1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
7 This document is also available in @uref{music-glossary.ps.gz,gzipped
8 PostScript} and @uref{music-glossary.pdf,PDF}.
13 @author Christian Mondrup @c Original author of LilyPond glossary
15 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
17 @author Han-Wen Nienhuys @c Dutch glossary
18 @author Jan Nieuwenhuizen @c Dutch glossary
19 @author Dadiv Gonzalez @c Spanish glossary
20 @author Bjoern Jacke @c German glossary
21 @author Neil Jerram @c English glossary translations
22 @author Mats Bengtsson @c Swedish glossary
23 @author Adrian Mariano @c Italian glossary
24 @author Heikki Junes @c Finnish glossary
26 @c Fixes by Jean-Pierre Coulon and `Dirk'
30 Copyright @copyright{} 1999--2004 by the authors
33 Permission is granted to copy, distribute and/or modify this document
34 under the terms of the GNU Free Documentation License, Version 1.1
35 or any later version published by the Free Software Foundation,
36 without Invariant Sections.
41 @c FIXME: multiple omfcreators?
43 @omfcreator Christian Mondrup
44 @omfdescription Glossary of musical terms with translations
46 @omfcategory Applications|Publishing
53 @chapter Music Glossary
64 @item Christian Mondrup
65 Original author of LilyPond glossary, Danish glossary,
68 @item Fran@,{c}ois Pinard
69 Original glossary of GNU music project, French glossary,
70 @item Han-Wen Nienhuys
72 @item Jan Nieuwenhuizen
77 English glossary translations.
80 Copyright 1999--2004 by the authors
83 Permission is granted to copy, distribute and/or modify this document
84 under the terms of the GNU Free Documentation License, Version 1.1
85 or any later version published by the Free Software Foundation,
86 without Invariant Sections.
96 @c @everyheading @| @thispage @|
97 @c @evenheading @thispage @| @|
98 @c @oddheading @| @| @thispage @|
102 @tex $\\Rightarrow$ @end tex@c
113 We do not use refs for Info:
115 @w{@ar{}\word\}@c vs:
116 @w{@ar{}@pxref{\word\}}@c
118 they look too intrusive (says Han-Wen).
125 @w{@ar{}@strong{\word\}}@c
128 @ar{}@ref{\word\, @strong{\word\}}@c
136 @c If we want hypelinks, we must add anchors.
137 @c Hmm, we need the @achor command in the item description itself
138 @c (not before or after) to get mozilla jump to the right place.
141 @item \word\@anchor{\word\}
143 @macro aitemii{one,two}
144 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
146 @macro aitemiii{one,two,three}
147 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
157 @item UK - British English
164 This is an example reference, that points you to the @aref{accent}
189 FI: aksentti, korostus,
192 The stress of one tone over others.
194 @c F: how to distinguish between accidental and key-sig alteration?
198 I: alterazione, accidente,
200 D: Vorzeichen, Versetzungszeichen,
203 S: tillf@"alligt f@"ortecken,
204 FI: tilap@"ainen etumerkki,
207 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
208 @c Akzidenz, NL: toevallig teken, I: accidento.
210 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
211 by a @aref{whole tone}, a flat lowers it by a semitone and a double
212 flat lowers it by a whole tone. A natural cancels the effect of a previous
216 \property Score.automaticBars = ##f
217 %\property Voice.TextScript \set #'font-style = #'large
219 \context Staff \notes\relative c'' {
220 gis1 s s gisis s s ges s s geses s s g!
222 \context Lyrics \lyrics {
223 \property Lyrics . LyricText \set #'self-alignment-X = #-1
224 "sharp " "db. sharp " "flat " "db. flat " natural
231 F: accelerando, en acc@'el@'erant,
232 D: accelerando, schneller werden,
236 FI: accelerando, kiihdytt@"aen,
249 FI: adagio, hitaasti,
252 It. comfortable, easy.
253 1. Slow tempo, slower -- especially in even meter -- than
254 @aref{andante} and faster than @aref{largo}.
255 2. A movement in slow tempo, especially the second (slow) movement of
256 @aref{sonata}s, symphonies, etc.
262 D: Allegro, Schnell, Fr@"ohlich, Lustig,
266 FI: allegro, nopeasti,
269 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
270 especially the first and last movements of a @aref{sonata}.
280 FI: altto, matala nais@"a@"ani,
283 A female voice of low range (@emph{contralto}). Originally the alto was a high
284 male voice (hence the name) which by the use of falsetto reached the height of
285 the female voice. This type of voice is also known as @aref{counter
289 ES: clave de do en tercera,
290 I: chiave di contralto,
291 F: clef d'ut troisi@`eme ligne,
292 D: Altschl@"ussel, Bratschenschl@"ussel,
299 C clef setting central C on the middle line of the staff
310 FI: ambitus, @"a@"aniala, soitinala,
313 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.
315 @aitem{ancient minor scale}
316 I: scala minore naturale,
317 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
319 NL: authentieke mineurtoonladder,
322 FI: luonnollinen molliasteikko,
326 \property Score.automaticBars = ##f
327 \notes\relative c'' {
339 FI: andante, k@"ayden,
342 Walking tempo/character.
347 F: appogiature, (port de voix),
352 FI: appoggiatura, etuhele,
355 Ornamental note, usually a second, that is melodically connected with the main
356 note that follows it. In music before the 19th century a. were usually
357 performed on the beat, after that mostly before the beat. While the short
358 a. is performed as a short note regardless of the duration of the main note
359 the duration of the long a. is proportional to that of the main note.
362 \context Voice \notes\relative c'' {
366 %\property Score.TextScript \set #'font-style = #'large
367 <d a fis>4_"notation" r
368 { \property Voice.Stem \override #'flag-style = #'()
370 \property Voice.Stem \revert #'flag-style
373 { \property Voice.Stem \override #'flag-style = #'()
375 \property Voice.Stem \revert #'flag-style
378 \cadenzaOn a4 \bar "||" \cadenzaOff }
379 \notes\relative c'' {
380 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
381 \cadenzaOn a4 \bar "||" \cadenzaOff }
384 An appoggiatura may have more notes preceding the main note.
387 \notes\relative c'' {
390 % \property Score.TextScript \set #'font-style = #'large
391 \grace { bes16 } as8_"notation" as16 bes as8 g |
392 \grace { as16[( bes] } < c as >4-)
393 \grace { as16[( bes] } < c as >4-) \bar "||"
394 \grace { bes16 } as8_"performance" as16 bes as8 g |
395 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
396 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
405 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
407 DK: arpeggio, akkordbrydning,
409 FI: arpeggio, murtosointu,
413 \notes \context PianoStaff <<
414 \context Staff = SA \relative c'' {
417 r8 g16 c e g, c e r8 g,16 c e g, c e |
418 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
419 \context Staff = SB \relative c' {
421 << \context Voice = va {
423 r16 e8. ( e4) r16 e8. ( e4) |
424 r16 d8. ( d4) r16 d8. ( d4) }
425 \context Voice = vb {
432 @aitem{ascending interval}
433 ES: Intervalo ascendente,
434 I: intervallo ascendente,
435 F: intervalle ascendant,
436 D: steigendes Intervall,
437 NL: stijgend interval,
438 DK:@w{ }stigende interval,
439 S: stigande intervall,
440 FI: nouseva intervalli,
443 A distance between a starting lower note and a higher ending note.
445 @aitem{augmented interval}
446 ES: intervalo aumentado,
447 I: intervallo aumentato,
448 F: intervalle augment@'e,
449 D: @"uberm@"a@ss{}iges Intervall,
450 NL: overmatig interval,
451 DK: forst@o{}rret interval,
452 S: @"overstigande intervall,
453 FI: ylinouseva intervalli,
461 D: Autograph, Handschrift,
463 DK: h@aa{}ndskrift, autograf,
465 FI: k@"asinkirjoitettu nuotti,
468 1. A manuscript in the composer's own hand.
469 2. Music prepared for photoreproduction by freehand drawing,
470 with only the aid of a straightedge ruler and T-square,
471 which attempts to emulate engraving.
472 This required more skill than did engraving.
485 @aitemii{backfall,forefall}
490 I: stanghetta, barra (di divisione),
491 F: barre (de mesure),
500 ES: comp@'as, @aref{measure}.
503 ES: bar@'{@dotless{i}}tono,
510 FI: baritoni, keskikorkuinen mies@"a@"ani,
513 The male voice intermediate between the @aref{bass} and the
516 @c F: clef de troisi@`eme ligne dropped
518 @aitem{baritone clef}
519 ES: clave de fa en tercera,
520 I: chiave di baritono,
521 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
522 D: Baritonschl@"ussel,
529 C or F clef setting central C on the upper staff line.
530 @aref{C clef}, @aref{F clef}.
533 ES: clave de fa en cuarta,
535 F: cl@'e de fa quatri@`eme ligne,
543 A clef setting with central C on the first top ledger line.
553 FI: basso, matala mies@"a@"ani,
556 1. The lowest of men's voices.
557 2. Sometimes, especially in jazz music, used as
558 an abbreviation for double bass.
571 Line connecting a series of notes (shorter than a quarter note).
572 The number of beams determine the note value of the connected notes.
575 \property Score.automaticBars = ##f
576 %\property Voice.TextScript \set #'font-style = #'large
577 \notes\relative c'' {
579 g16_"1/16"[ g g g] s16
580 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
581 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
588 D: Takt, Taktschlag, Zeit (im Takt),
595 Note value used for counting, most often half-, fourth-, and eighth notes.
596 The base counting value and the number of them per measure is indicated at
597 the start of the music.
602 \notes\relative c'' { g4 c b a | g1 \bar "||"}
604 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
614 D: Klammer, Akkolade,
615 NL: accolade, teksthaak,
618 FI: yhdist@"av@"a sulkumerkki,
621 Symbol at the start of a system connecting staves. Curly braces are used
622 for connecting piano staves, angular brackets for connecting parts in an
623 orchestral or choral score.
626 \notes\context GrandStaff <<
627 \relative c''\context Staff = SA { \clef treble g4 e c2 }
628 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
632 \context StaffGroup <<
633 % \property StaffGroup.minVerticalAlign = #12
634 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
635 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
644 DK: messingbl@ae{}sere,
645 S: brassinstrument, m@"assingsinstrument,
649 A family of blown musical instruments made of brass all using a cup formed
650 mouth piece. The brass instruments commonly used in a symphony orchestra are
651 trumpet, trombone, french horn, and tube.
656 D: Atemzeichen, Trennungszeichen,
657 NL: repercussieteken,
658 DK: vejrtr@ae{}kningstegn,
663 Indication of where to breathe in vocal and wind instrument parts.
676 @aref{note value} twice as long as a whole note. Mainly used
680 \property Score.automaticBars = ##f
681 \notes\relative c'' { g\breve }
706 Clef symbol indicating the position of the central C. Used on all note
710 \property Score.automaticBars = ##f
711 \property Score.Clef \override #'full-size-change = ##t
712 %\property Score.LyricText \set #'font-style = #'large
714 \context Staff \notes\relative c' {
716 \clef mezzosoprano c s s
721 \context Lyrics \lyrics {
722 \property Lyrics . LyricText \override #'self-alignment-X = #-1
723 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
735 FI: kadenssi, lopuke,
738 @aref{harmonic cadence}, @aref{functional harmony}.
748 FI: kadenssi, lopuke,
751 An extended, improvisatory style section inserted near the end of
752 movement. The purpose of a cadenza is to give the singer or player a chance to
753 exhibit her technichal skill and not the least her ability to improvise. Since
754 the middle of the 19th century, however, most cadences have been written down
765 FI: kaanon, tarkka j@"aljittely,
778 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
781 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
782 equally tempered @aref{semitone}).
783 @aref{equal temperament}.
799 Three or more tones sounding simultaneously. In traditional European music the
800 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
801 minor @aref{third}) as well as @emph{minor} (minor + major third)
802 chords may be extended with more thirds. Four-tone @emph{seventh chords}
803 and five-tone @emph{ninth} major chords are most often used as dominants
804 (@aref{functional harmony}). A special case is chords having no
805 third above the lower notes to define their quality as major or minor. Such
806 chords are denoted open chords
809 \property Score.automaticBars = ##f
810 %\property Voice.TextScript \set #'font-style = #'large
812 \context Staff \notes\relative c'' {
820 \context Lyrics \lyrics{
821 \property Lyrics . LyricText \set #'self-alignment-X = #-1
822 "major " "minor " "diminished " "augmented "
823 "seventh-chord " "ninth-chord "
827 @aitem{chromatic scale}
828 ES: escala crom@'atica,
830 F: gamme chromatique,
831 D: chromatische Tonleiter,
832 NL: chromatische toonladder,
835 FI: kromaattinen asteikko,
838 A scale consisting of all 11 @aref{semitone}s.
841 \property Score.automaticBars = ##f
842 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
856 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
858 @aitemii{church mode,ecclesiastical mode}
859 ES: modo eclesi@'astico,
860 I: modo ecclesiastico,
861 F: mode eccl@'esiastique,
866 FI: moodi, kirkkos@"avellaji,
869 @aref{diatonic scale}.
875 D: Schl@"ussel, Notenschl@"ussel,
879 FI: avain, nuottiavain,
882 @aref{C clef}, @aref{F clef}, @aref{G clef}.
891 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
894 Difference in pitch between a note derived from pure tuning and the same note
895 derived from some other tuning method. @aref{temperament}.
900 @aitem{compound interval}
901 ES: intervalo compuesto,
902 I: intervallo composto,
903 F: intervalle compos@'e,
905 NL: samengesteld interval,
906 DK: sammensat interval,
907 S: sammansatt intervall,
908 FI: oktaavia laajempi intervalli,
911 Intervals larger than an octave.
917 F: intervalle compl@'ementaire,
918 D: Komplement@"arintervall,
919 NL: complementair interval,
920 DK: komplement@ae{}rinterval,
921 S: komplement@"arintervall (?),
922 FI: t@"aydent@"av@"a intervalli,
925 @aref{inverted interval}.
927 @aitem{conjunct movement}
928 ES: movimiento conjunto,
930 F: mouvement conjoint,
931 D: schrittweise, stufenweise Bewegung,
932 NL: stapsgewijze, trapsgewijze beweging,
933 DK: trinvis bev@ae{}gelse,
934 S: stegvis r@"orelse,
935 FI: asteittainen liike,
938 Melody moving in the narrow steps of the scale.
941 \key g \major \time 4/4
942 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
953 FI: konsonanssi, sopusointi,
979 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
982 From latin @emph{punctus contra punctum}, note against note. The combination
983 into a single musical fabric of lines or parts which have distinct melodic
984 significance. A frequently used polyphonic technique is imitation, in its
985 strictest form found in the canon needing only one part to be written down
986 while the other parts are performed with a given displacement. Imitation is
987 also the contrapunctal technique used in the @emph{fugue} which, since the
988 music of the baroque era, has been one of the most popular polyphonic
991 @lilypond[staffsize=11,noquote]
992 \property Score.TimeSignature \override #'style =\turnOff
993 \notes\context PianoStaff <<
994 \context Staff = SA \relative c' {
998 << \context Voice = rha {
1000 r1 | r2 r8 g'8 bes d, |
1001 cis4 d r8 e!16 f g8 f16 e |
1002 f8 g16 a bes8 a16 g a8
1004 \context Voice = rhb {
1010 \context Staff = SB \relative c' {
1013 << \context Voice = lha {
1015 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1016 r8 a16 g f8 g16 a bes8 g e! cis' |
1019 \context Voice = lhb {
1027 @aitem{counter tenor}
1034 S: kontratenor, counter tenor,
1040 @aitem{Copying, Music}
1041 A music copyist did fast freehand scores and parts on preprinted staff lines
1042 for performance. Some of their conventions (e.g., the placement of noteheads
1043 on stems) varied slightly from those of engravers. Some of their working
1044 methods were superior and could well be adopted by music typesetters. This
1045 required more skill than engraving.
1051 D: Crescendo, lauter werden,
1055 FI: cresendo, voimistuen,
1058 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1059 abbreviation ``cresc.''.
1062 \key g \major \time 4/4
1063 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1069 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1077 In a separate part notes belonging to another part with the purpose of hinting
1078 when to start playing. Usually printed in a smaller type.
1082 A custos is a staff symbol that appears at the end of a staff line
1083 with monophonic musical contents (i.e. with a single voice). It
1084 anticipates the pitch of the first note of the following line and thus
1085 helps the player or singer to manage line breaks during performance,
1086 thus enhancing readability of a score.
1088 Custodes were frequently used in music notation until the 16th
1089 century. There were different appearences for different notation
1090 styles. Nowadays, they have survived only in special forms of musical
1091 notation such as via the editio vaticana dating back to the beginning
1097 \property Staff.Custos \set #'neutral-position = #4
1098 \property Staff.Custos \set #'neutral-direction = #-1
1099 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1101 \property Staff.Custos \set #'style = #'hufnagel
1103 \break < d' a' f''>1
1108 \consists Custos_engraver
1129 F: da capo, depuis le commencement,
1130 D: da capo, von Anfang,
1134 FI: da capo, alusta,
1137 The term indicates repetition of the piece from the beginning to the end or to
1138 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1143 F: dal segno, depuis le signe,
1148 FI: dal segno, merkkiin asti,
1151 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1152 another place frequently near the beginning marked by a sign:
1155 %\property Voice.TextScript \set #'font-style = #'large
1156 \property Voice.TextScript \set #'font-shape = #'italic
1157 \key g \major \time 4/4
1158 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1164 D: Decrescendo, leiser werden,
1168 FI: decresendo, hiljentyen,
1171 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1172 or the abbreviation ``decresc.''.
1175 \notes\relative c'' {
1176 \key g \major \time 4/4
1177 d4 \> c b a | g1 \! \bar "|."
1181 @aitem{descending interval}
1182 ES: intervalo descendente,
1183 I: intervallo discendente,
1184 F: intervalle descendant,
1185 D: fallendes Intervall, absteigendes Intervall,
1186 NL: dalend interval,
1187 DK: faldende interval,
1188 S: fallande intervall,
1189 FI: laskeva intervalli,
1192 A distance between a starting higher note and a lower ending note.
1194 @aitem{diatonic scale}
1195 ES: escala diat@'onica,
1197 F: gamme diatonique,
1198 D: diatonische Tonleiter,
1199 NL: diatonische toonladder,
1200 DK: diatonisk skala,
1202 FI: diatoninen asteikko,
1205 A scale consisting of 5@w{ }@aref{whole tone}s and
1206 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1207 of a piano keybord are diatonic.
1209 The church modes are used in gregorial chant and pre baroque early music but
1210 also to some extent in newer jazz music.
1212 @lilypond[notime,linewidth=110\mm]
1213 \property Score.automaticBars = ##f
1214 %\property Score.LyricText \set #'font-style = #'large
1215 %\property Score.TextScript \set #'font-style = #'large
1217 \context Staff \notes\relative c' {
1219 \property Voice.TextScript \set #'padding = #-4
1220 e^"~~ S" f g a b^"~~ S" c
1222 \context Lyrics \lyrics {
1228 \property Score.automaticBars = ##f
1229 %\property Score.LyricText \set #'font-style = #'large
1230 %\property Score.TextScript \set #'font-style = #'large
1232 \context Staff \notes\relative c' {
1234 \property Voice.TextScript \set #'padding = #-4
1235 e^"~~ S" f g a b^"~~ S" c d
1237 \context Lyrics \lyrics {
1243 \property Score.automaticBars = ##f
1244 %\property Score.LyricText \set #'font-style = #'large
1245 %\property Score.TextScript \set #'font-style = #'large
1247 \notes\relative c' {
1248 \property Voice.TextScript \set #'padding = #-4
1249 e1^"~~ S" f g a b^"~~ S" c d e
1251 \context Lyrics \lyrics {
1257 \property Score.automaticBars = ##f
1258 %\property Score.LyricText \set #'font-style = #'large
1259 %\property Score.TextScript \set #'font-style = #'large
1261 \notes\relative c' {
1263 \property Voice.TextScript \set #'padding = #-4
1264 b^"~~ S" c d e^"~~ S" f
1266 \context Lyrics \lyrics {
1272 \property Score.automaticBars = ##f
1273 %\property Score.LyricText \set #'font-style = #'large
1274 %\property Score.TextScript \set #'font-style = #'large
1276 \notes\relative c'' {
1278 \property Voice.TextScript \set #'padding = #-4
1279 b^"~~ S" c d e^"~~ S" f g }
1280 \context Lyrics \lyrics {
1286 \property Score.automaticBars = ##f
1287 %\property Score.LyricText \set #'font-style = #'large
1288 %\property Score.TextScript \set #'font-style = #'large
1290 \notes\relative c'' {
1292 \property Voice.TextScript \set #'padding = #-4
1293 b^"~~ S" c d e^"~~ S" f g a
1295 \context Lyrics \lyrics {
1300 From the beginning of the 17th century the scales used in European
1301 compositional music are primarily the major and the minor scales. In the
1302 harmonic minor scale type an augmented second (A) occurs between the 6th and
1306 \property Score.automaticBars = ##f
1307 %\property Score.LyricText \set #'font-style = #'large
1308 %\property Score.TextScript \set #'font-style = #'large
1310 \notes\relative c' {
1312 \property Voice.TextScript \set #'padding = #-4
1313 e^"~~ S" f g a b^"~~ S" c
1315 \context Lyrics \lyrics {
1321 \property Score.automaticBars = ##f
1322 %\property Score.LyricText \set #'font-style = #'large
1323 %\property Score.TextScript \set #'font-style = #'large
1325 \notes\relative c'' {
1327 \property Voice.TextScript \set #'padding = #-4
1328 b^"~~ S" c d e^"~~ S" f g a
1330 \context Lyrics \lyrics {
1336 \property Score.automaticBars = ##f
1337 %\property Score.LyricText \set #'font-style = #'large
1338 %\property Score.TextScript \set #'font-style = #'large
1340 \notes\relative c'' {
1342 \property Voice.TextScript \set #'padding = #-4
1343 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1345 \context Lyrics \lyrics {
1351 \property Score.automaticBars = ##f
1352 %\property Score.LyricText \set #'font-style = #'large
1353 %\property Score.TextScript \set #'font-style = #'large
1355 \notes\relative c'' {
1357 \property Voice.TextScript \set #'padding = #-4
1358 b^"~~ S" c d e fis gis^"~~ S"
1359 a g! f!^"~~ S" e d c^"~~ S" b a
1361 \context Lyrics \lyrics {
1366 @aitem{diminished interval}
1367 ES: intervalo disminu@'{@dotless{i}}do,
1368 I: intervallo diminuito,
1369 F: intervalle diminu@'e,
1370 D: vermindertes Intervall,
1371 NL: verminderd interval,
1372 DK: formindsket interval,
1373 S: f@"orminskat intervall,
1374 FI: v@"ahennetty intervalli,
1387 FI: diminuendo, hiljentyen,
1392 @aitem{disjunct movement}
1393 ES: movimiendo disjunto,
1395 F: mouvement disjoint,
1396 D: sprunghafte Bewegung,
1397 NL: sprongsgewijze beweging,
1398 DK: springende bev@ae{}gelse,
1399 S: hoppande r@"orelse,
1400 FI: melodian hyppiv@"a liike,
1403 Melody moving in steps greater than those of the
1404 scale. Opposite of @aref{conjunct movement}.
1409 \notes\relative c' {
1411 a4. gis8 b a e cis |
1412 fis2 d4. \bar "||" }
1415 @aitemii{dissonant interval,dissonance}
1416 ES: intervalo disonante, disonancias,
1417 I: intervallo dissonante, dissonanza,
1420 NL: dissonant interval; dissonant,
1421 DK: dissonerende interval, dissonans,
1423 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1428 @aitem{dominant ninth chord}
1429 I: accordo di nona di dominante,
1430 F: accord de neuvi@`eme dominante,
1431 D: Dominantnoneakkord,
1432 NL: dominant noon akkoord,
1433 DK: dominantnoneakkord,
1434 S: dominantnonackord,
1435 FI: dominanttinoonisointu,
1438 @aref{chord}, @aref{functional harmony}.
1440 @aitem{dominant seventh chord}
1441 ES: acorde de s@'eptima de dominante,
1442 I: accordo di settima di dominante,
1443 F: accord de septi@`eme dominante,
1444 D: Dominantseptakkord,
1445 NL: dominant septiem akkoord,
1446 DK: dominantseptimakkord,
1447 S: dominantseptimackord,
1448 FI: dominanttiseptimisointu,
1451 @aref{chord}, @aref{functional harmony}.
1461 FI: dominantti, huippusointu,
1464 The fifth @aref{scale degree},
1465 @aref{functional harmony}.
1471 D: dorisch, dorischer Kirchenton,
1472 NL: dorische toonladder,
1478 @aref{diatonic scale}.
1480 @aitem{dot (augmentation dot)}
1482 I: punto (di valore),
1484 D: Punkt (Verl@"angerungspunkt),
1494 ES: nota con puntillo,
1498 NL: gepuncteerde noot,
1501 FI: pisteellinen nuotti,
1506 @aitem{double appoggiatura}
1507 ES: apoyatura doble,
1508 I: appoggiatura doppia,
1509 F: appoggiature double,
1510 D: doppelter Vorschlag,
1511 NL: dubbele voorslag,
1512 DK: dobbelt forslag,
1514 FI: kaksoisappogiatura, kaksoisetuhele,
1517 @aref{appoggiatura}.
1519 @aitem{double bar line}
1523 NL: dubbele maatstreep,
1526 FI: kaksoistahtiviiva,
1529 Indicates the end of a section within a movement.
1531 @aitem{double dotted note}
1532 ES: nota con dos puntillos,
1533 I: nota doppiamente puntata,
1534 F: note doublement point@'ee,
1535 D: doppelt punktierte Note,
1536 NL: dubbelgepuncteerde noot,
1537 DK: dob@-belt@-punk@-te@-ret node,
1538 S: dub@-bel@-punk@-te@-rad not,
1539 FI: kaksoispisteellinen nuotti,
1552 FI: kaksoisalennusmerkki,
1557 @aitem{double sharp}
1558 ES: doble sostenido,
1563 DK: dob@-belt@-kryds,
1565 FI: kaksoisylennysmerkki,
1570 @aitem{double trill}
1575 NL: dubbele triller,
1581 A simultaneous trill on two notes, usually in the distance of a third.
1588 NL: tweedelige maatsoort,
1617 FI: kesto, aika-arvo,
1622 @aitem{dydimic comma}
1623 @aref{syntonic comma}.
1641 D: Achtel, Achtelnote,
1643 DK: ottendedelsnode,
1644 S: @aa{}ttondelsnot,
1645 FI: kahdeksasosanuotti,
1651 ES: silencio de corchea,
1657 DK: ottendedelspause,
1658 S: @aa{}ttonddelspaus,
1659 FI: kahdeksasosatauko,
1668 D: Notenstechen, Notendruck
1675 Engraving means incising or etching a metal plate for
1676 printing. Photoengraving means drawing music with ink in a manner
1677 similar to drafting or engineering drawing, using similar tools.
1679 The traditional process of music printing is done through cutting in a
1680 plate of metal. Now also the term for the art of music typesetting.
1693 Two notes, intervals, or scales are enharmonic if they have different names
1697 \property Score.automaticBars = ##f
1698 %\property Score.TextScript \set #'font-style = #'large
1700 \context Staff \notes\relative c'' {
1701 gis1 s s as s s <des g,!> s s <cis g!> s s
1703 \context Lyrics \lyrics {
1704 \property Lyrics . LyricText \set #'self-alignment-X = #-1
1705 "g sharp " "a flat " "dim fifth " "augm fourth"
1709 @aitem{equal temperament}
1711 I: temperamento equabile,
1712 F: temp@'erament @'egal,
1713 D: gleichschwebende Stimmung,
1714 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1715 DK: ligesv@ae{}vende temperatur,
1716 S: liksv@"avande temperatur,
1720 Tuning system dividing the octave into 12 equal @aref{semitone}s
1721 (precisely 100 @aref{cent}s). @aref{temperament}.
1723 @aitem{expression mark}
1725 I: segno d'espressione,
1726 F: signe d'expression, indication de nuance,
1728 NL: voordrachtsteken,
1729 DK: foredragsbetegnelse,
1730 S: f@"oredragsbeteckning,
1731 FI: nyanssiosoitus, esitysmerkki,
1734 Performance indications concerning 1. volume, dynamics (for example
1735 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1736 @aref{andante}, @aref{allegro}).
1760 The position between the dots of the key symbol is the line of the F below
1761 central@w{ }C. Used on the third, fourth and fifth note line. A
1762 digit@w{ }8 above the clef symbol indicates that the notes must be played
1763 an octave higher (for example bass recorder) while 8@w{ }below the clef
1764 symbol indicates playing an octave lower (for example on double bass
1768 \property Score.automaticBars = ##f
1769 \property Staff.Clef \override #'full-size-change = ##t
1770 %\property Score.LyricText \set #'font-style = #'large
1784 \context Lyrics \lyrics {
1785 \property Lyrics . LyricText \set #'self-alignment-X = #-1
1794 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1799 F: point d'orgue, point d'arr@^et,
1804 FI: fermaatti, pid@"ake,
1807 Prolonged note or rest of indefinite duration.
1811 \notes\relative c'' {
1812 a4 b c2^\fermata \bar "|."
1829 @aitem{figured bass}
1830 ES: bajo cifrado, @aref{thorough bass}.
1838 DK: fingers@ae{}tning,
1839 S: fingers@"attning,
1843 The methodical use of fingers in the playing of instruments.
1845 @aitem{flag,pennant}
1847 I: coda (uncinata), bandiera,
1849 D: Fahne, F@"ahnchen,
1856 Ornament at the end of the stem of a note used for notes with values
1857 less than a quarter note. The number of flags determines the
1861 \property Score.automaticBars = ##f
1862 %\property Score.TextScript \set #'font-style = #'large
1863 \notes\relative c'' {
1884 @aitemii{forefall,backfall}
1885 @aref{appoggiatura}.
1895 FI: forte, voimakkaasti,
1898 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1899 @emph{mezzoforte} (@b{mf}) medium loud.
1925 @aref{counterpoint}.
1927 @aitem{functional harmony}
1928 ES: armon@'{@dotless{i}}a funcional,
1929 I: armonia funzionale,
1930 F: @'etude des functions,
1932 NL: functionele harmonie,
1933 DK: funktionsanalyse, funktionsharmonik,
1935 FI: harmoniaj@"arjestelm@"a,
1938 A system of harmonic analysis. It is based on the idea that, in a given key,
1939 there are only three functionally different chords: tonic (T, the chord on the
1940 first note of the scale), subdominant (S, the chord on the fourth note), and
1941 dominant (D, the chord on the fifth note). Other are considered to be
1942 variants of the base chords.
1945 \property Score.automaticBars = ##f
1946 %\property Score.LyricText \set #'font-style = #'large
1947 %\property Score.TextScript \set #'font-style = #'large
1949 \context Voice \notes\relative c'' {
1950 <g e c >1 < a f d > < b g e >
1951 <c a f > < d b g > < e c a > < f d b > }
1952 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1970 D: G-Schl@"ussel, Violinschl@"ussel,
1977 A clef symbol indicating the G above central@w{ }C. Used on the first
1978 and second note lines. A digit 8 above the clef symbol indicates that
1979 the notes must be played an octave higher while 8 below the clef symbol
1980 indicates playing or singing an octave lower (most tenor parts in choral
1981 scores are notated like that).
1984 \property Score.automaticBars = ##f
1985 \property Staff.Clef \set #'full-size-change = ##t
1986 %\property Score.LyricText \set #'font-style = #'large
1988 \notes\relative c'' {
1998 \context Lyrics \lyrics {
1999 \property Lyrics . LyricText \set #'self-alignment-X = #-1
2000 "french violin clef "
2015 FI: glissando, liukuen,
2018 Letting the pitch slide fluently from one note to the other.
2024 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
2031 Notes printed in small types to indicate that their time values are not
2032 counted in the rhythm of the bar. @aref{appoggiatura}.
2040 S: ackolad, b@"ojd klammer,
2041 FI: kaksoisnuottiviivasto,
2046 A combination of two staves with a brace. Usually used for piano music.
2056 FI: grave, raskaasti,
2066 D: Halbe, halbe Note,
2089 @aitem{harmonic cadence}
2090 ES: cadencia (arm@'onica),
2091 I: cadenza (armonica),
2092 F: cadence harmonique,
2094 NL: harmonische cadens,
2095 DK: harmonisk kadence,
2096 S: (harmonisk) kadens,
2097 FI: harmoninen kadenssi,
2100 Sequence of chords that terminate a musical phrase or
2101 section. @aref{functional harmony}.
2104 \notes\context PianoStaff <<
2105 \context Staff = SA \relative c'' {
2109 \partial 4 < c g e >4 |
2110 < c a f > < b g d > < c g e >2
2112 % %\property Score.LyricText \set #'font-style = #'large
2114 \context Staff = SB \relative c {
2116 \partial 4 c4 | f, g c2
2119 \context Lyrics \lyrics {
2126 ES: armon@'{@dotless{i}}a,
2129 D: Harmonie, Zusammenklang,
2133 FI: harmonia, yhteissointi,
2136 Tones sounding simultaneously. Two note harmonies fall into the categories
2137 @emph{consonances} and @emph{dissonances}.
2142 \property Score.automaticBars = ##f
2143 %\property Score.TextScript \set #'font-style = #'large
2144 \context Voice \notes\relative c'' {
2158 \property Score.automaticBars = ##f
2159 %\property Score.TextScript \set #'font-style = #'large
2160 \context Voice \notes\relative c'' {
2161 <g a>1_"second " s s
2162 <g f'>_"seventh " s s
2167 Three note harmony @aref{chord}.
2170 ES: homofon@'{@dotless{i}}a,
2177 FI: homofonia, yksi@"a@"anisyys,
2180 Music in which one voice leads melodically followed by the other voices more
2181 or less in the same rhythm. In contrast to @aref{polyphony}.
2191 FI: intervalli, kahden s@"avelen korkeusero,
2194 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2195 diminished, or augmented. The augmented fourth and the diminished fifth are
2196 identical (@aref{enharmonic}) and are called @emph{tritonus}
2197 because they consist of three @aref{whole tone}s. The addition
2198 of such two forms an octave.
2201 \property Score.automaticBars = ##f
2202 %\property Score.LyricText \set #'font-style = #'large
2203 %\property Score.TextScript \set #'font-style = #'large
2205 \context Voice \notes\relative c'' {
2210 < gis bes >^"dimin" s
2211 < g! bes >^"minor" s
2215 \context Lyrics \lyrics {
2216 "unisone " "second " "second " "second "
2217 "third " "third " "third " "third "
2222 \property Score.automaticBars = ##f
2223 %\property Score.LyricText \set #'font-style = #'large
2224 %\property Score.TextScript \set #'font-style = #'large
2226 \context Staff \notes\relative c'' {
2229 < g d' >^"perfect" s
2231 < gis es' >^"dimin" s
2232 < g! es' >^"minor" s
2236 \context Lyrics \lyrics {
2237 "fourth " "fourth " "fifth " "fifth "
2238 "sixth " "sixth " "sixth " "sixth "
2243 \property Score.automaticBars = ##f
2244 %\property Score.LyricText \set #'font-style = #'large
2245 %\property Score.TextScript \set #'font-style = #'large
2247 \context Staff \notes\relative c'' {
2248 < gis f'! >1^"dimin" s
2249 < g! f'! >^"minor" s
2250 < g fis' >^"major" s
2254 < g bes' >^"minor" s
2257 \context Lyrics \lyrics {
2258 "seventh " "seventh " "seventh " "octave "
2259 "none " "none " "decime " "decime "
2263 @aitem{inverted interval}
2264 ES: intervalo invertido,
2265 I: intervallo rivolto,
2266 F: intervalle revers@'e,
2267 D: umgekehrtes Intervall,
2268 NL: interval inversie,
2269 DK: omvendingsinterval,
2270 S: intervallets omv@"andning,
2271 FI: k@"a@"anteisintervalli,
2274 The difference between an interval and an octave.
2277 \property Score.automaticBars = ##f
2278 %\property Score.TextScript \set #'font-style = #'large
2279 \context Staff \notes\relative c'' {
2280 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2281 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2282 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2286 @aitem{just intonation}
2287 I: intonazione giusta,
2288 F: intonation juste,
2296 Tuning system in which the notes are obtained by adding and subtracting
2297 natural fifths and thirds. @aref{temperament}.
2310 According to the 12@w{ }tones of the @aref{chromatic scale}
2311 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2312 @aref{key signature}.
2314 @aitem{key signature}
2315 ES: armadura de clave,
2316 I: armatura di chiave,
2317 F: armure, armature [de la cl@'e],
2318 D: Vorzeichen, Tonart,
2319 NL: toon@-soort (voortekens),
2322 FI: s@"avellajiosoitus,
2325 The sharps or flats appearing at the beginning of each staff indicating the
2326 key of the music. @aref{accidental}.
2332 D: Largo, Langsam, Breit,
2336 FI: largo, hitaasti, leve@"asti,
2339 Very slow in tempo, usually combined with great
2340 expressiveness. @emph{Larghetto} is less slow than largo.
2342 @aitem{leading note}
2353 The seventh @aref{scale degree}, a @aref{semitone} below
2354 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2355 upwards) to the tonic scale degree.
2357 @aitemii{ledger line,leger line}
2358 ES: l@'{@dotless{i}}neas adicionales,
2359 I: tagli addizionali,
2360 F: ligne suppl@'ementaire,
2363 DK: hj@ae{}lpelinie,
2368 A ledger line is an extension of the staff.
2371 \property Score.automaticBars = ##f
2372 \notes\relative c'' { a,1 s c'' }
2386 To be performed (a) without any perceptible interruption between the notes
2387 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2388 (d) @aref{staccato}.
2391 \property Score.automaticBars = ##f
2393 \context Staff \notes\relative c'' {
2394 c4-( d e-) \bar "||"
2395 c4-- d-- e-- \bar "||"
2396 c4-.-( d-. e-.-) \bar "||"
2397 c4-. d-. e-. \bar "||"
2399 \context Lyrics \lyrics {
2400 % \property Lyrics . LyricText \set #'font-style = #'large
2408 @aitem{legato curve}
2409 @aref{slur}, @aref{legato}.
2412 ES: estanque de lilas,
2413 I: stagno del giglio,
2417 NL: le@-lie@-vij@-ver,
2423 A pond with lilies floating in it, also the name of a music typesetter.
2426 ES: l@'{@dotless{i}}nea,
2429 D: Linie, Notenlinie,
2433 FI: viiva, nuottiviiva,
2438 @aitem{long appoggiatura}
2439 ES: apoyatura larga,
2440 I: appoggiatura lunga,
2441 F: appoggiature longue,
2442 D: langer Vorschlag,
2445 S: l@aa{}ngt f@"orslag,
2446 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2449 @aref{appoggiatura}.
2462 Note value: double length of @aref{breve}.
2466 \property Score.automaticBars = ##f
2467 \notes\relative c'' {
2468 \property Voice.NoteHead \set #'style = #'mensural
2473 @aitemii{lyrics,song texts}
2484 @aitem{major interval}
2485 ES: intervalo mayor,
2486 I: intervallo maggiore,
2487 F: intervalle majeur,
2488 D: gro@ss{}es Intervall,
2492 FI: suuri intervalli,
2508 @aref{diatonic scale}.
2510 @aitem{meantone temperament}
2511 I: accordatura mesotonica,
2512 F: temp@'erament m@'esotonique,
2513 D: mittelt@"onige Stimmung,
2514 NL: middenstemming, middentoonstemming,
2515 DK: middeltonetemperatur,
2516 S: medeltonstemperatur,
2517 FI: keskis@"avelviritys,
2520 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2521 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2522 @aref{temperament} only a limited set of keys are playable.
2523 Used for tuning keyboard instruments for performance of pre-1650 music.
2525 @aitem{measure, bar}
2536 A group of @aref{beat}s (units of musical time) the first of which
2537 bears an accent. Such groups in numbers of two or more recur consistently
2538 throughout the composition and are marked from each other by
2539 bar-lines. @aref{meter}.
2543 I: mediante, modale,
2552 1. The third @b{scale degree}.
2553 2. A @aref{chord} having its base tone
2554 a third from that of another chord. For example, the tonic chord may be
2555 replaced by its lower mediant (variant tonic). @aref{functional
2556 harmony}, @aref{relative key}.
2561 FI: melisma, laulettavan tavun s@"avelkuvio,
2563 A melisma (plural: melismata) is a group of notes or tones sung on one
2564 syllable in plainsong
2566 @aitem{melodic cadence}
2572 F: indication de m@'esure,
2580 The basic scheme of @aref{note value}s and
2581 @aref{accent}s which remains unaltered throughout a composition
2582 or a section of it. For instance, 3/4 meter means that the basic
2583 @aref{note value}s are quarter notes and that a
2584 @aref{measure} consists of three of those. According to
2585 whether there are two, three or four units to the measure,
2586 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2587 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2590 \notes\relative c'' {
2593 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2597 \notes\relative c' {
2600 f8 f f f a16 g a f |
2601 c'8 c c c e16 d e c \bar "||"}
2605 \notes\relative c'' {
2608 d4 b8 g b d d c a4 |
2609 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2623 Device indicating the exact tempo of a piece. @aref{metronomic
2626 @aitem{metronomic indication}
2627 ES: indicaci@'on metron@'omica,
2628 I: indicazione metronomica,
2629 F: indication m@'etronomique,
2631 NL: metronoom aanduiding,
2633 S: metronomangivelse,
2634 FI: metronomiosoitus,
2637 Exact tempo indication (in beats per minute). Also denoted by
2638 M.M. (M@"alzels Metronom).
2640 @aitem{mezzo-soprano}
2651 The female voice between @aref{soprano} and
2658 D: eingestrichenes@w{ }c,
2660 DK: enstreget@w{ }c,
2661 S: ettstruket@w{ }c,
2665 First C below the 440 Hz A.
2668 \property Score.automaticBars = ##f
2669 \property Staff.Clef \set #'full-size-change = ##t
2670 \notes\relative c' {
2688 @aref{diatonic scale}.
2690 @aitem{minor interval}
2691 ES: intervalo mayor,
2692 I: intervallo minore,
2693 F: intervalle mineur,
2694 D: kleines Intervall,
2698 FI: pieni intervalli,
2711 FI: moodi, kirkkos@"avelasteikko,
2714 @aref{church mode}, @aref{diatonic scale}.
2724 FI: modulaatio, s@"avellajin vaihdos,
2727 Moving from one @aref{key} to another. For example, the second
2728 subject of a @aref{sonata form} movement modulates to the dominant
2729 key if the key is major and to the @aref{relative key} if the key
2739 FI: mordent, korukuvio,
2744 @aitemii{motive,motif}
2752 FI: teema, s@"avelaihe,
2755 The briefest intelligible and self-contained fragment of a musical theme or
2759 \property Score.TimeSignature \override #'style = \turnOff
2760 %\property Score.TextScript \set #'font-style = #'large
2761 \notes\relative c'' {
2764 \partial 8 g16_"------" fis |
2765 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2766 g8 g,16 a b8 cis d16 s
2781 Greater musical works like @aref{symphony} and
2782 @aref{sonata} most often consist of several -- more or less --
2783 independant pieces called movements.
2785 @aitem{multibar rest}
2786 ES: compases de espera,
2790 D: mehrtaktige Pause,
2793 FI: usean tahdin mittainen tauko,
2797 \notes\relative c'' {
2799 \property Score.skipBars=##t R1*3
2804 @aitem{mixolydian mode}
2805 @aref{diatonic scale}.
2807 @aitem{natural sign}
2811 D: Aufl@"osungszeichen,
2812 NL: herstellingsteken,
2813 DK: op@-l@o{}sningstegn,
2814 S: @aa{}terst@"allningstecken,
2820 @aitem{neighbour tones}
2821 @aref{appoggiatura}.
2850 Notes are signs by means of which music is fixed in writing. The term is also
2851 used for the sound indicated by a note, and even for the key of the piano
2852 which produces the sound. However, a clear distinction between the terms tone
2853 and @aref{note} is strongly recommended. Briefly, one sees a note,
2858 I: testa, testina, capocchia,
2859 F: t@^ete de la note,
2867 A head like sign which indicates pitch by its position on a
2868 @aref{staff} provided with a @aref{clef}, and duration
2869 by a variety of shapes such as hollow or black heads with or without
2870 @aref{stem}s, @aref{flag}s, etc. For percussion
2871 instruments (often having no defined pitch) the note head may indicate the
2877 F: dur@'ee, valeur (d'une note),
2882 FI: nuotin aika-arvo,
2885 Note values (durations) are measured as fractions, normally 1/2, of the next
2886 higher note value. The longest duration normally used is called @emph{brevis},
2887 but sometimes (mostly in pre baroque music) the double length note value
2888 @emph{longa} is used.
2891 %\property Score.TextScript \set #'font-style = #'large
2892 \property Score.automaticBars = ##f
2893 \notes\relative c'' {
2894 \property Voice.NoteHead \override #'style = #'mensural
2895 g\longa_"longa" g\breve_"breve"
2896 \property Voice.NoteHead \revert #'style
2897 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2898 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2902 %\property Score.TextScript \set #'font-style = #'large
2903 \property Score.automaticBars = ##f
2904 \notes\relative c'' {
2905 r\longa_"longa" r\breve_"breve"
2906 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2907 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2910 An augmentation dot after a note multiplies the duration by one and a
2911 half. Another dot adds yet a fourth of the duration.
2914 %\property Score.TextScript \set #'font-style = #'large
2915 \notes\relative c'' {
2917 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2918 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2921 Alternatively note values may be subdivided by other ratios. Most common is
2922 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2923 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2924 dotted notes are also frequently used.
2927 %\property Score.TextScript \set #'font-style = #'large
2928 \notes\relative c'' {
2930 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2931 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2936 \notes\relative c'' {
2938 \times 3/2 {g4_"duplets" g} |
2940 \times 6/4 {g8_"quadruplets" g g g} |
2941 g8 g g g g4 \bar "||"
2946 @aref{G clef}, @aref{F clef}.
2961 @aitemiii{ornament,embellishment,accessory}
2963 I: abbellimento, fioriture,
2964 F: agr@'ement, ornement,
2965 D: Verzierung, Ornament,
2972 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2973 with the diatonic @aref{second} above it. In the music from the
2974 middle of the 19th century and onwards the trill is performed with the main
2975 note first while in the music from the preceding baroque and classic periods
2976 the upper note is played first.
2980 \context Staff = sa {
2981 % \property Score.TextScript \set #'font-style = #'large
2982 \notes\relative c'' {
2983 c2._"pre-1850" b4\trill | c1 \bar "||"
2984 c2._"post-1850" b4\trill | c1 \bar "||"
2987 \notes\relative c'' {
2988 c2. c32 b c b c b c b | c1
2989 c2. b32 c b c \times 4/5 { b c b c b } | c1
2994 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2995 @emph{prall} (inverted mordent).
2999 \context Staff = sa {
3000 % \property Score.TextScript \set #'font-style = #'large
3001 \notes\relative c'' {
3002 a4_"turn" b\turn c2 \bar "||"
3003 g4_"mordent" a b\mordent a \bar "||"
3004 e'4_"prall" d\prall c2 \bar "||"
3007 \notes\relative c'' {
3010 e'4 e32[ d e d ~ d8] c2
3015 @aref{appoggiatura}.
3025 FI: ossia, vaihtoehtoinen esitystapa,
3028 Ossia (otherwise) marks an alternative. It is an added staff or piano
3029 score, usually only a few measures long, which presents another version
3030 of the music, for example for small hands.
3040 FI: stemma, instrumenttiosuus,
3043 1. In instrumental or choral music the music for the single instrument
3044 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3045 melodic line of the contrapunctal web.
3051 D: Schlagzeug, Schlagwerk,
3055 FI: ly@"om@"asoittimet,
3058 A family of musical instruments which are played on by striking or
3059 shaking. Percussion instruments commonly used in a symphony orchestra are
3060 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3061 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3064 @aitem{perfect interval}
3065 ES: intervalo justo,
3066 I: intervallo giusto,
3067 F: intervalle juste,
3068 D: reines Intervall,
3072 FI: puhdas intervalli,
3088 A natural division of the melodic line, comparable to a sentence of speech.
3098 FI: fraseeraus, j@"asent@"aminen,
3101 The clear rendering in musical performance of the @aref{phrase}s of
3102 the melody. Phrasing may be indicated by a @aref{slur}.
3115 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3116 @emph{mezzopiano} (@b{mp}) medium soft.
3134 NL: pizzicato, getokkeld,
3137 FI: pizzicato, n@"app@"aillen,
3140 Play by plucking the strings.
3143 ES: polifon@'{@dotless{i}}a,
3150 FI: polyfonia, moni@"a@"anisyys,
3153 Music written in a combination of several simultaneous voices (parts) of a
3154 more or less pronounced individuality. @aref{counterpoint}.
3163 D: Presto, Sehr schnell,
3164 NL: presto, Sehr schnell,
3167 FI: presto, hyvin nopeasti,
3170 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3171 denotes the highest possible degree of speed.
3173 @aitem{Pythagorean comma}
3174 ES: coma pitag@'orico,
3175 I: comma pitagorico,
3176 F: comma pythagoricien,
3177 D: Pythagor@"aisches Komma,
3178 NL: komma van Pythagoras,
3179 DK: pythagor@ae{}isk komma,
3180 S: pytagoreiskt komma,
3181 FI: pytagorinen komma,
3184 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3185 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3186 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3187 7@w{ }octaves. The difference between those two pitches is called the
3203 @aitem{quarter note}
3205 I: semiminima, nera,
3208 D: Viertel, Viertelnote,
3212 FI: nelj@"annesosanuotti,
3217 @aitem{quarter rest}
3218 ES: silencio de negra,
3219 I: pausa di semiminima,
3224 DK:@w{ }fjerdedelspause,
3225 S: fj@"ardedelspaus,
3226 FI: nelj@"annesosatauko,
3248 D: rallentando, langsamer werden,
3252 FI. rallerdando, hidastuen,
3255 Abbreviation "rall.". @aref{ritardando}.
3257 @aitem{relative key}
3259 I: tonalit@`a relativa,
3260 F: tonalit@'e relative,
3262 NL: paralleltoonsoort,
3263 DK: paralleltoneart,
3265 FI: rinnakkaiss@"avellaji,
3268 @aref{major} and @aref{minor} @aref{key}
3269 with the same @aref{key signature}.
3272 \property Score.automaticBars = ##f
3273 %\property Score.TextScript \set #'font-style = #'large
3274 \notes\relative c' {
3276 es1_"e flat major" f g as bes c d es
3282 \property Score.automaticBars = ##f
3283 %\property Score.TextScript \set #'font-style = #'large
3284 \notes\relative c' {
3286 c1_"c minor" d es f g a! b! c \bar "||"
3291 ES: barra de repetici@'on,
3293 F: barre de reprise,
3296 DK: gen@-ta@-gel@-se,
3304 \notes\relative c'' {
3305 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3309 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3310 @c specify the rest's value.
3336 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3337 fixed unit of time, called @aref{beat}, and in which the normal
3338 @aref{accent} recurs in regular intervals, called
3339 @aref{measure}. The basic scheme scheme of time values is called
3340 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3341 accent. In modern notation such music appears as a free alternation of
3342 different measures. (c) Free rhythm, i.e., the use of temporal values having
3343 no common metrical unit (beat).
3349 D: Ritardando, langsamer werden,
3353 FI. ritardando, hidastuen,
3356 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3366 FI: ritenuto, hidastaen,
3369 Immediate reduction of speed.
3379 FI: asteikko, s@"avelasteikko,
3382 @aref{diatonic scale}.
3384 @aitem{scale degree}
3385 ES: grados de la escala,
3386 I: grado della scala,
3387 F: degr@'e [de la gamme],
3389 NL: trap [van de toonladder],
3392 FI: s@"avelaste, asteikon s@"avel,
3395 Names and symbols used in harmonic analysis to denote tones of the scale as
3396 roots of chords. The most important are degrees I = tonic (T), IV =
3397 sub@-do@-mi@-nant (S) and V = dominant (D).
3400 \property Score.automaticBars = ##f
3401 %\property Score.LyricText \set #'font-style = #'large
3402 %\property Lyrics.minVerticalAlign = #8
3404 \context Staff \notes\relative c' {
3407 \context Lyrics \lyrics {
3408 << { I II III IV V VI VII I }
3413 @aref{functional harmony}.
3419 D: Partitur (full score), Klavierauszug (vocal score)
3426 A copy of orchestral, choral or chamber music showing what each instrument is
3427 to play, each voice to sing, having each part arranged one underneath the
3428 other on different staves @aref{staff}.
3441 The @aref{interval} between two neigbouring tones of a scale. A
3442 @aref{diatonic scale} consists of alternating
3443 @aref{semitone}s and @aref{whole tone}s, hence the size
3444 of a se@-cond depends on the scale degrees in question.
3457 The @aref{interval} of a minor second. The (usually) smallest
3458 interval in European composed music. The interval between two neighbouring
3459 tones on the piano keyboard -- including black and white keys -- is a
3460 semitone. An octave may be divided into 12@w{ }semitones.
3461 @aref{interval}, @aref{chromatic scale}.
3464 \property Score.automaticBars = ##f
3465 \notes\relative c'' { g1 gis s a bes s b! c }
3481 @aitem{sextuplet, sextolet}
3506 @aitem{short appoggiatura}
3507 @aref{appoggiatura}.
3509 @aitem{sixteenth note}
3514 D: Sechzehntel, Sechzehntelnote,
3515 NL: zes@-ti@-ende noot,
3516 DK: sekstendedelsnode,
3518 FI: kuudestoistaosanuotti,
3523 @aitem{sixteenth rest}
3524 ES: silencia de semicorchea,
3525 I: pausa di semicroma,
3527 UK: semiquaver rest,
3528 D: Sechzehntelpause,
3530 DK: sekstendedelspause,
3550 @aitem{sixty-fourth note}
3553 F: quadruple croche,
3554 UK: hemidemisemiquaver,
3555 D: Vierundsechzigstel, Vierundsechzigstelnote,
3556 NL: vierenzestigste noot,
3557 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3558 S: sextiofj@"ardedelsnot,
3559 FI: kuudeskymmenesnelj@"asosanuotti,
3564 @aitem{sixty-fourth rest}
3565 ES: silencia de semifusa,
3566 I: pausa di semibiscroma,
3567 F: seizi@`eme de soupir,
3568 UK: hemidemisemiquaver rest,
3569 D: Vierundsechzigstelpause,
3570 NL: vierenzestigste rust,
3571 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3572 S: sextiofj@"ardedelspaus,
3573 FI: kuudeskymmenesnelj@"asosatauko,
3580 I: legatura (di portamento or espressiva),
3581 F: liaison, coul@'e,
3582 D: Bogen, Legatobogen, Phrasierungsbogen,
3583 NL: fraseringsboog, legatoboog, streekboog,
3584 DK: legatobue, fraseringsbue,
3589 A slur above or below a group of notes indicates that they are to be played
3590 @aref{legato}, e.g., with one stroke of the violin bow or with one
3600 FI: suhteelliset laulunimet,
3603 General term for systems of designating the degrees of the
3604 @aref{scale}, not by letters, but by syllables (@emph{do}
3605 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3606 (@emph{ti})). @aref{scale degree}.
3619 In its present-day meaning a sonata denotes an instrumental composition for
3620 piano or for some other instrument with piano accompaniment, which consists of
3621 three or four independant pieces, called movements.
3626 F: [en] forme de sonate,
3628 NL: hoofdvorm, sonatevorm,
3634 A form used frequently for single movements of the @aref{sonata},
3635 @aref{symphony}, quartet, etc. A movement written in sonata form
3636 falls into three sections called @emph{exposition}, @emph{development} and
3637 @emph{recapitulation}. In the exposition the composer introduces his musical
3638 ideas, consisting of a number of themes; in the development section he
3639 "develops" this material, and in the recapitulation he repeats the exposition,
3640 with certain modifications, however. The exposition contains a number of themes
3641 which fall into two groups, often called first and second subject. Other
3642 melodies occurring in each group are considered as continuations of these
3643 two. The second theme is in another key, normally in the key of the
3644 @aref{dominant} if the @aref{tonic} is
3645 @aref{major}, and in the @aref{relative key} if the
3646 tonic is @aref{minor}.
3656 FI: sopraano, korkea nais@"a@"ani,
3659 The highest female voice.
3664 F: staccato, piqu@'e, d@'etach@'e,
3669 FI: staccato, lyhyesti, ter@"av@"asti,
3672 Playing the note(s) short. Staccato is indicated by a dot above or below the
3678 \notes\relative c'' {
3680 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3687 I: pentagramma, rigo (musicale),
3690 NL: (noten)balk, partij,
3696 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3697 which the musical notes are written, thus indicating (in connection
3698 with a @aref{clef}) their pitch. Staves for
3699 @aref{percussion} instruments may have fewer lines.
3705 D: Hals, Notenhals, Stiel,
3712 Vertical line above or below a @aref{note head} shorter than a
3713 whole note. @aref{beam}.
3716 \property Score.autoBeaming = ##f
3717 \property Score.automaticBars = ##f
3718 %\property Score.TextScript \set #'font-style = #'large
3719 \notes\relative c'' {
3738 A family of stringed musical instruments played with a bow. Strings commonly
3739 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3745 D: betonter Taktteil oder Taktschlag,
3747 D: betonet taktslag,
3748 S: betonat taktslag,
3749 FI: tahdin vahva isku,
3752 @aref{beat}, @aref{accent}, @aref{measure},
3763 FI: subdominantti, alidominantti,
3766 The fourth @aref{scale degree}. @aref{functional
3777 FI: alikeskis@"avel,
3780 The sixth @aref{scale degree}.
3790 FI: subtoonika, alitoonika,
3793 The seventh @aref{scale degree}.
3795 @aitem{superdominant}
3806 The sixth @aref{scale degree}.
3819 The second @aref{scale degree}.
3822 ES: sinfon@'{@dotless{i}}a,
3825 D: Sinfonie, Symphonie,
3832 A symphony may be defined as a @aref{sonata} for orchestra.
3845 Any deliberate upsetting of the normal pulse of @aref{meter},
3846 @aref{accent} and @aref{rhythm}. Our system of musical
3847 rhythm rests upon the grouping of equal beats into groups of two or three,
3848 with a regularly recurrent accent on the first beat of each group. Any
3849 deviation from this scheme is felt as a disturbance or contradiction between
3850 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3854 \notes\relative c' {
3857 e c'4 e,8 c'4 e,8 c' ( | c2)
3861 @aitemii{syntonic comma,dydimic comma}
3862 I: comma sintonico (o didimico),
3863 F: comma syntonique,
3864 D: syntonisches Komma,
3865 NL: syntonische komma,
3866 DK: syntonisk komma,
3867 S: syntoniskt komma,
3868 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3871 Difference between the natural third and the third obtained by Pythagorean
3872 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3881 FI: nuottij@"arjestelm@"a,
3884 The collection of staves @aref{staff}, two or more, as used for
3885 writing down of keyboard, chamber, choral, or orchestral music.
3891 D: Stimmung, Temperatur,
3892 NL: stemming, temperatuur,
3895 FI: viritysj@"arjestelm@"a,
3898 Systems of tuning in which the intervals deviate from the acoustically pure
3899 intervals. @aref{meantone temperament}, @aref{equal
3902 @aitem{tempo indication}
3903 ES: indicaci@'on de tempo,
3904 I: indicazione di tempo,
3905 F: indication de temps,
3906 D: Zeitma@ss{}, Tempobezeichnung,
3907 NL: tempo aanduiding,
3910 FI: tempomerkint@"a,
3913 The rate of speed of a composition or a section thereof, ranging from the
3914 slowest to the quickest, as is indicated by tempo marks as
3915 @aref{largo}, @aref{adagio}, @aref{andante},
3916 @aref{allegro}, and @aref{presto}.
3926 FI: tenori, korkea mies@"a@"ani,
3929 The highest voice of men (apart from @aref{counter tenor}).
3957 @aitem{thirty-second note}
3962 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3963 NL: twee-endertig@-ste noot,
3964 DK: toogtredivtedelsnode,
3965 S: trettiotv@aa{}ondelsnot,
3966 FI: kolmanneskymmeneskahdesosanuotti,
3971 @aitem{thirty-second rest}
3972 ES: silencio de fusa,
3973 I: pausa di biscroma,
3974 F: huiti@`eme de soupir,
3975 UK: demisemiquaver rest,
3976 D: Zweiunddreissigstel@-pause,
3978 DK: toogtredivtedelspause,
3979 S: trettiotv@aa{}ondelspaus,
3980 FI: kolmanneskymmeneskahdesosatauko,
3985 @aitemii{thorough bass,figured bass}
3987 I: basso continuo, basso numerato,
3988 F: basse chiffr@'ee,
3989 D: Generalbass, bezifferter Bass,
3990 NL: basso continuo, becijferde bas
3993 FI: kenraalibasso, numeroitu basso,
3996 A method of indicating an accompaniment part by the bass notes only, together
3997 with figures designating the chief @aref{interval}s and
3998 @aref{chord}s to be played above the bass notes.
4001 \context GrandStaff <<
4002 \context Staff = lh \notes\relative c'' {
4006 << \context Voice = rha {
4009 \context Voice = rhb {
4011 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4015 \context Staff = rh \notes\relative c' {
4018 es8 c d bes c as bes16 as g f | es4
4020 \context Lyrics \lyrics {
4021 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
4022 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4023 { "" "" "" "2" "" "" "" "" "" "2" } >>
4029 ES: ligadura de prolongaci@'on,
4030 I: legatura (di valore),
4033 NL: overbinding, bindingsboog,
4035 S: bindeb@aa{}ge, @"overbindning,
4039 A curved line, identical in appearance with the @aref{slur}, which
4040 connects two succesive notes of the same pitch, and which has the function of
4041 uniting them into a single sound equal to the combined durations.
4044 \property Score.automaticBars = ##f
4045 \notes\relative c'' { g2 ~ g4. }
4048 @aitem{time signature}
4049 ES: cifra indicadora de comp@'as,
4051 F: chiffrage (chiffres indicateurs), signe de valeur,
4052 D: Taktangabe, Angabe der Taktart,
4055 S: taktartssignatur,
4072 A sound of definite pitch and duration, as distinct from @emph{noise}.
4073 Tone is a primary building material of music.
4074 Music from the 20th century may be based on non tone related sounds.
4087 The first @aref{scale degree}.
4088 @aref{functional harmony}.
4090 @aitem{transposition}
4091 ES: transposici@'on,
4101 Shifting a melody up or down in pitch, while keeping the same
4107 \notes\relative c'' {
4109 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4117 \transpose c bes \relative c'' {
4119 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4126 I: chiave di violino,
4128 D: Violinschl@"ussel, Sopranschl@"ussel,
4130 DK:@w{ }diskantn@o{}gle,
4148 On stringed instruments (@aref{strings}) the quick reiteration of
4149 the same tone, produced by a rapid up-and-down movement movement of the bow
4150 (a). The term is also used for the rapid alternation (b) between two notes of
4151 a @aref{chord}, usually in the distance of a third
4155 \property Score.automaticBars = ##f
4156 %\property Score.TextScript \set #'font-style = #'large
4157 \notes\relative c' {
4159 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4160 \repeat "tremolo" 8 { e32_"b" g }
4165 ES: tr@'{@dotless{i}}ada,
4167 F: triade, accord parfait, accord de trois sons,
4177 @aitemii{trill,shake}
4180 F: trille, tremblement, battement (cadence),
4190 @aitem{triple meter}
4191 ES: comp@'as compuesto,
4195 NL: driedelige maatsoort,
4217 ES: tr@'{@dotless{i}}tono,
4231 I: diapason, corista,
4240 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4241 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4243 @aitemii{turn,gruppetto}
4257 ES: un@'{@dotless{i}}sono,
4264 FI: unisono, yksi@"a@"anisesti,
4267 Playing of the same notes or the same melody by various instruments (voices)
4268 or by the whole orchestra (choir), either at exactly the same pitch or in a
4272 ES: entrada anacr@'usica,
4274 F: anacrouse, lev@'ee,
4282 Initial note(s) of a melody occurring before the first bar
4283 line. @aref{measure}, @aref{meter}.
4288 \notes\relative c' {
4289 \partial 4 f4 | bes4. a8 bes4 c |
4290 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4301 FI: @"a@"ani, laulu@"a@"ani,
4304 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4305 @aref{contralto}, @aref{tenor},
4306 @aref{baritone}, @aref{bass}.
4307 2. A melodic layer or part of a polyphonic composition.
4311 I: tempo debole, arsi,
4313 D: unbetonter Taktteil oder Taktschlag,
4315 DK: ubetonet taktslag,
4316 S: obetonat taktslag,
4317 FI: tahdin heikko isku,
4320 @aref{beat}, @aref{measure}, @aref{rhythm}.
4327 D: Ganze, ganze Note,
4337 ES: silencio de redonda,
4338 I: pausa di semibreve,
4341 D: ganze Pause, ganztaktige Pause,
4361 The @aref{interval} of a major second. The interval between two
4362 tones on the piano keyboard with exactly one key between them -- including
4363 black and white keys -- is a whole tone.
4371 DK tr@ae{}bl@ae{}sere,
4372 S: tr@"abl@aa{}sare,
4376 A family of blown wooden musical instruments. Today some of these instruments
4377 are actually made from metal. The woodwind instruments commonly used in a
4378 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4385 @item DURATION NAMES, NOTES AND RESTS
4388 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4390 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4391 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4395 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4396 @tab longa @tab longa @tab longa @tab longa
4400 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4401 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4405 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4406 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4410 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4411 halve @tab halv @tab halv @tab puoli- @tab
4415 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4416 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4420 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4421 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4425 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4426 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4427 @tab kuudestoistaosa- @tab
4431 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4432 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4433 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4437 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4438 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4439 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4440 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4443 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4451 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4453 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4454 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4459 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4463 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4464 cis @tab cis @tab Cis @tab cis
4468 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4469 des @tab des @tab Des @tab des
4473 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4477 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4481 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4485 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4489 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4490 @tab as @tab As @tab as
4494 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4498 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4499 ais @tab ais @tab Ais @tab ais
4503 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4504 @tab b @tab B @tab b
4508 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4516 @item ---------------------
4520 @item Literature used
4521 The Harvard Dictionary of Music, London 1944. Many more or less literal
4522 quotes from its articles have been included into the item explanation texts.
4524 Hugo Riemanns Musiklexicon, Berlin 1929.
4526 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4527 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.