1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
7 This document is also available in @uref{music-glossary.ps.gz,gzipped
8 PostScript} and @uref{music-glossary.pdf,PDF}.
13 @author Christian Mondrup @c Original author of LilyPond glossary
15 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
17 @author Han-Wen Nienhuys @c Dutch glossary
18 @author Jan Nieuwenhuizen @c Dutch glossary
19 @author Dadiv Gonzalez @c Spanish glossary
20 @author Bjoern Jacke @c German glossary
21 @author Neil Jerram @c English glossary translations
22 @author Mats Bengtsson @c Swedish glossary
23 @author Adrian Mariano @c Italian glossary
24 @author Heikki Junes @c Finnish glossary
26 @c Fixes by Jean-Pierre Coulon and `Dirk'
29 Copyright @copyright{} 1999--2004 by the authors
32 Permission is granted to copy, distribute and/or modify this document
33 under the terms of the GNU Free Documentation License, Version 1.1
34 or any later version published by the Free Software Foundation,
35 without Invariant Sections.
40 @c FIXME: multiple omfcreators?
42 @omfcreator Christian Mondrup
43 @omfdescription Glossary of musical terms with translations
45 @omfcategory Applications|Publishing
52 @chapter Music Glossary
63 @item Christian Mondrup
64 Original author of LilyPond glossary, Danish glossary,
67 @item Fran@,{c}ois Pinard
68 Original glossary of GNU music project, French glossary,
69 @item Han-Wen Nienhuys
71 @item Jan Nieuwenhuizen
76 English glossary translations,
78 Finnish glossary translations.
81 Copyright 1999--2004 by the authors
84 Permission is granted to copy, distribute and/or modify this document
85 under the terms of the GNU Free Documentation License, Version 1.1
86 or any later version published by the Free Software Foundation,
87 without Invariant Sections.
97 @c @everyheading @| @thispage @|
98 @c @evenheading @thispage @| @|
99 @c @oddheading @| @| @thispage @|
103 @tex $\\Rightarrow$ @end tex@c
116 We do not use refs for Info:
118 @w{@ar{}\word\}@c vs:
119 @w{@ar{}@pxref{\word\}}@c
121 they look too intrusive (says Han-Wen).
128 @w{@ar{}@strong{\word\}}@c
131 @ar{}@ref{\word\, @strong{\word\}}@c
139 @c If we want hypelinks, we must add anchors.
140 @c Hmm, we need the @achor command in the item description itself
141 @c (not before or after) to get mozilla jump to the right place.
144 @item \word\@anchor{\word\}
146 @macro aitemii{one,two}
147 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
149 @macro aitemiii{one,two,three}
150 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
160 @item UK - British English
166 This is an example reference, that points you to the @aref{accent}
190 FI: aksentti, korostus.
192 The stress of one tone over others.
194 @c F: how to distinguish between accidental and key-sig alteration?
198 I: alterazione, accidente,
200 D: Vorzeichen, Versetzungszeichen,
203 S: tillf@"alligt f@"ortecken,
204 FI: tilap@"ainen etumerkki.
206 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
207 @c Akzidenz, NL: toevallig teken, I: accidento.
209 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
210 by a @aref{whole tone}, a flat lowers it by a semitone and a double
211 flat lowers it by a whole tone. A natural cancels the effect of a previous
215 \set Score.automaticBars = ##f
216 %\override TextScript #'font-style = #'large
218 \context Staff \notes\relative c'' {
219 gis1 s s gisis s s ges s s geses s s g!
221 \context Lyrics \lyrics {
222 \override Lyrics .LyricText #'self-alignment-X = #-1
223 "sharp " "db. sharp " "flat " "db. flat " natural
230 F: accelerando, en acc@'el@'erant,
231 D: accelerando, schneller werden,
235 FI: accelerando, kiihdytt@"aen.
247 FI: adagio, hitaasti.
249 It. comfortable, easy.
250 1. Slow tempo, slower -- especially in even meter -- than
251 @aref{andante} and faster than @aref{largo}.
252 2. A movement in slow tempo, especially the second (slow) movement of
253 @aref{sonata}s, symphonies, etc.
259 D: Allegro, Schnell, Fr@"ohlich, Lustig,
263 FI: allegro, nopeasti.
265 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
266 especially the first and last movements of a @aref{sonata}.
276 FI: altto, matala nais@"a@"ani.
278 A female voice of low range (@emph{contralto}). Originally the alto was a high
279 male voice (hence the name) which by the use of falsetto reached the height of
280 the female voice. This type of voice is also known as @aref{counter
284 ES: clave de do en tercera,
285 I: chiave di contralto,
286 F: clef d'ut troisi@`eme ligne,
287 D: Altschl@"ussel, Bratschenschl@"ussel,
293 C clef setting middle C on the middle line of the staff
304 FI: ambitus, @"a@"aniala, soitinala.
306 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
307 of pitches for a given voice in a part of music. It also may denote
308 the pitch range that a musical instrument is capable of playing.
310 @aitem{ancient minor scale}
311 I: scala minore naturale,
312 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
314 NL: authentieke mineurtoonladder,
317 FI: luonnollinen molliasteikko.
320 \set Score.automaticBars = ##f
321 \notes\relative c'' {
333 FI: andante, k@"ayden.
335 Walking tempo/character.
340 F: appogiature, (port de voix),
345 FI: appoggiatura, etuhele.
347 Ornamental note, usually a second, that is melodically connected with the main
348 note that follows it. In music before the 19th century a. were usually
349 performed on the beat, after that mostly before the beat. While the short
350 a. is performed as a short note regardless of the duration of the main note
351 the duration of the long a. is proportional to that of the main note.
354 \context Voice \notes\relative c'' {
358 %\override Score.TextScript #'font-style = #'large
359 <d a fis>4_"notation" r
360 { \override Stem #'flag-style = #'()
362 \revert Stem #'flag-style
365 { \override Stem #'flag-style = #'()
367 \revert Stem #'flag-style
370 \cadenzaOn a4 \bar "||" \cadenzaOff }
371 \notes\relative c'' {
372 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
373 \cadenzaOn a4 \bar "||" \cadenzaOff }
376 An appoggiatura may have more notes preceding the main note.
379 \notes\relative c'' {
382 % \override Score.TextScript #'font-style = #'large
383 \grace { bes16 } as8_"notation" as16 bes as8 g |
384 \grace { as16[( bes] } < c as >4-)
385 \grace { as16[( bes] } < c as >4-) \bar "||"
386 \grace { bes16 } as8_"performance" as16 bes as8 g |
387 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
388 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
397 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
399 DK: arpeggio, akkordbrydning,
401 FI: arpeggio, murtosointu.
404 \notes \context PianoStaff <<
405 \context Staff = SA \relative c'' {
408 r8 g16 c e g, c e r8 g,16 c e g, c e |
409 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
410 \context Staff = SB \relative c' {
412 << \context Voice = va {
414 r16 e8. ( e4) r16 e8. ( e4) |
415 r16 d8. ( d4) r16 d8. ( d4) }
416 \context Voice = vb {
423 @aitem{ascending interval}
424 ES: Intervalo ascendente,
425 I: intervallo ascendente,
426 F: intervalle ascendant,
427 D: steigendes Intervall,
428 NL: stijgend interval,
429 DK:@w{ }stigende interval,
430 S: stigande intervall,
431 FI: nouseva intervalli.
433 A distance between a starting lower note and a higher ending note.
435 @aitem{augmented interval}
436 ES: intervalo aumentado,
437 I: intervallo aumentato,
438 F: intervalle augment@'e,
439 D: @"uberm@"a@ss{}iges Intervall,
440 NL: overmatig interval,
441 DK: forst@o{}rret interval,
442 S: @"overstigande intervall,
443 FI: ylinouseva intervalli.
450 D: Autograph, Handschrift,
452 DK: h@aa{}ndskrift, autograf,
454 FI: k@"asinkirjoitettu nuotti.
456 1. A manuscript in the composer's own hand.
457 2. Music prepared for photoreproduction by freehand drawing,
458 with only the aid of a straightedge ruler and T-square,
459 which attempts to emulate engraving.
460 This required more skill than did engraving.
472 @aitemii{backfall,forefall}
477 I: stanghetta, barra (di divisione),
478 F: barre (de mesure),
486 ES: comp@'as, @aref{measure}.
489 ES: bar@'{@dotless{i}}tono,
496 FI: baritoni, keskikorkuinen mies@"a@"ani.
498 The male voice intermediate between the @aref{bass} and the
501 @c F: clef de troisi@`eme ligne dropped
503 @aitem{baritone clef}
504 ES: clave de fa en tercera,
505 I: chiave di baritono,
506 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
507 D: Baritonschl@"ussel,
513 C or F clef setting middle C on the upper staff line.
514 @aref{C clef}, @aref{F clef}.
517 ES: clave de fa en cuarta,
519 F: cl@'e de fa quatri@`eme ligne,
526 A clef setting with middle C on the first top ledger line.
536 FI: basso, matala mies@"a@"ani.
538 1. The lowest of men's voices.
539 2. Sometimes, especially in jazz music, used as
540 an abbreviation for double bass.
552 Line connecting a series of notes (shorter than a quarter note).
553 The number of beams determine the note value of the connected notes.
556 \set Score.automaticBars = ##f
557 %\override TextScript #'font-style = #'large
558 \notes\relative c'' {
560 g16_"1/16"[ g g g] s16
561 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
562 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
569 D: Takt, Taktschlag, Zeit (im Takt),
575 Note value used for counting, most often half-, fourth-, and eighth notes.
576 The base counting value and the number of them per measure is indicated at
577 the start of the music.
582 \notes\relative c'' { g4 c b a | g1 \bar "||"}
584 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
594 D: Klammer, Akkolade,
595 NL: accolade, teksthaak,
598 FI: yhdist@"av@"a sulkumerkki.
600 Symbol at the start of a system connecting staves. Curly braces are used
601 for connecting piano staves, angular brackets for connecting parts in an
602 orchestral or choral score.
605 \notes\context GrandStaff <<
606 \relative c''\context Staff = SA { \clef treble g4 e c2 }
607 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
611 \context StaffGroup <<
612 % \set StaffGroup.minVerticalAlign = #12
613 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
614 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
623 DK: messingbl@ae{}sere,
624 S: brassinstrument, m@"assingsinstrument,
627 A family of blown musical instruments made of brass all using a cup formed
628 mouth piece. The brass instruments commonly used in a symphony orchestra are
629 trumpet, trombone, french horn, and tube.
634 D: Atemzeichen, Trennungszeichen,
635 NL: repercussieteken,
636 DK: vejrtr@ae{}kningstegn,
640 Indication of where to breathe in vocal and wind instrument parts.
652 @aref{note value} twice as long as a whole note. Mainly used
656 \set Score.automaticBars = ##f
657 \notes\relative c'' { g\breve }
680 Clef symbol indicating the position of the middle C. Used on all note
684 \set Score.automaticBars = ##f
685 \override Score.Clef #'full-size-change = ##t
686 %\override Score.LyricText #'font-style = #'large
688 \context Staff \notes\relative c' {
690 \clef mezzosoprano c s s
695 \context Lyrics \lyrics {
696 \override Lyrics .LyricText #'self-alignment-X = #-1
697 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
709 FI: kadenssi, lopuke.
711 @aref{harmonic cadence}, @aref{functional harmony}.
721 FI: kadenssi, lopuke.
723 An extended, improvisatory style section inserted near the end of
724 movement. The purpose of a cadenza is to give the singer or player a chance to
725 exhibit her technichal skill and not the least her ability to improvise. Since
726 the middle of the 19th century, however, most cadences have been written down
737 FI: kaanon, tarkka j@"aljittely.
749 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
751 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
752 equally tempered @aref{semitone}).
753 @aref{equal temperament}.
768 Three or more tones sounding simultaneously. In traditional European music the
769 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
770 minor @aref{third}) as well as @emph{minor} (minor + major third)
771 chords may be extended with more thirds. Four-tone @emph{seventh chords}
772 and five-tone @emph{ninth} major chords are most often used as dominants
773 (@aref{functional harmony}). A special case is chords having no
774 third above the lower notes to define their quality as major or minor. Such
775 chords are denoted open chords
778 \set Score.automaticBars = ##f
779 %\override TextScript #'font-style = #'large
781 \context Staff \notes\relative c'' {
789 \context Lyrics \lyrics{
790 \override Lyrics .LyricText #'self-alignment-X = #-1
791 "major " "minor " "diminished " "augmented "
792 "seventh-chord " "ninth-chord "
796 @aitem{chromatic scale}
797 ES: escala crom@'atica,
799 F: gamme chromatique,
800 D: chromatische Tonleiter,
801 NL: chromatische toonladder,
804 FI: kromaattinen asteikko.
806 A scale consisting of all 12 @aref{semitone}s.
809 \set Score.automaticBars = ##f
810 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
823 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
825 @aitemii{church mode,ecclesiastical mode}
826 ES: modo eclesi@'astico,
827 I: modo ecclesiastico,
828 F: mode eccl@'esiastique,
833 FI: moodi, kirkkos@"avellaji.
835 @aref{diatonic scale}.
841 D: Schl@"ussel, Notenschl@"ussel,
845 FI: avain, nuottiavain.
847 @aref{C clef}, @aref{F clef}, @aref{G clef}.
851 A @emph{cluster} is a range of simultaneously sounding pitches that
852 may change over time. The set of available pitches to apply usually
853 depends on the acoustic source. Thus, in piano music, a cluster
854 typically consists of a continuous range of the semitones as provided
855 by the piano's fixed set of a chromatic scale. In choral music, each
856 singer of the choir typically may sing an arbitrary pitch within the
857 cluster's range that is not bound to any diatonic, chromatic or other
858 scale. In electronic music, a cluster (theoretically) may even cover
859 a continuous range of pitches, thus resulting in colored noise, such
862 Clusters can be denoted in the context of ordinary staff notation by
863 engraving simple geometrical shapes that replace ordinary notation of
864 notes. Ordinary notes as musical events specify starting time and
865 duration of pitches; however, the duration of a note is expressed by
866 the shape of the note head rather than by the horizontal graphical
867 extent of the note symbol. In contrast, the shape of a cluster
868 geometrically describes the development of a range of pitches
869 (vertical extent) over time (horizontal extent). Still, the
870 geometrical shape of a cluster covers the area in which any single
871 pitch contained in the cluster would be notated as an ordinary note.
873 @lilypond[relative=1,verbatim]
874 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
885 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
887 Difference in pitch between a note derived from pure tuning and the same note
888 derived from some other tuning method. @aref{temperament}.
893 @aitem{compound interval}
894 ES: intervalo compuesto,
895 I: intervallo composto,
896 F: intervalle compos@'e,
898 NL: samengesteld interval,
899 DK: sammensat interval,
900 S: sammansatt intervall,
901 FI: oktaavia laajempi intervalli.
903 Intervals larger than an octave.
909 F: intervalle compl@'ementaire,
910 D: Komplement@"arintervall,
911 NL: complementair interval,
912 DK: komplement@ae{}rinterval,
913 S: komplement@"arintervall (?),
914 FI: t@"aydent@"av@"a intervalli.
916 @aref{inverted interval}.
918 @aitem{conjunct movement}
919 ES: movimiento conjunto,
921 F: mouvement conjoint,
922 D: schrittweise, stufenweise Bewegung,
923 NL: stapsgewijze, trapsgewijze beweging,
924 DK: trinvis bev@ae{}gelse,
925 S: stegvis r@"orelse,
926 FI: asteittainen liike.
928 Melody moving in the narrow steps of the scale.
931 \key g \major \time 4/4
932 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
943 FI: konsonanssi, sopusointi.
967 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
969 From latin @emph{punctus contra punctum}, note against note. The combination
970 into a single musical fabric of lines or parts which have distinct melodic
971 significance. A frequently used polyphonic technique is imitation, in its
972 strictest form found in the canon needing only one part to be written down
973 while the other parts are performed with a given displacement. Imitation is
974 also the contrapunctal technique used in the @emph{fugue} which, since the
975 music of the baroque era, has been one of the most popular polyphonic
978 @lilypond[staffsize=11]
979 \override Score.TimeSignature #'style =\turnOff
980 \notes\context PianoStaff <<
981 \context Staff = SA \relative c' {
985 << \context Voice = rha {
987 r1 | r2 r8 g'8 bes d, |
988 cis4 d r8 e!16 f g8 f16 e |
989 f8 g16 a bes8 a16 g a8
991 \context Voice = rhb {
997 \context Staff = SB \relative c' {
1000 << \context Voice = lha {
1002 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1003 r8 a16 g f8 g16 a bes8 g e! cis' |
1006 \context Voice = lhb {
1014 @aitem{counter tenor}
1021 S: kontratenor, counter tenor,
1026 @aitem{Copying, Music}
1027 A music copyist did fast freehand scores and parts on preprinted staff lines
1028 for performance. Some of their conventions (e.g., the placement of note heads
1029 on stems) varied slightly from those of engravers. Some of their working
1030 methods were superior and could well be adopted by music typesetters. This
1031 required more skill than engraving.
1037 D: Crescendo, lauter werden,
1041 FI: cresendo, voimistuen.
1043 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1044 abbreviation ``cresc.''.
1047 \key g \major \time 4/4
1048 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1054 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1061 In a separate part notes belonging to another part with the purpose of hinting
1062 when to start playing. Usually printed in a smaller type.
1066 A custos is a staff symbol that appears at the end of a staff line
1067 with monophonic musical contents (i.e. with a single voice). It
1068 anticipates the pitch of the first note of the following line and thus
1069 helps the player or singer to manage line breaks during performance,
1070 thus enhancing readability of a score.
1072 Custodes were frequently used in music notation until the 16th
1073 century. There were different appearences for different notation
1074 styles. Nowadays, they have survived only in special forms of musical
1075 notation such as via the editio vaticana dating back to the beginning
1081 % \override Staff.Custos #'neutral-position = #4
1082 \override Staff.Custos #'neutral-direction = #-1
1084 \override Staff.Custos #'style = #'hufnagel
1086 \break < d' a' f''>1
1091 \consists Custos_engraver
1111 F: da capo, depuis le commencement,
1112 D: da capo, von Anfang,
1116 FI: da capo, alusta.
1118 The term indicates repetition of the piece from the beginning to the end or to
1119 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1124 F: dal segno, depuis le signe,
1129 FI: dal segno, merkkiin asti.
1131 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1132 another place frequently near the beginning marked by a sign:
1135 %\override TextScript #'font-style = #'large
1136 \override TextScript #'font-shape = #'italic
1137 \key g \major \time 4/4
1138 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1144 D: Decrescendo, leiser werden,
1148 FI: decresendo, hiljentyen.
1150 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1151 or the abbreviation ``decresc.''.
1154 \notes\relative c'' {
1155 \key g \major \time 4/4
1156 d4 \> c b a | g1 \! \bar "|."
1160 @aitem{descending interval}
1161 ES: intervalo descendente,
1162 I: intervallo discendente,
1163 F: intervalle descendant,
1164 D: fallendes Intervall, absteigendes Intervall,
1165 NL: dalend interval,
1166 DK: faldende interval,
1167 S: fallande intervall,
1168 FI: laskeva intervalli.
1170 A distance between a starting higher note and a lower ending note.
1172 @aitem{diatonic scale}
1173 ES: escala diat@'onica,
1175 F: gamme diatonique,
1176 D: diatonische Tonleiter,
1177 NL: diatonische toonladder,
1178 DK: diatonisk skala,
1180 FI: diatoninen asteikko.
1182 A scale consisting of 5@w{ }@aref{whole tone}s and
1183 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1184 of a piano keybord are diatonic.
1186 The church modes are used in gregorial chant and pre baroque early music but
1187 also to some extent in newer jazz music.
1189 @lilypond[notime,linewidth=110\mm]
1190 \set Score.automaticBars = ##f
1191 %\override Score.LyricText #'font-style = #'large
1192 %\override Score.TextScript #'font-style = #'large
1194 \context Staff \notes\relative c' {
1196 \override TextScript #'padding = #-4
1197 e^"~~ S" f g a b^"~~ S" c
1199 \context Lyrics \lyrics {
1205 \set Score.automaticBars = ##f
1206 %\override Score.LyricText #'font-style = #'large
1207 %\override Score.TextScript #'font-style = #'large
1209 \context Staff \notes\relative c' {
1211 \override TextScript #'padding = #-4
1212 e^"~~ S" f g a b^"~~ S" c d
1214 \context Lyrics \lyrics {
1220 \set Score.automaticBars = ##f
1221 %\override Score.LyricText #'font-style = #'large
1222 %\override Score.TextScript #'font-style = #'large
1224 \notes\relative c' {
1225 \override TextScript #'padding = #-4
1226 e1^"~~ S" f g a b^"~~ S" c d e
1228 \context Lyrics \lyrics {
1234 \set Score.automaticBars = ##f
1235 %\override Score.LyricText #'font-style = #'large
1236 %\override Score.TextScript #'font-style = #'large
1238 \notes\relative c' {
1240 \override TextScript #'padding = #-4
1241 b^"~~ S" c d e^"~~ S" f
1243 \context Lyrics \lyrics {
1249 \set Score.automaticBars = ##f
1250 %\override Score.LyricText #'font-style = #'large
1251 %\override Score.TextScript #'font-style = #'large
1253 \notes\relative c'' {
1255 \override TextScript #'padding = #-4
1256 b^"~~ S" c d e^"~~ S" f g }
1257 \context Lyrics \lyrics {
1263 \set Score.automaticBars = ##f
1264 %\override Score.LyricText #'font-style = #'large
1265 %\override Score.TextScript #'font-style = #'large
1267 \notes\relative c'' {
1269 \override TextScript #'padding = #-4
1270 b^"~~ S" c d e^"~~ S" f g a
1272 \context Lyrics \lyrics {
1277 From the beginning of the 17th century the scales used in European
1278 compositional music are primarily the major and the minor scales. In the
1279 harmonic minor scale type an augmented second (A) occurs between the 6th and
1283 \set Score.automaticBars = ##f
1284 %\override Score.LyricText #'font-style = #'large
1285 %\override Score.TextScript #'font-style = #'large
1287 \notes\relative c' {
1289 \override TextScript #'padding = #-4
1290 e^"~~ S" f g a b^"~~ S" c
1292 \context Lyrics \lyrics {
1298 \set Score.automaticBars = ##f
1299 %\override Score.LyricText #'font-style = #'large
1300 %\override Score.TextScript #'font-style = #'large
1302 \notes\relative c'' {
1304 \override TextScript #'padding = #-4
1305 b^"~~ S" c d e^"~~ S" f g a
1307 \context Lyrics \lyrics {
1313 \set Score.automaticBars = ##f
1314 %\override Score.LyricText #'font-style = #'large
1315 %\override Score.TextScript #'font-style = #'large
1317 \notes\relative c'' {
1319 \override TextScript #'padding = #-4
1320 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1322 \context Lyrics \lyrics {
1328 \set Score.automaticBars = ##f
1329 %\override Score.LyricText #'font-style = #'large
1330 %\override Score.TextScript #'font-style = #'large
1332 \notes\relative c'' {
1334 \override TextScript #'padding = #-4
1335 b^"~~ S" c d e fis gis^"~~ S"
1336 a g! f!^"~~ S" e d c^"~~ S" b a
1338 \context Lyrics \lyrics {
1343 @aitem{diminished interval}
1344 ES: intervalo disminu@'{@dotless{i}}do,
1345 I: intervallo diminuito,
1346 F: intervalle diminu@'e,
1347 D: vermindertes Intervall,
1348 NL: verminderd interval,
1349 DK: formindsket interval,
1350 S: f@"orminskat intervall,
1351 FI: v@"ahennetty intervalli.
1363 FI: diminuendo, hiljentyen.
1367 @aitem{disjunct movement}
1368 ES: movimiendo disjunto,
1370 F: mouvement disjoint,
1371 D: sprunghafte Bewegung,
1372 NL: sprongsgewijze beweging,
1373 DK: springende bev@ae{}gelse,
1374 S: hoppande r@"orelse,
1375 FI: melodian hyppiv@"a liike.
1377 Melody moving in steps greater than those of the
1378 scale. Opposite of @aref{conjunct movement}.
1383 \notes\relative c' {
1385 a4. gis8 b a e cis |
1386 fis2 d4. \bar "||" }
1389 @aitemii{dissonant interval,dissonance}
1390 ES: intervalo disonante, disonancias,
1391 I: intervallo dissonante, dissonanza,
1394 NL: dissonant interval; dissonant,
1395 DK: dissonerende interval, dissonans,
1397 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1401 @aitem{dominant ninth chord}
1402 I: accordo di nona di dominante,
1403 F: accord de neuvi@`eme dominante,
1404 D: Dominantnoneakkord,
1405 NL: dominant noon akkoord,
1406 DK: dominantnoneakkord,
1407 S: dominantnonackord,
1408 FI: dominanttinoonisointu.
1410 @aref{chord}, @aref{functional harmony}.
1412 @aitem{dominant seventh chord}
1413 ES: acorde de s@'eptima de dominante,
1414 I: accordo di settima di dominante,
1415 F: accord de septi@`eme dominante,
1416 D: Dominantseptakkord,
1417 NL: dominant septiem akkoord,
1418 DK: dominantseptimakkord,
1419 S: dominantseptimackord,
1420 FI: dominanttiseptimisointu.
1422 @aref{chord}, @aref{functional harmony}.
1432 FI: dominantti, huippusointu.
1434 The fifth @aref{scale degree},
1435 @aref{functional harmony}.
1441 D: dorisch, dorischer Kirchenton,
1442 NL: dorische toonladder,
1447 @aref{diatonic scale}.
1449 @aitem{dot (augmentation dot)}
1451 I: punto (di valore),
1453 D: Punkt (Verl@"angerungspunkt),
1462 ES: nota con puntillo,
1466 NL: gepuncteerde noot,
1469 FI: pisteellinen nuotti.
1473 @aitem{double appoggiatura}
1474 ES: apoyatura doble,
1475 I: appoggiatura doppia,
1476 F: appoggiature double,
1477 D: doppelter Vorschlag,
1478 NL: dubbele voorslag,
1479 DK: dobbelt forslag,
1481 FI: kaksoisappogiatura, kaksoisetuhele.
1483 @aref{appoggiatura}.
1485 @aitem{double bar line}
1489 NL: dubbele maatstreep,
1492 FI: kaksoistahtiviiva.
1494 Indicates the end of a section within a movement.
1496 @aitem{double dotted note}
1497 ES: nota con dos puntillos,
1498 I: nota doppiamente puntata,
1499 F: note doublement point@'ee,
1500 D: doppelt punktierte Note,
1501 NL: dubbelgepuncteerde noot,
1502 DK: dob@-belt@-punk@-te@-ret node,
1503 S: dub@-bel@-punk@-te@-rad not,
1504 FI: kaksoispisteellinen nuotti.
1516 FI: kaksoisalennusmerkki.
1520 @aitem{double sharp}
1521 ES: doble sostenido,
1526 DK: dob@-belt@-kryds,
1528 FI: kaksoisylennysmerkki.
1532 @aitem{double trill}
1537 NL: dubbele triller,
1542 A simultaneous trill on two notes, usually in the distance of a third.
1549 NL: tweedelige maatsoort,
1576 FI: kesto, aika-arvo.
1580 @aitem{dydimic comma}
1581 @aref{syntonic comma}.
1598 D: Achtel, Achtelnote,
1600 DK: ottendedelsnode,
1601 S: @aa{}ttondelsnot,
1602 FI: kahdeksasosanuotti.
1607 ES: silencio de corchea,
1613 DK: ottendedelspause,
1614 S: @aa{}ttonddelspaus,
1615 FI: kahdeksasosatauko.
1623 D: Notenstechen, Notendruck
1629 Engraving means incising or etching a metal plate for
1630 printing. Photoengraving means drawing music with ink in a manner
1631 similar to drafting or engineering drawing, using similar tools.
1633 The traditional process of music printing is done through cutting in a
1634 plate of metal. Now also the term for the art of music typesetting.
1646 Two notes, intervals, or scales are enharmonic if they have different names
1650 \set Score.automaticBars = ##f
1651 %\override Score.TextScript #'font-style = #'large
1653 \context Staff \notes\relative c'' {
1654 gis1 s s as s s <des g,!> s s <cis g!> s s
1656 \context Lyrics \lyrics {
1657 \override Lyrics .LyricText #'self-alignment-X = #-1
1658 "g sharp " "a flat " "dim fifth " "augm fourth"
1662 @aitem{equal temperament}
1664 I: temperamento equabile,
1665 F: temp@'erament @'egal,
1666 D: gleichschwebende Stimmung,
1667 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1668 DK: ligesv@ae{}vende temperatur,
1669 S: liksv@"avande temperatur,
1672 Tuning system dividing the octave into 12 equal @aref{semitone}s
1673 (precisely 100 @aref{cent}s). @aref{temperament}.
1675 @aitem{expression mark}
1677 I: segno d'espressione,
1678 F: signe d'expression, indication de nuance,
1680 NL: voordrachtsteken,
1681 DK: foredragsbetegnelse,
1682 S: f@"oredragsbeteckning,
1683 FI: nyanssiosoitus, esitysmerkki.
1685 Performance indications concerning 1. volume, dynamics (for example
1686 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1687 @aref{andante}, @aref{allegro}).
1709 The position between the dots of the key symbol is the line of the F below
1710 central@w{ }C. Used on the third, fourth and fifth note line. A
1711 digit@w{ }8 above the clef symbol indicates that the notes must be played
1712 an octave higher (for example bass recorder) while 8@w{ }below the clef
1713 symbol indicates playing an octave lower (for example on double bass
1717 \set Score.automaticBars = ##f
1718 \override Staff.Clef #'full-size-change = ##t
1719 %\override Score.LyricText #'font-style = #'large
1733 \context Lyrics \lyrics {
1734 \override Lyrics .LyricText #'self-alignment-X = #-1
1743 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1748 F: point d'orgue, point d'arr@^et,
1753 FI: fermaatti, pid@"ake.
1755 Prolonged note or rest of indefinite duration.
1759 \notes\relative c'' {
1760 a4 b c2^\fermata \bar "|."
1776 @aitem{figured bass}
1777 ES: bajo cifrado, @aref{thorough bass}.
1785 DK: fingers@ae{}tning,
1786 S: fingers@"attning,
1789 The methodical use of fingers in the playing of instruments.
1791 @aitem{flag,pennant}
1793 I: coda (uncinata), bandiera,
1795 D: Fahne, F@"ahnchen,
1801 Ornament at the end of the stem of a note used for notes with values
1802 less than a quarter note. The number of flags determines the
1806 \set Score.automaticBars = ##f
1807 %\override Score.TextScript #'font-style = #'large
1808 \notes\relative c'' {
1828 @aitemii{forefall,backfall}
1829 @aref{appoggiatura}.
1839 FI: forte, voimakkaasti.
1841 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1842 @emph{mezzoforte} (@b{mf}) medium loud.
1866 @aref{counterpoint}.
1868 @aitem{functional harmony}
1869 ES: armon@'{@dotless{i}}a funcional,
1870 I: armonia funzionale,
1871 F: @'etude des functions,
1873 NL: functionele harmonie,
1874 DK: funktionsanalyse, funktionsharmonik,
1876 FI: harmoniaj@"arjestelm@"a.
1878 A system of harmonic analysis. It is based on the idea that, in a given key,
1879 there are only three functionally different chords: tonic (T, the chord on the
1880 first note of the scale), subdominant (S, the chord on the fourth note), and
1881 dominant (D, the chord on the fifth note). Other are considered to be
1882 variants of the base chords.
1885 \set Score.automaticBars = ##f
1886 %\override Score.LyricText #'font-style = #'large
1887 %\override Score.TextScript #'font-style = #'large
1889 \context Voice \notes\relative c'' {
1890 <g e c >1 < a f d > < b g e >
1891 <c a f > < d b g > < e c a > < f d b > }
1892 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1909 D: G-Schl@"ussel, Violinschl@"ussel,
1915 A clef symbol indicating the G above central@w{ }C. Used on the first
1916 and second note lines. A digit 8 above the clef symbol indicates that
1917 the notes must be played an octave higher while 8 below the clef symbol
1918 indicates playing or singing an octave lower (most tenor parts in choral
1919 scores are notated like that).
1922 \set Score.automaticBars = ##f
1923 \override Staff.Clef #'full-size-change = ##t
1924 %\override Score.LyricText #'font-style = #'large
1926 \notes\relative c'' {
1936 \context Lyrics \lyrics {
1937 \override Lyrics .LyricText #'self-alignment-X = #-1
1938 "french violin clef "
1953 FI: glissando, liukuen.
1955 Letting the pitch slide fluently from one note to the other.
1961 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1967 Notes printed in small types to indicate that their time values are not
1968 counted in the rhythm of the bar. @aref{appoggiatura}.
1976 S: ackolad, b@"ojd klammer,
1977 FI: kaksoisnuottiviivasto.
1981 A combination of two staves with a brace. Usually used for piano music.
1991 FI: grave, raskaasti.
2000 D: Halbe, halbe Note,
2021 @aitem{harmonic cadence}
2022 ES: cadencia (arm@'onica),
2023 I: cadenza (armonica),
2024 F: cadence harmonique,
2026 NL: harmonische cadens,
2027 DK: harmonisk kadence,
2028 S: (harmonisk) kadens,
2029 FI: harmoninen kadenssi.
2031 Sequence of chords that terminate a musical phrase or
2032 section. @aref{functional harmony}.
2035 \notes\context PianoStaff <<
2036 \context Staff = SA \relative c'' {
2040 \partial 4 < c g e >4 |
2041 < c a f > < b g d > < c g e >2
2043 % %\override Score.LyricText #'font-style = #'large
2045 \context Staff = SB \relative c {
2047 \partial 4 c4 | f, g c2
2050 \context Lyrics \lyrics {
2057 ES: armon@'{@dotless{i}}a,
2060 D: Harmonie, Zusammenklang,
2064 FI: harmonia, yhteissointi.
2066 Tones sounding simultaneously. Two note harmonies fall into the categories
2067 @emph{consonances} and @emph{dissonances}.
2072 \set Score.automaticBars = ##f
2073 %\override Score.TextScript #'font-style = #'large
2074 \context Voice \notes\relative c'' {
2088 \set Score.automaticBars = ##f
2089 %\override Score.TextScript #'font-style = #'large
2090 \context Voice \notes\relative c'' {
2091 <g a>1_"second " s s
2092 <g f'>_"seventh " s s
2097 Three note harmony @aref{chord}.
2100 ES: homofon@'{@dotless{i}}a,
2107 FI: homofonia, yksi@"a@"anisyys.
2109 Music in which one voice leads melodically followed by the other voices more
2110 or less in the same rhythm. In contrast to @aref{polyphony}.
2120 FI: intervalli, kahden s@"avelen korkeusero.
2122 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2123 diminished, or augmented. The augmented fourth and the diminished fifth are
2124 identical (@aref{enharmonic}) and are called @emph{tritonus}
2125 because they consist of three @aref{whole tone}s. The addition
2126 of such two forms an octave.
2129 \set Score.automaticBars = ##f
2130 %\override Score.LyricText #'font-style = #'large
2131 %\override Score.TextScript #'font-style = #'large
2133 \context Voice \notes\relative c'' {
2138 < gis bes >^"dimin" s
2139 < g! bes >^"minor" s
2143 \context Lyrics \lyrics {
2144 "unisone " "second " "second " "second "
2145 "third " "third " "third " "third "
2150 \set Score.automaticBars = ##f
2151 %\override Score.LyricText #'font-style = #'large
2152 %\override Score.TextScript #'font-style = #'large
2154 \context Staff \notes\relative c'' {
2157 < g d' >^"perfect" s
2159 < gis es' >^"dimin" s
2160 < g! es' >^"minor" s
2164 \context Lyrics \lyrics {
2165 "fourth " "fourth " "fifth " "fifth "
2166 "sixth " "sixth " "sixth " "sixth "
2171 \set Score.automaticBars = ##f
2172 %\override Score.LyricText #'font-style = #'large
2173 %\override Score.TextScript #'font-style = #'large
2175 \context Staff \notes\relative c'' {
2176 < gis f'! >1^"dimin" s
2177 < g! f'! >^"minor" s
2178 < g fis' >^"major" s
2182 < g bes' >^"minor" s
2185 \context Lyrics \lyrics {
2186 "seventh " "seventh " "seventh " "octave "
2187 "none " "none " "decime " "decime "
2191 @aitem{inverted interval}
2192 ES: intervalo invertido,
2193 I: intervallo rivolto,
2194 F: intervalle revers@'e,
2195 D: umgekehrtes Intervall,
2196 NL: interval inversie,
2197 DK: omvendingsinterval,
2198 S: intervallets omv@"andning,
2199 FI: k@"a@"anteisintervalli.
2201 The difference between an interval and an octave.
2204 \set Score.automaticBars = ##f
2205 %\override Score.TextScript #'font-style = #'large
2206 \context Staff \notes\relative c'' {
2207 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2208 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2209 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2213 @aitem{just intonation}
2214 I: intonazione giusta,
2215 F: intonation juste,
2222 Tuning system in which the notes are obtained by adding and subtracting
2223 natural fifths and thirds. @aref{temperament}.
2235 According to the 12@w{ }tones of the @aref{chromatic scale}
2236 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2237 @aref{key signature}.
2239 @aitem{key signature}
2240 ES: armadura de clave,
2241 I: armatura di chiave,
2242 F: armure, armature [de la cl@'e],
2243 D: Vorzeichen, Tonart,
2244 NL: toon@-soort (voortekens),
2247 FI: s@"avellajiosoitus.
2249 The sharps or flats appearing at the beginning of each staff indicating the
2250 key of the music. @aref{accidental}.
2256 D: Largo, Langsam, Breit,
2260 FI: largo, hitaasti, leve@"asti.
2262 Very slow in tempo, usually combined with great
2263 expressiveness. @emph{Larghetto} is less slow than largo.
2265 @aitem{leading note}
2275 The seventh @aref{scale degree}, a @aref{semitone} below
2276 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2277 upwards) to the tonic scale degree.
2279 @aitemii{ledger line,leger line}
2280 ES: l@'{@dotless{i}}neas adicionales,
2281 I: tagli addizionali,
2282 F: ligne suppl@'ementaire,
2285 DK: hj@ae{}lpelinie,
2289 A ledger line is an extension of the staff.
2292 \set Score.automaticBars = ##f
2293 \notes\relative c'' { a,1 s c'' }
2306 To be performed (a) without any perceptible interruption between the notes
2307 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2308 (d) @aref{staccato}.
2311 \set Score.automaticBars = ##f
2313 \context Staff \notes\relative c'' {
2314 c4-( d e-) \bar "||"
2315 c4-- d-- e-- \bar "||"
2316 c4-.-( d-. e-.-) \bar "||"
2317 c4-. d-. e-. \bar "||"
2319 \context Lyrics \lyrics {
2320 % \override Lyrics .LyricText #'font-style = #'large
2328 @aitem{legato curve}
2329 @aref{slur}, @aref{legato}.
2332 ES: estanque de lilas,
2333 I: stagno del giglio,
2337 NL: le@-lie@-vij@-ver,
2342 A pond with lilies floating in it, also the name of a music typesetter.
2346 A ligature is a coherent graphical symbol that represents at least two
2347 distinct notes. Ligatures originally appeared in the manuscripts of
2348 Gregorian chant notation roughly since the 9th century to denote
2349 ascending or descending sequences of notes. In early notation,
2350 ligatures were used for monophonic tunes (Gregorian chant) and very
2351 soon denoted also the way of performance in the sense of articulation.
2352 With the invention of the metric system of the white mensural
2353 notation, the need for ligatures to denote such patterns disappeared.
2358 ES: l@'{@dotless{i}}nea,
2361 D: Linie, Notenlinie,
2365 FI: viiva, nuottiviiva.
2369 @aitem{long appoggiatura}
2370 ES: apoyatura larga,
2371 I: appoggiatura lunga,
2372 F: appoggiature longue,
2373 D: langer Vorschlag,
2376 S: l@aa{}ngt f@"orslag,
2377 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2379 @aref{appoggiatura}.
2391 Note value: double length of @aref{breve}.
2395 \set Score.automaticBars = ##f
2396 \notes\relative c'' {
2397 \override NoteHead #'style = #'mensural
2402 @aitemii{lyrics,song texts}
2412 @aitem{major interval}
2413 ES: intervalo mayor,
2414 I: intervallo maggiore,
2415 F: intervalle majeur,
2416 D: gro@ss{}es Intervall,
2420 FI: suuri intervalli.
2434 @aref{diatonic scale}.
2436 @aitem{meantone temperament}
2437 I: accordatura mesotonica,
2438 F: temp@'erament m@'esotonique,
2439 D: mittelt@"onige Stimmung,
2440 NL: middenstemming, middentoonstemming,
2441 DK: middeltonetemperatur,
2442 S: medeltonstemperatur,
2443 FI: keskis@"avelviritys.
2445 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2446 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2447 @aref{temperament} only a limited set of keys are playable.
2448 Used for tuning keyboard instruments for performance of pre-1650 music.
2450 @aitem{measure, bar}
2460 A group of @aref{beat}s (units of musical time) the first of which
2461 bears an accent. Such groups in numbers of two or more recur consistently
2462 throughout the composition and are marked from each other by
2463 bar-lines. @aref{meter}.
2467 I: mediante, modale,
2475 1. The third @b{scale degree}.
2476 2. A @aref{chord} having its base tone
2477 a third from that of another chord. For example, the tonic chord may be
2478 replaced by its lower mediant (variant tonic). @aref{functional
2479 harmony}, @aref{relative key}.
2484 FI: melisma, laulettavan tavun s@"avelkuvio.
2486 A melisma (plural: melismata) is a group of notes or tones sung on one
2487 syllable in plainsong
2489 @aitem{melodic cadence}
2495 F: indication de m@'esure,
2502 The basic scheme of @aref{note value}s and
2503 @aref{accent}s which remains unaltered throughout a composition
2504 or a section of it. For instance, 3/4 meter means that the basic
2505 @aref{note value}s are quarter notes and that a
2506 @aref{measure} consists of three of those. According to
2507 whether there are two, three or four units to the measure,
2508 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2509 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2512 \notes\relative c'' {
2515 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2519 \notes\relative c' {
2522 f8 f f f a16 g a f |
2523 c'8 c c c e16 d e c \bar "||"}
2527 \notes\relative c'' {
2530 d4 b8 g b d d c a4 |
2531 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2544 Device indicating the exact tempo of a piece. @aref{metronomic
2547 @aitem{metronomic indication}
2548 ES: indicaci@'on metron@'omica,
2549 I: indicazione metronomica,
2550 F: indication m@'etronomique,
2552 NL: metronoom aanduiding,
2554 S: metronomangivelse,
2555 FI: metronomiosoitus.
2557 Exact tempo indication (in beats per minute). Also denoted by
2558 M.M. (M@"alzels Metronom).
2560 @aitem{mezzo-soprano}
2570 The female voice between @aref{soprano} and
2577 D: eingestrichenes@w{ }c,
2579 DK: enstreget@w{ }c,
2580 S: ettstruket@w{ }c,
2583 First C below the 440 Hz A.
2586 \set Score.automaticBars = ##f
2587 \override Staff.Clef #'full-size-change = ##t
2588 \notes\relative c' {
2605 @aref{diatonic scale}.
2607 @aitem{minor interval}
2608 ES: intervalo mayor,
2609 I: intervallo minore,
2610 F: intervalle mineur,
2611 D: kleines Intervall,
2615 FI: pieni intervalli.
2627 FI: moodi, kirkkos@"avelasteikko.
2629 @aref{church mode}, @aref{diatonic scale}.
2639 FI: modulaatio, s@"avellajin vaihdos.
2641 Moving from one @aref{key} to another. For example, the second
2642 subject of a @aref{sonata form} movement modulates to the dominant
2643 key if the key is major and to the @aref{relative key} if the key
2653 FI: mordent, korukuvio.
2657 @aitemii{motive,motif}
2665 FI: teema, s@"avelaihe.
2667 The briefest intelligible and self-contained fragment of a musical theme or
2671 \override Score.TimeSignature #'style = \turnOff
2672 %\override Score.TextScript #'font-style = #'large
2673 \notes\relative c'' {
2676 \partial 8 g16_"------" fis |
2677 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2678 g8 g,16 a b8 cis d16 s
2692 Greater musical works like @aref{symphony} and
2693 @aref{sonata} most often consist of several -- more or less --
2694 independant pieces called movements.
2696 @aitem{multibar rest}
2697 ES: compases de espera,
2701 D: mehrtaktige Pause,
2704 FI: usean tahdin mittainen tauko.
2707 \notes\relative c'' {
2709 \set Score.skipBars = ##t R1*3
2714 @aitem{mixolydian mode}
2715 @aref{diatonic scale}.
2717 @aitem{natural sign}
2721 D: Aufl@"osungszeichen,
2722 NL: herstellingsteken,
2723 DK: op@-l@o{}sningstegn,
2724 S: @aa{}terst@"allningstecken,
2729 @aitem{neighbour tones}
2730 @aref{appoggiatura}.
2757 Notes are signs by means of which music is fixed in writing. The term is also
2758 used for the sound indicated by a note, and even for the key of the piano
2759 which produces the sound. However, a clear distinction between the terms tone
2760 and @aref{note} is strongly recommended. Briefly, one sees a note,
2765 I: testa, testina, capocchia,
2766 F: t@^ete de la note,
2773 A head like sign which indicates pitch by its position on a
2774 @aref{staff} provided with a @aref{clef}, and duration
2775 by a variety of shapes such as hollow or black heads with or without
2776 @aref{stem}s, @aref{flag}s, etc. For percussion
2777 instruments (often having no defined pitch) the note head may indicate the
2783 F: dur@'ee, valeur (d'une note),
2788 FI: nuotin aika-arvo.
2790 Note values (durations) are measured as fractions, normally 1/2, of the next
2791 higher note value. The longest duration normally used is called @emph{brevis},
2792 but sometimes (mostly in pre baroque music) the double length note value
2793 @emph{longa} is used.
2796 %\override Score.TextScript #'font-style = #'large
2797 \set Score.automaticBars = ##f
2798 \notes\relative c'' {
2799 \override NoteHead #'style = #'mensural
2800 g\longa_"longa" g\breve_"breve"
2801 \revert NoteHead #'style
2802 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2803 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2807 %\override Score.TextScript #'font-style = #'large
2808 \set Score.automaticBars = ##f
2809 \notes\relative c'' {
2810 r\longa_"longa" r\breve_"breve"
2811 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2812 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2815 An augmentation dot after a note multiplies the duration by one and a
2816 half. Another dot adds yet a fourth of the duration.
2819 %\override Score.TextScript #'font-style = #'large
2820 \notes\relative c'' {
2822 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2823 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2826 Alternatively note values may be subdivided by other ratios. Most common is
2827 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2828 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2829 dotted notes are also frequently used.
2832 %\override Score.TextScript #'font-style = #'large
2833 \notes\relative c'' {
2835 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2836 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2841 \notes\relative c'' {
2843 \times 3/2 {g4_"duplets" g} |
2845 \times 6/4 {g8_"quadruplets" g g g} |
2846 g8 g g g g4 \bar "||"
2851 @aref{G clef}, @aref{F clef}.
2865 @aitemiii{ornament,embellishment,accessory}
2867 I: abbellimento, fioriture,
2868 F: agr@'ement, ornement,
2869 D: Verzierung, Ornament,
2875 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2876 with the diatonic @aref{second} above it. In the music from the
2877 middle of the 19th century and onwards the trill is performed with the main
2878 note first while in the music from the preceding baroque and classic periods
2879 the upper note is played first.
2883 \context Staff = sa {
2884 % \override Score.TextScript #'font-style = #'large
2885 \notes\relative c'' {
2886 c2._"pre-1850" b4\trill | c1 \bar "||"
2887 c2._"post-1850" b4\trill | c1 \bar "||"
2890 \notes\relative c'' {
2891 c2. c32 b c b c b c b | c1
2892 c2. b32 c b c \times 4/5 { b c b c b } | c1
2897 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2898 @emph{prall} (inverted mordent).
2902 \context Staff = sa {
2903 % \override Score.TextScript #'font-style = #'large
2904 \notes\relative c'' {
2905 a4_"turn" b\turn c2 \bar "||"
2906 g4_"mordent" a b\mordent a \bar "||"
2907 e'4_"prall" d\prall c2 \bar "||"
2910 \notes\relative c'' {
2913 e'4 e32[ d e d ~ d8] c2
2918 @aref{appoggiatura}.
2928 FI: ossia, vaihtoehtoinen esitystapa.
2930 Ossia (otherwise) marks an alternative. It is an added staff or piano
2931 score, usually only a few measures long, which presents another version
2932 of the music, for example for small hands.
2942 FI: stemma, instrumenttiosuus.
2944 1. In instrumental or choral music the music for the single instrument
2945 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2946 melodic line of the contrapunctal web.
2952 D: Schlagzeug, Schlagwerk,
2956 FI: ly@"om@"asoittimet.
2958 A family of musical instruments which are played on by striking or
2959 shaking. Percussion instruments commonly used in a symphony orchestra are
2960 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2961 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2964 @aitem{perfect interval}
2965 ES: intervalo justo,
2966 I: intervallo giusto,
2967 F: intervalle juste,
2968 D: reines Intervall,
2972 FI: puhdas intervalli.
2986 A natural division of the melodic line, comparable to a sentence of speech.
2996 FI: fraseeraus, j@"asent@"aminen.
2998 The clear rendering in musical performance of the @aref{phrase}s of
2999 the melody. Phrasing may be indicated by a @aref{slur}.
3011 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3012 @emph{mezzopiano} (@b{mp}) medium soft.
3029 NL: pizzicato, getokkeld,
3032 FI: pizzicato, n@"app@"aillen.
3034 Play by plucking the strings.
3037 ES: polifon@'{@dotless{i}}a,
3044 FI: polyfonia, moni@"a@"anisyys.
3046 Music written in a combination of several simultaneous voices (parts) of a
3047 more or less pronounced individuality. @aref{counterpoint}.
3056 D: Presto, Sehr schnell,
3057 NL: presto, Sehr schnell,
3060 FI: presto, hyvin nopeasti.
3062 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3063 denotes the highest possible degree of speed.
3065 @aitem{Pythagorean comma}
3066 ES: coma pitag@'orico,
3067 I: comma pitagorico,
3068 F: comma pythagoricien,
3069 D: Pythagor@"aisches Komma,
3070 NL: komma van Pythagoras,
3071 DK: pythagor@ae{}isk komma,
3072 S: pytagoreiskt komma,
3073 FI: pytagorinen komma.
3075 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3076 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3077 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3078 7@w{ }octaves. The difference between those two pitches is called the
3093 @aitem{quarter note}
3095 I: semiminima, nera,
3098 D: Viertel, Viertelnote,
3102 FI: nelj@"annesosanuotti.
3106 @aitem{quarter rest}
3107 ES: silencio de negra,
3108 I: pausa di semiminima,
3113 DK:@w{ }fjerdedelspause,
3114 S: fj@"ardedelspaus,
3115 FI: nelj@"annesosatauko.
3135 D: rallentando, langsamer werden,
3139 FI. rallerdando, hidastuen,
3141 Abbreviation "rall.". @aref{ritardando}.
3143 @aitem{relative key}
3145 I: tonalit@`a relativa,
3146 F: tonalit@'e relative,
3148 NL: paralleltoonsoort,
3149 DK: paralleltoneart,
3151 FI: rinnakkaiss@"avellaji.
3153 @aref{major} and @aref{minor} @aref{key}
3154 with the same @aref{key signature}.
3157 \set Score.automaticBars = ##f
3158 %\override Score.TextScript #'font-style = #'large
3159 \notes\relative c' {
3161 es1_"e flat major" f g as bes c d es
3167 \set Score.automaticBars = ##f
3168 %\override Score.TextScript #'font-style = #'large
3169 \notes\relative c' {
3171 c1_"c minor" d es f g a! b! c \bar "||"
3176 ES: barra de repetici@'on,
3178 F: barre de reprise,
3181 DK: gen@-ta@-gel@-se,
3188 \notes\relative c'' {
3189 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3193 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3194 @c specify the rest's value.
3218 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3219 fixed unit of time, called @aref{beat}, and in which the normal
3220 @aref{accent} recurs in regular intervals, called
3221 @aref{measure}. The basic scheme scheme of time values is called
3222 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3223 accent. In modern notation such music appears as a free alternation of
3224 different measures. (c) Free rhythm, i.e., the use of temporal values having
3225 no common metrical unit (beat).
3231 D: Ritardando, langsamer werden,
3235 FI. ritardando, hidastuen,
3237 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3247 FI: ritenuto, hidastaen.
3249 Immediate reduction of speed.
3259 FI: asteikko, s@"avelasteikko.
3261 @aref{diatonic scale}.
3263 @aitem{scale degree}
3264 ES: grados de la escala,
3265 I: grado della scala,
3266 F: degr@'e [de la gamme],
3268 NL: trap [van de toonladder],
3271 FI: s@"avelaste, asteikon s@"avel.
3273 Names and symbols used in harmonic analysis to denote tones of the scale as
3274 roots of chords. The most important are degrees I = tonic (T), IV =
3275 sub@-do@-mi@-nant (S) and V = dominant (D).
3278 \set Score.automaticBars = ##f
3279 %\override Score.LyricText #'font-style = #'large
3280 %\set minVerticalAlign = #8
3282 \context Staff \notes\relative c' {
3285 \context Lyrics \lyrics {
3286 << { I II III IV V VI VII I }
3291 @aref{functional harmony}.
3297 D: Partitur (full score), Klavierauszug (vocal score)
3303 A copy of orchestral, choral or chamber music showing what each instrument is
3304 to play, each voice to sing, having each part arranged one underneath the
3305 other on different staves @aref{staff}.
3317 The @aref{interval} between two neigbouring tones of a scale. A
3318 @aref{diatonic scale} consists of alternating
3319 @aref{semitone}s and @aref{whole tone}s, hence the size
3320 of a se@-cond depends on the scale degrees in question.
3332 The @aref{interval} of a minor second. The (usually) smallest
3333 interval in European composed music. The interval between two neighbouring
3334 tones on the piano keyboard -- including black and white keys -- is a
3335 semitone. An octave may be divided into 12@w{ }semitones.
3336 @aref{interval}, @aref{chromatic scale}.
3339 \set Score.automaticBars = ##f
3340 \notes\relative c'' { g1 gis s a bes s b! c }
3355 @aitem{sextuplet, sextolet}
3378 @aitem{short appoggiatura}
3379 @aref{appoggiatura}.
3381 @aitem{sixteenth note}
3386 D: Sechzehntel, Sechzehntelnote,
3387 NL: zes@-ti@-ende noot,
3388 DK: sekstendedelsnode,
3390 FI: kuudestoistaosanuotti.
3394 @aitem{sixteenth rest}
3395 ES: silencia de semicorchea,
3396 I: pausa di semicroma,
3398 UK: semiquaver rest,
3399 D: Sechzehntelpause,
3401 DK: sekstendedelspause,
3419 @aitem{sixty-fourth note}
3422 F: quadruple croche,
3423 UK: hemidemisemiquaver,
3424 D: Vierundsechzigstel, Vierundsechzigstelnote,
3425 NL: vierenzestigste noot,
3426 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3427 S: sextiofj@"ardedelsnot,
3428 FI: kuudeskymmenesnelj@"asosanuotti.
3432 @aitem{sixty-fourth rest}
3433 ES: silencia de semifusa,
3434 I: pausa di semibiscroma,
3435 F: seizi@`eme de soupir,
3436 UK: hemidemisemiquaver rest,
3437 D: Vierundsechzigstelpause,
3438 NL: vierenzestigste rust,
3439 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3440 S: sextiofj@"ardedelspaus,
3441 FI: kuudeskymmenesnelj@"asosatauko.
3447 I: legatura (di portamento or espressiva),
3448 F: liaison, coul@'e,
3449 D: Bogen, Legatobogen, Phrasierungsbogen,
3450 NL: fraseringsboog, legatoboog, streekboog,
3451 DK: legatobue, fraseringsbue,
3455 A slur above or below a group of notes indicates that they are to be played
3456 @aref{legato}, e.g., with one stroke of the violin bow or with one
3466 FI: suhteelliset laulunimet.
3468 General term for systems of designating the degrees of the
3469 @aref{scale}, not by letters, but by syllables (@emph{do}
3470 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3471 (@emph{ti})). @aref{scale degree}.
3483 In its present-day meaning a sonata denotes an instrumental composition for
3484 piano or for some other instrument with piano accompaniment, which consists of
3485 three or four independant pieces, called movements.
3490 F: [en] forme de sonate,
3492 NL: hoofdvorm, sonatevorm,
3497 A form used frequently for single movements of the @aref{sonata},
3498 @aref{symphony}, quartet, etc. A movement written in sonata form
3499 falls into three sections called @emph{exposition}, @emph{development} and
3500 @emph{recapitulation}. In the exposition the composer introduces his musical
3501 ideas, consisting of a number of themes; in the development section he
3502 "develops" this material, and in the recapitulation he repeats the exposition,
3503 with certain modifications, however. The exposition contains a number of themes
3504 which fall into two groups, often called first and second subject. Other
3505 melodies occurring in each group are considered as continuations of these
3506 two. The second theme is in another key, normally in the key of the
3507 @aref{dominant} if the @aref{tonic} is
3508 @aref{major}, and in the @aref{relative key} if the
3509 tonic is @aref{minor}.
3519 FI: sopraano, korkea nais@"a@"ani.
3521 The highest female voice.
3526 F: staccato, piqu@'e, d@'etach@'e,
3531 FI: staccato, lyhyesti, ter@"av@"asti.
3533 Playing the note(s) short. Staccato is indicated by a dot above or below the
3539 \notes\relative c'' {
3541 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3548 I: pentagramma, rigo (musicale),
3551 NL: (noten)balk, partij,
3556 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3557 which the musical notes are written, thus indicating (in connection
3558 with a @aref{clef}) their pitch. Staves for
3559 @aref{percussion} instruments may have fewer lines.
3565 D: Hals, Notenhals, Stiel,
3571 Vertical line above or below a @aref{note head} shorter than a
3572 whole note. @aref{beam}.
3575 \set Score.autoBeaming = ##f
3576 \set Score.automaticBars = ##f
3577 %\override Score.TextScript #'font-style = #'large
3578 \notes\relative c'' {
3596 A family of stringed musical instruments played with a bow. Strings commonly
3597 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3603 D: betonter Taktteil oder Taktschlag,
3605 D: betonet taktslag,
3606 S: betonat taktslag,
3607 FI: tahdin vahva isku.
3609 @aref{beat}, @aref{accent}, @aref{measure},
3620 FI: subdominantti, alidominantti.
3622 The fourth @aref{scale degree}. @aref{functional
3633 FI: alikeskis@"avel.
3635 The sixth @aref{scale degree}.
3645 FI: subtoonika, alitoonika.
3647 The seventh @aref{scale degree}.
3649 @aitem{superdominant}
3659 The sixth @aref{scale degree}.
3671 The second @aref{scale degree}.
3674 ES: sinfon@'{@dotless{i}}a,
3677 D: Sinfonie, Symphonie,
3683 A symphony may be defined as a @aref{sonata} for orchestra.
3695 Any deliberate upsetting of the normal pulse of @aref{meter},
3696 @aref{accent} and @aref{rhythm}. Our system of musical
3697 rhythm rests upon the grouping of equal beats into groups of two or three,
3698 with a regularly recurrent accent on the first beat of each group. Any
3699 deviation from this scheme is felt as a disturbance or contradiction between
3700 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3704 \notes\relative c' {
3707 e c'4 e,8 c'4 e,8 c' ( | c2)
3711 @aitemii{syntonic comma,dydimic comma}
3712 I: comma sintonico (o didimico),
3713 F: comma syntonique,
3714 D: syntonisches Komma,
3715 NL: syntonische komma,
3716 DK: syntonisk komma,
3717 S: syntoniskt komma,
3718 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3720 Difference between the natural third and the third obtained by Pythagorean
3721 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3730 FI: nuottij@"arjestelm@"a.
3732 The collection of staves @aref{staff}, two or more, as used for
3733 writing down of keyboard, chamber, choral, or orchestral music.
3739 D: Stimmung, Temperatur,
3740 NL: stemming, temperatuur,
3743 FI: viritysj@"arjestelm@"a.
3745 Systems of tuning in which the intervals deviate from the acoustically pure
3746 intervals. @aref{meantone temperament}, @aref{equal
3749 @aitem{tempo indication}
3750 ES: indicaci@'on de tempo,
3751 I: indicazione di tempo,
3752 F: indication de temps,
3753 D: Zeitma@ss{}, Tempobezeichnung,
3754 NL: tempo aanduiding,
3757 FI: tempomerkint@"a.
3759 The rate of speed of a composition or a section thereof, ranging from the
3760 slowest to the quickest, as is indicated by tempo marks as
3761 @aref{largo}, @aref{adagio}, @aref{andante},
3762 @aref{allegro}, and @aref{presto}.
3772 FI: tenori, korkea mies@"a@"ani.
3774 The highest voice of men (apart from @aref{counter tenor}).
3800 @aitem{thirty-second note}
3805 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3806 NL: twee-endertig@-ste noot,
3807 DK: toogtredivtedelsnode,
3808 S: trettiotv@aa{}ondelsnot,
3809 FI: kolmanneskymmeneskahdesosanuotti.
3813 @aitem{thirty-second rest}
3814 ES: silencio de fusa,
3815 I: pausa di biscroma,
3816 F: huiti@`eme de soupir,
3817 UK: demisemiquaver rest,
3818 D: Zweiunddreissigstel@-pause,
3820 DK: toogtredivtedelspause,
3821 S: trettiotv@aa{}ondelspaus,
3822 FI: kolmanneskymmeneskahdesosatauko.
3826 @aitemii{thorough bass,figured bass}
3828 I: basso continuo, basso numerato,
3829 F: basse chiffr@'ee,
3830 D: Generalbass, bezifferter Bass,
3831 NL: basso continuo, becijferde bas
3834 FI: kenraalibasso, numeroitu basso.
3836 A method of indicating an accompaniment part by the bass notes only, together
3837 with figures designating the chief @aref{interval}s and
3838 @aref{chord}s to be played above the bass notes.
3841 \context GrandStaff <<
3842 \context Staff = lh \notes\relative c'' {
3846 << \context Voice = rha {
3849 \context Voice = rhb {
3851 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3855 \context Staff = rh \notes\relative c' {
3858 es8 c d bes c as bes16 as g f | es4
3860 \context Lyrics \lyrics {
3861 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3862 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3863 { "" "" "" "2" "" "" "" "" "" "2" } >>
3869 ES: ligadura de prolongaci@'on,
3870 I: legatura (di valore),
3873 NL: overbinding, bindingsboog,
3875 S: bindeb@aa{}ge, @"overbindning,
3878 A curved line, identical in appearance with the @aref{slur}, which
3879 connects two succesive notes of the same pitch, and which has the function of
3880 uniting them into a single sound equal to the combined durations.
3883 \set Score.automaticBars = ##f
3884 \notes\relative c'' { g2 ~ g4. }
3887 @aitem{time signature}
3888 ES: cifra indicadora de comp@'as,
3890 F: chiffrage (chiffres indicateurs), signe de valeur,
3891 D: Taktangabe, Angabe der Taktart,
3894 S: taktartssignatur,
3909 A sound of definite pitch and duration, as distinct from @emph{noise}.
3910 Tone is a primary building material of music.
3911 Music from the 20th century may be based on non tone related sounds.
3923 The first @aref{scale degree}.
3924 @aref{functional harmony}.
3926 @aitem{transposition}
3927 ES: transposici@'on,
3936 Shifting a melody up or down in pitch, while keeping the same
3942 \notes\relative c'' {
3944 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3952 \transpose c bes \relative c'' {
3954 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3961 I: chiave di violino,
3963 D: Violinschl@"ussel, Sopranschl@"ussel,
3965 DK:@w{ }diskantn@o{}gle,
3981 On stringed instruments (@aref{strings}) the quick reiteration of
3982 the same tone, produced by a rapid up-and-down movement movement of the bow
3983 (a). The term is also used for the rapid alternation (b) between two notes of
3984 a @aref{chord}, usually in the distance of a third
3988 \set Score.automaticBars = ##f
3989 %\override Score.TextScript #'font-style = #'large
3990 \notes\relative c' {
3992 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3993 \repeat "tremolo" 8 { e32_"b" g }
3998 ES: tr@'{@dotless{i}}ada,
4000 F: triade, accord parfait, accord de trois sons,
4009 @aitemii{trill,shake}
4012 F: trille, tremblement, battement (cadence),
4021 @aitem{triple meter}
4022 ES: comp@'as compuesto,
4026 NL: driedelige maatsoort,
4046 ES: tr@'{@dotless{i}}tono,
4059 I: diapason, corista,
4067 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4068 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4070 @aitemii{turn,gruppetto}
4083 ES: un@'{@dotless{i}}sono,
4090 FI: unisono, yksi@"a@"anisesti.
4092 Playing of the same notes or the same melody by various instruments (voices)
4093 or by the whole orchestra (choir), either at exactly the same pitch or in a
4097 ES: entrada anacr@'usica,
4099 F: anacrouse, lev@'ee,
4106 Initial note(s) of a melody occurring before the first bar
4107 line. @aref{measure}, @aref{meter}.
4112 \notes\relative c' {
4113 \partial 4 f4 | bes4. a8 bes4 c |
4114 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4125 FI: @"a@"ani, laulu@"a@"ani.
4127 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4128 @aref{contralto}, @aref{tenor},
4129 @aref{baritone}, @aref{bass}.
4130 2. A melodic layer or part of a polyphonic composition.
4134 I: tempo debole, arsi,
4136 D: unbetonter Taktteil oder Taktschlag,
4138 DK: ubetonet taktslag,
4139 S: obetonat taktslag,
4140 FI: tahdin heikko isku.
4142 @aref{beat}, @aref{measure}, @aref{rhythm}.
4149 D: Ganze, ganze Note,
4158 ES: silencio de redonda,
4159 I: pausa di semibreve,
4162 D: ganze Pause, ganztaktige Pause,
4180 The @aref{interval} of a major second. The interval between two
4181 tones on the piano keyboard with exactly one key between them -- including
4182 black and white keys -- is a whole tone.
4190 DK tr@ae{}bl@ae{}sere,
4191 S: tr@"abl@aa{}sare,
4194 A family of blown wooden musical instruments. Today some of these instruments
4195 are actually made from metal. The woodwind instruments commonly used in a
4196 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4203 @item DURATION NAMES, NOTES AND RESTS
4206 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4208 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4209 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4213 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4214 @tab longa @tab longa @tab longa
4218 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4219 brevis @tab brevis @tab brevis @tab brevis
4223 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4224 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4228 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4229 halve @tab halv @tab halv @tab puoli- @tab
4233 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4234 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4238 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4239 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4243 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4244 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4245 @tab kuudestoistaosa- @tab
4249 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4250 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4251 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4255 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4256 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4257 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4258 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4261 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4269 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4271 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4272 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4276 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4280 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4281 cis @tab cis @tab cis
4285 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4286 des @tab des @tab des
4290 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4294 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4298 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4302 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4306 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4311 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4315 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4316 ais @tab ais @tab ais
4320 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4325 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4333 @item ---------------------
4337 @item Literature used
4338 The Harvard Dictionary of Music, London 1944. Many more or less literal
4339 quotes from its articles have been included into the item explanation texts.
4341 Hugo Riemanns Musiklexicon, Berlin 1929.
4343 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4344 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.