1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @documentencoding utf-8
9 @dircategory GNU music project
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in @uref{source/Documentation/user/out-www/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/out-www/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author Dadiv Gonzalez @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2005 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
61 This glossary was brought you by
69 @item Christian Mondrup
70 Original author of LilyPond glossary, Danish glossary,
73 @item Fran@,{c}ois Pinard
74 Original glossary of GNU music project, French glossary,
75 @item Han-Wen Nienhuys
77 @item Jan Nieuwenhuizen
82 English glossary translations,
84 Finnish glossary translations.
87 Copyright 1999--2005 by the authors
90 Permission is granted to copy, distribute and/or modify this document
91 under the terms of the GNU Free Documentation License, Version 1.1
92 or any later version published by the Free Software Foundation,
93 without Invariant Sections.
99 @c @everyheading @| @thispage @|
100 @c @evenheading @thispage @| @|
101 @c @oddheading @| @| @thispage @|
103 @include macros.itexi
108 @w{@arrow{}@strong{\word\}}@c
111 @arrow{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
132 @item UK - British English
149 * ancient minor scale::
153 * ascending interval::
154 * augmented interval::
186 * compound interval::
188 * conjunct movement::
201 * descending interval::
203 * diminished interval::
205 * disjunct movement::
207 * dissonant interval::
208 * dominant ninth chord::
209 * dominant seventh chord::
212 * dot (augmentation dot)::
214 * double appoggiatura::
216 * double dotted note::
225 * ecclesiastical mode::
231 * equal temperament::
245 * functional harmony::
259 * inverted interval::
272 * long appoggiatura::
277 * meantone temperament::
284 * metronomic indication::
320 * Pythagorean comma::
342 * short appoggiatura::
346 * sixty-fourth note::
347 * sixty-fourth rest::
374 * thirty-second note::
375 * thirty-second rest::
424 FI: aksentti, korostus.
426 The stress of one tone over others.
433 @c F: how to distinguish between accidental and key-sig alteration?
439 I: alterazione, accidente,
441 D: Vorzeichen, Versetzungszeichen,
444 S: tillfälligt förtecken,
445 FI: tilapäinen etumerkki.
447 @c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
448 @c Akzidenz, NL: toevallig teken, I: accidento.
450 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
451 by a @aref{whole tone}, a flat lowers it by a semitone and a double
452 flat lowers it by a whole tone. A natural cancels the effect of a previous
455 @lilypond[fragment,notime,linewidth=13.0\cm]
456 \set Score.automaticBars = ##f
457 %\override TextScript #'font-style = #'large
459 \context Staff \relative c'' {
460 gis1 gisis ges geses g!
462 \context Lyrics \lyrics {
463 \override Lyrics .LyricText #'self-alignment-X = #-1
464 sharp "db. sharp" flat "db. flat" natural
473 F: accelerando, en accélérant,
474 D: accelerando, schneller werden,
478 FI: accelerando, kiihdyttäen.
492 FI: adagio, hitaasti.
494 It.@: comfortable, easy.
495 1.@tie{}Slow tempo, slower -- especially in even meter -- than
496 @aref{andante} and faster than @aref{largo}.
497 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
498 @aref{sonata}s, symphonies, etc.
506 D: Allegro, Schnell, Fröhlich, Lustig,
510 FI: allegro, nopeasti.
512 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
513 tempo, especially the first and last movements of a @aref{sonata}.
525 FI: altto, matala naisääni.
527 A female voice of low range (@emph{contralto}). Originally the alto was a
528 high male voice (hence the name), which by the use of falsetto reached the
529 height of the female voice. This type of voice is also known as
530 @aref{counter tenor}.
535 ES: clave de do en tercera,
536 I: chiave di contralto,
537 F: clef d'ut troisième ligne,
538 D: Altschlüssel, Bratschenschlüssel,
544 C clef setting middle C on the middle line of the staff
557 FI: ambitus, ääniala, soitinala.
559 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
560 of pitches for a given voice in a part of music. It may also denote
561 the pitch range that a musical instrument is capable of playing.
563 @node ancient minor scale
564 @section ancient minor scale
566 I: scala minore naturale,
567 F: forme du mode mineur ancien, troisème mode, mode hellénique
569 NL: authentieke mineurtoonladder,
572 FI: luonnollinen molliasteikko.
574 @aref{diatonic scale}.
576 @lilypond[fragment,notime,linewidth=13.0\cm]
577 \set Score.automaticBars = ##f
594 Walking tempo/character.
597 @section appoggiatura
601 F: appogiature, (port de voix),
606 FI: appoggiatura, etuhele.
608 Ornamental note, usually a second, that is melodically connected with the
609 main note following it. In music before the 19th century a.@: were usually
610 performed on the beat, after that mostly before the beat. While the short
611 a.@: is performed as a short note regardless of the duration of the main note
612 the duration of the long a.@: is proportional to that of the main note.
614 @lilypond[linewidth=13.0\cm]
615 \context Voice \relative c'' {
619 %\override Score.TextScript #'font-style = #'large
620 <d a fis>4_"notation" r
621 { \override Stem #'flag-style = #'()
623 \revert Stem #'flag-style
626 { \override Stem #'flag-style = #'()
628 \revert Stem #'flag-style
631 \cadenzaOn a4 \bar "||" \cadenzaOff
633 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
634 \cadenzaOn a4 \bar "||" \cadenzaOff
638 An appoggiatura may have more notes preceding the main note.
640 @lilypond[linewidth=13.0\cm]
644 % \override Score.TextScript #'font-style = #'large
645 \grace { bes16 } as8_"notation" as16 bes as8 g |
646 \grace { as16[( bes] } < c as >4-)
647 \grace { as16[( bes] } < c as >4-) \bar "||"
648 \grace { bes16 } as8_"performance" as16 bes as8 g |
649 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
650 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
661 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
663 DK: arpeggio, akkordbrydning,
665 FI: arpeggio, murtosointu.
667 @lilypond[fragment,linewidth=13.0\cm]
668 \context PianoStaff <<
669 \context Staff = SA \relative c'' {
672 r8 g16 c e g, c e r8 g,16 c e g, c e |
673 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
674 \context Staff = SB \relative c' {
676 << \context Voice = va {
678 r16 e8. ( e4) r16 e8. ( e4) |
679 r16 d8. ( d4) r16 d8. ( d4) }
680 \context Voice = vb {
687 @node ascending interval
688 @section ascending interval
690 ES: Intervalo ascendente,
691 I: intervallo ascendente,
692 F: intervalle ascendant,
693 D: steigendes Intervall,
694 NL: stijgend interval,
695 DK:@w{ }stigende interval,
696 S: stigande intervall,
697 FI: nouseva intervalli.
699 A distance between a starting lower note and a higher ending note.
701 @node augmented interval
702 @section augmented interval
704 ES: intervalo aumentado,
705 I: intervallo aumentato,
706 F: intervalle augmenté,
707 D: übermäßiges Intervall,
708 NL: overmatig interval,
709 DK: forstørret interval,
710 S: överstigande intervall,
711 FI: ylinouseva intervalli.
720 D: Autograph, Handschrift,
722 DK: håndskrift, autograf,
724 FI: käsinkirjoitettu nuotti.
726 1.@tie{}A manuscript in the composer's own hand.
727 2.@tie{}Music prepared for photoreproduction by freehand drawing,
728 with the aid of a straightedge ruler and T-square only,
729 which attempts to emulate engraving.
730 This required more skill than did engraving.
752 ES: compás, @aref{measure}.
758 I: stanghetta, barra (di divisione),
759 F: barre (de mesure),
776 FI: baritoni, keskikorkuinen miesääni.
778 The male voice intermediate between the @aref{bass} and the
781 @c F: clef de troisième ligne dropped
784 @section baritone clef
786 ES: clave de fa en tercera,
787 I: chiave di baritono,
788 F: clef d' Ut cinquième ligne, clef de Fa troisième,
795 C or F clef setting middle C on the upper staff line.
796 @aref{C clef}, @aref{F clef}.
801 ES: clave de fa en cuarta,
803 F: clé de fa quatrième ligne,
810 A clef setting with middle C on the first top ledger line.
822 FI: basso, matala miesääni.
824 1.@tie{}The lowest male voice.
825 2.@tie{}Sometimes, especially in jazz music, used as
826 an abbreviation for double bass.
840 Line connecting a series of notes (shorter than a quarter note).
841 The number of beams determines the note value of the connected notes.
843 @lilypond[fragment,notime,linewidth=13.0\cm]
844 \set Score.automaticBars = ##f
845 %\override TextScript #'font-style = #'large
848 g16_"1/16"[ g g g] s16
849 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
850 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
859 D: Takt, Taktschlag, Zeit (im Takt),
865 Note value used for counting, most often half-, fourth-, and eighth notes.
866 The base counting value and the number of them per measure is indicated at
867 the start of the music.
869 @lilypond[fragment,linewidth=13.0\cm]
872 \relative c'' { g4 c b a | g1 \bar "||"}
874 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
888 D: Klammer, Akkolade,
889 NL: accolade, teksthaak,
892 FI: yhdistävä sulkumerkki.
894 Symbol at the start of a system connecting staves. Curly braces are used
895 for connecting piano staves, angular brackets for connecting parts in an
896 orchestral or choral score.
898 @lilypond[fragment,raggedright]
899 \context GrandStaff <<
900 \relative c''\context Staff = SA { \clef treble g4 e c2 }
901 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
904 @lilypond[fragment,raggedright]
905 \context StaffGroup <<
906 % \set StaffGroup.minVerticalAlign = #12
907 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
908 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
920 S: brassinstrument, mässingsinstrument,
923 A family of blown musical instruments made of brass, all using a cup formed
924 mouth piece. The brass instruments commonly used in a symphony orchestra are
925 trumpet, trombone, french horn, and tube.
932 D: Atemzeichen, Trennungszeichen,
933 NL: repercussieteken,
934 DK: vejrtrækningstegn,
938 Indication of where to breathe in vocal and wind instrument parts.
951 @aref{note value}, twice as long as a whole note. Mainly used
954 @lilypond[fragment,notime,raggedright]
955 \set Score.automaticBars = ##f
956 \relative c'' { g\breve }
983 Clef symbol indicating the position of the middle C. Used on all note
986 @lilypond[fragment,notime,linewidth=13.0\cm]
987 \set Score.automaticBars = ##f
988 \override Score.Clef #'full-size-change = ##t
989 %\override Score.LyricText #'font-style = #'large
991 \context Staff \relative c' {
993 \clef mezzosoprano c s s
998 \context Lyrics \lyrics {
999 \override Lyrics .LyricText #'self-alignment-X = #-1
1000 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1014 FI: kadenssi, lopuke.
1016 @aref{harmonic cadence}, @aref{functional harmony}.
1028 FI: kadenssi, lopuke.
1030 An extended, improvisatory style section inserted near the end of
1031 movement. The purpose of a cadenza is to give singers or players a chance
1032 to exhibit their technical skill and -- not last -- their ability to
1033 improvise. Since the middle of the 19th century, however, most cadences have
1034 been written down by the composer.
1046 FI: kaanon, tarkka jäljittely.
1048 @aref{counterpoint}.
1060 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1062 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1063 of an equally tempered @aref{semitone}).
1064 @aref{equal temperament}.
1083 Three or more tones sounding simultaneously. In traditional European music the
1084 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1085 minor @aref{third}) as well as @emph{minor} (minor + major third)
1086 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1087 and five-tone @emph{ninth} major chords are most often used as dominants
1088 (@aref{functional harmony}). A special case is chords having no
1089 third above the lower notes to define their quality as major or minor. Such
1090 chords are denoted open chords
1092 @lilypond[fragment,notime,linewidth=13.0\cm]
1093 \set Score.automaticBars = ##f
1094 %\override TextScript #'font-style = #'large
1096 \context Staff \relative c'' {
1104 \context Lyrics \lyrics{
1114 @node chromatic scale
1115 @section chromatic scale
1117 ES: escala cromática,
1119 F: gamme chromatique,
1120 D: chro@-ma@-ti@-sche Tonleiter,
1121 NL: chromatische toonladder,
1122 DK: kromatisk skala,
1124 FI: kromaattinen asteikko.
1126 A scale consisting of all 12 @aref{semitone}s.
1128 @lilypond[fragment,notime,linewidth=13.0\cm]
1129 \set Score.automaticBars = ##f
1130 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1134 @section chromaticism
1145 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1148 @section church mode
1150 ES: modo eclesiástico,
1151 I: modo ecclesiastico,
1152 F: mode ecclésiastique,
1157 FI: moodi, kirkkosävellaji.
1159 @aref{diatonic scale}.
1167 D: Schlüssel, Notenschlüssel,
1171 FI: avain, nuottiavain.
1173 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1178 A @emph{cluster} is a range of simultaneously sounding pitches that
1179 may change over time. The set of available pitches to apply usually
1180 depends on the acoustic source. Thus, in piano music, a cluster
1181 typically consists of a continuous range of the semitones as provided
1182 by the piano's fixed set of a chromatic scale. In choral music, each
1183 singer of the choir typically may sing an arbitrary pitch within the
1184 cluster's range that is not bound to any diatonic, chromatic or other
1185 scale. In electronic music, a cluster (theoretically) may even cover
1186 a continuous range of pitches, thus resulting in colored noise, such
1189 Clusters can be denoted in the context of ordinary staff notation by
1190 engraving simple geometrical shapes that replace ordinary notation of
1191 notes. Ordinary notes as musical events specify starting time and
1192 duration of pitches; however, the duration of a note is expressed by
1193 the shape of the note head rather than by the horizontal graphical
1194 extent of the note symbol. In contrast, the shape of a cluster
1195 geometrically describes the development of a range of pitches
1196 (vertical extent) over time (horizontal extent). Still, the
1197 geometrical shape of a cluster covers the area in which any single
1198 pitch contained in the cluster would be notated as an ordinary note.
1200 @lilypond[fragment,relative=2,verbatim,raggedright]
1201 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1213 FI: komma, korvinkuultava ero äänenkorkeudessa.
1215 Difference in pitch between a note derived from pure tuning and the same note
1216 derived from some other tuning method. @aref{temperament}.
1219 @section common meter
1223 @node compound interval
1224 @section compound interval
1226 ES: intervalo compuesto,
1227 I: intervallo composto,
1228 F: intervalle composé,
1229 D: weites Intervall,
1230 NL: samengesteld interval,
1231 DK: sammensat interval,
1232 S: sammansatt intervall,
1233 FI: oktaavia laajempi intervalli.
1235 Intervals larger than an octave.
1243 F: intervalle complémentaire,
1244 D: Komplementärintervall,
1245 NL: complementair interval,
1246 DK: komplementærinterval,
1247 S: komplementärintervall (?),
1248 FI: täydentävä intervalli.
1250 @aref{inverted interval}.
1252 @node conjunct movement
1253 @section conjunct movement
1255 ES: movimiento conjunto,
1257 F: mouvement conjoint,
1258 D: schritt@-weise, stufenweise Bewegung,
1259 NL: stapsgewijze, trapsgewijze beweging,
1260 DK: trinvis bevægelse,
1262 FI: asteittainen liike.
1264 Progressing melodically by intervals of a second. The opposite of a
1265 @aref{disjunct movement}.
1267 @lilypond[fragment,linewidth=13.0\cm]
1268 \key g \major \time 4/4
1269 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1282 FI: konsonanssi, sopusointi.
1301 @section counterpoint
1310 FI: kontrapunkti, ääni ääntä vastaan.
1312 From latin @emph{punctus contra punctum}, note against note. The combination
1313 into a single musical fabric of lines or parts which have distinct melodic
1314 significance. A frequently used polyphonic technique is imitation, in its
1315 strictest form found in the canon needing only one part to be written down
1316 while the other parts are performed with a given displacement. Imitation is
1317 also the contrapunctal technique used in the @emph{fugue} which, since the
1318 music of the baroque era, has been one of the most popular polyphonic
1319 composition methods.
1321 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
1322 \override Score.TimeSignature #'break-visibility = #all-invisible
1323 \context PianoStaff <<
1324 \context Staff = SA \relative c' {
1328 << \context Voice = rha {
1330 r1 | r2 r8 g'8 bes d, |
1331 cis4 d r8 e!16 f g8 f16 e |
1332 f8 g16 a bes8 a16 g a8
1334 \context Voice = rhb {
1340 \context Staff = SB \relative c' {
1343 << \context Voice = lha {
1345 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1346 r8 a16 g f8 g16 a bes8 g e! cis' |
1349 \context Voice = lhb {
1358 @section counter tenor
1363 D: Countertenor, Kontratenor,
1366 S: kontratenor, counter tenor,
1372 @section copying music
1374 A music copyist did fast freehand scores and parts on preprinted staff lines
1375 for performance. Some of their conventions (e.g., the placement of note heads
1376 on stems) varied slightly from those of engravers. Some of their working
1377 methods were superior and could well be adopted by music typesetters. This
1378 required more skill than engraving.
1386 D: Crescendo, lauter werden,
1390 FI: cresendo, voimistuen.
1392 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1393 abbreviation ``cresc.''.
1395 @lilypond[fragment,raggedright]
1396 \key g \major \time 4/4
1397 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1405 F: petites notes précédent l'entrée d'in instrument, réplique,
1412 In a separate part notes belonging to another part with the purpose of hinting
1413 when to start playing. Usually printed in a smaller type.
1418 A custos is a staff symbol that appears at the end of a staff line
1419 with monophonic musical contents (i.e., with a single voice). It
1420 anticipates the pitch of the first note of the following line and thus
1421 helps the player or singer to manage line breaks during performance,
1422 thus enhancing readability of a score.
1424 Custodes were frequently used in music notation until the 16th
1425 century. There were different appearences for different notation
1426 styles. Nowadays, they have survived only in special forms of musical
1427 notation such as via the editio vaticana dating back to the beginning
1433 % \override Staff.Custos #'neutral-position = #4
1434 \override Staff.Custos #'neutral-direction = #-1
1435 \override Staff.Custos #'style = #'hufnagel
1443 \consists Custos_engraver
1467 F: da capo, depuis le commencement,
1468 D: da capo, von Anfang,
1472 FI: da capo, alusta.
1474 The term indicates repetition of the piece from the beginning to the end or
1475 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1482 F: dal segno, depuis le signe,
1483 D: dal segno, ab dem Zeichen,
1487 FI: dal segno, lähtien merkistä.
1489 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1490 another place frequently near the beginning marked by a sign:
1492 @lilypond[fragment,raggedright]
1493 %\override TextScript #'font-style = #'large
1494 \override TextScript #'font-shape = #'italic
1495 \key g \major \time 4/4
1500 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
1506 @section decrescendo
1510 D: Decrescendo, leiser werden,
1514 FI: decresendo, hiljentyen.
1516 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1517 or the abbreviation ``decresc.''.
1519 @lilypond[fragment,raggedright]
1521 \key g \major \time 4/4
1522 d4 \> c b a | g1 \! \bar "|."
1526 @node descending interval
1527 @section descending interval
1529 ES: intervalo descendente,
1530 I: intervallo discendente,
1531 F: intervalle descendant,
1532 D: fallendes Intervall, absteigendes Intervall,
1533 NL: dalend interval,
1534 DK: faldende interval,
1535 S: fallande intervall,
1536 FI: laskeva intervalli.
1538 A distance between a starting higher note and a lower ending note.
1540 @node diatonic scale
1541 @section diatonic scale
1543 ES: escala diatónica,
1545 F: gamme diatonique,
1546 D: diatonische Tonleiter,
1547 NL: diatonische toonladder,
1548 DK: diatonisk skala,
1550 FI: diatoninen asteikko.
1552 A scale consisting of 5@w{ }@aref{whole tone}s and
1553 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1554 of a piano keybord are diatonic.
1556 The church modes are used in gregorial chant and in pre-baroque early
1557 music but also to some extent in newer jazz music.
1559 @lilypond[fragment,notime,raggedright]
1560 \set Score.automaticBars = ##f
1561 %\override Score.LyricText #'font-style = #'large
1562 %\override Score.TextScript #'font-style = #'large
1564 \context Staff \relative c' {
1566 \override TextScript #'padding = #-4
1567 e^"~~ S" f g a b^"~~ S" c
1569 \context Lyrics \lyrics {
1574 @lilypond[fragment,notime,raggedright]
1575 \set Score.automaticBars = ##f
1576 %\override Score.LyricText #'font-style = #'large
1577 %\override Score.TextScript #'font-style = #'large
1579 \context Staff \relative c' {
1581 \override TextScript #'padding = #-4
1582 e^"~~ S" f g a b^"~~ S" c d
1584 \context Lyrics \lyrics {
1589 @lilypond[fragment,notime,raggedright]
1590 \set Score.automaticBars = ##f
1591 %\override Score.LyricText #'font-style = #'large
1592 %\override Score.TextScript #'font-style = #'large
1595 \override TextScript #'padding = #-4
1596 e1^"~~ S" f g a b^"~~ S" c d e
1598 \context Lyrics \lyrics {
1603 @lilypond[fragment,notime,raggedright]
1604 \set Score.automaticBars = ##f
1605 %\override Score.LyricText #'font-style = #'large
1606 %\override Score.TextScript #'font-style = #'large
1610 \override TextScript #'padding = #-4
1611 b^"~~ S" c d e^"~~ S" f
1613 \context Lyrics \lyrics {
1618 @lilypond[fragment,notime,raggedright]
1619 \set Score.automaticBars = ##f
1620 %\override Score.LyricText #'font-style = #'large
1621 %\override Score.TextScript #'font-style = #'large
1625 \override TextScript #'padding = #-4
1626 b^"~~ S" c d e^"~~ S" f g }
1627 \context Lyrics \lyrics {
1632 @lilypond[fragment,notime,raggedright]
1633 \set Score.automaticBars = ##f
1634 %\override Score.LyricText #'font-style = #'large
1635 %\override Score.TextScript #'font-style = #'large
1639 \override TextScript #'padding = #-4
1640 b^"~~ S" c d e^"~~ S" f g a
1642 \context Lyrics \lyrics {
1647 From the beginning of the 17th century the scales used in European
1648 compositional music are primarily the major and the minor scales. In the
1649 harmonic minor scale type an augmented second (A) occurs between the 6th and
1652 @lilypond[fragment,notime,raggedright]
1653 \set Score.automaticBars = ##f
1654 %\override Score.LyricText #'font-style = #'large
1655 %\override Score.TextScript #'font-style = #'large
1659 \override TextScript #'padding = #-4
1660 e^"~~ S" f g a b^"~~ S" c
1662 \context Lyrics \lyrics {
1667 @lilypond[fragment,notime,raggedright]
1668 \set Score.automaticBars = ##f
1669 %\override Score.LyricText #'font-style = #'large
1670 %\override Score.TextScript #'font-style = #'large
1674 \override TextScript #'padding = #-4
1675 b^"~~ S" c d e^"~~ S" f g a
1677 \context Lyrics \lyrics {
1682 @lilypond[fragment,notime,raggedright]
1683 \set Score.automaticBars = ##f
1684 %\override Score.LyricText #'font-style = #'large
1685 %\override Score.TextScript #'font-style = #'large
1689 \override TextScript #'padding = #-4
1690 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1692 \context Lyrics \lyrics {
1697 @lilypond[fragment,notime,linewidth=13.0\cm]
1698 \set Score.automaticBars = ##f
1699 %\override Score.LyricText #'font-style = #'large
1700 %\override Score.TextScript #'font-style = #'large
1704 \override TextScript #'padding = #-4
1705 b^"~~ S" c d e fis gis^"~~ S"
1706 a g! f!^"~~ S" e d c^"~~ S" b a
1708 \context Lyrics \lyrics {
1713 @node diminished interval
1714 @section diminished interval
1716 ES: intervalo disminuído,
1717 I: intervallo diminuito,
1718 F: intervalle diminué,
1719 D: vermindertes Intervall,
1720 NL: verminderd interval,
1721 DK: formindsket interval,
1722 S: förminskat intervall,
1723 FI: vähennetty intervalli.
1737 FI: diminuendo, hiljentyen.
1741 @node disjunct movement
1742 @section disjunct movement
1744 ES: movimiendo disjunto,
1746 F: mouvement disjoint,
1747 D: sprunghafte Bewegung,
1748 NL: sprongsgewijze beweging,
1749 DK: springende bevægelse,
1750 S: hoppande rörelse,
1751 FI: melodian hyppivä liike.
1753 Progressing melodically by intervals larger than a major second.
1754 Opposite of @aref{conjunct movement}.
1756 @lilypond[fragment,raggedright]
1761 a4. gis8 b a e cis |
1762 fis2 d4. \bar "||" }
1768 @ref{dissonant interval}.
1770 @node dissonant interval
1771 @section dissonant interval
1773 ES: intervalo disonante, disonancias,
1774 I: intervallo dissonante, dissonanza,
1777 NL: dissonant interval; dissonant,
1778 DK: dissonerende interval, dissonans,
1780 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1784 @node dominant ninth chord
1785 @section dominant ninth chord
1787 I: accordo di nona di dominante,
1788 F: accord de neuvième dominante,
1789 D: Domi@-nant@-nonen@-akkord,
1790 NL: dominant noon akkoord,
1791 DK: dominantnoneakkord,
1792 S: dominantnonackord,
1793 FI: dominanttinoonisointu.
1795 @aref{chord}, @aref{functional harmony}.
1797 @node dominant seventh chord
1798 @section dominant seventh chord
1800 ES: acorde de séptima de dominante,
1801 I: accordo di settima di dominante,
1802 F: accord de septième dominante,
1803 D: Dominantseptakkord,
1804 NL: dominant septiem akkoord,
1805 DK: dominantseptimakkord,
1806 S: dominantseptimackord,
1807 FI: dominanttiseptimisointu.
1809 @aref{chord}, @aref{functional harmony}.
1821 FI: dominantti, huippusointu.
1823 The fifth @aref{scale degree},
1824 @aref{functional harmony}.
1827 @section dorian mode
1832 D: dorisch, dorischer Kirchenton,
1833 NL: dorische toonladder,
1838 @aref{diatonic scale}.
1840 @node dot (augmentation dot)
1841 @section dot (augmentation dot)
1844 I: punto (di valore),
1846 D: Punkt (Verlängerungspunkt),
1855 @section dotted note
1857 ES: nota con puntillo,
1861 NL: gepuncteerde noot,
1864 FI: pisteellinen nuotti.
1868 @node double appoggiatura
1869 @section double appoggiatura
1871 ES: apoyatura doble,
1872 I: appoggiatura doppia,
1873 F: appoggiature double,
1874 D: doppelter Vorschlag,
1875 NL: dubbele voorslag,
1876 DK: dobbelt forslag,
1878 FI: kaksoisappogiatura, kaksoisetuhele.
1880 @aref{appoggiatura}.
1882 @node double bar line
1883 @section double bar line
1888 NL: dubbele maatstreep,
1891 FI: kaksoistahtiviiva.
1893 Indicates the end of a section within a movement.
1895 @node double dotted note
1896 @section double dotted note
1898 ES: nota con dos puntillos,
1899 I: nota doppiamente puntata,
1900 F: note doublement pointée,
1901 D: doppelt punktierte Note,
1902 NL: dubbelgepuncteerde noot,
1903 DK: dob@-belt@-punk@-te@-ret node,
1904 S: dub@-bel@-punk@-te@-rad not,
1905 FI: kaksoispisteellinen nuotti.
1910 @section double flat
1919 FI: kaksoisalennusmerkki.
1924 @section double sharp
1926 ES: doble sostenido,
1931 DK: dob@-belt@-kryds,
1933 FI: kaksoisylennysmerkki.
1938 @section double trill
1944 NL: dubbele triller,
1949 A simultaneous trill on two notes, usually in the distance of a third.
1952 @section duple meter
1958 NL: tweedelige maatsoort,
1989 FI: kesto, aika-arvo.
1994 @section dydimic comma
1996 @aref{syntonic comma}.
2010 @node ecclesiastical mode
2011 @section ecclesiastical mode
2016 @section eighth note
2022 D: Achtel, Achtelnote,
2024 DK: ottendedelsnode,
2026 FI: kahdeksasosanuotti.
2031 @section eighth rest
2033 ES: silencio de corchea,
2039 DK: ottendedelspause,
2041 FI: kahdeksasosatauko.
2046 @section embellishment
2057 D: Notenstechen, Notendruck
2063 Engraving means incising or etching a metal plate for
2064 printing. Photoengraving means drawing music with ink in a manner
2065 similar to drafting or engineering drawing, using similar tools.
2067 The traditional process of music printing is done through cutting in a
2068 plate of metal. Now also the term for the art of music typesetting.
2082 Two notes, intervals, or scales are enharmonic if they have different names
2085 @lilypond[fragment,notime,linewidth=13.0\cm]
2086 \set Score.automaticBars = ##f
2087 %\override Score.TextScript #'font-style = #'large
2089 \context Staff \relative c'' {
2090 gis1 s s as s s <des g,!> s s <cis g!> s s
2092 \context Lyrics \lyrics {
2093 \override Lyrics .LyricText #'self-alignment-X = #-1
2094 "g sharp " "a flat " "dim fifth " "augm fourth"
2098 @node equal temperament
2099 @section equal temperament
2102 I: temperamento equabile,
2103 F: tempérament égal,
2104 D: gleichschwebende Stimmung,
2105 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2106 DK: ligesvævende temperatur,
2107 S: liksvävande temperatur,
2110 Tuning system dividing the octave into 12 equal @aref{semitone}s
2111 (precisely 100 @aref{cent}s). @aref{temperament}.
2113 @node expression mark
2114 @section expression mark
2117 I: segno d'espressione,
2118 F: signe d'expression, indication de nuance,
2120 NL: voordrachtsteken,
2121 DK: foredragsbetegnelse,
2122 S: föredragsbeteckning,
2123 FI: nyanssiosoitus, esitysmerkki.
2125 Performance indications concerning 1. volume, dynamics (for example
2126 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2127 @aref{andante}, @aref{allegro}).
2153 The position between the dots of the key symbol is the line of the F below
2154 central@w{ }C. Used on the third, fourth and fifth note line. A
2155 digit@w{ }8 above the clef symbol indicates that the notes must be played
2156 an octave higher (for example bass recorder) while 8@w{ }below the clef
2157 symbol indicates playing an octave lower (for example on double bass
2160 @lilypond[fragment,notime,linewidth=13.0\cm]
2161 \set Score.automaticBars = ##f
2162 \override Staff.Clef #'full-size-change = ##t
2163 %\override Score.LyricText #'font-style = #'large
2177 \context Lyrics \lyrics {
2178 % \override Lyrics .LyricText #'self-alignment-X = #-1
2187 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2194 F: point d'orgue, point d'arr@^et,
2199 FI: fermaatti, pidäke.
2201 Prolonged note or rest of indefinite duration.
2203 @lilypond[fragment,raggedright]
2206 a4 b c2^\fermata \bar "|."
2225 @section figured bass
2227 ES: bajo cifrado, @aref{thorough bass}.
2241 The methodical use of fingers in the playing of instruments.
2247 I: coda (uncinata), bandiera,
2255 Ornament at the end of the stem of a note used for notes with values
2256 less than a quarter note. The number of flags determines the
2259 @lilypond[fragment,notime,raggedright]
2260 \set Score.automaticBars = ##f
2261 %\override Score.TextScript #'font-style = #'large
2287 @aref{appoggiatura}.
2299 FI: forte, voimakkaasti.
2301 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2302 @emph{mezzoforte} (@b{mf}) medium loud.
2330 @aref{counterpoint}.
2332 @node functional harmony
2333 @section functional harmony
2335 ES: armonía funcional,
2336 I: armonia funzionale,
2337 F: étude des functions,
2339 NL: functionele harmonie,
2340 DK: funktionsanalyse, funktionsharmonik,
2342 FI: harmoniajärjestelmä.
2344 A system of harmonic analysis. It is based on the idea that, in a given key,
2345 there are only three functionally different chords: tonic (T, the chord on the
2346 first note of the scale), subdominant (S, the chord on the fourth note), and
2347 dominant (D, the chord on the fifth note). Others are considered to be
2348 variants of the base chords.
2350 @lilypond[fragment,notime,linewidth=13.0\cm]
2351 \set Score.automaticBars = ##f
2352 %\override Score.LyricText #'font-style = #'large
2353 %\override Score.TextScript #'font-style = #'large
2355 \context Voice \relative c'' {
2356 <g e c >1 < a f d > < b g e >
2357 <c a f > < d b g > < e c a > < f d b > }
2358 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
2379 D: G-Schlüssel, Violinschlüssel,
2385 A clef symbol indicating the G above central@w{ }C. Used on the first
2386 and second note lines. A digit 8 above the clef symbol indicates that
2387 the notes must be played an octave higher while 8 below the clef symbol
2388 indicates playing or singing an octave lower (most tenor parts in choral
2389 scores are notated like that).
2391 @lilypond[fragment,notime,linewidth=13.0\cm]
2392 \set Score.automaticBars = ##f
2393 \override Staff.Clef #'full-size-change = ##t
2394 %\override Score.LyricText #'font-style = #'large
2406 \context Lyrics \lyrics {
2407 \override Lyrics .LyricText #'self-alignment-X = #-1
2408 "french violin clef "
2425 FI: glissando, liukuen.
2427 Letting the pitch slide fluently from one note to the other.
2430 @section grace notes
2435 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2441 Notes printed in small types to indicate that their time values are not
2442 counted in the rhythm of the bar. @aref{appoggiatura}.
2445 @section grand staff
2452 S: ackolad, böjd klammer,
2453 FI: kaksoisnuottiviivasto.
2457 A combination of two staves with a brace. Usually used for piano music.
2469 FI: grave, raskaasti.
2485 D: Halbe, halbe Note,
2508 @node harmonic cadence
2509 @section harmonic cadence
2511 ES: cadencia (armónica),
2512 I: cadenza (armonica),
2513 F: cadence harmonique,
2515 NL: harmonische cadens,
2516 DK: harmonisk kadence,
2517 S: (harmonisk) kadens,
2518 FI: harmoninen kadenssi.
2520 A sequence of chords that terminates a musical phrase or
2521 section. @aref{functional harmony}.
2523 @lilypond[fragment,raggedright]
2524 \context PianoStaff <<
2525 \context Staff = SA \relative c'' {
2529 \partial 4 < c g e >4 |
2530 < c a f > < b g d > < c g e >2
2532 % %\override Score.LyricText #'font-style = #'large
2534 \context Staff = SB \relative c {
2536 \partial 4 c4 | f, g c2
2539 \context Lyrics \lyrics {
2551 D: Harmonie, Zusammenklang,
2555 FI: harmonia, yhteissointi.
2557 Tones sounding simultaneously. Two note harmonies fall into the categories
2558 @emph{consonances} and @emph{dissonances}.
2562 @lilypond[fragment,notime,linewidth=13.0\cm]
2563 \set Score.automaticBars = ##f
2564 %\override Score.TextScript #'font-style = #'large
2565 \context Voice \relative c'' {
2578 @lilypond[fragment,notime,linewidth=13.0\cm]
2579 \set Score.automaticBars = ##f
2580 %\override Score.TextScript #'font-style = #'large
2581 \context Voice \relative c'' {
2582 <g a>1_"second " s s
2583 <g f'>_"seventh " s s
2588 Three note harmony @aref{chord}.
2600 FI: homofonia, yksiäänisyys.
2602 Music in which one voice leads melodically followed by the other voices more
2603 or less in the same rhythm. In contrast to @aref{polyphony}.
2615 FI: intervalli, kahden sävelen korkeusero.
2617 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2618 diminished, or augmented. The augmented fourth and the diminished fifth are
2619 identical (@aref{enharmonic}) and are called @emph{tritonus}
2620 because they consist of three @aref{whole tone}s. The addition
2621 of such two intervals forms an octave.
2623 @lilypond[fragment,notime,linewidth=13.0\cm]
2624 \set Score.automaticBars = ##f
2625 %\override Score.LyricText #'font-style = #'large
2626 %\override Score.TextScript #'font-style = #'large
2628 \context Voice \relative c'' {
2633 < gis bes >^"dimin" s
2634 < g! bes >^"minor" s
2638 \context Lyrics \lyrics {
2639 "unisone " "second " "second " "second "
2640 "third " "third " "third " "third"
2644 @lilypond[fragment,notime,linewidth=13.0\cm]
2645 \set Score.automaticBars = ##f
2646 %\override Score.LyricText #'font-style = #'large
2647 %\override Score.TextScript #'font-style = #'large
2649 \context Staff \relative c'' {
2650 < g c >1^"perfect" s
2652 < g d' >^"perfect" s
2653 < g des' > ^"dimin" s
2654 < gis es' >^"dimin" s
2655 < g! es' >^"minor" s
2659 \context Lyrics \lyrics {
2660 "fourth " "fourth " "fifth " "fifth "
2661 "sixth " "sixth " "sixth " "sixth"
2665 @lilypond[fragment,notime,linewidth=13.0\cm]
2666 \set Score.automaticBars = ##f
2667 %\override Score.LyricText #'font-style = #'large
2668 %\override Score.TextScript #'font-style = #'large
2670 \context Staff \relative c'' {
2671 < gis f'! >1^"dimin" s
2672 < g! f'! >^"minor" s
2673 < g fis' >^"major" s
2677 < g bes' >^"minor" s
2680 \context Lyrics \lyrics {
2681 "seventh " "seventh " "seventh " "octave "
2682 "none " "none " "decime " "decime"
2686 @node inverted interval
2687 @section inverted interval
2689 ES: intervalo invertido,
2690 I: intervallo rivolto,
2691 F: intervalle reversé,
2692 D: umgekehrtes Intervall,
2693 NL: interval inversie,
2694 DK: omvendingsinterval,
2695 S: intervallets omvändning,
2696 FI: käänteisintervalli.
2698 The difference between an interval and an octave.
2700 @lilypond[fragment,notime,linewidth=13.0\cm]
2701 \set Score.automaticBars = ##f
2702 %\override Score.TextScript #'font-style = #'large
2703 \context Staff \relative c'' {
2704 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2705 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2706 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2710 @node just intonation
2711 @section just intonation
2713 I: intonazione giusta,
2714 F: intonation juste,
2721 Tuning system in which the notes are obtained by adding and subtracting
2722 natural fifths and thirds. @aref{temperament}.
2736 According to the 12@w{ }tones of the @aref{chromatic scale}
2737 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2738 @aref{key signature}.
2741 @section key signature
2743 ES: armadura de clave,
2744 I: armatura di chiave,
2745 F: armure, armature [de la clé],
2746 D: Vorzeichen, Tonart,
2747 NL: toon@-soort (voortekens),
2750 FI: sävellajiosoitus.
2752 The sharps or flats appearing at the beginning of each staff indicating the
2753 key of the music. @aref{accidental}.
2761 D: Largo, Langsam, Breit,
2765 FI: largo, hitaasti, leveästi.
2767 Very slow in tempo, usually combined with great
2768 expressiveness. @emph{Larghetto} is less slow than largo.
2771 @section leading note
2782 The seventh @aref{scale degree}, a @aref{semitone} below
2783 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2784 upwards) to the tonic scale degree.
2787 @section ledger line
2789 ES: líneas adicionales,
2790 I: tagli addizionali,
2791 F: ligne supplémentaire,
2798 A ledger line is an extension of the staff.
2800 @lilypond[fragment,notime,raggedright]
2801 \set Score.automaticBars = ##f
2802 \relative c'' { a,1 s c'' }
2817 To be performed (a) without any perceptible interruption between the notes,
2818 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2819 (d) @aref{staccato}.
2821 @lilypond[fragment,notime,linewidth=13.0\cm]
2822 \set Score.automaticBars = ##f
2824 \context Staff \relative c'' {
2825 c4-( d e-) \bar "||"
2826 c4-- d-- e-- \bar "||"
2827 c4-.-( d-. e-.-) \bar "||"
2828 c4-. d-. e-. \bar "||"
2830 \context Lyrics \lyrics {
2831 % \override Lyrics .LyricText #'font-style = #'large
2840 @section legato curve
2842 @aref{slur}, @aref{legato}.
2852 ES: estanque de lilas,
2853 I: stagno del giglio,
2857 NL: le@-lie@-vij@-ver,
2862 A pond with lilies floating in it, also the name of a music typesetter.
2867 A ligature is a coherent graphical symbol that represents at least two
2868 distinct notes. Ligatures originally appeared in the manuscripts of
2869 Gregorian chant notation roughly since the 9th century to denote
2870 ascending or descending sequences of notes. In early notation,
2871 ligatures were used for monophonic tunes (Gregorian chant) and very
2872 soon denoted also the way of performance in the sense of articulation.
2873 With the invention of the metric system of the white mensural
2874 notation, the need for ligatures to denote such patterns disappeared.
2882 D: Linie, Notenlinie,
2886 FI: viiva, nuottiviiva.
2890 @node long appoggiatura
2891 @section long appoggiatura
2893 ES: apoyatura larga,
2894 I: appoggiatura lunga,
2895 F: appoggiature longue,
2896 D: langer Vorschlag,
2900 FI: pitkä appoggiatura, pitkä etuhele.
2902 @aref{appoggiatura}.
2916 Note value: double length of @aref{breve}.
2919 @lilypond[fragment,notime,raggedright]
2920 \set Score.automaticBars = ##f
2922 \override NoteHead #'style = #'mensural
2939 @node major interval
2940 @section major interval
2942 ES: intervalo mayor,
2943 I: intervallo maggiore,
2944 F: intervalle majeur,
2945 D: großes Intervall,
2949 FI: suuri intervalli.
2965 @aref{diatonic scale}.
2967 @node meantone temperament
2968 @section meantone temperament
2970 I: accordatura mesotonica,
2971 F: tempérament mésotonique,
2972 D: mitteltönige Stimmung,
2973 NL: middenstemming, middentoonstemming,
2974 DK: middeltonetemperatur,
2975 S: medeltonstemperatur,
2976 FI: keskisävelviritys.
2978 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2979 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2980 @aref{temperament} only a limited set of keys are playable.
2981 Used for tuning keyboard instruments for performance of pre-1650 music.
2995 A group of @aref{beat}s (units of musical time) the first of which
2996 bears an accent. Such groups in numbers of two or more recur consistently
2997 throughout the composition and are marked from each other by
2998 bar-lines. @aref{meter}.
3004 I: mediante, modale,
3012 1.@tie{}The third @b{scale degree}.
3013 2.@tie{}A @aref{chord} having its base tone
3014 a third from that of another chord. For example, the tonic chord may be
3015 replaced by its lower mediant (variant tonic). @aref{functional
3016 harmony}, @aref{relative key}.
3022 FI: melisma, laulettavan tavun sävelkuvio.
3024 A melisma (plural: melismata) is a group of notes or tones sung on one
3025 syllable in plainsong
3027 @node melodic cadence
3028 @section melodic cadence
3037 F: indication de mésure,
3044 The basic scheme of @aref{note value}s and
3045 @aref{accent}s which remains unaltered throughout a composition
3046 or a section of it. For instance, 3/4 meter means that the basic
3047 @aref{note value}s are quarter notes and that a
3048 @aref{measure} consists of three of those. According to
3049 whether there are two, three, or four units to the measure,
3050 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3051 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3053 @lilypond[fragment,linewidth=13.0\cm]
3057 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3060 @lilypond[fragment,linewidth=13.0\cm]
3064 f8 f f f a16 g a f |
3065 c'8 c c c e16 d e c \bar "||"}
3068 @lilypond[fragment,linewidth=13.0\cm]
3072 d4 b8 g b d d c a4 |
3073 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3088 Device indicating the exact tempo of a piece. @aref{metronomic
3091 @node metronomic indication
3092 @section metronomic indication
3094 ES: indicación metronómica,
3095 I: indicazione metronomica,
3096 F: indication métronomique,
3098 NL: metronoom aanduiding,
3100 S: metronomangivelse,
3101 FI: metronomiosoitus.
3103 Exact tempo indication (in beats per minute). Also denoted by
3104 M.M.@: (Mälzels Metronom).
3107 @section mezzo-soprano
3118 The female voice between @aref{soprano} and
3127 D: eingestrichenes@w{ }c,
3129 DK: enstreget@w{ }c,
3130 S: ettstruket@w{ }c,
3133 First C below the 440 Hz A.
3135 @lilypond[fragment,notime,raggedright]
3136 \set Score.automaticBars = ##f
3137 \override Staff.Clef #'full-size-change = ##t
3157 @aref{diatonic scale}.
3159 @node minor interval
3160 @section minor interval
3162 ES: intervalo mayor,
3163 I: intervallo minore,
3164 F: intervalle mineur,
3165 D: kleines Intervall,
3169 FI: pieni intervalli.
3183 FI: moodi, kirkkosävelasteikko.
3185 @aref{church mode}, @aref{diatonic scale}.
3197 FI: modulaatio, sävellajin vaihdos.
3199 Moving from one @aref{key} to another. For example, the second
3200 subject of a @aref{sonata form} movement modulates to the dominant
3201 key if the key is major and to the @aref{relative key} if the key
3213 FI: mordent, korukuvio.
3232 FI: teema, sävelaihe.
3234 The briefest intelligible and self-contained fragment of a musical theme or
3237 @lilypond[fragment,linewidth=13.0\cm]
3238 \override Score.TimeSignature #'break-visibility = #all-invisible
3239 %\override Score.TextScript #'font-style = #'large
3243 \partial 8 g16_"------" fis |
3244 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3245 g8 g,16 a b8 cis d16 s
3261 Greater musical works like @aref{symphony} and
3262 @aref{sonata} most often consist of several -- more or less --
3263 independant pieces called movements.
3266 @section multibar rest
3268 ES: compases de espera,
3272 D: mehrtaktige Pause,
3275 FI: usean tahdin mittainen tauko.
3277 @lilypond[fragment,raggedright]
3280 \set Score.skipBars = ##t R1*3
3285 @node mixolydian mode
3286 @section mixolydian mode
3288 @aref{diatonic scale}.
3291 @section natural sign
3296 D: Auflösungszeichen,
3297 NL: herstellingsteken,
3298 DK: op@-løsningstegn,
3299 S: återställningstecken,
3304 @node neighbour tones
3305 @section neighbour tones
3307 @aref{appoggiatura}.
3340 Notes are signs by means of which music is fixed in writing. The term is also
3341 used for the sound indicated by a note, and even for the key of the piano
3342 which produces the sound. However, a clear distinction between the terms tone
3343 and @aref{note} is strongly recommended. Briefly, one sees a note,
3350 I: testa, testina, capocchia,
3351 F: t@^ete de la note,
3358 A head-like sign which indicates pitch by its position on a
3359 @aref{staff} provided with a @aref{clef}, and duration
3360 by a variety of shapes such as hollow or black heads with or without
3361 @aref{stem}s, @aref{flag}s, etc. For percussion
3362 instruments (often having no defined pitch) the note head may indicate the
3370 F: durée, valeur (d'une note),
3375 FI: nuotin aika-arvo.
3377 Note values (durations) are measured as fractions, normally 1/2, of the next
3378 higher note value. The longest duration normally used is called @emph{brevis},
3379 but sometimes (mostly in pre-baroque music) the double length note value
3380 @emph{longa} is used.
3382 @lilypond[fragment,notime,linewidth=13.0\cm]
3383 %\override Score.TextScript #'font-style = #'large
3384 \set Score.automaticBars = ##f
3386 \override NoteHead #'style = #'mensural
3387 a\longa_"longa" a\breve_"breve"
3388 \revert NoteHead #'style
3389 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3390 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3393 @lilypond[fragment,notime,linewidth=13.0\cm]
3394 %\override Score.TextScript #'font-style = #'large
3395 \set Score.automaticBars = ##f
3397 r\longa_"longa" r\breve_"breve"
3398 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3399 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3402 An augmentation dot after a note multiplies the duration by one and a
3403 half. Another dot adds yet a fourth of the duration.
3405 @lilypond[fragment,linewidth=13.0\cm]
3406 %\override Score.TextScript #'font-style = #'large
3409 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3410 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3413 Alternatively note values may be subdivided by other ratios. Most common is
3414 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3415 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3416 dotted notes are also frequently used.
3418 @lilypond[fragment,linewidth=13.0\cm]
3419 %\override Score.TextScript #'font-style = #'large
3422 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3423 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3427 @lilypond[fragment,linewidth=13.0\cm]
3430 \times 3/2 {g4_"duplets" g} |
3432 \times 6/4 {g8_"quadruplets" g g g} |
3433 g8 g g g g4 \bar "||"
3438 @section octave sign
3440 @aref{G clef}, @aref{F clef}.
3460 I: abbellimento, fioriture,
3461 F: agrément, ornement,
3462 D: Verzierung, Ornament,
3468 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3469 with the diatonic @aref{second} above it. In the music from the
3470 middle of the 19th century and onwards the trill is performed with the main
3471 note first while in the music from the preceding baroque and classic periods
3472 the upper note is played first.
3474 @lilypond[fragment,linewidth=13.0\cm]
3476 \context Staff = sa {
3477 % \override Score.TextScript #'font-style = #'large
3479 c2._"pre-1850" b4\trill | c1 \bar "||"
3480 c2._"post-1850" b4\trill | c1 \bar "||"
3484 c2. c32 b c b c b c b | c1
3485 c2. b32 c b c \times 4/5 { b c b c b } | c1
3490 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
3491 @emph{prall} (inverted mordent).
3493 @lilypond[fragment,linewidth=13.0\cm]
3495 \context Staff = sa {
3496 % \override Score.TextScript #'font-style = #'large
3498 a4_"turn" b\turn c2 \bar "||"
3499 g4_"mordent" a b\mordent a \bar "||"
3500 e'4_"prall" d\prall c2 \bar "||"
3506 e'4 e32[ d e d ~ d8] c2
3511 @aref{appoggiatura}.
3523 FI: ossia, vaihtoehtoinen esitystapa.
3525 Ossia (otherwise) marks an alternative. It is an added staff or piano
3526 score, usually only a few measures long, which presents another version
3527 of the music, for example for small hands.
3539 FI: stemma, instrumenttiosuus.
3541 1.@tie{}In instrumental or choral music the music for the single instrument
3542 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3543 melodic line of the contrapunctal web.
3556 D: Schlagzeug, Schlagwerk,
3562 A family of musical instruments which are played on by striking or
3563 shaking. Percussion instruments commonly used in a symphony orchestra are
3564 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3565 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3568 @node perfect interval
3569 @section perfect interval
3571 ES: intervalo justo,
3572 I: intervallo giusto,
3573 F: intervalle juste,
3574 D: reines Intervall,
3578 FI: puhdas intervalli.
3594 A natural division of the melodic line, comparable to a sentence of speech.
3606 FI: fraseeraus, jäsentäminen.
3608 The clear rendering in musical performance of the @aref{phrase}s of
3609 the melody. Phrasing may be indicated by a @aref{slur}.
3623 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3624 @emph{mezzopiano} (@b{mp}) medium soft.
3645 NL: pizzicato, getokkeld,
3648 FI: pizzicato, näppäillen.
3650 Play by plucking the strings.
3658 D: Polyphonie, Mehrstimmigkeit,
3662 FI: polyfonia, moniäänisyys.
3664 Music written in a combination of several simultaneous voices (parts) of a
3665 more or less pronounced individuality. @aref{counterpoint}.
3678 D: Presto, Sehr schnell,
3679 NL: presto, Sehr schnell,
3682 FI: presto, hyvin nopeasti.
3684 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3685 denotes the highest possible degree of speed.
3687 @node Pythagorean comma
3688 @section Pythagorean comma
3690 ES: coma pitagórico,
3691 I: comma pitagorico,
3692 F: comma pythagoricien,
3693 D: Pythagoräisches Komma,
3694 NL: komma van Pythagoras,
3695 DK: pythagoræisk komma,
3696 S: pytagoreiskt komma,
3697 FI: pytagorinen komma.
3699 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3700 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3701 24 @aref{cent}s higher than the@w{ }C obtained by adding
3702 7@w{ }octaves. The difference between those two pitches is called the
3720 @section quarter note
3723 I: semiminima, nera,
3726 D: Viertel, Viertelnote,
3730 FI: neljännesosanuotti.
3735 @section quarter rest
3737 ES: silencio de negra,
3738 I: pausa di semiminima,
3743 DK:@w{ }fjerdedelspause,
3745 FI: neljännesosatauko.
3764 @section rallentando
3769 D: rallentando, langsamer werden,
3773 FI: rallerdando, hidastuen.
3775 Abbreviation "rall.". @aref{ritardando}.
3778 @section relative key
3781 I: tonalità relativa,
3782 F: tonalité relative,
3784 NL: paralleltoonsoort,
3785 DK: paralleltoneart,
3787 FI: rinnakkaissävellaji.
3789 @aref{major} and @aref{minor} @aref{key}
3790 with the same @aref{key signature}.
3792 @lilypond[fragment,notime,linewidth=13.0\cm]
3793 \set Score.automaticBars = ##f
3794 %\override Score.TextScript #'font-style = #'large
3797 es1_"e flat major" f g as bes c d es
3802 @lilypond[fragment,notime,linewidth=13.0\cm]
3803 \set Score.automaticBars = ##f
3804 %\override Score.TextScript #'font-style = #'large
3807 c1_"c minor" d es f g a! b! c \bar "||"
3814 ES: barra de repetición,
3816 F: barre de reprise,
3819 DK: gen@-ta@-gel@-se,
3823 @lilypond[fragment,linewidth=13.0\cm]
3827 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3831 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3832 @c specify the rest's value.
3860 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3861 fixed unit of time, called @aref{beat}, and in which the normal
3862 @aref{accent} recurs in regular intervals, called
3863 @aref{measure}. The basic scheme of time values is called
3864 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3865 accent. In modern notation such music appears as a free alternation of
3866 different measures. (c) Free rhythm, i.e., the use of temporal values having
3867 no common metrical unit (beat).
3875 D: Ritardando, langsamer werden,
3879 FI: ritardando, hidastuen,
3881 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3893 FI: ritenuto, hidastaen.
3895 Immediate reduction of speed.
3907 FI: asteikko, sävelasteikko.
3909 @aref{diatonic scale}.
3912 @section scale degree
3914 ES: grados de la escala,
3915 I: grado della scala,
3916 F: degré [de la gamme],
3918 NL: trap [van de toonladder],
3921 FI: sävelaste, asteikon sävel.
3923 Names and symbols used in harmonic analysis to denote tones of the scale as
3924 roots of chords. The most important are degrees I = tonic (T), IV =
3925 sub@-do@-mi@-nant (S) and V = dominant (D).
3927 @lilypond[fragment,notime,linewidth=13.0\cm]
3928 \set Score.automaticBars = ##f
3929 %\override Score.LyricText #'font-style = #'large
3930 %\set minVerticalAlign = #8
3932 \context Staff \relative c' {
3935 \context Lyrics \lyrics {
3936 << { I II III IV V VI VII I }
3941 @aref{functional harmony}.
3949 D: Partitur (full score), Klavierauszug (vocal score)
3955 A copy of orchestral, choral, or chamber music showing what each instrument is
3956 to play, each voice to sing, having each part arranged one underneath the
3957 other on different staves @aref{staff}.
3971 The @aref{interval} between two neigbouring tones of a scale. A
3972 @aref{diatonic scale} consists of alternating
3973 @aref{semitone}s and @aref{whole tone}s, hence the size
3974 of a se@-cond depends on the scale degrees in question.
3988 The @aref{interval} of a minor second. The (usually) smallest
3989 interval in European composed music. The interval between two neighbouring
3990 tones on the piano keyboard -- including black and white keys -- is a
3991 semitone. An octave may be divided into 12@w{ }semitones.
3992 @aref{interval}, @aref{chromatic scale}.
3994 @lilypond[fragment,notime,linewidth=13.0\cm]
3995 \set Score.automaticBars = ##f
3996 \relative c'' { g1 gis s a bes s b! c }
4050 @node short appoggiatura
4051 @section short appoggiatura
4053 @aref{appoggiatura}.
4055 @node sixteenth note
4056 @section sixteenth note
4062 D: Sechzehntel, Sechzehntelnote,
4063 NL: zes@-ti@-ende noot,
4064 DK: sekstendedelsnode,
4066 FI: kuudestoistaosanuotti.
4070 @node sixteenth rest
4071 @section sixteenth rest
4073 ES: silencia de semicorchea,
4074 I: pausa di semicroma,
4076 UK: semiquaver rest,
4077 D: Sechzehntelpause,
4079 DK: sekstendedelspause,
4099 @node sixty-fourth note
4100 @section sixty-fourth note
4104 F: quadruple croche,
4105 UK: hemidemisemiquaver,
4106 D: Vierundsechzigstel, Vierundsechzigstelnote,
4107 NL: vierenzestigste noot,
4108 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4109 S: sextiofjärdedelsnot,
4110 FI: kuudeskymmenesneljäsosanuotti.
4114 @node sixty-fourth rest
4115 @section sixty-fourth rest
4117 ES: silencia de semifusa,
4118 I: pausa di semibiscroma,
4119 F: seizième de soupir,
4120 UK: hemidemisemiquaver rest,
4121 D: Vierundsechzigstelpause,
4122 NL: vierenzestigste rust,
4123 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4124 S: sextiofjärdedelspaus,
4125 FI: kuudeskymmenesneljäsosatauko.
4133 I: legatura (di portamento or espressiva),
4135 D: Bogen, Legatobogen, Phrasierungsbogen,
4136 NL: fraseringsboog, legatoboog, streekboog,
4137 DK: legatobue, fraseringsbue,
4141 A slur above or below a group of notes indicates that they are to be played
4142 @aref{legato}, e.g., with one stroke of the violin bow or with one
4146 @section solmization
4154 FI: suhteelliset laulunimet.
4156 General term for systems of designating the degrees of the
4157 @aref{scale}, not by letters, but by syllables (@emph{do}
4158 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4159 (@emph{ti})). @aref{scale degree}.
4173 In its present-day meaning a sonata denotes an instrumental composition for
4174 piano or for some other instrument with piano accompaniment, which consists of
4175 three or four independant pieces, called movements.
4178 @section sonata form
4182 F: [en] forme de sonate,
4184 NL: hoofdvorm, sonatevorm,
4189 A form used frequently for single movements of the @aref{sonata},
4190 @aref{symphony}, quartet, etc. A movement written in sonata form
4191 falls into three sections called @emph{exposition}, @emph{development} and
4192 @emph{recapitulation}. In the exposition the composer introduces some musical
4193 ideas, consisting of a number of themes; in the development section the
4194 composer `develops' this material, and in the recapitulation the composer
4195 repeats the exposition, with certain modifications. The exposition contains a
4196 number of themes that fall into two groups, often called first and second
4197 subject. Other melodies occurring in each group are considered as
4198 continuations of these two. The second theme is in another key, normally in
4199 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4200 @aref{relative key} if the tonic is @aref{minor}.
4217 FI: sopraano, korkea naisääni.
4219 The highest female voice.
4226 F: staccato, piqué, détaché,
4231 FI: staccato, lyhyesti, terävästi.
4233 Playing the note(s) short. Staccato is indicated by a dot above or below the
4236 @lilypond[fragment,raggedright]
4241 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4250 I: pentagramma, rigo (musicale),
4253 NL: (noten)balk, partij,
4258 A staff (pl. staves) is a series of (normally five) horizontal lines
4259 upon and between which the musical notes are written, thus indicating
4260 (in connection with a @aref{clef}) their pitch. Staves for
4261 @aref{percussion} instruments may have fewer lines.
4274 D: Hals, Notenhals, Stiel,
4280 Vertical line above or below a @aref{note head} shorter than a
4281 whole note. @aref{beam}.
4283 @lilypond[fragment,notime,linewidth=13.0\cm]
4284 \set Score.autoBeaming = ##f
4285 \set Score.automaticBars = ##f
4286 %\override Score.TextScript #'font-style = #'large
4307 A family of stringed musical instruments played with a bow. Strings commonly
4308 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4311 @section strong beat
4316 D: betonter Taktteil oder Taktschlag,
4318 D: betonet taktslag,
4319 S: betonat taktslag,
4320 FI: tahdin vahva isku.
4322 @aref{beat}, @aref{accent}, @aref{measure},
4326 @section subdominant
4335 FI: subdominantti, alidominantti.
4337 The fourth @aref{scale degree}. @aref{functional harmony}.
4351 The sixth @aref{scale degree}.
4363 FI: subtoonika, alitoonika.
4365 The seventh @aref{scale degree}.
4368 @section superdominant
4379 The sixth @aref{scale degree}.
4393 The second @aref{scale degree}.
4401 D: Sinfonie, Symphonie,
4407 A symphony may be defined as a @aref{sonata} for orchestra.
4410 @section syncopation
4421 Any deliberate upsetting of the normal pulse of @aref{meter},
4422 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4423 rhythm rests upon the grouping of equal beats into groups of two or three,
4424 with a regularly recurrent accent on the first beat of each group. Any
4425 deviation from this scheme is felt as a disturbance or contradiction between
4426 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4428 @lilypond[fragment,raggedright]
4433 e c'4 e,8 c'4 e,8 c' ( | c2)
4437 @node syntonic comma
4438 @section syntonic comma
4440 I: comma sintonico (o didimico),
4441 F: comma syntonique,
4442 D: syntonisches Komma,
4443 NL: syntonische komma,
4444 DK: syntonisk komma,
4445 S: syntoniskt komma,
4446 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
4448 Difference between the natural third and the third obtained by Pythagorean
4449 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4460 FI: nuottijärjestelmä.
4462 The collection of staves @aref{staff}, two or more, as used for
4463 writing down of keyboard, chamber, choral, or orchestral music.
4466 @section temperament
4471 D: Stimmung, Tem@-pe@-ra@-tur,
4472 NL: stemming, temperatuur,
4475 FI: viritysjärjestelmä.
4477 Systems of tuning in which the intervals deviate from the acoustically pure
4478 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4480 @node tempo indication
4481 @section tempo indication
4483 ES: indicación de tempo,
4484 I: indicazione di tempo,
4485 F: indication de temps,
4486 D: Zeitmaß, Tempobezeichnung,
4487 NL: tempo aanduiding,
4492 The rate of speed of a composition or a section thereof, ranging from the
4493 slowest to the quickest, as is indicated by tempo marks as
4494 @aref{largo}, @aref{adagio}, @aref{andante},
4495 @aref{allegro}, and @aref{presto}.
4507 FI: tenori, korkea miesääni.
4509 The highest male voice (apart from @aref{counter tenor}).
4539 @node thirty-second note
4540 @section thirty-second note
4546 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4547 NL: twee-endertig@-ste noot,
4548 DK: toogtredivtedelsnode,
4549 S: trettiotvåondelsnot,
4550 FI: kolmanneskymmeneskahdesosanuotti.
4554 @node thirty-second rest
4555 @section thirty-second rest
4557 ES: silencio de fusa,
4558 I: pausa di biscroma,
4559 F: huitième de soupir,
4560 UK: demisemiquaver rest,
4561 D: Zweiunddreissigstel@-pause,
4563 DK: toogtredivtedelspause,
4564 S: trettiotvåondelspaus,
4565 FI: kolmanneskymmeneskahdesosatauko.
4570 @section thorough bass
4573 I: basso continuo, basso numerato,
4575 D: Generalbass, bezifferter Bass,
4576 NL: basso continuo, becijferde bas
4579 FI: kenraalibasso, numeroitu basso.
4581 A method of indicating an accompaniment part by the bass notes only, together
4582 with figures designating the chief @aref{interval}s and
4583 @aref{chord}s to be played above the bass notes.
4585 @lilypond[fragment,linewidth=13.0\cm]
4586 \context GrandStaff <<
4587 \context Staff = lh \relative c'' {
4591 << \context Voice = rha {
4594 \context Voice = rhb {
4596 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4600 \context Staff = rh \relative c' {
4603 es8 c d bes c as bes16 as g f | es4
4605 \context Lyrics \lyrics {
4606 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4607 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4608 { "" "" "" "2" "" "" "" "" "" "2" } >>
4616 ES: ligadura de prolongación,
4617 I: legatura (di valore),
4620 NL: overbinding, bindingsboog,
4622 S: bindebåge, överbindning,
4625 A curved line, identical in appearance with the @aref{slur}, which
4626 connects two succesive notes of the same pitch, and which has the function of
4627 uniting them into a single sound (tone) equal to the combined durations.
4629 @lilypond[fragment,notime,raggedright]
4630 \set Score.automaticBars = ##f
4631 \relative c'' { g2 ~ g4. }
4639 @node time signature
4640 @section time signature
4642 ES: cifra indicadora de compás,
4644 F: chiffrage (chiffres indicateurs), signe de valeur,
4645 D: Taktangabe, Angabe der Taktart,
4648 S: taktartssignatur,
4665 A sound of definite pitch and duration, as distinct from @emph{noise}.
4666 Tone is a primary building material of music.
4667 Music from the 20th century may be based on atonal sounds.
4681 The first @aref{scale degree}.
4682 @aref{functional harmony}.
4685 @section transposition
4696 Shifting a melody up or down in pitch, while keeping the same
4699 @lilypond[fragment,linewidth=13.0\cm]
4704 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4709 @lilypond[fragment,linewidth=13.0\cm]
4712 \transpose c bes \relative c'' {
4714 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4720 @section treble clef
4723 I: chiave di violino,
4725 D: Violinschlüssel, Sopranschlüssel,
4727 DK:@w{ }diskantnøgle,
4745 On stringed instruments (@aref{strings}) the quick reiteration of
4746 the same tone, produced by a rapid up-and-down movement of the bow
4747 (a). The term is also used for the rapid alternation (b) between two notes of
4748 a @aref{chord}, usually in the distance of a third
4751 @lilypond[fragment,notime,raggedright]
4752 \set Score.automaticBars = ##f
4753 %\override Score.TextScript #'font-style = #'large
4756 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4757 \repeat "tremolo" 8 { e32_"b" g }
4766 F: triade, accord parfait, accord de trois sons,
4780 F: trille, tremblement, battement (cadence),
4790 @section triple meter
4792 ES: compás compuesto,
4796 NL: driedelige maatsoort,
4832 @section tuning fork
4835 I: diapason, corista,
4843 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4844 give the international pitch for the tone @emph{a} (440 vibrations per second).
4870 FI: unisono, yksiäänisesti.
4872 Playing of the same notes or the same melody by various instruments (voices)
4873 or by the whole orchestra (choir), either at exactly the same pitch or in a
4879 ES: entrada anacrúsica,
4881 F: anacrouse, levée,
4888 Initial note(s) of a melody occurring before the first bar
4889 line. @aref{measure}, @aref{meter}.
4891 @lilypond[fragment,linewidth=13.0\cm]
4895 \partial 4 f4 | bes4. a8 bes4 c |
4896 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4909 FI: ääni, lauluääni.
4911 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4912 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4913 2.@tie{}A melodic layer or part of a polyphonic composition.
4919 I: tempo debole, arsi,
4921 D: unbetonter Taktteil oder Taktschlag,
4923 DK: ubetonet taktslag,
4924 S: obetonat taktslag,
4925 FI: tahdin heikko isku.
4927 @aref{beat}, @aref{measure}, @aref{rhythm}.
4936 D: Ganze, ganze Note,
4947 ES: silencio de redonda,
4948 I: pausa di semibreve,
4951 D: ganze Pause, ganztaktige Pause,
4971 The @aref{interval} of a major second. The interval between two
4972 tones on the piano keyboard with exactly one key between them -- including
4973 black and white keys -- is a whole tone.
4987 A family of blown wooden musical instruments. Today some of these instruments
4988 are actually made from metal. The woodwind instruments commonly used in a
4989 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4991 @node Duration names notes and rests
4992 @chapter Duration names, notes and rests
4995 @item DURATION NAMES, NOTES AND RESTS
4998 @multitable @columnfractions .15 .26 .33 .26
5015 @item @strong{longa}
5030 @item @strong{breve}
5045 @item @strong{whole}
5055 @tab koko@-nuotti/@w{-tauko}
5070 @tab puoli@-nuotti/@w{-tauko}
5075 @item @strong{quarter}
5085 @tab neljännesosa@-nuotti/@w{-tauko}
5090 @item @strong{eighth}
5100 @tab kahdeksasosa@-nuotti/@w{-tauko}
5105 @item @strong{sixteenth}
5115 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5120 @item @strong{thirty-second}
5125 @tab Zweiunddreissigstel
5126 @tab tweeendertigste
5127 @tab toogtredivtedel
5129 @tab trettiotvåondel
5130 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5135 @item @strong{sixty-fourth}
5136 @tab hemidemisemiquaver
5138 @tab quadruple croche
5140 @tab Vierundsechzigstel
5141 @tab vierenzestigste
5142 @tab fireogtred@-sindstyvendedel
5144 @tab sextiofjärdedel
5145 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5149 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5152 @chapter Pitch names
5158 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5160 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
5161 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5165 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5169 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5170 cis @tab cis @tab cis
5174 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5175 des @tab des @tab des
5179 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5183 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5187 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5191 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5195 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
5200 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5204 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5205 ais @tab ais @tab ais
5209 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5214 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5219 @node Literature used
5220 @unnumbered Literature used
5223 @item The Harvard Dictionary of Music, London 1944. Many more or less
5224 literal quotes from its articles have been included into the item
5227 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5229 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5231 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5234 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
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