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 @uref{source/Documentation/user/music-glossary.pdf,PDF}
15 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
20 @author Christian Mondrup @c Original author of LilyPond glossary
22 @author François Pinard @c Original glossary of GNU music project,
24 @author Han-Wen Nienhuys @c Dutch glossary
25 @author Jan Nieuwenhuizen @c Dutch glossary
26 @author Dadiv Gonzalez @c Spanish glossary
27 @author Bjoern Jacke @c German glossary
28 @author Neil Jerram @c English glossary translations
29 @author Mats Bengtsson @c Swedish glossary
30 @author Adrian Mariano @c Italian glossary
31 @author Heikki Junes @c Finnish glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk'
35 Copyright @copyright{} 1999--2005 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c FIXME: multiple omfcreators?
48 @omfcreator Christian Mondrup
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
60 This glossary was brought you by
68 @item Christian Mondrup
69 Original author of LilyPond glossary, Danish glossary,
72 @item Fran@,{c}ois Pinard
73 Original glossary of GNU music project, French glossary,
74 @item Han-Wen Nienhuys
76 @item Jan Nieuwenhuizen
81 English glossary translations,
83 Finnish glossary translations.
86 Copyright 1999--2005 by the authors
89 Permission is granted to copy, distribute and/or modify this document
90 under the terms of the GNU Free Documentation License, Version 1.1
91 or any later version published by the Free Software Foundation,
92 without Invariant Sections.
98 @c @everyheading @| @thispage @|
99 @c @evenheading @thispage @| @|
100 @c @oddheading @| @| @thispage @|
102 @include macros.itexi
107 @w{@arrow{}@strong{\word\}}@c
110 @arrow{}@ref{\word\, @strong{\word\}}@c
115 * Musical terms A-Z::
116 * Duration names notes and rests::
121 @node Musical terms A-Z
122 @chapter Musical terms A-Z
124 Languages in this order.
131 @item UK - British English
149 * ancient minor scale::
153 * ascending interval::
154 * augmented interval::
186 * compound interval::
188 * conjunct movement::
201 * descending interval::
203 * diminished interval::
205 * disjunct movement::
207 * dissonant interval::
208 * dominant ninth chord::
209 * dominant seventh chord::
212 * dot (augmentation dot)::
214 * double appoggiatura::
216 * double dotted note::
225 * ecclesiastical mode::
231 * equal temperament::
245 * functional harmony::
259 * inverted interval::
272 * long appoggiatura::
277 * meantone temperament::
284 * metronomic indication::
320 * Pythagorean comma::
342 * short appoggiatura::
346 * sixty-fourth note::
347 * sixty-fourth rest::
375 * thirty-second note::
376 * thirty-second rest::
425 FI: aksentti, korostus.
427 The stress of one tone over others.
437 ES: alteración accidentelle,
439 F: altération accidentelle,
440 D: Vorzeichen, Versetzungszeichen, Akzidenz,
441 NL: toevallig (verplaatsings)teken,
443 S: tillfälligt förtecken,
444 FI: tilapäinen etumerkki.
446 An accidental has the effect of an @aref{alteration} of a note. A
447 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
448 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
449 lowers it by a whole tone. A natural cancels the effect of a previous
452 @lilypond[fragment,notime,line-width=13.0\cm]
453 \set Score.automaticBars = ##f
454 %\override TextScript #'font-style = #'large
456 \context Staff \relative c'' {
457 gis1 gisis ges geses g!
459 \context Lyrics \lyrics {
460 \override Lyrics .LyricText #'self-alignment-X = #-1
461 sharp "db. sharp" flat "db. flat" natural
470 F: accelerando, en accélérant,
471 D: accelerando, schneller werden,
475 FI: accelerando, kiihdyttäen.
489 FI: adagio, hitaasti.
491 It.@: comfortable, easy.
492 1.@tie{}Slow tempo, slower -- especially in even meter -- than
493 @aref{andante} and faster than @aref{largo}.
494 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
495 @aref{sonata}s, symphonies, etc.
503 D: Allegro, Schnell, Fröhlich, Lustig,
507 FI: allegro, nopeasti.
509 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
510 tempo, especially the first and last movements of a @aref{sonata}.
519 NL: verhoging of verlaging,
524 An alteration is the modification, raising or lowering, of a note's
525 pitch. It is established by an @aref{accidental}.
537 FI: altto, matala naisääni.
539 A female voice of low range (@emph{contralto}). Originally the alto was a
540 high male voice (hence the name), which by the use of falsetto reached the
541 height of the female voice. This type of voice is also known as
542 @aref{counter tenor}.
547 ES: clave de do en tercera,
548 I: chiave di contralto,
549 F: clef d'ut troisième ligne,
550 D: Altschlüssel, Bratschenschlüssel,
556 C clef setting middle C on the middle line of the staff
569 FI: ambitus, ääniala, soitinala.
571 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
572 of pitches for a given voice in a part of music. It may also denote
573 the pitch range that a musical instrument is capable of playing.
575 @node ancient minor scale
576 @section ancient minor scale
578 I: scala minore naturale,
579 F: forme du mode mineur ancien, troisème mode, mode hellénique
581 NL: authentieke mineurtoonladder,
584 FI: luonnollinen molliasteikko.
586 @aref{diatonic scale}.
588 @lilypond[fragment,notime,line-width=13.0\cm]
589 \set Score.automaticBars = ##f
606 Walking tempo/character.
609 @section appoggiatura
613 F: appogiature, (port de voix),
618 FI: appoggiatura, etuhele.
620 Ornamental note, usually a second, that is melodically connected with the
621 main note following it. In music before the 19th century a.@: were usually
622 performed on the beat, after that mostly before the beat. While the short
623 a.@: is performed as a short note regardless of the duration of the main note
624 the duration of the long a.@: is proportional to that of the main note.
626 @lilypond[line-width=13.0\cm]
627 \context Voice \relative c'' {
631 %\override Score.TextScript #'font-style = #'large
632 <d a fis>4_"notation" r
633 { \override Stem #'flag-style = #'()
635 \revert Stem #'flag-style
638 { \override Stem #'flag-style = #'()
640 \revert Stem #'flag-style
643 \cadenzaOn a4 \bar "||" \cadenzaOff
645 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
646 \cadenzaOn a4 \bar "||" \cadenzaOff
650 An appoggiatura may have more notes preceding the main note.
652 @lilypond[line-width=13.0\cm]
656 % \override Score.TextScript #'font-style = #'large
657 \grace { bes16 } as8_"notation" as16 bes as8 g |
658 \grace { as16[( bes] } < c as >4-)
659 \grace { as16[( bes] } < c as >4-) \bar "||"
660 \grace { bes16 } as8_"performance" as16 bes as8 g |
661 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
662 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
673 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
675 DK: arpeggio, akkordbrydning,
677 FI: arpeggio, murtosointu.
679 @lilypond[fragment,line-width=13.0\cm]
680 \context PianoStaff <<
681 \context Staff = SA \relative c'' {
684 r8 g16 c e g, c e r8 g,16 c e g, c e |
685 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
686 \context Staff = SB \relative c' {
688 << \context Voice = va {
690 r16 e8. ( e4) r16 e8. ( e4) |
691 r16 d8. ( d4) r16 d8. ( d4) }
692 \context Voice = vb {
699 @node ascending interval
700 @section ascending interval
702 ES: Intervalo ascendente,
703 I: intervallo ascendente,
704 F: intervalle ascendant,
705 D: steigendes Intervall,
706 NL: stijgend interval,
707 DK:@w{ }stigende interval,
708 S: stigande intervall,
709 FI: nouseva intervalli.
711 A distance between a starting lower note and a higher ending note.
713 @node augmented interval
714 @section augmented interval
716 ES: intervalo aumentado,
717 I: intervallo aumentato,
718 F: intervalle augmenté,
719 D: übermäßiges Intervall,
720 NL: overmatig interval,
721 DK: forstørret interval,
722 S: överstigande intervall,
723 FI: ylinouseva intervalli.
732 D: Autograph, Handschrift,
734 DK: håndskrift, autograf,
736 FI: käsinkirjoitettu nuotti.
738 1.@tie{}A manuscript in the composer's own hand.
739 2.@tie{}Music prepared for photoreproduction by freehand drawing,
740 with the aid of a straightedge ruler and T-square only,
741 which attempts to emulate engraving.
742 This required more skill than did engraving.
764 ES: compás, @aref{measure}.
770 I: stanghetta, barra (di divisione),
771 F: barre (de mesure),
788 FI: baritoni, keskikorkuinen miesääni.
790 The male voice intermediate between the @aref{bass} and the
793 @c F: clef de troisième ligne dropped
796 @section baritone clef
798 ES: clave de fa en tercera,
799 I: chiave di baritono,
800 F: clef d' Ut cinquième ligne, clef de Fa troisième,
807 C or F clef setting middle C on the upper staff line.
808 @aref{C clef}, @aref{F clef}.
813 ES: clave de fa en cuarta,
815 F: clé de fa quatrième ligne,
822 A clef setting with middle C on the first top ledger line.
834 FI: basso, matala miesääni.
836 1.@tie{}The lowest male voice.
837 2.@tie{}Sometimes, especially in jazz music, used as
838 an abbreviation for double bass.
852 Line connecting a series of notes (shorter than a quarter note).
853 The number of beams determines the note value of the connected notes.
855 @lilypond[fragment,notime,line-width=13.0\cm]
856 \set Score.automaticBars = ##f
857 %\override TextScript #'font-style = #'large
860 g16_"1/16"[ g g g] s16
861 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
862 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
871 D: Takt, Taktschlag, Zeit (im Takt),
877 Note value used for counting, most often half-, fourth-, and eighth notes.
878 The base counting value and the number of them per measure is indicated at
879 the start of the music.
881 @lilypond[fragment,line-width=13.0\cm]
884 \relative c'' { g4 c b a | g1 \bar "||"}
886 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
900 D: Klammer, Akkolade,
901 NL: accolade, teksthaak,
904 FI: yhdistävä sulkumerkki.
906 Symbol at the start of a system connecting staves. Curly braces are used
907 for connecting piano staves, angular brackets for connecting parts in an
908 orchestral or choral score.
910 @lilypond[fragment,ragged-right]
911 \context GrandStaff <<
912 \relative c''\context Staff = SA { \clef treble g4 e c2 }
913 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
916 @lilypond[fragment,ragged-right]
917 \context StaffGroup <<
918 % \set StaffGroup.minVerticalAlign = #12
919 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
920 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
932 S: brassinstrument, mässingsinstrument,
935 A family of blown musical instruments made of brass, all using a cup formed
936 mouth piece. The brass instruments commonly used in a symphony orchestra are
937 trumpet, trombone, french horn, and tube.
944 D: Atemzeichen, Trennungszeichen,
945 NL: repercussieteken,
946 DK: vejrtrækningstegn,
950 Indication of where to breathe in vocal and wind instrument parts.
963 @aref{note value}, twice as long as a whole note. Mainly used
966 @lilypond[fragment,notime,ragged-right]
967 \set Score.automaticBars = ##f
968 \relative c'' { g\breve }
995 Clef symbol indicating the position of the middle C. Used on all note
998 @lilypond[fragment,notime,line-width=13.0\cm]
999 \set Score.automaticBars = ##f
1000 \override Score.Clef #'full-size-change = ##t
1001 %\override Score.LyricText #'font-style = #'large
1003 \context Staff \relative c' {
1004 \clef soprano c1 s s
1005 \clef mezzosoprano c s s
1008 \clef baritone c s s
1010 \context Lyrics \lyrics {
1011 \override Lyrics .LyricText #'self-alignment-X = #-1
1012 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1026 FI: kadenssi, lopuke.
1028 @aref{harmonic cadence}, @aref{functional harmony}.
1040 FI: kadenssi, lopuke.
1042 An extended, improvisatory style section inserted near the end of
1043 movement. The purpose of a cadenza is to give singers or players a chance
1044 to exhibit their technical skill and -- not last -- their ability to
1045 improvise. Since the middle of the 19th century, however, most cadences have
1046 been written down by the composer.
1058 FI: kaanon, tarkka jäljittely.
1060 @aref{counterpoint}.
1072 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1074 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1075 of an equally tempered @aref{semitone}).
1076 @aref{equal temperament}.
1095 Three or more tones sounding simultaneously. In traditional European music the
1096 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1097 minor @aref{third}) as well as @emph{minor} (minor + major third)
1098 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1099 and five-tone @emph{ninth} major chords are most often used as dominants
1100 (@aref{functional harmony}). A special case is chords having no
1101 third above the lower notes to define their quality as major or minor. Such
1102 chords are denoted open chords
1104 @lilypond[fragment,notime,line-width=13.0\cm]
1105 \set Score.automaticBars = ##f
1106 %\override TextScript #'font-style = #'large
1108 \context Staff \relative c'' {
1116 \context Lyrics \lyrics{
1126 @node chromatic scale
1127 @section chromatic scale
1129 ES: escala cromática,
1131 F: gamme chromatique,
1132 D: chro@-ma@-ti@-sche Tonleiter,
1133 NL: chromatische toonladder,
1134 DK: kromatisk skala,
1136 FI: kromaattinen asteikko.
1138 A scale consisting of all 12 @aref{semitone}s.
1140 @lilypond[fragment,notime,line-width=13.0\cm]
1141 \set Score.automaticBars = ##f
1142 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1146 @section chromaticism
1157 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1160 @section church mode
1162 ES: modo eclesiástico,
1163 I: modo ecclesiastico,
1164 F: mode ecclésiastique,
1169 FI: moodi, kirkkosävellaji.
1171 @aref{diatonic scale}.
1179 D: Schlüssel, Notenschlüssel,
1183 FI: avain, nuottiavain.
1185 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1190 A @emph{cluster} is a range of simultaneously sounding pitches that
1191 may change over time. The set of available pitches to apply usually
1192 depends on the acoustic source. Thus, in piano music, a cluster
1193 typically consists of a continuous range of the semitones as provided
1194 by the piano's fixed set of a chromatic scale. In choral music, each
1195 singer of the choir typically may sing an arbitrary pitch within the
1196 cluster's range that is not bound to any diatonic, chromatic or other
1197 scale. In electronic music, a cluster (theoretically) may even cover
1198 a continuous range of pitches, thus resulting in colored noise, such
1201 Clusters can be denoted in the context of ordinary staff notation by
1202 engraving simple geometrical shapes that replace ordinary notation of
1203 notes. Ordinary notes as musical events specify starting time and
1204 duration of pitches; however, the duration of a note is expressed by
1205 the shape of the note head rather than by the horizontal graphical
1206 extent of the note symbol. In contrast, the shape of a cluster
1207 geometrically describes the development of a range of pitches
1208 (vertical extent) over time (horizontal extent). Still, the
1209 geometrical shape of a cluster covers the area in which any single
1210 pitch contained in the cluster would be notated as an ordinary note.
1212 @lilypond[fragment,relative=2,verbatim,ragged-right]
1213 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1225 FI: komma, korvinkuultava ero äänenkorkeudessa.
1227 Difference in pitch between a note derived from pure tuning and the same note
1228 derived from some other tuning method. @aref{temperament}.
1231 @section common meter
1235 @node compound interval
1236 @section compound interval
1238 ES: intervalo compuesto,
1239 I: intervallo composto,
1240 F: intervalle composé,
1241 D: weites Intervall,
1242 NL: samengesteld interval,
1243 DK: sammensat interval,
1244 S: sammansatt intervall,
1245 FI: oktaavia laajempi intervalli.
1247 Intervals larger than an octave.
1255 F: intervalle complémentaire,
1256 D: Komplementärintervall,
1257 NL: complementair interval,
1258 DK: komplementærinterval,
1259 S: komplementärintervall (?),
1260 FI: täydentävä intervalli.
1262 @aref{inverted interval}.
1264 @node conjunct movement
1265 @section conjunct movement
1267 ES: movimiento conjunto,
1269 F: mouvement conjoint,
1270 D: schritt@-weise, stufenweise Bewegung,
1271 NL: stapsgewijze, trapsgewijze beweging,
1272 DK: trinvis bevægelse,
1274 FI: asteittainen liike.
1276 Progressing melodically by intervals of a second. The opposite of a
1277 @aref{disjunct movement}.
1279 @lilypond[fragment,line-width=13.0\cm]
1280 \key g \major \time 4/4
1281 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1294 FI: konsonanssi, sopusointi.
1313 @section counterpoint
1322 FI: kontrapunkti, ääni ääntä vastaan.
1324 From latin @emph{punctus contra punctum}, note against note. The combination
1325 into a single musical fabric of lines or parts which have distinct melodic
1326 significance. A frequently used polyphonic technique is imitation, in its
1327 strictest form found in the canon needing only one part to be written down
1328 while the other parts are performed with a given displacement. Imitation is
1329 also the contrapunctal technique used in the @emph{fugue} which, since the
1330 music of the baroque era, has been one of the most popular polyphonic
1331 composition methods.
1333 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1334 \override Score.TimeSignature #'break-visibility = #all-invisible
1335 \context PianoStaff <<
1336 \context Staff = SA \relative c' {
1340 << \context Voice = rha {
1342 r1 | r2 r8 g'8 bes d, |
1343 cis4 d r8 e!16 f g8 f16 e |
1344 f8 g16 a bes8 a16 g a8
1346 \context Voice = rhb {
1352 \context Staff = SB \relative c' {
1355 << \context Voice = lha {
1357 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1358 r8 a16 g f8 g16 a bes8 g e! cis' |
1361 \context Voice = lhb {
1370 @section counter tenor
1375 D: Countertenor, Kontratenor,
1378 S: kontratenor, counter tenor,
1384 @section copying music
1386 A music copyist did fast freehand scores and parts on preprinted staff lines
1387 for performance. Some of their conventions (e.g., the placement of note heads
1388 on stems) varied slightly from those of engravers. Some of their working
1389 methods were superior and could well be adopted by music typesetters. This
1390 required more skill than engraving.
1398 D: Crescendo, lauter werden,
1402 FI: cresendo, voimistuen.
1404 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1405 abbreviation ``cresc.''.
1407 @lilypond[fragment,ragged-right]
1408 \key g \major \time 4/4
1409 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1417 F: petites notes précédent l'entrée d'in instrument, réplique,
1424 In a separate part notes belonging to another part with the purpose of hinting
1425 when to start playing. Usually printed in a smaller type.
1430 A custos is a staff symbol that appears at the end of a staff line
1431 with monophonic musical contents (i.e., with a single voice). It
1432 anticipates the pitch of the first note of the following line and thus
1433 helps the player or singer to manage line breaks during performance,
1434 thus enhancing readability of a score.
1436 Custodes were frequently used in music notation until the 16th
1437 century. There were different appearences for different notation
1438 styles. Nowadays, they have survived only in special forms of musical
1439 notation such as via the editio vaticana dating back to the beginning
1445 % \override Staff.Custos #'neutral-position = #4
1446 \override Staff.Custos #'neutral-direction = #down
1447 \override Staff.Custos #'style = #'hufnagel
1455 \consists Custos_engraver
1479 F: da capo, depuis le commencement,
1480 D: da capo, von Anfang,
1484 FI: da capo, alusta.
1486 The term indicates repetition of the piece from the beginning to the end or
1487 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1494 F: dal segno, depuis le signe,
1495 D: dal segno, ab dem Zeichen,
1499 FI: dal segno, lähtien merkistä.
1501 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1502 another place frequently near the beginning marked by a sign:
1504 @lilypond[fragment,ragged-right]
1505 %\override TextScript #'font-style = #'large
1506 \override TextScript #'font-shape = #'italic
1507 \key g \major \time 4/4
1512 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1518 @section decrescendo
1522 D: Decrescendo, leiser werden,
1526 FI: decresendo, hiljentyen.
1528 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1529 or the abbreviation ``decresc.''.
1531 @lilypond[fragment,ragged-right]
1533 \key g \major \time 4/4
1534 d4 \> c b a | g1 \! \bar "|."
1538 @node descending interval
1539 @section descending interval
1541 ES: intervalo descendente,
1542 I: intervallo discendente,
1543 F: intervalle descendant,
1544 D: fallendes Intervall, absteigendes Intervall,
1545 NL: dalend interval,
1546 DK: faldende interval,
1547 S: fallande intervall,
1548 FI: laskeva intervalli.
1550 A distance between a starting higher note and a lower ending note.
1552 @node diatonic scale
1553 @section diatonic scale
1555 ES: escala diatónica,
1557 F: gamme diatonique,
1558 D: diatonische Tonleiter,
1559 NL: diatonische toonladder,
1560 DK: diatonisk skala,
1562 FI: diatoninen asteikko.
1564 A scale consisting of 5@w{ }@aref{whole tone}s and
1565 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1566 of a piano keybord are diatonic.
1568 The church modes are used in gregorial chant and in pre-baroque early
1569 music but also to some extent in newer jazz music.
1571 @lilypond[fragment,notime,ragged-right]
1572 \set Score.automaticBars = ##f
1573 %\override Score.LyricText #'font-style = #'large
1574 %\override Score.TextScript #'font-style = #'large
1576 \context Staff \relative c' {
1578 \override TextScript #'padding = #-4
1579 e^"~~ S" f g a b^"~~ S" c
1581 \context Lyrics \lyrics {
1586 @lilypond[fragment,notime,ragged-right]
1587 \set Score.automaticBars = ##f
1588 %\override Score.LyricText #'font-style = #'large
1589 %\override Score.TextScript #'font-style = #'large
1591 \context Staff \relative c' {
1593 \override TextScript #'padding = #-4
1594 e^"~~ S" f g a b^"~~ S" c d
1596 \context Lyrics \lyrics {
1601 @lilypond[fragment,notime,ragged-right]
1602 \set Score.automaticBars = ##f
1603 %\override Score.LyricText #'font-style = #'large
1604 %\override Score.TextScript #'font-style = #'large
1607 \override TextScript #'padding = #-4
1608 e1^"~~ S" f g a b^"~~ S" c d e
1610 \context Lyrics \lyrics {
1615 @lilypond[fragment,notime,ragged-right]
1616 \set Score.automaticBars = ##f
1617 %\override Score.LyricText #'font-style = #'large
1618 %\override Score.TextScript #'font-style = #'large
1622 \override TextScript #'padding = #-4
1623 b^"~~ S" c d e^"~~ S" f
1625 \context Lyrics \lyrics {
1630 @lilypond[fragment,notime,ragged-right]
1631 \set Score.automaticBars = ##f
1632 %\override Score.LyricText #'font-style = #'large
1633 %\override Score.TextScript #'font-style = #'large
1637 \override TextScript #'padding = #-4
1638 b^"~~ S" c d e^"~~ S" f g }
1639 \context Lyrics \lyrics {
1644 @lilypond[fragment,notime,ragged-right]
1645 \set Score.automaticBars = ##f
1646 %\override Score.LyricText #'font-style = #'large
1647 %\override Score.TextScript #'font-style = #'large
1651 \override TextScript #'padding = #-4
1652 b^"~~ S" c d e^"~~ S" f g a
1654 \context Lyrics \lyrics {
1659 From the beginning of the 17th century the scales used in European
1660 compositional music are primarily the major and the minor scales. In the
1661 harmonic minor scale type an augmented second (A) occurs between the 6th and
1664 @lilypond[fragment,notime,ragged-right]
1665 \set Score.automaticBars = ##f
1666 %\override Score.LyricText #'font-style = #'large
1667 %\override Score.TextScript #'font-style = #'large
1671 \override TextScript #'padding = #-4
1672 e^"~~ S" f g a b^"~~ S" c
1674 \context Lyrics \lyrics {
1679 @lilypond[fragment,notime,ragged-right]
1680 \set Score.automaticBars = ##f
1681 %\override Score.LyricText #'font-style = #'large
1682 %\override Score.TextScript #'font-style = #'large
1686 \override TextScript #'padding = #-4
1687 b^"~~ S" c d e^"~~ S" f g a
1689 \context Lyrics \lyrics {
1694 @lilypond[fragment,notime,ragged-right]
1695 \set Score.automaticBars = ##f
1696 %\override Score.LyricText #'font-style = #'large
1697 %\override Score.TextScript #'font-style = #'large
1701 \override TextScript #'padding = #-4
1702 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1704 \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
1720 \context Lyrics \lyrics {
1725 @node diminished interval
1726 @section diminished interval
1728 ES: intervalo disminuído,
1729 I: intervallo diminuito,
1730 F: intervalle diminué,
1731 D: vermindertes Intervall,
1732 NL: verminderd interval,
1733 DK: formindsket interval,
1734 S: förminskat intervall,
1735 FI: vähennetty intervalli.
1749 FI: diminuendo, hiljentyen.
1753 @node disjunct movement
1754 @section disjunct movement
1756 ES: movimiendo disjunto,
1758 F: mouvement disjoint,
1759 D: sprunghafte Bewegung,
1760 NL: sprongsgewijze beweging,
1761 DK: springende bevægelse,
1762 S: hoppande rörelse,
1763 FI: melodian hyppivä liike.
1765 Progressing melodically by intervals larger than a major second.
1766 Opposite of @aref{conjunct movement}.
1768 @lilypond[fragment,ragged-right]
1773 a4. gis8 b a e cis |
1774 fis2 d4. \bar "||" }
1780 @ref{dissonant interval}.
1782 @node dissonant interval
1783 @section dissonant interval
1785 ES: intervalo disonante, disonancias,
1786 I: intervallo dissonante, dissonanza,
1789 NL: dissonant interval; dissonant,
1790 DK: dissonerende interval, dissonans,
1792 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1796 @node dominant ninth chord
1797 @section dominant ninth chord
1799 I: accordo di nona di dominante,
1800 F: accord de neuvième dominante,
1801 D: Domi@-nant@-nonen@-akkord,
1802 NL: dominant noon akkoord,
1803 DK: dominantnoneakkord,
1804 S: dominantnonackord,
1805 FI: dominanttinoonisointu.
1807 @aref{chord}, @aref{functional harmony}.
1809 @node dominant seventh chord
1810 @section dominant seventh chord
1812 ES: acorde de séptima de dominante,
1813 I: accordo di settima di dominante,
1814 F: accord de septième dominante,
1815 D: Dominantseptakkord,
1816 NL: dominant septiem akkoord,
1817 DK: dominantseptimakkord,
1818 S: dominantseptimackord,
1819 FI: dominanttiseptimisointu.
1821 @aref{chord}, @aref{functional harmony}.
1833 FI: dominantti, huippusointu.
1835 The fifth @aref{scale degree},
1836 @aref{functional harmony}.
1839 @section dorian mode
1844 D: dorisch, dorischer Kirchenton,
1845 NL: dorische toonladder,
1850 @aref{diatonic scale}.
1852 @node dot (augmentation dot)
1853 @section dot (augmentation dot)
1856 I: punto (di valore),
1858 D: Punkt (Verlängerungspunkt),
1867 @section dotted note
1869 ES: nota con puntillo,
1873 NL: gepuncteerde noot,
1876 FI: pisteellinen nuotti.
1880 @node double appoggiatura
1881 @section double appoggiatura
1883 ES: apoyatura doble,
1884 I: appoggiatura doppia,
1885 F: appoggiature double,
1886 D: doppelter Vorschlag,
1887 NL: dubbele voorslag,
1888 DK: dobbelt forslag,
1890 FI: kaksoisappogiatura, kaksoisetuhele.
1892 @aref{appoggiatura}.
1894 @node double bar line
1895 @section double bar line
1900 NL: dubbele maatstreep,
1903 FI: kaksoistahtiviiva.
1905 Indicates the end of a section within a movement.
1907 @node double dotted note
1908 @section double dotted note
1910 ES: nota con dos puntillos,
1911 I: nota doppiamente puntata,
1912 F: note doublement pointée,
1913 D: doppelt punktierte Note,
1914 NL: dubbelgepuncteerde noot,
1915 DK: dob@-belt@-punk@-te@-ret node,
1916 S: dub@-bel@-punk@-te@-rad not,
1917 FI: kaksoispisteellinen nuotti.
1922 @section double flat
1931 FI: kaksoisalennusmerkki.
1936 @section double sharp
1938 ES: doble sostenido,
1943 DK: dob@-belt@-kryds,
1945 FI: kaksoisylennysmerkki.
1950 @section double trill
1956 NL: dubbele triller,
1961 A simultaneous trill on two notes, usually in the distance of a third.
1964 @section duple meter
1970 NL: tweedelige maatsoort,
2001 FI: kesto, aika-arvo.
2006 @section dydimic comma
2008 @aref{syntonic comma}.
2022 @node ecclesiastical mode
2023 @section ecclesiastical mode
2028 @section eighth note
2034 D: Achtel, Achtelnote,
2036 DK: ottendedelsnode,
2038 FI: kahdeksasosanuotti.
2043 @section eighth rest
2045 ES: silencio de corchea,
2051 DK: ottendedelspause,
2053 FI: kahdeksasosatauko.
2058 @section embellishment
2069 D: Notenstechen, Notendruck
2075 Engraving means incising or etching a metal plate for
2076 printing. Photoengraving means drawing music with ink in a manner
2077 similar to drafting or engineering drawing, using similar tools.
2079 The traditional process of music printing is done through cutting in a
2080 plate of metal. Now also the term for the art of music typesetting.
2094 Two notes, intervals, or scales are enharmonic if they have different names
2097 @lilypond[fragment,notime,line-width=13.0\cm]
2098 \set Score.automaticBars = ##f
2099 %\override Score.TextScript #'font-style = #'large
2101 \context Staff \relative c'' {
2102 gis1 s s as s s <des g,!> s s <cis g!> s s
2104 \context Lyrics \lyrics {
2105 \override Lyrics .LyricText #'self-alignment-X = #-1
2106 "g sharp " "a flat " "dim fifth " "augm fourth"
2110 @node equal temperament
2111 @section equal temperament
2114 I: temperamento equabile,
2115 F: tempérament égal,
2116 D: gleichschwebende Stimmung,
2117 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2118 DK: ligesvævende temperatur,
2119 S: liksvävande temperatur,
2122 Tuning system dividing the octave into 12 equal @aref{semitone}s
2123 (precisely 100 @aref{cent}s). @aref{temperament}.
2125 @node expression mark
2126 @section expression mark
2129 I: segno d'espressione,
2130 F: signe d'expression, indication de nuance,
2132 NL: voordrachtsteken,
2133 DK: foredragsbetegnelse,
2134 S: föredragsbeteckning,
2135 FI: nyanssiosoitus, esitysmerkki.
2137 Performance indications concerning 1. volume, dynamics (for example
2138 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2139 @aref{andante}, @aref{allegro}).
2165 The position between the dots of the key symbol is the line of the F below
2166 central@w{ }C. Used on the third, fourth and fifth note line. A
2167 digit@w{ }8 above the clef symbol indicates that the notes must be played
2168 an octave higher (for example bass recorder) while 8@w{ }below the clef
2169 symbol indicates playing an octave lower (for example on double bass
2172 @lilypond[fragment,notime,line-width=13.0\cm]
2173 \set Score.automaticBars = ##f
2174 \override Staff.Clef #'full-size-change = ##t
2175 %\override Score.LyricText #'font-style = #'large
2189 \context Lyrics \lyrics {
2190 % \override Lyrics .LyricText #'self-alignment-X = #-1
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
2364 %\override Score.LyricText #'font-style = #'large
2365 %\override Score.TextScript #'font-style = #'large
2367 \context Voice \relative c'' {
2368 <g e c >1 < a f d > < b g e >
2369 <c a f > < d b g > < e c a > < f d b > }
2370 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
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
2546 % %\override Score.LyricText #'font-style = #'large
2548 \context Staff = SB \relative c {
2550 \partial 4 c4 | f, g c2
2553 \context Lyrics \lyrics {
2565 D: Harmonie, Zusammenklang,
2569 FI: harmonia, yhteissointi.
2571 Tones sounding simultaneously. Two note harmonies fall into the categories
2572 @emph{consonances} and @emph{dissonances}.
2576 @lilypond[fragment,notime,line-width=13.0\cm]
2577 \set Score.automaticBars = ##f
2578 %\override Score.TextScript #'font-style = #'large
2579 \context Voice \relative c'' {
2592 @lilypond[fragment,notime,line-width=13.0\cm]
2593 \set Score.automaticBars = ##f
2594 %\override Score.TextScript #'font-style = #'large
2595 \context Voice \relative c'' {
2596 <g a>1_"second " s s
2597 <g f'>_"seventh " s s
2602 Three note harmony @aref{chord}.
2614 FI: homofonia, yksiäänisyys.
2616 Music in which one voice leads melodically followed by the other voices more
2617 or less in the same rhythm. In contrast to @aref{polyphony}.
2629 FI: intervalli, kahden sävelen korkeusero.
2631 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2632 diminished, or augmented. The augmented fourth and the diminished fifth are
2633 identical (@aref{enharmonic}) and are called @emph{tritonus}
2634 because they consist of three @aref{whole tone}s. The addition
2635 of such two intervals forms an octave.
2637 @lilypond[fragment,notime,line-width=13.0\cm]
2638 \set Score.automaticBars = ##f
2639 %\override Score.LyricText #'font-style = #'large
2640 %\override Score.TextScript #'font-style = #'large
2642 \context Voice \relative c'' {
2647 < gis bes >^"dimin" s
2648 < g! bes >^"minor" s
2652 \context Lyrics \lyrics {
2653 "unisone " "second " "second " "second "
2654 "third " "third " "third " "third"
2658 @lilypond[fragment,notime,line-width=13.0\cm]
2659 \set Score.automaticBars = ##f
2660 %\override Score.LyricText #'font-style = #'large
2661 %\override Score.TextScript #'font-style = #'large
2663 \context Staff \relative c'' {
2664 < g c >1^"perfect" s
2666 < g d' >^"perfect" s
2667 < g des' > ^"dimin" s
2668 < gis es' >^"dimin" s
2669 < g! es' >^"minor" s
2673 \context Lyrics \lyrics {
2674 "fourth " "fourth " "fifth " "fifth "
2675 "sixth " "sixth " "sixth " "sixth"
2679 @lilypond[fragment,notime,line-width=13.0\cm]
2680 \set Score.automaticBars = ##f
2681 %\override Score.LyricText #'font-style = #'large
2682 %\override Score.TextScript #'font-style = #'large
2684 \context Staff \relative c'' {
2685 < gis f'! >1^"dimin" s
2686 < g! f'! >^"minor" s
2687 < g fis' >^"major" s
2691 < g bes' >^"minor" s
2694 \context Lyrics \lyrics {
2695 "seventh " "seventh " "seventh " "octave "
2696 "none " "none " "decime " "decime"
2700 @node inverted interval
2701 @section inverted interval
2703 ES: intervalo invertido,
2704 I: intervallo rivolto,
2705 F: intervalle reversé,
2706 D: umgekehrtes Intervall,
2707 NL: interval inversie,
2708 DK: omvendingsinterval,
2709 S: intervallets omvändning,
2710 FI: käänteisintervalli.
2712 The difference between an interval and an octave.
2714 @lilypond[fragment,notime,line-width=13.0\cm]
2715 \set Score.automaticBars = ##f
2716 %\override Score.TextScript #'font-style = #'large
2717 \context Staff \relative c'' {
2718 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2719 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2720 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2724 @node just intonation
2725 @section just intonation
2727 I: intonazione giusta,
2728 F: intonation juste,
2735 Tuning system in which the notes are obtained by adding and subtracting
2736 natural fifths and thirds. @aref{temperament}.
2750 According to the 12@w{ }tones of the @aref{chromatic scale}
2751 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2752 @aref{key signature}.
2755 @section key signature
2757 ES: armadura de clave,
2758 I: armatura di chiave,
2759 F: armure, armature [de la clé],
2760 D: Vorzeichen, Tonart,
2761 NL: toon@-soort (voortekens),
2764 FI: sävellajiosoitus.
2766 The sharps or flats appearing at the beginning of each staff indicating the
2767 key of the music. @aref{accidental}.
2775 D: Largo, Langsam, Breit,
2779 FI: largo, hitaasti, leveästi.
2781 Very slow in tempo, usually combined with great
2782 expressiveness. @emph{Larghetto} is less slow than largo.
2785 @section leading note
2796 The seventh @aref{scale degree}, a @aref{semitone} below
2797 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2798 upwards) to the tonic scale degree.
2801 @section ledger line
2803 ES: líneas adicionales,
2804 I: tagli addizionali,
2805 F: ligne supplémentaire,
2812 A ledger line is an extension of the staff.
2814 @lilypond[fragment,notime,ragged-right]
2815 \set Score.automaticBars = ##f
2816 \relative c'' { a,1 s c'' }
2831 To be performed (a) without any perceptible interruption between the notes,
2832 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2833 (d) @aref{staccato}.
2835 @lilypond[fragment,notime,line-width=13.0\cm]
2836 \set Score.automaticBars = ##f
2838 \context Staff \relative c'' {
2839 c4-( d e-) \bar "||"
2840 c4-- d-- e-- \bar "||"
2841 c4-.-( d-. e-.-) \bar "||"
2842 c4-. d-. e-. \bar "||"
2844 \context Lyrics \lyrics {
2845 % \override Lyrics .LyricText #'font-style = #'large
2854 @section legato curve
2856 @aref{slur}, @aref{legato}.
2866 ES: estanque de lilas,
2867 I: stagno del giglio,
2871 NL: le@-lie@-vij@-ver,
2876 A pond with lilies floating in it, also the name of a music typesetter.
2881 A ligature is a coherent graphical symbol that represents at least two
2882 distinct notes. Ligatures originally appeared in the manuscripts of
2883 Gregorian chant notation roughly since the 9th century to denote
2884 ascending or descending sequences of notes. In early notation,
2885 ligatures were used for monophonic tunes (Gregorian chant) and very
2886 soon denoted also the way of performance in the sense of articulation.
2887 With the invention of the metric system of the white mensural
2888 notation, the need for ligatures to denote such patterns disappeared.
2896 D: Linie, Notenlinie,
2900 FI: viiva, nuottiviiva.
2904 @node long appoggiatura
2905 @section long appoggiatura
2907 ES: apoyatura larga,
2908 I: appoggiatura lunga,
2909 F: appoggiature longue,
2910 D: langer Vorschlag,
2914 FI: pitkä appoggiatura, pitkä etuhele.
2916 @aref{appoggiatura}.
2930 Note value: double length of @aref{breve}.
2933 @lilypond[fragment,notime,ragged-right]
2934 \set Score.automaticBars = ##f
2936 \override NoteHead #'style = #'mensural
2953 @node major interval
2954 @section major interval
2956 ES: intervalo mayor,
2957 I: intervallo maggiore,
2958 F: intervalle majeur,
2959 D: großes Intervall,
2963 FI: suuri intervalli.
2979 @aref{diatonic scale}.
2981 @node meantone temperament
2982 @section meantone temperament
2984 I: accordatura mesotonica,
2985 F: tempérament mésotonique,
2986 D: mitteltönige Stimmung,
2987 NL: middenstemming, middentoonstemming,
2988 DK: middeltonetemperatur,
2989 S: medeltonstemperatur,
2990 FI: keskisävelviritys.
2992 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2993 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2994 @aref{temperament} only a limited set of keys are playable.
2995 Used for tuning keyboard instruments for performance of pre-1650 music.
3009 A group of @aref{beat}s (units of musical time) the first of which
3010 bears an accent. Such groups in numbers of two or more recur consistently
3011 throughout the composition and are marked from each other by
3012 bar-lines. @aref{meter}.
3018 I: mediante, modale,
3026 1.@tie{}The third @b{scale degree}.
3027 2.@tie{}A @aref{chord} having its base tone
3028 a third from that of another chord. For example, the tonic chord may be
3029 replaced by its lower mediant (variant tonic). @aref{functional
3030 harmony}, @aref{relative key}.
3036 FI: melisma, laulettavan tavun sävelkuvio.
3038 A melisma (plural: melismata) is a group of notes or tones sung on one
3039 syllable in plainsong
3041 @node melodic cadence
3042 @section melodic cadence
3051 F: indication de mésure,
3058 The basic scheme of @aref{note value}s and
3059 @aref{accent}s which remains unaltered throughout a composition
3060 or a section of it. For instance, 3/4 meter means that the basic
3061 @aref{note value}s are quarter notes and that a
3062 @aref{measure} consists of three of those. According to
3063 whether there are two, three, or four units to the measure,
3064 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3065 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3067 @lilypond[fragment,line-width=13.0\cm]
3071 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3074 @lilypond[fragment,line-width=13.0\cm]
3078 f8 f f f a16 g a f |
3079 c'8 c c c e16 d e c \bar "||"}
3082 @lilypond[fragment,line-width=13.0\cm]
3086 d4 b8 g b d d c a4 |
3087 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3102 Device indicating the exact tempo of a piece. @aref{metronomic
3105 @node metronomic indication
3106 @section metronomic indication
3108 ES: indicación metronómica,
3109 I: indicazione metronomica,
3110 F: indication métronomique,
3112 NL: metronoom aanduiding,
3114 S: metronomangivelse,
3115 FI: metronomiosoitus.
3117 Exact tempo indication (in beats per minute). Also denoted by
3118 M.M.@: (Mälzels Metronom).
3121 @section mezzo-soprano
3132 The female voice between @aref{soprano} and
3141 D: eingestrichenes@w{ }c,
3143 DK: enstreget@w{ }c,
3144 S: ettstruket@w{ }c,
3147 First C below the 440 Hz A.
3149 @lilypond[fragment,notime,ragged-right]
3150 \set Score.automaticBars = ##f
3151 \override Staff.Clef #'full-size-change = ##t
3171 @aref{diatonic scale}.
3173 @node minor interval
3174 @section minor interval
3176 ES: intervalo mayor,
3177 I: intervallo minore,
3178 F: intervalle mineur,
3179 D: kleines Intervall,
3183 FI: pieni intervalli.
3197 FI: moodi, kirkkosävelasteikko.
3199 @aref{church mode}, @aref{diatonic scale}.
3211 FI: modulaatio, sävellajin vaihdos.
3213 Moving from one @aref{key} to another. For example, the second
3214 subject of a @aref{sonata form} movement modulates to the dominant
3215 key if the key is major and to the @aref{relative key} if the key
3227 FI: mordent, korukuvio.
3246 FI: teema, sävelaihe.
3248 The briefest intelligible and self-contained fragment of a musical theme or
3251 @lilypond[fragment,line-width=13.0\cm]
3252 \override Score.TimeSignature #'break-visibility = #all-invisible
3253 %\override Score.TextScript #'font-style = #'large
3257 \partial 8 g16_"------" fis |
3258 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3259 g8 g,16 a b8 cis d16 s
3275 Greater musical works like @aref{symphony} and
3276 @aref{sonata} most often consist of several -- more or less --
3277 independant pieces called movements.
3280 @section multibar rest
3282 ES: compases de espera,
3286 D: mehrtaktige Pause,
3289 FI: usean tahdin mittainen tauko.
3291 @lilypond[fragment,ragged-right]
3294 \set Score.skipBars = ##t R1*3
3299 @node mixolydian mode
3300 @section mixolydian mode
3302 @aref{diatonic scale}.
3305 @section natural sign
3310 D: Auflösungszeichen,
3311 NL: herstellingsteken,
3312 DK: op@-løsningstegn,
3313 S: återställningstecken,
3318 @node neighbour tones
3319 @section neighbour tones
3321 @aref{appoggiatura}.
3354 Notes are signs by means of which music is fixed in writing. The term is also
3355 used for the sound indicated by a note, and even for the key of the piano
3356 which produces the sound. However, a clear distinction between the terms tone
3357 and @aref{note} is strongly recommended. Briefly, one sees a note,
3364 I: testa, testina, capocchia,
3365 F: t@^ete de la note,
3372 A head-like sign which indicates pitch by its position on a
3373 @aref{staff} provided with a @aref{clef}, and duration
3374 by a variety of shapes such as hollow or black heads with or without
3375 @aref{stem}s, @aref{flag}s, etc. For percussion
3376 instruments (often having no defined pitch) the note head may indicate the
3384 F: durée, valeur (d'une note),
3389 FI: nuotin aika-arvo.
3391 Note values (durations) are measured as fractions, normally 1/2, of the next
3392 higher note value. The longest duration normally used is called @emph{brevis},
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 the
3505 @emph{prall} (inverted mordent).
3507 @lilypond[fragment,line-width=13.0\cm]
3509 \context Staff = sa {
3510 % \override Score.TextScript #'font-style = #'large
3512 a4_"turn" b\turn c2 \bar "||"
3513 g4_"mordent" a b\mordent a \bar "||"
3514 e'4_"prall" d\prall c2 \bar "||"
3520 e'4 e32[ d e d ~ d8] c2
3525 @aref{appoggiatura}.
3537 FI: ossia, vaihtoehtoinen esitystapa.
3539 Ossia (otherwise) marks an alternative. It is an added staff or piano
3540 score, usually only a few measures long, which presents another version
3541 of the music, for example for small hands.
3553 FI: stemma, instrumenttiosuus.
3555 1.@tie{}In instrumental or choral music the music for the single instrument
3556 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3557 melodic line of the contrapunctal web.
3570 D: Schlagzeug, Schlagwerk,
3576 A family of musical instruments which are played on by striking or
3577 shaking. Percussion instruments commonly used in a symphony orchestra are
3578 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3579 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3582 @node perfect interval
3583 @section perfect interval
3585 ES: intervalo justo,
3586 I: intervallo giusto,
3587 F: intervalle juste,
3588 D: reines Intervall,
3592 FI: puhdas intervalli.
3608 A natural division of the melodic line, comparable to a sentence of speech.
3620 FI: fraseeraus, jäsentäminen.
3622 The clear rendering in musical performance of the @aref{phrase}s of
3623 the melody. Phrasing may be indicated by a @aref{slur}.
3637 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3638 @emph{mezzopiano} (@b{mp}) medium soft.
3659 NL: pizzicato, getokkeld,
3662 FI: pizzicato, näppäillen.
3664 Play by plucking the strings.
3672 D: Polyphonie, Mehrstimmigkeit,
3676 FI: polyfonia, moniäänisyys.
3678 Music written in a combination of several simultaneous voices (parts) of a
3679 more or less pronounced individuality. @aref{counterpoint}.
3692 D: Presto, Sehr schnell,
3693 NL: presto, Sehr schnell,
3696 FI: presto, hyvin nopeasti.
3698 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3699 denotes the highest possible degree of speed.
3701 @node Pythagorean comma
3702 @section Pythagorean comma
3704 ES: coma pitagórico,
3705 I: comma pitagorico,
3706 F: comma pythagoricien,
3707 D: Pythagoräisches Komma,
3708 NL: komma van Pythagoras,
3709 DK: pythagoræisk komma,
3710 S: pytagoreiskt komma,
3711 FI: pytagorinen komma.
3713 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3714 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3715 24 @aref{cent}s higher than the@w{ }C obtained by adding
3716 7@w{ }octaves. The difference between those two pitches is called the
3734 @section quarter note
3737 I: semiminima, nera,
3740 D: Viertel, Viertelnote,
3744 FI: neljännesosanuotti.
3749 @section quarter rest
3751 ES: silencio de negra,
3752 I: pausa di semiminima,
3757 DK:@w{ }fjerdedelspause,
3759 FI: neljännesosatauko.
3778 @section rallentando
3783 D: rallentando, langsamer werden,
3787 FI: rallerdando, hidastuen.
3789 Abbreviation "rall.". @aref{ritardando}.
3792 @section relative key
3795 I: tonalità relativa,
3796 F: tonalité relative,
3798 NL: paralleltoonsoort,
3799 DK: paralleltoneart,
3801 FI: rinnakkaissävellaji.
3803 @aref{major} and @aref{minor} @aref{key}
3804 with the same @aref{key signature}.
3806 @lilypond[fragment,notime,line-width=13.0\cm]
3807 \set Score.automaticBars = ##f
3808 %\override Score.TextScript #'font-style = #'large
3811 es1_"e flat major" f g as bes c d es
3816 @lilypond[fragment,notime,line-width=13.0\cm]
3817 \set Score.automaticBars = ##f
3818 %\override Score.TextScript #'font-style = #'large
3821 c1_"c minor" d es f g a! b! c \bar "||"
3828 ES: barra de repetición,
3830 F: barre de reprise,
3833 DK: gen@-ta@-gel@-se,
3837 @lilypond[fragment,line-width=13.0\cm]
3841 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3845 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3846 @c specify the rest's value.
3874 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3875 fixed unit of time, called @aref{beat}, and in which the normal
3876 @aref{accent} recurs in regular intervals, called
3877 @aref{measure}. The basic scheme of time values is called
3878 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3879 accent. In modern notation such music appears as a free alternation of
3880 different measures. (c) Free rhythm, i.e., the use of temporal values having
3881 no common metrical unit (beat).
3889 D: Ritardando, langsamer werden,
3893 FI: ritardando, hidastuen,
3895 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3907 FI: ritenuto, hidastaen.
3909 Immediate reduction of speed.
3921 FI: asteikko, sävelasteikko.
3923 @aref{diatonic scale}.
3926 @section scale degree
3928 ES: grados de la escala,
3929 I: grado della scala,
3930 F: degré [de la gamme],
3932 NL: trap [van de toonladder],
3935 FI: sävelaste, asteikon sävel.
3937 Names and symbols used in harmonic analysis to denote tones of the scale as
3938 roots of chords. The most important are degrees I = tonic (T), IV =
3939 sub@-do@-mi@-nant (S) and V = dominant (D).
3941 @lilypond[fragment,notime,line-width=13.0\cm]
3942 \set Score.automaticBars = ##f
3943 %\override Score.LyricText #'font-style = #'large
3944 %\set minVerticalAlign = #8
3946 \context Staff \relative c' {
3949 \context Lyrics \lyrics {
3950 << { 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 viritysjärjestelmässä.
4462 Difference between the natural third and the third obtained by Pythagorean
4463 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4474 FI: nuottijärjestelmä.
4476 The collection of staves @aref{staff}, two or more, as used for
4477 writing down of keyboard, chamber, choral, or orchestral music.
4480 @section temperament
4485 D: Stimmung, Tem@-pe@-ra@-tur,
4486 NL: stemming, temperatuur,
4489 FI: viritysjärjestelmä.
4491 Systems of tuning in which the intervals deviate from the acoustically pure
4492 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4494 @node tempo indication
4495 @section tempo indication
4497 ES: indicación de tempo,
4498 I: indicazione di tempo,
4499 F: indication de temps,
4500 D: Zeitmaß, Tempobezeichnung,
4501 NL: tempo aanduiding,
4506 The rate of speed of a composition or a section thereof, ranging from the
4507 slowest to the quickest, as is indicated by tempo marks as
4508 @aref{largo}, @aref{adagio}, @aref{andante},
4509 @aref{allegro}, and @aref{presto}.
4521 FI: tenori, korkea miesääni.
4523 The highest male voice (apart from @aref{counter tenor}).
4551 An indication that a particular note should be held for the whole
4552 length, although this can vary depending on the composer and era.
4568 @node thirty-second note
4569 @section thirty-second note
4575 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4576 NL: twee-endertig@-ste noot,
4577 DK: toogtredivtedelsnode,
4578 S: trettiotvåondelsnot,
4579 FI: kolmanneskymmeneskahdesosanuotti.
4583 @node thirty-second rest
4584 @section thirty-second rest
4586 ES: silencio de fusa,
4587 I: pausa di biscroma,
4588 F: huitième de soupir,
4589 UK: demisemiquaver rest,
4590 D: Zweiunddreissigstel@-pause,
4592 DK: toogtredivtedelspause,
4593 S: trettiotvåondelspaus,
4594 FI: kolmanneskymmeneskahdesosatauko.
4599 @section thorough bass
4602 I: basso continuo, basso numerato,
4604 D: Generalbass, bezifferter Bass,
4605 NL: basso continuo, becijferde bas
4608 FI: kenraalibasso, numeroitu basso.
4610 A method of indicating an accompaniment part by the bass notes only, together
4611 with figures designating the chief @aref{interval}s and
4612 @aref{chord}s to be played above the bass notes.
4614 @lilypond[fragment,line-width=13.0\cm]
4615 \context GrandStaff <<
4616 \context Staff = lh \relative c'' {
4620 << \context Voice = rha {
4623 \context Voice = rhb {
4625 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4629 \context Staff = rh \relative c' {
4632 es8 c d bes c as bes16 as g f | es4
4634 \context Lyrics \lyrics {
4635 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4636 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4637 { "" "" "" "2" "" "" "" "" "" "2" } >>
4645 ES: ligadura de prolongación,
4646 I: legatura (di valore),
4649 NL: overbinding, bindingsboog,
4651 S: bindebåge, överbindning,
4654 A curved line, identical in appearance with the @aref{slur}, which
4655 connects two succesive notes of the same pitch, and which has the function of
4656 uniting them into a single sound (tone) equal to the combined durations.
4658 @lilypond[fragment,notime,ragged-right]
4659 \set Score.automaticBars = ##f
4660 \relative c'' { g2 ~ g4. }
4668 @node time signature
4669 @section time signature
4671 ES: cifra indicadora de compás,
4673 F: chiffrage (chiffres indicateurs), signe de valeur,
4674 D: Taktangabe, Angabe der Taktart,
4677 S: taktartssignatur,
4694 A sound of definite pitch and duration, as distinct from @emph{noise}.
4695 Tone is a primary building material of music.
4696 Music from the 20th century may be based on atonal sounds.
4710 The first @aref{scale degree}.
4711 @aref{functional harmony}.
4714 @section transposition
4725 Shifting a melody up or down in pitch, while keeping the same
4728 @lilypond[fragment,line-width=13.0\cm]
4733 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4738 @lilypond[fragment,line-width=13.0\cm]
4741 \transpose c bes \relative c'' {
4743 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4749 @section treble clef
4752 I: chiave di violino,
4754 D: Violinschlüssel, Sopranschlüssel,
4756 DK:@w{ }diskantnøgle,
4774 On stringed instruments (@aref{strings}) the quick reiteration of
4775 the same tone, produced by a rapid up-and-down movement of the bow
4776 (a). The term is also used for the rapid alternation (b) between two notes of
4777 a @aref{chord}, usually in the distance of a third
4780 @lilypond[fragment,notime,ragged-right]
4781 \set Score.automaticBars = ##f
4782 %\override Score.TextScript #'font-style = #'large
4785 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4786 \repeat "tremolo" 8 { e32_"b" g }
4795 F: triade, accord parfait, accord de trois sons,
4809 F: trille, tremblement, battement (cadence),
4819 @section triple meter
4821 ES: compás compuesto,
4825 NL: driedelige maatsoort,
4861 @section tuning fork
4864 I: diapason, corista,
4872 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4873 give the international pitch for the tone @emph{a} (440 vibrations per second).
4899 FI: unisono, yksiäänisesti.
4901 Playing of the same notes or the same melody by various instruments (voices)
4902 or by the whole orchestra (choir), either at exactly the same pitch or in a
4908 ES: entrada anacrúsica,
4910 F: anacrouse, levée,
4917 Initial note(s) of a melody occurring before the first bar
4918 line. @aref{measure}, @aref{meter}.
4920 @lilypond[fragment,line-width=13.0\cm]
4924 \partial 4 f4 | bes4. a8 bes4 c |
4925 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4938 FI: ääni, lauluääni.
4940 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4941 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4942 2.@tie{}A melodic layer or part of a polyphonic composition.
4948 I: tempo debole, arsi,
4950 D: unbetonter Taktteil oder Taktschlag,
4952 DK: ubetonet taktslag,
4953 S: obetonat taktslag,
4954 FI: tahdin heikko isku.
4956 @aref{beat}, @aref{measure}, @aref{rhythm}.
4965 D: Ganze, ganze Note,
4976 ES: silencio de redonda,
4977 I: pausa di semibreve,
4980 D: ganze Pause, ganztaktige Pause,
5000 The @aref{interval} of a major second. The interval between two
5001 tones on the piano keyboard with exactly one key between them -- including
5002 black and white keys -- is a whole tone.
5016 A family of blown wooden musical instruments. Today some of these instruments
5017 are actually made from metal. The woodwind instruments commonly used in a
5018 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5020 @node Duration names notes and rests
5021 @chapter Duration names, notes and rests
5024 @item DURATION NAMES, NOTES AND RESTS
5027 @multitable @columnfractions .15 .26 .33 .26
5044 @item @strong{longa}
5059 @item @strong{breve}
5074 @item @strong{whole}
5084 @tab koko@-nuotti/@w{-tauko}
5099 @tab puoli@-nuotti/@w{-tauko}
5104 @item @strong{quarter}
5114 @tab neljännesosa@-nuotti/@w{-tauko}
5119 @item @strong{eighth}
5129 @tab kahdeksasosa@-nuotti/@w{-tauko}
5134 @item @strong{sixteenth}
5144 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5149 @item @strong{thirty-second}
5154 @tab Zweiunddreissigstel
5155 @tab tweeendertigste
5156 @tab toogtredivtedel
5158 @tab trettiotvåondel
5159 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5164 @item @strong{sixty-fourth}
5165 @tab hemidemisemiquaver
5167 @tab quadruple croche
5169 @tab Vierundsechzigstel
5170 @tab vierenzestigste
5171 @tab fireogtred@-sindstyvendedel
5173 @tab sextiofjärdedel
5174 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5178 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5181 @chapter Pitch names
5187 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5188 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5190 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5191 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5195 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5199 @item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5200 cis @tab cis @tab cis
5204 @item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5205 des @tab des @tab des
5209 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5213 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5217 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5221 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5225 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as
5230 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5234 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5235 ais @tab ais @tab ais
5239 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5244 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5249 @node Literature used
5250 @unnumbered Literature used
5253 @item The Harvard Dictionary of Music, London 1944. Many more or less
5254 literal quotes from its articles have been included into the item
5257 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5259 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5261 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5264 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
projects / lilypond.git / blob