1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @dircategory GNU music project
10 * Glossary: (lilypond/music-glossary). Glossary of music terms.
14 This document is also available in
15 @uref{source/Documentation/user/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author Dadiv Gonzalez @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2006 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
61 This glossary was brought you by
69 @item Christian Mondrup
70 Original author of LilyPond glossary, Danish glossary,
73 @item Fran@,{c}ois Pinard
74 Original glossary of GNU music project, French glossary,
75 @item Han-Wen Nienhuys
77 @item Jan Nieuwenhuizen
82 English glossary translations,
84 Finnish glossary translations.
87 Copyright 1999--2006 by the authors
90 Permission is granted to copy, distribute and/or modify this document
91 under the terms of the GNU Free Documentation License, Version 1.1
92 or any later version published by the Free Software Foundation,
93 without Invariant Sections.
99 @c @everyheading @| @thispage @|
100 @c @evenheading @thispage @| @|
101 @c @oddheading @| @| @thispage @|
103 @include macros.itexi
108 @w{@arrow{}@strong{\word\}}@c
111 @arrow{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
132 @item UK - British English
150 * ancient minor scale::
154 * ascending interval::
155 * augmented interval::
187 * compound interval::
189 * conjunct movement::
202 * descending interval::
204 * diminished interval::
206 * disjunct movement::
208 * dissonant interval::
209 * dominant ninth chord::
210 * dominant seventh chord::
213 * dot (augmentation dot)::
215 * double appoggiatura::
217 * double dotted note::
226 * ecclesiastical mode::
232 * equal temperament::
246 * functional harmony::
260 * inverted interval::
273 * long appoggiatura::
278 * meantone temperament::
285 * metronomic indication::
321 * Pythagorean comma::
343 * short appoggiatura::
347 * sixty-fourth note::
348 * sixty-fourth rest::
376 * thirty-second note::
377 * thirty-second rest::
426 FI: aksentti, korostus.
428 The stress of one tone over others.
438 ES: alteración accidentelle,
440 F: altération accidentelle,
441 D: Vorzeichen, Versetzungszeichen, Akzidenz,
442 NL: toevallig (verplaatsings)teken,
444 S: tillfälligt förtecken,
445 FI: tilapäinen etumerkki.
447 An accidental has the effect of an @aref{alteration} of a note. A
448 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
449 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
450 lowers it by a whole tone. A natural cancels the effect of a previous
453 @lilypond[fragment,notime,line-width=13.0\cm]
454 \set Score.automaticBars = ##f
456 \context Staff \relative c'' {
457 gis1 gisis ges geses g!
460 \override Lyrics .LyricText #'self-alignment-X = #-1
461 sharp "db. sharp" flat "db. flat" natural
471 F: accelerando, en accélérant,
472 D: accelerando, schneller werden,
476 FI: accelerando, kiihdyttäen.
490 FI: adagio, hitaasti.
492 It.@: comfortable, easy.
493 1.@tie{}Slow tempo, slower -- especially in even meter -- than
494 @aref{andante} and faster than @aref{largo}.
495 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
496 @aref{sonata}s, symphonies, etc.
504 D: Allegro, Schnell, Fröhlich, Lustig,
508 FI: allegro, nopeasti.
510 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
511 tempo, especially the first and last movements of a @aref{sonata}.
520 NL: verhoging of verlaging,
525 An alteration is the modification, raising or lowering, of a note's
526 pitch. It is established by an @aref{accidental}.
538 FI: altto, matala naisääni.
540 A female voice of low range (@emph{contralto}). Originally the alto was a
541 high male voice (hence the name), which by the use of falsetto reached the
542 height of the female voice. This type of voice is also known as
543 @aref{counter tenor}.
548 ES: clave de do en tercera,
549 I: chiave di contralto,
550 F: clef d'ut troisième ligne,
551 D: Altschlüssel, Bratschenschlüssel,
557 C clef setting middle C on the middle line of the staff
570 FI: ambitus, ääniala, soitinala.
572 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
573 of pitches for a given voice in a part of music. It may also denote
574 the pitch range that a musical instrument is capable of playing.
576 @node ancient minor scale
577 @section ancient minor scale
579 I: scala minore naturale,
580 F: forme du mode mineur ancien, troisème mode, mode hellénique
582 NL: authentieke mineurtoonladder,
585 FI: luonnollinen molliasteikko.
587 @aref{diatonic scale}.
589 @lilypond[fragment,notime,line-width=13.0\cm]
590 \set Score.automaticBars = ##f
607 Walking tempo/character.
610 @section appoggiatura
614 F: appogiature, (port de voix),
619 FI: appoggiatura, etuhele.
621 Ornamental note, usually a second, that is melodically connected with the
622 main note following it. In music before the 19th century a.@: were usually
623 performed on the beat, after that mostly before the beat. While the short
624 a.@: is performed as a short note regardless of the duration of the main note
625 the duration of the long a.@: is proportional to that of the main note.
627 @lilypond[line-width=13.0\cm]
628 \context Voice \relative c'' {
632 %\override Score.TextScript #'font-style = #'large
633 <d a fis>4_"notation" r
634 { \override Stem #'flag-style = #'()
636 \revert Stem #'flag-style
639 { \override Stem #'flag-style = #'()
641 \revert Stem #'flag-style
644 \cadenzaOn a4 \bar "||" \cadenzaOff
646 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
647 \cadenzaOn a4 \bar "||" \cadenzaOff
651 An appoggiatura may have more notes preceding the main note.
653 @lilypond[line-width=13.0\cm]
657 % \override Score.TextScript #'font-style = #'large
658 \grace { bes16 } as8_"notation" as16 bes as8 g |
659 \grace { as16[( bes] } < c as >4-)
660 \grace { as16[( bes] } < c as >4-) \bar "||"
661 \grace { bes16 } as8_"performance" as16 bes as8 g |
662 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
663 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
674 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
676 DK: arpeggio, akkordbrydning,
678 FI: arpeggio, murtosointu.
680 @lilypond[fragment,line-width=13.0\cm]
681 \context PianoStaff <<
682 \context Staff = SA \relative c'' {
685 r8 g16 c e g, c e r8 g,16 c e g, c e |
686 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
687 \context Staff = SB \relative c' {
689 << \context Voice = va {
691 r16 e8. ( e4) r16 e8. ( e4) |
692 r16 d8. ( d4) r16 d8. ( d4) }
693 \context Voice = vb {
700 @node ascending interval
701 @section ascending interval
703 ES: Intervalo ascendente,
704 I: intervallo ascendente,
705 F: intervalle ascendant,
706 D: steigendes Intervall,
707 NL: stijgend interval,
708 DK:@w{ }stigende interval,
709 S: stigande intervall,
710 FI: nouseva intervalli.
712 A distance between a starting lower note and a higher ending note.
714 @node augmented interval
715 @section augmented interval
717 ES: intervalo aumentado,
718 I: intervallo aumentato,
719 F: intervalle augmenté,
720 D: übermäßiges Intervall,
721 NL: overmatig interval,
722 DK: forstørret interval,
723 S: överstigande intervall,
724 FI: ylinouseva intervalli.
733 D: Autograph, Handschrift,
735 DK: håndskrift, autograf,
737 FI: käsinkirjoitettu nuotti.
739 1.@tie{}A manuscript in the composer's own hand.
740 2.@tie{}Music prepared for photoreproduction by freehand drawing,
741 with the aid of a straightedge ruler and T-square only,
742 which attempts to emulate engraving.
743 This required more skill than did engraving.
765 ES: compás, @aref{measure}.
771 I: stanghetta, barra (di divisione),
772 F: barre (de mesure),
789 FI: baritoni, keskikorkuinen miesääni.
791 The male voice intermediate between the @aref{bass} and the
794 @c F: clef de troisième ligne dropped
797 @section baritone clef
799 ES: clave de fa en tercera,
800 I: chiave di baritono,
801 F: clef d' Ut cinquième ligne, clef de Fa troisième,
808 C or F clef setting middle C on the upper staff line.
809 @aref{C clef}, @aref{F clef}.
814 ES: clave de fa en cuarta,
816 F: clé de fa quatrième ligne,
823 A clef setting with middle C on the first top ledger line.
835 FI: basso, matala miesääni.
837 1.@tie{}The lowest male voice.
838 2.@tie{}Sometimes, especially in jazz music, used as
839 an abbreviation for double bass.
853 Line connecting a series of notes (shorter than a quarter note).
854 The number of beams determines the note value of the connected notes.
856 @lilypond[fragment,notime,line-width=13.0\cm]
857 \set Score.automaticBars = ##f
858 %\override TextScript #'font-style = #'large
861 g16_"1/16"[ g g g] s16
862 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
863 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
872 D: Takt, Taktschlag, Zeit (im Takt),
878 Note value used for counting, most often half-, fourth-, and eighth notes.
879 The base counting value and the number of them per measure is indicated at
880 the start of the music.
882 @lilypond[fragment,line-width=13.0\cm]
885 \relative c'' { g4 c b a | g1 \bar "||"}
887 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
901 D: Klammer, Akkolade,
902 NL: accolade, teksthaak,
905 FI: yhdistävä sulkumerkki.
907 Symbol at the start of a system connecting staves. Curly braces are used
908 for connecting piano staves, angular brackets for connecting parts in an
909 orchestral or choral score.
911 @lilypond[fragment,ragged-right]
912 \context GrandStaff <<
913 \relative c''\context Staff = SA { \clef treble g4 e c2 }
914 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
917 @lilypond[fragment,ragged-right]
918 \context StaffGroup <<
919 % \set StaffGroup.minVerticalAlign = #12
920 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
921 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
933 S: brassinstrument, mässingsinstrument,
936 A family of blown musical instruments made of brass, all using a cup formed
937 mouth piece. The brass instruments commonly used in a symphony orchestra are
938 trumpet, trombone, french horn, and tube.
945 D: Atemzeichen, Trennungszeichen,
946 NL: repercussieteken,
947 DK: vejrtrækningstegn,
951 Indication of where to breathe in vocal and wind instrument parts.
964 @aref{note value}, twice as long as a whole note. Mainly used
967 @lilypond[fragment,notime,ragged-right]
968 \set Score.automaticBars = ##f
969 \relative c'' { g\breve }
996 Clef symbol indicating the position of the middle C. Used on all note
999 @lilypond[fragment,notime,line-width=13.0\cm]
1000 \set Score.automaticBars = ##f
1001 \override Score.Clef #'full-size-change = ##t
1003 \context Staff \relative c' {
1005 \clef mezzosoprano c
1010 \context Lyrics \lyrics {
1011 \override Lyrics .LyricText #'self-alignment-X = #-1
1012 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1027 FI: kadenssi, lopuke.
1029 @aref{harmonic cadence}, @aref{functional harmony}.
1041 FI: kadenssi, lopuke.
1043 An extended, improvisatory style section inserted near the end of
1044 movement. The purpose of a cadenza is to give singers or players a chance
1045 to exhibit their technical skill and -- not last -- their ability to
1046 improvise. Since the middle of the 19th century, however, most cadences have
1047 been written down by the composer.
1059 FI: kaanon, tarkka jäljittely.
1061 @aref{counterpoint}.
1073 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1074 viritysjärjestelmässä.
1076 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1077 of an equally tempered @aref{semitone}).
1078 @aref{equal temperament}.
1097 Three or more tones sounding simultaneously. In traditional European music
1099 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1101 minor @aref{third}) as well as @emph{minor} (minor + major third)
1102 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1103 and five-tone @emph{ninth} major chords are most often used as dominants
1104 (@aref{functional harmony}). A special case is chords having no
1105 third above the lower notes to define their quality as major or minor. Such
1106 chords are denoted open chords
1108 @lilypond[fragment,notime,line-width=13.0\cm]
1109 \set Score.automaticBars = ##f
1110 %\override TextScript #'font-style = #'large
1112 \context Staff \relative c'' {
1131 @node chromatic scale
1132 @section chromatic scale
1134 ES: escala cromática,
1136 F: gamme chromatique,
1137 D: chro@-ma@-ti@-sche Tonleiter,
1138 NL: chromatische toonladder,
1139 DK: kromatisk skala,
1141 FI: kromaattinen asteikko.
1143 A scale consisting of all 12 @aref{semitone}s.
1145 @lilypond[fragment,notime,line-width=13.0\cm]
1146 \set Score.automaticBars = ##f
1147 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1151 @section chromaticism
1162 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1165 @section church mode
1167 ES: modo eclesiástico,
1168 I: modo ecclesiastico,
1169 F: mode ecclésiastique,
1174 FI: moodi, kirkkosävellaji.
1176 @aref{diatonic scale}.
1184 D: Schlüssel, Notenschlüssel,
1188 FI: avain, nuottiavain.
1190 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1195 A @emph{cluster} is a range of simultaneously sounding pitches that
1196 may change over time. The set of available pitches to apply usually
1197 depends on the acoustic source. Thus, in piano music, a cluster
1198 typically consists of a continuous range of the semitones as provided
1199 by the piano's fixed set of a chromatic scale. In choral music, each
1200 singer of the choir typically may sing an arbitrary pitch within the
1201 cluster's range that is not bound to any diatonic, chromatic or other
1202 scale. In electronic music, a cluster (theoretically) may even cover
1203 a continuous range of pitches, thus resulting in colored noise, such
1206 Clusters can be denoted in the context of ordinary staff notation by
1207 engraving simple geometrical shapes that replace ordinary notation of
1208 notes. Ordinary notes as musical events specify starting time and
1209 duration of pitches; however, the duration of a note is expressed by
1210 the shape of the note head rather than by the horizontal graphical
1211 extent of the note symbol. In contrast, the shape of a cluster
1212 geometrically describes the development of a range of pitches
1213 (vertical extent) over time (horizontal extent). Still, the
1214 geometrical shape of a cluster covers the area in which any single
1215 pitch contained in the cluster would be notated as an ordinary note.
1217 @lilypond[fragment,relative=2,verbatim,ragged-right]
1218 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1230 FI: komma, korvinkuultava ero äänenkorkeudessa.
1232 Difference in pitch between a note derived from pure tuning and the same note
1233 derived from some other tuning method. @aref{temperament}.
1236 @section common meter
1240 @node compound interval
1241 @section compound interval
1243 ES: intervalo compuesto,
1244 I: intervallo composto,
1245 F: intervalle composé,
1246 D: weites Intervall,
1247 NL: samengesteld interval,
1248 DK: sammensat interval,
1249 S: sammansatt intervall,
1250 FI: oktaavia laajempi intervalli.
1252 Intervals larger than an octave.
1260 F: intervalle complémentaire,
1261 D: Komplementärintervall,
1262 NL: complementair interval,
1263 DK: komplementærinterval,
1264 S: komplementärintervall (?),
1265 FI: täydentävä intervalli.
1267 @aref{inverted interval}.
1269 @node conjunct movement
1270 @section conjunct movement
1272 ES: movimiento conjunto,
1274 F: mouvement conjoint,
1275 D: schritt@-weise, stufenweise Bewegung,
1276 NL: stapsgewijze, trapsgewijze beweging,
1277 DK: trinvis bevægelse,
1279 FI: asteittainen liike.
1281 Progressing melodically by intervals of a second. The opposite of a
1282 @aref{disjunct movement}.
1284 @lilypond[fragment,line-width=13.0\cm]
1285 \key g \major \time 4/4
1286 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1299 FI: konsonanssi, sopusointi.
1318 @section counterpoint
1327 FI: kontrapunkti, ääni ääntä vastaan.
1329 From latin @emph{punctus contra punctum}, note against note. The combination
1330 into a single musical fabric of lines or parts which have distinct melodic
1331 significance. A frequently used polyphonic technique is imitation, in its
1332 strictest form found in the canon needing only one part to be written down
1333 while the other parts are performed with a given displacement. Imitation is
1334 also the contrapunctal technique used in the @emph{fugue} which, since the
1335 music of the baroque era, has been one of the most popular polyphonic
1336 composition methods.
1338 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1339 \override Score.TimeSignature #'break-visibility = #all-invisible
1340 \context PianoStaff <<
1341 \context Staff = SA \relative c' {
1345 << \context Voice = rha {
1347 r1 | r2 r8 g'8 bes d, |
1348 cis4 d r8 e!16 f g8 f16 e |
1349 f8 g16 a bes8 a16 g a8
1351 \context Voice = rhb {
1357 \context Staff = SB \relative c' {
1360 << \context Voice = lha {
1362 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1363 r8 a16 g f8 g16 a bes8 g e! cis' |
1366 \context Voice = lhb {
1375 @section counter tenor
1380 D: Countertenor, Kontratenor,
1383 S: kontratenor, counter tenor,
1389 @section copying music
1391 A music copyist did fast freehand scores and parts on preprinted staff lines
1392 for performance. Some of their conventions (e.g., the placement of note heads
1393 on stems) varied slightly from those of engravers. Some of their working
1394 methods were superior and could well be adopted by music typesetters. This
1395 required more skill than engraving.
1403 D: Crescendo, lauter werden,
1407 FI: cresendo, voimistuen.
1409 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1410 abbreviation ``cresc.''.
1412 @lilypond[fragment,ragged-right]
1413 \key g \major \time 4/4
1414 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1422 F: petites notes précédent l'entrée d'in instrument, réplique,
1429 In a separate part notes belonging to another part with the purpose of hinting
1430 when to start playing. Usually printed in a smaller type.
1435 A custos is a staff symbol that appears at the end of a staff line
1436 with monophonic musical contents (i.e., with a single voice). It
1437 anticipates the pitch of the first note of the following line and thus
1438 helps the player or singer to manage line breaks during performance,
1439 thus enhancing readability of a score.
1441 Custodes were frequently used in music notation until the 16th
1442 century. There were different appearences for different notation
1443 styles. Nowadays, they have survived only in special forms of musical
1444 notation such as via the editio vaticana dating back to the beginning
1450 % \override Staff.Custos #'neutral-position = #4
1451 \override Staff.Custos #'neutral-direction = #down
1452 \override Staff.Custos #'style = #'hufnagel
1460 \consists Custos_engraver
1484 F: da capo, depuis le commencement,
1485 D: da capo, von Anfang,
1489 FI: da capo, alusta.
1491 The term indicates repetition of the piece from the beginning to the end or
1492 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1499 F: dal segno, depuis le signe,
1500 D: dal segno, ab dem Zeichen,
1504 FI: dal segno, lähtien merkistä.
1506 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1507 another place frequently near the beginning marked by a sign:
1509 @lilypond[fragment,ragged-right]
1510 %\override TextScript #'font-style = #'large
1511 \override TextScript #'font-shape = #'italic
1512 \key g \major \time 4/4
1517 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1523 @section decrescendo
1527 D: Decrescendo, leiser werden,
1531 FI: decresendo, hiljentyen.
1533 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1534 or the abbreviation ``decresc.''.
1536 @lilypond[fragment,ragged-right]
1538 \key g \major \time 4/4
1539 d4 \> c b a | g1 \! \bar "|."
1543 @node descending interval
1544 @section descending interval
1546 ES: intervalo descendente,
1547 I: intervallo discendente,
1548 F: intervalle descendant,
1549 D: fallendes Intervall, absteigendes Intervall,
1550 NL: dalend interval,
1551 DK: faldende interval,
1552 S: fallande intervall,
1553 FI: laskeva intervalli.
1555 A distance between a starting higher note and a lower ending note.
1557 @node diatonic scale
1558 @section diatonic scale
1560 ES: escala diatónica,
1562 F: gamme diatonique,
1563 D: diatonische Tonleiter,
1564 NL: diatonische toonladder,
1565 DK: diatonisk skala,
1567 FI: diatoninen asteikko.
1569 A scale consisting of 5@w{ }@aref{whole tone}s and
1570 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1571 of a piano keybord are diatonic.
1573 The church modes are used in gregorial chant and in pre-baroque early
1574 music but also to some extent in newer jazz music.
1576 @lilypond[fragment,notime,ragged-right]
1577 \set Score.automaticBars = ##f
1578 %\override Score.LyricText #'font-style = #'large
1579 %\override Score.TextScript #'font-style = #'large
1581 \context Staff \relative c' {
1583 \override TextScript #'padding = #-4
1584 e^"~~ S" f g a b^"~~ S" c
1586 \context Lyrics \lyrics {
1592 @lilypond[fragment,notime,ragged-right]
1593 \set Score.automaticBars = ##f
1595 \context Staff \relative c' {
1597 \override TextScript #'padding = #-4
1598 e^"~~ S" f g a b^"~~ S" c d
1606 @lilypond[fragment,notime,ragged-right]
1607 \set Score.automaticBars = ##f
1610 \override TextScript #'padding = #-4
1611 e1^"~~ S" f g a b^"~~ S" c d e
1619 @lilypond[fragment,notime,ragged-right]
1620 \set Score.automaticBars = ##f
1624 \override TextScript #'padding = #-4
1625 b^"~~ S" c d e^"~~ S" f
1633 @lilypond[fragment,notime,ragged-right]
1634 \set Score.automaticBars = ##f
1638 \override TextScript #'padding = #-4
1639 b^"~~ S" c d e^"~~ S" f g }
1646 @lilypond[fragment,notime,ragged-right]
1647 \set Score.automaticBars = ##f
1648 %\override Score.LyricText #'font-style = #'large
1649 %\override Score.TextScript #'font-style = #'large
1653 \override TextScript #'padding = #-4
1654 b^"~~ S" c d e^"~~ S" f g a
1662 From the beginning of the 17th century the scales used in European
1663 compositional music are primarily the major and the minor scales. In the
1664 harmonic minor scale type an augmented second (A) occurs between the 6th and
1667 @lilypond[fragment,notime,ragged-right]
1668 \set Score.automaticBars = ##f
1672 \override TextScript #'padding = #-4
1673 e^"~~ S" f g a b^"~~ S" c
1681 @lilypond[fragment,notime,ragged-right]
1682 \set Score.automaticBars = ##f
1686 \override TextScript #'padding = #-4
1687 b^"~~ S" c d e^"~~ S" f g a
1695 @lilypond[fragment,notime,ragged-right]
1696 \set Score.automaticBars = ##f
1700 \override TextScript #'padding = #-4
1701 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1703 \context Lyrics \lyrics {
1709 @lilypond[fragment,notime,line-width=13.0\cm]
1710 \set Score.automaticBars = ##f
1711 %\override Score.LyricText #'font-style = #'large
1712 %\override Score.TextScript #'font-style = #'large
1716 \override TextScript #'padding = #-4
1717 b^"~~ S" c d e fis gis^"~~ S"
1718 a g! f!^"~~ S" e d c^"~~ S" b a
1726 @node diminished interval
1727 @section diminished interval
1729 ES: intervalo disminuído,
1730 I: intervallo diminuito,
1731 F: intervalle diminué,
1732 D: vermindertes Intervall,
1733 NL: verminderd interval,
1734 DK: formindsket interval,
1735 S: förminskat intervall,
1736 FI: vähennetty intervalli.
1750 FI: diminuendo, hiljentyen.
1754 @node disjunct movement
1755 @section disjunct movement
1757 ES: movimiendo disjunto,
1759 F: mouvement disjoint,
1760 D: sprunghafte Bewegung,
1761 NL: sprongsgewijze beweging,
1762 DK: springende bevægelse,
1763 S: hoppande rörelse,
1764 FI: melodian hyppivä liike.
1766 Progressing melodically by intervals larger than a major second.
1767 Opposite of @aref{conjunct movement}.
1769 @lilypond[fragment,ragged-right]
1774 a4. gis8 b a e cis |
1775 fis2 d4. \bar "||" }
1781 @ref{dissonant interval}.
1783 @node dissonant interval
1784 @section dissonant interval
1786 ES: intervalo disonante, disonancias,
1787 I: intervallo dissonante, dissonanza,
1790 NL: dissonant interval; dissonant,
1791 DK: dissonerende interval, dissonans,
1793 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1797 @node dominant ninth chord
1798 @section dominant ninth chord
1800 I: accordo di nona di dominante,
1801 F: accord de neuvième dominante,
1802 D: Domi@-nant@-nonen@-akkord,
1803 NL: dominant noon akkoord,
1804 DK: dominantnoneakkord,
1805 S: dominantnonackord,
1806 FI: dominanttinoonisointu.
1808 @aref{chord}, @aref{functional harmony}.
1810 @node dominant seventh chord
1811 @section dominant seventh chord
1813 ES: acorde de séptima de dominante,
1814 I: accordo di settima di dominante,
1815 F: accord de septième dominante,
1816 D: Dominantseptakkord,
1817 NL: dominant septiem akkoord,
1818 DK: dominantseptimakkord,
1819 S: dominantseptimackord,
1820 FI: dominanttiseptimisointu.
1822 @aref{chord}, @aref{functional harmony}.
1834 FI: dominantti, huippusointu.
1836 The fifth @aref{scale degree},
1837 @aref{functional harmony}.
1840 @section dorian mode
1845 D: dorisch, dorischer Kirchenton,
1846 NL: dorische toonladder,
1851 @aref{diatonic scale}.
1853 @node dot (augmentation dot)
1854 @section dot (augmentation dot)
1857 I: punto (di valore),
1859 D: Punkt (Verlängerungspunkt),
1868 @section dotted note
1870 ES: nota con puntillo,
1874 NL: gepuncteerde noot,
1877 FI: pisteellinen nuotti.
1881 @node double appoggiatura
1882 @section double appoggiatura
1884 ES: apoyatura doble,
1885 I: appoggiatura doppia,
1886 F: appoggiature double,
1887 D: doppelter Vorschlag,
1888 NL: dubbele voorslag,
1889 DK: dobbelt forslag,
1891 FI: kaksoisappogiatura, kaksoisetuhele.
1893 @aref{appoggiatura}.
1895 @node double bar line
1896 @section double bar line
1901 NL: dubbele maatstreep,
1904 FI: kaksoistahtiviiva.
1906 Indicates the end of a section within a movement.
1908 @node double dotted note
1909 @section double dotted note
1911 ES: nota con dos puntillos,
1912 I: nota doppiamente puntata,
1913 F: note doublement pointée,
1914 D: doppelt punktierte Note,
1915 NL: dubbelgepuncteerde noot,
1916 DK: dob@-belt@-punk@-te@-ret node,
1917 S: dub@-bel@-punk@-te@-rad not,
1918 FI: kaksoispisteellinen nuotti.
1923 @section double flat
1932 FI: kaksoisalennusmerkki.
1937 @section double sharp
1939 ES: doble sostenido,
1944 DK: dob@-belt@-kryds,
1946 FI: kaksoisylennysmerkki.
1951 @section double trill
1957 NL: dubbele triller,
1962 A simultaneous trill on two notes, usually in the distance of a third.
1965 @section duple meter
1971 NL: tweedelige maatsoort,
2002 FI: kesto, aika-arvo.
2007 @section dydimic comma
2009 @aref{syntonic comma}.
2023 @node ecclesiastical mode
2024 @section ecclesiastical mode
2029 @section eighth note
2035 D: Achtel, Achtelnote,
2037 DK: ottendedelsnode,
2039 FI: kahdeksasosanuotti.
2044 @section eighth rest
2046 ES: silencio de corchea,
2052 DK: ottendedelspause,
2054 FI: kahdeksasosatauko.
2059 @section embellishment
2070 D: Notenstechen, Notendruck
2076 Engraving means incising or etching a metal plate for
2077 printing. Photoengraving means drawing music with ink in a manner
2078 similar to drafting or engineering drawing, using similar tools.
2080 The traditional process of music printing is done through cutting in a
2081 plate of metal. Now also the term for the art of music typesetting.
2095 Two notes, intervals, or scales are enharmonic if they have different names
2098 @lilypond[fragment,notime,line-width=13.0\cm]
2099 \set Score.automaticBars = ##f
2101 \context Staff \relative c'' {
2102 gis1 as <des g,!> <cis g!>
2104 \context Lyrics \lyrics {
2105 \override Lyrics .LyricText #'self-alignment-X = #-1
2106 "g sharp " "a flat " "dim fifth " "augm fourth"
2111 @node equal temperament
2112 @section equal temperament
2115 I: temperamento equabile,
2116 F: tempérament égal,
2117 D: gleichschwebende Stimmung,
2118 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2119 DK: ligesvævende temperatur,
2120 S: liksvävande temperatur,
2123 Tuning system dividing the octave into 12 equal @aref{semitone}s
2124 (precisely 100 @aref{cent}s). @aref{temperament}.
2126 @node expression mark
2127 @section expression mark
2130 I: segno d'espressione,
2131 F: signe d'expression, indication de nuance,
2133 NL: voordrachtsteken,
2134 DK: foredragsbetegnelse,
2135 S: föredragsbeteckning,
2136 FI: nyanssiosoitus, esitysmerkki.
2138 Performance indications concerning 1. volume, dynamics (for example
2139 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2140 @aref{andante}, @aref{allegro}).
2166 The position between the dots of the key symbol is the line of the F below
2167 central@w{ }C. Used on the third, fourth and fifth note line. A
2168 digit@w{ }8 above the clef symbol indicates that the notes must be played
2169 an octave higher (for example bass recorder) while 8@w{ }below the clef
2170 symbol indicates playing an octave lower (for example on double bass
2173 @lilypond[fragment,notime,line-width=13.0\cm]
2174 \set Score.automaticBars = ##f
2175 \override Staff.Clef #'full-size-change = ##t
2199 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2206 F: point d'orgue, point d'arr@^et,
2211 FI: fermaatti, pidäke.
2213 Prolonged note or rest of indefinite duration.
2215 @lilypond[fragment,ragged-right]
2218 a4 b c2^\fermata \bar "|."
2237 @section figured bass
2239 ES: bajo cifrado, @aref{thorough bass}.
2253 The methodical use of fingers in the playing of instruments.
2259 I: coda (uncinata), bandiera,
2267 Ornament at the end of the stem of a note used for notes with values
2268 less than a quarter note. The number of flags determines the
2271 @lilypond[fragment,notime,ragged-right]
2272 \set Score.automaticBars = ##f
2273 %\override Score.TextScript #'font-style = #'large
2299 @aref{appoggiatura}.
2311 FI: forte, voimakkaasti.
2313 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2314 @emph{mezzoforte} (@b{mf}) medium loud.
2342 @aref{counterpoint}.
2344 @node functional harmony
2345 @section functional harmony
2347 ES: armonía funcional,
2348 I: armonia funzionale,
2349 F: étude des functions,
2351 NL: functionele harmonie,
2352 DK: funktionsanalyse, funktionsharmonik,
2354 FI: harmoniajärjestelmä.
2356 A system of harmonic analysis. It is based on the idea that, in a given key,
2357 there are only three functionally different chords: tonic (T, the chord on the
2358 first note of the scale), subdominant (S, the chord on the fourth note), and
2359 dominant (D, the chord on the fifth note). Others are considered to be
2360 variants of the base chords.
2362 @lilypond[fragment,notime,line-width=13.0\cm]
2363 \set Score.automaticBars = ##f
2365 \context Voice \relative c'' {
2366 <g e c >1 < a f d > < b g e >
2367 <c a f > < d b g > < e c a > < f d b > }
2368 \context Lyrics \lyrics {
2369 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2391 D: G-Schlüssel, Violinschlüssel,
2397 A clef symbol indicating the G above central@w{ }C. Used on the first
2398 and second note lines. A digit 8 above the clef symbol indicates that
2399 the notes must be played an octave higher while 8 below the clef symbol
2400 indicates playing or singing an octave lower (most tenor parts in choral
2401 scores are notated like that).
2403 @lilypond[fragment,notime,ragged-right]
2405 \set Score.automaticBars = ##f
2406 \override Staff.Clef #'full-size-change = ##t
2409 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2419 \context Lyrics \lyrics {
2420 \override Lyrics . LyricText #'X-offset = #-5
2421 "french violin clef"
2439 FI: glissando, liukuen.
2441 Letting the pitch slide fluently from one note to the other.
2444 @section grace notes
2449 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2455 Notes printed in small types to indicate that their time values are not
2456 counted in the rhythm of the bar. @aref{appoggiatura}.
2459 @section grand staff
2466 S: ackolad, böjd klammer,
2467 FI: kaksoisnuottiviivasto.
2471 A combination of two staves with a brace. Usually used for piano music.
2483 FI: grave, raskaasti.
2499 D: Halbe, halbe Note,
2522 @node harmonic cadence
2523 @section harmonic cadence
2525 ES: cadencia (armónica),
2526 I: cadenza (armonica),
2527 F: cadence harmonique,
2529 NL: harmonische cadens,
2530 DK: harmonisk kadence,
2531 S: (harmonisk) kadens,
2532 FI: harmoninen kadenssi.
2534 A sequence of chords that terminates a musical phrase or
2535 section. @aref{functional harmony}.
2537 @lilypond[fragment,ragged-right]
2538 \context PianoStaff <<
2539 \context Staff = SA \relative c'' {
2543 \partial 4 < c g e >4 |
2544 < c a f > < b g d > < c g e >2
2547 \context Staff = SB \relative c {
2549 \partial 4 c4 | f, g c2
2566 D: Harmonie, Zusammenklang,
2570 FI: harmonia, yhteissointi.
2572 Tones sounding simultaneously. Two note harmonies fall into the categories
2573 @emph{consonances} and @emph{dissonances}.
2577 @lilypond[fragment,notime,line-width=13.0\cm]
2578 \set Score.automaticBars = ##f
2579 %\override Score.TextScript #'font-style = #'large
2580 \context Voice \relative c'' {
2593 @lilypond[fragment,notime,line-width=13.0\cm]
2594 \set Score.automaticBars = ##f
2595 %\override Score.TextScript #'font-style = #'large
2596 \context Voice \relative c'' {
2597 <g a>1_"second " s s
2598 <g f'>_"seventh " s s
2603 Three note harmony @aref{chord}.
2615 FI: homofonia, yksiäänisyys.
2617 Music in which one voice leads melodically followed by the other voices more
2618 or less in the same rhythm. In contrast to @aref{polyphony}.
2630 FI: intervalli, kahden sävelen korkeusero.
2632 Difference in pitch between two notes. Intervals may be perfect, minor,
2634 diminished, or augmented. The augmented fourth and the diminished fifth are
2635 identical (@aref{enharmonic}) and are called @emph{tritonus}
2636 because they consist of three @aref{whole tone}s. The addition
2637 of such two intervals forms an octave.
2639 @lilypond[fragment,notime,line-width=13.0\cm]
2640 \set Score.automaticBars = ##f
2642 \context Voice \relative c'' {
2652 \context Lyrics \lyrics {
2653 "unisone " "second " "second " "second "
2654 "third " "third " "third " "third"
2659 @lilypond[fragment,notime,line-width=13.0\cm]
2660 \set Score.automaticBars = ##f
2662 \context Staff \relative c'' {
2673 "fourth " "fourth " "fifth " "fifth "
2674 "sixth " "sixth " "sixth " "sixth"
2679 @lilypond[fragment,notime,line-width=13.0\cm]
2680 \set Score.automaticBars = ##f
2682 \context Staff \relative c'' {
2683 < gis f'! >1^"dimin"
2692 \context Lyrics \lyrics {
2693 "seventh " "seventh " "seventh " "octave "
2694 "none " "none " "decime " "decime"
2699 @node inverted interval
2700 @section inverted interval
2702 ES: intervalo invertido,
2703 I: intervallo rivolto,
2704 F: intervalle reversé,
2705 D: umgekehrtes Intervall,
2706 NL: interval inversie,
2707 DK: omvendingsinterval,
2708 S: intervallets omvändning,
2709 FI: käänteisintervalli.
2711 The difference between an interval and an octave.
2713 @lilypond[fragment,notime,line-width=13.0\cm]
2714 \set Score.automaticBars = ##f
2715 %\override Score.TextScript #'font-style = #'large
2716 \context Staff \relative c'' {
2717 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2718 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2719 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2723 @node just intonation
2724 @section just intonation
2726 I: intonazione giusta,
2727 F: intonation juste,
2734 Tuning system in which the notes are obtained by adding and subtracting
2735 natural fifths and thirds. @aref{temperament}.
2749 According to the 12@w{ }tones of the @aref{chromatic scale}
2750 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2751 @aref{key signature}.
2754 @section key signature
2756 ES: armadura de clave,
2757 I: armatura di chiave,
2758 F: armure, armature [de la clé],
2759 D: Vorzeichen, Tonart,
2760 NL: toon@-soort (voortekens),
2763 FI: sävellajiosoitus.
2765 The sharps or flats appearing at the beginning of each staff indicating the
2766 key of the music. @aref{accidental}.
2774 D: Largo, Langsam, Breit,
2778 FI: largo, hitaasti, leveästi.
2780 Very slow in tempo, usually combined with great
2781 expressiveness. @emph{Larghetto} is less slow than largo.
2784 @section leading note
2795 The seventh @aref{scale degree}, a @aref{semitone} below
2796 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2797 upwards) to the tonic scale degree.
2800 @section ledger line
2802 ES: líneas adicionales,
2803 I: tagli addizionali,
2804 F: ligne supplémentaire,
2811 A ledger line is an extension of the staff.
2813 @lilypond[fragment,notime,ragged-right]
2814 \set Score.automaticBars = ##f
2815 \relative c'' { a,1 s c'' }
2830 To be performed (a) without any perceptible interruption between the notes,
2831 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2832 (d) @aref{staccato}.
2834 @lilypond[fragment,notime,line-width=13.0\cm]
2835 \set Score.automaticBars = ##f
2837 \context Staff \relative c'' {
2838 c4-( d e-) \bar "||"
2839 c4-- d-- e-- \bar "||"
2840 c4-.-( d-. e-.-) \bar "||"
2841 c4-. d-. e-. \bar "||"
2853 @section legato curve
2855 @aref{slur}, @aref{legato}.
2865 ES: estanque de lilas,
2866 I: stagno del giglio,
2870 NL: le@-lie@-vij@-ver,
2875 A pond with lilies floating in it, also the name of a music typesetter.
2880 A ligature is a coherent graphical symbol that represents at least two
2881 distinct notes. Ligatures originally appeared in the manuscripts of
2882 Gregorian chant notation roughly since the 9th century to denote
2883 ascending or descending sequences of notes. In early notation,
2884 ligatures were used for monophonic tunes (Gregorian chant) and very
2885 soon denoted also the way of performance in the sense of articulation.
2886 With the invention of the metric system of the white mensural
2887 notation, the need for ligatures to denote such patterns disappeared.
2895 D: Linie, Notenlinie,
2899 FI: viiva, nuottiviiva.
2903 @node long appoggiatura
2904 @section long appoggiatura
2906 ES: apoyatura larga,
2907 I: appoggiatura lunga,
2908 F: appoggiature longue,
2909 D: langer Vorschlag,
2913 FI: pitkä appoggiatura, pitkä etuhele.
2915 @aref{appoggiatura}.
2929 Note value: double length of @aref{breve}.
2932 @lilypond[fragment,notime,ragged-right]
2933 \set Score.automaticBars = ##f
2935 \override NoteHead #'style = #'mensural
2952 @node major interval
2953 @section major interval
2955 ES: intervalo mayor,
2956 I: intervallo maggiore,
2957 F: intervalle majeur,
2958 D: großes Intervall,
2962 FI: suuri intervalli.
2978 @aref{diatonic scale}.
2980 @node meantone temperament
2981 @section meantone temperament
2983 I: accordatura mesotonica,
2984 F: tempérament mésotonique,
2985 D: mitteltönige Stimmung,
2986 NL: middenstemming, middentoonstemming,
2987 DK: middeltonetemperatur,
2988 S: medeltonstemperatur,
2989 FI: keskisävelviritys.
2991 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2992 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2993 @aref{temperament} only a limited set of keys are playable.
2994 Used for tuning keyboard instruments for performance of pre-1650 music.
3008 A group of @aref{beat}s (units of musical time) the first of which
3009 bears an accent. Such groups in numbers of two or more recur consistently
3010 throughout the composition and are marked from each other by
3011 bar-lines. @aref{meter}.
3017 I: mediante, modale,
3025 1.@tie{}The third @b{scale degree}.
3026 2.@tie{}A @aref{chord} having its base tone
3027 a third from that of another chord. For example, the tonic chord may be
3028 replaced by its lower mediant (variant tonic). @aref{functional
3029 harmony}, @aref{relative key}.
3035 FI: melisma, laulettavan tavun sävelkuvio.
3037 A melisma (plural: melismata) is a group of notes or tones sung on one
3038 syllable in plainsong
3040 @node melodic cadence
3041 @section melodic cadence
3050 F: indication de mésure,
3057 The basic scheme of @aref{note value}s and
3058 @aref{accent}s which remains unaltered throughout a composition
3059 or a section of it. For instance, 3/4 meter means that the basic
3060 @aref{note value}s are quarter notes and that a
3061 @aref{measure} consists of three of those. According to
3062 whether there are two, three, or four units to the measure,
3063 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3064 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3066 @lilypond[fragment,line-width=13.0\cm]
3070 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3073 @lilypond[fragment,line-width=13.0\cm]
3077 f8 f f f a16 g a f |
3078 c'8 c c c e16 d e c \bar "||"}
3081 @lilypond[fragment,line-width=13.0\cm]
3085 d4 b8 g b d d c a4 |
3086 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3101 Device indicating the exact tempo of a piece. @aref{metronomic
3104 @node metronomic indication
3105 @section metronomic indication
3107 ES: indicación metronómica,
3108 I: indicazione metronomica,
3109 F: indication métronomique,
3111 NL: metronoom aanduiding,
3113 S: metronomangivelse,
3114 FI: metronomiosoitus.
3116 Exact tempo indication (in beats per minute). Also denoted by
3117 M.M.@: (Mälzels Metronom).
3120 @section mezzo-soprano
3131 The female voice between @aref{soprano} and
3140 D: eingestrichenes@w{ }c,
3142 DK: enstreget@w{ }c,
3143 S: ettstruket@w{ }c,
3146 First C below the 440 Hz A.
3148 @lilypond[fragment,notime,ragged-right]
3149 \set Score.automaticBars = ##f
3150 \override Staff.Clef #'full-size-change = ##t
3170 @aref{diatonic scale}.
3172 @node minor interval
3173 @section minor interval
3175 ES: intervalo mayor,
3176 I: intervallo minore,
3177 F: intervalle mineur,
3178 D: kleines Intervall,
3182 FI: pieni intervalli.
3196 FI: moodi, kirkkosävelasteikko.
3198 @aref{church mode}, @aref{diatonic scale}.
3210 FI: modulaatio, sävellajin vaihdos.
3212 Moving from one @aref{key} to another. For example, the second
3213 subject of a @aref{sonata form} movement modulates to the dominant
3214 key if the key is major and to the @aref{relative key} if the key
3226 FI: mordent, korukuvio.
3245 FI: teema, sävelaihe.
3247 The briefest intelligible and self-contained fragment of a musical theme or
3250 @lilypond[fragment,line-width=13.0\cm]
3251 \override Score.TimeSignature #'break-visibility = #all-invisible
3252 %\override Score.TextScript #'font-style = #'large
3256 \partial 8 g16_"------" fis |
3257 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3258 g8 g,16 a b8 cis d16 s
3274 Greater musical works like @aref{symphony} and
3275 @aref{sonata} most often consist of several -- more or less --
3276 independant pieces called movements.
3279 @section multibar rest
3281 ES: compases de espera,
3285 D: mehrtaktige Pause,
3288 FI: usean tahdin mittainen tauko.
3290 @lilypond[fragment,ragged-right]
3293 \set Score.skipBars = ##t R1*3
3298 @node mixolydian mode
3299 @section mixolydian mode
3301 @aref{diatonic scale}.
3304 @section natural sign
3309 D: Auflösungszeichen,
3310 NL: herstellingsteken,
3311 DK: op@-løsningstegn,
3312 S: återställningstecken,
3317 @node neighbour tones
3318 @section neighbour tones
3320 @aref{appoggiatura}.
3353 Notes are signs by means of which music is fixed in writing. The term is also
3354 used for the sound indicated by a note, and even for the key of the piano
3355 which produces the sound. However, a clear distinction between the terms tone
3356 and @aref{note} is strongly recommended. Briefly, one sees a note,
3363 I: testa, testina, capocchia,
3364 F: t@^ete de la note,
3371 A head-like sign which indicates pitch by its position on a
3372 @aref{staff} provided with a @aref{clef}, and duration
3373 by a variety of shapes such as hollow or black heads with or without
3374 @aref{stem}s, @aref{flag}s, etc. For percussion
3375 instruments (often having no defined pitch) the note head may indicate the
3383 F: durée, valeur (d'une note),
3388 FI: nuotin aika-arvo.
3390 Note values (durations) are measured as fractions, normally 1/2, of the next
3391 higher note value. The longest duration normally used is called
3393 but sometimes (mostly in pre-baroque music) the double length note value
3394 @emph{longa} is used.
3396 @lilypond[fragment,notime,line-width=13.0\cm]
3397 %\override Score.TextScript #'font-style = #'large
3398 \set Score.automaticBars = ##f
3400 \override NoteHead #'style = #'mensural
3401 a\longa_"longa" a\breve_"breve"
3402 \revert NoteHead #'style
3403 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3404 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3407 @lilypond[fragment,notime,line-width=13.0\cm]
3408 %\override Score.TextScript #'font-style = #'large
3409 \set Score.automaticBars = ##f
3411 r\longa_"longa" r\breve_"breve"
3412 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3413 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3416 An augmentation dot after a note multiplies the duration by one and a
3417 half. Another dot adds yet a fourth of the duration.
3419 @lilypond[fragment,line-width=13.0\cm]
3420 %\override Score.TextScript #'font-style = #'large
3423 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3424 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3427 Alternatively note values may be subdivided by other ratios. Most common is
3428 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3429 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3430 dotted notes are also frequently used.
3432 @lilypond[fragment,line-width=13.0\cm]
3433 %\override Score.TextScript #'font-style = #'large
3436 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3437 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3441 @lilypond[fragment,line-width=13.0\cm]
3444 \times 3/2 {g4_"duplets" g} |
3446 \times 6/4 {g8_"quadruplets" g g g} |
3447 g8 g g g g4 \bar "||"
3452 @section octave sign
3454 @aref{G clef}, @aref{F clef}.
3474 I: abbellimento, fioriture,
3475 F: agrément, ornement,
3476 D: Verzierung, Ornament,
3482 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3483 with the diatonic @aref{second} above it. In the music from the
3484 middle of the 19th century and onwards the trill is performed with the main
3485 note first while in the music from the preceding baroque and classic periods
3486 the upper note is played first.
3488 @lilypond[fragment,line-width=13.0\cm]
3490 \context Staff = sa {
3491 % \override Score.TextScript #'font-style = #'large
3493 c2._"pre-1850" b4\trill | c1 \bar "||"
3494 c2._"post-1850" b4\trill | c1 \bar "||"
3498 c2. c32 b c b c b c b | c1
3499 c2. b32 c b c \times 4/5 { b c b c b } | c1
3504 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3506 @emph{prall} (inverted mordent).
3508 @lilypond[fragment,line-width=13.0\cm]
3510 \context Staff = sa {
3511 % \override Score.TextScript #'font-style = #'large
3513 a4_"turn" b\turn c2 \bar "||"
3514 g4_"mordent" a b\mordent a \bar "||"
3515 e'4_"prall" d\prall c2 \bar "||"
3521 e'4 e32[ d e d ~ d8] c2
3526 @aref{appoggiatura}.
3538 FI: ossia, vaihtoehtoinen esitystapa.
3540 Ossia (otherwise) marks an alternative. It is an added staff or piano
3541 score, usually only a few measures long, which presents another version
3542 of the music, for example for small hands.
3554 FI: stemma, instrumenttiosuus.
3556 1.@tie{}In instrumental or choral music the music for the single instrument
3557 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3558 melodic line of the contrapunctal web.
3571 D: Schlagzeug, Schlagwerk,
3577 A family of musical instruments which are played on by striking or
3578 shaking. Percussion instruments commonly used in a symphony orchestra are
3579 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3580 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3583 @node perfect interval
3584 @section perfect interval
3586 ES: intervalo justo,
3587 I: intervallo giusto,
3588 F: intervalle juste,
3589 D: reines Intervall,
3593 FI: puhdas intervalli.
3609 A natural division of the melodic line, comparable to a sentence of speech.
3621 FI: fraseeraus, jäsentäminen.
3623 The clear rendering in musical performance of the @aref{phrase}s of
3624 the melody. Phrasing may be indicated by a @aref{slur}.
3638 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3639 @emph{mezzopiano} (@b{mp}) medium soft.
3660 NL: pizzicato, getokkeld,
3663 FI: pizzicato, näppäillen.
3665 Play by plucking the strings.
3673 D: Polyphonie, Mehrstimmigkeit,
3677 FI: polyfonia, moniäänisyys.
3679 Music written in a combination of several simultaneous voices (parts) of a
3680 more or less pronounced individuality. @aref{counterpoint}.
3693 D: Presto, Sehr schnell,
3694 NL: presto, Sehr schnell,
3697 FI: presto, hyvin nopeasti.
3699 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3700 denotes the highest possible degree of speed.
3702 @node Pythagorean comma
3703 @section Pythagorean comma
3705 ES: coma pitagórico,
3706 I: comma pitagorico,
3707 F: comma pythagoricien,
3708 D: Pythagoräisches Komma,
3709 NL: komma van Pythagoras,
3710 DK: pythagoræisk komma,
3711 S: pytagoreiskt komma,
3712 FI: pytagorinen komma.
3714 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3715 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3716 24 @aref{cent}s higher than the@w{ }C obtained by adding
3717 7@w{ }octaves. The difference between those two pitches is called the
3735 @section quarter note
3738 I: semiminima, nera,
3741 D: Viertel, Viertelnote,
3745 FI: neljännesosanuotti.
3750 @section quarter rest
3752 ES: silencio de negra,
3753 I: pausa di semiminima,
3758 DK:@w{ }fjerdedelspause,
3760 FI: neljännesosatauko.
3779 @section rallentando
3784 D: rallentando, langsamer werden,
3788 FI: rallerdando, hidastuen.
3790 Abbreviation "rall.". @aref{ritardando}.
3793 @section relative key
3796 I: tonalità relativa,
3797 F: tonalité relative,
3799 NL: paralleltoonsoort,
3800 DK: paralleltoneart,
3802 FI: rinnakkaissävellaji.
3804 @aref{major} and @aref{minor} @aref{key}
3805 with the same @aref{key signature}.
3807 @lilypond[fragment,notime,line-width=13.0\cm]
3808 \set Score.automaticBars = ##f
3809 %\override Score.TextScript #'font-style = #'large
3812 es1_"e flat major" f g as bes c d es
3817 @lilypond[fragment,notime,line-width=13.0\cm]
3818 \set Score.automaticBars = ##f
3819 %\override Score.TextScript #'font-style = #'large
3822 c1_"c minor" d es f g a! b! c \bar "||"
3829 ES: barra de repetición,
3831 F: barre de reprise,
3834 DK: gen@-ta@-gel@-se,
3838 @lilypond[fragment,line-width=13.0\cm]
3842 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3846 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3847 @c specify the rest's value.
3875 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3876 fixed unit of time, called @aref{beat}, and in which the normal
3877 @aref{accent} recurs in regular intervals, called
3878 @aref{measure}. The basic scheme of time values is called
3879 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3880 accent. In modern notation such music appears as a free alternation of
3881 different measures. (c) Free rhythm, i.e., the use of temporal values having
3882 no common metrical unit (beat).
3890 D: Ritardando, langsamer werden,
3894 FI: ritardando, hidastuen,
3896 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3908 FI: ritenuto, hidastaen.
3910 Immediate reduction of speed.
3922 FI: asteikko, sävelasteikko.
3924 @aref{diatonic scale}.
3927 @section scale degree
3929 ES: grados de la escala,
3930 I: grado della scala,
3931 F: degré [de la gamme],
3933 NL: trap [van de toonladder],
3936 FI: sävelaste, asteikon sävel.
3938 Names and symbols used in harmonic analysis to denote tones of the scale as
3939 roots of chords. The most important are degrees I = tonic (T), IV =
3940 sub@-do@-mi@-nant (S) and V = dominant (D).
3942 @lilypond[fragment,notime,line-width=13.0\cm]
3943 \set Score.automaticBars = ##f
3945 \context Staff \relative c' {
3949 << { I II III IV V VI VII I }
3955 @aref{functional harmony}.
3963 D: Partitur (full score), Klavierauszug (vocal score)
3969 A copy of orchestral, choral, or chamber music showing what each instrument is
3970 to play, each voice to sing, having each part arranged one underneath the
3971 other on different staves @aref{staff}.
3985 The @aref{interval} between two neigbouring tones of a scale. A
3986 @aref{diatonic scale} consists of alternating
3987 @aref{semitone}s and @aref{whole tone}s, hence the size
3988 of a se@-cond depends on the scale degrees in question.
4002 The @aref{interval} of a minor second. The (usually) smallest
4003 interval in European composed music. The interval between two neighbouring
4004 tones on the piano keyboard -- including black and white keys -- is a
4005 semitone. An octave may be divided into 12@w{ }semitones.
4006 @aref{interval}, @aref{chromatic scale}.
4008 @lilypond[fragment,notime,line-width=13.0\cm]
4009 \set Score.automaticBars = ##f
4010 \relative c'' { g1 gis s a bes s b! c }
4064 @node short appoggiatura
4065 @section short appoggiatura
4067 @aref{appoggiatura}.
4069 @node sixteenth note
4070 @section sixteenth note
4076 D: Sechzehntel, Sechzehntelnote,
4077 NL: zes@-ti@-ende noot,
4078 DK: sekstendedelsnode,
4080 FI: kuudestoistaosanuotti.
4084 @node sixteenth rest
4085 @section sixteenth rest
4087 ES: silencia de semicorchea,
4088 I: pausa di semicroma,
4090 UK: semiquaver rest,
4091 D: Sechzehntelpause,
4093 DK: sekstendedelspause,
4113 @node sixty-fourth note
4114 @section sixty-fourth note
4118 F: quadruple croche,
4119 UK: hemidemisemiquaver,
4120 D: Vierundsechzigstel, Vierundsechzigstelnote,
4121 NL: vierenzestigste noot,
4122 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4123 S: sextiofjärdedelsnot,
4124 FI: kuudeskymmenesneljäsosanuotti.
4128 @node sixty-fourth rest
4129 @section sixty-fourth rest
4131 ES: silencia de semifusa,
4132 I: pausa di semibiscroma,
4133 F: seizième de soupir,
4134 UK: hemidemisemiquaver rest,
4135 D: Vierundsechzigstelpause,
4136 NL: vierenzestigste rust,
4137 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4138 S: sextiofjärdedelspaus,
4139 FI: kuudeskymmenesneljäsosatauko.
4147 I: legatura (di portamento or espressiva),
4149 D: Bogen, Legatobogen, Phrasierungsbogen,
4150 NL: fraseringsboog, legatoboog, streekboog,
4151 DK: legatobue, fraseringsbue,
4155 A slur above or below a group of notes indicates that they are to be played
4156 @aref{legato}, e.g., with one stroke of the violin bow or with one
4160 @section solmization
4168 FI: suhteelliset laulunimet.
4170 General term for systems of designating the degrees of the
4171 @aref{scale}, not by letters, but by syllables (@emph{do}
4172 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4173 (@emph{ti})). @aref{scale degree}.
4187 In its present-day meaning a sonata denotes an instrumental composition for
4188 piano or for some other instrument with piano accompaniment, which consists of
4189 three or four independant pieces, called movements.
4192 @section sonata form
4196 F: [en] forme de sonate,
4198 NL: hoofdvorm, sonatevorm,
4203 A form used frequently for single movements of the @aref{sonata},
4204 @aref{symphony}, quartet, etc. A movement written in sonata form
4205 falls into three sections called @emph{exposition}, @emph{development} and
4206 @emph{recapitulation}. In the exposition the composer introduces some musical
4207 ideas, consisting of a number of themes; in the development section the
4208 composer `develops' this material, and in the recapitulation the composer
4209 repeats the exposition, with certain modifications. The exposition contains a
4210 number of themes that fall into two groups, often called first and second
4211 subject. Other melodies occurring in each group are considered as
4212 continuations of these two. The second theme is in another key, normally in
4213 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4214 @aref{relative key} if the tonic is @aref{minor}.
4231 FI: sopraano, korkea naisääni.
4233 The highest female voice.
4240 F: staccato, piqué, détaché,
4245 FI: staccato, lyhyesti, terävästi.
4247 Playing the note(s) short. Staccato is indicated by a dot above or below the
4250 @lilypond[fragment,ragged-right]
4255 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4264 I: pentagramma, rigo (musicale),
4267 NL: (noten)balk, partij,
4272 A staff (pl. staves) is a series of (normally five) horizontal lines
4273 upon and between which the musical notes are written, thus indicating
4274 (in connection with a @aref{clef}) their pitch. Staves for
4275 @aref{percussion} instruments may have fewer lines.
4288 D: Hals, Notenhals, Stiel,
4294 Vertical line above or below a @aref{note head} shorter than a
4295 whole note. @aref{beam}.
4297 @lilypond[fragment,notime,line-width=13.0\cm]
4298 \set Score.autoBeaming = ##f
4299 \set Score.automaticBars = ##f
4300 %\override Score.TextScript #'font-style = #'large
4321 A family of stringed musical instruments played with a bow. Strings commonly
4322 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4325 @section strong beat
4330 D: betonter Taktteil oder Taktschlag,
4332 D: betonet taktslag,
4333 S: betonat taktslag,
4334 FI: tahdin vahva isku.
4336 @aref{beat}, @aref{accent}, @aref{measure},
4340 @section subdominant
4349 FI: subdominantti, alidominantti.
4351 The fourth @aref{scale degree}. @aref{functional harmony}.
4365 The sixth @aref{scale degree}.
4377 FI: subtoonika, alitoonika.
4379 The seventh @aref{scale degree}.
4382 @section superdominant
4393 The sixth @aref{scale degree}.
4407 The second @aref{scale degree}.
4415 D: Sinfonie, Symphonie,
4421 A symphony may be defined as a @aref{sonata} for orchestra.
4424 @section syncopation
4435 Any deliberate upsetting of the normal pulse of @aref{meter},
4436 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4437 rhythm rests upon the grouping of equal beats into groups of two or three,
4438 with a regularly recurrent accent on the first beat of each group. Any
4439 deviation from this scheme is felt as a disturbance or contradiction between
4440 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4442 @lilypond[fragment,ragged-right]
4447 e c'4 e,8 c'4 e,8 c' ( | c2)
4451 @node syntonic comma
4452 @section syntonic comma
4454 I: comma sintonico (o didimico),
4455 F: comma syntonique,
4456 D: syntonisches Komma,
4457 NL: syntonische komma,
4458 DK: syntonisk komma,
4459 S: syntoniskt komma,
4460 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4461 viritysjärjestelmässä.
4463 Difference between the natural third and the third obtained by Pythagorean
4464 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4475 FI: nuottijärjestelmä.
4477 The collection of staves @aref{staff}, two or more, as used for
4478 writing down of keyboard, chamber, choral, or orchestral music.
4481 @section temperament
4486 D: Stimmung, Tem@-pe@-ra@-tur,
4487 NL: stemming, temperatuur,
4490 FI: viritysjärjestelmä.
4492 Systems of tuning in which the intervals deviate from the acoustically pure
4493 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4495 @node tempo indication
4496 @section tempo indication
4498 ES: indicación de tempo,
4499 I: indicazione di tempo,
4500 F: indication de temps,
4501 D: Zeitmaß, Tempobezeichnung,
4502 NL: tempo aanduiding,
4507 The rate of speed of a composition or a section thereof, ranging from the
4508 slowest to the quickest, as is indicated by tempo marks as
4509 @aref{largo}, @aref{adagio}, @aref{andante},
4510 @aref{allegro}, and @aref{presto}.
4522 FI: tenori, korkea miesääni.
4524 The highest male voice (apart from @aref{counter tenor}).
4552 An indication that a particular note should be held for the whole
4553 length, although this can vary depending on the composer and era.
4569 @node thirty-second note
4570 @section thirty-second note
4576 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4577 NL: twee-endertig@-ste noot,
4578 DK: toogtredivtedelsnode,
4579 S: trettiotvåondelsnot,
4580 FI: kolmanneskymmeneskahdesosanuotti.
4584 @node thirty-second rest
4585 @section thirty-second rest
4587 ES: silencio de fusa,
4588 I: pausa di biscroma,
4589 F: huitième de soupir,
4590 UK: demisemiquaver rest,
4591 D: Zweiunddreissigstel@-pause,
4593 DK: toogtredivtedelspause,
4594 S: trettiotvåondelspaus,
4595 FI: kolmanneskymmeneskahdesosatauko.
4600 @section thorough bass
4603 I: basso continuo, basso numerato,
4605 D: Generalbass, bezifferter Bass,
4606 NL: basso continuo, becijferde bas
4609 FI: kenraalibasso, numeroitu basso.
4611 A method of indicating an accompaniment part by the bass notes only, together
4612 with figures designating the chief @aref{interval}s and
4613 @aref{chord}s to be played above the bass notes.
4615 @lilypond[fragment,line-width=13.0\cm]
4616 \context GrandStaff <<
4617 \context Staff = lh \relative c'' {
4621 << \context Voice = rha {
4624 \context Voice = rhb {
4626 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4630 \context Staff = rh \relative c' {
4633 es8 c d bes c as bes16 as g f | es4
4635 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4643 ES: ligadura de prolongación,
4644 I: legatura (di valore),
4647 NL: overbinding, bindingsboog,
4649 S: bindebåge, överbindning,
4652 A curved line, identical in appearance with the @aref{slur}, which
4653 connects two succesive notes of the same pitch, and which has the function of
4654 uniting them into a single sound (tone) equal to the combined durations.
4656 @lilypond[fragment,notime,ragged-right]
4657 \set Score.automaticBars = ##f
4658 \relative c'' { g2 ~ g4. }
4666 @node time signature
4667 @section time signature
4669 ES: cifra indicadora de compás,
4671 F: chiffrage (chiffres indicateurs), signe de valeur,
4672 D: Taktangabe, Angabe der Taktart,
4675 S: taktartssignatur,
4692 A sound of definite pitch and duration, as distinct from @emph{noise}.
4693 Tone is a primary building material of music.
4694 Music from the 20th century may be based on atonal sounds.
4708 The first @aref{scale degree}.
4709 @aref{functional harmony}.
4712 @section transposition
4723 Shifting a melody up or down in pitch, while keeping the same
4726 @lilypond[fragment,line-width=13.0\cm]
4731 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4736 @lilypond[fragment,line-width=13.0\cm]
4739 \transpose c bes \relative c'' {
4741 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4747 @section treble clef
4750 I: chiave di violino,
4752 D: Violinschlüssel, Sopranschlüssel,
4754 DK:@w{ }diskantnøgle,
4772 On stringed instruments (@aref{strings}) the quick reiteration of
4773 the same tone, produced by a rapid up-and-down movement of the bow
4774 (a). The term is also used for the rapid alternation (b) between two notes of
4775 a @aref{chord}, usually in the distance of a third
4778 @lilypond[fragment,notime,ragged-right]
4779 \set Score.automaticBars = ##f
4780 %\override Score.TextScript #'font-style = #'large
4783 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4784 \repeat "tremolo" 8 { e32_"b" g }
4793 F: triade, accord parfait, accord de trois sons,
4807 F: trille, tremblement, battement (cadence),
4817 @section triple meter
4819 ES: compás compuesto,
4823 NL: driedelige maatsoort,
4859 @section tuning fork
4862 I: diapason, corista,
4870 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4871 give the international pitch for the tone @emph{a} (440 vibrations per
4898 FI: unisono, yksiäänisesti.
4900 Playing of the same notes or the same melody by various instruments (voices)
4901 or by the whole orchestra (choir), either at exactly the same pitch or in a
4907 ES: entrada anacrúsica,
4909 F: anacrouse, levée,
4916 Initial note(s) of a melody occurring before the first bar
4917 line. @aref{measure}, @aref{meter}.
4919 @lilypond[fragment,line-width=13.0\cm]
4923 \partial 4 f4 | bes4. a8 bes4 c |
4924 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4937 FI: ääni, lauluääni.
4939 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4940 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4941 2.@tie{}A melodic layer or part of a polyphonic composition.
4947 I: tempo debole, arsi,
4949 D: unbetonter Taktteil oder Taktschlag,
4951 DK: ubetonet taktslag,
4952 S: obetonat taktslag,
4953 FI: tahdin heikko isku.
4955 @aref{beat}, @aref{measure}, @aref{rhythm}.
4964 D: Ganze, ganze Note,
4975 ES: silencio de redonda,
4976 I: pausa di semibreve,
4979 D: ganze Pause, ganztaktige Pause,
4999 The @aref{interval} of a major second. The interval between two
5000 tones on the piano keyboard with exactly one key between them -- including
5001 black and white keys -- is a whole tone.
5015 A family of blown wooden musical instruments. Today some of these instruments
5016 are actually made from metal. The woodwind instruments commonly used in a
5017 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5019 @node Duration names notes and rests
5020 @chapter Duration names, notes and rests
5023 @item DURATION NAMES, NOTES AND RESTS
5026 @multitable @columnfractions .15 .26 .33 .26
5031 @tab @strong{F (note name / rest name)}
5043 @item @strong{longa}
5058 @item @strong{breve}
5061 @tab brève / double-pause
5073 @item @strong{whole}
5083 @tab koko@-nuotti/@w{-tauko}
5091 @tab blanche / demi-pause
5098 @tab puoli@-nuotti/@w{-tauko}
5103 @item @strong{quarter}
5113 @tab neljännesosa@-nuotti/@w{-tauko}
5118 @item @strong{eighth}
5121 @tab croche / demi-soupir
5128 @tab kahdeksasosa@-nuotti/@w{-tauko}
5133 @item @strong{sixteenth}
5136 @tab double croche / quart de soupir
5143 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5148 @item @strong{thirty-second}
5151 @tab triple croche / huitième de soupir
5153 @tab Zweiunddreissigstel
5154 @tab tweeendertigste
5155 @tab toogtredivtedel
5157 @tab trettiotvåondel
5158 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5163 @item @strong{sixty-fourth}
5164 @tab hemidemisemiquaver
5166 @tab quadruple croche / seizième de soupir
5168 @tab Vierundsechzigstel
5169 @tab vierenzestigste
5170 @tab fireogtred@-sindstyvendedel
5172 @tab sextiofjärdedel
5173 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5177 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5180 @chapter Pitch names
5186 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5187 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5189 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5190 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5194 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5198 @item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab
5200 cis @tab cis @tab cis
5204 @item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab
5206 des @tab des @tab des
5210 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5214 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5218 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5222 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5227 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5233 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5237 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5239 ais @tab ais @tab ais
5243 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5249 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5254 @node Literature used
5255 @unnumbered Literature used
5258 @item The Harvard Dictionary of Music, London 1944. Many more or less
5259 literal quotes from its articles have been included into the item
5262 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5264 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5266 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5269 @item Webster's Revised Unabridged Dictionary, Springfield 1913.