1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @documentencoding utf-8
9 @dircategory GNU music project
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in @uref{source/Documentation/user/out-www/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/out-www/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author Dadiv Gonzalez @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2005 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
61 This glossary was brought you by
69 @item Christian Mondrup
70 Original author of LilyPond glossary, Danish glossary,
73 @item Fran@,{c}ois Pinard
74 Original glossary of GNU music project, French glossary,
75 @item Han-Wen Nienhuys
77 @item Jan Nieuwenhuizen
82 English glossary translations,
84 Finnish glossary translations.
87 Copyright 1999--2005 by the authors
90 Permission is granted to copy, distribute and/or modify this document
91 under the terms of the GNU Free Documentation License, Version 1.1
92 or any later version published by the Free Software Foundation,
93 without Invariant Sections.
99 @c @everyheading @| @thispage @|
100 @c @evenheading @thispage @| @|
101 @c @oddheading @| @| @thispage @|
103 @include macros.itexi
108 @w{@arrow{}@strong{\word\}}@c
111 @arrow{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
132 @item UK - British English
149 * ancient minor scale::
153 * ascending interval::
154 * augmented interval::
186 * compound interval::
188 * conjunct movement::
201 * descending interval::
203 * diminished interval::
205 * disjunct movement::
207 * dissonant interval::
208 * dominant ninth chord::
209 * dominant seventh chord::
212 * dot (augmentation dot)::
214 * double appoggiatura::
216 * double dotted note::
225 * ecclesiastical mode::
231 * equal temperament::
245 * functional harmony::
259 * inverted interval::
272 * long appoggiatura::
277 * meantone temperament::
284 * metronomic indication::
320 * Pythagorean comma::
342 * short appoggiatura::
346 * sixty-fourth note::
347 * sixty-fourth rest::
374 * thirty-second note::
375 * thirty-second rest::
424 FI: aksentti, korostus.
426 The stress of one tone over others.
436 ES: alteración accidentelle,
438 F: altération accidentelle,
439 D: Vorzeichen, Versetzungszeichen, Akzidenz,
440 NL: toevallig voorteken, accident,
442 S: tillfälligt förtecken,
443 FI: tilapäinen etumerkki.
445 An accidental has the effect of an @aref{alteration} of a note. A
446 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
447 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
448 lowers it by a whole tone. A natural cancels the effect of a previous
451 @lilypond[fragment,notime,linewidth=13.0\cm]
452 \set Score.automaticBars = ##f
453 %\override TextScript #'font-style = #'large
455 \context Staff \relative c'' {
456 gis1 gisis ges geses g!
458 \context Lyrics \lyrics {
459 \override Lyrics .LyricText #'self-alignment-X = #-1
460 sharp "db. sharp" flat "db. flat" natural
469 F: accelerando, en accélérant,
470 D: accelerando, schneller werden,
474 FI: accelerando, kiihdyttäen.
488 FI: adagio, hitaasti.
490 It.@: comfortable, easy.
491 1.@tie{}Slow tempo, slower -- especially in even meter -- than
492 @aref{andante} and faster than @aref{largo}.
493 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
494 @aref{sonata}s, symphonies, etc.
502 D: Allegro, Schnell, Fröhlich, Lustig,
506 FI: allegro, nopeasti.
508 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
509 tempo, especially the first and last movements of a @aref{sonata}.
518 NL: verhoging of verlaging,
523 An alteration is the modification, raising or lowering, of a note's
524 pitch. It is established by an @aref{accidental}.
536 FI: altto, matala naisääni.
538 A female voice of low range (@emph{contralto}). Originally the alto was a
539 high male voice (hence the name), which by the use of falsetto reached the
540 height of the female voice. This type of voice is also known as
541 @aref{counter tenor}.
546 ES: clave de do en tercera,
547 I: chiave di contralto,
548 F: clef d'ut troisième ligne,
549 D: Altschlüssel, Bratschenschlüssel,
555 C clef setting middle C on the middle line of the staff
568 FI: ambitus, ääniala, soitinala.
570 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
571 of pitches for a given voice in a part of music. It may also denote
572 the pitch range that a musical instrument is capable of playing.
574 @node ancient minor scale
575 @section ancient minor scale
577 I: scala minore naturale,
578 F: forme du mode mineur ancien, troisème mode, mode hellénique
580 NL: authentieke mineurtoonladder,
583 FI: luonnollinen molliasteikko.
585 @aref{diatonic scale}.
587 @lilypond[fragment,notime,linewidth=13.0\cm]
588 \set Score.automaticBars = ##f
605 Walking tempo/character.
608 @section appoggiatura
612 F: appogiature, (port de voix),
617 FI: appoggiatura, etuhele.
619 Ornamental note, usually a second, that is melodically connected with the
620 main note following it. In music before the 19th century a.@: were usually
621 performed on the beat, after that mostly before the beat. While the short
622 a.@: is performed as a short note regardless of the duration of the main note
623 the duration of the long a.@: is proportional to that of the main note.
625 @lilypond[linewidth=13.0\cm]
626 \context Voice \relative c'' {
630 %\override Score.TextScript #'font-style = #'large
631 <d a fis>4_"notation" r
632 { \override Stem #'flag-style = #'()
634 \revert Stem #'flag-style
637 { \override Stem #'flag-style = #'()
639 \revert Stem #'flag-style
642 \cadenzaOn a4 \bar "||" \cadenzaOff
644 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
645 \cadenzaOn a4 \bar "||" \cadenzaOff
649 An appoggiatura may have more notes preceding the main note.
651 @lilypond[linewidth=13.0\cm]
655 % \override Score.TextScript #'font-style = #'large
656 \grace { bes16 } as8_"notation" as16 bes as8 g |
657 \grace { as16[( bes] } < c as >4-)
658 \grace { as16[( bes] } < c as >4-) \bar "||"
659 \grace { bes16 } as8_"performance" as16 bes as8 g |
660 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
661 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
672 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
674 DK: arpeggio, akkordbrydning,
676 FI: arpeggio, murtosointu.
678 @lilypond[fragment,linewidth=13.0\cm]
679 \context PianoStaff <<
680 \context Staff = SA \relative c'' {
683 r8 g16 c e g, c e r8 g,16 c e g, c e |
684 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
685 \context Staff = SB \relative c' {
687 << \context Voice = va {
689 r16 e8. ( e4) r16 e8. ( e4) |
690 r16 d8. ( d4) r16 d8. ( d4) }
691 \context Voice = vb {
698 @node ascending interval
699 @section ascending interval
701 ES: Intervalo ascendente,
702 I: intervallo ascendente,
703 F: intervalle ascendant,
704 D: steigendes Intervall,
705 NL: stijgend interval,
706 DK:@w{ }stigende interval,
707 S: stigande intervall,
708 FI: nouseva intervalli.
710 A distance between a starting lower note and a higher ending note.
712 @node augmented interval
713 @section augmented interval
715 ES: intervalo aumentado,
716 I: intervallo aumentato,
717 F: intervalle augmenté,
718 D: übermäßiges Intervall,
719 NL: overmatig interval,
720 DK: forstørret interval,
721 S: överstigande intervall,
722 FI: ylinouseva intervalli.
731 D: Autograph, Handschrift,
733 DK: håndskrift, autograf,
735 FI: käsinkirjoitettu nuotti.
737 1.@tie{}A manuscript in the composer's own hand.
738 2.@tie{}Music prepared for photoreproduction by freehand drawing,
739 with the aid of a straightedge ruler and T-square only,
740 which attempts to emulate engraving.
741 This required more skill than did engraving.
763 ES: compás, @aref{measure}.
769 I: stanghetta, barra (di divisione),
770 F: barre (de mesure),
787 FI: baritoni, keskikorkuinen miesääni.
789 The male voice intermediate between the @aref{bass} and the
792 @c F: clef de troisième ligne dropped
795 @section baritone clef
797 ES: clave de fa en tercera,
798 I: chiave di baritono,
799 F: clef d' Ut cinquième ligne, clef de Fa troisième,
806 C or F clef setting middle C on the upper staff line.
807 @aref{C clef}, @aref{F clef}.
812 ES: clave de fa en cuarta,
814 F: clé de fa quatrième ligne,
821 A clef setting with middle C on the first top ledger line.
833 FI: basso, matala miesääni.
835 1.@tie{}The lowest male voice.
836 2.@tie{}Sometimes, especially in jazz music, used as
837 an abbreviation for double bass.
851 Line connecting a series of notes (shorter than a quarter note).
852 The number of beams determines the note value of the connected notes.
854 @lilypond[fragment,notime,linewidth=13.0\cm]
855 \set Score.automaticBars = ##f
856 %\override TextScript #'font-style = #'large
859 g16_"1/16"[ g g g] s16
860 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
861 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
870 D: Takt, Taktschlag, Zeit (im Takt),
876 Note value used for counting, most often half-, fourth-, and eighth notes.
877 The base counting value and the number of them per measure is indicated at
878 the start of the music.
880 @lilypond[fragment,linewidth=13.0\cm]
883 \relative c'' { g4 c b a | g1 \bar "||"}
885 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
899 D: Klammer, Akkolade,
900 NL: accolade, teksthaak,
903 FI: yhdistävä sulkumerkki.
905 Symbol at the start of a system connecting staves. Curly braces are used
906 for connecting piano staves, angular brackets for connecting parts in an
907 orchestral or choral score.
909 @lilypond[fragment,raggedright]
910 \context GrandStaff <<
911 \relative c''\context Staff = SA { \clef treble g4 e c2 }
912 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
915 @lilypond[fragment,raggedright]
916 \context StaffGroup <<
917 % \set StaffGroup.minVerticalAlign = #12
918 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
919 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
931 S: brassinstrument, mässingsinstrument,
934 A family of blown musical instruments made of brass, all using a cup formed
935 mouth piece. The brass instruments commonly used in a symphony orchestra are
936 trumpet, trombone, french horn, and tube.
943 D: Atemzeichen, Trennungszeichen,
944 NL: repercussieteken,
945 DK: vejrtrækningstegn,
949 Indication of where to breathe in vocal and wind instrument parts.
962 @aref{note value}, twice as long as a whole note. Mainly used
965 @lilypond[fragment,notime,raggedright]
966 \set Score.automaticBars = ##f
967 \relative c'' { g\breve }
994 Clef symbol indicating the position of the middle C. Used on all note
997 @lilypond[fragment,notime,linewidth=13.0\cm]
998 \set Score.automaticBars = ##f
999 \override Score.Clef #'full-size-change = ##t
1000 %\override Score.LyricText #'font-style = #'large
1002 \context Staff \relative c' {
1003 \clef soprano c1 s s
1004 \clef mezzosoprano c s s
1007 \clef baritone c s s
1009 \context Lyrics \lyrics {
1010 \override Lyrics .LyricText #'self-alignment-X = #-1
1011 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1025 FI: kadenssi, lopuke.
1027 @aref{harmonic cadence}, @aref{functional harmony}.
1039 FI: kadenssi, lopuke.
1041 An extended, improvisatory style section inserted near the end of
1042 movement. The purpose of a cadenza is to give singers or players a chance
1043 to exhibit their technical skill and -- not last -- their ability to
1044 improvise. Since the middle of the 19th century, however, most cadences have
1045 been written down by the composer.
1057 FI: kaanon, tarkka jäljittely.
1059 @aref{counterpoint}.
1071 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1073 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1074 of an equally tempered @aref{semitone}).
1075 @aref{equal temperament}.
1094 Three or more tones sounding simultaneously. In traditional European music the
1095 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1096 minor @aref{third}) as well as @emph{minor} (minor + major third)
1097 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1098 and five-tone @emph{ninth} major chords are most often used as dominants
1099 (@aref{functional harmony}). A special case is chords having no
1100 third above the lower notes to define their quality as major or minor. Such
1101 chords are denoted open chords
1103 @lilypond[fragment,notime,linewidth=13.0\cm]
1104 \set Score.automaticBars = ##f
1105 %\override TextScript #'font-style = #'large
1107 \context Staff \relative c'' {
1115 \context Lyrics \lyrics{
1125 @node chromatic scale
1126 @section chromatic scale
1128 ES: escala cromática,
1130 F: gamme chromatique,
1131 D: chro@-ma@-ti@-sche Tonleiter,
1132 NL: chromatische toonladder,
1133 DK: kromatisk skala,
1135 FI: kromaattinen asteikko.
1137 A scale consisting of all 12 @aref{semitone}s.
1139 @lilypond[fragment,notime,linewidth=13.0\cm]
1140 \set Score.automaticBars = ##f
1141 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1145 @section chromaticism
1156 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1159 @section church mode
1161 ES: modo eclesiástico,
1162 I: modo ecclesiastico,
1163 F: mode ecclésiastique,
1168 FI: moodi, kirkkosävellaji.
1170 @aref{diatonic scale}.
1178 D: Schlüssel, Notenschlüssel,
1182 FI: avain, nuottiavain.
1184 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1189 A @emph{cluster} is a range of simultaneously sounding pitches that
1190 may change over time. The set of available pitches to apply usually
1191 depends on the acoustic source. Thus, in piano music, a cluster
1192 typically consists of a continuous range of the semitones as provided
1193 by the piano's fixed set of a chromatic scale. In choral music, each
1194 singer of the choir typically may sing an arbitrary pitch within the
1195 cluster's range that is not bound to any diatonic, chromatic or other
1196 scale. In electronic music, a cluster (theoretically) may even cover
1197 a continuous range of pitches, thus resulting in colored noise, such
1200 Clusters can be denoted in the context of ordinary staff notation by
1201 engraving simple geometrical shapes that replace ordinary notation of
1202 notes. Ordinary notes as musical events specify starting time and
1203 duration of pitches; however, the duration of a note is expressed by
1204 the shape of the note head rather than by the horizontal graphical
1205 extent of the note symbol. In contrast, the shape of a cluster
1206 geometrically describes the development of a range of pitches
1207 (vertical extent) over time (horizontal extent). Still, the
1208 geometrical shape of a cluster covers the area in which any single
1209 pitch contained in the cluster would be notated as an ordinary note.
1211 @lilypond[fragment,relative=2,verbatim,raggedright]
1212 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1224 FI: komma, korvinkuultava ero äänenkorkeudessa.
1226 Difference in pitch between a note derived from pure tuning and the same note
1227 derived from some other tuning method. @aref{temperament}.
1230 @section common meter
1234 @node compound interval
1235 @section compound interval
1237 ES: intervalo compuesto,
1238 I: intervallo composto,
1239 F: intervalle composé,
1240 D: weites Intervall,
1241 NL: samengesteld interval,
1242 DK: sammensat interval,
1243 S: sammansatt intervall,
1244 FI: oktaavia laajempi intervalli.
1246 Intervals larger than an octave.
1254 F: intervalle complémentaire,
1255 D: Komplementärintervall,
1256 NL: complementair interval,
1257 DK: komplementærinterval,
1258 S: komplementärintervall (?),
1259 FI: täydentävä intervalli.
1261 @aref{inverted interval}.
1263 @node conjunct movement
1264 @section conjunct movement
1266 ES: movimiento conjunto,
1268 F: mouvement conjoint,
1269 D: schritt@-weise, stufenweise Bewegung,
1270 NL: stapsgewijze, trapsgewijze beweging,
1271 DK: trinvis bevægelse,
1273 FI: asteittainen liike.
1275 Progressing melodically by intervals of a second. The opposite of a
1276 @aref{disjunct movement}.
1278 @lilypond[fragment,linewidth=13.0\cm]
1279 \key g \major \time 4/4
1280 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1293 FI: konsonanssi, sopusointi.
1312 @section counterpoint
1321 FI: kontrapunkti, ääni ääntä vastaan.
1323 From latin @emph{punctus contra punctum}, note against note. The combination
1324 into a single musical fabric of lines or parts which have distinct melodic
1325 significance. A frequently used polyphonic technique is imitation, in its
1326 strictest form found in the canon needing only one part to be written down
1327 while the other parts are performed with a given displacement. Imitation is
1328 also the contrapunctal technique used in the @emph{fugue} which, since the
1329 music of the baroque era, has been one of the most popular polyphonic
1330 composition methods.
1332 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
1333 \override Score.TimeSignature #'break-visibility = #all-invisible
1334 \context PianoStaff <<
1335 \context Staff = SA \relative c' {
1339 << \context Voice = rha {
1341 r1 | r2 r8 g'8 bes d, |
1342 cis4 d r8 e!16 f g8 f16 e |
1343 f8 g16 a bes8 a16 g a8
1345 \context Voice = rhb {
1351 \context Staff = SB \relative c' {
1354 << \context Voice = lha {
1356 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1357 r8 a16 g f8 g16 a bes8 g e! cis' |
1360 \context Voice = lhb {
1369 @section counter tenor
1374 D: Countertenor, Kontratenor,
1377 S: kontratenor, counter tenor,
1383 @section copying music
1385 A music copyist did fast freehand scores and parts on preprinted staff lines
1386 for performance. Some of their conventions (e.g., the placement of note heads
1387 on stems) varied slightly from those of engravers. Some of their working
1388 methods were superior and could well be adopted by music typesetters. This
1389 required more skill than engraving.
1397 D: Crescendo, lauter werden,
1401 FI: cresendo, voimistuen.
1403 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1404 abbreviation ``cresc.''.
1406 @lilypond[fragment,raggedright]
1407 \key g \major \time 4/4
1408 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1416 F: petites notes précédent l'entrée d'in instrument, réplique,
1423 In a separate part notes belonging to another part with the purpose of hinting
1424 when to start playing. Usually printed in a smaller type.
1429 A custos is a staff symbol that appears at the end of a staff line
1430 with monophonic musical contents (i.e., with a single voice). It
1431 anticipates the pitch of the first note of the following line and thus
1432 helps the player or singer to manage line breaks during performance,
1433 thus enhancing readability of a score.
1435 Custodes were frequently used in music notation until the 16th
1436 century. There were different appearences for different notation
1437 styles. Nowadays, they have survived only in special forms of musical
1438 notation such as via the editio vaticana dating back to the beginning
1444 % \override Staff.Custos #'neutral-position = #4
1445 \override Staff.Custos #'neutral-direction = #-1
1446 \override Staff.Custos #'style = #'hufnagel
1454 \consists Custos_engraver
1478 F: da capo, depuis le commencement,
1479 D: da capo, von Anfang,
1483 FI: da capo, alusta.
1485 The term indicates repetition of the piece from the beginning to the end or
1486 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1493 F: dal segno, depuis le signe,
1494 D: dal segno, ab dem Zeichen,
1498 FI: dal segno, lähtien merkistä.
1500 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1501 another place frequently near the beginning marked by a sign:
1503 @lilypond[fragment,raggedright]
1504 %\override TextScript #'font-style = #'large
1505 \override TextScript #'font-shape = #'italic
1506 \key g \major \time 4/4
1511 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
1517 @section decrescendo
1521 D: Decrescendo, leiser werden,
1525 FI: decresendo, hiljentyen.
1527 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1528 or the abbreviation ``decresc.''.
1530 @lilypond[fragment,raggedright]
1532 \key g \major \time 4/4
1533 d4 \> c b a | g1 \! \bar "|."
1537 @node descending interval
1538 @section descending interval
1540 ES: intervalo descendente,
1541 I: intervallo discendente,
1542 F: intervalle descendant,
1543 D: fallendes Intervall, absteigendes Intervall,
1544 NL: dalend interval,
1545 DK: faldende interval,
1546 S: fallande intervall,
1547 FI: laskeva intervalli.
1549 A distance between a starting higher note and a lower ending note.
1551 @node diatonic scale
1552 @section diatonic scale
1554 ES: escala diatónica,
1556 F: gamme diatonique,
1557 D: diatonische Tonleiter,
1558 NL: diatonische toonladder,
1559 DK: diatonisk skala,
1561 FI: diatoninen asteikko.
1563 A scale consisting of 5@w{ }@aref{whole tone}s and
1564 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1565 of a piano keybord are diatonic.
1567 The church modes are used in gregorial chant and in pre-baroque early
1568 music but also to some extent in newer jazz music.
1570 @lilypond[fragment,notime,raggedright]
1571 \set Score.automaticBars = ##f
1572 %\override Score.LyricText #'font-style = #'large
1573 %\override Score.TextScript #'font-style = #'large
1575 \context Staff \relative c' {
1577 \override TextScript #'padding = #-4
1578 e^"~~ S" f g a b^"~~ S" c
1580 \context Lyrics \lyrics {
1585 @lilypond[fragment,notime,raggedright]
1586 \set Score.automaticBars = ##f
1587 %\override Score.LyricText #'font-style = #'large
1588 %\override Score.TextScript #'font-style = #'large
1590 \context Staff \relative c' {
1592 \override TextScript #'padding = #-4
1593 e^"~~ S" f g a b^"~~ S" c d
1595 \context Lyrics \lyrics {
1600 @lilypond[fragment,notime,raggedright]
1601 \set Score.automaticBars = ##f
1602 %\override Score.LyricText #'font-style = #'large
1603 %\override Score.TextScript #'font-style = #'large
1606 \override TextScript #'padding = #-4
1607 e1^"~~ S" f g a b^"~~ S" c d e
1609 \context Lyrics \lyrics {
1614 @lilypond[fragment,notime,raggedright]
1615 \set Score.automaticBars = ##f
1616 %\override Score.LyricText #'font-style = #'large
1617 %\override Score.TextScript #'font-style = #'large
1621 \override TextScript #'padding = #-4
1622 b^"~~ S" c d e^"~~ S" f
1624 \context Lyrics \lyrics {
1629 @lilypond[fragment,notime,raggedright]
1630 \set Score.automaticBars = ##f
1631 %\override Score.LyricText #'font-style = #'large
1632 %\override Score.TextScript #'font-style = #'large
1636 \override TextScript #'padding = #-4
1637 b^"~~ S" c d e^"~~ S" f g }
1638 \context Lyrics \lyrics {
1643 @lilypond[fragment,notime,raggedright]
1644 \set Score.automaticBars = ##f
1645 %\override Score.LyricText #'font-style = #'large
1646 %\override Score.TextScript #'font-style = #'large
1650 \override TextScript #'padding = #-4
1651 b^"~~ S" c d e^"~~ S" f g a
1653 \context Lyrics \lyrics {
1658 From the beginning of the 17th century the scales used in European
1659 compositional music are primarily the major and the minor scales. In the
1660 harmonic minor scale type an augmented second (A) occurs between the 6th and
1663 @lilypond[fragment,notime,raggedright]
1664 \set Score.automaticBars = ##f
1665 %\override Score.LyricText #'font-style = #'large
1666 %\override Score.TextScript #'font-style = #'large
1670 \override TextScript #'padding = #-4
1671 e^"~~ S" f g a b^"~~ S" c
1673 \context Lyrics \lyrics {
1678 @lilypond[fragment,notime,raggedright]
1679 \set Score.automaticBars = ##f
1680 %\override Score.LyricText #'font-style = #'large
1681 %\override Score.TextScript #'font-style = #'large
1685 \override TextScript #'padding = #-4
1686 b^"~~ S" c d e^"~~ S" f g a
1688 \context Lyrics \lyrics {
1693 @lilypond[fragment,notime,raggedright]
1694 \set Score.automaticBars = ##f
1695 %\override Score.LyricText #'font-style = #'large
1696 %\override Score.TextScript #'font-style = #'large
1700 \override TextScript #'padding = #-4
1701 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1703 \context Lyrics \lyrics {
1708 @lilypond[fragment,notime,linewidth=13.0\cm]
1709 \set Score.automaticBars = ##f
1710 %\override Score.LyricText #'font-style = #'large
1711 %\override Score.TextScript #'font-style = #'large
1715 \override TextScript #'padding = #-4
1716 b^"~~ S" c d e fis gis^"~~ S"
1717 a g! f!^"~~ S" e d c^"~~ S" b a
1719 \context Lyrics \lyrics {
1724 @node diminished interval
1725 @section diminished interval
1727 ES: intervalo disminuído,
1728 I: intervallo diminuito,
1729 F: intervalle diminué,
1730 D: vermindertes Intervall,
1731 NL: verminderd interval,
1732 DK: formindsket interval,
1733 S: förminskat intervall,
1734 FI: vähennetty intervalli.
1748 FI: diminuendo, hiljentyen.
1752 @node disjunct movement
1753 @section disjunct movement
1755 ES: movimiendo disjunto,
1757 F: mouvement disjoint,
1758 D: sprunghafte Bewegung,
1759 NL: sprongsgewijze beweging,
1760 DK: springende bevægelse,
1761 S: hoppande rörelse,
1762 FI: melodian hyppivä liike.
1764 Progressing melodically by intervals larger than a major second.
1765 Opposite of @aref{conjunct movement}.
1767 @lilypond[fragment,raggedright]
1772 a4. gis8 b a e cis |
1773 fis2 d4. \bar "||" }
1779 @ref{dissonant interval}.
1781 @node dissonant interval
1782 @section dissonant interval
1784 ES: intervalo disonante, disonancias,
1785 I: intervallo dissonante, dissonanza,
1788 NL: dissonant interval; dissonant,
1789 DK: dissonerende interval, dissonans,
1791 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1795 @node dominant ninth chord
1796 @section dominant ninth chord
1798 I: accordo di nona di dominante,
1799 F: accord de neuvième dominante,
1800 D: Domi@-nant@-nonen@-akkord,
1801 NL: dominant noon akkoord,
1802 DK: dominantnoneakkord,
1803 S: dominantnonackord,
1804 FI: dominanttinoonisointu.
1806 @aref{chord}, @aref{functional harmony}.
1808 @node dominant seventh chord
1809 @section dominant seventh chord
1811 ES: acorde de séptima de dominante,
1812 I: accordo di settima di dominante,
1813 F: accord de septième dominante,
1814 D: Dominantseptakkord,
1815 NL: dominant septiem akkoord,
1816 DK: dominantseptimakkord,
1817 S: dominantseptimackord,
1818 FI: dominanttiseptimisointu.
1820 @aref{chord}, @aref{functional harmony}.
1832 FI: dominantti, huippusointu.
1834 The fifth @aref{scale degree},
1835 @aref{functional harmony}.
1838 @section dorian mode
1843 D: dorisch, dorischer Kirchenton,
1844 NL: dorische toonladder,
1849 @aref{diatonic scale}.
1851 @node dot (augmentation dot)
1852 @section dot (augmentation dot)
1855 I: punto (di valore),
1857 D: Punkt (Verlängerungspunkt),
1866 @section dotted note
1868 ES: nota con puntillo,
1872 NL: gepuncteerde noot,
1875 FI: pisteellinen nuotti.
1879 @node double appoggiatura
1880 @section double appoggiatura
1882 ES: apoyatura doble,
1883 I: appoggiatura doppia,
1884 F: appoggiature double,
1885 D: doppelter Vorschlag,
1886 NL: dubbele voorslag,
1887 DK: dobbelt forslag,
1889 FI: kaksoisappogiatura, kaksoisetuhele.
1891 @aref{appoggiatura}.
1893 @node double bar line
1894 @section double bar line
1899 NL: dubbele maatstreep,
1902 FI: kaksoistahtiviiva.
1904 Indicates the end of a section within a movement.
1906 @node double dotted note
1907 @section double dotted note
1909 ES: nota con dos puntillos,
1910 I: nota doppiamente puntata,
1911 F: note doublement pointée,
1912 D: doppelt punktierte Note,
1913 NL: dubbelgepuncteerde noot,
1914 DK: dob@-belt@-punk@-te@-ret node,
1915 S: dub@-bel@-punk@-te@-rad not,
1916 FI: kaksoispisteellinen nuotti.
1921 @section double flat
1930 FI: kaksoisalennusmerkki.
1935 @section double sharp
1937 ES: doble sostenido,
1942 DK: dob@-belt@-kryds,
1944 FI: kaksoisylennysmerkki.
1949 @section double trill
1955 NL: dubbele triller,
1960 A simultaneous trill on two notes, usually in the distance of a third.
1963 @section duple meter
1969 NL: tweedelige maatsoort,
2000 FI: kesto, aika-arvo.
2005 @section dydimic comma
2007 @aref{syntonic comma}.
2021 @node ecclesiastical mode
2022 @section ecclesiastical mode
2027 @section eighth note
2033 D: Achtel, Achtelnote,
2035 DK: ottendedelsnode,
2037 FI: kahdeksasosanuotti.
2042 @section eighth rest
2044 ES: silencio de corchea,
2050 DK: ottendedelspause,
2052 FI: kahdeksasosatauko.
2057 @section embellishment
2068 D: Notenstechen, Notendruck
2074 Engraving means incising or etching a metal plate for
2075 printing. Photoengraving means drawing music with ink in a manner
2076 similar to drafting or engineering drawing, using similar tools.
2078 The traditional process of music printing is done through cutting in a
2079 plate of metal. Now also the term for the art of music typesetting.
2093 Two notes, intervals, or scales are enharmonic if they have different names
2096 @lilypond[fragment,notime,linewidth=13.0\cm]
2097 \set Score.automaticBars = ##f
2098 %\override Score.TextScript #'font-style = #'large
2100 \context Staff \relative c'' {
2101 gis1 s s as s s <des g,!> s s <cis g!> s s
2103 \context Lyrics \lyrics {
2104 \override Lyrics .LyricText #'self-alignment-X = #-1
2105 "g sharp " "a flat " "dim fifth " "augm fourth"
2109 @node equal temperament
2110 @section equal temperament
2113 I: temperamento equabile,
2114 F: tempérament égal,
2115 D: gleichschwebende Stimmung,
2116 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2117 DK: ligesvævende temperatur,
2118 S: liksvävande temperatur,
2121 Tuning system dividing the octave into 12 equal @aref{semitone}s
2122 (precisely 100 @aref{cent}s). @aref{temperament}.
2124 @node expression mark
2125 @section expression mark
2128 I: segno d'espressione,
2129 F: signe d'expression, indication de nuance,
2131 NL: voordrachtsteken,
2132 DK: foredragsbetegnelse,
2133 S: föredragsbeteckning,
2134 FI: nyanssiosoitus, esitysmerkki.
2136 Performance indications concerning 1. volume, dynamics (for example
2137 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2138 @aref{andante}, @aref{allegro}).
2164 The position between the dots of the key symbol is the line of the F below
2165 central@w{ }C. Used on the third, fourth and fifth note line. A
2166 digit@w{ }8 above the clef symbol indicates that the notes must be played
2167 an octave higher (for example bass recorder) while 8@w{ }below the clef
2168 symbol indicates playing an octave lower (for example on double bass
2171 @lilypond[fragment,notime,linewidth=13.0\cm]
2172 \set Score.automaticBars = ##f
2173 \override Staff.Clef #'full-size-change = ##t
2174 %\override Score.LyricText #'font-style = #'large
2188 \context Lyrics \lyrics {
2189 % \override Lyrics .LyricText #'self-alignment-X = #-1
2198 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2205 F: point d'orgue, point d'arr@^et,
2210 FI: fermaatti, pidäke.
2212 Prolonged note or rest of indefinite duration.
2214 @lilypond[fragment,raggedright]
2217 a4 b c2^\fermata \bar "|."
2236 @section figured bass
2238 ES: bajo cifrado, @aref{thorough bass}.
2252 The methodical use of fingers in the playing of instruments.
2258 I: coda (uncinata), bandiera,
2266 Ornament at the end of the stem of a note used for notes with values
2267 less than a quarter note. The number of flags determines the
2270 @lilypond[fragment,notime,raggedright]
2271 \set Score.automaticBars = ##f
2272 %\override Score.TextScript #'font-style = #'large
2298 @aref{appoggiatura}.
2310 FI: forte, voimakkaasti.
2312 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2313 @emph{mezzoforte} (@b{mf}) medium loud.
2341 @aref{counterpoint}.
2343 @node functional harmony
2344 @section functional harmony
2346 ES: armonía funcional,
2347 I: armonia funzionale,
2348 F: étude des functions,
2350 NL: functionele harmonie,
2351 DK: funktionsanalyse, funktionsharmonik,
2353 FI: harmoniajärjestelmä.
2355 A system of harmonic analysis. It is based on the idea that, in a given key,
2356 there are only three functionally different chords: tonic (T, the chord on the
2357 first note of the scale), subdominant (S, the chord on the fourth note), and
2358 dominant (D, the chord on the fifth note). Others are considered to be
2359 variants of the base chords.
2361 @lilypond[fragment,notime,linewidth=13.0\cm]
2362 \set Score.automaticBars = ##f
2363 %\override Score.LyricText #'font-style = #'large
2364 %\override Score.TextScript #'font-style = #'large
2366 \context Voice \relative c'' {
2367 <g e c >1 < a f d > < b g e >
2368 <c a f > < d b g > < e c a > < f d b > }
2369 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
2390 D: G-Schlüssel, Violinschlüssel,
2396 A clef symbol indicating the G above central@w{ }C. Used on the first
2397 and second note lines. A digit 8 above the clef symbol indicates that
2398 the notes must be played an octave higher while 8 below the clef symbol
2399 indicates playing or singing an octave lower (most tenor parts in choral
2400 scores are notated like that).
2402 @lilypond[fragment,notime,linewidth=13.0\cm]
2403 \set Score.automaticBars = ##f
2404 \override Staff.Clef #'full-size-change = ##t
2405 %\override Score.LyricText #'font-style = #'large
2417 \context Lyrics \lyrics {
2418 \override Lyrics .LyricText #'self-alignment-X = #-1
2419 "french violin clef "
2436 FI: glissando, liukuen.
2438 Letting the pitch slide fluently from one note to the other.
2441 @section grace notes
2446 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2452 Notes printed in small types to indicate that their time values are not
2453 counted in the rhythm of the bar. @aref{appoggiatura}.
2456 @section grand staff
2463 S: ackolad, böjd klammer,
2464 FI: kaksoisnuottiviivasto.
2468 A combination of two staves with a brace. Usually used for piano music.
2480 FI: grave, raskaasti.
2496 D: Halbe, halbe Note,
2519 @node harmonic cadence
2520 @section harmonic cadence
2522 ES: cadencia (armónica),
2523 I: cadenza (armonica),
2524 F: cadence harmonique,
2526 NL: harmonische cadens,
2527 DK: harmonisk kadence,
2528 S: (harmonisk) kadens,
2529 FI: harmoninen kadenssi.
2531 A sequence of chords that terminates a musical phrase or
2532 section. @aref{functional harmony}.
2534 @lilypond[fragment,raggedright]
2535 \context PianoStaff <<
2536 \context Staff = SA \relative c'' {
2540 \partial 4 < c g e >4 |
2541 < c a f > < b g d > < c g e >2
2543 % %\override Score.LyricText #'font-style = #'large
2545 \context Staff = SB \relative c {
2547 \partial 4 c4 | f, g c2
2550 \context Lyrics \lyrics {
2562 D: Harmonie, Zusammenklang,
2566 FI: harmonia, yhteissointi.
2568 Tones sounding simultaneously. Two note harmonies fall into the categories
2569 @emph{consonances} and @emph{dissonances}.
2573 @lilypond[fragment,notime,linewidth=13.0\cm]
2574 \set Score.automaticBars = ##f
2575 %\override Score.TextScript #'font-style = #'large
2576 \context Voice \relative c'' {
2589 @lilypond[fragment,notime,linewidth=13.0\cm]
2590 \set Score.automaticBars = ##f
2591 %\override Score.TextScript #'font-style = #'large
2592 \context Voice \relative c'' {
2593 <g a>1_"second " s s
2594 <g f'>_"seventh " s s
2599 Three note harmony @aref{chord}.
2611 FI: homofonia, yksiäänisyys.
2613 Music in which one voice leads melodically followed by the other voices more
2614 or less in the same rhythm. In contrast to @aref{polyphony}.
2626 FI: intervalli, kahden sävelen korkeusero.
2628 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2629 diminished, or augmented. The augmented fourth and the diminished fifth are
2630 identical (@aref{enharmonic}) and are called @emph{tritonus}
2631 because they consist of three @aref{whole tone}s. The addition
2632 of such two intervals forms an octave.
2634 @lilypond[fragment,notime,linewidth=13.0\cm]
2635 \set Score.automaticBars = ##f
2636 %\override Score.LyricText #'font-style = #'large
2637 %\override Score.TextScript #'font-style = #'large
2639 \context Voice \relative c'' {
2644 < gis bes >^"dimin" s
2645 < g! bes >^"minor" s
2649 \context Lyrics \lyrics {
2650 "unisone " "second " "second " "second "
2651 "third " "third " "third " "third"
2655 @lilypond[fragment,notime,linewidth=13.0\cm]
2656 \set Score.automaticBars = ##f
2657 %\override Score.LyricText #'font-style = #'large
2658 %\override Score.TextScript #'font-style = #'large
2660 \context Staff \relative c'' {
2661 < g c >1^"perfect" s
2663 < g d' >^"perfect" s
2664 < g des' > ^"dimin" s
2665 < gis es' >^"dimin" s
2666 < g! es' >^"minor" s
2670 \context Lyrics \lyrics {
2671 "fourth " "fourth " "fifth " "fifth "
2672 "sixth " "sixth " "sixth " "sixth"
2676 @lilypond[fragment,notime,linewidth=13.0\cm]
2677 \set Score.automaticBars = ##f
2678 %\override Score.LyricText #'font-style = #'large
2679 %\override Score.TextScript #'font-style = #'large
2681 \context Staff \relative c'' {
2682 < gis f'! >1^"dimin" s
2683 < g! f'! >^"minor" s
2684 < g fis' >^"major" s
2688 < g bes' >^"minor" s
2691 \context Lyrics \lyrics {
2692 "seventh " "seventh " "seventh " "octave "
2693 "none " "none " "decime " "decime"
2697 @node inverted interval
2698 @section inverted interval
2700 ES: intervalo invertido,
2701 I: intervallo rivolto,
2702 F: intervalle reversé,
2703 D: umgekehrtes Intervall,
2704 NL: interval inversie,
2705 DK: omvendingsinterval,
2706 S: intervallets omvändning,
2707 FI: käänteisintervalli.
2709 The difference between an interval and an octave.
2711 @lilypond[fragment,notime,linewidth=13.0\cm]
2712 \set Score.automaticBars = ##f
2713 %\override Score.TextScript #'font-style = #'large
2714 \context Staff \relative c'' {
2715 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2716 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2717 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2721 @node just intonation
2722 @section just intonation
2724 I: intonazione giusta,
2725 F: intonation juste,
2732 Tuning system in which the notes are obtained by adding and subtracting
2733 natural fifths and thirds. @aref{temperament}.
2747 According to the 12@w{ }tones of the @aref{chromatic scale}
2748 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2749 @aref{key signature}.
2752 @section key signature
2754 ES: armadura de clave,
2755 I: armatura di chiave,
2756 F: armure, armature [de la clé],
2757 D: Vorzeichen, Tonart,
2758 NL: toon@-soort (voortekens),
2761 FI: sävellajiosoitus.
2763 The sharps or flats appearing at the beginning of each staff indicating the
2764 key of the music. @aref{accidental}.
2772 D: Largo, Langsam, Breit,
2776 FI: largo, hitaasti, leveästi.
2778 Very slow in tempo, usually combined with great
2779 expressiveness. @emph{Larghetto} is less slow than largo.
2782 @section leading note
2793 The seventh @aref{scale degree}, a @aref{semitone} below
2794 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2795 upwards) to the tonic scale degree.
2798 @section ledger line
2800 ES: líneas adicionales,
2801 I: tagli addizionali,
2802 F: ligne supplémentaire,
2809 A ledger line is an extension of the staff.
2811 @lilypond[fragment,notime,raggedright]
2812 \set Score.automaticBars = ##f
2813 \relative c'' { a,1 s c'' }
2828 To be performed (a) without any perceptible interruption between the notes,
2829 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2830 (d) @aref{staccato}.
2832 @lilypond[fragment,notime,linewidth=13.0\cm]
2833 \set Score.automaticBars = ##f
2835 \context Staff \relative c'' {
2836 c4-( d e-) \bar "||"
2837 c4-- d-- e-- \bar "||"
2838 c4-.-( d-. e-.-) \bar "||"
2839 c4-. d-. e-. \bar "||"
2841 \context Lyrics \lyrics {
2842 % \override Lyrics .LyricText #'font-style = #'large
2851 @section legato curve
2853 @aref{slur}, @aref{legato}.
2863 ES: estanque de lilas,
2864 I: stagno del giglio,
2868 NL: le@-lie@-vij@-ver,
2873 A pond with lilies floating in it, also the name of a music typesetter.
2878 A ligature is a coherent graphical symbol that represents at least two
2879 distinct notes. Ligatures originally appeared in the manuscripts of
2880 Gregorian chant notation roughly since the 9th century to denote
2881 ascending or descending sequences of notes. In early notation,
2882 ligatures were used for monophonic tunes (Gregorian chant) and very
2883 soon denoted also the way of performance in the sense of articulation.
2884 With the invention of the metric system of the white mensural
2885 notation, the need for ligatures to denote such patterns disappeared.
2893 D: Linie, Notenlinie,
2897 FI: viiva, nuottiviiva.
2901 @node long appoggiatura
2902 @section long appoggiatura
2904 ES: apoyatura larga,
2905 I: appoggiatura lunga,
2906 F: appoggiature longue,
2907 D: langer Vorschlag,
2911 FI: pitkä appoggiatura, pitkä etuhele.
2913 @aref{appoggiatura}.
2927 Note value: double length of @aref{breve}.
2930 @lilypond[fragment,notime,raggedright]
2931 \set Score.automaticBars = ##f
2933 \override NoteHead #'style = #'mensural
2950 @node major interval
2951 @section major interval
2953 ES: intervalo mayor,
2954 I: intervallo maggiore,
2955 F: intervalle majeur,
2956 D: großes Intervall,
2960 FI: suuri intervalli.
2976 @aref{diatonic scale}.
2978 @node meantone temperament
2979 @section meantone temperament
2981 I: accordatura mesotonica,
2982 F: tempérament mésotonique,
2983 D: mitteltönige Stimmung,
2984 NL: middenstemming, middentoonstemming,
2985 DK: middeltonetemperatur,
2986 S: medeltonstemperatur,
2987 FI: keskisävelviritys.
2989 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2990 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2991 @aref{temperament} only a limited set of keys are playable.
2992 Used for tuning keyboard instruments for performance of pre-1650 music.
3006 A group of @aref{beat}s (units of musical time) the first of which
3007 bears an accent. Such groups in numbers of two or more recur consistently
3008 throughout the composition and are marked from each other by
3009 bar-lines. @aref{meter}.
3015 I: mediante, modale,
3023 1.@tie{}The third @b{scale degree}.
3024 2.@tie{}A @aref{chord} having its base tone
3025 a third from that of another chord. For example, the tonic chord may be
3026 replaced by its lower mediant (variant tonic). @aref{functional
3027 harmony}, @aref{relative key}.
3033 FI: melisma, laulettavan tavun sävelkuvio.
3035 A melisma (plural: melismata) is a group of notes or tones sung on one
3036 syllable in plainsong
3038 @node melodic cadence
3039 @section melodic cadence
3048 F: indication de mésure,
3055 The basic scheme of @aref{note value}s and
3056 @aref{accent}s which remains unaltered throughout a composition
3057 or a section of it. For instance, 3/4 meter means that the basic
3058 @aref{note value}s are quarter notes and that a
3059 @aref{measure} consists of three of those. According to
3060 whether there are two, three, or four units to the measure,
3061 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3062 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3064 @lilypond[fragment,linewidth=13.0\cm]
3068 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3071 @lilypond[fragment,linewidth=13.0\cm]
3075 f8 f f f a16 g a f |
3076 c'8 c c c e16 d e c \bar "||"}
3079 @lilypond[fragment,linewidth=13.0\cm]
3083 d4 b8 g b d d c a4 |
3084 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3099 Device indicating the exact tempo of a piece. @aref{metronomic
3102 @node metronomic indication
3103 @section metronomic indication
3105 ES: indicación metronómica,
3106 I: indicazione metronomica,
3107 F: indication métronomique,
3109 NL: metronoom aanduiding,
3111 S: metronomangivelse,
3112 FI: metronomiosoitus.
3114 Exact tempo indication (in beats per minute). Also denoted by
3115 M.M.@: (Mälzels Metronom).
3118 @section mezzo-soprano
3129 The female voice between @aref{soprano} and
3138 D: eingestrichenes@w{ }c,
3140 DK: enstreget@w{ }c,
3141 S: ettstruket@w{ }c,
3144 First C below the 440 Hz A.
3146 @lilypond[fragment,notime,raggedright]
3147 \set Score.automaticBars = ##f
3148 \override Staff.Clef #'full-size-change = ##t
3168 @aref{diatonic scale}.
3170 @node minor interval
3171 @section minor interval
3173 ES: intervalo mayor,
3174 I: intervallo minore,
3175 F: intervalle mineur,
3176 D: kleines Intervall,
3180 FI: pieni intervalli.
3194 FI: moodi, kirkkosävelasteikko.
3196 @aref{church mode}, @aref{diatonic scale}.
3208 FI: modulaatio, sävellajin vaihdos.
3210 Moving from one @aref{key} to another. For example, the second
3211 subject of a @aref{sonata form} movement modulates to the dominant
3212 key if the key is major and to the @aref{relative key} if the key
3224 FI: mordent, korukuvio.
3243 FI: teema, sävelaihe.
3245 The briefest intelligible and self-contained fragment of a musical theme or
3248 @lilypond[fragment,linewidth=13.0\cm]
3249 \override Score.TimeSignature #'break-visibility = #all-invisible
3250 %\override Score.TextScript #'font-style = #'large
3254 \partial 8 g16_"------" fis |
3255 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3256 g8 g,16 a b8 cis d16 s
3272 Greater musical works like @aref{symphony} and
3273 @aref{sonata} most often consist of several -- more or less --
3274 independant pieces called movements.
3277 @section multibar rest
3279 ES: compases de espera,
3283 D: mehrtaktige Pause,
3286 FI: usean tahdin mittainen tauko.
3288 @lilypond[fragment,raggedright]
3291 \set Score.skipBars = ##t R1*3
3296 @node mixolydian mode
3297 @section mixolydian mode
3299 @aref{diatonic scale}.
3302 @section natural sign
3307 D: Auflösungszeichen,
3308 NL: herstellingsteken,
3309 DK: op@-løsningstegn,
3310 S: återställningstecken,
3315 @node neighbour tones
3316 @section neighbour tones
3318 @aref{appoggiatura}.
3351 Notes are signs by means of which music is fixed in writing. The term is also
3352 used for the sound indicated by a note, and even for the key of the piano
3353 which produces the sound. However, a clear distinction between the terms tone
3354 and @aref{note} is strongly recommended. Briefly, one sees a note,
3361 I: testa, testina, capocchia,
3362 F: t@^ete de la note,
3369 A head-like sign which indicates pitch by its position on a
3370 @aref{staff} provided with a @aref{clef}, and duration
3371 by a variety of shapes such as hollow or black heads with or without
3372 @aref{stem}s, @aref{flag}s, etc. For percussion
3373 instruments (often having no defined pitch) the note head may indicate the
3381 F: durée, valeur (d'une note),
3386 FI: nuotin aika-arvo.
3388 Note values (durations) are measured as fractions, normally 1/2, of the next
3389 higher note value. The longest duration normally used is called @emph{brevis},
3390 but sometimes (mostly in pre-baroque music) the double length note value
3391 @emph{longa} is used.
3393 @lilypond[fragment,notime,linewidth=13.0\cm]
3394 %\override Score.TextScript #'font-style = #'large
3395 \set Score.automaticBars = ##f
3397 \override NoteHead #'style = #'mensural
3398 a\longa_"longa" a\breve_"breve"
3399 \revert NoteHead #'style
3400 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3401 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3404 @lilypond[fragment,notime,linewidth=13.0\cm]
3405 %\override Score.TextScript #'font-style = #'large
3406 \set Score.automaticBars = ##f
3408 r\longa_"longa" r\breve_"breve"
3409 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3410 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3413 An augmentation dot after a note multiplies the duration by one and a
3414 half. Another dot adds yet a fourth of the duration.
3416 @lilypond[fragment,linewidth=13.0\cm]
3417 %\override Score.TextScript #'font-style = #'large
3420 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3421 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3424 Alternatively note values may be subdivided by other ratios. Most common is
3425 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3426 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3427 dotted notes are also frequently used.
3429 @lilypond[fragment,linewidth=13.0\cm]
3430 %\override Score.TextScript #'font-style = #'large
3433 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3434 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3438 @lilypond[fragment,linewidth=13.0\cm]
3441 \times 3/2 {g4_"duplets" g} |
3443 \times 6/4 {g8_"quadruplets" g g g} |
3444 g8 g g g g4 \bar "||"
3449 @section octave sign
3451 @aref{G clef}, @aref{F clef}.
3471 I: abbellimento, fioriture,
3472 F: agrément, ornement,
3473 D: Verzierung, Ornament,
3479 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3480 with the diatonic @aref{second} above it. In the music from the
3481 middle of the 19th century and onwards the trill is performed with the main
3482 note first while in the music from the preceding baroque and classic periods
3483 the upper note is played first.
3485 @lilypond[fragment,linewidth=13.0\cm]
3487 \context Staff = sa {
3488 % \override Score.TextScript #'font-style = #'large
3490 c2._"pre-1850" b4\trill | c1 \bar "||"
3491 c2._"post-1850" b4\trill | c1 \bar "||"
3495 c2. c32 b c b c b c b | c1
3496 c2. b32 c b c \times 4/5 { b c b c b } | c1
3501 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
3502 @emph{prall} (inverted mordent).
3504 @lilypond[fragment,linewidth=13.0\cm]
3506 \context Staff = sa {
3507 % \override Score.TextScript #'font-style = #'large
3509 a4_"turn" b\turn c2 \bar "||"
3510 g4_"mordent" a b\mordent a \bar "||"
3511 e'4_"prall" d\prall c2 \bar "||"
3517 e'4 e32[ d e d ~ d8] c2
3522 @aref{appoggiatura}.
3534 FI: ossia, vaihtoehtoinen esitystapa.
3536 Ossia (otherwise) marks an alternative. It is an added staff or piano
3537 score, usually only a few measures long, which presents another version
3538 of the music, for example for small hands.
3550 FI: stemma, instrumenttiosuus.
3552 1.@tie{}In instrumental or choral music the music for the single instrument
3553 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3554 melodic line of the contrapunctal web.
3567 D: Schlagzeug, Schlagwerk,
3573 A family of musical instruments which are played on by striking or
3574 shaking. Percussion instruments commonly used in a symphony orchestra are
3575 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3576 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3579 @node perfect interval
3580 @section perfect interval
3582 ES: intervalo justo,
3583 I: intervallo giusto,
3584 F: intervalle juste,
3585 D: reines Intervall,
3589 FI: puhdas intervalli.
3605 A natural division of the melodic line, comparable to a sentence of speech.
3617 FI: fraseeraus, jäsentäminen.
3619 The clear rendering in musical performance of the @aref{phrase}s of
3620 the melody. Phrasing may be indicated by a @aref{slur}.
3634 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3635 @emph{mezzopiano} (@b{mp}) medium soft.
3656 NL: pizzicato, getokkeld,
3659 FI: pizzicato, näppäillen.
3661 Play by plucking the strings.
3669 D: Polyphonie, Mehrstimmigkeit,
3673 FI: polyfonia, moniäänisyys.
3675 Music written in a combination of several simultaneous voices (parts) of a
3676 more or less pronounced individuality. @aref{counterpoint}.
3689 D: Presto, Sehr schnell,
3690 NL: presto, Sehr schnell,
3693 FI: presto, hyvin nopeasti.
3695 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3696 denotes the highest possible degree of speed.
3698 @node Pythagorean comma
3699 @section Pythagorean comma
3701 ES: coma pitagórico,
3702 I: comma pitagorico,
3703 F: comma pythagoricien,
3704 D: Pythagoräisches Komma,
3705 NL: komma van Pythagoras,
3706 DK: pythagoræisk komma,
3707 S: pytagoreiskt komma,
3708 FI: pytagorinen komma.
3710 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3711 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3712 24 @aref{cent}s higher than the@w{ }C obtained by adding
3713 7@w{ }octaves. The difference between those two pitches is called the
3731 @section quarter note
3734 I: semiminima, nera,
3737 D: Viertel, Viertelnote,
3741 FI: neljännesosanuotti.
3746 @section quarter rest
3748 ES: silencio de negra,
3749 I: pausa di semiminima,
3754 DK:@w{ }fjerdedelspause,
3756 FI: neljännesosatauko.
3775 @section rallentando
3780 D: rallentando, langsamer werden,
3784 FI: rallerdando, hidastuen.
3786 Abbreviation "rall.". @aref{ritardando}.
3789 @section relative key
3792 I: tonalità relativa,
3793 F: tonalité relative,
3795 NL: paralleltoonsoort,
3796 DK: paralleltoneart,
3798 FI: rinnakkaissävellaji.
3800 @aref{major} and @aref{minor} @aref{key}
3801 with the same @aref{key signature}.
3803 @lilypond[fragment,notime,linewidth=13.0\cm]
3804 \set Score.automaticBars = ##f
3805 %\override Score.TextScript #'font-style = #'large
3808 es1_"e flat major" f g as bes c d es
3813 @lilypond[fragment,notime,linewidth=13.0\cm]
3814 \set Score.automaticBars = ##f
3815 %\override Score.TextScript #'font-style = #'large
3818 c1_"c minor" d es f g a! b! c \bar "||"
3825 ES: barra de repetición,
3827 F: barre de reprise,
3830 DK: gen@-ta@-gel@-se,
3834 @lilypond[fragment,linewidth=13.0\cm]
3838 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3842 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3843 @c specify the rest's value.
3871 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3872 fixed unit of time, called @aref{beat}, and in which the normal
3873 @aref{accent} recurs in regular intervals, called
3874 @aref{measure}. The basic scheme of time values is called
3875 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3876 accent. In modern notation such music appears as a free alternation of
3877 different measures. (c) Free rhythm, i.e., the use of temporal values having
3878 no common metrical unit (beat).
3886 D: Ritardando, langsamer werden,
3890 FI: ritardando, hidastuen,
3892 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3904 FI: ritenuto, hidastaen.
3906 Immediate reduction of speed.
3918 FI: asteikko, sävelasteikko.
3920 @aref{diatonic scale}.
3923 @section scale degree
3925 ES: grados de la escala,
3926 I: grado della scala,
3927 F: degré [de la gamme],
3929 NL: trap [van de toonladder],
3932 FI: sävelaste, asteikon sävel.
3934 Names and symbols used in harmonic analysis to denote tones of the scale as
3935 roots of chords. The most important are degrees I = tonic (T), IV =
3936 sub@-do@-mi@-nant (S) and V = dominant (D).
3938 @lilypond[fragment,notime,linewidth=13.0\cm]
3939 \set Score.automaticBars = ##f
3940 %\override Score.LyricText #'font-style = #'large
3941 %\set minVerticalAlign = #8
3943 \context Staff \relative c' {
3946 \context Lyrics \lyrics {
3947 << { I II III IV V VI VII I }
3952 @aref{functional harmony}.
3960 D: Partitur (full score), Klavierauszug (vocal score)
3966 A copy of orchestral, choral, or chamber music showing what each instrument is
3967 to play, each voice to sing, having each part arranged one underneath the
3968 other on different staves @aref{staff}.
3982 The @aref{interval} between two neigbouring tones of a scale. A
3983 @aref{diatonic scale} consists of alternating
3984 @aref{semitone}s and @aref{whole tone}s, hence the size
3985 of a se@-cond depends on the scale degrees in question.
3999 The @aref{interval} of a minor second. The (usually) smallest
4000 interval in European composed music. The interval between two neighbouring
4001 tones on the piano keyboard -- including black and white keys -- is a
4002 semitone. An octave may be divided into 12@w{ }semitones.
4003 @aref{interval}, @aref{chromatic scale}.
4005 @lilypond[fragment,notime,linewidth=13.0\cm]
4006 \set Score.automaticBars = ##f
4007 \relative c'' { g1 gis s a bes s b! c }
4061 @node short appoggiatura
4062 @section short appoggiatura
4064 @aref{appoggiatura}.
4066 @node sixteenth note
4067 @section sixteenth note
4073 D: Sechzehntel, Sechzehntelnote,
4074 NL: zes@-ti@-ende noot,
4075 DK: sekstendedelsnode,
4077 FI: kuudestoistaosanuotti.
4081 @node sixteenth rest
4082 @section sixteenth rest
4084 ES: silencia de semicorchea,
4085 I: pausa di semicroma,
4087 UK: semiquaver rest,
4088 D: Sechzehntelpause,
4090 DK: sekstendedelspause,
4110 @node sixty-fourth note
4111 @section sixty-fourth note
4115 F: quadruple croche,
4116 UK: hemidemisemiquaver,
4117 D: Vierundsechzigstel, Vierundsechzigstelnote,
4118 NL: vierenzestigste noot,
4119 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4120 S: sextiofjärdedelsnot,
4121 FI: kuudeskymmenesneljäsosanuotti.
4125 @node sixty-fourth rest
4126 @section sixty-fourth rest
4128 ES: silencia de semifusa,
4129 I: pausa di semibiscroma,
4130 F: seizième de soupir,
4131 UK: hemidemisemiquaver rest,
4132 D: Vierundsechzigstelpause,
4133 NL: vierenzestigste rust,
4134 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4135 S: sextiofjärdedelspaus,
4136 FI: kuudeskymmenesneljäsosatauko.
4144 I: legatura (di portamento or espressiva),
4146 D: Bogen, Legatobogen, Phrasierungsbogen,
4147 NL: fraseringsboog, legatoboog, streekboog,
4148 DK: legatobue, fraseringsbue,
4152 A slur above or below a group of notes indicates that they are to be played
4153 @aref{legato}, e.g., with one stroke of the violin bow or with one
4157 @section solmization
4165 FI: suhteelliset laulunimet.
4167 General term for systems of designating the degrees of the
4168 @aref{scale}, not by letters, but by syllables (@emph{do}
4169 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4170 (@emph{ti})). @aref{scale degree}.
4184 In its present-day meaning a sonata denotes an instrumental composition for
4185 piano or for some other instrument with piano accompaniment, which consists of
4186 three or four independant pieces, called movements.
4189 @section sonata form
4193 F: [en] forme de sonate,
4195 NL: hoofdvorm, sonatevorm,
4200 A form used frequently for single movements of the @aref{sonata},
4201 @aref{symphony}, quartet, etc. A movement written in sonata form
4202 falls into three sections called @emph{exposition}, @emph{development} and
4203 @emph{recapitulation}. In the exposition the composer introduces some musical
4204 ideas, consisting of a number of themes; in the development section the
4205 composer `develops' this material, and in the recapitulation the composer
4206 repeats the exposition, with certain modifications. The exposition contains a
4207 number of themes that fall into two groups, often called first and second
4208 subject. Other melodies occurring in each group are considered as
4209 continuations of these two. The second theme is in another key, normally in
4210 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4211 @aref{relative key} if the tonic is @aref{minor}.
4228 FI: sopraano, korkea naisääni.
4230 The highest female voice.
4237 F: staccato, piqué, détaché,
4242 FI: staccato, lyhyesti, terävästi.
4244 Playing the note(s) short. Staccato is indicated by a dot above or below the
4247 @lilypond[fragment,raggedright]
4252 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4261 I: pentagramma, rigo (musicale),
4264 NL: (noten)balk, partij,
4269 A staff (pl. staves) is a series of (normally five) horizontal lines
4270 upon and between which the musical notes are written, thus indicating
4271 (in connection with a @aref{clef}) their pitch. Staves for
4272 @aref{percussion} instruments may have fewer lines.
4285 D: Hals, Notenhals, Stiel,
4291 Vertical line above or below a @aref{note head} shorter than a
4292 whole note. @aref{beam}.
4294 @lilypond[fragment,notime,linewidth=13.0\cm]
4295 \set Score.autoBeaming = ##f
4296 \set Score.automaticBars = ##f
4297 %\override Score.TextScript #'font-style = #'large
4318 A family of stringed musical instruments played with a bow. Strings commonly
4319 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4322 @section strong beat
4327 D: betonter Taktteil oder Taktschlag,
4329 D: betonet taktslag,
4330 S: betonat taktslag,
4331 FI: tahdin vahva isku.
4333 @aref{beat}, @aref{accent}, @aref{measure},
4337 @section subdominant
4346 FI: subdominantti, alidominantti.
4348 The fourth @aref{scale degree}. @aref{functional harmony}.
4362 The sixth @aref{scale degree}.
4374 FI: subtoonika, alitoonika.
4376 The seventh @aref{scale degree}.
4379 @section superdominant
4390 The sixth @aref{scale degree}.
4404 The second @aref{scale degree}.
4412 D: Sinfonie, Symphonie,
4418 A symphony may be defined as a @aref{sonata} for orchestra.
4421 @section syncopation
4432 Any deliberate upsetting of the normal pulse of @aref{meter},
4433 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4434 rhythm rests upon the grouping of equal beats into groups of two or three,
4435 with a regularly recurrent accent on the first beat of each group. Any
4436 deviation from this scheme is felt as a disturbance or contradiction between
4437 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4439 @lilypond[fragment,raggedright]
4444 e c'4 e,8 c'4 e,8 c' ( | c2)
4448 @node syntonic comma
4449 @section syntonic comma
4451 I: comma sintonico (o didimico),
4452 F: comma syntonique,
4453 D: syntonisches Komma,
4454 NL: syntonische komma,
4455 DK: syntonisk komma,
4456 S: syntoniskt komma,
4457 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
4459 Difference between the natural third and the third obtained by Pythagorean
4460 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4471 FI: nuottijärjestelmä.
4473 The collection of staves @aref{staff}, two or more, as used for
4474 writing down of keyboard, chamber, choral, or orchestral music.
4477 @section temperament
4482 D: Stimmung, Tem@-pe@-ra@-tur,
4483 NL: stemming, temperatuur,
4486 FI: viritysjärjestelmä.
4488 Systems of tuning in which the intervals deviate from the acoustically pure
4489 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4491 @node tempo indication
4492 @section tempo indication
4494 ES: indicación de tempo,
4495 I: indicazione di tempo,
4496 F: indication de temps,
4497 D: Zeitmaß, Tempobezeichnung,
4498 NL: tempo aanduiding,
4503 The rate of speed of a composition or a section thereof, ranging from the
4504 slowest to the quickest, as is indicated by tempo marks as
4505 @aref{largo}, @aref{adagio}, @aref{andante},
4506 @aref{allegro}, and @aref{presto}.
4518 FI: tenori, korkea miesääni.
4520 The highest male voice (apart from @aref{counter tenor}).
4550 @node thirty-second note
4551 @section thirty-second note
4557 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4558 NL: twee-endertig@-ste noot,
4559 DK: toogtredivtedelsnode,
4560 S: trettiotvåondelsnot,
4561 FI: kolmanneskymmeneskahdesosanuotti.
4565 @node thirty-second rest
4566 @section thirty-second rest
4568 ES: silencio de fusa,
4569 I: pausa di biscroma,
4570 F: huitième de soupir,
4571 UK: demisemiquaver rest,
4572 D: Zweiunddreissigstel@-pause,
4574 DK: toogtredivtedelspause,
4575 S: trettiotvåondelspaus,
4576 FI: kolmanneskymmeneskahdesosatauko.
4581 @section thorough bass
4584 I: basso continuo, basso numerato,
4586 D: Generalbass, bezifferter Bass,
4587 NL: basso continuo, becijferde bas
4590 FI: kenraalibasso, numeroitu basso.
4592 A method of indicating an accompaniment part by the bass notes only, together
4593 with figures designating the chief @aref{interval}s and
4594 @aref{chord}s to be played above the bass notes.
4596 @lilypond[fragment,linewidth=13.0\cm]
4597 \context GrandStaff <<
4598 \context Staff = lh \relative c'' {
4602 << \context Voice = rha {
4605 \context Voice = rhb {
4607 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4611 \context Staff = rh \relative c' {
4614 es8 c d bes c as bes16 as g f | es4
4616 \context Lyrics \lyrics {
4617 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4618 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4619 { "" "" "" "2" "" "" "" "" "" "2" } >>
4627 ES: ligadura de prolongación,
4628 I: legatura (di valore),
4631 NL: overbinding, bindingsboog,
4633 S: bindebåge, överbindning,
4636 A curved line, identical in appearance with the @aref{slur}, which
4637 connects two succesive notes of the same pitch, and which has the function of
4638 uniting them into a single sound (tone) equal to the combined durations.
4640 @lilypond[fragment,notime,raggedright]
4641 \set Score.automaticBars = ##f
4642 \relative c'' { g2 ~ g4. }
4650 @node time signature
4651 @section time signature
4653 ES: cifra indicadora de compás,
4655 F: chiffrage (chiffres indicateurs), signe de valeur,
4656 D: Taktangabe, Angabe der Taktart,
4659 S: taktartssignatur,
4676 A sound of definite pitch and duration, as distinct from @emph{noise}.
4677 Tone is a primary building material of music.
4678 Music from the 20th century may be based on atonal sounds.
4692 The first @aref{scale degree}.
4693 @aref{functional harmony}.
4696 @section transposition
4707 Shifting a melody up or down in pitch, while keeping the same
4710 @lilypond[fragment,linewidth=13.0\cm]
4715 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4720 @lilypond[fragment,linewidth=13.0\cm]
4723 \transpose c bes \relative c'' {
4725 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4731 @section treble clef
4734 I: chiave di violino,
4736 D: Violinschlüssel, Sopranschlüssel,
4738 DK:@w{ }diskantnøgle,
4756 On stringed instruments (@aref{strings}) the quick reiteration of
4757 the same tone, produced by a rapid up-and-down movement of the bow
4758 (a). The term is also used for the rapid alternation (b) between two notes of
4759 a @aref{chord}, usually in the distance of a third
4762 @lilypond[fragment,notime,raggedright]
4763 \set Score.automaticBars = ##f
4764 %\override Score.TextScript #'font-style = #'large
4767 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4768 \repeat "tremolo" 8 { e32_"b" g }
4777 F: triade, accord parfait, accord de trois sons,
4791 F: trille, tremblement, battement (cadence),
4801 @section triple meter
4803 ES: compás compuesto,
4807 NL: driedelige maatsoort,
4843 @section tuning fork
4846 I: diapason, corista,
4854 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4855 give the international pitch for the tone @emph{a} (440 vibrations per second).
4881 FI: unisono, yksiäänisesti.
4883 Playing of the same notes or the same melody by various instruments (voices)
4884 or by the whole orchestra (choir), either at exactly the same pitch or in a
4890 ES: entrada anacrúsica,
4892 F: anacrouse, levée,
4899 Initial note(s) of a melody occurring before the first bar
4900 line. @aref{measure}, @aref{meter}.
4902 @lilypond[fragment,linewidth=13.0\cm]
4906 \partial 4 f4 | bes4. a8 bes4 c |
4907 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4920 FI: ääni, lauluääni.
4922 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4923 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4924 2.@tie{}A melodic layer or part of a polyphonic composition.
4930 I: tempo debole, arsi,
4932 D: unbetonter Taktteil oder Taktschlag,
4934 DK: ubetonet taktslag,
4935 S: obetonat taktslag,
4936 FI: tahdin heikko isku.
4938 @aref{beat}, @aref{measure}, @aref{rhythm}.
4947 D: Ganze, ganze Note,
4958 ES: silencio de redonda,
4959 I: pausa di semibreve,
4962 D: ganze Pause, ganztaktige Pause,
4982 The @aref{interval} of a major second. The interval between two
4983 tones on the piano keyboard with exactly one key between them -- including
4984 black and white keys -- is a whole tone.
4998 A family of blown wooden musical instruments. Today some of these instruments
4999 are actually made from metal. The woodwind instruments commonly used in a
5000 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5002 @node Duration names notes and rests
5003 @chapter Duration names, notes and rests
5006 @item DURATION NAMES, NOTES AND RESTS
5009 @multitable @columnfractions .15 .26 .33 .26
5026 @item @strong{longa}
5041 @item @strong{breve}
5056 @item @strong{whole}
5066 @tab koko@-nuotti/@w{-tauko}
5081 @tab puoli@-nuotti/@w{-tauko}
5086 @item @strong{quarter}
5096 @tab neljännesosa@-nuotti/@w{-tauko}
5101 @item @strong{eighth}
5111 @tab kahdeksasosa@-nuotti/@w{-tauko}
5116 @item @strong{sixteenth}
5126 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5131 @item @strong{thirty-second}
5136 @tab Zweiunddreissigstel
5137 @tab tweeendertigste
5138 @tab toogtredivtedel
5140 @tab trettiotvåondel
5141 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5146 @item @strong{sixty-fourth}
5147 @tab hemidemisemiquaver
5149 @tab quadruple croche
5151 @tab Vierundsechzigstel
5152 @tab vierenzestigste
5153 @tab fireogtred@-sindstyvendedel
5155 @tab sextiofjärdedel
5156 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5160 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5163 @chapter Pitch names
5169 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5171 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
5172 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5176 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5180 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5181 cis @tab cis @tab cis
5185 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5186 des @tab des @tab des
5190 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5194 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5198 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5202 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5206 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
5211 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5215 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5216 ais @tab ais @tab ais
5220 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5225 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5230 @node Literature used
5231 @unnumbered Literature used
5234 @item The Harvard Dictionary of Music, London 1944. Many more or less
5235 literal quotes from its articles have been included into the item
5238 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5240 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5242 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5245 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
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