1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @documentencoding utf-8
9 @dircategory GNU music project
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in @uref{source/Documentation/user/out-www/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/out-www/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author Dadiv Gonzalez @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2005 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
61 This glossary was brought you by
69 @item Christian Mondrup
70 Original author of LilyPond glossary, Danish glossary,
73 @item Fran@,{c}ois Pinard
74 Original glossary of GNU music project, French glossary,
75 @item Han-Wen Nienhuys
77 @item Jan Nieuwenhuizen
82 English glossary translations,
84 Finnish glossary translations.
87 Copyright 1999--2005 by the authors
90 Permission is granted to copy, distribute and/or modify this document
91 under the terms of the GNU Free Documentation License, Version 1.1
92 or any later version published by the Free Software Foundation,
93 without Invariant Sections.
99 @c @everyheading @| @thispage @|
100 @c @evenheading @thispage @| @|
101 @c @oddheading @| @| @thispage @|
103 @include macros.itexi
108 @w{@arrow{}@strong{\word\}}@c
111 @arrow{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
132 @item UK - British English
150 * ancient minor scale::
154 * ascending interval::
155 * augmented interval::
187 * compound interval::
189 * conjunct movement::
202 * descending interval::
204 * diminished interval::
206 * disjunct movement::
208 * dissonant interval::
209 * dominant ninth chord::
210 * dominant seventh chord::
213 * dot (augmentation dot)::
215 * double appoggiatura::
217 * double dotted note::
226 * ecclesiastical mode::
232 * equal temperament::
246 * functional harmony::
260 * inverted interval::
273 * long appoggiatura::
278 * meantone temperament::
285 * metronomic indication::
321 * Pythagorean comma::
343 * short appoggiatura::
347 * sixty-fourth note::
348 * sixty-fourth rest::
376 * thirty-second note::
377 * thirty-second rest::
426 FI: aksentti, korostus.
428 The stress of one tone over others.
438 ES: alteración accidentelle,
440 F: altération accidentelle,
441 D: Vorzeichen, Versetzungszeichen, Akzidenz,
442 NL: toevallig (verplaatsings)teken,
444 S: tillfälligt förtecken,
445 FI: tilapäinen etumerkki.
447 An accidental has the effect of an @aref{alteration} of a note. A
448 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
449 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
450 lowers it by a whole tone. A natural cancels the effect of a previous
453 @lilypond[fragment,notime,linewidth=13.0\cm]
454 \set Score.automaticBars = ##f
455 %\override TextScript #'font-style = #'large
457 \context Staff \relative c'' {
458 gis1 gisis ges geses g!
460 \context Lyrics \lyrics {
461 \override Lyrics .LyricText #'self-alignment-X = #-1
462 sharp "db. sharp" flat "db. flat" natural
471 F: accelerando, en accélérant,
472 D: accelerando, schneller werden,
476 FI: accelerando, kiihdyttäen.
490 FI: adagio, hitaasti.
492 It.@: comfortable, easy.
493 1.@tie{}Slow tempo, slower -- especially in even meter -- than
494 @aref{andante} and faster than @aref{largo}.
495 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
496 @aref{sonata}s, symphonies, etc.
504 D: Allegro, Schnell, Fröhlich, Lustig,
508 FI: allegro, nopeasti.
510 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
511 tempo, especially the first and last movements of a @aref{sonata}.
520 NL: verhoging of verlaging,
525 An alteration is the modification, raising or lowering, of a note's
526 pitch. It is established by an @aref{accidental}.
538 FI: altto, matala naisääni.
540 A female voice of low range (@emph{contralto}). Originally the alto was a
541 high male voice (hence the name), which by the use of falsetto reached the
542 height of the female voice. This type of voice is also known as
543 @aref{counter tenor}.
548 ES: clave de do en tercera,
549 I: chiave di contralto,
550 F: clef d'ut troisième ligne,
551 D: Altschlüssel, Bratschenschlüssel,
557 C clef setting middle C on the middle line of the staff
570 FI: ambitus, ääniala, soitinala.
572 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
573 of pitches for a given voice in a part of music. It may also denote
574 the pitch range that a musical instrument is capable of playing.
576 @node ancient minor scale
577 @section ancient minor scale
579 I: scala minore naturale,
580 F: forme du mode mineur ancien, troisème mode, mode hellénique
582 NL: authentieke mineurtoonladder,
585 FI: luonnollinen molliasteikko.
587 @aref{diatonic scale}.
589 @lilypond[fragment,notime,linewidth=13.0\cm]
590 \set Score.automaticBars = ##f
607 Walking tempo/character.
610 @section appoggiatura
614 F: appogiature, (port de voix),
619 FI: appoggiatura, etuhele.
621 Ornamental note, usually a second, that is melodically connected with the
622 main note following it. In music before the 19th century a.@: were usually
623 performed on the beat, after that mostly before the beat. While the short
624 a.@: is performed as a short note regardless of the duration of the main note
625 the duration of the long a.@: is proportional to that of the main note.
627 @lilypond[linewidth=13.0\cm]
628 \context Voice \relative c'' {
632 %\override Score.TextScript #'font-style = #'large
633 <d a fis>4_"notation" r
634 { \override Stem #'flag-style = #'()
636 \revert Stem #'flag-style
639 { \override Stem #'flag-style = #'()
641 \revert Stem #'flag-style
644 \cadenzaOn a4 \bar "||" \cadenzaOff
646 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
647 \cadenzaOn a4 \bar "||" \cadenzaOff
651 An appoggiatura may have more notes preceding the main note.
653 @lilypond[linewidth=13.0\cm]
657 % \override Score.TextScript #'font-style = #'large
658 \grace { bes16 } as8_"notation" as16 bes as8 g |
659 \grace { as16[( bes] } < c as >4-)
660 \grace { as16[( bes] } < c as >4-) \bar "||"
661 \grace { bes16 } as8_"performance" as16 bes as8 g |
662 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
663 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
674 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
676 DK: arpeggio, akkordbrydning,
678 FI: arpeggio, murtosointu.
680 @lilypond[fragment,linewidth=13.0\cm]
681 \context PianoStaff <<
682 \context Staff = SA \relative c'' {
685 r8 g16 c e g, c e r8 g,16 c e g, c e |
686 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
687 \context Staff = SB \relative c' {
689 << \context Voice = va {
691 r16 e8. ( e4) r16 e8. ( e4) |
692 r16 d8. ( d4) r16 d8. ( d4) }
693 \context Voice = vb {
700 @node ascending interval
701 @section ascending interval
703 ES: Intervalo ascendente,
704 I: intervallo ascendente,
705 F: intervalle ascendant,
706 D: steigendes Intervall,
707 NL: stijgend interval,
708 DK:@w{ }stigende interval,
709 S: stigande intervall,
710 FI: nouseva intervalli.
712 A distance between a starting lower note and a higher ending note.
714 @node augmented interval
715 @section augmented interval
717 ES: intervalo aumentado,
718 I: intervallo aumentato,
719 F: intervalle augmenté,
720 D: übermäßiges Intervall,
721 NL: overmatig interval,
722 DK: forstørret interval,
723 S: överstigande intervall,
724 FI: ylinouseva intervalli.
733 D: Autograph, Handschrift,
735 DK: håndskrift, autograf,
737 FI: käsinkirjoitettu nuotti.
739 1.@tie{}A manuscript in the composer's own hand.
740 2.@tie{}Music prepared for photoreproduction by freehand drawing,
741 with the aid of a straightedge ruler and T-square only,
742 which attempts to emulate engraving.
743 This required more skill than did engraving.
765 ES: compás, @aref{measure}.
771 I: stanghetta, barra (di divisione),
772 F: barre (de mesure),
789 FI: baritoni, keskikorkuinen miesääni.
791 The male voice intermediate between the @aref{bass} and the
794 @c F: clef de troisième ligne dropped
797 @section baritone clef
799 ES: clave de fa en tercera,
800 I: chiave di baritono,
801 F: clef d' Ut cinquième ligne, clef de Fa troisième,
808 C or F clef setting middle C on the upper staff line.
809 @aref{C clef}, @aref{F clef}.
814 ES: clave de fa en cuarta,
816 F: clé de fa quatrième ligne,
823 A clef setting with middle C on the first top ledger line.
835 FI: basso, matala miesääni.
837 1.@tie{}The lowest male voice.
838 2.@tie{}Sometimes, especially in jazz music, used as
839 an abbreviation for double bass.
853 Line connecting a series of notes (shorter than a quarter note).
854 The number of beams determines the note value of the connected notes.
856 @lilypond[fragment,notime,linewidth=13.0\cm]
857 \set Score.automaticBars = ##f
858 %\override TextScript #'font-style = #'large
861 g16_"1/16"[ g g g] s16
862 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
863 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
872 D: Takt, Taktschlag, Zeit (im Takt),
878 Note value used for counting, most often half-, fourth-, and eighth notes.
879 The base counting value and the number of them per measure is indicated at
880 the start of the music.
882 @lilypond[fragment,linewidth=13.0\cm]
885 \relative c'' { g4 c b a | g1 \bar "||"}
887 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
901 D: Klammer, Akkolade,
902 NL: accolade, teksthaak,
905 FI: yhdistävä sulkumerkki.
907 Symbol at the start of a system connecting staves. Curly braces are used
908 for connecting piano staves, angular brackets for connecting parts in an
909 orchestral or choral score.
911 @lilypond[fragment,raggedright]
912 \context GrandStaff <<
913 \relative c''\context Staff = SA { \clef treble g4 e c2 }
914 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
917 @lilypond[fragment,raggedright]
918 \context StaffGroup <<
919 % \set StaffGroup.minVerticalAlign = #12
920 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
921 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
933 S: brassinstrument, mässingsinstrument,
936 A family of blown musical instruments made of brass, all using a cup formed
937 mouth piece. The brass instruments commonly used in a symphony orchestra are
938 trumpet, trombone, french horn, and tube.
945 D: Atemzeichen, Trennungszeichen,
946 NL: repercussieteken,
947 DK: vejrtrækningstegn,
951 Indication of where to breathe in vocal and wind instrument parts.
964 @aref{note value}, twice as long as a whole note. Mainly used
967 @lilypond[fragment,notime,raggedright]
968 \set Score.automaticBars = ##f
969 \relative c'' { g\breve }
996 Clef symbol indicating the position of the middle C. Used on all note
999 @lilypond[fragment,notime,linewidth=13.0\cm]
1000 \set Score.automaticBars = ##f
1001 \override Score.Clef #'full-size-change = ##t
1002 %\override Score.LyricText #'font-style = #'large
1004 \context Staff \relative c' {
1005 \clef soprano c1 s s
1006 \clef mezzosoprano c s s
1009 \clef baritone c s s
1011 \context Lyrics \lyrics {
1012 \override Lyrics .LyricText #'self-alignment-X = #-1
1013 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1027 FI: kadenssi, lopuke.
1029 @aref{harmonic cadence}, @aref{functional harmony}.
1041 FI: kadenssi, lopuke.
1043 An extended, improvisatory style section inserted near the end of
1044 movement. The purpose of a cadenza is to give singers or players a chance
1045 to exhibit their technical skill and -- not last -- their ability to
1046 improvise. Since the middle of the 19th century, however, most cadences have
1047 been written down by the composer.
1059 FI: kaanon, tarkka jäljittely.
1061 @aref{counterpoint}.
1073 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1075 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1076 of an equally tempered @aref{semitone}).
1077 @aref{equal temperament}.
1096 Three or more tones sounding simultaneously. In traditional European music the
1097 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1098 minor @aref{third}) as well as @emph{minor} (minor + major third)
1099 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1100 and five-tone @emph{ninth} major chords are most often used as dominants
1101 (@aref{functional harmony}). A special case is chords having no
1102 third above the lower notes to define their quality as major or minor. Such
1103 chords are denoted open chords
1105 @lilypond[fragment,notime,linewidth=13.0\cm]
1106 \set Score.automaticBars = ##f
1107 %\override TextScript #'font-style = #'large
1109 \context Staff \relative c'' {
1117 \context Lyrics \lyrics{
1127 @node chromatic scale
1128 @section chromatic scale
1130 ES: escala cromática,
1132 F: gamme chromatique,
1133 D: chro@-ma@-ti@-sche Tonleiter,
1134 NL: chromatische toonladder,
1135 DK: kromatisk skala,
1137 FI: kromaattinen asteikko.
1139 A scale consisting of all 12 @aref{semitone}s.
1141 @lilypond[fragment,notime,linewidth=13.0\cm]
1142 \set Score.automaticBars = ##f
1143 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1147 @section chromaticism
1158 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1161 @section church mode
1163 ES: modo eclesiástico,
1164 I: modo ecclesiastico,
1165 F: mode ecclésiastique,
1170 FI: moodi, kirkkosävellaji.
1172 @aref{diatonic scale}.
1180 D: Schlüssel, Notenschlüssel,
1184 FI: avain, nuottiavain.
1186 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1191 A @emph{cluster} is a range of simultaneously sounding pitches that
1192 may change over time. The set of available pitches to apply usually
1193 depends on the acoustic source. Thus, in piano music, a cluster
1194 typically consists of a continuous range of the semitones as provided
1195 by the piano's fixed set of a chromatic scale. In choral music, each
1196 singer of the choir typically may sing an arbitrary pitch within the
1197 cluster's range that is not bound to any diatonic, chromatic or other
1198 scale. In electronic music, a cluster (theoretically) may even cover
1199 a continuous range of pitches, thus resulting in colored noise, such
1202 Clusters can be denoted in the context of ordinary staff notation by
1203 engraving simple geometrical shapes that replace ordinary notation of
1204 notes. Ordinary notes as musical events specify starting time and
1205 duration of pitches; however, the duration of a note is expressed by
1206 the shape of the note head rather than by the horizontal graphical
1207 extent of the note symbol. In contrast, the shape of a cluster
1208 geometrically describes the development of a range of pitches
1209 (vertical extent) over time (horizontal extent). Still, the
1210 geometrical shape of a cluster covers the area in which any single
1211 pitch contained in the cluster would be notated as an ordinary note.
1213 @lilypond[fragment,relative=2,verbatim,raggedright]
1214 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1226 FI: komma, korvinkuultava ero äänenkorkeudessa.
1228 Difference in pitch between a note derived from pure tuning and the same note
1229 derived from some other tuning method. @aref{temperament}.
1232 @section common meter
1236 @node compound interval
1237 @section compound interval
1239 ES: intervalo compuesto,
1240 I: intervallo composto,
1241 F: intervalle composé,
1242 D: weites Intervall,
1243 NL: samengesteld interval,
1244 DK: sammensat interval,
1245 S: sammansatt intervall,
1246 FI: oktaavia laajempi intervalli.
1248 Intervals larger than an octave.
1256 F: intervalle complémentaire,
1257 D: Komplementärintervall,
1258 NL: complementair interval,
1259 DK: komplementærinterval,
1260 S: komplementärintervall (?),
1261 FI: täydentävä intervalli.
1263 @aref{inverted interval}.
1265 @node conjunct movement
1266 @section conjunct movement
1268 ES: movimiento conjunto,
1270 F: mouvement conjoint,
1271 D: schritt@-weise, stufenweise Bewegung,
1272 NL: stapsgewijze, trapsgewijze beweging,
1273 DK: trinvis bevægelse,
1275 FI: asteittainen liike.
1277 Progressing melodically by intervals of a second. The opposite of a
1278 @aref{disjunct movement}.
1280 @lilypond[fragment,linewidth=13.0\cm]
1281 \key g \major \time 4/4
1282 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1295 FI: konsonanssi, sopusointi.
1314 @section counterpoint
1323 FI: kontrapunkti, ääni ääntä vastaan.
1325 From latin @emph{punctus contra punctum}, note against note. The combination
1326 into a single musical fabric of lines or parts which have distinct melodic
1327 significance. A frequently used polyphonic technique is imitation, in its
1328 strictest form found in the canon needing only one part to be written down
1329 while the other parts are performed with a given displacement. Imitation is
1330 also the contrapunctal technique used in the @emph{fugue} which, since the
1331 music of the baroque era, has been one of the most popular polyphonic
1332 composition methods.
1334 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
1335 \override Score.TimeSignature #'break-visibility = #all-invisible
1336 \context PianoStaff <<
1337 \context Staff = SA \relative c' {
1341 << \context Voice = rha {
1343 r1 | r2 r8 g'8 bes d, |
1344 cis4 d r8 e!16 f g8 f16 e |
1345 f8 g16 a bes8 a16 g a8
1347 \context Voice = rhb {
1353 \context Staff = SB \relative c' {
1356 << \context Voice = lha {
1358 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1359 r8 a16 g f8 g16 a bes8 g e! cis' |
1362 \context Voice = lhb {
1371 @section counter tenor
1376 D: Countertenor, Kontratenor,
1379 S: kontratenor, counter tenor,
1385 @section copying music
1387 A music copyist did fast freehand scores and parts on preprinted staff lines
1388 for performance. Some of their conventions (e.g., the placement of note heads
1389 on stems) varied slightly from those of engravers. Some of their working
1390 methods were superior and could well be adopted by music typesetters. This
1391 required more skill than engraving.
1399 D: Crescendo, lauter werden,
1403 FI: cresendo, voimistuen.
1405 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1406 abbreviation ``cresc.''.
1408 @lilypond[fragment,raggedright]
1409 \key g \major \time 4/4
1410 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1418 F: petites notes précédent l'entrée d'in instrument, réplique,
1425 In a separate part notes belonging to another part with the purpose of hinting
1426 when to start playing. Usually printed in a smaller type.
1431 A custos is a staff symbol that appears at the end of a staff line
1432 with monophonic musical contents (i.e., with a single voice). It
1433 anticipates the pitch of the first note of the following line and thus
1434 helps the player or singer to manage line breaks during performance,
1435 thus enhancing readability of a score.
1437 Custodes were frequently used in music notation until the 16th
1438 century. There were different appearences for different notation
1439 styles. Nowadays, they have survived only in special forms of musical
1440 notation such as via the editio vaticana dating back to the beginning
1446 % \override Staff.Custos #'neutral-position = #4
1447 \override Staff.Custos #'neutral-direction = #down
1448 \override Staff.Custos #'style = #'hufnagel
1456 \consists Custos_engraver
1480 F: da capo, depuis le commencement,
1481 D: da capo, von Anfang,
1485 FI: da capo, alusta.
1487 The term indicates repetition of the piece from the beginning to the end or
1488 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1495 F: dal segno, depuis le signe,
1496 D: dal segno, ab dem Zeichen,
1500 FI: dal segno, lähtien merkistä.
1502 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1503 another place frequently near the beginning marked by a sign:
1505 @lilypond[fragment,raggedright]
1506 %\override TextScript #'font-style = #'large
1507 \override TextScript #'font-shape = #'italic
1508 \key g \major \time 4/4
1513 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1519 @section decrescendo
1523 D: Decrescendo, leiser werden,
1527 FI: decresendo, hiljentyen.
1529 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1530 or the abbreviation ``decresc.''.
1532 @lilypond[fragment,raggedright]
1534 \key g \major \time 4/4
1535 d4 \> c b a | g1 \! \bar "|."
1539 @node descending interval
1540 @section descending interval
1542 ES: intervalo descendente,
1543 I: intervallo discendente,
1544 F: intervalle descendant,
1545 D: fallendes Intervall, absteigendes Intervall,
1546 NL: dalend interval,
1547 DK: faldende interval,
1548 S: fallande intervall,
1549 FI: laskeva intervalli.
1551 A distance between a starting higher note and a lower ending note.
1553 @node diatonic scale
1554 @section diatonic scale
1556 ES: escala diatónica,
1558 F: gamme diatonique,
1559 D: diatonische Tonleiter,
1560 NL: diatonische toonladder,
1561 DK: diatonisk skala,
1563 FI: diatoninen asteikko.
1565 A scale consisting of 5@w{ }@aref{whole tone}s and
1566 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1567 of a piano keybord are diatonic.
1569 The church modes are used in gregorial chant and in pre-baroque early
1570 music but also to some extent in newer jazz music.
1572 @lilypond[fragment,notime,raggedright]
1573 \set Score.automaticBars = ##f
1574 %\override Score.LyricText #'font-style = #'large
1575 %\override Score.TextScript #'font-style = #'large
1577 \context Staff \relative c' {
1579 \override TextScript #'padding = #-4
1580 e^"~~ S" f g a b^"~~ S" c
1582 \context Lyrics \lyrics {
1587 @lilypond[fragment,notime,raggedright]
1588 \set Score.automaticBars = ##f
1589 %\override Score.LyricText #'font-style = #'large
1590 %\override Score.TextScript #'font-style = #'large
1592 \context Staff \relative c' {
1594 \override TextScript #'padding = #-4
1595 e^"~~ S" f g a b^"~~ S" c d
1597 \context Lyrics \lyrics {
1602 @lilypond[fragment,notime,raggedright]
1603 \set Score.automaticBars = ##f
1604 %\override Score.LyricText #'font-style = #'large
1605 %\override Score.TextScript #'font-style = #'large
1608 \override TextScript #'padding = #-4
1609 e1^"~~ S" f g a b^"~~ S" c d e
1611 \context Lyrics \lyrics {
1616 @lilypond[fragment,notime,raggedright]
1617 \set Score.automaticBars = ##f
1618 %\override Score.LyricText #'font-style = #'large
1619 %\override Score.TextScript #'font-style = #'large
1623 \override TextScript #'padding = #-4
1624 b^"~~ S" c d e^"~~ S" f
1626 \context Lyrics \lyrics {
1631 @lilypond[fragment,notime,raggedright]
1632 \set Score.automaticBars = ##f
1633 %\override Score.LyricText #'font-style = #'large
1634 %\override Score.TextScript #'font-style = #'large
1638 \override TextScript #'padding = #-4
1639 b^"~~ S" c d e^"~~ S" f g }
1640 \context Lyrics \lyrics {
1645 @lilypond[fragment,notime,raggedright]
1646 \set Score.automaticBars = ##f
1647 %\override Score.LyricText #'font-style = #'large
1648 %\override Score.TextScript #'font-style = #'large
1652 \override TextScript #'padding = #-4
1653 b^"~~ S" c d e^"~~ S" f g a
1655 \context Lyrics \lyrics {
1660 From the beginning of the 17th century the scales used in European
1661 compositional music are primarily the major and the minor scales. In the
1662 harmonic minor scale type an augmented second (A) occurs between the 6th and
1665 @lilypond[fragment,notime,raggedright]
1666 \set Score.automaticBars = ##f
1667 %\override Score.LyricText #'font-style = #'large
1668 %\override Score.TextScript #'font-style = #'large
1672 \override TextScript #'padding = #-4
1673 e^"~~ S" f g a b^"~~ S" c
1675 \context Lyrics \lyrics {
1680 @lilypond[fragment,notime,raggedright]
1681 \set Score.automaticBars = ##f
1682 %\override Score.LyricText #'font-style = #'large
1683 %\override Score.TextScript #'font-style = #'large
1687 \override TextScript #'padding = #-4
1688 b^"~~ S" c d e^"~~ S" f g a
1690 \context Lyrics \lyrics {
1695 @lilypond[fragment,notime,raggedright]
1696 \set Score.automaticBars = ##f
1697 %\override Score.LyricText #'font-style = #'large
1698 %\override Score.TextScript #'font-style = #'large
1702 \override TextScript #'padding = #-4
1703 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1705 \context Lyrics \lyrics {
1710 @lilypond[fragment,notime,linewidth=13.0\cm]
1711 \set Score.automaticBars = ##f
1712 %\override Score.LyricText #'font-style = #'large
1713 %\override Score.TextScript #'font-style = #'large
1717 \override TextScript #'padding = #-4
1718 b^"~~ S" c d e fis gis^"~~ S"
1719 a g! f!^"~~ S" e d c^"~~ S" b a
1721 \context Lyrics \lyrics {
1726 @node diminished interval
1727 @section diminished interval
1729 ES: intervalo disminuído,
1730 I: intervallo diminuito,
1731 F: intervalle diminué,
1732 D: vermindertes Intervall,
1733 NL: verminderd interval,
1734 DK: formindsket interval,
1735 S: förminskat intervall,
1736 FI: vähennetty intervalli.
1750 FI: diminuendo, hiljentyen.
1754 @node disjunct movement
1755 @section disjunct movement
1757 ES: movimiendo disjunto,
1759 F: mouvement disjoint,
1760 D: sprunghafte Bewegung,
1761 NL: sprongsgewijze beweging,
1762 DK: springende bevægelse,
1763 S: hoppande rörelse,
1764 FI: melodian hyppivä liike.
1766 Progressing melodically by intervals larger than a major second.
1767 Opposite of @aref{conjunct movement}.
1769 @lilypond[fragment,raggedright]
1774 a4. gis8 b a e cis |
1775 fis2 d4. \bar "||" }
1781 @ref{dissonant interval}.
1783 @node dissonant interval
1784 @section dissonant interval
1786 ES: intervalo disonante, disonancias,
1787 I: intervallo dissonante, dissonanza,
1790 NL: dissonant interval; dissonant,
1791 DK: dissonerende interval, dissonans,
1793 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1797 @node dominant ninth chord
1798 @section dominant ninth chord
1800 I: accordo di nona di dominante,
1801 F: accord de neuvième dominante,
1802 D: Domi@-nant@-nonen@-akkord,
1803 NL: dominant noon akkoord,
1804 DK: dominantnoneakkord,
1805 S: dominantnonackord,
1806 FI: dominanttinoonisointu.
1808 @aref{chord}, @aref{functional harmony}.
1810 @node dominant seventh chord
1811 @section dominant seventh chord
1813 ES: acorde de séptima de dominante,
1814 I: accordo di settima di dominante,
1815 F: accord de septième dominante,
1816 D: Dominantseptakkord,
1817 NL: dominant septiem akkoord,
1818 DK: dominantseptimakkord,
1819 S: dominantseptimackord,
1820 FI: dominanttiseptimisointu.
1822 @aref{chord}, @aref{functional harmony}.
1834 FI: dominantti, huippusointu.
1836 The fifth @aref{scale degree},
1837 @aref{functional harmony}.
1840 @section dorian mode
1845 D: dorisch, dorischer Kirchenton,
1846 NL: dorische toonladder,
1851 @aref{diatonic scale}.
1853 @node dot (augmentation dot)
1854 @section dot (augmentation dot)
1857 I: punto (di valore),
1859 D: Punkt (Verlängerungspunkt),
1868 @section dotted note
1870 ES: nota con puntillo,
1874 NL: gepuncteerde noot,
1877 FI: pisteellinen nuotti.
1881 @node double appoggiatura
1882 @section double appoggiatura
1884 ES: apoyatura doble,
1885 I: appoggiatura doppia,
1886 F: appoggiature double,
1887 D: doppelter Vorschlag,
1888 NL: dubbele voorslag,
1889 DK: dobbelt forslag,
1891 FI: kaksoisappogiatura, kaksoisetuhele.
1893 @aref{appoggiatura}.
1895 @node double bar line
1896 @section double bar line
1901 NL: dubbele maatstreep,
1904 FI: kaksoistahtiviiva.
1906 Indicates the end of a section within a movement.
1908 @node double dotted note
1909 @section double dotted note
1911 ES: nota con dos puntillos,
1912 I: nota doppiamente puntata,
1913 F: note doublement pointée,
1914 D: doppelt punktierte Note,
1915 NL: dubbelgepuncteerde noot,
1916 DK: dob@-belt@-punk@-te@-ret node,
1917 S: dub@-bel@-punk@-te@-rad not,
1918 FI: kaksoispisteellinen nuotti.
1923 @section double flat
1932 FI: kaksoisalennusmerkki.
1937 @section double sharp
1939 ES: doble sostenido,
1944 DK: dob@-belt@-kryds,
1946 FI: kaksoisylennysmerkki.
1951 @section double trill
1957 NL: dubbele triller,
1962 A simultaneous trill on two notes, usually in the distance of a third.
1965 @section duple meter
1971 NL: tweedelige maatsoort,
2002 FI: kesto, aika-arvo.
2007 @section dydimic comma
2009 @aref{syntonic comma}.
2023 @node ecclesiastical mode
2024 @section ecclesiastical mode
2029 @section eighth note
2035 D: Achtel, Achtelnote,
2037 DK: ottendedelsnode,
2039 FI: kahdeksasosanuotti.
2044 @section eighth rest
2046 ES: silencio de corchea,
2052 DK: ottendedelspause,
2054 FI: kahdeksasosatauko.
2059 @section embellishment
2070 D: Notenstechen, Notendruck
2076 Engraving means incising or etching a metal plate for
2077 printing. Photoengraving means drawing music with ink in a manner
2078 similar to drafting or engineering drawing, using similar tools.
2080 The traditional process of music printing is done through cutting in a
2081 plate of metal. Now also the term for the art of music typesetting.
2095 Two notes, intervals, or scales are enharmonic if they have different names
2098 @lilypond[fragment,notime,linewidth=13.0\cm]
2099 \set Score.automaticBars = ##f
2100 %\override Score.TextScript #'font-style = #'large
2102 \context Staff \relative c'' {
2103 gis1 s s as s s <des g,!> s s <cis g!> s s
2105 \context Lyrics \lyrics {
2106 \override Lyrics .LyricText #'self-alignment-X = #-1
2107 "g sharp " "a flat " "dim fifth " "augm fourth"
2111 @node equal temperament
2112 @section equal temperament
2115 I: temperamento equabile,
2116 F: tempérament égal,
2117 D: gleichschwebende Stimmung,
2118 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2119 DK: ligesvævende temperatur,
2120 S: liksvävande temperatur,
2123 Tuning system dividing the octave into 12 equal @aref{semitone}s
2124 (precisely 100 @aref{cent}s). @aref{temperament}.
2126 @node expression mark
2127 @section expression mark
2130 I: segno d'espressione,
2131 F: signe d'expression, indication de nuance,
2133 NL: voordrachtsteken,
2134 DK: foredragsbetegnelse,
2135 S: föredragsbeteckning,
2136 FI: nyanssiosoitus, esitysmerkki.
2138 Performance indications concerning 1. volume, dynamics (for example
2139 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2140 @aref{andante}, @aref{allegro}).
2166 The position between the dots of the key symbol is the line of the F below
2167 central@w{ }C. Used on the third, fourth and fifth note line. A
2168 digit@w{ }8 above the clef symbol indicates that the notes must be played
2169 an octave higher (for example bass recorder) while 8@w{ }below the clef
2170 symbol indicates playing an octave lower (for example on double bass
2173 @lilypond[fragment,notime,linewidth=13.0\cm]
2174 \set Score.automaticBars = ##f
2175 \override Staff.Clef #'full-size-change = ##t
2176 %\override Score.LyricText #'font-style = #'large
2190 \context Lyrics \lyrics {
2191 % \override Lyrics .LyricText #'self-alignment-X = #-1
2200 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2207 F: point d'orgue, point d'arr@^et,
2212 FI: fermaatti, pidäke.
2214 Prolonged note or rest of indefinite duration.
2216 @lilypond[fragment,raggedright]
2219 a4 b c2^\fermata \bar "|."
2238 @section figured bass
2240 ES: bajo cifrado, @aref{thorough bass}.
2254 The methodical use of fingers in the playing of instruments.
2260 I: coda (uncinata), bandiera,
2268 Ornament at the end of the stem of a note used for notes with values
2269 less than a quarter note. The number of flags determines the
2272 @lilypond[fragment,notime,raggedright]
2273 \set Score.automaticBars = ##f
2274 %\override Score.TextScript #'font-style = #'large
2300 @aref{appoggiatura}.
2312 FI: forte, voimakkaasti.
2314 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2315 @emph{mezzoforte} (@b{mf}) medium loud.
2343 @aref{counterpoint}.
2345 @node functional harmony
2346 @section functional harmony
2348 ES: armonía funcional,
2349 I: armonia funzionale,
2350 F: étude des functions,
2352 NL: functionele harmonie,
2353 DK: funktionsanalyse, funktionsharmonik,
2355 FI: harmoniajärjestelmä.
2357 A system of harmonic analysis. It is based on the idea that, in a given key,
2358 there are only three functionally different chords: tonic (T, the chord on the
2359 first note of the scale), subdominant (S, the chord on the fourth note), and
2360 dominant (D, the chord on the fifth note). Others are considered to be
2361 variants of the base chords.
2363 @lilypond[fragment,notime,linewidth=13.0\cm]
2364 \set Score.automaticBars = ##f
2365 %\override Score.LyricText #'font-style = #'large
2366 %\override Score.TextScript #'font-style = #'large
2368 \context Voice \relative c'' {
2369 <g e c >1 < a f d > < b g e >
2370 <c a f > < d b g > < e c a > < f d b > }
2371 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
2392 D: G-Schlüssel, Violinschlüssel,
2398 A clef symbol indicating the G above central@w{ }C. Used on the first
2399 and second note lines. A digit 8 above the clef symbol indicates that
2400 the notes must be played an octave higher while 8 below the clef symbol
2401 indicates playing or singing an octave lower (most tenor parts in choral
2402 scores are notated like that).
2404 @lilypond[fragment,notime,linewidth=13.0\cm]
2405 \set Score.automaticBars = ##f
2406 \override Staff.Clef #'full-size-change = ##t
2407 %\override Score.LyricText #'font-style = #'large
2419 \context Lyrics \lyrics {
2420 \override Lyrics .LyricText #'self-alignment-X = #-1
2421 "french violin clef "
2438 FI: glissando, liukuen.
2440 Letting the pitch slide fluently from one note to the other.
2443 @section grace notes
2448 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2454 Notes printed in small types to indicate that their time values are not
2455 counted in the rhythm of the bar. @aref{appoggiatura}.
2458 @section grand staff
2465 S: ackolad, böjd klammer,
2466 FI: kaksoisnuottiviivasto.
2470 A combination of two staves with a brace. Usually used for piano music.
2482 FI: grave, raskaasti.
2498 D: Halbe, halbe Note,
2521 @node harmonic cadence
2522 @section harmonic cadence
2524 ES: cadencia (armónica),
2525 I: cadenza (armonica),
2526 F: cadence harmonique,
2528 NL: harmonische cadens,
2529 DK: harmonisk kadence,
2530 S: (harmonisk) kadens,
2531 FI: harmoninen kadenssi.
2533 A sequence of chords that terminates a musical phrase or
2534 section. @aref{functional harmony}.
2536 @lilypond[fragment,raggedright]
2537 \context PianoStaff <<
2538 \context Staff = SA \relative c'' {
2542 \partial 4 < c g e >4 |
2543 < c a f > < b g d > < c g e >2
2545 % %\override Score.LyricText #'font-style = #'large
2547 \context Staff = SB \relative c {
2549 \partial 4 c4 | f, g c2
2552 \context Lyrics \lyrics {
2564 D: Harmonie, Zusammenklang,
2568 FI: harmonia, yhteissointi.
2570 Tones sounding simultaneously. Two note harmonies fall into the categories
2571 @emph{consonances} and @emph{dissonances}.
2575 @lilypond[fragment,notime,linewidth=13.0\cm]
2576 \set Score.automaticBars = ##f
2577 %\override Score.TextScript #'font-style = #'large
2578 \context Voice \relative c'' {
2591 @lilypond[fragment,notime,linewidth=13.0\cm]
2592 \set Score.automaticBars = ##f
2593 %\override Score.TextScript #'font-style = #'large
2594 \context Voice \relative c'' {
2595 <g a>1_"second " s s
2596 <g f'>_"seventh " s s
2601 Three note harmony @aref{chord}.
2613 FI: homofonia, yksiäänisyys.
2615 Music in which one voice leads melodically followed by the other voices more
2616 or less in the same rhythm. In contrast to @aref{polyphony}.
2628 FI: intervalli, kahden sävelen korkeusero.
2630 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2631 diminished, or augmented. The augmented fourth and the diminished fifth are
2632 identical (@aref{enharmonic}) and are called @emph{tritonus}
2633 because they consist of three @aref{whole tone}s. The addition
2634 of such two intervals forms an octave.
2636 @lilypond[fragment,notime,linewidth=13.0\cm]
2637 \set Score.automaticBars = ##f
2638 %\override Score.LyricText #'font-style = #'large
2639 %\override Score.TextScript #'font-style = #'large
2641 \context Voice \relative c'' {
2646 < gis bes >^"dimin" s
2647 < g! bes >^"minor" s
2651 \context Lyrics \lyrics {
2652 "unisone " "second " "second " "second "
2653 "third " "third " "third " "third"
2657 @lilypond[fragment,notime,linewidth=13.0\cm]
2658 \set Score.automaticBars = ##f
2659 %\override Score.LyricText #'font-style = #'large
2660 %\override Score.TextScript #'font-style = #'large
2662 \context Staff \relative c'' {
2663 < g c >1^"perfect" s
2665 < g d' >^"perfect" s
2666 < g des' > ^"dimin" s
2667 < gis es' >^"dimin" s
2668 < g! es' >^"minor" s
2672 \context Lyrics \lyrics {
2673 "fourth " "fourth " "fifth " "fifth "
2674 "sixth " "sixth " "sixth " "sixth"
2678 @lilypond[fragment,notime,linewidth=13.0\cm]
2679 \set Score.automaticBars = ##f
2680 %\override Score.LyricText #'font-style = #'large
2681 %\override Score.TextScript #'font-style = #'large
2683 \context Staff \relative c'' {
2684 < gis f'! >1^"dimin" s
2685 < g! f'! >^"minor" s
2686 < g fis' >^"major" s
2690 < g bes' >^"minor" s
2693 \context Lyrics \lyrics {
2694 "seventh " "seventh " "seventh " "octave "
2695 "none " "none " "decime " "decime"
2699 @node inverted interval
2700 @section inverted interval
2702 ES: intervalo invertido,
2703 I: intervallo rivolto,
2704 F: intervalle reversé,
2705 D: umgekehrtes Intervall,
2706 NL: interval inversie,
2707 DK: omvendingsinterval,
2708 S: intervallets omvändning,
2709 FI: käänteisintervalli.
2711 The difference between an interval and an octave.
2713 @lilypond[fragment,notime,linewidth=13.0\cm]
2714 \set Score.automaticBars = ##f
2715 %\override Score.TextScript #'font-style = #'large
2716 \context Staff \relative c'' {
2717 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2718 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2719 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2723 @node just intonation
2724 @section just intonation
2726 I: intonazione giusta,
2727 F: intonation juste,
2734 Tuning system in which the notes are obtained by adding and subtracting
2735 natural fifths and thirds. @aref{temperament}.
2749 According to the 12@w{ }tones of the @aref{chromatic scale}
2750 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2751 @aref{key signature}.
2754 @section key signature
2756 ES: armadura de clave,
2757 I: armatura di chiave,
2758 F: armure, armature [de la clé],
2759 D: Vorzeichen, Tonart,
2760 NL: toon@-soort (voortekens),
2763 FI: sävellajiosoitus.
2765 The sharps or flats appearing at the beginning of each staff indicating the
2766 key of the music. @aref{accidental}.
2774 D: Largo, Langsam, Breit,
2778 FI: largo, hitaasti, leveästi.
2780 Very slow in tempo, usually combined with great
2781 expressiveness. @emph{Larghetto} is less slow than largo.
2784 @section leading note
2795 The seventh @aref{scale degree}, a @aref{semitone} below
2796 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2797 upwards) to the tonic scale degree.
2800 @section ledger line
2802 ES: líneas adicionales,
2803 I: tagli addizionali,
2804 F: ligne supplémentaire,
2811 A ledger line is an extension of the staff.
2813 @lilypond[fragment,notime,raggedright]
2814 \set Score.automaticBars = ##f
2815 \relative c'' { a,1 s c'' }
2830 To be performed (a) without any perceptible interruption between the notes,
2831 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2832 (d) @aref{staccato}.
2834 @lilypond[fragment,notime,linewidth=13.0\cm]
2835 \set Score.automaticBars = ##f
2837 \context Staff \relative c'' {
2838 c4-( d e-) \bar "||"
2839 c4-- d-- e-- \bar "||"
2840 c4-.-( d-. e-.-) \bar "||"
2841 c4-. d-. e-. \bar "||"
2843 \context Lyrics \lyrics {
2844 % \override Lyrics .LyricText #'font-style = #'large
2853 @section legato curve
2855 @aref{slur}, @aref{legato}.
2865 ES: estanque de lilas,
2866 I: stagno del giglio,
2870 NL: le@-lie@-vij@-ver,
2875 A pond with lilies floating in it, also the name of a music typesetter.
2880 A ligature is a coherent graphical symbol that represents at least two
2881 distinct notes. Ligatures originally appeared in the manuscripts of
2882 Gregorian chant notation roughly since the 9th century to denote
2883 ascending or descending sequences of notes. In early notation,
2884 ligatures were used for monophonic tunes (Gregorian chant) and very
2885 soon denoted also the way of performance in the sense of articulation.
2886 With the invention of the metric system of the white mensural
2887 notation, the need for ligatures to denote such patterns disappeared.
2895 D: Linie, Notenlinie,
2899 FI: viiva, nuottiviiva.
2903 @node long appoggiatura
2904 @section long appoggiatura
2906 ES: apoyatura larga,
2907 I: appoggiatura lunga,
2908 F: appoggiature longue,
2909 D: langer Vorschlag,
2913 FI: pitkä appoggiatura, pitkä etuhele.
2915 @aref{appoggiatura}.
2929 Note value: double length of @aref{breve}.
2932 @lilypond[fragment,notime,raggedright]
2933 \set Score.automaticBars = ##f
2935 \override NoteHead #'style = #'mensural
2952 @node major interval
2953 @section major interval
2955 ES: intervalo mayor,
2956 I: intervallo maggiore,
2957 F: intervalle majeur,
2958 D: großes Intervall,
2962 FI: suuri intervalli.
2978 @aref{diatonic scale}.
2980 @node meantone temperament
2981 @section meantone temperament
2983 I: accordatura mesotonica,
2984 F: tempérament mésotonique,
2985 D: mitteltönige Stimmung,
2986 NL: middenstemming, middentoonstemming,
2987 DK: middeltonetemperatur,
2988 S: medeltonstemperatur,
2989 FI: keskisävelviritys.
2991 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2992 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2993 @aref{temperament} only a limited set of keys are playable.
2994 Used for tuning keyboard instruments for performance of pre-1650 music.
3008 A group of @aref{beat}s (units of musical time) the first of which
3009 bears an accent. Such groups in numbers of two or more recur consistently
3010 throughout the composition and are marked from each other by
3011 bar-lines. @aref{meter}.
3017 I: mediante, modale,
3025 1.@tie{}The third @b{scale degree}.
3026 2.@tie{}A @aref{chord} having its base tone
3027 a third from that of another chord. For example, the tonic chord may be
3028 replaced by its lower mediant (variant tonic). @aref{functional
3029 harmony}, @aref{relative key}.
3035 FI: melisma, laulettavan tavun sävelkuvio.
3037 A melisma (plural: melismata) is a group of notes or tones sung on one
3038 syllable in plainsong
3040 @node melodic cadence
3041 @section melodic cadence
3050 F: indication de mésure,
3057 The basic scheme of @aref{note value}s and
3058 @aref{accent}s which remains unaltered throughout a composition
3059 or a section of it. For instance, 3/4 meter means that the basic
3060 @aref{note value}s are quarter notes and that a
3061 @aref{measure} consists of three of those. According to
3062 whether there are two, three, or four units to the measure,
3063 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3064 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3066 @lilypond[fragment,linewidth=13.0\cm]
3070 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3073 @lilypond[fragment,linewidth=13.0\cm]
3077 f8 f f f a16 g a f |
3078 c'8 c c c e16 d e c \bar "||"}
3081 @lilypond[fragment,linewidth=13.0\cm]
3085 d4 b8 g b d d c a4 |
3086 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3101 Device indicating the exact tempo of a piece. @aref{metronomic
3104 @node metronomic indication
3105 @section metronomic indication
3107 ES: indicación metronómica,
3108 I: indicazione metronomica,
3109 F: indication métronomique,
3111 NL: metronoom aanduiding,
3113 S: metronomangivelse,
3114 FI: metronomiosoitus.
3116 Exact tempo indication (in beats per minute). Also denoted by
3117 M.M.@: (Mälzels Metronom).
3120 @section mezzo-soprano
3131 The female voice between @aref{soprano} and
3140 D: eingestrichenes@w{ }c,
3142 DK: enstreget@w{ }c,
3143 S: ettstruket@w{ }c,
3146 First C below the 440 Hz A.
3148 @lilypond[fragment,notime,raggedright]
3149 \set Score.automaticBars = ##f
3150 \override Staff.Clef #'full-size-change = ##t
3170 @aref{diatonic scale}.
3172 @node minor interval
3173 @section minor interval
3175 ES: intervalo mayor,
3176 I: intervallo minore,
3177 F: intervalle mineur,
3178 D: kleines Intervall,
3182 FI: pieni intervalli.
3196 FI: moodi, kirkkosävelasteikko.
3198 @aref{church mode}, @aref{diatonic scale}.
3210 FI: modulaatio, sävellajin vaihdos.
3212 Moving from one @aref{key} to another. For example, the second
3213 subject of a @aref{sonata form} movement modulates to the dominant
3214 key if the key is major and to the @aref{relative key} if the key
3226 FI: mordent, korukuvio.
3245 FI: teema, sävelaihe.
3247 The briefest intelligible and self-contained fragment of a musical theme or
3250 @lilypond[fragment,linewidth=13.0\cm]
3251 \override Score.TimeSignature #'break-visibility = #all-invisible
3252 %\override Score.TextScript #'font-style = #'large
3256 \partial 8 g16_"------" fis |
3257 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3258 g8 g,16 a b8 cis d16 s
3274 Greater musical works like @aref{symphony} and
3275 @aref{sonata} most often consist of several -- more or less --
3276 independant pieces called movements.
3279 @section multibar rest
3281 ES: compases de espera,
3285 D: mehrtaktige Pause,
3288 FI: usean tahdin mittainen tauko.
3290 @lilypond[fragment,raggedright]
3293 \set Score.skipBars = ##t R1*3
3298 @node mixolydian mode
3299 @section mixolydian mode
3301 @aref{diatonic scale}.
3304 @section natural sign
3309 D: Auflösungszeichen,
3310 NL: herstellingsteken,
3311 DK: op@-løsningstegn,
3312 S: återställningstecken,
3317 @node neighbour tones
3318 @section neighbour tones
3320 @aref{appoggiatura}.
3353 Notes are signs by means of which music is fixed in writing. The term is also
3354 used for the sound indicated by a note, and even for the key of the piano
3355 which produces the sound. However, a clear distinction between the terms tone
3356 and @aref{note} is strongly recommended. Briefly, one sees a note,
3363 I: testa, testina, capocchia,
3364 F: t@^ete de la note,
3371 A head-like sign which indicates pitch by its position on a
3372 @aref{staff} provided with a @aref{clef}, and duration
3373 by a variety of shapes such as hollow or black heads with or without
3374 @aref{stem}s, @aref{flag}s, etc. For percussion
3375 instruments (often having no defined pitch) the note head may indicate the
3383 F: durée, valeur (d'une note),
3388 FI: nuotin aika-arvo.
3390 Note values (durations) are measured as fractions, normally 1/2, of the next
3391 higher note value. The longest duration normally used is called @emph{brevis},
3392 but sometimes (mostly in pre-baroque music) the double length note value
3393 @emph{longa} is used.
3395 @lilypond[fragment,notime,linewidth=13.0\cm]
3396 %\override Score.TextScript #'font-style = #'large
3397 \set Score.automaticBars = ##f
3399 \override NoteHead #'style = #'mensural
3400 a\longa_"longa" a\breve_"breve"
3401 \revert NoteHead #'style
3402 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3403 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3406 @lilypond[fragment,notime,linewidth=13.0\cm]
3407 %\override Score.TextScript #'font-style = #'large
3408 \set Score.automaticBars = ##f
3410 r\longa_"longa" r\breve_"breve"
3411 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3412 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3415 An augmentation dot after a note multiplies the duration by one and a
3416 half. Another dot adds yet a fourth of the duration.
3418 @lilypond[fragment,linewidth=13.0\cm]
3419 %\override Score.TextScript #'font-style = #'large
3422 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3423 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3426 Alternatively note values may be subdivided by other ratios. Most common is
3427 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3428 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3429 dotted notes are also frequently used.
3431 @lilypond[fragment,linewidth=13.0\cm]
3432 %\override Score.TextScript #'font-style = #'large
3435 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3436 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3440 @lilypond[fragment,linewidth=13.0\cm]
3443 \times 3/2 {g4_"duplets" g} |
3445 \times 6/4 {g8_"quadruplets" g g g} |
3446 g8 g g g g4 \bar "||"
3451 @section octave sign
3453 @aref{G clef}, @aref{F clef}.
3473 I: abbellimento, fioriture,
3474 F: agrément, ornement,
3475 D: Verzierung, Ornament,
3481 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3482 with the diatonic @aref{second} above it. In the music from the
3483 middle of the 19th century and onwards the trill is performed with the main
3484 note first while in the music from the preceding baroque and classic periods
3485 the upper note is played first.
3487 @lilypond[fragment,linewidth=13.0\cm]
3489 \context Staff = sa {
3490 % \override Score.TextScript #'font-style = #'large
3492 c2._"pre-1850" b4\trill | c1 \bar "||"
3493 c2._"post-1850" b4\trill | c1 \bar "||"
3497 c2. c32 b c b c b c b | c1
3498 c2. b32 c b c \times 4/5 { b c b c b } | c1
3503 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
3504 @emph{prall} (inverted mordent).
3506 @lilypond[fragment,linewidth=13.0\cm]
3508 \context Staff = sa {
3509 % \override Score.TextScript #'font-style = #'large
3511 a4_"turn" b\turn c2 \bar "||"
3512 g4_"mordent" a b\mordent a \bar "||"
3513 e'4_"prall" d\prall c2 \bar "||"
3519 e'4 e32[ d e d ~ d8] c2
3524 @aref{appoggiatura}.
3536 FI: ossia, vaihtoehtoinen esitystapa.
3538 Ossia (otherwise) marks an alternative. It is an added staff or piano
3539 score, usually only a few measures long, which presents another version
3540 of the music, for example for small hands.
3552 FI: stemma, instrumenttiosuus.
3554 1.@tie{}In instrumental or choral music the music for the single instrument
3555 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3556 melodic line of the contrapunctal web.
3569 D: Schlagzeug, Schlagwerk,
3575 A family of musical instruments which are played on by striking or
3576 shaking. Percussion instruments commonly used in a symphony orchestra are
3577 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3578 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3581 @node perfect interval
3582 @section perfect interval
3584 ES: intervalo justo,
3585 I: intervallo giusto,
3586 F: intervalle juste,
3587 D: reines Intervall,
3591 FI: puhdas intervalli.
3607 A natural division of the melodic line, comparable to a sentence of speech.
3619 FI: fraseeraus, jäsentäminen.
3621 The clear rendering in musical performance of the @aref{phrase}s of
3622 the melody. Phrasing may be indicated by a @aref{slur}.
3636 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3637 @emph{mezzopiano} (@b{mp}) medium soft.
3658 NL: pizzicato, getokkeld,
3661 FI: pizzicato, näppäillen.
3663 Play by plucking the strings.
3671 D: Polyphonie, Mehrstimmigkeit,
3675 FI: polyfonia, moniäänisyys.
3677 Music written in a combination of several simultaneous voices (parts) of a
3678 more or less pronounced individuality. @aref{counterpoint}.
3691 D: Presto, Sehr schnell,
3692 NL: presto, Sehr schnell,
3695 FI: presto, hyvin nopeasti.
3697 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3698 denotes the highest possible degree of speed.
3700 @node Pythagorean comma
3701 @section Pythagorean comma
3703 ES: coma pitagórico,
3704 I: comma pitagorico,
3705 F: comma pythagoricien,
3706 D: Pythagoräisches Komma,
3707 NL: komma van Pythagoras,
3708 DK: pythagoræisk komma,
3709 S: pytagoreiskt komma,
3710 FI: pytagorinen komma.
3712 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3713 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3714 24 @aref{cent}s higher than the@w{ }C obtained by adding
3715 7@w{ }octaves. The difference between those two pitches is called the
3733 @section quarter note
3736 I: semiminima, nera,
3739 D: Viertel, Viertelnote,
3743 FI: neljännesosanuotti.
3748 @section quarter rest
3750 ES: silencio de negra,
3751 I: pausa di semiminima,
3756 DK:@w{ }fjerdedelspause,
3758 FI: neljännesosatauko.
3777 @section rallentando
3782 D: rallentando, langsamer werden,
3786 FI: rallerdando, hidastuen.
3788 Abbreviation "rall.". @aref{ritardando}.
3791 @section relative key
3794 I: tonalità relativa,
3795 F: tonalité relative,
3797 NL: paralleltoonsoort,
3798 DK: paralleltoneart,
3800 FI: rinnakkaissävellaji.
3802 @aref{major} and @aref{minor} @aref{key}
3803 with the same @aref{key signature}.
3805 @lilypond[fragment,notime,linewidth=13.0\cm]
3806 \set Score.automaticBars = ##f
3807 %\override Score.TextScript #'font-style = #'large
3810 es1_"e flat major" f g as bes c d es
3815 @lilypond[fragment,notime,linewidth=13.0\cm]
3816 \set Score.automaticBars = ##f
3817 %\override Score.TextScript #'font-style = #'large
3820 c1_"c minor" d es f g a! b! c \bar "||"
3827 ES: barra de repetición,
3829 F: barre de reprise,
3832 DK: gen@-ta@-gel@-se,
3836 @lilypond[fragment,linewidth=13.0\cm]
3840 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3844 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3845 @c specify the rest's value.
3873 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3874 fixed unit of time, called @aref{beat}, and in which the normal
3875 @aref{accent} recurs in regular intervals, called
3876 @aref{measure}. The basic scheme of time values is called
3877 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3878 accent. In modern notation such music appears as a free alternation of
3879 different measures. (c) Free rhythm, i.e., the use of temporal values having
3880 no common metrical unit (beat).
3888 D: Ritardando, langsamer werden,
3892 FI: ritardando, hidastuen,
3894 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3906 FI: ritenuto, hidastaen.
3908 Immediate reduction of speed.
3920 FI: asteikko, sävelasteikko.
3922 @aref{diatonic scale}.
3925 @section scale degree
3927 ES: grados de la escala,
3928 I: grado della scala,
3929 F: degré [de la gamme],
3931 NL: trap [van de toonladder],
3934 FI: sävelaste, asteikon sävel.
3936 Names and symbols used in harmonic analysis to denote tones of the scale as
3937 roots of chords. The most important are degrees I = tonic (T), IV =
3938 sub@-do@-mi@-nant (S) and V = dominant (D).
3940 @lilypond[fragment,notime,linewidth=13.0\cm]
3941 \set Score.automaticBars = ##f
3942 %\override Score.LyricText #'font-style = #'large
3943 %\set minVerticalAlign = #8
3945 \context Staff \relative c' {
3948 \context Lyrics \lyrics {
3949 << { I II III IV V VI VII I }
3954 @aref{functional harmony}.
3962 D: Partitur (full score), Klavierauszug (vocal score)
3968 A copy of orchestral, choral, or chamber music showing what each instrument is
3969 to play, each voice to sing, having each part arranged one underneath the
3970 other on different staves @aref{staff}.
3984 The @aref{interval} between two neigbouring tones of a scale. A
3985 @aref{diatonic scale} consists of alternating
3986 @aref{semitone}s and @aref{whole tone}s, hence the size
3987 of a se@-cond depends on the scale degrees in question.
4001 The @aref{interval} of a minor second. The (usually) smallest
4002 interval in European composed music. The interval between two neighbouring
4003 tones on the piano keyboard -- including black and white keys -- is a
4004 semitone. An octave may be divided into 12@w{ }semitones.
4005 @aref{interval}, @aref{chromatic scale}.
4007 @lilypond[fragment,notime,linewidth=13.0\cm]
4008 \set Score.automaticBars = ##f
4009 \relative c'' { g1 gis s a bes s b! c }
4063 @node short appoggiatura
4064 @section short appoggiatura
4066 @aref{appoggiatura}.
4068 @node sixteenth note
4069 @section sixteenth note
4075 D: Sechzehntel, Sechzehntelnote,
4076 NL: zes@-ti@-ende noot,
4077 DK: sekstendedelsnode,
4079 FI: kuudestoistaosanuotti.
4083 @node sixteenth rest
4084 @section sixteenth rest
4086 ES: silencia de semicorchea,
4087 I: pausa di semicroma,
4089 UK: semiquaver rest,
4090 D: Sechzehntelpause,
4092 DK: sekstendedelspause,
4112 @node sixty-fourth note
4113 @section sixty-fourth note
4117 F: quadruple croche,
4118 UK: hemidemisemiquaver,
4119 D: Vierundsechzigstel, Vierundsechzigstelnote,
4120 NL: vierenzestigste noot,
4121 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4122 S: sextiofjärdedelsnot,
4123 FI: kuudeskymmenesneljäsosanuotti.
4127 @node sixty-fourth rest
4128 @section sixty-fourth rest
4130 ES: silencia de semifusa,
4131 I: pausa di semibiscroma,
4132 F: seizième de soupir,
4133 UK: hemidemisemiquaver rest,
4134 D: Vierundsechzigstelpause,
4135 NL: vierenzestigste rust,
4136 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4137 S: sextiofjärdedelspaus,
4138 FI: kuudeskymmenesneljäsosatauko.
4146 I: legatura (di portamento or espressiva),
4148 D: Bogen, Legatobogen, Phrasierungsbogen,
4149 NL: fraseringsboog, legatoboog, streekboog,
4150 DK: legatobue, fraseringsbue,
4154 A slur above or below a group of notes indicates that they are to be played
4155 @aref{legato}, e.g., with one stroke of the violin bow or with one
4159 @section solmization
4167 FI: suhteelliset laulunimet.
4169 General term for systems of designating the degrees of the
4170 @aref{scale}, not by letters, but by syllables (@emph{do}
4171 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4172 (@emph{ti})). @aref{scale degree}.
4186 In its present-day meaning a sonata denotes an instrumental composition for
4187 piano or for some other instrument with piano accompaniment, which consists of
4188 three or four independant pieces, called movements.
4191 @section sonata form
4195 F: [en] forme de sonate,
4197 NL: hoofdvorm, sonatevorm,
4202 A form used frequently for single movements of the @aref{sonata},
4203 @aref{symphony}, quartet, etc. A movement written in sonata form
4204 falls into three sections called @emph{exposition}, @emph{development} and
4205 @emph{recapitulation}. In the exposition the composer introduces some musical
4206 ideas, consisting of a number of themes; in the development section the
4207 composer `develops' this material, and in the recapitulation the composer
4208 repeats the exposition, with certain modifications. The exposition contains a
4209 number of themes that fall into two groups, often called first and second
4210 subject. Other melodies occurring in each group are considered as
4211 continuations of these two. The second theme is in another key, normally in
4212 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4213 @aref{relative key} if the tonic is @aref{minor}.
4230 FI: sopraano, korkea naisääni.
4232 The highest female voice.
4239 F: staccato, piqué, détaché,
4244 FI: staccato, lyhyesti, terävästi.
4246 Playing the note(s) short. Staccato is indicated by a dot above or below the
4249 @lilypond[fragment,raggedright]
4254 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4263 I: pentagramma, rigo (musicale),
4266 NL: (noten)balk, partij,
4271 A staff (pl. staves) is a series of (normally five) horizontal lines
4272 upon and between which the musical notes are written, thus indicating
4273 (in connection with a @aref{clef}) their pitch. Staves for
4274 @aref{percussion} instruments may have fewer lines.
4287 D: Hals, Notenhals, Stiel,
4293 Vertical line above or below a @aref{note head} shorter than a
4294 whole note. @aref{beam}.
4296 @lilypond[fragment,notime,linewidth=13.0\cm]
4297 \set Score.autoBeaming = ##f
4298 \set Score.automaticBars = ##f
4299 %\override Score.TextScript #'font-style = #'large
4320 A family of stringed musical instruments played with a bow. Strings commonly
4321 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4324 @section strong beat
4329 D: betonter Taktteil oder Taktschlag,
4331 D: betonet taktslag,
4332 S: betonat taktslag,
4333 FI: tahdin vahva isku.
4335 @aref{beat}, @aref{accent}, @aref{measure},
4339 @section subdominant
4348 FI: subdominantti, alidominantti.
4350 The fourth @aref{scale degree}. @aref{functional harmony}.
4364 The sixth @aref{scale degree}.
4376 FI: subtoonika, alitoonika.
4378 The seventh @aref{scale degree}.
4381 @section superdominant
4392 The sixth @aref{scale degree}.
4406 The second @aref{scale degree}.
4414 D: Sinfonie, Symphonie,
4420 A symphony may be defined as a @aref{sonata} for orchestra.
4423 @section syncopation
4434 Any deliberate upsetting of the normal pulse of @aref{meter},
4435 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4436 rhythm rests upon the grouping of equal beats into groups of two or three,
4437 with a regularly recurrent accent on the first beat of each group. Any
4438 deviation from this scheme is felt as a disturbance or contradiction between
4439 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4441 @lilypond[fragment,raggedright]
4446 e c'4 e,8 c'4 e,8 c' ( | c2)
4450 @node syntonic comma
4451 @section syntonic comma
4453 I: comma sintonico (o didimico),
4454 F: comma syntonique,
4455 D: syntonisches Komma,
4456 NL: syntonische komma,
4457 DK: syntonisk komma,
4458 S: syntoniskt komma,
4459 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
4461 Difference between the natural third and the third obtained by Pythagorean
4462 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4473 FI: nuottijärjestelmä.
4475 The collection of staves @aref{staff}, two or more, as used for
4476 writing down of keyboard, chamber, choral, or orchestral music.
4479 @section temperament
4484 D: Stimmung, Tem@-pe@-ra@-tur,
4485 NL: stemming, temperatuur,
4488 FI: viritysjärjestelmä.
4490 Systems of tuning in which the intervals deviate from the acoustically pure
4491 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4493 @node tempo indication
4494 @section tempo indication
4496 ES: indicación de tempo,
4497 I: indicazione di tempo,
4498 F: indication de temps,
4499 D: Zeitmaß, Tempobezeichnung,
4500 NL: tempo aanduiding,
4505 The rate of speed of a composition or a section thereof, ranging from the
4506 slowest to the quickest, as is indicated by tempo marks as
4507 @aref{largo}, @aref{adagio}, @aref{andante},
4508 @aref{allegro}, and @aref{presto}.
4520 FI: tenori, korkea miesääni.
4522 The highest male voice (apart from @aref{counter tenor}).
4550 An indication that a particular note should be held for the whole
4551 length, although this can vary depending on the composer and era.
4567 @node thirty-second note
4568 @section thirty-second note
4574 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4575 NL: twee-endertig@-ste noot,
4576 DK: toogtredivtedelsnode,
4577 S: trettiotvåondelsnot,
4578 FI: kolmanneskymmeneskahdesosanuotti.
4582 @node thirty-second rest
4583 @section thirty-second rest
4585 ES: silencio de fusa,
4586 I: pausa di biscroma,
4587 F: huitième de soupir,
4588 UK: demisemiquaver rest,
4589 D: Zweiunddreissigstel@-pause,
4591 DK: toogtredivtedelspause,
4592 S: trettiotvåondelspaus,
4593 FI: kolmanneskymmeneskahdesosatauko.
4598 @section thorough bass
4601 I: basso continuo, basso numerato,
4603 D: Generalbass, bezifferter Bass,
4604 NL: basso continuo, becijferde bas
4607 FI: kenraalibasso, numeroitu basso.
4609 A method of indicating an accompaniment part by the bass notes only, together
4610 with figures designating the chief @aref{interval}s and
4611 @aref{chord}s to be played above the bass notes.
4613 @lilypond[fragment,linewidth=13.0\cm]
4614 \context GrandStaff <<
4615 \context Staff = lh \relative c'' {
4619 << \context Voice = rha {
4622 \context Voice = rhb {
4624 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4628 \context Staff = rh \relative c' {
4631 es8 c d bes c as bes16 as g f | es4
4633 \context Lyrics \lyrics {
4634 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4635 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4636 { "" "" "" "2" "" "" "" "" "" "2" } >>
4644 ES: ligadura de prolongación,
4645 I: legatura (di valore),
4648 NL: overbinding, bindingsboog,
4650 S: bindebåge, överbindning,
4653 A curved line, identical in appearance with the @aref{slur}, which
4654 connects two succesive notes of the same pitch, and which has the function of
4655 uniting them into a single sound (tone) equal to the combined durations.
4657 @lilypond[fragment,notime,raggedright]
4658 \set Score.automaticBars = ##f
4659 \relative c'' { g2 ~ g4. }
4667 @node time signature
4668 @section time signature
4670 ES: cifra indicadora de compás,
4672 F: chiffrage (chiffres indicateurs), signe de valeur,
4673 D: Taktangabe, Angabe der Taktart,
4676 S: taktartssignatur,
4693 A sound of definite pitch and duration, as distinct from @emph{noise}.
4694 Tone is a primary building material of music.
4695 Music from the 20th century may be based on atonal sounds.
4709 The first @aref{scale degree}.
4710 @aref{functional harmony}.
4713 @section transposition
4724 Shifting a melody up or down in pitch, while keeping the same
4727 @lilypond[fragment,linewidth=13.0\cm]
4732 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4737 @lilypond[fragment,linewidth=13.0\cm]
4740 \transpose c bes \relative c'' {
4742 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4748 @section treble clef
4751 I: chiave di violino,
4753 D: Violinschlüssel, Sopranschlüssel,
4755 DK:@w{ }diskantnøgle,
4773 On stringed instruments (@aref{strings}) the quick reiteration of
4774 the same tone, produced by a rapid up-and-down movement of the bow
4775 (a). The term is also used for the rapid alternation (b) between two notes of
4776 a @aref{chord}, usually in the distance of a third
4779 @lilypond[fragment,notime,raggedright]
4780 \set Score.automaticBars = ##f
4781 %\override Score.TextScript #'font-style = #'large
4784 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4785 \repeat "tremolo" 8 { e32_"b" g }
4794 F: triade, accord parfait, accord de trois sons,
4808 F: trille, tremblement, battement (cadence),
4818 @section triple meter
4820 ES: compás compuesto,
4824 NL: driedelige maatsoort,
4860 @section tuning fork
4863 I: diapason, corista,
4871 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4872 give the international pitch for the tone @emph{a} (440 vibrations per second).
4898 FI: unisono, yksiäänisesti.
4900 Playing of the same notes or the same melody by various instruments (voices)
4901 or by the whole orchestra (choir), either at exactly the same pitch or in a
4907 ES: entrada anacrúsica,
4909 F: anacrouse, levée,
4916 Initial note(s) of a melody occurring before the first bar
4917 line. @aref{measure}, @aref{meter}.
4919 @lilypond[fragment,linewidth=13.0\cm]
4923 \partial 4 f4 | bes4. a8 bes4 c |
4924 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4937 FI: ääni, lauluääni.
4939 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4940 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4941 2.@tie{}A melodic layer or part of a polyphonic composition.
4947 I: tempo debole, arsi,
4949 D: unbetonter Taktteil oder Taktschlag,
4951 DK: ubetonet taktslag,
4952 S: obetonat taktslag,
4953 FI: tahdin heikko isku.
4955 @aref{beat}, @aref{measure}, @aref{rhythm}.
4964 D: Ganze, ganze Note,
4975 ES: silencio de redonda,
4976 I: pausa di semibreve,
4979 D: ganze Pause, ganztaktige Pause,
4999 The @aref{interval} of a major second. The interval between two
5000 tones on the piano keyboard with exactly one key between them -- including
5001 black and white keys -- is a whole tone.
5015 A family of blown wooden musical instruments. Today some of these instruments
5016 are actually made from metal. The woodwind instruments commonly used in a
5017 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5019 @node Duration names notes and rests
5020 @chapter Duration names, notes and rests
5023 @item DURATION NAMES, NOTES AND RESTS
5026 @multitable @columnfractions .15 .26 .33 .26
5043 @item @strong{longa}
5058 @item @strong{breve}
5073 @item @strong{whole}
5083 @tab koko@-nuotti/@w{-tauko}
5098 @tab puoli@-nuotti/@w{-tauko}
5103 @item @strong{quarter}
5113 @tab neljännesosa@-nuotti/@w{-tauko}
5118 @item @strong{eighth}
5128 @tab kahdeksasosa@-nuotti/@w{-tauko}
5133 @item @strong{sixteenth}
5143 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5148 @item @strong{thirty-second}
5153 @tab Zweiunddreissigstel
5154 @tab tweeendertigste
5155 @tab toogtredivtedel
5157 @tab trettiotvåondel
5158 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5163 @item @strong{sixty-fourth}
5164 @tab hemidemisemiquaver
5166 @tab quadruple croche
5168 @tab Vierundsechzigstel
5169 @tab vierenzestigste
5170 @tab fireogtred@-sindstyvendedel
5172 @tab sextiofjärdedel
5173 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5177 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5180 @chapter Pitch names
5186 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5188 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
5189 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5193 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5197 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5198 cis @tab cis @tab cis
5202 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5203 des @tab des @tab des
5207 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5211 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5215 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5219 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5223 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
5228 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5232 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5233 ais @tab ais @tab ais
5237 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5242 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5247 @node Literature used
5248 @unnumbered Literature used
5251 @item The Harvard Dictionary of Music, London 1944. Many more or less
5252 literal quotes from its articles have been included into the item
5255 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5257 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5259 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5262 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
projects / lilypond.git / blob