1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2006 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
76 @item Fran@,{c}ois Pinard
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2006 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@arrow{}@strong{\word\}}@c
114 @arrow{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
153 * ancient minor scale::
157 * ascending interval::
158 * augmented interval::
190 * compound interval::
192 * conjunct movement::
205 * descending interval::
207 * diminished interval::
209 * disjunct movement::
211 * dissonant interval::
212 * dominant ninth chord::
213 * dominant seventh chord::
216 * dot (augmentation dot)::
218 * double appoggiatura::
220 * double dotted note::
229 * ecclesiastical mode::
235 * equal temperament::
249 * functional harmony::
263 * inverted interval::
276 * long appoggiatura::
281 * meantone temperament::
288 * metronomic indication::
324 * Pythagorean comma::
346 * short appoggiatura::
350 * sixty-fourth note::
351 * sixty-fourth rest::
379 * thirty-second note::
380 * thirty-second rest::
429 FI: aksentti, korostus.
431 The stress of one tone over others.
441 ES: alteración accidental,
443 F: altération accidentelle,
444 D: Vorzeichen, Versetzungszeichen, Akzidenz,
445 NL: toevallig (verplaatsings)teken,
447 S: tillfälligt förtecken,
448 FI: tilapäinen etumerkki.
450 An accidental has the effect of an @aref{alteration} of a note. A
451 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
452 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
453 lowers it by a whole tone. A natural cancels the effect of a previous
456 @lilypond[fragment,notime,line-width=13.0\cm]
457 \set Score.automaticBars = ##f
459 \context Staff \relative c'' {
460 gis1 gisis ges geses g!
463 \override Lyrics .LyricText #'self-alignment-X = #-1
464 sharp "db. sharp" flat "db. flat" natural
474 F: accelerando, en accélérant,
475 D: accelerando, schneller werden,
479 FI: accelerando, kiihdyttäen.
493 FI: adagio, hitaasti.
495 It.@: comfortable, easy.
496 1.@tie{}Slow tempo, slower -- especially in even meter -- than
497 @aref{andante} and faster than @aref{largo}.
498 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
499 @aref{sonata}s, symphonies, etc.
507 D: Allegro, Schnell, Fröhlich, Lustig,
511 FI: allegro, nopeasti.
513 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
514 tempo, especially the first and last movements of a @aref{sonata}.
523 NL: verhoging of verlaging,
528 An alteration is the modification, raising or lowering, of a note's
529 pitch. It is established by an @aref{accidental}.
541 FI: altto, matala naisääni.
543 A female voice of low range (@emph{contralto}). Originally the alto was a
544 high male voice (hence the name), which by the use of falsetto reached the
545 height of the female voice. This type of voice is also known as
546 @aref{counter tenor}.
551 ES: clave de do en tercera,
552 I: chiave di contralto,
553 F: clef d'ut troisième ligne,
554 D: Altschlüssel, Bratschenschlüssel,
560 C clef setting middle C on the middle line of the staff
573 FI: ambitus, ääniala, soitinala.
575 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
576 of pitches for a given voice in a part of music. It may also denote
577 the pitch range that a musical instrument is capable of playing.
579 @node ancient minor scale
580 @section ancient minor scale
582 ES: escala menor antigua,
583 I: scala minore naturale,
584 F: forme du mode mineur ancien, troisème mode, mode hellénique
586 NL: authentieke mineurtoonladder,
589 FI: luonnollinen molliasteikko.
591 @aref{diatonic scale}.
593 @lilypond[fragment,notime,line-width=13.0\cm]
594 \set Score.automaticBars = ##f
611 Walking tempo/character.
614 @section appoggiatura
618 F: appogiature, (port de voix),
623 FI: appoggiatura, etuhele.
625 Ornamental note, usually a second, that is melodically connected with the
626 main note following it. In music before the 19th century a.@: were usually
627 performed on the beat, after that mostly before the beat. While the short
628 a.@: is performed as a short note regardless of the duration of the main note
629 the duration of the long a.@: is proportional to that of the main note.
631 @lilypond[line-width=13.0\cm]
632 \context Voice \relative c'' {
636 %\override Score.TextScript #'font-style = #'large
637 <d a fis>4_"notation" r
638 { \override Stem #'flag-style = #'()
640 \revert Stem #'flag-style
643 { \override Stem #'flag-style = #'()
645 \revert Stem #'flag-style
648 \cadenzaOn a4 \bar "||" \cadenzaOff
650 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
651 \cadenzaOn a4 \bar "||" \cadenzaOff
655 An appoggiatura may have more notes preceding the main note.
657 @lilypond[line-width=13.0\cm]
661 % \override Score.TextScript #'font-style = #'large
662 \grace { bes16 } as8_"notation" as16 bes as8 g |
663 \grace { as16[( bes] } < c as >4-)
664 \grace { as16[( bes] } < c as >4-) \bar "||"
665 \grace { bes16 } as8_"performance" as16 bes as8 g |
666 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
667 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
678 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
680 DK: arpeggio, akkordbrydning,
682 FI: arpeggio, murtosointu.
684 @lilypond[fragment,line-width=13.0\cm]
685 \context PianoStaff <<
686 \context Staff = SA \relative c'' {
689 r8 g16 c e g, c e r8 g,16 c e g, c e |
690 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
691 \context Staff = SB \relative c' {
693 << \context Voice = va {
695 r16 e8. ( e4) r16 e8. ( e4) |
696 r16 d8. ( d4) r16 d8. ( d4) }
697 \context Voice = vb {
704 @node ascending interval
705 @section ascending interval
707 ES: intervalo ascendente,
708 I: intervallo ascendente,
709 F: intervalle ascendant,
710 D: steigendes Intervall,
711 NL: stijgend interval,
712 DK:@w{ }stigende interval,
713 S: stigande intervall,
714 FI: nouseva intervalli.
716 A distance between a starting lower note and a higher ending note.
718 @node augmented interval
719 @section augmented interval
721 ES: intervalo aumentado,
722 I: intervallo aumentato,
723 F: intervalle augmenté,
724 D: übermäßiges Intervall,
725 NL: overmatig interval,
726 DK: forstørret interval,
727 S: överstigande intervall,
728 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.
775 ES: barra, línea divisoria,
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.
841 FI: basso, matala miesääni.
843 1.@tie{}The lowest male voice.
844 2.@tie{}Sometimes, especially in jazz music, used as
845 an abbreviation for double bass.
860 Line connecting a series of notes (shorter than a quarter note).
861 The number of beams determines the note value of the connected notes.
863 @lilypond[fragment,notime,line-width=13.0\cm]
864 \set Score.automaticBars = ##f
865 %\override TextScript #'font-style = #'large
868 g16_"1/16"[ g g g] s16
869 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
870 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
876 ES: tiempo, parte (de compás)
879 D: Takt, Taktschlag, Zeit (im Takt),
885 Note value used for counting, most often half-, fourth-, and eighth notes.
886 The base counting value and the number of them per measure is indicated at
887 the start of the music.
889 @lilypond[fragment,line-width=13.0\cm]
892 \relative c'' { g4 c b a | g1 \bar "||"}
894 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
908 D: Klammer, Akkolade,
909 NL: accolade, teksthaak,
912 FI: yhdistävä sulkumerkki.
914 Symbol at the start of a system connecting staves. Curly braces are used
915 for connecting piano staves, angular brackets for connecting parts in an
916 orchestral or choral score.
918 @lilypond[fragment,ragged-right]
919 \context GrandStaff <<
920 \relative c''\context Staff = SA { \clef treble g4 e c2 }
921 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
924 @lilypond[fragment,ragged-right]
925 \context StaffGroup <<
926 % \set StaffGroup.minVerticalAlign = #12
927 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
928 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
940 S: brassinstrument, mässingsinstrument,
943 A family of blown musical instruments made of brass, all using a cup formed
944 mouth piece. The brass instruments commonly used in a symphony orchestra are
945 trumpet, trombone, french horn, and tube.
953 D: Atemzeichen, Trennungszeichen,
954 NL: repercussieteken,
955 DK: vejrtrækningstegn,
959 Indication of where to breathe in vocal and wind instrument parts.
972 @aref{note value}, twice as long as a whole note. Mainly used
975 @lilypond[fragment,notime,ragged-right]
976 \set Score.automaticBars = ##f
977 \relative c'' { g\breve }
1004 Clef symbol indicating the position of the middle C. Used on all note
1007 @lilypond[fragment,notime,line-width=13.0\cm]
1008 \set Score.automaticBars = ##f
1009 \override Score.Clef #'full-size-change = ##t
1011 \context Staff \relative c' {
1013 \clef mezzosoprano c
1018 \context Lyrics \lyrics {
1019 \override Lyrics .LyricText #'self-alignment-X = #-1
1020 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1035 FI: kadenssi, lopuke.
1037 @aref{harmonic cadence}, @aref{functional harmony}.
1049 FI: kadenssi, lopuke.
1051 An extended, improvisatory style section inserted near the end of
1052 movement. The purpose of a cadenza is to give singers or players a chance
1053 to exhibit their technical skill and -- not last -- their ability to
1054 improvise. Since the middle of the 19th century, however, most cadences have
1055 been written down by the composer.
1067 FI: kaanon, tarkka jäljittely.
1069 @aref{counterpoint}.
1081 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1082 viritysjärjestelmässä.
1084 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1085 of an equally tempered @aref{semitone}).
1086 @aref{equal temperament}.
1105 Three or more tones sounding simultaneously. In traditional European music
1107 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1109 minor @aref{third}) as well as @emph{minor} (minor + major third)
1110 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1111 and five-tone @emph{ninth} major chords are most often used as dominants
1112 (@aref{functional harmony}). A special case is chords having no
1113 third above the lower notes to define their quality as major or minor. Such
1114 chords are denoted open chords
1116 @lilypond[fragment,notime,line-width=13.0\cm]
1117 \set Score.automaticBars = ##f
1118 %\override TextScript #'font-style = #'large
1120 \context Staff \relative c'' {
1139 @node chromatic scale
1140 @section chromatic scale
1142 ES: escala cromática,
1144 F: gamme chromatique,
1145 D: chro@-ma@-ti@-sche Tonleiter,
1146 NL: chromatische toonladder,
1147 DK: kromatisk skala,
1149 FI: kromaattinen asteikko.
1151 A scale consisting of all 12 @aref{semitone}s.
1153 @lilypond[fragment,notime,line-width=13.0\cm]
1154 \set Score.automaticBars = ##f
1155 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1159 @section chromaticism
1170 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1173 @section church mode
1175 ES: modo eclesiástico,
1176 I: modo ecclesiastico,
1177 F: mode ecclésiastique,
1182 FI: moodi, kirkkosävellaji.
1184 @aref{diatonic scale}.
1192 D: Schlüssel, Notenschlüssel,
1196 FI: avain, nuottiavain.
1198 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1205 A @emph{cluster} is a range of simultaneously sounding pitches that
1206 may change over time. The set of available pitches to apply usually
1207 depends on the acoustic source. Thus, in piano music, a cluster
1208 typically consists of a continuous range of the semitones as provided
1209 by the piano's fixed set of a chromatic scale. In choral music, each
1210 singer of the choir typically may sing an arbitrary pitch within the
1211 cluster's range that is not bound to any diatonic, chromatic or other
1212 scale. In electronic music, a cluster (theoretically) may even cover
1213 a continuous range of pitches, thus resulting in colored noise, such
1216 Clusters can be denoted in the context of ordinary staff notation by
1217 engraving simple geometrical shapes that replace ordinary notation of
1218 notes. Ordinary notes as musical events specify starting time and
1219 duration of pitches; however, the duration of a note is expressed by
1220 the shape of the note head rather than by the horizontal graphical
1221 extent of the note symbol. In contrast, the shape of a cluster
1222 geometrically describes the development of a range of pitches
1223 (vertical extent) over time (horizontal extent). Still, the
1224 geometrical shape of a cluster covers the area in which any single
1225 pitch contained in the cluster would be notated as an ordinary note.
1227 @lilypond[fragment,relative=2,verbatim,ragged-right]
1228 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1241 FI: komma, korvinkuultava ero äänenkorkeudessa.
1243 Difference in pitch between a note derived from pure tuning and the same note
1244 derived from some other tuning method. @aref{temperament}.
1247 @section common meter
1251 @node compound interval
1252 @section compound interval
1254 ES: intervalo compuesto,
1255 I: intervallo composto,
1256 F: intervalle composé,
1257 D: weites Intervall,
1258 NL: samengesteld interval,
1259 DK: sammensat interval,
1260 S: sammansatt intervall,
1261 FI: oktaavia laajempi intervalli.
1263 Intervals larger than an octave.
1270 ES: intervalo invertido,
1272 F: intervalle complémentaire,
1273 D: Komplementärintervall,
1274 NL: complementair interval,
1275 DK: komplementærinterval,
1276 S: komplementärintervall (?),
1277 FI: täydentävä intervalli.
1279 @aref{inverted interval}.
1281 @node conjunct movement
1282 @section conjunct movement
1284 ES: movimiento conjunto,
1286 F: mouvement conjoint,
1287 D: schritt@-weise, stufenweise Bewegung,
1288 NL: stapsgewijze, trapsgewijze beweging,
1289 DK: trinvis bevægelse,
1291 FI: asteittainen liike.
1293 Progressing melodically by intervals of a second. The opposite of a
1294 @aref{disjunct movement}.
1296 @lilypond[fragment,line-width=13.0\cm]
1297 \key g \major \time 4/4
1298 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1311 FI: konsonanssi, sopusointi.
1330 @section counterpoint
1339 FI: kontrapunkti, ääni ääntä vastaan.
1341 From latin @emph{punctus contra punctum}, note against note. The combination
1342 into a single musical fabric of lines or parts which have distinct melodic
1343 significance. A frequently used polyphonic technique is imitation, in its
1344 strictest form found in the canon needing only one part to be written down
1345 while the other parts are performed with a given displacement. Imitation is
1346 also the contrapunctal technique used in the @emph{fugue} which, since the
1347 music of the baroque era, has been one of the most popular polyphonic
1348 composition methods.
1350 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1351 \set Score.implicitTimeSignatureVisibility = #all-invisible
1352 \override Score.TimeSignature #'break-visibility = #all-invisible
1353 \context PianoStaff <<
1354 \context Staff = SA \relative c' {
1358 << \context Voice = rha {
1360 r1 | r2 r8 g'8 bes d, |
1361 cis4 d r8 e!16 f g8 f16 e |
1362 f8 g16 a bes8 a16 g a8
1364 \context Voice = rhb {
1370 \context Staff = SB \relative c' {
1373 << \context Voice = lha {
1375 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1376 r8 a16 g f8 g16 a bes8 g e! cis' |
1379 \context Voice = lhb {
1388 @section counter tenor
1393 D: Countertenor, Kontratenor,
1396 S: kontratenor, counter tenor,
1402 @section copying music
1404 A music copyist did fast freehand scores and parts on preprinted staff lines
1405 for performance. Some of their conventions (e.g., the placement of note heads
1406 on stems) varied slightly from those of engravers. Some of their working
1407 methods were superior and could well be adopted by music typesetters. This
1408 required more skill than engraving.
1416 D: Crescendo, lauter werden,
1420 FI: cresendo, voimistuen.
1422 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1423 abbreviation @q{cresc.}.
1425 @lilypond[fragment,ragged-right]
1426 \key g \major \time 4/4
1427 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1435 F: petites notes précédent l'entrée d'in instrument, réplique,
1442 In a separate part notes belonging to another part with the purpose of hinting
1443 when to start playing. Usually printed in a smaller type.
1448 A custos is a staff symbol that appears at the end of a staff line
1449 with monophonic musical contents (i.e., with a single voice). It
1450 anticipates the pitch of the first note of the following line and thus
1451 helps the player or singer to manage line breaks during performance,
1452 thus enhancing readability of a score.
1454 Custodes were frequently used in music notation until the 16th
1455 century. There were different appearences for different notation
1456 styles. Nowadays, they have survived only in special forms of musical
1457 notation such as via the editio vaticana dating back to the beginning
1463 % \override Staff.Custos #'neutral-position = #4
1464 \override Staff.Custos #'neutral-direction = #down
1465 \override Staff.Custos #'style = #'hufnagel
1473 \consists Custos_engraver
1497 F: da capo, depuis le commencement,
1498 D: da capo, von Anfang,
1502 FI: da capo, alusta.
1504 The term indicates repetition of the piece from the beginning to the end or
1505 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1512 F: dal segno, depuis le signe,
1513 D: dal segno, ab dem Zeichen,
1517 FI: dal segno, lähtien merkistä.
1519 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1520 another place frequently near the beginning marked by a sign:
1522 @lilypond[fragment,ragged-right]
1523 %\override TextScript #'font-style = #'large
1524 \override TextScript #'font-shape = #'italic
1525 \key g \major \time 4/4
1530 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1536 @section decrescendo
1540 D: Decrescendo, leiser werden,
1544 FI: decresendo, hiljentyen.
1546 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1547 or the abbreviation @q{decresc.}.
1549 @lilypond[fragment,ragged-right]
1551 \key g \major \time 4/4
1552 d4 \> c b a | g1 \! \bar "|."
1556 @node descending interval
1557 @section descending interval
1559 ES: intervalo descendente,
1560 I: intervallo discendente,
1561 F: intervalle descendant,
1562 D: fallendes Intervall, absteigendes Intervall,
1563 NL: dalend interval,
1564 DK: faldende interval,
1565 S: fallande intervall,
1566 FI: laskeva intervalli.
1568 A distance between a starting higher note and a lower ending note.
1570 @node diatonic scale
1571 @section diatonic scale
1573 ES: escala diatónica,
1575 F: gamme diatonique,
1576 D: diatonische Tonleiter,
1577 NL: diatonische toonladder,
1578 DK: diatonisk skala,
1580 FI: diatoninen asteikko.
1582 A scale consisting of 5@w{ }@aref{whole tone}s and
1583 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1584 of a piano keybord are diatonic.
1586 The church modes are used in gregorial chant and in pre-baroque early
1587 music but also to some extent in newer jazz music.
1589 @lilypond[fragment,notime,ragged-right]
1590 \set Score.automaticBars = ##f
1591 %\override Score.LyricText #'font-style = #'large
1592 %\override Score.TextScript #'font-style = #'large
1594 \context Staff \relative c' {
1596 \override TextScript #'padding = #-4
1597 e^"~~ S" f g a b^"~~ S" c
1599 \context Lyrics \lyrics {
1605 @lilypond[fragment,notime,ragged-right]
1606 \set Score.automaticBars = ##f
1608 \context Staff \relative c' {
1610 \override TextScript #'padding = #-4
1611 e^"~~ S" f g a b^"~~ S" c d
1619 @lilypond[fragment,notime,ragged-right]
1620 \set Score.automaticBars = ##f
1623 \override TextScript #'padding = #-4
1624 e1^"~~ S" f g a b^"~~ S" c d e
1632 @lilypond[fragment,notime,ragged-right]
1633 \set Score.automaticBars = ##f
1637 \override TextScript #'padding = #-4
1638 b^"~~ S" c d e^"~~ S" f
1646 @lilypond[fragment,notime,ragged-right]
1647 \set Score.automaticBars = ##f
1651 \override TextScript #'padding = #-4
1652 b^"~~ S" c d e^"~~ S" f g }
1659 @lilypond[fragment,notime,ragged-right]
1660 \set Score.automaticBars = ##f
1661 %\override Score.LyricText #'font-style = #'large
1662 %\override Score.TextScript #'font-style = #'large
1666 \override TextScript #'padding = #-4
1667 b^"~~ S" c d e^"~~ S" f g a
1675 From the beginning of the 17th century the scales used in European
1676 compositional music are primarily the major and the minor scales. In the
1677 harmonic minor scale type an augmented second (A) occurs between the 6th and
1680 @lilypond[fragment,notime,ragged-right]
1681 \set Score.automaticBars = ##f
1685 \override TextScript #'padding = #-4
1686 e^"~~ S" f g a b^"~~ S" c
1694 @lilypond[fragment,notime,ragged-right]
1695 \set Score.automaticBars = ##f
1699 \override TextScript #'padding = #-4
1700 b^"~~ S" c d e^"~~ S" f g a
1708 @lilypond[fragment,notime,ragged-right]
1709 \set Score.automaticBars = ##f
1713 \override TextScript #'padding = #-4
1714 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1716 \context Lyrics \lyrics {
1722 @lilypond[fragment,notime,line-width=13.0\cm]
1723 \set Score.automaticBars = ##f
1724 %\override Score.LyricText #'font-style = #'large
1725 %\override Score.TextScript #'font-style = #'large
1729 \override TextScript #'padding = #-4
1730 b^"~~ S" c d e fis gis^"~~ S"
1731 a g! f!^"~~ S" e d c^"~~ S" b a
1739 @node diminished interval
1740 @section diminished interval
1742 ES: intervalo disminuido,
1743 I: intervallo diminuito,
1744 F: intervalle diminué,
1745 D: vermindertes Intervall,
1746 NL: verminderd interval,
1747 DK: formindsket interval,
1748 S: förminskat intervall,
1749 FI: vähennetty intervalli.
1763 FI: diminuendo, hiljentyen.
1767 @node disjunct movement
1768 @section disjunct movement
1770 ES: movimiento disjunto,
1772 F: mouvement disjoint,
1773 D: sprunghafte Bewegung,
1774 NL: sprongsgewijze beweging,
1775 DK: springende bevægelse,
1776 S: hoppande rörelse,
1777 FI: melodian hyppivä liike.
1779 Progressing melodically by intervals larger than a major second.
1780 Opposite of @aref{conjunct movement}.
1782 @lilypond[fragment,ragged-right]
1787 a4. gis8 b a e cis |
1788 fis2 d4. \bar "||" }
1794 @ref{dissonant interval}.
1796 @node dissonant interval
1797 @section dissonant interval
1799 ES: intervalo disonante, disonancia,
1800 I: intervallo dissonante, dissonanza,
1803 NL: dissonant interval; dissonant,
1804 DK: dissonerende interval, dissonans,
1806 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1810 @node dominant ninth chord
1811 @section dominant ninth chord
1813 ES: acorde de novena de dominante,
1814 I: accordo di nona di dominante,
1815 F: accord de neuvième dominante,
1816 D: Domi@-nant@-nonen@-akkord,
1817 NL: dominant noon akkoord,
1818 DK: dominantnoneakkord,
1819 S: dominantnonackord,
1820 FI: dominanttinoonisointu.
1822 @aref{chord}, @aref{functional harmony}.
1824 @node dominant seventh chord
1825 @section dominant seventh chord
1827 ES: acorde de séptima de dominante,
1828 I: accordo di settima di dominante,
1829 F: accord de septième dominante,
1830 D: Dominantseptakkord,
1831 NL: dominant septiem akkoord,
1832 DK: dominantseptimakkord,
1833 S: dominantseptimackord,
1834 FI: dominanttiseptimisointu.
1836 @aref{chord}, @aref{functional harmony}.
1848 FI: dominantti, huippusointu.
1850 The fifth @aref{scale degree},
1851 @aref{functional harmony}.
1854 @section dorian mode
1859 D: dorisch, dorischer Kirchenton,
1860 NL: dorische toonladder,
1865 @aref{diatonic scale}.
1867 @node dot (augmentation dot)
1868 @section dot (augmentation dot)
1871 I: punto (di valore),
1873 D: Punkt (Verlängerungspunkt),
1882 @section dotted note
1884 ES: nota con puntillo,
1888 NL: gepuncteerde noot,
1891 FI: pisteellinen nuotti.
1895 @node double appoggiatura
1896 @section double appoggiatura
1898 ES: apoyatura doble,
1899 I: appoggiatura doppia,
1900 F: appoggiature double,
1901 D: doppelter Vorschlag,
1902 NL: dubbele voorslag,
1903 DK: dobbelt forslag,
1905 FI: kaksoisappogiatura, kaksoisetuhele.
1907 @aref{appoggiatura}.
1909 @node double bar line
1910 @section double bar line
1916 NL: dubbele maatstreep,
1919 FI: kaksoistahtiviiva.
1921 Indicates the end of a section within a movement.
1923 @node double dotted note
1924 @section double dotted note
1926 ES: nota con doble puntillo,
1927 I: nota doppiamente puntata,
1928 F: note doublement pointée,
1929 D: doppelt punktierte Note,
1930 NL: dubbelgepuncteerde noot,
1931 DK: dob@-belt@-punk@-te@-ret node,
1932 S: dub@-bel@-punk@-te@-rad not,
1933 FI: kaksoispisteellinen nuotti.
1938 @section double flat
1947 FI: kaksoisalennusmerkki.
1952 @section double sharp
1954 ES: doble sostenido,
1959 DK: dob@-belt@-kryds,
1961 FI: kaksoisylennysmerkki.
1966 @section double trill
1972 NL: dubbele triller,
1977 A simultaneous trill on two notes, usually in the distance of a third.
1980 @section duple meter
1986 NL: tweedelige maatsoort,
2017 FI: kesto, aika-arvo.
2022 @section dydimic comma
2024 @aref{syntonic comma}.
2038 @node ecclesiastical mode
2039 @section ecclesiastical mode
2044 @section eighth note
2050 D: Achtel, Achtelnote,
2052 DK: ottendedelsnode,
2054 FI: kahdeksasosanuotti.
2059 @section eighth rest
2061 ES: silencio de corchea,
2067 DK: ottendedelspause,
2069 FI: kahdeksasosatauko.
2074 @section embellishment
2085 D: Notenstechen, Notendruck
2091 Engraving means incising or etching a metal plate for
2092 printing. Photoengraving means drawing music with ink in a manner
2093 similar to drafting or engineering drawing, using similar tools.
2095 The traditional process of music printing is done through cutting in a
2096 plate of metal. Now also the term for the art of music typesetting.
2110 Two notes, intervals, or scales are enharmonic if they have different names
2113 @lilypond[fragment,notime,line-width=13.0\cm]
2114 \set Score.automaticBars = ##f
2116 \context Staff \relative c'' {
2117 gis1 as <des g,!> <cis g!>
2119 \context Lyrics \lyrics {
2120 \override Lyrics .LyricText #'self-alignment-X = #-1
2121 "g sharp " "a flat " "dim fifth " "augm fourth"
2126 @node equal temperament
2127 @section equal temperament
2129 ES: temperamento igual,
2130 I: temperamento equabile,
2131 F: tempérament égal,
2132 D: gleichschwebende Stimmung,
2133 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2134 DK: ligesvævende temperatur,
2135 S: liksvävande temperatur,
2138 Tuning system dividing the octave into 12 equal @aref{semitone}s
2139 (precisely 100 @aref{cent}s). @aref{temperament}.
2141 @node expression mark
2142 @section expression mark
2145 I: segno d'espressione,
2146 F: signe d'expression, indication de nuance,
2148 NL: voordrachtsteken,
2149 DK: foredragsbetegnelse,
2150 S: föredragsbeteckning,
2151 FI: nyanssiosoitus, esitysmerkki.
2153 Performance indications concerning 1. volume, dynamics (for example
2154 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2155 @aref{andante}, @aref{allegro}).
2181 The position between the dots of the key symbol is the line of the F below
2182 central@w{ }C. Used on the third, fourth and fifth note line. A
2183 digit@w{ }8 above the clef symbol indicates that the notes must be played
2184 an octave higher (for example bass recorder) while 8@w{ }below the clef
2185 symbol indicates playing an octave lower (for example on double bass
2188 @lilypond[fragment,notime,line-width=13.0\cm]
2189 \set Score.automaticBars = ##f
2190 \override Staff.Clef #'full-size-change = ##t
2214 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2221 F: point d'orgue, point d'arr@^et,
2226 FI: fermaatti, pidäke.
2228 Prolonged note or rest of indefinite duration.
2230 @lilypond[fragment,ragged-right]
2233 a4 b c2^\fermata \bar "|."
2252 @section figured bass
2254 @aref{thorough bass}.
2268 The methodical use of fingers in the playing of instruments.
2274 I: coda (uncinata), bandiera,
2282 Ornament at the end of the stem of a note used for notes with values
2283 less than a quarter note. The number of flags determines the
2286 @lilypond[fragment,notime,ragged-right]
2287 \set Score.automaticBars = ##f
2288 %\override Score.TextScript #'font-style = #'large
2314 @aref{appoggiatura}.
2326 FI: forte, voimakkaasti.
2328 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2329 @emph{mezzoforte} (@b{mf}) medium loud.
2357 @aref{counterpoint}.
2359 @node functional harmony
2360 @section functional harmony
2362 ES: armonía funcional,
2363 I: armonia funzionale,
2364 F: étude des functions,
2366 NL: functionele harmonie,
2367 DK: funktionsanalyse, funktionsharmonik,
2369 FI: harmoniajärjestelmä.
2371 A system of harmonic analysis. It is based on the idea that, in a given key,
2372 there are only three functionally different chords: tonic (T, the chord on the
2373 first note of the scale), subdominant (S, the chord on the fourth note), and
2374 dominant (D, the chord on the fifth note). Others are considered to be
2375 variants of the base chords.
2377 @lilypond[fragment,notime,line-width=13.0\cm]
2378 \set Score.automaticBars = ##f
2380 \context Voice \relative c'' {
2381 <g e c >1 < a f d > < b g e >
2382 <c a f > < d b g > < e c a > < f d b > }
2383 \context Lyrics \lyrics {
2384 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2406 D: G-Schlüssel, Violinschlüssel,
2412 A clef symbol indicating the G above central@w{ }C. Used on the first
2413 and second note lines. A digit 8 above the clef symbol indicates that
2414 the notes must be played an octave higher while 8 below the clef symbol
2415 indicates playing or singing an octave lower (most tenor parts in choral
2416 scores are notated like that).
2418 @lilypond[fragment,notime,ragged-right]
2420 \set Score.automaticBars = ##f
2421 \override Staff.Clef #'full-size-change = ##t
2424 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2434 \context Lyrics \lyrics {
2435 \override Lyrics . LyricText #'X-offset = #-5
2436 "french violin clef"
2454 FI: glissando, liukuen.
2456 Letting the pitch slide fluently from one note to the other.
2459 @section grace notes
2461 ES: notas de adorno,
2464 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2470 Notes printed in small types to indicate that their time values are not
2471 counted in the rhythm of the bar. @aref{appoggiatura}.
2474 @section grand staff
2476 ES: sistema de piano,
2482 S: ackolad, böjd klammer,
2483 FI: kaksoisnuottiviivasto.
2487 A combination of two staves with a brace. Usually used for piano music.
2499 FI: grave, raskaasti.
2515 D: Halbe, halbe Note,
2526 ES: silencio de blanca,
2538 @node harmonic cadence
2539 @section harmonic cadence
2541 ES: cadencia (armónica),
2542 I: cadenza (armonica),
2543 F: cadence harmonique,
2545 NL: harmonische cadens,
2546 DK: harmonisk kadence,
2547 S: (harmonisk) kadens,
2548 FI: harmoninen kadenssi.
2550 A sequence of chords that terminates a musical phrase or
2551 section. @aref{functional harmony}.
2553 @lilypond[fragment,ragged-right]
2554 \context PianoStaff <<
2555 \context Staff = SA \relative c'' {
2559 \partial 4 < c g e >4 |
2560 < c a f > < b g d > < c g e >2
2563 \context Staff = SB \relative c {
2565 \partial 4 c4 | f, g c2
2582 D: Harmonie, Zusammenklang,
2586 FI: harmonia, yhteissointi.
2588 Tones sounding simultaneously. Two note harmonies fall into the categories
2589 @emph{consonances} and @emph{dissonances}.
2593 @lilypond[fragment,notime,line-width=13.0\cm]
2594 \set Score.automaticBars = ##f
2595 %\override Score.TextScript #'font-style = #'large
2596 \context Voice \relative c'' {
2609 @lilypond[fragment,notime,line-width=13.0\cm]
2610 \set Score.automaticBars = ##f
2611 %\override Score.TextScript #'font-style = #'large
2612 \context Voice \relative c'' {
2613 <g a>1_"second " s s
2614 <g f'>_"seventh " s s
2619 Three note harmony @aref{chord}.
2631 FI: homofonia, yksiäänisyys.
2633 Music in which one voice leads melodically followed by the other voices more
2634 or less in the same rhythm. In contrast to @aref{polyphony}.
2646 FI: intervalli, kahden sävelen korkeusero.
2648 Difference in pitch between two notes. Intervals may be perfect, minor,
2650 diminished, or augmented. The augmented fourth and the diminished fifth are
2651 identical (@aref{enharmonic}) and are called @emph{tritonus}
2652 because they consist of three @aref{whole tone}s. The addition
2653 of such two intervals forms an octave.
2655 @lilypond[fragment,notime,line-width=13.0\cm]
2656 \set Score.automaticBars = ##f
2658 \context Voice \relative c'' {
2668 \context Lyrics \lyrics {
2669 "unisone " "second " "second " "second "
2670 "third " "third " "third " "third"
2675 @lilypond[fragment,notime,line-width=13.0\cm]
2676 \set Score.automaticBars = ##f
2678 \context Staff \relative c'' {
2689 "fourth " "fourth " "fifth " "fifth "
2690 "sixth " "sixth " "sixth " "sixth"
2695 @lilypond[fragment,notime,line-width=13.0\cm]
2696 \set Score.automaticBars = ##f
2698 \context Staff \relative c'' {
2699 < gis f'! >1^"dimin"
2708 \context Lyrics \lyrics {
2709 "seventh " "seventh " "seventh " "octave "
2710 "ninth " "ninth " "tenth " "tenth"
2715 @node inverted interval
2716 @section inverted interval
2718 ES: intervalo invertido,
2719 I: intervallo rivolto,
2720 F: intervalle reversé,
2721 D: umgekehrtes Intervall,
2722 NL: interval inversie,
2723 DK: omvendingsinterval,
2724 S: intervallets omvändning,
2725 FI: käänteisintervalli.
2727 The difference between an interval and an octave.
2729 @lilypond[fragment,notime,line-width=13.0\cm]
2730 \set Score.automaticBars = ##f
2731 %\override Score.TextScript #'font-style = #'large
2732 \context Staff \relative c'' {
2733 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2734 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2735 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2739 @node just intonation
2740 @section just intonation
2742 ES: entonación justa,
2743 I: intonazione giusta,
2744 F: intonation juste,
2751 Tuning system in which the notes are obtained by adding and subtracting
2752 natural fifths and thirds. @aref{temperament}.
2766 According to the 12@w{ }tones of the @aref{chromatic scale}
2767 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2768 @aref{key signature}.
2771 @section key signature
2773 ES: armadura (de la clave),
2774 I: armatura di chiave,
2775 F: armure, armature [de la clé],
2776 D: Vorzeichen, Tonart,
2777 NL: toon@-soort (voortekens),
2780 FI: sävellajiosoitus.
2782 The sharps or flats appearing at the beginning of each staff indicating the
2783 key of the music. @aref{accidental}.
2791 D: Largo, Langsam, Breit,
2795 FI: largo, hitaasti, leveästi.
2797 Very slow in tempo, usually combined with great
2798 expressiveness. @emph{Larghetto} is less slow than largo.
2801 @section leading note
2812 The seventh @aref{scale degree}, a @aref{semitone} below
2813 the tonic; so called because of its strong tendency to @q{lead up} (resolve
2814 upwards) to the tonic scale degree.
2817 @section ledger line
2819 ES: línea adicional,
2820 I: tagli addizionali,
2821 F: ligne supplémentaire,
2828 A ledger line is an extension of the staff.
2830 @lilypond[fragment,notime,ragged-right]
2831 \set Score.automaticBars = ##f
2832 \relative c'' { a,1 s c'' }
2847 To be performed (a) without any perceptible interruption between the notes,
2848 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2849 (d) @aref{staccato}.
2851 @lilypond[fragment,notime,line-width=13.0\cm]
2852 \set Score.automaticBars = ##f
2854 \context Staff \relative c'' {
2855 c4-( d e-) \bar "||"
2856 c4-- d-- e-- \bar "||"
2857 c4-.-( d-. e-.-) \bar "||"
2858 c4-. d-. e-. \bar "||"
2870 @section legato curve
2872 @aref{slur}, @aref{legato}.
2882 ES: estanque de nenúfares,
2883 I: stagno del giglio,
2887 NL: le@-lie@-vij@-ver,
2892 A pond with lilies floating in it, also the name of a music typesetter.
2899 A ligature is a coherent graphical symbol that represents at least two
2900 distinct notes. Ligatures originally appeared in the manuscripts of
2901 Gregorian chant notation roughly since the 9th century to denote
2902 ascending or descending sequences of notes. In early notation,
2903 ligatures were used for monophonic tunes (Gregorian chant) and very
2904 soon denoted also the way of performance in the sense of articulation.
2905 With the invention of the metric system of the white mensural
2906 notation, the need for ligatures to denote such patterns disappeared.
2914 D: Linie, Notenlinie,
2918 FI: viiva, nuottiviiva.
2922 @node long appoggiatura
2923 @section long appoggiatura
2925 ES: apoyatura larga,
2926 I: appoggiatura lunga,
2927 F: appoggiature longue,
2928 D: langer Vorschlag,
2932 FI: pitkä appoggiatura, pitkä etuhele.
2934 @aref{appoggiatura}.
2948 Note value: double length of @aref{breve}.
2951 @lilypond[fragment,notime,ragged-right]
2952 \set Score.automaticBars = ##f
2954 \override NoteHead #'style = #'mensural
2962 ES: letra (de la canción),
2971 @node major interval
2972 @section major interval
2974 ES: intervalo mayor,
2975 I: intervallo maggiore,
2976 F: intervalle majeur,
2977 D: großes Intervall,
2981 FI: suuri intervalli.
2997 @aref{diatonic scale}.
2999 @node meantone temperament
3000 @section meantone temperament
3002 ES: afinación mesotónica,
3003 I: accordatura mesotonica,
3004 F: tempérament mésotonique,
3005 D: mitteltönige Stimmung,
3006 NL: middenstemming, middentoonstemming,
3007 DK: middeltonetemperatur,
3008 S: medeltonstemperatur,
3009 FI: keskisävelviritys.
3011 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3012 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3013 @aref{temperament} only a limited set of keys are playable.
3014 Used for tuning keyboard instruments for performance of pre-1650 music.
3028 A group of @aref{beat}s (units of musical time) the first of which
3029 bears an accent. Such groups in numbers of two or more recur consistently
3030 throughout the composition and are marked from each other by
3031 bar-lines. @aref{meter}.
3037 I: mediante, modale,
3045 1.@tie{}The third @b{scale degree}.
3046 2.@tie{}A @aref{chord} having its base tone
3047 a third from that of another chord. For example, the tonic chord may be
3048 replaced by its lower mediant (variant tonic). @aref{functional
3049 harmony}, @aref{relative key}.
3056 FI: melisma, laulettavan tavun sävelkuvio.
3058 A melisma (plural: melismata) is a group of notes or tones sung on one
3059 syllable in plainsong
3061 @node melodic cadence
3062 @section melodic cadence
3071 F: indication de mésure,
3078 The basic scheme of @aref{note value}s and
3079 @aref{accent}s which remains unaltered throughout a composition
3080 or a section of it. For instance, 3/4 meter means that the basic
3081 @aref{note value}s are quarter notes and that a
3082 @aref{measure} consists of three of those. According to
3083 whether there are two, three, or four units to the measure,
3084 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3085 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3087 @lilypond[fragment,line-width=13.0\cm]
3091 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3094 @lilypond[fragment,line-width=13.0\cm]
3098 f8 f f f a16 g a f |
3099 c'8 c c c e16 d e c \bar "||"}
3102 @lilypond[fragment,line-width=13.0\cm]
3106 d4 b8 g b d d c a4 |
3107 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3122 Device indicating the exact tempo of a piece. @aref{metronomic
3125 @node metronomic indication
3126 @section metronomic indication
3128 ES: indicación metronómica,
3129 I: indicazione metronomica,
3130 F: indication métronomique,
3132 NL: metronoom aanduiding,
3134 S: metronomangivelse,
3135 FI: metronomiosoitus.
3137 Exact tempo indication (in beats per minute). Also denoted by
3138 M.M.@: (Mälzels Metronom).
3141 @section mezzo-soprano
3152 The female voice between @aref{soprano} and
3161 D: eingestrichenes@w{ }c,
3163 DK: enstreget@w{ }c,
3164 S: ettstruket@w{ }c,
3167 First C below the 440 Hz A.
3169 @lilypond[fragment,notime,ragged-right]
3170 \set Score.automaticBars = ##f
3171 \override Staff.Clef #'full-size-change = ##t
3191 @aref{diatonic scale}.
3193 @node minor interval
3194 @section minor interval
3196 ES: intervalo menor,
3197 I: intervallo minore,
3198 F: intervalle mineur,
3199 D: kleines Intervall,
3203 FI: pieni intervalli.
3217 FI: moodi, kirkkosävelasteikko.
3219 @aref{church mode}, @aref{diatonic scale}.
3231 FI: modulaatio, sävellajin vaihdos.
3233 Moving from one @aref{key} to another. For example, the second
3234 subject of a @aref{sonata form} movement modulates to the dominant
3235 key if the key is major and to the @aref{relative key} if the key
3247 FI: mordent, korukuvio.
3266 FI: teema, sävelaihe.
3268 The briefest intelligible and self-contained fragment of a musical theme or
3271 @lilypond[line-width=13.0\cm]
3274 \set Score.implicitTimeSignatureVisibility = #all-invisible
3275 \override Score.TimeSignature #'break-visibility = #all-invisible
3278 \partial 8 g16\startGroup fis |
3279 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3280 g8 g,16 a b8 cis d16 s
3284 \Staff \consists "Horizontal_bracket_engraver"
3301 Greater musical works like @aref{symphony} and
3302 @aref{sonata} most often consist of several -- more or less --
3303 independant pieces called movements.
3306 @section multibar rest
3308 ES: compases de espera,
3312 D: mehrtaktige Pause,
3315 FI: usean tahdin mittainen tauko.
3317 @lilypond[fragment,ragged-right]
3320 \set Score.skipBars = ##t R1*3
3325 @node mixolydian mode
3326 @section mixolydian mode
3328 @aref{diatonic scale}.
3331 @section natural sign
3336 D: Auflösungszeichen,
3337 NL: herstellingsteken,
3338 DK: op@-løsningstegn,
3339 S: återställningstecken,
3344 @node neighbour tones
3345 @section neighbour tones
3347 @aref{appoggiatura}.
3380 Notes are signs by means of which music is fixed in writing. The term is also
3381 used for the sound indicated by a note, and even for the key of the piano
3382 which produces the sound. However, a clear distinction between the terms tone
3383 and @aref{note} is strongly recommended. Briefly, one sees a note,
3390 I: testa, testina, capocchia,
3391 F: t@^ete de la note,
3398 A head-like sign which indicates pitch by its position on a
3399 @aref{staff} provided with a @aref{clef}, and duration
3400 by a variety of shapes such as hollow or black heads with or without
3401 @aref{stem}s, @aref{flag}s, etc. For percussion
3402 instruments (often having no defined pitch) the note head may indicate the
3408 ES: valor (duración),
3410 F: durée, valeur (d'une note),
3415 FI: nuotin aika-arvo.
3417 Note values (durations) are measured as fractions, normally 1/2, of the next
3418 higher note value. The longest duration normally used is called
3420 but sometimes (mostly in pre-baroque music) the double length note value
3421 @emph{longa} is used.
3423 @lilypond[fragment,notime,line-width=13.0\cm]
3424 %\override Score.TextScript #'font-style = #'large
3425 \set Score.automaticBars = ##f
3427 \override NoteHead #'style = #'mensural
3428 a\longa_"longa" a\breve_"breve"
3429 \revert NoteHead #'style
3430 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3431 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3434 @lilypond[fragment,notime,line-width=13.0\cm]
3435 %\override Score.TextScript #'font-style = #'large
3436 \set Score.automaticBars = ##f
3438 r\longa_"longa" r\breve_"breve"
3439 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3440 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3443 An augmentation dot after a note multiplies the duration by one and a
3444 half. Another dot adds yet a fourth of the duration.
3446 @lilypond[fragment,line-width=13.0\cm]
3447 %\override Score.TextScript #'font-style = #'large
3450 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3451 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3454 Alternatively note values may be subdivided by other ratios. Most common is
3455 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3456 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3457 dotted notes are also frequently used.
3459 @lilypond[fragment,line-width=13.0\cm]
3460 %\override Score.TextScript #'font-style = #'large
3463 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3464 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3468 @lilypond[fragment,line-width=13.0\cm]
3471 \times 3/2 {g4_"duplets" g} |
3473 \times 6/4 {g8_"quadruplets" g g g} |
3474 g8 g g g g4 \bar "||"
3479 @section octave sign
3481 @aref{G clef}, @aref{F clef}.
3501 I: abbellimento, fioriture,
3502 F: agrément, ornement,
3503 D: Verzierung, Ornament,
3509 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3510 with the diatonic @aref{second} above it. In the music from the
3511 middle of the 19th century and onwards the trill is performed with the main
3512 note first while in the music from the preceding baroque and classic periods
3513 the upper note is played first.
3515 @lilypond[fragment,line-width=13.0\cm]
3517 \context Staff = sa {
3518 % \override Score.TextScript #'font-style = #'large
3520 c2._"pre-1850" b4\trill | c1 \bar "||"
3521 c2._"post-1850" b4\trill | c1 \bar "||"
3525 c2. c32 b c b c b c b | c1
3526 c2. b32 c b c \times 4/5 { b c b c b } | c1
3531 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3533 @emph{prall} (inverted mordent).
3535 @lilypond[fragment,line-width=13.0\cm]
3537 \context Staff = sa {
3538 % \override Score.TextScript #'font-style = #'large
3540 a4_"turn" b\turn c2 \bar "||"
3541 g4_"mordent" a b\mordent a \bar "||"
3542 e'4_"prall" d\prall c2 \bar "||"
3548 e'4 e32[ d e d ~ d8] c2
3553 @aref{appoggiatura}.
3565 FI: ossia, vaihtoehtoinen esitystapa.
3567 Ossia (otherwise) marks an alternative. It is an added staff or piano
3568 score, usually only a few measures long, which presents another version
3569 of the music, for example for small hands.
3581 FI: stemma, instrumenttiosuus.
3583 1.@tie{}In instrumental or choral music the music for the single instrument
3584 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3585 melodic line of the contrapunctal web.
3598 D: Schlagzeug, Schlagwerk,
3604 A family of musical instruments which are played on by striking or
3605 shaking. Percussion instruments commonly used in a symphony orchestra are
3606 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3607 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3610 @node perfect interval
3611 @section perfect interval
3613 ES: intervalo justo,
3614 I: intervallo giusto,
3615 F: intervalle juste,
3616 D: reines Intervall,
3620 FI: puhdas intervalli.
3636 A natural division of the melodic line, comparable to a sentence of speech.
3648 FI: fraseeraus, jäsentäminen.
3650 The clear rendering in musical performance of the @aref{phrase}s of
3651 the melody. Phrasing may be indicated by a @aref{slur}.
3665 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3666 @emph{mezzopiano} (@b{mp}) medium soft.
3687 NL: pizzicato, getokkeld,
3690 FI: pizzicato, näppäillen.
3692 Play by plucking the strings.
3700 D: Polyphonie, Mehrstimmigkeit,
3704 FI: polyfonia, moniäänisyys.
3706 Music written in a combination of several simultaneous voices (parts) of a
3707 more or less pronounced individuality. @aref{counterpoint}.
3720 D: Presto, Sehr schnell,
3721 NL: presto, Sehr schnell,
3724 FI: presto, hyvin nopeasti.
3726 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3727 denotes the highest possible degree of speed.
3729 @node Pythagorean comma
3730 @section Pythagorean comma
3732 ES: coma pitagórica,
3733 I: comma pitagorico,
3734 F: comma pythagoricien,
3735 D: Pythagoräisches Komma,
3736 NL: komma van Pythagoras,
3737 DK: pythagoræisk komma,
3738 S: pytagoreiskt komma,
3739 FI: pytagorinen komma.
3741 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3742 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3743 24 @aref{cent}s higher than the@w{ }C obtained by adding
3744 7@w{ }octaves. The difference between those two pitches is called the
3762 @section quarter note
3765 I: semiminima, nera,
3768 D: Viertel, Viertelnote,
3772 FI: neljännesosanuotti.
3777 @section quarter rest
3779 ES: silencio de negra,
3780 I: pausa di semiminima,
3785 DK:@w{ }fjerdedelspause,
3787 FI: neljännesosatauko.
3806 @section rallentando
3811 D: rallentando, langsamer werden,
3815 FI: rallerdando, hidastuen.
3817 Abbreviation "rall.". @aref{ritardando}.
3820 @section relative key
3823 I: tonalità relativa,
3824 F: tonalité relative,
3826 NL: paralleltoonsoort,
3827 DK: paralleltoneart,
3829 FI: rinnakkaissävellaji.
3831 @aref{major} and @aref{minor} @aref{key}
3832 with the same @aref{key signature}.
3834 @lilypond[fragment,notime,line-width=13.0\cm]
3835 \set Score.automaticBars = ##f
3836 %\override Score.TextScript #'font-style = #'large
3839 es1_"e flat major" f g as bes c d es
3844 @lilypond[fragment,notime,line-width=13.0\cm]
3845 \set Score.automaticBars = ##f
3846 %\override Score.TextScript #'font-style = #'large
3849 c1_"c minor" d es f g a! b! c \bar "||"
3858 F: barre de reprise,
3861 DK: gen@-ta@-gel@-se,
3865 @lilypond[fragment,line-width=13.0\cm]
3869 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3873 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3874 @c specify the rest's value.
3902 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3903 fixed unit of time, called @aref{beat}, and in which the normal
3904 @aref{accent} recurs in regular intervals, called
3905 @aref{measure}. The basic scheme of time values is called
3906 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3907 accent. In modern notation such music appears as a free alternation of
3908 different measures. (c) Free rhythm, i.e., the use of temporal values having
3909 no common metrical unit (beat).
3917 D: Ritardando, langsamer werden,
3921 FI: ritardando, hidastuen,
3923 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3935 FI: ritenuto, hidastaen.
3937 Immediate reduction of speed.
3949 FI: asteikko, sävelasteikko.
3951 @aref{diatonic scale}.
3954 @section scale degree
3956 ES: grado (de la escala),
3957 I: grado della scala,
3958 F: degré [de la gamme],
3960 NL: trap [van de toonladder],
3963 FI: sävelaste, asteikon sävel.
3965 Names and symbols used in harmonic analysis to denote tones of the scale as
3966 roots of chords. The most important are degrees I = tonic (T), IV =
3967 sub@-do@-mi@-nant (S) and V = dominant (D).
3969 @lilypond[fragment,notime,line-width=13.0\cm]
3970 \set Score.automaticBars = ##f
3972 \context Staff \relative c' {
3976 << { I II III IV V VI VII I }
3982 @aref{functional harmony}.
3990 D: Partitur (full score), Klavierauszug (vocal score)
3996 A copy of orchestral, choral, or chamber music showing what each instrument is
3997 to play, each voice to sing, having each part arranged one underneath the
3998 other on different staves @aref{staff}.
4012 The @aref{interval} between two neigbouring tones of a scale. A
4013 @aref{diatonic scale} consists of alternating
4014 @aref{semitone}s and @aref{whole tone}s, hence the size
4015 of a se@-cond depends on the scale degrees in question.
4029 The @aref{interval} of a minor second. The (usually) smallest
4030 interval in European composed music. The interval between two neighbouring
4031 tones on the piano keyboard -- including black and white keys -- is a
4032 semitone. An octave may be divided into 12@w{ }semitones.
4033 @aref{interval}, @aref{chromatic scale}.
4035 @lilypond[fragment,notime,line-width=13.0\cm]
4036 \set Score.automaticBars = ##f
4037 \relative c'' { g1 gis s a bes s b! c }
4092 @node short appoggiatura
4093 @section short appoggiatura
4095 @aref{appoggiatura}.
4097 @node sixteenth note
4098 @section sixteenth note
4104 D: Sechzehntel, Sechzehntelnote,
4105 NL: zes@-ti@-ende noot,
4106 DK: sekstendedelsnode,
4108 FI: kuudestoistaosanuotti.
4112 @node sixteenth rest
4113 @section sixteenth rest
4115 ES: silencio de semicorchea,
4116 I: pausa di semicroma,
4118 UK: semiquaver rest,
4119 D: Sechzehntelpause,
4121 DK: sekstendedelspause,
4141 @node sixty-fourth note
4142 @section sixty-fourth note
4146 F: quadruple croche,
4147 UK: hemidemisemiquaver,
4148 D: Vierundsechzigstel, Vierundsechzigstelnote,
4149 NL: vierenzestigste noot,
4150 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4151 S: sextiofjärdedelsnot,
4152 FI: kuudeskymmenesneljäsosanuotti.
4156 @node sixty-fourth rest
4157 @section sixty-fourth rest
4159 ES: silencio de semifusa,
4160 I: pausa di semibiscroma,
4161 F: seizième de soupir,
4162 UK: hemidemisemiquaver rest,
4163 D: Vierundsechzigstelpause,
4164 NL: vierenzestigste rust,
4165 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4166 S: sextiofjärdedelspaus,
4167 FI: kuudeskymmenesneljäsosatauko.
4174 ES: ligadura (de expresión),
4175 I: legatura (di portamento or espressiva),
4177 D: Bogen, Legatobogen, Phrasierungsbogen,
4178 NL: fraseringsboog, legatoboog, streekboog,
4179 DK: legatobue, fraseringsbue,
4183 A slur above or below a group of notes indicates that they are to be played
4184 @aref{legato}, e.g., with one stroke of the violin bow or with one
4188 @section solmization
4197 FI: suhteelliset laulunimet.
4199 General term for systems of designating the degrees of the
4200 @aref{scale}, not by letters, but by syllables (@emph{do}
4201 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4202 (@emph{ti})). @aref{scale degree}.
4216 In its present-day meaning a sonata denotes an instrumental composition for
4217 piano or for some other instrument with piano accompaniment, which consists of
4218 three or four independant pieces, called movements.
4221 @section sonata form
4225 F: [en] forme de sonate,
4227 NL: hoofdvorm, sonatevorm,
4232 A form used frequently for single movements of the @aref{sonata},
4233 @aref{symphony}, quartet, etc. A movement written in sonata form
4234 falls into three sections called @emph{exposition}, @emph{development} and
4235 @emph{recapitulation}. In the exposition the composer introduces some musical
4236 ideas, consisting of a number of themes; in the development section the
4237 composer @q{develops} this material, and in the recapitulation the composer
4238 repeats the exposition, with certain modifications. The exposition contains a
4239 number of themes that fall into two groups, often called first and second
4240 subject. Other melodies occurring in each group are considered as
4241 continuations of these two. The second theme is in another key, normally in
4242 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4243 @aref{relative key} if the tonic is @aref{minor}.
4260 FI: sopraano, korkea naisääni.
4262 The highest female voice.
4269 F: staccato, piqué, détaché,
4274 FI: staccato, lyhyesti, terävästi.
4276 Playing the note(s) short. Staccato is indicated by a dot above or below the
4279 @lilypond[fragment,ragged-right]
4284 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4293 I: pentagramma, rigo (musicale),
4296 NL: (noten)balk, partij,
4301 A staff (pl. staves) is a series of (normally five) horizontal lines
4302 upon and between which the musical notes are written, thus indicating
4303 (in connection with a @aref{clef}) their pitch. Staves for
4304 @aref{percussion} instruments may have fewer lines.
4317 D: Hals, Notenhals, Stiel,
4323 Vertical line above or below a @aref{note head} shorter than a
4324 whole note. @aref{beam}.
4326 @lilypond[fragment,notime,line-width=13.0\cm]
4327 \set Score.autoBeaming = ##f
4328 \set Score.automaticBars = ##f
4329 %\override Score.TextScript #'font-style = #'large
4350 A family of stringed musical instruments played with a bow. Strings commonly
4351 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4354 @section strong beat
4359 D: betonter Taktteil oder Taktschlag,
4361 D: betonet taktslag,
4362 S: betonat taktslag,
4363 FI: tahdin vahva isku.
4365 @aref{beat}, @aref{accent}, @aref{measure},
4369 @section subdominant
4378 FI: subdominantti, alidominantti.
4380 The fourth @aref{scale degree}. @aref{functional harmony}.
4394 The sixth @aref{scale degree}.
4406 FI: subtoonika, alitoonika.
4408 The seventh @aref{scale degree}.
4411 @section superdominant
4422 The sixth @aref{scale degree}.
4436 The second @aref{scale degree}.
4444 D: Sinfonie, Symphonie,
4450 A symphony may be defined as a @aref{sonata} for orchestra.
4453 @section syncopation
4464 Any deliberate upsetting of the normal pulse of @aref{meter},
4465 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4466 rhythm rests upon the grouping of equal beats into groups of two or three,
4467 with a regularly recurrent accent on the first beat of each group. Any
4468 deviation from this scheme is felt as a disturbance or contradiction between
4469 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4471 @lilypond[fragment,ragged-right]
4476 e c'4 e,8 c'4 e,8 c' ( | c2)
4480 @node syntonic comma
4481 @section syntonic comma
4484 I: comma sintonico (o didimico),
4485 F: comma syntonique,
4486 D: syntonisches Komma,
4487 NL: syntonische komma,
4488 DK: syntonisk komma,
4489 S: syntoniskt komma,
4490 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4491 viritysjärjestelmässä.
4493 Difference between the natural third and the third obtained by Pythagorean
4494 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4506 FI: nuottijärjestelmä.
4508 The collection of staves @aref{staff}, two or more, as used for
4509 writing down of keyboard, chamber, choral, or orchestral music.
4512 @section temperament
4517 D: Stimmung, Tem@-pe@-ra@-tur,
4518 NL: stemming, temperatuur,
4521 FI: viritysjärjestelmä.
4523 Systems of tuning in which the intervals deviate from the acoustically pure
4524 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4526 @node tempo indication
4527 @section tempo indication
4529 ES: indicación de tempo,
4530 I: indicazione di tempo,
4531 F: indication de temps,
4532 D: Zeitmaß, Tempobezeichnung,
4533 NL: tempo aanduiding,
4538 The rate of speed of a composition or a section thereof, ranging from the
4539 slowest to the quickest, as is indicated by tempo marks as
4540 @aref{largo}, @aref{adagio}, @aref{andante},
4541 @aref{allegro}, and @aref{presto}.
4553 FI: tenori, korkea miesääni.
4555 The highest male voice (apart from @aref{counter tenor}).
4574 ES: subrayado (tenuto),
4583 An indication that a particular note should be held for the whole
4584 length, although this can vary depending on the composer and era.
4600 @node thirty-second note
4601 @section thirty-second note
4607 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4608 NL: twee-endertig@-ste noot,
4609 DK: toogtredivtedelsnode,
4610 S: trettiotvåondelsnot,
4611 FI: kolmanneskymmeneskahdesosanuotti.
4615 @node thirty-second rest
4616 @section thirty-second rest
4618 ES: silencio de fusa,
4619 I: pausa di biscroma,
4620 F: huitième de soupir,
4621 UK: demisemiquaver rest,
4622 D: Zweiunddreissigstel@-pause,
4624 DK: toogtredivtedelspause,
4625 S: trettiotvåondelspaus,
4626 FI: kolmanneskymmeneskahdesosatauko.
4631 @section thorough bass
4634 I: basso continuo, basso numerato,
4636 D: Generalbass, bezifferter Bass,
4637 NL: basso continuo, becijferde bas
4640 FI: kenraalibasso, numeroitu basso.
4642 A method of indicating an accompaniment part by the bass notes only, together
4643 with figures designating the chief @aref{interval}s and
4644 @aref{chord}s to be played above the bass notes.
4646 @lilypond[fragment,line-width=13.0\cm]
4647 \context GrandStaff <<
4648 \context Staff = lh \relative c'' {
4652 << \context Voice = rha {
4655 \context Voice = rhb {
4657 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4661 \context Staff = rh \relative c' {
4664 es8 c d bes c as bes16 as g f | es4
4666 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4674 ES: ligadura de prolongación,
4675 I: legatura (di valore),
4678 NL: overbinding, bindingsboog,
4680 S: bindebåge, överbindning,
4683 A curved line, identical in appearance with the @aref{slur}, which
4684 connects two succesive notes of the same pitch, and which has the function of
4685 uniting them into a single sound (tone) equal to the combined durations.
4687 @lilypond[fragment,notime,ragged-right]
4688 \set Score.automaticBars = ##f
4689 \relative c'' { g2 ~ g4. }
4697 @node time signature
4698 @section time signature
4700 ES: indicación de compás,
4702 F: chiffrage (chiffres indicateurs), signe de valeur,
4703 D: Taktangabe, Angabe der Taktart,
4706 S: taktartssignatur,
4723 A sound of definite pitch and duration, as distinct from @emph{noise}.
4724 Tone is a primary building material of music.
4725 Music from the 20th century may be based on atonal sounds.
4739 The first @aref{scale degree}.
4740 @aref{functional harmony}.
4743 @section transposition
4754 Shifting a melody up or down in pitch, while keeping the same
4757 @lilypond[fragment,line-width=13.0\cm]
4762 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4767 @lilypond[fragment,line-width=13.0\cm]
4770 \transpose c bes \relative c'' {
4772 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4778 @section treble clef
4781 I: chiave di violino,
4783 D: Violinschlüssel, Sopranschlüssel,
4785 DK:@w{ }diskantnøgle,
4803 On stringed instruments (@aref{strings}) the quick reiteration of
4804 the same tone, produced by a rapid up-and-down movement of the bow
4805 (a). The term is also used for the rapid alternation (b) between two notes of
4806 a @aref{chord}, usually in the distance of a third
4809 @lilypond[fragment,notime,ragged-right]
4810 \set Score.automaticBars = ##f
4811 %\override Score.TextScript #'font-style = #'large
4814 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4815 \repeat "tremolo" 8 { e32_"b" g }
4824 F: triade, accord parfait, accord de trois sons,
4838 F: trille, tremblement, battement (cadence),
4848 @section triple meter
4850 ES: compás ternario,
4854 NL: driedelige maatsoort,
4890 @section tuning fork
4893 I: diapason, corista,
4901 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4902 give the international pitch for the tone @emph{a} (440 vibrations per
4929 FI: unisono, yksiäänisesti.
4931 Playing of the same notes or the same melody by various instruments (voices)
4932 or by the whole orchestra (choir), either at exactly the same pitch or in a
4940 F: anacrouse, levée,
4947 Initial note(s) of a melody occurring before the first bar
4948 line. @aref{measure}, @aref{meter}.
4950 @lilypond[fragment,line-width=13.0\cm]
4954 \partial 4 f4 | bes4. a8 bes4 c |
4955 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4968 FI: ääni, lauluääni.
4970 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4971 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4972 2.@tie{}A melodic layer or part of a polyphonic composition.
4978 I: tempo debole, arsi,
4980 D: unbetonter Taktteil oder Taktschlag,
4982 DK: ubetonet taktslag,
4983 S: obetonat taktslag,
4984 FI: tahdin heikko isku.
4986 @aref{beat}, @aref{measure}, @aref{rhythm}.
4995 D: Ganze, ganze Note,
5006 ES: silencio de redonda,
5007 I: pausa di semibreve,
5010 D: ganze Pause, ganztaktige Pause,
5030 The @aref{interval} of a major second. The interval between two
5031 tones on the piano keyboard with exactly one key between them -- including
5032 black and white keys -- is a whole tone.
5046 A family of blown wooden musical instruments. Today some of these instruments
5047 are actually made from metal. The woodwind instruments commonly used in a
5048 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5050 @node Duration names notes and rests
5051 @chapter Duration names, notes and rests
5054 @item DURATION NAMES, NOTES AND RESTS
5057 @multitable @columnfractions .15 .26 .33 .26
5062 @tab @strong{F (note name / rest name)}
5074 @item @strong{longa}
5089 @item @strong{breve}
5092 @tab brève / double-pause
5104 @item @strong{whole}
5114 @tab koko@-nuotti/@w{-tauko}
5122 @tab blanche / demi-pause
5129 @tab puoli@-nuotti/@w{-tauko}
5134 @item @strong{quarter}
5144 @tab neljännesosa@-nuotti/@w{-tauko}
5149 @item @strong{eighth}
5152 @tab croche / demi-soupir
5159 @tab kahdeksasosa@-nuotti/@w{-tauko}
5164 @item @strong{sixteenth}
5167 @tab double croche / quart de soupir
5174 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5179 @item @strong{thirty-second}
5182 @tab triple croche / huitième de soupir
5184 @tab Zweiunddreissigstel
5185 @tab tweeendertigste
5186 @tab toogtredivtedel
5188 @tab trettiotvåondel
5189 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5194 @item @strong{sixty-fourth}
5195 @tab hemidemisemiquaver
5197 @tab quadruple croche / seizième de soupir
5199 @tab Vierundsechzigstel
5200 @tab vierenzestigste
5201 @tab fireogtred@-sindstyvendedel
5203 @tab sextiofjärdedel
5204 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5208 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5211 @chapter Pitch names
5217 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5218 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5220 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5221 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5225 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5229 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5231 cis @tab cis @tab cis
5235 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5237 des @tab des @tab des
5241 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5245 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5249 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5253 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5258 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5264 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5268 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5270 ais @tab ais @tab ais
5274 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5280 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5285 @node Literature used
5286 @unnumbered Literature used
5289 @item The Harvard Dictionary of Music, London 1944. Many more or less
5290 literal quotes from its articles have been included into the item
5293 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5295 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5297 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5300 @item Webster's Revised Unabridged Dictionary, Springfield 1913.