coherent graphical symbol that represents at least two
2927 distinct notes. Ligatures originally appeared in the manuscripts of
2928 Gregorian chant notation roughly since the 9th century to denote
2929 ascending or descending sequences of notes. In early notation,
2930 ligatures were used for monophonic tunes (Gregorian chant) and very
2931 soon denoted also the way of performance in the sense of articulation.
2932 With the invention of the metric system of the white mensural
2933 notation, the need for ligatures to denote such patterns disappeared.
2941 D: Linie, Notenlinie,
2945 FI: viiva, nuottiviiva.
2949 @node long appoggiatura
2950 @section long appoggiatura
2952 ES: apoyatura larga,
2953 I: appoggiatura lunga,
2954 F: appoggiature longue,
2955 D: langer Vorschlag,
2959 FI: pitkä appoggiatura, pitkä etuhele.
2961 @aref{appoggiatura}.
2975 Note value: double length of @aref{breve}.
2978 @lilypond[fragment,notime,ragged-right]
2979 \set Score.automaticBars = ##f
2981 \override NoteHead #'style = #'mensural
2989 ES: letra (de la canción),
2998 @node major interval
2999 @section major interval
3001 ES: intervalo mayor,
3002 I: intervallo maggiore,
3003 F: intervalle majeur,
3004 D: großes Intervall,
3008 FI: suuri intervalli.
3024 @aref{diatonic scale}.
3026 @node meantone temperament
3027 @section meantone temperament
3029 ES: afinación mesotónica,
3030 I: accordatura mesotonica,
3031 F: tempérament mésotonique,
3032 D: mitteltönige Stimmung,
3033 NL: middenstemming, middentoonstemming,
3034 DK: middeltonetemperatur,
3035 S: medeltonstemperatur,
3036 FI: keskisävelviritys.
3038 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3039 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3040 @aref{temperament} only a limited set of keys are playable.
3041 Used for tuning keyboard instruments for performance of pre-1650 music.
3055 A group of @aref{beat}s (units of musical time) the first of which
3056 bears an accent. Such groups in numbers of two or more recur consistently
3057 throughout the composition and are marked from each other by
3058 bar-lines. @aref{meter}.
3064 I: mediante, modale,
3072 1.@tie{}The third @b{scale degree}.
3073 2.@tie{}A @aref{chord} having its base tone
3074 a third from that of another chord. For example, the tonic chord may be
3075 replaced by its lower mediant (variant tonic). @aref{functional
3076 harmony}, @aref{relative key}.
3084 FI: melisma, laulettavan tavun sävelkuvio.
3086 A melisma (plural: melismata) is a group of notes or tones sung on one
3087 syllable in plainsong
3089 @node melodic cadence
3090 @section melodic cadence
3099 F: indication de mesure, mesure,
3106 The basic scheme of @aref{note value}s and
3107 @aref{accent}s which remains unaltered throughout a composition
3108 or a section of it. For instance, 3/4 meter means that the basic
3109 @aref{note value}s are quarter notes and that a
3110 @aref{measure} consists of three of those. According to
3111 whether there are two, three, or four units to the measure,
3112 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3113 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3115 @lilypond[fragment,line-width=13.0\cm]
3119 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3122 @lilypond[fragment,line-width=13.0\cm]
3126 f8 f f f a16 g a f |
3127 c'8 c c c e16 d e c \bar "||"}
3130 @lilypond[fragment,line-width=13.0\cm]
3134 d4 b8 g b d d c a4 |
3135 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3150 Device indicating the exact tempo of a piece. @aref{metronomic
3153 @node metronomic indication
3154 @section metronomic indication
3156 ES: indicación metronómica,
3157 I: indicazione metronomica,
3158 F: indication métronomique,
3160 NL: metronoom aanduiding,
3162 S: metronomangivelse,
3163 FI: metronomiosoitus.
3165 Exact tempo indication (in beats per minute). Also denoted by
3166 M.M.@: (Mälzels Metronom).
3169 @section mezzo-soprano
3180 The female voice between @aref{soprano} and
3189 D: eingestrichenes@w{ }c,
3191 DK: enstreget@w{ }c,
3192 S: ettstruket@w{ }c,
3195 First C below the 440 Hz A.
3197 @lilypond[fragment,notime,ragged-right]
3198 \set Score.automaticBars = ##f
3199 \override Staff.Clef #'full-size-change = ##t
3219 @aref{diatonic scale}.
3221 @node minor interval
3222 @section minor interval
3224 ES: intervalo menor,
3225 I: intervallo minore,
3226 F: intervalle mineur,
3227 D: kleines Intervall,
3231 FI: pieni intervalli.
3245 FI: moodi, kirkkosävelasteikko.
3247 @aref{church mode}, @aref{diatonic scale}.
3259 FI: modulaatio, sävellajin vaihdos.
3261 Moving from one @aref{key} to another. For example, the second
3262 subject of a @aref{sonata form} movement modulates to the dominant
3263 key if the key is major and to the @aref{relative key} if the key
3275 FI: mordent, korukuvio.
3294 FI: teema, sävelaihe.
3296 The briefest intelligible and self-contained fragment of a musical theme or
3299 @lilypond[line-width=13.0\cm]
3302 \set Score.implicitTimeSignatureVisibility = #all-invisible
3303 \override Score.TimeSignature #'break-visibility = #all-invisible
3306 \partial 8 g16\startGroup fis |
3307 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3308 g8 g,16 a b8 cis d16 s
3312 \Staff \consists "Horizontal_bracket_engraver"
3329 Greater musical works like @aref{symphony} and
3330 @aref{sonata} most often consist of several -- more or less --
3331 independant pieces called movements.
3334 @section multibar rest
3336 ES: compases de espera,
3340 D: mehrtaktige Pause,
3343 FI: usean tahdin mittainen tauko.
3345 @lilypond[fragment,ragged-right]
3348 \set Score.skipBars = ##t R1*3
3353 @node mixolydian mode
3354 @section mixolydian mode
3356 @aref{diatonic scale}.
3359 @section natural sign
3364 D: Auflösungszeichen,
3365 NL: herstellingsteken,
3366 DK: op@-løsningstegn,
3367 S: återställningstecken,
3372 @node neighbour tones
3373 @section neighbour tones
3375 @aref{appoggiatura}.
3408 Notes are signs by means of which music is fixed in writing. The term is also
3409 used for the sound indicated by a note, and even for the key of the piano
3410 which produces the sound. However, a clear distinction between the terms tone
3411 and @aref{note} is strongly recommended. Briefly, one sees a note,
3418 I: testa, testina, capocchia,
3426 A head-like sign which indicates pitch by its position on a
3427 @aref{staff} provided with a @aref{clef}, and duration
3428 by a variety of shapes such as hollow or black heads with or without
3429 @aref{stem}s, @aref{flag}s, etc. For percussion
3430 instruments (often having no defined pitch) the note head may indicate the
3436 ES: valor (duración),
3438 F: durée, valeur (d'une note),
3443 FI: nuotin aika-arvo.
3445 Note values (durations) are measured as fractions, normally 1/2, of the next
3446 higher note value. The longest duration normally used is called
3448 but sometimes (mostly in pre-baroque music) the double length note value
3449 @emph{longa} is used.
3451 @lilypond[fragment,notime,line-width=13.0\cm]
3452 %\override Score.TextScript #'font-style = #'large
3453 \set Score.automaticBars = ##f
3455 \override NoteHead #'style = #'mensural
3456 a\longa_"longa" a\breve_"breve"
3457 \revert NoteHead #'style
3458 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3459 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3462 @lilypond[fragment,notime,line-width=13.0\cm]
3463 %\override Score.TextScript #'font-style = #'large
3464 \set Score.automaticBars = ##f
3466 r\longa_"longa" r\breve_"breve"
3467 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3468 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3471 An augmentation dot after a note multiplies the duration by one and a
3472 half. Another dot adds yet a fourth of the duration.
3474 @lilypond[fragment,line-width=13.0\cm]
3475 %\override Score.TextScript #'font-style = #'large
3478 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3479 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3482 Alternatively note values may be subdivided by other ratios. Most common is
3483 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3484 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3485 dotted notes are also frequently used.
3487 @lilypond[fragment,line-width=13.0\cm]
3488 %\override Score.TextScript #'font-style = #'large
3491 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3492 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3496 @lilypond[fragment,line-width=13.0\cm]
3499 \times 3/2 {g4_"duplets" g} |
3501 \times 6/4 {g8_"quadruplets" g g g} |
3502 g8 g g g g4 \bar "||"
3507 @section octave sign
3509 @aref{G clef}, @aref{F clef}.
3529 I: abbellimento, fioriture,
3530 F: agrément, ornement,
3531 D: Verzierung, Ornament,
3537 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3538 with the diatonic @aref{second} above it. In the music from the
3539 middle of the 19th century and onwards the trill is performed with the main
3540 note first while in the music from the preceding baroque and classic periods
3541 the upper note is played first.
3543 @lilypond[fragment,line-width=13.0\cm]
3545 \context Staff = sa {
3546 % \override Score.TextScript #'font-style = #'large
3548 c2._"pre-1850" b4\trill | c1 \bar "||"
3549 c2._"post-1850" b4\trill | c1 \bar "||"
3553 c2. c32 b c b c b c b | c1
3554 c2. b32 c b c \times 4/5 { b c b c b } | c1
3559 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3561 @emph{prall} (inverted mordent).
3563 @lilypond[fragment,line-width=13.0\cm]
3565 \context Staff = sa {
3566 % \override Score.TextScript #'font-style = #'large
3568 a4_"turn" b\turn c2 \bar "||"
3569 g4_"mordent" a b\mordent a \bar "||"
3570 e'4_"prall" d\prall c2 \bar "||"
3576 e'4 e32[ d e d ~ d8] c2
3581 @aref{appoggiatura}.
3593 FI: ossia, vaihtoehtoinen esitystapa.
3595 Ossia (otherwise) marks an alternative. It is an added staff or piano
3596 score, usually only a few measures long, which presents another version
3597 of the music, for example for small hands.
3609 FI: stemma, instrumenttiosuus.
3611 1.@tie{}In instrumental or choral music the music for the single instrument
3612 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3613 melodic line of the contrapunctal web.
3631 D: Schlagzeug, Schlagwerk,
3637 A family of musical instruments which are played on by striking or
3638 shaking. Percussion instruments commonly used in a symphony orchestra are
3639 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3640 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3643 @node perfect interval
3644 @section perfect interval
3646 ES: intervalo justo,
3647 I: intervallo giusto,
3648 F: intervalle juste,
3649 D: reines Intervall,
3653 FI: puhdas intervalli.
3669 A natural division of the melodic line, comparable to a sentence of speech.
3681 FI: fraseeraus, jäsentäminen.
3683 The clear rendering in musical performance of the @aref{phrase}s of
3684 the melody. Phrasing may be indicated by a @aref{slur}.
3698 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3699 @emph{mezzopiano} (@b{mp}) medium soft.
3720 NL: pizzicato, getokkeld,
3723 FI: pizzicato, näppäillen.
3725 Play by plucking the strings.
3733 D: Polyphonie, Mehrstimmigkeit,
3737 FI: polyfonia, moniäänisyys.
3739 Music written in a combination of several simultaneous voices (parts) of a
3740 more or less pronounced individuality. @aref{counterpoint}.
3753 D: Presto, Sehr schnell,
3754 NL: presto, Sehr schnell,
3757 FI: presto, hyvin nopeasti.
3759 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3760 denotes the highest possible degree of speed.
3762 @node Pythagorean comma
3763 @section Pythagorean comma
3765 ES: coma pitagórica,
3766 I: comma pitagorico,
3767 F: comma pythagoricien,
3768 D: Pythagoräisches Komma,
3769 NL: komma van Pythagoras,
3770 DK: pythagoræisk komma,
3771 S: pytagoreiskt komma,
3772 FI: pytagorinen komma.
3774 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3775 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3776 24 @aref{cent}s higher than the@w{ }C obtained by adding
3777 7@w{ }octaves. The difference between those two pitches is called the
3795 @section quarter note
3798 I: semiminima, nera,
3801 D: Viertel, Viertelnote,
3805 FI: neljännesosanuotti.
3810 @section quarter rest
3812 ES: silencio de negra,
3813 I: pausa di semiminima,
3818 DK:@w{ }fjerdedelspause,
3820 FI: neljännesosatauko.
3827 ES: cinquillo, quintillo.
3839 @section rallentando
3844 D: rallentando, langsamer werden,
3848 FI: rallerdando, hidastuen.
3850 Abbreviation "rall.". @aref{ritardando}.
3853 @section relative key
3856 I: tonalità relativa,
3857 F: tonalité relative,
3859 NL: paralleltoonsoort,
3860 DK: paralleltoneart,
3862 FI: rinnakkaissävellaji.
3864 @aref{major} and @aref{minor} @aref{key}
3865 with the same @aref{key signature}.
3867 @lilypond[fragment,notime,line-width=13.0\cm]
3868 \set Score.automaticBars = ##f
3869 %\override Score.TextScript #'font-style = #'large
3872 es1_"e flat major" f g as bes c d es
3877 @lilypond[fragment,notime,line-width=13.0\cm]
3878 \set Score.automaticBars = ##f
3879 %\override Score.TextScript #'font-style = #'large
3882 c1_"c minor" d es f g a! b! c \bar "||"
3891 F: barre de reprise,
3894 DK: gen@-ta@-gel@-se,
3898 @lilypond[fragment,line-width=13.0\cm]
3902 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3906 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3907 @c specify the rest's value.
3935 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3936 fixed unit of time, called @aref{beat}, and in which the normal
3937 @aref{accent} recurs in regular intervals, called
3938 @aref{measure}. The basic scheme of time values is called
3939 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3940 accent. In modern notation such music appears as a free alternation of
3941 different measures. (c) Free rhythm, i.e., the use of temporal values having
3942 no common metrical unit (beat).
3950 D: Ritardando, langsamer werden,
3954 FI: ritardando, hidastuen,
3956 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3968 FI: ritenuto, hidastaen.
3970 Immediate reduction of speed.
3982 FI: asteikko, sävelasteikko.
3984 @aref{diatonic scale}.
3987 @section scale degree
3989 ES: grado (de la escala),
3990 I: grado della scala,
3991 F: degré [de la gamme],
3993 NL: trap [van de toonladder],
3996 FI: sävelaste, asteikon sävel.
3998 Names and symbols used in harmonic analysis to denote tones of the scale as
3999 roots of chords. The most important are degrees I = tonic (T), IV =
4000 sub@-do@-mi@-nant (S) and V = dominant (D).
4002 @lilypond[fragment,notime,line-width=13.0\cm]
4003 \set Score.automaticBars = ##f
4005 \context Staff \relative c' {
4009 << { I II III IV V VI VII I }
4015 @aref{functional harmony}.
4023 D: Partitur (full score), Klavierauszug (vocal score)
4029 A copy of orchestral, choral, or chamber music showing what each instrument is
4030 to play, each voice to sing, having each part arranged one underneath the
4031 other on different staves @aref{staff}.
4045 The @aref{interval} between two neigbouring tones of a scale. A
4046 @aref{diatonic scale} consists of alternating
4047 @aref{semitone}s and @aref{whole tone}s, hence the size
4048 of a se@-cond depends on the scale degrees in question.
4062 The @aref{interval} of a minor second. The (usually) smallest
4063 interval in European composed music. The interval between two neighbouring
4064 tones on the piano keyboard -- including black and white keys -- is a
4065 semitone. An octave may be divided into 12@w{ }semitones.
4066 @aref{interval}, @aref{chromatic scale}.
4068 @lilypond[fragment,notime,line-width=13.0\cm]
4069 \set Score.automaticBars = ##f
4070 \relative c'' { g1 gis s a bes s b! c }
4125 @node short appoggiatura
4126 @section short appoggiatura
4128 @aref{appoggiatura}.
4130 @node sixteenth note
4131 @section sixteenth note
4137 D: Sechzehntel, Sechzehntelnote,
4138 NL: zes@-ti@-ende noot,
4139 DK: sekstendedelsnode,
4141 FI: kuudestoistaosanuotti.
4145 @node sixteenth rest
4146 @section sixteenth rest
4148 ES: silencio de semicorchea,
4149 I: pausa di semicroma,
4151 UK: semiquaver rest,
4152 D: Sechzehntelpause,
4154 DK: sekstendedelspause,
4174 @node sixty-fourth note
4175 @section sixty-fourth note
4179 F: quadruple croche,
4180 UK: hemidemisemiquaver,
4181 D: Vierundsechzigstel, Vierundsechzigstelnote,
4182 NL: vierenzestigste noot,
4183 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4184 S: sextiofjärdedelsnot,
4185 FI: kuudeskymmenesneljäsosanuotti.
4189 @node sixty-fourth rest
4190 @section sixty-fourth rest
4192 ES: silencio de semifusa,
4193 I: pausa di semibiscroma,
4194 F: seizième de soupir,
4195 UK: hemidemisemiquaver rest,
4196 D: Vierundsechzigstelpause,
4197 NL: vierenzestigste rust,
4198 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4199 S: sextiofjärdedelspaus,
4200 FI: kuudeskymmenesneljäsosatauko.
4207 ES: ligadura (de expresión),
4208 I: legatura (di portamento or espressiva),
4210 D: Bogen, Legatobogen, Phrasierungsbogen,
4211 NL: fraseringsboog, legatoboog, streekboog,
4212 DK: legatobue, fraseringsbue,
4216 A slur above or below a group of notes indicates that they are to be played
4217 @aref{legato}, e.g., with one stroke of the violin bow or with one
4221 @section solmization
4230 FI: suhteelliset laulunimet.
4232 General term for systems of designating the degrees of the
4233 @aref{scale}, not by letters, but by syllables (@emph{do}
4234 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4235 (@emph{ti})). @aref{scale degree}.
4249 In its present-day meaning a sonata denotes an instrumental composition for
4250 piano or for some other instrument with piano accompaniment, which consists of
4251 three or four independant pieces, called movements.
4254 @section sonata form
4258 F: [en] forme de sonate,
4260 NL: hoofdvorm, sonatevorm,
4265 A form used frequently for single movements of the @aref{sonata},
4266 @aref{symphony}, quartet, etc. A movement written in sonata form
4267 falls into three sections called @emph{exposition}, @emph{development} and
4268 @emph{recapitulation}. In the exposition the composer introduces some musical
4269 ideas, consisting of a number of themes; in the development section the
4270 composer @q{develops} this material, and in the recapitulation the composer
4271 repeats the exposition, with certain modifications. The exposition contains a
4272 number of themes that fall into two groups, often called first and second
4273 subject. Other melodies occurring in each group are considered as
4274 continuations of these two. The second theme is in another key, normally in
4275 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4276 @aref{relative key} if the tonic is @aref{minor}.
4293 FI: sopraano, korkea naisääni.
4295 The highest female voice.
4302 F: staccato, piqué, détaché,
4307 FI: staccato, lyhyesti, terävästi.
4309 Playing the note(s) short. Staccato is indicated by a dot above or below the
4312 @lilypond[fragment,ragged-right]
4317 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4326 I: pentagramma, rigo (musicale),
4329 NL: (noten)balk, partij,
4334 A staff (pl. staves) is a series of (normally five) horizontal lines
4335 upon and between which the musical notes are written, thus indicating
4336 (in connection with a @aref{clef}) their pitch. Staves for
4337 @aref{percussion} instruments may have fewer lines.
4350 D: Hals, Notenhals, Stiel,
4356 Vertical line above or below a @aref{note head} shorter than a
4357 whole note. @aref{beam}.
4359 @lilypond[fragment,notime,line-width=13.0\cm]
4360 \set Score.autoBeaming = ##f
4361 \set Score.automaticBars = ##f
4362 %\override Score.TextScript #'font-style = #'large
4383 A family of stringed musical instruments played with a bow. Strings commonly
4384 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4387 @section strong beat
4392 D: betonter Taktteil oder Taktschlag,
4394 D: betonet taktslag,
4395 S: betonat taktslag,
4396 FI: tahdin vahva isku.
4398 @aref{beat}, @aref{accent}, @aref{measure},
4402 @section subdominant
4411 FI: subdominantti, alidominantti.
4413 The fourth @aref{scale degree}. @aref{functional harmony}.
4427 The sixth @aref{scale degree}.
4439 FI: subtoonika, alitoonika.
4441 The seventh @aref{scale degree}.
4444 @section superdominant
4455 The sixth @aref{scale degree}.
4469 The second @aref{scale degree}.
4477 D: Sinfonie, Symphonie,
4483 A symphony may be defined as a @aref{sonata} for orchestra.
4486 @section syncopation
4497 Any deliberate upsetting of the normal pulse of @aref{meter},
4498 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4499 rhythm rests upon the grouping of equal beats into groups of two or three,
4500 with a regularly recurrent accent on the first beat of each group. Any
4501 deviation from this scheme is felt as a disturbance or contradiction between
4502 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4504 @lilypond[fragment,ragged-right]
4509 e c'4 e,8 c'4 e,8 c' ( | c2)
4513 @node syntonic comma
4514 @section syntonic comma
4517 I: comma sintonico (o didimico),
4518 F: comma syntonique,
4519 D: syntonisches Komma,
4520 NL: syntonische komma,
4521 DK: syntonisk komma,
4522 S: syntoniskt komma,
4523 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4524 viritysjärjestelmässä.
4526 Difference between the natural third and the third obtained by Pythagorean
4527 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4539 FI: nuottijärjestelmä.
4541 The collection of staves @aref{staff}, two or more, as used for
4542 writing down of keyboard, chamber, choral, or orchestral music.
4545 @section temperament
4550 D: Stimmung, Tem@-pe@-ra@-tur,
4551 NL: stemming, temperatuur,
4554 FI: viritysjärjestelmä.
4556 Systems of tuning in which the intervals deviate from the acoustically pure
4557 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4559 @node tempo indication
4560 @section tempo indication
4562 ES: indicación de tempo,
4563 I: indicazione di tempo,
4564 F: indication de tempo,
4565 D: Zeitmaß, Tempobezeichnung,
4566 NL: tempo aanduiding,
4571 The rate of speed of a composition or a section thereof, ranging from the
4572 slowest to the quickest, as is indicated by tempo marks as
4573 @aref{largo}, @aref{adagio}, @aref{andante},
4574 @aref{allegro}, and @aref{presto}.
4586 FI: tenori, korkea miesääni.
4588 The highest male voice (apart from @aref{counter tenor}).
4607 ES: subrayado (tenuto),
4616 An indication that a particular note should be held for the whole
4617 length, although this can vary depending on the composer and era.
4633 @node thirty-second note
4634 @section thirty-second note
4640 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4641 NL: twee-endertig@-ste noot,
4642 DK: toogtredivtedelsnode,
4643 S: trettiotvåondelsnot,
4644 FI: kolmanneskymmeneskahdesosanuotti.
4648 @node thirty-second rest
4649 @section thirty-second rest
4651 ES: silencio de fusa,
4652 I: pausa di biscroma,
4653 F: huitième de soupir,
4654 UK: demisemiquaver rest,
4655 D: Zweiunddreissigstel@-pause,
4657 DK: toogtredivtedelspause,
4658 S: trettiotvåondelspaus,
4659 FI: kolmanneskymmeneskahdesosatauko.
4664 @section thorough bass
4667 I: basso continuo, basso numerato,
4668 F: basse chiffrée, basse continue,
4669 D: Generalbass, bezifferter Bass,
4670 NL: basso continuo, becijferde bas
4673 FI: kenraalibasso, numeroitu basso.
4675 A method of indicating an accompaniment part by the bass notes only, together
4676 with figures designating the chief @aref{interval}s and
4677 @aref{chord}s to be played above the bass notes.
4679 @lilypond[fragment,line-width=13.0\cm]
4680 \context GrandStaff <<
4681 \context Staff = lh \relative c'' {
4685 << \context Voice = rha {
4688 \context Voice = rhb {
4690 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4694 \context Staff = rh \relative c' {
4697 es8 c d bes c as bes16 as g f | es4
4699 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4707 ES: ligadura de prolongación,
4708 I: legatura (di valore),
4711 NL: overbinding, bindingsboog,
4713 S: bindebåge, överbindning,
4716 A curved line, identical in appearance with the @aref{slur}, which
4717 connects two succesive notes of the same pitch, and which has the function of
4718 uniting them into a single sound (tone) equal to the combined durations.
4720 @lilypond[fragment,notime,ragged-right]
4721 \set Score.automaticBars = ##f
4722 \relative c'' { g2 ~ g4. }
4730 @node time signature
4731 @section time signature
4733 ES: indicación de compás,
4735 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
4736 D: Taktangabe, Angabe der Taktart,
4739 S: taktartssignatur,
4756 A sound of definite pitch and duration, as distinct from @emph{noise}.
4757 Tone is a primary building material of music.
4758 Music from the 20th century may be based on atonal sounds.
4772 The first @aref{scale degree}.
4773 @aref{functional harmony}.
4776 @section transposition
4787 Shifting a melody up or down in pitch, while keeping the same
4790 @lilypond[fragment,line-width=13.0\cm]
4795 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4800 @lilypond[fragment,line-width=13.0\cm]
4803 \transpose c bes \relative c'' {
4805 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4811 @section treble clef
4814 I: chiave di violino,
4816 D: Violinschlüssel, Sopranschlüssel,
4818 DK:@w{ }diskantnøgle,
4836 On stringed instruments (@aref{strings}) the quick reiteration of
4837 the same tone, produced by a rapid up-and-down movement of the bow
4838 (a). The term is also used for the rapid alternation (b) between two notes of
4839 a @aref{chord}, usually in the distance of a third
4842 @lilypond[fragment,notime,ragged-right]
4843 \set Score.automaticBars = ##f
4844 %\override Score.TextScript #'font-style = #'large
4847 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4848 \repeat "tremolo" 8 { e32_"b" g }
4857 F: triade, accord parfait, accord de trois sons,
4871 F: trille, tremblement, battement (cadence),
4881 @section triple meter
4883 ES: compás ternario,
4887 NL: driedelige maatsoort,
4923 @section tuning fork
4926 I: diapason, corista,
4934 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4935 give the international pitch for the tone @emph{a} (440 vibrations per
4962 FI: unisono, yksiäänisesti.
4964 Playing of the same notes or the same melody by various instruments (voices)
4965 or by the whole orchestra (choir), either at exactly the same pitch or in a
4973 F: anacrouse, levée,
4980 Initial note(s) of a melody occurring before the first bar
4981 line. @aref{measure}, @aref{meter}.
4983 @lilypond[fragment,line-width=13.0\cm]
4987 \partial 4 f4 | bes4. a8 bes4 c |
4988 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
5001 FI: ääni, lauluääni.
5003 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
5004 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
5005 2.@tie{}A melodic layer or part of a polyphonic composition.
5011 I: tempo debole, arsi,
5013 D: unbetonter Taktteil oder Taktschlag,
5015 DK: ubetonet taktslag,
5016 S: obetonat taktslag,
5017 FI: tahdin heikko isku.
5019 @aref{beat}, @aref{measure}, @aref{rhythm}.
5028 D: Ganze, ganze Note,
5039 ES: silencio de redonda,
5040 I: pausa di semibreve,
5043 D: ganze Pause, ganztaktige Pause,
5063 The @aref{interval} of a major second. The interval between two
5064 tones on the piano keyboard with exactly one key between them -- including
5065 black and white keys -- is a whole tone.
5079 A family of blown wooden musical instruments. Today some of these instruments
5080 are actually made from metal. The woodwind instruments commonly used in a
5081 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5083 @node Duration names notes and rests
5084 @chapter Duration names, notes and rests
5087 @item DURATION NAMES, NOTES AND RESTS
5090 @multitable @columnfractions .15 .26 .33 .26
5095 @tab @strong{F (note name / rest name)}
5107 @item @strong{longa}
5122 @item @strong{breve}
5125 @tab brève / double-pause
5137 @item @strong{whole}
5147 @tab koko@-nuotti/@w{-tauko}
5155 @tab blanche / demi-pause
5162 @tab puoli@-nuotti/@w{-tauko}
5167 @item @strong{quarter}
5177 @tab neljännesosa@-nuotti/@w{-tauko}
5182 @item @strong{eighth}
5185 @tab croche / demi-soupir
5192 @tab kahdeksasosa@-nuotti/@w{-tauko}
5197 @item @strong{sixteenth}
5200 @tab double croche / quart de soupir
5207 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5212 @item @strong{thirty-second}
5215 @tab triple croche / huitième de soupir
5217 @tab Zweiunddreissigstel
5218 @tab tweeendertigste
5219 @tab toogtredivtedel
5221 @tab trettiotvåondel
5222 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5227 @item @strong{sixty-fourth}
5228 @tab hemidemisemiquaver
5230 @tab quadruple croche / seizième de soupir
5232 @tab Vierundsechzigstel
5233 @tab vierenzestigste
5234 @tab fireogtred@-sindstyvendedel
5236 @tab sextiofjärdedel
5237 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5241 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5244 @chapter Pitch names
5250 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5251 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5253 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5254 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5258 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5262 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5264 cis @tab cis @tab cis
5268 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5270 des @tab des @tab des
5274 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5278 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5282 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5286 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5291 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5297 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5301 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5303 ais @tab ais @tab ais
5307 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5313 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5318 @node Literature used
5319 @unnumbered Literature used
5322 @item The Harvard Dictionary of Music, London 1944. Many more or less
5323 literal quotes from its articles have been included into the item
5326 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5328 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5330 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5333 @item Webster's Revised Unabridged Dictionary, Springfield 1913.