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'
30 Copyright @copyright{} 1999--2004 by the authors
33 Permission is granted to copy, distribute and/or modify this document
34 under the terms of the GNU Free Documentation License, Version 1.1
35 or any later version published by the Free Software Foundation,
36 without Invariant Sections.
41 @c FIXME: multiple omfcreators?
43 @omfcreator Christian Mondrup
44 @omfdescription Glossary of musical terms with translations
46 @omfcategory Applications|Publishing
53 @chapter Music Glossary
64 @item Christian Mondrup
65 Original author of LilyPond glossary, Danish glossary,
68 @item Fran@,{c}ois Pinard
69 Original glossary of GNU music project, French glossary,
70 @item Han-Wen Nienhuys
72 @item Jan Nieuwenhuizen
77 English glossary translations,
79 Finnish glossary translations.
82 Copyright 1999--2004 by the authors
85 Permission is granted to copy, distribute and/or modify this document
86 under the terms of the GNU Free Documentation License, Version 1.1
87 or any later version published by the Free Software Foundation,
88 without Invariant Sections.
98 @c @everyheading @| @thispage @|
99 @c @evenheading @thispage @| @|
100 @c @oddheading @| @| @thispage @|
104 @tex $\\Rightarrow$ @end tex@c
115 We do not use refs for Info:
117 @w{@ar{}\word\}@c vs:
118 @w{@ar{}@pxref{\word\}}@c
120 they look too intrusive (says Han-Wen).
127 @w{@ar{}@strong{\word\}}@c
130 @ar{}@ref{\word\, @strong{\word\}}@c
138 @c If we want hypelinks, we must add anchors.
139 @c Hmm, we need the @achor command in the item description itself
140 @c (not before or after) to get mozilla jump to the right place.
143 @item \word\@anchor{\word\}
145 @macro aitemii{one,two}
146 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
148 @macro aitemiii{one,two,three}
149 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
159 @item UK - British English
166 This is an example reference, that points you to the @aref{accent}
191 FI: aksentti, korostus,
194 The stress of one tone over others.
196 @c F: how to distinguish between accidental and key-sig alteration?
200 I: alterazione, accidente,
202 D: Vorzeichen, Versetzungszeichen,
205 S: tillf@"alligt f@"ortecken,
206 FI: tilap@"ainen etumerkki,
209 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
210 @c Akzidenz, NL: toevallig teken, I: accidento.
212 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
213 by a @aref{whole tone}, a flat lowers it by a semitone and a double
214 flat lowers it by a whole tone. A natural cancels the effect of a previous
218 \set Score.automaticBars = ##f
219 %\override TextScript #'font-style = #'large
221 \context Staff \notes\relative c'' {
222 gis1 s s gisis s s ges s s geses s s g!
224 \context Lyrics \lyrics {
225 \override Lyrics .LyricText #'self-alignment-X = #-1
226 "sharp " "db. sharp " "flat " "db. flat " natural
233 F: accelerando, en acc@'el@'erant,
234 D: accelerando, schneller werden,
238 FI: accelerando, kiihdytt@"aen,
251 FI: adagio, hitaasti,
254 It. comfortable, easy.
255 1. Slow tempo, slower -- especially in even meter -- than
256 @aref{andante} and faster than @aref{largo}.
257 2. A movement in slow tempo, especially the second (slow) movement of
258 @aref{sonata}s, symphonies, etc.
264 D: Allegro, Schnell, Fr@"ohlich, Lustig,
268 FI: allegro, nopeasti,
271 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
272 especially the first and last movements of a @aref{sonata}.
282 FI: altto, matala nais@"a@"ani,
285 A female voice of low range (@emph{contralto}). Originally the alto was a high
286 male voice (hence the name) which by the use of falsetto reached the height of
287 the female voice. This type of voice is also known as @aref{counter
291 ES: clave de do en tercera,
292 I: chiave di contralto,
293 F: clef d'ut troisi@`eme ligne,
294 D: Altschl@"ussel, Bratschenschl@"ussel,
301 C clef setting central C on the middle line of the staff
312 FI: ambitus, @"a@"aniala, soitinala,
315 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.
317 @aitem{ancient minor scale}
318 I: scala minore naturale,
319 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
321 NL: authentieke mineurtoonladder,
324 FI: luonnollinen molliasteikko,
328 \set Score.automaticBars = ##f
329 \notes\relative c'' {
341 FI: andante, k@"ayden,
344 Walking tempo/character.
349 F: appogiature, (port de voix),
354 FI: appoggiatura, etuhele,
357 Ornamental note, usually a second, that is melodically connected with the main
358 note that follows it. In music before the 19th century a. were usually
359 performed on the beat, after that mostly before the beat. While the short
360 a. is performed as a short note regardless of the duration of the main note
361 the duration of the long a. is proportional to that of the main note.
364 \context Voice \notes\relative c'' {
368 %\override Score.TextScript #'font-style = #'large
369 <d a fis>4_"notation" r
370 { \override Stem #'flag-style = #'()
372 \revert Stem #'flag-style
375 { \override Stem #'flag-style = #'()
377 \revert Stem #'flag-style
380 \cadenzaOn a4 \bar "||" \cadenzaOff }
381 \notes\relative c'' {
382 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
383 \cadenzaOn a4 \bar "||" \cadenzaOff }
386 An appoggiatura may have more notes preceding the main note.
389 \notes\relative c'' {
392 % \override Score.TextScript #'font-style = #'large
393 \grace { bes16 } as8_"notation" as16 bes as8 g |
394 \grace { as16[( bes] } < c as >4-)
395 \grace { as16[( bes] } < c as >4-) \bar "||"
396 \grace { bes16 } as8_"performance" as16 bes as8 g |
397 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
398 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
407 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
409 DK: arpeggio, akkordbrydning,
411 FI: arpeggio, murtosointu,
415 \notes \context PianoStaff <<
416 \context Staff = SA \relative c'' {
419 r8 g16 c e g, c e r8 g,16 c e g, c e |
420 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
421 \context Staff = SB \relative c' {
423 << \context Voice = va {
425 r16 e8. ( e4) r16 e8. ( e4) |
426 r16 d8. ( d4) r16 d8. ( d4) }
427 \context Voice = vb {
434 @aitem{ascending interval}
435 ES: Intervalo ascendente,
436 I: intervallo ascendente,
437 F: intervalle ascendant,
438 D: steigendes Intervall,
439 NL: stijgend interval,
440 DK:@w{ }stigende interval,
441 S: stigande intervall,
442 FI: nouseva intervalli,
445 A distance between a starting lower note and a higher ending note.
447 @aitem{augmented interval}
448 ES: intervalo aumentado,
449 I: intervallo aumentato,
450 F: intervalle augment@'e,
451 D: @"uberm@"a@ss{}iges Intervall,
452 NL: overmatig interval,
453 DK: forst@o{}rret interval,
454 S: @"overstigande intervall,
455 FI: ylinouseva intervalli,
463 D: Autograph, Handschrift,
465 DK: h@aa{}ndskrift, autograf,
467 FI: k@"asinkirjoitettu nuotti,
470 1. A manuscript in the composer's own hand.
471 2. Music prepared for photoreproduction by freehand drawing,
472 with only the aid of a straightedge ruler and T-square,
473 which attempts to emulate engraving.
474 This required more skill than did engraving.
487 @aitemii{backfall,forefall}
492 I: stanghetta, barra (di divisione),
493 F: barre (de mesure),
502 ES: comp@'as, @aref{measure}.
505 ES: bar@'{@dotless{i}}tono,
512 FI: baritoni, keskikorkuinen mies@"a@"ani,
515 The male voice intermediate between the @aref{bass} and the
518 @c F: clef de troisi@`eme ligne dropped
520 @aitem{baritone clef}
521 ES: clave de fa en tercera,
522 I: chiave di baritono,
523 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
524 D: Baritonschl@"ussel,
531 C or F clef setting central C on the upper staff line.
532 @aref{C clef}, @aref{F clef}.
535 ES: clave de fa en cuarta,
537 F: cl@'e de fa quatri@`eme ligne,
545 A clef setting with central C on the first top ledger line.
555 FI: basso, matala mies@"a@"ani,
558 1. The lowest of men's voices.
559 2. Sometimes, especially in jazz music, used as
560 an abbreviation for double bass.
573 Line connecting a series of notes (shorter than a quarter note).
574 The number of beams determine the note value of the connected notes.
577 \set Score.automaticBars = ##f
578 %\override TextScript #'font-style = #'large
579 \notes\relative c'' {
581 g16_"1/16"[ g g g] s16
582 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
583 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
590 D: Takt, Taktschlag, Zeit (im Takt),
597 Note value used for counting, most often half-, fourth-, and eighth notes.
598 The base counting value and the number of them per measure is indicated at
599 the start of the music.
604 \notes\relative c'' { g4 c b a | g1 \bar "||"}
606 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
616 D: Klammer, Akkolade,
617 NL: accolade, teksthaak,
620 FI: yhdist@"av@"a sulkumerkki,
623 Symbol at the start of a system connecting staves. Curly braces are used
624 for connecting piano staves, angular brackets for connecting parts in an
625 orchestral or choral score.
628 \notes\context GrandStaff <<
629 \relative c''\context Staff = SA { \clef treble g4 e c2 }
630 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
634 \context StaffGroup <<
635 % \set StaffGroup.minVerticalAlign = #12
636 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
637 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
646 DK: messingbl@ae{}sere,
647 S: brassinstrument, m@"assingsinstrument,
651 A family of blown musical instruments made of brass all using a cup formed
652 mouth piece. The brass instruments commonly used in a symphony orchestra are
653 trumpet, trombone, french horn, and tube.
658 D: Atemzeichen, Trennungszeichen,
659 NL: repercussieteken,
660 DK: vejrtr@ae{}kningstegn,
665 Indication of where to breathe in vocal and wind instrument parts.
678 @aref{note value} twice as long as a whole note. Mainly used
682 \set Score.automaticBars = ##f
683 \notes\relative c'' { g\breve }
708 Clef symbol indicating the position of the central C. Used on all note
712 \set Score.automaticBars = ##f
713 \override Score.Clef #'full-size-change = ##t
714 %\override Score.LyricText #'font-style = #'large
716 \context Staff \notes\relative c' {
718 \clef mezzosoprano c s s
723 \context Lyrics \lyrics {
724 \override Lyrics .LyricText #'self-alignment-X = #-1
725 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
737 FI: kadenssi, lopuke,
740 @aref{harmonic cadence}, @aref{functional harmony}.
750 FI: kadenssi, lopuke,
753 An extended, improvisatory style section inserted near the end of
754 movement. The purpose of a cadenza is to give the singer or player a chance to
755 exhibit her technichal skill and not the least her ability to improvise. Since
756 the middle of the 19th century, however, most cadences have been written down
767 FI: kaanon, tarkka j@"aljittely,
780 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
783 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
784 equally tempered @aref{semitone}).
785 @aref{equal temperament}.
801 Three or more tones sounding simultaneously. In traditional European music the
802 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
803 minor @aref{third}) as well as @emph{minor} (minor + major third)
804 chords may be extended with more thirds. Four-tone @emph{seventh chords}
805 and five-tone @emph{ninth} major chords are most often used as dominants
806 (@aref{functional harmony}). A special case is chords having no
807 third above the lower notes to define their quality as major or minor. Such
808 chords are denoted open chords
811 \set Score.automaticBars = ##f
812 %\override TextScript #'font-style = #'large
814 \context Staff \notes\relative c'' {
822 \context Lyrics \lyrics{
823 \override Lyrics .LyricText #'self-alignment-X = #-1
824 "major " "minor " "diminished " "augmented "
825 "seventh-chord " "ninth-chord "
829 @aitem{chromatic scale}
830 ES: escala crom@'atica,
832 F: gamme chromatique,
833 D: chromatische Tonleiter,
834 NL: chromatische toonladder,
837 FI: kromaattinen asteikko,
840 A scale consisting of all 11 @aref{semitone}s.
843 \set Score.automaticBars = ##f
844 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
858 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
860 @aitemii{church mode,ecclesiastical mode}
861 ES: modo eclesi@'astico,
862 I: modo ecclesiastico,
863 F: mode eccl@'esiastique,
868 FI: moodi, kirkkos@"avellaji,
871 @aref{diatonic scale}.
877 D: Schl@"ussel, Notenschl@"ussel,
881 FI: avain, nuottiavain,
884 @aref{C clef}, @aref{F clef}, @aref{G clef}.
893 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
896 Difference in pitch between a note derived from pure tuning and the same note
897 derived from some other tuning method. @aref{temperament}.
902 @aitem{compound interval}
903 ES: intervalo compuesto,
904 I: intervallo composto,
905 F: intervalle compos@'e,
907 NL: samengesteld interval,
908 DK: sammensat interval,
909 S: sammansatt intervall,
910 FI: oktaavia laajempi intervalli,
913 Intervals larger than an octave.
919 F: intervalle compl@'ementaire,
920 D: Komplement@"arintervall,
921 NL: complementair interval,
922 DK: komplement@ae{}rinterval,
923 S: komplement@"arintervall (?),
924 FI: t@"aydent@"av@"a intervalli,
927 @aref{inverted interval}.
929 @aitem{conjunct movement}
930 ES: movimiento conjunto,
932 F: mouvement conjoint,
933 D: schrittweise, stufenweise Bewegung,
934 NL: stapsgewijze, trapsgewijze beweging,
935 DK: trinvis bev@ae{}gelse,
936 S: stegvis r@"orelse,
937 FI: asteittainen liike,
940 Melody moving in the narrow steps of the scale.
943 \key g \major \time 4/4
944 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
955 FI: konsonanssi, sopusointi,
981 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
984 From latin @emph{punctus contra punctum}, note against note. The combination
985 into a single musical fabric of lines or parts which have distinct melodic
986 significance. A frequently used polyphonic technique is imitation, in its
987 strictest form found in the canon needing only one part to be written down
988 while the other parts are performed with a given displacement. Imitation is
989 also the contrapunctal technique used in the @emph{fugue} which, since the
990 music of the baroque era, has been one of the most popular polyphonic
993 @lilypond[staffsize=11,noquote]
994 \override Score.TimeSignature #'style =\turnOff
995 \notes\context PianoStaff <<
996 \context Staff = SA \relative c' {
1000 << \context Voice = rha {
1002 r1 | r2 r8 g'8 bes d, |
1003 cis4 d r8 e!16 f g8 f16 e |
1004 f8 g16 a bes8 a16 g a8
1006 \context Voice = rhb {
1012 \context Staff = SB \relative c' {
1015 << \context Voice = lha {
1017 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1018 r8 a16 g f8 g16 a bes8 g e! cis' |
1021 \context Voice = lhb {
1029 @aitem{counter tenor}
1036 S: kontratenor, counter tenor,
1042 @aitem{Copying, Music}
1043 A music copyist did fast freehand scores and parts on preprinted staff lines
1044 for performance. Some of their conventions (e.g., the placement of noteheads
1045 on stems) varied slightly from those of engravers. Some of their working
1046 methods were superior and could well be adopted by music typesetters. This
1047 required more skill than engraving.
1053 D: Crescendo, lauter werden,
1057 FI: cresendo, voimistuen,
1060 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1061 abbreviation ``cresc.''.
1064 \key g \major \time 4/4
1065 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1071 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1079 In a separate part notes belonging to another part with the purpose of hinting
1080 when to start playing. Usually printed in a smaller type.
1084 A custos is a staff symbol that appears at the end of a staff line
1085 with monophonic musical contents (i.e. with a single voice). It
1086 anticipates the pitch of the first note of the following line and thus
1087 helps the player or singer to manage line breaks during performance,
1088 thus enhancing readability of a score.
1090 Custodes were frequently used in music notation until the 16th
1091 century. There were different appearences for different notation
1092 styles. Nowadays, they have survived only in special forms of musical
1093 notation such as via the editio vaticana dating back to the beginning
1099 \override Staff.Custos #'neutral-position = #4
1100 \override Staff.Custos #'neutral-direction = #-1
1101 \override Staff.Custos #'adjust-if-on-staffline = ##t
1103 \override Staff.Custos #'style = #'hufnagel
1105 \break < d' a' f''>1
1110 \consists Custos_engraver
1131 F: da capo, depuis le commencement,
1132 D: da capo, von Anfang,
1136 FI: da capo, alusta,
1139 The term indicates repetition of the piece from the beginning to the end or to
1140 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1145 F: dal segno, depuis le signe,
1150 FI: dal segno, merkkiin asti,
1153 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1154 another place frequently near the beginning marked by a sign:
1157 %\override TextScript #'font-style = #'large
1158 \override TextScript #'font-shape = #'italic
1159 \key g \major \time 4/4
1160 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1166 D: Decrescendo, leiser werden,
1170 FI: decresendo, hiljentyen,
1173 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1174 or the abbreviation ``decresc.''.
1177 \notes\relative c'' {
1178 \key g \major \time 4/4
1179 d4 \> c b a | g1 \! \bar "|."
1183 @aitem{descending interval}
1184 ES: intervalo descendente,
1185 I: intervallo discendente,
1186 F: intervalle descendant,
1187 D: fallendes Intervall, absteigendes Intervall,
1188 NL: dalend interval,
1189 DK: faldende interval,
1190 S: fallande intervall,
1191 FI: laskeva intervalli,
1194 A distance between a starting higher note and a lower ending note.
1196 @aitem{diatonic scale}
1197 ES: escala diat@'onica,
1199 F: gamme diatonique,
1200 D: diatonische Tonleiter,
1201 NL: diatonische toonladder,
1202 DK: diatonisk skala,
1204 FI: diatoninen asteikko,
1207 A scale consisting of 5@w{ }@aref{whole tone}s and
1208 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1209 of a piano keybord are diatonic.
1211 The church modes are used in gregorial chant and pre baroque early music but
1212 also to some extent in newer jazz music.
1214 @lilypond[notime,linewidth=110\mm]
1215 \set Score.automaticBars = ##f
1216 %\override Score.LyricText #'font-style = #'large
1217 %\override Score.TextScript #'font-style = #'large
1219 \context Staff \notes\relative c' {
1221 \override TextScript #'padding = #-4
1222 e^"~~ S" f g a b^"~~ S" c
1224 \context Lyrics \lyrics {
1230 \set Score.automaticBars = ##f
1231 %\override Score.LyricText #'font-style = #'large
1232 %\override Score.TextScript #'font-style = #'large
1234 \context Staff \notes\relative c' {
1236 \override TextScript #'padding = #-4
1237 e^"~~ S" f g a b^"~~ S" c d
1239 \context Lyrics \lyrics {
1245 \set Score.automaticBars = ##f
1246 %\override Score.LyricText #'font-style = #'large
1247 %\override Score.TextScript #'font-style = #'large
1249 \notes\relative c' {
1250 \override TextScript #'padding = #-4
1251 e1^"~~ S" f g a b^"~~ S" c d e
1253 \context Lyrics \lyrics {
1259 \set Score.automaticBars = ##f
1260 %\override Score.LyricText #'font-style = #'large
1261 %\override Score.TextScript #'font-style = #'large
1263 \notes\relative c' {
1265 \override TextScript #'padding = #-4
1266 b^"~~ S" c d e^"~~ S" f
1268 \context Lyrics \lyrics {
1274 \set Score.automaticBars = ##f
1275 %\override Score.LyricText #'font-style = #'large
1276 %\override Score.TextScript #'font-style = #'large
1278 \notes\relative c'' {
1280 \override TextScript #'padding = #-4
1281 b^"~~ S" c d e^"~~ S" f g }
1282 \context Lyrics \lyrics {
1288 \set Score.automaticBars = ##f
1289 %\override Score.LyricText #'font-style = #'large
1290 %\override Score.TextScript #'font-style = #'large
1292 \notes\relative c'' {
1294 \override TextScript #'padding = #-4
1295 b^"~~ S" c d e^"~~ S" f g a
1297 \context Lyrics \lyrics {
1302 From the beginning of the 17th century the scales used in European
1303 compositional music are primarily the major and the minor scales. In the
1304 harmonic minor scale type an augmented second (A) occurs between the 6th and
1308 \set Score.automaticBars = ##f
1309 %\override Score.LyricText #'font-style = #'large
1310 %\override Score.TextScript #'font-style = #'large
1312 \notes\relative c' {
1314 \override TextScript #'padding = #-4
1315 e^"~~ S" f g a b^"~~ S" c
1317 \context Lyrics \lyrics {
1323 \set Score.automaticBars = ##f
1324 %\override Score.LyricText #'font-style = #'large
1325 %\override Score.TextScript #'font-style = #'large
1327 \notes\relative c'' {
1329 \override TextScript #'padding = #-4
1330 b^"~~ S" c d e^"~~ S" f g a
1332 \context Lyrics \lyrics {
1338 \set Score.automaticBars = ##f
1339 %\override Score.LyricText #'font-style = #'large
1340 %\override Score.TextScript #'font-style = #'large
1342 \notes\relative c'' {
1344 \override TextScript #'padding = #-4
1345 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1347 \context Lyrics \lyrics {
1353 \set Score.automaticBars = ##f
1354 %\override Score.LyricText #'font-style = #'large
1355 %\override Score.TextScript #'font-style = #'large
1357 \notes\relative c'' {
1359 \override TextScript #'padding = #-4
1360 b^"~~ S" c d e fis gis^"~~ S"
1361 a g! f!^"~~ S" e d c^"~~ S" b a
1363 \context Lyrics \lyrics {
1368 @aitem{diminished interval}
1369 ES: intervalo disminu@'{@dotless{i}}do,
1370 I: intervallo diminuito,
1371 F: intervalle diminu@'e,
1372 D: vermindertes Intervall,
1373 NL: verminderd interval,
1374 DK: formindsket interval,
1375 S: f@"orminskat intervall,
1376 FI: v@"ahennetty intervalli,
1389 FI: diminuendo, hiljentyen,
1394 @aitem{disjunct movement}
1395 ES: movimiendo disjunto,
1397 F: mouvement disjoint,
1398 D: sprunghafte Bewegung,
1399 NL: sprongsgewijze beweging,
1400 DK: springende bev@ae{}gelse,
1401 S: hoppande r@"orelse,
1402 FI: melodian hyppiv@"a liike,
1405 Melody moving in steps greater than those of the
1406 scale. Opposite of @aref{conjunct movement}.
1411 \notes\relative c' {
1413 a4. gis8 b a e cis |
1414 fis2 d4. \bar "||" }
1417 @aitemii{dissonant interval,dissonance}
1418 ES: intervalo disonante, disonancias,
1419 I: intervallo dissonante, dissonanza,
1422 NL: dissonant interval; dissonant,
1423 DK: dissonerende interval, dissonans,
1425 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1430 @aitem{dominant ninth chord}
1431 I: accordo di nona di dominante,
1432 F: accord de neuvi@`eme dominante,
1433 D: Dominantnoneakkord,
1434 NL: dominant noon akkoord,
1435 DK: dominantnoneakkord,
1436 S: dominantnonackord,
1437 FI: dominanttinoonisointu,
1440 @aref{chord}, @aref{functional harmony}.
1442 @aitem{dominant seventh chord}
1443 ES: acorde de s@'eptima de dominante,
1444 I: accordo di settima di dominante,
1445 F: accord de septi@`eme dominante,
1446 D: Dominantseptakkord,
1447 NL: dominant septiem akkoord,
1448 DK: dominantseptimakkord,
1449 S: dominantseptimackord,
1450 FI: dominanttiseptimisointu,
1453 @aref{chord}, @aref{functional harmony}.
1463 FI: dominantti, huippusointu,
1466 The fifth @aref{scale degree},
1467 @aref{functional harmony}.
1473 D: dorisch, dorischer Kirchenton,
1474 NL: dorische toonladder,
1480 @aref{diatonic scale}.
1482 @aitem{dot (augmentation dot)}
1484 I: punto (di valore),
1486 D: Punkt (Verl@"angerungspunkt),
1496 ES: nota con puntillo,
1500 NL: gepuncteerde noot,
1503 FI: pisteellinen nuotti,
1508 @aitem{double appoggiatura}
1509 ES: apoyatura doble,
1510 I: appoggiatura doppia,
1511 F: appoggiature double,
1512 D: doppelter Vorschlag,
1513 NL: dubbele voorslag,
1514 DK: dobbelt forslag,
1516 FI: kaksoisappogiatura, kaksoisetuhele,
1519 @aref{appoggiatura}.
1521 @aitem{double bar line}
1525 NL: dubbele maatstreep,
1528 FI: kaksoistahtiviiva,
1531 Indicates the end of a section within a movement.
1533 @aitem{double dotted note}
1534 ES: nota con dos puntillos,
1535 I: nota doppiamente puntata,
1536 F: note doublement point@'ee,
1537 D: doppelt punktierte Note,
1538 NL: dubbelgepuncteerde noot,
1539 DK: dob@-belt@-punk@-te@-ret node,
1540 S: dub@-bel@-punk@-te@-rad not,
1541 FI: kaksoispisteellinen nuotti,
1554 FI: kaksoisalennusmerkki,
1559 @aitem{double sharp}
1560 ES: doble sostenido,
1565 DK: dob@-belt@-kryds,
1567 FI: kaksoisylennysmerkki,
1572 @aitem{double trill}
1577 NL: dubbele triller,
1583 A simultaneous trill on two notes, usually in the distance of a third.
1590 NL: tweedelige maatsoort,
1619 FI: kesto, aika-arvo,
1624 @aitem{dydimic comma}
1625 @aref{syntonic comma}.
1643 D: Achtel, Achtelnote,
1645 DK: ottendedelsnode,
1646 S: @aa{}ttondelsnot,
1647 FI: kahdeksasosanuotti,
1653 ES: silencio de corchea,
1659 DK: ottendedelspause,
1660 S: @aa{}ttonddelspaus,
1661 FI: kahdeksasosatauko,
1670 D: Notenstechen, Notendruck
1677 Engraving means incising or etching a metal plate for
1678 printing. Photoengraving means drawing music with ink in a manner
1679 similar to drafting or engineering drawing, using similar tools.
1681 The traditional process of music printing is done through cutting in a
1682 plate of metal. Now also the term for the art of music typesetting.
1695 Two notes, intervals, or scales are enharmonic if they have different names
1699 \set Score.automaticBars = ##f
1700 %\override Score.TextScript #'font-style = #'large
1702 \context Staff \notes\relative c'' {
1703 gis1 s s as s s <des g,!> s s <cis g!> s s
1705 \context Lyrics \lyrics {
1706 \override Lyrics .LyricText #'self-alignment-X = #-1
1707 "g sharp " "a flat " "dim fifth " "augm fourth"
1711 @aitem{equal temperament}
1713 I: temperamento equabile,
1714 F: temp@'erament @'egal,
1715 D: gleichschwebende Stimmung,
1716 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1717 DK: ligesv@ae{}vende temperatur,
1718 S: liksv@"avande temperatur,
1722 Tuning system dividing the octave into 12 equal @aref{semitone}s
1723 (precisely 100 @aref{cent}s). @aref{temperament}.
1725 @aitem{expression mark}
1727 I: segno d'espressione,
1728 F: signe d'expression, indication de nuance,
1730 NL: voordrachtsteken,
1731 DK: foredragsbetegnelse,
1732 S: f@"oredragsbeteckning,
1733 FI: nyanssiosoitus, esitysmerkki,
1736 Performance indications concerning 1. volume, dynamics (for example
1737 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1738 @aref{andante}, @aref{allegro}).
1762 The position between the dots of the key symbol is the line of the F below
1763 central@w{ }C. Used on the third, fourth and fifth note line. A
1764 digit@w{ }8 above the clef symbol indicates that the notes must be played
1765 an octave higher (for example bass recorder) while 8@w{ }below the clef
1766 symbol indicates playing an octave lower (for example on double bass
1770 \set Score.automaticBars = ##f
1771 \override Staff.Clef #'full-size-change = ##t
1772 %\override Score.LyricText #'font-style = #'large
1786 \context Lyrics \lyrics {
1787 \override Lyrics .LyricText #'self-alignment-X = #-1
1796 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1801 F: point d'orgue, point d'arr@^et,
1806 FI: fermaatti, pid@"ake,
1809 Prolonged note or rest of indefinite duration.
1813 \notes\relative c'' {
1814 a4 b c2^\fermata \bar "|."
1831 @aitem{figured bass}
1832 ES: bajo cifrado, @aref{thorough bass}.
1840 DK: fingers@ae{}tning,
1841 S: fingers@"attning,
1845 The methodical use of fingers in the playing of instruments.
1847 @aitem{flag,pennant}
1849 I: coda (uncinata), bandiera,
1851 D: Fahne, F@"ahnchen,
1858 Ornament at the end of the stem of a note used for notes with values
1859 less than a quarter note. The number of flags determines the
1863 \set Score.automaticBars = ##f
1864 %\override Score.TextScript #'font-style = #'large
1865 \notes\relative c'' {
1886 @aitemii{forefall,backfall}
1887 @aref{appoggiatura}.
1897 FI: forte, voimakkaasti,
1900 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1901 @emph{mezzoforte} (@b{mf}) medium loud.
1927 @aref{counterpoint}.
1929 @aitem{functional harmony}
1930 ES: armon@'{@dotless{i}}a funcional,
1931 I: armonia funzionale,
1932 F: @'etude des functions,
1934 NL: functionele harmonie,
1935 DK: funktionsanalyse, funktionsharmonik,
1937 FI: harmoniaj@"arjestelm@"a,
1940 A system of harmonic analysis. It is based on the idea that, in a given key,
1941 there are only three functionally different chords: tonic (T, the chord on the
1942 first note of the scale), subdominant (S, the chord on the fourth note), and
1943 dominant (D, the chord on the fifth note). Other are considered to be
1944 variants of the base chords.
1947 \set Score.automaticBars = ##f
1948 %\override Score.LyricText #'font-style = #'large
1949 %\override Score.TextScript #'font-style = #'large
1951 \context Voice \notes\relative c'' {
1952 <g e c >1 < a f d > < b g e >
1953 <c a f > < d b g > < e c a > < f d b > }
1954 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1972 D: G-Schl@"ussel, Violinschl@"ussel,
1979 A clef symbol indicating the G above central@w{ }C. Used on the first
1980 and second note lines. A digit 8 above the clef symbol indicates that
1981 the notes must be played an octave higher while 8 below the clef symbol
1982 indicates playing or singing an octave lower (most tenor parts in choral
1983 scores are notated like that).
1986 \set Score.automaticBars = ##f
1987 \override Staff.Clef #'full-size-change = ##t
1988 %\override Score.LyricText #'font-style = #'large
1990 \notes\relative c'' {
2000 \context Lyrics \lyrics {
2001 \override Lyrics .LyricText #'self-alignment-X = #-1
2002 "french violin clef "
2017 FI: glissando, liukuen,
2020 Letting the pitch slide fluently from one note to the other.
2026 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
2033 Notes printed in small types to indicate that their time values are not
2034 counted in the rhythm of the bar. @aref{appoggiatura}.
2042 S: ackolad, b@"ojd klammer,
2043 FI: kaksoisnuottiviivasto,
2048 A combination of two staves with a brace. Usually used for piano music.
2058 FI: grave, raskaasti,
2068 D: Halbe, halbe Note,
2091 @aitem{harmonic cadence}
2092 ES: cadencia (arm@'onica),
2093 I: cadenza (armonica),
2094 F: cadence harmonique,
2096 NL: harmonische cadens,
2097 DK: harmonisk kadence,
2098 S: (harmonisk) kadens,
2099 FI: harmoninen kadenssi,
2102 Sequence of chords that terminate a musical phrase or
2103 section. @aref{functional harmony}.
2106 \notes\context PianoStaff <<
2107 \context Staff = SA \relative c'' {
2111 \partial 4 < c g e >4 |
2112 < c a f > < b g d > < c g e >2
2114 % %\override Score.LyricText #'font-style = #'large
2116 \context Staff = SB \relative c {
2118 \partial 4 c4 | f, g c2
2121 \context Lyrics \lyrics {
2128 ES: armon@'{@dotless{i}}a,
2131 D: Harmonie, Zusammenklang,
2135 FI: harmonia, yhteissointi,
2138 Tones sounding simultaneously. Two note harmonies fall into the categories
2139 @emph{consonances} and @emph{dissonances}.
2144 \set Score.automaticBars = ##f
2145 %\override Score.TextScript #'font-style = #'large
2146 \context Voice \notes\relative c'' {
2160 \set Score.automaticBars = ##f
2161 %\override Score.TextScript #'font-style = #'large
2162 \context Voice \notes\relative c'' {
2163 <g a>1_"second " s s
2164 <g f'>_"seventh " s s
2169 Three note harmony @aref{chord}.
2172 ES: homofon@'{@dotless{i}}a,
2179 FI: homofonia, yksi@"a@"anisyys,
2182 Music in which one voice leads melodically followed by the other voices more
2183 or less in the same rhythm. In contrast to @aref{polyphony}.
2193 FI: intervalli, kahden s@"avelen korkeusero,
2196 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2197 diminished, or augmented. The augmented fourth and the diminished fifth are
2198 identical (@aref{enharmonic}) and are called @emph{tritonus}
2199 because they consist of three @aref{whole tone}s. The addition
2200 of such two forms an octave.
2203 \set Score.automaticBars = ##f
2204 %\override Score.LyricText #'font-style = #'large
2205 %\override Score.TextScript #'font-style = #'large
2207 \context Voice \notes\relative c'' {
2212 < gis bes >^"dimin" s
2213 < g! bes >^"minor" s
2217 \context Lyrics \lyrics {
2218 "unisone " "second " "second " "second "
2219 "third " "third " "third " "third "
2224 \set Score.automaticBars = ##f
2225 %\override Score.LyricText #'font-style = #'large
2226 %\override Score.TextScript #'font-style = #'large
2228 \context Staff \notes\relative c'' {
2231 < g d' >^"perfect" s
2233 < gis es' >^"dimin" s
2234 < g! es' >^"minor" s
2238 \context Lyrics \lyrics {
2239 "fourth " "fourth " "fifth " "fifth "
2240 "sixth " "sixth " "sixth " "sixth "
2245 \set Score.automaticBars = ##f
2246 %\override Score.LyricText #'font-style = #'large
2247 %\override Score.TextScript #'font-style = #'large
2249 \context Staff \notes\relative c'' {
2250 < gis f'! >1^"dimin" s
2251 < g! f'! >^"minor" s
2252 < g fis' >^"major" s
2256 < g bes' >^"minor" s
2259 \context Lyrics \lyrics {
2260 "seventh " "seventh " "seventh " "octave "
2261 "none " "none " "decime " "decime "
2265 @aitem{inverted interval}
2266 ES: intervalo invertido,
2267 I: intervallo rivolto,
2268 F: intervalle revers@'e,
2269 D: umgekehrtes Intervall,
2270 NL: interval inversie,
2271 DK: omvendingsinterval,
2272 S: intervallets omv@"andning,
2273 FI: k@"a@"anteisintervalli,
2276 The difference between an interval and an octave.
2279 \set Score.automaticBars = ##f
2280 %\override Score.TextScript #'font-style = #'large
2281 \context Staff \notes\relative c'' {
2282 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2283 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2284 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2288 @aitem{just intonation}
2289 I: intonazione giusta,
2290 F: intonation juste,
2298 Tuning system in which the notes are obtained by adding and subtracting
2299 natural fifths and thirds. @aref{temperament}.
2312 According to the 12@w{ }tones of the @aref{chromatic scale}
2313 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2314 @aref{key signature}.
2316 @aitem{key signature}
2317 ES: armadura de clave,
2318 I: armatura di chiave,
2319 F: armure, armature [de la cl@'e],
2320 D: Vorzeichen, Tonart,
2321 NL: toon@-soort (voortekens),
2324 FI: s@"avellajiosoitus,
2327 The sharps or flats appearing at the beginning of each staff indicating the
2328 key of the music. @aref{accidental}.
2334 D: Largo, Langsam, Breit,
2338 FI: largo, hitaasti, leve@"asti,
2341 Very slow in tempo, usually combined with great
2342 expressiveness. @emph{Larghetto} is less slow than largo.
2344 @aitem{leading note}
2355 The seventh @aref{scale degree}, a @aref{semitone} below
2356 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2357 upwards) to the tonic scale degree.
2359 @aitemii{ledger line,leger line}
2360 ES: l@'{@dotless{i}}neas adicionales,
2361 I: tagli addizionali,
2362 F: ligne suppl@'ementaire,
2365 DK: hj@ae{}lpelinie,
2370 A ledger line is an extension of the staff.
2373 \set Score.automaticBars = ##f
2374 \notes\relative c'' { a,1 s c'' }
2388 To be performed (a) without any perceptible interruption between the notes
2389 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2390 (d) @aref{staccato}.
2393 \set Score.automaticBars = ##f
2395 \context Staff \notes\relative c'' {
2396 c4-( d e-) \bar "||"
2397 c4-- d-- e-- \bar "||"
2398 c4-.-( d-. e-.-) \bar "||"
2399 c4-. d-. e-. \bar "||"
2401 \context Lyrics \lyrics {
2402 % \override Lyrics .LyricText #'font-style = #'large
2410 @aitem{legato curve}
2411 @aref{slur}, @aref{legato}.
2414 ES: estanque de lilas,
2415 I: stagno del giglio,
2419 NL: le@-lie@-vij@-ver,
2425 A pond with lilies floating in it, also the name of a music typesetter.
2428 ES: l@'{@dotless{i}}nea,
2431 D: Linie, Notenlinie,
2435 FI: viiva, nuottiviiva,
2440 @aitem{long appoggiatura}
2441 ES: apoyatura larga,
2442 I: appoggiatura lunga,
2443 F: appoggiature longue,
2444 D: langer Vorschlag,
2447 S: l@aa{}ngt f@"orslag,
2448 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2451 @aref{appoggiatura}.
2464 Note value: double length of @aref{breve}.
2468 \set Score.automaticBars = ##f
2469 \notes\relative c'' {
2470 \override NoteHead #'style = #'mensural
2475 @aitemii{lyrics,song texts}
2486 @aitem{major interval}
2487 ES: intervalo mayor,
2488 I: intervallo maggiore,
2489 F: intervalle majeur,
2490 D: gro@ss{}es Intervall,
2494 FI: suuri intervalli,
2510 @aref{diatonic scale}.
2512 @aitem{meantone temperament}
2513 I: accordatura mesotonica,
2514 F: temp@'erament m@'esotonique,
2515 D: mittelt@"onige Stimmung,
2516 NL: middenstemming, middentoonstemming,
2517 DK: middeltonetemperatur,
2518 S: medeltonstemperatur,
2519 FI: keskis@"avelviritys,
2522 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2523 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2524 @aref{temperament} only a limited set of keys are playable.
2525 Used for tuning keyboard instruments for performance of pre-1650 music.
2527 @aitem{measure, bar}
2538 A group of @aref{beat}s (units of musical time) the first of which
2539 bears an accent. Such groups in numbers of two or more recur consistently
2540 throughout the composition and are marked from each other by
2541 bar-lines. @aref{meter}.
2545 I: mediante, modale,
2554 1. The third @b{scale degree}.
2555 2. A @aref{chord} having its base tone
2556 a third from that of another chord. For example, the tonic chord may be
2557 replaced by its lower mediant (variant tonic). @aref{functional
2558 harmony}, @aref{relative key}.
2563 FI: melisma, laulettavan tavun s@"avelkuvio,
2565 A melisma (plural: melismata) is a group of notes or tones sung on one
2566 syllable in plainsong
2568 @aitem{melodic cadence}
2574 F: indication de m@'esure,
2582 The basic scheme of @aref{note value}s and
2583 @aref{accent}s which remains unaltered throughout a composition
2584 or a section of it. For instance, 3/4 meter means that the basic
2585 @aref{note value}s are quarter notes and that a
2586 @aref{measure} consists of three of those. According to
2587 whether there are two, three or four units to the measure,
2588 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2589 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2592 \notes\relative c'' {
2595 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2599 \notes\relative c' {
2602 f8 f f f a16 g a f |
2603 c'8 c c c e16 d e c \bar "||"}
2607 \notes\relative c'' {
2610 d4 b8 g b d d c a4 |
2611 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2625 Device indicating the exact tempo of a piece. @aref{metronomic
2628 @aitem{metronomic indication}
2629 ES: indicaci@'on metron@'omica,
2630 I: indicazione metronomica,
2631 F: indication m@'etronomique,
2633 NL: metronoom aanduiding,
2635 S: metronomangivelse,
2636 FI: metronomiosoitus,
2639 Exact tempo indication (in beats per minute). Also denoted by
2640 M.M. (M@"alzels Metronom).
2642 @aitem{mezzo-soprano}
2653 The female voice between @aref{soprano} and
2660 D: eingestrichenes@w{ }c,
2662 DK: enstreget@w{ }c,
2663 S: ettstruket@w{ }c,
2667 First C below the 440 Hz A.
2670 \set Score.automaticBars = ##f
2671 \override Staff.Clef #'full-size-change = ##t
2672 \notes\relative c' {
2690 @aref{diatonic scale}.
2692 @aitem{minor interval}
2693 ES: intervalo mayor,
2694 I: intervallo minore,
2695 F: intervalle mineur,
2696 D: kleines Intervall,
2700 FI: pieni intervalli,
2713 FI: moodi, kirkkos@"avelasteikko,
2716 @aref{church mode}, @aref{diatonic scale}.
2726 FI: modulaatio, s@"avellajin vaihdos,
2729 Moving from one @aref{key} to another. For example, the second
2730 subject of a @aref{sonata form} movement modulates to the dominant
2731 key if the key is major and to the @aref{relative key} if the key
2741 FI: mordent, korukuvio,
2746 @aitemii{motive,motif}
2754 FI: teema, s@"avelaihe,
2757 The briefest intelligible and self-contained fragment of a musical theme or
2761 \override Score.TimeSignature #'style = \turnOff
2762 %\override Score.TextScript #'font-style = #'large
2763 \notes\relative c'' {
2766 \partial 8 g16_"------" fis |
2767 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2768 g8 g,16 a b8 cis d16 s
2783 Greater musical works like @aref{symphony} and
2784 @aref{sonata} most often consist of several -- more or less --
2785 independant pieces called movements.
2787 @aitem{multibar rest}
2788 ES: compases de espera,
2792 D: mehrtaktige Pause,
2795 FI: usean tahdin mittainen tauko,
2799 \notes\relative c'' {
2801 \set Score.skipBars = ##t R1*3
2806 @aitem{mixolydian mode}
2807 @aref{diatonic scale}.
2809 @aitem{natural sign}
2813 D: Aufl@"osungszeichen,
2814 NL: herstellingsteken,
2815 DK: op@-l@o{}sningstegn,
2816 S: @aa{}terst@"allningstecken,
2822 @aitem{neighbour tones}
2823 @aref{appoggiatura}.
2852 Notes are signs by means of which music is fixed in writing. The term is also
2853 used for the sound indicated by a note, and even for the key of the piano
2854 which produces the sound. However, a clear distinction between the terms tone
2855 and @aref{note} is strongly recommended. Briefly, one sees a note,
2860 I: testa, testina, capocchia,
2861 F: t@^ete de la note,
2869 A head like sign which indicates pitch by its position on a
2870 @aref{staff} provided with a @aref{clef}, and duration
2871 by a variety of shapes such as hollow or black heads with or without
2872 @aref{stem}s, @aref{flag}s, etc. For percussion
2873 instruments (often having no defined pitch) the note head may indicate the
2879 F: dur@'ee, valeur (d'une note),
2884 FI: nuotin aika-arvo,
2887 Note values (durations) are measured as fractions, normally 1/2, of the next
2888 higher note value. The longest duration normally used is called @emph{brevis},
2889 but sometimes (mostly in pre baroque music) the double length note value
2890 @emph{longa} is used.
2893 %\override Score.TextScript #'font-style = #'large
2894 \set Score.automaticBars = ##f
2895 \notes\relative c'' {
2896 \override NoteHead #'style = #'mensural
2897 g\longa_"longa" g\breve_"breve"
2898 \revert NoteHead #'style
2899 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2900 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2904 %\override Score.TextScript #'font-style = #'large
2905 \set Score.automaticBars = ##f
2906 \notes\relative c'' {
2907 r\longa_"longa" r\breve_"breve"
2908 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2909 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2912 An augmentation dot after a note multiplies the duration by one and a
2913 half. Another dot adds yet a fourth of the duration.
2916 %\override Score.TextScript #'font-style = #'large
2917 \notes\relative c'' {
2919 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2920 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2923 Alternatively note values may be subdivided by other ratios. Most common is
2924 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2925 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2926 dotted notes are also frequently used.
2929 %\override Score.TextScript #'font-style = #'large
2930 \notes\relative c'' {
2932 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2933 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2938 \notes\relative c'' {
2940 \times 3/2 {g4_"duplets" g} |
2942 \times 6/4 {g8_"quadruplets" g g g} |
2943 g8 g g g g4 \bar "||"
2948 @aref{G clef}, @aref{F clef}.
2963 @aitemiii{ornament,embellishment,accessory}
2965 I: abbellimento, fioriture,
2966 F: agr@'ement, ornement,
2967 D: Verzierung, Ornament,
2974 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2975 with the diatonic @aref{second} above it. In the music from the
2976 middle of the 19th century and onwards the trill is performed with the main
2977 note first while in the music from the preceding baroque and classic periods
2978 the upper note is played first.
2982 \context Staff = sa {
2983 % \override Score.TextScript #'font-style = #'large
2984 \notes\relative c'' {
2985 c2._"pre-1850" b4\trill | c1 \bar "||"
2986 c2._"post-1850" b4\trill | c1 \bar "||"
2989 \notes\relative c'' {
2990 c2. c32 b c b c b c b | c1
2991 c2. b32 c b c \times 4/5 { b c b c b } | c1
2996 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2997 @emph{prall} (inverted mordent).
3001 \context Staff = sa {
3002 % \override Score.TextScript #'font-style = #'large
3003 \notes\relative c'' {
3004 a4_"turn" b\turn c2 \bar "||"
3005 g4_"mordent" a b\mordent a \bar "||"
3006 e'4_"prall" d\prall c2 \bar "||"
3009 \notes\relative c'' {
3012 e'4 e32[ d e d ~ d8] c2
3017 @aref{appoggiatura}.
3027 FI: ossia, vaihtoehtoinen esitystapa,
3030 Ossia (otherwise) marks an alternative. It is an added staff or piano
3031 score, usually only a few measures long, which presents another version
3032 of the music, for example for small hands.
3042 FI: stemma, instrumenttiosuus,
3045 1. In instrumental or choral music the music for the single instrument
3046 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3047 melodic line of the contrapunctal web.
3053 D: Schlagzeug, Schlagwerk,
3057 FI: ly@"om@"asoittimet,
3060 A family of musical instruments which are played on by striking or
3061 shaking. Percussion instruments commonly used in a symphony orchestra are
3062 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3063 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3066 @aitem{perfect interval}
3067 ES: intervalo justo,
3068 I: intervallo giusto,
3069 F: intervalle juste,
3070 D: reines Intervall,
3074 FI: puhdas intervalli,
3090 A natural division of the melodic line, comparable to a sentence of speech.
3100 FI: fraseeraus, j@"asent@"aminen,
3103 The clear rendering in musical performance of the @aref{phrase}s of
3104 the melody. Phrasing may be indicated by a @aref{slur}.
3117 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3118 @emph{mezzopiano} (@b{mp}) medium soft.
3136 NL: pizzicato, getokkeld,
3139 FI: pizzicato, n@"app@"aillen,
3142 Play by plucking the strings.
3145 ES: polifon@'{@dotless{i}}a,
3152 FI: polyfonia, moni@"a@"anisyys,
3155 Music written in a combination of several simultaneous voices (parts) of a
3156 more or less pronounced individuality. @aref{counterpoint}.
3165 D: Presto, Sehr schnell,
3166 NL: presto, Sehr schnell,
3169 FI: presto, hyvin nopeasti,
3172 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3173 denotes the highest possible degree of speed.
3175 @aitem{Pythagorean comma}
3176 ES: coma pitag@'orico,
3177 I: comma pitagorico,
3178 F: comma pythagoricien,
3179 D: Pythagor@"aisches Komma,
3180 NL: komma van Pythagoras,
3181 DK: pythagor@ae{}isk komma,
3182 S: pytagoreiskt komma,
3183 FI: pytagorinen komma,
3186 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3187 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3188 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3189 7@w{ }octaves. The difference between those two pitches is called the
3205 @aitem{quarter note}
3207 I: semiminima, nera,
3210 D: Viertel, Viertelnote,
3214 FI: nelj@"annesosanuotti,
3219 @aitem{quarter rest}
3220 ES: silencio de negra,
3221 I: pausa di semiminima,
3226 DK:@w{ }fjerdedelspause,
3227 S: fj@"ardedelspaus,
3228 FI: nelj@"annesosatauko,
3250 D: rallentando, langsamer werden,
3254 FI. rallerdando, hidastuen,
3257 Abbreviation "rall.". @aref{ritardando}.
3259 @aitem{relative key}
3261 I: tonalit@`a relativa,
3262 F: tonalit@'e relative,
3264 NL: paralleltoonsoort,
3265 DK: paralleltoneart,
3267 FI: rinnakkaiss@"avellaji,
3270 @aref{major} and @aref{minor} @aref{key}
3271 with the same @aref{key signature}.
3274 \set Score.automaticBars = ##f
3275 %\override Score.TextScript #'font-style = #'large
3276 \notes\relative c' {
3278 es1_"e flat major" f g as bes c d es
3284 \set Score.automaticBars = ##f
3285 %\override Score.TextScript #'font-style = #'large
3286 \notes\relative c' {
3288 c1_"c minor" d es f g a! b! c \bar "||"
3293 ES: barra de repetici@'on,
3295 F: barre de reprise,
3298 DK: gen@-ta@-gel@-se,
3306 \notes\relative c'' {
3307 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3311 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3312 @c specify the rest's value.
3338 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3339 fixed unit of time, called @aref{beat}, and in which the normal
3340 @aref{accent} recurs in regular intervals, called
3341 @aref{measure}. The basic scheme scheme of time values is called
3342 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3343 accent. In modern notation such music appears as a free alternation of
3344 different measures. (c) Free rhythm, i.e., the use of temporal values having
3345 no common metrical unit (beat).
3351 D: Ritardando, langsamer werden,
3355 FI. ritardando, hidastuen,
3358 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3368 FI: ritenuto, hidastaen,
3371 Immediate reduction of speed.
3381 FI: asteikko, s@"avelasteikko,
3384 @aref{diatonic scale}.
3386 @aitem{scale degree}
3387 ES: grados de la escala,
3388 I: grado della scala,
3389 F: degr@'e [de la gamme],
3391 NL: trap [van de toonladder],
3394 FI: s@"avelaste, asteikon s@"avel,
3397 Names and symbols used in harmonic analysis to denote tones of the scale as
3398 roots of chords. The most important are degrees I = tonic (T), IV =
3399 sub@-do@-mi@-nant (S) and V = dominant (D).
3402 \set Score.automaticBars = ##f
3403 %\override Score.LyricText #'font-style = #'large
3404 %\set minVerticalAlign = #8
3406 \context Staff \notes\relative c' {
3409 \context Lyrics \lyrics {
3410 << { I II III IV V VI VII I }
3415 @aref{functional harmony}.
3421 D: Partitur (full score), Klavierauszug (vocal score)
3428 A copy of orchestral, choral or chamber music showing what each instrument is
3429 to play, each voice to sing, having each part arranged one underneath the
3430 other on different staves @aref{staff}.
3443 The @aref{interval} between two neigbouring tones of a scale. A
3444 @aref{diatonic scale} consists of alternating
3445 @aref{semitone}s and @aref{whole tone}s, hence the size
3446 of a se@-cond depends on the scale degrees in question.
3459 The @aref{interval} of a minor second. The (usually) smallest
3460 interval in European composed music. The interval between two neighbouring
3461 tones on the piano keyboard -- including black and white keys -- is a
3462 semitone. An octave may be divided into 12@w{ }semitones.
3463 @aref{interval}, @aref{chromatic scale}.
3466 \set Score.automaticBars = ##f
3467 \notes\relative c'' { g1 gis s a bes s b! c }
3483 @aitem{sextuplet, sextolet}
3508 @aitem{short appoggiatura}
3509 @aref{appoggiatura}.
3511 @aitem{sixteenth note}
3516 D: Sechzehntel, Sechzehntelnote,
3517 NL: zes@-ti@-ende noot,
3518 DK: sekstendedelsnode,
3520 FI: kuudestoistaosanuotti,
3525 @aitem{sixteenth rest}
3526 ES: silencia de semicorchea,
3527 I: pausa di semicroma,
3529 UK: semiquaver rest,
3530 D: Sechzehntelpause,
3532 DK: sekstendedelspause,
3552 @aitem{sixty-fourth note}
3555 F: quadruple croche,
3556 UK: hemidemisemiquaver,
3557 D: Vierundsechzigstel, Vierundsechzigstelnote,
3558 NL: vierenzestigste noot,
3559 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3560 S: sextiofj@"ardedelsnot,
3561 FI: kuudeskymmenesnelj@"asosanuotti,
3566 @aitem{sixty-fourth rest}
3567 ES: silencia de semifusa,
3568 I: pausa di semibiscroma,
3569 F: seizi@`eme de soupir,
3570 UK: hemidemisemiquaver rest,
3571 D: Vierundsechzigstelpause,
3572 NL: vierenzestigste rust,
3573 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3574 S: sextiofj@"ardedelspaus,
3575 FI: kuudeskymmenesnelj@"asosatauko,
3582 I: legatura (di portamento or espressiva),
3583 F: liaison, coul@'e,
3584 D: Bogen, Legatobogen, Phrasierungsbogen,
3585 NL: fraseringsboog, legatoboog, streekboog,
3586 DK: legatobue, fraseringsbue,
3591 A slur above or below a group of notes indicates that they are to be played
3592 @aref{legato}, e.g., with one stroke of the violin bow or with one
3602 FI: suhteelliset laulunimet,
3605 General term for systems of designating the degrees of the
3606 @aref{scale}, not by letters, but by syllables (@emph{do}
3607 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3608 (@emph{ti})). @aref{scale degree}.
3621 In its present-day meaning a sonata denotes an instrumental composition for
3622 piano or for some other instrument with piano accompaniment, which consists of
3623 three or four independant pieces, called movements.
3628 F: [en] forme de sonate,
3630 NL: hoofdvorm, sonatevorm,
3636 A form used frequently for single movements of the @aref{sonata},
3637 @aref{symphony}, quartet, etc. A movement written in sonata form
3638 falls into three sections called @emph{exposition}, @emph{development} and
3639 @emph{recapitulation}. In the exposition the composer introduces his musical
3640 ideas, consisting of a number of themes; in the development section he
3641 "develops" this material, and in the recapitulation he repeats the exposition,
3642 with certain modifications, however. The exposition contains a number of themes
3643 which fall into two groups, often called first and second subject. Other
3644 melodies occurring in each group are considered as continuations of these
3645 two. The second theme is in another key, normally in the key of the
3646 @aref{dominant} if the @aref{tonic} is
3647 @aref{major}, and in the @aref{relative key} if the
3648 tonic is @aref{minor}.
3658 FI: sopraano, korkea nais@"a@"ani,
3661 The highest female voice.
3666 F: staccato, piqu@'e, d@'etach@'e,
3671 FI: staccato, lyhyesti, ter@"av@"asti,
3674 Playing the note(s) short. Staccato is indicated by a dot above or below the
3680 \notes\relative c'' {
3682 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3689 I: pentagramma, rigo (musicale),
3692 NL: (noten)balk, partij,
3698 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3699 which the musical notes are written, thus indicating (in connection
3700 with a @aref{clef}) their pitch. Staves for
3701 @aref{percussion} instruments may have fewer lines.
3707 D: Hals, Notenhals, Stiel,
3714 Vertical line above or below a @aref{note head} shorter than a
3715 whole note. @aref{beam}.
3718 \set Score.autoBeaming = ##f
3719 \set Score.automaticBars = ##f
3720 %\override Score.TextScript #'font-style = #'large
3721 \notes\relative c'' {
3740 A family of stringed musical instruments played with a bow. Strings commonly
3741 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3747 D: betonter Taktteil oder Taktschlag,
3749 D: betonet taktslag,
3750 S: betonat taktslag,
3751 FI: tahdin vahva isku,
3754 @aref{beat}, @aref{accent}, @aref{measure},
3765 FI: subdominantti, alidominantti,
3768 The fourth @aref{scale degree}. @aref{functional
3779 FI: alikeskis@"avel,
3782 The sixth @aref{scale degree}.
3792 FI: subtoonika, alitoonika,
3795 The seventh @aref{scale degree}.
3797 @aitem{superdominant}
3808 The sixth @aref{scale degree}.
3821 The second @aref{scale degree}.
3824 ES: sinfon@'{@dotless{i}}a,
3827 D: Sinfonie, Symphonie,
3834 A symphony may be defined as a @aref{sonata} for orchestra.
3847 Any deliberate upsetting of the normal pulse of @aref{meter},
3848 @aref{accent} and @aref{rhythm}. Our system of musical
3849 rhythm rests upon the grouping of equal beats into groups of two or three,
3850 with a regularly recurrent accent on the first beat of each group. Any
3851 deviation from this scheme is felt as a disturbance or contradiction between
3852 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3856 \notes\relative c' {
3859 e c'4 e,8 c'4 e,8 c' ( | c2)
3863 @aitemii{syntonic comma,dydimic comma}
3864 I: comma sintonico (o didimico),
3865 F: comma syntonique,
3866 D: syntonisches Komma,
3867 NL: syntonische komma,
3868 DK: syntonisk komma,
3869 S: syntoniskt komma,
3870 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3873 Difference between the natural third and the third obtained by Pythagorean
3874 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3883 FI: nuottij@"arjestelm@"a,
3886 The collection of staves @aref{staff}, two or more, as used for
3887 writing down of keyboard, chamber, choral, or orchestral music.
3893 D: Stimmung, Temperatur,
3894 NL: stemming, temperatuur,
3897 FI: viritysj@"arjestelm@"a,
3900 Systems of tuning in which the intervals deviate from the acoustically pure
3901 intervals. @aref{meantone temperament}, @aref{equal
3904 @aitem{tempo indication}
3905 ES: indicaci@'on de tempo,
3906 I: indicazione di tempo,
3907 F: indication de temps,
3908 D: Zeitma@ss{}, Tempobezeichnung,
3909 NL: tempo aanduiding,
3912 FI: tempomerkint@"a,
3915 The rate of speed of a composition or a section thereof, ranging from the
3916 slowest to the quickest, as is indicated by tempo marks as
3917 @aref{largo}, @aref{adagio}, @aref{andante},
3918 @aref{allegro}, and @aref{presto}.
3928 FI: tenori, korkea mies@"a@"ani,
3931 The highest voice of men (apart from @aref{counter tenor}).
3959 @aitem{thirty-second note}
3964 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3965 NL: twee-endertig@-ste noot,
3966 DK: toogtredivtedelsnode,
3967 S: trettiotv@aa{}ondelsnot,
3968 FI: kolmanneskymmeneskahdesosanuotti,
3973 @aitem{thirty-second rest}
3974 ES: silencio de fusa,
3975 I: pausa di biscroma,
3976 F: huiti@`eme de soupir,
3977 UK: demisemiquaver rest,
3978 D: Zweiunddreissigstel@-pause,
3980 DK: toogtredivtedelspause,
3981 S: trettiotv@aa{}ondelspaus,
3982 FI: kolmanneskymmeneskahdesosatauko,
3987 @aitemii{thorough bass,figured bass}
3989 I: basso continuo, basso numerato,
3990 F: basse chiffr@'ee,
3991 D: Generalbass, bezifferter Bass,
3992 NL: basso continuo, becijferde bas
3995 FI: kenraalibasso, numeroitu basso,
3998 A method of indicating an accompaniment part by the bass notes only, together
3999 with figures designating the chief @aref{interval}s and
4000 @aref{chord}s to be played above the bass notes.
4003 \context GrandStaff <<
4004 \context Staff = lh \notes\relative c'' {
4008 << \context Voice = rha {
4011 \context Voice = rhb {
4013 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4017 \context Staff = rh \notes\relative c' {
4020 es8 c d bes c as bes16 as g f | es4
4022 \context Lyrics \lyrics {
4023 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4024 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4025 { "" "" "" "2" "" "" "" "" "" "2" } >>
4031 ES: ligadura de prolongaci@'on,
4032 I: legatura (di valore),
4035 NL: overbinding, bindingsboog,
4037 S: bindeb@aa{}ge, @"overbindning,
4041 A curved line, identical in appearance with the @aref{slur}, which
4042 connects two succesive notes of the same pitch, and which has the function of
4043 uniting them into a single sound equal to the combined durations.
4046 \set Score.automaticBars = ##f
4047 \notes\relative c'' { g2 ~ g4. }
4050 @aitem{time signature}
4051 ES: cifra indicadora de comp@'as,
4053 F: chiffrage (chiffres indicateurs), signe de valeur,
4054 D: Taktangabe, Angabe der Taktart,
4057 S: taktartssignatur,
4074 A sound of definite pitch and duration, as distinct from @emph{noise}.
4075 Tone is a primary building material of music.
4076 Music from the 20th century may be based on non tone related sounds.
4089 The first @aref{scale degree}.
4090 @aref{functional harmony}.
4092 @aitem{transposition}
4093 ES: transposici@'on,
4103 Shifting a melody up or down in pitch, while keeping the same
4109 \notes\relative c'' {
4111 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4119 \transpose c bes \relative c'' {
4121 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4128 I: chiave di violino,
4130 D: Violinschl@"ussel, Sopranschl@"ussel,
4132 DK:@w{ }diskantn@o{}gle,
4150 On stringed instruments (@aref{strings}) the quick reiteration of
4151 the same tone, produced by a rapid up-and-down movement movement of the bow
4152 (a). The term is also used for the rapid alternation (b) between two notes of
4153 a @aref{chord}, usually in the distance of a third
4157 \set Score.automaticBars = ##f
4158 %\override Score.TextScript #'font-style = #'large
4159 \notes\relative c' {
4161 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4162 \repeat "tremolo" 8 { e32_"b" g }
4167 ES: tr@'{@dotless{i}}ada,
4169 F: triade, accord parfait, accord de trois sons,
4179 @aitemii{trill,shake}
4182 F: trille, tremblement, battement (cadence),
4192 @aitem{triple meter}
4193 ES: comp@'as compuesto,
4197 NL: driedelige maatsoort,
4219 ES: tr@'{@dotless{i}}tono,
4233 I: diapason, corista,
4242 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4243 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4245 @aitemii{turn,gruppetto}
4259 ES: un@'{@dotless{i}}sono,
4266 FI: unisono, yksi@"a@"anisesti,
4269 Playing of the same notes or the same melody by various instruments (voices)
4270 or by the whole orchestra (choir), either at exactly the same pitch or in a
4274 ES: entrada anacr@'usica,
4276 F: anacrouse, lev@'ee,
4284 Initial note(s) of a melody occurring before the first bar
4285 line. @aref{measure}, @aref{meter}.
4290 \notes\relative c' {
4291 \partial 4 f4 | bes4. a8 bes4 c |
4292 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4303 FI: @"a@"ani, laulu@"a@"ani,
4306 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4307 @aref{contralto}, @aref{tenor},
4308 @aref{baritone}, @aref{bass}.
4309 2. A melodic layer or part of a polyphonic composition.
4313 I: tempo debole, arsi,
4315 D: unbetonter Taktteil oder Taktschlag,
4317 DK: ubetonet taktslag,
4318 S: obetonat taktslag,
4319 FI: tahdin heikko isku,
4322 @aref{beat}, @aref{measure}, @aref{rhythm}.
4329 D: Ganze, ganze Note,
4339 ES: silencio de redonda,
4340 I: pausa di semibreve,
4343 D: ganze Pause, ganztaktige Pause,
4363 The @aref{interval} of a major second. The interval between two
4364 tones on the piano keyboard with exactly one key between them -- including
4365 black and white keys -- is a whole tone.
4373 DK tr@ae{}bl@ae{}sere,
4374 S: tr@"abl@aa{}sare,
4378 A family of blown wooden musical instruments. Today some of these instruments
4379 are actually made from metal. The woodwind instruments commonly used in a
4380 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4387 @item DURATION NAMES, NOTES AND RESTS
4390 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4392 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4393 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4397 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4398 @tab longa @tab longa @tab longa @tab longa
4402 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4403 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4407 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4408 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4412 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4413 halve @tab halv @tab halv @tab puoli- @tab
4417 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4418 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4422 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4423 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4427 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4428 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4429 @tab kuudestoistaosa- @tab
4433 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4434 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4435 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4439 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4440 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4441 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4442 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4445 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4453 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4455 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4456 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4461 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4465 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4466 cis @tab cis @tab Cis @tab cis
4470 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4471 des @tab des @tab Des @tab des
4475 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4479 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4483 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4487 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4491 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4492 @tab as @tab As @tab as
4496 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4500 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4501 ais @tab ais @tab Ais @tab ais
4505 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4506 @tab b @tab B @tab b
4510 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4518 @item ---------------------
4522 @item Literature used
4523 The Harvard Dictionary of Music, London 1944. Many more or less literal
4524 quotes from its articles have been included into the item explanation texts.
4526 Hugo Riemanns Musiklexicon, Berlin 1929.
4528 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4529 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.