1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
5 @dircategory GNU music project
7 * Glossary: (lilypond/music-glossary). Glossary of music terms.
11 This document is also available in @uref{music-glossary.ps.gz,gzipped
12 PostScript} and @uref{music-glossary.pdf,PDF}.
17 @author Christian Mondrup @c Original author of LilyPond glossary
19 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
21 @author Han-Wen Nienhuys @c Dutch glossary
22 @author Jan Nieuwenhuizen @c Dutch glossary
23 @author Dadiv Gonzalez @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Mats Bengtsson @c Swedish glossary
27 @author Adrian Mariano @c Italian glossary
28 @author Heikki Junes @c Finnish glossary
30 @c Fixes by Jean-Pierre Coulon and `Dirk'
33 Copyright @copyright{} 1999--2004 by the authors
36 Permission is granted to copy, distribute and/or modify this document
37 under the terms of the GNU Free Documentation License, Version 1.1
38 or any later version published by the Free Software Foundation,
39 without Invariant Sections.
44 @c FIXME: multiple omfcreators?
46 @omfcreator Christian Mondrup
47 @omfdescription Glossary of musical terms with translations
49 @omfcategory Applications|Publishing
56 @chapter Music Glossary
67 @item Christian Mondrup
68 Original author of LilyPond glossary, Danish glossary,
71 @item Fran@,{c}ois Pinard
72 Original glossary of GNU music project, French glossary,
73 @item Han-Wen Nienhuys
75 @item Jan Nieuwenhuizen
80 English glossary translations,
82 Finnish glossary translations.
85 Copyright 1999--2004 by the authors
88 Permission is granted to copy, distribute and/or modify this document
89 under the terms of the GNU Free Documentation License, Version 1.1
90 or any later version published by the Free Software Foundation,
91 without Invariant Sections.
101 @c @everyheading @| @thispage @|
102 @c @evenheading @thispage @| @|
103 @c @oddheading @| @| @thispage @|
105 @include macros.itexi
109 We do not use refs for Info:
111 @w{@arrow{}\word\}@c vs:
112 @w{@arrow{}@pxref{\word\}}@c
114 they look too intrusive (says Han-Wen).
121 @w{@arrow{}@strong{\word\}}@c
124 @arrow{}@ref{\word\, @strong{\word\}}@c
132 @c If we want hypelinks, we must add anchors.
133 @c Hmm, we need the @achor command in the item description itself
134 @c (not before or after) to get mozilla jump to the right place.
137 @item \word\@anchor{\word\}
139 @macro aitemii{one,two}
140 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
142 @macro aitemiii{one,two,three}
143 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
153 @item UK - British English
159 This is an example reference, that points you to the @aref{accent}
162 @c All `@table @strong' replaced by `@table @samp @c @strong'
163 @c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
164 @table @samp @c @strong
184 FI: aksentti, korostus.
186 The stress of one tone over others.
188 @c F: how to distinguish between accidental and key-sig alteration?
192 I: alterazione, accidente,
194 D: Vorzeichen, Versetzungszeichen,
197 S: tillf@"alligt f@"ortecken,
198 FI: tilap@"ainen etumerkki.
200 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
201 @c Akzidenz, NL: toevallig teken, I: accidento.
203 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
204 by a @aref{whole tone}, a flat lowers it by a semitone and a double
205 flat lowers it by a whole tone. A natural cancels the effect of a previous
209 \set Score.automaticBars = ##f
210 %\override TextScript #'font-style = #'large
212 \context Staff \notes\relative c'' {
213 gis1 s s gisis s s ges s s geses s s g!
215 \context Lyrics \lyrics {
216 \override Lyrics .LyricText #'self-alignment-X = #-1
217 "sharp " "db. sharp " "flat " "db. flat " natural
224 F: accelerando, en acc@'el@'erant,
225 D: accelerando, schneller werden,
229 FI: accelerando, kiihdytt@"aen.
241 FI: adagio, hitaasti.
243 It. comfortable, easy.
244 1. Slow tempo, slower -- especially in even meter -- than
245 @aref{andante} and faster than @aref{largo}.
246 2. A movement in slow tempo, especially the second (slow) movement of
247 @aref{sonata}s, symphonies, etc.
253 D: Allegro, Schnell, Fr@"ohlich, Lustig,
257 FI: allegro, nopeasti.
259 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
260 especially the first and last movements of a @aref{sonata}.
270 FI: altto, matala nais@"a@"ani.
272 A female voice of low range (@emph{contralto}). Originally the alto was a high
273 male voice (hence the name) which by the use of falsetto reached the height of
274 the female voice. This type of voice is also known as @aref{counter
278 ES: clave de do en tercera,
279 I: chiave di contralto,
280 F: clef d'ut troisi@`eme ligne,
281 D: Altschl@"ussel, Bratschenschl@"ussel,
287 C clef setting middle C on the middle line of the staff
298 FI: ambitus, @"a@"aniala, soitinala.
300 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
301 of pitches for a given voice in a part of music. It also may denote
302 the pitch range that a musical instrument is capable of playing.
304 @aitem{ancient minor scale}
305 I: scala minore naturale,
306 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
308 NL: authentieke mineurtoonladder,
311 FI: luonnollinen molliasteikko.
314 \set Score.automaticBars = ##f
315 \notes\relative c'' {
327 FI: andante, k@"ayden.
329 Walking tempo/character.
334 F: appogiature, (port de voix),
339 FI: appoggiatura, etuhele.
341 Ornamental note, usually a second, that is melodically connected with the main
342 note that follows it. In music before the 19th century a. were usually
343 performed on the beat, after that mostly before the beat. While the short
344 a. is performed as a short note regardless of the duration of the main note
345 the duration of the long a. is proportional to that of the main note.
348 \context Voice \notes\relative c'' {
352 %\override Score.TextScript #'font-style = #'large
353 <d a fis>4_"notation" r
354 { \override Stem #'flag-style = #'()
356 \revert Stem #'flag-style
359 { \override Stem #'flag-style = #'()
361 \revert Stem #'flag-style
364 \cadenzaOn a4 \bar "||" \cadenzaOff }
365 \notes\relative c'' {
366 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
367 \cadenzaOn a4 \bar "||" \cadenzaOff }
370 An appoggiatura may have more notes preceding the main note.
373 \notes\relative c'' {
376 % \override Score.TextScript #'font-style = #'large
377 \grace { bes16 } as8_"notation" as16 bes as8 g |
378 \grace { as16[( bes] } < c as >4-)
379 \grace { as16[( bes] } < c as >4-) \bar "||"
380 \grace { bes16 } as8_"performance" as16 bes as8 g |
381 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
382 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
391 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
393 DK: arpeggio, akkordbrydning,
395 FI: arpeggio, murtosointu.
398 \notes \context PianoStaff <<
399 \context Staff = SA \relative c'' {
402 r8 g16 c e g, c e r8 g,16 c e g, c e |
403 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
404 \context Staff = SB \relative c' {
406 << \context Voice = va {
408 r16 e8. ( e4) r16 e8. ( e4) |
409 r16 d8. ( d4) r16 d8. ( d4) }
410 \context Voice = vb {
417 @aitem{ascending interval}
418 ES: Intervalo ascendente,
419 I: intervallo ascendente,
420 F: intervalle ascendant,
421 D: steigendes Intervall,
422 NL: stijgend interval,
423 DK:@w{ }stigende interval,
424 S: stigande intervall,
425 FI: nouseva intervalli.
427 A distance between a starting lower note and a higher ending note.
429 @aitem{augmented interval}
430 ES: intervalo aumentado,
431 I: intervallo aumentato,
432 F: intervalle augment@'e,
433 D: @"uberm@"a@ss{}iges Intervall,
434 NL: overmatig interval,
435 DK: forst@o{}rret interval,
436 S: @"overstigande intervall,
437 FI: ylinouseva intervalli.
444 D: Autograph, Handschrift,
446 DK: h@aa{}ndskrift, autograf,
448 FI: k@"asinkirjoitettu nuotti.
450 1. A manuscript in the composer's own hand.
451 2. Music prepared for photoreproduction by freehand drawing,
452 with only the aid of a straightedge ruler and T-square,
453 which attempts to emulate engraving.
454 This required more skill than did engraving.
466 @aitemii{backfall,forefall}
471 I: stanghetta, barra (di divisione),
472 F: barre (de mesure),
480 ES: comp@'as, @aref{measure}.
483 ES: bar@'{@dotless{i}}tono,
490 FI: baritoni, keskikorkuinen mies@"a@"ani.
492 The male voice intermediate between the @aref{bass} and the
495 @c F: clef de troisi@`eme ligne dropped
497 @aitem{baritone clef}
498 ES: clave de fa en tercera,
499 I: chiave di baritono,
500 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
501 D: Baritonschl@"ussel,
507 C or F clef setting middle C on the upper staff line.
508 @aref{C clef}, @aref{F clef}.
511 ES: clave de fa en cuarta,
513 F: cl@'e de fa quatri@`eme ligne,
520 A clef setting with middle C on the first top ledger line.
530 FI: basso, matala mies@"a@"ani.
532 1. The lowest of men's voices.
533 2. Sometimes, especially in jazz music, used as
534 an abbreviation for double bass.
546 Line connecting a series of notes (shorter than a quarter note).
547 The number of beams determine the note value of the connected notes.
550 \set Score.automaticBars = ##f
551 %\override TextScript #'font-style = #'large
552 \notes\relative c'' {
554 g16_"1/16"[ g g g] s16
555 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
556 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
563 D: Takt, Taktschlag, Zeit (im Takt),
569 Note value used for counting, most often half-, fourth-, and eighth notes.
570 The base counting value and the number of them per measure is indicated at
571 the start of the music.
576 \notes\relative c'' { g4 c b a | g1 \bar "||"}
578 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
588 D: Klammer, Akkolade,
589 NL: accolade, teksthaak,
592 FI: yhdist@"av@"a sulkumerkki.
594 Symbol at the start of a system connecting staves. Curly braces are used
595 for connecting piano staves, angular brackets for connecting parts in an
596 orchestral or choral score.
599 \notes\context GrandStaff <<
600 \relative c''\context Staff = SA { \clef treble g4 e c2 }
601 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
605 \context StaffGroup <<
606 % \set StaffGroup.minVerticalAlign = #12
607 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
608 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
617 DK: messingbl@ae{}sere,
618 S: brassinstrument, m@"assingsinstrument,
621 A family of blown musical instruments made of brass all using a cup formed
622 mouth piece. The brass instruments commonly used in a symphony orchestra are
623 trumpet, trombone, french horn, and tube.
628 D: Atemzeichen, Trennungszeichen,
629 NL: repercussieteken,
630 DK: vejrtr@ae{}kningstegn,
634 Indication of where to breathe in vocal and wind instrument parts.
646 @aref{note value} twice as long as a whole note. Mainly used
650 \set Score.automaticBars = ##f
651 \notes\relative c'' { g\breve }
674 Clef symbol indicating the position of the middle C. Used on all note
678 \set Score.automaticBars = ##f
679 \override Score.Clef #'full-size-change = ##t
680 %\override Score.LyricText #'font-style = #'large
682 \context Staff \notes\relative c' {
684 \clef mezzosoprano c s s
689 \context Lyrics \lyrics {
690 \override Lyrics .LyricText #'self-alignment-X = #-1
691 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
703 FI: kadenssi, lopuke.
705 @aref{harmonic cadence}, @aref{functional harmony}.
715 FI: kadenssi, lopuke.
717 An extended, improvisatory style section inserted near the end of
718 movement. The purpose of a cadenza is to give the singer or player a chance to
719 exhibit her technichal skill and not the least her ability to improvise. Since
720 the middle of the 19th century, however, most cadences have been written down
731 FI: kaanon, tarkka j@"aljittely.
743 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
745 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
746 equally tempered @aref{semitone}).
747 @aref{equal temperament}.
762 Three or more tones sounding simultaneously. In traditional European music the
763 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
764 minor @aref{third}) as well as @emph{minor} (minor + major third)
765 chords may be extended with more thirds. Four-tone @emph{seventh chords}
766 and five-tone @emph{ninth} major chords are most often used as dominants
767 (@aref{functional harmony}). A special case is chords having no
768 third above the lower notes to define their quality as major or minor. Such
769 chords are denoted open chords
772 \set Score.automaticBars = ##f
773 %\override TextScript #'font-style = #'large
775 \context Staff \notes\relative c'' {
783 \context Lyrics \lyrics{
784 \override Lyrics .LyricText #'self-alignment-X = #-1
785 "major " "minor " "diminished " "augmented "
786 "seventh-chord " "ninth-chord "
790 @aitem{chromatic scale}
791 ES: escala crom@'atica,
793 F: gamme chromatique,
794 D: chromatische Tonleiter,
795 NL: chromatische toonladder,
798 FI: kromaattinen asteikko.
800 A scale consisting of all 12 @aref{semitone}s.
803 \set Score.automaticBars = ##f
804 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
817 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
819 @aitemii{church mode,ecclesiastical mode}
820 ES: modo eclesi@'astico,
821 I: modo ecclesiastico,
822 F: mode eccl@'esiastique,
827 FI: moodi, kirkkos@"avellaji.
829 @aref{diatonic scale}.
835 D: Schl@"ussel, Notenschl@"ussel,
839 FI: avain, nuottiavain.
841 @aref{C clef}, @aref{F clef}, @aref{G clef}.
845 A @emph{cluster} is a range of simultaneously sounding pitches that
846 may change over time. The set of available pitches to apply usually
847 depends on the acoustic source. Thus, in piano music, a cluster
848 typically consists of a continuous range of the semitones as provided
849 by the piano's fixed set of a chromatic scale. In choral music, each
850 singer of the choir typically may sing an arbitrary pitch within the
851 cluster's range that is not bound to any diatonic, chromatic or other
852 scale. In electronic music, a cluster (theoretically) may even cover
853 a continuous range of pitches, thus resulting in colored noise, such
856 Clusters can be denoted in the context of ordinary staff notation by
857 engraving simple geometrical shapes that replace ordinary notation of
858 notes. Ordinary notes as musical events specify starting time and
859 duration of pitches; however, the duration of a note is expressed by
860 the shape of the note head rather than by the horizontal graphical
861 extent of the note symbol. In contrast, the shape of a cluster
862 geometrically describes the development of a range of pitches
863 (vertical extent) over time (horizontal extent). Still, the
864 geometrical shape of a cluster covers the area in which any single
865 pitch contained in the cluster would be notated as an ordinary note.
867 @lilypond[relative=2,verbatim]
868 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
879 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
881 Difference in pitch between a note derived from pure tuning and the same note
882 derived from some other tuning method. @aref{temperament}.
887 @aitem{compound interval}
888 ES: intervalo compuesto,
889 I: intervallo composto,
890 F: intervalle compos@'e,
892 NL: samengesteld interval,
893 DK: sammensat interval,
894 S: sammansatt intervall,
895 FI: oktaavia laajempi intervalli.
897 Intervals larger than an octave.
903 F: intervalle compl@'ementaire,
904 D: Komplement@"arintervall,
905 NL: complementair interval,
906 DK: komplement@ae{}rinterval,
907 S: komplement@"arintervall (?),
908 FI: t@"aydent@"av@"a intervalli.
910 @aref{inverted interval}.
912 @aitem{conjunct movement}
913 ES: movimiento conjunto,
915 F: mouvement conjoint,
916 D: schrittweise, stufenweise Bewegung,
917 NL: stapsgewijze, trapsgewijze beweging,
918 DK: trinvis bev@ae{}gelse,
919 S: stegvis r@"orelse,
920 FI: asteittainen liike.
922 Melody moving in the narrow steps of the scale.
925 \key g \major \time 4/4
926 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
937 FI: konsonanssi, sopusointi.
961 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
963 From latin @emph{punctus contra punctum}, note against note. The combination
964 into a single musical fabric of lines or parts which have distinct melodic
965 significance. A frequently used polyphonic technique is imitation, in its
966 strictest form found in the canon needing only one part to be written down
967 while the other parts are performed with a given displacement. Imitation is
968 also the contrapunctal technique used in the @emph{fugue} which, since the
969 music of the baroque era, has been one of the most popular polyphonic
972 @lilypond[staffsize=11]
973 \set Score.TimeSignature =\turnOff
974 \notes\context PianoStaff <<
975 \context Staff = SA \relative c' {
979 << \context Voice = rha {
981 r1 | r2 r8 g'8 bes d, |
982 cis4 d r8 e!16 f g8 f16 e |
983 f8 g16 a bes8 a16 g a8
985 \context Voice = rhb {
991 \context Staff = SB \relative c' {
994 << \context Voice = lha {
996 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
997 r8 a16 g f8 g16 a bes8 g e! cis' |
1000 \context Voice = lhb {
1008 @aitem{counter tenor}
1015 S: kontratenor, counter tenor,
1020 @aitem{Copying, Music}
1021 A music copyist did fast freehand scores and parts on preprinted staff lines
1022 for performance. Some of their conventions (e.g., the placement of note heads
1023 on stems) varied slightly from those of engravers. Some of their working
1024 methods were superior and could well be adopted by music typesetters. This
1025 required more skill than engraving.
1031 D: Crescendo, lauter werden,
1035 FI: cresendo, voimistuen.
1037 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1038 abbreviation ``cresc.''.
1041 \key g \major \time 4/4
1042 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1048 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1055 In a separate part notes belonging to another part with the purpose of hinting
1056 when to start playing. Usually printed in a smaller type.
1060 A custos is a staff symbol that appears at the end of a staff line
1061 with monophonic musical contents (i.e. with a single voice). It
1062 anticipates the pitch of the first note of the following line and thus
1063 helps the player or singer to manage line breaks during performance,
1064 thus enhancing readability of a score.
1066 Custodes were frequently used in music notation until the 16th
1067 century. There were different appearences for different notation
1068 styles. Nowadays, they have survived only in special forms of musical
1069 notation such as via the editio vaticana dating back to the beginning
1075 % \override Staff.Custos #'neutral-position = #4
1076 \override Staff.Custos #'neutral-direction = #-1
1078 \override Staff.Custos #'style = #'hufnagel
1080 \break < d' a' f''>1
1085 \consists Custos_engraver
1105 F: da capo, depuis le commencement,
1106 D: da capo, von Anfang,
1110 FI: da capo, alusta.
1112 The term indicates repetition of the piece from the beginning to the end or to
1113 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1118 F: dal segno, depuis le signe,
1123 FI: dal segno, merkkiin asti.
1125 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1126 another place frequently near the beginning marked by a sign:
1129 %\override TextScript #'font-style = #'large
1130 \override TextScript #'font-shape = #'italic
1131 \key g \major \time 4/4
1132 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1138 D: Decrescendo, leiser werden,
1142 FI: decresendo, hiljentyen.
1144 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1145 or the abbreviation ``decresc.''.
1148 \notes\relative c'' {
1149 \key g \major \time 4/4
1150 d4 \> c b a | g1 \! \bar "|."
1154 @aitem{descending interval}
1155 ES: intervalo descendente,
1156 I: intervallo discendente,
1157 F: intervalle descendant,
1158 D: fallendes Intervall, absteigendes Intervall,
1159 NL: dalend interval,
1160 DK: faldende interval,
1161 S: fallande intervall,
1162 FI: laskeva intervalli.
1164 A distance between a starting higher note and a lower ending note.
1166 @aitem{diatonic scale}
1167 ES: escala diat@'onica,
1169 F: gamme diatonique,
1170 D: diatonische Tonleiter,
1171 NL: diatonische toonladder,
1172 DK: diatonisk skala,
1174 FI: diatoninen asteikko.
1176 A scale consisting of 5@w{ }@aref{whole tone}s and
1177 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1178 of a piano keybord are diatonic.
1180 The church modes are used in gregorial chant and pre baroque early music but
1181 also to some extent in newer jazz music.
1183 @lilypond[notime,linewidth=110\mm]
1184 \set Score.automaticBars = ##f
1185 %\override Score.LyricText #'font-style = #'large
1186 %\override Score.TextScript #'font-style = #'large
1188 \context Staff \notes\relative c' {
1190 \override TextScript #'padding = #-4
1191 e^"~~ S" f g a b^"~~ S" c
1193 \context Lyrics \lyrics {
1199 \set Score.automaticBars = ##f
1200 %\override Score.LyricText #'font-style = #'large
1201 %\override Score.TextScript #'font-style = #'large
1203 \context Staff \notes\relative c' {
1205 \override TextScript #'padding = #-4
1206 e^"~~ S" f g a b^"~~ S" c d
1208 \context Lyrics \lyrics {
1214 \set Score.automaticBars = ##f
1215 %\override Score.LyricText #'font-style = #'large
1216 %\override Score.TextScript #'font-style = #'large
1218 \notes\relative c' {
1219 \override TextScript #'padding = #-4
1220 e1^"~~ S" f g a b^"~~ S" c d e
1222 \context Lyrics \lyrics {
1228 \set Score.automaticBars = ##f
1229 %\override Score.LyricText #'font-style = #'large
1230 %\override Score.TextScript #'font-style = #'large
1232 \notes\relative c' {
1234 \override TextScript #'padding = #-4
1235 b^"~~ S" c d e^"~~ S" f
1237 \context Lyrics \lyrics {
1243 \set Score.automaticBars = ##f
1244 %\override Score.LyricText #'font-style = #'large
1245 %\override Score.TextScript #'font-style = #'large
1247 \notes\relative c'' {
1249 \override TextScript #'padding = #-4
1250 b^"~~ S" c d e^"~~ S" f g }
1251 \context Lyrics \lyrics {
1257 \set Score.automaticBars = ##f
1258 %\override Score.LyricText #'font-style = #'large
1259 %\override Score.TextScript #'font-style = #'large
1261 \notes\relative c'' {
1263 \override TextScript #'padding = #-4
1264 b^"~~ S" c d e^"~~ S" f g a
1266 \context Lyrics \lyrics {
1271 From the beginning of the 17th century the scales used in European
1272 compositional music are primarily the major and the minor scales. In the
1273 harmonic minor scale type an augmented second (A) occurs between the 6th and
1277 \set Score.automaticBars = ##f
1278 %\override Score.LyricText #'font-style = #'large
1279 %\override Score.TextScript #'font-style = #'large
1281 \notes\relative c' {
1283 \override TextScript #'padding = #-4
1284 e^"~~ S" f g a b^"~~ S" c
1286 \context Lyrics \lyrics {
1292 \set Score.automaticBars = ##f
1293 %\override Score.LyricText #'font-style = #'large
1294 %\override Score.TextScript #'font-style = #'large
1296 \notes\relative c'' {
1298 \override TextScript #'padding = #-4
1299 b^"~~ S" c d e^"~~ S" f g a
1301 \context Lyrics \lyrics {
1307 \set Score.automaticBars = ##f
1308 %\override Score.LyricText #'font-style = #'large
1309 %\override Score.TextScript #'font-style = #'large
1311 \notes\relative c'' {
1313 \override TextScript #'padding = #-4
1314 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1316 \context Lyrics \lyrics {
1322 \set Score.automaticBars = ##f
1323 %\override Score.LyricText #'font-style = #'large
1324 %\override Score.TextScript #'font-style = #'large
1326 \notes\relative c'' {
1328 \override TextScript #'padding = #-4
1329 b^"~~ S" c d e fis gis^"~~ S"
1330 a g! f!^"~~ S" e d c^"~~ S" b a
1332 \context Lyrics \lyrics {
1337 @aitem{diminished interval}
1338 ES: intervalo disminu@'{@dotless{i}}do,
1339 I: intervallo diminuito,
1340 F: intervalle diminu@'e,
1341 D: vermindertes Intervall,
1342 NL: verminderd interval,
1343 DK: formindsket interval,
1344 S: f@"orminskat intervall,
1345 FI: v@"ahennetty intervalli.
1357 FI: diminuendo, hiljentyen.
1361 @aitem{disjunct movement}
1362 ES: movimiendo disjunto,
1364 F: mouvement disjoint,
1365 D: sprunghafte Bewegung,
1366 NL: sprongsgewijze beweging,
1367 DK: springende bev@ae{}gelse,
1368 S: hoppande r@"orelse,
1369 FI: melodian hyppiv@"a liike.
1371 Melody moving in steps greater than those of the
1372 scale. Opposite of @aref{conjunct movement}.
1377 \notes\relative c' {
1379 a4. gis8 b a e cis |
1380 fis2 d4. \bar "||" }
1383 @aitemii{dissonant interval,dissonance}
1384 ES: intervalo disonante, disonancias,
1385 I: intervallo dissonante, dissonanza,
1388 NL: dissonant interval; dissonant,
1389 DK: dissonerende interval, dissonans,
1391 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1395 @aitem{dominant ninth chord}
1396 I: accordo di nona di dominante,
1397 F: accord de neuvi@`eme dominante,
1398 D: Dominantnoneakkord,
1399 NL: dominant noon akkoord,
1400 DK: dominantnoneakkord,
1401 S: dominantnonackord,
1402 FI: dominanttinoonisointu.
1404 @aref{chord}, @aref{functional harmony}.
1406 @aitem{dominant seventh chord}
1407 ES: acorde de s@'eptima de dominante,
1408 I: accordo di settima di dominante,
1409 F: accord de septi@`eme dominante,
1410 D: Dominantseptakkord,
1411 NL: dominant septiem akkoord,
1412 DK: dominantseptimakkord,
1413 S: dominantseptimackord,
1414 FI: dominanttiseptimisointu.
1416 @aref{chord}, @aref{functional harmony}.
1426 FI: dominantti, huippusointu.
1428 The fifth @aref{scale degree},
1429 @aref{functional harmony}.
1435 D: dorisch, dorischer Kirchenton,
1436 NL: dorische toonladder,
1441 @aref{diatonic scale}.
1443 @aitem{dot (augmentation dot)}
1445 I: punto (di valore),
1447 D: Punkt (Verl@"angerungspunkt),
1456 ES: nota con puntillo,
1460 NL: gepuncteerde noot,
1463 FI: pisteellinen nuotti.
1467 @aitem{double appoggiatura}
1468 ES: apoyatura doble,
1469 I: appoggiatura doppia,
1470 F: appoggiature double,
1471 D: doppelter Vorschlag,
1472 NL: dubbele voorslag,
1473 DK: dobbelt forslag,
1475 FI: kaksoisappogiatura, kaksoisetuhele.
1477 @aref{appoggiatura}.
1479 @aitem{double bar line}
1483 NL: dubbele maatstreep,
1486 FI: kaksoistahtiviiva.
1488 Indicates the end of a section within a movement.
1490 @aitem{double dotted note}
1491 ES: nota con dos puntillos,
1492 I: nota doppiamente puntata,
1493 F: note doublement point@'ee,
1494 D: doppelt punktierte Note,
1495 NL: dubbelgepuncteerde noot,
1496 DK: dob@-belt@-punk@-te@-ret node,
1497 S: dub@-bel@-punk@-te@-rad not,
1498 FI: kaksoispisteellinen nuotti.
1510 FI: kaksoisalennusmerkki.
1514 @aitem{double sharp}
1515 ES: doble sostenido,
1520 DK: dob@-belt@-kryds,
1522 FI: kaksoisylennysmerkki.
1526 @aitem{double trill}
1531 NL: dubbele triller,
1536 A simultaneous trill on two notes, usually in the distance of a third.
1543 NL: tweedelige maatsoort,
1570 FI: kesto, aika-arvo.
1574 @aitem{dydimic comma}
1575 @aref{syntonic comma}.
1592 D: Achtel, Achtelnote,
1594 DK: ottendedelsnode,
1595 S: @aa{}ttondelsnot,
1596 FI: kahdeksasosanuotti.
1601 ES: silencio de corchea,
1607 DK: ottendedelspause,
1608 S: @aa{}ttonddelspaus,
1609 FI: kahdeksasosatauko.
1617 D: Notenstechen, Notendruck
1623 Engraving means incising or etching a metal plate for
1624 printing. Photoengraving means drawing music with ink in a manner
1625 similar to drafting or engineering drawing, using similar tools.
1627 The traditional process of music printing is done through cutting in a
1628 plate of metal. Now also the term for the art of music typesetting.
1640 Two notes, intervals, or scales are enharmonic if they have different names
1644 \set Score.automaticBars = ##f
1645 %\override Score.TextScript #'font-style = #'large
1647 \context Staff \notes\relative c'' {
1648 gis1 s s as s s <des g,!> s s <cis g!> s s
1650 \context Lyrics \lyrics {
1651 \override Lyrics .LyricText #'self-alignment-X = #-1
1652 "g sharp " "a flat " "dim fifth " "augm fourth"
1656 @aitem{equal temperament}
1658 I: temperamento equabile,
1659 F: temp@'erament @'egal,
1660 D: gleichschwebende Stimmung,
1661 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1662 DK: ligesv@ae{}vende temperatur,
1663 S: liksv@"avande temperatur,
1666 Tuning system dividing the octave into 12 equal @aref{semitone}s
1667 (precisely 100 @aref{cent}s). @aref{temperament}.
1669 @aitem{expression mark}
1671 I: segno d'espressione,
1672 F: signe d'expression, indication de nuance,
1674 NL: voordrachtsteken,
1675 DK: foredragsbetegnelse,
1676 S: f@"oredragsbeteckning,
1677 FI: nyanssiosoitus, esitysmerkki.
1679 Performance indications concerning 1. volume, dynamics (for example
1680 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1681 @aref{andante}, @aref{allegro}).
1703 The position between the dots of the key symbol is the line of the F below
1704 central@w{ }C. Used on the third, fourth and fifth note line. A
1705 digit@w{ }8 above the clef symbol indicates that the notes must be played
1706 an octave higher (for example bass recorder) while 8@w{ }below the clef
1707 symbol indicates playing an octave lower (for example on double bass
1711 \set Score.automaticBars = ##f
1712 \override Staff.Clef #'full-size-change = ##t
1713 %\override Score.LyricText #'font-style = #'large
1727 \context Lyrics \lyrics {
1728 \override Lyrics .LyricText #'self-alignment-X = #-1
1737 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1742 F: point d'orgue, point d'arr@^et,
1747 FI: fermaatti, pid@"ake.
1749 Prolonged note or rest of indefinite duration.
1753 \notes\relative c'' {
1754 a4 b c2^\fermata \bar "|."
1770 @aitem{figured bass}
1771 ES: bajo cifrado, @aref{thorough bass}.
1779 DK: fingers@ae{}tning,
1780 S: fingers@"attning,
1783 The methodical use of fingers in the playing of instruments.
1785 @aitem{flag,pennant}
1787 I: coda (uncinata), bandiera,
1789 D: Fahne, F@"ahnchen,
1795 Ornament at the end of the stem of a note used for notes with values
1796 less than a quarter note. The number of flags determines the
1800 \set Score.automaticBars = ##f
1801 %\override Score.TextScript #'font-style = #'large
1802 \notes\relative c'' {
1822 @aitemii{forefall,backfall}
1823 @aref{appoggiatura}.
1833 FI: forte, voimakkaasti.
1835 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1836 @emph{mezzoforte} (@b{mf}) medium loud.
1860 @aref{counterpoint}.
1862 @aitem{functional harmony}
1863 ES: armon@'{@dotless{i}}a funcional,
1864 I: armonia funzionale,
1865 F: @'etude des functions,
1867 NL: functionele harmonie,
1868 DK: funktionsanalyse, funktionsharmonik,
1870 FI: harmoniaj@"arjestelm@"a.
1872 A system of harmonic analysis. It is based on the idea that, in a given key,
1873 there are only three functionally different chords: tonic (T, the chord on the
1874 first note of the scale), subdominant (S, the chord on the fourth note), and
1875 dominant (D, the chord on the fifth note). Other are considered to be
1876 variants of the base chords.
1879 \set Score.automaticBars = ##f
1880 %\override Score.LyricText #'font-style = #'large
1881 %\override Score.TextScript #'font-style = #'large
1883 \context Voice \notes\relative c'' {
1884 <g e c >1 < a f d > < b g e >
1885 <c a f > < d b g > < e c a > < f d b > }
1886 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1903 D: G-Schl@"ussel, Violinschl@"ussel,
1909 A clef symbol indicating the G above central@w{ }C. Used on the first
1910 and second note lines. A digit 8 above the clef symbol indicates that
1911 the notes must be played an octave higher while 8 below the clef symbol
1912 indicates playing or singing an octave lower (most tenor parts in choral
1913 scores are notated like that).
1916 \set Score.automaticBars = ##f
1917 \override Staff.Clef #'full-size-change = ##t
1918 %\override Score.LyricText #'font-style = #'large
1920 \notes\relative c'' {
1930 \context Lyrics \lyrics {
1931 \override Lyrics .LyricText #'self-alignment-X = #-1
1932 "french violin clef "
1947 FI: glissando, liukuen.
1949 Letting the pitch slide fluently from one note to the other.
1955 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1961 Notes printed in small types to indicate that their time values are not
1962 counted in the rhythm of the bar. @aref{appoggiatura}.
1970 S: ackolad, b@"ojd klammer,
1971 FI: kaksoisnuottiviivasto.
1975 A combination of two staves with a brace. Usually used for piano music.
1985 FI: grave, raskaasti.
1994 D: Halbe, halbe Note,
2015 @aitem{harmonic cadence}
2016 ES: cadencia (arm@'onica),
2017 I: cadenza (armonica),
2018 F: cadence harmonique,
2020 NL: harmonische cadens,
2021 DK: harmonisk kadence,
2022 S: (harmonisk) kadens,
2023 FI: harmoninen kadenssi.
2025 Sequence of chords that terminate a musical phrase or
2026 section. @aref{functional harmony}.
2029 \notes\context PianoStaff <<
2030 \context Staff = SA \relative c'' {
2034 \partial 4 < c g e >4 |
2035 < c a f > < b g d > < c g e >2
2037 % %\override Score.LyricText #'font-style = #'large
2039 \context Staff = SB \relative c {
2041 \partial 4 c4 | f, g c2
2044 \context Lyrics \lyrics {
2051 ES: armon@'{@dotless{i}}a,
2054 D: Harmonie, Zusammenklang,
2058 FI: harmonia, yhteissointi.
2060 Tones sounding simultaneously. Two note harmonies fall into the categories
2061 @emph{consonances} and @emph{dissonances}.
2066 \set Score.automaticBars = ##f
2067 %\override Score.TextScript #'font-style = #'large
2068 \context Voice \notes\relative c'' {
2082 \set Score.automaticBars = ##f
2083 %\override Score.TextScript #'font-style = #'large
2084 \context Voice \notes\relative c'' {
2085 <g a>1_"second " s s
2086 <g f'>_"seventh " s s
2091 Three note harmony @aref{chord}.
2094 ES: homofon@'{@dotless{i}}a,
2101 FI: homofonia, yksi@"a@"anisyys.
2103 Music in which one voice leads melodically followed by the other voices more
2104 or less in the same rhythm. In contrast to @aref{polyphony}.
2114 FI: intervalli, kahden s@"avelen korkeusero.
2116 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2117 diminished, or augmented. The augmented fourth and the diminished fifth are
2118 identical (@aref{enharmonic}) and are called @emph{tritonus}
2119 because they consist of three @aref{whole tone}s. The addition
2120 of such two forms an octave.
2123 \set Score.automaticBars = ##f
2124 %\override Score.LyricText #'font-style = #'large
2125 %\override Score.TextScript #'font-style = #'large
2127 \context Voice \notes\relative c'' {
2132 < gis bes >^"dimin" s
2133 < g! bes >^"minor" s
2137 \context Lyrics \lyrics {
2138 "unisone " "second " "second " "second "
2139 "third " "third " "third " "third "
2144 \set Score.automaticBars = ##f
2145 %\override Score.LyricText #'font-style = #'large
2146 %\override Score.TextScript #'font-style = #'large
2148 \context Staff \notes\relative c'' {
2151 < g d' >^"perfect" s
2153 < gis es' >^"dimin" s
2154 < g! es' >^"minor" s
2158 \context Lyrics \lyrics {
2159 "fourth " "fourth " "fifth " "fifth "
2160 "sixth " "sixth " "sixth " "sixth "
2165 \set Score.automaticBars = ##f
2166 %\override Score.LyricText #'font-style = #'large
2167 %\override Score.TextScript #'font-style = #'large
2169 \context Staff \notes\relative c'' {
2170 < gis f'! >1^"dimin" s
2171 < g! f'! >^"minor" s
2172 < g fis' >^"major" s
2176 < g bes' >^"minor" s
2179 \context Lyrics \lyrics {
2180 "seventh " "seventh " "seventh " "octave "
2181 "none " "none " "decime " "decime "
2185 @aitem{inverted interval}
2186 ES: intervalo invertido,
2187 I: intervallo rivolto,
2188 F: intervalle revers@'e,
2189 D: umgekehrtes Intervall,
2190 NL: interval inversie,
2191 DK: omvendingsinterval,
2192 S: intervallets omv@"andning,
2193 FI: k@"a@"anteisintervalli.
2195 The difference between an interval and an octave.
2198 \set Score.automaticBars = ##f
2199 %\override Score.TextScript #'font-style = #'large
2200 \context Staff \notes\relative c'' {
2201 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2202 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2203 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2207 @aitem{just intonation}
2208 I: intonazione giusta,
2209 F: intonation juste,
2216 Tuning system in which the notes are obtained by adding and subtracting
2217 natural fifths and thirds. @aref{temperament}.
2229 According to the 12@w{ }tones of the @aref{chromatic scale}
2230 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2231 @aref{key signature}.
2233 @aitem{key signature}
2234 ES: armadura de clave,
2235 I: armatura di chiave,
2236 F: armure, armature [de la cl@'e],
2237 D: Vorzeichen, Tonart,
2238 NL: toon@-soort (voortekens),
2241 FI: s@"avellajiosoitus.
2243 The sharps or flats appearing at the beginning of each staff indicating the
2244 key of the music. @aref{accidental}.
2250 D: Largo, Langsam, Breit,
2254 FI: largo, hitaasti, leve@"asti.
2256 Very slow in tempo, usually combined with great
2257 expressiveness. @emph{Larghetto} is less slow than largo.
2259 @aitem{leading note}
2269 The seventh @aref{scale degree}, a @aref{semitone} below
2270 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2271 upwards) to the tonic scale degree.
2273 @aitemii{ledger line,leger line}
2274 ES: l@'{@dotless{i}}neas adicionales,
2275 I: tagli addizionali,
2276 F: ligne suppl@'ementaire,
2279 DK: hj@ae{}lpelinie,
2283 A ledger line is an extension of the staff.
2286 \set Score.automaticBars = ##f
2287 \notes\relative c'' { a,1 s c'' }
2300 To be performed (a) without any perceptible interruption between the notes
2301 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2302 (d) @aref{staccato}.
2305 \set Score.automaticBars = ##f
2307 \context Staff \notes\relative c'' {
2308 c4-( d e-) \bar "||"
2309 c4-- d-- e-- \bar "||"
2310 c4-.-( d-. e-.-) \bar "||"
2311 c4-. d-. e-. \bar "||"
2313 \context Lyrics \lyrics {
2314 % \override Lyrics .LyricText #'font-style = #'large
2322 @aitem{legato curve}
2323 @aref{slur}, @aref{legato}.
2326 ES: estanque de lilas,
2327 I: stagno del giglio,
2331 NL: le@-lie@-vij@-ver,
2336 A pond with lilies floating in it, also the name of a music typesetter.
2340 A ligature is a coherent graphical symbol that represents at least two
2341 distinct notes. Ligatures originally appeared in the manuscripts of
2342 Gregorian chant notation roughly since the 9th century to denote
2343 ascending or descending sequences of notes. In early notation,
2344 ligatures were used for monophonic tunes (Gregorian chant) and very
2345 soon denoted also the way of performance in the sense of articulation.
2346 With the invention of the metric system of the white mensural
2347 notation, the need for ligatures to denote such patterns disappeared.
2352 ES: l@'{@dotless{i}}nea,
2355 D: Linie, Notenlinie,
2359 FI: viiva, nuottiviiva.
2363 @aitem{long appoggiatura}
2364 ES: apoyatura larga,
2365 I: appoggiatura lunga,
2366 F: appoggiature longue,
2367 D: langer Vorschlag,
2370 S: l@aa{}ngt f@"orslag,
2371 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2373 @aref{appoggiatura}.
2385 Note value: double length of @aref{breve}.
2389 \set Score.automaticBars = ##f
2390 \notes\relative c'' {
2391 \override NoteHead #'style = #'mensural
2396 @aitemii{lyrics,song texts}
2406 @aitem{major interval}
2407 ES: intervalo mayor,
2408 I: intervallo maggiore,
2409 F: intervalle majeur,
2410 D: gro@ss{}es Intervall,
2414 FI: suuri intervalli.
2428 @aref{diatonic scale}.
2430 @aitem{meantone temperament}
2431 I: accordatura mesotonica,
2432 F: temp@'erament m@'esotonique,
2433 D: mittelt@"onige Stimmung,
2434 NL: middenstemming, middentoonstemming,
2435 DK: middeltonetemperatur,
2436 S: medeltonstemperatur,
2437 FI: keskis@"avelviritys.
2439 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2440 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2441 @aref{temperament} only a limited set of keys are playable.
2442 Used for tuning keyboard instruments for performance of pre-1650 music.
2444 @aitem{measure, bar}
2454 A group of @aref{beat}s (units of musical time) the first of which
2455 bears an accent. Such groups in numbers of two or more recur consistently
2456 throughout the composition and are marked from each other by
2457 bar-lines. @aref{meter}.
2461 I: mediante, modale,
2469 1. The third @b{scale degree}.
2470 2. A @aref{chord} having its base tone
2471 a third from that of another chord. For example, the tonic chord may be
2472 replaced by its lower mediant (variant tonic). @aref{functional
2473 harmony}, @aref{relative key}.
2478 FI: melisma, laulettavan tavun s@"avelkuvio.
2480 A melisma (plural: melismata) is a group of notes or tones sung on one
2481 syllable in plainsong
2483 @aitem{melodic cadence}
2489 F: indication de m@'esure,
2496 The basic scheme of @aref{note value}s and
2497 @aref{accent}s which remains unaltered throughout a composition
2498 or a section of it. For instance, 3/4 meter means that the basic
2499 @aref{note value}s are quarter notes and that a
2500 @aref{measure} consists of three of those. According to
2501 whether there are two, three or four units to the measure,
2502 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2503 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2506 \notes\relative c'' {
2509 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2513 \notes\relative c' {
2516 f8 f f f a16 g a f |
2517 c'8 c c c e16 d e c \bar "||"}
2521 \notes\relative c'' {
2524 d4 b8 g b d d c a4 |
2525 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2538 Device indicating the exact tempo of a piece. @aref{metronomic
2541 @aitem{metronomic indication}
2542 ES: indicaci@'on metron@'omica,
2543 I: indicazione metronomica,
2544 F: indication m@'etronomique,
2546 NL: metronoom aanduiding,
2548 S: metronomangivelse,
2549 FI: metronomiosoitus.
2551 Exact tempo indication (in beats per minute). Also denoted by
2552 M.M. (M@"alzels Metronom).
2554 @aitem{mezzo-soprano}
2564 The female voice between @aref{soprano} and
2571 D: eingestrichenes@w{ }c,
2573 DK: enstreget@w{ }c,
2574 S: ettstruket@w{ }c,
2577 First C below the 440 Hz A.
2580 \set Score.automaticBars = ##f
2581 \override Staff.Clef #'full-size-change = ##t
2582 \notes\relative c' {
2599 @aref{diatonic scale}.
2601 @aitem{minor interval}
2602 ES: intervalo mayor,
2603 I: intervallo minore,
2604 F: intervalle mineur,
2605 D: kleines Intervall,
2609 FI: pieni intervalli.
2621 FI: moodi, kirkkos@"avelasteikko.
2623 @aref{church mode}, @aref{diatonic scale}.
2633 FI: modulaatio, s@"avellajin vaihdos.
2635 Moving from one @aref{key} to another. For example, the second
2636 subject of a @aref{sonata form} movement modulates to the dominant
2637 key if the key is major and to the @aref{relative key} if the key
2647 FI: mordent, korukuvio.
2651 @aitemii{motive,motif}
2659 FI: teema, s@"avelaihe.
2661 The briefest intelligible and self-contained fragment of a musical theme or
2665 \set Score.TimeSignature = \turnOff
2666 %\override Score.TextScript #'font-style = #'large
2667 \notes\relative c'' {
2670 \partial 8 g16_"------" fis |
2671 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2672 g8 g,16 a b8 cis d16 s
2686 Greater musical works like @aref{symphony} and
2687 @aref{sonata} most often consist of several -- more or less --
2688 independant pieces called movements.
2690 @aitem{multibar rest}
2691 ES: compases de espera,
2695 D: mehrtaktige Pause,
2698 FI: usean tahdin mittainen tauko.
2701 \notes\relative c'' {
2703 \set Score.skipBars = ##t R1*3
2708 @aitem{mixolydian mode}
2709 @aref{diatonic scale}.
2711 @aitem{natural sign}
2715 D: Aufl@"osungszeichen,
2716 NL: herstellingsteken,
2717 DK: op@-l@o{}sningstegn,
2718 S: @aa{}terst@"allningstecken,
2723 @aitem{neighbour tones}
2724 @aref{appoggiatura}.
2751 Notes are signs by means of which music is fixed in writing. The term is also
2752 used for the sound indicated by a note, and even for the key of the piano
2753 which produces the sound. However, a clear distinction between the terms tone
2754 and @aref{note} is strongly recommended. Briefly, one sees a note,
2759 I: testa, testina, capocchia,
2760 F: t@^ete de la note,
2767 A head like sign which indicates pitch by its position on a
2768 @aref{staff} provided with a @aref{clef}, and duration
2769 by a variety of shapes such as hollow or black heads with or without
2770 @aref{stem}s, @aref{flag}s, etc. For percussion
2771 instruments (often having no defined pitch) the note head may indicate the
2777 F: dur@'ee, valeur (d'une note),
2782 FI: nuotin aika-arvo.
2784 Note values (durations) are measured as fractions, normally 1/2, of the next
2785 higher note value. The longest duration normally used is called @emph{brevis},
2786 but sometimes (mostly in pre baroque music) the double length note value
2787 @emph{longa} is used.
2790 %\override Score.TextScript #'font-style = #'large
2791 \set Score.automaticBars = ##f
2792 \notes\relative c'' {
2793 \override NoteHead #'style = #'mensural
2794 g\longa_"longa" g\breve_"breve"
2795 \revert NoteHead #'style
2796 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2797 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2801 %\override Score.TextScript #'font-style = #'large
2802 \set Score.automaticBars = ##f
2803 \notes\relative c'' {
2804 r\longa_"longa" r\breve_"breve"
2805 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2806 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2809 An augmentation dot after a note multiplies the duration by one and a
2810 half. Another dot adds yet a fourth of the duration.
2813 %\override Score.TextScript #'font-style = #'large
2814 \notes\relative c'' {
2816 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2817 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2820 Alternatively note values may be subdivided by other ratios. Most common is
2821 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2822 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2823 dotted notes are also frequently used.
2826 %\override Score.TextScript #'font-style = #'large
2827 \notes\relative c'' {
2829 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2830 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2835 \notes\relative c'' {
2837 \times 3/2 {g4_"duplets" g} |
2839 \times 6/4 {g8_"quadruplets" g g g} |
2840 g8 g g g g4 \bar "||"
2845 @aref{G clef}, @aref{F clef}.
2859 @aitemiii{ornament,embellishment,accessory}
2861 I: abbellimento, fioriture,
2862 F: agr@'ement, ornement,
2863 D: Verzierung, Ornament,
2869 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2870 with the diatonic @aref{second} above it. In the music from the
2871 middle of the 19th century and onwards the trill is performed with the main
2872 note first while in the music from the preceding baroque and classic periods
2873 the upper note is played first.
2877 \context Staff = sa {
2878 % \override Score.TextScript #'font-style = #'large
2879 \notes\relative c'' {
2880 c2._"pre-1850" b4\trill | c1 \bar "||"
2881 c2._"post-1850" b4\trill | c1 \bar "||"
2884 \notes\relative c'' {
2885 c2. c32 b c b c b c b | c1
2886 c2. b32 c b c \times 4/5 { b c b c b } | c1
2891 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2892 @emph{prall} (inverted mordent).
2896 \context Staff = sa {
2897 % \override Score.TextScript #'font-style = #'large
2898 \notes\relative c'' {
2899 a4_"turn" b\turn c2 \bar "||"
2900 g4_"mordent" a b\mordent a \bar "||"
2901 e'4_"prall" d\prall c2 \bar "||"
2904 \notes\relative c'' {
2907 e'4 e32[ d e d ~ d8] c2
2912 @aref{appoggiatura}.
2922 FI: ossia, vaihtoehtoinen esitystapa.
2924 Ossia (otherwise) marks an alternative. It is an added staff or piano
2925 score, usually only a few measures long, which presents another version
2926 of the music, for example for small hands.
2936 FI: stemma, instrumenttiosuus.
2938 1. In instrumental or choral music the music for the single instrument
2939 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2940 melodic line of the contrapunctal web.
2946 D: Schlagzeug, Schlagwerk,
2950 FI: ly@"om@"asoittimet.
2952 A family of musical instruments which are played on by striking or
2953 shaking. Percussion instruments commonly used in a symphony orchestra are
2954 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2955 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2958 @aitem{perfect interval}
2959 ES: intervalo justo,
2960 I: intervallo giusto,
2961 F: intervalle juste,
2962 D: reines Intervall,
2966 FI: puhdas intervalli.
2980 A natural division of the melodic line, comparable to a sentence of speech.
2990 FI: fraseeraus, j@"asent@"aminen.
2992 The clear rendering in musical performance of the @aref{phrase}s of
2993 the melody. Phrasing may be indicated by a @aref{slur}.
3005 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3006 @emph{mezzopiano} (@b{mp}) medium soft.
3023 NL: pizzicato, getokkeld,
3026 FI: pizzicato, n@"app@"aillen.
3028 Play by plucking the strings.
3031 ES: polifon@'{@dotless{i}}a,
3038 FI: polyfonia, moni@"a@"anisyys.
3040 Music written in a combination of several simultaneous voices (parts) of a
3041 more or less pronounced individuality. @aref{counterpoint}.
3050 D: Presto, Sehr schnell,
3051 NL: presto, Sehr schnell,
3054 FI: presto, hyvin nopeasti.
3056 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3057 denotes the highest possible degree of speed.
3059 @aitem{Pythagorean comma}
3060 ES: coma pitag@'orico,
3061 I: comma pitagorico,
3062 F: comma pythagoricien,
3063 D: Pythagor@"aisches Komma,
3064 NL: komma van Pythagoras,
3065 DK: pythagor@ae{}isk komma,
3066 S: pytagoreiskt komma,
3067 FI: pytagorinen komma.
3069 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3070 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3071 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3072 7@w{ }octaves. The difference between those two pitches is called the
3087 @aitem{quarter note}
3089 I: semiminima, nera,
3092 D: Viertel, Viertelnote,
3096 FI: nelj@"annesosanuotti.
3100 @aitem{quarter rest}
3101 ES: silencio de negra,
3102 I: pausa di semiminima,
3107 DK:@w{ }fjerdedelspause,
3108 S: fj@"ardedelspaus,
3109 FI: nelj@"annesosatauko.
3129 D: rallentando, langsamer werden,
3133 FI. rallerdando, hidastuen,
3135 Abbreviation "rall.". @aref{ritardando}.
3137 @aitem{relative key}
3139 I: tonalit@`a relativa,
3140 F: tonalit@'e relative,
3142 NL: paralleltoonsoort,
3143 DK: paralleltoneart,
3145 FI: rinnakkaiss@"avellaji.
3147 @aref{major} and @aref{minor} @aref{key}
3148 with the same @aref{key signature}.
3151 \set Score.automaticBars = ##f
3152 %\override Score.TextScript #'font-style = #'large
3153 \notes\relative c' {
3155 es1_"e flat major" f g as bes c d es
3161 \set Score.automaticBars = ##f
3162 %\override Score.TextScript #'font-style = #'large
3163 \notes\relative c' {
3165 c1_"c minor" d es f g a! b! c \bar "||"
3170 ES: barra de repetici@'on,
3172 F: barre de reprise,
3175 DK: gen@-ta@-gel@-se,
3182 \notes\relative c'' {
3183 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3187 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3188 @c specify the rest's value.
3212 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3213 fixed unit of time, called @aref{beat}, and in which the normal
3214 @aref{accent} recurs in regular intervals, called
3215 @aref{measure}. The basic scheme scheme of time values is called
3216 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3217 accent. In modern notation such music appears as a free alternation of
3218 different measures. (c) Free rhythm, i.e., the use of temporal values having
3219 no common metrical unit (beat).
3225 D: Ritardando, langsamer werden,
3229 FI. ritardando, hidastuen,
3231 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3241 FI: ritenuto, hidastaen.
3243 Immediate reduction of speed.
3253 FI: asteikko, s@"avelasteikko.
3255 @aref{diatonic scale}.
3257 @aitem{scale degree}
3258 ES: grados de la escala,
3259 I: grado della scala,
3260 F: degr@'e [de la gamme],
3262 NL: trap [van de toonladder],
3265 FI: s@"avelaste, asteikon s@"avel.
3267 Names and symbols used in harmonic analysis to denote tones of the scale as
3268 roots of chords. The most important are degrees I = tonic (T), IV =
3269 sub@-do@-mi@-nant (S) and V = dominant (D).
3272 \set Score.automaticBars = ##f
3273 %\override Score.LyricText #'font-style = #'large
3274 %\set minVerticalAlign = #8
3276 \context Staff \notes\relative c' {
3279 \context Lyrics \lyrics {
3280 << { I II III IV V VI VII I }
3285 @aref{functional harmony}.
3291 D: Partitur (full score), Klavierauszug (vocal score)
3297 A copy of orchestral, choral or chamber music showing what each instrument is
3298 to play, each voice to sing, having each part arranged one underneath the
3299 other on different staves @aref{staff}.
3311 The @aref{interval} between two neigbouring tones of a scale. A
3312 @aref{diatonic scale} consists of alternating
3313 @aref{semitone}s and @aref{whole tone}s, hence the size
3314 of a se@-cond depends on the scale degrees in question.
3326 The @aref{interval} of a minor second. The (usually) smallest
3327 interval in European composed music. The interval between two neighbouring
3328 tones on the piano keyboard -- including black and white keys -- is a
3329 semitone. An octave may be divided into 12@w{ }semitones.
3330 @aref{interval}, @aref{chromatic scale}.
3333 \set Score.automaticBars = ##f
3334 \notes\relative c'' { g1 gis s a bes s b! c }
3349 @aitem{sextuplet, sextolet}
3372 @aitem{short appoggiatura}
3373 @aref{appoggiatura}.
3375 @aitem{sixteenth note}
3380 D: Sechzehntel, Sechzehntelnote,
3381 NL: zes@-ti@-ende noot,
3382 DK: sekstendedelsnode,
3384 FI: kuudestoistaosanuotti.
3388 @aitem{sixteenth rest}
3389 ES: silencia de semicorchea,
3390 I: pausa di semicroma,
3392 UK: semiquaver rest,
3393 D: Sechzehntelpause,
3395 DK: sekstendedelspause,
3413 @aitem{sixty-fourth note}
3416 F: quadruple croche,
3417 UK: hemidemisemiquaver,
3418 D: Vierundsechzigstel, Vierundsechzigstelnote,
3419 NL: vierenzestigste noot,
3420 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3421 S: sextiofj@"ardedelsnot,
3422 FI: kuudeskymmenesnelj@"asosanuotti.
3426 @aitem{sixty-fourth rest}
3427 ES: silencia de semifusa,
3428 I: pausa di semibiscroma,
3429 F: seizi@`eme de soupir,
3430 UK: hemidemisemiquaver rest,
3431 D: Vierundsechzigstelpause,
3432 NL: vierenzestigste rust,
3433 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3434 S: sextiofj@"ardedelspaus,
3435 FI: kuudeskymmenesnelj@"asosatauko.
3441 I: legatura (di portamento or espressiva),
3442 F: liaison, coul@'e,
3443 D: Bogen, Legatobogen, Phrasierungsbogen,
3444 NL: fraseringsboog, legatoboog, streekboog,
3445 DK: legatobue, fraseringsbue,
3449 A slur above or below a group of notes indicates that they are to be played
3450 @aref{legato}, e.g., with one stroke of the violin bow or with one
3460 FI: suhteelliset laulunimet.
3462 General term for systems of designating the degrees of the
3463 @aref{scale}, not by letters, but by syllables (@emph{do}
3464 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3465 (@emph{ti})). @aref{scale degree}.
3477 In its present-day meaning a sonata denotes an instrumental composition for
3478 piano or for some other instrument with piano accompaniment, which consists of
3479 three or four independant pieces, called movements.
3484 F: [en] forme de sonate,
3486 NL: hoofdvorm, sonatevorm,
3491 A form used frequently for single movements of the @aref{sonata},
3492 @aref{symphony}, quartet, etc. A movement written in sonata form
3493 falls into three sections called @emph{exposition}, @emph{development} and
3494 @emph{recapitulation}. In the exposition the composer introduces his musical
3495 ideas, consisting of a number of themes; in the development section he
3496 "develops" this material, and in the recapitulation he repeats the exposition,
3497 with certain modifications, however. The exposition contains a number of themes
3498 which fall into two groups, often called first and second subject. Other
3499 melodies occurring in each group are considered as continuations of these
3500 two. The second theme is in another key, normally in the key of the
3501 @aref{dominant} if the @aref{tonic} is
3502 @aref{major}, and in the @aref{relative key} if the
3503 tonic is @aref{minor}.
3513 FI: sopraano, korkea nais@"a@"ani.
3515 The highest female voice.
3520 F: staccato, piqu@'e, d@'etach@'e,
3525 FI: staccato, lyhyesti, ter@"av@"asti.
3527 Playing the note(s) short. Staccato is indicated by a dot above or below the
3533 \notes\relative c'' {
3535 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3542 I: pentagramma, rigo (musicale),
3545 NL: (noten)balk, partij,
3550 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3551 which the musical notes are written, thus indicating (in connection
3552 with a @aref{clef}) their pitch. Staves for
3553 @aref{percussion} instruments may have fewer lines.
3559 D: Hals, Notenhals, Stiel,
3565 Vertical line above or below a @aref{note head} shorter than a
3566 whole note. @aref{beam}.
3569 \set Score.autoBeaming = ##f
3570 \set Score.automaticBars = ##f
3571 %\override Score.TextScript #'font-style = #'large
3572 \notes\relative c'' {
3590 A family of stringed musical instruments played with a bow. Strings commonly
3591 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3597 D: betonter Taktteil oder Taktschlag,
3599 D: betonet taktslag,
3600 S: betonat taktslag,
3601 FI: tahdin vahva isku.
3603 @aref{beat}, @aref{accent}, @aref{measure},
3614 FI: subdominantti, alidominantti.
3616 The fourth @aref{scale degree}. @aref{functional
3627 FI: alikeskis@"avel.
3629 The sixth @aref{scale degree}.
3639 FI: subtoonika, alitoonika.
3641 The seventh @aref{scale degree}.
3643 @aitem{superdominant}
3653 The sixth @aref{scale degree}.
3665 The second @aref{scale degree}.
3668 ES: sinfon@'{@dotless{i}}a,
3671 D: Sinfonie, Symphonie,
3677 A symphony may be defined as a @aref{sonata} for orchestra.
3689 Any deliberate upsetting of the normal pulse of @aref{meter},
3690 @aref{accent} and @aref{rhythm}. Our system of musical
3691 rhythm rests upon the grouping of equal beats into groups of two or three,
3692 with a regularly recurrent accent on the first beat of each group. Any
3693 deviation from this scheme is felt as a disturbance or contradiction between
3694 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3698 \notes\relative c' {
3701 e c'4 e,8 c'4 e,8 c' ( | c2)
3705 @aitemii{syntonic comma,dydimic comma}
3706 I: comma sintonico (o didimico),
3707 F: comma syntonique,
3708 D: syntonisches Komma,
3709 NL: syntonische komma,
3710 DK: syntonisk komma,
3711 S: syntoniskt komma,
3712 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3714 Difference between the natural third and the third obtained by Pythagorean
3715 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3724 FI: nuottij@"arjestelm@"a.
3726 The collection of staves @aref{staff}, two or more, as used for
3727 writing down of keyboard, chamber, choral, or orchestral music.
3733 D: Stimmung, Temperatur,
3734 NL: stemming, temperatuur,
3737 FI: viritysj@"arjestelm@"a.
3739 Systems of tuning in which the intervals deviate from the acoustically pure
3740 intervals. @aref{meantone temperament}, @aref{equal
3743 @aitem{tempo indication}
3744 ES: indicaci@'on de tempo,
3745 I: indicazione di tempo,
3746 F: indication de temps,
3747 D: Zeitma@ss{}, Tempobezeichnung,
3748 NL: tempo aanduiding,
3751 FI: tempomerkint@"a.
3753 The rate of speed of a composition or a section thereof, ranging from the
3754 slowest to the quickest, as is indicated by tempo marks as
3755 @aref{largo}, @aref{adagio}, @aref{andante},
3756 @aref{allegro}, and @aref{presto}.
3766 FI: tenori, korkea mies@"a@"ani.
3768 The highest voice of men (apart from @aref{counter tenor}).
3794 @aitem{thirty-second note}
3799 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3800 NL: twee-endertig@-ste noot,
3801 DK: toogtredivtedelsnode,
3802 S: trettiotv@aa{}ondelsnot,
3803 FI: kolmanneskymmeneskahdesosanuotti.
3807 @aitem{thirty-second rest}
3808 ES: silencio de fusa,
3809 I: pausa di biscroma,
3810 F: huiti@`eme de soupir,
3811 UK: demisemiquaver rest,
3812 D: Zweiunddreissigstel@-pause,
3814 DK: toogtredivtedelspause,
3815 S: trettiotv@aa{}ondelspaus,
3816 FI: kolmanneskymmeneskahdesosatauko.
3820 @aitemii{thorough bass,figured bass}
3822 I: basso continuo, basso numerato,
3823 F: basse chiffr@'ee,
3824 D: Generalbass, bezifferter Bass,
3825 NL: basso continuo, becijferde bas
3828 FI: kenraalibasso, numeroitu basso.
3830 A method of indicating an accompaniment part by the bass notes only, together
3831 with figures designating the chief @aref{interval}s and
3832 @aref{chord}s to be played above the bass notes.
3835 \context GrandStaff <<
3836 \context Staff = lh \notes\relative c'' {
3840 << \context Voice = rha {
3843 \context Voice = rhb {
3845 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3849 \context Staff = rh \notes\relative c' {
3852 es8 c d bes c as bes16 as g f | es4
3854 \context Lyrics \lyrics {
3855 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3856 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3857 { "" "" "" "2" "" "" "" "" "" "2" } >>
3863 ES: ligadura de prolongaci@'on,
3864 I: legatura (di valore),
3867 NL: overbinding, bindingsboog,
3869 S: bindeb@aa{}ge, @"overbindning,
3872 A curved line, identical in appearance with the @aref{slur}, which
3873 connects two succesive notes of the same pitch, and which has the function of
3874 uniting them into a single sound equal to the combined durations.
3877 \set Score.automaticBars = ##f
3878 \notes\relative c'' { g2 ~ g4. }
3881 @aitem{time signature}
3882 ES: cifra indicadora de comp@'as,
3884 F: chiffrage (chiffres indicateurs), signe de valeur,
3885 D: Taktangabe, Angabe der Taktart,
3888 S: taktartssignatur,
3903 A sound of definite pitch and duration, as distinct from @emph{noise}.
3904 Tone is a primary building material of music.
3905 Music from the 20th century may be based on non tone related sounds.
3917 The first @aref{scale degree}.
3918 @aref{functional harmony}.
3920 @aitem{transposition}
3921 ES: transposici@'on,
3930 Shifting a melody up or down in pitch, while keeping the same
3936 \notes\relative c'' {
3938 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3946 \transpose c bes \relative c'' {
3948 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3955 I: chiave di violino,
3957 D: Violinschl@"ussel, Sopranschl@"ussel,
3959 DK:@w{ }diskantn@o{}gle,
3975 On stringed instruments (@aref{strings}) the quick reiteration of
3976 the same tone, produced by a rapid up-and-down movement movement of the bow
3977 (a). The term is also used for the rapid alternation (b) between two notes of
3978 a @aref{chord}, usually in the distance of a third
3982 \set Score.automaticBars = ##f
3983 %\override Score.TextScript #'font-style = #'large
3984 \notes\relative c' {
3986 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3987 \repeat "tremolo" 8 { e32_"b" g }
3992 ES: tr@'{@dotless{i}}ada,
3994 F: triade, accord parfait, accord de trois sons,
4003 @aitemii{trill,shake}
4006 F: trille, tremblement, battement (cadence),
4015 @aitem{triple meter}
4016 ES: comp@'as compuesto,
4020 NL: driedelige maatsoort,
4040 ES: tr@'{@dotless{i}}tono,
4053 I: diapason, corista,
4061 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4062 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4064 @aitemii{turn,gruppetto}
4077 ES: un@'{@dotless{i}}sono,
4084 FI: unisono, yksi@"a@"anisesti.
4086 Playing of the same notes or the same melody by various instruments (voices)
4087 or by the whole orchestra (choir), either at exactly the same pitch or in a
4091 ES: entrada anacr@'usica,
4093 F: anacrouse, lev@'ee,
4100 Initial note(s) of a melody occurring before the first bar
4101 line. @aref{measure}, @aref{meter}.
4106 \notes\relative c' {
4107 \partial 4 f4 | bes4. a8 bes4 c |
4108 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4119 FI: @"a@"ani, laulu@"a@"ani.
4121 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4122 @aref{contralto}, @aref{tenor},
4123 @aref{baritone}, @aref{bass}.
4124 2. A melodic layer or part of a polyphonic composition.
4128 I: tempo debole, arsi,
4130 D: unbetonter Taktteil oder Taktschlag,
4132 DK: ubetonet taktslag,
4133 S: obetonat taktslag,
4134 FI: tahdin heikko isku.
4136 @aref{beat}, @aref{measure}, @aref{rhythm}.
4143 D: Ganze, ganze Note,
4152 ES: silencio de redonda,
4153 I: pausa di semibreve,
4156 D: ganze Pause, ganztaktige Pause,
4174 The @aref{interval} of a major second. The interval between two
4175 tones on the piano keyboard with exactly one key between them -- including
4176 black and white keys -- is a whole tone.
4184 DK tr@ae{}bl@ae{}sere,
4185 S: tr@"abl@aa{}sare,
4188 A family of blown wooden musical instruments. Today some of these instruments
4189 are actually made from metal. The woodwind instruments commonly used in a
4190 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4196 @table @samp @c @strong
4197 @item DURATION NAMES, NOTES AND RESTS
4200 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4202 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4203 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4207 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4208 @tab longa @tab longa @tab longa
4212 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4213 brevis @tab brevis @tab brevis @tab brevis
4217 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4218 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4222 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4223 halve @tab halv @tab halv @tab puoli- @tab
4227 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4228 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4232 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4233 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4237 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4238 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4239 @tab kuudestoistaosa- @tab
4243 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4244 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4245 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4249 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4250 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4251 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4252 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4255 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4259 @table @samp @c @strong
4263 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4265 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4266 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4270 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4274 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4275 cis @tab cis @tab cis
4279 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4280 des @tab des @tab des
4284 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4288 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4292 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4296 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4300 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4305 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4309 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4310 ais @tab ais @tab ais
4314 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4319 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4325 @table @samp @c @strong
4327 @item ---------------------
4331 @item Literature used
4332 The Harvard Dictionary of Music, London 1944. Many more or less literal
4333 quotes from its articles have been included into the item explanation texts.
4335 Hugo Riemanns Musiklexicon, Berlin 1929.
4337 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4338 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.