1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
5 @dircategory GNU music project
7 * Glossary: (lilypond/music-glossary). Glossary of music terms.
11 This document is also available in @uref{music-glossary.ps.gz,gzipped
12 PostScript} and @uref{music-glossary.pdf,PDF}.
17 @author Christian Mondrup @c Original author of LilyPond glossary
19 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
21 @author Han-Wen Nienhuys @c Dutch glossary
22 @author Jan Nieuwenhuizen @c Dutch glossary
23 @author Dadiv Gonzalez @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Mats Bengtsson @c Swedish glossary
27 @author Adrian Mariano @c Italian glossary
28 @author Heikki Junes @c Finnish glossary
30 @c Fixes by Jean-Pierre Coulon and `Dirk'
33 Copyright @copyright{} 1999--2004 by the authors
36 Permission is granted to copy, distribute and/or modify this document
37 under the terms of the GNU Free Documentation License, Version 1.1
38 or any later version published by the Free Software Foundation,
39 without Invariant Sections.
44 @c FIXME: multiple omfcreators?
46 @omfcreator Christian Mondrup
47 @omfdescription Glossary of musical terms with translations
49 @omfcategory Applications|Publishing
56 @chapter Music Glossary
67 @item Christian Mondrup
68 Original author of LilyPond glossary, Danish glossary,
71 @item Fran@,{c}ois Pinard
72 Original glossary of GNU music project, French glossary,
73 @item Han-Wen Nienhuys
75 @item Jan Nieuwenhuizen
80 English glossary translations,
82 Finnish glossary translations.
85 Copyright 1999--2004 by the authors
88 Permission is granted to copy, distribute and/or modify this document
89 under the terms of the GNU Free Documentation License, Version 1.1
90 or any later version published by the Free Software Foundation,
91 without Invariant Sections.
101 @c @everyheading @| @thispage @|
102 @c @evenheading @thispage @| @|
103 @c @oddheading @| @| @thispage @|
105 @include macros.itexi
109 We do not use refs for Info:
111 @w{@arrow{}\word\}@c vs:
112 @w{@arrow{}@pxref{\word\}}@c
114 they look too intrusive (says Han-Wen).
121 @w{@arrow{}@strong{\word\}}@c
124 @arrow{}@ref{\word\, @strong{\word\}}@c
132 @c If we want hypelinks, we must add anchors.
133 @c Hmm, we need the @achor command in the item description itself
134 @c (not before or after) to get mozilla jump to the right place.
137 @item \word\@anchor{\word\}
139 @macro aitemii{one,two}
140 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
142 @macro aitemiii{one,two,three}
143 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
153 @item UK - British English
159 This is an example reference, that points you to the @aref{accent}
162 @c All `@table @strong' replaced by `@table @samp'
163 @c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
184 FI: aksentti, korostus.
186 The stress of one tone over others.
188 @c F: how to distinguish between accidental and key-sig alteration?
192 I: alterazione, accidente,
194 D: Vorzeichen, Versetzungszeichen,
197 S: tillf@"alligt f@"ortecken,
198 FI: tilap@"ainen etumerkki.
200 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
201 @c Akzidenz, NL: toevallig teken, I: accidento.
203 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
204 by a @aref{whole tone}, a flat lowers it by a semitone and a double
205 flat lowers it by a whole tone. A natural cancels the effect of a previous
209 \set Score.automaticBars = ##f
210 %\override TextScript #'font-style = #'large
212 \context Staff \notes\relative c'' {
213 gis1 s s gisis s s ges s s geses s s g!
215 \context Lyrics \lyrics {
216 \override Lyrics .LyricText #'self-alignment-X = #-1
217 "sharp " "db. sharp " "flat " "db. flat " natural
224 F: accelerando, en acc@'el@'erant,
225 D: accelerando, schneller werden,
229 FI: accelerando, kiihdytt@"aen.
241 FI: adagio, hitaasti.
243 It. comfortable, easy.
244 1. Slow tempo, slower -- especially in even meter -- than
245 @aref{andante} and faster than @aref{largo}.
246 2. A movement in slow tempo, especially the second (slow) movement of
247 @aref{sonata}s, symphonies, etc.
253 D: Allegro, Schnell, Fr@"ohlich, Lustig,
257 FI: allegro, nopeasti.
259 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
260 especially the first and last movements of a @aref{sonata}.
270 FI: altto, matala nais@"a@"ani.
272 A female voice of low range (@emph{contralto}). Originally the alto was a high
273 male voice (hence the name) which by the use of falsetto reached the height of
274 the female voice. This type of voice is also known as @aref{counter
278 ES: clave de do en tercera,
279 I: chiave di contralto,
280 F: clef d'ut troisi@`eme ligne,
281 D: Altschl@"ussel, Bratschenschl@"ussel,
287 C clef setting middle C on the middle line of the staff
298 FI: ambitus, @"a@"aniala, soitinala.
300 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
301 of pitches for a given voice in a part of music. It may also denote
302 the pitch range that a musical instrument is capable of playing.
304 @aitem{ancient minor scale}
305 I: scala minore naturale,
306 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
308 NL: authentieke mineurtoonladder,
311 FI: luonnollinen molliasteikko.
313 @aref{diatonic scale} (ancient minor).
316 \set Score.automaticBars = ##f
317 \notes\relative c'' {
329 FI: andante, k@"ayden.
331 Walking tempo/character.
336 F: appogiature, (port de voix),
341 FI: appoggiatura, etuhele.
343 Ornamental note, usually a second, that is melodically connected with the main
344 note following it. In music before the 19th century a. were usually
345 performed on the beat, after that mostly before the beat. While the short
346 a. is performed as a short note regardless of the duration of the main note
347 the duration of the long a. is proportional to that of the main note.
350 \context Voice \notes\relative c'' {
354 %\override Score.TextScript #'font-style = #'large
355 <d a fis>4_"notation" r
356 { \override Stem #'flag-style = #'()
358 \revert Stem #'flag-style
361 { \override Stem #'flag-style = #'()
363 \revert Stem #'flag-style
366 \cadenzaOn a4 \bar "||" \cadenzaOff }
367 \notes\relative c'' {
368 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
369 \cadenzaOn a4 \bar "||" \cadenzaOff }
372 An appoggiatura may have more notes preceding the main note.
375 \notes\relative c'' {
378 % \override Score.TextScript #'font-style = #'large
379 \grace { bes16 } as8_"notation" as16 bes as8 g |
380 \grace { as16[( bes] } < c as >4-)
381 \grace { as16[( bes] } < c as >4-) \bar "||"
382 \grace { bes16 } as8_"performance" as16 bes as8 g |
383 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
384 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
393 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
395 DK: arpeggio, akkordbrydning,
397 FI: arpeggio, murtosointu.
400 \notes \context PianoStaff <<
401 \context Staff = SA \relative c'' {
404 r8 g16 c e g, c e r8 g,16 c e g, c e |
405 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
406 \context Staff = SB \relative c' {
408 << \context Voice = va {
410 r16 e8. ( e4) r16 e8. ( e4) |
411 r16 d8. ( d4) r16 d8. ( d4) }
412 \context Voice = vb {
419 @aitem{ascending interval}
420 ES: Intervalo ascendente,
421 I: intervallo ascendente,
422 F: intervalle ascendant,
423 D: steigendes Intervall,
424 NL: stijgend interval,
425 DK:@w{ }stigende interval,
426 S: stigande intervall,
427 FI: nouseva intervalli.
429 A distance between a starting lower note and a higher ending note.
431 @aitem{augmented interval}
432 ES: intervalo aumentado,
433 I: intervallo aumentato,
434 F: intervalle augment@'e,
435 D: @"uberm@"a@ss{}iges Intervall,
436 NL: overmatig interval,
437 DK: forst@o{}rret interval,
438 S: @"overstigande intervall,
439 FI: ylinouseva intervalli.
446 D: Autograph, Handschrift,
448 DK: h@aa{}ndskrift, autograf,
450 FI: k@"asinkirjoitettu nuotti.
452 1. A manuscript in the composer's own hand.
453 2. Music prepared for photoreproduction by freehand drawing,
454 with the aid of a straightedge ruler and T-square only,
455 which attempts to emulate engraving.
456 This required more skill than did engraving.
468 @aitemii{backfall,forefall}
473 I: stanghetta, barra (di divisione),
474 F: barre (de mesure),
482 ES: comp@'as, @aref{measure}.
485 ES: bar@'{@dotless{i}}tono,
492 FI: baritoni, keskikorkuinen mies@"a@"ani.
494 The male voice intermediate between the @aref{bass} and the
497 @c F: clef de troisi@`eme ligne dropped
499 @aitem{baritone clef}
500 ES: clave de fa en tercera,
501 I: chiave di baritono,
502 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
503 D: Baritonschl@"ussel,
509 C or F clef setting middle C on the upper staff line.
510 @aref{C clef}, @aref{F clef}.
513 ES: clave de fa en cuarta,
515 F: cl@'e de fa quatri@`eme ligne,
522 A clef setting with middle C on the first top ledger line.
532 FI: basso, matala mies@"a@"ani.
534 1. The lowest of men's voices.
535 2. Sometimes, especially in jazz music, used as
536 an abbreviation for double bass.
548 Line connecting a series of notes (shorter than a quarter note).
549 The number of beams determine the note value of the connected notes.
552 \set Score.automaticBars = ##f
553 %\override TextScript #'font-style = #'large
554 \notes\relative c'' {
556 g16_"1/16"[ g g g] s16
557 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
558 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
565 D: Takt, Taktschlag, Zeit (im Takt),
571 Note value used for counting, most often half-, fourth-, and eighth notes.
572 The base counting value and the number of them per measure is indicated at
573 the start of the music.
578 \notes\relative c'' { g4 c b a | g1 \bar "||"}
580 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
590 D: Klammer, Akkolade,
591 NL: accolade, teksthaak,
594 FI: yhdist@"av@"a sulkumerkki.
596 Symbol at the start of a system connecting staves. Curly braces are used
597 for connecting piano staves, angular brackets for connecting parts in an
598 orchestral or choral score.
601 \notes\context GrandStaff <<
602 \relative c''\context Staff = SA { \clef treble g4 e c2 }
603 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
607 \context StaffGroup <<
608 % \set StaffGroup.minVerticalAlign = #12
609 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
610 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
619 DK: messingbl@ae{}sere,
620 S: brassinstrument, m@"assingsinstrument,
623 A family of blown musical instruments made of brass all using a cup formed
624 mouth piece. The brass instruments commonly used in a symphony orchestra are
625 trumpet, trombone, french horn, and tube.
630 D: Atemzeichen, Trennungszeichen,
631 NL: repercussieteken,
632 DK: vejrtr@ae{}kningstegn,
636 Indication of where to breathe in vocal and wind instrument parts.
648 @aref{note value} twice as long as a whole note. Mainly used
652 \set Score.automaticBars = ##f
653 \notes\relative c'' { g\breve }
676 Clef symbol indicating the position of the middle C. Used on all note
680 \set Score.automaticBars = ##f
681 \override Score.Clef #'full-size-change = ##t
682 %\override Score.LyricText #'font-style = #'large
684 \context Staff \notes\relative c' {
686 \clef mezzosoprano c s s
691 \context Lyrics \lyrics {
692 \override Lyrics .LyricText #'self-alignment-X = #-1
693 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
705 FI: kadenssi, lopuke.
707 @aref{harmonic cadence}, @aref{functional harmony}.
717 FI: kadenssi, lopuke.
719 An extended, improvisatory style section inserted near the end of
720 movement. The purpose of a cadenza is to give the singer or player a chance to
721 exhibit her technichal skill and not the least her ability to improvise. Since
722 the middle of the 19th century, however, most cadences have been written down
733 FI: kaanon, tarkka j@"aljittely.
745 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
747 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
748 equally tempered @aref{semitone}).
749 @aref{equal temperament}.
764 Three or more tones sounding simultaneously. In traditional European music the
765 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
766 minor @aref{third}) as well as @emph{minor} (minor + major third)
767 chords may be extended with more thirds. Four-tone @emph{seventh chords}
768 and five-tone @emph{ninth} major chords are most often used as dominants
769 (@aref{functional harmony}). A special case is chords having no
770 third above the lower notes to define their quality as major or minor. Such
771 chords are denoted open chords
774 \set Score.automaticBars = ##f
775 %\override TextScript #'font-style = #'large
777 \context Staff \notes\relative c'' {
785 \context Lyrics \lyrics{
786 \override Lyrics .LyricText #'self-alignment-X = #-1
787 "major " "minor " "diminished " "augmented "
788 "seventh-chord " "ninth-chord "
792 @aitem{chromatic scale}
793 ES: escala crom@'atica,
795 F: gamme chromatique,
796 D: chromatische Tonleiter,
797 NL: chromatische toonladder,
800 FI: kromaattinen asteikko.
802 A scale consisting of all 12 @aref{semitone}s.
805 \set Score.automaticBars = ##f
806 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
819 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
821 @aitemii{church mode,ecclesiastical mode}
822 ES: modo eclesi@'astico,
823 I: modo ecclesiastico,
824 F: mode eccl@'esiastique,
829 FI: moodi, kirkkos@"avellaji.
831 @aref{diatonic scale}.
837 D: Schl@"ussel, Notenschl@"ussel,
841 FI: avain, nuottiavain.
843 @aref{C clef}, @aref{F clef}, @aref{G clef}.
847 A @emph{cluster} is a range of simultaneously sounding pitches that
848 may change over time. The set of available pitches to apply usually
849 depends on the acoustic source. Thus, in piano music, a cluster
850 typically consists of a continuous range of the semitones as provided
851 by the piano's fixed set of a chromatic scale. In choral music, each
852 singer of the choir typically may sing an arbitrary pitch within the
853 cluster's range that is not bound to any diatonic, chromatic or other
854 scale. In electronic music, a cluster (theoretically) may even cover
855 a continuous range of pitches, thus resulting in colored noise, such
858 Clusters can be denoted in the context of ordinary staff notation by
859 engraving simple geometrical shapes that replace ordinary notation of
860 notes. Ordinary notes as musical events specify starting time and
861 duration of pitches; however, the duration of a note is expressed by
862 the shape of the note head rather than by the horizontal graphical
863 extent of the note symbol. In contrast, the shape of a cluster
864 geometrically describes the development of a range of pitches
865 (vertical extent) over time (horizontal extent). Still, the
866 geometrical shape of a cluster covers the area in which any single
867 pitch contained in the cluster would be notated as an ordinary note.
869 @lilypond[relative=2,verbatim]
870 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
881 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
883 Difference in pitch between a note derived from pure tuning and the same note
884 derived from some other tuning method. @aref{temperament}.
889 @aitem{compound interval}
890 ES: intervalo compuesto,
891 I: intervallo composto,
892 F: intervalle compos@'e,
894 NL: samengesteld interval,
895 DK: sammensat interval,
896 S: sammansatt intervall,
897 FI: oktaavia laajempi intervalli.
899 Intervals larger than an octave.
905 F: intervalle compl@'ementaire,
906 D: Komplement@"arintervall,
907 NL: complementair interval,
908 DK: komplement@ae{}rinterval,
909 S: komplement@"arintervall (?),
910 FI: t@"aydent@"av@"a intervalli.
912 @aref{inverted interval}.
914 @aitem{conjunct movement}
915 ES: movimiento conjunto,
917 F: mouvement conjoint,
918 D: schrittweise, stufenweise Bewegung,
919 NL: stapsgewijze, trapsgewijze beweging,
920 DK: trinvis bev@ae{}gelse,
921 S: stegvis r@"orelse,
922 FI: asteittainen liike.
924 Melody moving in the narrow steps of the scale.
927 \key g \major \time 4/4
928 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
939 FI: konsonanssi, sopusointi.
963 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
965 From latin @emph{punctus contra punctum}, note against note. The combination
966 into a single musical fabric of lines or parts which have distinct melodic
967 significance. A frequently used polyphonic technique is imitation, in its
968 strictest form found in the canon needing only one part to be written down
969 while the other parts are performed with a given displacement. Imitation is
970 also the contrapunctal technique used in the @emph{fugue} which, since the
971 music of the baroque era, has been one of the most popular polyphonic
974 @lilypond[staffsize=11]
975 \set Score.TimeSignature =\turnOff
976 \notes\context PianoStaff <<
977 \context Staff = SA \relative c' {
981 << \context Voice = rha {
983 r1 | r2 r8 g'8 bes d, |
984 cis4 d r8 e!16 f g8 f16 e |
985 f8 g16 a bes8 a16 g a8
987 \context Voice = rhb {
993 \context Staff = SB \relative c' {
996 << \context Voice = lha {
998 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
999 r8 a16 g f8 g16 a bes8 g e! cis' |
1002 \context Voice = lhb {
1010 @aitem{counter tenor}
1017 S: kontratenor, counter tenor,
1022 @aitem{Copying, Music}
1023 A music copyist did fast freehand scores and parts on preprinted staff lines
1024 for performance. Some of their conventions (e.g., the placement of note heads
1025 on stems) varied slightly from those of engravers. Some of their working
1026 methods were superior and could well be adopted by music typesetters. This
1027 required more skill than engraving.
1033 D: Crescendo, lauter werden,
1037 FI: cresendo, voimistuen.
1039 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1040 abbreviation ``cresc.''.
1043 \key g \major \time 4/4
1044 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1050 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1057 In a separate part notes belonging to another part with the purpose of hinting
1058 when to start playing. Usually printed in a smaller type.
1062 A custos is a staff symbol that appears at the end of a staff line
1063 with monophonic musical contents (i.e. with a single voice). It
1064 anticipates the pitch of the first note of the following line and thus
1065 helps the player or singer to manage line breaks during performance,
1066 thus enhancing readability of a score.
1068 Custodes were frequently used in music notation until the 16th
1069 century. There were different appearences for different notation
1070 styles. Nowadays, they have survived only in special forms of musical
1071 notation such as via the editio vaticana dating back to the beginning
1077 % \override Staff.Custos #'neutral-position = #4
1078 \override Staff.Custos #'neutral-direction = #-1
1080 \override Staff.Custos #'style = #'hufnagel
1082 \break < d' a' f''>1
1087 \consists Custos_engraver
1107 F: da capo, depuis le commencement,
1108 D: da capo, von Anfang,
1112 FI: da capo, alusta.
1114 The term indicates repetition of the piece from the beginning to the end or to
1115 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1120 F: dal segno, depuis le signe,
1125 FI: dal segno, lähtien merkistä.
1127 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1128 another place frequently near the beginning marked by a sign:
1131 %\override TextScript #'font-style = #'large
1132 \override TextScript #'font-shape = #'italic
1133 \key g \major \time 4/4
1134 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
1140 D: Decrescendo, leiser werden,
1144 FI: decresendo, hiljentyen.
1146 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1147 or the abbreviation ``decresc.''.
1150 \notes\relative c'' {
1151 \key g \major \time 4/4
1152 d4 \> c b a | g1 \! \bar "|."
1156 @aitem{descending interval}
1157 ES: intervalo descendente,
1158 I: intervallo discendente,
1159 F: intervalle descendant,
1160 D: fallendes Intervall, absteigendes Intervall,
1161 NL: dalend interval,
1162 DK: faldende interval,
1163 S: fallande intervall,
1164 FI: laskeva intervalli.
1166 A distance between a starting higher note and a lower ending note.
1168 @aitem{diatonic scale}
1169 ES: escala diat@'onica,
1171 F: gamme diatonique,
1172 D: diatonische Tonleiter,
1173 NL: diatonische toonladder,
1174 DK: diatonisk skala,
1176 FI: diatoninen asteikko.
1178 A scale consisting of 5@w{ }@aref{whole tone}s and
1179 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1180 of a piano keybord are diatonic.
1182 The church modes are used in gregorial chant and pre baroque early music but
1183 also to some extent in newer jazz music.
1185 @lilypond[notime,linewidth=110\mm]
1186 \set Score.automaticBars = ##f
1187 %\override Score.LyricText #'font-style = #'large
1188 %\override Score.TextScript #'font-style = #'large
1190 \context Staff \notes\relative c' {
1192 \override TextScript #'padding = #-4
1193 e^"~~ S" f g a b^"~~ S" c
1195 \context Lyrics \lyrics {
1201 \set Score.automaticBars = ##f
1202 %\override Score.LyricText #'font-style = #'large
1203 %\override Score.TextScript #'font-style = #'large
1205 \context Staff \notes\relative c' {
1207 \override TextScript #'padding = #-4
1208 e^"~~ S" f g a b^"~~ S" c d
1210 \context Lyrics \lyrics {
1216 \set Score.automaticBars = ##f
1217 %\override Score.LyricText #'font-style = #'large
1218 %\override Score.TextScript #'font-style = #'large
1220 \notes\relative c' {
1221 \override TextScript #'padding = #-4
1222 e1^"~~ S" f g a b^"~~ S" c d e
1224 \context Lyrics \lyrics {
1230 \set Score.automaticBars = ##f
1231 %\override Score.LyricText #'font-style = #'large
1232 %\override Score.TextScript #'font-style = #'large
1234 \notes\relative c' {
1236 \override TextScript #'padding = #-4
1237 b^"~~ S" c d e^"~~ S" f
1239 \context Lyrics \lyrics {
1245 \set Score.automaticBars = ##f
1246 %\override Score.LyricText #'font-style = #'large
1247 %\override Score.TextScript #'font-style = #'large
1249 \notes\relative c'' {
1251 \override TextScript #'padding = #-4
1252 b^"~~ S" c d e^"~~ S" f g }
1253 \context Lyrics \lyrics {
1259 \set Score.automaticBars = ##f
1260 %\override Score.LyricText #'font-style = #'large
1261 %\override Score.TextScript #'font-style = #'large
1263 \notes\relative c'' {
1265 \override TextScript #'padding = #-4
1266 b^"~~ S" c d e^"~~ S" f g a
1268 \context Lyrics \lyrics {
1273 From the beginning of the 17th century the scales used in European
1274 compositional music are primarily the major and the minor scales. In the
1275 harmonic minor scale type an augmented second (A) occurs between the 6th and
1279 \set Score.automaticBars = ##f
1280 %\override Score.LyricText #'font-style = #'large
1281 %\override Score.TextScript #'font-style = #'large
1283 \notes\relative c' {
1285 \override TextScript #'padding = #-4
1286 e^"~~ S" f g a b^"~~ S" c
1288 \context Lyrics \lyrics {
1294 \set Score.automaticBars = ##f
1295 %\override Score.LyricText #'font-style = #'large
1296 %\override Score.TextScript #'font-style = #'large
1298 \notes\relative c'' {
1300 \override TextScript #'padding = #-4
1301 b^"~~ S" c d e^"~~ S" f g a
1303 \context Lyrics \lyrics {
1309 \set Score.automaticBars = ##f
1310 %\override Score.LyricText #'font-style = #'large
1311 %\override Score.TextScript #'font-style = #'large
1313 \notes\relative c'' {
1315 \override TextScript #'padding = #-4
1316 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1318 \context Lyrics \lyrics {
1324 \set Score.automaticBars = ##f
1325 %\override Score.LyricText #'font-style = #'large
1326 %\override Score.TextScript #'font-style = #'large
1328 \notes\relative c'' {
1330 \override TextScript #'padding = #-4
1331 b^"~~ S" c d e fis gis^"~~ S"
1332 a g! f!^"~~ S" e d c^"~~ S" b a
1334 \context Lyrics \lyrics {
1339 @aitem{diminished interval}
1340 ES: intervalo disminu@'{@dotless{i}}do,
1341 I: intervallo diminuito,
1342 F: intervalle diminu@'e,
1343 D: vermindertes Intervall,
1344 NL: verminderd interval,
1345 DK: formindsket interval,
1346 S: f@"orminskat intervall,
1347 FI: v@"ahennetty intervalli.
1359 FI: diminuendo, hiljentyen.
1363 @aitem{disjunct movement}
1364 ES: movimiendo disjunto,
1366 F: mouvement disjoint,
1367 D: sprunghafte Bewegung,
1368 NL: sprongsgewijze beweging,
1369 DK: springende bev@ae{}gelse,
1370 S: hoppande r@"orelse,
1371 FI: melodian hyppiv@"a liike.
1373 Melody moving in steps greater than those of the
1374 scale. Opposite of @aref{conjunct movement}.
1379 \notes\relative c' {
1381 a4. gis8 b a e cis |
1382 fis2 d4. \bar "||" }
1385 @aitemii{dissonant interval,dissonance}
1386 ES: intervalo disonante, disonancias,
1387 I: intervallo dissonante, dissonanza,
1390 NL: dissonant interval; dissonant,
1391 DK: dissonerende interval, dissonans,
1393 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1397 @aitem{dominant ninth chord}
1398 I: accordo di nona di dominante,
1399 F: accord de neuvi@`eme dominante,
1400 D: Dominantnoneakkord,
1401 NL: dominant noon akkoord,
1402 DK: dominantnoneakkord,
1403 S: dominantnonackord,
1404 FI: dominanttinoonisointu.
1406 @aref{chord}, @aref{functional harmony}.
1408 @aitem{dominant seventh chord}
1409 ES: acorde de s@'eptima de dominante,
1410 I: accordo di settima di dominante,
1411 F: accord de septi@`eme dominante,
1412 D: Dominantseptakkord,
1413 NL: dominant septiem akkoord,
1414 DK: dominantseptimakkord,
1415 S: dominantseptimackord,
1416 FI: dominanttiseptimisointu.
1418 @aref{chord}, @aref{functional harmony}.
1428 FI: dominantti, huippusointu.
1430 The fifth @aref{scale degree},
1431 @aref{functional harmony}.
1437 D: dorisch, dorischer Kirchenton,
1438 NL: dorische toonladder,
1443 @aref{diatonic scale}.
1445 @aitem{dot (augmentation dot)}
1447 I: punto (di valore),
1449 D: Punkt (Verl@"angerungspunkt),
1458 ES: nota con puntillo,
1462 NL: gepuncteerde noot,
1465 FI: pisteellinen nuotti.
1469 @aitem{double appoggiatura}
1470 ES: apoyatura doble,
1471 I: appoggiatura doppia,
1472 F: appoggiature double,
1473 D: doppelter Vorschlag,
1474 NL: dubbele voorslag,
1475 DK: dobbelt forslag,
1477 FI: kaksoisappogiatura, kaksoisetuhele.
1479 @aref{appoggiatura}.
1481 @aitem{double bar line}
1485 NL: dubbele maatstreep,
1488 FI: kaksoistahtiviiva.
1490 Indicates the end of a section within a movement.
1492 @aitem{double dotted note}
1493 ES: nota con dos puntillos,
1494 I: nota doppiamente puntata,
1495 F: note doublement point@'ee,
1496 D: doppelt punktierte Note,
1497 NL: dubbelgepuncteerde noot,
1498 DK: dob@-belt@-punk@-te@-ret node,
1499 S: dub@-bel@-punk@-te@-rad not,
1500 FI: kaksoispisteellinen nuotti.
1512 FI: kaksoisalennusmerkki.
1516 @aitem{double sharp}
1517 ES: doble sostenido,
1522 DK: dob@-belt@-kryds,
1524 FI: kaksoisylennysmerkki.
1528 @aitem{double trill}
1533 NL: dubbele triller,
1538 A simultaneous trill on two notes, usually in the distance of a third.
1545 NL: tweedelige maatsoort,
1572 FI: kesto, aika-arvo.
1576 @aitem{dydimic comma}
1577 @aref{syntonic comma}.
1594 D: Achtel, Achtelnote,
1596 DK: ottendedelsnode,
1597 S: @aa{}ttondelsnot,
1598 FI: kahdeksasosanuotti.
1603 ES: silencio de corchea,
1609 DK: ottendedelspause,
1610 S: @aa{}ttonddelspaus,
1611 FI: kahdeksasosatauko.
1619 D: Notenstechen, Notendruck
1625 Engraving means incising or etching a metal plate for
1626 printing. Photoengraving means drawing music with ink in a manner
1627 similar to drafting or engineering drawing, using similar tools.
1629 The traditional process of music printing is done through cutting in a
1630 plate of metal. Now also the term for the art of music typesetting.
1642 Two notes, intervals, or scales are enharmonic if they have different names
1646 \set Score.automaticBars = ##f
1647 %\override Score.TextScript #'font-style = #'large
1649 \context Staff \notes\relative c'' {
1650 gis1 s s as s s <des g,!> s s <cis g!> s s
1652 \context Lyrics \lyrics {
1653 \override Lyrics .LyricText #'self-alignment-X = #-1
1654 "g sharp " "a flat " "dim fifth " "augm fourth"
1658 @aitem{equal temperament}
1660 I: temperamento equabile,
1661 F: temp@'erament @'egal,
1662 D: gleichschwebende Stimmung,
1663 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1664 DK: ligesv@ae{}vende temperatur,
1665 S: liksv@"avande temperatur,
1668 Tuning system dividing the octave into 12 equal @aref{semitone}s
1669 (precisely 100 @aref{cent}s). @aref{temperament}.
1671 @aitem{expression mark}
1673 I: segno d'espressione,
1674 F: signe d'expression, indication de nuance,
1676 NL: voordrachtsteken,
1677 DK: foredragsbetegnelse,
1678 S: f@"oredragsbeteckning,
1679 FI: nyanssiosoitus, esitysmerkki.
1681 Performance indications concerning 1. volume, dynamics (for example
1682 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1683 @aref{andante}, @aref{allegro}).
1705 The position between the dots of the key symbol is the line of the F below
1706 central@w{ }C. Used on the third, fourth and fifth note line. A
1707 digit@w{ }8 above the clef symbol indicates that the notes must be played
1708 an octave higher (for example bass recorder) while 8@w{ }below the clef
1709 symbol indicates playing an octave lower (for example on double bass
1713 \set Score.automaticBars = ##f
1714 \override Staff.Clef #'full-size-change = ##t
1715 %\override Score.LyricText #'font-style = #'large
1729 \context Lyrics \lyrics {
1730 \override Lyrics .LyricText #'self-alignment-X = #-1
1739 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1744 F: point d'orgue, point d'arr@^et,
1749 FI: fermaatti, pid@"ake.
1751 Prolonged note or rest of indefinite duration.
1755 \notes\relative c'' {
1756 a4 b c2^\fermata \bar "|."
1772 @aitem{figured bass}
1773 ES: bajo cifrado, @aref{thorough bass}.
1781 DK: fingers@ae{}tning,
1782 S: fingers@"attning,
1785 The methodical use of fingers in the playing of instruments.
1787 @aitem{flag,pennant}
1789 I: coda (uncinata), bandiera,
1791 D: Fahne, F@"ahnchen,
1797 Ornament at the end of the stem of a note used for notes with values
1798 less than a quarter note. The number of flags determines the
1802 \set Score.automaticBars = ##f
1803 %\override Score.TextScript #'font-style = #'large
1804 \notes\relative c'' {
1824 @aitemii{forefall,backfall}
1825 @aref{appoggiatura}.
1835 FI: forte, voimakkaasti.
1837 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1838 @emph{mezzoforte} (@b{mf}) medium loud.
1862 @aref{counterpoint}.
1864 @aitem{functional harmony}
1865 ES: armon@'{@dotless{i}}a funcional,
1866 I: armonia funzionale,
1867 F: @'etude des functions,
1869 NL: functionele harmonie,
1870 DK: funktionsanalyse, funktionsharmonik,
1872 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.
1881 \set Score.automaticBars = ##f
1882 %\override Score.LyricText #'font-style = #'large
1883 %\override Score.TextScript #'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}$\\mid$" }
1905 D: G-Schl@"ussel, Violinschl@"ussel,
1911 A clef symbol indicating the G above central@w{ }C. Used on the first
1912 and second note lines. A digit 8 above the clef symbol indicates that
1913 the notes must be played an octave higher while 8 below the clef symbol
1914 indicates playing or singing an octave lower (most tenor parts in choral
1915 scores are notated like that).
1918 \set Score.automaticBars = ##f
1919 \override Staff.Clef #'full-size-change = ##t
1920 %\override Score.LyricText #'font-style = #'large
1922 \notes\relative c'' {
1932 \context Lyrics \lyrics {
1933 \override Lyrics .LyricText #'self-alignment-X = #-1
1934 "french violin clef "
1949 FI: glissando, liukuen.
1951 Letting the pitch slide fluently from one note to the other.
1957 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1963 Notes printed in small types to indicate that their time values are not
1964 counted in the rhythm of the bar. @aref{appoggiatura}.
1972 S: ackolad, b@"ojd klammer,
1973 FI: kaksoisnuottiviivasto.
1977 A combination of two staves with a brace. Usually used for piano music.
1987 FI: grave, raskaasti.
1996 D: Halbe, halbe Note,
2017 @aitem{harmonic cadence}
2018 ES: cadencia (arm@'onica),
2019 I: cadenza (armonica),
2020 F: cadence harmonique,
2022 NL: harmonische cadens,
2023 DK: harmonisk kadence,
2024 S: (harmonisk) kadens,
2025 FI: harmoninen kadenssi.
2027 Sequence of chords that terminate a musical phrase or
2028 section. @aref{functional harmony}.
2031 \notes\context PianoStaff <<
2032 \context Staff = SA \relative c'' {
2036 \partial 4 < c g e >4 |
2037 < c a f > < b g d > < c g e >2
2039 % %\override Score.LyricText #'font-style = #'large
2041 \context Staff = SB \relative c {
2043 \partial 4 c4 | f, g c2
2046 \context Lyrics \lyrics {
2053 ES: armon@'{@dotless{i}}a,
2056 D: Harmonie, Zusammenklang,
2060 FI: harmonia, yhteissointi.
2062 Tones sounding simultaneously. Two note harmonies fall into the categories
2063 @emph{consonances} and @emph{dissonances}.
2068 \set Score.automaticBars = ##f
2069 %\override Score.TextScript #'font-style = #'large
2070 \context Voice \notes\relative c'' {
2084 \set Score.automaticBars = ##f
2085 %\override Score.TextScript #'font-style = #'large
2086 \context Voice \notes\relative c'' {
2087 <g a>1_"second " s s
2088 <g f'>_"seventh " s s
2093 Three note harmony @aref{chord}.
2096 ES: homofon@'{@dotless{i}}a,
2103 FI: homofonia, yksi@"a@"anisyys.
2105 Music in which one voice leads melodically followed by the other voices more
2106 or less in the same rhythm. In contrast to @aref{polyphony}.
2116 FI: intervalli, kahden s@"avelen korkeusero.
2118 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2119 diminished, or augmented. The augmented fourth and the diminished fifth are
2120 identical (@aref{enharmonic}) and are called @emph{tritonus}
2121 because they consist of three @aref{whole tone}s. The addition
2122 of such two forms an octave.
2125 \set Score.automaticBars = ##f
2126 %\override Score.LyricText #'font-style = #'large
2127 %\override Score.TextScript #'font-style = #'large
2129 \context Voice \notes\relative c'' {
2134 < gis bes >^"dimin" s
2135 < g! bes >^"minor" s
2139 \context Lyrics \lyrics {
2140 "unisone " "second " "second " "second "
2141 "third " "third " "third " "third "
2146 \set Score.automaticBars = ##f
2147 %\override Score.LyricText #'font-style = #'large
2148 %\override Score.TextScript #'font-style = #'large
2150 \context Staff \notes\relative c'' {
2153 < g d' >^"perfect" s
2154 < g des' > ^"dimin" s
2155 < gis es' >^"dimin" s
2156 < g! es' >^"minor" s
2160 \context Lyrics \lyrics {
2161 "fourth " "fourth " "fifth " "fifth "
2162 "sixth " "sixth " "sixth " "sixth "
2167 \set Score.automaticBars = ##f
2168 %\override Score.LyricText #'font-style = #'large
2169 %\override Score.TextScript #'font-style = #'large
2171 \context Staff \notes\relative c'' {
2172 < gis f'! >1^"dimin" s
2173 < g! f'! >^"minor" s
2174 < g fis' >^"major" s
2178 < g bes' >^"minor" s
2181 \context Lyrics \lyrics {
2182 "seventh " "seventh " "seventh " "octave "
2183 "none " "none " "decime " "decime "
2187 @aitem{inverted interval}
2188 ES: intervalo invertido,
2189 I: intervallo rivolto,
2190 F: intervalle revers@'e,
2191 D: umgekehrtes Intervall,
2192 NL: interval inversie,
2193 DK: omvendingsinterval,
2194 S: intervallets omv@"andning,
2195 FI: k@"a@"anteisintervalli.
2197 The difference between an interval and an octave.
2200 \set Score.automaticBars = ##f
2201 %\override Score.TextScript #'font-style = #'large
2202 \context Staff \notes\relative c'' {
2203 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2204 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2205 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2209 @aitem{just intonation}
2210 I: intonazione giusta,
2211 F: intonation juste,
2218 Tuning system in which the notes are obtained by adding and subtracting
2219 natural fifths and thirds. @aref{temperament}.
2231 According to the 12@w{ }tones of the @aref{chromatic scale}
2232 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2233 @aref{key signature}.
2235 @aitem{key signature}
2236 ES: armadura de clave,
2237 I: armatura di chiave,
2238 F: armure, armature [de la cl@'e],
2239 D: Vorzeichen, Tonart,
2240 NL: toon@-soort (voortekens),
2243 FI: s@"avellajiosoitus.
2245 The sharps or flats appearing at the beginning of each staff indicating the
2246 key of the music. @aref{accidental}.
2252 D: Largo, Langsam, Breit,
2256 FI: largo, hitaasti, leve@"asti.
2258 Very slow in tempo, usually combined with great
2259 expressiveness. @emph{Larghetto} is less slow than largo.
2261 @aitem{leading note}
2271 The seventh @aref{scale degree}, a @aref{semitone} below
2272 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2273 upwards) to the tonic scale degree.
2275 @aitemii{ledger line,leger line}
2276 ES: l@'{@dotless{i}}neas adicionales,
2277 I: tagli addizionali,
2278 F: ligne suppl@'ementaire,
2281 DK: hj@ae{}lpelinie,
2285 A ledger line is an extension of the staff.
2288 \set Score.automaticBars = ##f
2289 \notes\relative c'' { a,1 s c'' }
2302 To be performed (a) without any perceptible interruption between the notes,
2303 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2304 (d) @aref{staccato}.
2307 \set Score.automaticBars = ##f
2309 \context Staff \notes\relative c'' {
2310 c4-( d e-) \bar "||"
2311 c4-- d-- e-- \bar "||"
2312 c4-.-( d-. e-.-) \bar "||"
2313 c4-. d-. e-. \bar "||"
2315 \context Lyrics \lyrics {
2316 % \override Lyrics .LyricText #'font-style = #'large
2324 @aitem{legato curve}
2325 @aref{slur}, @aref{legato}.
2328 ES: estanque de lilas,
2329 I: stagno del giglio,
2333 NL: le@-lie@-vij@-ver,
2338 A pond with lilies floating in it, also the name of a music typesetter.
2342 A ligature is a coherent graphical symbol that represents at least two
2343 distinct notes. Ligatures originally appeared in the manuscripts of
2344 Gregorian chant notation roughly since the 9th century to denote
2345 ascending or descending sequences of notes. In early notation,
2346 ligatures were used for monophonic tunes (Gregorian chant) and very
2347 soon denoted also the way of performance in the sense of articulation.
2348 With the invention of the metric system of the white mensural
2349 notation, the need for ligatures to denote such patterns disappeared.
2354 ES: l@'{@dotless{i}}nea,
2357 D: Linie, Notenlinie,
2361 FI: viiva, nuottiviiva.
2365 @aitem{long appoggiatura}
2366 ES: apoyatura larga,
2367 I: appoggiatura lunga,
2368 F: appoggiature longue,
2369 D: langer Vorschlag,
2372 S: l@aa{}ngt f@"orslag,
2373 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2375 @aref{appoggiatura}.
2387 Note value: double length of @aref{breve}.
2391 \set Score.automaticBars = ##f
2392 \notes\relative c'' {
2393 \override NoteHead #'style = #'mensural
2398 @aitemii{lyrics,song texts}
2408 @aitem{major interval}
2409 ES: intervalo mayor,
2410 I: intervallo maggiore,
2411 F: intervalle majeur,
2412 D: gro@ss{}es Intervall,
2416 FI: suuri intervalli.
2430 @aref{diatonic scale}.
2432 @aitem{meantone temperament}
2433 I: accordatura mesotonica,
2434 F: temp@'erament m@'esotonique,
2435 D: mittelt@"onige Stimmung,
2436 NL: middenstemming, middentoonstemming,
2437 DK: middeltonetemperatur,
2438 S: medeltonstemperatur,
2439 FI: keskis@"avelviritys.
2441 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2442 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2443 @aref{temperament} only a limited set of keys are playable.
2444 Used for tuning keyboard instruments for performance of pre-1650 music.
2446 @aitem{measure, bar}
2456 A group of @aref{beat}s (units of musical time) the first of which
2457 bears an accent. Such groups in numbers of two or more recur consistently
2458 throughout the composition and are marked from each other by
2459 bar-lines. @aref{meter}.
2463 I: mediante, modale,
2471 1. The third @b{scale degree}.
2472 2. A @aref{chord} having its base tone
2473 a third from that of another chord. For example, the tonic chord may be
2474 replaced by its lower mediant (variant tonic). @aref{functional
2475 harmony}, @aref{relative key}.
2480 FI: melisma, laulettavan tavun s@"avelkuvio.
2482 A melisma (plural: melismata) is a group of notes or tones sung on one
2483 syllable in plainsong
2485 @aitem{melodic cadence}
2491 F: indication de m@'esure,
2498 The basic scheme of @aref{note value}s and
2499 @aref{accent}s which remains unaltered throughout a composition
2500 or a section of it. For instance, 3/4 meter means that the basic
2501 @aref{note value}s are quarter notes and that a
2502 @aref{measure} consists of three of those. According to
2503 whether there are two, three or four units to the measure,
2504 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2505 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2508 \notes\relative c'' {
2511 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2515 \notes\relative c' {
2518 f8 f f f a16 g a f |
2519 c'8 c c c e16 d e c \bar "||"}
2523 \notes\relative c'' {
2526 d4 b8 g b d d c a4 |
2527 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2540 Device indicating the exact tempo of a piece. @aref{metronomic
2543 @aitem{metronomic indication}
2544 ES: indicaci@'on metron@'omica,
2545 I: indicazione metronomica,
2546 F: indication m@'etronomique,
2548 NL: metronoom aanduiding,
2550 S: metronomangivelse,
2551 FI: metronomiosoitus.
2553 Exact tempo indication (in beats per minute). Also denoted by
2554 M.M. (M@"alzels Metronom).
2556 @aitem{mezzo-soprano}
2566 The female voice between @aref{soprano} and
2573 D: eingestrichenes@w{ }c,
2575 DK: enstreget@w{ }c,
2576 S: ettstruket@w{ }c,
2579 First C below the 440 Hz A.
2582 \set Score.automaticBars = ##f
2583 \override Staff.Clef #'full-size-change = ##t
2584 \notes\relative c' {
2601 @aref{diatonic scale}.
2603 @aitem{minor interval}
2604 ES: intervalo mayor,
2605 I: intervallo minore,
2606 F: intervalle mineur,
2607 D: kleines Intervall,
2611 FI: pieni intervalli.
2623 FI: moodi, kirkkos@"avelasteikko.
2625 @aref{church mode}, @aref{diatonic scale}.
2635 FI: modulaatio, s@"avellajin vaihdos.
2637 Moving from one @aref{key} to another. For example, the second
2638 subject of a @aref{sonata form} movement modulates to the dominant
2639 key if the key is major and to the @aref{relative key} if the key
2649 FI: mordent, korukuvio.
2653 @aitemii{motive,motif}
2661 FI: teema, s@"avelaihe.
2663 The briefest intelligible and self-contained fragment of a musical theme or
2667 \set Score.TimeSignature = \turnOff
2668 %\override Score.TextScript #'font-style = #'large
2669 \notes\relative c'' {
2672 \partial 8 g16_"------" fis |
2673 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2674 g8 g,16 a b8 cis d16 s
2688 Greater musical works like @aref{symphony} and
2689 @aref{sonata} most often consist of several -- more or less --
2690 independant pieces called movements.
2692 @aitem{multibar rest}
2693 ES: compases de espera,
2697 D: mehrtaktige Pause,
2700 FI: usean tahdin mittainen tauko.
2703 \notes\relative c'' {
2705 \set Score.skipBars = ##t R1*3
2710 @aitem{mixolydian mode}
2711 @aref{diatonic scale}.
2713 @aitem{natural sign}
2717 D: Aufl@"osungszeichen,
2718 NL: herstellingsteken,
2719 DK: op@-l@o{}sningstegn,
2720 S: @aa{}terst@"allningstecken,
2725 @aitem{neighbour tones}
2726 @aref{appoggiatura}.
2753 Notes are signs by means of which music is fixed in writing. The term is also
2754 used for the sound indicated by a note, and even for the key of the piano
2755 which produces the sound. However, a clear distinction between the terms tone
2756 and @aref{note} is strongly recommended. Briefly, one sees a note,
2761 I: testa, testina, capocchia,
2762 F: t@^ete de la note,
2769 A head like sign which indicates pitch by its position on a
2770 @aref{staff} provided with a @aref{clef}, and duration
2771 by a variety of shapes such as hollow or black heads with or without
2772 @aref{stem}s, @aref{flag}s, etc. For percussion
2773 instruments (often having no defined pitch) the note head may indicate the
2779 F: dur@'ee, valeur (d'une note),
2784 FI: nuotin aika-arvo.
2786 Note values (durations) are measured as fractions, normally 1/2, of the next
2787 higher note value. The longest duration normally used is called @emph{brevis},
2788 but sometimes (mostly in pre baroque music) the double length note value
2789 @emph{longa} is used.
2792 %\override Score.TextScript #'font-style = #'large
2793 \set Score.automaticBars = ##f
2794 \notes\relative c'' {
2795 \override NoteHead #'style = #'mensural
2796 g\longa_"longa" g\breve_"breve"
2797 \revert NoteHead #'style
2798 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2799 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2803 %\override Score.TextScript #'font-style = #'large
2804 \set Score.automaticBars = ##f
2805 \notes\relative c'' {
2806 r\longa_"longa" r\breve_"breve"
2807 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2808 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2811 An augmentation dot after a note multiplies the duration by one and a
2812 half. Another dot adds yet a fourth of the duration.
2815 %\override Score.TextScript #'font-style = #'large
2816 \notes\relative c'' {
2818 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2819 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2822 Alternatively note values may be subdivided by other ratios. Most common is
2823 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2824 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2825 dotted notes are also frequently used.
2828 %\override Score.TextScript #'font-style = #'large
2829 \notes\relative c'' {
2831 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2832 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2837 \notes\relative c'' {
2839 \times 3/2 {g4_"duplets" g} |
2841 \times 6/4 {g8_"quadruplets" g g g} |
2842 g8 g g g g4 \bar "||"
2847 @aref{G clef}, @aref{F clef}.
2861 @aitemiii{ornament,embellishment,accessory}
2863 I: abbellimento, fioriture,
2864 F: agr@'ement, ornement,
2865 D: Verzierung, Ornament,
2871 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2872 with the diatonic @aref{second} above it. In the music from the
2873 middle of the 19th century and onwards the trill is performed with the main
2874 note first while in the music from the preceding baroque and classic periods
2875 the upper note is played first.
2879 \context Staff = sa {
2880 % \override Score.TextScript #'font-style = #'large
2881 \notes\relative c'' {
2882 c2._"pre-1850" b4\trill | c1 \bar "||"
2883 c2._"post-1850" b4\trill | c1 \bar "||"
2886 \notes\relative c'' {
2887 c2. c32 b c b c b c b | c1
2888 c2. b32 c b c \times 4/5 { b c b c b } | c1
2893 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2894 @emph{prall} (inverted mordent).
2898 \context Staff = sa {
2899 % \override Score.TextScript #'font-style = #'large
2900 \notes\relative c'' {
2901 a4_"turn" b\turn c2 \bar "||"
2902 g4_"mordent" a b\mordent a \bar "||"
2903 e'4_"prall" d\prall c2 \bar "||"
2906 \notes\relative c'' {
2909 e'4 e32[ d e d ~ d8] c2
2914 @aref{appoggiatura}.
2924 FI: ossia, vaihtoehtoinen esitystapa.
2926 Ossia (otherwise) marks an alternative. It is an added staff or piano
2927 score, usually only a few measures long, which presents another version
2928 of the music, for example for small hands.
2938 FI: stemma, instrumenttiosuus.
2940 1. In instrumental or choral music the music for the single instrument
2941 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2942 melodic line of the contrapunctal web.
2948 D: Schlagzeug, Schlagwerk,
2952 FI: ly@"om@"asoittimet.
2954 A family of musical instruments which are played on by striking or
2955 shaking. Percussion instruments commonly used in a symphony orchestra are
2956 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2957 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2960 @aitem{perfect interval}
2961 ES: intervalo justo,
2962 I: intervallo giusto,
2963 F: intervalle juste,
2964 D: reines Intervall,
2968 FI: puhdas intervalli.
2982 A natural division of the melodic line, comparable to a sentence of speech.
2992 FI: fraseeraus, j@"asent@"aminen.
2994 The clear rendering in musical performance of the @aref{phrase}s of
2995 the melody. Phrasing may be indicated by a @aref{slur}.
3007 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3008 @emph{mezzopiano} (@b{mp}) medium soft.
3025 NL: pizzicato, getokkeld,
3028 FI: pizzicato, n@"app@"aillen.
3030 Play by plucking the strings.
3033 ES: polifon@'{@dotless{i}}a,
3040 FI: polyfonia, moni@"a@"anisyys.
3042 Music written in a combination of several simultaneous voices (parts) of a
3043 more or less pronounced individuality. @aref{counterpoint}.
3052 D: Presto, Sehr schnell,
3053 NL: presto, Sehr schnell,
3056 FI: presto, hyvin nopeasti.
3058 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3059 denotes the highest possible degree of speed.
3061 @aitem{Pythagorean comma}
3062 ES: coma pitag@'orico,
3063 I: comma pitagorico,
3064 F: comma pythagoricien,
3065 D: Pythagor@"aisches Komma,
3066 NL: komma van Pythagoras,
3067 DK: pythagor@ae{}isk komma,
3068 S: pytagoreiskt komma,
3069 FI: pytagorinen komma.
3071 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3072 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3073 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3074 7@w{ }octaves. The difference between those two pitches is called the
3089 @aitem{quarter note}
3091 I: semiminima, nera,
3094 D: Viertel, Viertelnote,
3098 FI: nelj@"annesosanuotti.
3102 @aitem{quarter rest}
3103 ES: silencio de negra,
3104 I: pausa di semiminima,
3109 DK:@w{ }fjerdedelspause,
3110 S: fj@"ardedelspaus,
3111 FI: nelj@"annesosatauko.
3131 D: rallentando, langsamer werden,
3135 FI. rallerdando, hidastuen,
3137 Abbreviation "rall.". @aref{ritardando}.
3139 @aitem{relative key}
3141 I: tonalit@`a relativa,
3142 F: tonalit@'e relative,
3144 NL: paralleltoonsoort,
3145 DK: paralleltoneart,
3147 FI: rinnakkaiss@"avellaji.
3149 @aref{major} and @aref{minor} @aref{key}
3150 with the same @aref{key signature}.
3153 \set Score.automaticBars = ##f
3154 %\override Score.TextScript #'font-style = #'large
3155 \notes\relative c' {
3157 es1_"e flat major" f g as bes c d es
3163 \set Score.automaticBars = ##f
3164 %\override Score.TextScript #'font-style = #'large
3165 \notes\relative c' {
3167 c1_"c minor" d es f g a! b! c \bar "||"
3172 ES: barra de repetici@'on,
3174 F: barre de reprise,
3177 DK: gen@-ta@-gel@-se,
3184 \notes\relative c'' {
3185 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3189 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3190 @c specify the rest's value.
3214 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3215 fixed unit of time, called @aref{beat}, and in which the normal
3216 @aref{accent} recurs in regular intervals, called
3217 @aref{measure}. The basic scheme scheme of time values is called
3218 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3219 accent. In modern notation such music appears as a free alternation of
3220 different measures. (c) Free rhythm, i.e., the use of temporal values having
3221 no common metrical unit (beat).
3227 D: Ritardando, langsamer werden,
3231 FI. ritardando, hidastuen,
3233 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3243 FI: ritenuto, hidastaen.
3245 Immediate reduction of speed.
3255 FI: asteikko, s@"avelasteikko.
3257 @aref{diatonic scale}.
3259 @aitem{scale degree}
3260 ES: grados de la escala,
3261 I: grado della scala,
3262 F: degr@'e [de la gamme],
3264 NL: trap [van de toonladder],
3267 FI: s@"avelaste, asteikon s@"avel.
3269 Names and symbols used in harmonic analysis to denote tones of the scale as
3270 roots of chords. The most important are degrees I = tonic (T), IV =
3271 sub@-do@-mi@-nant (S) and V = dominant (D).
3274 \set Score.automaticBars = ##f
3275 %\override Score.LyricText #'font-style = #'large
3276 %\set minVerticalAlign = #8
3278 \context Staff \notes\relative c' {
3281 \context Lyrics \lyrics {
3282 << { I II III IV V VI VII I }
3287 @aref{functional harmony}.
3293 D: Partitur (full score), Klavierauszug (vocal score)
3299 A copy of orchestral, choral or chamber music showing what each instrument is
3300 to play, each voice to sing, having each part arranged one underneath the
3301 other on different staves @aref{staff}.
3313 The @aref{interval} between two neigbouring tones of a scale. A
3314 @aref{diatonic scale} consists of alternating
3315 @aref{semitone}s and @aref{whole tone}s, hence the size
3316 of a se@-cond depends on the scale degrees in question.
3328 The @aref{interval} of a minor second. The (usually) smallest
3329 interval in European composed music. The interval between two neighbouring
3330 tones on the piano keyboard -- including black and white keys -- is a
3331 semitone. An octave may be divided into 12@w{ }semitones.
3332 @aref{interval}, @aref{chromatic scale}.
3335 \set Score.automaticBars = ##f
3336 \notes\relative c'' { g1 gis s a bes s b! c }
3351 @aitem{sextuplet, sextolet}
3374 @aitem{short appoggiatura}
3375 @aref{appoggiatura}.
3377 @aitem{sixteenth note}
3382 D: Sechzehntel, Sechzehntelnote,
3383 NL: zes@-ti@-ende noot,
3384 DK: sekstendedelsnode,
3386 FI: kuudestoistaosanuotti.
3390 @aitem{sixteenth rest}
3391 ES: silencia de semicorchea,
3392 I: pausa di semicroma,
3394 UK: semiquaver rest,
3395 D: Sechzehntelpause,
3397 DK: sekstendedelspause,
3415 @aitem{sixty-fourth note}
3418 F: quadruple croche,
3419 UK: hemidemisemiquaver,
3420 D: Vierundsechzigstel, Vierundsechzigstelnote,
3421 NL: vierenzestigste noot,
3422 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3423 S: sextiofj@"ardedelsnot,
3424 FI: kuudeskymmenesnelj@"asosanuotti.
3428 @aitem{sixty-fourth rest}
3429 ES: silencia de semifusa,
3430 I: pausa di semibiscroma,
3431 F: seizi@`eme de soupir,
3432 UK: hemidemisemiquaver rest,
3433 D: Vierundsechzigstelpause,
3434 NL: vierenzestigste rust,
3435 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3436 S: sextiofj@"ardedelspaus,
3437 FI: kuudeskymmenesnelj@"asosatauko.
3443 I: legatura (di portamento or espressiva),
3444 F: liaison, coul@'e,
3445 D: Bogen, Legatobogen, Phrasierungsbogen,
3446 NL: fraseringsboog, legatoboog, streekboog,
3447 DK: legatobue, fraseringsbue,
3451 A slur above or below a group of notes indicates that they are to be played
3452 @aref{legato}, e.g., with one stroke of the violin bow or with one
3462 FI: suhteelliset laulunimet.
3464 General term for systems of designating the degrees of the
3465 @aref{scale}, not by letters, but by syllables (@emph{do}
3466 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3467 (@emph{ti})). @aref{scale degree}.
3479 In its present-day meaning a sonata denotes an instrumental composition for
3480 piano or for some other instrument with piano accompaniment, which consists of
3481 three or four independant pieces, called movements.
3486 F: [en] forme de sonate,
3488 NL: hoofdvorm, sonatevorm,
3493 A form used frequently for single movements of the @aref{sonata},
3494 @aref{symphony}, quartet, etc. A movement written in sonata form
3495 falls into three sections called @emph{exposition}, @emph{development} and
3496 @emph{recapitulation}. In the exposition the composer introduces his musical
3497 ideas, consisting of a number of themes; in the development section he
3498 "develops" this material, and in the recapitulation he repeats the exposition,
3499 with certain modifications, however. The exposition contains a number of themes
3500 which fall into two groups, often called first and second subject. Other
3501 melodies occurring in each group are considered as continuations of these
3502 two. The second theme is in another key, normally in the key of the
3503 @aref{dominant} if the @aref{tonic} is
3504 @aref{major}, and in the @aref{relative key} if the
3505 tonic is @aref{minor}.
3515 FI: sopraano, korkea nais@"a@"ani.
3517 The highest female voice.
3522 F: staccato, piqu@'e, d@'etach@'e,
3527 FI: staccato, lyhyesti, ter@"av@"asti.
3529 Playing the note(s) short. Staccato is indicated by a dot above or below the
3535 \notes\relative c'' {
3537 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3544 I: pentagramma, rigo (musicale),
3547 NL: (noten)balk, partij,
3552 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3553 which the musical notes are written, thus indicating (in connection
3554 with a @aref{clef}) their pitch. Staves for
3555 @aref{percussion} instruments may have fewer lines.
3561 D: Hals, Notenhals, Stiel,
3567 Vertical line above or below a @aref{note head} shorter than a
3568 whole note. @aref{beam}.
3571 \set Score.autoBeaming = ##f
3572 \set Score.automaticBars = ##f
3573 %\override Score.TextScript #'font-style = #'large
3574 \notes\relative c'' {
3592 A family of stringed musical instruments played with a bow. Strings commonly
3593 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3599 D: betonter Taktteil oder Taktschlag,
3601 D: betonet taktslag,
3602 S: betonat taktslag,
3603 FI: tahdin vahva isku.
3605 @aref{beat}, @aref{accent}, @aref{measure},
3616 FI: subdominantti, alidominantti.
3618 The fourth @aref{scale degree}. @aref{functional
3629 FI: alikeskis@"avel.
3631 The sixth @aref{scale degree}.
3641 FI: subtoonika, alitoonika.
3643 The seventh @aref{scale degree}.
3645 @aitem{superdominant}
3655 The sixth @aref{scale degree}.
3667 The second @aref{scale degree}.
3670 ES: sinfon@'{@dotless{i}}a,
3673 D: Sinfonie, Symphonie,
3679 A symphony may be defined as a @aref{sonata} for orchestra.
3691 Any deliberate upsetting of the normal pulse of @aref{meter},
3692 @aref{accent} and @aref{rhythm}. Our system of musical
3693 rhythm rests upon the grouping of equal beats into groups of two or three,
3694 with a regularly recurrent accent on the first beat of each group. Any
3695 deviation from this scheme is felt as a disturbance or contradiction between
3696 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3700 \notes\relative c' {
3703 e c'4 e,8 c'4 e,8 c' ( | c2)
3707 @aitemii{syntonic comma,dydimic comma}
3708 I: comma sintonico (o didimico),
3709 F: comma syntonique,
3710 D: syntonisches Komma,
3711 NL: syntonische komma,
3712 DK: syntonisk komma,
3713 S: syntoniskt komma,
3714 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3716 Difference between the natural third and the third obtained by Pythagorean
3717 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3726 FI: nuottij@"arjestelm@"a.
3728 The collection of staves @aref{staff}, two or more, as used for
3729 writing down of keyboard, chamber, choral, or orchestral music.
3735 D: Stimmung, Temperatur,
3736 NL: stemming, temperatuur,
3739 FI: viritysj@"arjestelm@"a.
3741 Systems of tuning in which the intervals deviate from the acoustically pure
3742 intervals. @aref{meantone temperament}, @aref{equal
3745 @aitem{tempo indication}
3746 ES: indicaci@'on de tempo,
3747 I: indicazione di tempo,
3748 F: indication de temps,
3749 D: Zeitma@ss{}, Tempobezeichnung,
3750 NL: tempo aanduiding,
3753 FI: tempomerkint@"a.
3755 The rate of speed of a composition or a section thereof, ranging from the
3756 slowest to the quickest, as is indicated by tempo marks as
3757 @aref{largo}, @aref{adagio}, @aref{andante},
3758 @aref{allegro}, and @aref{presto}.
3768 FI: tenori, korkea mies@"a@"ani.
3770 The highest voice of men (apart from @aref{counter tenor}).
3796 @aitem{thirty-second note}
3801 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3802 NL: twee-endertig@-ste noot,
3803 DK: toogtredivtedelsnode,
3804 S: trettiotv@aa{}ondelsnot,
3805 FI: kolmanneskymmeneskahdesosanuotti.
3809 @aitem{thirty-second rest}
3810 ES: silencio de fusa,
3811 I: pausa di biscroma,
3812 F: huiti@`eme de soupir,
3813 UK: demisemiquaver rest,
3814 D: Zweiunddreissigstel@-pause,
3816 DK: toogtredivtedelspause,
3817 S: trettiotv@aa{}ondelspaus,
3818 FI: kolmanneskymmeneskahdesosatauko.
3822 @aitemii{thorough bass,figured bass}
3824 I: basso continuo, basso numerato,
3825 F: basse chiffr@'ee,
3826 D: Generalbass, bezifferter Bass,
3827 NL: basso continuo, becijferde bas
3830 FI: kenraalibasso, numeroitu basso.
3832 A method of indicating an accompaniment part by the bass notes only, together
3833 with figures designating the chief @aref{interval}s and
3834 @aref{chord}s to be played above the bass notes.
3837 \context GrandStaff <<
3838 \context Staff = lh \notes\relative c'' {
3842 << \context Voice = rha {
3845 \context Voice = rhb {
3847 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3851 \context Staff = rh \notes\relative c' {
3854 es8 c d bes c as bes16 as g f | es4
3856 \context Lyrics \lyrics {
3857 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3858 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3859 { "" "" "" "2" "" "" "" "" "" "2" } >>
3865 ES: ligadura de prolongaci@'on,
3866 I: legatura (di valore),
3869 NL: overbinding, bindingsboog,
3871 S: bindeb@aa{}ge, @"overbindning,
3874 A curved line, identical in appearance with the @aref{slur}, which
3875 connects two succesive notes of the same pitch, and which has the function of
3876 uniting them into a single sound equal to the combined durations.
3879 \set Score.automaticBars = ##f
3880 \notes\relative c'' { g2 ~ g4. }
3883 @aitem{time signature}
3884 ES: cifra indicadora de comp@'as,
3886 F: chiffrage (chiffres indicateurs), signe de valeur,
3887 D: Taktangabe, Angabe der Taktart,
3890 S: taktartssignatur,
3905 A sound of definite pitch and duration, as distinct from @emph{noise}.
3906 Tone is a primary building material of music.
3907 Music from the 20th century may be based on non tone related sounds.
3919 The first @aref{scale degree}.
3920 @aref{functional harmony}.
3922 @aitem{transposition}
3923 ES: transposici@'on,
3932 Shifting a melody up or down in pitch, while keeping the same
3938 \notes\relative c'' {
3940 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3948 \transpose c bes \relative c'' {
3950 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3957 I: chiave di violino,
3959 D: Violinschl@"ussel, Sopranschl@"ussel,
3961 DK:@w{ }diskantn@o{}gle,
3977 On stringed instruments (@aref{strings}) the quick reiteration of
3978 the same tone, produced by a rapid up-and-down movement movement of the bow
3979 (a). The term is also used for the rapid alternation (b) between two notes of
3980 a @aref{chord}, usually in the distance of a third
3984 \set Score.automaticBars = ##f
3985 %\override Score.TextScript #'font-style = #'large
3986 \notes\relative c' {
3988 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3989 \repeat "tremolo" 8 { e32_"b" g }
3994 ES: tr@'{@dotless{i}}ada,
3996 F: triade, accord parfait, accord de trois sons,
4005 @aitemii{trill,shake}
4008 F: trille, tremblement, battement (cadence),
4017 @aitem{triple meter}
4018 ES: comp@'as compuesto,
4022 NL: driedelige maatsoort,
4042 ES: tr@'{@dotless{i}}tono,
4055 I: diapason, corista,
4063 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4064 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4066 @aitemii{turn,gruppetto}
4079 ES: un@'{@dotless{i}}sono,
4086 FI: unisono, yksi@"a@"anisesti.
4088 Playing of the same notes or the same melody by various instruments (voices)
4089 or by the whole orchestra (choir), either at exactly the same pitch or in a
4093 ES: entrada anacr@'usica,
4095 F: anacrouse, lev@'ee,
4102 Initial note(s) of a melody occurring before the first bar
4103 line. @aref{measure}, @aref{meter}.
4108 \notes\relative c' {
4109 \partial 4 f4 | bes4. a8 bes4 c |
4110 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4121 FI: @"a@"ani, laulu@"a@"ani.
4123 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4124 @aref{contralto}, @aref{tenor},
4125 @aref{baritone}, @aref{bass}.
4126 2. A melodic layer or part of a polyphonic composition.
4130 I: tempo debole, arsi,
4132 D: unbetonter Taktteil oder Taktschlag,
4134 DK: ubetonet taktslag,
4135 S: obetonat taktslag,
4136 FI: tahdin heikko isku.
4138 @aref{beat}, @aref{measure}, @aref{rhythm}.
4145 D: Ganze, ganze Note,
4154 ES: silencio de redonda,
4155 I: pausa di semibreve,
4158 D: ganze Pause, ganztaktige Pause,
4176 The @aref{interval} of a major second. The interval between two
4177 tones on the piano keyboard with exactly one key between them -- including
4178 black and white keys -- is a whole tone.
4186 DK tr@ae{}bl@ae{}sere,
4187 S: tr@"abl@aa{}sare,
4190 A family of blown wooden musical instruments. Today some of these instruments
4191 are actually made from metal. The woodwind instruments commonly used in a
4192 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4199 @item DURATION NAMES, NOTES AND RESTS
4202 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4204 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4205 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4209 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4210 @tab longa @tab longa @tab longa
4214 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4215 brevis @tab brevis @tab brevis @tab brevis
4219 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4220 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4224 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4225 halve @tab halv @tab halv @tab puoli- @tab
4229 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4230 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4234 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4235 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4239 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4240 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4241 @tab kuudestoistaosa- @tab
4245 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4246 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4247 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4251 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4252 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4253 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4254 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4257 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4265 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4267 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4268 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4272 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4276 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4277 cis @tab cis @tab cis
4281 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4282 des @tab des @tab des
4286 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4290 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4294 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4298 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4302 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4307 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4311 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4312 ais @tab ais @tab ais
4316 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4321 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4329 @item ---------------------
4333 @item Literature used
4334 The Harvard Dictionary of Music, London 1944. Many more or less literal
4335 quotes from its articles have been included into the item explanation texts.
4337 Hugo Riemanns Musiklexicon, Berlin 1929.
4339 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4340 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.