1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
7 This document is also available in @uref{music-glossary.ps.gz,gzipped
8 PostScript} and @uref{music-glossary.pdf,PDF}.
13 @author Christian Mondrup @c Original author of LilyPond glossary
15 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
17 @author Han-Wen Nienhuys @c Dutch glossary
18 @author Jan Nieuwenhuizen @c Dutch glossary
19 @author Dadiv Gonzalez @c Spanish glossary
20 @author Bjoern Jacke @c German glossary
21 @author Neil Jerram @c English glossary translations
22 @author Mats Bengtsson @c Swedish glossary
23 @author Adrian Mariano @c Italian glossary
24 @author Heikki Junes @c Finnish glossary
26 @c Fixes by Jean-Pierre Coulon and `Dirk'
29 Copyright @copyright{} 1999--2004 by the authors
32 Permission is granted to copy, distribute and/or modify this document
33 under the terms of the GNU Free Documentation License, Version 1.1
34 or any later version published by the Free Software Foundation,
35 without Invariant Sections.
40 @c FIXME: multiple omfcreators?
42 @omfcreator Christian Mondrup
43 @omfdescription Glossary of musical terms with translations
45 @omfcategory Applications|Publishing
52 @chapter Music Glossary
63 @item Christian Mondrup
64 Original author of LilyPond glossary, Danish glossary,
67 @item Fran@,{c}ois Pinard
68 Original glossary of GNU music project, French glossary,
69 @item Han-Wen Nienhuys
71 @item Jan Nieuwenhuizen
76 English glossary translations,
78 Finnish glossary translations.
81 Copyright 1999--2004 by the authors
84 Permission is granted to copy, distribute and/or modify this document
85 under the terms of the GNU Free Documentation License, Version 1.1
86 or any later version published by the Free Software Foundation,
87 without Invariant Sections.
97 @c @everyheading @| @thispage @|
98 @c @evenheading @thispage @| @|
99 @c @oddheading @| @| @thispage @|
103 @tex $\\Rightarrow$ @end tex@c
116 We do not use refs for Info:
118 @w{@ar{}\word\}@c vs:
119 @w{@ar{}@pxref{\word\}}@c
121 they look too intrusive (says Han-Wen).
128 @w{@ar{}@strong{\word\}}@c
131 @ar{}@ref{\word\, @strong{\word\}}@c
139 @c If we want hypelinks, we must add anchors.
140 @c Hmm, we need the @achor command in the item description itself
141 @c (not before or after) to get mozilla jump to the right place.
144 @item \word\@anchor{\word\}
146 @macro aitemii{one,two}
147 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
149 @macro aitemiii{one,two,three}
150 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
160 @item UK - British English
167 This is an example reference, that points you to the @aref{accent}
191 FI: aksentti, korostus.
193 The stress of one tone over others.
195 @c F: how to distinguish between accidental and key-sig alteration?
199 I: alterazione, accidente,
201 D: Vorzeichen, Versetzungszeichen,
204 S: tillf@"alligt f@"ortecken,
205 FI: tilap@"ainen etumerkki.
207 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
208 @c Akzidenz, NL: toevallig teken, I: accidento.
210 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
211 by a @aref{whole tone}, a flat lowers it by a semitone and a double
212 flat lowers it by a whole tone. A natural cancels the effect of a previous
216 \set Score.automaticBars = ##f
217 %\override TextScript #'font-style = #'large
219 \context Staff \notes\relative c'' {
220 gis1 s s gisis s s ges s s geses s s g!
222 \context Lyrics \lyrics {
223 \override Lyrics .LyricText #'self-alignment-X = #-1
224 "sharp " "db. sharp " "flat " "db. flat " natural
231 F: accelerando, en acc@'el@'erant,
232 D: accelerando, schneller werden,
236 FI: accelerando, kiihdytt@"aen.
248 FI: adagio, hitaasti.
250 It. comfortable, easy.
251 1. Slow tempo, slower -- especially in even meter -- than
252 @aref{andante} and faster than @aref{largo}.
253 2. A movement in slow tempo, especially the second (slow) movement of
254 @aref{sonata}s, symphonies, etc.
260 D: Allegro, Schnell, Fr@"ohlich, Lustig,
264 FI: allegro, nopeasti.
266 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
267 especially the first and last movements of a @aref{sonata}.
277 FI: altto, matala nais@"a@"ani.
279 A female voice of low range (@emph{contralto}). Originally the alto was a high
280 male voice (hence the name) which by the use of falsetto reached the height of
281 the female voice. This type of voice is also known as @aref{counter
285 ES: clave de do en tercera,
286 I: chiave di contralto,
287 F: clef d'ut troisi@`eme ligne,
288 D: Altschl@"ussel, Bratschenschl@"ussel,
294 C clef setting central C on the middle line of the staff
305 FI: ambitus, @"a@"aniala, soitinala.
307 The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
309 @aitem{ancient minor scale}
310 I: scala minore naturale,
311 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
313 NL: authentieke mineurtoonladder,
316 FI: luonnollinen molliasteikko.
319 \set Score.automaticBars = ##f
320 \notes\relative c'' {
332 FI: andante, k@"ayden.
334 Walking tempo/character.
339 F: appogiature, (port de voix),
344 FI: appoggiatura, etuhele.
346 Ornamental note, usually a second, that is melodically connected with the main
347 note that follows it. In music before the 19th century a. were usually
348 performed on the beat, after that mostly before the beat. While the short
349 a. is performed as a short note regardless of the duration of the main note
350 the duration of the long a. is proportional to that of the main note.
353 \context Voice \notes\relative c'' {
357 %\override Score.TextScript #'font-style = #'large
358 <d a fis>4_"notation" r
359 { \override Stem #'flag-style = #'()
361 \revert Stem #'flag-style
364 { \override Stem #'flag-style = #'()
366 \revert Stem #'flag-style
369 \cadenzaOn a4 \bar "||" \cadenzaOff }
370 \notes\relative c'' {
371 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
372 \cadenzaOn a4 \bar "||" \cadenzaOff }
375 An appoggiatura may have more notes preceding the main note.
378 \notes\relative c'' {
381 % \override Score.TextScript #'font-style = #'large
382 \grace { bes16 } as8_"notation" as16 bes as8 g |
383 \grace { as16[( bes] } < c as >4-)
384 \grace { as16[( bes] } < c as >4-) \bar "||"
385 \grace { bes16 } as8_"performance" as16 bes as8 g |
386 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
387 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
396 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
398 DK: arpeggio, akkordbrydning,
400 FI: arpeggio, murtosointu.
403 \notes \context PianoStaff <<
404 \context Staff = SA \relative c'' {
407 r8 g16 c e g, c e r8 g,16 c e g, c e |
408 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
409 \context Staff = SB \relative c' {
411 << \context Voice = va {
413 r16 e8. ( e4) r16 e8. ( e4) |
414 r16 d8. ( d4) r16 d8. ( d4) }
415 \context Voice = vb {
422 @aitem{ascending interval}
423 ES: Intervalo ascendente,
424 I: intervallo ascendente,
425 F: intervalle ascendant,
426 D: steigendes Intervall,
427 NL: stijgend interval,
428 DK:@w{ }stigende interval,
429 S: stigande intervall,
430 FI: nouseva intervalli.
432 A distance between a starting lower note and a higher ending note.
434 @aitem{augmented interval}
435 ES: intervalo aumentado,
436 I: intervallo aumentato,
437 F: intervalle augment@'e,
438 D: @"uberm@"a@ss{}iges Intervall,
439 NL: overmatig interval,
440 DK: forst@o{}rret interval,
441 S: @"overstigande intervall,
442 FI: ylinouseva intervalli.
449 D: Autograph, Handschrift,
451 DK: h@aa{}ndskrift, autograf,
453 FI: k@"asinkirjoitettu nuotti.
455 1. A manuscript in the composer's own hand.
456 2. Music prepared for photoreproduction by freehand drawing,
457 with only the aid of a straightedge ruler and T-square,
458 which attempts to emulate engraving.
459 This required more skill than did engraving.
471 @aitemii{backfall,forefall}
476 I: stanghetta, barra (di divisione),
477 F: barre (de mesure),
485 ES: comp@'as, @aref{measure}.
488 ES: bar@'{@dotless{i}}tono,
495 FI: baritoni, keskikorkuinen mies@"a@"ani.
497 The male voice intermediate between the @aref{bass} and the
500 @c F: clef de troisi@`eme ligne dropped
502 @aitem{baritone clef}
503 ES: clave de fa en tercera,
504 I: chiave di baritono,
505 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
506 D: Baritonschl@"ussel,
512 C or F clef setting central C on the upper staff line.
513 @aref{C clef}, @aref{F clef}.
516 ES: clave de fa en cuarta,
518 F: cl@'e de fa quatri@`eme ligne,
525 A clef setting with central C on the first top ledger line.
535 FI: basso, matala mies@"a@"ani.
537 1. The lowest of men's voices.
538 2. Sometimes, especially in jazz music, used as
539 an abbreviation for double bass.
551 Line connecting a series of notes (shorter than a quarter note).
552 The number of beams determine the note value of the connected notes.
555 \set Score.automaticBars = ##f
556 %\override TextScript #'font-style = #'large
557 \notes\relative c'' {
559 g16_"1/16"[ g g g] s16
560 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
561 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
568 D: Takt, Taktschlag, Zeit (im Takt),
574 Note value used for counting, most often half-, fourth-, and eighth notes.
575 The base counting value and the number of them per measure is indicated at
576 the start of the music.
581 \notes\relative c'' { g4 c b a | g1 \bar "||"}
583 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
593 D: Klammer, Akkolade,
594 NL: accolade, teksthaak,
597 FI: yhdist@"av@"a sulkumerkki.
599 Symbol at the start of a system connecting staves. Curly braces are used
600 for connecting piano staves, angular brackets for connecting parts in an
601 orchestral or choral score.
604 \notes\context GrandStaff <<
605 \relative c''\context Staff = SA { \clef treble g4 e c2 }
606 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
610 \context StaffGroup <<
611 % \set StaffGroup.minVerticalAlign = #12
612 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
613 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
622 DK: messingbl@ae{}sere,
623 S: brassinstrument, m@"assingsinstrument,
626 A family of blown musical instruments made of brass all using a cup formed
627 mouth piece. The brass instruments commonly used in a symphony orchestra are
628 trumpet, trombone, french horn, and tube.
633 D: Atemzeichen, Trennungszeichen,
634 NL: repercussieteken,
635 DK: vejrtr@ae{}kningstegn,
639 Indication of where to breathe in vocal and wind instrument parts.
651 @aref{note value} twice as long as a whole note. Mainly used
655 \set Score.automaticBars = ##f
656 \notes\relative c'' { g\breve }
679 Clef symbol indicating the position of the central C. Used on all note
683 \set Score.automaticBars = ##f
684 \override Score.Clef #'full-size-change = ##t
685 %\override Score.LyricText #'font-style = #'large
687 \context Staff \notes\relative c' {
689 \clef mezzosoprano c s s
694 \context Lyrics \lyrics {
695 \override Lyrics .LyricText #'self-alignment-X = #-1
696 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
708 FI: kadenssi, lopuke.
710 @aref{harmonic cadence}, @aref{functional harmony}.
720 FI: kadenssi, lopuke.
722 An extended, improvisatory style section inserted near the end of
723 movement. The purpose of a cadenza is to give the singer or player a chance to
724 exhibit her technichal skill and not the least her ability to improvise. Since
725 the middle of the 19th century, however, most cadences have been written down
736 FI: kaanon, tarkka j@"aljittely.
748 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
750 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
751 equally tempered @aref{semitone}).
752 @aref{equal temperament}.
767 Three or more tones sounding simultaneously. In traditional European music the
768 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
769 minor @aref{third}) as well as @emph{minor} (minor + major third)
770 chords may be extended with more thirds. Four-tone @emph{seventh chords}
771 and five-tone @emph{ninth} major chords are most often used as dominants
772 (@aref{functional harmony}). A special case is chords having no
773 third above the lower notes to define their quality as major or minor. Such
774 chords are denoted open chords
777 \set Score.automaticBars = ##f
778 %\override TextScript #'font-style = #'large
780 \context Staff \notes\relative c'' {
788 \context Lyrics \lyrics{
789 \override Lyrics .LyricText #'self-alignment-X = #-1
790 "major " "minor " "diminished " "augmented "
791 "seventh-chord " "ninth-chord "
795 @aitem{chromatic scale}
796 ES: escala crom@'atica,
798 F: gamme chromatique,
799 D: chromatische Tonleiter,
800 NL: chromatische toonladder,
803 FI: kromaattinen asteikko.
805 A scale consisting of all 12 @aref{semitone}s.
808 \set Score.automaticBars = ##f
809 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
822 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
824 @aitemii{church mode,ecclesiastical mode}
825 ES: modo eclesi@'astico,
826 I: modo ecclesiastico,
827 F: mode eccl@'esiastique,
832 FI: moodi, kirkkos@"avellaji.
834 @aref{diatonic scale}.
840 D: Schl@"ussel, Notenschl@"ussel,
844 FI: avain, nuottiavain.
846 @aref{C clef}, @aref{F clef}, @aref{G clef}.
855 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
857 Difference in pitch between a note derived from pure tuning and the same note
858 derived from some other tuning method. @aref{temperament}.
863 @aitem{compound interval}
864 ES: intervalo compuesto,
865 I: intervallo composto,
866 F: intervalle compos@'e,
868 NL: samengesteld interval,
869 DK: sammensat interval,
870 S: sammansatt intervall,
871 FI: oktaavia laajempi intervalli.
873 Intervals larger than an octave.
879 F: intervalle compl@'ementaire,
880 D: Komplement@"arintervall,
881 NL: complementair interval,
882 DK: komplement@ae{}rinterval,
883 S: komplement@"arintervall (?),
884 FI: t@"aydent@"av@"a intervalli.
886 @aref{inverted interval}.
888 @aitem{conjunct movement}
889 ES: movimiento conjunto,
891 F: mouvement conjoint,
892 D: schrittweise, stufenweise Bewegung,
893 NL: stapsgewijze, trapsgewijze beweging,
894 DK: trinvis bev@ae{}gelse,
895 S: stegvis r@"orelse,
896 FI: asteittainen liike.
898 Melody moving in the narrow steps of the scale.
901 \key g \major \time 4/4
902 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
913 FI: konsonanssi, sopusointi.
937 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
939 From latin @emph{punctus contra punctum}, note against note. The combination
940 into a single musical fabric of lines or parts which have distinct melodic
941 significance. A frequently used polyphonic technique is imitation, in its
942 strictest form found in the canon needing only one part to be written down
943 while the other parts are performed with a given displacement. Imitation is
944 also the contrapunctal technique used in the @emph{fugue} which, since the
945 music of the baroque era, has been one of the most popular polyphonic
948 @lilypond[staffsize=11,noquote]
949 \override Score.TimeSignature #'style =\turnOff
950 \notes\context PianoStaff <<
951 \context Staff = SA \relative c' {
955 << \context Voice = rha {
957 r1 | r2 r8 g'8 bes d, |
958 cis4 d r8 e!16 f g8 f16 e |
959 f8 g16 a bes8 a16 g a8
961 \context Voice = rhb {
967 \context Staff = SB \relative c' {
970 << \context Voice = lha {
972 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
973 r8 a16 g f8 g16 a bes8 g e! cis' |
976 \context Voice = lhb {
984 @aitem{counter tenor}
991 S: kontratenor, counter tenor,
996 @aitem{Copying, Music}
997 A music copyist did fast freehand scores and parts on preprinted staff lines
998 for performance. Some of their conventions (e.g., the placement of noteheads
999 on stems) varied slightly from those of engravers. Some of their working
1000 methods were superior and could well be adopted by music typesetters. This
1001 required more skill than engraving.
1007 D: Crescendo, lauter werden,
1011 FI: cresendo, voimistuen.
1013 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1014 abbreviation ``cresc.''.
1017 \key g \major \time 4/4
1018 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1024 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1031 In a separate part notes belonging to another part with the purpose of hinting
1032 when to start playing. Usually printed in a smaller type.
1036 A custos is a staff symbol that appears at the end of a staff line
1037 with monophonic musical contents (i.e. with a single voice). It
1038 anticipates the pitch of the first note of the following line and thus
1039 helps the player or singer to manage line breaks during performance,
1040 thus enhancing readability of a score.
1042 Custodes were frequently used in music notation until the 16th
1043 century. There were different appearences for different notation
1044 styles. Nowadays, they have survived only in special forms of musical
1045 notation such as via the editio vaticana dating back to the beginning
1051 \override Staff.Custos #'neutral-position = #4
1052 \override Staff.Custos #'neutral-direction = #-1
1053 \override Staff.Custos #'adjust-if-on-staffline = ##t
1055 \override Staff.Custos #'style = #'hufnagel
1057 \break < d' a' f''>1
1062 \consists Custos_engraver
1082 F: da capo, depuis le commencement,
1083 D: da capo, von Anfang,
1087 FI: da capo, alusta.
1089 The term indicates repetition of the piece from the beginning to the end or to
1090 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1095 F: dal segno, depuis le signe,
1100 FI: dal segno, merkkiin asti.
1102 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1103 another place frequently near the beginning marked by a sign:
1106 %\override TextScript #'font-style = #'large
1107 \override TextScript #'font-shape = #'italic
1108 \key g \major \time 4/4
1109 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1115 D: Decrescendo, leiser werden,
1119 FI: decresendo, hiljentyen.
1121 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1122 or the abbreviation ``decresc.''.
1125 \notes\relative c'' {
1126 \key g \major \time 4/4
1127 d4 \> c b a | g1 \! \bar "|."
1131 @aitem{descending interval}
1132 ES: intervalo descendente,
1133 I: intervallo discendente,
1134 F: intervalle descendant,
1135 D: fallendes Intervall, absteigendes Intervall,
1136 NL: dalend interval,
1137 DK: faldende interval,
1138 S: fallande intervall,
1139 FI: laskeva intervalli.
1141 A distance between a starting higher note and a lower ending note.
1143 @aitem{diatonic scale}
1144 ES: escala diat@'onica,
1146 F: gamme diatonique,
1147 D: diatonische Tonleiter,
1148 NL: diatonische toonladder,
1149 DK: diatonisk skala,
1151 FI: diatoninen asteikko.
1153 A scale consisting of 5@w{ }@aref{whole tone}s and
1154 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1155 of a piano keybord are diatonic.
1157 The church modes are used in gregorial chant and pre baroque early music but
1158 also to some extent in newer jazz music.
1160 @lilypond[notime,linewidth=110\mm]
1161 \set Score.automaticBars = ##f
1162 %\override Score.LyricText #'font-style = #'large
1163 %\override Score.TextScript #'font-style = #'large
1165 \context Staff \notes\relative c' {
1167 \override TextScript #'padding = #-4
1168 e^"~~ S" f g a b^"~~ S" c
1170 \context Lyrics \lyrics {
1176 \set Score.automaticBars = ##f
1177 %\override Score.LyricText #'font-style = #'large
1178 %\override Score.TextScript #'font-style = #'large
1180 \context Staff \notes\relative c' {
1182 \override TextScript #'padding = #-4
1183 e^"~~ S" f g a b^"~~ S" c d
1185 \context Lyrics \lyrics {
1191 \set Score.automaticBars = ##f
1192 %\override Score.LyricText #'font-style = #'large
1193 %\override Score.TextScript #'font-style = #'large
1195 \notes\relative c' {
1196 \override TextScript #'padding = #-4
1197 e1^"~~ S" f g a b^"~~ S" c d e
1199 \context Lyrics \lyrics {
1205 \set Score.automaticBars = ##f
1206 %\override Score.LyricText #'font-style = #'large
1207 %\override Score.TextScript #'font-style = #'large
1209 \notes\relative c' {
1211 \override TextScript #'padding = #-4
1212 b^"~~ S" c d e^"~~ S" f
1214 \context Lyrics \lyrics {
1220 \set Score.automaticBars = ##f
1221 %\override Score.LyricText #'font-style = #'large
1222 %\override Score.TextScript #'font-style = #'large
1224 \notes\relative c'' {
1226 \override TextScript #'padding = #-4
1227 b^"~~ S" c d e^"~~ S" f g }
1228 \context Lyrics \lyrics {
1234 \set Score.automaticBars = ##f
1235 %\override Score.LyricText #'font-style = #'large
1236 %\override Score.TextScript #'font-style = #'large
1238 \notes\relative c'' {
1240 \override TextScript #'padding = #-4
1241 b^"~~ S" c d e^"~~ S" f g a
1243 \context Lyrics \lyrics {
1248 From the beginning of the 17th century the scales used in European
1249 compositional music are primarily the major and the minor scales. In the
1250 harmonic minor scale type an augmented second (A) occurs between the 6th and
1254 \set Score.automaticBars = ##f
1255 %\override Score.LyricText #'font-style = #'large
1256 %\override Score.TextScript #'font-style = #'large
1258 \notes\relative c' {
1260 \override TextScript #'padding = #-4
1261 e^"~~ S" f g a b^"~~ S" c
1263 \context Lyrics \lyrics {
1269 \set Score.automaticBars = ##f
1270 %\override Score.LyricText #'font-style = #'large
1271 %\override Score.TextScript #'font-style = #'large
1273 \notes\relative c'' {
1275 \override TextScript #'padding = #-4
1276 b^"~~ S" c d e^"~~ S" f g a
1278 \context Lyrics \lyrics {
1284 \set Score.automaticBars = ##f
1285 %\override Score.LyricText #'font-style = #'large
1286 %\override Score.TextScript #'font-style = #'large
1288 \notes\relative c'' {
1290 \override TextScript #'padding = #-4
1291 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1293 \context Lyrics \lyrics {
1299 \set Score.automaticBars = ##f
1300 %\override Score.LyricText #'font-style = #'large
1301 %\override Score.TextScript #'font-style = #'large
1303 \notes\relative c'' {
1305 \override TextScript #'padding = #-4
1306 b^"~~ S" c d e fis gis^"~~ S"
1307 a g! f!^"~~ S" e d c^"~~ S" b a
1309 \context Lyrics \lyrics {
1314 @aitem{diminished interval}
1315 ES: intervalo disminu@'{@dotless{i}}do,
1316 I: intervallo diminuito,
1317 F: intervalle diminu@'e,
1318 D: vermindertes Intervall,
1319 NL: verminderd interval,
1320 DK: formindsket interval,
1321 S: f@"orminskat intervall,
1322 FI: v@"ahennetty intervalli.
1334 FI: diminuendo, hiljentyen.
1338 @aitem{disjunct movement}
1339 ES: movimiendo disjunto,
1341 F: mouvement disjoint,
1342 D: sprunghafte Bewegung,
1343 NL: sprongsgewijze beweging,
1344 DK: springende bev@ae{}gelse,
1345 S: hoppande r@"orelse,
1346 FI: melodian hyppiv@"a liike.
1348 Melody moving in steps greater than those of the
1349 scale. Opposite of @aref{conjunct movement}.
1354 \notes\relative c' {
1356 a4. gis8 b a e cis |
1357 fis2 d4. \bar "||" }
1360 @aitemii{dissonant interval,dissonance}
1361 ES: intervalo disonante, disonancias,
1362 I: intervallo dissonante, dissonanza,
1365 NL: dissonant interval; dissonant,
1366 DK: dissonerende interval, dissonans,
1368 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1372 @aitem{dominant ninth chord}
1373 I: accordo di nona di dominante,
1374 F: accord de neuvi@`eme dominante,
1375 D: Dominantnoneakkord,
1376 NL: dominant noon akkoord,
1377 DK: dominantnoneakkord,
1378 S: dominantnonackord,
1379 FI: dominanttinoonisointu.
1381 @aref{chord}, @aref{functional harmony}.
1383 @aitem{dominant seventh chord}
1384 ES: acorde de s@'eptima de dominante,
1385 I: accordo di settima di dominante,
1386 F: accord de septi@`eme dominante,
1387 D: Dominantseptakkord,
1388 NL: dominant septiem akkoord,
1389 DK: dominantseptimakkord,
1390 S: dominantseptimackord,
1391 FI: dominanttiseptimisointu.
1393 @aref{chord}, @aref{functional harmony}.
1403 FI: dominantti, huippusointu.
1405 The fifth @aref{scale degree},
1406 @aref{functional harmony}.
1412 D: dorisch, dorischer Kirchenton,
1413 NL: dorische toonladder,
1418 @aref{diatonic scale}.
1420 @aitem{dot (augmentation dot)}
1422 I: punto (di valore),
1424 D: Punkt (Verl@"angerungspunkt),
1433 ES: nota con puntillo,
1437 NL: gepuncteerde noot,
1440 FI: pisteellinen nuotti.
1444 @aitem{double appoggiatura}
1445 ES: apoyatura doble,
1446 I: appoggiatura doppia,
1447 F: appoggiature double,
1448 D: doppelter Vorschlag,
1449 NL: dubbele voorslag,
1450 DK: dobbelt forslag,
1452 FI: kaksoisappogiatura, kaksoisetuhele.
1454 @aref{appoggiatura}.
1456 @aitem{double bar line}
1460 NL: dubbele maatstreep,
1463 FI: kaksoistahtiviiva.
1465 Indicates the end of a section within a movement.
1467 @aitem{double dotted note}
1468 ES: nota con dos puntillos,
1469 I: nota doppiamente puntata,
1470 F: note doublement point@'ee,
1471 D: doppelt punktierte Note,
1472 NL: dubbelgepuncteerde noot,
1473 DK: dob@-belt@-punk@-te@-ret node,
1474 S: dub@-bel@-punk@-te@-rad not,
1475 FI: kaksoispisteellinen nuotti.
1487 FI: kaksoisalennusmerkki.
1491 @aitem{double sharp}
1492 ES: doble sostenido,
1497 DK: dob@-belt@-kryds,
1499 FI: kaksoisylennysmerkki.
1503 @aitem{double trill}
1508 NL: dubbele triller,
1513 A simultaneous trill on two notes, usually in the distance of a third.
1520 NL: tweedelige maatsoort,
1547 FI: kesto, aika-arvo.
1551 @aitem{dydimic comma}
1552 @aref{syntonic comma}.
1569 D: Achtel, Achtelnote,
1571 DK: ottendedelsnode,
1572 S: @aa{}ttondelsnot,
1573 FI: kahdeksasosanuotti.
1578 ES: silencio de corchea,
1584 DK: ottendedelspause,
1585 S: @aa{}ttonddelspaus,
1586 FI: kahdeksasosatauko.
1594 D: Notenstechen, Notendruck
1600 Engraving means incising or etching a metal plate for
1601 printing. Photoengraving means drawing music with ink in a manner
1602 similar to drafting or engineering drawing, using similar tools.
1604 The traditional process of music printing is done through cutting in a
1605 plate of metal. Now also the term for the art of music typesetting.
1617 Two notes, intervals, or scales are enharmonic if they have different names
1621 \set Score.automaticBars = ##f
1622 %\override Score.TextScript #'font-style = #'large
1624 \context Staff \notes\relative c'' {
1625 gis1 s s as s s <des g,!> s s <cis g!> s s
1627 \context Lyrics \lyrics {
1628 \override Lyrics .LyricText #'self-alignment-X = #-1
1629 "g sharp " "a flat " "dim fifth " "augm fourth"
1633 @aitem{equal temperament}
1635 I: temperamento equabile,
1636 F: temp@'erament @'egal,
1637 D: gleichschwebende Stimmung,
1638 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1639 DK: ligesv@ae{}vende temperatur,
1640 S: liksv@"avande temperatur,
1643 Tuning system dividing the octave into 12 equal @aref{semitone}s
1644 (precisely 100 @aref{cent}s). @aref{temperament}.
1646 @aitem{expression mark}
1648 I: segno d'espressione,
1649 F: signe d'expression, indication de nuance,
1651 NL: voordrachtsteken,
1652 DK: foredragsbetegnelse,
1653 S: f@"oredragsbeteckning,
1654 FI: nyanssiosoitus, esitysmerkki.
1656 Performance indications concerning 1. volume, dynamics (for example
1657 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1658 @aref{andante}, @aref{allegro}).
1680 The position between the dots of the key symbol is the line of the F below
1681 central@w{ }C. Used on the third, fourth and fifth note line. A
1682 digit@w{ }8 above the clef symbol indicates that the notes must be played
1683 an octave higher (for example bass recorder) while 8@w{ }below the clef
1684 symbol indicates playing an octave lower (for example on double bass
1688 \set Score.automaticBars = ##f
1689 \override Staff.Clef #'full-size-change = ##t
1690 %\override Score.LyricText #'font-style = #'large
1704 \context Lyrics \lyrics {
1705 \override Lyrics .LyricText #'self-alignment-X = #-1
1714 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1719 F: point d'orgue, point d'arr@^et,
1724 FI: fermaatti, pid@"ake.
1726 Prolonged note or rest of indefinite duration.
1730 \notes\relative c'' {
1731 a4 b c2^\fermata \bar "|."
1747 @aitem{figured bass}
1748 ES: bajo cifrado, @aref{thorough bass}.
1756 DK: fingers@ae{}tning,
1757 S: fingers@"attning,
1760 The methodical use of fingers in the playing of instruments.
1762 @aitem{flag,pennant}
1764 I: coda (uncinata), bandiera,
1766 D: Fahne, F@"ahnchen,
1772 Ornament at the end of the stem of a note used for notes with values
1773 less than a quarter note. The number of flags determines the
1777 \set Score.automaticBars = ##f
1778 %\override Score.TextScript #'font-style = #'large
1779 \notes\relative c'' {
1799 @aitemii{forefall,backfall}
1800 @aref{appoggiatura}.
1810 FI: forte, voimakkaasti.
1812 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1813 @emph{mezzoforte} (@b{mf}) medium loud.
1837 @aref{counterpoint}.
1839 @aitem{functional harmony}
1840 ES: armon@'{@dotless{i}}a funcional,
1841 I: armonia funzionale,
1842 F: @'etude des functions,
1844 NL: functionele harmonie,
1845 DK: funktionsanalyse, funktionsharmonik,
1847 FI: harmoniaj@"arjestelm@"a.
1849 A system of harmonic analysis. It is based on the idea that, in a given key,
1850 there are only three functionally different chords: tonic (T, the chord on the
1851 first note of the scale), subdominant (S, the chord on the fourth note), and
1852 dominant (D, the chord on the fifth note). Other are considered to be
1853 variants of the base chords.
1856 \set Score.automaticBars = ##f
1857 %\override Score.LyricText #'font-style = #'large
1858 %\override Score.TextScript #'font-style = #'large
1860 \context Voice \notes\relative c'' {
1861 <g e c >1 < a f d > < b g e >
1862 <c a f > < d b g > < e c a > < f d b > }
1863 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1880 D: G-Schl@"ussel, Violinschl@"ussel,
1886 A clef symbol indicating the G above central@w{ }C. Used on the first
1887 and second note lines. A digit 8 above the clef symbol indicates that
1888 the notes must be played an octave higher while 8 below the clef symbol
1889 indicates playing or singing an octave lower (most tenor parts in choral
1890 scores are notated like that).
1893 \set Score.automaticBars = ##f
1894 \override Staff.Clef #'full-size-change = ##t
1895 %\override Score.LyricText #'font-style = #'large
1897 \notes\relative c'' {
1907 \context Lyrics \lyrics {
1908 \override Lyrics .LyricText #'self-alignment-X = #-1
1909 "french violin clef "
1924 FI: glissando, liukuen.
1926 Letting the pitch slide fluently from one note to the other.
1932 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1938 Notes printed in small types to indicate that their time values are not
1939 counted in the rhythm of the bar. @aref{appoggiatura}.
1947 S: ackolad, b@"ojd klammer,
1948 FI: kaksoisnuottiviivasto.
1952 A combination of two staves with a brace. Usually used for piano music.
1962 FI: grave, raskaasti.
1971 D: Halbe, halbe Note,
1992 @aitem{harmonic cadence}
1993 ES: cadencia (arm@'onica),
1994 I: cadenza (armonica),
1995 F: cadence harmonique,
1997 NL: harmonische cadens,
1998 DK: harmonisk kadence,
1999 S: (harmonisk) kadens,
2000 FI: harmoninen kadenssi.
2002 Sequence of chords that terminate a musical phrase or
2003 section. @aref{functional harmony}.
2006 \notes\context PianoStaff <<
2007 \context Staff = SA \relative c'' {
2011 \partial 4 < c g e >4 |
2012 < c a f > < b g d > < c g e >2
2014 % %\override Score.LyricText #'font-style = #'large
2016 \context Staff = SB \relative c {
2018 \partial 4 c4 | f, g c2
2021 \context Lyrics \lyrics {
2028 ES: armon@'{@dotless{i}}a,
2031 D: Harmonie, Zusammenklang,
2035 FI: harmonia, yhteissointi.
2037 Tones sounding simultaneously. Two note harmonies fall into the categories
2038 @emph{consonances} and @emph{dissonances}.
2043 \set Score.automaticBars = ##f
2044 %\override Score.TextScript #'font-style = #'large
2045 \context Voice \notes\relative c'' {
2059 \set Score.automaticBars = ##f
2060 %\override Score.TextScript #'font-style = #'large
2061 \context Voice \notes\relative c'' {
2062 <g a>1_"second " s s
2063 <g f'>_"seventh " s s
2068 Three note harmony @aref{chord}.
2071 ES: homofon@'{@dotless{i}}a,
2078 FI: homofonia, yksi@"a@"anisyys.
2080 Music in which one voice leads melodically followed by the other voices more
2081 or less in the same rhythm. In contrast to @aref{polyphony}.
2091 FI: intervalli, kahden s@"avelen korkeusero.
2093 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2094 diminished, or augmented. The augmented fourth and the diminished fifth are
2095 identical (@aref{enharmonic}) and are called @emph{tritonus}
2096 because they consist of three @aref{whole tone}s. The addition
2097 of such two forms an octave.
2100 \set Score.automaticBars = ##f
2101 %\override Score.LyricText #'font-style = #'large
2102 %\override Score.TextScript #'font-style = #'large
2104 \context Voice \notes\relative c'' {
2109 < gis bes >^"dimin" s
2110 < g! bes >^"minor" s
2114 \context Lyrics \lyrics {
2115 "unisone " "second " "second " "second "
2116 "third " "third " "third " "third "
2121 \set Score.automaticBars = ##f
2122 %\override Score.LyricText #'font-style = #'large
2123 %\override Score.TextScript #'font-style = #'large
2125 \context Staff \notes\relative c'' {
2128 < g d' >^"perfect" s
2130 < gis es' >^"dimin" s
2131 < g! es' >^"minor" s
2135 \context Lyrics \lyrics {
2136 "fourth " "fourth " "fifth " "fifth "
2137 "sixth " "sixth " "sixth " "sixth "
2142 \set Score.automaticBars = ##f
2143 %\override Score.LyricText #'font-style = #'large
2144 %\override Score.TextScript #'font-style = #'large
2146 \context Staff \notes\relative c'' {
2147 < gis f'! >1^"dimin" s
2148 < g! f'! >^"minor" s
2149 < g fis' >^"major" s
2153 < g bes' >^"minor" s
2156 \context Lyrics \lyrics {
2157 "seventh " "seventh " "seventh " "octave "
2158 "none " "none " "decime " "decime "
2162 @aitem{inverted interval}
2163 ES: intervalo invertido,
2164 I: intervallo rivolto,
2165 F: intervalle revers@'e,
2166 D: umgekehrtes Intervall,
2167 NL: interval inversie,
2168 DK: omvendingsinterval,
2169 S: intervallets omv@"andning,
2170 FI: k@"a@"anteisintervalli.
2172 The difference between an interval and an octave.
2175 \set Score.automaticBars = ##f
2176 %\override Score.TextScript #'font-style = #'large
2177 \context Staff \notes\relative c'' {
2178 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2179 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2180 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2184 @aitem{just intonation}
2185 I: intonazione giusta,
2186 F: intonation juste,
2193 Tuning system in which the notes are obtained by adding and subtracting
2194 natural fifths and thirds. @aref{temperament}.
2206 According to the 12@w{ }tones of the @aref{chromatic scale}
2207 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2208 @aref{key signature}.
2210 @aitem{key signature}
2211 ES: armadura de clave,
2212 I: armatura di chiave,
2213 F: armure, armature [de la cl@'e],
2214 D: Vorzeichen, Tonart,
2215 NL: toon@-soort (voortekens),
2218 FI: s@"avellajiosoitus.
2220 The sharps or flats appearing at the beginning of each staff indicating the
2221 key of the music. @aref{accidental}.
2227 D: Largo, Langsam, Breit,
2231 FI: largo, hitaasti, leve@"asti.
2233 Very slow in tempo, usually combined with great
2234 expressiveness. @emph{Larghetto} is less slow than largo.
2236 @aitem{leading note}
2246 The seventh @aref{scale degree}, a @aref{semitone} below
2247 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2248 upwards) to the tonic scale degree.
2250 @aitemii{ledger line,leger line}
2251 ES: l@'{@dotless{i}}neas adicionales,
2252 I: tagli addizionali,
2253 F: ligne suppl@'ementaire,
2256 DK: hj@ae{}lpelinie,
2260 A ledger line is an extension of the staff.
2263 \set Score.automaticBars = ##f
2264 \notes\relative c'' { a,1 s c'' }
2277 To be performed (a) without any perceptible interruption between the notes
2278 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2279 (d) @aref{staccato}.
2282 \set Score.automaticBars = ##f
2284 \context Staff \notes\relative c'' {
2285 c4-( d e-) \bar "||"
2286 c4-- d-- e-- \bar "||"
2287 c4-.-( d-. e-.-) \bar "||"
2288 c4-. d-. e-. \bar "||"
2290 \context Lyrics \lyrics {
2291 % \override Lyrics .LyricText #'font-style = #'large
2299 @aitem{legato curve}
2300 @aref{slur}, @aref{legato}.
2303 ES: estanque de lilas,
2304 I: stagno del giglio,
2308 NL: le@-lie@-vij@-ver,
2313 A pond with lilies floating in it, also the name of a music typesetter.
2316 ES: l@'{@dotless{i}}nea,
2319 D: Linie, Notenlinie,
2323 FI: viiva, nuottiviiva.
2327 @aitem{long appoggiatura}
2328 ES: apoyatura larga,
2329 I: appoggiatura lunga,
2330 F: appoggiature longue,
2331 D: langer Vorschlag,
2334 S: l@aa{}ngt f@"orslag,
2335 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2337 @aref{appoggiatura}.
2349 Note value: double length of @aref{breve}.
2353 \set Score.automaticBars = ##f
2354 \notes\relative c'' {
2355 \override NoteHead #'style = #'mensural
2360 @aitemii{lyrics,song texts}
2370 @aitem{major interval}
2371 ES: intervalo mayor,
2372 I: intervallo maggiore,
2373 F: intervalle majeur,
2374 D: gro@ss{}es Intervall,
2378 FI: suuri intervalli.
2392 @aref{diatonic scale}.
2394 @aitem{meantone temperament}
2395 I: accordatura mesotonica,
2396 F: temp@'erament m@'esotonique,
2397 D: mittelt@"onige Stimmung,
2398 NL: middenstemming, middentoonstemming,
2399 DK: middeltonetemperatur,
2400 S: medeltonstemperatur,
2401 FI: keskis@"avelviritys.
2403 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2404 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2405 @aref{temperament} only a limited set of keys are playable.
2406 Used for tuning keyboard instruments for performance of pre-1650 music.
2408 @aitem{measure, bar}
2418 A group of @aref{beat}s (units of musical time) the first of which
2419 bears an accent. Such groups in numbers of two or more recur consistently
2420 throughout the composition and are marked from each other by
2421 bar-lines. @aref{meter}.
2425 I: mediante, modale,
2433 1. The third @b{scale degree}.
2434 2. A @aref{chord} having its base tone
2435 a third from that of another chord. For example, the tonic chord may be
2436 replaced by its lower mediant (variant tonic). @aref{functional
2437 harmony}, @aref{relative key}.
2442 FI: melisma, laulettavan tavun s@"avelkuvio.
2444 A melisma (plural: melismata) is a group of notes or tones sung on one
2445 syllable in plainsong
2447 @aitem{melodic cadence}
2453 F: indication de m@'esure,
2460 The basic scheme of @aref{note value}s and
2461 @aref{accent}s which remains unaltered throughout a composition
2462 or a section of it. For instance, 3/4 meter means that the basic
2463 @aref{note value}s are quarter notes and that a
2464 @aref{measure} consists of three of those. According to
2465 whether there are two, three or four units to the measure,
2466 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2467 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2470 \notes\relative c'' {
2473 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2477 \notes\relative c' {
2480 f8 f f f a16 g a f |
2481 c'8 c c c e16 d e c \bar "||"}
2485 \notes\relative c'' {
2488 d4 b8 g b d d c a4 |
2489 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2502 Device indicating the exact tempo of a piece. @aref{metronomic
2505 @aitem{metronomic indication}
2506 ES: indicaci@'on metron@'omica,
2507 I: indicazione metronomica,
2508 F: indication m@'etronomique,
2510 NL: metronoom aanduiding,
2512 S: metronomangivelse,
2513 FI: metronomiosoitus.
2515 Exact tempo indication (in beats per minute). Also denoted by
2516 M.M. (M@"alzels Metronom).
2518 @aitem{mezzo-soprano}
2528 The female voice between @aref{soprano} and
2535 D: eingestrichenes@w{ }c,
2537 DK: enstreget@w{ }c,
2538 S: ettstruket@w{ }c,
2541 First C below the 440 Hz A.
2544 \set Score.automaticBars = ##f
2545 \override Staff.Clef #'full-size-change = ##t
2546 \notes\relative c' {
2563 @aref{diatonic scale}.
2565 @aitem{minor interval}
2566 ES: intervalo mayor,
2567 I: intervallo minore,
2568 F: intervalle mineur,
2569 D: kleines Intervall,
2573 FI: pieni intervalli.
2585 FI: moodi, kirkkos@"avelasteikko.
2587 @aref{church mode}, @aref{diatonic scale}.
2597 FI: modulaatio, s@"avellajin vaihdos.
2599 Moving from one @aref{key} to another. For example, the second
2600 subject of a @aref{sonata form} movement modulates to the dominant
2601 key if the key is major and to the @aref{relative key} if the key
2611 FI: mordent, korukuvio.
2615 @aitemii{motive,motif}
2623 FI: teema, s@"avelaihe.
2625 The briefest intelligible and self-contained fragment of a musical theme or
2629 \override Score.TimeSignature #'style = \turnOff
2630 %\override Score.TextScript #'font-style = #'large
2631 \notes\relative c'' {
2634 \partial 8 g16_"------" fis |
2635 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2636 g8 g,16 a b8 cis d16 s
2650 Greater musical works like @aref{symphony} and
2651 @aref{sonata} most often consist of several -- more or less --
2652 independant pieces called movements.
2654 @aitem{multibar rest}
2655 ES: compases de espera,
2659 D: mehrtaktige Pause,
2662 FI: usean tahdin mittainen tauko.
2665 \notes\relative c'' {
2667 \set Score.skipBars = ##t R1*3
2672 @aitem{mixolydian mode}
2673 @aref{diatonic scale}.
2675 @aitem{natural sign}
2679 D: Aufl@"osungszeichen,
2680 NL: herstellingsteken,
2681 DK: op@-l@o{}sningstegn,
2682 S: @aa{}terst@"allningstecken,
2687 @aitem{neighbour tones}
2688 @aref{appoggiatura}.
2715 Notes are signs by means of which music is fixed in writing. The term is also
2716 used for the sound indicated by a note, and even for the key of the piano
2717 which produces the sound. However, a clear distinction between the terms tone
2718 and @aref{note} is strongly recommended. Briefly, one sees a note,
2723 I: testa, testina, capocchia,
2724 F: t@^ete de la note,
2731 A head like sign which indicates pitch by its position on a
2732 @aref{staff} provided with a @aref{clef}, and duration
2733 by a variety of shapes such as hollow or black heads with or without
2734 @aref{stem}s, @aref{flag}s, etc. For percussion
2735 instruments (often having no defined pitch) the note head may indicate the
2741 F: dur@'ee, valeur (d'une note),
2746 FI: nuotin aika-arvo.
2748 Note values (durations) are measured as fractions, normally 1/2, of the next
2749 higher note value. The longest duration normally used is called @emph{brevis},
2750 but sometimes (mostly in pre baroque music) the double length note value
2751 @emph{longa} is used.
2754 %\override Score.TextScript #'font-style = #'large
2755 \set Score.automaticBars = ##f
2756 \notes\relative c'' {
2757 \override NoteHead #'style = #'mensural
2758 g\longa_"longa" g\breve_"breve"
2759 \revert NoteHead #'style
2760 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2761 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2765 %\override Score.TextScript #'font-style = #'large
2766 \set Score.automaticBars = ##f
2767 \notes\relative c'' {
2768 r\longa_"longa" r\breve_"breve"
2769 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2770 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2773 An augmentation dot after a note multiplies the duration by one and a
2774 half. Another dot adds yet a fourth of the duration.
2777 %\override Score.TextScript #'font-style = #'large
2778 \notes\relative c'' {
2780 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2781 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2784 Alternatively note values may be subdivided by other ratios. Most common is
2785 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2786 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2787 dotted notes are also frequently used.
2790 %\override Score.TextScript #'font-style = #'large
2791 \notes\relative c'' {
2793 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2794 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2799 \notes\relative c'' {
2801 \times 3/2 {g4_"duplets" g} |
2803 \times 6/4 {g8_"quadruplets" g g g} |
2804 g8 g g g g4 \bar "||"
2809 @aref{G clef}, @aref{F clef}.
2823 @aitemiii{ornament,embellishment,accessory}
2825 I: abbellimento, fioriture,
2826 F: agr@'ement, ornement,
2827 D: Verzierung, Ornament,
2833 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2834 with the diatonic @aref{second} above it. In the music from the
2835 middle of the 19th century and onwards the trill is performed with the main
2836 note first while in the music from the preceding baroque and classic periods
2837 the upper note is played first.
2841 \context Staff = sa {
2842 % \override Score.TextScript #'font-style = #'large
2843 \notes\relative c'' {
2844 c2._"pre-1850" b4\trill | c1 \bar "||"
2845 c2._"post-1850" b4\trill | c1 \bar "||"
2848 \notes\relative c'' {
2849 c2. c32 b c b c b c b | c1
2850 c2. b32 c b c \times 4/5 { b c b c b } | c1
2855 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2856 @emph{prall} (inverted mordent).
2860 \context Staff = sa {
2861 % \override Score.TextScript #'font-style = #'large
2862 \notes\relative c'' {
2863 a4_"turn" b\turn c2 \bar "||"
2864 g4_"mordent" a b\mordent a \bar "||"
2865 e'4_"prall" d\prall c2 \bar "||"
2868 \notes\relative c'' {
2871 e'4 e32[ d e d ~ d8] c2
2876 @aref{appoggiatura}.
2886 FI: ossia, vaihtoehtoinen esitystapa.
2888 Ossia (otherwise) marks an alternative. It is an added staff or piano
2889 score, usually only a few measures long, which presents another version
2890 of the music, for example for small hands.
2900 FI: stemma, instrumenttiosuus.
2902 1. In instrumental or choral music the music for the single instrument
2903 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2904 melodic line of the contrapunctal web.
2910 D: Schlagzeug, Schlagwerk,
2914 FI: ly@"om@"asoittimet.
2916 A family of musical instruments which are played on by striking or
2917 shaking. Percussion instruments commonly used in a symphony orchestra are
2918 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2919 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2922 @aitem{perfect interval}
2923 ES: intervalo justo,
2924 I: intervallo giusto,
2925 F: intervalle juste,
2926 D: reines Intervall,
2930 FI: puhdas intervalli.
2944 A natural division of the melodic line, comparable to a sentence of speech.
2954 FI: fraseeraus, j@"asent@"aminen.
2956 The clear rendering in musical performance of the @aref{phrase}s of
2957 the melody. Phrasing may be indicated by a @aref{slur}.
2969 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
2970 @emph{mezzopiano} (@b{mp}) medium soft.
2987 NL: pizzicato, getokkeld,
2990 FI: pizzicato, n@"app@"aillen.
2992 Play by plucking the strings.
2995 ES: polifon@'{@dotless{i}}a,
3002 FI: polyfonia, moni@"a@"anisyys.
3004 Music written in a combination of several simultaneous voices (parts) of a
3005 more or less pronounced individuality. @aref{counterpoint}.
3014 D: Presto, Sehr schnell,
3015 NL: presto, Sehr schnell,
3018 FI: presto, hyvin nopeasti.
3020 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3021 denotes the highest possible degree of speed.
3023 @aitem{Pythagorean comma}
3024 ES: coma pitag@'orico,
3025 I: comma pitagorico,
3026 F: comma pythagoricien,
3027 D: Pythagor@"aisches Komma,
3028 NL: komma van Pythagoras,
3029 DK: pythagor@ae{}isk komma,
3030 S: pytagoreiskt komma,
3031 FI: pytagorinen komma.
3033 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3034 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3035 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3036 7@w{ }octaves. The difference between those two pitches is called the
3051 @aitem{quarter note}
3053 I: semiminima, nera,
3056 D: Viertel, Viertelnote,
3060 FI: nelj@"annesosanuotti.
3064 @aitem{quarter rest}
3065 ES: silencio de negra,
3066 I: pausa di semiminima,
3071 DK:@w{ }fjerdedelspause,
3072 S: fj@"ardedelspaus,
3073 FI: nelj@"annesosatauko.
3093 D: rallentando, langsamer werden,
3097 FI. rallerdando, hidastuen,
3099 Abbreviation "rall.". @aref{ritardando}.
3101 @aitem{relative key}
3103 I: tonalit@`a relativa,
3104 F: tonalit@'e relative,
3106 NL: paralleltoonsoort,
3107 DK: paralleltoneart,
3109 FI: rinnakkaiss@"avellaji.
3111 @aref{major} and @aref{minor} @aref{key}
3112 with the same @aref{key signature}.
3115 \set Score.automaticBars = ##f
3116 %\override Score.TextScript #'font-style = #'large
3117 \notes\relative c' {
3119 es1_"e flat major" f g as bes c d es
3125 \set Score.automaticBars = ##f
3126 %\override Score.TextScript #'font-style = #'large
3127 \notes\relative c' {
3129 c1_"c minor" d es f g a! b! c \bar "||"
3134 ES: barra de repetici@'on,
3136 F: barre de reprise,
3139 DK: gen@-ta@-gel@-se,
3146 \notes\relative c'' {
3147 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3151 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3152 @c specify the rest's value.
3176 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3177 fixed unit of time, called @aref{beat}, and in which the normal
3178 @aref{accent} recurs in regular intervals, called
3179 @aref{measure}. The basic scheme scheme of time values is called
3180 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3181 accent. In modern notation such music appears as a free alternation of
3182 different measures. (c) Free rhythm, i.e., the use of temporal values having
3183 no common metrical unit (beat).
3189 D: Ritardando, langsamer werden,
3193 FI. ritardando, hidastuen,
3195 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3205 FI: ritenuto, hidastaen.
3207 Immediate reduction of speed.
3217 FI: asteikko, s@"avelasteikko.
3219 @aref{diatonic scale}.
3221 @aitem{scale degree}
3222 ES: grados de la escala,
3223 I: grado della scala,
3224 F: degr@'e [de la gamme],
3226 NL: trap [van de toonladder],
3229 FI: s@"avelaste, asteikon s@"avel.
3231 Names and symbols used in harmonic analysis to denote tones of the scale as
3232 roots of chords. The most important are degrees I = tonic (T), IV =
3233 sub@-do@-mi@-nant (S) and V = dominant (D).
3236 \set Score.automaticBars = ##f
3237 %\override Score.LyricText #'font-style = #'large
3238 %\set minVerticalAlign = #8
3240 \context Staff \notes\relative c' {
3243 \context Lyrics \lyrics {
3244 << { I II III IV V VI VII I }
3249 @aref{functional harmony}.
3255 D: Partitur (full score), Klavierauszug (vocal score)
3261 A copy of orchestral, choral or chamber music showing what each instrument is
3262 to play, each voice to sing, having each part arranged one underneath the
3263 other on different staves @aref{staff}.
3275 The @aref{interval} between two neigbouring tones of a scale. A
3276 @aref{diatonic scale} consists of alternating
3277 @aref{semitone}s and @aref{whole tone}s, hence the size
3278 of a se@-cond depends on the scale degrees in question.
3290 The @aref{interval} of a minor second. The (usually) smallest
3291 interval in European composed music. The interval between two neighbouring
3292 tones on the piano keyboard -- including black and white keys -- is a
3293 semitone. An octave may be divided into 12@w{ }semitones.
3294 @aref{interval}, @aref{chromatic scale}.
3297 \set Score.automaticBars = ##f
3298 \notes\relative c'' { g1 gis s a bes s b! c }
3313 @aitem{sextuplet, sextolet}
3336 @aitem{short appoggiatura}
3337 @aref{appoggiatura}.
3339 @aitem{sixteenth note}
3344 D: Sechzehntel, Sechzehntelnote,
3345 NL: zes@-ti@-ende noot,
3346 DK: sekstendedelsnode,
3348 FI: kuudestoistaosanuotti.
3352 @aitem{sixteenth rest}
3353 ES: silencia de semicorchea,
3354 I: pausa di semicroma,
3356 UK: semiquaver rest,
3357 D: Sechzehntelpause,
3359 DK: sekstendedelspause,
3377 @aitem{sixty-fourth note}
3380 F: quadruple croche,
3381 UK: hemidemisemiquaver,
3382 D: Vierundsechzigstel, Vierundsechzigstelnote,
3383 NL: vierenzestigste noot,
3384 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3385 S: sextiofj@"ardedelsnot,
3386 FI: kuudeskymmenesnelj@"asosanuotti.
3390 @aitem{sixty-fourth rest}
3391 ES: silencia de semifusa,
3392 I: pausa di semibiscroma,
3393 F: seizi@`eme de soupir,
3394 UK: hemidemisemiquaver rest,
3395 D: Vierundsechzigstelpause,
3396 NL: vierenzestigste rust,
3397 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3398 S: sextiofj@"ardedelspaus,
3399 FI: kuudeskymmenesnelj@"asosatauko.
3405 I: legatura (di portamento or espressiva),
3406 F: liaison, coul@'e,
3407 D: Bogen, Legatobogen, Phrasierungsbogen,
3408 NL: fraseringsboog, legatoboog, streekboog,
3409 DK: legatobue, fraseringsbue,
3413 A slur above or below a group of notes indicates that they are to be played
3414 @aref{legato}, e.g., with one stroke of the violin bow or with one
3424 FI: suhteelliset laulunimet.
3426 General term for systems of designating the degrees of the
3427 @aref{scale}, not by letters, but by syllables (@emph{do}
3428 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3429 (@emph{ti})). @aref{scale degree}.
3441 In its present-day meaning a sonata denotes an instrumental composition for
3442 piano or for some other instrument with piano accompaniment, which consists of
3443 three or four independant pieces, called movements.
3448 F: [en] forme de sonate,
3450 NL: hoofdvorm, sonatevorm,
3455 A form used frequently for single movements of the @aref{sonata},
3456 @aref{symphony}, quartet, etc. A movement written in sonata form
3457 falls into three sections called @emph{exposition}, @emph{development} and
3458 @emph{recapitulation}. In the exposition the composer introduces his musical
3459 ideas, consisting of a number of themes; in the development section he
3460 "develops" this material, and in the recapitulation he repeats the exposition,
3461 with certain modifications, however. The exposition contains a number of themes
3462 which fall into two groups, often called first and second subject. Other
3463 melodies occurring in each group are considered as continuations of these
3464 two. The second theme is in another key, normally in the key of the
3465 @aref{dominant} if the @aref{tonic} is
3466 @aref{major}, and in the @aref{relative key} if the
3467 tonic is @aref{minor}.
3477 FI: sopraano, korkea nais@"a@"ani.
3479 The highest female voice.
3484 F: staccato, piqu@'e, d@'etach@'e,
3489 FI: staccato, lyhyesti, ter@"av@"asti.
3491 Playing the note(s) short. Staccato is indicated by a dot above or below the
3497 \notes\relative c'' {
3499 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3506 I: pentagramma, rigo (musicale),
3509 NL: (noten)balk, partij,
3514 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3515 which the musical notes are written, thus indicating (in connection
3516 with a @aref{clef}) their pitch. Staves for
3517 @aref{percussion} instruments may have fewer lines.
3523 D: Hals, Notenhals, Stiel,
3529 Vertical line above or below a @aref{note head} shorter than a
3530 whole note. @aref{beam}.
3533 \set Score.autoBeaming = ##f
3534 \set Score.automaticBars = ##f
3535 %\override Score.TextScript #'font-style = #'large
3536 \notes\relative c'' {
3554 A family of stringed musical instruments played with a bow. Strings commonly
3555 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3561 D: betonter Taktteil oder Taktschlag,
3563 D: betonet taktslag,
3564 S: betonat taktslag,
3565 FI: tahdin vahva isku.
3567 @aref{beat}, @aref{accent}, @aref{measure},
3578 FI: subdominantti, alidominantti.
3580 The fourth @aref{scale degree}. @aref{functional
3591 FI: alikeskis@"avel.
3593 The sixth @aref{scale degree}.
3603 FI: subtoonika, alitoonika.
3605 The seventh @aref{scale degree}.
3607 @aitem{superdominant}
3617 The sixth @aref{scale degree}.
3629 The second @aref{scale degree}.
3632 ES: sinfon@'{@dotless{i}}a,
3635 D: Sinfonie, Symphonie,
3641 A symphony may be defined as a @aref{sonata} for orchestra.
3653 Any deliberate upsetting of the normal pulse of @aref{meter},
3654 @aref{accent} and @aref{rhythm}. Our system of musical
3655 rhythm rests upon the grouping of equal beats into groups of two or three,
3656 with a regularly recurrent accent on the first beat of each group. Any
3657 deviation from this scheme is felt as a disturbance or contradiction between
3658 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3662 \notes\relative c' {
3665 e c'4 e,8 c'4 e,8 c' ( | c2)
3669 @aitemii{syntonic comma,dydimic comma}
3670 I: comma sintonico (o didimico),
3671 F: comma syntonique,
3672 D: syntonisches Komma,
3673 NL: syntonische komma,
3674 DK: syntonisk komma,
3675 S: syntoniskt komma,
3676 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3678 Difference between the natural third and the third obtained by Pythagorean
3679 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3688 FI: nuottij@"arjestelm@"a.
3690 The collection of staves @aref{staff}, two or more, as used for
3691 writing down of keyboard, chamber, choral, or orchestral music.
3697 D: Stimmung, Temperatur,
3698 NL: stemming, temperatuur,
3701 FI: viritysj@"arjestelm@"a.
3703 Systems of tuning in which the intervals deviate from the acoustically pure
3704 intervals. @aref{meantone temperament}, @aref{equal
3707 @aitem{tempo indication}
3708 ES: indicaci@'on de tempo,
3709 I: indicazione di tempo,
3710 F: indication de temps,
3711 D: Zeitma@ss{}, Tempobezeichnung,
3712 NL: tempo aanduiding,
3715 FI: tempomerkint@"a.
3717 The rate of speed of a composition or a section thereof, ranging from the
3718 slowest to the quickest, as is indicated by tempo marks as
3719 @aref{largo}, @aref{adagio}, @aref{andante},
3720 @aref{allegro}, and @aref{presto}.
3730 FI: tenori, korkea mies@"a@"ani.
3732 The highest voice of men (apart from @aref{counter tenor}).
3758 @aitem{thirty-second note}
3763 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3764 NL: twee-endertig@-ste noot,
3765 DK: toogtredivtedelsnode,
3766 S: trettiotv@aa{}ondelsnot,
3767 FI: kolmanneskymmeneskahdesosanuotti.
3771 @aitem{thirty-second rest}
3772 ES: silencio de fusa,
3773 I: pausa di biscroma,
3774 F: huiti@`eme de soupir,
3775 UK: demisemiquaver rest,
3776 D: Zweiunddreissigstel@-pause,
3778 DK: toogtredivtedelspause,
3779 S: trettiotv@aa{}ondelspaus,
3780 FI: kolmanneskymmeneskahdesosatauko.
3784 @aitemii{thorough bass,figured bass}
3786 I: basso continuo, basso numerato,
3787 F: basse chiffr@'ee,
3788 D: Generalbass, bezifferter Bass,
3789 NL: basso continuo, becijferde bas
3792 FI: kenraalibasso, numeroitu basso.
3794 A method of indicating an accompaniment part by the bass notes only, together
3795 with figures designating the chief @aref{interval}s and
3796 @aref{chord}s to be played above the bass notes.
3799 \context GrandStaff <<
3800 \context Staff = lh \notes\relative c'' {
3804 << \context Voice = rha {
3807 \context Voice = rhb {
3809 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3813 \context Staff = rh \notes\relative c' {
3816 es8 c d bes c as bes16 as g f | es4
3818 \context Lyrics \lyrics {
3819 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3820 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3821 { "" "" "" "2" "" "" "" "" "" "2" } >>
3827 ES: ligadura de prolongaci@'on,
3828 I: legatura (di valore),
3831 NL: overbinding, bindingsboog,
3833 S: bindeb@aa{}ge, @"overbindning,
3836 A curved line, identical in appearance with the @aref{slur}, which
3837 connects two succesive notes of the same pitch, and which has the function of
3838 uniting them into a single sound equal to the combined durations.
3841 \set Score.automaticBars = ##f
3842 \notes\relative c'' { g2 ~ g4. }
3845 @aitem{time signature}
3846 ES: cifra indicadora de comp@'as,
3848 F: chiffrage (chiffres indicateurs), signe de valeur,
3849 D: Taktangabe, Angabe der Taktart,
3852 S: taktartssignatur,
3867 A sound of definite pitch and duration, as distinct from @emph{noise}.
3868 Tone is a primary building material of music.
3869 Music from the 20th century may be based on non tone related sounds.
3881 The first @aref{scale degree}.
3882 @aref{functional harmony}.
3884 @aitem{transposition}
3885 ES: transposici@'on,
3894 Shifting a melody up or down in pitch, while keeping the same
3900 \notes\relative c'' {
3902 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3910 \transpose c bes \relative c'' {
3912 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3919 I: chiave di violino,
3921 D: Violinschl@"ussel, Sopranschl@"ussel,
3923 DK:@w{ }diskantn@o{}gle,
3939 On stringed instruments (@aref{strings}) the quick reiteration of
3940 the same tone, produced by a rapid up-and-down movement movement of the bow
3941 (a). The term is also used for the rapid alternation (b) between two notes of
3942 a @aref{chord}, usually in the distance of a third
3946 \set Score.automaticBars = ##f
3947 %\override Score.TextScript #'font-style = #'large
3948 \notes\relative c' {
3950 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3951 \repeat "tremolo" 8 { e32_"b" g }
3956 ES: tr@'{@dotless{i}}ada,
3958 F: triade, accord parfait, accord de trois sons,
3967 @aitemii{trill,shake}
3970 F: trille, tremblement, battement (cadence),
3979 @aitem{triple meter}
3980 ES: comp@'as compuesto,
3984 NL: driedelige maatsoort,
4004 ES: tr@'{@dotless{i}}tono,
4017 I: diapason, corista,
4025 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4026 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4028 @aitemii{turn,gruppetto}
4041 ES: un@'{@dotless{i}}sono,
4048 FI: unisono, yksi@"a@"anisesti.
4050 Playing of the same notes or the same melody by various instruments (voices)
4051 or by the whole orchestra (choir), either at exactly the same pitch or in a
4055 ES: entrada anacr@'usica,
4057 F: anacrouse, lev@'ee,
4064 Initial note(s) of a melody occurring before the first bar
4065 line. @aref{measure}, @aref{meter}.
4070 \notes\relative c' {
4071 \partial 4 f4 | bes4. a8 bes4 c |
4072 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4083 FI: @"a@"ani, laulu@"a@"ani.
4085 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4086 @aref{contralto}, @aref{tenor},
4087 @aref{baritone}, @aref{bass}.
4088 2. A melodic layer or part of a polyphonic composition.
4092 I: tempo debole, arsi,
4094 D: unbetonter Taktteil oder Taktschlag,
4096 DK: ubetonet taktslag,
4097 S: obetonat taktslag,
4098 FI: tahdin heikko isku.
4100 @aref{beat}, @aref{measure}, @aref{rhythm}.
4107 D: Ganze, ganze Note,
4116 ES: silencio de redonda,
4117 I: pausa di semibreve,
4120 D: ganze Pause, ganztaktige Pause,
4138 The @aref{interval} of a major second. The interval between two
4139 tones on the piano keyboard with exactly one key between them -- including
4140 black and white keys -- is a whole tone.
4148 DK tr@ae{}bl@ae{}sere,
4149 S: tr@"abl@aa{}sare,
4152 A family of blown wooden musical instruments. Today some of these instruments
4153 are actually made from metal. The woodwind instruments commonly used in a
4154 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4161 @item DURATION NAMES, NOTES AND RESTS
4164 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4166 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4167 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4171 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4172 @tab longa @tab longa @tab longa @tab longa
4176 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4177 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4181 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4182 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4186 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4187 halve @tab halv @tab halv @tab puoli- @tab
4191 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4192 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4196 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4197 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4201 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4202 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4203 @tab kuudestoistaosa- @tab
4207 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4208 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4209 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4213 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4214 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4215 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4216 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4219 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4227 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4229 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4230 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4235 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4239 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4240 cis @tab cis @tab Cis @tab cis
4244 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4245 des @tab des @tab Des @tab des
4249 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4253 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4257 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4261 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4265 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4266 @tab as @tab As @tab as
4270 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4274 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4275 ais @tab ais @tab Ais @tab ais
4279 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4280 @tab b @tab B @tab b
4284 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4292 @item ---------------------
4296 @item Literature used
4297 The Harvard Dictionary of Music, London 1944. Many more or less literal
4298 quotes from its articles have been included into the item explanation texts.
4300 Hugo Riemanns Musiklexicon, Berlin 1929.
4302 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4303 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.