1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
6 <!--- @@WEB-TITLE@@=Music Glossary --->
10 This document is also available in @uref{music-glossary.ps.gz,gzipped
11 PostScript} and @uref{music-glossary.pdf,PDF}.
16 @author Christian Mondrup
17 @author spanish by David Gonz@'alez
18 @c License PD, BSD-ish, GNU GPL, GNU FDL?
20 Copyright @copyright{} 1999--2002 by the authors
26 @chapter Music Glossary
34 spanish by Davi Gonz@'alez
36 Copyright 1999-2002 by the authors
38 @c License PD, BSD-ish, GNU GPL, GNU FDL?
47 @c @everyheading @| @thispage @|
48 @c @evenheading @thispage @| @|
49 @c @oddheading @| @| @thispage @|
53 @tex $\\Rightarrow$ @end tex@c
64 We don't use refs for Info:
67 @w{@ar{}@pxref{\word\}}@c
69 they look too intrusive (says Han-Wen).
75 @w{@ar{}@strong{\word\}}@c
78 @ar{}@ref{\word\, @strong{\word\}}@c
86 @c If we want hypelinks, we must add anchors.
87 @c Hmm, we need the @achor command in the item description itself
88 @c (not before or after) to get mozilla jump to the right place.
91 @item \word\@anchor{\word\}
93 @macro aitemii{one,two}
94 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
96 @macro aitemiii{one,two,three}
97 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
107 @item UK - British English
114 This is an example reference, that points you to the @aref{accent}
139 FI: aksentti, korostus,
142 The stress of one tone over others.
144 @c F: how to distinguish between accidental and key-sig alteration?
148 I: alterazione, accidente,
150 D: Vorzeichen, Versetzungszeichen,
153 S: tillf@"alligt f@"ortecken,
154 FI: tilap@"ainen etumerkki,
157 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
158 @c Akzidenz, NL: toevallig teken, I: accidento.
160 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
161 by a @aref{whole tone}, a flat lowers it by a semitone and a double
162 flat lowers it by a whole tone. A natural cancels the effect of a previous
165 @lilypond[13pt,notime]
166 \property Score.barNonAuto = ##t
167 \property Voice.TextScript \set #'font-style = #'large
169 \context Staff \notes\relative c'' {
170 gis1 s s gisis s s ges s s geses s s g!
172 \context Lyrics \lyrics {
173 \property Lyrics . LyricText \override #'alignment = #-1
174 "sharp " "db. sharp " "flat " "db. flat " natural
181 F: accelerando, en acc@'el@'erant,
182 D: accelerando, schneller werden,
186 FI: accelerando, kiihdytt@"aen,
199 FI: adagio, hitaasti,
202 It. comfortable, easy.
203 1. Slow tempo, slower -- especially in even meter -- than
204 @aref{andante} and faster than @aref{largo}.
205 2. A movement in slow tempo, especially the second (slow) movement of
206 @aref{sonata}s, symphonies, etc.
212 D: Allegro, Schnell, Fr@"ohlich, Lustig,
216 FI: allegro, nopeasti,
219 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
220 especially the first and last movements of a @aref{sonata}.
230 FI: altto, matala nais@"a@"ani,
233 A female voice of low range (@emph{contralto}). Originally the alto was a high
234 male voice (hence the name) which by the use of falsetto reached the height of
235 the female voice. This type of voice is also known as @aref{counter
239 ES: clave de do en tercera,
240 I: chiave di contralto,
241 F: clef d'ut troisi@`eme ligne,
242 D: Altschl@"ussel, Bratschenschl@"ussel,
249 C clef setting central C on the middle line of the staff
252 @aitem{ancient minor scale}
253 I: scala minore naturale,
254 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
256 NL: authentieke mineurtoonladder,
259 FI: luonnollinen molliasteikko,
262 @lilypond[13pt,notime]
263 \property Score.barNonAuto = ##t
264 \notes\relative c'' {
276 FI: andante, k@"ayden,
279 Walking tempo/character.
284 F: appogiature, (port de voix),
289 FI: appoggiatura, etuhele,
292 Ornamental note, usually a second, that is melodically connected with the main
293 note that follows it. In music before the 19th century a. were usually
294 performed on the beat, after that mostly before the beat. While the short
295 a. is performed as a short note regardless of the duration of the main note
296 the duration of the long a. is proportional to that of the main note.
299 \context Voice \notes\relative c'' {
303 \property Score.TextScript \set #'font-style = #'large
304 <<d a fis>>4_"notation" r
305 { \property Voice.Stem \override #'flag-style = #""
307 \property Voice.Stem \revert #'flag-style
310 { \property Voice.Stem \override #'flag-style = #""
312 \property Voice.Stem \revert #'flag-style
315 \cadenzaOn a4 \bar "||" \cadenzaOff }
316 \notes\relative c'' {
317 <<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
318 \cadenzaOn a4 \bar "||" \cadenzaOff }
321 An appoggiatura may have more notes preceding the main note.
324 \notes\relative c'' {
327 \property Score.TextScript \set #'font-style = #'large
328 \grace { bes16 } as8_"notation" as16 bes as8 g |
329 \grace { [as16-( bes] } << c as >>4-)
330 \grace { [as16-( bes] } << c as >>4-) \bar "||"
331 \grace { bes16 } as8_"performance" as16 bes as8 g |
332 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
333 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
342 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
344 DK: arpeggio, akkordbrydning,
346 FI: arpeggio, murtosointu,
350 \notes \context PianoStaff <
351 \context Staff = SA \relative c'' {
354 r8 g16 c e g, c e r8 g,16 c e g, c e |
355 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
356 \context Staff = SB \relative c' {
358 < \context Voice = va {
360 r16 e8. () e4 r16 e8. () e4 |
361 r16 d8. () d4 r16 d8. () d4 }
362 \context Voice = vb {
369 @aitem{ascending interval}
370 ES: Intervalo ascendente,
371 I: intervallo ascendente,
372 F: intervalle ascendant,
373 D: steigendes Intervall,
374 NL: stijgend interval,
375 DK:@w{ }stigende interval,
376 S: stigande intervall,
377 FI: nouseva intervalli,
380 A distance between a starting lower note and a higher ending note.
382 @aitem{augmented interval}
383 ES: intervalo aumentado,
384 I: intervallo aumentato,
385 F: intervalle augment@'e,
386 D: @"uberm@"a@ss{}iges Intervall,
387 NL: overmatig interval,
388 DK: forst@o{}rret interval,
389 S: @"overstigande intervall,
390 FI: ylinouseva intervalli,
398 D: Autograph, Handschrift,
400 DK: h@aa{}ndskrift, autograf,
402 FI: k@"asinkirjoitettu nuotti,
405 1. A manuscript in the composer's own hand.
406 2. Music prepared for photoreproduction by freehand drawing,
407 with only the aid of a straightedge ruler and T-square,
408 which attempts to emulate engraving.
409 This required more skill than did engraving.
422 @aitemii{backfall,forefall}
427 I: stanghetta, barra (di divisione),
428 F: barre (de mesure),
437 ES: comp@'as, @aref{measure}.
440 ES: bar@'{@dotless{i}}tono,
447 FI: baritoni, keskikorkuinen mies@"a@"ani,
450 The male voice intermediate between the @aref{bass} and the
453 @c F: clef de troisi@`eme ligne dropped
455 @aitem{baritone clef}
456 ES: clave de fa en tercera,
457 I: chiave di baritono,
458 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
459 D: Baritonschl@"ussel,
466 C or F clef setting central C on the upper staff line.
467 @aref{C clef}, @aref{F clef}.
470 ES: clave de fa en cuarta,
472 F: cl@'e de fa quatri@`eme ligne,
480 A clef setting with central C on the first top ledger line.
490 FI: basso, matala mies@"a@"ani,
493 1. The lowest of men's voices.
494 2. Sometimes, especially in jazz music, used as
495 an abbreviation for double bass.
508 Line connecting a series of notes (shorter than a quarter note).
509 The number of beams determine the note value of the connected notes.
511 @lilypond[13pt,notime]
512 \property Score.barNonAuto = ##t
513 \property Voice.TextScript \set #'font-style = #'large
514 \notes\relative c'' {
516 [g16_"1/16" g g g] s16
517 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
518 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
525 D: Takt, Taktschlag, Zeit (im Takt),
532 Note value used for counting, most often half-, fourth-, and eighth notes.
533 The base counting value and the number of them per measure is indicated at
534 the start of the music.
539 \notes\relative c'' { g4 c b a | g1 \bar "||"}
541 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
551 D: Klammer, Akkolade,
552 NL: accolade, teksthaak,
555 FI: yhdist@"av@"a sulkumerkki,
558 Symbol at the start of a system connecting staves. Curly braces are used
559 for connecting piano staves, angular brackets for connecting parts in an
560 orchestral or choral score.
563 \notes\context GrandStaff <
564 \relative c''\context Staff = SA { \clef treble g4 e c2 }
565 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
569 \context StaffGroup <
570 % \property StaffGroup.minVerticalAlign = #12
571 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
572 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
581 DK: messingbl@ae{}sere,
582 S: brassinstrument, m@"assingsinstrument,
586 A family of blown musical instruments made of brass all using a cup formed
587 mouth piece. The brass instruments commonly used in a symphony orchestra are
588 trumpet, trombone, french horn, and tube.
593 D: Atemzeichen, Trennungszeichen,
594 NL: repercussieteken,
595 DK: vejrtr@ae{}kningstegn,
600 Indication of where to breathe in vocal and wind instrument parts.
613 @aref{note value} twice as long as a whole note. Mainly used
616 @lilypond[13pt,notime]
617 \property Score.barNonAuto = ##t
618 \notes\relative c'' { g\breve }
643 Clef symbol indicating the position of the central C. Used on all note
646 @lilypond[13pt,notime]
647 \property Score.barNonAuto = ##t
648 \property Score.Clef \override #'full-size-change = ##t
649 \property Score.LyricText \set #'font-style = #'large
651 \context Staff \notes\relative c' {
653 \clef mezzosoprano c s s
658 \context Lyrics \lyrics {
659 \property Lyrics . LyricText \override #'alignment = #-1
660 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
672 FI: kadenssi, lopuke,
675 @aref{harmonic cadence}, @aref{functional harmony}.
685 FI: kadenssi, lopuke,
688 An extended, improvisatory style section inserted near the end of
689 movement. The purpose of a cadenza is to give the singer or player a chance to
690 exhibit her technichal skill and not the least her ability to improvise. Since
691 the middle of the 19th century, however, most cadences have been written down
702 FI: kaanon, tarkka j@"aljittely,
715 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
718 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
719 equally tempered @aref{semitone}).
720 @aref{equal temperament}.
736 Three or more tones sounding simultaneously. In traditional European music the
737 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
738 minor @aref{third}) as well as @emph{minor} (minor + major third)
739 chords may be extended with more thirds. Four-tone @emph{seventh chords}
740 and five-tone @emph{ninth} major chords are most often used as dominants
741 (@aref{functional harmony}). A special case is chords having no
742 third above the lower notes to define their quality as major or minor. Such
743 chords are denoted open chords
745 @lilypond[13pt,notime]
746 \property Score.barNonAuto = ##t
747 \property Voice.TextScript \set #'font-style = #'large
749 \context Staff \notes\relative c'' {
757 \context Lyrics \lyrics{
758 \property Lyrics . LyricText \override #'alignment = #-1
759 "major " "minor " "diminished " "augmented "
760 "seventh-chord " "ninth-chord "
764 @aitem{chromatic scale}
765 ES: escala crom@'atica,
767 F: gamme chromatique,
768 D: chromatische Tonleiter,
769 NL: chromatische toonladder,
772 FI: kromaattinen asteikko,
775 A scale consisting of all 11 @aref{semitone}s.
777 @lilypond[13pt,notime]
778 \property Score.barNonAuto = ##t
779 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
793 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
795 @aitemii{church mode,ecclesiastical mode}
796 ES: modo eclesi@'astico,
797 I: modo ecclesiastico,
798 F: mode eccl@'esiastique,
803 FI: moodi, kirkkos@"avellaji,
806 @aref{diatonic scale}.
812 D: Schl@"ussel, Notenschl@"ussel,
816 FI: avain, nuottiavain,
819 @aref{C clef}, @aref{F clef}, @aref{G clef}.
828 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
831 Difference in pitch between a note derived from pure tuning and the same note
832 derived from some other tuning method. @aref{temperament}.
837 @aitem{compound interval}
838 ES: intervalo compuesto,
839 I: intervallo composto,
840 F: intervalle compos@'e,
842 NL: samengesteld interval,
843 DK: sammensat interval,
844 S: sammansatt intervall,
845 FI: oktaavia laajempi intervalli,
848 Intervals larger than an octave.
854 F: intervalle compl@'ementaire,
855 D: Komplement@"arintervall,
856 NL: complementair interval,
857 DK: komplement@ae{}rinterval,
858 S: komplement@"arintervall (?),
859 FI: t@"aydent@"av@"a intervalli,
862 @aref{inverted interval}.
864 @aitem{conjunct movement}
865 ES: movimiento conjunto,
867 F: mouvement conjoint,
868 D: schrittweise, stufenweise Bewegung,
869 NL: stapsgewijze, trapsgewijze beweging,
870 DK: trinvis bev@ae{}gelse,
871 S: stegvis r@"orelse,
872 FI: asteittainen liike,
875 Melody moving in the narrow steps of the scale.
878 \key g \major \time 4/4
879 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
890 FI: konsonanssi, sopusointi,
916 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
919 From latin @emph{punctus contra punctum}, note against note. The combination
920 into a single musical fabric of lines or parts which have distinct melodic
921 significance. A frequently used polyphonic technique is imitation, in its
922 strictest form found in the canon needing only one part to be written down
923 while the other parts are performed with a given displacement. Imitation is
924 also the contrapunctal technique used in the @emph{fugue} which, since the
925 music of the baroque era, has been one of the most popular polyphonic
928 @lilypond[11pt,noquote]
929 \property Score.TimeSignature \override #'style = #'()
930 \notes\context PianoStaff <
931 \context Staff = SA \relative c' {
935 < \context Voice = rha {
937 r1 | r2 r8 g'8 bes d, |
938 cis4 d r8 e!16 f g8 f16 e |
939 f8 g16 a bes8 a16 g a8
941 \context Voice = rhb {
947 \context Staff = SB \relative c' {
950 < \context Voice = lha {
952 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
953 r8 a16 g f8 g16 a bes8 g e! cis' |
956 \context Voice = lhb {
964 @aitem{counter tenor}
971 S: kontratenor, counter tenor,
977 @aitem{Copying, Music}
978 A music copyist did fast freehand scores and parts on preprinted staff lines
979 for performance. Some of their conventions (e.g., the placement of noteheads
980 on stems) varied slightly from those of engravers. Some of their working
981 methods were superior and could well be adopted by music typesetters. This
982 required more skill than engraving.
988 D: Crescendo, lauter werden,
992 FI: cresendo, voimistuen,
995 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
996 abbreviation ``cresc.''.
999 \key g \major \time 4/4
1000 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
1006 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1014 In a separate part notes belonging to another part with the purpose of hinting
1015 when to start playing. Usually printed in a smaller type.
1019 A custos is a staff symbol that appears at the end of a staff line
1020 with monophonic musical contents (i.e. with a single voice). It
1021 anticipates the pitch of the first note of the following line and thus
1022 helps the player or singer to manage line breaks during performance,
1023 thus enhancing readability of a score.
1025 Custodes were frequently used in music notation until the 16th
1026 century. There were different appearences for different notation
1027 styles. Nowadays, they have survived only in special forms of musical
1028 notation such as via the editio vaticana dating back to the beginning
1034 \property Staff.Custos \set #'neutral-position = #4
1035 \property Staff.Custos \set #'neutral-direction = #-1
1036 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1038 \property Staff.Custos \set #'style = #'hufnagel
1039 c'1^"Custos style = \#'hufnagel"
1040 \break << d' a' f''>>1
1045 \consists Custos_engraver
1065 F: da capo, depuis le commencement,
1066 D: da capo, von Anfang,
1070 FI: da capo, alusta,
1073 The term indicates repetition of the piece from the beginning to the end or to
1074 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1079 F: dal segno, depuis le signe,
1084 FI: dal segno, merkkiin asti,
1087 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1088 another place frequently near the beginning marked by a sign:
1091 \property Voice.TextScript \set #'font-style = #'large
1092 \property Voice.TextScript \set #'font-shape = #'italic
1093 \key g \major \time 4/4
1094 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1100 D: Decrescendo, leiser werden,
1104 FI: decresendo, hiljentyen,
1107 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1108 or the abbreviation ``decresc.''.
1111 \notes\relative c'' {
1112 \key g \major \time 4/4
1113 d4 \> c b a | \! g1 \bar "|."
1117 @aitem{descending interval}
1118 ES: intervalo descendente,
1119 I: intervallo discendente,
1120 F: intervalle descendant,
1121 D: fallendes Intervall, absteigendes Intervall,
1122 NL: dalend interval,
1123 DK: faldende interval,
1124 S: fallande intervall,
1125 FI: laskeva intervalli,
1128 A distance between a starting higher note and a lower ending note.
1130 @aitem{diatonic scale}
1131 ES: escala diat@'onica,
1133 F: gamme diatonique,
1134 D: diatonische Tonleiter,
1135 NL: diatonische toonladder,
1136 DK: diatonisk skala,
1138 FI: diatoninen asteikko,
1141 A scale consisting of 5@w{ }@aref{whole tone}s and
1142 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1143 of a piano keybord are diatonic.
1145 The church modes are used in gregorial chant and pre baroque early music but
1146 also to some extent in newer jazz music.
1148 @lilypond[13pt,notime,linewidth=110mm]
1149 \property Score.barNonAuto = ##t
1150 \property Score.LyricText \set #'font-style = #'large
1151 \property Score.TextScript \set #'font-style = #'large
1153 \context Staff \notes\relative c' {
1155 \property Voice.TextScript \set #'padding = #-4
1156 e^"~~ S" f g a b^"~~ S" c
1158 \context Lyrics \lyrics {
1163 @lilypond[13pt,notime]
1164 \property Score.barNonAuto = ##t
1165 \property Score.LyricText \set #'font-style = #'large
1166 \property Score.TextScript \set #'font-style = #'large
1168 \context Staff \notes\relative c' {
1170 \property Voice.TextScript \set #'padding = #-4
1171 e^"~~ S" f g a b^"~~ S" c d
1173 \context Lyrics \lyrics {
1178 @lilypond[13pt,notime]
1179 \property Score.barNonAuto = ##t
1180 \property Score.LyricText \set #'font-style = #'large
1181 \property Score.TextScript \set #'font-style = #'large
1183 \notes\relative c' {
1184 \property Voice.TextScript \set #'padding = #-4
1185 e1^"~~ S" f g a b^"~~ S" c d e
1187 \context Lyrics \lyrics {
1192 @lilypond[13pt,notime]
1193 \property Score.barNonAuto = ##t
1194 \property Score.LyricText \set #'font-style = #'large
1195 \property Score.TextScript \set #'font-style = #'large
1197 \notes\relative c' {
1199 \property Voice.TextScript \set #'padding = #-4
1200 b^"~~ S" c d e^"~~ S" f
1202 \context Lyrics \lyrics {
1207 @lilypond[13pt,notime]
1208 \property Score.barNonAuto = ##t
1209 \property Score.LyricText \set #'font-style = #'large
1210 \property Score.TextScript \set #'font-style = #'large
1212 \notes\relative c'' {
1214 \property Voice.TextScript \set #'padding = #-4
1215 b^"~~ S" c d e^"~~ S" f g }
1216 \context Lyrics \lyrics {
1221 @lilypond[13pt,notime]
1222 \property Score.barNonAuto = ##t
1223 \property Score.LyricText \set #'font-style = #'large
1224 \property Score.TextScript \set #'font-style = #'large
1226 \notes\relative c'' {
1228 \property Voice.TextScript \set #'padding = #-4
1229 b^"~~ S" c d e^"~~ S" f g a
1231 \context Lyrics \lyrics {
1236 From the beginning of the 17th century the scales used in European
1237 compositional music are primarily the major and the minor scales. In the
1238 harmonic minor scale type an augmented second (A) occurs between the 6th and
1241 @lilypond[13pt,notime]
1242 \property Score.barNonAuto = ##t
1243 \property Score.LyricText \set #'font-style = #'large
1244 \property Score.TextScript \set #'font-style = #'large
1246 \notes\relative c' {
1248 \property Voice.TextScript \set #'padding = #-4
1249 e^"~~ S" f g a b^"~~ S" c
1251 \context Lyrics \lyrics {
1256 @lilypond[13pt,notime]
1257 \property Score.barNonAuto = ##t
1258 \property Score.LyricText \set #'font-style = #'large
1259 \property Score.TextScript \set #'font-style = #'large
1261 \notes\relative c'' {
1263 \property Voice.TextScript \set #'padding = #-4
1264 b^"~~ S" c d e^"~~ S" f g a
1266 \context Lyrics \lyrics {
1271 @lilypond[13pt,notime]
1272 \property Score.barNonAuto = ##t
1273 \property Score.LyricText \set #'font-style = #'large
1274 \property Score.TextScript \set #'font-style = #'large
1276 \notes\relative c'' {
1278 \property Voice.TextScript \set #'padding = #-4
1279 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1281 \context Lyrics \lyrics {
1286 @lilypond[13pt,notime]
1287 \property Score.barNonAuto = ##t
1288 \property Score.LyricText \set #'font-style = #'large
1289 \property Score.TextScript \set #'font-style = #'large
1291 \notes\relative c'' {
1293 \property Voice.TextScript \set #'padding = #-4
1294 b^"~~ S" c d e fis gis^"~~ S"
1295 a g! f!^"~~ S" e d c^"~~ S" b a
1297 \context Lyrics \lyrics {
1302 @aitem{diminished interval}
1303 ES: intervalo disminu@'{@dotless{i}}do,
1304 I: intervallo diminuito,
1305 F: intervalle diminu@'e,
1306 D: vermindertes Intervall,
1307 NL: verminderd interval,
1308 DK: formindsket interval,
1309 S: f@"orminskat intervall,
1310 FI: v@"ahennetty intervalli,
1323 FI: diminuendo, hiljentyen,
1328 @aitem{disjunct movement}
1329 ES: movimiendo disjunto,
1331 F: mouvement disjoint,
1332 D: sprunghafte Bewegung,
1333 NL: sprongsgewijze beweging,
1334 DK: springende bev@ae{}gelse,
1335 S: hoppande r@"orelse,
1336 FI: melodian hyppiv@"a liike,
1339 Melody moving in steps greater than those of the
1340 scale. Opposite of @aref{conjunct movement}.
1345 \notes\relative c' {
1347 a4. gis8 b a e cis |
1348 fis2 d4. \bar "||" }
1351 @aitemii{dissonant interval,dissonance}
1352 ES: intervalo disonante, disonancias,
1353 I: intervallo dissonante, dissonanza,
1356 NL: dissonant interval; dissonant,
1357 DK: dissonerende interval, dissonans,
1359 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1364 @aitem{dominant ninth chord}
1365 I: accordo di nona di dominante,
1366 F: accord de neuvi@`eme dominante,
1367 D: Dominantnoneakkord,
1368 NL: dominant noon akkoord,
1369 DK: dominantnoneakkord,
1370 S: dominantnonackord,
1371 FI: dominanttinoonisointu,
1374 @aref{chord}, @aref{functional harmony}.
1376 @aitem{dominant seventh chord}
1377 ES: acorde de s@'eptima de dominante,
1378 I: accordo di settima di dominante,
1379 F: accord de septi@`eme dominante,
1380 D: Dominantseptakkord,
1381 NL: dominant septiem akkoord,
1382 DK: dominantseptimakkord,
1383 S: dominantseptimackord,
1384 FI: dominanttiseptimisointu,
1387 @aref{chord}, @aref{functional harmony}.
1397 FI: dominantti, huippusointu,
1400 The fifth @aref{scale degree},
1401 @aref{functional harmony}.
1407 D: dorisch, dorischer Kirchenton,
1408 NL: dorische toonladder,
1414 @aref{diatonic scale}.
1416 @aitem{dot (augmentation dot)}
1418 I: punto (di valore),
1420 D: Punkt (Verl@"angerungspunkt),
1430 ES: nota con puntillo,
1434 NL: gepuncteerde noot,
1437 FI: pisteellinen nuotti,
1442 @aitem{double appoggiatura}
1443 ES: apoyatura doble,
1444 I: appoggiatura doppia,
1445 F: appoggiature double,
1446 D: doppelter Vorschlag,
1447 NL: dubbele voorslag,
1448 DK: dobbelt forslag,
1450 FI: kaksoisappogiatura, kaksoisetuhele,
1453 @aref{appoggiatura}.
1455 @aitem{double bar line}
1459 NL: dubbele maatstreep,
1462 FI: kaksoistahtiviiva,
1465 Indicates the end of a section within a movement.
1467 @aitem{double dotted note}
1468 ES: nota con dos puntillos,
1469 I: nota doppiamente puntata,
1470 F: note doublement point@'ee,
1471 D: doppelt punktierte Note,
1472 NL: dubbelgepuncteerde noot,
1473 DK: dob@-belt@-punk@-te@-ret node,
1474 S: dub@-bel@-punk@-te@-rad not,
1475 FI: kaksoispisteellinen nuotti,
1488 FI: kaksoisalennusmerkki,
1493 @aitem{double sharp}
1494 ES: doble sostenido,
1499 DK: dob@-belt@-kryds,
1501 FI: kaksoisylennysmerkki,
1506 @aitem{double trill}
1511 NL: dubbele triller,
1517 A simultaneous trill on two notes, usually in the distance of a third.
1524 NL: tweedelige maatsoort,
1553 FI: kesto, aika-arvo,
1558 @aitem{dydimic comma}
1559 @aref{syntonic comma}.
1577 D: Achtel, Achtelnote,
1579 DK: ottendedelsnode,
1580 S: @aa{}ttondelsnot,
1581 FI: kahdeksasosanuotti,
1587 ES: silencio de corchea,
1593 DK: ottendedelspause,
1594 S: @aa{}ttonddelspaus,
1595 FI: kahdeksasosatauko,
1604 D: Notenstechen, Notendruck
1611 Engraving means incising or etching a metal plate for
1612 printing. Photoengraving means drawing music with ink in a manner
1613 similar to drafting or engineering drawing, using similar tools.
1615 The traditional process of music printing is done through cutting in a
1616 plate of metal. Now also the term for the art of music typesetting.
1629 Two notes, intervals, or scales are enharmonic if they have different names
1632 @lilypond[13pt,notime]
1633 \property Score.barNonAuto = ##t
1634 \property Score.TextScript \set #'font-style = #'large
1636 \context Staff \notes\relative c'' {
1637 gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
1639 \context Lyrics \lyrics {
1640 \property Lyrics . LyricText \override #'alignment = #-1
1641 "g sharp " "a flat " "dim fifth " "augm fourth"
1645 @aitem{equal temperament}
1647 I: temperamento equabile,
1648 F: temp@'erament @'egal,
1649 D: gleichschwebende Stimmung,
1650 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1651 DK: ligesv@ae{}vende temperatur,
1652 S: liksv@"avande temperatur,
1656 Tuning system dividing the octave into 12 equal @aref{semitone}s
1657 (precisely 100 @aref{cent}s). @aref{temperament}.
1659 @aitem{expression mark}
1661 I: segno d'espressione,
1662 F: signe d'expression, indication de nuance,
1664 NL: voordrachtsteken,
1665 DK: foredragsbetegnelse,
1666 S: f@"oredragsbeteckning,
1667 FI: nyanssiosoitus, esitysmerkki,
1670 Performance indications concerning 1. volume, dynamics (for example
1671 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1672 @aref{andante}, @aref{allegro}).
1696 The position between the dots of the key symbol is the line of the F below
1697 central@w{ }C. Used on the third, fourth and fifth note line. A
1698 digit@w{ }8 above the clef symbol indicates that the notes must be played
1699 an octave higher (for example bass recorder) while 8@w{ }below the clef
1700 symbol indicates playing an octave lower (for example on double bass
1703 @lilypond[13pt,notime]
1704 \property Score.barNonAuto = ##t
1705 \property Staff.Clef \override #'full-size-change = ##t
1706 \property Score.LyricText \set #'font-style = #'large
1720 \context Lyrics \lyrics {
1721 \property Lyrics . LyricText \override #'alignment = #-1
1730 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1735 F: point d'orgue, point d'arr@^et,
1740 FI: fermaatti, pid@"ake,
1743 Prolonged note or rest of indefinite duration.
1747 \notes\relative c'' {
1748 a4 b c2^\fermata \bar "|."
1765 @aitem{figured bass}
1766 ES: bajo cifrado, @aref{thorough bass}.
1774 DK: fingers@ae{}tning,
1775 S: fingers@"attning,
1779 The methodical use of fingers in the playing of instruments.
1781 @aitem{flag,pennant}
1783 I: coda (uncinata), bandiera,
1785 D: Fahne, F@"ahnchen,
1792 Ornament at the end of the stem of a note used for notes with values
1793 less than a quarter note. The number of flags determines the
1796 @lilypond[13pt,notime]
1797 \property Score.barNonAuto = ##t
1798 \property Score.TextScript \set #'font-style = #'large
1799 \notes\relative c'' {
1820 @aitemii{forefall,backfall}
1821 @aref{appoggiatura}.
1831 FI: forte, voimakkaasti,
1834 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1835 @emph{mezzoforte} (@b{mf}) medium loud.
1861 @aref{counterpoint}.
1863 @aitem{functional harmony}
1864 ES: armon@'{@dotless{i}}a funcional,
1865 I: armonia funzionale,
1866 F: @'etude des functions,
1868 NL: functionele harmonie,
1869 DK: funktionsanalyse, funktionsharmonik,
1871 FI: harmoniaj@"arjestelm@"a,
1874 A system of harmonic analysis. It is based on the idea that, in a given key,
1875 there are only three functionally different chords: tonic (T, the chord on the
1876 first note of the scale), subdominant (S, the chord on the fourth note), and
1877 dominant (D, the chord on the fifth note). Other are considered to be
1878 variants of the base chords.
1880 @lilypond[13pt,notime]
1881 \property Score.barNonAuto = ##t
1882 \property Score.LyricText \set #'font-style = #'large
1883 \property Score.TextScript \set #'font-style = #'large
1885 \context Voice \notes\relative c'' {
1886 <<g e c >>1 << a f d >> << b g e >>
1887 <<c a f >> << d b g >> << e c a >> << f d b >> }
1888 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1906 D: G-Schl@"ussel, Violinschl@"ussel,
1913 A clef symbol indicating the G above central@w{ }C. Used on the first
1914 and second note lines. A digit 8 above the clef symbol indicates that
1915 the notes must be played an octave higher while 8 below the clef symbol
1916 indicates playing or singing an octave lower (most tenor parts in choral
1917 scores are notated like that).
1919 @lilypond[13pt,notime]
1920 \property Score.barNonAuto = ##t
1921 \property Staff.Clef \set #'full-size-change = ##t
1922 \property Score.LyricText \set #'font-style = #'large
1924 \notes\relative c'' {
1934 \context Lyrics \lyrics {
1935 \property Lyrics . LyricText \override #'alignment = #-1
1936 "french violin clef "
1951 FI: glissando, liukuen,
1954 Letting the pitch slide fluently from one note to the other.
1960 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1967 Notes printed in small types to indicate that their time values are not
1968 counted in the rhythm of the bar. @aref{appoggiatura}.
1976 S: ackolad, b@"ojd klammer,
1977 FI: kaksoisnuottiviivasto,
1982 A combination of two staves with a brace. Usually used for piano music.
1992 FI: grave, raskaasti,
2002 D: Halbe, halbe Note,
2025 @aitem{harmonic cadence}
2026 ES: cadencia (arm@'onica),
2027 I: cadenza (armonica),
2028 F: cadence harmonique,
2030 NL: harmonische cadens,
2031 DK: harmonisk kadence,
2032 S: (harmonisk) kadens,
2033 FI: harmoninen kadenssi,
2036 Sequence of chords that terminate a musical phrase or
2037 section. @aref{functional harmony}.
2040 \notes\context PianoStaff <
2041 \context Staff = SA \relative c'' {
2045 \partial 4 << c g e >>4 |
2046 << c a f >> << b g d >> << c g e >>2
2048 \property Score.LyricText \set #'font-style = #'large
2050 \context Staff = SB \relative c {
2052 \partial 4 c4 | f, g c2
2055 \context Lyrics \lyrics {
2062 ES: armon@'{@dotless{i}}a,
2065 D: Harmonie, Zusammenklang,
2069 FI: harmonia, yhteissointi,
2072 Tones sounding simultaneously. Two note harmonies fall into the categories
2073 @emph{consonances} and @emph{dissonances}.
2077 @lilypond[13pt,notime]
2078 \property Score.barNonAuto = ##t
2079 \property Score.TextScript \set #'font-style = #'large
2080 \context Voice \notes\relative c'' {
2081 <<g g>>1_"unisone " s
2086 <<g g'>>_"octave " s
2087 <<g b'>>_"decime" s s
2093 @lilypond[13pt,notime]
2094 \property Score.barNonAuto = ##t
2095 \property Score.TextScript \set #'font-style = #'large
2096 \context Voice \notes\relative c'' {
2097 <<g a>>1_"second " s s
2098 <<g f'>>_"seventh " s s
2099 <<g a'>>_"ninth" s s
2103 Three note harmony @aref{chord}.
2106 ES: homofon@'{@dotless{i}}a,
2113 FI: homofonia, yksi@"a@"anisyys,
2116 Music in which one voice leads melodically followed by the other voices more
2117 or less in the same rhythm. In contrast to @aref{polyphony}.
2127 FI: intervalli, kahden s@"avelen korkeusero,
2130 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2131 diminished, or augmented. The augmented fourth and the diminished fifth are
2132 identical (@aref{enharmonic}) and are called @emph{tritonus}
2133 because they consist of three @aref{whole tone}s. The addition
2134 of such two forms an octave.
2136 @lilypond[13pt,notime]
2137 \property Score.barNonAuto = ##t
2138 \property Score.LyricText \set #'font-style = #'large
2139 \property Score.TextScript \set #'font-style = #'large
2141 \context Voice \notes\relative c'' {
2143 << g as >>^"minor" s
2145 << g ais >>^"augm" s
2146 << gis bes >>^"dimin" s
2147 << g! bes >>^"minor" s
2148 << g b! >>^"major" s
2149 << g bis >>^"augm" s
2151 \context Lyrics \lyrics {
2152 "unisone " "second " "second " "second "
2153 "third " "third " "third " "third "
2157 @lilypond[13pt,notime]
2158 \property Score.barNonAuto = ##t
2159 \property Score.LyricText \set #'font-style = #'large
2160 \property Score.TextScript \set #'font-style = #'large
2162 \context Staff \notes\relative c'' {
2163 << g c >>^"perfect" s
2164 << g cis >>^"augm" s
2165 << g d' >>^"perfect" s
2166 << g des' >> ^"dim" s
2167 << gis es' >>^"dimin" s
2168 << g! es' >>^"minor" s
2169 << g e'! >>^"major" s
2170 << g eis' >>^"augm" s
2172 \context Lyrics \lyrics {
2173 "fourth " "fourth " "fifth " "fifth "
2174 "sixth " "sixth " "sixth " "sixth "
2178 @lilypond[13pt,notime]
2179 \property Score.barNonAuto = ##t
2180 \property Score.LyricText \set #'font-style = #'large
2181 \property Score.TextScript \set #'font-style = #'large
2183 \context Staff \notes\relative c'' {
2184 << gis f'! >>1^"dimin" s
2185 << g! f'! >>^"minor" s
2186 << g fis' >>^"major" s
2188 << g as' >>^"minor" s
2189 << g a'! >>^"major" s
2190 << g bes' >>^"minor" s
2191 << g b'! >>^"major" s
2193 \context Lyrics \lyrics {
2194 "seventh " "seventh " "seventh " "octave "
2195 "none " "none " "decime " "decime "
2199 @aitem{inverted interval}
2200 ES: intervalo invertido,
2201 I: intervallo rivolto,
2202 F: intervalle revers@'e,
2203 D: umgekehrtes Intervall,
2204 NL: interval inversie,
2205 DK: omvendingsinterval,
2206 S: intervallets omv@"andning,
2207 FI: k@"a@"anteisintervalli,
2210 The difference between an interval and an octave.
2212 @lilypond[13pt,notime]
2213 \property Score.barNonAuto = ##t
2214 \property Score.TextScript \set #'font-style = #'large
2215 \context Staff \notes\relative c'' {
2216 << g a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
2217 << g, b >>_"third " s s << g' b, >>_"sixth " s s \bar "||"
2218 << g, c >>_"fourth " s s << g' c, >>_"fifth " s s \bar "||"
2222 @aitem{just intonation}
2223 I: intonazione giusta,
2224 F: intonation juste,
2232 Tuning system in which the notes are obtained by adding and subtracting
2233 natural fifths and thirds. @aref{temperament}.
2246 According to the 12@w{ }tones of the @aref{chromatic scale}
2247 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2248 @aref{key signature}.
2250 @aitem{key signature}
2251 ES: armadura de clave,
2252 I: armatura di chiave,
2253 F: armure, armature [de la cl@'e],
2254 D: Vorzeichen, Tonart,
2255 NL: toon@-soort (voortekens),
2258 FI: s@"avellajiosoitus,
2261 The sharps or flats appearing at the beginning of each staff indicating the
2262 key of the music. @aref{accidental}.
2268 D: Largo, Langsam, Breit,
2272 FI: largo, hitaasti, leve@"asti,
2275 Very slow in tempo, usually combined with great
2276 expressiveness. @emph{Larghetto} is less slow than largo.
2278 @aitem{leading note}
2289 The seventh @aref{scale degree}, a @aref{semitone} below
2290 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2291 upwards) to the tonic scale degree.
2293 @aitemii{ledger line,leger line}
2294 ES: l@'{@dotless{i}}neas adicionales,
2295 I: tagli addizionali,
2296 F: ligne suppl@'ementaire,
2299 DK: hj@ae{}lpelinie,
2304 A ledger line is an extension of the staff.
2306 @lilypond[13pt,notime]
2307 \property Score.barNonAuto = ##t
2308 \notes\relative c'' { a,1 s c'' }
2322 To be performed without any perceptible interruption between the notes (a)
2323 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
2324 @aref{staccato} (d).
2326 @lilypond[13pt,notime]
2327 \property Score.barNonAuto = ##t
2329 \context Staff \notes\relative c'' {
2331 c4-- d-- e-- \bar "||"
2332 c4-.( d-. )e-. \bar "||"
2333 c4-. d-. e-. \bar "||"
2335 \context Lyrics \lyrics {
2336 \property Lyrics . LyricText \set #'font-style = #'large
2344 @aitem{legato curve}
2345 @aref{slur}, @aref{legato}.
2348 ES: estanque de lilas,
2349 I: stagno del giglio,
2353 NL: le@-lie@-vij@-ver,
2359 A pond with lilies floating in it, also the name of a music typesetter.
2362 ES: l@'{@dotless{i}}nea,
2365 D: Linie, Notenlinie,
2369 FI: viiva, nuottiviiva,
2374 @aitem{long appoggiatura}
2375 ES: apoyatura larga,
2376 I: appoggiatura lunga,
2377 F: appoggiature longue,
2378 D: langer Vorschlag,
2381 S: l@aa{}ngt f@"orslag,
2382 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2385 @aref{appoggiatura}.
2398 Note value: double length of @aref{breve}.
2401 @lilypond[13pt,notime]
2402 \property Score.barNonAuto = ##t
2403 \notes\relative c'' {
2404 \property Voice.NoteHead \set #'style = #'mensural
2409 @aitemii{lyrics,song texts}
2420 @aitem{major interval}
2421 ES: intervalo mayor,
2422 I: intervallo maggiore,
2423 F: intervalle majeur,
2424 D: gro@ss{}es Intervall,
2428 FI: suuri intervalli,
2444 @aref{diatonic scale}.
2446 @aitem{meantone temperament}
2447 I: accordatura mesotonica,
2448 F: temp@'erament m@'esotonique,
2449 D: mittelt@"onige Stimmung,
2450 NL: middenstemming, middentoonstemming,
2451 DK: middeltonetemperatur,
2452 S: medeltonstemperatur,
2453 FI: keskis@"avelviritys,
2456 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2457 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2458 @aref{temperament} only a limited set of keys are playable.
2459 Used for tuning keyboard instruments for performance of pre-1650 music.
2461 @aitem{measure, bar}
2472 A group of @aref{beat}s (units of musical time) the first of which
2473 bears an accent. Such groups in numbers of two or more recur consistently
2474 throughout the composition and are marked from each other by
2475 bar-lines. @aref{meter}.
2479 I: mediante, modale,
2488 1. The third @b{scale degree}.
2489 2. A @aref{chord} having its base tone
2490 a third from that of another chord. For example, the tonic chord may be
2491 replaced by its lower mediant (variant tonic). @aref{functional
2492 harmony}, @aref{relative key}.
2497 FI: melisma, laulettavan tavun sävelkuvio,
2499 A melisma (plural: melismata) is a group of notes or tones sung on one
2500 syllable in plainsong
2502 @aitem{melodic cadence}
2508 F: indication de m@'esure,
2516 The basic scheme of @aref{note value}s and
2517 @aref{accent}s which remains unaltered throughout a composition
2518 or a section of it. For instance, 3/4 meter means that the basic
2519 @aref{note value}s are quarter notes and that a
2520 @aref{measure} consists of three of those. According to
2521 whether there are two, three or four units to the measure,
2522 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2523 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2526 \notes\relative c'' {
2529 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2533 \notes\relative c' {
2536 f8 f f f a16 g a f |
2537 c'8 c c c e16 d e c \bar "||"}
2541 \notes\relative c'' {
2544 d4 b8 g b d d c a4 |
2545 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2559 Device indicating the exact tempo of a piece. @aref{metronomic
2562 @aitem{metronomic indication}
2563 ES: indicaci@'on metron@'omica,
2564 I: indicazione metronomica,
2565 F: indication m@'etronomique,
2567 NL: metronoom aanduiding,
2569 S: metronomangivelse,
2570 FI: metronomiosoitus,
2573 Exact tempo indication (in beats per minute). Also denoted by
2574 M.M. (M@"alzels Metronom).
2576 @aitem{mezzo-soprano}
2587 The female voice between @aref{soprano} and
2594 D: eingestrichenes@w{ }c,
2596 DK: enstreget@w{ }c,
2597 S: ettstruket@w{ }c,
2601 First C below the 440 Hz A.
2603 @lilypond[13pt,notime]
2604 \property Score.barNonAuto = ##t
2605 \property Staff.Clef \set #'full-size-change = ##t
2606 \notes\relative c' {
2624 @aref{diatonic scale}.
2626 @aitem{minor interval}
2627 ES: intervalo mayor,
2628 I: intervallo minore,
2629 F: intervalle mineur,
2630 D: kleines Intervall,
2634 FI: pieni intervalli,
2647 FI: moodi, kirkkos@"avelasteikko,
2650 @aref{church mode}, @aref{diatonic scale}.
2660 FI: modulaatio, s@"avellajin vaihdos,
2663 Moving from one @aref{key} to another. For example, the second
2664 subject of a @aref{sonata form} movement modulates to the dominant
2665 key if the key is major and to the @aref{relative key} if the key
2675 FI: mordent, korukuvio,
2680 @aitemii{motive,motif}
2688 FI: teema, s@"avelaihe,
2691 The briefest intelligible and self-contained fragment of a musical theme or
2695 \property Score.TimeSignature \override #'style = #'()
2696 \property Score.TextScript \set #'font-style = #'large
2697 \notes\relative c'' {
2700 \partial 8 g16_"------" fis |
2701 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2702 g8 g,16 a b8 cis d16 s
2717 Greater musical works like @aref{symphony} and
2718 @aref{sonata} most often consist of several -- more or less --
2719 independant pieces called movements.
2721 @aitem{multibar rest}
2722 ES: compases de espera,
2726 D: mehrtaktige Pause,
2729 FI: usean tahdin mittainen tauko,
2733 \notes\relative c'' {
2735 \property Score.skipBars=##t R1*3
2740 @aitem{mixolydian mode}
2741 @aref{diatonic scale}.
2743 @aitem{natural sign}
2747 D: Aufl@"osungszeichen,
2748 NL: herstellingsteken,
2749 DK: op@-l@o{}sningstegn,
2750 S: @aa{}terst@"allningstecken,
2756 @aitem{neighbour tones}
2757 @aref{appoggiatura}.
2786 Notes are signs by means of which music is fixed in writing. The term is also
2787 used for the sound indicated by a note, and even for the key of the piano
2788 which produces the sound. However, a clear distinction between the terms tone
2789 and @aref{note} is strongly recommended. Briefly, one sees a note,
2794 I: testa, testina, capocchia,
2795 F: t@^ete de la note,
2803 A head like sign which indicates pitch by its position on a
2804 @aref{staff} provided with a @aref{clef}, and duration
2805 by a variety of shapes such as hollow or black heads with or without
2806 @aref{stem}s, @aref{flag}s, etc. For percussion
2807 instruments (often having no defined pitch) the note head may indicate the
2813 F: dur@'ee, valeur (d'une note),
2818 FI: nuotin aika-arvo,
2821 Note values (durations) are measured as fractions, normally 1/2, of the next
2822 higher note value. The longest duration normally used is called @emph{brevis},
2823 but sometimes (mostly in pre baroque music) the double length note value
2824 @emph{longa} is used.
2826 @lilypond[13pt,notime]
2827 \property Score.TextScript \set #'font-style = #'large
2828 \property Score.barNonAuto = ##t
2829 \notes\relative c'' {
2830 \property Voice.NoteHead \override #'style = #'mensural
2831 g\longa_"longa" g\breve_"breve"
2832 \property Voice.NoteHead \revert #'style
2833 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2834 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2837 @lilypond[13pt,notime]
2838 \property Score.TextScript \set #'font-style = #'large
2839 \property Score.barNonAuto = ##t
2840 \notes\relative c'' {
2841 r\longa_"longa" r\breve_"breve"
2842 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2843 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2846 An augmentation dot after a note multiplies the duration by one and a
2847 half. Another dot adds yet a fourth of the duration.
2850 \property Score.TextScript \set #'font-style = #'large
2851 \notes\relative c'' {
2853 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2854 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2857 Alternatively note values may be subdivided by other ratios. Most common is
2858 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2859 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2860 dotted notes are also frequently used.
2863 \property Score.TextScript \set #'font-style = #'large
2864 \notes\relative c'' {
2866 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2867 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2872 \notes\relative c'' {
2874 \times 3/2 {g4_"duplets" g} |
2876 \times 6/4 {g8_"quadruplets" g g g} |
2877 g8 g g g g4 \bar "||"
2882 @aref{G clef}, @aref{F clef}.
2897 @aitemiii{ornament,embellishment,accessory}
2899 I: abbellimento, fioriture,
2900 F: agr@'ement, ornement,
2901 D: Verzierung, Ornament,
2908 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2909 with the diatonic @aref{second} above it. In the music from the
2910 middle of the 19th century and onwards the trill is performed with the main
2911 note first while in the music from the preceding baroque and classic periods
2912 the upper note is played first.
2916 \context Staff = sa {
2917 \property Score.TextScript \set #'font-style = #'large
2918 \notes\relative c'' {
2919 c2._"pre-1850" b4\trill | c1 \bar "||"
2920 c2._"post-1850" b4\trill | c1 \bar "||"
2923 \notes\relative c'' {
2924 c2. c32 b c b c b c b | c1
2925 c2. b32 c b c \times 4/5 { b c b c b } | c1
2930 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2931 @emph{prall} (inverted mordent).
2935 \context Staff = sa {
2936 \property Score.TextScript \set #'font-style = #'large
2937 \notes\relative c'' {
2938 a4_"turn" b\turn c2 \bar "||"
2939 g4_"mordent" a b\mordent a \bar "||"
2940 e'4_"prall" d\prall c2 \bar "||"
2943 \notes\relative c'' {
2946 e'4 [e32 d e d ~ d8] c2
2951 @aref{appoggiatura}.
2961 FI: ossia, vaihtoehtoinen esitystapa,
2964 Ossia (otherwise) marks an alternative. It is an added staff or piano
2965 score, usually only a few measures long, which presents another version
2966 of the music, for example for small hands.
2976 FI: stemma, instrumenttiosuus,
2979 1. In instrumental or choral music the music for the single instrument
2980 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2981 melodic line of the contrapunctal web.
2987 D: Schlagzeug, Schlagwerk,
2991 FI: ly@"om@"asoittimet,
2994 A family of musical instruments which are played on by striking or
2995 shaking. Percussion instruments commonly used in a symphony orchestra are
2996 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2997 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3000 @aitem{perfect interval}
3001 ES: intervalo justo,
3002 I: intervallo giusto,
3003 F: intervalle juste,
3004 D: reines Intervall,
3008 FI: puhdas intervalli,
3024 A natural division of the melodic line, comparable to a sentence of speech.
3034 FI: fraseeraus, j@"asent@"aminen,
3037 The clear rendering in musical performance of the @aref{phrase}s of
3038 the melody. Phrasing may be indicated by a @aref{slur}.
3051 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3052 @emph{mezzopiano} (@b{mp}) medium soft.
3070 NL: pizzicato, getokkeld,
3073 FI: pizzicato, n@"app@"aillen,
3076 Play by plucking the strings.
3079 ES: polifon@'{@dotless{i}}a,
3086 FI: polyfonia, moni@"a@"anisyys,
3089 Music written in a combination of several simultaneous voices (parts) of a
3090 more or less pronounced individuality. @aref{counterpoint}.
3099 D: Presto, Sehr schnell,
3100 NL: presto, Sehr schnell,
3103 FI: presto, hyvin nopeasti,
3106 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3107 denotes the highest possible degree of speed.
3109 @aitem{Pythagorean comma}
3110 ES: coma pitag@'orico,
3111 I: comma pitagorico,
3112 F: comma pythagoricien,
3113 D: Pythagor@"aisches Komma,
3114 NL: komma van Pythagoras,
3115 DK: pythagor@ae{}isk komma,
3116 S: pytagoreiskt komma,
3117 FI: pytagorinen komma,
3120 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3121 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3122 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3123 7@w{ }octaves. The difference between those two pitches is called the
3139 @aitem{quarter note}
3141 I: semiminima, nera,
3144 D: Viertel, Viertelnote,
3148 FI: nelj@"annesosanuotti,
3153 @aitem{quarter rest}
3154 ES: silencio de negra,
3155 I: pausa di semiminima,
3160 DK:@w{ }fjerdedelspause,
3161 S: fj@"ardedelspaus,
3162 FI: nelj@"annesosatauko,
3184 D: rallentando, langsamer werden,
3188 FI. rallerdando, hidastuen,
3191 Abbreviation "rall.". @aref{ritardando}.
3193 @aitem{relative key}
3195 I: tonalit@`a relativa,
3196 F: tonalit@'e relative,
3198 NL: paralleltoonsoort,
3199 DK: paralleltoneart,
3201 FI: rinnakkaiss@"avellaji,
3204 @aref{major} and @aref{minor} @aref{key}
3205 with the same @aref{key signature}.
3207 @lilypond[13pt,notime]
3208 \property Score.barNonAuto = ##t
3209 \property Score.TextScript \set #'font-style = #'large
3210 \notes\relative c' {
3212 es1_"e flat major" f g as bes c d es
3217 @lilypond[13pt,notime]
3218 \property Score.barNonAuto = ##t
3219 \property Score.TextScript \set #'font-style = #'large
3220 \notes\relative c' {
3222 c1_"c minor" d es f g a! b! c \bar "||"
3227 ES: barra de repetici@'on,
3229 F: barre de reprise,
3232 DK: gen@-ta@-gel@-se,
3240 \notes\relative c'' {
3241 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3245 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3246 @c specify the rest's value.
3272 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3273 fixed unit of time, called @aref{beat}, and in which the normal
3274 @aref{accent} recurs in regular intervals, called
3275 @aref{measure}. The basic scheme scheme of time values is called
3276 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3277 accent. In modern notation such music appears as a free alternation of
3278 different measures. (c) Free rhythm, i.e., the use of temporal values having
3279 no common metrical unit (beat).
3285 D: Ritardando, langsamer werden,
3289 FI. ritardando, hidastuen,
3292 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3302 FI: ritenuto, hidastaen,
3305 Immediate reduction of speed.
3315 FI: asteikko, s@"avelasteikko,
3318 @aref{diatonic scale}.
3320 @aitem{scale degree}
3321 ES: grados de la escala,
3322 I: grado della scala,
3323 F: degr@'e [de la gamme],
3325 NL: trap [van de toonladder],
3328 FI: s@"avelaste, asteikon s@"avel,
3331 Names and symbols used in harmonic analysis to denote tones of the scale as
3332 roots of chords. The most important are degrees I = tonic (T), IV =
3333 sub@-do@-mi@-nant (S) and V = dominant (D).
3335 @lilypond[13pt,notime]
3336 \property Score.barNonAuto = ##t
3337 \property Score.LyricText \set #'font-style = #'large
3338 %\property Lyrics.minVerticalAlign = #8
3340 \context Staff \notes\relative c' {
3343 \context Lyrics \lyrics {
3344 < { I II III IV V VI VII I }
3349 @aref{functional harmony}.
3355 D: Partitur (full score), Klavierauszug (vocal score)
3362 A copy of orchestral, choral or chamber music showing what each instrument is
3363 to play, each voice to sing, having each part arranged one underneath the
3364 other on different staves @aref{staff}.
3377 The @aref{interval} between two neigbouring tones of a scale. A
3378 @aref{diatonic scale} consists of alternating
3379 @aref{semitone}s and @aref{whole tone}s, hence the size
3380 of a se@-cond depends on the scale degrees in question.
3393 The @aref{interval} of a minor second. The (usually) smallest
3394 interval in European composed music. The interval between two neighbouring
3395 tones on the piano keyboard -- including black and white keys -- is a
3396 semitone. An octave may be divided into 12@w{ }semitones.
3397 @aref{interval}, @aref{chromatic scale}.
3399 @lilypond[13pt,notime]
3400 \property Score.barNonAuto = ##t
3401 \notes\relative c'' { g1 gis s a bes s b! c }
3417 @aitem{sextuplet, sextolet}
3442 @aitem{short appoggiatura}
3443 @aref{appoggiatura}.
3445 @aitem{sixteenth note}
3450 D: Sechzehntel, Sechzehntelnote,
3451 NL: zes@-ti@-ende noot,
3452 DK: sekstendedelsnode,
3454 FI: kuudestoistaosanuotti,
3459 @aitem{sixteenth rest}
3460 ES: silencia de semicorchea,
3461 I: pausa di semicroma,
3463 UK: semiquaver rest,
3464 D: Sechzehntelpause,
3466 DK: sekstendedelspause,
3486 @aitem{sixty-fourth note}
3489 F: quadruple croche,
3490 UK: hemidemisemiquaver,
3491 D: Vierundsechzigstel, Vierundsechzigstelnote,
3492 NL: vierenzestigste noot,
3493 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3494 S: sextiofj@"ardedelsnot,
3495 FI: kuudeskymmenesnelj@"asosanuotti,
3500 @aitem{sixty-fourth rest}
3501 ES: silencia de semifusa,
3502 I: pausa di semibiscroma,
3503 F: seizi@`eme de soupir,
3504 UK: hemidemisemiquaver rest,
3505 D: Vierundsechzigstelpause,
3506 NL: vierenzestigste rust,
3507 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3508 S: sextiofj@"ardedelspaus,
3509 FI: kuudeskymmenesnelj@"asosatauko,
3516 I: legatura (di portamento or espressiva),
3517 F: liaison, coul@'e,
3518 D: Bogen, Legatobogen, Phrasierungsbogen,
3519 NL: fraseringsboog, legatoboog, streekboog,
3520 DK: legatobue, fraseringsbue,
3525 A slur above or below a group of notes indicates that they are to be played
3526 @aref{legato}, e.g., with one stroke of the violin bow or with one
3536 FI: suhteelliset laulunimet,
3539 General term for systems of designating the degrees of the
3540 @aref{scale}, not by letters, but by syllables (@emph{do}
3541 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3542 (@emph{ti})). @aref{scale degree}.
3555 In its present-day meaning a sonata denotes an instrumental composition for
3556 piano or for some other instrument with piano accompaniment, which consists of
3557 three or four independant pieces, called movements.
3562 F: [en] forme de sonate,
3564 NL: hoofdvorm, sonatevorm,
3570 A form used frequently for single movements of the @aref{sonata},
3571 @aref{symphony}, quartet, etc. A movement written in sonata form
3572 falls into three sections called @emph{exposition}, @emph{development} and
3573 @emph{recapitulation}. In the exposition the composer introduces his musical
3574 ideas, consisting of a number of themes; in the development section he
3575 "develops" this material, and in the recapitulation he repeats the exposition,
3576 with certain modifications, however. The exposition contains a number of themes
3577 which fall into two groups, often called first and second subject. Other
3578 melodies occurring in each group are considered as continuations of these
3579 two. The second theme is in another key, normally in the key of the
3580 @aref{dominant} if the @aref{tonic} is
3581 @aref{major}, and in the @aref{relative key} if the
3582 tonic is @aref{minor}.
3592 FI: sopraano, korkea nais@"a@"ani,
3595 The highest female voice.
3600 F: staccato, piqu@'e, d@'etach@'e,
3605 FI: staccato, lyhyesti, ter@"av@"asti,
3608 Playing the note(s) short. Staccato is indicated by a dot above or below the
3614 \notes\relative c'' {
3616 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3623 I: pentagramma, rigo (musicale),
3626 NL: (noten)balk, partij,
3632 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3633 which the musical notes are written, thus indicating (in connection
3634 with a @aref{clef}) their pitch. Staves for
3635 @aref{percussion} instruments may have fewer lines.
3641 D: Hals, Notenhals, Stiel,
3648 Vertical line above or below a @aref{note head} shorter than a
3649 whole note. @aref{beam}.
3651 @lilypond[13pt,notime]
3652 \property Score.autoBeaming = ##f
3653 \property Score.barNonAuto = ##t
3654 \property Score.TextScript \set #'font-style = #'large
3655 \notes\relative c'' {
3674 A family of stringed musical instruments played with a bow. Strings commonly
3675 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3681 D: betonter Taktteil oder Taktschlag,
3683 D: betonet taktslag,
3684 S: betonat taktslag,
3685 FI: tahdin vahva isku,
3688 @aref{beat}, @aref{accent}, @aref{measure},
3699 FI: subdominantti, alidominantti,
3702 The fourth @aref{scale degree}. @aref{functional
3713 FI: alikeskis@"avel,
3716 The sixth @aref{scale degree}.
3726 FI: subtoonika, alitoonika,
3729 The seventh @aref{scale degree}.
3731 @aitem{superdominant}
3742 The sixth @aref{scale degree}.
3755 The second @aref{scale degree}.
3758 ES: sinfon@'{@dotless{i}}a,
3761 D: Sinfonie, Symphonie,
3768 A symphony may be defined as a @aref{sonata} for orchestra.
3781 Any deliberate upsetting of the normal pulse of @aref{meter},
3782 @aref{accent} and @aref{rhythm}. Our system of musical
3783 rhythm rests upon the grouping of equal beats into groups of two or three,
3784 with a regularly recurrent accent on the first beat of each group. Any
3785 deviation from this scheme is felt as a disturbance or contradiction between
3786 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3790 \notes\relative c' {
3793 e c'4 e,8 c'4 e,8 c' ( | ) c2
3797 @aitemii{syntonic comma,dydimic comma}
3798 I: comma sintonico (o didimico),
3799 F: comma syntonique,
3800 D: syntonisches Komma,
3801 NL: syntonische komma,
3802 DK: syntonisk komma,
3803 S: syntoniskt komma,
3804 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3807 Difference between the natural third and the third obtained by Pythagorean
3808 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3817 FI: nuottij@"arjestelm@"a,
3820 The collection of staves @aref{staff}, two or more, as used for
3821 writing down of keyboard, chamber, choral, or orchestral music.
3827 D: Stimmung, Temperatur,
3828 NL: stemming, temperatuur,
3831 FI: viritysj@"arjestelm@"a,
3834 Systems of tuning in which the intervals deviate from the acoustically pure
3835 intervals. @aref{meantone temperament}, @aref{equal
3838 @aitem{tempo indication}
3839 ES: indicaci@'on de tempo,
3840 I: indicazione di tempo,
3841 F: indication de temps,
3842 D: Zeitma@ss{}, Tempobezeichnung,
3843 NL: tempo aanduiding,
3846 FI: tempomerkint@"a,
3849 The rate of speed of a composition or a section thereof, ranging from the
3850 slowest to the quickest, as is indicated by tempo marks as
3851 @aref{largo}, @aref{adagio}, @aref{andante},
3852 @aref{allegro}, and @aref{presto}.
3862 FI: tenori, korkea mies@"a@"ani,
3865 The highest voice of men (apart from @aref{counter tenor}).
3893 @aitem{thirty-second note}
3898 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3899 NL: twee-endertig@-ste noot,
3900 DK: toogtredivtedelsnode,
3901 S: trettiotv@aa{}ondelsnot,
3902 FI: kolmanneskymmeneskahdesosanuotti,
3907 @aitem{thirty-second rest}
3908 ES: silencio de fusa,
3909 I: pausa di biscroma,
3910 F: huiti@`eme de soupir,
3911 UK: demisemiquaver rest,
3912 D: Zweiunddreissigstel@-pause,
3914 DK: toogtredivtedelspause,
3915 S: trettiotv@aa{}ondelspaus,
3916 FI: kolmanneskymmeneskahdesosatauko,
3921 @aitemii{thorough bass,figured bass}
3923 I: basso continuo, basso numerato,
3924 F: basse chiffr@'ee,
3925 D: Generalbass, bezifferter Bass,
3926 NL: basso continuo, becijferde bas
3929 FI: kenraalibasso, numeroitu basso,
3932 A method of indicating an accompaniment part by the bass notes only, together
3933 with figures designating the chief @aref{interval}s and
3934 @aref{chord}s to be played above the bass notes.
3937 \context GrandStaff <
3938 \context Staff = lh \notes\relative c'' {
3942 < \context Voice = rha {
3945 \context Voice = rhb {
3947 << bes g >>8 as << as f >> g << g es >> f << d f >> es | << g es >>4 }
3951 \context Staff = rh \notes\relative c' {
3954 es8 c d bes c as bes16 as g f | es4
3956 \context Lyrics \lyrics {
3957 \property Lyrics . LyricText \set #'font-style = #'Large
3958 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3959 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3960 { "" "" "" "2" "" "" "" "" "" "2" } >
3966 ES: ligadura de prolongaci@'on,
3967 I: legatura (di valore),
3970 NL: overbinding, bindingsboog,
3972 S: bindeb@aa{}ge, @"overbindning,
3976 A curved line, identical in appearance with the @aref{slur}, which
3977 connects two succesive notes of the same pitch, and which has the function of
3978 uniting them into a single sound equal to the combined durations.
3980 @lilypond[13pt,notime]
3981 \property Score.barNonAuto = ##t
3982 \notes\relative c'' { g2 ~ g4. }
3985 @aitem{time signature}
3986 ES: cifra indicadora de comp@'as,
3988 F: chiffrage (chiffres indicateurs), signe de valeur,
3989 D: Taktangabe, Angabe der Taktart,
3992 S: taktartssignatur,
4009 A sound of definite pitch and duration, as distinct from @emph{noise}.
4010 Tone is a primary building material of music.
4011 Music from the 20th century may be based on non tone related sounds.
4024 The first @aref{scale degree}.
4025 @aref{functional harmony}.
4027 @aitem{transposition}
4028 ES: transposici@'on,
4038 Shifting a melody up or down in pitch, while keeping the same
4044 \notes\relative c'' {
4046 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4054 \transpose c bes \relative c'' {
4056 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4063 I: chiave di violino,
4065 D: Violinschl@"ussel, Sopranschl@"ussel,
4067 DK:@w{ }diskantn@o{}gle,
4085 On stringed instruments (@aref{strings}) the quick reiteration of
4086 the same tone, produced by a rapid up-and-down movement movement of the bow
4087 (a). The term is also used for the rapid alternation (b) between two notes of
4088 a @aref{chord}, usually in the distance of a third
4091 @lilypond[13pt,notime]
4092 \property Score.barNonAuto = ##t
4093 \property Score.TextScript \set #'font-style = #'large
4094 \notes\relative c' {
4096 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4097 \repeat "tremolo" 8 { e32_"b" g }
4102 ES: tr@'{@dotless{i}}ada,
4104 F: triade, accord parfait, accord de trois sons,
4114 @aitemii{trill,shake}
4117 F: trille, tremblement, battement (cadence),
4127 @aitem{triple meter}
4128 ES: comp@'as compuesto,
4132 NL: driedelige maatsoort,
4154 ES: tr@'{@dotless{i}}tono,
4168 I: diapason, corista,
4177 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4178 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4180 @aitemii{turn,gruppetto}
4194 ES: un@'{@dotless{i}}sono,
4201 FI: unisono, yksi@"a@"anisesti,
4204 Playing of the same notes or the same melody by various instruments (voices)
4205 or by the whole orchestra (choir), either at exactly the same pitch or in a
4209 ES: entrada anacr@'usica,
4211 F: anacrouse, lev@'ee,
4219 Initial note(s) of a melody occurring before the first bar
4220 line. @aref{measure}, @aref{meter}.
4225 \notes\relative c' {
4226 \partial 4 f4 | bes4. a8 bes4 c |
4227 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
4238 FI: @"a@"ani, laulu@"a@"ani,
4241 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4242 @aref{contralto}, @aref{tenor},
4243 @aref{baritone}, @aref{bass}.
4244 2. A melodic layer or part of a polyphonic composition.
4248 I: tempo debole, arsi,
4250 D: unbetonter Taktteil oder Taktschlag,
4252 DK: ubetonet taktslag,
4253 S: obetonat taktslag,
4254 FI: tahdin heikko isku,
4257 @aref{beat}, @aref{measure}, @aref{rhythm}.
4264 D: Ganze, ganze Note,
4274 ES: silencio de redonda,
4275 I: pausa di semibreve,
4278 D: ganze Pause, ganztaktige Pause,
4298 The @aref{interval} of a major second. The interval between two
4299 tones on the piano keyboard with exactly one key between them -- including
4300 black and white keys -- is a whole tone.
4308 DK tr@ae{}bl@ae{}sere,
4309 S: tr@"abl@aa{}sare,
4313 A family of blown wooden musical instruments. Today some of these instruments
4314 are actually made from metal. The woodwind instruments commonly used in a
4315 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4322 @item DURATION NAMES, NOTES AND RESTS
4325 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4327 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4328 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4332 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4333 @tab longa @tab longa @tab longa @tab longa
4337 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4338 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4342 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4343 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4347 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4348 halve @tab halv @tab halv @tab puoli- @tab
4352 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4353 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4357 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4358 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4362 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4363 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4364 @tab kuudestoistaosa- @tab
4368 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4369 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4370 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4374 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4375 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4376 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4377 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4380 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4388 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4390 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4391 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4396 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4400 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4401 cis @tab cis @tab Cis @tab cis
4405 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4406 des @tab des @tab Des @tab des
4410 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4414 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4418 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4422 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4426 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4427 @tab as @tab As @tab as
4431 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4435 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4436 ais @tab ais @tab Ais @tab ais
4440 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4441 @tab b @tab B @tab b
4445 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4453 @item ---------------------
4457 @item Literature used
4458 The Harvard Dictionary of Music, London 1944. Many more or less literal
4459 quotes from its articles have been included into the item explanation texts.
4461 Hugo Riemanns Musiklexicon, Berlin 1929
4463 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4464 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.