1 \input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @dircategory GNU music project
8 * Glossary: (lilypond/music-glossary). Glossary of music terms.
12 This document is also available in @uref{music-glossary.ps.gz,gzipped
13 PostScript} and @uref{music-glossary.pdf,PDF}.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
22 @author Han-Wen Nienhuys @c Dutch glossary
23 @author Jan Nieuwenhuizen @c Dutch glossary
24 @author Dadiv Gonzalez @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Mats Bengtsson @c Swedish glossary
28 @author Adrian Mariano @c Italian glossary
29 @author Heikki Junes @c Finnish glossary
31 @c Fixes by Jean-Pierre Coulon and `Dirk'
34 Copyright @copyright{} 1999--2004 by the authors
37 Permission is granted to copy, distribute and/or modify this document
38 under the terms of the GNU Free Documentation License, Version 1.1
39 or any later version published by the Free Software Foundation,
40 without Invariant Sections.
45 @c FIXME: multiple omfcreators?
47 @omfcreator Christian Mondrup
48 @omfdescription Glossary of musical terms with translations
50 @omfcategory Applications|Publishing
57 @c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
68 @item Christian Mondrup
69 Original author of LilyPond glossary, Danish glossary,
72 @item Fran@,{c}ois Pinard
73 Original glossary of GNU music project, French glossary,
74 @item Han-Wen Nienhuys
76 @item Jan Nieuwenhuizen
81 English glossary translations,
83 Finnish glossary translations.
86 Copyright 1999--2004 by the authors
89 Permission is granted to copy, distribute and/or modify this document
90 under the terms of the GNU Free Documentation License, Version 1.1
91 or any later version published by the Free Software Foundation,
92 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
110 We do not use refs for Info:
112 @w{@arrow{}\word\}@c vs:
113 @w{@arrow{}@pxref{\word\}}@c
115 they look too intrusive (says Han-Wen).
122 @w{@arrow{}@strong{\word\}}@c
125 @arrow{}@ref{\word\, @strong{\word\}}@c
133 @c If we want hypelinks, we must add anchors.
134 @c Hmm, we need the @achor command in the item description itself
135 @c (not before or after) to get mozilla jump to the right place.
138 @item \word\@anchor{\word\}
140 @macro aitemii{one,two}
141 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
143 @macro aitemiii{one,two,three}
144 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
154 @item UK - British English
160 This is an example reference, that points you to the @aref{accent}
163 @c All `@table @strong' replaced by `@table @samp'
164 @c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
185 FI: aksentti, korostus.
187 The stress of one tone over others.
189 @c F: how to distinguish between accidental and key-sig alteration?
193 I: alterazione, accidente,
195 D: Vorzeichen, Versetzungszeichen,
198 S: tillf@"alligt f@"ortecken,
199 FI: tilap@"ainen etumerkki.
201 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
202 @c Akzidenz, NL: toevallig teken, I: accidento.
204 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
205 by a @aref{whole tone}, a flat lowers it by a semitone and a double
206 flat lowers it by a whole tone. A natural cancels the effect of a previous
209 @lilypond[fragment,notime]
210 \set Score.automaticBars = ##f
211 %\override TextScript #'font-style = #'large
213 \context Staff \relative c'' {
214 gis1 s s gisis s s ges s s geses s s g!
216 \context Lyrics \lyrics {
217 \override Lyrics .LyricText #'self-alignment-X = #-1
218 "sharp " "db. sharp " "flat " "db. flat " natural
225 F: accelerando, en acc@'el@'erant,
226 D: accelerando, schneller werden,
230 FI: accelerando, kiihdytt@"aen.
242 FI: adagio, hitaasti.
244 It. comfortable, easy.
245 1. Slow tempo, slower -- especially in even meter -- than
246 @aref{andante} and faster than @aref{largo}.
247 2. A movement in slow tempo, especially the second (slow) movement of
248 @aref{sonata}s, symphonies, etc.
254 D: Allegro, Schnell, Fr@"ohlich, Lustig,
258 FI: allegro, nopeasti.
260 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
261 especially the first and last movements of a @aref{sonata}.
271 FI: altto, matala nais@"a@"ani.
273 A female voice of low range (@emph{contralto}). Originally the alto was a high
274 male voice (hence the name) which by the use of falsetto reached the height of
275 the female voice. This type of voice is also known as @aref{counter
279 ES: clave de do en tercera,
280 I: chiave di contralto,
281 F: clef d'ut troisi@`eme ligne,
282 D: Altschl@"ussel, Bratschenschl@"ussel,
288 C clef setting middle C on the middle line of the staff
299 FI: ambitus, @"a@"aniala, soitinala.
301 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
302 of pitches for a given voice in a part of music. It may also denote
303 the pitch range that a musical instrument is capable of playing.
305 @aitem{ancient minor scale}
306 I: scala minore naturale,
307 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
309 NL: authentieke mineurtoonladder,
312 FI: luonnollinen molliasteikko.
314 @aref{diatonic scale} (ancient minor).
316 @lilypond[fragment,notime]
317 \set Score.automaticBars = ##f
330 FI: andante, k@"ayden.
332 Walking tempo/character.
337 F: appogiature, (port de voix),
342 FI: appoggiatura, etuhele.
344 Ornamental note, usually a second, that is melodically connected with the main
345 note following it. In music before the 19th century a. were usually
346 performed on the beat, after that mostly before the beat. While the short
347 a. is performed as a short note regardless of the duration of the main note
348 the duration of the long a. is proportional to that of the main note.
351 \context Voice \relative c'' {
355 %\override Score.TextScript #'font-style = #'large
356 <d a fis>4_"notation" r
357 { \override Stem #'flag-style = #'()
359 \revert Stem #'flag-style
362 { \override Stem #'flag-style = #'()
364 \revert Stem #'flag-style
367 \cadenzaOn a4 \bar "||" \cadenzaOff }
369 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
370 \cadenzaOn a4 \bar "||" \cadenzaOff }
373 An appoggiatura may have more notes preceding the main note.
379 % \override Score.TextScript #'font-style = #'large
380 \grace { bes16 } as8_"notation" as16 bes as8 g |
381 \grace { as16[( bes] } < c as >4-)
382 \grace { as16[( bes] } < c as >4-) \bar "||"
383 \grace { bes16 } as8_"performance" as16 bes as8 g |
384 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
385 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
394 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
396 DK: arpeggio, akkordbrydning,
398 FI: arpeggio, murtosointu.
401 \context PianoStaff <<
402 \context Staff = SA \relative c'' {
405 r8 g16 c e g, c e r8 g,16 c e g, c e |
406 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
407 \context Staff = SB \relative c' {
409 << \context Voice = va {
411 r16 e8. ( e4) r16 e8. ( e4) |
412 r16 d8. ( d4) r16 d8. ( d4) }
413 \context Voice = vb {
420 @aitem{ascending interval}
421 ES: Intervalo ascendente,
422 I: intervallo ascendente,
423 F: intervalle ascendant,
424 D: steigendes Intervall,
425 NL: stijgend interval,
426 DK:@w{ }stigende interval,
427 S: stigande intervall,
428 FI: nouseva intervalli.
430 A distance between a starting lower note and a higher ending note.
432 @aitem{augmented interval}
433 ES: intervalo aumentado,
434 I: intervallo aumentato,
435 F: intervalle augment@'e,
436 D: @"uberm@"a@ss{}iges Intervall,
437 NL: overmatig interval,
438 DK: forst@o{}rret interval,
439 S: @"overstigande intervall,
440 FI: ylinouseva intervalli.
447 D: Autograph, Handschrift,
449 DK: h@aa{}ndskrift, autograf,
451 FI: k@"asinkirjoitettu nuotti.
453 1. A manuscript in the composer's own hand.
454 2. Music prepared for photoreproduction by freehand drawing,
455 with the aid of a straightedge ruler and T-square only,
456 which attempts to emulate engraving.
457 This required more skill than did engraving.
469 @aitemii{backfall,forefall}
474 I: stanghetta, barra (di divisione),
475 F: barre (de mesure),
483 ES: comp@'as, @aref{measure}.
486 ES: bar@'{@dotless{i}}tono,
493 FI: baritoni, keskikorkuinen mies@"a@"ani.
495 The male voice intermediate between the @aref{bass} and the
498 @c F: clef de troisi@`eme ligne dropped
500 @aitem{baritone clef}
501 ES: clave de fa en tercera,
502 I: chiave di baritono,
503 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
504 D: Baritonschl@"ussel,
510 C or F clef setting middle C on the upper staff line.
511 @aref{C clef}, @aref{F clef}.
514 ES: clave de fa en cuarta,
516 F: cl@'e de fa quatri@`eme ligne,
523 A clef setting with middle C on the first top ledger line.
533 FI: basso, matala mies@"a@"ani.
535 1. The lowest of men's voices.
536 2. Sometimes, especially in jazz music, used as
537 an abbreviation for double bass.
549 Line connecting a series of notes (shorter than a quarter note).
550 The number of beams determine the note value of the connected notes.
552 @lilypond[fragment,notime]
553 \set Score.automaticBars = ##f
554 %\override TextScript #'font-style = #'large
557 g16_"1/16"[ g g g] s16
558 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
559 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
566 D: Takt, Taktschlag, Zeit (im Takt),
572 Note value used for counting, most often half-, fourth-, and eighth notes.
573 The base counting value and the number of them per measure is indicated at
574 the start of the music.
579 \relative c'' { g4 c b a | g1 \bar "||"}
581 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
591 D: Klammer, Akkolade,
592 NL: accolade, teksthaak,
595 FI: yhdist@"av@"a sulkumerkki.
597 Symbol at the start of a system connecting staves. Curly braces are used
598 for connecting piano staves, angular brackets for connecting parts in an
599 orchestral or choral score.
602 \context GrandStaff <<
603 \relative c''\context Staff = SA { \clef treble g4 e c2 }
604 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
608 \context StaffGroup <<
609 % \set StaffGroup.minVerticalAlign = #12
610 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
611 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
620 DK: messingbl@ae{}sere,
621 S: brassinstrument, m@"assingsinstrument,
624 A family of blown musical instruments made of brass all using a cup formed
625 mouth piece. The brass instruments commonly used in a symphony orchestra are
626 trumpet, trombone, french horn, and tube.
631 D: Atemzeichen, Trennungszeichen,
632 NL: repercussieteken,
633 DK: vejrtr@ae{}kningstegn,
637 Indication of where to breathe in vocal and wind instrument parts.
649 @aref{note value} twice as long as a whole note. Mainly used
652 @lilypond[fragment,notime]
653 \set Score.automaticBars = ##f
654 \relative c'' { g\breve }
677 Clef symbol indicating the position of the middle C. Used on all note
680 @lilypond[fragment,notime]
681 \set Score.automaticBars = ##f
682 \override Score.Clef #'full-size-change = ##t
683 %\override Score.LyricText #'font-style = #'large
685 \context Staff \relative c' {
687 \clef mezzosoprano c s s
692 \context Lyrics \lyrics {
693 \override Lyrics .LyricText #'self-alignment-X = #-1
694 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
706 FI: kadenssi, lopuke.
708 @aref{harmonic cadence}, @aref{functional harmony}.
718 FI: kadenssi, lopuke.
720 An extended, improvisatory style section inserted near the end of
721 movement. The purpose of a cadenza is to give singers or players a chance to
722 exhibit their technical skill and not the least their ability to improvise. Since
723 the middle of the 19th century, however, most cadences have been written down
734 FI: kaanon, tarkka j@"aljittely.
746 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
748 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
749 equally tempered @aref{semitone}).
750 @aref{equal temperament}.
765 Three or more tones sounding simultaneously. In traditional European music the
766 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
767 minor @aref{third}) as well as @emph{minor} (minor + major third)
768 chords may be extended with more thirds. Four-tone @emph{seventh chords}
769 and five-tone @emph{ninth} major chords are most often used as dominants
770 (@aref{functional harmony}). A special case is chords having no
771 third above the lower notes to define their quality as major or minor. Such
772 chords are denoted open chords
774 @lilypond[fragment,notime]
775 \set Score.automaticBars = ##f
776 %\override TextScript #'font-style = #'large
778 \context Staff \relative c'' {
786 \context Lyrics \lyrics{
787 \override Lyrics .LyricText #'self-alignment-X = #-1
788 "major " "minor " "diminished " "augmented "
789 "seventh-chord " "ninth-chord "
793 @aitem{chromatic scale}
794 ES: escala crom@'atica,
796 F: gamme chromatique,
797 D: chromatische Tonleiter,
798 NL: chromatische toonladder,
801 FI: kromaattinen asteikko.
803 A scale consisting of all 12 @aref{semitone}s.
805 @lilypond[fragment,notime]
806 \set Score.automaticBars = ##f
807 \relative c' { c1 cis d dis e f fis g gis a ais b c }
820 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
822 @aitemii{church mode,ecclesiastical mode}
823 ES: modo eclesi@'astico,
824 I: modo ecclesiastico,
825 F: mode eccl@'esiastique,
830 FI: moodi, kirkkos@"avellaji.
832 @aref{diatonic scale}.
838 D: Schl@"ussel, Notenschl@"ussel,
842 FI: avain, nuottiavain.
844 @aref{C clef}, @aref{F clef}, @aref{G clef}.
848 A @emph{cluster} is a range of simultaneously sounding pitches that
849 may change over time. The set of available pitches to apply usually
850 depends on the acoustic source. Thus, in piano music, a cluster
851 typically consists of a continuous range of the semitones as provided
852 by the piano's fixed set of a chromatic scale. In choral music, each
853 singer of the choir typically may sing an arbitrary pitch within the
854 cluster's range that is not bound to any diatonic, chromatic or other
855 scale. In electronic music, a cluster (theoretically) may even cover
856 a continuous range of pitches, thus resulting in colored noise, such
859 Clusters can be denoted in the context of ordinary staff notation by
860 engraving simple geometrical shapes that replace ordinary notation of
861 notes. Ordinary notes as musical events specify starting time and
862 duration of pitches; however, the duration of a note is expressed by
863 the shape of the note head rather than by the horizontal graphical
864 extent of the note symbol. In contrast, the shape of a cluster
865 geometrically describes the development of a range of pitches
866 (vertical extent) over time (horizontal extent). Still, the
867 geometrical shape of a cluster covers the area in which any single
868 pitch contained in the cluster would be notated as an ordinary note.
870 @lilypond[fragment,relative=2,verbatim]
871 \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
882 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
884 Difference in pitch between a note derived from pure tuning and the same note
885 derived from some other tuning method. @aref{temperament}.
890 @aitem{compound interval}
891 ES: intervalo compuesto,
892 I: intervallo composto,
893 F: intervalle compos@'e,
895 NL: samengesteld interval,
896 DK: sammensat interval,
897 S: sammansatt intervall,
898 FI: oktaavia laajempi intervalli.
900 Intervals larger than an octave.
906 F: intervalle compl@'ementaire,
907 D: Komplement@"arintervall,
908 NL: complementair interval,
909 DK: komplement@ae{}rinterval,
910 S: komplement@"arintervall (?),
911 FI: t@"aydent@"av@"a intervalli.
913 @aref{inverted interval}.
915 @aitem{conjunct movement}
916 ES: movimiento conjunto,
918 F: mouvement conjoint,
919 D: schrittweise, stufenweise Bewegung,
920 NL: stapsgewijze, trapsgewijze beweging,
921 DK: trinvis bev@ae{}gelse,
922 S: stegvis r@"orelse,
923 FI: asteittainen liike.
925 Progressing melodically by intervals of a second. Opposite of @aref{disjunct movement}.
929 \key g \major \time 4/4
930 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
941 FI: konsonanssi, sopusointi.
965 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
967 From latin @emph{punctus contra punctum}, note against note. The combination
968 into a single musical fabric of lines or parts which have distinct melodic
969 significance. A frequently used polyphonic technique is imitation, in its
970 strictest form found in the canon needing only one part to be written down
971 while the other parts are performed with a given displacement. Imitation is
972 also the contrapunctal technique used in the @emph{fugue} which, since the
973 music of the baroque era, has been one of the most popular polyphonic
976 @lilypond[fragment,staffsize=11]
977 \override Score.TimeSignature #'break-visibility = #all-invisible
978 \context PianoStaff <<
979 \context Staff = SA \relative c' {
983 << \context Voice = rha {
985 r1 | r2 r8 g'8 bes d, |
986 cis4 d r8 e!16 f g8 f16 e |
987 f8 g16 a bes8 a16 g a8
989 \context Voice = rhb {
995 \context Staff = SB \relative c' {
998 << \context Voice = lha {
1000 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1001 r8 a16 g f8 g16 a bes8 g e! cis' |
1004 \context Voice = lhb {
1012 @aitem{counter tenor}
1019 S: kontratenor, counter tenor,
1024 @aitem{Copying, Music}
1025 A music copyist did fast freehand scores and parts on preprinted staff lines
1026 for performance. Some of their conventions (e.g., the placement of note heads
1027 on stems) varied slightly from those of engravers. Some of their working
1028 methods were superior and could well be adopted by music typesetters. This
1029 required more skill than engraving.
1035 D: Crescendo, lauter werden,
1039 FI: cresendo, voimistuen.
1041 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1042 abbreviation ``cresc.''.
1045 \key g \major \time 4/4
1046 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1052 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1059 In a separate part notes belonging to another part with the purpose of hinting
1060 when to start playing. Usually printed in a smaller type.
1064 A custos is a staff symbol that appears at the end of a staff line
1065 with monophonic musical contents (i.e. with a single voice). It
1066 anticipates the pitch of the first note of the following line and thus
1067 helps the player or singer to manage line breaks during performance,
1068 thus enhancing readability of a score.
1070 Custodes were frequently used in music notation until the 16th
1071 century. There were different appearences for different notation
1072 styles. Nowadays, they have survived only in special forms of musical
1073 notation such as via the editio vaticana dating back to the beginning
1079 % \override Staff.Custos #'neutral-position = #4
1080 \override Staff.Custos #'neutral-direction = #-1
1082 \override Staff.Custos #'style = #'hufnagel
1084 \break < d' a' f''>1
1089 \consists Custos_engraver
1109 F: da capo, depuis le commencement,
1110 D: da capo, von Anfang,
1114 FI: da capo, alusta.
1116 The term indicates repetition of the piece from the beginning to the end or to
1117 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1122 F: dal segno, depuis le signe,
1127 FI: dal segno, lähtien merkistä.
1129 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1130 another place frequently near the beginning marked by a sign:
1133 %\override TextScript #'font-style = #'large
1134 \override TextScript #'font-shape = #'italic
1135 \key g \major \time 4/4
1136 \relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
1142 D: Decrescendo, leiser werden,
1146 FI: decresendo, hiljentyen.
1148 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1149 or the abbreviation ``decresc.''.
1153 \key g \major \time 4/4
1154 d4 \> c b a | g1 \! \bar "|."
1158 @aitem{descending interval}
1159 ES: intervalo descendente,
1160 I: intervallo discendente,
1161 F: intervalle descendant,
1162 D: fallendes Intervall, absteigendes Intervall,
1163 NL: dalend interval,
1164 DK: faldende interval,
1165 S: fallande intervall,
1166 FI: laskeva intervalli.
1168 A distance between a starting higher note and a lower ending note.
1170 @aitem{diatonic scale}
1171 ES: escala diat@'onica,
1173 F: gamme diatonique,
1174 D: diatonische Tonleiter,
1175 NL: diatonische toonladder,
1176 DK: diatonisk skala,
1178 FI: diatoninen asteikko.
1180 A scale consisting of 5@w{ }@aref{whole tone}s and
1181 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1182 of a piano keybord are diatonic.
1184 The church modes are used in gregorial chant and in pre baroque early music but
1185 also to some extent in newer jazz music.
1187 @lilypond[fragment,notime,linewidth=110\mm]
1188 \set Score.automaticBars = ##f
1189 %\override Score.LyricText #'font-style = #'large
1190 %\override Score.TextScript #'font-style = #'large
1192 \context Staff \relative c' {
1194 \override TextScript #'padding = #-4
1195 e^"~~ S" f g a b^"~~ S" c
1197 \context Lyrics \lyrics {
1202 @lilypond[fragment,notime]
1203 \set Score.automaticBars = ##f
1204 %\override Score.LyricText #'font-style = #'large
1205 %\override Score.TextScript #'font-style = #'large
1207 \context Staff \relative c' {
1209 \override TextScript #'padding = #-4
1210 e^"~~ S" f g a b^"~~ S" c d
1212 \context Lyrics \lyrics {
1217 @lilypond[fragment,notime]
1218 \set Score.automaticBars = ##f
1219 %\override Score.LyricText #'font-style = #'large
1220 %\override Score.TextScript #'font-style = #'large
1223 \override TextScript #'padding = #-4
1224 e1^"~~ S" f g a b^"~~ S" c d e
1226 \context Lyrics \lyrics {
1231 @lilypond[fragment,notime]
1232 \set Score.automaticBars = ##f
1233 %\override Score.LyricText #'font-style = #'large
1234 %\override Score.TextScript #'font-style = #'large
1238 \override TextScript #'padding = #-4
1239 b^"~~ S" c d e^"~~ S" f
1241 \context Lyrics \lyrics {
1246 @lilypond[fragment,notime]
1247 \set Score.automaticBars = ##f
1248 %\override Score.LyricText #'font-style = #'large
1249 %\override Score.TextScript #'font-style = #'large
1253 \override TextScript #'padding = #-4
1254 b^"~~ S" c d e^"~~ S" f g }
1255 \context Lyrics \lyrics {
1260 @lilypond[fragment,notime]
1261 \set Score.automaticBars = ##f
1262 %\override Score.LyricText #'font-style = #'large
1263 %\override Score.TextScript #'font-style = #'large
1267 \override TextScript #'padding = #-4
1268 b^"~~ S" c d e^"~~ S" f g a
1270 \context Lyrics \lyrics {
1275 From the beginning of the 17th century the scales used in European
1276 compositional music are primarily the major and the minor scales. In the
1277 harmonic minor scale type an augmented second (A) occurs between the 6th and
1280 @lilypond[fragment,notime]
1281 \set Score.automaticBars = ##f
1282 %\override Score.LyricText #'font-style = #'large
1283 %\override Score.TextScript #'font-style = #'large
1287 \override TextScript #'padding = #-4
1288 e^"~~ S" f g a b^"~~ S" c
1290 \context Lyrics \lyrics {
1295 @lilypond[fragment,notime]
1296 \set Score.automaticBars = ##f
1297 %\override Score.LyricText #'font-style = #'large
1298 %\override Score.TextScript #'font-style = #'large
1302 \override TextScript #'padding = #-4
1303 b^"~~ S" c d e^"~~ S" f g a
1305 \context Lyrics \lyrics {
1310 @lilypond[fragment,notime]
1311 \set Score.automaticBars = ##f
1312 %\override Score.LyricText #'font-style = #'large
1313 %\override Score.TextScript #'font-style = #'large
1317 \override TextScript #'padding = #-4
1318 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1320 \context Lyrics \lyrics {
1325 @lilypond[fragment,notime]
1326 \set Score.automaticBars = ##f
1327 %\override Score.LyricText #'font-style = #'large
1328 %\override Score.TextScript #'font-style = #'large
1332 \override TextScript #'padding = #-4
1333 b^"~~ S" c d e fis gis^"~~ S"
1334 a g! f!^"~~ S" e d c^"~~ S" b a
1336 \context Lyrics \lyrics {
1341 @aitem{diminished interval}
1342 ES: intervalo disminu@'{@dotless{i}}do,
1343 I: intervallo diminuito,
1344 F: intervalle diminu@'e,
1345 D: vermindertes Intervall,
1346 NL: verminderd interval,
1347 DK: formindsket interval,
1348 S: f@"orminskat intervall,
1349 FI: v@"ahennetty intervalli.
1361 FI: diminuendo, hiljentyen.
1365 @aitem{disjunct movement}
1366 ES: movimiendo disjunto,
1368 F: mouvement disjoint,
1369 D: sprunghafte Bewegung,
1370 NL: sprongsgewijze beweging,
1371 DK: springende bev@ae{}gelse,
1372 S: hoppande r@"orelse,
1373 FI: melodian hyppiv@"a liike.
1375 Progressing melodically by intervals larger than a major second.
1376 Opposite of @aref{conjunct movement}.
1383 a4. gis8 b a e cis |
1384 fis2 d4. \bar "||" }
1387 @aitemii{dissonant interval,dissonance}
1388 ES: intervalo disonante, disonancias,
1389 I: intervallo dissonante, dissonanza,
1392 NL: dissonant interval; dissonant,
1393 DK: dissonerende interval, dissonans,
1395 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1399 @aitem{dominant ninth chord}
1400 I: accordo di nona di dominante,
1401 F: accord de neuvi@`eme dominante,
1402 D: Dominantnoneakkord,
1403 NL: dominant noon akkoord,
1404 DK: dominantnoneakkord,
1405 S: dominantnonackord,
1406 FI: dominanttinoonisointu.
1408 @aref{chord}, @aref{functional harmony}.
1410 @aitem{dominant seventh chord}
1411 ES: acorde de s@'eptima de dominante,
1412 I: accordo di settima di dominante,
1413 F: accord de septi@`eme dominante,
1414 D: Dominantseptakkord,
1415 NL: dominant septiem akkoord,
1416 DK: dominantseptimakkord,
1417 S: dominantseptimackord,
1418 FI: dominanttiseptimisointu.
1420 @aref{chord}, @aref{functional harmony}.
1430 FI: dominantti, huippusointu.
1432 The fifth @aref{scale degree},
1433 @aref{functional harmony}.
1439 D: dorisch, dorischer Kirchenton,
1440 NL: dorische toonladder,
1445 @aref{diatonic scale}.
1447 @aitem{dot (augmentation dot)}
1449 I: punto (di valore),
1451 D: Punkt (Verl@"angerungspunkt),
1460 ES: nota con puntillo,
1464 NL: gepuncteerde noot,
1467 FI: pisteellinen nuotti.
1471 @aitem{double appoggiatura}
1472 ES: apoyatura doble,
1473 I: appoggiatura doppia,
1474 F: appoggiature double,
1475 D: doppelter Vorschlag,
1476 NL: dubbele voorslag,
1477 DK: dobbelt forslag,
1479 FI: kaksoisappogiatura, kaksoisetuhele.
1481 @aref{appoggiatura}.
1483 @aitem{double bar line}
1487 NL: dubbele maatstreep,
1490 FI: kaksoistahtiviiva.
1492 Indicates the end of a section within a movement.
1494 @aitem{double dotted note}
1495 ES: nota con dos puntillos,
1496 I: nota doppiamente puntata,
1497 F: note doublement point@'ee,
1498 D: doppelt punktierte Note,
1499 NL: dubbelgepuncteerde noot,
1500 DK: dob@-belt@-punk@-te@-ret node,
1501 S: dub@-bel@-punk@-te@-rad not,
1502 FI: kaksoispisteellinen nuotti.
1514 FI: kaksoisalennusmerkki.
1518 @aitem{double sharp}
1519 ES: doble sostenido,
1524 DK: dob@-belt@-kryds,
1526 FI: kaksoisylennysmerkki.
1530 @aitem{double trill}
1535 NL: dubbele triller,
1540 A simultaneous trill on two notes, usually in the distance of a third.
1547 NL: tweedelige maatsoort,
1574 FI: kesto, aika-arvo.
1578 @aitem{dydimic comma}
1579 @aref{syntonic comma}.
1596 D: Achtel, Achtelnote,
1598 DK: ottendedelsnode,
1599 S: @aa{}ttondelsnot,
1600 FI: kahdeksasosanuotti.
1605 ES: silencio de corchea,
1611 DK: ottendedelspause,
1612 S: @aa{}ttonddelspaus,
1613 FI: kahdeksasosatauko.
1621 D: Notenstechen, Notendruck
1627 Engraving means incising or etching a metal plate for
1628 printing. Photoengraving means drawing music with ink in a manner
1629 similar to drafting or engineering drawing, using similar tools.
1631 The traditional process of music printing is done through cutting in a
1632 plate of metal. Now also the term for the art of music typesetting.
1644 Two notes, intervals, or scales are enharmonic if they have different names
1647 @lilypond[fragment,notime]
1648 \set Score.automaticBars = ##f
1649 %\override Score.TextScript #'font-style = #'large
1651 \context Staff \relative c'' {
1652 gis1 s s as s s <des g,!> s s <cis g!> s s
1654 \context Lyrics \lyrics {
1655 \override Lyrics .LyricText #'self-alignment-X = #-1
1656 "g sharp " "a flat " "dim fifth " "augm fourth"
1660 @aitem{equal temperament}
1662 I: temperamento equabile,
1663 F: temp@'erament @'egal,
1664 D: gleichschwebende Stimmung,
1665 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1666 DK: ligesv@ae{}vende temperatur,
1667 S: liksv@"avande temperatur,
1670 Tuning system dividing the octave into 12 equal @aref{semitone}s
1671 (precisely 100 @aref{cent}s). @aref{temperament}.
1673 @aitem{expression mark}
1675 I: segno d'espressione,
1676 F: signe d'expression, indication de nuance,
1678 NL: voordrachtsteken,
1679 DK: foredragsbetegnelse,
1680 S: f@"oredragsbeteckning,
1681 FI: nyanssiosoitus, esitysmerkki.
1683 Performance indications concerning 1. volume, dynamics (for example
1684 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1685 @aref{andante}, @aref{allegro}).
1707 The position between the dots of the key symbol is the line of the F below
1708 central@w{ }C. Used on the third, fourth and fifth note line. A
1709 digit@w{ }8 above the clef symbol indicates that the notes must be played
1710 an octave higher (for example bass recorder) while 8@w{ }below the clef
1711 symbol indicates playing an octave lower (for example on double bass
1714 @lilypond[fragment,notime]
1715 \set Score.automaticBars = ##f
1716 \override Staff.Clef #'full-size-change = ##t
1717 %\override Score.LyricText #'font-style = #'large
1731 \context Lyrics \lyrics {
1732 \override Lyrics .LyricText #'self-alignment-X = #-1
1741 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1746 F: point d'orgue, point d'arr@^et,
1751 FI: fermaatti, pid@"ake.
1753 Prolonged note or rest of indefinite duration.
1758 a4 b c2^\fermata \bar "|."
1774 @aitem{figured bass}
1775 ES: bajo cifrado, @aref{thorough bass}.
1783 DK: fingers@ae{}tning,
1784 S: fingers@"attning,
1787 The methodical use of fingers in the playing of instruments.
1789 @aitemii{flag,pennant}
1791 I: coda (uncinata), bandiera,
1793 D: Fahne, F@"ahnchen,
1799 Ornament at the end of the stem of a note used for notes with values
1800 less than a quarter note. The number of flags determines the
1803 @lilypond[fragment,notime]
1804 \set Score.automaticBars = ##f
1805 %\override Score.TextScript #'font-style = #'large
1826 @aitemii{forefall,backfall}
1827 @aref{appoggiatura}.
1837 FI: forte, voimakkaasti.
1839 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1840 @emph{mezzoforte} (@b{mf}) medium loud.
1864 @aref{counterpoint}.
1866 @aitem{functional harmony}
1867 ES: armon@'{@dotless{i}}a funcional,
1868 I: armonia funzionale,
1869 F: @'etude des functions,
1871 NL: functionele harmonie,
1872 DK: funktionsanalyse, funktionsharmonik,
1874 FI: harmoniaj@"arjestelm@"a.
1876 A system of harmonic analysis. It is based on the idea that, in a given key,
1877 there are only three functionally different chords: tonic (T, the chord on the
1878 first note of the scale), subdominant (S, the chord on the fourth note), and
1879 dominant (D, the chord on the fifth note). Other are considered to be
1880 variants of the base chords.
1882 @lilypond[fragment,notime]
1883 \set Score.automaticBars = ##f
1884 %\override Score.LyricText #'font-style = #'large
1885 %\override Score.TextScript #'font-style = #'large
1887 \context Voice \relative c'' {
1888 <g e c >1 < a f d > < b g e >
1889 <c a f > < d b g > < e c a > < f d b > }
1890 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1907 D: G-Schl@"ussel, Violinschl@"ussel,
1913 A clef symbol indicating the G above central@w{ }C. Used on the first
1914 and second note lines. A digit 8 above the clef symbol indicates that
1915 the notes must be played an octave higher while 8 below the clef symbol
1916 indicates playing or singing an octave lower (most tenor parts in choral
1917 scores are notated like that).
1919 @lilypond[fragment,notime]
1920 \set Score.automaticBars = ##f
1921 \override Staff.Clef #'full-size-change = ##t
1922 %\override Score.LyricText #'font-style = #'large
1934 \context Lyrics \lyrics {
1935 \override Lyrics .LyricText #'self-alignment-X = #-1
1936 "french violin clef "
1951 FI: glissando, liukuen.
1953 Letting the pitch slide fluently from one note to the other.
1959 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1965 Notes printed in small types to indicate that their time values are not
1966 counted in the rhythm of the bar. @aref{appoggiatura}.
1974 S: ackolad, b@"ojd klammer,
1975 FI: kaksoisnuottiviivasto.
1979 A combination of two staves with a brace. Usually used for piano music.
1989 FI: grave, raskaasti.
1998 D: Halbe, halbe Note,
2019 @aitem{harmonic cadence}
2020 ES: cadencia (arm@'onica),
2021 I: cadenza (armonica),
2022 F: cadence harmonique,
2024 NL: harmonische cadens,
2025 DK: harmonisk kadence,
2026 S: (harmonisk) kadens,
2027 FI: harmoninen kadenssi.
2029 Sequence of chords that terminate a musical phrase or
2030 section. @aref{functional harmony}.
2033 \context PianoStaff <<
2034 \context Staff = SA \relative c'' {
2038 \partial 4 < c g e >4 |
2039 < c a f > < b g d > < c g e >2
2041 % %\override Score.LyricText #'font-style = #'large
2043 \context Staff = SB \relative c {
2045 \partial 4 c4 | f, g c2
2048 \context Lyrics \lyrics {
2055 ES: armon@'{@dotless{i}}a,
2058 D: Harmonie, Zusammenklang,
2062 FI: harmonia, yhteissointi.
2064 Tones sounding simultaneously. Two note harmonies fall into the categories
2065 @emph{consonances} and @emph{dissonances}.
2069 @lilypond[fragment,notime]
2070 \set Score.automaticBars = ##f
2071 %\override Score.TextScript #'font-style = #'large
2072 \context Voice \relative c'' {
2085 @lilypond[fragment,notime]
2086 \set Score.automaticBars = ##f
2087 %\override Score.TextScript #'font-style = #'large
2088 \context Voice \relative c'' {
2089 <g a>1_"second " s s
2090 <g f'>_"seventh " s s
2095 Three note harmony @aref{chord}.
2098 ES: homofon@'{@dotless{i}}a,
2105 FI: homofonia, yksi@"a@"anisyys.
2107 Music in which one voice leads melodically followed by the other voices more
2108 or less in the same rhythm. In contrast to @aref{polyphony}.
2118 FI: intervalli, kahden s@"avelen korkeusero.
2120 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2121 diminished, or augmented. The augmented fourth and the diminished fifth are
2122 identical (@aref{enharmonic}) and are called @emph{tritonus}
2123 because they consist of three @aref{whole tone}s. The addition
2124 of such two forms an octave.
2126 @lilypond[fragment,notime]
2127 \set Score.automaticBars = ##f
2128 %\override Score.LyricText #'font-style = #'large
2129 %\override Score.TextScript #'font-style = #'large
2131 \context Voice \relative c'' {
2136 < gis bes >^"dimin" s
2137 < g! bes >^"minor" s
2141 \context Lyrics \lyrics {
2142 "unisone " "second " "second " "second "
2143 "third " "third " "third " "third "
2147 @lilypond[fragment,notime]
2148 \set Score.automaticBars = ##f
2149 %\override Score.LyricText #'font-style = #'large
2150 %\override Score.TextScript #'font-style = #'large
2152 \context Staff \relative c'' {
2155 < g d' >^"perfect" s
2156 < g des' > ^"dimin" s
2157 < gis es' >^"dimin" s
2158 < g! es' >^"minor" s
2162 \context Lyrics \lyrics {
2163 "fourth " "fourth " "fifth " "fifth "
2164 "sixth " "sixth " "sixth " "sixth "
2168 @lilypond[fragment,notime]
2169 \set Score.automaticBars = ##f
2170 %\override Score.LyricText #'font-style = #'large
2171 %\override Score.TextScript #'font-style = #'large
2173 \context Staff \relative c'' {
2174 < gis f'! >1^"dimin" s
2175 < g! f'! >^"minor" s
2176 < g fis' >^"major" s
2180 < g bes' >^"minor" s
2183 \context Lyrics \lyrics {
2184 "seventh " "seventh " "seventh " "octave "
2185 "none " "none " "decime " "decime "
2189 @aitem{inverted interval}
2190 ES: intervalo invertido,
2191 I: intervallo rivolto,
2192 F: intervalle revers@'e,
2193 D: umgekehrtes Intervall,
2194 NL: interval inversie,
2195 DK: omvendingsinterval,
2196 S: intervallets omv@"andning,
2197 FI: k@"a@"anteisintervalli.
2199 The difference between an interval and an octave.
2201 @lilypond[fragment,notime]
2202 \set Score.automaticBars = ##f
2203 %\override Score.TextScript #'font-style = #'large
2204 \context Staff \relative c'' {
2205 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2206 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2207 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2211 @aitem{just intonation}
2212 I: intonazione giusta,
2213 F: intonation juste,
2220 Tuning system in which the notes are obtained by adding and subtracting
2221 natural fifths and thirds. @aref{temperament}.
2233 According to the 12@w{ }tones of the @aref{chromatic scale}
2234 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2235 @aref{key signature}.
2237 @aitem{key signature}
2238 ES: armadura de clave,
2239 I: armatura di chiave,
2240 F: armure, armature [de la cl@'e],
2241 D: Vorzeichen, Tonart,
2242 NL: toon@-soort (voortekens),
2245 FI: s@"avellajiosoitus.
2247 The sharps or flats appearing at the beginning of each staff indicating the
2248 key of the music. @aref{accidental}.
2254 D: Largo, Langsam, Breit,
2258 FI: largo, hitaasti, leve@"asti.
2260 Very slow in tempo, usually combined with great
2261 expressiveness. @emph{Larghetto} is less slow than largo.
2263 @aitem{leading note}
2273 The seventh @aref{scale degree}, a @aref{semitone} below
2274 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2275 upwards) to the tonic scale degree.
2277 @aitemii{ledger line,leger line}
2278 ES: l@'{@dotless{i}}neas adicionales,
2279 I: tagli addizionali,
2280 F: ligne suppl@'ementaire,
2283 DK: hj@ae{}lpelinie,
2287 A ledger line is an extension of the staff.
2289 @lilypond[fragment,notime]
2290 \set Score.automaticBars = ##f
2291 \relative c'' { a,1 s c'' }
2304 To be performed (a) without any perceptible interruption between the notes,
2305 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2306 (d) @aref{staccato}.
2308 @lilypond[fragment,notime]
2309 \set Score.automaticBars = ##f
2311 \context Staff \relative c'' {
2312 c4-( d e-) \bar "||"
2313 c4-- d-- e-- \bar "||"
2314 c4-.-( d-. e-.-) \bar "||"
2315 c4-. d-. e-. \bar "||"
2317 \context Lyrics \lyrics {
2318 % \override Lyrics .LyricText #'font-style = #'large
2326 @aitem{legato curve}
2327 @aref{slur}, @aref{legato}.
2330 ES: estanque de lilas,
2331 I: stagno del giglio,
2335 NL: le@-lie@-vij@-ver,
2340 A pond with lilies floating in it, also the name of a music typesetter.
2344 A ligature is a coherent graphical symbol that represents at least two
2345 distinct notes. Ligatures originally appeared in the manuscripts of
2346 Gregorian chant notation roughly since the 9th century to denote
2347 ascending or descending sequences of notes. In early notation,
2348 ligatures were used for monophonic tunes (Gregorian chant) and very
2349 soon denoted also the way of performance in the sense of articulation.
2350 With the invention of the metric system of the white mensural
2351 notation, the need for ligatures to denote such patterns disappeared.
2356 ES: l@'{@dotless{i}}nea,
2359 D: Linie, Notenlinie,
2363 FI: viiva, nuottiviiva.
2367 @aitem{long appoggiatura}
2368 ES: apoyatura larga,
2369 I: appoggiatura lunga,
2370 F: appoggiature longue,
2371 D: langer Vorschlag,
2374 S: l@aa{}ngt f@"orslag,
2375 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2377 @aref{appoggiatura}.
2389 Note value: double length of @aref{breve}.
2392 @lilypond[fragment,notime]
2393 \set Score.automaticBars = ##f
2395 \override NoteHead #'style = #'mensural
2400 @aitemii{lyrics,song texts}
2410 @aitem{major interval}
2411 ES: intervalo mayor,
2412 I: intervallo maggiore,
2413 F: intervalle majeur,
2414 D: gro@ss{}es Intervall,
2418 FI: suuri intervalli.
2432 @aref{diatonic scale}.
2434 @aitem{meantone temperament}
2435 I: accordatura mesotonica,
2436 F: temp@'erament m@'esotonique,
2437 D: mittelt@"onige Stimmung,
2438 NL: middenstemming, middentoonstemming,
2439 DK: middeltonetemperatur,
2440 S: medeltonstemperatur,
2441 FI: keskis@"avelviritys.
2443 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2444 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2445 @aref{temperament} only a limited set of keys are playable.
2446 Used for tuning keyboard instruments for performance of pre-1650 music.
2448 @aitemii{measure,bar}
2458 A group of @aref{beat}s (units of musical time) the first of which
2459 bears an accent. Such groups in numbers of two or more recur consistently
2460 throughout the composition and are marked from each other by
2461 bar-lines. @aref{meter}.
2465 I: mediante, modale,
2473 1. The third @b{scale degree}.
2474 2. A @aref{chord} having its base tone
2475 a third from that of another chord. For example, the tonic chord may be
2476 replaced by its lower mediant (variant tonic). @aref{functional
2477 harmony}, @aref{relative key}.
2482 FI: melisma, laulettavan tavun s@"avelkuvio.
2484 A melisma (plural: melismata) is a group of notes or tones sung on one
2485 syllable in plainsong
2487 @aitem{melodic cadence}
2490 @aitemii{meter,time}
2493 F: indication de m@'esure,
2500 The basic scheme of @aref{note value}s and
2501 @aref{accent}s which remains unaltered throughout a composition
2502 or a section of it. For instance, 3/4 meter means that the basic
2503 @aref{note value}s are quarter notes and that a
2504 @aref{measure} consists of three of those. According to
2505 whether there are two, three or four units to the measure,
2506 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2507 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2513 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2520 f8 f f f a16 g a f |
2521 c'8 c c c e16 d e c \bar "||"}
2528 d4 b8 g b d d c a4 |
2529 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2542 Device indicating the exact tempo of a piece. @aref{metronomic
2545 @aitem{metronomic indication}
2546 ES: indicaci@'on metron@'omica,
2547 I: indicazione metronomica,
2548 F: indication m@'etronomique,
2550 NL: metronoom aanduiding,
2552 S: metronomangivelse,
2553 FI: metronomiosoitus.
2555 Exact tempo indication (in beats per minute). Also denoted by
2556 M.M. (M@"alzels Metronom).
2558 @aitem{mezzo-soprano}
2568 The female voice between @aref{soprano} and
2575 D: eingestrichenes@w{ }c,
2577 DK: enstreget@w{ }c,
2578 S: ettstruket@w{ }c,
2581 First C below the 440 Hz A.
2583 @lilypond[fragment,notime]
2584 \set Score.automaticBars = ##f
2585 \override Staff.Clef #'full-size-change = ##t
2603 @aref{diatonic scale}.
2605 @aitem{minor interval}
2606 ES: intervalo mayor,
2607 I: intervallo minore,
2608 F: intervalle mineur,
2609 D: kleines Intervall,
2613 FI: pieni intervalli.
2625 FI: moodi, kirkkos@"avelasteikko.
2627 @aref{church mode}, @aref{diatonic scale}.
2637 FI: modulaatio, s@"avellajin vaihdos.
2639 Moving from one @aref{key} to another. For example, the second
2640 subject of a @aref{sonata form} movement modulates to the dominant
2641 key if the key is major and to the @aref{relative key} if the key
2651 FI: mordent, korukuvio.
2655 @aitemii{motive,motif}
2663 FI: teema, s@"avelaihe.
2665 The briefest intelligible and self-contained fragment of a musical theme or
2669 \override Score.TimeSignature #'break-visibility = #all-invisible
2670 %\override Score.TextScript #'font-style = #'large
2674 \partial 8 g16_"------" fis |
2675 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2676 g8 g,16 a b8 cis d16 s
2690 Greater musical works like @aref{symphony} and
2691 @aref{sonata} most often consist of several -- more or less --
2692 independant pieces called movements.
2694 @aitem{multibar rest}
2695 ES: compases de espera,
2699 D: mehrtaktige Pause,
2702 FI: usean tahdin mittainen tauko.
2707 \set Score.skipBars = ##t R1*3
2712 @aitem{mixolydian mode}
2713 @aref{diatonic scale}.
2715 @aitem{natural sign}
2719 D: Aufl@"osungszeichen,
2720 NL: herstellingsteken,
2721 DK: op@-l@o{}sningstegn,
2722 S: @aa{}terst@"allningstecken,
2727 @aitem{neighbour tones}
2728 @aref{appoggiatura}.
2755 Notes are signs by means of which music is fixed in writing. The term is also
2756 used for the sound indicated by a note, and even for the key of the piano
2757 which produces the sound. However, a clear distinction between the terms tone
2758 and @aref{note} is strongly recommended. Briefly, one sees a note,
2763 I: testa, testina, capocchia,
2764 F: t@^ete de la note,
2771 A head like sign which indicates pitch by its position on a
2772 @aref{staff} provided with a @aref{clef}, and duration
2773 by a variety of shapes such as hollow or black heads with or without
2774 @aref{stem}s, @aref{flag}s, etc. For percussion
2775 instruments (often having no defined pitch) the note head may indicate the
2781 F: dur@'ee, valeur (d'une note),
2786 FI: nuotin aika-arvo.
2788 Note values (durations) are measured as fractions, normally 1/2, of the next
2789 higher note value. The longest duration normally used is called @emph{brevis},
2790 but sometimes (mostly in pre baroque music) the double length note value
2791 @emph{longa} is used.
2793 @lilypond[fragment,notime]
2794 %\override Score.TextScript #'font-style = #'large
2795 \set Score.automaticBars = ##f
2797 \override NoteHead #'style = #'mensural
2798 g\longa_"longa" g\breve_"breve"
2799 \revert NoteHead #'style
2800 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2801 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2804 @lilypond[fragment,notime]
2805 %\override Score.TextScript #'font-style = #'large
2806 \set Score.automaticBars = ##f
2808 r\longa_"longa" r\breve_"breve"
2809 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2810 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2813 An augmentation dot after a note multiplies the duration by one and a
2814 half. Another dot adds yet a fourth of the duration.
2817 %\override Score.TextScript #'font-style = #'large
2820 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2821 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2824 Alternatively note values may be subdivided by other ratios. Most common is
2825 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2826 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2827 dotted notes are also frequently used.
2830 %\override Score.TextScript #'font-style = #'large
2833 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2834 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2841 \times 3/2 {g4_"duplets" g} |
2843 \times 6/4 {g8_"quadruplets" g g g} |
2844 g8 g g g g4 \bar "||"
2849 @aref{G clef}, @aref{F clef}.
2863 @aitemiii{ornament,embellishment,accessory}
2865 I: abbellimento, fioriture,
2866 F: agr@'ement, ornement,
2867 D: Verzierung, Ornament,
2873 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2874 with the diatonic @aref{second} above it. In the music from the
2875 middle of the 19th century and onwards the trill is performed with the main
2876 note first while in the music from the preceding baroque and classic periods
2877 the upper note is played first.
2881 \context Staff = sa {
2882 % \override Score.TextScript #'font-style = #'large
2884 c2._"pre-1850" b4\trill | c1 \bar "||"
2885 c2._"post-1850" b4\trill | c1 \bar "||"
2889 c2. c32 b c b c b c b | c1
2890 c2. b32 c b c \times 4/5 { b c b c b } | c1
2895 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
2896 @emph{prall} (inverted mordent).
2900 \context Staff = sa {
2901 % \override Score.TextScript #'font-style = #'large
2903 a4_"turn" b\turn c2 \bar "||"
2904 g4_"mordent" a b\mordent a \bar "||"
2905 e'4_"prall" d\prall c2 \bar "||"
2911 e'4 e32[ d e d ~ d8] c2
2916 @aref{appoggiatura}.
2926 FI: ossia, vaihtoehtoinen esitystapa.
2928 Ossia (otherwise) marks an alternative. It is an added staff or piano
2929 score, usually only a few measures long, which presents another version
2930 of the music, for example for small hands.
2940 FI: stemma, instrumenttiosuus.
2942 1. In instrumental or choral music the music for the single instrument
2943 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2944 melodic line of the contrapunctal web.
2950 D: Schlagzeug, Schlagwerk,
2954 FI: ly@"om@"asoittimet.
2956 A family of musical instruments which are played on by striking or
2957 shaking. Percussion instruments commonly used in a symphony orchestra are
2958 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2959 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2962 @aitem{perfect interval}
2963 ES: intervalo justo,
2964 I: intervallo giusto,
2965 F: intervalle juste,
2966 D: reines Intervall,
2970 FI: puhdas intervalli.
2984 A natural division of the melodic line, comparable to a sentence of speech.
2994 FI: fraseeraus, j@"asent@"aminen.
2996 The clear rendering in musical performance of the @aref{phrase}s of
2997 the melody. Phrasing may be indicated by a @aref{slur}.
3009 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3010 @emph{mezzopiano} (@b{mp}) medium soft.
3027 NL: pizzicato, getokkeld,
3030 FI: pizzicato, n@"app@"aillen.
3032 Play by plucking the strings.
3035 ES: polifon@'{@dotless{i}}a,
3042 FI: polyfonia, moni@"a@"anisyys.
3044 Music written in a combination of several simultaneous voices (parts) of a
3045 more or less pronounced individuality. @aref{counterpoint}.
3054 D: Presto, Sehr schnell,
3055 NL: presto, Sehr schnell,
3058 FI: presto, hyvin nopeasti.
3060 Very quick, i.e. quicker than @aref{allegro}; @emph{prestissimo}
3061 denotes the highest possible degree of speed.
3063 @aitem{Pythagorean comma}
3064 ES: coma pitag@'orico,
3065 I: comma pitagorico,
3066 F: comma pythagoricien,
3067 D: Pythagor@"aisches Komma,
3068 NL: komma van Pythagoras,
3069 DK: pythagor@ae{}isk komma,
3070 S: pytagoreiskt komma,
3071 FI: pytagorinen komma.
3073 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3074 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3075 24 @aref{cent}s higher than the@w{ }C obtained by adding
3076 7@w{ }octaves. The difference between those two pitches is called the
3091 @aitem{quarter note}
3093 I: semiminima, nera,
3096 D: Viertel, Viertelnote,
3100 FI: nelj@"annesosanuotti.
3104 @aitem{quarter rest}
3105 ES: silencio de negra,
3106 I: pausa di semiminima,
3111 DK:@w{ }fjerdedelspause,
3112 S: fj@"ardedelspaus,
3113 FI: nelj@"annesosatauko.
3133 D: rallentando, langsamer werden,
3137 FI. rallerdando, hidastuen.
3139 Abbreviation "rall.". @aref{ritardando}.
3141 @aitem{relative key}
3143 I: tonalit@`a relativa,
3144 F: tonalit@'e relative,
3146 NL: paralleltoonsoort,
3147 DK: paralleltoneart,
3149 FI: rinnakkaiss@"avellaji.
3151 @aref{major} and @aref{minor} @aref{key}
3152 with the same @aref{key signature}.
3154 @lilypond[fragment,notime]
3155 \set Score.automaticBars = ##f
3156 %\override Score.TextScript #'font-style = #'large
3159 es1_"e flat major" f g as bes c d es
3164 @lilypond[fragment,notime]
3165 \set Score.automaticBars = ##f
3166 %\override Score.TextScript #'font-style = #'large
3169 c1_"c minor" d es f g a! b! c \bar "||"
3174 ES: barra de repetici@'on,
3176 F: barre de reprise,
3179 DK: gen@-ta@-gel@-se,
3187 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3191 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3192 @c specify the rest's value.
3216 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3217 fixed unit of time, called @aref{beat}, and in which the normal
3218 @aref{accent} recurs in regular intervals, called
3219 @aref{measure}. The basic scheme scheme of time values is called
3220 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3221 accent. In modern notation such music appears as a free alternation of
3222 different measures. (c) Free rhythm, i.e., the use of temporal values having
3223 no common metrical unit (beat).
3229 D: Ritardando, langsamer werden,
3233 FI. ritardando, hidastuen,
3235 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3245 FI: ritenuto, hidastaen.
3247 Immediate reduction of speed.
3257 FI: asteikko, s@"avelasteikko.
3259 @aref{diatonic scale}.
3261 @aitem{scale degree}
3262 ES: grados de la escala,
3263 I: grado della scala,
3264 F: degr@'e [de la gamme],
3266 NL: trap [van de toonladder],
3269 FI: s@"avelaste, asteikon s@"avel.
3271 Names and symbols used in harmonic analysis to denote tones of the scale as
3272 roots of chords. The most important are degrees I = tonic (T), IV =
3273 sub@-do@-mi@-nant (S) and V = dominant (D).
3275 @lilypond[fragment,notime]
3276 \set Score.automaticBars = ##f
3277 %\override Score.LyricText #'font-style = #'large
3278 %\set minVerticalAlign = #8
3280 \context Staff \relative c' {
3283 \context Lyrics \lyrics {
3284 << { I II III IV V VI VII I }
3289 @aref{functional harmony}.
3295 D: Partitur (full score), Klavierauszug (vocal score)
3301 A copy of orchestral, choral, or chamber music showing what each instrument is
3302 to play, each voice to sing, having each part arranged one underneath the
3303 other on different staves @aref{staff}.
3315 The @aref{interval} between two neigbouring tones of a scale. A
3316 @aref{diatonic scale} consists of alternating
3317 @aref{semitone}s and @aref{whole tone}s, hence the size
3318 of a se@-cond depends on the scale degrees in question.
3330 The @aref{interval} of a minor second. The (usually) smallest
3331 interval in European composed music. The interval between two neighbouring
3332 tones on the piano keyboard -- including black and white keys -- is a
3333 semitone. An octave may be divided into 12@w{ }semitones.
3334 @aref{interval}, @aref{chromatic scale}.
3336 @lilypond[fragment,notime]
3337 \set Score.automaticBars = ##f
3338 \relative c'' { g1 gis s a bes s b! c }
3353 @aitem{sextuplet, sextolet}
3376 @aitem{short appoggiatura}
3377 @aref{appoggiatura}.
3379 @aitem{sixteenth note}
3384 D: Sechzehntel, Sechzehntelnote,
3385 NL: zes@-ti@-ende noot,
3386 DK: sekstendedelsnode,
3388 FI: kuudestoistaosanuotti.
3392 @aitem{sixteenth rest}
3393 ES: silencia de semicorchea,
3394 I: pausa di semicroma,
3396 UK: semiquaver rest,
3397 D: Sechzehntelpause,
3399 DK: sekstendedelspause,
3417 @aitem{sixty-fourth note}
3420 F: quadruple croche,
3421 UK: hemidemisemiquaver,
3422 D: Vierundsechzigstel, Vierundsechzigstelnote,
3423 NL: vierenzestigste noot,
3424 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3425 S: sextiofj@"ardedelsnot,
3426 FI: kuudeskymmenesnelj@"asosanuotti.
3430 @aitem{sixty-fourth rest}
3431 ES: silencia de semifusa,
3432 I: pausa di semibiscroma,
3433 F: seizi@`eme de soupir,
3434 UK: hemidemisemiquaver rest,
3435 D: Vierundsechzigstelpause,
3436 NL: vierenzestigste rust,
3437 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3438 S: sextiofj@"ardedelspaus,
3439 FI: kuudeskymmenesnelj@"asosatauko.
3445 I: legatura (di portamento or espressiva),
3446 F: liaison, coul@'e,
3447 D: Bogen, Legatobogen, Phrasierungsbogen,
3448 NL: fraseringsboog, legatoboog, streekboog,
3449 DK: legatobue, fraseringsbue,
3453 A slur above or below a group of notes indicates that they are to be played
3454 @aref{legato}, e.g., with one stroke of the violin bow or with one
3464 FI: suhteelliset laulunimet.
3466 General term for systems of designating the degrees of the
3467 @aref{scale}, not by letters, but by syllables (@emph{do}
3468 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3469 (@emph{ti})). @aref{scale degree}.
3481 In its present-day meaning a sonata denotes an instrumental composition for
3482 piano or for some other instrument with piano accompaniment, which consists of
3483 three or four independant pieces, called movements.
3488 F: [en] forme de sonate,
3490 NL: hoofdvorm, sonatevorm,
3495 A form used frequently for single movements of the @aref{sonata},
3496 @aref{symphony}, quartet, etc. A movement written in sonata form
3497 falls into three sections called @emph{exposition}, @emph{development} and
3498 @emph{recapitulation}. In the exposition the composer introduces some musical
3499 ideas, consisting of a number of themes; in the development section the composer
3500 "develops" this material, and in the recapitulation the composer repeats the exposition,
3501 with certain modificationsr. The exposition contains a number of themes
3502 which fall into two groups, often called first and second subject. Other
3503 melodies occurring in each group are considered as continuations of these
3504 two. The second theme is in another key, normally in the key of the
3505 @aref{dominant} if the @aref{tonic} is
3506 @aref{major}, and in the @aref{relative key} if the
3507 tonic is @aref{minor}.
3517 FI: sopraano, korkea nais@"a@"ani.
3519 The highest female voice.
3524 F: staccato, piqu@'e, d@'etach@'e,
3529 FI: staccato, lyhyesti, ter@"av@"asti.
3531 Playing the note(s) short. Staccato is indicated by a dot above or below the
3539 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3544 @aitemii{staff,pl. staves}
3546 I: pentagramma, rigo (musicale),
3549 NL: (noten)balk, partij,
3554 A series of (normally@w{ }5) horizontal lines upon and between
3555 which the musical notes are written, thus indicating (in connection
3556 with a @aref{clef}) their pitch. Staves for
3557 @aref{percussion} instruments may have fewer lines.
3563 D: Hals, Notenhals, Stiel,
3569 Vertical line above or below a @aref{note head} shorter than a
3570 whole note. @aref{beam}.
3572 @lilypond[fragment,notime]
3573 \set Score.autoBeaming = ##f
3574 \set Score.automaticBars = ##f
3575 %\override Score.TextScript #'font-style = #'large
3594 A family of stringed musical instruments played with a bow. Strings commonly
3595 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3601 D: betonter Taktteil oder Taktschlag,
3603 D: betonet taktslag,
3604 S: betonat taktslag,
3605 FI: tahdin vahva isku.
3607 @aref{beat}, @aref{accent}, @aref{measure},
3618 FI: subdominantti, alidominantti.
3620 The fourth @aref{scale degree}. @aref{functional
3631 FI: alikeskis@"avel.
3633 The sixth @aref{scale degree}.
3643 FI: subtoonika, alitoonika.
3645 The seventh @aref{scale degree}.
3647 @aitem{superdominant}
3657 The sixth @aref{scale degree}.
3669 The second @aref{scale degree}.
3672 ES: sinfon@'{@dotless{i}}a,
3675 D: Sinfonie, Symphonie,
3681 A symphony may be defined as a @aref{sonata} for orchestra.
3693 Any deliberate upsetting of the normal pulse of @aref{meter},
3694 @aref{accent} and @aref{rhythm}. Our system of musical
3695 rhythm rests upon the grouping of equal beats into groups of two or three,
3696 with a regularly recurrent accent on the first beat of each group. Any
3697 deviation from this scheme is felt as a disturbance or contradiction between
3698 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3705 e c'4 e,8 c'4 e,8 c' ( | c2)
3709 @aitemii{syntonic comma,dydimic comma}
3710 I: comma sintonico (o didimico),
3711 F: comma syntonique,
3712 D: syntonisches Komma,
3713 NL: syntonische komma,
3714 DK: syntonisk komma,
3715 S: syntoniskt komma,
3716 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3718 Difference between the natural third and the third obtained by Pythagorean
3719 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3728 FI: nuottij@"arjestelm@"a.
3730 The collection of staves @aref{staff}, two or more, as used for
3731 writing down of keyboard, chamber, choral, or orchestral music.
3737 D: Stimmung, Temperatur,
3738 NL: stemming, temperatuur,
3741 FI: viritysj@"arjestelm@"a.
3743 Systems of tuning in which the intervals deviate from the acoustically pure
3744 intervals. @aref{meantone temperament}, @aref{equal
3747 @aitem{tempo indication}
3748 ES: indicaci@'on de tempo,
3749 I: indicazione di tempo,
3750 F: indication de temps,
3751 D: Zeitma@ss{}, Tempobezeichnung,
3752 NL: tempo aanduiding,
3755 FI: tempomerkint@"a.
3757 The rate of speed of a composition or a section thereof, ranging from the
3758 slowest to the quickest, as is indicated by tempo marks as
3759 @aref{largo}, @aref{adagio}, @aref{andante},
3760 @aref{allegro}, and @aref{presto}.
3770 FI: tenori, korkea mies@"a@"ani.
3772 The highest voice of men (apart from @aref{counter tenor}).
3798 @aitem{thirty-second note}
3803 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3804 NL: twee-endertig@-ste noot,
3805 DK: toogtredivtedelsnode,
3806 S: trettiotv@aa{}ondelsnot,
3807 FI: kolmanneskymmeneskahdesosanuotti.
3811 @aitem{thirty-second rest}
3812 ES: silencio de fusa,
3813 I: pausa di biscroma,
3814 F: huiti@`eme de soupir,
3815 UK: demisemiquaver rest,
3816 D: Zweiunddreissigstel@-pause,
3818 DK: toogtredivtedelspause,
3819 S: trettiotv@aa{}ondelspaus,
3820 FI: kolmanneskymmeneskahdesosatauko.
3824 @aitemii{thorough bass,figured bass}
3826 I: basso continuo, basso numerato,
3827 F: basse chiffr@'ee,
3828 D: Generalbass, bezifferter Bass,
3829 NL: basso continuo, becijferde bas
3832 FI: kenraalibasso, numeroitu basso.
3834 A method of indicating an accompaniment part by the bass notes only, together
3835 with figures designating the chief @aref{interval}s and
3836 @aref{chord}s to be played above the bass notes.
3839 \context GrandStaff <<
3840 \context Staff = lh \relative c'' {
3844 << \context Voice = rha {
3847 \context Voice = rhb {
3849 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3853 \context Staff = rh \relative c' {
3856 es8 c d bes c as bes16 as g f | es4
3858 \context Lyrics \lyrics {
3859 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3860 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3861 { "" "" "" "2" "" "" "" "" "" "2" } >>
3867 ES: ligadura de prolongaci@'on,
3868 I: legatura (di valore),
3871 NL: overbinding, bindingsboog,
3873 S: bindeb@aa{}ge, @"overbindning,
3876 A curved line, identical in appearance with the @aref{slur}, which
3877 connects two succesive notes of the same pitch, and which has the function of
3878 uniting them into a single sound equal to the combined durations.
3880 @lilypond[fragment,notime]
3881 \set Score.automaticBars = ##f
3882 \relative c'' { g2 ~ g4. }
3885 @aitem{time signature}
3886 ES: cifra indicadora de comp@'as,
3888 F: chiffrage (chiffres indicateurs), signe de valeur,
3889 D: Taktangabe, Angabe der Taktart,
3892 S: taktartssignatur,
3907 A sound of definite pitch and duration, as distinct from @emph{noise}.
3908 Tone is a primary building material of music.
3909 Music from the 20th century may be based on non tone related sounds.
3921 The first @aref{scale degree}.
3922 @aref{functional harmony}.
3924 @aitem{transposition}
3925 ES: transposici@'on,
3934 Shifting a melody up or down in pitch, while keeping the same
3942 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3950 \transpose c bes \relative c'' {
3952 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3959 I: chiave di violino,
3961 D: Violinschl@"ussel, Sopranschl@"ussel,
3963 DK:@w{ }diskantn@o{}gle,
3979 On stringed instruments (@aref{strings}) the quick reiteration of
3980 the same tone, produced by a rapid up-and-down movement movement of the bow
3981 (a). The term is also used for the rapid alternation (b) between two notes of
3982 a @aref{chord}, usually in the distance of a third
3985 @lilypond[fragment,notime]
3986 \set Score.automaticBars = ##f
3987 %\override Score.TextScript #'font-style = #'large
3990 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3991 \repeat "tremolo" 8 { e32_"b" g }
3996 ES: tr@'{@dotless{i}}ada,
3998 F: triade, accord parfait, accord de trois sons,
4007 @aitemii{trill,shake}
4010 F: trille, tremblement, battement (cadence),
4019 @aitem{triple meter}
4020 ES: comp@'as compuesto,
4024 NL: driedelige maatsoort,
4044 ES: tr@'{@dotless{i}}tono,
4057 I: diapason, corista,
4065 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4066 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4068 @aitemii{turn,gruppetto}
4081 ES: un@'{@dotless{i}}sono,
4088 FI: unisono, yksi@"a@"anisesti.
4090 Playing of the same notes or the same melody by various instruments (voices)
4091 or by the whole orchestra (choir), either at exactly the same pitch or in a
4095 ES: entrada anacr@'usica,
4097 F: anacrouse, lev@'ee,
4104 Initial note(s) of a melody occurring before the first bar
4105 line. @aref{measure}, @aref{meter}.
4111 \partial 4 f4 | bes4. a8 bes4 c |
4112 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4123 FI: @"a@"ani, laulu@"a@"ani.
4125 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4126 @aref{contralto}, @aref{tenor},
4127 @aref{baritone}, @aref{bass}.
4128 2. A melodic layer or part of a polyphonic composition.
4132 I: tempo debole, arsi,
4134 D: unbetonter Taktteil oder Taktschlag,
4136 DK: ubetonet taktslag,
4137 S: obetonat taktslag,
4138 FI: tahdin heikko isku.
4140 @aref{beat}, @aref{measure}, @aref{rhythm}.
4147 D: Ganze, ganze Note,
4156 ES: silencio de redonda,
4157 I: pausa di semibreve,
4160 D: ganze Pause, ganztaktige Pause,
4178 The @aref{interval} of a major second. The interval between two
4179 tones on the piano keyboard with exactly one key between them -- including
4180 black and white keys -- is a whole tone.
4188 DK tr@ae{}bl@ae{}sere,
4189 S: tr@"abl@aa{}sare,
4192 A family of blown wooden musical instruments. Today some of these instruments
4193 are actually made from metal. The woodwind instruments commonly used in a
4194 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4201 @item DURATION NAMES, NOTES AND RESTS
4204 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4206 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4207 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4211 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4212 @tab longa @tab longa @tab longa
4216 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4217 brevis @tab brevis @tab brevis @tab brevis
4221 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4222 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4226 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4227 halve @tab halv @tab halv @tab puoli- @tab
4231 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4232 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4236 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4237 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4241 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4242 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4243 @tab kuudestoistaosa- @tab
4247 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4248 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4249 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4253 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4254 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4255 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4256 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4259 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4267 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4269 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4270 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4274 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4278 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4279 cis @tab cis @tab cis
4283 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4284 des @tab des @tab des
4288 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4292 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4296 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4300 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4304 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4309 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4313 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4314 ais @tab ais @tab ais
4318 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4323 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4331 @item ---------------------
4335 @item Literature used
4336 The Harvard Dictionary of Music, London 1944. Many more or less literal
4337 quotes from its articles have been included into the item explanation texts.
4339 Hugo Riemanns Musiklexicon, Berlin 1929.
4341 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4342 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
4344 Webster's Revised Unabridged Dictionary, Springfield 1913.