1 \input texinfo @c -*-texinfo-*-
2 @settitle Music Glossary
3 @setfilename music-glosssary.info
7 This document is also available in @uref{music-glossary.ps.gz,gzipped
8 PostScript} and @uref{music-glossary.pdf,PDF}.
13 @author Christian Mondrup @c Original author of LilyPond glossary
15 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
17 @author Han-Wen Nienhuys @c Dutch glossary
18 @author Jan Nieuwenhuizen @c Dutch glossary
19 @author Dadiv Gonzalez @c Spanish glossary
20 @author Bjoern Jacke @c German glossary
21 @author Neil Jerram @c English glossary translations
22 @author Mats Bengtsson @c Swedish glossary
23 @author Adrian Mariano @c Italian glossary
24 @author Heikki Junes @c Finnish glossary
26 @c Fixes by Jean-Pierre Coulon and `Dirk'
29 Copyright @copyright{} 1999--2004 by the authors
32 Permission is granted to copy, distribute and/or modify this document
33 under the terms of the GNU Free Documentation License, Version 1.1
34 or any later version published by the Free Software Foundation,
35 without Invariant Sections.
40 @c FIXME: multiple omfcreators?
42 @omfcreator Christian Mondrup
43 @omfdescription Glossary of musical terms with translations
45 @omfcategory Applications|Publishing
52 @chapter Music Glossary
63 @item Christian Mondrup
64 Original author of LilyPond glossary, Danish glossary,
67 @item Fran@,{c}ois Pinard
68 Original glossary of GNU music project, French glossary,
69 @item Han-Wen Nienhuys
71 @item Jan Nieuwenhuizen
76 English glossary translations,
78 Finnish glossary translations.
81 Copyright 1999--2004 by the authors
84 Permission is granted to copy, distribute and/or modify this document
85 under the terms of the GNU Free Documentation License, Version 1.1
86 or any later version published by the Free Software Foundation,
87 without Invariant Sections.
97 @c @everyheading @| @thispage @|
98 @c @evenheading @thispage @| @|
99 @c @oddheading @| @| @thispage @|
103 @tex $\\Rightarrow$ @end tex@c
116 We do not use refs for Info:
118 @w{@ar{}\word\}@c vs:
119 @w{@ar{}@pxref{\word\}}@c
121 they look too intrusive (says Han-Wen).
128 @w{@ar{}@strong{\word\}}@c
131 @ar{}@ref{\word\, @strong{\word\}}@c
139 @c If we want hypelinks, we must add anchors.
140 @c Hmm, we need the @achor command in the item description itself
141 @c (not before or after) to get mozilla jump to the right place.
144 @item \word\@anchor{\word\}
146 @macro aitemii{one,two}
147 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
149 @macro aitemiii{one,two,three}
150 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
160 @item UK - British English
166 This is an example reference, that points you to the @aref{accent}
190 FI: aksentti, korostus.
192 The stress of one tone over others.
194 @c F: how to distinguish between accidental and key-sig alteration?
198 I: alterazione, accidente,
200 D: Vorzeichen, Versetzungszeichen,
203 S: tillf@"alligt f@"ortecken,
204 FI: tilap@"ainen etumerkki.
206 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
207 @c Akzidenz, NL: toevallig teken, I: accidento.
209 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
210 by a @aref{whole tone}, a flat lowers it by a semitone and a double
211 flat lowers it by a whole tone. A natural cancels the effect of a previous
215 \set Score.automaticBars = ##f
216 %\override TextScript #'font-style = #'large
218 \context Staff \notes\relative c'' {
219 gis1 s s gisis s s ges s s geses s s g!
221 \context Lyrics \lyrics {
222 \override Lyrics .LyricText #'self-alignment-X = #-1
223 "sharp " "db. sharp " "flat " "db. flat " natural
230 F: accelerando, en acc@'el@'erant,
231 D: accelerando, schneller werden,
235 FI: accelerando, kiihdytt@"aen.
247 FI: adagio, hitaasti.
249 It. comfortable, easy.
250 1. Slow tempo, slower -- especially in even meter -- than
251 @aref{andante} and faster than @aref{largo}.
252 2. A movement in slow tempo, especially the second (slow) movement of
253 @aref{sonata}s, symphonies, etc.
259 D: Allegro, Schnell, Fr@"ohlich, Lustig,
263 FI: allegro, nopeasti.
265 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
266 especially the first and last movements of a @aref{sonata}.
276 FI: altto, matala nais@"a@"ani.
278 A female voice of low range (@emph{contralto}). Originally the alto was a high
279 male voice (hence the name) which by the use of falsetto reached the height of
280 the female voice. This type of voice is also known as @aref{counter
284 ES: clave de do en tercera,
285 I: chiave di contralto,
286 F: clef d'ut troisi@`eme ligne,
287 D: Altschl@"ussel, Bratschenschl@"ussel,
293 C clef setting middle C on the middle line of the staff
304 FI: ambitus, @"a@"aniala, soitinala.
306 The term 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.
308 @aitem{ancient minor scale}
309 I: scala minore naturale,
310 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
312 NL: authentieke mineurtoonladder,
315 FI: luonnollinen molliasteikko.
318 \set Score.automaticBars = ##f
319 \notes\relative c'' {
331 FI: andante, k@"ayden.
333 Walking tempo/character.
338 F: appogiature, (port de voix),
343 FI: appoggiatura, etuhele.
345 Ornamental note, usually a second, that is melodically connected with the main
346 note that follows it. In music before the 19th century a. were usually
347 performed on the beat, after that mostly before the beat. While the short
348 a. is performed as a short note regardless of the duration of the main note
349 the duration of the long a. is proportional to that of the main note.
352 \context Voice \notes\relative c'' {
356 %\override Score.TextScript #'font-style = #'large
357 <d a fis>4_"notation" r
358 { \override Stem #'flag-style = #'()
360 \revert Stem #'flag-style
363 { \override Stem #'flag-style = #'()
365 \revert Stem #'flag-style
368 \cadenzaOn a4 \bar "||" \cadenzaOff }
369 \notes\relative c'' {
370 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
371 \cadenzaOn a4 \bar "||" \cadenzaOff }
374 An appoggiatura may have more notes preceding the main note.
377 \notes\relative c'' {
380 % \override Score.TextScript #'font-style = #'large
381 \grace { bes16 } as8_"notation" as16 bes as8 g |
382 \grace { as16[( bes] } < c as >4-)
383 \grace { as16[( bes] } < c as >4-) \bar "||"
384 \grace { bes16 } as8_"performance" as16 bes as8 g |
385 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
386 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
395 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
397 DK: arpeggio, akkordbrydning,
399 FI: arpeggio, murtosointu.
402 \notes \context PianoStaff <<
403 \context Staff = SA \relative c'' {
406 r8 g16 c e g, c e r8 g,16 c e g, c e |
407 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
408 \context Staff = SB \relative c' {
410 << \context Voice = va {
412 r16 e8. ( e4) r16 e8. ( e4) |
413 r16 d8. ( d4) r16 d8. ( d4) }
414 \context Voice = vb {
421 @aitem{ascending interval}
422 ES: Intervalo ascendente,
423 I: intervallo ascendente,
424 F: intervalle ascendant,
425 D: steigendes Intervall,
426 NL: stijgend interval,
427 DK:@w{ }stigende interval,
428 S: stigande intervall,
429 FI: nouseva intervalli.
431 A distance between a starting lower note and a higher ending note.
433 @aitem{augmented interval}
434 ES: intervalo aumentado,
435 I: intervallo aumentato,
436 F: intervalle augment@'e,
437 D: @"uberm@"a@ss{}iges Intervall,
438 NL: overmatig interval,
439 DK: forst@o{}rret interval,
440 S: @"overstigande intervall,
441 FI: ylinouseva intervalli.
448 D: Autograph, Handschrift,
450 DK: h@aa{}ndskrift, autograf,
452 FI: k@"asinkirjoitettu nuotti.
454 1. A manuscript in the composer's own hand.
455 2. Music prepared for photoreproduction by freehand drawing,
456 with only the aid of a straightedge ruler and T-square,
457 which attempts to emulate engraving.
458 This required more skill than did engraving.
470 @aitemii{backfall,forefall}
475 I: stanghetta, barra (di divisione),
476 F: barre (de mesure),
484 ES: comp@'as, @aref{measure}.
487 ES: bar@'{@dotless{i}}tono,
494 FI: baritoni, keskikorkuinen mies@"a@"ani.
496 The male voice intermediate between the @aref{bass} and the
499 @c F: clef de troisi@`eme ligne dropped
501 @aitem{baritone clef}
502 ES: clave de fa en tercera,
503 I: chiave di baritono,
504 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
505 D: Baritonschl@"ussel,
511 C or F clef setting middle C on the upper staff line.
512 @aref{C clef}, @aref{F clef}.
515 ES: clave de fa en cuarta,
517 F: cl@'e de fa quatri@`eme ligne,
524 A clef setting with middle C on the first top ledger line.
534 FI: basso, matala mies@"a@"ani.
536 1. The lowest of men's voices.
537 2. Sometimes, especially in jazz music, used as
538 an abbreviation for double bass.
550 Line connecting a series of notes (shorter than a quarter note).
551 The number of beams determine the note value of the connected notes.
554 \set Score.automaticBars = ##f
555 %\override TextScript #'font-style = #'large
556 \notes\relative c'' {
558 g16_"1/16"[ g g g] s16
559 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
560 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
567 D: Takt, Taktschlag, Zeit (im Takt),
573 Note value used for counting, most often half-, fourth-, and eighth notes.
574 The base counting value and the number of them per measure is indicated at
575 the start of the music.
580 \notes\relative c'' { g4 c b a | g1 \bar "||"}
582 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
592 D: Klammer, Akkolade,
593 NL: accolade, teksthaak,
596 FI: yhdist@"av@"a sulkumerkki.
598 Symbol at the start of a system connecting staves. Curly braces are used
599 for connecting piano staves, angular brackets for connecting parts in an
600 orchestral or choral score.
603 \notes\context GrandStaff <<
604 \relative c''\context Staff = SA { \clef treble g4 e c2 }
605 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
609 \context StaffGroup <<
610 % \set StaffGroup.minVerticalAlign = #12
611 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
612 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
621 DK: messingbl@ae{}sere,
622 S: brassinstrument, m@"assingsinstrument,
625 A family of blown musical instruments made of brass all using a cup formed
626 mouth piece. The brass instruments commonly used in a symphony orchestra are
627 trumpet, trombone, french horn, and tube.
632 D: Atemzeichen, Trennungszeichen,
633 NL: repercussieteken,
634 DK: vejrtr@ae{}kningstegn,
638 Indication of where to breathe in vocal and wind instrument parts.
650 @aref{note value} twice as long as a whole note. Mainly used
654 \set Score.automaticBars = ##f
655 \notes\relative c'' { g\breve }
678 Clef symbol indicating the position of the middle C. Used on all note
682 \set Score.automaticBars = ##f
683 \override Score.Clef #'full-size-change = ##t
684 %\override Score.LyricText #'font-style = #'large
686 \context Staff \notes\relative c' {
688 \clef mezzosoprano c s s
693 \context Lyrics \lyrics {
694 \override Lyrics .LyricText #'self-alignment-X = #-1
695 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
707 FI: kadenssi, lopuke.
709 @aref{harmonic cadence}, @aref{functional harmony}.
719 FI: kadenssi, lopuke.
721 An extended, improvisatory style section inserted near the end of
722 movement. The purpose of a cadenza is to give the singer or player a chance to
723 exhibit her technichal skill and not the least her ability to improvise. Since
724 the middle of the 19th century, however, most cadences have been written down
735 FI: kaanon, tarkka j@"aljittely.
747 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
749 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
750 equally tempered @aref{semitone}).
751 @aref{equal temperament}.
766 Three or more tones sounding simultaneously. In traditional European music the
767 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
768 minor @aref{third}) as well as @emph{minor} (minor + major third)
769 chords may be extended with more thirds. Four-tone @emph{seventh chords}
770 and five-tone @emph{ninth} major chords are most often used as dominants
771 (@aref{functional harmony}). A special case is chords having no
772 third above the lower notes to define their quality as major or minor. Such
773 chords are denoted open chords
776 \set Score.automaticBars = ##f
777 %\override TextScript #'font-style = #'large
779 \context Staff \notes\relative c'' {
787 \context Lyrics \lyrics{
788 \override Lyrics .LyricText #'self-alignment-X = #-1
789 "major " "minor " "diminished " "augmented "
790 "seventh-chord " "ninth-chord "
794 @aitem{chromatic scale}
795 ES: escala crom@'atica,
797 F: gamme chromatique,
798 D: chromatische Tonleiter,
799 NL: chromatische toonladder,
802 FI: kromaattinen asteikko.
804 A scale consisting of all 12 @aref{semitone}s.
807 \set Score.automaticBars = ##f
808 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
821 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
823 @aitemii{church mode,ecclesiastical mode}
824 ES: modo eclesi@'astico,
825 I: modo ecclesiastico,
826 F: mode eccl@'esiastique,
831 FI: moodi, kirkkos@"avellaji.
833 @aref{diatonic scale}.
839 D: Schl@"ussel, Notenschl@"ussel,
843 FI: avain, nuottiavain.
845 @aref{C clef}, @aref{F clef}, @aref{G clef}.
854 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
856 Difference in pitch between a note derived from pure tuning and the same note
857 derived from some other tuning method. @aref{temperament}.
862 @aitem{compound interval}
863 ES: intervalo compuesto,
864 I: intervallo composto,
865 F: intervalle compos@'e,
867 NL: samengesteld interval,
868 DK: sammensat interval,
869 S: sammansatt intervall,
870 FI: oktaavia laajempi intervalli.
872 Intervals larger than an octave.
878 F: intervalle compl@'ementaire,
879 D: Komplement@"arintervall,
880 NL: complementair interval,
881 DK: komplement@ae{}rinterval,
882 S: komplement@"arintervall (?),
883 FI: t@"aydent@"av@"a intervalli.
885 @aref{inverted interval}.
887 @aitem{conjunct movement}
888 ES: movimiento conjunto,
890 F: mouvement conjoint,
891 D: schrittweise, stufenweise Bewegung,
892 NL: stapsgewijze, trapsgewijze beweging,
893 DK: trinvis bev@ae{}gelse,
894 S: stegvis r@"orelse,
895 FI: asteittainen liike.
897 Melody moving in the narrow steps of the scale.
900 \key g \major \time 4/4
901 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
912 FI: konsonanssi, sopusointi.
936 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
938 From latin @emph{punctus contra punctum}, note against note. The combination
939 into a single musical fabric of lines or parts which have distinct melodic
940 significance. A frequently used polyphonic technique is imitation, in its
941 strictest form found in the canon needing only one part to be written down
942 while the other parts are performed with a given displacement. Imitation is
943 also the contrapunctal technique used in the @emph{fugue} which, since the
944 music of the baroque era, has been one of the most popular polyphonic
947 @lilypond[staffsize=11]
948 \override Score.TimeSignature #'style =\turnOff
949 \notes\context PianoStaff <<
950 \context Staff = SA \relative c' {
954 << \context Voice = rha {
956 r1 | r2 r8 g'8 bes d, |
957 cis4 d r8 e!16 f g8 f16 e |
958 f8 g16 a bes8 a16 g a8
960 \context Voice = rhb {
966 \context Staff = SB \relative c' {
969 << \context Voice = lha {
971 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
972 r8 a16 g f8 g16 a bes8 g e! cis' |
975 \context Voice = lhb {
983 @aitem{counter tenor}
990 S: kontratenor, counter tenor,
995 @aitem{Copying, Music}
996 A music copyist did fast freehand scores and parts on preprinted staff lines
997 for performance. Some of their conventions (e.g., the placement of note heads
998 on stems) varied slightly from those of engravers. Some of their working
999 methods were superior and could well be adopted by music typesetters. This
1000 required more skill than engraving.
1006 D: Crescendo, lauter werden,
1010 FI: cresendo, voimistuen.
1012 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1013 abbreviation ``cresc.''.
1016 \key g \major \time 4/4
1017 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1023 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1030 In a separate part notes belonging to another part with the purpose of hinting
1031 when to start playing. Usually printed in a smaller type.
1035 A custos is a staff symbol that appears at the end of a staff line
1036 with monophonic musical contents (i.e. with a single voice). It
1037 anticipates the pitch of the first note of the following line and thus
1038 helps the player or singer to manage line breaks during performance,
1039 thus enhancing readability of a score.
1041 Custodes were frequently used in music notation until the 16th
1042 century. There were different appearences for different notation
1043 styles. Nowadays, they have survived only in special forms of musical
1044 notation such as via the editio vaticana dating back to the beginning
1050 \override Staff.Custos #'neutral-position = #4
1051 \override Staff.Custos #'neutral-direction = #-1
1052 \override Staff.Custos #'adjust-if-on-staffline = ##t
1054 \override Staff.Custos #'style = #'hufnagel
1056 \break < d' a' f''>1
1061 \consists Custos_engraver
1081 F: da capo, depuis le commencement,
1082 D: da capo, von Anfang,
1086 FI: da capo, alusta.
1088 The term indicates repetition of the piece from the beginning to the end or to
1089 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1094 F: dal segno, depuis le signe,
1099 FI: dal segno, merkkiin asti.
1101 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1102 another place frequently near the beginning marked by a sign:
1105 %\override TextScript #'font-style = #'large
1106 \override TextScript #'font-shape = #'italic
1107 \key g \major \time 4/4
1108 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1114 D: Decrescendo, leiser werden,
1118 FI: decresendo, hiljentyen.
1120 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1121 or the abbreviation ``decresc.''.
1124 \notes\relative c'' {
1125 \key g \major \time 4/4
1126 d4 \> c b a | g1 \! \bar "|."
1130 @aitem{descending interval}
1131 ES: intervalo descendente,
1132 I: intervallo discendente,
1133 F: intervalle descendant,
1134 D: fallendes Intervall, absteigendes Intervall,
1135 NL: dalend interval,
1136 DK: faldende interval,
1137 S: fallande intervall,
1138 FI: laskeva intervalli.
1140 A distance between a starting higher note and a lower ending note.
1142 @aitem{diatonic scale}
1143 ES: escala diat@'onica,
1145 F: gamme diatonique,
1146 D: diatonische Tonleiter,
1147 NL: diatonische toonladder,
1148 DK: diatonisk skala,
1150 FI: diatoninen asteikko.
1152 A scale consisting of 5@w{ }@aref{whole tone}s and
1153 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1154 of a piano keybord are diatonic.
1156 The church modes are used in gregorial chant and pre baroque early music but
1157 also to some extent in newer jazz music.
1159 @lilypond[notime,linewidth=110\mm]
1160 \set Score.automaticBars = ##f
1161 %\override Score.LyricText #'font-style = #'large
1162 %\override Score.TextScript #'font-style = #'large
1164 \context Staff \notes\relative c' {
1166 \override TextScript #'padding = #-4
1167 e^"~~ S" f g a b^"~~ S" c
1169 \context Lyrics \lyrics {
1175 \set Score.automaticBars = ##f
1176 %\override Score.LyricText #'font-style = #'large
1177 %\override Score.TextScript #'font-style = #'large
1179 \context Staff \notes\relative c' {
1181 \override TextScript #'padding = #-4
1182 e^"~~ S" f g a b^"~~ S" c d
1184 \context Lyrics \lyrics {
1190 \set Score.automaticBars = ##f
1191 %\override Score.LyricText #'font-style = #'large
1192 %\override Score.TextScript #'font-style = #'large
1194 \notes\relative c' {
1195 \override TextScript #'padding = #-4
1196 e1^"~~ S" f g a b^"~~ S" c d e
1198 \context Lyrics \lyrics {
1204 \set Score.automaticBars = ##f
1205 %\override Score.LyricText #'font-style = #'large
1206 %\override Score.TextScript #'font-style = #'large
1208 \notes\relative c' {
1210 \override TextScript #'padding = #-4
1211 b^"~~ S" c d e^"~~ S" f
1213 \context Lyrics \lyrics {
1219 \set Score.automaticBars = ##f
1220 %\override Score.LyricText #'font-style = #'large
1221 %\override Score.TextScript #'font-style = #'large
1223 \notes\relative c'' {
1225 \override TextScript #'padding = #-4
1226 b^"~~ S" c d e^"~~ S" f g }
1227 \context Lyrics \lyrics {
1233 \set Score.automaticBars = ##f
1234 %\override Score.LyricText #'font-style = #'large
1235 %\override Score.TextScript #'font-style = #'large
1237 \notes\relative c'' {
1239 \override TextScript #'padding = #-4
1240 b^"~~ S" c d e^"~~ S" f g a
1242 \context Lyrics \lyrics {
1247 From the beginning of the 17th century the scales used in European
1248 compositional music are primarily the major and the minor scales. In the
1249 harmonic minor scale type an augmented second (A) occurs between the 6th and
1253 \set Score.automaticBars = ##f
1254 %\override Score.LyricText #'font-style = #'large
1255 %\override Score.TextScript #'font-style = #'large
1257 \notes\relative c' {
1259 \override TextScript #'padding = #-4
1260 e^"~~ S" f g a b^"~~ S" c
1262 \context Lyrics \lyrics {
1268 \set Score.automaticBars = ##f
1269 %\override Score.LyricText #'font-style = #'large
1270 %\override Score.TextScript #'font-style = #'large
1272 \notes\relative c'' {
1274 \override TextScript #'padding = #-4
1275 b^"~~ S" c d e^"~~ S" f g a
1277 \context Lyrics \lyrics {
1283 \set Score.automaticBars = ##f
1284 %\override Score.LyricText #'font-style = #'large
1285 %\override Score.TextScript #'font-style = #'large
1287 \notes\relative c'' {
1289 \override TextScript #'padding = #-4
1290 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1292 \context Lyrics \lyrics {
1298 \set Score.automaticBars = ##f
1299 %\override Score.LyricText #'font-style = #'large
1300 %\override Score.TextScript #'font-style = #'large
1302 \notes\relative c'' {
1304 \override TextScript #'padding = #-4
1305 b^"~~ S" c d e fis gis^"~~ S"
1306 a g! f!^"~~ S" e d c^"~~ S" b a
1308 \context Lyrics \lyrics {
1313 @aitem{diminished interval}
1314 ES: intervalo disminu@'{@dotless{i}}do,
1315 I: intervallo diminuito,
1316 F: intervalle diminu@'e,
1317 D: vermindertes Intervall,
1318 NL: verminderd interval,
1319 DK: formindsket interval,
1320 S: f@"orminskat intervall,
1321 FI: v@"ahennetty intervalli.
1333 FI: diminuendo, hiljentyen.
1337 @aitem{disjunct movement}
1338 ES: movimiendo disjunto,
1340 F: mouvement disjoint,
1341 D: sprunghafte Bewegung,
1342 NL: sprongsgewijze beweging,
1343 DK: springende bev@ae{}gelse,
1344 S: hoppande r@"orelse,
1345 FI: melodian hyppiv@"a liike.
1347 Melody moving in steps greater than those of the
1348 scale. Opposite of @aref{conjunct movement}.
1353 \notes\relative c' {
1355 a4. gis8 b a e cis |
1356 fis2 d4. \bar "||" }
1359 @aitemii{dissonant interval,dissonance}
1360 ES: intervalo disonante, disonancias,
1361 I: intervallo dissonante, dissonanza,
1364 NL: dissonant interval; dissonant,
1365 DK: dissonerende interval, dissonans,
1367 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1371 @aitem{dominant ninth chord}
1372 I: accordo di nona di dominante,
1373 F: accord de neuvi@`eme dominante,
1374 D: Dominantnoneakkord,
1375 NL: dominant noon akkoord,
1376 DK: dominantnoneakkord,
1377 S: dominantnonackord,
1378 FI: dominanttinoonisointu.
1380 @aref{chord}, @aref{functional harmony}.
1382 @aitem{dominant seventh chord}
1383 ES: acorde de s@'eptima de dominante,
1384 I: accordo di settima di dominante,
1385 F: accord de septi@`eme dominante,
1386 D: Dominantseptakkord,
1387 NL: dominant septiem akkoord,
1388 DK: dominantseptimakkord,
1389 S: dominantseptimackord,
1390 FI: dominanttiseptimisointu.
1392 @aref{chord}, @aref{functional harmony}.
1402 FI: dominantti, huippusointu.
1404 The fifth @aref{scale degree},
1405 @aref{functional harmony}.
1411 D: dorisch, dorischer Kirchenton,
1412 NL: dorische toonladder,
1417 @aref{diatonic scale}.
1419 @aitem{dot (augmentation dot)}
1421 I: punto (di valore),
1423 D: Punkt (Verl@"angerungspunkt),
1432 ES: nota con puntillo,
1436 NL: gepuncteerde noot,
1439 FI: pisteellinen nuotti.
1443 @aitem{double appoggiatura}
1444 ES: apoyatura doble,
1445 I: appoggiatura doppia,
1446 F: appoggiature double,
1447 D: doppelter Vorschlag,
1448 NL: dubbele voorslag,
1449 DK: dobbelt forslag,
1451 FI: kaksoisappogiatura, kaksoisetuhele.
1453 @aref{appoggiatura}.
1455 @aitem{double bar line}
1459 NL: dubbele maatstreep,
1462 FI: kaksoistahtiviiva.
1464 Indicates the end of a section within a movement.
1466 @aitem{double dotted note}
1467 ES: nota con dos puntillos,
1468 I: nota doppiamente puntata,
1469 F: note doublement point@'ee,
1470 D: doppelt punktierte Note,
1471 NL: dubbelgepuncteerde noot,
1472 DK: dob@-belt@-punk@-te@-ret node,
1473 S: dub@-bel@-punk@-te@-rad not,
1474 FI: kaksoispisteellinen nuotti.
1486 FI: kaksoisalennusmerkki.
1490 @aitem{double sharp}
1491 ES: doble sostenido,
1496 DK: dob@-belt@-kryds,
1498 FI: kaksoisylennysmerkki.
1502 @aitem{double trill}
1507 NL: dubbele triller,
1512 A simultaneous trill on two notes, usually in the distance of a third.
1519 NL: tweedelige maatsoort,
1546 FI: kesto, aika-arvo.
1550 @aitem{dydimic comma}
1551 @aref{syntonic comma}.
1568 D: Achtel, Achtelnote,
1570 DK: ottendedelsnode,
1571 S: @aa{}ttondelsnot,
1572 FI: kahdeksasosanuotti.
1577 ES: silencio de corchea,
1583 DK: ottendedelspause,
1584 S: @aa{}ttonddelspaus,
1585 FI: kahdeksasosatauko.
1593 D: Notenstechen, Notendruck
1599 Engraving means incising or etching a metal plate for
1600 printing. Photoengraving means drawing music with ink in a manner
1601 similar to drafting or engineering drawing, using similar tools.
1603 The traditional process of music printing is done through cutting in a
1604 plate of metal. Now also the term for the art of music typesetting.
1616 Two notes, intervals, or scales are enharmonic if they have different names
1620 \set Score.automaticBars = ##f
1621 %\override Score.TextScript #'font-style = #'large
1623 \context Staff \notes\relative c'' {
1624 gis1 s s as s s <des g,!> s s <cis g!> s s
1626 \context Lyrics \lyrics {
1627 \override Lyrics .LyricText #'self-alignment-X = #-1
1628 "g sharp " "a flat " "dim fifth " "augm fourth"
1632 @aitem{equal temperament}
1634 I: temperamento equabile,
1635 F: temp@'erament @'egal,
1636 D: gleichschwebende Stimmung,
1637 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1638 DK: ligesv@ae{}vende temperatur,
1639 S: liksv@"avande temperatur,
1642 Tuning system dividing the octave into 12 equal @aref{semitone}s
1643 (precisely 100 @aref{cent}s). @aref{temperament}.
1645 @aitem{expression mark}
1647 I: segno d'espressione,
1648 F: signe d'expression, indication de nuance,
1650 NL: voordrachtsteken,
1651 DK: foredragsbetegnelse,
1652 S: f@"oredragsbeteckning,
1653 FI: nyanssiosoitus, esitysmerkki.
1655 Performance indications concerning 1. volume, dynamics (for example
1656 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1657 @aref{andante}, @aref{allegro}).
1679 The position between the dots of the key symbol is the line of the F below
1680 central@w{ }C. Used on the third, fourth and fifth note line. A
1681 digit@w{ }8 above the clef symbol indicates that the notes must be played
1682 an octave higher (for example bass recorder) while 8@w{ }below the clef
1683 symbol indicates playing an octave lower (for example on double bass
1687 \set Score.automaticBars = ##f
1688 \override Staff.Clef #'full-size-change = ##t
1689 %\override Score.LyricText #'font-style = #'large
1703 \context Lyrics \lyrics {
1704 \override Lyrics .LyricText #'self-alignment-X = #-1
1713 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1718 F: point d'orgue, point d'arr@^et,
1723 FI: fermaatti, pid@"ake.
1725 Prolonged note or rest of indefinite duration.
1729 \notes\relative c'' {
1730 a4 b c2^\fermata \bar "|."
1746 @aitem{figured bass}
1747 ES: bajo cifrado, @aref{thorough bass}.
1755 DK: fingers@ae{}tning,
1756 S: fingers@"attning,
1759 The methodical use of fingers in the playing of instruments.
1761 @aitem{flag,pennant}
1763 I: coda (uncinata), bandiera,
1765 D: Fahne, F@"ahnchen,
1771 Ornament at the end of the stem of a note used for notes with values
1772 less than a quarter note. The number of flags determines the
1776 \set Score.automaticBars = ##f
1777 %\override Score.TextScript #'font-style = #'large
1778 \notes\relative c'' {
1798 @aitemii{forefall,backfall}
1799 @aref{appoggiatura}.
1809 FI: forte, voimakkaasti.
1811 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1812 @emph{mezzoforte} (@b{mf}) medium loud.
1836 @aref{counterpoint}.
1838 @aitem{functional harmony}
1839 ES: armon@'{@dotless{i}}a funcional,
1840 I: armonia funzionale,
1841 F: @'etude des functions,
1843 NL: functionele harmonie,
1844 DK: funktionsanalyse, funktionsharmonik,
1846 FI: harmoniaj@"arjestelm@"a.
1848 A system of harmonic analysis. It is based on the idea that, in a given key,
1849 there are only three functionally different chords: tonic (T, the chord on the
1850 first note of the scale), subdominant (S, the chord on the fourth note), and
1851 dominant (D, the chord on the fifth note). Other are considered to be
1852 variants of the base chords.
1855 \set Score.automaticBars = ##f
1856 %\override Score.LyricText #'font-style = #'large
1857 %\override Score.TextScript #'font-style = #'large
1859 \context Voice \notes\relative c'' {
1860 <g e c >1 < a f d > < b g e >
1861 <c a f > < d b g > < e c a > < f d b > }
1862 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1879 D: G-Schl@"ussel, Violinschl@"ussel,
1885 A clef symbol indicating the G above central@w{ }C. Used on the first
1886 and second note lines. A digit 8 above the clef symbol indicates that
1887 the notes must be played an octave higher while 8 below the clef symbol
1888 indicates playing or singing an octave lower (most tenor parts in choral
1889 scores are notated like that).
1892 \set Score.automaticBars = ##f
1893 \override Staff.Clef #'full-size-change = ##t
1894 %\override Score.LyricText #'font-style = #'large
1896 \notes\relative c'' {
1906 \context Lyrics \lyrics {
1907 \override Lyrics .LyricText #'self-alignment-X = #-1
1908 "french violin clef "
1923 FI: glissando, liukuen.
1925 Letting the pitch slide fluently from one note to the other.
1931 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1937 Notes printed in small types to indicate that their time values are not
1938 counted in the rhythm of the bar. @aref{appoggiatura}.
1946 S: ackolad, b@"ojd klammer,
1947 FI: kaksoisnuottiviivasto.
1951 A combination of two staves with a brace. Usually used for piano music.
1961 FI: grave, raskaasti.
1970 D: Halbe, halbe Note,
1991 @aitem{harmonic cadence}
1992 ES: cadencia (arm@'onica),
1993 I: cadenza (armonica),
1994 F: cadence harmonique,
1996 NL: harmonische cadens,
1997 DK: harmonisk kadence,
1998 S: (harmonisk) kadens,
1999 FI: harmoninen kadenssi.
2001 Sequence of chords that terminate a musical phrase or
2002 section. @aref{functional harmony}.
2005 \notes\context PianoStaff <<
2006 \context Staff = SA \relative c'' {
2010 \partial 4 < c g e >4 |
2011 < c a f > < b g d > < c g e >2
2013 % %\override Score.LyricText #'font-style = #'large
2015 \context Staff = SB \relative c {
2017 \partial 4 c4 | f, g c2
2020 \context Lyrics \lyrics {
2027 ES: armon@'{@dotless{i}}a,
2030 D: Harmonie, Zusammenklang,
2034 FI: harmonia, yhteissointi.
2036 Tones sounding simultaneously. Two note harmonies fall into the categories
2037 @emph{consonances} and @emph{dissonances}.
2042 \set Score.automaticBars = ##f
2043 %\override Score.TextScript #'font-style = #'large
2044 \context Voice \notes\relative c'' {
2058 \set Score.automaticBars = ##f
2059 %\override Score.TextScript #'font-style = #'large
2060 \context Voice \notes\relative c'' {
2061 <g a>1_"second " s s
2062 <g f'>_"seventh " s s
2067 Three note harmony @aref{chord}.
2070 ES: homofon@'{@dotless{i}}a,
2077 FI: homofonia, yksi@"a@"anisyys.
2079 Music in which one voice leads melodically followed by the other voices more
2080 or less in the same rhythm. In contrast to @aref{polyphony}.
2090 FI: intervalli, kahden s@"avelen korkeusero.
2092 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2093 diminished, or augmented. The augmented fourth and the diminished fifth are
2094 identical (@aref{enharmonic}) and are called @emph{tritonus}
2095 because they consist of three @aref{whole tone}s. The addition
2096 of such two forms an octave.
2099 \set Score.automaticBars = ##f
2100 %\override Score.LyricText #'font-style = #'large
2101 %\override Score.TextScript #'font-style = #'large
2103 \context Voice \notes\relative c'' {
2108 < gis bes >^"dimin" s
2109 < g! bes >^"minor" s
2113 \context Lyrics \lyrics {
2114 "unisone " "second " "second " "second "
2115 "third " "third " "third " "third "
2120 \set Score.automaticBars = ##f
2121 %\override Score.LyricText #'font-style = #'large
2122 %\override Score.TextScript #'font-style = #'large
2124 \context Staff \notes\relative c'' {
2127 < g d' >^"perfect" s
2129 < gis es' >^"dimin" s
2130 < g! es' >^"minor" s
2134 \context Lyrics \lyrics {
2135 "fourth " "fourth " "fifth " "fifth "
2136 "sixth " "sixth " "sixth " "sixth "
2141 \set Score.automaticBars = ##f
2142 %\override Score.LyricText #'font-style = #'large
2143 %\override Score.TextScript #'font-style = #'large
2145 \context Staff \notes\relative c'' {
2146 < gis f'! >1^"dimin" s
2147 < g! f'! >^"minor" s
2148 < g fis' >^"major" s
2152 < g bes' >^"minor" s
2155 \context Lyrics \lyrics {
2156 "seventh " "seventh " "seventh " "octave "
2157 "none " "none " "decime " "decime "
2161 @aitem{inverted interval}
2162 ES: intervalo invertido,
2163 I: intervallo rivolto,
2164 F: intervalle revers@'e,
2165 D: umgekehrtes Intervall,
2166 NL: interval inversie,
2167 DK: omvendingsinterval,
2168 S: intervallets omv@"andning,
2169 FI: k@"a@"anteisintervalli.
2171 The difference between an interval and an octave.
2174 \set Score.automaticBars = ##f
2175 %\override Score.TextScript #'font-style = #'large
2176 \context Staff \notes\relative c'' {
2177 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2178 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2179 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2183 @aitem{just intonation}
2184 I: intonazione giusta,
2185 F: intonation juste,
2192 Tuning system in which the notes are obtained by adding and subtracting
2193 natural fifths and thirds. @aref{temperament}.
2205 According to the 12@w{ }tones of the @aref{chromatic scale}
2206 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2207 @aref{key signature}.
2209 @aitem{key signature}
2210 ES: armadura de clave,
2211 I: armatura di chiave,
2212 F: armure, armature [de la cl@'e],
2213 D: Vorzeichen, Tonart,
2214 NL: toon@-soort (voortekens),
2217 FI: s@"avellajiosoitus.
2219 The sharps or flats appearing at the beginning of each staff indicating the
2220 key of the music. @aref{accidental}.
2226 D: Largo, Langsam, Breit,
2230 FI: largo, hitaasti, leve@"asti.
2232 Very slow in tempo, usually combined with great
2233 expressiveness. @emph{Larghetto} is less slow than largo.
2235 @aitem{leading note}
2245 The seventh @aref{scale degree}, a @aref{semitone} below
2246 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2247 upwards) to the tonic scale degree.
2249 @aitemii{ledger line,leger line}
2250 ES: l@'{@dotless{i}}neas adicionales,
2251 I: tagli addizionali,
2252 F: ligne suppl@'ementaire,
2255 DK: hj@ae{}lpelinie,
2259 A ledger line is an extension of the staff.
2262 \set Score.automaticBars = ##f
2263 \notes\relative c'' { a,1 s c'' }
2276 To be performed (a) without any perceptible interruption between the notes
2277 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2278 (d) @aref{staccato}.
2281 \set Score.automaticBars = ##f
2283 \context Staff \notes\relative c'' {
2284 c4-( d e-) \bar "||"
2285 c4-- d-- e-- \bar "||"
2286 c4-.-( d-. e-.-) \bar "||"
2287 c4-. d-. e-. \bar "||"
2289 \context Lyrics \lyrics {
2290 % \override Lyrics .LyricText #'font-style = #'large
2298 @aitem{legato curve}
2299 @aref{slur}, @aref{legato}.
2302 ES: estanque de lilas,
2303 I: stagno del giglio,
2307 NL: le@-lie@-vij@-ver,
2312 A pond with lilies floating in it, also the name of a music typesetter.
2315 ES: l@'{@dotless{i}}nea,
2318 D: Linie, Notenlinie,
2322 FI: viiva, nuottiviiva.
2326 @aitem{long appoggiatura}
2327 ES: apoyatura larga,
2328 I: appoggiatura lunga,
2329 F: appoggiature longue,
2330 D: langer Vorschlag,
2333 S: l@aa{}ngt f@"orslag,
2334 FI: pitk@"a appoggiatura, pitk@"a etuhele.
2336 @aref{appoggiatura}.
2348 Note value: double length of @aref{breve}.
2352 \set Score.automaticBars = ##f
2353 \notes\relative c'' {
2354 \override NoteHead #'style = #'mensural
2359 @aitemii{lyrics,song texts}
2369 @aitem{major interval}
2370 ES: intervalo mayor,
2371 I: intervallo maggiore,
2372 F: intervalle majeur,
2373 D: gro@ss{}es Intervall,
2377 FI: suuri intervalli.
2391 @aref{diatonic scale}.
2393 @aitem{meantone temperament}
2394 I: accordatura mesotonica,
2395 F: temp@'erament m@'esotonique,
2396 D: mittelt@"onige Stimmung,
2397 NL: middenstemming, middentoonstemming,
2398 DK: middeltonetemperatur,
2399 S: medeltonstemperatur,
2400 FI: keskis@"avelviritys.
2402 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2403 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2404 @aref{temperament} only a limited set of keys are playable.
2405 Used for tuning keyboard instruments for performance of pre-1650 music.
2407 @aitem{measure, bar}
2417 A group of @aref{beat}s (units of musical time) the first of which
2418 bears an accent. Such groups in numbers of two or more recur consistently
2419 throughout the composition and are marked from each other by
2420 bar-lines. @aref{meter}.
2424 I: mediante, modale,
2432 1. The third @b{scale degree}.
2433 2. A @aref{chord} having its base tone
2434 a third from that of another chord. For example, the tonic chord may be
2435 replaced by its lower mediant (variant tonic). @aref{functional
2436 harmony}, @aref{relative key}.
2441 FI: melisma, laulettavan tavun s@"avelkuvio.
2443 A melisma (plural: melismata) is a group of notes or tones sung on one
2444 syllable in plainsong
2446 @aitem{melodic cadence}
2452 F: indication de m@'esure,
2459 The basic scheme of @aref{note value}s and
2460 @aref{accent}s which remains unaltered throughout a composition
2461 or a section of it. For instance, 3/4 meter means that the basic
2462 @aref{note value}s are quarter notes and that a
2463 @aref{measure} consists of three of those. According to
2464 whether there are two, three or four units to the measure,
2465 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2466 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2469 \notes\relative c'' {
2472 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2476 \notes\relative c' {
2479 f8 f f f a16 g a f |
2480 c'8 c c c e16 d e c \bar "||"}
2484 \notes\relative c'' {
2487 d4 b8 g b d d c a4 |
2488 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2501 Device indicating the exact tempo of a piece. @aref{metronomic
2504 @aitem{metronomic indication}
2505 ES: indicaci@'on metron@'omica,
2506 I: indicazione metronomica,
2507 F: indication m@'etronomique,
2509 NL: metronoom aanduiding,
2511 S: metronomangivelse,
2512 FI: metronomiosoitus.
2514 Exact tempo indication (in beats per minute). Also denoted by
2515 M.M. (M@"alzels Metronom).
2517 @aitem{mezzo-soprano}
2527 The female voice between @aref{soprano} and
2534 D: eingestrichenes@w{ }c,
2536 DK: enstreget@w{ }c,
2537 S: ettstruket@w{ }c,
2540 First C below the 440 Hz A.
2543 \set Score.automaticBars = ##f
2544 \override Staff.Clef #'full-size-change = ##t
2545 \notes\relative c' {
2562 @aref{diatonic scale}.
2564 @aitem{minor interval}
2565 ES: intervalo mayor,
2566 I: intervallo minore,
2567 F: intervalle mineur,
2568 D: kleines Intervall,
2572 FI: pieni intervalli.
2584 FI: moodi, kirkkos@"avelasteikko.
2586 @aref{church mode}, @aref{diatonic scale}.
2596 FI: modulaatio, s@"avellajin vaihdos.
2598 Moving from one @aref{key} to another. For example, the second
2599 subject of a @aref{sonata form} movement modulates to the dominant
2600 key if the key is major and to the @aref{relative key} if the key
2610 FI: mordent, korukuvio.
2614 @aitemii{motive,motif}
2622 FI: teema, s@"avelaihe.
2624 The briefest intelligible and self-contained fragment of a musical theme or
2628 \override Score.TimeSignature #'style = \turnOff
2629 %\override Score.TextScript #'font-style = #'large
2630 \notes\relative c'' {
2633 \partial 8 g16_"------" fis |
2634 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2635 g8 g,16 a b8 cis d16 s
2649 Greater musical works like @aref{symphony} and
2650 @aref{sonata} most often consist of several -- more or less --
2651 independant pieces called movements.
2653 @aitem{multibar rest}
2654 ES: compases de espera,
2658 D: mehrtaktige Pause,
2661 FI: usean tahdin mittainen tauko.
2664 \notes\relative c'' {
2666 \set Score.skipBars = ##t R1*3
2671 @aitem{mixolydian mode}
2672 @aref{diatonic scale}.
2674 @aitem{natural sign}
2678 D: Aufl@"osungszeichen,
2679 NL: herstellingsteken,
2680 DK: op@-l@o{}sningstegn,
2681 S: @aa{}terst@"allningstecken,
2686 @aitem{neighbour tones}
2687 @aref{appoggiatura}.
2714 Notes are signs by means of which music is fixed in writing. The term is also
2715 used for the sound indicated by a note, and even for the key of the piano
2716 which produces the sound. However, a clear distinction between the terms tone
2717 and @aref{note} is strongly recommended. Briefly, one sees a note,
2722 I: testa, testina, capocchia,
2723 F: t@^ete de la note,
2730 A head like sign which indicates pitch by its position on a
2731 @aref{staff} provided with a @aref{clef}, and duration
2732 by a variety of shapes such as hollow or black heads with or without
2733 @aref{stem}s, @aref{flag}s, etc. For percussion
2734 instruments (often having no defined pitch) the note head may indicate the
2740 F: dur@'ee, valeur (d'une note),
2745 FI: nuotin aika-arvo.
2747 Note values (durations) are measured as fractions, normally 1/2, of the next
2748 higher note value. The longest duration normally used is called @emph{brevis},
2749 but sometimes (mostly in pre baroque music) the double length note value
2750 @emph{longa} is used.
2753 %\override Score.TextScript #'font-style = #'large
2754 \set Score.automaticBars = ##f
2755 \notes\relative c'' {
2756 \override NoteHead #'style = #'mensural
2757 g\longa_"longa" g\breve_"breve"
2758 \revert NoteHead #'style
2759 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2760 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2764 %\override Score.TextScript #'font-style = #'large
2765 \set Score.automaticBars = ##f
2766 \notes\relative c'' {
2767 r\longa_"longa" r\breve_"breve"
2768 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2769 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2772 An augmentation dot after a note multiplies the duration by one and a
2773 half. Another dot adds yet a fourth of the duration.
2776 %\override Score.TextScript #'font-style = #'large
2777 \notes\relative c'' {
2779 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2780 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2783 Alternatively note values may be subdivided by other ratios. Most common is
2784 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2785 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2786 dotted notes are also frequently used.
2789 %\override Score.TextScript #'font-style = #'large
2790 \notes\relative c'' {
2792 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2793 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2798 \notes\relative c'' {
2800 \times 3/2 {g4_"duplets" g} |
2802 \times 6/4 {g8_"quadruplets" g g g} |
2803 g8 g g g g4 \bar "||"
2808 @aref{G clef}, @aref{F clef}.
2822 @aitemiii{ornament,embellishment,accessory}
2824 I: abbellimento, fioriture,
2825 F: agr@'ement, ornement,
2826 D: Verzierung, Ornament,
2832 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2833 with the diatonic @aref{second} above it. In the music from the
2834 middle of the 19th century and onwards the trill is performed with the main
2835 note first while in the music from the preceding baroque and classic periods
2836 the upper note is played first.
2840 \context Staff = sa {
2841 % \override Score.TextScript #'font-style = #'large
2842 \notes\relative c'' {
2843 c2._"pre-1850" b4\trill | c1 \bar "||"
2844 c2._"post-1850" b4\trill | c1 \bar "||"
2847 \notes\relative c'' {
2848 c2. c32 b c b c b c b | c1
2849 c2. b32 c b c \times 4/5 { b c b c b } | c1
2854 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2855 @emph{prall} (inverted mordent).
2859 \context Staff = sa {
2860 % \override Score.TextScript #'font-style = #'large
2861 \notes\relative c'' {
2862 a4_"turn" b\turn c2 \bar "||"
2863 g4_"mordent" a b\mordent a \bar "||"
2864 e'4_"prall" d\prall c2 \bar "||"
2867 \notes\relative c'' {
2870 e'4 e32[ d e d ~ d8] c2
2875 @aref{appoggiatura}.
2885 FI: ossia, vaihtoehtoinen esitystapa.
2887 Ossia (otherwise) marks an alternative. It is an added staff or piano
2888 score, usually only a few measures long, which presents another version
2889 of the music, for example for small hands.
2899 FI: stemma, instrumenttiosuus.
2901 1. In instrumental or choral music the music for the single instrument
2902 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2903 melodic line of the contrapunctal web.
2909 D: Schlagzeug, Schlagwerk,
2913 FI: ly@"om@"asoittimet.
2915 A family of musical instruments which are played on by striking or
2916 shaking. Percussion instruments commonly used in a symphony orchestra are
2917 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2918 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2921 @aitem{perfect interval}
2922 ES: intervalo justo,
2923 I: intervallo giusto,
2924 F: intervalle juste,
2925 D: reines Intervall,
2929 FI: puhdas intervalli.
2943 A natural division of the melodic line, comparable to a sentence of speech.
2953 FI: fraseeraus, j@"asent@"aminen.
2955 The clear rendering in musical performance of the @aref{phrase}s of
2956 the melody. Phrasing may be indicated by a @aref{slur}.
2968 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
2969 @emph{mezzopiano} (@b{mp}) medium soft.
2986 NL: pizzicato, getokkeld,
2989 FI: pizzicato, n@"app@"aillen.
2991 Play by plucking the strings.
2994 ES: polifon@'{@dotless{i}}a,
3001 FI: polyfonia, moni@"a@"anisyys.
3003 Music written in a combination of several simultaneous voices (parts) of a
3004 more or less pronounced individuality. @aref{counterpoint}.
3013 D: Presto, Sehr schnell,
3014 NL: presto, Sehr schnell,
3017 FI: presto, hyvin nopeasti.
3019 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3020 denotes the highest possible degree of speed.
3022 @aitem{Pythagorean comma}
3023 ES: coma pitag@'orico,
3024 I: comma pitagorico,
3025 F: comma pythagoricien,
3026 D: Pythagor@"aisches Komma,
3027 NL: komma van Pythagoras,
3028 DK: pythagor@ae{}isk komma,
3029 S: pytagoreiskt komma,
3030 FI: pytagorinen komma.
3032 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3033 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3034 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3035 7@w{ }octaves. The difference between those two pitches is called the
3050 @aitem{quarter note}
3052 I: semiminima, nera,
3055 D: Viertel, Viertelnote,
3059 FI: nelj@"annesosanuotti.
3063 @aitem{quarter rest}
3064 ES: silencio de negra,
3065 I: pausa di semiminima,
3070 DK:@w{ }fjerdedelspause,
3071 S: fj@"ardedelspaus,
3072 FI: nelj@"annesosatauko.
3092 D: rallentando, langsamer werden,
3096 FI. rallerdando, hidastuen,
3098 Abbreviation "rall.". @aref{ritardando}.
3100 @aitem{relative key}
3102 I: tonalit@`a relativa,
3103 F: tonalit@'e relative,
3105 NL: paralleltoonsoort,
3106 DK: paralleltoneart,
3108 FI: rinnakkaiss@"avellaji.
3110 @aref{major} and @aref{minor} @aref{key}
3111 with the same @aref{key signature}.
3114 \set Score.automaticBars = ##f
3115 %\override Score.TextScript #'font-style = #'large
3116 \notes\relative c' {
3118 es1_"e flat major" f g as bes c d es
3124 \set Score.automaticBars = ##f
3125 %\override Score.TextScript #'font-style = #'large
3126 \notes\relative c' {
3128 c1_"c minor" d es f g a! b! c \bar "||"
3133 ES: barra de repetici@'on,
3135 F: barre de reprise,
3138 DK: gen@-ta@-gel@-se,
3145 \notes\relative c'' {
3146 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3150 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3151 @c specify the rest's value.
3175 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3176 fixed unit of time, called @aref{beat}, and in which the normal
3177 @aref{accent} recurs in regular intervals, called
3178 @aref{measure}. The basic scheme scheme of time values is called
3179 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3180 accent. In modern notation such music appears as a free alternation of
3181 different measures. (c) Free rhythm, i.e., the use of temporal values having
3182 no common metrical unit (beat).
3188 D: Ritardando, langsamer werden,
3192 FI. ritardando, hidastuen,
3194 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3204 FI: ritenuto, hidastaen.
3206 Immediate reduction of speed.
3216 FI: asteikko, s@"avelasteikko.
3218 @aref{diatonic scale}.
3220 @aitem{scale degree}
3221 ES: grados de la escala,
3222 I: grado della scala,
3223 F: degr@'e [de la gamme],
3225 NL: trap [van de toonladder],
3228 FI: s@"avelaste, asteikon s@"avel.
3230 Names and symbols used in harmonic analysis to denote tones of the scale as
3231 roots of chords. The most important are degrees I = tonic (T), IV =
3232 sub@-do@-mi@-nant (S) and V = dominant (D).
3235 \set Score.automaticBars = ##f
3236 %\override Score.LyricText #'font-style = #'large
3237 %\set minVerticalAlign = #8
3239 \context Staff \notes\relative c' {
3242 \context Lyrics \lyrics {
3243 << { I II III IV V VI VII I }
3248 @aref{functional harmony}.
3254 D: Partitur (full score), Klavierauszug (vocal score)
3260 A copy of orchestral, choral or chamber music showing what each instrument is
3261 to play, each voice to sing, having each part arranged one underneath the
3262 other on different staves @aref{staff}.
3274 The @aref{interval} between two neigbouring tones of a scale. A
3275 @aref{diatonic scale} consists of alternating
3276 @aref{semitone}s and @aref{whole tone}s, hence the size
3277 of a se@-cond depends on the scale degrees in question.
3289 The @aref{interval} of a minor second. The (usually) smallest
3290 interval in European composed music. The interval between two neighbouring
3291 tones on the piano keyboard -- including black and white keys -- is a
3292 semitone. An octave may be divided into 12@w{ }semitones.
3293 @aref{interval}, @aref{chromatic scale}.
3296 \set Score.automaticBars = ##f
3297 \notes\relative c'' { g1 gis s a bes s b! c }
3312 @aitem{sextuplet, sextolet}
3335 @aitem{short appoggiatura}
3336 @aref{appoggiatura}.
3338 @aitem{sixteenth note}
3343 D: Sechzehntel, Sechzehntelnote,
3344 NL: zes@-ti@-ende noot,
3345 DK: sekstendedelsnode,
3347 FI: kuudestoistaosanuotti.
3351 @aitem{sixteenth rest}
3352 ES: silencia de semicorchea,
3353 I: pausa di semicroma,
3355 UK: semiquaver rest,
3356 D: Sechzehntelpause,
3358 DK: sekstendedelspause,
3376 @aitem{sixty-fourth note}
3379 F: quadruple croche,
3380 UK: hemidemisemiquaver,
3381 D: Vierundsechzigstel, Vierundsechzigstelnote,
3382 NL: vierenzestigste noot,
3383 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3384 S: sextiofj@"ardedelsnot,
3385 FI: kuudeskymmenesnelj@"asosanuotti.
3389 @aitem{sixty-fourth rest}
3390 ES: silencia de semifusa,
3391 I: pausa di semibiscroma,
3392 F: seizi@`eme de soupir,
3393 UK: hemidemisemiquaver rest,
3394 D: Vierundsechzigstelpause,
3395 NL: vierenzestigste rust,
3396 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3397 S: sextiofj@"ardedelspaus,
3398 FI: kuudeskymmenesnelj@"asosatauko.
3404 I: legatura (di portamento or espressiva),
3405 F: liaison, coul@'e,
3406 D: Bogen, Legatobogen, Phrasierungsbogen,
3407 NL: fraseringsboog, legatoboog, streekboog,
3408 DK: legatobue, fraseringsbue,
3412 A slur above or below a group of notes indicates that they are to be played
3413 @aref{legato}, e.g., with one stroke of the violin bow or with one
3423 FI: suhteelliset laulunimet.
3425 General term for systems of designating the degrees of the
3426 @aref{scale}, not by letters, but by syllables (@emph{do}
3427 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3428 (@emph{ti})). @aref{scale degree}.
3440 In its present-day meaning a sonata denotes an instrumental composition for
3441 piano or for some other instrument with piano accompaniment, which consists of
3442 three or four independant pieces, called movements.
3447 F: [en] forme de sonate,
3449 NL: hoofdvorm, sonatevorm,
3454 A form used frequently for single movements of the @aref{sonata},
3455 @aref{symphony}, quartet, etc. A movement written in sonata form
3456 falls into three sections called @emph{exposition}, @emph{development} and
3457 @emph{recapitulation}. In the exposition the composer introduces his musical
3458 ideas, consisting of a number of themes; in the development section he
3459 "develops" this material, and in the recapitulation he repeats the exposition,
3460 with certain modifications, however. The exposition contains a number of themes
3461 which fall into two groups, often called first and second subject. Other
3462 melodies occurring in each group are considered as continuations of these
3463 two. The second theme is in another key, normally in the key of the
3464 @aref{dominant} if the @aref{tonic} is
3465 @aref{major}, and in the @aref{relative key} if the
3466 tonic is @aref{minor}.
3476 FI: sopraano, korkea nais@"a@"ani.
3478 The highest female voice.
3483 F: staccato, piqu@'e, d@'etach@'e,
3488 FI: staccato, lyhyesti, ter@"av@"asti.
3490 Playing the note(s) short. Staccato is indicated by a dot above or below the
3496 \notes\relative c'' {
3498 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3505 I: pentagramma, rigo (musicale),
3508 NL: (noten)balk, partij,
3513 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3514 which the musical notes are written, thus indicating (in connection
3515 with a @aref{clef}) their pitch. Staves for
3516 @aref{percussion} instruments may have fewer lines.
3522 D: Hals, Notenhals, Stiel,
3528 Vertical line above or below a @aref{note head} shorter than a
3529 whole note. @aref{beam}.
3532 \set Score.autoBeaming = ##f
3533 \set Score.automaticBars = ##f
3534 %\override Score.TextScript #'font-style = #'large
3535 \notes\relative c'' {
3553 A family of stringed musical instruments played with a bow. Strings commonly
3554 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3560 D: betonter Taktteil oder Taktschlag,
3562 D: betonet taktslag,
3563 S: betonat taktslag,
3564 FI: tahdin vahva isku.
3566 @aref{beat}, @aref{accent}, @aref{measure},
3577 FI: subdominantti, alidominantti.
3579 The fourth @aref{scale degree}. @aref{functional
3590 FI: alikeskis@"avel.
3592 The sixth @aref{scale degree}.
3602 FI: subtoonika, alitoonika.
3604 The seventh @aref{scale degree}.
3606 @aitem{superdominant}
3616 The sixth @aref{scale degree}.
3628 The second @aref{scale degree}.
3631 ES: sinfon@'{@dotless{i}}a,
3634 D: Sinfonie, Symphonie,
3640 A symphony may be defined as a @aref{sonata} for orchestra.
3652 Any deliberate upsetting of the normal pulse of @aref{meter},
3653 @aref{accent} and @aref{rhythm}. Our system of musical
3654 rhythm rests upon the grouping of equal beats into groups of two or three,
3655 with a regularly recurrent accent on the first beat of each group. Any
3656 deviation from this scheme is felt as a disturbance or contradiction between
3657 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3661 \notes\relative c' {
3664 e c'4 e,8 c'4 e,8 c' ( | c2)
3668 @aitemii{syntonic comma,dydimic comma}
3669 I: comma sintonico (o didimico),
3670 F: comma syntonique,
3671 D: syntonisches Komma,
3672 NL: syntonische komma,
3673 DK: syntonisk komma,
3674 S: syntoniskt komma,
3675 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
3677 Difference between the natural third and the third obtained by Pythagorean
3678 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3687 FI: nuottij@"arjestelm@"a.
3689 The collection of staves @aref{staff}, two or more, as used for
3690 writing down of keyboard, chamber, choral, or orchestral music.
3696 D: Stimmung, Temperatur,
3697 NL: stemming, temperatuur,
3700 FI: viritysj@"arjestelm@"a.
3702 Systems of tuning in which the intervals deviate from the acoustically pure
3703 intervals. @aref{meantone temperament}, @aref{equal
3706 @aitem{tempo indication}
3707 ES: indicaci@'on de tempo,
3708 I: indicazione di tempo,
3709 F: indication de temps,
3710 D: Zeitma@ss{}, Tempobezeichnung,
3711 NL: tempo aanduiding,
3714 FI: tempomerkint@"a.
3716 The rate of speed of a composition or a section thereof, ranging from the
3717 slowest to the quickest, as is indicated by tempo marks as
3718 @aref{largo}, @aref{adagio}, @aref{andante},
3719 @aref{allegro}, and @aref{presto}.
3729 FI: tenori, korkea mies@"a@"ani.
3731 The highest voice of men (apart from @aref{counter tenor}).
3757 @aitem{thirty-second note}
3762 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3763 NL: twee-endertig@-ste noot,
3764 DK: toogtredivtedelsnode,
3765 S: trettiotv@aa{}ondelsnot,
3766 FI: kolmanneskymmeneskahdesosanuotti.
3770 @aitem{thirty-second rest}
3771 ES: silencio de fusa,
3772 I: pausa di biscroma,
3773 F: huiti@`eme de soupir,
3774 UK: demisemiquaver rest,
3775 D: Zweiunddreissigstel@-pause,
3777 DK: toogtredivtedelspause,
3778 S: trettiotv@aa{}ondelspaus,
3779 FI: kolmanneskymmeneskahdesosatauko.
3783 @aitemii{thorough bass,figured bass}
3785 I: basso continuo, basso numerato,
3786 F: basse chiffr@'ee,
3787 D: Generalbass, bezifferter Bass,
3788 NL: basso continuo, becijferde bas
3791 FI: kenraalibasso, numeroitu basso.
3793 A method of indicating an accompaniment part by the bass notes only, together
3794 with figures designating the chief @aref{interval}s and
3795 @aref{chord}s to be played above the bass notes.
3798 \context GrandStaff <<
3799 \context Staff = lh \notes\relative c'' {
3803 << \context Voice = rha {
3806 \context Voice = rhb {
3808 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3812 \context Staff = rh \notes\relative c' {
3815 es8 c d bes c as bes16 as g f | es4
3817 \context Lyrics \lyrics {
3818 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3819 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3820 { "" "" "" "2" "" "" "" "" "" "2" } >>
3826 ES: ligadura de prolongaci@'on,
3827 I: legatura (di valore),
3830 NL: overbinding, bindingsboog,
3832 S: bindeb@aa{}ge, @"overbindning,
3835 A curved line, identical in appearance with the @aref{slur}, which
3836 connects two succesive notes of the same pitch, and which has the function of
3837 uniting them into a single sound equal to the combined durations.
3840 \set Score.automaticBars = ##f
3841 \notes\relative c'' { g2 ~ g4. }
3844 @aitem{time signature}
3845 ES: cifra indicadora de comp@'as,
3847 F: chiffrage (chiffres indicateurs), signe de valeur,
3848 D: Taktangabe, Angabe der Taktart,
3851 S: taktartssignatur,
3866 A sound of definite pitch and duration, as distinct from @emph{noise}.
3867 Tone is a primary building material of music.
3868 Music from the 20th century may be based on non tone related sounds.
3880 The first @aref{scale degree}.
3881 @aref{functional harmony}.
3883 @aitem{transposition}
3884 ES: transposici@'on,
3893 Shifting a melody up or down in pitch, while keeping the same
3899 \notes\relative c'' {
3901 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3909 \transpose c bes \relative c'' {
3911 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3918 I: chiave di violino,
3920 D: Violinschl@"ussel, Sopranschl@"ussel,
3922 DK:@w{ }diskantn@o{}gle,
3938 On stringed instruments (@aref{strings}) the quick reiteration of
3939 the same tone, produced by a rapid up-and-down movement movement of the bow
3940 (a). The term is also used for the rapid alternation (b) between two notes of
3941 a @aref{chord}, usually in the distance of a third
3945 \set Score.automaticBars = ##f
3946 %\override Score.TextScript #'font-style = #'large
3947 \notes\relative c' {
3949 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3950 \repeat "tremolo" 8 { e32_"b" g }
3955 ES: tr@'{@dotless{i}}ada,
3957 F: triade, accord parfait, accord de trois sons,
3966 @aitemii{trill,shake}
3969 F: trille, tremblement, battement (cadence),
3978 @aitem{triple meter}
3979 ES: comp@'as compuesto,
3983 NL: driedelige maatsoort,
4003 ES: tr@'{@dotless{i}}tono,
4016 I: diapason, corista,
4024 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4025 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4027 @aitemii{turn,gruppetto}
4040 ES: un@'{@dotless{i}}sono,
4047 FI: unisono, yksi@"a@"anisesti.
4049 Playing of the same notes or the same melody by various instruments (voices)
4050 or by the whole orchestra (choir), either at exactly the same pitch or in a
4054 ES: entrada anacr@'usica,
4056 F: anacrouse, lev@'ee,
4063 Initial note(s) of a melody occurring before the first bar
4064 line. @aref{measure}, @aref{meter}.
4069 \notes\relative c' {
4070 \partial 4 f4 | bes4. a8 bes4 c |
4071 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4082 FI: @"a@"ani, laulu@"a@"ani.
4084 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4085 @aref{contralto}, @aref{tenor},
4086 @aref{baritone}, @aref{bass}.
4087 2. A melodic layer or part of a polyphonic composition.
4091 I: tempo debole, arsi,
4093 D: unbetonter Taktteil oder Taktschlag,
4095 DK: ubetonet taktslag,
4096 S: obetonat taktslag,
4097 FI: tahdin heikko isku.
4099 @aref{beat}, @aref{measure}, @aref{rhythm}.
4106 D: Ganze, ganze Note,
4115 ES: silencio de redonda,
4116 I: pausa di semibreve,
4119 D: ganze Pause, ganztaktige Pause,
4137 The @aref{interval} of a major second. The interval between two
4138 tones on the piano keyboard with exactly one key between them -- including
4139 black and white keys -- is a whole tone.
4147 DK tr@ae{}bl@ae{}sere,
4148 S: tr@"abl@aa{}sare,
4151 A family of blown wooden musical instruments. Today some of these instruments
4152 are actually made from metal. The woodwind instruments commonly used in a
4153 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4160 @item DURATION NAMES, NOTES AND RESTS
4163 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4165 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4166 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4170 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4171 @tab longa @tab longa @tab longa
4175 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4176 brevis @tab brevis @tab brevis @tab brevis
4180 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4181 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4185 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4186 halve @tab halv @tab halv @tab puoli- @tab
4190 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4191 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4195 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4196 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4200 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4201 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4202 @tab kuudestoistaosa- @tab
4206 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4207 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4208 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4212 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4213 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4214 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4215 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4218 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4226 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4228 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4229 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4233 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4237 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4238 cis @tab cis @tab cis
4242 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4243 des @tab des @tab des
4247 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
4251 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4255 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4259 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4263 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4268 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4272 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4273 ais @tab ais @tab ais
4277 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4282 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4290 @item ---------------------
4294 @item Literature used
4295 The Harvard Dictionary of Music, London 1944. Many more or less literal
4296 quotes from its articles have been included into the item explanation texts.
4298 Hugo Riemanns Musiklexicon, Berlin 1929.
4300 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4301 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.