1 \input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @dircategory GNU music project
8 * Glossary: (lilypond/music-glossary). Glossary of music terms.
12 This document is also available in @uref{music-glossary.pdf,PDF}
13 and as @uref{../music-glossary.html,one big page}.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
22 @author Han-Wen Nienhuys @c Dutch glossary
23 @author Jan Nieuwenhuizen @c Dutch glossary
24 @author Dadiv Gonzalez @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Mats Bengtsson @c Swedish glossary
28 @author Adrian Mariano @c Italian glossary
29 @author Heikki Junes @c Finnish glossary
31 @c Fixes by Jean-Pierre Coulon and `Dirk'
33 Copyright @copyright{} 1999--2005 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
58 This glossary was brought you by
66 @item Christian Mondrup
67 Original author of LilyPond glossary, Danish glossary,
70 @item Fran@,{c}ois Pinard
71 Original glossary of GNU music project, French glossary,
72 @item Han-Wen Nienhuys
74 @item Jan Nieuwenhuizen
79 English glossary translations,
81 Finnish glossary translations.
84 Copyright 1999--2005 by the authors
87 Permission is granted to copy, distribute and/or modify this document
88 under the terms of the GNU Free Documentation License, Version 1.1
89 or any later version published by the Free Software Foundation,
90 without Invariant Sections.
96 @c @everyheading @| @thispage @|
97 @c @evenheading @thispage @| @|
98 @c @oddheading @| @| @thispage @|
100 @include macros.itexi
105 @w{@arrow{}@strong{\word\}}@c
108 @arrow{}@ref{\word\, @strong{\word\}}@c
113 * Musical terms A-Z::
114 * Duration names notes and rests::
119 @node Musical terms A-Z
120 @chapter Musical terms A-Z
122 Languages in this order.
129 @item UK - British English
146 * ancient minor scale::
150 * ascending interval::
151 * augmented interval::
183 * compound interval::
185 * conjunct movement::
198 * descending interval::
200 * diminished interval::
202 * disjunct movement::
204 * dissonant interval::
205 * dominant ninth chord::
206 * dominant seventh chord::
209 * dot (augmentation dot)::
211 * double appoggiatura::
213 * double dotted note::
222 * ecclesiastical mode::
228 * equal temperament::
242 * functional harmony::
256 * inverted interval::
269 * long appoggiatura::
274 * meantone temperament::
281 * metronomic indication::
317 * Pythagorean comma::
339 * short appoggiatura::
343 * sixty-fourth note::
344 * sixty-fourth rest::
371 * thirty-second note::
372 * thirty-second rest::
421 FI: aksentti, korostus.
423 The stress of one tone over others.
430 @c F: how to distinguish between accidental and key-sig alteration?
436 I: alterazione, accidente,
438 D: Vorzeichen, Versetzungszeichen,
441 S: tillfälligt förtecken,
442 FI: tilapäinen etumerkki.
444 @c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
445 @c Akzidenz, NL: toevallig teken, I: accidento.
447 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
448 by a @aref{whole tone}, a flat lowers it by a semitone and a double
449 flat lowers it by a whole tone. A natural cancels the effect of a previous
452 @lilypond[fragment,notime,linewidth=13.0\cm]
453 \set Score.automaticBars = ##f
454 %\override TextScript #'font-style = #'large
456 \context Staff \relative c'' {
457 gis1 gisis ges geses g!
459 \context Lyrics \lyrics {
460 \override Lyrics .LyricText #'self-alignment-X = #-1
461 sharp "db. sharp" flat "db. flat" natural
470 F: accelerando, en accélérant,
471 D: accelerando, schneller werden,
475 FI: accelerando, kiihdyttäen.
489 FI: adagio, hitaasti.
491 It.@: comfortable, easy.
492 1.@tie{}Slow tempo, slower -- especially in even meter -- than
493 @aref{andante} and faster than @aref{largo}.
494 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
495 @aref{sonata}s, symphonies, etc.
503 D: Allegro, Schnell, Fröhlich, Lustig,
507 FI: allegro, nopeasti.
509 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
510 tempo, especially the first and last movements of a @aref{sonata}.
522 FI: altto, matala naisääni.
524 A female voice of low range (@emph{contralto}). Originally the alto was a
525 high male voice (hence the name), which by the use of falsetto reached the
526 height of the female voice. This type of voice is also known as
527 @aref{counter tenor}.
532 ES: clave de do en tercera,
533 I: chiave di contralto,
534 F: clef d'ut troisième ligne,
535 D: Altschlüssel, Bratschenschlüssel,
541 C clef setting middle C on the middle line of the staff
554 FI: ambitus, ääniala, soitinala.
556 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
557 of pitches for a given voice in a part of music. It may also denote
558 the pitch range that a musical instrument is capable of playing.
560 @node ancient minor scale
561 @section ancient minor scale
563 I: scala minore naturale,
564 F: forme du mode mineur ancien, troisème mode, mode hellénique
566 NL: authentieke mineurtoonladder,
569 FI: luonnollinen molliasteikko.
571 @aref{diatonic scale}.
573 @lilypond[fragment,notime,linewidth=13.0\cm]
574 \set Score.automaticBars = ##f
591 Walking tempo/character.
594 @section appoggiatura
598 F: appogiature, (port de voix),
603 FI: appoggiatura, etuhele.
605 Ornamental note, usually a second, that is melodically connected with the
606 main note following it. In music before the 19th century a.@: were usually
607 performed on the beat, after that mostly before the beat. While the short
608 a.@: is performed as a short note regardless of the duration of the main note
609 the duration of the long a.@: is proportional to that of the main note.
611 @lilypond[linewidth=13.0\cm]
612 \context Voice \relative c'' {
616 %\override Score.TextScript #'font-style = #'large
617 <d a fis>4_"notation" r
618 { \override Stem #'flag-style = #'()
620 \revert Stem #'flag-style
623 { \override Stem #'flag-style = #'()
625 \revert Stem #'flag-style
628 \cadenzaOn a4 \bar "||" \cadenzaOff
630 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
631 \cadenzaOn a4 \bar "||" \cadenzaOff
635 An appoggiatura may have more notes preceding the main note.
637 @lilypond[linewidth=13.0\cm]
641 % \override Score.TextScript #'font-style = #'large
642 \grace { bes16 } as8_"notation" as16 bes as8 g |
643 \grace { as16[( bes] } < c as >4-)
644 \grace { as16[( bes] } < c as >4-) \bar "||"
645 \grace { bes16 } as8_"performance" as16 bes as8 g |
646 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
647 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
658 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
660 DK: arpeggio, akkordbrydning,
662 FI: arpeggio, murtosointu.
664 @lilypond[fragment,linewidth=13.0\cm]
665 \context PianoStaff <<
666 \context Staff = SA \relative c'' {
669 r8 g16 c e g, c e r8 g,16 c e g, c e |
670 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
671 \context Staff = SB \relative c' {
673 << \context Voice = va {
675 r16 e8. ( e4) r16 e8. ( e4) |
676 r16 d8. ( d4) r16 d8. ( d4) }
677 \context Voice = vb {
684 @node ascending interval
685 @section ascending interval
687 ES: Intervalo ascendente,
688 I: intervallo ascendente,
689 F: intervalle ascendant,
690 D: steigendes Intervall,
691 NL: stijgend interval,
692 DK:@w{ }stigende interval,
693 S: stigande intervall,
694 FI: nouseva intervalli.
696 A distance between a starting lower note and a higher ending note.
698 @node augmented interval
699 @section augmented interval
701 ES: intervalo aumentado,
702 I: intervallo aumentato,
703 F: intervalle augmenté,
704 D: übermäßiges Intervall,
705 NL: overmatig interval,
706 DK: forstørret interval,
707 S: överstigande intervall,
708 FI: ylinouseva intervalli.
717 D: Autograph, Handschrift,
719 DK: håndskrift, autograf,
721 FI: käsinkirjoitettu nuotti.
723 1.@tie{}A manuscript in the composer's own hand.
724 2.@tie{}Music prepared for photoreproduction by freehand drawing,
725 with the aid of a straightedge ruler and T-square only,
726 which attempts to emulate engraving.
727 This required more skill than did engraving.
749 ES: compás, @aref{measure}.
755 I: stanghetta, barra (di divisione),
756 F: barre (de mesure),
773 FI: baritoni, keskikorkuinen miesääni.
775 The male voice intermediate between the @aref{bass} and the
778 @c F: clef de troisième ligne dropped
781 @section baritone clef
783 ES: clave de fa en tercera,
784 I: chiave di baritono,
785 F: clef d' Ut cinquième ligne, clef de Fa troisième,
792 C or F clef setting middle C on the upper staff line.
793 @aref{C clef}, @aref{F clef}.
798 ES: clave de fa en cuarta,
800 F: clé de fa quatrième ligne,
807 A clef setting with middle C on the first top ledger line.
819 FI: basso, matala miesääni.
821 1.@tie{}The lowest male voice.
822 2.@tie{}Sometimes, especially in jazz music, used as
823 an abbreviation for double bass.
837 Line connecting a series of notes (shorter than a quarter note).
838 The number of beams determines the note value of the connected notes.
840 @lilypond[fragment,notime,linewidth=13.0\cm]
841 \set Score.automaticBars = ##f
842 %\override TextScript #'font-style = #'large
845 g16_"1/16"[ g g g] s16
846 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
847 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
856 D: Takt, Taktschlag, Zeit (im Takt),
862 Note value used for counting, most often half-, fourth-, and eighth notes.
863 The base counting value and the number of them per measure is indicated at
864 the start of the music.
866 @lilypond[fragment,linewidth=13.0\cm]
869 \relative c'' { g4 c b a | g1 \bar "||"}
871 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
885 D: Klammer, Akkolade,
886 NL: accolade, teksthaak,
889 FI: yhdistävä sulkumerkki.
891 Symbol at the start of a system connecting staves. Curly braces are used
892 for connecting piano staves, angular brackets for connecting parts in an
893 orchestral or choral score.
895 @lilypond[fragment,raggedright]
896 \context GrandStaff <<
897 \relative c''\context Staff = SA { \clef treble g4 e c2 }
898 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
901 @lilypond[fragment,raggedright]
902 \context StaffGroup <<
903 % \set StaffGroup.minVerticalAlign = #12
904 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
905 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
917 S: brassinstrument, mässingsinstrument,
920 A family of blown musical instruments made of brass, all using a cup formed
921 mouth piece. The brass instruments commonly used in a symphony orchestra are
922 trumpet, trombone, french horn, and tube.
929 D: Atemzeichen, Trennungszeichen,
930 NL: repercussieteken,
931 DK: vejrtrækningstegn,
935 Indication of where to breathe in vocal and wind instrument parts.
948 @aref{note value}, twice as long as a whole note. Mainly used
951 @lilypond[fragment,notime,raggedright]
952 \set Score.automaticBars = ##f
953 \relative c'' { g\breve }
980 Clef symbol indicating the position of the middle C. Used on all note
983 @lilypond[fragment,notime,linewidth=13.0\cm]
984 \set Score.automaticBars = ##f
985 \override Score.Clef #'full-size-change = ##t
986 %\override Score.LyricText #'font-style = #'large
988 \context Staff \relative c' {
990 \clef mezzosoprano c s s
995 \context Lyrics \lyrics {
996 \override Lyrics .LyricText #'self-alignment-X = #-1
997 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1011 FI: kadenssi, lopuke.
1013 @aref{harmonic cadence}, @aref{functional harmony}.
1025 FI: kadenssi, lopuke.
1027 An extended, improvisatory style section inserted near the end of
1028 movement. The purpose of a cadenza is to give singers or players a chance
1029 to exhibit their technical skill and -- not last -- their ability to
1030 improvise. Since the middle of the 19th century, however, most cadences have
1031 been written down by the composer.
1043 FI: kaanon, tarkka jäljittely.
1045 @aref{counterpoint}.
1057 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1059 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1060 of an equally tempered @aref{semitone}).
1061 @aref{equal temperament}.
1080 Three or more tones sounding simultaneously. In traditional European music the
1081 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1082 minor @aref{third}) as well as @emph{minor} (minor + major third)
1083 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1084 and five-tone @emph{ninth} major chords are most often used as dominants
1085 (@aref{functional harmony}). A special case is chords having no
1086 third above the lower notes to define their quality as major or minor. Such
1087 chords are denoted open chords
1089 @lilypond[fragment,notime,linewidth=13.0\cm]
1090 \set Score.automaticBars = ##f
1091 %\override TextScript #'font-style = #'large
1093 \context Staff \relative c'' {
1101 \context Lyrics \lyrics{
1111 @node chromatic scale
1112 @section chromatic scale
1114 ES: escala cromática,
1116 F: gamme chromatique,
1117 D: chro@-ma@-ti@-sche Tonleiter,
1118 NL: chromatische toonladder,
1119 DK: kromatisk skala,
1121 FI: kromaattinen asteikko.
1123 A scale consisting of all 12 @aref{semitone}s.
1125 @lilypond[fragment,notime,linewidth=13.0\cm]
1126 \set Score.automaticBars = ##f
1127 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1131 @section chromaticism
1142 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1145 @section church mode
1147 ES: modo eclesiástico,
1148 I: modo ecclesiastico,
1149 F: mode ecclésiastique,
1154 FI: moodi, kirkkosävellaji.
1156 @aref{diatonic scale}.
1164 D: Schlüssel, Notenschlüssel,
1168 FI: avain, nuottiavain.
1170 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1175 A @emph{cluster} is a range of simultaneously sounding pitches that
1176 may change over time. The set of available pitches to apply usually
1177 depends on the acoustic source. Thus, in piano music, a cluster
1178 typically consists of a continuous range of the semitones as provided
1179 by the piano's fixed set of a chromatic scale. In choral music, each
1180 singer of the choir typically may sing an arbitrary pitch within the
1181 cluster's range that is not bound to any diatonic, chromatic or other
1182 scale. In electronic music, a cluster (theoretically) may even cover
1183 a continuous range of pitches, thus resulting in colored noise, such
1186 Clusters can be denoted in the context of ordinary staff notation by
1187 engraving simple geometrical shapes that replace ordinary notation of
1188 notes. Ordinary notes as musical events specify starting time and
1189 duration of pitches; however, the duration of a note is expressed by
1190 the shape of the note head rather than by the horizontal graphical
1191 extent of the note symbol. In contrast, the shape of a cluster
1192 geometrically describes the development of a range of pitches
1193 (vertical extent) over time (horizontal extent). Still, the
1194 geometrical shape of a cluster covers the area in which any single
1195 pitch contained in the cluster would be notated as an ordinary note.
1197 @lilypond[fragment,relative=2,verbatim,raggedright]
1198 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1210 FI: komma, korvinkuultava ero äänenkorkeudessa.
1212 Difference in pitch between a note derived from pure tuning and the same note
1213 derived from some other tuning method. @aref{temperament}.
1216 @section common meter
1220 @node compound interval
1221 @section compound interval
1223 ES: intervalo compuesto,
1224 I: intervallo composto,
1225 F: intervalle composé,
1226 D: weites Intervall,
1227 NL: samengesteld interval,
1228 DK: sammensat interval,
1229 S: sammansatt intervall,
1230 FI: oktaavia laajempi intervalli.
1232 Intervals larger than an octave.
1240 F: intervalle complémentaire,
1241 D: Komplementärintervall,
1242 NL: complementair interval,
1243 DK: komplementærinterval,
1244 S: komplementärintervall (?),
1245 FI: täydentävä intervalli.
1247 @aref{inverted interval}.
1249 @node conjunct movement
1250 @section conjunct movement
1252 ES: movimiento conjunto,
1254 F: mouvement conjoint,
1255 D: schritt@-weise, stufenweise Bewegung,
1256 NL: stapsgewijze, trapsgewijze beweging,
1257 DK: trinvis bevægelse,
1259 FI: asteittainen liike.
1261 Progressing melodically by intervals of a second. The opposite of a
1262 @aref{disjunct movement}.
1264 @lilypond[fragment,linewidth=13.0\cm]
1265 \key g \major \time 4/4
1266 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1279 FI: konsonanssi, sopusointi.
1298 @section counterpoint
1307 FI: kontrapunkti, ääni ääntä vastaan.
1309 From latin @emph{punctus contra punctum}, note against note. The combination
1310 into a single musical fabric of lines or parts which have distinct melodic
1311 significance. A frequently used polyphonic technique is imitation, in its
1312 strictest form found in the canon needing only one part to be written down
1313 while the other parts are performed with a given displacement. Imitation is
1314 also the contrapunctal technique used in the @emph{fugue} which, since the
1315 music of the baroque era, has been one of the most popular polyphonic
1316 composition methods.
1318 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
1319 \override Score.TimeSignature #'break-visibility = #all-invisible
1320 \context PianoStaff <<
1321 \context Staff = SA \relative c' {
1325 << \context Voice = rha {
1327 r1 | r2 r8 g'8 bes d, |
1328 cis4 d r8 e!16 f g8 f16 e |
1329 f8 g16 a bes8 a16 g a8
1331 \context Voice = rhb {
1337 \context Staff = SB \relative c' {
1340 << \context Voice = lha {
1342 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1343 r8 a16 g f8 g16 a bes8 g e! cis' |
1346 \context Voice = lhb {
1355 @section counter tenor
1360 D: Countertenor, Kontratenor,
1363 S: kontratenor, counter tenor,
1369 @section copying music
1371 A music copyist did fast freehand scores and parts on preprinted staff lines
1372 for performance. Some of their conventions (e.g., the placement of note heads
1373 on stems) varied slightly from those of engravers. Some of their working
1374 methods were superior and could well be adopted by music typesetters. This
1375 required more skill than engraving.
1383 D: Crescendo, lauter werden,
1387 FI: cresendo, voimistuen.
1389 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1390 abbreviation ``cresc.''.
1392 @lilypond[fragment,raggedright]
1393 \key g \major \time 4/4
1394 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1402 F: petites notes précédent l'entrée d'in instrument, réplique,
1409 In a separate part notes belonging to another part with the purpose of hinting
1410 when to start playing. Usually printed in a smaller type.
1415 A custos is a staff symbol that appears at the end of a staff line
1416 with monophonic musical contents (i.e., with a single voice). It
1417 anticipates the pitch of the first note of the following line and thus
1418 helps the player or singer to manage line breaks during performance,
1419 thus enhancing readability of a score.
1421 Custodes were frequently used in music notation until the 16th
1422 century. There were different appearences for different notation
1423 styles. Nowadays, they have survived only in special forms of musical
1424 notation such as via the editio vaticana dating back to the beginning
1430 % \override Staff.Custos #'neutral-position = #4
1431 \override Staff.Custos #'neutral-direction = #-1
1432 \override Staff.Custos #'style = #'hufnagel
1440 \consists Custos_engraver
1464 F: da capo, depuis le commencement,
1465 D: da capo, von Anfang,
1469 FI: da capo, alusta.
1471 The term indicates repetition of the piece from the beginning to the end or
1472 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1479 F: dal segno, depuis le signe,
1480 D: dal segno, ab dem Zeichen,
1484 FI: dal segno, lähtien merkistä.
1486 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1487 another place frequently near the beginning marked by a sign:
1489 @lilypond[fragment,raggedright]
1490 %\override TextScript #'font-style = #'large
1491 \override TextScript #'font-shape = #'italic
1492 \key g \major \time 4/4
1497 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
1503 @section decrescendo
1507 D: Decrescendo, leiser werden,
1511 FI: decresendo, hiljentyen.
1513 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1514 or the abbreviation ``decresc.''.
1516 @lilypond[fragment,raggedright]
1518 \key g \major \time 4/4
1519 d4 \> c b a | g1 \! \bar "|."
1523 @node descending interval
1524 @section descending interval
1526 ES: intervalo descendente,
1527 I: intervallo discendente,
1528 F: intervalle descendant,
1529 D: fallendes Intervall, absteigendes Intervall,
1530 NL: dalend interval,
1531 DK: faldende interval,
1532 S: fallande intervall,
1533 FI: laskeva intervalli.
1535 A distance between a starting higher note and a lower ending note.
1537 @node diatonic scale
1538 @section diatonic scale
1540 ES: escala diatónica,
1542 F: gamme diatonique,
1543 D: diatonische Tonleiter,
1544 NL: diatonische toonladder,
1545 DK: diatonisk skala,
1547 FI: diatoninen asteikko.
1549 A scale consisting of 5@w{ }@aref{whole tone}s and
1550 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1551 of a piano keybord are diatonic.
1553 The church modes are used in gregorial chant and in pre-baroque early
1554 music but also to some extent in newer jazz music.
1556 @lilypond[fragment,notime,raggedright]
1557 \set Score.automaticBars = ##f
1558 %\override Score.LyricText #'font-style = #'large
1559 %\override Score.TextScript #'font-style = #'large
1561 \context Staff \relative c' {
1563 \override TextScript #'padding = #-4
1564 e^"~~ S" f g a b^"~~ S" c
1566 \context Lyrics \lyrics {
1571 @lilypond[fragment,notime,raggedright]
1572 \set Score.automaticBars = ##f
1573 %\override Score.LyricText #'font-style = #'large
1574 %\override Score.TextScript #'font-style = #'large
1576 \context Staff \relative c' {
1578 \override TextScript #'padding = #-4
1579 e^"~~ S" f g a b^"~~ S" c d
1581 \context Lyrics \lyrics {
1586 @lilypond[fragment,notime,raggedright]
1587 \set Score.automaticBars = ##f
1588 %\override Score.LyricText #'font-style = #'large
1589 %\override Score.TextScript #'font-style = #'large
1592 \override TextScript #'padding = #-4
1593 e1^"~~ S" f g a b^"~~ S" c d e
1595 \context Lyrics \lyrics {
1600 @lilypond[fragment,notime,raggedright]
1601 \set Score.automaticBars = ##f
1602 %\override Score.LyricText #'font-style = #'large
1603 %\override Score.TextScript #'font-style = #'large
1607 \override TextScript #'padding = #-4
1608 b^"~~ S" c d e^"~~ S" f
1610 \context Lyrics \lyrics {
1615 @lilypond[fragment,notime,raggedright]
1616 \set Score.automaticBars = ##f
1617 %\override Score.LyricText #'font-style = #'large
1618 %\override Score.TextScript #'font-style = #'large
1622 \override TextScript #'padding = #-4
1623 b^"~~ S" c d e^"~~ S" f g }
1624 \context Lyrics \lyrics {
1629 @lilypond[fragment,notime,raggedright]
1630 \set Score.automaticBars = ##f
1631 %\override Score.LyricText #'font-style = #'large
1632 %\override Score.TextScript #'font-style = #'large
1636 \override TextScript #'padding = #-4
1637 b^"~~ S" c d e^"~~ S" f g a
1639 \context Lyrics \lyrics {
1644 From the beginning of the 17th century the scales used in European
1645 compositional music are primarily the major and the minor scales. In the
1646 harmonic minor scale type an augmented second (A) occurs between the 6th and
1649 @lilypond[fragment,notime,raggedright]
1650 \set Score.automaticBars = ##f
1651 %\override Score.LyricText #'font-style = #'large
1652 %\override Score.TextScript #'font-style = #'large
1656 \override TextScript #'padding = #-4
1657 e^"~~ S" f g a b^"~~ S" c
1659 \context Lyrics \lyrics {
1664 @lilypond[fragment,notime,raggedright]
1665 \set Score.automaticBars = ##f
1666 %\override Score.LyricText #'font-style = #'large
1667 %\override Score.TextScript #'font-style = #'large
1671 \override TextScript #'padding = #-4
1672 b^"~~ S" c d e^"~~ S" f g a
1674 \context Lyrics \lyrics {
1679 @lilypond[fragment,notime,raggedright]
1680 \set Score.automaticBars = ##f
1681 %\override Score.LyricText #'font-style = #'large
1682 %\override Score.TextScript #'font-style = #'large
1686 \override TextScript #'padding = #-4
1687 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1689 \context Lyrics \lyrics {
1694 @lilypond[fragment,notime,linewidth=13.0\cm]
1695 \set Score.automaticBars = ##f
1696 %\override Score.LyricText #'font-style = #'large
1697 %\override Score.TextScript #'font-style = #'large
1701 \override TextScript #'padding = #-4
1702 b^"~~ S" c d e fis gis^"~~ S"
1703 a g! f!^"~~ S" e d c^"~~ S" b a
1705 \context Lyrics \lyrics {
1710 @node diminished interval
1711 @section diminished interval
1713 ES: intervalo disminuído,
1714 I: intervallo diminuito,
1715 F: intervalle diminué,
1716 D: vermindertes Intervall,
1717 NL: verminderd interval,
1718 DK: formindsket interval,
1719 S: förminskat intervall,
1720 FI: vähennetty intervalli.
1734 FI: diminuendo, hiljentyen.
1738 @node disjunct movement
1739 @section disjunct movement
1741 ES: movimiendo disjunto,
1743 F: mouvement disjoint,
1744 D: sprunghafte Bewegung,
1745 NL: sprongsgewijze beweging,
1746 DK: springende bevægelse,
1747 S: hoppande rörelse,
1748 FI: melodian hyppivä liike.
1750 Progressing melodically by intervals larger than a major second.
1751 Opposite of @aref{conjunct movement}.
1753 @lilypond[fragment,raggedright]
1758 a4. gis8 b a e cis |
1759 fis2 d4. \bar "||" }
1765 @ref{dissonant interval}.
1767 @node dissonant interval
1768 @section dissonant interval
1770 ES: intervalo disonante, disonancias,
1771 I: intervallo dissonante, dissonanza,
1774 NL: dissonant interval; dissonant,
1775 DK: dissonerende interval, dissonans,
1777 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1781 @node dominant ninth chord
1782 @section dominant ninth chord
1784 I: accordo di nona di dominante,
1785 F: accord de neuvième dominante,
1786 D: Domi@-nant@-nonen@-akkord,
1787 NL: dominant noon akkoord,
1788 DK: dominantnoneakkord,
1789 S: dominantnonackord,
1790 FI: dominanttinoonisointu.
1792 @aref{chord}, @aref{functional harmony}.
1794 @node dominant seventh chord
1795 @section dominant seventh chord
1797 ES: acorde de séptima de dominante,
1798 I: accordo di settima di dominante,
1799 F: accord de septième dominante,
1800 D: Dominantseptakkord,
1801 NL: dominant septiem akkoord,
1802 DK: dominantseptimakkord,
1803 S: dominantseptimackord,
1804 FI: dominanttiseptimisointu.
1806 @aref{chord}, @aref{functional harmony}.
1818 FI: dominantti, huippusointu.
1820 The fifth @aref{scale degree},
1821 @aref{functional harmony}.
1824 @section dorian mode
1829 D: dorisch, dorischer Kirchenton,
1830 NL: dorische toonladder,
1835 @aref{diatonic scale}.
1837 @node dot (augmentation dot)
1838 @section dot (augmentation dot)
1841 I: punto (di valore),
1843 D: Punkt (Verlängerungspunkt),
1852 @section dotted note
1854 ES: nota con puntillo,
1858 NL: gepuncteerde noot,
1861 FI: pisteellinen nuotti.
1865 @node double appoggiatura
1866 @section double appoggiatura
1868 ES: apoyatura doble,
1869 I: appoggiatura doppia,
1870 F: appoggiature double,
1871 D: doppelter Vorschlag,
1872 NL: dubbele voorslag,
1873 DK: dobbelt forslag,
1875 FI: kaksoisappogiatura, kaksoisetuhele.
1877 @aref{appoggiatura}.
1879 @node double bar line
1880 @section double bar line
1885 NL: dubbele maatstreep,
1888 FI: kaksoistahtiviiva.
1890 Indicates the end of a section within a movement.
1892 @node double dotted note
1893 @section double dotted note
1895 ES: nota con dos puntillos,
1896 I: nota doppiamente puntata,
1897 F: note doublement pointée,
1898 D: doppelt punktierte Note,
1899 NL: dubbelgepuncteerde noot,
1900 DK: dob@-belt@-punk@-te@-ret node,
1901 S: dub@-bel@-punk@-te@-rad not,
1902 FI: kaksoispisteellinen nuotti.
1907 @section double flat
1916 FI: kaksoisalennusmerkki.
1921 @section double sharp
1923 ES: doble sostenido,
1928 DK: dob@-belt@-kryds,
1930 FI: kaksoisylennysmerkki.
1935 @section double trill
1941 NL: dubbele triller,
1946 A simultaneous trill on two notes, usually in the distance of a third.
1949 @section duple meter
1955 NL: tweedelige maatsoort,
1986 FI: kesto, aika-arvo.
1991 @section dydimic comma
1993 @aref{syntonic comma}.
2007 @node ecclesiastical mode
2008 @section ecclesiastical mode
2013 @section eighth note
2019 D: Achtel, Achtelnote,
2021 DK: ottendedelsnode,
2023 FI: kahdeksasosanuotti.
2028 @section eighth rest
2030 ES: silencio de corchea,
2036 DK: ottendedelspause,
2038 FI: kahdeksasosatauko.
2043 @section embellishment
2054 D: Notenstechen, Notendruck
2060 Engraving means incising or etching a metal plate for
2061 printing. Photoengraving means drawing music with ink in a manner
2062 similar to drafting or engineering drawing, using similar tools.
2064 The traditional process of music printing is done through cutting in a
2065 plate of metal. Now also the term for the art of music typesetting.
2079 Two notes, intervals, or scales are enharmonic if they have different names
2082 @lilypond[fragment,notime,linewidth=13.0\cm]
2083 \set Score.automaticBars = ##f
2084 %\override Score.TextScript #'font-style = #'large
2086 \context Staff \relative c'' {
2087 gis1 s s as s s <des g,!> s s <cis g!> s s
2089 \context Lyrics \lyrics {
2090 \override Lyrics .LyricText #'self-alignment-X = #-1
2091 "g sharp " "a flat " "dim fifth " "augm fourth"
2095 @node equal temperament
2096 @section equal temperament
2099 I: temperamento equabile,
2100 F: tempérament égal,
2101 D: gleichschwebende Stimmung,
2102 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2103 DK: ligesvævende temperatur,
2104 S: liksvävande temperatur,
2107 Tuning system dividing the octave into 12 equal @aref{semitone}s
2108 (precisely 100 @aref{cent}s). @aref{temperament}.
2110 @node expression mark
2111 @section expression mark
2114 I: segno d'espressione,
2115 F: signe d'expression, indication de nuance,
2117 NL: voordrachtsteken,
2118 DK: foredragsbetegnelse,
2119 S: föredragsbeteckning,
2120 FI: nyanssiosoitus, esitysmerkki.
2122 Performance indications concerning 1. volume, dynamics (for example
2123 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2124 @aref{andante}, @aref{allegro}).
2150 The position between the dots of the key symbol is the line of the F below
2151 central@w{ }C. Used on the third, fourth and fifth note line. A
2152 digit@w{ }8 above the clef symbol indicates that the notes must be played
2153 an octave higher (for example bass recorder) while 8@w{ }below the clef
2154 symbol indicates playing an octave lower (for example on double bass
2157 @lilypond[fragment,notime,linewidth=13.0\cm]
2158 \set Score.automaticBars = ##f
2159 \override Staff.Clef #'full-size-change = ##t
2160 %\override Score.LyricText #'font-style = #'large
2174 \context Lyrics \lyrics {
2175 % \override Lyrics .LyricText #'self-alignment-X = #-1
2184 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2191 F: point d'orgue, point d'arr@^et,
2196 FI: fermaatti, pidäke.
2198 Prolonged note or rest of indefinite duration.
2200 @lilypond[fragment,raggedright]
2203 a4 b c2^\fermata \bar "|."
2222 @section figured bass
2224 ES: bajo cifrado, @aref{thorough bass}.
2238 The methodical use of fingers in the playing of instruments.
2244 I: coda (uncinata), bandiera,
2252 Ornament at the end of the stem of a note used for notes with values
2253 less than a quarter note. The number of flags determines the
2256 @lilypond[fragment,notime,raggedright]
2257 \set Score.automaticBars = ##f
2258 %\override Score.TextScript #'font-style = #'large
2284 @aref{appoggiatura}.
2296 FI: forte, voimakkaasti.
2298 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2299 @emph{mezzoforte} (@b{mf}) medium loud.
2327 @aref{counterpoint}.
2329 @node functional harmony
2330 @section functional harmony
2332 ES: armonía funcional,
2333 I: armonia funzionale,
2334 F: étude des functions,
2336 NL: functionele harmonie,
2337 DK: funktionsanalyse, funktionsharmonik,
2339 FI: harmoniajärjestelmä.
2341 A system of harmonic analysis. It is based on the idea that, in a given key,
2342 there are only three functionally different chords: tonic (T, the chord on the
2343 first note of the scale), subdominant (S, the chord on the fourth note), and
2344 dominant (D, the chord on the fifth note). Others are considered to be
2345 variants of the base chords.
2347 @lilypond[fragment,notime,linewidth=13.0\cm]
2348 \set Score.automaticBars = ##f
2349 %\override Score.LyricText #'font-style = #'large
2350 %\override Score.TextScript #'font-style = #'large
2352 \context Voice \relative c'' {
2353 <g e c >1 < a f d > < b g e >
2354 <c a f > < d b g > < e c a > < f d b > }
2355 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
2376 D: G-Schlüssel, Violinschlüssel,
2382 A clef symbol indicating the G above central@w{ }C. Used on the first
2383 and second note lines. A digit 8 above the clef symbol indicates that
2384 the notes must be played an octave higher while 8 below the clef symbol
2385 indicates playing or singing an octave lower (most tenor parts in choral
2386 scores are notated like that).
2388 @lilypond[fragment,notime,linewidth=13.0\cm]
2389 \set Score.automaticBars = ##f
2390 \override Staff.Clef #'full-size-change = ##t
2391 %\override Score.LyricText #'font-style = #'large
2403 \context Lyrics \lyrics {
2404 \override Lyrics .LyricText #'self-alignment-X = #-1
2405 "french violin clef "
2422 FI: glissando, liukuen.
2424 Letting the pitch slide fluently from one note to the other.
2427 @section grace notes
2432 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2438 Notes printed in small types to indicate that their time values are not
2439 counted in the rhythm of the bar. @aref{appoggiatura}.
2442 @section grand staff
2449 S: ackolad, böjd klammer,
2450 FI: kaksoisnuottiviivasto.
2454 A combination of two staves with a brace. Usually used for piano music.
2466 FI: grave, raskaasti.
2482 D: Halbe, halbe Note,
2505 @node harmonic cadence
2506 @section harmonic cadence
2508 ES: cadencia (armónica),
2509 I: cadenza (armonica),
2510 F: cadence harmonique,
2512 NL: harmonische cadens,
2513 DK: harmonisk kadence,
2514 S: (harmonisk) kadens,
2515 FI: harmoninen kadenssi.
2517 A sequence of chords that terminates a musical phrase or
2518 section. @aref{functional harmony}.
2520 @lilypond[fragment,raggedright]
2521 \context PianoStaff <<
2522 \context Staff = SA \relative c'' {
2526 \partial 4 < c g e >4 |
2527 < c a f > < b g d > < c g e >2
2529 % %\override Score.LyricText #'font-style = #'large
2531 \context Staff = SB \relative c {
2533 \partial 4 c4 | f, g c2
2536 \context Lyrics \lyrics {
2548 D: Harmonie, Zusammenklang,
2552 FI: harmonia, yhteissointi.
2554 Tones sounding simultaneously. Two note harmonies fall into the categories
2555 @emph{consonances} and @emph{dissonances}.
2559 @lilypond[fragment,notime,linewidth=13.0\cm]
2560 \set Score.automaticBars = ##f
2561 %\override Score.TextScript #'font-style = #'large
2562 \context Voice \relative c'' {
2575 @lilypond[fragment,notime,linewidth=13.0\cm]
2576 \set Score.automaticBars = ##f
2577 %\override Score.TextScript #'font-style = #'large
2578 \context Voice \relative c'' {
2579 <g a>1_"second " s s
2580 <g f'>_"seventh " s s
2585 Three note harmony @aref{chord}.
2597 FI: homofonia, yksiäänisyys.
2599 Music in which one voice leads melodically followed by the other voices more
2600 or less in the same rhythm. In contrast to @aref{polyphony}.
2612 FI: intervalli, kahden sävelen korkeusero.
2614 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2615 diminished, or augmented. The augmented fourth and the diminished fifth are
2616 identical (@aref{enharmonic}) and are called @emph{tritonus}
2617 because they consist of three @aref{whole tone}s. The addition
2618 of such two intervals forms an octave.
2620 @lilypond[fragment,notime,linewidth=13.0\cm]
2621 \set Score.automaticBars = ##f
2622 %\override Score.LyricText #'font-style = #'large
2623 %\override Score.TextScript #'font-style = #'large
2625 \context Voice \relative c'' {
2630 < gis bes >^"dimin" s
2631 < g! bes >^"minor" s
2635 \context Lyrics \lyrics {
2636 "unisone " "second " "second " "second "
2637 "third " "third " "third " "third"
2641 @lilypond[fragment,notime,linewidth=13.0\cm]
2642 \set Score.automaticBars = ##f
2643 %\override Score.LyricText #'font-style = #'large
2644 %\override Score.TextScript #'font-style = #'large
2646 \context Staff \relative c'' {
2647 < g c >1^"perfect" s
2649 < g d' >^"perfect" s
2650 < g des' > ^"dimin" s
2651 < gis es' >^"dimin" s
2652 < g! es' >^"minor" s
2656 \context Lyrics \lyrics {
2657 "fourth " "fourth " "fifth " "fifth "
2658 "sixth " "sixth " "sixth " "sixth"
2662 @lilypond[fragment,notime,linewidth=13.0\cm]
2663 \set Score.automaticBars = ##f
2664 %\override Score.LyricText #'font-style = #'large
2665 %\override Score.TextScript #'font-style = #'large
2667 \context Staff \relative c'' {
2668 < gis f'! >1^"dimin" s
2669 < g! f'! >^"minor" s
2670 < g fis' >^"major" s
2674 < g bes' >^"minor" s
2677 \context Lyrics \lyrics {
2678 "seventh " "seventh " "seventh " "octave "
2679 "none " "none " "decime " "decime"
2683 @node inverted interval
2684 @section inverted interval
2686 ES: intervalo invertido,
2687 I: intervallo rivolto,
2688 F: intervalle reversé,
2689 D: umgekehrtes Intervall,
2690 NL: interval inversie,
2691 DK: omvendingsinterval,
2692 S: intervallets omvändning,
2693 FI: käänteisintervalli.
2695 The difference between an interval and an octave.
2697 @lilypond[fragment,notime,linewidth=13.0\cm]
2698 \set Score.automaticBars = ##f
2699 %\override Score.TextScript #'font-style = #'large
2700 \context Staff \relative c'' {
2701 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2702 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2703 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2707 @node just intonation
2708 @section just intonation
2710 I: intonazione giusta,
2711 F: intonation juste,
2718 Tuning system in which the notes are obtained by adding and subtracting
2719 natural fifths and thirds. @aref{temperament}.
2733 According to the 12@w{ }tones of the @aref{chromatic scale}
2734 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2735 @aref{key signature}.
2738 @section key signature
2740 ES: armadura de clave,
2741 I: armatura di chiave,
2742 F: armure, armature [de la clé],
2743 D: Vorzeichen, Tonart,
2744 NL: toon@-soort (voortekens),
2747 FI: sävellajiosoitus.
2749 The sharps or flats appearing at the beginning of each staff indicating the
2750 key of the music. @aref{accidental}.
2758 D: Largo, Langsam, Breit,
2762 FI: largo, hitaasti, leveästi.
2764 Very slow in tempo, usually combined with great
2765 expressiveness. @emph{Larghetto} is less slow than largo.
2768 @section leading note
2779 The seventh @aref{scale degree}, a @aref{semitone} below
2780 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2781 upwards) to the tonic scale degree.
2784 @section ledger line
2786 ES: líneas adicionales,
2787 I: tagli addizionali,
2788 F: ligne supplémentaire,
2795 A ledger line is an extension of the staff.
2797 @lilypond[fragment,notime,raggedright]
2798 \set Score.automaticBars = ##f
2799 \relative c'' { a,1 s c'' }
2814 To be performed (a) without any perceptible interruption between the notes,
2815 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2816 (d) @aref{staccato}.
2818 @lilypond[fragment,notime,linewidth=13.0\cm]
2819 \set Score.automaticBars = ##f
2821 \context Staff \relative c'' {
2822 c4-( d e-) \bar "||"
2823 c4-- d-- e-- \bar "||"
2824 c4-.-( d-. e-.-) \bar "||"
2825 c4-. d-. e-. \bar "||"
2827 \context Lyrics \lyrics {
2828 % \override Lyrics .LyricText #'font-style = #'large
2837 @section legato curve
2839 @aref{slur}, @aref{legato}.
2849 ES: estanque de lilas,
2850 I: stagno del giglio,
2854 NL: le@-lie@-vij@-ver,
2859 A pond with lilies floating in it, also the name of a music typesetter.
2864 A ligature is a coherent graphical symbol that represents at least two
2865 distinct notes. Ligatures originally appeared in the manuscripts of
2866 Gregorian chant notation roughly since the 9th century to denote
2867 ascending or descending sequences of notes. In early notation,
2868 ligatures were used for monophonic tunes (Gregorian chant) and very
2869 soon denoted also the way of performance in the sense of articulation.
2870 With the invention of the metric system of the white mensural
2871 notation, the need for ligatures to denote such patterns disappeared.
2879 D: Linie, Notenlinie,
2883 FI: viiva, nuottiviiva.
2887 @node long appoggiatura
2888 @section long appoggiatura
2890 ES: apoyatura larga,
2891 I: appoggiatura lunga,
2892 F: appoggiature longue,
2893 D: langer Vorschlag,
2897 FI: pitkä appoggiatura, pitkä etuhele.
2899 @aref{appoggiatura}.
2913 Note value: double length of @aref{breve}.
2916 @lilypond[fragment,notime,raggedright]
2917 \set Score.automaticBars = ##f
2919 \override NoteHead #'style = #'mensural
2936 @node major interval
2937 @section major interval
2939 ES: intervalo mayor,
2940 I: intervallo maggiore,
2941 F: intervalle majeur,
2942 D: großes Intervall,
2946 FI: suuri intervalli.
2962 @aref{diatonic scale}.
2964 @node meantone temperament
2965 @section meantone temperament
2967 I: accordatura mesotonica,
2968 F: tempérament mésotonique,
2969 D: mitteltönige Stimmung,
2970 NL: middenstemming, middentoonstemming,
2971 DK: middeltonetemperatur,
2972 S: medeltonstemperatur,
2973 FI: keskisävelviritys.
2975 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2976 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2977 @aref{temperament} only a limited set of keys are playable.
2978 Used for tuning keyboard instruments for performance of pre-1650 music.
2992 A group of @aref{beat}s (units of musical time) the first of which
2993 bears an accent. Such groups in numbers of two or more recur consistently
2994 throughout the composition and are marked from each other by
2995 bar-lines. @aref{meter}.
3001 I: mediante, modale,
3009 1.@tie{}The third @b{scale degree}.
3010 2.@tie{}A @aref{chord} having its base tone
3011 a third from that of another chord. For example, the tonic chord may be
3012 replaced by its lower mediant (variant tonic). @aref{functional
3013 harmony}, @aref{relative key}.
3019 FI: melisma, laulettavan tavun sävelkuvio.
3021 A melisma (plural: melismata) is a group of notes or tones sung on one
3022 syllable in plainsong
3024 @node melodic cadence
3025 @section melodic cadence
3034 F: indication de mésure,
3041 The basic scheme of @aref{note value}s and
3042 @aref{accent}s which remains unaltered throughout a composition
3043 or a section of it. For instance, 3/4 meter means that the basic
3044 @aref{note value}s are quarter notes and that a
3045 @aref{measure} consists of three of those. According to
3046 whether there are two, three, or four units to the measure,
3047 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3048 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3050 @lilypond[fragment,linewidth=13.0\cm]
3054 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3057 @lilypond[fragment,linewidth=13.0\cm]
3061 f8 f f f a16 g a f |
3062 c'8 c c c e16 d e c \bar "||"}
3065 @lilypond[fragment,linewidth=13.0\cm]
3069 d4 b8 g b d d c a4 |
3070 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3085 Device indicating the exact tempo of a piece. @aref{metronomic
3088 @node metronomic indication
3089 @section metronomic indication
3091 ES: indicación metronómica,
3092 I: indicazione metronomica,
3093 F: indication métronomique,
3095 NL: metronoom aanduiding,
3097 S: metronomangivelse,
3098 FI: metronomiosoitus.
3100 Exact tempo indication (in beats per minute). Also denoted by
3101 M.M.@: (Mälzels Metronom).
3104 @section mezzo-soprano
3115 The female voice between @aref{soprano} and
3124 D: eingestrichenes@w{ }c,
3126 DK: enstreget@w{ }c,
3127 S: ettstruket@w{ }c,
3130 First C below the 440 Hz A.
3132 @lilypond[fragment,notime,raggedright]
3133 \set Score.automaticBars = ##f
3134 \override Staff.Clef #'full-size-change = ##t
3154 @aref{diatonic scale}.
3156 @node minor interval
3157 @section minor interval
3159 ES: intervalo mayor,
3160 I: intervallo minore,
3161 F: intervalle mineur,
3162 D: kleines Intervall,
3166 FI: pieni intervalli.
3180 FI: moodi, kirkkosävelasteikko.
3182 @aref{church mode}, @aref{diatonic scale}.
3194 FI: modulaatio, sävellajin vaihdos.
3196 Moving from one @aref{key} to another. For example, the second
3197 subject of a @aref{sonata form} movement modulates to the dominant
3198 key if the key is major and to the @aref{relative key} if the key
3210 FI: mordent, korukuvio.
3229 FI: teema, sävelaihe.
3231 The briefest intelligible and self-contained fragment of a musical theme or
3234 @lilypond[fragment,linewidth=13.0\cm]
3235 \override Score.TimeSignature #'break-visibility = #all-invisible
3236 %\override Score.TextScript #'font-style = #'large
3240 \partial 8 g16_"------" fis |
3241 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3242 g8 g,16 a b8 cis d16 s
3258 Greater musical works like @aref{symphony} and
3259 @aref{sonata} most often consist of several -- more or less --
3260 independant pieces called movements.
3263 @section multibar rest
3265 ES: compases de espera,
3269 D: mehrtaktige Pause,
3272 FI: usean tahdin mittainen tauko.
3274 @lilypond[fragment,raggedright]
3277 \set Score.skipBars = ##t R1*3
3282 @node mixolydian mode
3283 @section mixolydian mode
3285 @aref{diatonic scale}.
3288 @section natural sign
3293 D: Auflösungszeichen,
3294 NL: herstellingsteken,
3295 DK: op@-løsningstegn,
3296 S: återställningstecken,
3301 @node neighbour tones
3302 @section neighbour tones
3304 @aref{appoggiatura}.
3337 Notes are signs by means of which music is fixed in writing. The term is also
3338 used for the sound indicated by a note, and even for the key of the piano
3339 which produces the sound. However, a clear distinction between the terms tone
3340 and @aref{note} is strongly recommended. Briefly, one sees a note,
3347 I: testa, testina, capocchia,
3348 F: t@^ete de la note,
3355 A head-like sign which indicates pitch by its position on a
3356 @aref{staff} provided with a @aref{clef}, and duration
3357 by a variety of shapes such as hollow or black heads with or without
3358 @aref{stem}s, @aref{flag}s, etc. For percussion
3359 instruments (often having no defined pitch) the note head may indicate the
3367 F: durée, valeur (d'une note),
3372 FI: nuotin aika-arvo.
3374 Note values (durations) are measured as fractions, normally 1/2, of the next
3375 higher note value. The longest duration normally used is called @emph{brevis},
3376 but sometimes (mostly in pre-baroque music) the double length note value
3377 @emph{longa} is used.
3379 @lilypond[fragment,notime,linewidth=13.0\cm]
3380 %\override Score.TextScript #'font-style = #'large
3381 \set Score.automaticBars = ##f
3383 \override NoteHead #'style = #'mensural
3384 a\longa_"longa" a\breve_"breve"
3385 \revert NoteHead #'style
3386 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3387 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3390 @lilypond[fragment,notime,linewidth=13.0\cm]
3391 %\override Score.TextScript #'font-style = #'large
3392 \set Score.automaticBars = ##f
3394 r\longa_"longa" r\breve_"breve"
3395 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3396 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3399 An augmentation dot after a note multiplies the duration by one and a
3400 half. Another dot adds yet a fourth of the duration.
3402 @lilypond[fragment,linewidth=13.0\cm]
3403 %\override Score.TextScript #'font-style = #'large
3406 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3407 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3410 Alternatively note values may be subdivided by other ratios. Most common is
3411 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3412 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3413 dotted notes are also frequently used.
3415 @lilypond[fragment,linewidth=13.0\cm]
3416 %\override Score.TextScript #'font-style = #'large
3419 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3420 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3424 @lilypond[fragment,linewidth=13.0\cm]
3427 \times 3/2 {g4_"duplets" g} |
3429 \times 6/4 {g8_"quadruplets" g g g} |
3430 g8 g g g g4 \bar "||"
3435 @section octave sign
3437 @aref{G clef}, @aref{F clef}.
3457 I: abbellimento, fioriture,
3458 F: agrément, ornement,
3459 D: Verzierung, Ornament,
3465 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3466 with the diatonic @aref{second} above it. In the music from the
3467 middle of the 19th century and onwards the trill is performed with the main
3468 note first while in the music from the preceding baroque and classic periods
3469 the upper note is played first.
3471 @lilypond[fragment,linewidth=13.0\cm]
3473 \context Staff = sa {
3474 % \override Score.TextScript #'font-style = #'large
3476 c2._"pre-1850" b4\trill | c1 \bar "||"
3477 c2._"post-1850" b4\trill | c1 \bar "||"
3481 c2. c32 b c b c b c b | c1
3482 c2. b32 c b c \times 4/5 { b c b c b } | c1
3487 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
3488 @emph{prall} (inverted mordent).
3490 @lilypond[fragment,linewidth=13.0\cm]
3492 \context Staff = sa {
3493 % \override Score.TextScript #'font-style = #'large
3495 a4_"turn" b\turn c2 \bar "||"
3496 g4_"mordent" a b\mordent a \bar "||"
3497 e'4_"prall" d\prall c2 \bar "||"
3503 e'4 e32[ d e d ~ d8] c2
3508 @aref{appoggiatura}.
3520 FI: ossia, vaihtoehtoinen esitystapa.
3522 Ossia (otherwise) marks an alternative. It is an added staff or piano
3523 score, usually only a few measures long, which presents another version
3524 of the music, for example for small hands.
3536 FI: stemma, instrumenttiosuus.
3538 1.@tie{}In instrumental or choral music the music for the single instrument
3539 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3540 melodic line of the contrapunctal web.
3553 D: Schlagzeug, Schlagwerk,
3559 A family of musical instruments which are played on by striking or
3560 shaking. Percussion instruments commonly used in a symphony orchestra are
3561 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3562 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3565 @node perfect interval
3566 @section perfect interval
3568 ES: intervalo justo,
3569 I: intervallo giusto,
3570 F: intervalle juste,
3571 D: reines Intervall,
3575 FI: puhdas intervalli.
3591 A natural division of the melodic line, comparable to a sentence of speech.
3603 FI: fraseeraus, jäsentäminen.
3605 The clear rendering in musical performance of the @aref{phrase}s of
3606 the melody. Phrasing may be indicated by a @aref{slur}.
3620 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3621 @emph{mezzopiano} (@b{mp}) medium soft.
3642 NL: pizzicato, getokkeld,
3645 FI: pizzicato, näppäillen.
3647 Play by plucking the strings.
3655 D: Polyphonie, Mehrstimmigkeit,
3659 FI: polyfonia, moniäänisyys.
3661 Music written in a combination of several simultaneous voices (parts) of a
3662 more or less pronounced individuality. @aref{counterpoint}.
3675 D: Presto, Sehr schnell,
3676 NL: presto, Sehr schnell,
3679 FI: presto, hyvin nopeasti.
3681 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3682 denotes the highest possible degree of speed.
3684 @node Pythagorean comma
3685 @section Pythagorean comma
3687 ES: coma pitagórico,
3688 I: comma pitagorico,
3689 F: comma pythagoricien,
3690 D: Pythagoräisches Komma,
3691 NL: komma van Pythagoras,
3692 DK: pythagoræisk komma,
3693 S: pytagoreiskt komma,
3694 FI: pytagorinen komma.
3696 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3697 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3698 24 @aref{cent}s higher than the@w{ }C obtained by adding
3699 7@w{ }octaves. The difference between those two pitches is called the
3717 @section quarter note
3720 I: semiminima, nera,
3723 D: Viertel, Viertelnote,
3727 FI: neljännesosanuotti.
3732 @section quarter rest
3734 ES: silencio de negra,
3735 I: pausa di semiminima,
3740 DK:@w{ }fjerdedelspause,
3742 FI: neljännesosatauko.
3761 @section rallentando
3766 D: rallentando, langsamer werden,
3770 FI: rallerdando, hidastuen.
3772 Abbreviation "rall.". @aref{ritardando}.
3775 @section relative key
3778 I: tonalità relativa,
3779 F: tonalité relative,
3781 NL: paralleltoonsoort,
3782 DK: paralleltoneart,
3784 FI: rinnakkaissävellaji.
3786 @aref{major} and @aref{minor} @aref{key}
3787 with the same @aref{key signature}.
3789 @lilypond[fragment,notime,linewidth=13.0\cm]
3790 \set Score.automaticBars = ##f
3791 %\override Score.TextScript #'font-style = #'large
3794 es1_"e flat major" f g as bes c d es
3799 @lilypond[fragment,notime,linewidth=13.0\cm]
3800 \set Score.automaticBars = ##f
3801 %\override Score.TextScript #'font-style = #'large
3804 c1_"c minor" d es f g a! b! c \bar "||"
3811 ES: barra de repetición,
3813 F: barre de reprise,
3816 DK: gen@-ta@-gel@-se,
3820 @lilypond[fragment,linewidth=13.0\cm]
3824 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3828 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3829 @c specify the rest's value.
3857 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3858 fixed unit of time, called @aref{beat}, and in which the normal
3859 @aref{accent} recurs in regular intervals, called
3860 @aref{measure}. The basic scheme of time values is called
3861 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3862 accent. In modern notation such music appears as a free alternation of
3863 different measures. (c) Free rhythm, i.e., the use of temporal values having
3864 no common metrical unit (beat).
3872 D: Ritardando, langsamer werden,
3876 FI: ritardando, hidastuen,
3878 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3890 FI: ritenuto, hidastaen.
3892 Immediate reduction of speed.
3904 FI: asteikko, sävelasteikko.
3906 @aref{diatonic scale}.
3909 @section scale degree
3911 ES: grados de la escala,
3912 I: grado della scala,
3913 F: degré [de la gamme],
3915 NL: trap [van de toonladder],
3918 FI: sävelaste, asteikon sävel.
3920 Names and symbols used in harmonic analysis to denote tones of the scale as
3921 roots of chords. The most important are degrees I = tonic (T), IV =
3922 sub@-do@-mi@-nant (S) and V = dominant (D).
3924 @lilypond[fragment,notime,linewidth=13.0\cm]
3925 \set Score.automaticBars = ##f
3926 %\override Score.LyricText #'font-style = #'large
3927 %\set minVerticalAlign = #8
3929 \context Staff \relative c' {
3932 \context Lyrics \lyrics {
3933 << { I II III IV V VI VII I }
3938 @aref{functional harmony}.
3946 D: Partitur (full score), Klavierauszug (vocal score)
3952 A copy of orchestral, choral, or chamber music showing what each instrument is
3953 to play, each voice to sing, having each part arranged one underneath the
3954 other on different staves @aref{staff}.
3968 The @aref{interval} between two neigbouring tones of a scale. A
3969 @aref{diatonic scale} consists of alternating
3970 @aref{semitone}s and @aref{whole tone}s, hence the size
3971 of a se@-cond depends on the scale degrees in question.
3985 The @aref{interval} of a minor second. The (usually) smallest
3986 interval in European composed music. The interval between two neighbouring
3987 tones on the piano keyboard -- including black and white keys -- is a
3988 semitone. An octave may be divided into 12@w{ }semitones.
3989 @aref{interval}, @aref{chromatic scale}.
3991 @lilypond[fragment,notime,linewidth=13.0\cm]
3992 \set Score.automaticBars = ##f
3993 \relative c'' { g1 gis s a bes s b! c }
4047 @node short appoggiatura
4048 @section short appoggiatura
4050 @aref{appoggiatura}.
4052 @node sixteenth note
4053 @section sixteenth note
4059 D: Sechzehntel, Sechzehntelnote,
4060 NL: zes@-ti@-ende noot,
4061 DK: sekstendedelsnode,
4063 FI: kuudestoistaosanuotti.
4067 @node sixteenth rest
4068 @section sixteenth rest
4070 ES: silencia de semicorchea,
4071 I: pausa di semicroma,
4073 UK: semiquaver rest,
4074 D: Sechzehntelpause,
4076 DK: sekstendedelspause,
4096 @node sixty-fourth note
4097 @section sixty-fourth note
4101 F: quadruple croche,
4102 UK: hemidemisemiquaver,
4103 D: Vierundsechzigstel, Vierundsechzigstelnote,
4104 NL: vierenzestigste noot,
4105 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4106 S: sextiofjärdedelsnot,
4107 FI: kuudeskymmenesneljäsosanuotti.
4111 @node sixty-fourth rest
4112 @section sixty-fourth rest
4114 ES: silencia de semifusa,
4115 I: pausa di semibiscroma,
4116 F: seizième de soupir,
4117 UK: hemidemisemiquaver rest,
4118 D: Vierundsechzigstelpause,
4119 NL: vierenzestigste rust,
4120 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4121 S: sextiofjärdedelspaus,
4122 FI: kuudeskymmenesneljäsosatauko.
4130 I: legatura (di portamento or espressiva),
4132 D: Bogen, Legatobogen, Phrasierungsbogen,
4133 NL: fraseringsboog, legatoboog, streekboog,
4134 DK: legatobue, fraseringsbue,
4138 A slur above or below a group of notes indicates that they are to be played
4139 @aref{legato}, e.g., with one stroke of the violin bow or with one
4143 @section solmization
4151 FI: suhteelliset laulunimet.
4153 General term for systems of designating the degrees of the
4154 @aref{scale}, not by letters, but by syllables (@emph{do}
4155 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4156 (@emph{ti})). @aref{scale degree}.
4170 In its present-day meaning a sonata denotes an instrumental composition for
4171 piano or for some other instrument with piano accompaniment, which consists of
4172 three or four independant pieces, called movements.
4175 @section sonata form
4179 F: [en] forme de sonate,
4181 NL: hoofdvorm, sonatevorm,
4186 A form used frequently for single movements of the @aref{sonata},
4187 @aref{symphony}, quartet, etc. A movement written in sonata form
4188 falls into three sections called @emph{exposition}, @emph{development} and
4189 @emph{recapitulation}. In the exposition the composer introduces some musical
4190 ideas, consisting of a number of themes; in the development section the
4191 composer `develops' this material, and in the recapitulation the composer
4192 repeats the exposition, with certain modifications. The exposition contains a
4193 number of themes that fall into two groups, often called first and second
4194 subject. Other melodies occurring in each group are considered as
4195 continuations of these two. The second theme is in another key, normally in
4196 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4197 @aref{relative key} if the tonic is @aref{minor}.
4214 FI: sopraano, korkea naisääni.
4216 The highest female voice.
4223 F: staccato, piqué, détaché,
4228 FI: staccato, lyhyesti, terävästi.
4230 Playing the note(s) short. Staccato is indicated by a dot above or below the
4233 @lilypond[fragment,raggedright]
4238 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4247 I: pentagramma, rigo (musicale),
4250 NL: (noten)balk, partij,
4255 A staff (pl. staves) is a series of (normally five) horizontal lines
4256 upon and between which the musical notes are written, thus indicating
4257 (in connection with a @aref{clef}) their pitch. Staves for
4258 @aref{percussion} instruments may have fewer lines.
4271 D: Hals, Notenhals, Stiel,
4277 Vertical line above or below a @aref{note head} shorter than a
4278 whole note. @aref{beam}.
4280 @lilypond[fragment,notime,linewidth=13.0\cm]
4281 \set Score.autoBeaming = ##f
4282 \set Score.automaticBars = ##f
4283 %\override Score.TextScript #'font-style = #'large
4304 A family of stringed musical instruments played with a bow. Strings commonly
4305 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4308 @section strong beat
4313 D: betonter Taktteil oder Taktschlag,
4315 D: betonet taktslag,
4316 S: betonat taktslag,
4317 FI: tahdin vahva isku.
4319 @aref{beat}, @aref{accent}, @aref{measure},
4323 @section subdominant
4332 FI: subdominantti, alidominantti.
4334 The fourth @aref{scale degree}. @aref{functional harmony}.
4348 The sixth @aref{scale degree}.
4360 FI: subtoonika, alitoonika.
4362 The seventh @aref{scale degree}.
4365 @section superdominant
4376 The sixth @aref{scale degree}.
4390 The second @aref{scale degree}.
4398 D: Sinfonie, Symphonie,
4404 A symphony may be defined as a @aref{sonata} for orchestra.
4407 @section syncopation
4418 Any deliberate upsetting of the normal pulse of @aref{meter},
4419 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4420 rhythm rests upon the grouping of equal beats into groups of two or three,
4421 with a regularly recurrent accent on the first beat of each group. Any
4422 deviation from this scheme is felt as a disturbance or contradiction between
4423 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4425 @lilypond[fragment,raggedright]
4430 e c'4 e,8 c'4 e,8 c' ( | c2)
4434 @node syntonic comma
4435 @section syntonic comma
4437 I: comma sintonico (o didimico),
4438 F: comma syntonique,
4439 D: syntonisches Komma,
4440 NL: syntonische komma,
4441 DK: syntonisk komma,
4442 S: syntoniskt komma,
4443 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
4445 Difference between the natural third and the third obtained by Pythagorean
4446 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4457 FI: nuottijärjestelmä.
4459 The collection of staves @aref{staff}, two or more, as used for
4460 writing down of keyboard, chamber, choral, or orchestral music.
4463 @section temperament
4468 D: Stimmung, Tem@-pe@-ra@-tur,
4469 NL: stemming, temperatuur,
4472 FI: viritysjärjestelmä.
4474 Systems of tuning in which the intervals deviate from the acoustically pure
4475 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4477 @node tempo indication
4478 @section tempo indication
4480 ES: indicación de tempo,
4481 I: indicazione di tempo,
4482 F: indication de temps,
4483 D: Zeitmaß, Tempobezeichnung,
4484 NL: tempo aanduiding,
4489 The rate of speed of a composition or a section thereof, ranging from the
4490 slowest to the quickest, as is indicated by tempo marks as
4491 @aref{largo}, @aref{adagio}, @aref{andante},
4492 @aref{allegro}, and @aref{presto}.
4504 FI: tenori, korkea miesääni.
4506 The highest male voice (apart from @aref{counter tenor}).
4536 @node thirty-second note
4537 @section thirty-second note
4543 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4544 NL: twee-endertig@-ste noot,
4545 DK: toogtredivtedelsnode,
4546 S: trettiotvåondelsnot,
4547 FI: kolmanneskymmeneskahdesosanuotti.
4551 @node thirty-second rest
4552 @section thirty-second rest
4554 ES: silencio de fusa,
4555 I: pausa di biscroma,
4556 F: huitième de soupir,
4557 UK: demisemiquaver rest,
4558 D: Zweiunddreissigstel@-pause,
4560 DK: toogtredivtedelspause,
4561 S: trettiotvåondelspaus,
4562 FI: kolmanneskymmeneskahdesosatauko.
4567 @section thorough bass
4570 I: basso continuo, basso numerato,
4572 D: Generalbass, bezifferter Bass,
4573 NL: basso continuo, becijferde bas
4576 FI: kenraalibasso, numeroitu basso.
4578 A method of indicating an accompaniment part by the bass notes only, together
4579 with figures designating the chief @aref{interval}s and
4580 @aref{chord}s to be played above the bass notes.
4582 @lilypond[fragment,linewidth=13.0\cm]
4583 \context GrandStaff <<
4584 \context Staff = lh \relative c'' {
4588 << \context Voice = rha {
4591 \context Voice = rhb {
4593 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4597 \context Staff = rh \relative c' {
4600 es8 c d bes c as bes16 as g f | es4
4602 \context Lyrics \lyrics {
4603 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4604 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4605 { "" "" "" "2" "" "" "" "" "" "2" } >>
4613 ES: ligadura de prolongación,
4614 I: legatura (di valore),
4617 NL: overbinding, bindingsboog,
4619 S: bindebåge, överbindning,
4622 A curved line, identical in appearance with the @aref{slur}, which
4623 connects two succesive notes of the same pitch, and which has the function of
4624 uniting them into a single sound (tone) equal to the combined durations.
4626 @lilypond[fragment,notime,raggedright]
4627 \set Score.automaticBars = ##f
4628 \relative c'' { g2 ~ g4. }
4636 @node time signature
4637 @section time signature
4639 ES: cifra indicadora de compás,
4641 F: chiffrage (chiffres indicateurs), signe de valeur,
4642 D: Taktangabe, Angabe der Taktart,
4645 S: taktartssignatur,
4662 A sound of definite pitch and duration, as distinct from @emph{noise}.
4663 Tone is a primary building material of music.
4664 Music from the 20th century may be based on atonal sounds.
4678 The first @aref{scale degree}.
4679 @aref{functional harmony}.
4682 @section transposition
4693 Shifting a melody up or down in pitch, while keeping the same
4696 @lilypond[fragment,linewidth=13.0\cm]
4701 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4706 @lilypond[fragment,linewidth=13.0\cm]
4709 \transpose c bes \relative c'' {
4711 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4717 @section treble clef
4720 I: chiave di violino,
4722 D: Violinschlüssel, Sopranschlüssel,
4724 DK:@w{ }diskantnøgle,
4742 On stringed instruments (@aref{strings}) the quick reiteration of
4743 the same tone, produced by a rapid up-and-down movement of the bow
4744 (a). The term is also used for the rapid alternation (b) between two notes of
4745 a @aref{chord}, usually in the distance of a third
4748 @lilypond[fragment,notime,raggedright]
4749 \set Score.automaticBars = ##f
4750 %\override Score.TextScript #'font-style = #'large
4753 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4754 \repeat "tremolo" 8 { e32_"b" g }
4763 F: triade, accord parfait, accord de trois sons,
4777 F: trille, tremblement, battement (cadence),
4787 @section triple meter
4789 ES: compás compuesto,
4793 NL: driedelige maatsoort,
4829 @section tuning fork
4832 I: diapason, corista,
4840 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4841 give the international pitch for the tone @emph{a} (440 vibrations per second).
4867 FI: unisono, yksiäänisesti.
4869 Playing of the same notes or the same melody by various instruments (voices)
4870 or by the whole orchestra (choir), either at exactly the same pitch or in a
4876 ES: entrada anacrúsica,
4878 F: anacrouse, levée,
4885 Initial note(s) of a melody occurring before the first bar
4886 line. @aref{measure}, @aref{meter}.
4888 @lilypond[fragment,linewidth=13.0\cm]
4892 \partial 4 f4 | bes4. a8 bes4 c |
4893 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4906 FI: ääni, lauluääni.
4908 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4909 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4910 2.@tie{}A melodic layer or part of a polyphonic composition.
4916 I: tempo debole, arsi,
4918 D: unbetonter Taktteil oder Taktschlag,
4920 DK: ubetonet taktslag,
4921 S: obetonat taktslag,
4922 FI: tahdin heikko isku.
4924 @aref{beat}, @aref{measure}, @aref{rhythm}.
4933 D: Ganze, ganze Note,
4944 ES: silencio de redonda,
4945 I: pausa di semibreve,
4948 D: ganze Pause, ganztaktige Pause,
4968 The @aref{interval} of a major second. The interval between two
4969 tones on the piano keyboard with exactly one key between them -- including
4970 black and white keys -- is a whole tone.
4984 A family of blown wooden musical instruments. Today some of these instruments
4985 are actually made from metal. The woodwind instruments commonly used in a
4986 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4988 @node Duration names notes and rests
4989 @chapter Duration names, notes and rests
4992 @item DURATION NAMES, NOTES AND RESTS
4995 @multitable @columnfractions .15 .26 .33 .26
5012 @item @strong{longa}
5027 @item @strong{breve}
5042 @item @strong{whole}
5052 @tab koko@-nuotti/@w{-tauko}
5067 @tab puoli@-nuotti/@w{-tauko}
5072 @item @strong{quarter}
5082 @tab neljännesosa@-nuotti/@w{-tauko}
5087 @item @strong{eighth}
5097 @tab kahdeksasosa@-nuotti/@w{-tauko}
5102 @item @strong{sixteenth}
5112 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5117 @item @strong{thirty-second}
5122 @tab Zweiunddreissigstel
5123 @tab tweeendertigste
5124 @tab toogtredivtedel
5126 @tab trettiotvåondel
5127 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5132 @item @strong{sixty-fourth}
5133 @tab hemidemisemiquaver
5135 @tab quadruple croche
5137 @tab Vierundsechzigstel
5138 @tab vierenzestigste
5139 @tab fireogtred@-sindstyvendedel
5141 @tab sextiofjärdedel
5142 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5146 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5149 @chapter Pitch names
5155 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5157 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
5158 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5162 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5166 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5167 cis @tab cis @tab cis
5171 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5172 des @tab des @tab des
5176 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5180 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5184 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5188 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5192 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
5197 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5201 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5202 ais @tab ais @tab ais
5206 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5211 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5216 @node Literature used
5217 @unnumbered Literature used
5220 @item The Harvard Dictionary of Music, London 1944. Many more or less
5221 literal quotes from its articles have been included into the item
5224 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5226 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5228 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5231 @item Webster's Revised Unabridged Dictionary, Springfield 1913.