1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
5 @dircategory GNU music project
7 * Glossary: (lilypond/music-glossary). Glossary of music terms.
11 This document is also available in @uref{music-glossary.ps.gz,gzipped
12 PostScript} and @uref{music-glossary.pdf,PDF}.
17 @author Christian Mondrup @c Original author of LilyPond glossary
19 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
21 @author Han-Wen Nienhuys @c Dutch glossary
22 @author Jan Nieuwenhuizen @c Dutch glossary
23 @author Dadiv Gonzalez @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Mats Bengtsson @c Swedish glossary
27 @author Adrian Mariano @c Italian glossary
28 @author Heikki Junes @c Finnish glossary
30 @c Fixes by Jean-Pierre Coulon and `Dirk'
33 Copyright @copyright{} 1999--2004 by the authors
36 Permission is granted to copy, distribute and/or modify this document
37 under the terms of the GNU Free Documentation License, Version 1.1
38 or any later version published by the Free Software Foundation,
39 without Invariant Sections.
44 @c FIXME: multiple omfcreators?
46 @omfcreator Christian Mondrup
47 @omfdescription Glossary of musical terms with translations
49 @omfcategory Applications|Publishing
56 @chapter Music Glossary
67 @item Christian Mondrup
68 Original author of LilyPond glossary, Danish glossary,
71 @item Fran@,{c}ois Pinard
72 Original glossary of GNU music project, French glossary,
73 @item Han-Wen Nienhuys
75 @item Jan Nieuwenhuizen
80 English glossary translations,
82 Finnish glossary translations.
85 Copyright 1999--2004 by the authors
88 Permission is granted to copy, distribute and/or modify this document
89 under the terms of the GNU Free Documentation License, Version 1.1
90 or any later version published by the Free Software Foundation,
91 without Invariant Sections.
101 @c @everyheading @| @thispage @|
102 @c @evenheading @thispage @| @|
103 @c @oddheading @| @| @thispage @|
105 @include macros.itexi
109 We do not use refs for Info:
111 @w{@arrow{}\word\}@c vs:
112 @w{@arrow{}@pxref{\word\}}@c
114 they look too intrusive (says Han-Wen).
121 @w{@arrow{}@strong{\word\}}@c
124 @arrow{}@ref{\word\, @strong{\word\}}@c
132 @c If we want hypelinks, we must add anchors.
133 @c Hmm, we need the @achor command in the item description itself
134 @c (not before or after) to get mozilla jump to the right place.
137 @item \word\@anchor{\word\}
139 @macro aitemii{one,two}
140 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
142 @macro aitemiii{one,two,three}
143 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
153 @item UK - British English
159 This is an example reference, that points you to the @aref{accent}
183 FI: aksentti, korostus.
185 The stress of one tone over others.
187 @c F: how to distinguish between accidental and key-sig alteration?
191 I: alterazione, accidente,
193 D: Vorzeichen, Versetzungszeichen,
196 S: tillf@"alligt f@"ortecken,
197 FI: tilap@"ainen etumerkki.
199 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
200 @c Akzidenz, NL: toevallig teken, I: accidento.
202 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
203 by a @aref{whole tone}, a flat lowers it by a semitone and a double
204 flat lowers it by a whole tone. A natural cancels the effect of a previous
208 \set Score.automaticBars = ##f
209 %\override TextScript #'font-style = #'large
211 \context Staff \notes\relative c'' {
212 gis1 s s gisis s s ges s s geses s s g!
214 \context Lyrics \lyrics {
215 \override Lyrics .LyricText #'self-alignment-X = #-1
216 "sharp " "db. sharp " "flat " "db. flat " natural
223 F: accelerando, en acc@'el@'erant,
224 D: accelerando, schneller werden,
228 FI: accelerando, kiihdytt@"aen.
240 FI: adagio, hitaasti.
242 It. comfortable, easy.
243 1. Slow tempo, slower -- especially in even meter -- than
244 @aref{andante} and faster than @aref{largo}.
245 2. A movement in slow tempo, especially the second (slow) movement of
246 @aref{sonata}s, symphonies, etc.
252 D: Allegro, Schnell, Fr@"ohlich, Lustig,
256 FI: allegro, nopeasti.
258 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
259 especially the first and last movements of a @aref{sonata}.
269 FI: altto, matala nais@"a@"ani.
271 A female voice of low range (@emph{contralto}). Originally the alto was a high
272 male voice (hence the name) which by the use of falsetto reached the height of
273 the female voice. This type of voice is also known as @aref{counter
277 ES: clave de do en tercera,
278 I: chiave di contralto,
279 F: clef d'ut troisi@`eme ligne,
280 D: Altschl@"ussel, Bratschenschl@"ussel,
286 C clef setting middle C on the middle line of the staff
297 FI: ambitus, @"a@"aniala, soitinala.
299 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
300 of pitches for a given voice in a part of music. It also may denote
301 the pitch range that a musical instrument is capable of playing.
303 @aitem{ancient minor scale}
304 I: scala minore naturale,
305 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
307 NL: authentieke mineurtoonladder,
310 FI: luonnollinen molliasteikko.
313 \set Score.automaticBars = ##f
314 \notes\relative c'' {
326 FI: andante, k@"ayden.
328 Walking tempo/character.
333 F: appogiature, (port de voix),
338 FI: appoggiatura, etuhele.
340 Ornamental note, usually a second, that is melodically connected with the main
341 note that follows it. In music before the 19th century a. were usually
342 performed on the beat, after that mostly before the beat. While the short
343 a. is performed as a short note regardless of the duration of the main note
344 the duration of the long a. is proportional to that of the main note.
347 \context Voice \notes\relative c'' {
351 %\override Score.TextScript #'font-style = #'large
352 <d a fis>4_"notation" r
353 { \override Stem #'flag-style = #'()
355 \revert Stem #'flag-style
358 { \override Stem #'flag-style = #'()
360 \revert Stem #'flag-style
363 \cadenzaOn a4 \bar "||" \cadenzaOff }
364 \notes\relative c'' {
365 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
366 \cadenzaOn a4 \bar "||" \cadenzaOff }
369 An appoggiatura may have more notes preceding the main note.
372 \notes\relative c'' {
375 % \override Score.TextScript #'font-style = #'large
376 \grace { bes16 } as8_"notation" as16 bes as8 g |
377 \grace { as16[( bes] } < c as >4-)
378 \grace { as16[( bes] } < c as >4-) \bar "||"
379 \grace { bes16 } as8_"performance" as16 bes as8 g |
380 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
381 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
390 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
392 DK: arpeggio, akkordbrydning,
394 FI: arpeggio, murtosointu.
397 \notes \context PianoStaff <<
398 \context Staff = SA \relative c'' {
401 r8 g16 c e g, c e r8 g,16 c e g, c e |
402 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
403 \context Staff = SB \relative c' {
405 << \context Voice = va {
407 r16 e8. ( e4) r16 e8. ( e4) |
408 r16 d8. ( d4) r16 d8. ( d4) }
409 \context Voice = vb {
416 @aitem{ascending interval}
417 ES: Intervalo ascendente,
418 I: intervallo ascendente,
419 F: intervalle ascendant,
420 D: steigendes Intervall,
421 NL: stijgend interval,
422 DK:@w{ }stigende interval,
423 S: stigande intervall,
424 FI: nouseva intervalli.
426 A distance between a starting lower note and a higher ending note.
428 @aitem{augmented interval}
429 ES: intervalo aumentado,
430 I: intervallo aumentato,
431 F: intervalle augment@'e,
432 D: @"uberm@"a@ss{}iges Intervall,
433 NL: overmatig interval,
434 DK: forst@o{}rret interval,
435 S: @"overstigande intervall,
436 FI: ylinouseva intervalli.
443 D: Autograph, Handschrift,
445 DK: h@aa{}ndskrift, autograf,
447 FI: k@"asinkirjoitettu nuotti.
449 1. A manuscript in the composer's own hand.
450 2. Music prepared for photoreproduction by freehand drawing,
451 with only the aid of a straightedge ruler and T-square,
452 which attempts to emulate engraving.
453 This required more skill than did engraving.
465 @aitemii{backfall,forefall}
470 I: stanghetta, barra (di divisione),
471 F: barre (de mesure),
479 ES: comp@'as, @aref{measure}.
482 ES: bar@'{@dotless{i}}tono,
489 FI: baritoni, keskikorkuinen mies@"a@"ani.
491 The male voice intermediate between the @aref{bass} and the
494 @c F: clef de troisi@`eme ligne dropped
496 @aitem{baritone clef}
497 ES: clave de fa en tercera,
498 I: chiave di baritono,
499 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
500 D: Baritonschl@"ussel,
506 C or F clef setting middle C on the upper staff line.
507 @aref{C clef}, @aref{F clef}.
510 ES: clave de fa en cuarta,
512 F: cl@'e de fa quatri@`eme ligne,
519 A clef setting with middle C on the first top ledger line.
529 FI: basso, matala mies@"a@"ani.
531 1. The lowest of men's voices.
532 2. Sometimes, especially in jazz music, used as
533 an abbreviation for double bass.
545 Line connecting a series of notes (shorter than a quarter note).
546 The number of beams determine the note value of the connected notes.
549 \set Score.automaticBars = ##f
550 %\override TextScript #'font-style = #'large
551 \notes\relative c'' {
553 g16_"1/16"[ g g g] s16
554 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
555 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
562 D: Takt, Taktschlag, Zeit (im Takt),
568 Note value used for counting, most often half-, fourth-, and eighth notes.
569 The base counting value and the number of them per measure is indicated at
570 the start of the music.
575 \notes\relative c'' { g4 c b a | g1 \bar "||"}
577 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
587 D: Klammer, Akkolade,
588 NL: accolade, teksthaak,
591 FI: yhdist@"av@"a sulkumerkki.
593 Symbol at the start of a system connecting staves. Curly braces are used
594 for connecting piano staves, angular brackets for connecting parts in an
595 orchestral or choral score.
598 \notes\context GrandStaff <<
599 \relative c''\context Staff = SA { \clef treble g4 e c2 }
600 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
604 \context StaffGroup <<
605 % \set StaffGroup.minVerticalAlign = #12
606 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
607 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
616 DK: messingbl@ae{}sere,
617 S: brassinstrument, m@"assingsinstrument,
620 A family of blown musical instruments made of brass all using a cup formed
621 mouth piece. The brass instruments commonly used in a symphony orchestra are
622 trumpet, trombone, french horn, and tube.
627 D: Atemzeichen, Trennungszeichen,
628 NL: repercussieteken,
629 DK: vejrtr@ae{}kningstegn,
633 Indication of where to breathe in vocal and wind instrument parts.
645 @aref{note value} twice as long as a whole note. Mainly used
649 \set Score.automaticBars = ##f
650 \notes\relative c'' { g\breve }
673 Clef symbol indicating the position of the middle C. Used on all note
677 \set Score.automaticBars = ##f
678 \override Score.Clef #'full-size-change = ##t
679 %\override Score.LyricText #'font-style = #'large
681 \context Staff \notes\relative c' {
683 \clef mezzosoprano c s s
688 \context Lyrics \lyrics {
689 \override Lyrics .LyricText #'self-alignment-X = #-1
690 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
702 FI: kadenssi, lopuke.
704 @aref{harmonic cadence}, @aref{functional harmony}.
714 FI: kadenssi, lopuke.
716 An extended, improvisatory style section inserted near the end of
717 movement. The purpose of a cadenza is to give the singer or player a chance to
718 exhibit her technichal skill and not the least her ability to improvise. Since
719 the middle of the 19th century, however, most cadences have been written down
730 FI: kaanon, tarkka j@"aljittely.
742 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
744 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
745 equally tempered @aref{semitone}).
746 @aref{equal temperament}.
761 Three or more tones sounding simultaneously. In traditional European music the
762 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
763 minor @aref{third}) as well as @emph{minor} (minor + major third)
764 chords may be extended with more thirds. Four-tone @emph{seventh chords}
765 and five-tone @emph{ninth} major chords are most often used as dominants
766 (@aref{functional harmony}). A special case is chords having no
767 third above the lower notes to define their quality as major or minor. Such
768 chords are denoted open chords
771 \set Score.automaticBars = ##f
772 %\override TextScript #'font-style = #'large
774 \context Staff \notes\relative c'' {
782 \context Lyrics \lyrics{
783 \override Lyrics .LyricText #'self-alignment-X = #-1
784 "major " "minor " "diminished " "augmented "
785 "seventh-chord " "ninth-chord "
789 @aitem{chromatic scale}
790 ES: escala crom@'atica,
792 F: gamme chromatique,
793 D: chromatische Tonleiter,
794 NL: chromatische toonladder,
797 FI: kromaattinen asteikko.
799 A scale consisting of all 12 @aref{semitone}s.
802 \set Score.automaticBars = ##f
803 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
816 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
818 @aitemii{church mode,ecclesiastical mode}
819 ES: modo eclesi@'astico,
820 I: modo ecclesiastico,
821 F: mode eccl@'esiastique,
826 FI: moodi, kirkkos@"avellaji.
828 @aref{diatonic scale}.
834 D: Schl@"ussel, Notenschl@"ussel,
838 FI: avain, nuottiavain.
840 @aref{C clef}, @aref{F clef}, @aref{G clef}.
844 A @emph{cluster} is a range of simultaneously sounding pitches that
845 may change over time. The set of available pitches to apply usually
846 depends on the acoustic source. Thus, in piano music, a cluster
847 typically consists of a continuous range of the semitones as provided
848 by the piano's fixed set of a chromatic scale. In choral music, each
849 singer of the choir typically may sing an arbitrary pitch within the
850 cluster's range that is not bound to any diatonic, chromatic or other
851 scale. In electronic music, a cluster (theoretically) may even cover
852 a continuous range of pitches, thus resulting in colored noise, such
855 Clusters can be denoted in the context of ordinary staff notation by
856 engraving simple geometrical shapes that replace ordinary notation of
857 notes. Ordinary notes as musical events specify starting time and
858 duration of pitches; however, the duration of a note is expressed by
859 the shape of the note head rather than by the horizontal graphical
860 extent of the note symbol. In contrast, the shape of a cluster
861 geometrically describes the development of a range of pitches
862 (vertical extent) over time (horizontal extent). Still, the
863 geometrical shape of a cluster covers the area in which any single
864 pitch contained in the cluster would be notated as an ordinary note.
866 @lilypond[relative=1,verbatim]
867 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
878 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
880 Difference in pitch between a note derived from pure tuning and the same note
881 derived from some other tuning method. @aref{temperament}.
886 @aitem{compound interval}
887 ES: intervalo compuesto,
888 I: intervallo composto,
889 F: intervalle compos@'e,
891 NL: samengesteld interval,
892 DK: sammensat interval,
893 S: sammansatt intervall,
894 FI: oktaavia laajempi intervalli.
896 Intervals larger than an octave.
902 F: intervalle compl@'ementaire,
903 D: Komplement@"arintervall,
904 NL: complementair interval,
905 DK: komplement@ae{}rinterval,
906 S: komplement@"arintervall (?),
907 FI: t@"aydent@"av@"a intervalli.
909 @aref{inverted interval}.
911 @aitem{conjunct movement}
912 ES: movimiento conjunto,
914 F: mouvement conjoint,
915 D: schrittweise, stufenweise Bewegung,
916 NL: stapsgewijze, trapsgewijze beweging,
917 DK: trinvis bev@ae{}gelse,
918 S: stegvis r@"orelse,
919 FI: asteittainen liike.
921 Melody moving in the narrow steps of the scale.
924 \key g \major \time 4/4
925 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
936 FI: konsonanssi, sopusointi.
960 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
962 From latin @emph{punctus contra punctum}, note against note. The combination
963 into a single musical fabric of lines or parts which have distinct melodic
964 significance. A frequently used polyphonic technique is imitation, in its
965 strictest form found in the canon needing only one part to be written down
966 while the other parts are performed with a given displacement. Imitation is
967 also the contrapunctal technique used in the @emph{fugue} which, since the
968 music of the baroque era, has been one of the most popular polyphonic
971 @lilypond[staffsize=11]
972 \set Score.TimeSignature =\turnOff
973 \notes\context PianoStaff <<
974 \context Staff = SA \relative c' {
978 << \context Voice = rha {
980 r1 | r2 r8 g'8 bes d, |
981 cis4 d r8 e!16 f g8 f16 e |
982 f8 g16 a bes8 a16 g a8
984 \context Voice = rhb {
990 \context Staff = SB \relative c' {
993 << \context Voice = lha {
995 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
996 r8 a16 g f8 g16 a bes8 g e! cis' |
999 \context Voice = lhb {
1007 @aitem{counter tenor}
1014 S: kontratenor, counter tenor,
1019 @aitem{Copying, Music}
1020 A music copyist did fast freehand scores and parts on preprinted staff lines
1021 for performance. Some of their conventions (e.g., the placement of note heads
1022 on stems) varied slightly from those of engravers. Some of their working
1023 methods were superior and could well be adopted by music typesetters. This
1024 required more skill than engraving.
1030 D: Crescendo, lauter werden,
1034 FI: cresendo, voimistuen.
1036 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1037 abbreviation ``cresc.''.
1040 \key g \major \time 4/4
1041 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1047 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1054 In a separate part notes belonging to another part with the purpose of hinting
1055 when to start playing. Usually printed in a smaller type.
1059 A custos is a staff symbol that appears at the end of a staff line
1060 with monophonic musical contents (i.e. with a single voice). It
1061 anticipates the pitch of the first note of the following line and thus
1062 helps the player or singer to manage line breaks during performance,
1063 thus enhancing readability of a score.
1065 Custodes were frequently used in music notation until the 16th
1066 century. There were different appearences for different notation
1067 styles. Nowadays, they have survived only in special forms of musical
1068 notation such as via the editio vaticana dating back to the beginning
1074 % \override Staff.Custos #'neutral-position = #4
1075 \override Staff.Custos #'neutral-direction = #-1
1077 \override Staff.Custos #'style = #'hufnagel
1079 \break < d' a' f''>1
1084 \consists Custos_engraver
1104 F: da capo, depuis le commencement,
1105 D: da capo, von Anfang,
1109 FI: da capo, alusta.
1111 The term indicates repetition of the piece from the beginning to the end or to
1112 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1117 F: dal segno, depuis le signe,
1122 FI: dal segno, merkkiin asti.
1124 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1125 another place frequently near the beginning marked by a sign:
1128 %\override TextScript #'font-style = #'large
1129 \override TextScript #'font-shape = #'italic
1130 \key g \major \time 4/4
1131 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1137 D: Decrescendo, leiser werden,
1141 FI: decresendo, hiljentyen.
1143 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1144 or the abbreviation ``decresc.''.
1147 \notes\relative c'' {
1148 \key g \major \time 4/4
1149 d4 \> c b a | g1 \! \bar "|."
1153 @aitem{descending interval}
1154 ES: intervalo descendente,
1155 I: intervallo discendente,
1156 F: intervalle descendant,
1157 D: fallendes Intervall, absteigendes Intervall,
1158 NL: dalend interval,
1159 DK: faldende interval,
1160 S: fallande intervall,
1161 FI: laskeva intervalli.
1163 A distance between a starting higher note and a lower ending note.
1165 @aitem{diatonic scale}
1166 ES: escala diat@'onica,
1168 F: gamme diatonique,
1169 D: diatonische Tonleiter,
1170 NL: diatonische toonladder,
1171 DK: diatonisk skala,
1173 FI: diatoninen asteikko.
1175 A scale consisting of 5@w{ }@aref{whole tone}s and
1176 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1177 of a piano keybord are diatonic.
1179 The church modes are used in gregorial chant and pre baroque early music but
1180 also to some extent in newer jazz music.
1182 @lilypond[notime,linewidth=110\mm]
1183 \set Score.automaticBars = ##f
1184 %\override Score.LyricText #'font-style = #'large
1185 %\override Score.TextScript #'font-style = #'large
1187 \context Staff \notes\relative c' {
1189 \override TextScript #'padding = #-4
1190 e^"~~ S" f g a b^"~~ S" c
1192 \context Lyrics \lyrics {
1198 \set Score.automaticBars = ##f
1199 %\override Score.LyricText #'font-style = #'large
1200 %\override Score.TextScript #'font-style = #'large
1202 \context Staff \notes\relative c' {
1204 \override TextScript #'padding = #-4
1205 e^"~~ S" f g a b^"~~ S" c d
1207 \context Lyrics \lyrics {
1213 \set Score.automaticBars = ##f
1214 %\override Score.LyricText #'font-style = #'large
1215 %\override Score.TextScript #'font-style = #'large
1217 \notes\relative c' {
1218 \override TextScript #'padding = #-4
1219 e1^"~~ S" f g a b^"~~ S" c d e
1221 \context Lyrics \lyrics {
1227 \set Score.automaticBars = ##f
1228 %\override Score.LyricText #'font-style = #'large
1229 %\override Score.TextScript #'font-style = #'large
1231 \notes\relative c' {
1233 \override TextScript #'padding = #-4
1234 b^"~~ S" c d e^"~~ S" f
1236 \context Lyrics \lyrics {
1242 \set Score.automaticBars = ##f
1243 %\override Score.LyricText #'font-style = #'large
1244 %\override Score.TextScript #'font-style = #'large
1246 \notes\relative c'' {
1248 \override TextScript #'padding = #-4
1249 b^"~~ S" c d e^"~~ S" f g }
1250 \context Lyrics \lyrics {
1256 \set Score.automaticBars = ##f
1257 %\override Score.LyricText #'font-style = #'large
1258 %\override Score.TextScript #'font-style = #'large
1260 \notes\relative c'' {
1262 \override TextScript #'padding = #-4
1263 b^"~~ S" c d e^"~~ S" f g a
1265 \context Lyrics \lyrics {
1270 From the beginning of the 17th century the scales used in European
1271 compositional music are primarily the major and the minor scales. In the
1272 harmonic minor scale type an augmented second (A) occurs between the 6th and
1276 \set Score.automaticBars = ##f
1277 %\override Score.LyricText #'font-style = #'large
1278 %\override Score.TextScript #'font-style = #'large
1280 \notes\relative c' {
1282 \override TextScript #'padding = #-4
1283 e^"~~ S" f g a b^"~~ S" c
1285 \context Lyrics \lyrics {
1291 \set Score.automaticBars = ##f
1292 %\override Score.LyricText #'font-style = #'large
1293 %\override Score.TextScript #'font-style = #'large
1295 \notes\relative c'' {
1297 \override TextScript #'padding = #-4
1298 b^"~~ S" c d e^"~~ S" f g a
1300 \context Lyrics \lyrics {
1306 \set Score.automaticBars = ##f
1307 %\override Score.LyricText #'font-style = #'large
1308 %\override Score.TextScript #'font-style = #'large
1310 \notes\relative c'' {
1312 \override TextScript #'padding = #-4
1313 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1315 \context Lyrics \lyrics {
1321 \set Score.automaticBars = ##f
1322 %\override Score.LyricText #'font-style = #'large
1323 %\override Score.TextScript #'font-style = #'large
1325 \notes\relative c'' {
1327 \override TextScript #'padding = #-4
1328 b^"~~ S" c d e fis gis^"~~ S"
1329 a g! f!^"~~ S" e d c^"~~ S" b a
1331 \context Lyrics \lyrics {
1336 @aitem{diminished interval}
1337 ES: intervalo disminu@'{@dotless{i}}do,
1338 I: intervallo diminuito,
1339 F: intervalle diminu@'e,
1340 D: vermindertes Intervall,
1341 NL: verminderd interval,
1342 DK: formindsket interval,
1343 S: f@"orminskat intervall,
1344 FI: v@"ahennetty intervalli.
1356 FI: diminuendo, hiljentyen.
1360 @aitem{disjunct movement}
1361 ES: movimiendo disjunto,
1363 F: mouvement disjoint,
1364 D: sprunghafte Bewegung,
1365 NL: sprongsgewijze beweging,
1366 DK: springende bev@ae{}gelse,
1367 S: hoppande r@"orelse,
1368 FI: melodian hyppiv@"a liike.
1370 Melody moving in steps greater than those of the
1371 scale. Opposite of @aref{conjunct movement}.
1376 \notes\relative c' {
1378 a4. gis8 b a e cis |
1379 fis2 d4. \bar "||" }
1382 @aitemii{dissonant interval,dissonance}
1383 ES: intervalo disonante, disonancias,
1384 I: intervallo dissonante, dissonanza,
1387 NL: dissonant interval; dissonant,
1388 DK: dissonerende interval, dissonans,
1390 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1394 @aitem{dominant ninth chord}
1395 I: accordo di nona di dominante,
1396 F: accord de neuvi@`eme dominante,
1397 D: Dominantnoneakkord,
1398 NL: dominant noon akkoord,
1399 DK: dominantnoneakkord,
1400 S: dominantnonackord,
1401 FI: dominanttinoonisointu.
1403 @aref{chord}, @aref{functional harmony}.
1405 @aitem{dominant seventh chord}
1406 ES: acorde de s@'eptima de dominante,
1407 I: accordo di settima di dominante,
1408 F: accord de septi@`eme dominante,
1409 D: Dominantseptakkord,
1410 NL: dominant septiem akkoord,
1411 DK: dominantseptimakkord,
1412 S: dominantseptimackord,
1413 FI: dominanttiseptimisointu.
1415 @aref{chord}, @aref{functional harmony}.
1425 FI: dominantti, huippusointu.
1427 The fifth @aref{scale degree},
1428 @aref{functional harmony}.
1434 D: dorisch, dorischer Kirchenton,
1435 NL: dorische toonladder,
1440 @aref{diatonic scale}.
1442 @aitem{dot (augmentation dot)}
1444 I: punto (di valore),
1446 D: Punkt (Verl@"angerungspunkt),
1455 ES: nota con puntillo,
1459 NL: gepuncteerde noot,
1462 FI: pisteellinen nuotti.
1466 @aitem{double appoggiatura}
1467 ES: apoyatura doble,
1468 I: appoggiatura doppia,
1469 F: appoggiature double,
1470 D: doppelter Vorschlag,
1471 NL: dubbele voorslag,
1472 DK: dobbelt forslag,
1474 FI: kaksoisappogiatura, kaksoisetuhele.
1476 @aref{appoggiatura}.
1478 @aitem{double bar line}
1482 NL: dubbele maatstreep,
1485 FI: kaksoistahtiviiva.
1487 Indicates the end of a section within a movement.
1489 @aitem{double dotted note}
1490 ES: nota con dos puntillos,
1491 I: nota doppiamente puntata,
1492 F: note doublement point@'ee,
1493 D: doppelt punktierte Note,
1494 NL: dubbelgepuncteerde noot,
1495 DK: dob@-belt@-punk@-te@-ret node,
1496 S: dub@-bel@-punk@-te@-rad not,
1497 FI: kaksoispisteellinen nuotti.
1509 FI: kaksoisalennusmerkki.
1513 @aitem{double sharp}
1514 ES: doble sostenido,
1519 DK: dob@-belt@-kryds,
1521 FI: kaksoisylennysmerkki.
1525 @aitem{double trill}
1530 NL: dubbele triller,
1535 A simultaneous trill on two notes, usually in the distance of a third.
1542 NL: tweedelige maatsoort,
1569 FI: kesto, aika-arvo.
1573 @aitem{dydimic comma}
1574 @aref{syntonic comma}.
1591 D: Achtel, Achtelnote,
1593 DK: ottendedelsnode,
1594 S: @aa{}ttondelsnot,
1595 FI: kahdeksasosanuotti.
1600 ES: silencio de corchea,
1606 DK: ottendedelspause,
1607 S: @aa{}ttonddelspaus,
1608 FI: kahdeksasosatauko.
1616 D: Notenstechen, Notendruck
1622 Engraving means incising or etching a metal plate for
1623 printing. Photoengraving means drawing music with ink in a manner
1624 similar to drafting or engineering drawing, using similar tools.
1626 The traditional process of music printing is done through cutting in a
1627 plate of metal. Now also the term for the art of music typesetting.
1639 Two notes, intervals, or scales are enharmonic if they have different names
1643 \set Score.automaticBars = ##f
1644 %\override Score.TextScript #'font-style = #'large
1646 \context Staff \notes\relative c'' {
1647 gis1 s s as s s <des g,!> s s <cis g!> s s
1649 \context Lyrics \lyrics {
1650 \override Lyrics .LyricText #'self-alignment-X = #-1
1651 "g sharp " "a flat " "dim fifth " "augm fourth"
1655 @aitem{equal temperament}
1657 I: temperamento equabile,
1658 F: temp@'erament @'egal,
1659 D: gleichschwebende Stimmung,
1660 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1661 DK: ligesv@ae{}vende temperatur,
1662 S: liksv@"avande temperatur,
1665 Tuning system dividing the octave into 12 equal @aref{semitone}s
1666 (precisely 100 @aref{cent}s). @aref{temperament}.
1668 @aitem{expression mark}
1670 I: segno d'espressione,
1671 F: signe d'expression, indication de nuance,
1673 NL: voordrachtsteken,
1674 DK: foredragsbetegnelse,
1675 S: f@"oredragsbeteckning,
1676 FI: nyanssiosoitus, esitysmerkki.
1678 Performance indications concerning 1. volume, dynamics (for example
1679 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1680 @aref{andante}, @aref{allegro}).
1702 The position between the dots of the key symbol is the line of the F below
1703 central@w{ }C. Used on the third, fourth and fifth note line. A
1704 digit@w{ }8 above the clef symbol indicates that the notes must be played
1705 an octave higher (for example bass recorder) while 8@w{ }below the clef
1706 symbol indicates playing an octave lower (for example on double bass
1710 \set Score.automaticBars = ##f
1711 \override Staff.Clef #'full-size-change = ##t
1712 %\override Score.LyricText #'font-style = #'large
1726 \context Lyrics \lyrics {
1727 \override Lyrics .LyricText #'self-alignment-X = #-1
1736 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1741 F: point d'orgue, point d'arr@^et,
1746 FI: fermaatti, pid@"ake.
1748 Prolonged note or rest of indefinite duration.
1752 \notes\relative c'' {
1753 a4 b c2^\fermata \bar "|."
1769 @aitem{figured bass}
1770 ES: bajo cifrado, @aref{thorough bass}.
1778 DK: fingers@ae{}tning,
1779 S: fingers@"attning,
1782 The methodical use of fingers in the playing of instruments.
1784 @aitem{flag,pennant}
1786 I: coda (uncinata), bandiera,
1788 D: Fahne, F@"ahnchen,
1794 Ornament at the end of the stem of a note used for notes with values
1795 less than a quarter note. The number of flags determines the
1799 \set Score.automaticBars = ##f
1800 %\override Score.TextScript #'font-style = #'large
1801 \notes\relative c'' {
1821 @aitemii{forefall,backfall}
1822 @aref{appoggiatura}.
1832 FI: forte, voimakkaasti.
1834 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1835 @emph{mezzoforte} (@b{mf}) medium loud.
1859 @aref{counterpoint}.
1861 @aitem{functional harmony}
1862 ES: armon@'{@dotless{i}}a funcional,
1863 I: armonia funzionale,
1864 F: @'etude des functions,
1866 NL: functionele harmonie,
1867 DK: funktionsanalyse, funktionsharmonik,
1869 FI: harmoniaj@"arjestelm@"a.
1871 A system of harmonic analysis. It is based on the idea that, in a given key,
1872 there are only three functionally different chords: tonic (T, the chord on the
1873 first note of the scale), subdominant (S, the chord on the fourth note), and
1874 dominant (D, the chord on the fifth note). Other are considered to be
1875 variants of the base chords.
1878 \set Score.automaticBars = ##f
1879 %\override Score.LyricText #'font-style = #'large
1880 %\override Score.TextScript #'font-style = #'large
1882 \context Voice \notes\relative c'' {
1883 <g e c >1 < a f d > < b g e >
1884 <c a f > < d b g > < e c a > < f d b > }
1885 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1902 D: G-Schl@"ussel, Violinschl@"ussel,
1908 A clef symbol indicating the G above central@w{ }C. Used on the first
1909 and second note lines. A digit 8 above the clef symbol indicates that
1910 the notes must be played an octave higher while 8 below the clef symbol
1911 indicates playing or singing an octave lower (most tenor parts in choral
1912 scores are notated like that).
1915 \set Score.automaticBars = ##f
1916 \override Staff.Clef #'full-size-change = ##t
1917 %\override Score.LyricText #'font-style = #'large
1919 \notes\relative c'' {
1929 \context Lyrics \lyrics {
1930 \override Lyrics .LyricText #'self-alignment-X = #-1
1931 "french violin clef "
1946 FI: glissando, liukuen.
1948 Letting the pitch slide fluently from one note to the other.
1954 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1960 Notes printed in small types to indicate that their time values are not
1961 counted in the rhythm of the bar. @aref{appoggiatura}.
1969 S: ackolad, b@"ojd klammer,
1970 FI: kaksoisnuottiviivasto.
1974 A combination of two staves with a brace. Usually used for piano music.
1984 FI: grave, raskaasti.
1993 D: Halbe, halbe Note,
2014 @aitem{harmonic cadence}
2015 ES: cadencia (arm@'onica),
2016 I: cadenza (armonica),
2017 F: cadence harmonique,
2019 NL: harmonische cadens,
2020 DK: harmonisk kadence,
2021 S: (harmonisk) kadens,
2022 FI: harmoninen kadenssi.
2024 Sequence of chords that terminate a musical phrase or
2025 section. @aref{functional harmony}.
2028 \notes\context PianoStaff <<
2029 \context Staff = SA \relative c'' {
2033 \partial 4 < c g e >4 |
2034 < c a f > < b g d > < c g e >2
2036 % %\override Score.LyricText #'font-style = #'large
2038 \context Staff = SB \relative c {
2040 \partial 4 c4 | f, g c2
2043 \context Lyrics \lyrics {
2050 ES: armon@'{@dotless{i}}a,
2053 D: Harmonie, Zusammenklang,
2057 FI: harmonia, yhteissointi.
2059 Tones sounding simultaneously. Two note harmonies fall into the categories
2060 @emph{consonances} and @emph{dissonances}.
2065 \set Score.automaticBars = ##f
2066 %\override Score.TextScript #'font-style = #'large
2067 \context Voice \notes\relative c'' {
2081 \set Score.automaticBars = ##f
2082 %\override Score.TextScript #'font-style = #'large
2083 \context Voice \notes\relative c'' {
2084 <g a>1_"second " s s
2085 <g f'>_"seventh " s s
2090 Three note harmony @aref{chord}.
2093 ES: homofon@'{@dotless{i}}a,
2100 FI: homofonia, yksi@"a@"anisyys.
2102 Music in which one voice leads melodically followed by the other voices more
2103 or less in the same rhythm. In contrast to @aref{polyphony}.
2113 FI: intervalli, kahden s@"avelen korkeusero.
2115 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2116 diminished, or augmented. The augmented fourth and the diminished fifth are
2117 identical (@aref{enharmonic}) and are called @emph{tritonus}
2118 because they consist of three @aref{whole tone}s. The addition
2119 of such two forms an octave.
2122 \set Score.automaticBars = ##f
2123 %\override Score.LyricText #'font-style = #'large
2124 %\override Score.TextScript #'font-style = #'large
2126 \context Voice \notes\relative c'' {
2131 < gis bes >^"dimin" s
2132 < g! bes >^"minor" s
2136 \context Lyrics \lyrics {
2137 "unisone " "second " "second " "second "
2138 "third " "third " "third " "third "
2143 \set Score.automaticBars = ##f
2144 %\override Score.LyricText #'font-style = #'large
2145 %\override Score.TextScript #'font-style = #'large
2147 \context Staff \notes\relative c'' {
2150 < g d' >^"perfect" s
2152 < gis es' >^"dimin" s
2153 < g! es' >^"minor" s
2157 \context Lyrics \lyrics {
2158 "fourth " "fourth " "fifth " "fifth "
2159 "sixth " "sixth " "sixth " "sixth "
2164 \set Score.automaticBars = ##f
2165 %\override Score.LyricText #'font-style = #'large
2166 %\override Score.TextScript #'font-style = #'large
2168 \context Staff \notes\relative c'' {
2169 < gis f'! >1^"dimin" s
2170 < g! f'! >^"minor" s
2171 < g fis' >^"major" s
2175 < g bes' >^"minor" s
2178 \context Lyrics \lyrics {
2179 "seventh " "seventh " "seventh " "octave "
2180 "none " "none " "decime " "decime "
2184 @aitem{inverted interval}
2185 ES: intervalo invertido,
2186 I: intervallo rivolto,
2187 F: intervalle revers@'e,
2188 D: umgekehrtes Intervall,
2189 NL: interval inversie,
2190 DK: omvendingsinterval,
2191 S: intervallets omv@"andning,
2192 FI: k@"a@"anteisintervalli.
2194 The difference between an interval and an octave.
2197 \set Score.automaticBars = ##f
2198 %\override Score.TextScript #'font-style = #'large
2199 \context Staff \notes\relative c'' {
2200 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2201 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2202 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2206 @aitem{just intonation}
2207 I: intonazione giusta,
2208 F: intonation juste,
2215 Tuning system in which the notes are obtained by adding and subtracting
2216 natural fifths and thirds. @aref{temperament}.
2228 According to the 12@w{ }tones of the @aref{chromatic scale}
2229 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2230 @aref{key signature}.
2232 @aitem{key signature}
2233 ES: armadura de clave,
2234 I: armatura di chiave,
2235 F: armure, armature [de la cl@'e],
2236 D: Vorzeichen, Tonart,
2237 NL: toon@-soort (voortekens),
2240 FI: s@"avellajiosoitus.
2242 The sharps or flats appearing at the beginning of each staff indicating the
2243 key of the music. @aref{accidental}.
2249 D: Largo, Langsam, Breit,
2253 FI: largo, hitaasti, leve@"asti.
2255 Very slow in tempo, usually combined with great
2256 expressiveness. @emph{Larghetto} is less slow than largo.
2258 @aitem{leading note}
2268 The seventh @aref{scale degree}, a @aref{semitone} below
2269 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2270 upwards) to the tonic scale degree.
2272 @aitemii{ledger line,leger line}
2273 ES: l@'{@dotless{i}}neas adicionales,
2274 I: tagli addizionali,
2275 F: ligne suppl@'ementaire,
2278 DK: hj@ae{}lpelinie,
2282 A ledger line is an extension of the staff.
2285 \set Score.automaticBars = ##f
2286 \notes\relative c'' { a,1 s c'' }
2299 To be performed (a) without any perceptible interruption between the notes
2300 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2301 (d) @aref{staccato}.
2304 \set Score.automaticBars = ##f
2306 \context Staff \notes\relative c'' {
2307 c4-( d e-) \bar "||"
2308 c4-- d-- e-- \bar "||"
2309 c4-.-( d-. e-.-) \bar "||"
2310 c4-. d-. e-. \bar "||"
2312 \context Lyrics \lyrics {
2313 % \override Lyrics .LyricText #'font-style = #'large
2321 @aitem{legato curve}
2322 @aref{slur}, @aref{legato}.
2325 ES: estanque de lilas,
2326 I: stagno del giglio,
2330 NL: le@-lie@-vij@-ver,
2335 A pond with lilies floating in it, also the name of a music typesetter.
2339 A ligature is a coherent graphical symbol that represents at least two
2340 distinct notes. Ligatures originally appeared in the manuscripts of
2341 Gregorian chant notation roughly since the 9th century to denote
2342 ascending or descending sequences of notes. In early notation,
2343 ligatures were used for monophonic tunes (Gregorian chant) and very
2344 soon denoted also the way of performance in the sense of articulation.
2345 With the invention of the metric system of the white mensural
2346 notation, the need for ligatures to denote such patterns disappeared.
2351 ES: l@'{@dotless{i}}nea,
2354 D: Linie, Notenlinie,
2358 FI: viiva, nuottiviiva.
2362 @aitem{long appoggiatura}
2363 ES: apoyatura larga,
2364 I: appoggiatura lunga,
2365 F: appoggiature longue,
2366 D: langer Vorschlag,
2369 S: l@aa{}ngt f@"orslag,
2370 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2372 @aref{appoggiatura}.
2384 Note value: double length of @aref{breve}.
2388 \set Score.automaticBars = ##f
2389 \notes\relative c'' {
2390 \override NoteHead #'style = #'mensural
2395 @aitemii{lyrics,song texts}
2405 @aitem{major interval}
2406 ES: intervalo mayor,
2407 I: intervallo maggiore,
2408 F: intervalle majeur,
2409 D: gro@ss{}es Intervall,
2413 FI: suuri intervalli.
2427 @aref{diatonic scale}.
2429 @aitem{meantone temperament}
2430 I: accordatura mesotonica,
2431 F: temp@'erament m@'esotonique,
2432 D: mittelt@"onige Stimmung,
2433 NL: middenstemming, middentoonstemming,
2434 DK: middeltonetemperatur,
2435 S: medeltonstemperatur,
2436 FI: keskis@"avelviritys.
2438 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2439 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2440 @aref{temperament} only a limited set of keys are playable.
2441 Used for tuning keyboard instruments for performance of pre-1650 music.
2443 @aitem{measure, bar}
2453 A group of @aref{beat}s (units of musical time) the first of which
2454 bears an accent. Such groups in numbers of two or more recur consistently
2455 throughout the composition and are marked from each other by
2456 bar-lines. @aref{meter}.
2460 I: mediante, modale,
2468 1. The third @b{scale degree}.
2469 2. A @aref{chord} having its base tone
2470 a third from that of another chord. For example, the tonic chord may be
2471 replaced by its lower mediant (variant tonic). @aref{functional
2472 harmony}, @aref{relative key}.
2477 FI: melisma, laulettavan tavun s@"avelkuvio.
2479 A melisma (plural: melismata) is a group of notes or tones sung on one
2480 syllable in plainsong
2482 @aitem{melodic cadence}
2488 F: indication de m@'esure,
2495 The basic scheme of @aref{note value}s and
2496 @aref{accent}s which remains unaltered throughout a composition
2497 or a section of it. For instance, 3/4 meter means that the basic
2498 @aref{note value}s are quarter notes and that a
2499 @aref{measure} consists of three of those. According to
2500 whether there are two, three or four units to the measure,
2501 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2502 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2505 \notes\relative c'' {
2508 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2512 \notes\relative c' {
2515 f8 f f f a16 g a f |
2516 c'8 c c c e16 d e c \bar "||"}
2520 \notes\relative c'' {
2523 d4 b8 g b d d c a4 |
2524 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2537 Device indicating the exact tempo of a piece. @aref{metronomic
2540 @aitem{metronomic indication}
2541 ES: indicaci@'on metron@'omica,
2542 I: indicazione metronomica,
2543 F: indication m@'etronomique,
2545 NL: metronoom aanduiding,
2547 S: metronomangivelse,
2548 FI: metronomiosoitus.
2550 Exact tempo indication (in beats per minute). Also denoted by
2551 M.M. (M@"alzels Metronom).
2553 @aitem{mezzo-soprano}
2563 The female voice between @aref{soprano} and
2570 D: eingestrichenes@w{ }c,
2572 DK: enstreget@w{ }c,
2573 S: ettstruket@w{ }c,
2576 First C below the 440 Hz A.
2579 \set Score.automaticBars = ##f
2580 \override Staff.Clef #'full-size-change = ##t
2581 \notes\relative c' {
2598 @aref{diatonic scale}.
2600 @aitem{minor interval}
2601 ES: intervalo mayor,
2602 I: intervallo minore,
2603 F: intervalle mineur,
2604 D: kleines Intervall,
2608 FI: pieni intervalli.
2620 FI: moodi, kirkkos@"avelasteikko.
2622 @aref{church mode}, @aref{diatonic scale}.
2632 FI: modulaatio, s@"avellajin vaihdos.
2634 Moving from one @aref{key} to another. For example, the second
2635 subject of a @aref{sonata form} movement modulates to the dominant
2636 key if the key is major and to the @aref{relative key} if the key
2646 FI: mordent, korukuvio.
2650 @aitemii{motive,motif}
2658 FI: teema, s@"avelaihe.
2660 The briefest intelligible and self-contained fragment of a musical theme or
2664 \set Score.TimeSignature = \turnOff
2665 %\override Score.TextScript #'font-style = #'large
2666 \notes\relative c'' {
2669 \partial 8 g16_"------" fis |
2670 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2671 g8 g,16 a b8 cis d16 s
2685 Greater musical works like @aref{symphony} and
2686 @aref{sonata} most often consist of several -- more or less --
2687 independant pieces called movements.
2689 @aitem{multibar rest}
2690 ES: compases de espera,
2694 D: mehrtaktige Pause,
2697 FI: usean tahdin mittainen tauko.
2700 \notes\relative c'' {
2702 \set Score.skipBars = ##t R1*3
2707 @aitem{mixolydian mode}
2708 @aref{diatonic scale}.
2710 @aitem{natural sign}
2714 D: Aufl@"osungszeichen,
2715 NL: herstellingsteken,
2716 DK: op@-l@o{}sningstegn,
2717 S: @aa{}terst@"allningstecken,
2722 @aitem{neighbour tones}
2723 @aref{appoggiatura}.
2750 Notes are signs by means of which music is fixed in writing. The term is also
2751 used for the sound indicated by a note, and even for the key of the piano
2752 which produces the sound. However, a clear distinction between the terms tone
2753 and @aref{note} is strongly recommended. Briefly, one sees a note,
2758 I: testa, testina, capocchia,
2759 F: t@^ete de la note,
2766 A head like sign which indicates pitch by its position on a
2767 @aref{staff} provided with a @aref{clef}, and duration
2768 by a variety of shapes such as hollow or black heads with or without
2769 @aref{stem}s, @aref{flag}s, etc. For percussion
2770 instruments (often having no defined pitch) the note head may indicate the
2776 F: dur@'ee, valeur (d'une note),
2781 FI: nuotin aika-arvo.
2783 Note values (durations) are measured as fractions, normally 1/2, of the next
2784 higher note value. The longest duration normally used is called @emph{brevis},
2785 but sometimes (mostly in pre baroque music) the double length note value
2786 @emph{longa} is used.
2789 %\override Score.TextScript #'font-style = #'large
2790 \set Score.automaticBars = ##f
2791 \notes\relative c'' {
2792 \override NoteHead #'style = #'mensural
2793 g\longa_"longa" g\breve_"breve"
2794 \revert NoteHead #'style
2795 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2796 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2800 %\override Score.TextScript #'font-style = #'large
2801 \set Score.automaticBars = ##f
2802 \notes\relative c'' {
2803 r\longa_"longa" r\breve_"breve"
2804 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2805 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2808 An augmentation dot after a note multiplies the duration by one and a
2809 half. Another dot adds yet a fourth of the duration.
2812 %\override Score.TextScript #'font-style = #'large
2813 \notes\relative c'' {
2815 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2816 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2819 Alternatively note values may be subdivided by other ratios. Most common is
2820 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2821 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2822 dotted notes are also frequently used.
2825 %\override Score.TextScript #'font-style = #'large
2826 \notes\relative c'' {
2828 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2829 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2834 \notes\relative c'' {
2836 \times 3/2 {g4_"duplets" g} |
2838 \times 6/4 {g8_"quadruplets" g g g} |
2839 g8 g g g g4 \bar "||"
2844 @aref{G clef}, @aref{F clef}.
2858 @aitemiii{ornament,embellishment,accessory}
2860 I: abbellimento, fioriture,
2861 F: agr@'ement, ornement,
2862 D: Verzierung, Ornament,
2868 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2869 with the diatonic @aref{second} above it. In the music from the
2870 middle of the 19th century and onwards the trill is performed with the main
2871 note first while in the music from the preceding baroque and classic periods
2872 the upper note is played first.
2876 \context Staff = sa {
2877 % \override Score.TextScript #'font-style = #'large
2878 \notes\relative c'' {
2879 c2._"pre-1850" b4\trill | c1 \bar "||"
2880 c2._"post-1850" b4\trill | c1 \bar "||"
2883 \notes\relative c'' {
2884 c2. c32 b c b c b c b | c1
2885 c2. b32 c b c \times 4/5 { b c b c b } | c1
2890 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2891 @emph{prall} (inverted mordent).
2895 \context Staff = sa {
2896 % \override Score.TextScript #'font-style = #'large
2897 \notes\relative c'' {
2898 a4_"turn" b\turn c2 \bar "||"
2899 g4_"mordent" a b\mordent a \bar "||"
2900 e'4_"prall" d\prall c2 \bar "||"
2903 \notes\relative c'' {
2906 e'4 e32[ d e d ~ d8] c2
2911 @aref{appoggiatura}.
2921 FI: ossia, vaihtoehtoinen esitystapa.
2923 Ossia (otherwise) marks an alternative. It is an added staff or piano
2924 score, usually only a few measures long, which presents another version
2925 of the music, for example for small hands.
2935 FI: stemma, instrumenttiosuus.
2937 1. In instrumental or choral music the music for the single instrument
2938 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2939 melodic line of the contrapunctal web.
2945 D: Schlagzeug, Schlagwerk,
2949 FI: ly@"om@"asoittimet.
2951 A family of musical instruments which are played on by striking or
2952 shaking. Percussion instruments commonly used in a symphony orchestra are
2953 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2954 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2957 @aitem{perfect interval}
2958 ES: intervalo justo,
2959 I: intervallo giusto,
2960 F: intervalle juste,
2961 D: reines Intervall,
2965 FI: puhdas intervalli.
2979 A natural division of the melodic line, comparable to a sentence of speech.
2989 FI: fraseeraus, j@"asent@"aminen.
2991 The clear rendering in musical performance of the @aref{phrase}s of
2992 the melody. Phrasing may be indicated by a @aref{slur}.
3004 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3005 @emph{mezzopiano} (@b{mp}) medium soft.
3022 NL: pizzicato, getokkeld,
3025 FI: pizzicato, n@"app@"aillen.
3027 Play by plucking the strings.
3030 ES: polifon@'{@dotless{i}}a,
3037 FI: polyfonia, moni@"a@"anisyys.
3039 Music written in a combination of several simultaneous voices (parts) of a
3040 more or less pronounced individuality. @aref{counterpoint}.
3049 D: Presto, Sehr schnell,
3050 NL: presto, Sehr schnell,
3053 FI: presto, hyvin nopeasti.
3055 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3056 denotes the highest possible degree of speed.
3058 @aitem{Pythagorean comma}
3059 ES: coma pitag@'orico,
3060 I: comma pitagorico,
3061 F: comma pythagoricien,
3062 D: Pythagor@"aisches Komma,
3063 NL: komma van Pythagoras,
3064 DK: pythagor@ae{}isk komma,
3065 S: pytagoreiskt komma,
3066 FI: pytagorinen komma.
3068 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3069 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3070 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3071 7@w{ }octaves. The difference between those two pitches is called the
3086 @aitem{quarter note}
3088 I: semiminima, nera,
3091 D: Viertel, Viertelnote,
3095 FI: nelj@"annesosanuotti.
3099 @aitem{quarter rest}
3100 ES: silencio de negra,
3101 I: pausa di semiminima,
3106 DK:@w{ }fjerdedelspause,
3107 S: fj@"ardedelspaus,
3108 FI: nelj@"annesosatauko.
3128 D: rallentando, langsamer werden,
3132 FI. rallerdando, hidastuen,
3134 Abbreviation "rall.". @aref{ritardando}.
3136 @aitem{relative key}
3138 I: tonalit@`a relativa,
3139 F: tonalit@'e relative,
3141 NL: paralleltoonsoort,
3142 DK: paralleltoneart,
3144 FI: rinnakkaiss@"avellaji.
3146 @aref{major} and @aref{minor} @aref{key}
3147 with the same @aref{key signature}.
3150 \set Score.automaticBars = ##f
3151 %\override Score.TextScript #'font-style = #'large
3152 \notes\relative c' {
3154 es1_"e flat major" f g as bes c d es
3160 \set Score.automaticBars = ##f
3161 %\override Score.TextScript #'font-style = #'large
3162 \notes\relative c' {
3164 c1_"c minor" d es f g a! b! c \bar "||"
3169 ES: barra de repetici@'on,
3171 F: barre de reprise,
3174 DK: gen@-ta@-gel@-se,
3181 \notes\relative c'' {
3182 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3186 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3187 @c specify the rest's value.
3211 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3212 fixed unit of time, called @aref{beat}, and in which the normal
3213 @aref{accent} recurs in regular intervals, called
3214 @aref{measure}. The basic scheme scheme of time values is called
3215 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3216 accent. In modern notation such music appears as a free alternation of
3217 different measures. (c) Free rhythm, i.e., the use of temporal values having
3218 no common metrical unit (beat).
3224 D: Ritardando, langsamer werden,
3228 FI. ritardando, hidastuen,
3230 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3240 FI: ritenuto, hidastaen.
3242 Immediate reduction of speed.
3252 FI: asteikko, s@"avelasteikko.
3254 @aref{diatonic scale}.
3256 @aitem{scale degree}
3257 ES: grados de la escala,
3258 I: grado della scala,
3259 F: degr@'e [de la gamme],
3261 NL: trap [van de toonladder],
3264 FI: s@"avelaste, asteikon s@"avel.
3266 Names and symbols used in harmonic analysis to denote tones of the scale as
3267 roots of chords. The most important are degrees I = tonic (T), IV =
3268 sub@-do@-mi@-nant (S) and V = dominant (D).
3271 \set Score.automaticBars = ##f
3272 %\override Score.LyricText #'font-style = #'large
3273 %\set minVerticalAlign = #8
3275 \context Staff \notes\relative c' {
3278 \context Lyrics \lyrics {
3279 << { I II III IV V VI VII I }
3284 @aref{functional harmony}.
3290 D: Partitur (full score), Klavierauszug (vocal score)
3296 A copy of orchestral, choral or chamber music showing what each instrument is
3297 to play, each voice to sing, having each part arranged one underneath the
3298 other on different staves @aref{staff}.
3310 The @aref{interval} between two neigbouring tones of a scale. A
3311 @aref{diatonic scale} consists of alternating
3312 @aref{semitone}s and @aref{whole tone}s, hence the size
3313 of a se@-cond depends on the scale degrees in question.
3325 The @aref{interval} of a minor second. The (usually) smallest
3326 interval in European composed music. The interval between two neighbouring
3327 tones on the piano keyboard -- including black and white keys -- is a
3328 semitone. An octave may be divided into 12@w{ }semitones.
3329 @aref{interval}, @aref{chromatic scale}.
3332 \set Score.automaticBars = ##f
3333 \notes\relative c'' { g1 gis s a bes s b! c }
3348 @aitem{sextuplet, sextolet}
3371 @aitem{short appoggiatura}
3372 @aref{appoggiatura}.
3374 @aitem{sixteenth note}
3379 D: Sechzehntel, Sechzehntelnote,
3380 NL: zes@-ti@-ende noot,
3381 DK: sekstendedelsnode,
3383 FI: kuudestoistaosanuotti.
3387 @aitem{sixteenth rest}
3388 ES: silencia de semicorchea,
3389 I: pausa di semicroma,
3391 UK: semiquaver rest,
3392 D: Sechzehntelpause,
3394 DK: sekstendedelspause,
3412 @aitem{sixty-fourth note}
3415 F: quadruple croche,
3416 UK: hemidemisemiquaver,
3417 D: Vierundsechzigstel, Vierundsechzigstelnote,
3418 NL: vierenzestigste noot,
3419 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3420 S: sextiofj@"ardedelsnot,
3421 FI: kuudeskymmenesnelj@"asosanuotti.
3425 @aitem{sixty-fourth rest}
3426 ES: silencia de semifusa,
3427 I: pausa di semibiscroma,
3428 F: seizi@`eme de soupir,
3429 UK: hemidemisemiquaver rest,
3430 D: Vierundsechzigstelpause,
3431 NL: vierenzestigste rust,
3432 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3433 S: sextiofj@"ardedelspaus,
3434 FI: kuudeskymmenesnelj@"asosatauko.
3440 I: legatura (di portamento or espressiva),
3441 F: liaison, coul@'e,
3442 D: Bogen, Legatobogen, Phrasierungsbogen,
3443 NL: fraseringsboog, legatoboog, streekboog,
3444 DK: legatobue, fraseringsbue,
3448 A slur above or below a group of notes indicates that they are to be played
3449 @aref{legato}, e.g., with one stroke of the violin bow or with one
3459 FI: suhteelliset laulunimet.
3461 General term for systems of designating the degrees of the
3462 @aref{scale}, not by letters, but by syllables (@emph{do}
3463 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3464 (@emph{ti})). @aref{scale degree}.
3476 In its present-day meaning a sonata denotes an instrumental composition for
3477 piano or for some other instrument with piano accompaniment, which consists of
3478 three or four independant pieces, called movements.
3483 F: [en] forme de sonate,
3485 NL: hoofdvorm, sonatevorm,
3490 A form used frequently for single movements of the @aref{sonata},
3491 @aref{symphony}, quartet, etc. A movement written in sonata form
3492 falls into three sections called @emph{exposition}, @emph{development} and
3493 @emph{recapitulation}. In the exposition the composer introduces his musical
3494 ideas, consisting of a number of themes; in the development section he
3495 "develops" this material, and in the recapitulation he repeats the exposition,
3496 with certain modifications, however. The exposition contains a number of themes
3497 which fall into two groups, often called first and second subject. Other
3498 melodies occurring in each group are considered as continuations of these
3499 two. The second theme is in another key, normally in the key of the
3500 @aref{dominant} if the @aref{tonic} is
3501 @aref{major}, and in the @aref{relative key} if the
3502 tonic is @aref{minor}.
3512 FI: sopraano, korkea nais@"a@"ani.
3514 The highest female voice.
3519 F: staccato, piqu@'e, d@'etach@'e,
3524 FI: staccato, lyhyesti, ter@"av@"asti.
3526 Playing the note(s) short. Staccato is indicated by a dot above or below the
3532 \notes\relative c'' {
3534 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3541 I: pentagramma, rigo (musicale),
3544 NL: (noten)balk, partij,
3549 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3550 which the musical notes are written, thus indicating (in connection
3551 with a @aref{clef}) their pitch. Staves for
3552 @aref{percussion} instruments may have fewer lines.
3558 D: Hals, Notenhals, Stiel,
3564 Vertical line above or below a @aref{note head} shorter than a
3565 whole note. @aref{beam}.
3568 \set Score.autoBeaming = ##f
3569 \set Score.automaticBars = ##f
3570 %\override Score.TextScript #'font-style = #'large
3571 \notes\relative c'' {
3589 A family of stringed musical instruments played with a bow. Strings commonly
3590 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3596 D: betonter Taktteil oder Taktschlag,
3598 D: betonet taktslag,
3599 S: betonat taktslag,
3600 FI: tahdin vahva isku.
3602 @aref{beat}, @aref{accent}, @aref{measure},
3613 FI: subdominantti, alidominantti.
3615 The fourth @aref{scale degree}. @aref{functional
3626 FI: alikeskis@"avel.
3628 The sixth @aref{scale degree}.
3638 FI: subtoonika, alitoonika.
3640 The seventh @aref{scale degree}.
3642 @aitem{superdominant}
3652 The sixth @aref{scale degree}.
3664 The second @aref{scale degree}.
3667 ES: sinfon@'{@dotless{i}}a,
3670 D: Sinfonie, Symphonie,
3676 A symphony may be defined as a @aref{sonata} for orchestra.
3688 Any deliberate upsetting of the normal pulse of @aref{meter},
3689 @aref{accent} and @aref{rhythm}. Our system of musical
3690 rhythm rests upon the grouping of equal beats into groups of two or three,
3691 with a regularly recurrent accent on the first beat of each group. Any
3692 deviation from this scheme is felt as a disturbance or contradiction between
3693 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3697 \notes\relative c' {
3700 e c'4 e,8 c'4 e,8 c' ( | c2)
3704 @aitemii{syntonic comma,dydimic comma}
3705 I: comma sintonico (o didimico),
3706 F: comma syntonique,
3707 D: syntonisches Komma,
3708 NL: syntonische komma,
3709 DK: syntonisk komma,
3710 S: syntoniskt komma,
3711 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3713 Difference between the natural third and the third obtained by Pythagorean
3714 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3723 FI: nuottij@"arjestelm@"a.
3725 The collection of staves @aref{staff}, two or more, as used for
3726 writing down of keyboard, chamber, choral, or orchestral music.
3732 D: Stimmung, Temperatur,
3733 NL: stemming, temperatuur,
3736 FI: viritysj@"arjestelm@"a.
3738 Systems of tuning in which the intervals deviate from the acoustically pure
3739 intervals. @aref{meantone temperament}, @aref{equal
3742 @aitem{tempo indication}
3743 ES: indicaci@'on de tempo,
3744 I: indicazione di tempo,
3745 F: indication de temps,
3746 D: Zeitma@ss{}, Tempobezeichnung,
3747 NL: tempo aanduiding,
3750 FI: tempomerkint@"a.
3752 The rate of speed of a composition or a section thereof, ranging from the
3753 slowest to the quickest, as is indicated by tempo marks as
3754 @aref{largo}, @aref{adagio}, @aref{andante},
3755 @aref{allegro}, and @aref{presto}.
3765 FI: tenori, korkea mies@"a@"ani.
3767 The highest voice of men (apart from @aref{counter tenor}).
3793 @aitem{thirty-second note}
3798 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3799 NL: twee-endertig@-ste noot,
3800 DK: toogtredivtedelsnode,
3801 S: trettiotv@aa{}ondelsnot,
3802 FI: kolmanneskymmeneskahdesosanuotti.
3806 @aitem{thirty-second rest}
3807 ES: silencio de fusa,
3808 I: pausa di biscroma,
3809 F: huiti@`eme de soupir,
3810 UK: demisemiquaver rest,
3811 D: Zweiunddreissigstel@-pause,
3813 DK: toogtredivtedelspause,
3814 S: trettiotv@aa{}ondelspaus,
3815 FI: kolmanneskymmeneskahdesosatauko.
3819 @aitemii{thorough bass,figured bass}
3821 I: basso continuo, basso numerato,
3822 F: basse chiffr@'ee,
3823 D: Generalbass, bezifferter Bass,
3824 NL: basso continuo, becijferde bas
3827 FI: kenraalibasso, numeroitu basso.
3829 A method of indicating an accompaniment part by the bass notes only, together
3830 with figures designating the chief @aref{interval}s and
3831 @aref{chord}s to be played above the bass notes.
3834 \context GrandStaff <<
3835 \context Staff = lh \notes\relative c'' {
3839 << \context Voice = rha {
3842 \context Voice = rhb {
3844 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3848 \context Staff = rh \notes\relative c' {
3851 es8 c d bes c as bes16 as g f | es4
3853 \context Lyrics \lyrics {
3854 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3855 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3856 { "" "" "" "2" "" "" "" "" "" "2" } >>
3862 ES: ligadura de prolongaci@'on,
3863 I: legatura (di valore),
3866 NL: overbinding, bindingsboog,
3868 S: bindeb@aa{}ge, @"overbindning,
3871 A curved line, identical in appearance with the @aref{slur}, which
3872 connects two succesive notes of the same pitch, and which has the function of
3873 uniting them into a single sound equal to the combined durations.
3876 \set Score.automaticBars = ##f
3877 \notes\relative c'' { g2 ~ g4. }
3880 @aitem{time signature}
3881 ES: cifra indicadora de comp@'as,
3883 F: chiffrage (chiffres indicateurs), signe de valeur,
3884 D: Taktangabe, Angabe der Taktart,
3887 S: taktartssignatur,
3902 A sound of definite pitch and duration, as distinct from @emph{noise}.
3903 Tone is a primary building material of music.
3904 Music from the 20th century may be based on non tone related sounds.
3916 The first @aref{scale degree}.
3917 @aref{functional harmony}.
3919 @aitem{transposition}
3920 ES: transposici@'on,
3929 Shifting a melody up or down in pitch, while keeping the same
3935 \notes\relative c'' {
3937 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3945 \transpose c bes \relative c'' {
3947 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3954 I: chiave di violino,
3956 D: Violinschl@"ussel, Sopranschl@"ussel,
3958 DK:@w{ }diskantn@o{}gle,
3974 On stringed instruments (@aref{strings}) the quick reiteration of
3975 the same tone, produced by a rapid up-and-down movement movement of the bow
3976 (a). The term is also used for the rapid alternation (b) between two notes of
3977 a @aref{chord}, usually in the distance of a third
3981 \set Score.automaticBars = ##f
3982 %\override Score.TextScript #'font-style = #'large
3983 \notes\relative c' {
3985 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3986 \repeat "tremolo" 8 { e32_"b" g }
3991 ES: tr@'{@dotless{i}}ada,
3993 F: triade, accord parfait, accord de trois sons,
4002 @aitemii{trill,shake}
4005 F: trille, tremblement, battement (cadence),
4014 @aitem{triple meter}
4015 ES: comp@'as compuesto,
4019 NL: driedelige maatsoort,
4039 ES: tr@'{@dotless{i}}tono,
4052 I: diapason, corista,
4060 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4061 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4063 @aitemii{turn,gruppetto}
4076 ES: un@'{@dotless{i}}sono,
4083 FI: unisono, yksi@"a@"anisesti.
4085 Playing of the same notes or the same melody by various instruments (voices)
4086 or by the whole orchestra (choir), either at exactly the same pitch or in a
4090 ES: entrada anacr@'usica,
4092 F: anacrouse, lev@'ee,
4099 Initial note(s) of a melody occurring before the first bar
4100 line. @aref{measure}, @aref{meter}.
4105 \notes\relative c' {
4106 \partial 4 f4 | bes4. a8 bes4 c |
4107 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4118 FI: @"a@"ani, laulu@"a@"ani.
4120 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4121 @aref{contralto}, @aref{tenor},
4122 @aref{baritone}, @aref{bass}.
4123 2. A melodic layer or part of a polyphonic composition.
4127 I: tempo debole, arsi,
4129 D: unbetonter Taktteil oder Taktschlag,
4131 DK: ubetonet taktslag,
4132 S: obetonat taktslag,
4133 FI: tahdin heikko isku.
4135 @aref{beat}, @aref{measure}, @aref{rhythm}.
4142 D: Ganze, ganze Note,
4151 ES: silencio de redonda,
4152 I: pausa di semibreve,
4155 D: ganze Pause, ganztaktige Pause,
4173 The @aref{interval} of a major second. The interval between two
4174 tones on the piano keyboard with exactly one key between them -- including
4175 black and white keys -- is a whole tone.
4183 DK tr@ae{}bl@ae{}sere,
4184 S: tr@"abl@aa{}sare,
4187 A family of blown wooden musical instruments. Today some of these instruments
4188 are actually made from metal. The woodwind instruments commonly used in a
4189 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4196 @item DURATION NAMES, NOTES AND RESTS
4199 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4201 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4202 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4206 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4207 @tab longa @tab longa @tab longa
4211 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4212 brevis @tab brevis @tab brevis @tab brevis
4216 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4217 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4221 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4222 halve @tab halv @tab halv @tab puoli- @tab
4226 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4227 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4231 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4232 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4236 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4237 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4238 @tab kuudestoistaosa- @tab
4242 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4243 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4244 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4248 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4249 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4250 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4251 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4254 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4262 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4264 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4265 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4269 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4273 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4274 cis @tab cis @tab cis
4278 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4279 des @tab des @tab des
4283 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4287 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4291 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4295 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4299 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4304 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4308 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4309 ais @tab ais @tab ais
4313 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4318 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4326 @item ---------------------
4330 @item Literature used
4331 The Harvard Dictionary of Music, London 1944. Many more or less literal
4332 quotes from its articles have been included into the item explanation texts.
4334 Hugo Riemanns Musiklexicon, Berlin 1929.
4336 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4337 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.