1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
6 <!--- @@WEB-TITLE@@=Music Glossary --->
10 This document is also available in @uref{music-glossary.ps.gz,gzipped
11 PostScript} and @uref{music-glossary.pdf,PDF}.
16 @author Christian Mondrup
17 @author spanish by David Gonz@'alez
18 @c License PD, BSD-ish, GNU GPL, GNU FDL?
20 Copyright @copyright{} 1999--2002 by the authors
26 @omfcreator Christian Mondrup
27 @omfdescription Glossary of musical terms with translations
36 @chapter Music Glossary
44 Copyright 1999-2002 by the authors
46 @c License PD, BSD-ish, GNU GPL, GNU FDL?
55 @c @everyheading @| @thispage @|
56 @c @evenheading @thispage @| @|
57 @c @oddheading @| @| @thispage @|
61 @tex $\\Rightarrow$ @end tex@c
72 We don't use refs for Info:
75 @w{@ar{}@pxref{\word\}}@c
77 they look too intrusive (says Han-Wen).
84 @w{@ar{}@strong{\word\}}@c
87 @ar{}@ref{\word\, @strong{\word\}}@c
95 @c If we want hypelinks, we must add anchors.
96 @c Hmm, we need the @achor command in the item description itself
97 @c (not before or after) to get mozilla jump to the right place.
100 @item \word\@anchor{\word\}
102 @macro aitemii{one,two}
103 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
105 @macro aitemiii{one,two,three}
106 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
116 @item UK - British English
123 This is an example reference, that points you to the @aref{accent}
148 FI: aksentti, korostus,
151 The stress of one tone over others.
153 @c F: how to distinguish between accidental and key-sig alteration?
157 I: alterazione, accidente,
159 D: Vorzeichen, Versetzungszeichen,
162 S: tillf@"alligt f@"ortecken,
163 FI: tilap@"ainen etumerkki,
166 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
167 @c Akzidenz, NL: toevallig teken, I: accidento.
169 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
170 by a @aref{whole tone}, a flat lowers it by a semitone and a double
171 flat lowers it by a whole tone. A natural cancels the effect of a previous
174 @lilypond[13pt,notime]
175 \property Score.barNonAuto = ##t
176 \property Voice.TextScript \set #'font-style = #'large
178 \context Staff \notes\relative c'' {
179 gis1 s s gisis s s ges s s geses s s g!
181 \context Lyrics \lyrics {
182 \property Lyrics . LyricText \override #'alignment = #-1
183 "sharp " "db. sharp " "flat " "db. flat " natural
190 F: accelerando, en acc@'el@'erant,
191 D: accelerando, schneller werden,
195 FI: accelerando, kiihdytt@"aen,
208 FI: adagio, hitaasti,
211 It. comfortable, easy.
212 1. Slow tempo, slower -- especially in even meter -- than
213 @aref{andante} and faster than @aref{largo}.
214 2. A movement in slow tempo, especially the second (slow) movement of
215 @aref{sonata}s, symphonies, etc.
221 D: Allegro, Schnell, Fr@"ohlich, Lustig,
225 FI: allegro, nopeasti,
228 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
229 especially the first and last movements of a @aref{sonata}.
239 FI: altto, matala nais@"a@"ani,
242 A female voice of low range (@emph{contralto}). Originally the alto was a high
243 male voice (hence the name) which by the use of falsetto reached the height of
244 the female voice. This type of voice is also known as @aref{counter
248 ES: clave de do en tercera,
249 I: chiave di contralto,
250 F: clef d'ut troisi@`eme ligne,
251 D: Altschl@"ussel, Bratschenschl@"ussel,
258 C clef setting central C on the middle line of the staff
269 FI: ambitus, ääniala, soitinala,
272 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.
274 @aitem{ancient minor scale}
275 I: scala minore naturale,
276 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
278 NL: authentieke mineurtoonladder,
281 FI: luonnollinen molliasteikko,
284 @lilypond[13pt,notime]
285 \property Score.barNonAuto = ##t
286 \notes\relative c'' {
298 FI: andante, k@"ayden,
301 Walking tempo/character.
306 F: appogiature, (port de voix),
311 FI: appoggiatura, etuhele,
314 Ornamental note, usually a second, that is melodically connected with the main
315 note that follows it. In music before the 19th century a. were usually
316 performed on the beat, after that mostly before the beat. While the short
317 a. is performed as a short note regardless of the duration of the main note
318 the duration of the long a. is proportional to that of the main note.
321 \context Voice \notes\relative c'' {
325 \property Score.TextScript \set #'font-style = #'large
326 <<d a fis>>4_"notation" r
327 { \property Voice.Stem \override #'flag-style = #""
329 \property Voice.Stem \revert #'flag-style
332 { \property Voice.Stem \override #'flag-style = #""
334 \property Voice.Stem \revert #'flag-style
337 \cadenzaOn a4 \bar "||" \cadenzaOff }
338 \notes\relative c'' {
339 <<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
340 \cadenzaOn a4 \bar "||" \cadenzaOff }
343 An appoggiatura may have more notes preceding the main note.
346 \notes\relative c'' {
349 \property Score.TextScript \set #'font-style = #'large
350 \grace { bes16 } as8_"notation" as16 bes as8 g |
351 \grace { [as16-( bes] } << c as >>4-)
352 \grace { [as16-( bes] } << c as >>4-) \bar "||"
353 \grace { bes16 } as8_"performance" as16 bes as8 g |
354 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
355 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
364 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
366 DK: arpeggio, akkordbrydning,
368 FI: arpeggio, murtosointu,
372 \notes \context PianoStaff <
373 \context Staff = SA \relative c'' {
376 r8 g16 c e g, c e r8 g,16 c e g, c e |
377 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
378 \context Staff = SB \relative c' {
380 < \context Voice = va {
382 r16 e8. () e4 r16 e8. () e4 |
383 r16 d8. () d4 r16 d8. () d4 }
384 \context Voice = vb {
391 @aitem{ascending interval}
392 ES: Intervalo ascendente,
393 I: intervallo ascendente,
394 F: intervalle ascendant,
395 D: steigendes Intervall,
396 NL: stijgend interval,
397 DK:@w{ }stigende interval,
398 S: stigande intervall,
399 FI: nouseva intervalli,
402 A distance between a starting lower note and a higher ending note.
404 @aitem{augmented interval}
405 ES: intervalo aumentado,
406 I: intervallo aumentato,
407 F: intervalle augment@'e,
408 D: @"uberm@"a@ss{}iges Intervall,
409 NL: overmatig interval,
410 DK: forst@o{}rret interval,
411 S: @"overstigande intervall,
412 FI: ylinouseva intervalli,
420 D: Autograph, Handschrift,
422 DK: h@aa{}ndskrift, autograf,
424 FI: k@"asinkirjoitettu nuotti,
427 1. A manuscript in the composer's own hand.
428 2. Music prepared for photoreproduction by freehand drawing,
429 with only the aid of a straightedge ruler and T-square,
430 which attempts to emulate engraving.
431 This required more skill than did engraving.
444 @aitemii{backfall,forefall}
449 I: stanghetta, barra (di divisione),
450 F: barre (de mesure),
459 ES: comp@'as, @aref{measure}.
462 ES: bar@'{@dotless{i}}tono,
469 FI: baritoni, keskikorkuinen mies@"a@"ani,
472 The male voice intermediate between the @aref{bass} and the
475 @c F: clef de troisi@`eme ligne dropped
477 @aitem{baritone clef}
478 ES: clave de fa en tercera,
479 I: chiave di baritono,
480 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
481 D: Baritonschl@"ussel,
488 C or F clef setting central C on the upper staff line.
489 @aref{C clef}, @aref{F clef}.
492 ES: clave de fa en cuarta,
494 F: cl@'e de fa quatri@`eme ligne,
502 A clef setting with central C on the first top ledger line.
512 FI: basso, matala mies@"a@"ani,
515 1. The lowest of men's voices.
516 2. Sometimes, especially in jazz music, used as
517 an abbreviation for double bass.
530 Line connecting a series of notes (shorter than a quarter note).
531 The number of beams determine the note value of the connected notes.
533 @lilypond[13pt,notime]
534 \property Score.barNonAuto = ##t
535 \property Voice.TextScript \set #'font-style = #'large
536 \notes\relative c'' {
538 [g16_"1/16" g g g] s16
539 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
540 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
547 D: Takt, Taktschlag, Zeit (im Takt),
554 Note value used for counting, most often half-, fourth-, and eighth notes.
555 The base counting value and the number of them per measure is indicated at
556 the start of the music.
561 \notes\relative c'' { g4 c b a | g1 \bar "||"}
563 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
573 D: Klammer, Akkolade,
574 NL: accolade, teksthaak,
577 FI: yhdist@"av@"a sulkumerkki,
580 Symbol at the start of a system connecting staves. Curly braces are used
581 for connecting piano staves, angular brackets for connecting parts in an
582 orchestral or choral score.
585 \notes\context GrandStaff <
586 \relative c''\context Staff = SA { \clef treble g4 e c2 }
587 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
591 \context StaffGroup <
592 % \property StaffGroup.minVerticalAlign = #12
593 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
594 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
603 DK: messingbl@ae{}sere,
604 S: brassinstrument, m@"assingsinstrument,
608 A family of blown musical instruments made of brass all using a cup formed
609 mouth piece. The brass instruments commonly used in a symphony orchestra are
610 trumpet, trombone, french horn, and tube.
615 D: Atemzeichen, Trennungszeichen,
616 NL: repercussieteken,
617 DK: vejrtr@ae{}kningstegn,
622 Indication of where to breathe in vocal and wind instrument parts.
635 @aref{note value} twice as long as a whole note. Mainly used
638 @lilypond[13pt,notime]
639 \property Score.barNonAuto = ##t
640 \notes\relative c'' { g\breve }
665 Clef symbol indicating the position of the central C. Used on all note
668 @lilypond[13pt,notime]
669 \property Score.barNonAuto = ##t
670 \property Score.Clef \override #'full-size-change = ##t
671 \property Score.LyricText \set #'font-style = #'large
673 \context Staff \notes\relative c' {
675 \clef mezzosoprano c s s
680 \context Lyrics \lyrics {
681 \property Lyrics . LyricText \override #'alignment = #-1
682 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
694 FI: kadenssi, lopuke,
697 @aref{harmonic cadence}, @aref{functional harmony}.
707 FI: kadenssi, lopuke,
710 An extended, improvisatory style section inserted near the end of
711 movement. The purpose of a cadenza is to give the singer or player a chance to
712 exhibit her technichal skill and not the least her ability to improvise. Since
713 the middle of the 19th century, however, most cadences have been written down
724 FI: kaanon, tarkka j@"aljittely,
737 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
740 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
741 equally tempered @aref{semitone}).
742 @aref{equal temperament}.
758 Three or more tones sounding simultaneously. In traditional European music the
759 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
760 minor @aref{third}) as well as @emph{minor} (minor + major third)
761 chords may be extended with more thirds. Four-tone @emph{seventh chords}
762 and five-tone @emph{ninth} major chords are most often used as dominants
763 (@aref{functional harmony}). A special case is chords having no
764 third above the lower notes to define their quality as major or minor. Such
765 chords are denoted open chords
767 @lilypond[13pt,notime]
768 \property Score.barNonAuto = ##t
769 \property Voice.TextScript \set #'font-style = #'large
771 \context Staff \notes\relative c'' {
779 \context Lyrics \lyrics{
780 \property Lyrics . LyricText \override #'alignment = #-1
781 "major " "minor " "diminished " "augmented "
782 "seventh-chord " "ninth-chord "
786 @aitem{chromatic scale}
787 ES: escala crom@'atica,
789 F: gamme chromatique,
790 D: chromatische Tonleiter,
791 NL: chromatische toonladder,
794 FI: kromaattinen asteikko,
797 A scale consisting of all 11 @aref{semitone}s.
799 @lilypond[13pt,notime]
800 \property Score.barNonAuto = ##t
801 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
815 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
817 @aitemii{church mode,ecclesiastical mode}
818 ES: modo eclesi@'astico,
819 I: modo ecclesiastico,
820 F: mode eccl@'esiastique,
825 FI: moodi, kirkkos@"avellaji,
828 @aref{diatonic scale}.
834 D: Schl@"ussel, Notenschl@"ussel,
838 FI: avain, nuottiavain,
841 @aref{C clef}, @aref{F clef}, @aref{G clef}.
850 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
853 Difference in pitch between a note derived from pure tuning and the same note
854 derived from some other tuning method. @aref{temperament}.
859 @aitem{compound interval}
860 ES: intervalo compuesto,
861 I: intervallo composto,
862 F: intervalle compos@'e,
864 NL: samengesteld interval,
865 DK: sammensat interval,
866 S: sammansatt intervall,
867 FI: oktaavia laajempi intervalli,
870 Intervals larger than an octave.
876 F: intervalle compl@'ementaire,
877 D: Komplement@"arintervall,
878 NL: complementair interval,
879 DK: komplement@ae{}rinterval,
880 S: komplement@"arintervall (?),
881 FI: t@"aydent@"av@"a intervalli,
884 @aref{inverted interval}.
886 @aitem{conjunct movement}
887 ES: movimiento conjunto,
889 F: mouvement conjoint,
890 D: schrittweise, stufenweise Bewegung,
891 NL: stapsgewijze, trapsgewijze beweging,
892 DK: trinvis bev@ae{}gelse,
893 S: stegvis r@"orelse,
894 FI: asteittainen liike,
897 Melody moving in the narrow steps of the scale.
900 \key g \major \time 4/4
901 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
912 FI: konsonanssi, sopusointi,
938 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
941 From latin @emph{punctus contra punctum}, note against note. The combination
942 into a single musical fabric of lines or parts which have distinct melodic
943 significance. A frequently used polyphonic technique is imitation, in its
944 strictest form found in the canon needing only one part to be written down
945 while the other parts are performed with a given displacement. Imitation is
946 also the contrapunctal technique used in the @emph{fugue} which, since the
947 music of the baroque era, has been one of the most popular polyphonic
950 @lilypond[11pt,noquote]
951 \property Score.TimeSignature \override #'style = #'()
952 \notes\context PianoStaff <
953 \context Staff = SA \relative c' {
957 < \context Voice = rha {
959 r1 | r2 r8 g'8 bes d, |
960 cis4 d r8 e!16 f g8 f16 e |
961 f8 g16 a bes8 a16 g a8
963 \context Voice = rhb {
969 \context Staff = SB \relative c' {
972 < \context Voice = lha {
974 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
975 r8 a16 g f8 g16 a bes8 g e! cis' |
978 \context Voice = lhb {
986 @aitem{counter tenor}
993 S: kontratenor, counter tenor,
999 @aitem{Copying, Music}
1000 A music copyist did fast freehand scores and parts on preprinted staff lines
1001 for performance. Some of their conventions (e.g., the placement of noteheads
1002 on stems) varied slightly from those of engravers. Some of their working
1003 methods were superior and could well be adopted by music typesetters. This
1004 required more skill than engraving.
1010 D: Crescendo, lauter werden,
1014 FI: cresendo, voimistuen,
1017 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1018 abbreviation ``cresc.''.
1021 \key g \major \time 4/4
1022 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
1028 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1036 In a separate part notes belonging to another part with the purpose of hinting
1037 when to start playing. Usually printed in a smaller type.
1041 A custos is a staff symbol that appears at the end of a staff line
1042 with monophonic musical contents (i.e. with a single voice). It
1043 anticipates the pitch of the first note of the following line and thus
1044 helps the player or singer to manage line breaks during performance,
1045 thus enhancing readability of a score.
1047 Custodes were frequently used in music notation until the 16th
1048 century. There were different appearences for different notation
1049 styles. Nowadays, they have survived only in special forms of musical
1050 notation such as via the editio vaticana dating back to the beginning
1056 \property Staff.Custos \set #'neutral-position = #4
1057 \property Staff.Custos \set #'neutral-direction = #-1
1058 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1060 \property Staff.Custos \set #'style = #'hufnagel
1061 c'1^"Custos style = \#'hufnagel"
1062 \break << d' a' f''>>1
1067 \consists Custos_engraver
1087 F: da capo, depuis le commencement,
1088 D: da capo, von Anfang,
1092 FI: da capo, alusta,
1095 The term indicates repetition of the piece from the beginning to the end or to
1096 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1101 F: dal segno, depuis le signe,
1106 FI: dal segno, merkkiin asti,
1109 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1110 another place frequently near the beginning marked by a sign:
1113 \property Voice.TextScript \set #'font-style = #'large
1114 \property Voice.TextScript \set #'font-shape = #'italic
1115 \key g \major \time 4/4
1116 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1122 D: Decrescendo, leiser werden,
1126 FI: decresendo, hiljentyen,
1129 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1130 or the abbreviation ``decresc.''.
1133 \notes\relative c'' {
1134 \key g \major \time 4/4
1135 d4 \> c b a | \! g1 \bar "|."
1139 @aitem{descending interval}
1140 ES: intervalo descendente,
1141 I: intervallo discendente,
1142 F: intervalle descendant,
1143 D: fallendes Intervall, absteigendes Intervall,
1144 NL: dalend interval,
1145 DK: faldende interval,
1146 S: fallande intervall,
1147 FI: laskeva intervalli,
1150 A distance between a starting higher note and a lower ending note.
1152 @aitem{diatonic scale}
1153 ES: escala diat@'onica,
1155 F: gamme diatonique,
1156 D: diatonische Tonleiter,
1157 NL: diatonische toonladder,
1158 DK: diatonisk skala,
1160 FI: diatoninen asteikko,
1163 A scale consisting of 5@w{ }@aref{whole tone}s and
1164 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1165 of a piano keybord are diatonic.
1167 The church modes are used in gregorial chant and pre baroque early music but
1168 also to some extent in newer jazz music.
1170 @lilypond[13pt,notime,linewidth=110mm]
1171 \property Score.barNonAuto = ##t
1172 \property Score.LyricText \set #'font-style = #'large
1173 \property Score.TextScript \set #'font-style = #'large
1175 \context Staff \notes\relative c' {
1177 \property Voice.TextScript \set #'padding = #-4
1178 e^"~~ S" f g a b^"~~ S" c
1180 \context Lyrics \lyrics {
1185 @lilypond[13pt,notime]
1186 \property Score.barNonAuto = ##t
1187 \property Score.LyricText \set #'font-style = #'large
1188 \property Score.TextScript \set #'font-style = #'large
1190 \context Staff \notes\relative c' {
1192 \property Voice.TextScript \set #'padding = #-4
1193 e^"~~ S" f g a b^"~~ S" c d
1195 \context Lyrics \lyrics {
1200 @lilypond[13pt,notime]
1201 \property Score.barNonAuto = ##t
1202 \property Score.LyricText \set #'font-style = #'large
1203 \property Score.TextScript \set #'font-style = #'large
1205 \notes\relative c' {
1206 \property Voice.TextScript \set #'padding = #-4
1207 e1^"~~ S" f g a b^"~~ S" c d e
1209 \context Lyrics \lyrics {
1214 @lilypond[13pt,notime]
1215 \property Score.barNonAuto = ##t
1216 \property Score.LyricText \set #'font-style = #'large
1217 \property Score.TextScript \set #'font-style = #'large
1219 \notes\relative c' {
1221 \property Voice.TextScript \set #'padding = #-4
1222 b^"~~ S" c d e^"~~ S" f
1224 \context Lyrics \lyrics {
1229 @lilypond[13pt,notime]
1230 \property Score.barNonAuto = ##t
1231 \property Score.LyricText \set #'font-style = #'large
1232 \property Score.TextScript \set #'font-style = #'large
1234 \notes\relative c'' {
1236 \property Voice.TextScript \set #'padding = #-4
1237 b^"~~ S" c d e^"~~ S" f g }
1238 \context Lyrics \lyrics {
1243 @lilypond[13pt,notime]
1244 \property Score.barNonAuto = ##t
1245 \property Score.LyricText \set #'font-style = #'large
1246 \property Score.TextScript \set #'font-style = #'large
1248 \notes\relative c'' {
1250 \property Voice.TextScript \set #'padding = #-4
1251 b^"~~ S" c d e^"~~ S" f g a
1253 \context Lyrics \lyrics {
1258 From the beginning of the 17th century the scales used in European
1259 compositional music are primarily the major and the minor scales. In the
1260 harmonic minor scale type an augmented second (A) occurs between the 6th and
1263 @lilypond[13pt,notime]
1264 \property Score.barNonAuto = ##t
1265 \property Score.LyricText \set #'font-style = #'large
1266 \property Score.TextScript \set #'font-style = #'large
1268 \notes\relative c' {
1270 \property Voice.TextScript \set #'padding = #-4
1271 e^"~~ S" f g a b^"~~ S" c
1273 \context Lyrics \lyrics {
1278 @lilypond[13pt,notime]
1279 \property Score.barNonAuto = ##t
1280 \property Score.LyricText \set #'font-style = #'large
1281 \property Score.TextScript \set #'font-style = #'large
1283 \notes\relative c'' {
1285 \property Voice.TextScript \set #'padding = #-4
1286 b^"~~ S" c d e^"~~ S" f g a
1288 \context Lyrics \lyrics {
1293 @lilypond[13pt,notime]
1294 \property Score.barNonAuto = ##t
1295 \property Score.LyricText \set #'font-style = #'large
1296 \property Score.TextScript \set #'font-style = #'large
1298 \notes\relative c'' {
1300 \property Voice.TextScript \set #'padding = #-4
1301 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1303 \context Lyrics \lyrics {
1308 @lilypond[13pt,notime]
1309 \property Score.barNonAuto = ##t
1310 \property Score.LyricText \set #'font-style = #'large
1311 \property Score.TextScript \set #'font-style = #'large
1313 \notes\relative c'' {
1315 \property Voice.TextScript \set #'padding = #-4
1316 b^"~~ S" c d e fis gis^"~~ S"
1317 a g! f!^"~~ S" e d c^"~~ S" b a
1319 \context Lyrics \lyrics {
1324 @aitem{diminished interval}
1325 ES: intervalo disminu@'{@dotless{i}}do,
1326 I: intervallo diminuito,
1327 F: intervalle diminu@'e,
1328 D: vermindertes Intervall,
1329 NL: verminderd interval,
1330 DK: formindsket interval,
1331 S: f@"orminskat intervall,
1332 FI: v@"ahennetty intervalli,
1345 FI: diminuendo, hiljentyen,
1350 @aitem{disjunct movement}
1351 ES: movimiendo disjunto,
1353 F: mouvement disjoint,
1354 D: sprunghafte Bewegung,
1355 NL: sprongsgewijze beweging,
1356 DK: springende bev@ae{}gelse,
1357 S: hoppande r@"orelse,
1358 FI: melodian hyppiv@"a liike,
1361 Melody moving in steps greater than those of the
1362 scale. Opposite of @aref{conjunct movement}.
1367 \notes\relative c' {
1369 a4. gis8 b a e cis |
1370 fis2 d4. \bar "||" }
1373 @aitemii{dissonant interval,dissonance}
1374 ES: intervalo disonante, disonancias,
1375 I: intervallo dissonante, dissonanza,
1378 NL: dissonant interval; dissonant,
1379 DK: dissonerende interval, dissonans,
1381 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1386 @aitem{dominant ninth chord}
1387 I: accordo di nona di dominante,
1388 F: accord de neuvi@`eme dominante,
1389 D: Dominantnoneakkord,
1390 NL: dominant noon akkoord,
1391 DK: dominantnoneakkord,
1392 S: dominantnonackord,
1393 FI: dominanttinoonisointu,
1396 @aref{chord}, @aref{functional harmony}.
1398 @aitem{dominant seventh chord}
1399 ES: acorde de s@'eptima de dominante,
1400 I: accordo di settima di dominante,
1401 F: accord de septi@`eme dominante,
1402 D: Dominantseptakkord,
1403 NL: dominant septiem akkoord,
1404 DK: dominantseptimakkord,
1405 S: dominantseptimackord,
1406 FI: dominanttiseptimisointu,
1409 @aref{chord}, @aref{functional harmony}.
1419 FI: dominantti, huippusointu,
1422 The fifth @aref{scale degree},
1423 @aref{functional harmony}.
1429 D: dorisch, dorischer Kirchenton,
1430 NL: dorische toonladder,
1436 @aref{diatonic scale}.
1438 @aitem{dot (augmentation dot)}
1440 I: punto (di valore),
1442 D: Punkt (Verl@"angerungspunkt),
1452 ES: nota con puntillo,
1456 NL: gepuncteerde noot,
1459 FI: pisteellinen nuotti,
1464 @aitem{double appoggiatura}
1465 ES: apoyatura doble,
1466 I: appoggiatura doppia,
1467 F: appoggiature double,
1468 D: doppelter Vorschlag,
1469 NL: dubbele voorslag,
1470 DK: dobbelt forslag,
1472 FI: kaksoisappogiatura, kaksoisetuhele,
1475 @aref{appoggiatura}.
1477 @aitem{double bar line}
1481 NL: dubbele maatstreep,
1484 FI: kaksoistahtiviiva,
1487 Indicates the end of a section within a movement.
1489 @aitem{double dotted note}
1490 ES: nota con dos puntillos,
1491 I: nota doppiamente puntata,
1492 F: note doublement point@'ee,
1493 D: doppelt punktierte Note,
1494 NL: dubbelgepuncteerde noot,
1495 DK: dob@-belt@-punk@-te@-ret node,
1496 S: dub@-bel@-punk@-te@-rad not,
1497 FI: kaksoispisteellinen nuotti,
1510 FI: kaksoisalennusmerkki,
1515 @aitem{double sharp}
1516 ES: doble sostenido,
1521 DK: dob@-belt@-kryds,
1523 FI: kaksoisylennysmerkki,
1528 @aitem{double trill}
1533 NL: dubbele triller,
1539 A simultaneous trill on two notes, usually in the distance of a third.
1546 NL: tweedelige maatsoort,
1575 FI: kesto, aika-arvo,
1580 @aitem{dydimic comma}
1581 @aref{syntonic comma}.
1599 D: Achtel, Achtelnote,
1601 DK: ottendedelsnode,
1602 S: @aa{}ttondelsnot,
1603 FI: kahdeksasosanuotti,
1609 ES: silencio de corchea,
1615 DK: ottendedelspause,
1616 S: @aa{}ttonddelspaus,
1617 FI: kahdeksasosatauko,
1626 D: Notenstechen, Notendruck
1633 Engraving means incising or etching a metal plate for
1634 printing. Photoengraving means drawing music with ink in a manner
1635 similar to drafting or engineering drawing, using similar tools.
1637 The traditional process of music printing is done through cutting in a
1638 plate of metal. Now also the term for the art of music typesetting.
1651 Two notes, intervals, or scales are enharmonic if they have different names
1654 @lilypond[13pt,notime]
1655 \property Score.barNonAuto = ##t
1656 \property Score.TextScript \set #'font-style = #'large
1658 \context Staff \notes\relative c'' {
1659 gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
1661 \context Lyrics \lyrics {
1662 \property Lyrics . LyricText \override #'alignment = #-1
1663 "g sharp " "a flat " "dim fifth " "augm fourth"
1667 @aitem{equal temperament}
1669 I: temperamento equabile,
1670 F: temp@'erament @'egal,
1671 D: gleichschwebende Stimmung,
1672 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1673 DK: ligesv@ae{}vende temperatur,
1674 S: liksv@"avande temperatur,
1678 Tuning system dividing the octave into 12 equal @aref{semitone}s
1679 (precisely 100 @aref{cent}s). @aref{temperament}.
1681 @aitem{expression mark}
1683 I: segno d'espressione,
1684 F: signe d'expression, indication de nuance,
1686 NL: voordrachtsteken,
1687 DK: foredragsbetegnelse,
1688 S: f@"oredragsbeteckning,
1689 FI: nyanssiosoitus, esitysmerkki,
1692 Performance indications concerning 1. volume, dynamics (for example
1693 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1694 @aref{andante}, @aref{allegro}).
1718 The position between the dots of the key symbol is the line of the F below
1719 central@w{ }C. Used on the third, fourth and fifth note line. A
1720 digit@w{ }8 above the clef symbol indicates that the notes must be played
1721 an octave higher (for example bass recorder) while 8@w{ }below the clef
1722 symbol indicates playing an octave lower (for example on double bass
1725 @lilypond[13pt,notime]
1726 \property Score.barNonAuto = ##t
1727 \property Staff.Clef \override #'full-size-change = ##t
1728 \property Score.LyricText \set #'font-style = #'large
1742 \context Lyrics \lyrics {
1743 \property Lyrics . LyricText \override #'alignment = #-1
1752 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1757 F: point d'orgue, point d'arr@^et,
1762 FI: fermaatti, pid@"ake,
1765 Prolonged note or rest of indefinite duration.
1769 \notes\relative c'' {
1770 a4 b c2^\fermata \bar "|."
1787 @aitem{figured bass}
1788 ES: bajo cifrado, @aref{thorough bass}.
1796 DK: fingers@ae{}tning,
1797 S: fingers@"attning,
1801 The methodical use of fingers in the playing of instruments.
1803 @aitem{flag,pennant}
1805 I: coda (uncinata), bandiera,
1807 D: Fahne, F@"ahnchen,
1814 Ornament at the end of the stem of a note used for notes with values
1815 less than a quarter note. The number of flags determines the
1818 @lilypond[13pt,notime]
1819 \property Score.barNonAuto = ##t
1820 \property Score.TextScript \set #'font-style = #'large
1821 \notes\relative c'' {
1842 @aitemii{forefall,backfall}
1843 @aref{appoggiatura}.
1853 FI: forte, voimakkaasti,
1856 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1857 @emph{mezzoforte} (@b{mf}) medium loud.
1883 @aref{counterpoint}.
1885 @aitem{functional harmony}
1886 ES: armon@'{@dotless{i}}a funcional,
1887 I: armonia funzionale,
1888 F: @'etude des functions,
1890 NL: functionele harmonie,
1891 DK: funktionsanalyse, funktionsharmonik,
1893 FI: harmoniaj@"arjestelm@"a,
1896 A system of harmonic analysis. It is based on the idea that, in a given key,
1897 there are only three functionally different chords: tonic (T, the chord on the
1898 first note of the scale), subdominant (S, the chord on the fourth note), and
1899 dominant (D, the chord on the fifth note). Other are considered to be
1900 variants of the base chords.
1902 @lilypond[13pt,notime]
1903 \property Score.barNonAuto = ##t
1904 \property Score.LyricText \set #'font-style = #'large
1905 \property Score.TextScript \set #'font-style = #'large
1907 \context Voice \notes\relative c'' {
1908 <<g e c >>1 << a f d >> << b g e >>
1909 <<c a f >> << d b g >> << e c a >> << f d b >> }
1910 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1928 D: G-Schl@"ussel, Violinschl@"ussel,
1935 A clef symbol indicating the G above central@w{ }C. Used on the first
1936 and second note lines. A digit 8 above the clef symbol indicates that
1937 the notes must be played an octave higher while 8 below the clef symbol
1938 indicates playing or singing an octave lower (most tenor parts in choral
1939 scores are notated like that).
1941 @lilypond[13pt,notime]
1942 \property Score.barNonAuto = ##t
1943 \property Staff.Clef \set #'full-size-change = ##t
1944 \property Score.LyricText \set #'font-style = #'large
1946 \notes\relative c'' {
1956 \context Lyrics \lyrics {
1957 \property Lyrics . LyricText \override #'alignment = #-1
1958 "french violin clef "
1973 FI: glissando, liukuen,
1976 Letting the pitch slide fluently from one note to the other.
1982 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1989 Notes printed in small types to indicate that their time values are not
1990 counted in the rhythm of the bar. @aref{appoggiatura}.
1998 S: ackolad, b@"ojd klammer,
1999 FI: kaksoisnuottiviivasto,
2004 A combination of two staves with a brace. Usually used for piano music.
2014 FI: grave, raskaasti,
2024 D: Halbe, halbe Note,
2047 @aitem{harmonic cadence}
2048 ES: cadencia (arm@'onica),
2049 I: cadenza (armonica),
2050 F: cadence harmonique,
2052 NL: harmonische cadens,
2053 DK: harmonisk kadence,
2054 S: (harmonisk) kadens,
2055 FI: harmoninen kadenssi,
2058 Sequence of chords that terminate a musical phrase or
2059 section. @aref{functional harmony}.
2062 \notes\context PianoStaff <
2063 \context Staff = SA \relative c'' {
2067 \partial 4 << c g e >>4 |
2068 << c a f >> << b g d >> << c g e >>2
2070 \property Score.LyricText \set #'font-style = #'large
2072 \context Staff = SB \relative c {
2074 \partial 4 c4 | f, g c2
2077 \context Lyrics \lyrics {
2084 ES: armon@'{@dotless{i}}a,
2087 D: Harmonie, Zusammenklang,
2091 FI: harmonia, yhteissointi,
2094 Tones sounding simultaneously. Two note harmonies fall into the categories
2095 @emph{consonances} and @emph{dissonances}.
2099 @lilypond[13pt,notime]
2100 \property Score.barNonAuto = ##t
2101 \property Score.TextScript \set #'font-style = #'large
2102 \context Voice \notes\relative c'' {
2103 <<g g>>1_"unisone " s
2108 <<g g'>>_"octave " s
2109 <<g b'>>_"decime" s s
2115 @lilypond[13pt,notime]
2116 \property Score.barNonAuto = ##t
2117 \property Score.TextScript \set #'font-style = #'large
2118 \context Voice \notes\relative c'' {
2119 <<g a>>1_"second " s s
2120 <<g f'>>_"seventh " s s
2121 <<g a'>>_"ninth" s s
2125 Three note harmony @aref{chord}.
2128 ES: homofon@'{@dotless{i}}a,
2135 FI: homofonia, yksi@"a@"anisyys,
2138 Music in which one voice leads melodically followed by the other voices more
2139 or less in the same rhythm. In contrast to @aref{polyphony}.
2149 FI: intervalli, kahden s@"avelen korkeusero,
2152 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2153 diminished, or augmented. The augmented fourth and the diminished fifth are
2154 identical (@aref{enharmonic}) and are called @emph{tritonus}
2155 because they consist of three @aref{whole tone}s. The addition
2156 of such two forms an octave.
2158 @lilypond[13pt,notime]
2159 \property Score.barNonAuto = ##t
2160 \property Score.LyricText \set #'font-style = #'large
2161 \property Score.TextScript \set #'font-style = #'large
2163 \context Voice \notes\relative c'' {
2165 << g as >>^"minor" s
2167 << g ais >>^"augm" s
2168 << gis bes >>^"dimin" s
2169 << g! bes >>^"minor" s
2170 << g b! >>^"major" s
2171 << g bis >>^"augm" s
2173 \context Lyrics \lyrics {
2174 "unisone " "second " "second " "second "
2175 "third " "third " "third " "third "
2179 @lilypond[13pt,notime]
2180 \property Score.barNonAuto = ##t
2181 \property Score.LyricText \set #'font-style = #'large
2182 \property Score.TextScript \set #'font-style = #'large
2184 \context Staff \notes\relative c'' {
2185 << g c >>^"perfect" s
2186 << g cis >>^"augm" s
2187 << g d' >>^"perfect" s
2188 << g des' >> ^"dim" s
2189 << gis es' >>^"dimin" s
2190 << g! es' >>^"minor" s
2191 << g e'! >>^"major" s
2192 << g eis' >>^"augm" s
2194 \context Lyrics \lyrics {
2195 "fourth " "fourth " "fifth " "fifth "
2196 "sixth " "sixth " "sixth " "sixth "
2200 @lilypond[13pt,notime]
2201 \property Score.barNonAuto = ##t
2202 \property Score.LyricText \set #'font-style = #'large
2203 \property Score.TextScript \set #'font-style = #'large
2205 \context Staff \notes\relative c'' {
2206 << gis f'! >>1^"dimin" s
2207 << g! f'! >>^"minor" s
2208 << g fis' >>^"major" s
2210 << g as' >>^"minor" s
2211 << g a'! >>^"major" s
2212 << g bes' >>^"minor" s
2213 << g b'! >>^"major" s
2215 \context Lyrics \lyrics {
2216 "seventh " "seventh " "seventh " "octave "
2217 "none " "none " "decime " "decime "
2221 @aitem{inverted interval}
2222 ES: intervalo invertido,
2223 I: intervallo rivolto,
2224 F: intervalle revers@'e,
2225 D: umgekehrtes Intervall,
2226 NL: interval inversie,
2227 DK: omvendingsinterval,
2228 S: intervallets omv@"andning,
2229 FI: k@"a@"anteisintervalli,
2232 The difference between an interval and an octave.
2234 @lilypond[13pt,notime]
2235 \property Score.barNonAuto = ##t
2236 \property Score.TextScript \set #'font-style = #'large
2237 \context Staff \notes\relative c'' {
2238 << g a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
2239 << g, b >>_"third " s s << g' b, >>_"sixth " s s \bar "||"
2240 << g, c >>_"fourth " s s << g' c, >>_"fifth " s s \bar "||"
2244 @aitem{just intonation}
2245 I: intonazione giusta,
2246 F: intonation juste,
2254 Tuning system in which the notes are obtained by adding and subtracting
2255 natural fifths and thirds. @aref{temperament}.
2268 According to the 12@w{ }tones of the @aref{chromatic scale}
2269 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2270 @aref{key signature}.
2272 @aitem{key signature}
2273 ES: armadura de clave,
2274 I: armatura di chiave,
2275 F: armure, armature [de la cl@'e],
2276 D: Vorzeichen, Tonart,
2277 NL: toon@-soort (voortekens),
2280 FI: s@"avellajiosoitus,
2283 The sharps or flats appearing at the beginning of each staff indicating the
2284 key of the music. @aref{accidental}.
2290 D: Largo, Langsam, Breit,
2294 FI: largo, hitaasti, leve@"asti,
2297 Very slow in tempo, usually combined with great
2298 expressiveness. @emph{Larghetto} is less slow than largo.
2300 @aitem{leading note}
2311 The seventh @aref{scale degree}, a @aref{semitone} below
2312 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2313 upwards) to the tonic scale degree.
2315 @aitemii{ledger line,leger line}
2316 ES: l@'{@dotless{i}}neas adicionales,
2317 I: tagli addizionali,
2318 F: ligne suppl@'ementaire,
2321 DK: hj@ae{}lpelinie,
2326 A ledger line is an extension of the staff.
2328 @lilypond[13pt,notime]
2329 \property Score.barNonAuto = ##t
2330 \notes\relative c'' { a,1 s c'' }
2344 To be performed without any perceptible interruption between the notes (a)
2345 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
2346 @aref{staccato} (d).
2348 @lilypond[13pt,notime]
2349 \property Score.barNonAuto = ##t
2351 \context Staff \notes\relative c'' {
2353 c4-- d-- e-- \bar "||"
2354 c4-.( d-. )e-. \bar "||"
2355 c4-. d-. e-. \bar "||"
2357 \context Lyrics \lyrics {
2358 \property Lyrics . LyricText \set #'font-style = #'large
2366 @aitem{legato curve}
2367 @aref{slur}, @aref{legato}.
2370 ES: estanque de lilas,
2371 I: stagno del giglio,
2375 NL: le@-lie@-vij@-ver,
2381 A pond with lilies floating in it, also the name of a music typesetter.
2384 ES: l@'{@dotless{i}}nea,
2387 D: Linie, Notenlinie,
2391 FI: viiva, nuottiviiva,
2396 @aitem{long appoggiatura}
2397 ES: apoyatura larga,
2398 I: appoggiatura lunga,
2399 F: appoggiature longue,
2400 D: langer Vorschlag,
2403 S: l@aa{}ngt f@"orslag,
2404 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2407 @aref{appoggiatura}.
2420 Note value: double length of @aref{breve}.
2423 @lilypond[13pt,notime]
2424 \property Score.barNonAuto = ##t
2425 \notes\relative c'' {
2426 \property Voice.NoteHead \set #'style = #'mensural
2431 @aitemii{lyrics,song texts}
2442 @aitem{major interval}
2443 ES: intervalo mayor,
2444 I: intervallo maggiore,
2445 F: intervalle majeur,
2446 D: gro@ss{}es Intervall,
2450 FI: suuri intervalli,
2466 @aref{diatonic scale}.
2468 @aitem{meantone temperament}
2469 I: accordatura mesotonica,
2470 F: temp@'erament m@'esotonique,
2471 D: mittelt@"onige Stimmung,
2472 NL: middenstemming, middentoonstemming,
2473 DK: middeltonetemperatur,
2474 S: medeltonstemperatur,
2475 FI: keskis@"avelviritys,
2478 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2479 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2480 @aref{temperament} only a limited set of keys are playable.
2481 Used for tuning keyboard instruments for performance of pre-1650 music.
2483 @aitem{measure, bar}
2494 A group of @aref{beat}s (units of musical time) the first of which
2495 bears an accent. Such groups in numbers of two or more recur consistently
2496 throughout the composition and are marked from each other by
2497 bar-lines. @aref{meter}.
2501 I: mediante, modale,
2510 1. The third @b{scale degree}.
2511 2. A @aref{chord} having its base tone
2512 a third from that of another chord. For example, the tonic chord may be
2513 replaced by its lower mediant (variant tonic). @aref{functional
2514 harmony}, @aref{relative key}.
2519 FI: melisma, laulettavan tavun sävelkuvio,
2521 A melisma (plural: melismata) is a group of notes or tones sung on one
2522 syllable in plainsong
2524 @aitem{melodic cadence}
2530 F: indication de m@'esure,
2538 The basic scheme of @aref{note value}s and
2539 @aref{accent}s which remains unaltered throughout a composition
2540 or a section of it. For instance, 3/4 meter means that the basic
2541 @aref{note value}s are quarter notes and that a
2542 @aref{measure} consists of three of those. According to
2543 whether there are two, three or four units to the measure,
2544 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2545 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2548 \notes\relative c'' {
2551 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2555 \notes\relative c' {
2558 f8 f f f a16 g a f |
2559 c'8 c c c e16 d e c \bar "||"}
2563 \notes\relative c'' {
2566 d4 b8 g b d d c a4 |
2567 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2581 Device indicating the exact tempo of a piece. @aref{metronomic
2584 @aitem{metronomic indication}
2585 ES: indicaci@'on metron@'omica,
2586 I: indicazione metronomica,
2587 F: indication m@'etronomique,
2589 NL: metronoom aanduiding,
2591 S: metronomangivelse,
2592 FI: metronomiosoitus,
2595 Exact tempo indication (in beats per minute). Also denoted by
2596 M.M. (M@"alzels Metronom).
2598 @aitem{mezzo-soprano}
2609 The female voice between @aref{soprano} and
2616 D: eingestrichenes@w{ }c,
2618 DK: enstreget@w{ }c,
2619 S: ettstruket@w{ }c,
2623 First C below the 440 Hz A.
2625 @lilypond[13pt,notime]
2626 \property Score.barNonAuto = ##t
2627 \property Staff.Clef \set #'full-size-change = ##t
2628 \notes\relative c' {
2646 @aref{diatonic scale}.
2648 @aitem{minor interval}
2649 ES: intervalo mayor,
2650 I: intervallo minore,
2651 F: intervalle mineur,
2652 D: kleines Intervall,
2656 FI: pieni intervalli,
2669 FI: moodi, kirkkos@"avelasteikko,
2672 @aref{church mode}, @aref{diatonic scale}.
2682 FI: modulaatio, s@"avellajin vaihdos,
2685 Moving from one @aref{key} to another. For example, the second
2686 subject of a @aref{sonata form} movement modulates to the dominant
2687 key if the key is major and to the @aref{relative key} if the key
2697 FI: mordent, korukuvio,
2702 @aitemii{motive,motif}
2710 FI: teema, s@"avelaihe,
2713 The briefest intelligible and self-contained fragment of a musical theme or
2717 \property Score.TimeSignature \override #'style = #'()
2718 \property Score.TextScript \set #'font-style = #'large
2719 \notes\relative c'' {
2722 \partial 8 g16_"------" fis |
2723 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2724 g8 g,16 a b8 cis d16 s
2739 Greater musical works like @aref{symphony} and
2740 @aref{sonata} most often consist of several -- more or less --
2741 independant pieces called movements.
2743 @aitem{multibar rest}
2744 ES: compases de espera,
2748 D: mehrtaktige Pause,
2751 FI: usean tahdin mittainen tauko,
2755 \notes\relative c'' {
2757 \property Score.skipBars=##t R1*3
2762 @aitem{mixolydian mode}
2763 @aref{diatonic scale}.
2765 @aitem{natural sign}
2769 D: Aufl@"osungszeichen,
2770 NL: herstellingsteken,
2771 DK: op@-l@o{}sningstegn,
2772 S: @aa{}terst@"allningstecken,
2778 @aitem{neighbour tones}
2779 @aref{appoggiatura}.
2808 Notes are signs by means of which music is fixed in writing. The term is also
2809 used for the sound indicated by a note, and even for the key of the piano
2810 which produces the sound. However, a clear distinction between the terms tone
2811 and @aref{note} is strongly recommended. Briefly, one sees a note,
2816 I: testa, testina, capocchia,
2817 F: t@^ete de la note,
2825 A head like sign which indicates pitch by its position on a
2826 @aref{staff} provided with a @aref{clef}, and duration
2827 by a variety of shapes such as hollow or black heads with or without
2828 @aref{stem}s, @aref{flag}s, etc. For percussion
2829 instruments (often having no defined pitch) the note head may indicate the
2835 F: dur@'ee, valeur (d'une note),
2840 FI: nuotin aika-arvo,
2843 Note values (durations) are measured as fractions, normally 1/2, of the next
2844 higher note value. The longest duration normally used is called @emph{brevis},
2845 but sometimes (mostly in pre baroque music) the double length note value
2846 @emph{longa} is used.
2848 @lilypond[13pt,notime]
2849 \property Score.TextScript \set #'font-style = #'large
2850 \property Score.barNonAuto = ##t
2851 \notes\relative c'' {
2852 \property Voice.NoteHead \override #'style = #'mensural
2853 g\longa_"longa" g\breve_"breve"
2854 \property Voice.NoteHead \revert #'style
2855 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2856 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2859 @lilypond[13pt,notime]
2860 \property Score.TextScript \set #'font-style = #'large
2861 \property Score.barNonAuto = ##t
2862 \notes\relative c'' {
2863 r\longa_"longa" r\breve_"breve"
2864 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2865 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2868 An augmentation dot after a note multiplies the duration by one and a
2869 half. Another dot adds yet a fourth of the duration.
2872 \property Score.TextScript \set #'font-style = #'large
2873 \notes\relative c'' {
2875 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2876 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2879 Alternatively note values may be subdivided by other ratios. Most common is
2880 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2881 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2882 dotted notes are also frequently used.
2885 \property Score.TextScript \set #'font-style = #'large
2886 \notes\relative c'' {
2888 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2889 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2894 \notes\relative c'' {
2896 \times 3/2 {g4_"duplets" g} |
2898 \times 6/4 {g8_"quadruplets" g g g} |
2899 g8 g g g g4 \bar "||"
2904 @aref{G clef}, @aref{F clef}.
2919 @aitemiii{ornament,embellishment,accessory}
2921 I: abbellimento, fioriture,
2922 F: agr@'ement, ornement,
2923 D: Verzierung, Ornament,
2930 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2931 with the diatonic @aref{second} above it. In the music from the
2932 middle of the 19th century and onwards the trill is performed with the main
2933 note first while in the music from the preceding baroque and classic periods
2934 the upper note is played first.
2938 \context Staff = sa {
2939 \property Score.TextScript \set #'font-style = #'large
2940 \notes\relative c'' {
2941 c2._"pre-1850" b4\trill | c1 \bar "||"
2942 c2._"post-1850" b4\trill | c1 \bar "||"
2945 \notes\relative c'' {
2946 c2. c32 b c b c b c b | c1
2947 c2. b32 c b c \times 4/5 { b c b c b } | c1
2952 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2953 @emph{prall} (inverted mordent).
2957 \context Staff = sa {
2958 \property Score.TextScript \set #'font-style = #'large
2959 \notes\relative c'' {
2960 a4_"turn" b\turn c2 \bar "||"
2961 g4_"mordent" a b\mordent a \bar "||"
2962 e'4_"prall" d\prall c2 \bar "||"
2965 \notes\relative c'' {
2968 e'4 [e32 d e d ~ d8] c2
2973 @aref{appoggiatura}.
2983 FI: ossia, vaihtoehtoinen esitystapa,
2986 Ossia (otherwise) marks an alternative. It is an added staff or piano
2987 score, usually only a few measures long, which presents another version
2988 of the music, for example for small hands.
2998 FI: stemma, instrumenttiosuus,
3001 1. In instrumental or choral music the music for the single instrument
3002 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3003 melodic line of the contrapunctal web.
3009 D: Schlagzeug, Schlagwerk,
3013 FI: ly@"om@"asoittimet,
3016 A family of musical instruments which are played on by striking or
3017 shaking. Percussion instruments commonly used in a symphony orchestra are
3018 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3019 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3022 @aitem{perfect interval}
3023 ES: intervalo justo,
3024 I: intervallo giusto,
3025 F: intervalle juste,
3026 D: reines Intervall,
3030 FI: puhdas intervalli,
3046 A natural division of the melodic line, comparable to a sentence of speech.
3056 FI: fraseeraus, j@"asent@"aminen,
3059 The clear rendering in musical performance of the @aref{phrase}s of
3060 the melody. Phrasing may be indicated by a @aref{slur}.
3073 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3074 @emph{mezzopiano} (@b{mp}) medium soft.
3092 NL: pizzicato, getokkeld,
3095 FI: pizzicato, n@"app@"aillen,
3098 Play by plucking the strings.
3101 ES: polifon@'{@dotless{i}}a,
3108 FI: polyfonia, moni@"a@"anisyys,
3111 Music written in a combination of several simultaneous voices (parts) of a
3112 more or less pronounced individuality. @aref{counterpoint}.
3121 D: Presto, Sehr schnell,
3122 NL: presto, Sehr schnell,
3125 FI: presto, hyvin nopeasti,
3128 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3129 denotes the highest possible degree of speed.
3131 @aitem{Pythagorean comma}
3132 ES: coma pitag@'orico,
3133 I: comma pitagorico,
3134 F: comma pythagoricien,
3135 D: Pythagor@"aisches Komma,
3136 NL: komma van Pythagoras,
3137 DK: pythagor@ae{}isk komma,
3138 S: pytagoreiskt komma,
3139 FI: pytagorinen komma,
3142 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3143 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3144 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3145 7@w{ }octaves. The difference between those two pitches is called the
3161 @aitem{quarter note}
3163 I: semiminima, nera,
3166 D: Viertel, Viertelnote,
3170 FI: nelj@"annesosanuotti,
3175 @aitem{quarter rest}
3176 ES: silencio de negra,
3177 I: pausa di semiminima,
3182 DK:@w{ }fjerdedelspause,
3183 S: fj@"ardedelspaus,
3184 FI: nelj@"annesosatauko,
3206 D: rallentando, langsamer werden,
3210 FI. rallerdando, hidastuen,
3213 Abbreviation "rall.". @aref{ritardando}.
3215 @aitem{relative key}
3217 I: tonalit@`a relativa,
3218 F: tonalit@'e relative,
3220 NL: paralleltoonsoort,
3221 DK: paralleltoneart,
3223 FI: rinnakkaiss@"avellaji,
3226 @aref{major} and @aref{minor} @aref{key}
3227 with the same @aref{key signature}.
3229 @lilypond[13pt,notime]
3230 \property Score.barNonAuto = ##t
3231 \property Score.TextScript \set #'font-style = #'large
3232 \notes\relative c' {
3234 es1_"e flat major" f g as bes c d es
3239 @lilypond[13pt,notime]
3240 \property Score.barNonAuto = ##t
3241 \property Score.TextScript \set #'font-style = #'large
3242 \notes\relative c' {
3244 c1_"c minor" d es f g a! b! c \bar "||"
3249 ES: barra de repetici@'on,
3251 F: barre de reprise,
3254 DK: gen@-ta@-gel@-se,
3262 \notes\relative c'' {
3263 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3267 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3268 @c specify the rest's value.
3294 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3295 fixed unit of time, called @aref{beat}, and in which the normal
3296 @aref{accent} recurs in regular intervals, called
3297 @aref{measure}. The basic scheme scheme of time values is called
3298 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3299 accent. In modern notation such music appears as a free alternation of
3300 different measures. (c) Free rhythm, i.e., the use of temporal values having
3301 no common metrical unit (beat).
3307 D: Ritardando, langsamer werden,
3311 FI. ritardando, hidastuen,
3314 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3324 FI: ritenuto, hidastaen,
3327 Immediate reduction of speed.
3337 FI: asteikko, s@"avelasteikko,
3340 @aref{diatonic scale}.
3342 @aitem{scale degree}
3343 ES: grados de la escala,
3344 I: grado della scala,
3345 F: degr@'e [de la gamme],
3347 NL: trap [van de toonladder],
3350 FI: s@"avelaste, asteikon s@"avel,
3353 Names and symbols used in harmonic analysis to denote tones of the scale as
3354 roots of chords. The most important are degrees I = tonic (T), IV =
3355 sub@-do@-mi@-nant (S) and V = dominant (D).
3357 @lilypond[13pt,notime]
3358 \property Score.barNonAuto = ##t
3359 \property Score.LyricText \set #'font-style = #'large
3360 %\property Lyrics.minVerticalAlign = #8
3362 \context Staff \notes\relative c' {
3365 \context Lyrics \lyrics {
3366 < { I II III IV V VI VII I }
3371 @aref{functional harmony}.
3377 D: Partitur (full score), Klavierauszug (vocal score)
3384 A copy of orchestral, choral or chamber music showing what each instrument is
3385 to play, each voice to sing, having each part arranged one underneath the
3386 other on different staves @aref{staff}.
3399 The @aref{interval} between two neigbouring tones of a scale. A
3400 @aref{diatonic scale} consists of alternating
3401 @aref{semitone}s and @aref{whole tone}s, hence the size
3402 of a se@-cond depends on the scale degrees in question.
3415 The @aref{interval} of a minor second. The (usually) smallest
3416 interval in European composed music. The interval between two neighbouring
3417 tones on the piano keyboard -- including black and white keys -- is a
3418 semitone. An octave may be divided into 12@w{ }semitones.
3419 @aref{interval}, @aref{chromatic scale}.
3421 @lilypond[13pt,notime]
3422 \property Score.barNonAuto = ##t
3423 \notes\relative c'' { g1 gis s a bes s b! c }
3439 @aitem{sextuplet, sextolet}
3464 @aitem{short appoggiatura}
3465 @aref{appoggiatura}.
3467 @aitem{sixteenth note}
3472 D: Sechzehntel, Sechzehntelnote,
3473 NL: zes@-ti@-ende noot,
3474 DK: sekstendedelsnode,
3476 FI: kuudestoistaosanuotti,
3481 @aitem{sixteenth rest}
3482 ES: silencia de semicorchea,
3483 I: pausa di semicroma,
3485 UK: semiquaver rest,
3486 D: Sechzehntelpause,
3488 DK: sekstendedelspause,
3508 @aitem{sixty-fourth note}
3511 F: quadruple croche,
3512 UK: hemidemisemiquaver,
3513 D: Vierundsechzigstel, Vierundsechzigstelnote,
3514 NL: vierenzestigste noot,
3515 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3516 S: sextiofj@"ardedelsnot,
3517 FI: kuudeskymmenesnelj@"asosanuotti,
3522 @aitem{sixty-fourth rest}
3523 ES: silencia de semifusa,
3524 I: pausa di semibiscroma,
3525 F: seizi@`eme de soupir,
3526 UK: hemidemisemiquaver rest,
3527 D: Vierundsechzigstelpause,
3528 NL: vierenzestigste rust,
3529 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3530 S: sextiofj@"ardedelspaus,
3531 FI: kuudeskymmenesnelj@"asosatauko,
3538 I: legatura (di portamento or espressiva),
3539 F: liaison, coul@'e,
3540 D: Bogen, Legatobogen, Phrasierungsbogen,
3541 NL: fraseringsboog, legatoboog, streekboog,
3542 DK: legatobue, fraseringsbue,
3547 A slur above or below a group of notes indicates that they are to be played
3548 @aref{legato}, e.g., with one stroke of the violin bow or with one
3558 FI: suhteelliset laulunimet,
3561 General term for systems of designating the degrees of the
3562 @aref{scale}, not by letters, but by syllables (@emph{do}
3563 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3564 (@emph{ti})). @aref{scale degree}.
3577 In its present-day meaning a sonata denotes an instrumental composition for
3578 piano or for some other instrument with piano accompaniment, which consists of
3579 three or four independant pieces, called movements.
3584 F: [en] forme de sonate,
3586 NL: hoofdvorm, sonatevorm,
3592 A form used frequently for single movements of the @aref{sonata},
3593 @aref{symphony}, quartet, etc. A movement written in sonata form
3594 falls into three sections called @emph{exposition}, @emph{development} and
3595 @emph{recapitulation}. In the exposition the composer introduces his musical
3596 ideas, consisting of a number of themes; in the development section he
3597 "develops" this material, and in the recapitulation he repeats the exposition,
3598 with certain modifications, however. The exposition contains a number of themes
3599 which fall into two groups, often called first and second subject. Other
3600 melodies occurring in each group are considered as continuations of these
3601 two. The second theme is in another key, normally in the key of the
3602 @aref{dominant} if the @aref{tonic} is
3603 @aref{major}, and in the @aref{relative key} if the
3604 tonic is @aref{minor}.
3614 FI: sopraano, korkea nais@"a@"ani,
3617 The highest female voice.
3622 F: staccato, piqu@'e, d@'etach@'e,
3627 FI: staccato, lyhyesti, ter@"av@"asti,
3630 Playing the note(s) short. Staccato is indicated by a dot above or below the
3636 \notes\relative c'' {
3638 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3645 I: pentagramma, rigo (musicale),
3648 NL: (noten)balk, partij,
3654 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3655 which the musical notes are written, thus indicating (in connection
3656 with a @aref{clef}) their pitch. Staves for
3657 @aref{percussion} instruments may have fewer lines.
3663 D: Hals, Notenhals, Stiel,
3670 Vertical line above or below a @aref{note head} shorter than a
3671 whole note. @aref{beam}.
3673 @lilypond[13pt,notime]
3674 \property Score.autoBeaming = ##f
3675 \property Score.barNonAuto = ##t
3676 \property Score.TextScript \set #'font-style = #'large
3677 \notes\relative c'' {
3696 A family of stringed musical instruments played with a bow. Strings commonly
3697 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3703 D: betonter Taktteil oder Taktschlag,
3705 D: betonet taktslag,
3706 S: betonat taktslag,
3707 FI: tahdin vahva isku,
3710 @aref{beat}, @aref{accent}, @aref{measure},
3721 FI: subdominantti, alidominantti,
3724 The fourth @aref{scale degree}. @aref{functional
3735 FI: alikeskis@"avel,
3738 The sixth @aref{scale degree}.
3748 FI: subtoonika, alitoonika,
3751 The seventh @aref{scale degree}.
3753 @aitem{superdominant}
3764 The sixth @aref{scale degree}.
3777 The second @aref{scale degree}.
3780 ES: sinfon@'{@dotless{i}}a,
3783 D: Sinfonie, Symphonie,
3790 A symphony may be defined as a @aref{sonata} for orchestra.
3803 Any deliberate upsetting of the normal pulse of @aref{meter},
3804 @aref{accent} and @aref{rhythm}. Our system of musical
3805 rhythm rests upon the grouping of equal beats into groups of two or three,
3806 with a regularly recurrent accent on the first beat of each group. Any
3807 deviation from this scheme is felt as a disturbance or contradiction between
3808 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3812 \notes\relative c' {
3815 e c'4 e,8 c'4 e,8 c' ( | ) c2
3819 @aitemii{syntonic comma,dydimic comma}
3820 I: comma sintonico (o didimico),
3821 F: comma syntonique,
3822 D: syntonisches Komma,
3823 NL: syntonische komma,
3824 DK: syntonisk komma,
3825 S: syntoniskt komma,
3826 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3829 Difference between the natural third and the third obtained by Pythagorean
3830 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3839 FI: nuottij@"arjestelm@"a,
3842 The collection of staves @aref{staff}, two or more, as used for
3843 writing down of keyboard, chamber, choral, or orchestral music.
3849 D: Stimmung, Temperatur,
3850 NL: stemming, temperatuur,
3853 FI: viritysj@"arjestelm@"a,
3856 Systems of tuning in which the intervals deviate from the acoustically pure
3857 intervals. @aref{meantone temperament}, @aref{equal
3860 @aitem{tempo indication}
3861 ES: indicaci@'on de tempo,
3862 I: indicazione di tempo,
3863 F: indication de temps,
3864 D: Zeitma@ss{}, Tempobezeichnung,
3865 NL: tempo aanduiding,
3868 FI: tempomerkint@"a,
3871 The rate of speed of a composition or a section thereof, ranging from the
3872 slowest to the quickest, as is indicated by tempo marks as
3873 @aref{largo}, @aref{adagio}, @aref{andante},
3874 @aref{allegro}, and @aref{presto}.
3884 FI: tenori, korkea mies@"a@"ani,
3887 The highest voice of men (apart from @aref{counter tenor}).
3915 @aitem{thirty-second note}
3920 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3921 NL: twee-endertig@-ste noot,
3922 DK: toogtredivtedelsnode,
3923 S: trettiotv@aa{}ondelsnot,
3924 FI: kolmanneskymmeneskahdesosanuotti,
3929 @aitem{thirty-second rest}
3930 ES: silencio de fusa,
3931 I: pausa di biscroma,
3932 F: huiti@`eme de soupir,
3933 UK: demisemiquaver rest,
3934 D: Zweiunddreissigstel@-pause,
3936 DK: toogtredivtedelspause,
3937 S: trettiotv@aa{}ondelspaus,
3938 FI: kolmanneskymmeneskahdesosatauko,
3943 @aitemii{thorough bass,figured bass}
3945 I: basso continuo, basso numerato,
3946 F: basse chiffr@'ee,
3947 D: Generalbass, bezifferter Bass,
3948 NL: basso continuo, becijferde bas
3951 FI: kenraalibasso, numeroitu basso,
3954 A method of indicating an accompaniment part by the bass notes only, together
3955 with figures designating the chief @aref{interval}s and
3956 @aref{chord}s to be played above the bass notes.
3959 \context GrandStaff <
3960 \context Staff = lh \notes\relative c'' {
3964 < \context Voice = rha {
3967 \context Voice = rhb {
3969 << bes g >>8 as << as f >> g << g es >> f << d f >> es | << g es >>4 }
3973 \context Staff = rh \notes\relative c' {
3976 es8 c d bes c as bes16 as g f | es4
3978 \context Lyrics \lyrics {
3979 \property Lyrics . LyricText \set #'font-style = #'Large
3980 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3981 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3982 { "" "" "" "2" "" "" "" "" "" "2" } >
3988 ES: ligadura de prolongaci@'on,
3989 I: legatura (di valore),
3992 NL: overbinding, bindingsboog,
3994 S: bindeb@aa{}ge, @"overbindning,
3998 A curved line, identical in appearance with the @aref{slur}, which
3999 connects two succesive notes of the same pitch, and which has the function of
4000 uniting them into a single sound equal to the combined durations.
4002 @lilypond[13pt,notime]
4003 \property Score.barNonAuto = ##t
4004 \notes\relative c'' { g2 ~ g4. }
4007 @aitem{time signature}
4008 ES: cifra indicadora de comp@'as,
4010 F: chiffrage (chiffres indicateurs), signe de valeur,
4011 D: Taktangabe, Angabe der Taktart,
4014 S: taktartssignatur,
4031 A sound of definite pitch and duration, as distinct from @emph{noise}.
4032 Tone is a primary building material of music.
4033 Music from the 20th century may be based on non tone related sounds.
4046 The first @aref{scale degree}.
4047 @aref{functional harmony}.
4049 @aitem{transposition}
4050 ES: transposici@'on,
4060 Shifting a melody up or down in pitch, while keeping the same
4066 \notes\relative c'' {
4068 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4076 \transpose c bes \relative c'' {
4078 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4085 I: chiave di violino,
4087 D: Violinschl@"ussel, Sopranschl@"ussel,
4089 DK:@w{ }diskantn@o{}gle,
4107 On stringed instruments (@aref{strings}) the quick reiteration of
4108 the same tone, produced by a rapid up-and-down movement movement of the bow
4109 (a). The term is also used for the rapid alternation (b) between two notes of
4110 a @aref{chord}, usually in the distance of a third
4113 @lilypond[13pt,notime]
4114 \property Score.barNonAuto = ##t
4115 \property Score.TextScript \set #'font-style = #'large
4116 \notes\relative c' {
4118 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4119 \repeat "tremolo" 8 { e32_"b" g }
4124 ES: tr@'{@dotless{i}}ada,
4126 F: triade, accord parfait, accord de trois sons,
4136 @aitemii{trill,shake}
4139 F: trille, tremblement, battement (cadence),
4149 @aitem{triple meter}
4150 ES: comp@'as compuesto,
4154 NL: driedelige maatsoort,
4176 ES: tr@'{@dotless{i}}tono,
4190 I: diapason, corista,
4199 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4200 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4202 @aitemii{turn,gruppetto}
4216 ES: un@'{@dotless{i}}sono,
4223 FI: unisono, yksi@"a@"anisesti,
4226 Playing of the same notes or the same melody by various instruments (voices)
4227 or by the whole orchestra (choir), either at exactly the same pitch or in a
4231 ES: entrada anacr@'usica,
4233 F: anacrouse, lev@'ee,
4241 Initial note(s) of a melody occurring before the first bar
4242 line. @aref{measure}, @aref{meter}.
4247 \notes\relative c' {
4248 \partial 4 f4 | bes4. a8 bes4 c |
4249 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
4260 FI: @"a@"ani, laulu@"a@"ani,
4263 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4264 @aref{contralto}, @aref{tenor},
4265 @aref{baritone}, @aref{bass}.
4266 2. A melodic layer or part of a polyphonic composition.
4270 I: tempo debole, arsi,
4272 D: unbetonter Taktteil oder Taktschlag,
4274 DK: ubetonet taktslag,
4275 S: obetonat taktslag,
4276 FI: tahdin heikko isku,
4279 @aref{beat}, @aref{measure}, @aref{rhythm}.
4286 D: Ganze, ganze Note,
4296 ES: silencio de redonda,
4297 I: pausa di semibreve,
4300 D: ganze Pause, ganztaktige Pause,
4320 The @aref{interval} of a major second. The interval between two
4321 tones on the piano keyboard with exactly one key between them -- including
4322 black and white keys -- is a whole tone.
4330 DK tr@ae{}bl@ae{}sere,
4331 S: tr@"abl@aa{}sare,
4335 A family of blown wooden musical instruments. Today some of these instruments
4336 are actually made from metal. The woodwind instruments commonly used in a
4337 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4344 @item DURATION NAMES, NOTES AND RESTS
4347 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4349 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4350 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4354 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4355 @tab longa @tab longa @tab longa @tab longa
4359 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4360 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4364 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4365 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4369 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4370 halve @tab halv @tab halv @tab puoli- @tab
4374 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4375 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4379 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4380 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4384 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4385 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4386 @tab kuudestoistaosa- @tab
4390 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4391 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4392 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4396 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4397 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4398 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4399 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4402 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4410 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4412 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4413 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4418 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4422 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4423 cis @tab cis @tab Cis @tab cis
4427 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4428 des @tab des @tab Des @tab des
4432 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4436 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4440 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4444 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4448 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4449 @tab as @tab As @tab as
4453 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4457 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4458 ais @tab ais @tab Ais @tab ais
4462 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4463 @tab b @tab B @tab b
4467 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4475 @item ---------------------
4479 @item Literature used
4480 The Harvard Dictionary of Music, London 1944. Many more or less literal
4481 quotes from its articles have been included into the item explanation texts.
4483 Hugo Riemanns Musiklexicon, Berlin 1929
4485 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4486 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.