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}.
19 @dircategory GNU music project
21 * Glossary: (music-glossary). Glossary of music terms.
26 @author Christian Mondrup @c Original author of LilyPond glossary
28 @author François Pinard @c Original glossary of GNU music project,
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
32 @author Dadiv Gonzalez @c Spanish glossary
33 @author Bjoern Jacke @c German glossary
34 @author Neil Jerram @c English glossary translations
35 @author Mats Bengtsson @c Swedish glossary
36 @author Adrian Mariano @c Italian glossary
37 @author Heikki Junes @c Finnish glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk'
41 Copyright @copyright{} 1999--2005 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c FIXME: multiple omfcreators?
54 @omfcreator Christian Mondrup
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
66 This glossary was brought you by
74 @item Christian Mondrup
75 Original author of LilyPond glossary, Danish glossary,
78 @item Fran@,{c}ois Pinard
79 Original glossary of GNU music project, French glossary,
80 @item Han-Wen Nienhuys
82 @item Jan Nieuwenhuizen
87 English glossary translations,
89 Finnish glossary translations.
92 Copyright 1999--2005 by the authors
95 Permission is granted to copy, distribute and/or modify this document
96 under the terms of the GNU Free Documentation License, Version 1.1
97 or any later version published by the Free Software Foundation,
98 without Invariant Sections.
104 @c @everyheading @| @thispage @|
105 @c @evenheading @thispage @| @|
106 @c @oddheading @| @| @thispage @|
108 @include macros.itexi
113 @w{@arrow{}@strong{\word\}}@c
116 @arrow{}@ref{\word\, @strong{\word\}}@c
121 * Musical terms A-Z::
122 * Duration names notes and rests::
127 @node Musical terms A-Z
128 @chapter Musical terms A-Z
130 Languages in this order.
137 @item UK - British English
155 * ancient minor scale::
159 * ascending interval::
160 * augmented interval::
192 * compound interval::
194 * conjunct movement::
207 * descending interval::
209 * diminished interval::
211 * disjunct movement::
213 * dissonant interval::
214 * dominant ninth chord::
215 * dominant seventh chord::
218 * dot (augmentation dot)::
220 * double appoggiatura::
222 * double dotted note::
231 * ecclesiastical mode::
237 * equal temperament::
251 * functional harmony::
265 * inverted interval::
278 * long appoggiatura::
283 * meantone temperament::
290 * metronomic indication::
326 * Pythagorean comma::
348 * short appoggiatura::
352 * sixty-fourth note::
353 * sixty-fourth rest::
381 * thirty-second note::
382 * thirty-second rest::
431 FI: aksentti, korostus.
433 The stress of one tone over others.
443 ES: alteración accidentelle,
445 F: altération accidentelle,
446 D: Vorzeichen, Versetzungszeichen, Akzidenz,
447 NL: toevallig (verplaatsings)teken,
449 S: tillfälligt förtecken,
450 FI: tilapäinen etumerkki.
452 An accidental has the effect of an @aref{alteration} of a note. A
453 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
454 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
455 lowers it by a whole tone. A natural cancels the effect of a previous
458 @lilypond[fragment,notime,linewidth=13.0\cm]
459 \set Score.automaticBars = ##f
460 %\override TextScript #'font-style = #'large
462 \context Staff \relative c'' {
463 gis1 gisis ges geses g!
465 \context Lyrics \lyrics {
466 \override Lyrics .LyricText #'self-alignment-X = #-1
467 sharp "db. sharp" flat "db. flat" natural
476 F: accelerando, en accélérant,
477 D: accelerando, schneller werden,
481 FI: accelerando, kiihdyttäen.
495 FI: adagio, hitaasti.
497 It.@: comfortable, easy.
498 1.@tie{}Slow tempo, slower -- especially in even meter -- than
499 @aref{andante} and faster than @aref{largo}.
500 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
501 @aref{sonata}s, symphonies, etc.
509 D: Allegro, Schnell, Fröhlich, Lustig,
513 FI: allegro, nopeasti.
515 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
516 tempo, especially the first and last movements of a @aref{sonata}.
525 NL: verhoging of verlaging,
530 An alteration is the modification, raising or lowering, of a note's
531 pitch. It is established by an @aref{accidental}.
543 FI: altto, matala naisääni.
545 A female voice of low range (@emph{contralto}). Originally the alto was a
546 high male voice (hence the name), which by the use of falsetto reached the
547 height of the female voice. This type of voice is also known as
548 @aref{counter tenor}.
553 ES: clave de do en tercera,
554 I: chiave di contralto,
555 F: clef d'ut troisième ligne,
556 D: Altschlüssel, Bratschenschlüssel,
562 C clef setting middle C on the middle line of the staff
575 FI: ambitus, ääniala, soitinala.
577 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
578 of pitches for a given voice in a part of music. It may also denote
579 the pitch range that a musical instrument is capable of playing.
581 @node ancient minor scale
582 @section ancient minor scale
584 I: scala minore naturale,
585 F: forme du mode mineur ancien, troisème mode, mode hellénique
587 NL: authentieke mineurtoonladder,
590 FI: luonnollinen molliasteikko.
592 @aref{diatonic scale}.
594 @lilypond[fragment,notime,linewidth=13.0\cm]
595 \set Score.automaticBars = ##f
612 Walking tempo/character.
615 @section appoggiatura
619 F: appogiature, (port de voix),
624 FI: appoggiatura, etuhele.
626 Ornamental note, usually a second, that is melodically connected with the
627 main note following it. In music before the 19th century a.@: were usually
628 performed on the beat, after that mostly before the beat. While the short
629 a.@: is performed as a short note regardless of the duration of the main note
630 the duration of the long a.@: is proportional to that of the main note.
632 @lilypond[linewidth=13.0\cm]
633 \context Voice \relative c'' {
637 %\override Score.TextScript #'font-style = #'large
638 <d a fis>4_"notation" r
639 { \override Stem #'flag-style = #'()
641 \revert Stem #'flag-style
644 { \override Stem #'flag-style = #'()
646 \revert Stem #'flag-style
649 \cadenzaOn a4 \bar "||" \cadenzaOff
651 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
652 \cadenzaOn a4 \bar "||" \cadenzaOff
656 An appoggiatura may have more notes preceding the main note.
658 @lilypond[linewidth=13.0\cm]
662 % \override Score.TextScript #'font-style = #'large
663 \grace { bes16 } as8_"notation" as16 bes as8 g |
664 \grace { as16[( bes] } < c as >4-)
665 \grace { as16[( bes] } < c as >4-) \bar "||"
666 \grace { bes16 } as8_"performance" as16 bes as8 g |
667 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
668 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
679 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
681 DK: arpeggio, akkordbrydning,
683 FI: arpeggio, murtosointu.
685 @lilypond[fragment,linewidth=13.0\cm]
686 \context PianoStaff <<
687 \context Staff = SA \relative c'' {
690 r8 g16 c e g, c e r8 g,16 c e g, c e |
691 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
692 \context Staff = SB \relative c' {
694 << \context Voice = va {
696 r16 e8. ( e4) r16 e8. ( e4) |
697 r16 d8. ( d4) r16 d8. ( d4) }
698 \context Voice = vb {
705 @node ascending interval
706 @section ascending interval
708 ES: Intervalo ascendente,
709 I: intervallo ascendente,
710 F: intervalle ascendant,
711 D: steigendes Intervall,
712 NL: stijgend interval,
713 DK:@w{ }stigende interval,
714 S: stigande intervall,
715 FI: nouseva intervalli.
717 A distance between a starting lower note and a higher ending note.
719 @node augmented interval
720 @section augmented interval
722 ES: intervalo aumentado,
723 I: intervallo aumentato,
724 F: intervalle augmenté,
725 D: übermäßiges Intervall,
726 NL: overmatig interval,
727 DK: forstørret interval,
728 S: överstigande intervall,
729 FI: ylinouseva intervalli.
738 D: Autograph, Handschrift,
740 DK: håndskrift, autograf,
742 FI: käsinkirjoitettu nuotti.
744 1.@tie{}A manuscript in the composer's own hand.
745 2.@tie{}Music prepared for photoreproduction by freehand drawing,
746 with the aid of a straightedge ruler and T-square only,
747 which attempts to emulate engraving.
748 This required more skill than did engraving.
770 ES: compás, @aref{measure}.
776 I: stanghetta, barra (di divisione),
777 F: barre (de mesure),
794 FI: baritoni, keskikorkuinen miesääni.
796 The male voice intermediate between the @aref{bass} and the
799 @c F: clef de troisième ligne dropped
802 @section baritone clef
804 ES: clave de fa en tercera,
805 I: chiave di baritono,
806 F: clef d' Ut cinquième ligne, clef de Fa troisième,
813 C or F clef setting middle C on the upper staff line.
814 @aref{C clef}, @aref{F clef}.
819 ES: clave de fa en cuarta,
821 F: clé de fa quatrième ligne,
828 A clef setting with middle C on the first top ledger line.
840 FI: basso, matala miesääni.
842 1.@tie{}The lowest male voice.
843 2.@tie{}Sometimes, especially in jazz music, used as
844 an abbreviation for double bass.
858 Line connecting a series of notes (shorter than a quarter note).
859 The number of beams determines the note value of the connected notes.
861 @lilypond[fragment,notime,linewidth=13.0\cm]
862 \set Score.automaticBars = ##f
863 %\override TextScript #'font-style = #'large
866 g16_"1/16"[ g g g] s16
867 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
868 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
877 D: Takt, Taktschlag, Zeit (im Takt),
883 Note value used for counting, most often half-, fourth-, and eighth notes.
884 The base counting value and the number of them per measure is indicated at
885 the start of the music.
887 @lilypond[fragment,linewidth=13.0\cm]
890 \relative c'' { g4 c b a | g1 \bar "||"}
892 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
906 D: Klammer, Akkolade,
907 NL: accolade, teksthaak,
910 FI: yhdistävä sulkumerkki.
912 Symbol at the start of a system connecting staves. Curly braces are used
913 for connecting piano staves, angular brackets for connecting parts in an
914 orchestral or choral score.
916 @lilypond[fragment,raggedright]
917 \context GrandStaff <<
918 \relative c''\context Staff = SA { \clef treble g4 e c2 }
919 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
922 @lilypond[fragment,raggedright]
923 \context StaffGroup <<
924 % \set StaffGroup.minVerticalAlign = #12
925 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
926 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
938 S: brassinstrument, mässingsinstrument,
941 A family of blown musical instruments made of brass, all using a cup formed
942 mouth piece. The brass instruments commonly used in a symphony orchestra are
943 trumpet, trombone, french horn, and tube.
950 D: Atemzeichen, Trennungszeichen,
951 NL: repercussieteken,
952 DK: vejrtrækningstegn,
956 Indication of where to breathe in vocal and wind instrument parts.
969 @aref{note value}, twice as long as a whole note. Mainly used
972 @lilypond[fragment,notime,raggedright]
973 \set Score.automaticBars = ##f
974 \relative c'' { g\breve }
1001 Clef symbol indicating the position of the middle C. Used on all note
1004 @lilypond[fragment,notime,linewidth=13.0\cm]
1005 \set Score.automaticBars = ##f
1006 \override Score.Clef #'full-size-change = ##t
1007 %\override Score.LyricText #'font-style = #'large
1009 \context Staff \relative c' {
1010 \clef soprano c1 s s
1011 \clef mezzosoprano c s s
1014 \clef baritone c s s
1016 \context Lyrics \lyrics {
1017 \override Lyrics .LyricText #'self-alignment-X = #-1
1018 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1032 FI: kadenssi, lopuke.
1034 @aref{harmonic cadence}, @aref{functional harmony}.
1046 FI: kadenssi, lopuke.
1048 An extended, improvisatory style section inserted near the end of
1049 movement. The purpose of a cadenza is to give singers or players a chance
1050 to exhibit their technical skill and -- not last -- their ability to
1051 improvise. Since the middle of the 19th century, however, most cadences have
1052 been written down by the composer.
1064 FI: kaanon, tarkka jäljittely.
1066 @aref{counterpoint}.
1078 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1080 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1081 of an equally tempered @aref{semitone}).
1082 @aref{equal temperament}.
1101 Three or more tones sounding simultaneously. In traditional European music the
1102 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1103 minor @aref{third}) as well as @emph{minor} (minor + major third)
1104 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1105 and five-tone @emph{ninth} major chords are most often used as dominants
1106 (@aref{functional harmony}). A special case is chords having no
1107 third above the lower notes to define their quality as major or minor. Such
1108 chords are denoted open chords
1110 @lilypond[fragment,notime,linewidth=13.0\cm]
1111 \set Score.automaticBars = ##f
1112 %\override TextScript #'font-style = #'large
1114 \context Staff \relative c'' {
1122 \context Lyrics \lyrics{
1132 @node chromatic scale
1133 @section chromatic scale
1135 ES: escala cromática,
1137 F: gamme chromatique,
1138 D: chro@-ma@-ti@-sche Tonleiter,
1139 NL: chromatische toonladder,
1140 DK: kromatisk skala,
1142 FI: kromaattinen asteikko.
1144 A scale consisting of all 12 @aref{semitone}s.
1146 @lilypond[fragment,notime,linewidth=13.0\cm]
1147 \set Score.automaticBars = ##f
1148 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1152 @section chromaticism
1163 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1166 @section church mode
1168 ES: modo eclesiástico,
1169 I: modo ecclesiastico,
1170 F: mode ecclésiastique,
1175 FI: moodi, kirkkosävellaji.
1177 @aref{diatonic scale}.
1185 D: Schlüssel, Notenschlüssel,
1189 FI: avain, nuottiavain.
1191 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1196 A @emph{cluster} is a range of simultaneously sounding pitches that
1197 may change over time. The set of available pitches to apply usually
1198 depends on the acoustic source. Thus, in piano music, a cluster
1199 typically consists of a continuous range of the semitones as provided
1200 by the piano's fixed set of a chromatic scale. In choral music, each
1201 singer of the choir typically may sing an arbitrary pitch within the
1202 cluster's range that is not bound to any diatonic, chromatic or other
1203 scale. In electronic music, a cluster (theoretically) may even cover
1204 a continuous range of pitches, thus resulting in colored noise, such
1207 Clusters can be denoted in the context of ordinary staff notation by
1208 engraving simple geometrical shapes that replace ordinary notation of
1209 notes. Ordinary notes as musical events specify starting time and
1210 duration of pitches; however, the duration of a note is expressed by
1211 the shape of the note head rather than by the horizontal graphical
1212 extent of the note symbol. In contrast, the shape of a cluster
1213 geometrically describes the development of a range of pitches
1214 (vertical extent) over time (horizontal extent). Still, the
1215 geometrical shape of a cluster covers the area in which any single
1216 pitch contained in the cluster would be notated as an ordinary note.
1218 @lilypond[fragment,relative=2,verbatim,raggedright]
1219 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1231 FI: komma, korvinkuultava ero äänenkorkeudessa.
1233 Difference in pitch between a note derived from pure tuning and the same note
1234 derived from some other tuning method. @aref{temperament}.
1237 @section common meter
1241 @node compound interval
1242 @section compound interval
1244 ES: intervalo compuesto,
1245 I: intervallo composto,
1246 F: intervalle composé,
1247 D: weites Intervall,
1248 NL: samengesteld interval,
1249 DK: sammensat interval,
1250 S: sammansatt intervall,
1251 FI: oktaavia laajempi intervalli.
1253 Intervals larger than an octave.
1261 F: intervalle complémentaire,
1262 D: Komplementärintervall,
1263 NL: complementair interval,
1264 DK: komplementærinterval,
1265 S: komplementärintervall (?),
1266 FI: täydentävä intervalli.
1268 @aref{inverted interval}.
1270 @node conjunct movement
1271 @section conjunct movement
1273 ES: movimiento conjunto,
1275 F: mouvement conjoint,
1276 D: schritt@-weise, stufenweise Bewegung,
1277 NL: stapsgewijze, trapsgewijze beweging,
1278 DK: trinvis bevægelse,
1280 FI: asteittainen liike.
1282 Progressing melodically by intervals of a second. The opposite of a
1283 @aref{disjunct movement}.
1285 @lilypond[fragment,linewidth=13.0\cm]
1286 \key g \major \time 4/4
1287 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1300 FI: konsonanssi, sopusointi.
1319 @section counterpoint
1328 FI: kontrapunkti, ääni ääntä vastaan.
1330 From latin @emph{punctus contra punctum}, note against note. The combination
1331 into a single musical fabric of lines or parts which have distinct melodic
1332 significance. A frequently used polyphonic technique is imitation, in its
1333 strictest form found in the canon needing only one part to be written down
1334 while the other parts are performed with a given displacement. Imitation is
1335 also the contrapunctal technique used in the @emph{fugue} which, since the
1336 music of the baroque era, has been one of the most popular polyphonic
1337 composition methods.
1339 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
1340 \override Score.TimeSignature #'break-visibility = #all-invisible
1341 \context PianoStaff <<
1342 \context Staff = SA \relative c' {
1346 << \context Voice = rha {
1348 r1 | r2 r8 g'8 bes d, |
1349 cis4 d r8 e!16 f g8 f16 e |
1350 f8 g16 a bes8 a16 g a8
1352 \context Voice = rhb {
1358 \context Staff = SB \relative c' {
1361 << \context Voice = lha {
1363 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1364 r8 a16 g f8 g16 a bes8 g e! cis' |
1367 \context Voice = lhb {
1376 @section counter tenor
1381 D: Countertenor, Kontratenor,
1384 S: kontratenor, counter tenor,
1390 @section copying music
1392 A music copyist did fast freehand scores and parts on preprinted staff lines
1393 for performance. Some of their conventions (e.g., the placement of note heads
1394 on stems) varied slightly from those of engravers. Some of their working
1395 methods were superior and could well be adopted by music typesetters. This
1396 required more skill than engraving.
1404 D: Crescendo, lauter werden,
1408 FI: cresendo, voimistuen.
1410 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1411 abbreviation ``cresc.''.
1413 @lilypond[fragment,raggedright]
1414 \key g \major \time 4/4
1415 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1423 F: petites notes précédent l'entrée d'in instrument, réplique,
1430 In a separate part notes belonging to another part with the purpose of hinting
1431 when to start playing. Usually printed in a smaller type.
1436 A custos is a staff symbol that appears at the end of a staff line
1437 with monophonic musical contents (i.e., with a single voice). It
1438 anticipates the pitch of the first note of the following line and thus
1439 helps the player or singer to manage line breaks during performance,
1440 thus enhancing readability of a score.
1442 Custodes were frequently used in music notation until the 16th
1443 century. There were different appearences for different notation
1444 styles. Nowadays, they have survived only in special forms of musical
1445 notation such as via the editio vaticana dating back to the beginning
1451 % \override Staff.Custos #'neutral-position = #4
1452 \override Staff.Custos #'neutral-direction = #-1
1453 \override Staff.Custos #'style = #'hufnagel
1461 \consists Custos_engraver
1485 F: da capo, depuis le commencement,
1486 D: da capo, von Anfang,
1490 FI: da capo, alusta.
1492 The term indicates repetition of the piece from the beginning to the end or
1493 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1500 F: dal segno, depuis le signe,
1501 D: dal segno, ab dem Zeichen,
1505 FI: dal segno, lähtien merkistä.
1507 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1508 another place frequently near the beginning marked by a sign:
1510 @lilypond[fragment,raggedright]
1511 %\override TextScript #'font-style = #'large
1512 \override TextScript #'font-shape = #'italic
1513 \key g \major \time 4/4
1518 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
1524 @section decrescendo
1528 D: Decrescendo, leiser werden,
1532 FI: decresendo, hiljentyen.
1534 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1535 or the abbreviation ``decresc.''.
1537 @lilypond[fragment,raggedright]
1539 \key g \major \time 4/4
1540 d4 \> c b a | g1 \! \bar "|."
1544 @node descending interval
1545 @section descending interval
1547 ES: intervalo descendente,
1548 I: intervallo discendente,
1549 F: intervalle descendant,
1550 D: fallendes Intervall, absteigendes Intervall,
1551 NL: dalend interval,
1552 DK: faldende interval,
1553 S: fallande intervall,
1554 FI: laskeva intervalli.
1556 A distance between a starting higher note and a lower ending note.
1558 @node diatonic scale
1559 @section diatonic scale
1561 ES: escala diatónica,
1563 F: gamme diatonique,
1564 D: diatonische Tonleiter,
1565 NL: diatonische toonladder,
1566 DK: diatonisk skala,
1568 FI: diatoninen asteikko.
1570 A scale consisting of 5@w{ }@aref{whole tone}s and
1571 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1572 of a piano keybord are diatonic.
1574 The church modes are used in gregorial chant and in pre-baroque early
1575 music but also to some extent in newer jazz music.
1577 @lilypond[fragment,notime,raggedright]
1578 \set Score.automaticBars = ##f
1579 %\override Score.LyricText #'font-style = #'large
1580 %\override Score.TextScript #'font-style = #'large
1582 \context Staff \relative c' {
1584 \override TextScript #'padding = #-4
1585 e^"~~ S" f g a b^"~~ S" c
1587 \context Lyrics \lyrics {
1592 @lilypond[fragment,notime,raggedright]
1593 \set Score.automaticBars = ##f
1594 %\override Score.LyricText #'font-style = #'large
1595 %\override Score.TextScript #'font-style = #'large
1597 \context Staff \relative c' {
1599 \override TextScript #'padding = #-4
1600 e^"~~ S" f g a b^"~~ S" c d
1602 \context Lyrics \lyrics {
1607 @lilypond[fragment,notime,raggedright]
1608 \set Score.automaticBars = ##f
1609 %\override Score.LyricText #'font-style = #'large
1610 %\override Score.TextScript #'font-style = #'large
1613 \override TextScript #'padding = #-4
1614 e1^"~~ S" f g a b^"~~ S" c d e
1616 \context Lyrics \lyrics {
1621 @lilypond[fragment,notime,raggedright]
1622 \set Score.automaticBars = ##f
1623 %\override Score.LyricText #'font-style = #'large
1624 %\override Score.TextScript #'font-style = #'large
1628 \override TextScript #'padding = #-4
1629 b^"~~ S" c d e^"~~ S" f
1631 \context Lyrics \lyrics {
1636 @lilypond[fragment,notime,raggedright]
1637 \set Score.automaticBars = ##f
1638 %\override Score.LyricText #'font-style = #'large
1639 %\override Score.TextScript #'font-style = #'large
1643 \override TextScript #'padding = #-4
1644 b^"~~ S" c d e^"~~ S" f g }
1645 \context Lyrics \lyrics {
1650 @lilypond[fragment,notime,raggedright]
1651 \set Score.automaticBars = ##f
1652 %\override Score.LyricText #'font-style = #'large
1653 %\override Score.TextScript #'font-style = #'large
1657 \override TextScript #'padding = #-4
1658 b^"~~ S" c d e^"~~ S" f g a
1660 \context Lyrics \lyrics {
1665 From the beginning of the 17th century the scales used in European
1666 compositional music are primarily the major and the minor scales. In the
1667 harmonic minor scale type an augmented second (A) occurs between the 6th and
1670 @lilypond[fragment,notime,raggedright]
1671 \set Score.automaticBars = ##f
1672 %\override Score.LyricText #'font-style = #'large
1673 %\override Score.TextScript #'font-style = #'large
1677 \override TextScript #'padding = #-4
1678 e^"~~ S" f g a b^"~~ S" c
1680 \context Lyrics \lyrics {
1685 @lilypond[fragment,notime,raggedright]
1686 \set Score.automaticBars = ##f
1687 %\override Score.LyricText #'font-style = #'large
1688 %\override Score.TextScript #'font-style = #'large
1692 \override TextScript #'padding = #-4
1693 b^"~~ S" c d e^"~~ S" f g a
1695 \context Lyrics \lyrics {
1700 @lilypond[fragment,notime,raggedright]
1701 \set Score.automaticBars = ##f
1702 %\override Score.LyricText #'font-style = #'large
1703 %\override Score.TextScript #'font-style = #'large
1707 \override TextScript #'padding = #-4
1708 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1710 \context Lyrics \lyrics {
1715 @lilypond[fragment,notime,linewidth=13.0\cm]
1716 \set Score.automaticBars = ##f
1717 %\override Score.LyricText #'font-style = #'large
1718 %\override Score.TextScript #'font-style = #'large
1722 \override TextScript #'padding = #-4
1723 b^"~~ S" c d e fis gis^"~~ S"
1724 a g! f!^"~~ S" e d c^"~~ S" b a
1726 \context Lyrics \lyrics {
1731 @node diminished interval
1732 @section diminished interval
1734 ES: intervalo disminuído,
1735 I: intervallo diminuito,
1736 F: intervalle diminué,
1737 D: vermindertes Intervall,
1738 NL: verminderd interval,
1739 DK: formindsket interval,
1740 S: förminskat intervall,
1741 FI: vähennetty intervalli.
1755 FI: diminuendo, hiljentyen.
1759 @node disjunct movement
1760 @section disjunct movement
1762 ES: movimiendo disjunto,
1764 F: mouvement disjoint,
1765 D: sprunghafte Bewegung,
1766 NL: sprongsgewijze beweging,
1767 DK: springende bevægelse,
1768 S: hoppande rörelse,
1769 FI: melodian hyppivä liike.
1771 Progressing melodically by intervals larger than a major second.
1772 Opposite of @aref{conjunct movement}.
1774 @lilypond[fragment,raggedright]
1779 a4. gis8 b a e cis |
1780 fis2 d4. \bar "||" }
1786 @ref{dissonant interval}.
1788 @node dissonant interval
1789 @section dissonant interval
1791 ES: intervalo disonante, disonancias,
1792 I: intervallo dissonante, dissonanza,
1795 NL: dissonant interval; dissonant,
1796 DK: dissonerende interval, dissonans,
1798 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1802 @node dominant ninth chord
1803 @section dominant ninth chord
1805 I: accordo di nona di dominante,
1806 F: accord de neuvième dominante,
1807 D: Domi@-nant@-nonen@-akkord,
1808 NL: dominant noon akkoord,
1809 DK: dominantnoneakkord,
1810 S: dominantnonackord,
1811 FI: dominanttinoonisointu.
1813 @aref{chord}, @aref{functional harmony}.
1815 @node dominant seventh chord
1816 @section dominant seventh chord
1818 ES: acorde de séptima de dominante,
1819 I: accordo di settima di dominante,
1820 F: accord de septième dominante,
1821 D: Dominantseptakkord,
1822 NL: dominant septiem akkoord,
1823 DK: dominantseptimakkord,
1824 S: dominantseptimackord,
1825 FI: dominanttiseptimisointu.
1827 @aref{chord}, @aref{functional harmony}.
1839 FI: dominantti, huippusointu.
1841 The fifth @aref{scale degree},
1842 @aref{functional harmony}.
1845 @section dorian mode
1850 D: dorisch, dorischer Kirchenton,
1851 NL: dorische toonladder,
1856 @aref{diatonic scale}.
1858 @node dot (augmentation dot)
1859 @section dot (augmentation dot)
1862 I: punto (di valore),
1864 D: Punkt (Verlängerungspunkt),
1873 @section dotted note
1875 ES: nota con puntillo,
1879 NL: gepuncteerde noot,
1882 FI: pisteellinen nuotti.
1886 @node double appoggiatura
1887 @section double appoggiatura
1889 ES: apoyatura doble,
1890 I: appoggiatura doppia,
1891 F: appoggiature double,
1892 D: doppelter Vorschlag,
1893 NL: dubbele voorslag,
1894 DK: dobbelt forslag,
1896 FI: kaksoisappogiatura, kaksoisetuhele.
1898 @aref{appoggiatura}.
1900 @node double bar line
1901 @section double bar line
1906 NL: dubbele maatstreep,
1909 FI: kaksoistahtiviiva.
1911 Indicates the end of a section within a movement.
1913 @node double dotted note
1914 @section double dotted note
1916 ES: nota con dos puntillos,
1917 I: nota doppiamente puntata,
1918 F: note doublement pointée,
1919 D: doppelt punktierte Note,
1920 NL: dubbelgepuncteerde noot,
1921 DK: dob@-belt@-punk@-te@-ret node,
1922 S: dub@-bel@-punk@-te@-rad not,
1923 FI: kaksoispisteellinen nuotti.
1928 @section double flat
1937 FI: kaksoisalennusmerkki.
1942 @section double sharp
1944 ES: doble sostenido,
1949 DK: dob@-belt@-kryds,
1951 FI: kaksoisylennysmerkki.
1956 @section double trill
1962 NL: dubbele triller,
1967 A simultaneous trill on two notes, usually in the distance of a third.
1970 @section duple meter
1976 NL: tweedelige maatsoort,
2007 FI: kesto, aika-arvo.
2012 @section dydimic comma
2014 @aref{syntonic comma}.
2028 @node ecclesiastical mode
2029 @section ecclesiastical mode
2034 @section eighth note
2040 D: Achtel, Achtelnote,
2042 DK: ottendedelsnode,
2044 FI: kahdeksasosanuotti.
2049 @section eighth rest
2051 ES: silencio de corchea,
2057 DK: ottendedelspause,
2059 FI: kahdeksasosatauko.
2064 @section embellishment
2075 D: Notenstechen, Notendruck
2081 Engraving means incising or etching a metal plate for
2082 printing. Photoengraving means drawing music with ink in a manner
2083 similar to drafting or engineering drawing, using similar tools.
2085 The traditional process of music printing is done through cutting in a
2086 plate of metal. Now also the term for the art of music typesetting.
2100 Two notes, intervals, or scales are enharmonic if they have different names
2103 @lilypond[fragment,notime,linewidth=13.0\cm]
2104 \set Score.automaticBars = ##f
2105 %\override Score.TextScript #'font-style = #'large
2107 \context Staff \relative c'' {
2108 gis1 s s as s s <des g,!> s s <cis g!> s s
2110 \context Lyrics \lyrics {
2111 \override Lyrics .LyricText #'self-alignment-X = #-1
2112 "g sharp " "a flat " "dim fifth " "augm fourth"
2116 @node equal temperament
2117 @section equal temperament
2120 I: temperamento equabile,
2121 F: tempérament égal,
2122 D: gleichschwebende Stimmung,
2123 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2124 DK: ligesvævende temperatur,
2125 S: liksvävande temperatur,
2128 Tuning system dividing the octave into 12 equal @aref{semitone}s
2129 (precisely 100 @aref{cent}s). @aref{temperament}.
2131 @node expression mark
2132 @section expression mark
2135 I: segno d'espressione,
2136 F: signe d'expression, indication de nuance,
2138 NL: voordrachtsteken,
2139 DK: foredragsbetegnelse,
2140 S: föredragsbeteckning,
2141 FI: nyanssiosoitus, esitysmerkki.
2143 Performance indications concerning 1. volume, dynamics (for example
2144 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2145 @aref{andante}, @aref{allegro}).
2171 The position between the dots of the key symbol is the line of the F below
2172 central@w{ }C. Used on the third, fourth and fifth note line. A
2173 digit@w{ }8 above the clef symbol indicates that the notes must be played
2174 an octave higher (for example bass recorder) while 8@w{ }below the clef
2175 symbol indicates playing an octave lower (for example on double bass
2178 @lilypond[fragment,notime,linewidth=13.0\cm]
2179 \set Score.automaticBars = ##f
2180 \override Staff.Clef #'full-size-change = ##t
2181 %\override Score.LyricText #'font-style = #'large
2195 \context Lyrics \lyrics {
2196 % \override Lyrics .LyricText #'self-alignment-X = #-1
2205 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2212 F: point d'orgue, point d'arr@^et,
2217 FI: fermaatti, pidäke.
2219 Prolonged note or rest of indefinite duration.
2221 @lilypond[fragment,raggedright]
2224 a4 b c2^\fermata \bar "|."
2243 @section figured bass
2245 ES: bajo cifrado, @aref{thorough bass}.
2259 The methodical use of fingers in the playing of instruments.
2265 I: coda (uncinata), bandiera,
2273 Ornament at the end of the stem of a note used for notes with values
2274 less than a quarter note. The number of flags determines the
2277 @lilypond[fragment,notime,raggedright]
2278 \set Score.automaticBars = ##f
2279 %\override Score.TextScript #'font-style = #'large
2305 @aref{appoggiatura}.
2317 FI: forte, voimakkaasti.
2319 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2320 @emph{mezzoforte} (@b{mf}) medium loud.
2348 @aref{counterpoint}.
2350 @node functional harmony
2351 @section functional harmony
2353 ES: armonía funcional,
2354 I: armonia funzionale,
2355 F: étude des functions,
2357 NL: functionele harmonie,
2358 DK: funktionsanalyse, funktionsharmonik,
2360 FI: harmoniajärjestelmä.
2362 A system of harmonic analysis. It is based on the idea that, in a given key,
2363 there are only three functionally different chords: tonic (T, the chord on the
2364 first note of the scale), subdominant (S, the chord on the fourth note), and
2365 dominant (D, the chord on the fifth note). Others are considered to be
2366 variants of the base chords.
2368 @lilypond[fragment,notime,linewidth=13.0\cm]
2369 \set Score.automaticBars = ##f
2370 %\override Score.LyricText #'font-style = #'large
2371 %\override Score.TextScript #'font-style = #'large
2373 \context Voice \relative c'' {
2374 <g e c >1 < a f d > < b g e >
2375 <c a f > < d b g > < e c a > < f d b > }
2376 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
2397 D: G-Schlüssel, Violinschlüssel,
2403 A clef symbol indicating the G above central@w{ }C. Used on the first
2404 and second note lines. A digit 8 above the clef symbol indicates that
2405 the notes must be played an octave higher while 8 below the clef symbol
2406 indicates playing or singing an octave lower (most tenor parts in choral
2407 scores are notated like that).
2409 @lilypond[fragment,notime,linewidth=13.0\cm]
2410 \set Score.automaticBars = ##f
2411 \override Staff.Clef #'full-size-change = ##t
2412 %\override Score.LyricText #'font-style = #'large
2424 \context Lyrics \lyrics {
2425 \override Lyrics .LyricText #'self-alignment-X = #-1
2426 "french violin clef "
2443 FI: glissando, liukuen.
2445 Letting the pitch slide fluently from one note to the other.
2448 @section grace notes
2453 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2459 Notes printed in small types to indicate that their time values are not
2460 counted in the rhythm of the bar. @aref{appoggiatura}.
2463 @section grand staff
2470 S: ackolad, böjd klammer,
2471 FI: kaksoisnuottiviivasto.
2475 A combination of two staves with a brace. Usually used for piano music.
2487 FI: grave, raskaasti.
2503 D: Halbe, halbe Note,
2526 @node harmonic cadence
2527 @section harmonic cadence
2529 ES: cadencia (armónica),
2530 I: cadenza (armonica),
2531 F: cadence harmonique,
2533 NL: harmonische cadens,
2534 DK: harmonisk kadence,
2535 S: (harmonisk) kadens,
2536 FI: harmoninen kadenssi.
2538 A sequence of chords that terminates a musical phrase or
2539 section. @aref{functional harmony}.
2541 @lilypond[fragment,raggedright]
2542 \context PianoStaff <<
2543 \context Staff = SA \relative c'' {
2547 \partial 4 < c g e >4 |
2548 < c a f > < b g d > < c g e >2
2550 % %\override Score.LyricText #'font-style = #'large
2552 \context Staff = SB \relative c {
2554 \partial 4 c4 | f, g c2
2557 \context Lyrics \lyrics {
2569 D: Harmonie, Zusammenklang,
2573 FI: harmonia, yhteissointi.
2575 Tones sounding simultaneously. Two note harmonies fall into the categories
2576 @emph{consonances} and @emph{dissonances}.
2580 @lilypond[fragment,notime,linewidth=13.0\cm]
2581 \set Score.automaticBars = ##f
2582 %\override Score.TextScript #'font-style = #'large
2583 \context Voice \relative c'' {
2596 @lilypond[fragment,notime,linewidth=13.0\cm]
2597 \set Score.automaticBars = ##f
2598 %\override Score.TextScript #'font-style = #'large
2599 \context Voice \relative c'' {
2600 <g a>1_"second " s s
2601 <g f'>_"seventh " s s
2606 Three note harmony @aref{chord}.
2618 FI: homofonia, yksiäänisyys.
2620 Music in which one voice leads melodically followed by the other voices more
2621 or less in the same rhythm. In contrast to @aref{polyphony}.
2633 FI: intervalli, kahden sävelen korkeusero.
2635 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2636 diminished, or augmented. The augmented fourth and the diminished fifth are
2637 identical (@aref{enharmonic}) and are called @emph{tritonus}
2638 because they consist of three @aref{whole tone}s. The addition
2639 of such two intervals forms an octave.
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 Voice \relative c'' {
2651 < gis bes >^"dimin" s
2652 < g! bes >^"minor" s
2656 \context Lyrics \lyrics {
2657 "unisone " "second " "second " "second "
2658 "third " "third " "third " "third"
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 < g c >1^"perfect" s
2670 < g d' >^"perfect" s
2671 < g des' > ^"dimin" s
2672 < gis es' >^"dimin" s
2673 < g! es' >^"minor" s
2677 \context Lyrics \lyrics {
2678 "fourth " "fourth " "fifth " "fifth "
2679 "sixth " "sixth " "sixth " "sixth"
2683 @lilypond[fragment,notime,linewidth=13.0\cm]
2684 \set Score.automaticBars = ##f
2685 %\override Score.LyricText #'font-style = #'large
2686 %\override Score.TextScript #'font-style = #'large
2688 \context Staff \relative c'' {
2689 < gis f'! >1^"dimin" s
2690 < g! f'! >^"minor" s
2691 < g fis' >^"major" s
2695 < g bes' >^"minor" s
2698 \context Lyrics \lyrics {
2699 "seventh " "seventh " "seventh " "octave "
2700 "none " "none " "decime " "decime"
2704 @node inverted interval
2705 @section inverted interval
2707 ES: intervalo invertido,
2708 I: intervallo rivolto,
2709 F: intervalle reversé,
2710 D: umgekehrtes Intervall,
2711 NL: interval inversie,
2712 DK: omvendingsinterval,
2713 S: intervallets omvändning,
2714 FI: käänteisintervalli.
2716 The difference between an interval and an octave.
2718 @lilypond[fragment,notime,linewidth=13.0\cm]
2719 \set Score.automaticBars = ##f
2720 %\override Score.TextScript #'font-style = #'large
2721 \context Staff \relative c'' {
2722 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2723 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2724 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2728 @node just intonation
2729 @section just intonation
2731 I: intonazione giusta,
2732 F: intonation juste,
2739 Tuning system in which the notes are obtained by adding and subtracting
2740 natural fifths and thirds. @aref{temperament}.
2754 According to the 12@w{ }tones of the @aref{chromatic scale}
2755 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2756 @aref{key signature}.
2759 @section key signature
2761 ES: armadura de clave,
2762 I: armatura di chiave,
2763 F: armure, armature [de la clé],
2764 D: Vorzeichen, Tonart,
2765 NL: toon@-soort (voortekens),
2768 FI: sävellajiosoitus.
2770 The sharps or flats appearing at the beginning of each staff indicating the
2771 key of the music. @aref{accidental}.
2779 D: Largo, Langsam, Breit,
2783 FI: largo, hitaasti, leveästi.
2785 Very slow in tempo, usually combined with great
2786 expressiveness. @emph{Larghetto} is less slow than largo.
2789 @section leading note
2800 The seventh @aref{scale degree}, a @aref{semitone} below
2801 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2802 upwards) to the tonic scale degree.
2805 @section ledger line
2807 ES: líneas adicionales,
2808 I: tagli addizionali,
2809 F: ligne supplémentaire,
2816 A ledger line is an extension of the staff.
2818 @lilypond[fragment,notime,raggedright]
2819 \set Score.automaticBars = ##f
2820 \relative c'' { a,1 s c'' }
2835 To be performed (a) without any perceptible interruption between the notes,
2836 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2837 (d) @aref{staccato}.
2839 @lilypond[fragment,notime,linewidth=13.0\cm]
2840 \set Score.automaticBars = ##f
2842 \context Staff \relative c'' {
2843 c4-( d e-) \bar "||"
2844 c4-- d-- e-- \bar "||"
2845 c4-.-( d-. e-.-) \bar "||"
2846 c4-. d-. e-. \bar "||"
2848 \context Lyrics \lyrics {
2849 % \override Lyrics .LyricText #'font-style = #'large
2858 @section legato curve
2860 @aref{slur}, @aref{legato}.
2870 ES: estanque de lilas,
2871 I: stagno del giglio,
2875 NL: le@-lie@-vij@-ver,
2880 A pond with lilies floating in it, also the name of a music typesetter.
2885 A ligature is a coherent graphical symbol that represents at least two
2886 distinct notes. Ligatures originally appeared in the manuscripts of
2887 Gregorian chant notation roughly since the 9th century to denote
2888 ascending or descending sequences of notes. In early notation,
2889 ligatures were used for monophonic tunes (Gregorian chant) and very
2890 soon denoted also the way of performance in the sense of articulation.
2891 With the invention of the metric system of the white mensural
2892 notation, the need for ligatures to denote such patterns disappeared.
2900 D: Linie, Notenlinie,
2904 FI: viiva, nuottiviiva.
2908 @node long appoggiatura
2909 @section long appoggiatura
2911 ES: apoyatura larga,
2912 I: appoggiatura lunga,
2913 F: appoggiature longue,
2914 D: langer Vorschlag,
2918 FI: pitkä appoggiatura, pitkä etuhele.
2920 @aref{appoggiatura}.
2934 Note value: double length of @aref{breve}.
2937 @lilypond[fragment,notime,raggedright]
2938 \set Score.automaticBars = ##f
2940 \override NoteHead #'style = #'mensural
2957 @node major interval
2958 @section major interval
2960 ES: intervalo mayor,
2961 I: intervallo maggiore,
2962 F: intervalle majeur,
2963 D: großes Intervall,
2967 FI: suuri intervalli.
2983 @aref{diatonic scale}.
2985 @node meantone temperament
2986 @section meantone temperament
2988 I: accordatura mesotonica,
2989 F: tempérament mésotonique,
2990 D: mitteltönige Stimmung,
2991 NL: middenstemming, middentoonstemming,
2992 DK: middeltonetemperatur,
2993 S: medeltonstemperatur,
2994 FI: keskisävelviritys.
2996 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2997 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2998 @aref{temperament} only a limited set of keys are playable.
2999 Used for tuning keyboard instruments for performance of pre-1650 music.
3013 A group of @aref{beat}s (units of musical time) the first of which
3014 bears an accent. Such groups in numbers of two or more recur consistently
3015 throughout the composition and are marked from each other by
3016 bar-lines. @aref{meter}.
3022 I: mediante, modale,
3030 1.@tie{}The third @b{scale degree}.
3031 2.@tie{}A @aref{chord} having its base tone
3032 a third from that of another chord. For example, the tonic chord may be
3033 replaced by its lower mediant (variant tonic). @aref{functional
3034 harmony}, @aref{relative key}.
3040 FI: melisma, laulettavan tavun sävelkuvio.
3042 A melisma (plural: melismata) is a group of notes or tones sung on one
3043 syllable in plainsong
3045 @node melodic cadence
3046 @section melodic cadence
3055 F: indication de mésure,
3062 The basic scheme of @aref{note value}s and
3063 @aref{accent}s which remains unaltered throughout a composition
3064 or a section of it. For instance, 3/4 meter means that the basic
3065 @aref{note value}s are quarter notes and that a
3066 @aref{measure} consists of three of those. According to
3067 whether there are two, three, or four units to the measure,
3068 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3069 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3071 @lilypond[fragment,linewidth=13.0\cm]
3075 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3078 @lilypond[fragment,linewidth=13.0\cm]
3082 f8 f f f a16 g a f |
3083 c'8 c c c e16 d e c \bar "||"}
3086 @lilypond[fragment,linewidth=13.0\cm]
3090 d4 b8 g b d d c a4 |
3091 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3106 Device indicating the exact tempo of a piece. @aref{metronomic
3109 @node metronomic indication
3110 @section metronomic indication
3112 ES: indicación metronómica,
3113 I: indicazione metronomica,
3114 F: indication métronomique,
3116 NL: metronoom aanduiding,
3118 S: metronomangivelse,
3119 FI: metronomiosoitus.
3121 Exact tempo indication (in beats per minute). Also denoted by
3122 M.M.@: (Mälzels Metronom).
3125 @section mezzo-soprano
3136 The female voice between @aref{soprano} and
3145 D: eingestrichenes@w{ }c,
3147 DK: enstreget@w{ }c,
3148 S: ettstruket@w{ }c,
3151 First C below the 440 Hz A.
3153 @lilypond[fragment,notime,raggedright]
3154 \set Score.automaticBars = ##f
3155 \override Staff.Clef #'full-size-change = ##t
3175 @aref{diatonic scale}.
3177 @node minor interval
3178 @section minor interval
3180 ES: intervalo mayor,
3181 I: intervallo minore,
3182 F: intervalle mineur,
3183 D: kleines Intervall,
3187 FI: pieni intervalli.
3201 FI: moodi, kirkkosävelasteikko.
3203 @aref{church mode}, @aref{diatonic scale}.
3215 FI: modulaatio, sävellajin vaihdos.
3217 Moving from one @aref{key} to another. For example, the second
3218 subject of a @aref{sonata form} movement modulates to the dominant
3219 key if the key is major and to the @aref{relative key} if the key
3231 FI: mordent, korukuvio.
3250 FI: teema, sävelaihe.
3252 The briefest intelligible and self-contained fragment of a musical theme or
3255 @lilypond[fragment,linewidth=13.0\cm]
3256 \override Score.TimeSignature #'break-visibility = #all-invisible
3257 %\override Score.TextScript #'font-style = #'large
3261 \partial 8 g16_"------" fis |
3262 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3263 g8 g,16 a b8 cis d16 s
3279 Greater musical works like @aref{symphony} and
3280 @aref{sonata} most often consist of several -- more or less --
3281 independant pieces called movements.
3284 @section multibar rest
3286 ES: compases de espera,
3290 D: mehrtaktige Pause,
3293 FI: usean tahdin mittainen tauko.
3295 @lilypond[fragment,raggedright]
3298 \set Score.skipBars = ##t R1*3
3303 @node mixolydian mode
3304 @section mixolydian mode
3306 @aref{diatonic scale}.
3309 @section natural sign
3314 D: Auflösungszeichen,
3315 NL: herstellingsteken,
3316 DK: op@-løsningstegn,
3317 S: återställningstecken,
3322 @node neighbour tones
3323 @section neighbour tones
3325 @aref{appoggiatura}.
3358 Notes are signs by means of which music is fixed in writing. The term is also
3359 used for the sound indicated by a note, and even for the key of the piano
3360 which produces the sound. However, a clear distinction between the terms tone
3361 and @aref{note} is strongly recommended. Briefly, one sees a note,
3368 I: testa, testina, capocchia,
3369 F: t@^ete de la note,
3376 A head-like sign which indicates pitch by its position on a
3377 @aref{staff} provided with a @aref{clef}, and duration
3378 by a variety of shapes such as hollow or black heads with or without
3379 @aref{stem}s, @aref{flag}s, etc. For percussion
3380 instruments (often having no defined pitch) the note head may indicate the
3388 F: durée, valeur (d'une note),
3393 FI: nuotin aika-arvo.
3395 Note values (durations) are measured as fractions, normally 1/2, of the next
3396 higher note value. The longest duration normally used is called @emph{brevis},
3397 but sometimes (mostly in pre-baroque music) the double length note value
3398 @emph{longa} is used.
3400 @lilypond[fragment,notime,linewidth=13.0\cm]
3401 %\override Score.TextScript #'font-style = #'large
3402 \set Score.automaticBars = ##f
3404 \override NoteHead #'style = #'mensural
3405 a\longa_"longa" a\breve_"breve"
3406 \revert NoteHead #'style
3407 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3408 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3411 @lilypond[fragment,notime,linewidth=13.0\cm]
3412 %\override Score.TextScript #'font-style = #'large
3413 \set Score.automaticBars = ##f
3415 r\longa_"longa" r\breve_"breve"
3416 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3417 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3420 An augmentation dot after a note multiplies the duration by one and a
3421 half. Another dot adds yet a fourth of the duration.
3423 @lilypond[fragment,linewidth=13.0\cm]
3424 %\override Score.TextScript #'font-style = #'large
3427 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3428 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3431 Alternatively note values may be subdivided by other ratios. Most common is
3432 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3433 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3434 dotted notes are also frequently used.
3436 @lilypond[fragment,linewidth=13.0\cm]
3437 %\override Score.TextScript #'font-style = #'large
3440 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3441 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3445 @lilypond[fragment,linewidth=13.0\cm]
3448 \times 3/2 {g4_"duplets" g} |
3450 \times 6/4 {g8_"quadruplets" g g g} |
3451 g8 g g g g4 \bar "||"
3456 @section octave sign
3458 @aref{G clef}, @aref{F clef}.
3478 I: abbellimento, fioriture,
3479 F: agrément, ornement,
3480 D: Verzierung, Ornament,
3486 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3487 with the diatonic @aref{second} above it. In the music from the
3488 middle of the 19th century and onwards the trill is performed with the main
3489 note first while in the music from the preceding baroque and classic periods
3490 the upper note is played first.
3492 @lilypond[fragment,linewidth=13.0\cm]
3494 \context Staff = sa {
3495 % \override Score.TextScript #'font-style = #'large
3497 c2._"pre-1850" b4\trill | c1 \bar "||"
3498 c2._"post-1850" b4\trill | c1 \bar "||"
3502 c2. c32 b c b c b c b | c1
3503 c2. b32 c b c \times 4/5 { b c b c b } | c1
3508 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
3509 @emph{prall} (inverted mordent).
3511 @lilypond[fragment,linewidth=13.0\cm]
3513 \context Staff = sa {
3514 % \override Score.TextScript #'font-style = #'large
3516 a4_"turn" b\turn c2 \bar "||"
3517 g4_"mordent" a b\mordent a \bar "||"
3518 e'4_"prall" d\prall c2 \bar "||"
3524 e'4 e32[ d e d ~ d8] c2
3529 @aref{appoggiatura}.
3541 FI: ossia, vaihtoehtoinen esitystapa.
3543 Ossia (otherwise) marks an alternative. It is an added staff or piano
3544 score, usually only a few measures long, which presents another version
3545 of the music, for example for small hands.
3557 FI: stemma, instrumenttiosuus.
3559 1.@tie{}In instrumental or choral music the music for the single instrument
3560 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3561 melodic line of the contrapunctal web.
3574 D: Schlagzeug, Schlagwerk,
3580 A family of musical instruments which are played on by striking or
3581 shaking. Percussion instruments commonly used in a symphony orchestra are
3582 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3583 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3586 @node perfect interval
3587 @section perfect interval
3589 ES: intervalo justo,
3590 I: intervallo giusto,
3591 F: intervalle juste,
3592 D: reines Intervall,
3596 FI: puhdas intervalli.
3612 A natural division of the melodic line, comparable to a sentence of speech.
3624 FI: fraseeraus, jäsentäminen.
3626 The clear rendering in musical performance of the @aref{phrase}s of
3627 the melody. Phrasing may be indicated by a @aref{slur}.
3641 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3642 @emph{mezzopiano} (@b{mp}) medium soft.
3663 NL: pizzicato, getokkeld,
3666 FI: pizzicato, näppäillen.
3668 Play by plucking the strings.
3676 D: Polyphonie, Mehrstimmigkeit,
3680 FI: polyfonia, moniäänisyys.
3682 Music written in a combination of several simultaneous voices (parts) of a
3683 more or less pronounced individuality. @aref{counterpoint}.
3696 D: Presto, Sehr schnell,
3697 NL: presto, Sehr schnell,
3700 FI: presto, hyvin nopeasti.
3702 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3703 denotes the highest possible degree of speed.
3705 @node Pythagorean comma
3706 @section Pythagorean comma
3708 ES: coma pitagórico,
3709 I: comma pitagorico,
3710 F: comma pythagoricien,
3711 D: Pythagoräisches Komma,
3712 NL: komma van Pythagoras,
3713 DK: pythagoræisk komma,
3714 S: pytagoreiskt komma,
3715 FI: pytagorinen komma.
3717 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3718 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3719 24 @aref{cent}s higher than the@w{ }C obtained by adding
3720 7@w{ }octaves. The difference between those two pitches is called the
3738 @section quarter note
3741 I: semiminima, nera,
3744 D: Viertel, Viertelnote,
3748 FI: neljännesosanuotti.
3753 @section quarter rest
3755 ES: silencio de negra,
3756 I: pausa di semiminima,
3761 DK:@w{ }fjerdedelspause,
3763 FI: neljännesosatauko.
3782 @section rallentando
3787 D: rallentando, langsamer werden,
3791 FI: rallerdando, hidastuen.
3793 Abbreviation "rall.". @aref{ritardando}.
3796 @section relative key
3799 I: tonalità relativa,
3800 F: tonalité relative,
3802 NL: paralleltoonsoort,
3803 DK: paralleltoneart,
3805 FI: rinnakkaissävellaji.
3807 @aref{major} and @aref{minor} @aref{key}
3808 with the same @aref{key signature}.
3810 @lilypond[fragment,notime,linewidth=13.0\cm]
3811 \set Score.automaticBars = ##f
3812 %\override Score.TextScript #'font-style = #'large
3815 es1_"e flat major" f g as bes c d es
3820 @lilypond[fragment,notime,linewidth=13.0\cm]
3821 \set Score.automaticBars = ##f
3822 %\override Score.TextScript #'font-style = #'large
3825 c1_"c minor" d es f g a! b! c \bar "||"
3832 ES: barra de repetición,
3834 F: barre de reprise,
3837 DK: gen@-ta@-gel@-se,
3841 @lilypond[fragment,linewidth=13.0\cm]
3845 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3849 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3850 @c specify the rest's value.
3878 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3879 fixed unit of time, called @aref{beat}, and in which the normal
3880 @aref{accent} recurs in regular intervals, called
3881 @aref{measure}. The basic scheme of time values is called
3882 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3883 accent. In modern notation such music appears as a free alternation of
3884 different measures. (c) Free rhythm, i.e., the use of temporal values having
3885 no common metrical unit (beat).
3893 D: Ritardando, langsamer werden,
3897 FI: ritardando, hidastuen,
3899 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3911 FI: ritenuto, hidastaen.
3913 Immediate reduction of speed.
3925 FI: asteikko, sävelasteikko.
3927 @aref{diatonic scale}.
3930 @section scale degree
3932 ES: grados de la escala,
3933 I: grado della scala,
3934 F: degré [de la gamme],
3936 NL: trap [van de toonladder],
3939 FI: sävelaste, asteikon sävel.
3941 Names and symbols used in harmonic analysis to denote tones of the scale as
3942 roots of chords. The most important are degrees I = tonic (T), IV =
3943 sub@-do@-mi@-nant (S) and V = dominant (D).
3945 @lilypond[fragment,notime,linewidth=13.0\cm]
3946 \set Score.automaticBars = ##f
3947 %\override Score.LyricText #'font-style = #'large
3948 %\set minVerticalAlign = #8
3950 \context Staff \relative c' {
3953 \context Lyrics \lyrics {
3954 << { I II III IV V VI VII I }
3959 @aref{functional harmony}.
3967 D: Partitur (full score), Klavierauszug (vocal score)
3973 A copy of orchestral, choral, or chamber music showing what each instrument is
3974 to play, each voice to sing, having each part arranged one underneath the
3975 other on different staves @aref{staff}.
3989 The @aref{interval} between two neigbouring tones of a scale. A
3990 @aref{diatonic scale} consists of alternating
3991 @aref{semitone}s and @aref{whole tone}s, hence the size
3992 of a se@-cond depends on the scale degrees in question.
4006 The @aref{interval} of a minor second. The (usually) smallest
4007 interval in European composed music. The interval between two neighbouring
4008 tones on the piano keyboard -- including black and white keys -- is a
4009 semitone. An octave may be divided into 12@w{ }semitones.
4010 @aref{interval}, @aref{chromatic scale}.
4012 @lilypond[fragment,notime,linewidth=13.0\cm]
4013 \set Score.automaticBars = ##f
4014 \relative c'' { g1 gis s a bes s b! c }
4068 @node short appoggiatura
4069 @section short appoggiatura
4071 @aref{appoggiatura}.
4073 @node sixteenth note
4074 @section sixteenth note
4080 D: Sechzehntel, Sechzehntelnote,
4081 NL: zes@-ti@-ende noot,
4082 DK: sekstendedelsnode,
4084 FI: kuudestoistaosanuotti.
4088 @node sixteenth rest
4089 @section sixteenth rest
4091 ES: silencia de semicorchea,
4092 I: pausa di semicroma,
4094 UK: semiquaver rest,
4095 D: Sechzehntelpause,
4097 DK: sekstendedelspause,
4117 @node sixty-fourth note
4118 @section sixty-fourth note
4122 F: quadruple croche,
4123 UK: hemidemisemiquaver,
4124 D: Vierundsechzigstel, Vierundsechzigstelnote,
4125 NL: vierenzestigste noot,
4126 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4127 S: sextiofjärdedelsnot,
4128 FI: kuudeskymmenesneljäsosanuotti.
4132 @node sixty-fourth rest
4133 @section sixty-fourth rest
4135 ES: silencia de semifusa,
4136 I: pausa di semibiscroma,
4137 F: seizième de soupir,
4138 UK: hemidemisemiquaver rest,
4139 D: Vierundsechzigstelpause,
4140 NL: vierenzestigste rust,
4141 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4142 S: sextiofjärdedelspaus,
4143 FI: kuudeskymmenesneljäsosatauko.
4151 I: legatura (di portamento or espressiva),
4153 D: Bogen, Legatobogen, Phrasierungsbogen,
4154 NL: fraseringsboog, legatoboog, streekboog,
4155 DK: legatobue, fraseringsbue,
4159 A slur above or below a group of notes indicates that they are to be played
4160 @aref{legato}, e.g., with one stroke of the violin bow or with one
4164 @section solmization
4172 FI: suhteelliset laulunimet.
4174 General term for systems of designating the degrees of the
4175 @aref{scale}, not by letters, but by syllables (@emph{do}
4176 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4177 (@emph{ti})). @aref{scale degree}.
4191 In its present-day meaning a sonata denotes an instrumental composition for
4192 piano or for some other instrument with piano accompaniment, which consists of
4193 three or four independant pieces, called movements.
4196 @section sonata form
4200 F: [en] forme de sonate,
4202 NL: hoofdvorm, sonatevorm,
4207 A form used frequently for single movements of the @aref{sonata},
4208 @aref{symphony}, quartet, etc. A movement written in sonata form
4209 falls into three sections called @emph{exposition}, @emph{development} and
4210 @emph{recapitulation}. In the exposition the composer introduces some musical
4211 ideas, consisting of a number of themes; in the development section the
4212 composer `develops' this material, and in the recapitulation the composer
4213 repeats the exposition, with certain modifications. The exposition contains a
4214 number of themes that fall into two groups, often called first and second
4215 subject. Other melodies occurring in each group are considered as
4216 continuations of these two. The second theme is in another key, normally in
4217 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4218 @aref{relative key} if the tonic is @aref{minor}.
4235 FI: sopraano, korkea naisääni.
4237 The highest female voice.
4244 F: staccato, piqué, détaché,
4249 FI: staccato, lyhyesti, terävästi.
4251 Playing the note(s) short. Staccato is indicated by a dot above or below the
4254 @lilypond[fragment,raggedright]
4259 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4268 I: pentagramma, rigo (musicale),
4271 NL: (noten)balk, partij,
4276 A staff (pl. staves) is a series of (normally five) horizontal lines
4277 upon and between which the musical notes are written, thus indicating
4278 (in connection with a @aref{clef}) their pitch. Staves for
4279 @aref{percussion} instruments may have fewer lines.
4292 D: Hals, Notenhals, Stiel,
4298 Vertical line above or below a @aref{note head} shorter than a
4299 whole note. @aref{beam}.
4301 @lilypond[fragment,notime,linewidth=13.0\cm]
4302 \set Score.autoBeaming = ##f
4303 \set Score.automaticBars = ##f
4304 %\override Score.TextScript #'font-style = #'large
4325 A family of stringed musical instruments played with a bow. Strings commonly
4326 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4329 @section strong beat
4334 D: betonter Taktteil oder Taktschlag,
4336 D: betonet taktslag,
4337 S: betonat taktslag,
4338 FI: tahdin vahva isku.
4340 @aref{beat}, @aref{accent}, @aref{measure},
4344 @section subdominant
4353 FI: subdominantti, alidominantti.
4355 The fourth @aref{scale degree}. @aref{functional harmony}.
4369 The sixth @aref{scale degree}.
4381 FI: subtoonika, alitoonika.
4383 The seventh @aref{scale degree}.
4386 @section superdominant
4397 The sixth @aref{scale degree}.
4411 The second @aref{scale degree}.
4419 D: Sinfonie, Symphonie,
4425 A symphony may be defined as a @aref{sonata} for orchestra.
4428 @section syncopation
4439 Any deliberate upsetting of the normal pulse of @aref{meter},
4440 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4441 rhythm rests upon the grouping of equal beats into groups of two or three,
4442 with a regularly recurrent accent on the first beat of each group. Any
4443 deviation from this scheme is felt as a disturbance or contradiction between
4444 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4446 @lilypond[fragment,raggedright]
4451 e c'4 e,8 c'4 e,8 c' ( | c2)
4455 @node syntonic comma
4456 @section syntonic comma
4458 I: comma sintonico (o didimico),
4459 F: comma syntonique,
4460 D: syntonisches Komma,
4461 NL: syntonische komma,
4462 DK: syntonisk komma,
4463 S: syntoniskt komma,
4464 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
4466 Difference between the natural third and the third obtained by Pythagorean
4467 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4478 FI: nuottijärjestelmä.
4480 The collection of staves @aref{staff}, two or more, as used for
4481 writing down of keyboard, chamber, choral, or orchestral music.
4484 @section temperament
4489 D: Stimmung, Tem@-pe@-ra@-tur,
4490 NL: stemming, temperatuur,
4493 FI: viritysjärjestelmä.
4495 Systems of tuning in which the intervals deviate from the acoustically pure
4496 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4498 @node tempo indication
4499 @section tempo indication
4501 ES: indicación de tempo,
4502 I: indicazione di tempo,
4503 F: indication de temps,
4504 D: Zeitmaß, Tempobezeichnung,
4505 NL: tempo aanduiding,
4510 The rate of speed of a composition or a section thereof, ranging from the
4511 slowest to the quickest, as is indicated by tempo marks as
4512 @aref{largo}, @aref{adagio}, @aref{andante},
4513 @aref{allegro}, and @aref{presto}.
4525 FI: tenori, korkea miesääni.
4527 The highest male voice (apart from @aref{counter tenor}).
4555 An indication that a particular note should be held for the whole
4556 length, although this can vary depending on the composer and era.
4572 @node thirty-second note
4573 @section thirty-second note
4579 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4580 NL: twee-endertig@-ste noot,
4581 DK: toogtredivtedelsnode,
4582 S: trettiotvåondelsnot,
4583 FI: kolmanneskymmeneskahdesosanuotti.
4587 @node thirty-second rest
4588 @section thirty-second rest
4590 ES: silencio de fusa,
4591 I: pausa di biscroma,
4592 F: huitième de soupir,
4593 UK: demisemiquaver rest,
4594 D: Zweiunddreissigstel@-pause,
4596 DK: toogtredivtedelspause,
4597 S: trettiotvåondelspaus,
4598 FI: kolmanneskymmeneskahdesosatauko.
4603 @section thorough bass
4606 I: basso continuo, basso numerato,
4608 D: Generalbass, bezifferter Bass,
4609 NL: basso continuo, becijferde bas
4612 FI: kenraalibasso, numeroitu basso.
4614 A method of indicating an accompaniment part by the bass notes only, together
4615 with figures designating the chief @aref{interval}s and
4616 @aref{chord}s to be played above the bass notes.
4618 @lilypond[fragment,linewidth=13.0\cm]
4619 \context GrandStaff <<
4620 \context Staff = lh \relative c'' {
4624 << \context Voice = rha {
4627 \context Voice = rhb {
4629 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4633 \context Staff = rh \relative c' {
4636 es8 c d bes c as bes16 as g f | es4
4638 \context Lyrics \lyrics {
4639 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4640 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4641 { "" "" "" "2" "" "" "" "" "" "2" } >>
4649 ES: ligadura de prolongación,
4650 I: legatura (di valore),
4653 NL: overbinding, bindingsboog,
4655 S: bindebåge, överbindning,
4658 A curved line, identical in appearance with the @aref{slur}, which
4659 connects two succesive notes of the same pitch, and which has the function of
4660 uniting them into a single sound (tone) equal to the combined durations.
4662 @lilypond[fragment,notime,raggedright]
4663 \set Score.automaticBars = ##f
4664 \relative c'' { g2 ~ g4. }
4672 @node time signature
4673 @section time signature
4675 ES: cifra indicadora de compás,
4677 F: chiffrage (chiffres indicateurs), signe de valeur,
4678 D: Taktangabe, Angabe der Taktart,
4681 S: taktartssignatur,
4698 A sound of definite pitch and duration, as distinct from @emph{noise}.
4699 Tone is a primary building material of music.
4700 Music from the 20th century may be based on atonal sounds.
4714 The first @aref{scale degree}.
4715 @aref{functional harmony}.
4718 @section transposition
4729 Shifting a melody up or down in pitch, while keeping the same
4732 @lilypond[fragment,linewidth=13.0\cm]
4737 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4742 @lilypond[fragment,linewidth=13.0\cm]
4745 \transpose c bes \relative c'' {
4747 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4753 @section treble clef
4756 I: chiave di violino,
4758 D: Violinschlüssel, Sopranschlüssel,
4760 DK:@w{ }diskantnøgle,
4778 On stringed instruments (@aref{strings}) the quick reiteration of
4779 the same tone, produced by a rapid up-and-down movement of the bow
4780 (a). The term is also used for the rapid alternation (b) between two notes of
4781 a @aref{chord}, usually in the distance of a third
4784 @lilypond[fragment,notime,raggedright]
4785 \set Score.automaticBars = ##f
4786 %\override Score.TextScript #'font-style = #'large
4789 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4790 \repeat "tremolo" 8 { e32_"b" g }
4799 F: triade, accord parfait, accord de trois sons,
4813 F: trille, tremblement, battement (cadence),
4823 @section triple meter
4825 ES: compás compuesto,
4829 NL: driedelige maatsoort,
4865 @section tuning fork
4868 I: diapason, corista,
4876 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4877 give the international pitch for the tone @emph{a} (440 vibrations per second).
4903 FI: unisono, yksiäänisesti.
4905 Playing of the same notes or the same melody by various instruments (voices)
4906 or by the whole orchestra (choir), either at exactly the same pitch or in a
4912 ES: entrada anacrúsica,
4914 F: anacrouse, levée,
4921 Initial note(s) of a melody occurring before the first bar
4922 line. @aref{measure}, @aref{meter}.
4924 @lilypond[fragment,linewidth=13.0\cm]
4928 \partial 4 f4 | bes4. a8 bes4 c |
4929 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4942 FI: ääni, lauluääni.
4944 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4945 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4946 2.@tie{}A melodic layer or part of a polyphonic composition.
4952 I: tempo debole, arsi,
4954 D: unbetonter Taktteil oder Taktschlag,
4956 DK: ubetonet taktslag,
4957 S: obetonat taktslag,
4958 FI: tahdin heikko isku.
4960 @aref{beat}, @aref{measure}, @aref{rhythm}.
4969 D: Ganze, ganze Note,
4980 ES: silencio de redonda,
4981 I: pausa di semibreve,
4984 D: ganze Pause, ganztaktige Pause,
5004 The @aref{interval} of a major second. The interval between two
5005 tones on the piano keyboard with exactly one key between them -- including
5006 black and white keys -- is a whole tone.
5020 A family of blown wooden musical instruments. Today some of these instruments
5021 are actually made from metal. The woodwind instruments commonly used in a
5022 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5024 @node Duration names notes and rests
5025 @chapter Duration names, notes and rests
5028 @item DURATION NAMES, NOTES AND RESTS
5031 @multitable @columnfractions .15 .26 .33 .26
5048 @item @strong{longa}
5063 @item @strong{breve}
5078 @item @strong{whole}
5088 @tab koko@-nuotti/@w{-tauko}
5103 @tab puoli@-nuotti/@w{-tauko}
5108 @item @strong{quarter}
5118 @tab neljännesosa@-nuotti/@w{-tauko}
5123 @item @strong{eighth}
5133 @tab kahdeksasosa@-nuotti/@w{-tauko}
5138 @item @strong{sixteenth}
5148 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5153 @item @strong{thirty-second}
5158 @tab Zweiunddreissigstel
5159 @tab tweeendertigste
5160 @tab toogtredivtedel
5162 @tab trettiotvåondel
5163 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5168 @item @strong{sixty-fourth}
5169 @tab hemidemisemiquaver
5171 @tab quadruple croche
5173 @tab Vierundsechzigstel
5174 @tab vierenzestigste
5175 @tab fireogtred@-sindstyvendedel
5177 @tab sextiofjärdedel
5178 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5182 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5185 @chapter Pitch names
5191 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5193 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
5194 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5198 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5202 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5203 cis @tab cis @tab cis
5207 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5208 des @tab des @tab des
5212 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5216 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5220 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5224 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5228 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
5233 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5237 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5238 ais @tab ais @tab ais
5242 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5247 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5252 @node Literature used
5253 @unnumbered Literature used
5256 @item The Harvard Dictionary of Music, London 1944. Many more or less
5257 literal quotes from its articles have been included into the item
5260 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5262 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5264 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5267 @item Webster's Revised Unabridged Dictionary, Springfield 1913.