1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
6 <!--- @@WEB-TITLE@@=Music Glossary --->
10 This document is also available in @uref{music-glossary.ps.gz,gzipped
11 PostScript} and @uref{music-glossary.pdf,PDF}.
16 @author Christian Mondrup
17 @c License PD, BSD-ish, GNU GPL, GNU FDL?
19 Copyright @copyright{} 1999--2003 by the authors
25 @omfcreator Christian Mondrup
26 @omfdescription Glossary of musical terms with translations
35 @chapter Music Glossary
43 Copyright 1999--2003 by the authors
45 @c License PD, BSD-ish, GNU GPL, GNU FDL?
54 @c @everyheading @| @thispage @|
55 @c @evenheading @thispage @| @|
56 @c @oddheading @| @| @thispage @|
60 @tex $\\Rightarrow$ @end tex@c
71 We do not use refs for Info:
74 @w{@ar{}@pxref{\word\}}@c
76 they look too intrusive (says Han-Wen).
83 @w{@ar{}@strong{\word\}}@c
86 @ar{}@ref{\word\, @strong{\word\}}@c
94 @c If we want hypelinks, we must add anchors.
95 @c Hmm, we need the @achor command in the item description itself
96 @c (not before or after) to get mozilla jump to the right place.
99 @item \word\@anchor{\word\}
101 @macro aitemii{one,two}
102 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
104 @macro aitemiii{one,two,three}
105 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
115 @item UK - British English
122 This is an example reference, that points you to the @aref{accent}
147 FI: aksentti, korostus,
150 The stress of one tone over others.
152 @c F: how to distinguish between accidental and key-sig alteration?
156 I: alterazione, accidente,
158 D: Vorzeichen, Versetzungszeichen,
161 S: tillf@"alligt f@"ortecken,
162 FI: tilap@"ainen etumerkki,
165 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
166 @c Akzidenz, NL: toevallig teken, I: accidento.
168 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
169 by a @aref{whole tone}, a flat lowers it by a semitone and a double
170 flat lowers it by a whole tone. A natural cancels the effect of a previous
173 @lilypond[13pt,notime]
174 \property Score.barNonAuto = ##t
175 \property Voice.TextScript \set #'font-style = #'large
177 \context Staff \notes\relative c'' {
178 gis1 s s gisis s s ges s s geses s s g!
180 \context Lyrics \lyrics {
181 \property Lyrics . LyricText \override #'alignment = #-1
182 "sharp " "db. sharp " "flat " "db. flat " natural
189 F: accelerando, en acc@'el@'erant,
190 D: accelerando, schneller werden,
194 FI: accelerando, kiihdytt@"aen,
207 FI: adagio, hitaasti,
210 It. comfortable, easy.
211 1. Slow tempo, slower -- especially in even meter -- than
212 @aref{andante} and faster than @aref{largo}.
213 2. A movement in slow tempo, especially the second (slow) movement of
214 @aref{sonata}s, symphonies, etc.
220 D: Allegro, Schnell, Fr@"ohlich, Lustig,
224 FI: allegro, nopeasti,
227 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
228 especially the first and last movements of a @aref{sonata}.
238 FI: altto, matala nais@"a@"ani,
241 A female voice of low range (@emph{contralto}). Originally the alto was a high
242 male voice (hence the name) which by the use of falsetto reached the height of
243 the female voice. This type of voice is also known as @aref{counter
247 ES: clave de do en tercera,
248 I: chiave di contralto,
249 F: clef d'ut troisi@`eme ligne,
250 D: Altschl@"ussel, Bratschenschl@"ussel,
257 C clef setting central C on the middle line of the staff
268 FI: ambitus, ääniala, soitinala,
271 The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
273 @aitem{ancient minor scale}
274 I: scala minore naturale,
275 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
277 NL: authentieke mineurtoonladder,
280 FI: luonnollinen molliasteikko,
283 @lilypond[13pt,notime]
284 \property Score.barNonAuto = ##t
285 \notes\relative c'' {
297 FI: andante, k@"ayden,
300 Walking tempo/character.
305 F: appogiature, (port de voix),
310 FI: appoggiatura, etuhele,
313 Ornamental note, usually a second, that is melodically connected with the main
314 note that follows it. In music before the 19th century a. were usually
315 performed on the beat, after that mostly before the beat. While the short
316 a. is performed as a short note regardless of the duration of the main note
317 the duration of the long a. is proportional to that of the main note.
320 \context Voice \notes\relative c'' {
324 \property Score.TextScript \set #'font-style = #'large
325 <<d a fis>>4_"notation" r
326 { \property Voice.Stem \override #'flag-style = #'()
328 \property Voice.Stem \revert #'flag-style
331 { \property Voice.Stem \override #'flag-style = #'()
333 \property Voice.Stem \revert #'flag-style
336 \cadenzaOn a4 \bar "||" \cadenzaOff }
337 \notes\relative c'' {
338 <<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
339 \cadenzaOn a4 \bar "||" \cadenzaOff }
342 An appoggiatura may have more notes preceding the main note.
345 \notes\relative c'' {
348 \property Score.TextScript \set #'font-style = #'large
349 \grace { bes16 } as8_"notation" as16 bes as8 g |
350 \grace { [as16-( bes] } << c as >>4-)
351 \grace { [as16-( bes] } << c as >>4-) \bar "||"
352 \grace { bes16 } as8_"performance" as16 bes as8 g |
353 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
354 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
363 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
365 DK: arpeggio, akkordbrydning,
367 FI: arpeggio, murtosointu,
371 \notes \context PianoStaff <
372 \context Staff = SA \relative c'' {
375 r8 g16 c e g, c e r8 g,16 c e g, c e |
376 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
377 \context Staff = SB \relative c' {
379 < \context Voice = va {
381 r16 e8. () e4 r16 e8. () e4 |
382 r16 d8. () d4 r16 d8. () d4 }
383 \context Voice = vb {
390 @aitem{ascending interval}
391 ES: Intervalo ascendente,
392 I: intervallo ascendente,
393 F: intervalle ascendant,
394 D: steigendes Intervall,
395 NL: stijgend interval,
396 DK:@w{ }stigende interval,
397 S: stigande intervall,
398 FI: nouseva intervalli,
401 A distance between a starting lower note and a higher ending note.
403 @aitem{augmented interval}
404 ES: intervalo aumentado,
405 I: intervallo aumentato,
406 F: intervalle augment@'e,
407 D: @"uberm@"a@ss{}iges Intervall,
408 NL: overmatig interval,
409 DK: forst@o{}rret interval,
410 S: @"overstigande intervall,
411 FI: ylinouseva intervalli,
419 D: Autograph, Handschrift,
421 DK: h@aa{}ndskrift, autograf,
423 FI: k@"asinkirjoitettu nuotti,
426 1. A manuscript in the composer's own hand.
427 2. Music prepared for photoreproduction by freehand drawing,
428 with only the aid of a straightedge ruler and T-square,
429 which attempts to emulate engraving.
430 This required more skill than did engraving.
443 @aitemii{backfall,forefall}
448 I: stanghetta, barra (di divisione),
449 F: barre (de mesure),
458 ES: comp@'as, @aref{measure}.
461 ES: bar@'{@dotless{i}}tono,
468 FI: baritoni, keskikorkuinen mies@"a@"ani,
471 The male voice intermediate between the @aref{bass} and the
474 @c F: clef de troisi@`eme ligne dropped
476 @aitem{baritone clef}
477 ES: clave de fa en tercera,
478 I: chiave di baritono,
479 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
480 D: Baritonschl@"ussel,
487 C or F clef setting central C on the upper staff line.
488 @aref{C clef}, @aref{F clef}.
491 ES: clave de fa en cuarta,
493 F: cl@'e de fa quatri@`eme ligne,
501 A clef setting with central C on the first top ledger line.
511 FI: basso, matala mies@"a@"ani,
514 1. The lowest of men's voices.
515 2. Sometimes, especially in jazz music, used as
516 an abbreviation for double bass.
529 Line connecting a series of notes (shorter than a quarter note).
530 The number of beams determine the note value of the connected notes.
532 @lilypond[13pt,notime]
533 \property Score.barNonAuto = ##t
534 \property Voice.TextScript \set #'font-style = #'large
535 \notes\relative c'' {
537 [g16_"1/16" g g g] s16
538 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
539 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
546 D: Takt, Taktschlag, Zeit (im Takt),
553 Note value used for counting, most often half-, fourth-, and eighth notes.
554 The base counting value and the number of them per measure is indicated at
555 the start of the music.
560 \notes\relative c'' { g4 c b a | g1 \bar "||"}
562 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
572 D: Klammer, Akkolade,
573 NL: accolade, teksthaak,
576 FI: yhdist@"av@"a sulkumerkki,
579 Symbol at the start of a system connecting staves. Curly braces are used
580 for connecting piano staves, angular brackets for connecting parts in an
581 orchestral or choral score.
584 \notes\context GrandStaff <
585 \relative c''\context Staff = SA { \clef treble g4 e c2 }
586 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
590 \context StaffGroup <
591 % \property StaffGroup.minVerticalAlign = #12
592 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
593 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
602 DK: messingbl@ae{}sere,
603 S: brassinstrument, m@"assingsinstrument,
607 A family of blown musical instruments made of brass all using a cup formed
608 mouth piece. The brass instruments commonly used in a symphony orchestra are
609 trumpet, trombone, french horn, and tube.
614 D: Atemzeichen, Trennungszeichen,
615 NL: repercussieteken,
616 DK: vejrtr@ae{}kningstegn,
621 Indication of where to breathe in vocal and wind instrument parts.
634 @aref{note value} twice as long as a whole note. Mainly used
637 @lilypond[13pt,notime]
638 \property Score.barNonAuto = ##t
639 \notes\relative c'' { g\breve }
664 Clef symbol indicating the position of the central C. Used on all note
667 @lilypond[13pt,notime]
668 \property Score.barNonAuto = ##t
669 \property Score.Clef \override #'full-size-change = ##t
670 \property Score.LyricText \set #'font-style = #'large
672 \context Staff \notes\relative c' {
674 \clef mezzosoprano c s s
679 \context Lyrics \lyrics {
680 \property Lyrics . LyricText \override #'alignment = #-1
681 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
693 FI: kadenssi, lopuke,
696 @aref{harmonic cadence}, @aref{functional harmony}.
706 FI: kadenssi, lopuke,
709 An extended, improvisatory style section inserted near the end of
710 movement. The purpose of a cadenza is to give the singer or player a chance to
711 exhibit her technichal skill and not the least her ability to improvise. Since
712 the middle of the 19th century, however, most cadences have been written down
723 FI: kaanon, tarkka j@"aljittely,
736 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
739 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
740 equally tempered @aref{semitone}).
741 @aref{equal temperament}.
757 Three or more tones sounding simultaneously. In traditional European music the
758 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
759 minor @aref{third}) as well as @emph{minor} (minor + major third)
760 chords may be extended with more thirds. Four-tone @emph{seventh chords}
761 and five-tone @emph{ninth} major chords are most often used as dominants
762 (@aref{functional harmony}). A special case is chords having no
763 third above the lower notes to define their quality as major or minor. Such
764 chords are denoted open chords
766 @lilypond[13pt,notime]
767 \property Score.barNonAuto = ##t
768 \property Voice.TextScript \set #'font-style = #'large
770 \context Staff \notes\relative c'' {
778 \context Lyrics \lyrics{
779 \property Lyrics . LyricText \override #'alignment = #-1
780 "major " "minor " "diminished " "augmented "
781 "seventh-chord " "ninth-chord "
785 @aitem{chromatic scale}
786 ES: escala crom@'atica,
788 F: gamme chromatique,
789 D: chromatische Tonleiter,
790 NL: chromatische toonladder,
793 FI: kromaattinen asteikko,
796 A scale consisting of all 11 @aref{semitone}s.
798 @lilypond[13pt,notime]
799 \property Score.barNonAuto = ##t
800 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
814 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
816 @aitemii{church mode,ecclesiastical mode}
817 ES: modo eclesi@'astico,
818 I: modo ecclesiastico,
819 F: mode eccl@'esiastique,
824 FI: moodi, kirkkos@"avellaji,
827 @aref{diatonic scale}.
833 D: Schl@"ussel, Notenschl@"ussel,
837 FI: avain, nuottiavain,
840 @aref{C clef}, @aref{F clef}, @aref{G clef}.
849 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
852 Difference in pitch between a note derived from pure tuning and the same note
853 derived from some other tuning method. @aref{temperament}.
858 @aitem{compound interval}
859 ES: intervalo compuesto,
860 I: intervallo composto,
861 F: intervalle compos@'e,
863 NL: samengesteld interval,
864 DK: sammensat interval,
865 S: sammansatt intervall,
866 FI: oktaavia laajempi intervalli,
869 Intervals larger than an octave.
875 F: intervalle compl@'ementaire,
876 D: Komplement@"arintervall,
877 NL: complementair interval,
878 DK: komplement@ae{}rinterval,
879 S: komplement@"arintervall (?),
880 FI: t@"aydent@"av@"a intervalli,
883 @aref{inverted interval}.
885 @aitem{conjunct movement}
886 ES: movimiento conjunto,
888 F: mouvement conjoint,
889 D: schrittweise, stufenweise Bewegung,
890 NL: stapsgewijze, trapsgewijze beweging,
891 DK: trinvis bev@ae{}gelse,
892 S: stegvis r@"orelse,
893 FI: asteittainen liike,
896 Melody moving in the narrow steps of the scale.
899 \key g \major \time 4/4
900 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
911 FI: konsonanssi, sopusointi,
937 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
940 From latin @emph{punctus contra punctum}, note against note. The combination
941 into a single musical fabric of lines or parts which have distinct melodic
942 significance. A frequently used polyphonic technique is imitation, in its
943 strictest form found in the canon needing only one part to be written down
944 while the other parts are performed with a given displacement. Imitation is
945 also the contrapunctal technique used in the @emph{fugue} which, since the
946 music of the baroque era, has been one of the most popular polyphonic
949 @lilypond[11pt,noquote]
950 \property Score.TimeSignature \override #'style = #'()
951 \notes\context PianoStaff <
952 \context Staff = SA \relative c' {
956 < \context Voice = rha {
958 r1 | r2 r8 g'8 bes d, |
959 cis4 d r8 e!16 f g8 f16 e |
960 f8 g16 a bes8 a16 g a8
962 \context Voice = rhb {
968 \context Staff = SB \relative c' {
971 < \context Voice = lha {
973 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
974 r8 a16 g f8 g16 a bes8 g e! cis' |
977 \context Voice = lhb {
985 @aitem{counter tenor}
992 S: kontratenor, counter tenor,
998 @aitem{Copying, Music}
999 A music copyist did fast freehand scores and parts on preprinted staff lines
1000 for performance. Some of their conventions (e.g., the placement of noteheads
1001 on stems) varied slightly from those of engravers. Some of their working
1002 methods were superior and could well be adopted by music typesetters. This
1003 required more skill than engraving.
1009 D: Crescendo, lauter werden,
1013 FI: cresendo, voimistuen,
1016 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1017 abbreviation ``cresc.''.
1020 \key g \major \time 4/4
1021 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
1027 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1035 In a separate part notes belonging to another part with the purpose of hinting
1036 when to start playing. Usually printed in a smaller type.
1040 A custos is a staff symbol that appears at the end of a staff line
1041 with monophonic musical contents (i.e. with a single voice). It
1042 anticipates the pitch of the first note of the following line and thus
1043 helps the player or singer to manage line breaks during performance,
1044 thus enhancing readability of a score.
1046 Custodes were frequently used in music notation until the 16th
1047 century. There were different appearences for different notation
1048 styles. Nowadays, they have survived only in special forms of musical
1049 notation such as via the editio vaticana dating back to the beginning
1055 \property Staff.Custos \set #'neutral-position = #4
1056 \property Staff.Custos \set #'neutral-direction = #-1
1057 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1059 \property Staff.Custos \set #'style = #'hufnagel
1060 c'1^"Custos style = \#'hufnagel"
1061 \break << d' a' f''>>1
1066 \consists Custos_engraver
1086 F: da capo, depuis le commencement,
1087 D: da capo, von Anfang,
1091 FI: da capo, alusta,
1094 The term indicates repetition of the piece from the beginning to the end or to
1095 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1100 F: dal segno, depuis le signe,
1105 FI: dal segno, merkkiin asti,
1108 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1109 another place frequently near the beginning marked by a sign:
1112 \property Voice.TextScript \set #'font-style = #'large
1113 \property Voice.TextScript \set #'font-shape = #'italic
1114 \key g \major \time 4/4
1115 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1121 D: Decrescendo, leiser werden,
1125 FI: decresendo, hiljentyen,
1128 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1129 or the abbreviation ``decresc.''.
1132 \notes\relative c'' {
1133 \key g \major \time 4/4
1134 d4 \> c b a | \! g1 \bar "|."
1138 @aitem{descending interval}
1139 ES: intervalo descendente,
1140 I: intervallo discendente,
1141 F: intervalle descendant,
1142 D: fallendes Intervall, absteigendes Intervall,
1143 NL: dalend interval,
1144 DK: faldende interval,
1145 S: fallande intervall,
1146 FI: laskeva intervalli,
1149 A distance between a starting higher note and a lower ending note.
1151 @aitem{diatonic scale}
1152 ES: escala diat@'onica,
1154 F: gamme diatonique,
1155 D: diatonische Tonleiter,
1156 NL: diatonische toonladder,
1157 DK: diatonisk skala,
1159 FI: diatoninen asteikko,
1162 A scale consisting of 5@w{ }@aref{whole tone}s and
1163 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1164 of a piano keybord are diatonic.
1166 The church modes are used in gregorial chant and pre baroque early music but
1167 also to some extent in newer jazz music.
1169 @lilypond[13pt,notime,linewidth=110mm]
1170 \property Score.barNonAuto = ##t
1171 \property Score.LyricText \set #'font-style = #'large
1172 \property Score.TextScript \set #'font-style = #'large
1174 \context Staff \notes\relative c' {
1176 \property Voice.TextScript \set #'padding = #-4
1177 e^"~~ S" f g a b^"~~ S" c
1179 \context Lyrics \lyrics {
1184 @lilypond[13pt,notime]
1185 \property Score.barNonAuto = ##t
1186 \property Score.LyricText \set #'font-style = #'large
1187 \property Score.TextScript \set #'font-style = #'large
1189 \context Staff \notes\relative c' {
1191 \property Voice.TextScript \set #'padding = #-4
1192 e^"~~ S" f g a b^"~~ S" c d
1194 \context Lyrics \lyrics {
1199 @lilypond[13pt,notime]
1200 \property Score.barNonAuto = ##t
1201 \property Score.LyricText \set #'font-style = #'large
1202 \property Score.TextScript \set #'font-style = #'large
1204 \notes\relative c' {
1205 \property Voice.TextScript \set #'padding = #-4
1206 e1^"~~ S" f g a b^"~~ S" c d e
1208 \context Lyrics \lyrics {
1213 @lilypond[13pt,notime]
1214 \property Score.barNonAuto = ##t
1215 \property Score.LyricText \set #'font-style = #'large
1216 \property Score.TextScript \set #'font-style = #'large
1218 \notes\relative c' {
1220 \property Voice.TextScript \set #'padding = #-4
1221 b^"~~ S" c d e^"~~ S" f
1223 \context Lyrics \lyrics {
1228 @lilypond[13pt,notime]
1229 \property Score.barNonAuto = ##t
1230 \property Score.LyricText \set #'font-style = #'large
1231 \property Score.TextScript \set #'font-style = #'large
1233 \notes\relative c'' {
1235 \property Voice.TextScript \set #'padding = #-4
1236 b^"~~ S" c d e^"~~ S" f g }
1237 \context Lyrics \lyrics {
1242 @lilypond[13pt,notime]
1243 \property Score.barNonAuto = ##t
1244 \property Score.LyricText \set #'font-style = #'large
1245 \property Score.TextScript \set #'font-style = #'large
1247 \notes\relative c'' {
1249 \property Voice.TextScript \set #'padding = #-4
1250 b^"~~ S" c d e^"~~ S" f g a
1252 \context Lyrics \lyrics {
1257 From the beginning of the 17th century the scales used in European
1258 compositional music are primarily the major and the minor scales. In the
1259 harmonic minor scale type an augmented second (A) occurs between the 6th and
1262 @lilypond[13pt,notime]
1263 \property Score.barNonAuto = ##t
1264 \property Score.LyricText \set #'font-style = #'large
1265 \property Score.TextScript \set #'font-style = #'large
1267 \notes\relative c' {
1269 \property Voice.TextScript \set #'padding = #-4
1270 e^"~~ S" f g a b^"~~ S" c
1272 \context Lyrics \lyrics {
1277 @lilypond[13pt,notime]
1278 \property Score.barNonAuto = ##t
1279 \property Score.LyricText \set #'font-style = #'large
1280 \property Score.TextScript \set #'font-style = #'large
1282 \notes\relative c'' {
1284 \property Voice.TextScript \set #'padding = #-4
1285 b^"~~ S" c d e^"~~ S" f g a
1287 \context Lyrics \lyrics {
1292 @lilypond[13pt,notime]
1293 \property Score.barNonAuto = ##t
1294 \property Score.LyricText \set #'font-style = #'large
1295 \property Score.TextScript \set #'font-style = #'large
1297 \notes\relative c'' {
1299 \property Voice.TextScript \set #'padding = #-4
1300 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1302 \context Lyrics \lyrics {
1307 @lilypond[13pt,notime]
1308 \property Score.barNonAuto = ##t
1309 \property Score.LyricText \set #'font-style = #'large
1310 \property Score.TextScript \set #'font-style = #'large
1312 \notes\relative c'' {
1314 \property Voice.TextScript \set #'padding = #-4
1315 b^"~~ S" c d e fis gis^"~~ S"
1316 a g! f!^"~~ S" e d c^"~~ S" b a
1318 \context Lyrics \lyrics {
1323 @aitem{diminished interval}
1324 ES: intervalo disminu@'{@dotless{i}}do,
1325 I: intervallo diminuito,
1326 F: intervalle diminu@'e,
1327 D: vermindertes Intervall,
1328 NL: verminderd interval,
1329 DK: formindsket interval,
1330 S: f@"orminskat intervall,
1331 FI: v@"ahennetty intervalli,
1344 FI: diminuendo, hiljentyen,
1349 @aitem{disjunct movement}
1350 ES: movimiendo disjunto,
1352 F: mouvement disjoint,
1353 D: sprunghafte Bewegung,
1354 NL: sprongsgewijze beweging,
1355 DK: springende bev@ae{}gelse,
1356 S: hoppande r@"orelse,
1357 FI: melodian hyppiv@"a liike,
1360 Melody moving in steps greater than those of the
1361 scale. Opposite of @aref{conjunct movement}.
1366 \notes\relative c' {
1368 a4. gis8 b a e cis |
1369 fis2 d4. \bar "||" }
1372 @aitemii{dissonant interval,dissonance}
1373 ES: intervalo disonante, disonancias,
1374 I: intervallo dissonante, dissonanza,
1377 NL: dissonant interval; dissonant,
1378 DK: dissonerende interval, dissonans,
1380 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1385 @aitem{dominant ninth chord}
1386 I: accordo di nona di dominante,
1387 F: accord de neuvi@`eme dominante,
1388 D: Dominantnoneakkord,
1389 NL: dominant noon akkoord,
1390 DK: dominantnoneakkord,
1391 S: dominantnonackord,
1392 FI: dominanttinoonisointu,
1395 @aref{chord}, @aref{functional harmony}.
1397 @aitem{dominant seventh chord}
1398 ES: acorde de s@'eptima de dominante,
1399 I: accordo di settima di dominante,
1400 F: accord de septi@`eme dominante,
1401 D: Dominantseptakkord,
1402 NL: dominant septiem akkoord,
1403 DK: dominantseptimakkord,
1404 S: dominantseptimackord,
1405 FI: dominanttiseptimisointu,
1408 @aref{chord}, @aref{functional harmony}.
1418 FI: dominantti, huippusointu,
1421 The fifth @aref{scale degree},
1422 @aref{functional harmony}.
1428 D: dorisch, dorischer Kirchenton,
1429 NL: dorische toonladder,
1435 @aref{diatonic scale}.
1437 @aitem{dot (augmentation dot)}
1439 I: punto (di valore),
1441 D: Punkt (Verl@"angerungspunkt),
1451 ES: nota con puntillo,
1455 NL: gepuncteerde noot,
1458 FI: pisteellinen nuotti,
1463 @aitem{double appoggiatura}
1464 ES: apoyatura doble,
1465 I: appoggiatura doppia,
1466 F: appoggiature double,
1467 D: doppelter Vorschlag,
1468 NL: dubbele voorslag,
1469 DK: dobbelt forslag,
1471 FI: kaksoisappogiatura, kaksoisetuhele,
1474 @aref{appoggiatura}.
1476 @aitem{double bar line}
1480 NL: dubbele maatstreep,
1483 FI: kaksoistahtiviiva,
1486 Indicates the end of a section within a movement.
1488 @aitem{double dotted note}
1489 ES: nota con dos puntillos,
1490 I: nota doppiamente puntata,
1491 F: note doublement point@'ee,
1492 D: doppelt punktierte Note,
1493 NL: dubbelgepuncteerde noot,
1494 DK: dob@-belt@-punk@-te@-ret node,
1495 S: dub@-bel@-punk@-te@-rad not,
1496 FI: kaksoispisteellinen nuotti,
1509 FI: kaksoisalennusmerkki,
1514 @aitem{double sharp}
1515 ES: doble sostenido,
1520 DK: dob@-belt@-kryds,
1522 FI: kaksoisylennysmerkki,
1527 @aitem{double trill}
1532 NL: dubbele triller,
1538 A simultaneous trill on two notes, usually in the distance of a third.
1545 NL: tweedelige maatsoort,
1574 FI: kesto, aika-arvo,
1579 @aitem{dydimic comma}
1580 @aref{syntonic comma}.
1598 D: Achtel, Achtelnote,
1600 DK: ottendedelsnode,
1601 S: @aa{}ttondelsnot,
1602 FI: kahdeksasosanuotti,
1608 ES: silencio de corchea,
1614 DK: ottendedelspause,
1615 S: @aa{}ttonddelspaus,
1616 FI: kahdeksasosatauko,
1625 D: Notenstechen, Notendruck
1632 Engraving means incising or etching a metal plate for
1633 printing. Photoengraving means drawing music with ink in a manner
1634 similar to drafting or engineering drawing, using similar tools.
1636 The traditional process of music printing is done through cutting in a
1637 plate of metal. Now also the term for the art of music typesetting.
1650 Two notes, intervals, or scales are enharmonic if they have different names
1653 @lilypond[13pt,notime]
1654 \property Score.barNonAuto = ##t
1655 \property Score.TextScript \set #'font-style = #'large
1657 \context Staff \notes\relative c'' {
1658 gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
1660 \context Lyrics \lyrics {
1661 \property Lyrics . LyricText \override #'alignment = #-1
1662 "g sharp " "a flat " "dim fifth " "augm fourth"
1666 @aitem{equal temperament}
1668 I: temperamento equabile,
1669 F: temp@'erament @'egal,
1670 D: gleichschwebende Stimmung,
1671 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1672 DK: ligesv@ae{}vende temperatur,
1673 S: liksv@"avande temperatur,
1677 Tuning system dividing the octave into 12 equal @aref{semitone}s
1678 (precisely 100 @aref{cent}s). @aref{temperament}.
1680 @aitem{expression mark}
1682 I: segno d'espressione,
1683 F: signe d'expression, indication de nuance,
1685 NL: voordrachtsteken,
1686 DK: foredragsbetegnelse,
1687 S: f@"oredragsbeteckning,
1688 FI: nyanssiosoitus, esitysmerkki,
1691 Performance indications concerning 1. volume, dynamics (for example
1692 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1693 @aref{andante}, @aref{allegro}).
1717 The position between the dots of the key symbol is the line of the F below
1718 central@w{ }C. Used on the third, fourth and fifth note line. A
1719 digit@w{ }8 above the clef symbol indicates that the notes must be played
1720 an octave higher (for example bass recorder) while 8@w{ }below the clef
1721 symbol indicates playing an octave lower (for example on double bass
1724 @lilypond[13pt,notime]
1725 \property Score.barNonAuto = ##t
1726 \property Staff.Clef \override #'full-size-change = ##t
1727 \property Score.LyricText \set #'font-style = #'large
1741 \context Lyrics \lyrics {
1742 \property Lyrics . LyricText \override #'alignment = #-1
1751 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1756 F: point d'orgue, point d'arr@^et,
1761 FI: fermaatti, pid@"ake,
1764 Prolonged note or rest of indefinite duration.
1768 \notes\relative c'' {
1769 a4 b c2^\fermata \bar "|."
1786 @aitem{figured bass}
1787 ES: bajo cifrado, @aref{thorough bass}.
1795 DK: fingers@ae{}tning,
1796 S: fingers@"attning,
1800 The methodical use of fingers in the playing of instruments.
1802 @aitem{flag,pennant}
1804 I: coda (uncinata), bandiera,
1806 D: Fahne, F@"ahnchen,
1813 Ornament at the end of the stem of a note used for notes with values
1814 less than a quarter note. The number of flags determines the
1817 @lilypond[13pt,notime]
1818 \property Score.barNonAuto = ##t
1819 \property Score.TextScript \set #'font-style = #'large
1820 \notes\relative c'' {
1841 @aitemii{forefall,backfall}
1842 @aref{appoggiatura}.
1852 FI: forte, voimakkaasti,
1855 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1856 @emph{mezzoforte} (@b{mf}) medium loud.
1882 @aref{counterpoint}.
1884 @aitem{functional harmony}
1885 ES: armon@'{@dotless{i}}a funcional,
1886 I: armonia funzionale,
1887 F: @'etude des functions,
1889 NL: functionele harmonie,
1890 DK: funktionsanalyse, funktionsharmonik,
1892 FI: harmoniaj@"arjestelm@"a,
1895 A system of harmonic analysis. It is based on the idea that, in a given key,
1896 there are only three functionally different chords: tonic (T, the chord on the
1897 first note of the scale), subdominant (S, the chord on the fourth note), and
1898 dominant (D, the chord on the fifth note). Other are considered to be
1899 variants of the base chords.
1901 @lilypond[13pt,notime]
1902 \property Score.barNonAuto = ##t
1903 \property Score.LyricText \set #'font-style = #'large
1904 \property Score.TextScript \set #'font-style = #'large
1906 \context Voice \notes\relative c'' {
1907 <<g e c >>1 << a f d >> << b g e >>
1908 <<c a f >> << d b g >> << e c a >> << f d b >> }
1909 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1927 D: G-Schl@"ussel, Violinschl@"ussel,
1934 A clef symbol indicating the G above central@w{ }C. Used on the first
1935 and second note lines. A digit 8 above the clef symbol indicates that
1936 the notes must be played an octave higher while 8 below the clef symbol
1937 indicates playing or singing an octave lower (most tenor parts in choral
1938 scores are notated like that).
1940 @lilypond[13pt,notime]
1941 \property Score.barNonAuto = ##t
1942 \property Staff.Clef \set #'full-size-change = ##t
1943 \property Score.LyricText \set #'font-style = #'large
1945 \notes\relative c'' {
1955 \context Lyrics \lyrics {
1956 \property Lyrics . LyricText \override #'alignment = #-1
1957 "french violin clef "
1972 FI: glissando, liukuen,
1975 Letting the pitch slide fluently from one note to the other.
1981 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1988 Notes printed in small types to indicate that their time values are not
1989 counted in the rhythm of the bar. @aref{appoggiatura}.
1997 S: ackolad, b@"ojd klammer,
1998 FI: kaksoisnuottiviivasto,
2003 A combination of two staves with a brace. Usually used for piano music.
2013 FI: grave, raskaasti,
2023 D: Halbe, halbe Note,
2046 @aitem{harmonic cadence}
2047 ES: cadencia (arm@'onica),
2048 I: cadenza (armonica),
2049 F: cadence harmonique,
2051 NL: harmonische cadens,
2052 DK: harmonisk kadence,
2053 S: (harmonisk) kadens,
2054 FI: harmoninen kadenssi,
2057 Sequence of chords that terminate a musical phrase or
2058 section. @aref{functional harmony}.
2061 \notes\context PianoStaff <
2062 \context Staff = SA \relative c'' {
2066 \partial 4 << c g e >>4 |
2067 << c a f >> << b g d >> << c g e >>2
2069 \property Score.LyricText \set #'font-style = #'large
2071 \context Staff = SB \relative c {
2073 \partial 4 c4 | f, g c2
2076 \context Lyrics \lyrics {
2083 ES: armon@'{@dotless{i}}a,
2086 D: Harmonie, Zusammenklang,
2090 FI: harmonia, yhteissointi,
2093 Tones sounding simultaneously. Two note harmonies fall into the categories
2094 @emph{consonances} and @emph{dissonances}.
2098 @lilypond[13pt,notime]
2099 \property Score.barNonAuto = ##t
2100 \property Score.TextScript \set #'font-style = #'large
2101 \context Voice \notes\relative c'' {
2102 <<g g>>1_"unisone " s
2107 <<g g'>>_"octave " s
2108 <<g b'>>_"decime" s s
2114 @lilypond[13pt,notime]
2115 \property Score.barNonAuto = ##t
2116 \property Score.TextScript \set #'font-style = #'large
2117 \context Voice \notes\relative c'' {
2118 <<g a>>1_"second " s s
2119 <<g f'>>_"seventh " s s
2120 <<g a'>>_"ninth" s s
2124 Three note harmony @aref{chord}.
2127 ES: homofon@'{@dotless{i}}a,
2134 FI: homofonia, yksi@"a@"anisyys,
2137 Music in which one voice leads melodically followed by the other voices more
2138 or less in the same rhythm. In contrast to @aref{polyphony}.
2148 FI: intervalli, kahden s@"avelen korkeusero,
2151 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2152 diminished, or augmented. The augmented fourth and the diminished fifth are
2153 identical (@aref{enharmonic}) and are called @emph{tritonus}
2154 because they consist of three @aref{whole tone}s. The addition
2155 of such two forms an octave.
2157 @lilypond[13pt,notime]
2158 \property Score.barNonAuto = ##t
2159 \property Score.LyricText \set #'font-style = #'large
2160 \property Score.TextScript \set #'font-style = #'large
2162 \context Voice \notes\relative c'' {
2164 << g as >>^"minor" s
2166 << g ais >>^"augm" s
2167 << gis bes >>^"dimin" s
2168 << g! bes >>^"minor" s
2169 << g b! >>^"major" s
2170 << g bis >>^"augm" s
2172 \context Lyrics \lyrics {
2173 "unisone " "second " "second " "second "
2174 "third " "third " "third " "third "
2178 @lilypond[13pt,notime]
2179 \property Score.barNonAuto = ##t
2180 \property Score.LyricText \set #'font-style = #'large
2181 \property Score.TextScript \set #'font-style = #'large
2183 \context Staff \notes\relative c'' {
2184 << g c >>^"perfect" s
2185 << g cis >>^"augm" s
2186 << g d' >>^"perfect" s
2187 << g des' >> ^"dim" s
2188 << gis es' >>^"dimin" s
2189 << g! es' >>^"minor" s
2190 << g e'! >>^"major" s
2191 << g eis' >>^"augm" s
2193 \context Lyrics \lyrics {
2194 "fourth " "fourth " "fifth " "fifth "
2195 "sixth " "sixth " "sixth " "sixth "
2199 @lilypond[13pt,notime]
2200 \property Score.barNonAuto = ##t
2201 \property Score.LyricText \set #'font-style = #'large
2202 \property Score.TextScript \set #'font-style = #'large
2204 \context Staff \notes\relative c'' {
2205 << gis f'! >>1^"dimin" s
2206 << g! f'! >>^"minor" s
2207 << g fis' >>^"major" s
2209 << g as' >>^"minor" s
2210 << g a'! >>^"major" s
2211 << g bes' >>^"minor" s
2212 << g b'! >>^"major" s
2214 \context Lyrics \lyrics {
2215 "seventh " "seventh " "seventh " "octave "
2216 "none " "none " "decime " "decime "
2220 @aitem{inverted interval}
2221 ES: intervalo invertido,
2222 I: intervallo rivolto,
2223 F: intervalle revers@'e,
2224 D: umgekehrtes Intervall,
2225 NL: interval inversie,
2226 DK: omvendingsinterval,
2227 S: intervallets omv@"andning,
2228 FI: k@"a@"anteisintervalli,
2231 The difference between an interval and an octave.
2233 @lilypond[13pt,notime]
2234 \property Score.barNonAuto = ##t
2235 \property Score.TextScript \set #'font-style = #'large
2236 \context Staff \notes\relative c'' {
2237 << g a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
2238 << g, b >>_"third " s s << g' b, >>_"sixth " s s \bar "||"
2239 << g, c >>_"fourth " s s << g' c, >>_"fifth " s s \bar "||"
2243 @aitem{just intonation}
2244 I: intonazione giusta,
2245 F: intonation juste,
2253 Tuning system in which the notes are obtained by adding and subtracting
2254 natural fifths and thirds. @aref{temperament}.
2267 According to the 12@w{ }tones of the @aref{chromatic scale}
2268 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2269 @aref{key signature}.
2271 @aitem{key signature}
2272 ES: armadura de clave,
2273 I: armatura di chiave,
2274 F: armure, armature [de la cl@'e],
2275 D: Vorzeichen, Tonart,
2276 NL: toon@-soort (voortekens),
2279 FI: s@"avellajiosoitus,
2282 The sharps or flats appearing at the beginning of each staff indicating the
2283 key of the music. @aref{accidental}.
2289 D: Largo, Langsam, Breit,
2293 FI: largo, hitaasti, leve@"asti,
2296 Very slow in tempo, usually combined with great
2297 expressiveness. @emph{Larghetto} is less slow than largo.
2299 @aitem{leading note}
2310 The seventh @aref{scale degree}, a @aref{semitone} below
2311 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2312 upwards) to the tonic scale degree.
2314 @aitemii{ledger line,leger line}
2315 ES: l@'{@dotless{i}}neas adicionales,
2316 I: tagli addizionali,
2317 F: ligne suppl@'ementaire,
2320 DK: hj@ae{}lpelinie,
2325 A ledger line is an extension of the staff.
2327 @lilypond[13pt,notime]
2328 \property Score.barNonAuto = ##t
2329 \notes\relative c'' { a,1 s c'' }
2343 To be performed without any perceptible interruption between the notes (a)
2344 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
2345 @aref{staccato} (d).
2347 @lilypond[13pt,notime]
2348 \property Score.barNonAuto = ##t
2350 \context Staff \notes\relative c'' {
2352 c4-- d-- e-- \bar "||"
2353 c4-.( d-. )e-. \bar "||"
2354 c4-. d-. e-. \bar "||"
2356 \context Lyrics \lyrics {
2357 \property Lyrics . LyricText \set #'font-style = #'large
2365 @aitem{legato curve}
2366 @aref{slur}, @aref{legato}.
2369 ES: estanque de lilas,
2370 I: stagno del giglio,
2374 NL: le@-lie@-vij@-ver,
2380 A pond with lilies floating in it, also the name of a music typesetter.
2383 ES: l@'{@dotless{i}}nea,
2386 D: Linie, Notenlinie,
2390 FI: viiva, nuottiviiva,
2395 @aitem{long appoggiatura}
2396 ES: apoyatura larga,
2397 I: appoggiatura lunga,
2398 F: appoggiature longue,
2399 D: langer Vorschlag,
2402 S: l@aa{}ngt f@"orslag,
2403 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2406 @aref{appoggiatura}.
2419 Note value: double length of @aref{breve}.
2422 @lilypond[13pt,notime]
2423 \property Score.barNonAuto = ##t
2424 \notes\relative c'' {
2425 \property Voice.NoteHead \set #'style = #'mensural
2430 @aitemii{lyrics,song texts}
2441 @aitem{major interval}
2442 ES: intervalo mayor,
2443 I: intervallo maggiore,
2444 F: intervalle majeur,
2445 D: gro@ss{}es Intervall,
2449 FI: suuri intervalli,
2465 @aref{diatonic scale}.
2467 @aitem{meantone temperament}
2468 I: accordatura mesotonica,
2469 F: temp@'erament m@'esotonique,
2470 D: mittelt@"onige Stimmung,
2471 NL: middenstemming, middentoonstemming,
2472 DK: middeltonetemperatur,
2473 S: medeltonstemperatur,
2474 FI: keskis@"avelviritys,
2477 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2478 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2479 @aref{temperament} only a limited set of keys are playable.
2480 Used for tuning keyboard instruments for performance of pre-1650 music.
2482 @aitem{measure, bar}
2493 A group of @aref{beat}s (units of musical time) the first of which
2494 bears an accent. Such groups in numbers of two or more recur consistently
2495 throughout the composition and are marked from each other by
2496 bar-lines. @aref{meter}.
2500 I: mediante, modale,
2509 1. The third @b{scale degree}.
2510 2. A @aref{chord} having its base tone
2511 a third from that of another chord. For example, the tonic chord may be
2512 replaced by its lower mediant (variant tonic). @aref{functional
2513 harmony}, @aref{relative key}.
2518 FI: melisma, laulettavan tavun sävelkuvio,
2520 A melisma (plural: melismata) is a group of notes or tones sung on one
2521 syllable in plainsong
2523 @aitem{melodic cadence}
2529 F: indication de m@'esure,
2537 The basic scheme of @aref{note value}s and
2538 @aref{accent}s which remains unaltered throughout a composition
2539 or a section of it. For instance, 3/4 meter means that the basic
2540 @aref{note value}s are quarter notes and that a
2541 @aref{measure} consists of three of those. According to
2542 whether there are two, three or four units to the measure,
2543 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2544 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2547 \notes\relative c'' {
2550 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2554 \notes\relative c' {
2557 f8 f f f a16 g a f |
2558 c'8 c c c e16 d e c \bar "||"}
2562 \notes\relative c'' {
2565 d4 b8 g b d d c a4 |
2566 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2580 Device indicating the exact tempo of a piece. @aref{metronomic
2583 @aitem{metronomic indication}
2584 ES: indicaci@'on metron@'omica,
2585 I: indicazione metronomica,
2586 F: indication m@'etronomique,
2588 NL: metronoom aanduiding,
2590 S: metronomangivelse,
2591 FI: metronomiosoitus,
2594 Exact tempo indication (in beats per minute). Also denoted by
2595 M.M. (M@"alzels Metronom).
2597 @aitem{mezzo-soprano}
2608 The female voice between @aref{soprano} and
2615 D: eingestrichenes@w{ }c,
2617 DK: enstreget@w{ }c,
2618 S: ettstruket@w{ }c,
2622 First C below the 440 Hz A.
2624 @lilypond[13pt,notime]
2625 \property Score.barNonAuto = ##t
2626 \property Staff.Clef \set #'full-size-change = ##t
2627 \notes\relative c' {
2645 @aref{diatonic scale}.
2647 @aitem{minor interval}
2648 ES: intervalo mayor,
2649 I: intervallo minore,
2650 F: intervalle mineur,
2651 D: kleines Intervall,
2655 FI: pieni intervalli,
2668 FI: moodi, kirkkos@"avelasteikko,
2671 @aref{church mode}, @aref{diatonic scale}.
2681 FI: modulaatio, s@"avellajin vaihdos,
2684 Moving from one @aref{key} to another. For example, the second
2685 subject of a @aref{sonata form} movement modulates to the dominant
2686 key if the key is major and to the @aref{relative key} if the key
2696 FI: mordent, korukuvio,
2701 @aitemii{motive,motif}
2709 FI: teema, s@"avelaihe,
2712 The briefest intelligible and self-contained fragment of a musical theme or
2716 \property Score.TimeSignature \override #'style = #'()
2717 \property Score.TextScript \set #'font-style = #'large
2718 \notes\relative c'' {
2721 \partial 8 g16_"------" fis |
2722 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2723 g8 g,16 a b8 cis d16 s
2738 Greater musical works like @aref{symphony} and
2739 @aref{sonata} most often consist of several -- more or less --
2740 independant pieces called movements.
2742 @aitem{multibar rest}
2743 ES: compases de espera,
2747 D: mehrtaktige Pause,
2750 FI: usean tahdin mittainen tauko,
2754 \notes\relative c'' {
2756 \property Score.skipBars=##t R1*3
2761 @aitem{mixolydian mode}
2762 @aref{diatonic scale}.
2764 @aitem{natural sign}
2768 D: Aufl@"osungszeichen,
2769 NL: herstellingsteken,
2770 DK: op@-l@o{}sningstegn,
2771 S: @aa{}terst@"allningstecken,
2777 @aitem{neighbour tones}
2778 @aref{appoggiatura}.
2807 Notes are signs by means of which music is fixed in writing. The term is also
2808 used for the sound indicated by a note, and even for the key of the piano
2809 which produces the sound. However, a clear distinction between the terms tone
2810 and @aref{note} is strongly recommended. Briefly, one sees a note,
2815 I: testa, testina, capocchia,
2816 F: t@^ete de la note,
2824 A head like sign which indicates pitch by its position on a
2825 @aref{staff} provided with a @aref{clef}, and duration
2826 by a variety of shapes such as hollow or black heads with or without
2827 @aref{stem}s, @aref{flag}s, etc. For percussion
2828 instruments (often having no defined pitch) the note head may indicate the
2834 F: dur@'ee, valeur (d'une note),
2839 FI: nuotin aika-arvo,
2842 Note values (durations) are measured as fractions, normally 1/2, of the next
2843 higher note value. The longest duration normally used is called @emph{brevis},
2844 but sometimes (mostly in pre baroque music) the double length note value
2845 @emph{longa} is used.
2847 @lilypond[13pt,notime]
2848 \property Score.TextScript \set #'font-style = #'large
2849 \property Score.barNonAuto = ##t
2850 \notes\relative c'' {
2851 \property Voice.NoteHead \override #'style = #'mensural
2852 g\longa_"longa" g\breve_"breve"
2853 \property Voice.NoteHead \revert #'style
2854 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2855 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2858 @lilypond[13pt,notime]
2859 \property Score.TextScript \set #'font-style = #'large
2860 \property Score.barNonAuto = ##t
2861 \notes\relative c'' {
2862 r\longa_"longa" r\breve_"breve"
2863 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2864 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2867 An augmentation dot after a note multiplies the duration by one and a
2868 half. Another dot adds yet a fourth of the duration.
2871 \property Score.TextScript \set #'font-style = #'large
2872 \notes\relative c'' {
2874 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2875 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2878 Alternatively note values may be subdivided by other ratios. Most common is
2879 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2880 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2881 dotted notes are also frequently used.
2884 \property Score.TextScript \set #'font-style = #'large
2885 \notes\relative c'' {
2887 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2888 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2893 \notes\relative c'' {
2895 \times 3/2 {g4_"duplets" g} |
2897 \times 6/4 {g8_"quadruplets" g g g} |
2898 g8 g g g g4 \bar "||"
2903 @aref{G clef}, @aref{F clef}.
2918 @aitemiii{ornament,embellishment,accessory}
2920 I: abbellimento, fioriture,
2921 F: agr@'ement, ornement,
2922 D: Verzierung, Ornament,
2929 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2930 with the diatonic @aref{second} above it. In the music from the
2931 middle of the 19th century and onwards the trill is performed with the main
2932 note first while in the music from the preceding baroque and classic periods
2933 the upper note is played first.
2937 \context Staff = sa {
2938 \property Score.TextScript \set #'font-style = #'large
2939 \notes\relative c'' {
2940 c2._"pre-1850" b4\trill | c1 \bar "||"
2941 c2._"post-1850" b4\trill | c1 \bar "||"
2944 \notes\relative c'' {
2945 c2. c32 b c b c b c b | c1
2946 c2. b32 c b c \times 4/5 { b c b c b } | c1
2951 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2952 @emph{prall} (inverted mordent).
2956 \context Staff = sa {
2957 \property Score.TextScript \set #'font-style = #'large
2958 \notes\relative c'' {
2959 a4_"turn" b\turn c2 \bar "||"
2960 g4_"mordent" a b\mordent a \bar "||"
2961 e'4_"prall" d\prall c2 \bar "||"
2964 \notes\relative c'' {
2967 e'4 [e32 d e d ~ d8] c2
2972 @aref{appoggiatura}.
2982 FI: ossia, vaihtoehtoinen esitystapa,
2985 Ossia (otherwise) marks an alternative. It is an added staff or piano
2986 score, usually only a few measures long, which presents another version
2987 of the music, for example for small hands.
2997 FI: stemma, instrumenttiosuus,
3000 1. In instrumental or choral music the music for the single instrument
3001 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3002 melodic line of the contrapunctal web.
3008 D: Schlagzeug, Schlagwerk,
3012 FI: ly@"om@"asoittimet,
3015 A family of musical instruments which are played on by striking or
3016 shaking. Percussion instruments commonly used in a symphony orchestra are
3017 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3018 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3021 @aitem{perfect interval}
3022 ES: intervalo justo,
3023 I: intervallo giusto,
3024 F: intervalle juste,
3025 D: reines Intervall,
3029 FI: puhdas intervalli,
3045 A natural division of the melodic line, comparable to a sentence of speech.
3055 FI: fraseeraus, j@"asent@"aminen,
3058 The clear rendering in musical performance of the @aref{phrase}s of
3059 the melody. Phrasing may be indicated by a @aref{slur}.
3072 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3073 @emph{mezzopiano} (@b{mp}) medium soft.
3091 NL: pizzicato, getokkeld,
3094 FI: pizzicato, n@"app@"aillen,
3097 Play by plucking the strings.
3100 ES: polifon@'{@dotless{i}}a,
3107 FI: polyfonia, moni@"a@"anisyys,
3110 Music written in a combination of several simultaneous voices (parts) of a
3111 more or less pronounced individuality. @aref{counterpoint}.
3120 D: Presto, Sehr schnell,
3121 NL: presto, Sehr schnell,
3124 FI: presto, hyvin nopeasti,
3127 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3128 denotes the highest possible degree of speed.
3130 @aitem{Pythagorean comma}
3131 ES: coma pitag@'orico,
3132 I: comma pitagorico,
3133 F: comma pythagoricien,
3134 D: Pythagor@"aisches Komma,
3135 NL: komma van Pythagoras,
3136 DK: pythagor@ae{}isk komma,
3137 S: pytagoreiskt komma,
3138 FI: pytagorinen komma,
3141 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3142 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3143 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3144 7@w{ }octaves. The difference between those two pitches is called the
3160 @aitem{quarter note}
3162 I: semiminima, nera,
3165 D: Viertel, Viertelnote,
3169 FI: nelj@"annesosanuotti,
3174 @aitem{quarter rest}
3175 ES: silencio de negra,
3176 I: pausa di semiminima,
3181 DK:@w{ }fjerdedelspause,
3182 S: fj@"ardedelspaus,
3183 FI: nelj@"annesosatauko,
3205 D: rallentando, langsamer werden,
3209 FI. rallerdando, hidastuen,
3212 Abbreviation "rall.". @aref{ritardando}.
3214 @aitem{relative key}
3216 I: tonalit@`a relativa,
3217 F: tonalit@'e relative,
3219 NL: paralleltoonsoort,
3220 DK: paralleltoneart,
3222 FI: rinnakkaiss@"avellaji,
3225 @aref{major} and @aref{minor} @aref{key}
3226 with the same @aref{key signature}.
3228 @lilypond[13pt,notime]
3229 \property Score.barNonAuto = ##t
3230 \property Score.TextScript \set #'font-style = #'large
3231 \notes\relative c' {
3233 es1_"e flat major" f g as bes c d es
3238 @lilypond[13pt,notime]
3239 \property Score.barNonAuto = ##t
3240 \property Score.TextScript \set #'font-style = #'large
3241 \notes\relative c' {
3243 c1_"c minor" d es f g a! b! c \bar "||"
3248 ES: barra de repetici@'on,
3250 F: barre de reprise,
3253 DK: gen@-ta@-gel@-se,
3261 \notes\relative c'' {
3262 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3266 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3267 @c specify the rest's value.
3293 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3294 fixed unit of time, called @aref{beat}, and in which the normal
3295 @aref{accent} recurs in regular intervals, called
3296 @aref{measure}. The basic scheme scheme of time values is called
3297 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3298 accent. In modern notation such music appears as a free alternation of
3299 different measures. (c) Free rhythm, i.e., the use of temporal values having
3300 no common metrical unit (beat).
3306 D: Ritardando, langsamer werden,
3310 FI. ritardando, hidastuen,
3313 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3323 FI: ritenuto, hidastaen,
3326 Immediate reduction of speed.
3336 FI: asteikko, s@"avelasteikko,
3339 @aref{diatonic scale}.
3341 @aitem{scale degree}
3342 ES: grados de la escala,
3343 I: grado della scala,
3344 F: degr@'e [de la gamme],
3346 NL: trap [van de toonladder],
3349 FI: s@"avelaste, asteikon s@"avel,
3352 Names and symbols used in harmonic analysis to denote tones of the scale as
3353 roots of chords. The most important are degrees I = tonic (T), IV =
3354 sub@-do@-mi@-nant (S) and V = dominant (D).
3356 @lilypond[13pt,notime]
3357 \property Score.barNonAuto = ##t
3358 \property Score.LyricText \set #'font-style = #'large
3359 %\property Lyrics.minVerticalAlign = #8
3361 \context Staff \notes\relative c' {
3364 \context Lyrics \lyrics {
3365 < { I II III IV V VI VII I }
3370 @aref{functional harmony}.
3376 D: Partitur (full score), Klavierauszug (vocal score)
3383 A copy of orchestral, choral or chamber music showing what each instrument is
3384 to play, each voice to sing, having each part arranged one underneath the
3385 other on different staves @aref{staff}.
3398 The @aref{interval} between two neigbouring tones of a scale. A
3399 @aref{diatonic scale} consists of alternating
3400 @aref{semitone}s and @aref{whole tone}s, hence the size
3401 of a se@-cond depends on the scale degrees in question.
3414 The @aref{interval} of a minor second. The (usually) smallest
3415 interval in European composed music. The interval between two neighbouring
3416 tones on the piano keyboard -- including black and white keys -- is a
3417 semitone. An octave may be divided into 12@w{ }semitones.
3418 @aref{interval}, @aref{chromatic scale}.
3420 @lilypond[13pt,notime]
3421 \property Score.barNonAuto = ##t
3422 \notes\relative c'' { g1 gis s a bes s b! c }
3438 @aitem{sextuplet, sextolet}
3463 @aitem{short appoggiatura}
3464 @aref{appoggiatura}.
3466 @aitem{sixteenth note}
3471 D: Sechzehntel, Sechzehntelnote,
3472 NL: zes@-ti@-ende noot,
3473 DK: sekstendedelsnode,
3475 FI: kuudestoistaosanuotti,
3480 @aitem{sixteenth rest}
3481 ES: silencia de semicorchea,
3482 I: pausa di semicroma,
3484 UK: semiquaver rest,
3485 D: Sechzehntelpause,
3487 DK: sekstendedelspause,
3507 @aitem{sixty-fourth note}
3510 F: quadruple croche,
3511 UK: hemidemisemiquaver,
3512 D: Vierundsechzigstel, Vierundsechzigstelnote,
3513 NL: vierenzestigste noot,
3514 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3515 S: sextiofj@"ardedelsnot,
3516 FI: kuudeskymmenesnelj@"asosanuotti,
3521 @aitem{sixty-fourth rest}
3522 ES: silencia de semifusa,
3523 I: pausa di semibiscroma,
3524 F: seizi@`eme de soupir,
3525 UK: hemidemisemiquaver rest,
3526 D: Vierundsechzigstelpause,
3527 NL: vierenzestigste rust,
3528 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3529 S: sextiofj@"ardedelspaus,
3530 FI: kuudeskymmenesnelj@"asosatauko,
3537 I: legatura (di portamento or espressiva),
3538 F: liaison, coul@'e,
3539 D: Bogen, Legatobogen, Phrasierungsbogen,
3540 NL: fraseringsboog, legatoboog, streekboog,
3541 DK: legatobue, fraseringsbue,
3546 A slur above or below a group of notes indicates that they are to be played
3547 @aref{legato}, e.g., with one stroke of the violin bow or with one
3557 FI: suhteelliset laulunimet,
3560 General term for systems of designating the degrees of the
3561 @aref{scale}, not by letters, but by syllables (@emph{do}
3562 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3563 (@emph{ti})). @aref{scale degree}.
3576 In its present-day meaning a sonata denotes an instrumental composition for
3577 piano or for some other instrument with piano accompaniment, which consists of
3578 three or four independant pieces, called movements.
3583 F: [en] forme de sonate,
3585 NL: hoofdvorm, sonatevorm,
3591 A form used frequently for single movements of the @aref{sonata},
3592 @aref{symphony}, quartet, etc. A movement written in sonata form
3593 falls into three sections called @emph{exposition}, @emph{development} and
3594 @emph{recapitulation}. In the exposition the composer introduces his musical
3595 ideas, consisting of a number of themes; in the development section he
3596 "develops" this material, and in the recapitulation he repeats the exposition,
3597 with certain modifications, however. The exposition contains a number of themes
3598 which fall into two groups, often called first and second subject. Other
3599 melodies occurring in each group are considered as continuations of these
3600 two. The second theme is in another key, normally in the key of the
3601 @aref{dominant} if the @aref{tonic} is
3602 @aref{major}, and in the @aref{relative key} if the
3603 tonic is @aref{minor}.
3613 FI: sopraano, korkea nais@"a@"ani,
3616 The highest female voice.
3621 F: staccato, piqu@'e, d@'etach@'e,
3626 FI: staccato, lyhyesti, ter@"av@"asti,
3629 Playing the note(s) short. Staccato is indicated by a dot above or below the
3635 \notes\relative c'' {
3637 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3644 I: pentagramma, rigo (musicale),
3647 NL: (noten)balk, partij,
3653 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3654 which the musical notes are written, thus indicating (in connection
3655 with a @aref{clef}) their pitch. Staves for
3656 @aref{percussion} instruments may have fewer lines.
3662 D: Hals, Notenhals, Stiel,
3669 Vertical line above or below a @aref{note head} shorter than a
3670 whole note. @aref{beam}.
3672 @lilypond[13pt,notime]
3673 \property Score.autoBeaming = ##f
3674 \property Score.barNonAuto = ##t
3675 \property Score.TextScript \set #'font-style = #'large
3676 \notes\relative c'' {
3695 A family of stringed musical instruments played with a bow. Strings commonly
3696 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3702 D: betonter Taktteil oder Taktschlag,
3704 D: betonet taktslag,
3705 S: betonat taktslag,
3706 FI: tahdin vahva isku,
3709 @aref{beat}, @aref{accent}, @aref{measure},
3720 FI: subdominantti, alidominantti,
3723 The fourth @aref{scale degree}. @aref{functional
3734 FI: alikeskis@"avel,
3737 The sixth @aref{scale degree}.
3747 FI: subtoonika, alitoonika,
3750 The seventh @aref{scale degree}.
3752 @aitem{superdominant}
3763 The sixth @aref{scale degree}.
3776 The second @aref{scale degree}.
3779 ES: sinfon@'{@dotless{i}}a,
3782 D: Sinfonie, Symphonie,
3789 A symphony may be defined as a @aref{sonata} for orchestra.
3802 Any deliberate upsetting of the normal pulse of @aref{meter},
3803 @aref{accent} and @aref{rhythm}. Our system of musical
3804 rhythm rests upon the grouping of equal beats into groups of two or three,
3805 with a regularly recurrent accent on the first beat of each group. Any
3806 deviation from this scheme is felt as a disturbance or contradiction between
3807 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3811 \notes\relative c' {
3814 e c'4 e,8 c'4 e,8 c' ( | ) c2
3818 @aitemii{syntonic comma,dydimic comma}
3819 I: comma sintonico (o didimico),
3820 F: comma syntonique,
3821 D: syntonisches Komma,
3822 NL: syntonische komma,
3823 DK: syntonisk komma,
3824 S: syntoniskt komma,
3825 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3828 Difference between the natural third and the third obtained by Pythagorean
3829 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3838 FI: nuottij@"arjestelm@"a,
3841 The collection of staves @aref{staff}, two or more, as used for
3842 writing down of keyboard, chamber, choral, or orchestral music.
3848 D: Stimmung, Temperatur,
3849 NL: stemming, temperatuur,
3852 FI: viritysj@"arjestelm@"a,
3855 Systems of tuning in which the intervals deviate from the acoustically pure
3856 intervals. @aref{meantone temperament}, @aref{equal
3859 @aitem{tempo indication}
3860 ES: indicaci@'on de tempo,
3861 I: indicazione di tempo,
3862 F: indication de temps,
3863 D: Zeitma@ss{}, Tempobezeichnung,
3864 NL: tempo aanduiding,
3867 FI: tempomerkint@"a,
3870 The rate of speed of a composition or a section thereof, ranging from the
3871 slowest to the quickest, as is indicated by tempo marks as
3872 @aref{largo}, @aref{adagio}, @aref{andante},
3873 @aref{allegro}, and @aref{presto}.
3883 FI: tenori, korkea mies@"a@"ani,
3886 The highest voice of men (apart from @aref{counter tenor}).
3914 @aitem{thirty-second note}
3919 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3920 NL: twee-endertig@-ste noot,
3921 DK: toogtredivtedelsnode,
3922 S: trettiotv@aa{}ondelsnot,
3923 FI: kolmanneskymmeneskahdesosanuotti,
3928 @aitem{thirty-second rest}
3929 ES: silencio de fusa,
3930 I: pausa di biscroma,
3931 F: huiti@`eme de soupir,
3932 UK: demisemiquaver rest,
3933 D: Zweiunddreissigstel@-pause,
3935 DK: toogtredivtedelspause,
3936 S: trettiotv@aa{}ondelspaus,
3937 FI: kolmanneskymmeneskahdesosatauko,
3942 @aitemii{thorough bass,figured bass}
3944 I: basso continuo, basso numerato,
3945 F: basse chiffr@'ee,
3946 D: Generalbass, bezifferter Bass,
3947 NL: basso continuo, becijferde bas
3950 FI: kenraalibasso, numeroitu basso,
3953 A method of indicating an accompaniment part by the bass notes only, together
3954 with figures designating the chief @aref{interval}s and
3955 @aref{chord}s to be played above the bass notes.
3958 \context GrandStaff <
3959 \context Staff = lh \notes\relative c'' {
3963 < \context Voice = rha {
3966 \context Voice = rhb {
3968 << bes g >>8 as << as f >> g << g es >> f << d f >> es | << g es >>4 }
3972 \context Staff = rh \notes\relative c' {
3975 es8 c d bes c as bes16 as g f | es4
3977 \context Lyrics \lyrics {
3978 \property Lyrics . LyricText \set #'font-style = #'Large
3979 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3980 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3981 { "" "" "" "2" "" "" "" "" "" "2" } >
3987 ES: ligadura de prolongaci@'on,
3988 I: legatura (di valore),
3991 NL: overbinding, bindingsboog,
3993 S: bindeb@aa{}ge, @"overbindning,
3997 A curved line, identical in appearance with the @aref{slur}, which
3998 connects two succesive notes of the same pitch, and which has the function of
3999 uniting them into a single sound equal to the combined durations.
4001 @lilypond[13pt,notime]
4002 \property Score.barNonAuto = ##t
4003 \notes\relative c'' { g2 ~ g4. }
4006 @aitem{time signature}
4007 ES: cifra indicadora de comp@'as,
4009 F: chiffrage (chiffres indicateurs), signe de valeur,
4010 D: Taktangabe, Angabe der Taktart,
4013 S: taktartssignatur,
4030 A sound of definite pitch and duration, as distinct from @emph{noise}.
4031 Tone is a primary building material of music.
4032 Music from the 20th century may be based on non tone related sounds.
4045 The first @aref{scale degree}.
4046 @aref{functional harmony}.
4048 @aitem{transposition}
4049 ES: transposici@'on,
4059 Shifting a melody up or down in pitch, while keeping the same
4065 \notes\relative c'' {
4067 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4075 \transpose c bes \relative c'' {
4077 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4084 I: chiave di violino,
4086 D: Violinschl@"ussel, Sopranschl@"ussel,
4088 DK:@w{ }diskantn@o{}gle,
4106 On stringed instruments (@aref{strings}) the quick reiteration of
4107 the same tone, produced by a rapid up-and-down movement movement of the bow
4108 (a). The term is also used for the rapid alternation (b) between two notes of
4109 a @aref{chord}, usually in the distance of a third
4112 @lilypond[13pt,notime]
4113 \property Score.barNonAuto = ##t
4114 \property Score.TextScript \set #'font-style = #'large
4115 \notes\relative c' {
4117 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4118 \repeat "tremolo" 8 { e32_"b" g }
4123 ES: tr@'{@dotless{i}}ada,
4125 F: triade, accord parfait, accord de trois sons,
4135 @aitemii{trill,shake}
4138 F: trille, tremblement, battement (cadence),
4148 @aitem{triple meter}
4149 ES: comp@'as compuesto,
4153 NL: driedelige maatsoort,
4175 ES: tr@'{@dotless{i}}tono,
4189 I: diapason, corista,
4198 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4199 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4201 @aitemii{turn,gruppetto}
4215 ES: un@'{@dotless{i}}sono,
4222 FI: unisono, yksi@"a@"anisesti,
4225 Playing of the same notes or the same melody by various instruments (voices)
4226 or by the whole orchestra (choir), either at exactly the same pitch or in a
4230 ES: entrada anacr@'usica,
4232 F: anacrouse, lev@'ee,
4240 Initial note(s) of a melody occurring before the first bar
4241 line. @aref{measure}, @aref{meter}.
4246 \notes\relative c' {
4247 \partial 4 f4 | bes4. a8 bes4 c |
4248 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
4259 FI: @"a@"ani, laulu@"a@"ani,
4262 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4263 @aref{contralto}, @aref{tenor},
4264 @aref{baritone}, @aref{bass}.
4265 2. A melodic layer or part of a polyphonic composition.
4269 I: tempo debole, arsi,
4271 D: unbetonter Taktteil oder Taktschlag,
4273 DK: ubetonet taktslag,
4274 S: obetonat taktslag,
4275 FI: tahdin heikko isku,
4278 @aref{beat}, @aref{measure}, @aref{rhythm}.
4285 D: Ganze, ganze Note,
4295 ES: silencio de redonda,
4296 I: pausa di semibreve,
4299 D: ganze Pause, ganztaktige Pause,
4319 The @aref{interval} of a major second. The interval between two
4320 tones on the piano keyboard with exactly one key between them -- including
4321 black and white keys -- is a whole tone.
4329 DK tr@ae{}bl@ae{}sere,
4330 S: tr@"abl@aa{}sare,
4334 A family of blown wooden musical instruments. Today some of these instruments
4335 are actually made from metal. The woodwind instruments commonly used in a
4336 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4343 @item DURATION NAMES, NOTES AND RESTS
4346 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4348 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4349 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4353 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4354 @tab longa @tab longa @tab longa @tab longa
4358 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4359 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4363 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4364 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4368 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4369 halve @tab halv @tab halv @tab puoli- @tab
4373 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4374 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4378 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4379 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4383 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4384 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4385 @tab kuudestoistaosa- @tab
4389 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4390 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4391 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4395 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4396 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4397 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4398 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4401 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4409 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4411 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4412 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4417 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4421 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4422 cis @tab cis @tab Cis @tab cis
4426 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4427 des @tab des @tab Des @tab des
4431 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4435 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4439 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4443 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4447 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4448 @tab as @tab As @tab as
4452 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4456 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4457 ais @tab ais @tab Ais @tab ais
4461 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4462 @tab b @tab B @tab b
4466 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4474 @item ---------------------
4478 @item Literature used
4479 The Harvard Dictionary of Music, London 1944. Many more or less literal
4480 quotes from its articles have been included into the item explanation texts.
4482 Hugo Riemanns Musiklexicon, Berlin 1929
4484 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4485 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.