1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
7 This document is also available in @uref{music-glossary.ps.gz,gzipped
8 PostScript} and @uref{music-glossary.pdf,PDF}.
13 @author Christian Mondrup
14 @c License PD, BSD-ish, GNU GPL, GNU FDL?
16 Copyright @copyright{} 1999--2003 by the authors
22 @omfcreator Christian Mondrup
23 @omfdescription Glossary of musical terms with translations
25 @omfcategory Applications|Publishing
32 @chapter Music Glossary
40 Copyright 1999--2003 by the authors
42 @c License PD, BSD-ish, GNU GPL, GNU FDL?
51 @c @everyheading @| @thispage @|
52 @c @evenheading @thispage @| @|
53 @c @oddheading @| @| @thispage @|
57 @tex $\\Rightarrow$ @end tex@c
68 We do not use refs for Info:
71 @w{@ar{}@pxref{\word\}}@c
73 they look too intrusive (says Han-Wen).
80 @w{@ar{}@strong{\word\}}@c
83 @ar{}@ref{\word\, @strong{\word\}}@c
91 @c If we want hypelinks, we must add anchors.
92 @c Hmm, we need the @achor command in the item description itself
93 @c (not before or after) to get mozilla jump to the right place.
96 @item \word\@anchor{\word\}
98 @macro aitemii{one,two}
99 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
101 @macro aitemiii{one,two,three}
102 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
112 @item UK - British English
119 This is an example reference, that points you to the @aref{accent}
144 FI: aksentti, korostus,
147 The stress of one tone over others.
149 @c F: how to distinguish between accidental and key-sig alteration?
153 I: alterazione, accidente,
155 D: Vorzeichen, Versetzungszeichen,
158 S: tillf@"alligt f@"ortecken,
159 FI: tilap@"ainen etumerkki,
162 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
163 @c Akzidenz, NL: toevallig teken, I: accidento.
165 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
166 by a @aref{whole tone}, a flat lowers it by a semitone and a double
167 flat lowers it by a whole tone. A natural cancels the effect of a previous
171 \property Score.automaticBars = ##f
172 \property Voice.TextScript \set #'font-style = #'large
174 \context Staff \notes\relative c'' {
175 gis1 s s gisis s s ges s s geses s s g!
177 \context Lyrics \lyrics {
178 \property Lyrics . LyricText \override #'alignment = #-1
179 "sharp " "db. sharp " "flat " "db. flat " natural
186 F: accelerando, en acc@'el@'erant,
187 D: accelerando, schneller werden,
191 FI: accelerando, kiihdytt@"aen,
204 FI: adagio, hitaasti,
207 It. comfortable, easy.
208 1. Slow tempo, slower -- especially in even meter -- than
209 @aref{andante} and faster than @aref{largo}.
210 2. A movement in slow tempo, especially the second (slow) movement of
211 @aref{sonata}s, symphonies, etc.
217 D: Allegro, Schnell, Fr@"ohlich, Lustig,
221 FI: allegro, nopeasti,
224 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
225 especially the first and last movements of a @aref{sonata}.
235 FI: altto, matala nais@"a@"ani,
238 A female voice of low range (@emph{contralto}). Originally the alto was a high
239 male voice (hence the name) which by the use of falsetto reached the height of
240 the female voice. This type of voice is also known as @aref{counter
244 ES: clave de do en tercera,
245 I: chiave di contralto,
246 F: clef d'ut troisi@`eme ligne,
247 D: Altschl@"ussel, Bratschenschl@"ussel,
254 C clef setting central C on the middle line of the staff
265 FI: ambitus, @"a@"aniala, soitinala,
268 The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
270 @aitem{ancient minor scale}
271 I: scala minore naturale,
272 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
274 NL: authentieke mineurtoonladder,
277 FI: luonnollinen molliasteikko,
281 \property Score.automaticBars = ##f
282 \notes\relative c'' {
294 FI: andante, k@"ayden,
297 Walking tempo/character.
302 F: appogiature, (port de voix),
307 FI: appoggiatura, etuhele,
310 Ornamental note, usually a second, that is melodically connected with the main
311 note that follows it. In music before the 19th century a. were usually
312 performed on the beat, after that mostly before the beat. While the short
313 a. is performed as a short note regardless of the duration of the main note
314 the duration of the long a. is proportional to that of the main note.
317 \context Voice \notes\relative c'' {
321 \property Score.TextScript \set #'font-style = #'large
322 <<d a fis>>4_"notation" r
323 { \property Voice.Stem \override #'flag-style = #'()
325 \property Voice.Stem \revert #'flag-style
328 { \property Voice.Stem \override #'flag-style = #'()
330 \property Voice.Stem \revert #'flag-style
333 \cadenzaOn a4 \bar "||" \cadenzaOff }
334 \notes\relative c'' {
335 <<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
336 \cadenzaOn a4 \bar "||" \cadenzaOff }
339 An appoggiatura may have more notes preceding the main note.
342 \notes\relative c'' {
345 \property Score.TextScript \set #'font-style = #'large
346 \grace { bes16 } as8_"notation" as16 bes as8 g |
347 \grace { [as16-( bes] } << c as >>4-)
348 \grace { [as16-( bes] } << c as >>4-) \bar "||"
349 \grace { bes16 } as8_"performance" as16 bes as8 g |
350 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
351 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
360 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
362 DK: arpeggio, akkordbrydning,
364 FI: arpeggio, murtosointu,
368 \notes \context PianoStaff <
369 \context Staff = SA \relative c'' {
372 r8 g16 c e g, c e r8 g,16 c e g, c e |
373 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
374 \context Staff = SB \relative c' {
376 < \context Voice = va {
378 r16 e8. () e4 r16 e8. () e4 |
379 r16 d8. () d4 r16 d8. () d4 }
380 \context Voice = vb {
387 @aitem{ascending interval}
388 ES: Intervalo ascendente,
389 I: intervallo ascendente,
390 F: intervalle ascendant,
391 D: steigendes Intervall,
392 NL: stijgend interval,
393 DK:@w{ }stigende interval,
394 S: stigande intervall,
395 FI: nouseva intervalli,
398 A distance between a starting lower note and a higher ending note.
400 @aitem{augmented interval}
401 ES: intervalo aumentado,
402 I: intervallo aumentato,
403 F: intervalle augment@'e,
404 D: @"uberm@"a@ss{}iges Intervall,
405 NL: overmatig interval,
406 DK: forst@o{}rret interval,
407 S: @"overstigande intervall,
408 FI: ylinouseva intervalli,
416 D: Autograph, Handschrift,
418 DK: h@aa{}ndskrift, autograf,
420 FI: k@"asinkirjoitettu nuotti,
423 1. A manuscript in the composer's own hand.
424 2. Music prepared for photoreproduction by freehand drawing,
425 with only the aid of a straightedge ruler and T-square,
426 which attempts to emulate engraving.
427 This required more skill than did engraving.
440 @aitemii{backfall,forefall}
445 I: stanghetta, barra (di divisione),
446 F: barre (de mesure),
455 ES: comp@'as, @aref{measure}.
458 ES: bar@'{@dotless{i}}tono,
465 FI: baritoni, keskikorkuinen mies@"a@"ani,
468 The male voice intermediate between the @aref{bass} and the
471 @c F: clef de troisi@`eme ligne dropped
473 @aitem{baritone clef}
474 ES: clave de fa en tercera,
475 I: chiave di baritono,
476 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
477 D: Baritonschl@"ussel,
484 C or F clef setting central C on the upper staff line.
485 @aref{C clef}, @aref{F clef}.
488 ES: clave de fa en cuarta,
490 F: cl@'e de fa quatri@`eme ligne,
498 A clef setting with central C on the first top ledger line.
508 FI: basso, matala mies@"a@"ani,
511 1. The lowest of men's voices.
512 2. Sometimes, especially in jazz music, used as
513 an abbreviation for double bass.
526 Line connecting a series of notes (shorter than a quarter note).
527 The number of beams determine the note value of the connected notes.
530 \property Score.automaticBars = ##f
531 \property Voice.TextScript \set #'font-style = #'large
532 \notes\relative c'' {
534 [g16_"1/16" g g g] s16
535 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
536 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
543 D: Takt, Taktschlag, Zeit (im Takt),
550 Note value used for counting, most often half-, fourth-, and eighth notes.
551 The base counting value and the number of them per measure is indicated at
552 the start of the music.
557 \notes\relative c'' { g4 c b a | g1 \bar "||"}
559 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
569 D: Klammer, Akkolade,
570 NL: accolade, teksthaak,
573 FI: yhdist@"av@"a sulkumerkki,
576 Symbol at the start of a system connecting staves. Curly braces are used
577 for connecting piano staves, angular brackets for connecting parts in an
578 orchestral or choral score.
581 \notes\context GrandStaff <
582 \relative c''\context Staff = SA { \clef treble g4 e c2 }
583 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
587 \context StaffGroup <
588 % \property StaffGroup.minVerticalAlign = #12
589 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
590 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
599 DK: messingbl@ae{}sere,
600 S: brassinstrument, m@"assingsinstrument,
604 A family of blown musical instruments made of brass all using a cup formed
605 mouth piece. The brass instruments commonly used in a symphony orchestra are
606 trumpet, trombone, french horn, and tube.
611 D: Atemzeichen, Trennungszeichen,
612 NL: repercussieteken,
613 DK: vejrtr@ae{}kningstegn,
618 Indication of where to breathe in vocal and wind instrument parts.
631 @aref{note value} twice as long as a whole note. Mainly used
635 \property Score.automaticBars = ##f
636 \notes\relative c'' { g\breve }
661 Clef symbol indicating the position of the central C. Used on all note
665 \property Score.automaticBars = ##f
666 \property Score.Clef \override #'full-size-change = ##t
667 \property Score.LyricText \set #'font-style = #'large
669 \context Staff \notes\relative c' {
671 \clef mezzosoprano c s s
676 \context Lyrics \lyrics {
677 \property Lyrics . LyricText \override #'alignment = #-1
678 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
690 FI: kadenssi, lopuke,
693 @aref{harmonic cadence}, @aref{functional harmony}.
703 FI: kadenssi, lopuke,
706 An extended, improvisatory style section inserted near the end of
707 movement. The purpose of a cadenza is to give the singer or player a chance to
708 exhibit her technichal skill and not the least her ability to improvise. Since
709 the middle of the 19th century, however, most cadences have been written down
720 FI: kaanon, tarkka j@"aljittely,
733 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
736 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
737 equally tempered @aref{semitone}).
738 @aref{equal temperament}.
754 Three or more tones sounding simultaneously. In traditional European music the
755 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
756 minor @aref{third}) as well as @emph{minor} (minor + major third)
757 chords may be extended with more thirds. Four-tone @emph{seventh chords}
758 and five-tone @emph{ninth} major chords are most often used as dominants
759 (@aref{functional harmony}). A special case is chords having no
760 third above the lower notes to define their quality as major or minor. Such
761 chords are denoted open chords
764 \property Score.automaticBars = ##f
765 \property Voice.TextScript \set #'font-style = #'large
767 \context Staff \notes\relative c'' {
775 \context Lyrics \lyrics{
776 \property Lyrics . LyricText \override #'alignment = #-1
777 "major " "minor " "diminished " "augmented "
778 "seventh-chord " "ninth-chord "
782 @aitem{chromatic scale}
783 ES: escala crom@'atica,
785 F: gamme chromatique,
786 D: chromatische Tonleiter,
787 NL: chromatische toonladder,
790 FI: kromaattinen asteikko,
793 A scale consisting of all 11 @aref{semitone}s.
796 \property Score.automaticBars = ##f
797 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
811 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
813 @aitemii{church mode,ecclesiastical mode}
814 ES: modo eclesi@'astico,
815 I: modo ecclesiastico,
816 F: mode eccl@'esiastique,
821 FI: moodi, kirkkos@"avellaji,
824 @aref{diatonic scale}.
830 D: Schl@"ussel, Notenschl@"ussel,
834 FI: avain, nuottiavain,
837 @aref{C clef}, @aref{F clef}, @aref{G clef}.
846 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
849 Difference in pitch between a note derived from pure tuning and the same note
850 derived from some other tuning method. @aref{temperament}.
855 @aitem{compound interval}
856 ES: intervalo compuesto,
857 I: intervallo composto,
858 F: intervalle compos@'e,
860 NL: samengesteld interval,
861 DK: sammensat interval,
862 S: sammansatt intervall,
863 FI: oktaavia laajempi intervalli,
866 Intervals larger than an octave.
872 F: intervalle compl@'ementaire,
873 D: Komplement@"arintervall,
874 NL: complementair interval,
875 DK: komplement@ae{}rinterval,
876 S: komplement@"arintervall (?),
877 FI: t@"aydent@"av@"a intervalli,
880 @aref{inverted interval}.
882 @aitem{conjunct movement}
883 ES: movimiento conjunto,
885 F: mouvement conjoint,
886 D: schrittweise, stufenweise Bewegung,
887 NL: stapsgewijze, trapsgewijze beweging,
888 DK: trinvis bev@ae{}gelse,
889 S: stegvis r@"orelse,
890 FI: asteittainen liike,
893 Melody moving in the narrow steps of the scale.
896 \key g \major \time 4/4
897 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
908 FI: konsonanssi, sopusointi,
934 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
937 From latin @emph{punctus contra punctum}, note against note. The combination
938 into a single musical fabric of lines or parts which have distinct melodic
939 significance. A frequently used polyphonic technique is imitation, in its
940 strictest form found in the canon needing only one part to be written down
941 while the other parts are performed with a given displacement. Imitation is
942 also the contrapunctal technique used in the @emph{fugue} which, since the
943 music of the baroque era, has been one of the most popular polyphonic
946 @lilypond[11pt,noquote]
947 \property Score.TimeSignature \override #'style = #'()
948 \notes\context PianoStaff <
949 \context Staff = SA \relative c' {
953 < \context Voice = rha {
955 r1 | r2 r8 g'8 bes d, |
956 cis4 d r8 e!16 f g8 f16 e |
957 f8 g16 a bes8 a16 g a8
959 \context Voice = rhb {
965 \context Staff = SB \relative c' {
968 < \context Voice = lha {
970 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
971 r8 a16 g f8 g16 a bes8 g e! cis' |
974 \context Voice = lhb {
982 @aitem{counter tenor}
989 S: kontratenor, counter tenor,
995 @aitem{Copying, Music}
996 A music copyist did fast freehand scores and parts on preprinted staff lines
997 for performance. Some of their conventions (e.g., the placement of noteheads
998 on stems) varied slightly from those of engravers. Some of their working
999 methods were superior and could well be adopted by music typesetters. This
1000 required more skill than engraving.
1006 D: Crescendo, lauter werden,
1010 FI: cresendo, voimistuen,
1013 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1014 abbreviation ``cresc.''.
1017 \key g \major \time 4/4
1018 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
1024 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1032 In a separate part notes belonging to another part with the purpose of hinting
1033 when to start playing. Usually printed in a smaller type.
1037 A custos is a staff symbol that appears at the end of a staff line
1038 with monophonic musical contents (i.e. with a single voice). It
1039 anticipates the pitch of the first note of the following line and thus
1040 helps the player or singer to manage line breaks during performance,
1041 thus enhancing readability of a score.
1043 Custodes were frequently used in music notation until the 16th
1044 century. There were different appearences for different notation
1045 styles. Nowadays, they have survived only in special forms of musical
1046 notation such as via the editio vaticana dating back to the beginning
1052 \property Staff.Custos \set #'neutral-position = #4
1053 \property Staff.Custos \set #'neutral-direction = #-1
1054 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1056 \property Staff.Custos \set #'style = #'hufnagel
1057 c'1^"Custos style = \#'hufnagel"
1058 \break << d' a' f''>>1
1063 \consists Custos_engraver
1084 F: da capo, depuis le commencement,
1085 D: da capo, von Anfang,
1089 FI: da capo, alusta,
1092 The term indicates repetition of the piece from the beginning to the end or to
1093 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1098 F: dal segno, depuis le signe,
1103 FI: dal segno, merkkiin asti,
1106 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1107 another place frequently near the beginning marked by a sign:
1110 \property Voice.TextScript \set #'font-style = #'large
1111 \property Voice.TextScript \set #'font-shape = #'italic
1112 \key g \major \time 4/4
1113 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1119 D: Decrescendo, leiser werden,
1123 FI: decresendo, hiljentyen,
1126 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1127 or the abbreviation ``decresc.''.
1130 \notes\relative c'' {
1131 \key g \major \time 4/4
1132 d4 \> c b a | \! g1 \bar "|."
1136 @aitem{descending interval}
1137 ES: intervalo descendente,
1138 I: intervallo discendente,
1139 F: intervalle descendant,
1140 D: fallendes Intervall, absteigendes Intervall,
1141 NL: dalend interval,
1142 DK: faldende interval,
1143 S: fallande intervall,
1144 FI: laskeva intervalli,
1147 A distance between a starting higher note and a lower ending note.
1149 @aitem{diatonic scale}
1150 ES: escala diat@'onica,
1152 F: gamme diatonique,
1153 D: diatonische Tonleiter,
1154 NL: diatonische toonladder,
1155 DK: diatonisk skala,
1157 FI: diatoninen asteikko,
1160 A scale consisting of 5@w{ }@aref{whole tone}s and
1161 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1162 of a piano keybord are diatonic.
1164 The church modes are used in gregorial chant and pre baroque early music but
1165 also to some extent in newer jazz music.
1167 @lilypond[notime,linewidth=110mm]
1168 \property Score.automaticBars = ##f
1169 \property Score.LyricText \set #'font-style = #'large
1170 \property Score.TextScript \set #'font-style = #'large
1172 \context Staff \notes\relative c' {
1174 \property Voice.TextScript \set #'padding = #-4
1175 e^"~~ S" f g a b^"~~ S" c
1177 \context Lyrics \lyrics {
1183 \property Score.automaticBars = ##f
1184 \property Score.LyricText \set #'font-style = #'large
1185 \property Score.TextScript \set #'font-style = #'large
1187 \context Staff \notes\relative c' {
1189 \property Voice.TextScript \set #'padding = #-4
1190 e^"~~ S" f g a b^"~~ S" c d
1192 \context Lyrics \lyrics {
1198 \property Score.automaticBars = ##f
1199 \property Score.LyricText \set #'font-style = #'large
1200 \property Score.TextScript \set #'font-style = #'large
1202 \notes\relative c' {
1203 \property Voice.TextScript \set #'padding = #-4
1204 e1^"~~ S" f g a b^"~~ S" c d e
1206 \context Lyrics \lyrics {
1212 \property Score.automaticBars = ##f
1213 \property Score.LyricText \set #'font-style = #'large
1214 \property Score.TextScript \set #'font-style = #'large
1216 \notes\relative c' {
1218 \property Voice.TextScript \set #'padding = #-4
1219 b^"~~ S" c d e^"~~ S" f
1221 \context Lyrics \lyrics {
1227 \property Score.automaticBars = ##f
1228 \property Score.LyricText \set #'font-style = #'large
1229 \property Score.TextScript \set #'font-style = #'large
1231 \notes\relative c'' {
1233 \property Voice.TextScript \set #'padding = #-4
1234 b^"~~ S" c d e^"~~ S" f g }
1235 \context Lyrics \lyrics {
1241 \property Score.automaticBars = ##f
1242 \property Score.LyricText \set #'font-style = #'large
1243 \property Score.TextScript \set #'font-style = #'large
1245 \notes\relative c'' {
1247 \property Voice.TextScript \set #'padding = #-4
1248 b^"~~ S" c d e^"~~ S" f g a
1250 \context Lyrics \lyrics {
1255 From the beginning of the 17th century the scales used in European
1256 compositional music are primarily the major and the minor scales. In the
1257 harmonic minor scale type an augmented second (A) occurs between the 6th and
1261 \property Score.automaticBars = ##f
1262 \property Score.LyricText \set #'font-style = #'large
1263 \property Score.TextScript \set #'font-style = #'large
1265 \notes\relative c' {
1267 \property Voice.TextScript \set #'padding = #-4
1268 e^"~~ S" f g a b^"~~ S" c
1270 \context Lyrics \lyrics {
1276 \property Score.automaticBars = ##f
1277 \property Score.LyricText \set #'font-style = #'large
1278 \property Score.TextScript \set #'font-style = #'large
1280 \notes\relative c'' {
1282 \property Voice.TextScript \set #'padding = #-4
1283 b^"~~ S" c d e^"~~ S" f g a
1285 \context Lyrics \lyrics {
1291 \property Score.automaticBars = ##f
1292 \property Score.LyricText \set #'font-style = #'large
1293 \property Score.TextScript \set #'font-style = #'large
1295 \notes\relative c'' {
1297 \property Voice.TextScript \set #'padding = #-4
1298 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1300 \context Lyrics \lyrics {
1306 \property Score.automaticBars = ##f
1307 \property Score.LyricText \set #'font-style = #'large
1308 \property Score.TextScript \set #'font-style = #'large
1310 \notes\relative c'' {
1312 \property Voice.TextScript \set #'padding = #-4
1313 b^"~~ S" c d e fis gis^"~~ S"
1314 a g! f!^"~~ S" e d c^"~~ S" b a
1316 \context Lyrics \lyrics {
1321 @aitem{diminished interval}
1322 ES: intervalo disminu@'{@dotless{i}}do,
1323 I: intervallo diminuito,
1324 F: intervalle diminu@'e,
1325 D: vermindertes Intervall,
1326 NL: verminderd interval,
1327 DK: formindsket interval,
1328 S: f@"orminskat intervall,
1329 FI: v@"ahennetty intervalli,
1342 FI: diminuendo, hiljentyen,
1347 @aitem{disjunct movement}
1348 ES: movimiendo disjunto,
1350 F: mouvement disjoint,
1351 D: sprunghafte Bewegung,
1352 NL: sprongsgewijze beweging,
1353 DK: springende bev@ae{}gelse,
1354 S: hoppande r@"orelse,
1355 FI: melodian hyppiv@"a liike,
1358 Melody moving in steps greater than those of the
1359 scale. Opposite of @aref{conjunct movement}.
1364 \notes\relative c' {
1366 a4. gis8 b a e cis |
1367 fis2 d4. \bar "||" }
1370 @aitemii{dissonant interval,dissonance}
1371 ES: intervalo disonante, disonancias,
1372 I: intervallo dissonante, dissonanza,
1375 NL: dissonant interval; dissonant,
1376 DK: dissonerende interval, dissonans,
1378 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1383 @aitem{dominant ninth chord}
1384 I: accordo di nona di dominante,
1385 F: accord de neuvi@`eme dominante,
1386 D: Dominantnoneakkord,
1387 NL: dominant noon akkoord,
1388 DK: dominantnoneakkord,
1389 S: dominantnonackord,
1390 FI: dominanttinoonisointu,
1393 @aref{chord}, @aref{functional harmony}.
1395 @aitem{dominant seventh chord}
1396 ES: acorde de s@'eptima de dominante,
1397 I: accordo di settima di dominante,
1398 F: accord de septi@`eme dominante,
1399 D: Dominantseptakkord,
1400 NL: dominant septiem akkoord,
1401 DK: dominantseptimakkord,
1402 S: dominantseptimackord,
1403 FI: dominanttiseptimisointu,
1406 @aref{chord}, @aref{functional harmony}.
1416 FI: dominantti, huippusointu,
1419 The fifth @aref{scale degree},
1420 @aref{functional harmony}.
1426 D: dorisch, dorischer Kirchenton,
1427 NL: dorische toonladder,
1433 @aref{diatonic scale}.
1435 @aitem{dot (augmentation dot)}
1437 I: punto (di valore),
1439 D: Punkt (Verl@"angerungspunkt),
1449 ES: nota con puntillo,
1453 NL: gepuncteerde noot,
1456 FI: pisteellinen nuotti,
1461 @aitem{double appoggiatura}
1462 ES: apoyatura doble,
1463 I: appoggiatura doppia,
1464 F: appoggiature double,
1465 D: doppelter Vorschlag,
1466 NL: dubbele voorslag,
1467 DK: dobbelt forslag,
1469 FI: kaksoisappogiatura, kaksoisetuhele,
1472 @aref{appoggiatura}.
1474 @aitem{double bar line}
1478 NL: dubbele maatstreep,
1481 FI: kaksoistahtiviiva,
1484 Indicates the end of a section within a movement.
1486 @aitem{double dotted note}
1487 ES: nota con dos puntillos,
1488 I: nota doppiamente puntata,
1489 F: note doublement point@'ee,
1490 D: doppelt punktierte Note,
1491 NL: dubbelgepuncteerde noot,
1492 DK: dob@-belt@-punk@-te@-ret node,
1493 S: dub@-bel@-punk@-te@-rad not,
1494 FI: kaksoispisteellinen nuotti,
1507 FI: kaksoisalennusmerkki,
1512 @aitem{double sharp}
1513 ES: doble sostenido,
1518 DK: dob@-belt@-kryds,
1520 FI: kaksoisylennysmerkki,
1525 @aitem{double trill}
1530 NL: dubbele triller,
1536 A simultaneous trill on two notes, usually in the distance of a third.
1543 NL: tweedelige maatsoort,
1572 FI: kesto, aika-arvo,
1577 @aitem{dydimic comma}
1578 @aref{syntonic comma}.
1596 D: Achtel, Achtelnote,
1598 DK: ottendedelsnode,
1599 S: @aa{}ttondelsnot,
1600 FI: kahdeksasosanuotti,
1606 ES: silencio de corchea,
1612 DK: ottendedelspause,
1613 S: @aa{}ttonddelspaus,
1614 FI: kahdeksasosatauko,
1623 D: Notenstechen, Notendruck
1630 Engraving means incising or etching a metal plate for
1631 printing. Photoengraving means drawing music with ink in a manner
1632 similar to drafting or engineering drawing, using similar tools.
1634 The traditional process of music printing is done through cutting in a
1635 plate of metal. Now also the term for the art of music typesetting.
1648 Two notes, intervals, or scales are enharmonic if they have different names
1652 \property Score.automaticBars = ##f
1653 \property Score.TextScript \set #'font-style = #'large
1655 \context Staff \notes\relative c'' {
1656 gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
1658 \context Lyrics \lyrics {
1659 \property Lyrics . LyricText \override #'alignment = #-1
1660 "g sharp " "a flat " "dim fifth " "augm fourth"
1664 @aitem{equal temperament}
1666 I: temperamento equabile,
1667 F: temp@'erament @'egal,
1668 D: gleichschwebende Stimmung,
1669 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1670 DK: ligesv@ae{}vende temperatur,
1671 S: liksv@"avande temperatur,
1675 Tuning system dividing the octave into 12 equal @aref{semitone}s
1676 (precisely 100 @aref{cent}s). @aref{temperament}.
1678 @aitem{expression mark}
1680 I: segno d'espressione,
1681 F: signe d'expression, indication de nuance,
1683 NL: voordrachtsteken,
1684 DK: foredragsbetegnelse,
1685 S: f@"oredragsbeteckning,
1686 FI: nyanssiosoitus, esitysmerkki,
1689 Performance indications concerning 1. volume, dynamics (for example
1690 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1691 @aref{andante}, @aref{allegro}).
1715 The position between the dots of the key symbol is the line of the F below
1716 central@w{ }C. Used on the third, fourth and fifth note line. A
1717 digit@w{ }8 above the clef symbol indicates that the notes must be played
1718 an octave higher (for example bass recorder) while 8@w{ }below the clef
1719 symbol indicates playing an octave lower (for example on double bass
1723 \property Score.automaticBars = ##f
1724 \property Staff.Clef \override #'full-size-change = ##t
1725 \property Score.LyricText \set #'font-style = #'large
1739 \context Lyrics \lyrics {
1740 \property Lyrics . LyricText \override #'alignment = #-1
1749 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1754 F: point d'orgue, point d'arr@^et,
1759 FI: fermaatti, pid@"ake,
1762 Prolonged note or rest of indefinite duration.
1766 \notes\relative c'' {
1767 a4 b c2^\fermata \bar "|."
1784 @aitem{figured bass}
1785 ES: bajo cifrado, @aref{thorough bass}.
1793 DK: fingers@ae{}tning,
1794 S: fingers@"attning,
1798 The methodical use of fingers in the playing of instruments.
1800 @aitem{flag,pennant}
1802 I: coda (uncinata), bandiera,
1804 D: Fahne, F@"ahnchen,
1811 Ornament at the end of the stem of a note used for notes with values
1812 less than a quarter note. The number of flags determines the
1816 \property Score.automaticBars = ##f
1817 \property Score.TextScript \set #'font-style = #'large
1818 \notes\relative c'' {
1839 @aitemii{forefall,backfall}
1840 @aref{appoggiatura}.
1850 FI: forte, voimakkaasti,
1853 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1854 @emph{mezzoforte} (@b{mf}) medium loud.
1880 @aref{counterpoint}.
1882 @aitem{functional harmony}
1883 ES: armon@'{@dotless{i}}a funcional,
1884 I: armonia funzionale,
1885 F: @'etude des functions,
1887 NL: functionele harmonie,
1888 DK: funktionsanalyse, funktionsharmonik,
1890 FI: harmoniaj@"arjestelm@"a,
1893 A system of harmonic analysis. It is based on the idea that, in a given key,
1894 there are only three functionally different chords: tonic (T, the chord on the
1895 first note of the scale), subdominant (S, the chord on the fourth note), and
1896 dominant (D, the chord on the fifth note). Other are considered to be
1897 variants of the base chords.
1900 \property Score.automaticBars = ##f
1901 \property Score.LyricText \set #'font-style = #'large
1902 \property Score.TextScript \set #'font-style = #'large
1904 \context Voice \notes\relative c'' {
1905 <<g e c >>1 << a f d >> << b g e >>
1906 <<c a f >> << d b g >> << e c a >> << f d b >> }
1907 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1925 D: G-Schl@"ussel, Violinschl@"ussel,
1932 A clef symbol indicating the G above central@w{ }C. Used on the first
1933 and second note lines. A digit 8 above the clef symbol indicates that
1934 the notes must be played an octave higher while 8 below the clef symbol
1935 indicates playing or singing an octave lower (most tenor parts in choral
1936 scores are notated like that).
1939 \property Score.automaticBars = ##f
1940 \property Staff.Clef \set #'full-size-change = ##t
1941 \property Score.LyricText \set #'font-style = #'large
1943 \notes\relative c'' {
1953 \context Lyrics \lyrics {
1954 \property Lyrics . LyricText \override #'alignment = #-1
1955 "french violin clef "
1970 FI: glissando, liukuen,
1973 Letting the pitch slide fluently from one note to the other.
1979 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1986 Notes printed in small types to indicate that their time values are not
1987 counted in the rhythm of the bar. @aref{appoggiatura}.
1995 S: ackolad, b@"ojd klammer,
1996 FI: kaksoisnuottiviivasto,
2001 A combination of two staves with a brace. Usually used for piano music.
2011 FI: grave, raskaasti,
2021 D: Halbe, halbe Note,
2044 @aitem{harmonic cadence}
2045 ES: cadencia (arm@'onica),
2046 I: cadenza (armonica),
2047 F: cadence harmonique,
2049 NL: harmonische cadens,
2050 DK: harmonisk kadence,
2051 S: (harmonisk) kadens,
2052 FI: harmoninen kadenssi,
2055 Sequence of chords that terminate a musical phrase or
2056 section. @aref{functional harmony}.
2059 \notes\context PianoStaff <
2060 \context Staff = SA \relative c'' {
2064 \partial 4 << c g e >>4 |
2065 << c a f >> << b g d >> << c g e >>2
2067 \property Score.LyricText \set #'font-style = #'large
2069 \context Staff = SB \relative c {
2071 \partial 4 c4 | f, g c2
2074 \context Lyrics \lyrics {
2081 ES: armon@'{@dotless{i}}a,
2084 D: Harmonie, Zusammenklang,
2088 FI: harmonia, yhteissointi,
2091 Tones sounding simultaneously. Two note harmonies fall into the categories
2092 @emph{consonances} and @emph{dissonances}.
2097 \property Score.automaticBars = ##f
2098 \property Score.TextScript \set #'font-style = #'large
2099 \context Voice \notes\relative c'' {
2100 <<g g>>1_"unisone " s
2105 <<g g'>>_"octave " s
2106 <<g b'>>_"decime" s s
2113 \property Score.automaticBars = ##f
2114 \property Score.TextScript \set #'font-style = #'large
2115 \context Voice \notes\relative c'' {
2116 <<g a>>1_"second " s s
2117 <<g f'>>_"seventh " s s
2118 <<g a'>>_"ninth" s s
2122 Three note harmony @aref{chord}.
2125 ES: homofon@'{@dotless{i}}a,
2132 FI: homofonia, yksi@"a@"anisyys,
2135 Music in which one voice leads melodically followed by the other voices more
2136 or less in the same rhythm. In contrast to @aref{polyphony}.
2146 FI: intervalli, kahden s@"avelen korkeusero,
2149 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2150 diminished, or augmented. The augmented fourth and the diminished fifth are
2151 identical (@aref{enharmonic}) and are called @emph{tritonus}
2152 because they consist of three @aref{whole tone}s. The addition
2153 of such two forms an octave.
2156 \property Score.automaticBars = ##f
2157 \property Score.LyricText \set #'font-style = #'large
2158 \property Score.TextScript \set #'font-style = #'large
2160 \context Voice \notes\relative c'' {
2162 << g as >>^"minor" s
2164 << g ais >>^"augm" s
2165 << gis bes >>^"dimin" s
2166 << g! bes >>^"minor" s
2167 << g b! >>^"major" s
2168 << g bis >>^"augm" s
2170 \context Lyrics \lyrics {
2171 "unisone " "second " "second " "second "
2172 "third " "third " "third " "third "
2177 \property Score.automaticBars = ##f
2178 \property Score.LyricText \set #'font-style = #'large
2179 \property Score.TextScript \set #'font-style = #'large
2181 \context Staff \notes\relative c'' {
2182 << g c >>^"perfect" s
2183 << g cis >>^"augm" s
2184 << g d' >>^"perfect" s
2185 << g des' >> ^"dim" s
2186 << gis es' >>^"dimin" s
2187 << g! es' >>^"minor" s
2188 << g e'! >>^"major" s
2189 << g eis' >>^"augm" s
2191 \context Lyrics \lyrics {
2192 "fourth " "fourth " "fifth " "fifth "
2193 "sixth " "sixth " "sixth " "sixth "
2198 \property Score.automaticBars = ##f
2199 \property Score.LyricText \set #'font-style = #'large
2200 \property Score.TextScript \set #'font-style = #'large
2202 \context Staff \notes\relative c'' {
2203 << gis f'! >>1^"dimin" s
2204 << g! f'! >>^"minor" s
2205 << g fis' >>^"major" s
2207 << g as' >>^"minor" s
2208 << g a'! >>^"major" s
2209 << g bes' >>^"minor" s
2210 << g b'! >>^"major" s
2212 \context Lyrics \lyrics {
2213 "seventh " "seventh " "seventh " "octave "
2214 "none " "none " "decime " "decime "
2218 @aitem{inverted interval}
2219 ES: intervalo invertido,
2220 I: intervallo rivolto,
2221 F: intervalle revers@'e,
2222 D: umgekehrtes Intervall,
2223 NL: interval inversie,
2224 DK: omvendingsinterval,
2225 S: intervallets omv@"andning,
2226 FI: k@"a@"anteisintervalli,
2229 The difference between an interval and an octave.
2232 \property Score.automaticBars = ##f
2233 \property Score.TextScript \set #'font-style = #'large
2234 \context Staff \notes\relative c'' {
2235 << g a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
2236 << g, b >>_"third " s s << g' b, >>_"sixth " s s \bar "||"
2237 << g, c >>_"fourth " s s << g' c, >>_"fifth " s s \bar "||"
2241 @aitem{just intonation}
2242 I: intonazione giusta,
2243 F: intonation juste,
2251 Tuning system in which the notes are obtained by adding and subtracting
2252 natural fifths and thirds. @aref{temperament}.
2265 According to the 12@w{ }tones of the @aref{chromatic scale}
2266 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2267 @aref{key signature}.
2269 @aitem{key signature}
2270 ES: armadura de clave,
2271 I: armatura di chiave,
2272 F: armure, armature [de la cl@'e],
2273 D: Vorzeichen, Tonart,
2274 NL: toon@-soort (voortekens),
2277 FI: s@"avellajiosoitus,
2280 The sharps or flats appearing at the beginning of each staff indicating the
2281 key of the music. @aref{accidental}.
2287 D: Largo, Langsam, Breit,
2291 FI: largo, hitaasti, leve@"asti,
2294 Very slow in tempo, usually combined with great
2295 expressiveness. @emph{Larghetto} is less slow than largo.
2297 @aitem{leading note}
2308 The seventh @aref{scale degree}, a @aref{semitone} below
2309 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2310 upwards) to the tonic scale degree.
2312 @aitemii{ledger line,leger line}
2313 ES: l@'{@dotless{i}}neas adicionales,
2314 I: tagli addizionali,
2315 F: ligne suppl@'ementaire,
2318 DK: hj@ae{}lpelinie,
2323 A ledger line is an extension of the staff.
2326 \property Score.automaticBars = ##f
2327 \notes\relative c'' { a,1 s c'' }
2341 To be performed (a) without any perceptible interruption between the notes
2342 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2343 (d) @aref{staccato}.
2346 \property Score.automaticBars = ##f
2348 \context Staff \notes\relative c'' {
2349 c4-( d e-) \bar "||"
2350 c4-- d-- e-- \bar "||"
2351 c4-.-( d-. e-.-) \bar "||"
2352 c4-. d-. e-. \bar "||"
2354 \context Lyrics \lyrics {
2355 \property Lyrics . LyricText \set #'font-style = #'large
2363 @aitem{legato curve}
2364 @aref{slur}, @aref{legato}.
2367 ES: estanque de lilas,
2368 I: stagno del giglio,
2372 NL: le@-lie@-vij@-ver,
2378 A pond with lilies floating in it, also the name of a music typesetter.
2381 ES: l@'{@dotless{i}}nea,
2384 D: Linie, Notenlinie,
2388 FI: viiva, nuottiviiva,
2393 @aitem{long appoggiatura}
2394 ES: apoyatura larga,
2395 I: appoggiatura lunga,
2396 F: appoggiature longue,
2397 D: langer Vorschlag,
2400 S: l@aa{}ngt f@"orslag,
2401 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2404 @aref{appoggiatura}.
2417 Note value: double length of @aref{breve}.
2421 \property Score.automaticBars = ##f
2422 \notes\relative c'' {
2423 \property Voice.NoteHead \set #'style = #'mensural
2428 @aitemii{lyrics,song texts}
2439 @aitem{major interval}
2440 ES: intervalo mayor,
2441 I: intervallo maggiore,
2442 F: intervalle majeur,
2443 D: gro@ss{}es Intervall,
2447 FI: suuri intervalli,
2463 @aref{diatonic scale}.
2465 @aitem{meantone temperament}
2466 I: accordatura mesotonica,
2467 F: temp@'erament m@'esotonique,
2468 D: mittelt@"onige Stimmung,
2469 NL: middenstemming, middentoonstemming,
2470 DK: middeltonetemperatur,
2471 S: medeltonstemperatur,
2472 FI: keskis@"avelviritys,
2475 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2476 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2477 @aref{temperament} only a limited set of keys are playable.
2478 Used for tuning keyboard instruments for performance of pre-1650 music.
2480 @aitem{measure, bar}
2491 A group of @aref{beat}s (units of musical time) the first of which
2492 bears an accent. Such groups in numbers of two or more recur consistently
2493 throughout the composition and are marked from each other by
2494 bar-lines. @aref{meter}.
2498 I: mediante, modale,
2507 1. The third @b{scale degree}.
2508 2. A @aref{chord} having its base tone
2509 a third from that of another chord. For example, the tonic chord may be
2510 replaced by its lower mediant (variant tonic). @aref{functional
2511 harmony}, @aref{relative key}.
2516 FI: melisma, laulettavan tavun s@"avelkuvio,
2518 A melisma (plural: melismata) is a group of notes or tones sung on one
2519 syllable in plainsong
2521 @aitem{melodic cadence}
2527 F: indication de m@'esure,
2535 The basic scheme of @aref{note value}s and
2536 @aref{accent}s which remains unaltered throughout a composition
2537 or a section of it. For instance, 3/4 meter means that the basic
2538 @aref{note value}s are quarter notes and that a
2539 @aref{measure} consists of three of those. According to
2540 whether there are two, three or four units to the measure,
2541 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2542 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2545 \notes\relative c'' {
2548 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2552 \notes\relative c' {
2555 f8 f f f a16 g a f |
2556 c'8 c c c e16 d e c \bar "||"}
2560 \notes\relative c'' {
2563 d4 b8 g b d d c a4 |
2564 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2578 Device indicating the exact tempo of a piece. @aref{metronomic
2581 @aitem{metronomic indication}
2582 ES: indicaci@'on metron@'omica,
2583 I: indicazione metronomica,
2584 F: indication m@'etronomique,
2586 NL: metronoom aanduiding,
2588 S: metronomangivelse,
2589 FI: metronomiosoitus,
2592 Exact tempo indication (in beats per minute). Also denoted by
2593 M.M. (M@"alzels Metronom).
2595 @aitem{mezzo-soprano}
2606 The female voice between @aref{soprano} and
2613 D: eingestrichenes@w{ }c,
2615 DK: enstreget@w{ }c,
2616 S: ettstruket@w{ }c,
2620 First C below the 440 Hz A.
2623 \property Score.automaticBars = ##f
2624 \property Staff.Clef \set #'full-size-change = ##t
2625 \notes\relative c' {
2643 @aref{diatonic scale}.
2645 @aitem{minor interval}
2646 ES: intervalo mayor,
2647 I: intervallo minore,
2648 F: intervalle mineur,
2649 D: kleines Intervall,
2653 FI: pieni intervalli,
2666 FI: moodi, kirkkos@"avelasteikko,
2669 @aref{church mode}, @aref{diatonic scale}.
2679 FI: modulaatio, s@"avellajin vaihdos,
2682 Moving from one @aref{key} to another. For example, the second
2683 subject of a @aref{sonata form} movement modulates to the dominant
2684 key if the key is major and to the @aref{relative key} if the key
2694 FI: mordent, korukuvio,
2699 @aitemii{motive,motif}
2707 FI: teema, s@"avelaihe,
2710 The briefest intelligible and self-contained fragment of a musical theme or
2714 \property Score.TimeSignature \override #'style = #'()
2715 \property Score.TextScript \set #'font-style = #'large
2716 \notes\relative c'' {
2719 \partial 8 g16_"------" fis |
2720 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2721 g8 g,16 a b8 cis d16 s
2736 Greater musical works like @aref{symphony} and
2737 @aref{sonata} most often consist of several -- more or less --
2738 independant pieces called movements.
2740 @aitem{multibar rest}
2741 ES: compases de espera,
2745 D: mehrtaktige Pause,
2748 FI: usean tahdin mittainen tauko,
2752 \notes\relative c'' {
2754 \property Score.skipBars=##t R1*3
2759 @aitem{mixolydian mode}
2760 @aref{diatonic scale}.
2762 @aitem{natural sign}
2766 D: Aufl@"osungszeichen,
2767 NL: herstellingsteken,
2768 DK: op@-l@o{}sningstegn,
2769 S: @aa{}terst@"allningstecken,
2775 @aitem{neighbour tones}
2776 @aref{appoggiatura}.
2805 Notes are signs by means of which music is fixed in writing. The term is also
2806 used for the sound indicated by a note, and even for the key of the piano
2807 which produces the sound. However, a clear distinction between the terms tone
2808 and @aref{note} is strongly recommended. Briefly, one sees a note,
2813 I: testa, testina, capocchia,
2814 F: t@^ete de la note,
2822 A head like sign which indicates pitch by its position on a
2823 @aref{staff} provided with a @aref{clef}, and duration
2824 by a variety of shapes such as hollow or black heads with or without
2825 @aref{stem}s, @aref{flag}s, etc. For percussion
2826 instruments (often having no defined pitch) the note head may indicate the
2832 F: dur@'ee, valeur (d'une note),
2837 FI: nuotin aika-arvo,
2840 Note values (durations) are measured as fractions, normally 1/2, of the next
2841 higher note value. The longest duration normally used is called @emph{brevis},
2842 but sometimes (mostly in pre baroque music) the double length note value
2843 @emph{longa} is used.
2846 \property Score.TextScript \set #'font-style = #'large
2847 \property Score.automaticBars = ##f
2848 \notes\relative c'' {
2849 \property Voice.NoteHead \override #'style = #'mensural
2850 g\longa_"longa" g\breve_"breve"
2851 \property Voice.NoteHead \revert #'style
2852 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2853 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2857 \property Score.TextScript \set #'font-style = #'large
2858 \property Score.automaticBars = ##f
2859 \notes\relative c'' {
2860 r\longa_"longa" r\breve_"breve"
2861 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2862 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2865 An augmentation dot after a note multiplies the duration by one and a
2866 half. Another dot adds yet a fourth of the duration.
2869 \property Score.TextScript \set #'font-style = #'large
2870 \notes\relative c'' {
2872 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2873 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2876 Alternatively note values may be subdivided by other ratios. Most common is
2877 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2878 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2879 dotted notes are also frequently used.
2882 \property Score.TextScript \set #'font-style = #'large
2883 \notes\relative c'' {
2885 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2886 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2891 \notes\relative c'' {
2893 \times 3/2 {g4_"duplets" g} |
2895 \times 6/4 {g8_"quadruplets" g g g} |
2896 g8 g g g g4 \bar "||"
2901 @aref{G clef}, @aref{F clef}.
2916 @aitemiii{ornament,embellishment,accessory}
2918 I: abbellimento, fioriture,
2919 F: agr@'ement, ornement,
2920 D: Verzierung, Ornament,
2927 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2928 with the diatonic @aref{second} above it. In the music from the
2929 middle of the 19th century and onwards the trill is performed with the main
2930 note first while in the music from the preceding baroque and classic periods
2931 the upper note is played first.
2935 \context Staff = sa {
2936 \property Score.TextScript \set #'font-style = #'large
2937 \notes\relative c'' {
2938 c2._"pre-1850" b4\trill | c1 \bar "||"
2939 c2._"post-1850" b4\trill | c1 \bar "||"
2942 \notes\relative c'' {
2943 c2. c32 b c b c b c b | c1
2944 c2. b32 c b c \times 4/5 { b c b c b } | c1
2949 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2950 @emph{prall} (inverted mordent).
2954 \context Staff = sa {
2955 \property Score.TextScript \set #'font-style = #'large
2956 \notes\relative c'' {
2957 a4_"turn" b\turn c2 \bar "||"
2958 g4_"mordent" a b\mordent a \bar "||"
2959 e'4_"prall" d\prall c2 \bar "||"
2962 \notes\relative c'' {
2965 e'4 [e32 d e d ~ d8] c2
2970 @aref{appoggiatura}.
2980 FI: ossia, vaihtoehtoinen esitystapa,
2983 Ossia (otherwise) marks an alternative. It is an added staff or piano
2984 score, usually only a few measures long, which presents another version
2985 of the music, for example for small hands.
2995 FI: stemma, instrumenttiosuus,
2998 1. In instrumental or choral music the music for the single instrument
2999 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3000 melodic line of the contrapunctal web.
3006 D: Schlagzeug, Schlagwerk,
3010 FI: ly@"om@"asoittimet,
3013 A family of musical instruments which are played on by striking or
3014 shaking. Percussion instruments commonly used in a symphony orchestra are
3015 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3016 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3019 @aitem{perfect interval}
3020 ES: intervalo justo,
3021 I: intervallo giusto,
3022 F: intervalle juste,
3023 D: reines Intervall,
3027 FI: puhdas intervalli,
3043 A natural division of the melodic line, comparable to a sentence of speech.
3053 FI: fraseeraus, j@"asent@"aminen,
3056 The clear rendering in musical performance of the @aref{phrase}s of
3057 the melody. Phrasing may be indicated by a @aref{slur}.
3070 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3071 @emph{mezzopiano} (@b{mp}) medium soft.
3089 NL: pizzicato, getokkeld,
3092 FI: pizzicato, n@"app@"aillen,
3095 Play by plucking the strings.
3098 ES: polifon@'{@dotless{i}}a,
3105 FI: polyfonia, moni@"a@"anisyys,
3108 Music written in a combination of several simultaneous voices (parts) of a
3109 more or less pronounced individuality. @aref{counterpoint}.
3118 D: Presto, Sehr schnell,
3119 NL: presto, Sehr schnell,
3122 FI: presto, hyvin nopeasti,
3125 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3126 denotes the highest possible degree of speed.
3128 @aitem{Pythagorean comma}
3129 ES: coma pitag@'orico,
3130 I: comma pitagorico,
3131 F: comma pythagoricien,
3132 D: Pythagor@"aisches Komma,
3133 NL: komma van Pythagoras,
3134 DK: pythagor@ae{}isk komma,
3135 S: pytagoreiskt komma,
3136 FI: pytagorinen komma,
3139 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3140 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3141 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3142 7@w{ }octaves. The difference between those two pitches is called the
3158 @aitem{quarter note}
3160 I: semiminima, nera,
3163 D: Viertel, Viertelnote,
3167 FI: nelj@"annesosanuotti,
3172 @aitem{quarter rest}
3173 ES: silencio de negra,
3174 I: pausa di semiminima,
3179 DK:@w{ }fjerdedelspause,
3180 S: fj@"ardedelspaus,
3181 FI: nelj@"annesosatauko,
3203 D: rallentando, langsamer werden,
3207 FI. rallerdando, hidastuen,
3210 Abbreviation "rall.". @aref{ritardando}.
3212 @aitem{relative key}
3214 I: tonalit@`a relativa,
3215 F: tonalit@'e relative,
3217 NL: paralleltoonsoort,
3218 DK: paralleltoneart,
3220 FI: rinnakkaiss@"avellaji,
3223 @aref{major} and @aref{minor} @aref{key}
3224 with the same @aref{key signature}.
3227 \property Score.automaticBars = ##f
3228 \property Score.TextScript \set #'font-style = #'large
3229 \notes\relative c' {
3231 es1_"e flat major" f g as bes c d es
3237 \property Score.automaticBars = ##f
3238 \property Score.TextScript \set #'font-style = #'large
3239 \notes\relative c' {
3241 c1_"c minor" d es f g a! b! c \bar "||"
3246 ES: barra de repetici@'on,
3248 F: barre de reprise,
3251 DK: gen@-ta@-gel@-se,
3259 \notes\relative c'' {
3260 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3264 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3265 @c specify the rest's value.
3291 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3292 fixed unit of time, called @aref{beat}, and in which the normal
3293 @aref{accent} recurs in regular intervals, called
3294 @aref{measure}. The basic scheme scheme of time values is called
3295 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3296 accent. In modern notation such music appears as a free alternation of
3297 different measures. (c) Free rhythm, i.e., the use of temporal values having
3298 no common metrical unit (beat).
3304 D: Ritardando, langsamer werden,
3308 FI. ritardando, hidastuen,
3311 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3321 FI: ritenuto, hidastaen,
3324 Immediate reduction of speed.
3334 FI: asteikko, s@"avelasteikko,
3337 @aref{diatonic scale}.
3339 @aitem{scale degree}
3340 ES: grados de la escala,
3341 I: grado della scala,
3342 F: degr@'e [de la gamme],
3344 NL: trap [van de toonladder],
3347 FI: s@"avelaste, asteikon s@"avel,
3350 Names and symbols used in harmonic analysis to denote tones of the scale as
3351 roots of chords. The most important are degrees I = tonic (T), IV =
3352 sub@-do@-mi@-nant (S) and V = dominant (D).
3355 \property Score.automaticBars = ##f
3356 \property Score.LyricText \set #'font-style = #'large
3357 %\property Lyrics.minVerticalAlign = #8
3359 \context Staff \notes\relative c' {
3362 \context Lyrics \lyrics {
3363 < { I II III IV V VI VII I }
3368 @aref{functional harmony}.
3374 D: Partitur (full score), Klavierauszug (vocal score)
3381 A copy of orchestral, choral or chamber music showing what each instrument is
3382 to play, each voice to sing, having each part arranged one underneath the
3383 other on different staves @aref{staff}.
3396 The @aref{interval} between two neigbouring tones of a scale. A
3397 @aref{diatonic scale} consists of alternating
3398 @aref{semitone}s and @aref{whole tone}s, hence the size
3399 of a se@-cond depends on the scale degrees in question.
3412 The @aref{interval} of a minor second. The (usually) smallest
3413 interval in European composed music. The interval between two neighbouring
3414 tones on the piano keyboard -- including black and white keys -- is a
3415 semitone. An octave may be divided into 12@w{ }semitones.
3416 @aref{interval}, @aref{chromatic scale}.
3419 \property Score.automaticBars = ##f
3420 \notes\relative c'' { g1 gis s a bes s b! c }
3436 @aitem{sextuplet, sextolet}
3461 @aitem{short appoggiatura}
3462 @aref{appoggiatura}.
3464 @aitem{sixteenth note}
3469 D: Sechzehntel, Sechzehntelnote,
3470 NL: zes@-ti@-ende noot,
3471 DK: sekstendedelsnode,
3473 FI: kuudestoistaosanuotti,
3478 @aitem{sixteenth rest}
3479 ES: silencia de semicorchea,
3480 I: pausa di semicroma,
3482 UK: semiquaver rest,
3483 D: Sechzehntelpause,
3485 DK: sekstendedelspause,
3505 @aitem{sixty-fourth note}
3508 F: quadruple croche,
3509 UK: hemidemisemiquaver,
3510 D: Vierundsechzigstel, Vierundsechzigstelnote,
3511 NL: vierenzestigste noot,
3512 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3513 S: sextiofj@"ardedelsnot,
3514 FI: kuudeskymmenesnelj@"asosanuotti,
3519 @aitem{sixty-fourth rest}
3520 ES: silencia de semifusa,
3521 I: pausa di semibiscroma,
3522 F: seizi@`eme de soupir,
3523 UK: hemidemisemiquaver rest,
3524 D: Vierundsechzigstelpause,
3525 NL: vierenzestigste rust,
3526 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3527 S: sextiofj@"ardedelspaus,
3528 FI: kuudeskymmenesnelj@"asosatauko,
3535 I: legatura (di portamento or espressiva),
3536 F: liaison, coul@'e,
3537 D: Bogen, Legatobogen, Phrasierungsbogen,
3538 NL: fraseringsboog, legatoboog, streekboog,
3539 DK: legatobue, fraseringsbue,
3544 A slur above or below a group of notes indicates that they are to be played
3545 @aref{legato}, e.g., with one stroke of the violin bow or with one
3555 FI: suhteelliset laulunimet,
3558 General term for systems of designating the degrees of the
3559 @aref{scale}, not by letters, but by syllables (@emph{do}
3560 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3561 (@emph{ti})). @aref{scale degree}.
3574 In its present-day meaning a sonata denotes an instrumental composition for
3575 piano or for some other instrument with piano accompaniment, which consists of
3576 three or four independant pieces, called movements.
3581 F: [en] forme de sonate,
3583 NL: hoofdvorm, sonatevorm,
3589 A form used frequently for single movements of the @aref{sonata},
3590 @aref{symphony}, quartet, etc. A movement written in sonata form
3591 falls into three sections called @emph{exposition}, @emph{development} and
3592 @emph{recapitulation}. In the exposition the composer introduces his musical
3593 ideas, consisting of a number of themes; in the development section he
3594 "develops" this material, and in the recapitulation he repeats the exposition,
3595 with certain modifications, however. The exposition contains a number of themes
3596 which fall into two groups, often called first and second subject. Other
3597 melodies occurring in each group are considered as continuations of these
3598 two. The second theme is in another key, normally in the key of the
3599 @aref{dominant} if the @aref{tonic} is
3600 @aref{major}, and in the @aref{relative key} if the
3601 tonic is @aref{minor}.
3611 FI: sopraano, korkea nais@"a@"ani,
3614 The highest female voice.
3619 F: staccato, piqu@'e, d@'etach@'e,
3624 FI: staccato, lyhyesti, ter@"av@"asti,
3627 Playing the note(s) short. Staccato is indicated by a dot above or below the
3633 \notes\relative c'' {
3635 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3642 I: pentagramma, rigo (musicale),
3645 NL: (noten)balk, partij,
3651 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3652 which the musical notes are written, thus indicating (in connection
3653 with a @aref{clef}) their pitch. Staves for
3654 @aref{percussion} instruments may have fewer lines.
3660 D: Hals, Notenhals, Stiel,
3667 Vertical line above or below a @aref{note head} shorter than a
3668 whole note. @aref{beam}.
3671 \property Score.autoBeaming = ##f
3672 \property Score.automaticBars = ##f
3673 \property Score.TextScript \set #'font-style = #'large
3674 \notes\relative c'' {
3693 A family of stringed musical instruments played with a bow. Strings commonly
3694 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3700 D: betonter Taktteil oder Taktschlag,
3702 D: betonet taktslag,
3703 S: betonat taktslag,
3704 FI: tahdin vahva isku,
3707 @aref{beat}, @aref{accent}, @aref{measure},
3718 FI: subdominantti, alidominantti,
3721 The fourth @aref{scale degree}. @aref{functional
3732 FI: alikeskis@"avel,
3735 The sixth @aref{scale degree}.
3745 FI: subtoonika, alitoonika,
3748 The seventh @aref{scale degree}.
3750 @aitem{superdominant}
3761 The sixth @aref{scale degree}.
3774 The second @aref{scale degree}.
3777 ES: sinfon@'{@dotless{i}}a,
3780 D: Sinfonie, Symphonie,
3787 A symphony may be defined as a @aref{sonata} for orchestra.
3800 Any deliberate upsetting of the normal pulse of @aref{meter},
3801 @aref{accent} and @aref{rhythm}. Our system of musical
3802 rhythm rests upon the grouping of equal beats into groups of two or three,
3803 with a regularly recurrent accent on the first beat of each group. Any
3804 deviation from this scheme is felt as a disturbance or contradiction between
3805 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3809 \notes\relative c' {
3812 e c'4 e,8 c'4 e,8 c' ( | ) c2
3816 @aitemii{syntonic comma,dydimic comma}
3817 I: comma sintonico (o didimico),
3818 F: comma syntonique,
3819 D: syntonisches Komma,
3820 NL: syntonische komma,
3821 DK: syntonisk komma,
3822 S: syntoniskt komma,
3823 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3826 Difference between the natural third and the third obtained by Pythagorean
3827 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3836 FI: nuottij@"arjestelm@"a,
3839 The collection of staves @aref{staff}, two or more, as used for
3840 writing down of keyboard, chamber, choral, or orchestral music.
3846 D: Stimmung, Temperatur,
3847 NL: stemming, temperatuur,
3850 FI: viritysj@"arjestelm@"a,
3853 Systems of tuning in which the intervals deviate from the acoustically pure
3854 intervals. @aref{meantone temperament}, @aref{equal
3857 @aitem{tempo indication}
3858 ES: indicaci@'on de tempo,
3859 I: indicazione di tempo,
3860 F: indication de temps,
3861 D: Zeitma@ss{}, Tempobezeichnung,
3862 NL: tempo aanduiding,
3865 FI: tempomerkint@"a,
3868 The rate of speed of a composition or a section thereof, ranging from the
3869 slowest to the quickest, as is indicated by tempo marks as
3870 @aref{largo}, @aref{adagio}, @aref{andante},
3871 @aref{allegro}, and @aref{presto}.
3881 FI: tenori, korkea mies@"a@"ani,
3884 The highest voice of men (apart from @aref{counter tenor}).
3912 @aitem{thirty-second note}
3917 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3918 NL: twee-endertig@-ste noot,
3919 DK: toogtredivtedelsnode,
3920 S: trettiotv@aa{}ondelsnot,
3921 FI: kolmanneskymmeneskahdesosanuotti,
3926 @aitem{thirty-second rest}
3927 ES: silencio de fusa,
3928 I: pausa di biscroma,
3929 F: huiti@`eme de soupir,
3930 UK: demisemiquaver rest,
3931 D: Zweiunddreissigstel@-pause,
3933 DK: toogtredivtedelspause,
3934 S: trettiotv@aa{}ondelspaus,
3935 FI: kolmanneskymmeneskahdesosatauko,
3940 @aitemii{thorough bass,figured bass}
3942 I: basso continuo, basso numerato,
3943 F: basse chiffr@'ee,
3944 D: Generalbass, bezifferter Bass,
3945 NL: basso continuo, becijferde bas
3948 FI: kenraalibasso, numeroitu basso,
3951 A method of indicating an accompaniment part by the bass notes only, together
3952 with figures designating the chief @aref{interval}s and
3953 @aref{chord}s to be played above the bass notes.
3956 \context GrandStaff <
3957 \context Staff = lh \notes\relative c'' {
3961 < \context Voice = rha {
3964 \context Voice = rhb {
3966 << bes g >>8 as << as f >> g << g es >> f << d f >> es | << g es >>4 }
3970 \context Staff = rh \notes\relative c' {
3973 es8 c d bes c as bes16 as g f | es4
3975 \context Lyrics \lyrics {
3976 \property Lyrics . LyricText \set #'font-style = #'Large
3977 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3978 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3979 { "" "" "" "2" "" "" "" "" "" "2" } >
3985 ES: ligadura de prolongaci@'on,
3986 I: legatura (di valore),
3989 NL: overbinding, bindingsboog,
3991 S: bindeb@aa{}ge, @"overbindning,
3995 A curved line, identical in appearance with the @aref{slur}, which
3996 connects two succesive notes of the same pitch, and which has the function of
3997 uniting them into a single sound equal to the combined durations.
4000 \property Score.automaticBars = ##f
4001 \notes\relative c'' { g2 ~ g4. }
4004 @aitem{time signature}
4005 ES: cifra indicadora de comp@'as,
4007 F: chiffrage (chiffres indicateurs), signe de valeur,
4008 D: Taktangabe, Angabe der Taktart,
4011 S: taktartssignatur,
4028 A sound of definite pitch and duration, as distinct from @emph{noise}.
4029 Tone is a primary building material of music.
4030 Music from the 20th century may be based on non tone related sounds.
4043 The first @aref{scale degree}.
4044 @aref{functional harmony}.
4046 @aitem{transposition}
4047 ES: transposici@'on,
4057 Shifting a melody up or down in pitch, while keeping the same
4063 \notes\relative c'' {
4065 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4073 \transpose c bes \relative c'' {
4075 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4082 I: chiave di violino,
4084 D: Violinschl@"ussel, Sopranschl@"ussel,
4086 DK:@w{ }diskantn@o{}gle,
4104 On stringed instruments (@aref{strings}) the quick reiteration of
4105 the same tone, produced by a rapid up-and-down movement movement of the bow
4106 (a). The term is also used for the rapid alternation (b) between two notes of
4107 a @aref{chord}, usually in the distance of a third
4111 \property Score.automaticBars = ##f
4112 \property Score.TextScript \set #'font-style = #'large
4113 \notes\relative c' {
4115 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4116 \repeat "tremolo" 8 { e32_"b" g }
4121 ES: tr@'{@dotless{i}}ada,
4123 F: triade, accord parfait, accord de trois sons,
4133 @aitemii{trill,shake}
4136 F: trille, tremblement, battement (cadence),
4146 @aitem{triple meter}
4147 ES: comp@'as compuesto,
4151 NL: driedelige maatsoort,
4173 ES: tr@'{@dotless{i}}tono,
4187 I: diapason, corista,
4196 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4197 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4199 @aitemii{turn,gruppetto}
4213 ES: un@'{@dotless{i}}sono,
4220 FI: unisono, yksi@"a@"anisesti,
4223 Playing of the same notes or the same melody by various instruments (voices)
4224 or by the whole orchestra (choir), either at exactly the same pitch or in a
4228 ES: entrada anacr@'usica,
4230 F: anacrouse, lev@'ee,
4238 Initial note(s) of a melody occurring before the first bar
4239 line. @aref{measure}, @aref{meter}.
4244 \notes\relative c' {
4245 \partial 4 f4 | bes4. a8 bes4 c |
4246 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
4257 FI: @"a@"ani, laulu@"a@"ani,
4260 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4261 @aref{contralto}, @aref{tenor},
4262 @aref{baritone}, @aref{bass}.
4263 2. A melodic layer or part of a polyphonic composition.
4267 I: tempo debole, arsi,
4269 D: unbetonter Taktteil oder Taktschlag,
4271 DK: ubetonet taktslag,
4272 S: obetonat taktslag,
4273 FI: tahdin heikko isku,
4276 @aref{beat}, @aref{measure}, @aref{rhythm}.
4283 D: Ganze, ganze Note,
4293 ES: silencio de redonda,
4294 I: pausa di semibreve,
4297 D: ganze Pause, ganztaktige Pause,
4317 The @aref{interval} of a major second. The interval between two
4318 tones on the piano keyboard with exactly one key between them -- including
4319 black and white keys -- is a whole tone.
4327 DK tr@ae{}bl@ae{}sere,
4328 S: tr@"abl@aa{}sare,
4332 A family of blown wooden musical instruments. Today some of these instruments
4333 are actually made from metal. The woodwind instruments commonly used in a
4334 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4341 @item DURATION NAMES, NOTES AND RESTS
4344 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4346 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4347 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4351 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4352 @tab longa @tab longa @tab longa @tab longa
4356 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4357 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4361 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4362 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4366 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4367 halve @tab halv @tab halv @tab puoli- @tab
4371 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4372 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4376 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4377 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4381 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4382 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4383 @tab kuudestoistaosa- @tab
4387 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4388 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4389 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4393 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4394 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4395 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4396 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4399 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4407 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4409 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4410 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4415 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4419 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4420 cis @tab cis @tab Cis @tab cis
4424 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4425 des @tab des @tab Des @tab des
4429 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4433 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4437 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4441 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4445 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4446 @tab as @tab As @tab as
4450 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4454 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4455 ais @tab ais @tab Ais @tab ais
4459 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4460 @tab b @tab B @tab b
4464 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4472 @item ---------------------
4476 @item Literature used
4477 The Harvard Dictionary of Music, London 1944. Many more or less literal
4478 quotes from its articles have been included into the item explanation texts.
4480 Hugo Riemanns Musiklexicon, Berlin 1929.
4482 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4483 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.