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 @author spanish by David Gonz@'alez
18 @c License PD, BSD-ish, GNU GPL, GNU FDL?
20 Copyright @copyright{} 1999--2002 by the authors
26 @chapter Music Glossary
34 spanish by Davi Gonz@'alez
36 Copyright 1999-2002 by the authors
38 @c License PD, BSD-ish, GNU GPL, GNU FDL?
47 @c @everyheading @| @thispage @|
48 @c @evenheading @thispage @| @|
49 @c @oddheading @| @| @thispage @|
53 @tex $\\Rightarrow$ @end tex@c
64 We don't use refs for Info:
67 @w{@ar{}@pxref{\word\}}@c
69 they look too intrusive (says Han-Wen).
75 @w{@ar{}@strong{\word\}}@c
78 @ar{}@ref{\word\, @strong{\word\}}@c
86 @c If we want hypelinks, we must add anchors.
87 @c Hmm, we need the @achor command in the item description itself
88 @c (not before or after) to get mozilla jump to the right place.
91 @item \word\@anchor{\word\}
93 @macro aitemii{one,two}
94 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
96 @macro aitemiii{one,two,three}
97 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
107 @item UK - British English
114 This is an example reference, that points you to the @aref{accent}
139 FI: aksentti, korostus,
142 The stress of one tone over others.
144 @c F: how to distinguish between accidental and key-sig alteration?
148 I: alterazione, accidente,
150 D: Vorzeichen, Versetzungszeichen,
153 S: tillf@"alligt f@"ortecken,
154 FI: tilap@"ainen etumerkki,
157 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
158 @c Akzidenz, NL: toevallig teken, I: accidento.
160 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
161 by a @aref{whole tone}, a flat lowers it by a semitone and a double
162 flat lowers it by a whole tone. A natural cancels the effect of a previous
165 @lilypond[13pt,notime]
166 \property Score.barNonAuto = ##t
167 \property Voice.TextScript \set #'font-style = #'large
169 \context Staff \notes\relative c'' {
170 gis1 s s gisis s s ges s s geses s s g!
172 \context Lyrics \lyrics {
173 \property Lyrics . LyricText \override #'alignment = #-1
174 "sharp " "db. sharp " "flat " "db. flat " natural
181 F: accelerando, en acc@'el@'erant,
182 D: accelerando, schneller werden,
186 FI: accelerando, kiihdytt@"aen,
199 FI: adagio, hitaasti,
202 It. comfortable, easy.
203 1. Slow tempo, slower -- especially in even meter -- than
204 @aref{andante} and faster than @aref{largo}.
205 2. A movement in slow tempo, especially the second (slow) movement of
206 @aref{sonata}s, symphonies, etc.
212 D: Allegro, Schnell, Fr@"ohlich, Lustig,
216 FI: allegro, nopeasti,
219 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
220 especially the first and last movements of a @aref{sonata}.
230 FI: altto, matala nais@"a@"ani,
233 A female voice of low range (@emph{contralto}). Originally the alto was a high
234 male voice (hence the name) which by the use of falsetto reached the height of
235 the female voice. This type of voice is also known as @aref{counter
239 ES: clave de do en tercera,
240 I: chiave di contralto,
241 F: clef d'ut troisi@`eme ligne,
242 D: Altschl@"ussel, Bratschenschl@"ussel,
249 C clef setting central C on the middle line of the staff
252 @aitem{ancient minor scale}
253 I: scala minore naturale,
254 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
259 FI: luonnollinen molliasteikko,
262 @lilypond[13pt,notime]
263 \property Score.barNonAuto = ##t
264 \notes\relative c'' {
276 FI: andante, k@"ayden,
279 Walking tempo/character.
284 F: appogiature, (port de voix),
289 FI: appoggiatura, etuhele,
292 Ornamental note, usually a second, that is melodically connected with the main
293 note that follows it. In music before the 19th century a. were usually
294 performed on the beat, after that mostly before the beat. While the short
295 a. is performed as a short note regardless of the duration of the main note
296 the duration of the long a. is proportional to that of the main note.
299 \context Voice \notes\relative c'' {
303 \property Score.TextScript \set #'font-style = #'large
304 <<d a fis>>4_"notation" r
305 { \property Voice.Stem \override #'flag-style = #""
307 \property Voice.Stem \revert #'flag-style
310 { \property Voice.Stem \override #'flag-style = #""
312 \property Voice.Stem \revert #'flag-style
315 \cadenzaOn a4 \bar "||" \cadenzaOff }
316 \notes\relative c'' {
317 <<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
318 \cadenzaOn a4 \bar "||" \cadenzaOff }
321 An appoggiatura may have more notes preceding the main note.
324 \notes\relative c'' {
327 \property Score.TextScript \set #'font-style = #'large
328 \grace { bes16 } as8_"notation" as16 bes as8 g |
329 \grace { [as16-( bes] } << c as >>4-)
330 \grace { [as16-( bes] } << c as >>4-) \bar "||"
331 \grace { bes16 } as8_"performance" as16 bes as8 g |
332 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
333 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
342 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
344 DK: arpeggio, akkordbrydning,
346 FI: arpeggio, murtosointu,
350 \notes \context PianoStaff <
351 \context Staff = SA \relative c'' {
354 r8 g16 c e g, c e r8 g,16 c e g, c e |
355 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
356 \context Staff = SB \relative c' {
358 < \context Voice = va {
360 r16 e8. () e4 r16 e8. () e4 |
361 r16 d8. () d4 r16 d8. () d4 }
362 \context Voice = vb {
369 @aitem{ascending interval}
370 ES: Intervalo ascendente,
371 I: intervallo ascendente,
372 F: intervalle ascendant,
373 D: steigendes Intervall,
374 NL: stijgend interval,
375 DK:@w{ }stigende interval,
376 S: stigande intervall,
377 FI: nouseva intervalli,
380 A distance between a starting lower note and a higher ending note.
382 @aitem{augmented interval}
383 ES: intervalo aumentado,
384 I: intervallo aumentato,
385 F: intervalle augment@'e,
386 D: @"uberm@"a@ss{}iges Intervall,
387 NL: overmatig interval,
388 DK: forst@o{}rret interval,
389 S: @"overstigande intervall,
390 FI: ylinouseva intervalli,
398 D: Autograph, Handschrift,
400 DK: h@aa{}ndskrift, autograf,
402 FI: k@"asinkirjoitettu nuotti,
405 1. A manuscript in the composer's own hand.
406 2. Music prepared for photoreproduction by freehand drawing,
407 with only the aid of a straightedge ruler and T-square,
408 which attempts to emulate engraving.
409 This required more skill than did engraving.
422 @aitemii{backfall,forefall}
427 I: stanghetta, barra (di divisione),
428 F: barre (de mesure),
437 ES: comp@'as, @aref{measure}.
440 ES: bar@'{@dotless{i}}tono,
447 FI: baritoni, keskikorkuinen mies@"a@"ani,
450 The male voice intermediate between the @aref{bass} and the
453 @c F: clef de troisi@`eme ligne dropped
455 @aitem{baritone clef}
456 ES: clave de fa en tercera,
457 I: chiave di baritono,
458 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
459 D: Baritonschl@"ussel,
466 C or F clef setting central C on the upper staff line.
467 @aref{C clef}, @aref{F clef}.
470 ES: clave de fa en cuarta,
472 F: cl@'e de fa quatri@`eme ligne,
480 A clef setting with central C on the first top ledger line.
490 FI: basso, matala mies@"a@"ani,
493 1. The lowest of men's voices.
494 2. Sometimes, especially in jazz music, used as
495 an abbreviation for double bass.
508 Line connecting a series of notes (shorter than a quarter note).
509 The number of beams determine the note value of the connected notes.
511 @lilypond[13pt,notime]
512 \property Score.barNonAuto = ##t
513 \property Voice.TextScript \set #'font-style = #'large
514 \notes\relative c'' {
516 [g16_"1/16" g g g] s16
517 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
518 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
525 D: Takt, Taktschlag, Zeit (im Takt),
532 Note value used for counting, most often half-, fourth-, and eighth notes.
533 The base counting value and the number of them per measure is indicated at
534 the start of the music.
539 \notes\relative c'' { g4 c b a | g1 \bar "||"}
541 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
551 D: Klammer, Akkolade,
552 NL: accolade, teksthaak,
555 FI: yhdist@"av@"a sulkumerkki,
558 Symbol at the start of a system connecting staves. Curly braces are used
559 for connecting piano staves, angular brackets for connecting parts in an
560 orchestral or choral score.
563 \notes\context GrandStaff <
564 \relative c''\context Staff = SA { \clef treble g4 e c2 }
565 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
569 \context StaffGroup <
570 % \property StaffGroup.minVerticalAlign = #12
571 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
572 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
581 DK: messingbl@ae{}sere,
582 S: brassinstrument, m@"assingsinstrument,
586 A family of blown musical instruments made of brass all using a cup formed
587 mouth piece. The brass instruments commonly used in a symphony orchestra are
588 trumpet, trombone, french horn, and tube.
593 D: Atemzeichen, Trennungszeichen,
594 NL: repercussieteken,
595 DK: vejrtr@ae{}kningstegn,
600 Indication of where to breathe in vocal and wind instrument parts.
613 @aref{note value} twice as long as a whole note. Mainly used
616 @lilypond[13pt,notime]
617 \property Score.barNonAuto = ##t
618 \notes\relative c'' { g\breve }
643 Clef symbol indicating the position of the central C. Used on all note
646 @lilypond[13pt,notime]
647 \property Score.barNonAuto = ##t
648 \property Score.Clef \override #'full-size-change = ##t
649 \property Score.LyricText \set #'font-style = #'large
651 \context Staff \notes\relative c' {
653 \clef mezzosoprano c s s
658 \context Lyrics \lyrics {
659 \property Lyrics . LyricText \override #'alignment = #-1
660 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
672 FI: kadenssi, lopuke,
675 @aref{harmonic cadence}, @aref{functional harmony}.
685 FI: kadenssi, lopuke,
688 An extended, improvisatory style section inserted near the end of
689 movement. The purpose of a cadenza is to give the singer or player a chance to
690 exhibit her technichal skill and not the least her ability to improvise. Since
691 the middle of the 19th century, however, most cadences have been written down
702 FI: kaanon, tarkka j@"aljittely,
715 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
718 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
719 equally tempered @aref{semitone}).
720 @aref{equal temperament}.
736 Three or more tones sounding simultaneously. In traditional European music the
737 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
738 minor @aref{third}) as well as @emph{minor} (minor + major third)
739 chords may be extended with more thirds. Four-tone @emph{seventh chords}
740 and five-tone @emph{ninth} major chords are most often used as dominants
741 (@aref{functional harmony}). A special case is chords having no
742 third above the lower notes to define their quality as major or minor. Such
743 chords are denoted open chords
745 @lilypond[13pt,notime]
746 \property Score.barNonAuto = ##t
747 \property Voice.TextScript \set #'font-style = #'large
749 \context Staff \notes\relative c'' {
757 \context Lyrics \lyrics{
758 \property Lyrics . LyricText \override #'alignment = #-1
759 "major " "minor " "diminished " "augmented "
760 "seventh-chord " "ninth-chord "
764 @aitem{chromatic scale}
765 ES: escala crom@'atica,
767 F: gamme chromatique,
768 D: chromatische Tonleiter,
769 NL: chromatische toonladder,
772 FI: kromaattinen asteikko,
775 A scale consisting of all 11 @aref{semitone}s.
777 @lilypond[13pt,notime]
778 \property Score.barNonAuto = ##t
779 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
793 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
795 @aitemii{church mode,ecclesiastical mode}
796 ES: modo eclesi@'astico,
797 I: modo ecclesiastico,
798 F: mode eccl@'esiastique,
803 FI: moodi, kirkkos@"avellaji,
806 @aref{diatonic scale}.
812 D: Schl@"ussel, Notenschl@"ussel,
816 FI: avain, nuottiavain,
819 @aref{C clef}, @aref{F clef}, @aref{G clef}.
828 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
831 Difference in pitch between a note derived from pure tuning and the same note
832 derived from some other tuning method. @aref{temperament}.
837 @aitem{compound interval}
838 ES: intervalo compuesto,
839 I: intervallo composto,
840 F: intervalle compos@'e,
842 NL: samengesteld interval,
843 DK: sammensat interval,
844 S: sammansatt intervall,
845 FI: oktaavia laajempi intervalli,
848 Intervals larger than an octave.
854 F: intervalle compl@'ementaire,
855 D: Komplement@"arintervall,
856 NL: complementair interval,
857 DK: komplement@ae{}rinterval,
858 S: komplement@"arintervall (?),
859 FI: t@"aydent@"av@"a intervalli,
862 @aref{inverted interval}.
864 @aitem{conjunct movement}
865 ES: movimiento conjunto,
867 F: mouvement conjoint,
868 D: schrittweise, stufenweise Bewegung,
870 DK: trinvis bev@ae{}gelse,
871 S: stegvis r@"orelse,
872 FI: asteittainen liike,
875 Melody moving in the narrow steps of the scale.
878 \key g \major \time 4/4
879 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
890 FI: konsonanssi, sopusointi,
916 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
919 From latin @emph{punctus contra punctum}, note against note. The combination
920 into a single musical fabric of lines or parts which have distinct melodic
921 significance. A frequently used polyphonic technique is imitation, in its
922 strictest form found in the canon needing only one part to be written down
923 while the other parts are performed with a given displacement. Imitation is
924 also the contrapunctal technique used in the @emph{fugue} which, since the
925 music of the baroque era, has been one of the most popular polyphonic
928 @lilypond[11pt,noquote]
929 \property Score.TimeSignature \override #'style = #'()
930 \notes\context PianoStaff <
931 \context Staff = SA \relative c' {
935 < \context Voice = rha {
937 r1 | r2 r8 g'8 bes d, |
938 cis4 d r8 e!16 f g8 f16 e |
939 f8 g16 a bes8 a16 g a8
941 \context Voice = rhb {
947 \context Staff = SB \relative c' {
950 < \context Voice = lha {
952 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
953 r8 a16 g f8 g16 a bes8 g e! cis' |
956 \context Voice = lhb {
964 @aitem{counter tenor}
971 S: kontratenor, counter tenor,
977 @aitem{Copying, Music}
978 A music copyist did fast freehand scores and parts on preprinted staff lines
979 for performance. Some of their conventions (e.g., the placement of noteheads
980 on stems) varied slightly from those of engravers. Some of their working
981 methods were superior and could well be adopted by music typesetters. This
982 required more skill than engraving.
988 D: Crescendo, lauter werden,
992 FI: cresendo, voimistuen,
995 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
996 abbreviation ``cresc.''.
999 \key g \major \time 4/4
1000 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
1006 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1014 In a separate part notes belonging to another part with the purpose of hinting
1015 when to start playing. Usually printed in a smaller type.
1019 A custos is a staff symbol that appears at the end of a staff line
1020 with monophonic musical contents (i.e. with a single voice). It
1021 anticipates the pitch of the first note of the following line and thus
1022 helps the player or singer to manage line breaks during performance,
1023 thus enhancing readability of a score.
1025 Custodes were frequently used in music notation until the 16th
1026 century. There were different appearences for different notation
1027 styles. Nowadays, they have survived only in special forms of musical
1028 notation such as via the editio vaticana dating back to the beginning
1034 \property Staff.Custos \set #'neutral-position = #4
1035 \property Staff.Custos \set #'neutral-direction = #-1
1036 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1038 \property Staff.Custos \set #'style = #'hufnagel
1039 c'1^"Custos style = \#'hufnagel"
1040 \break << d' a' f''>>1
1045 \consists Custos_engraver
1065 F: da capo, depuis le commencement,
1066 D: da capo, von Anfang,
1070 FI: da capo, alusta,
1073 The term indicates repetition of the piece from the beginning to the end or to
1074 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1079 F: dal segno, depuis le signe,
1084 FI: dal segno, merkkiin asti,
1087 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1088 another place frequently near the beginning marked by a sign:
1091 \property Voice.TextScript \set #'font-style = #'large
1092 \property Voice.TextScript \set #'font-shape = #'italic
1093 \key g \major \time 4/4
1094 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1100 D: Decrescendo, leiser werden,
1104 FI: decresendo, hiljentyen,
1107 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1108 or the abbreviation ``decresc.''.
1111 \notes\relative c'' {
1112 \key g \major \time 4/4
1113 d4 \> c b a | \! g1 \bar "|."
1117 @aitem{descending interval}
1118 ES: intervalo descendente,
1119 I: intervallo discendente,
1120 F: intervalle descendant,
1121 D: fallendes Intervall, absteigendes Intervall,
1122 NL: dalend interval,
1123 DK: faldende interval,
1124 S: fallande intervall,
1125 FI: laskeva intervalli,
1128 A distance between a starting higher note and a lower ending note.
1130 @aitem{diatonic scale}
1131 ES: escala diat@'onica,
1133 F: gamme diatonique,
1134 D: diatonische Tonleiter,
1135 NL: diatonische toonladder,
1136 DK: diatonisk skala,
1138 FI: diatoninen asteikko,
1141 A scale consisting of 5@w{ }@aref{whole tone}s and
1142 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1143 of a piano keybord are diatonic.
1145 The church modes are used in gregorial chant and pre baroque early music but
1146 also to some extent in newer jazz music.
1148 @lilypond[13pt,notime,linewidth=110mm]
1149 \property Score.barNonAuto = ##t
1150 \property Score.LyricText \set #'font-style = #'large
1151 \property Score.TextScript \set #'font-style = #'large
1153 \context Staff \notes\relative c' {
1155 \property Voice.TextScript \set #'padding = #-4
1156 e^"~~ S" f g a b^"~~ S" c
1158 \context Lyrics \lyrics {
1163 @lilypond[13pt,notime]
1164 \property Score.barNonAuto = ##t
1165 \property Score.LyricText \set #'font-style = #'large
1166 \property Score.TextScript \set #'font-style = #'large
1168 \context Staff \notes\relative c' {
1170 \property Voice.TextScript \set #'padding = #-4
1171 e^"~~ S" f g a b^"~~ S" c d
1173 \context Lyrics \lyrics {
1178 @lilypond[13pt,notime]
1179 \property Score.barNonAuto = ##t
1180 \property Score.LyricText \set #'font-style = #'large
1181 \property Score.TextScript \set #'font-style = #'large
1183 \notes\relative c' {
1184 \property Voice.TextScript \set #'padding = #-4
1185 e1^"~~ S" f g a b^"~~ S" c d e
1187 \context Lyrics \lyrics {
1192 @lilypond[13pt,notime]
1193 \property Score.barNonAuto = ##t
1194 \property Score.LyricText \set #'font-style = #'large
1195 \property Score.TextScript \set #'font-style = #'large
1197 \notes\relative c' {
1199 \property Voice.TextScript \set #'padding = #-4
1200 b^"~~ S" c d e^"~~ S" f
1202 \context Lyrics \lyrics {
1207 @lilypond[13pt,notime]
1208 \property Score.barNonAuto = ##t
1209 \property Score.LyricText \set #'font-style = #'large
1210 \property Score.TextScript \set #'font-style = #'large
1212 \notes\relative c'' {
1214 \property Voice.TextScript \set #'padding = #-4
1215 b^"~~ S" c d e^"~~ S" f g }
1216 \context Lyrics \lyrics {
1221 @lilypond[13pt,notime]
1222 \property Score.barNonAuto = ##t
1223 \property Score.LyricText \set #'font-style = #'large
1224 \property Score.TextScript \set #'font-style = #'large
1226 \notes\relative c'' {
1228 \property Voice.TextScript \set #'padding = #-4
1229 b^"~~ S" c d e^"~~ S" f g a
1231 \context Lyrics \lyrics {
1236 From the beginning of the 17th century the scales used in European
1237 compositional music are primarily the major and the minor scales. In the
1238 harmonic minor scale type an augmented second (A) occurs between the 6th and
1241 @lilypond[13pt,notime]
1242 \property Score.barNonAuto = ##t
1243 \property Score.LyricText \set #'font-style = #'large
1244 \property Score.TextScript \set #'font-style = #'large
1246 \notes\relative c' {
1248 \property Voice.TextScript \set #'padding = #-4
1249 e^"~~ S" f g a b^"~~ S" c
1251 \context Lyrics \lyrics {
1256 @lilypond[13pt,notime]
1257 \property Score.barNonAuto = ##t
1258 \property Score.LyricText \set #'font-style = #'large
1259 \property Score.TextScript \set #'font-style = #'large
1261 \notes\relative c'' {
1263 \property Voice.TextScript \set #'padding = #-4
1264 b^"~~ S" c d e^"~~ S" f g a
1266 \context Lyrics \lyrics {
1271 @lilypond[13pt,notime]
1272 \property Score.barNonAuto = ##t
1273 \property Score.LyricText \set #'font-style = #'large
1274 \property Score.TextScript \set #'font-style = #'large
1276 \notes\relative c'' {
1278 \property Voice.TextScript \set #'padding = #-4
1279 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1281 \context Lyrics \lyrics {
1286 @lilypond[13pt,notime]
1287 \property Score.barNonAuto = ##t
1288 \property Score.LyricText \set #'font-style = #'large
1289 \property Score.TextScript \set #'font-style = #'large
1291 \notes\relative c'' {
1293 \property Voice.TextScript \set #'padding = #-4
1294 b^"~~ S" c d e fis gis^"~~ S"
1295 a g! f!^"~~ S" e d c^"~~ S" b a
1297 \context Lyrics \lyrics {
1302 @aitem{diminished interval}
1303 ES: intervalo disminu@'{@dotless{i}}do,
1304 I: intervallo diminuito,
1305 F: intervalle diminu@'e,
1306 D: vermindertes Intervall,
1307 NL: verminderd interval,
1308 DK: formindsket interval,
1309 S: f@"orminskat intervall,
1310 FI: v@"ahennetty intervalli,
1323 FI: diminuendo, hiljentyen,
1328 @aitem{disjunct movement}
1329 ES: movimiendo disjunto,
1331 F: mouvement disjoint,
1332 D: sprunghafte Bewegung,
1334 DK: springende bev@ae{}gelse,
1335 S: hoppande r@"orelse,
1336 FI: melodian hyppiv@"a liike,
1339 Melody moving in steps greater than those of the
1340 scale. Opposite of @aref{conjunct movement}.
1345 \notes\relative c' {
1347 a4. gis8 b a e cis |
1348 fis2 d4. \bar "||" }
1351 @aitemii{dissonant interval,dissonance}
1352 ES: intervalo disonante, disonancias,
1353 I: intervallo dissonante, dissonanza,
1356 NL: dissonant interval; dissonant,
1357 DK: dissonerende interval, dissonans,
1359 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1364 @aitem{dominant ninth chord}
1365 I: accordo di nona di dominante,
1366 F: accord de neuvi@`eme dominante,
1367 D: Dominantnoneakkord,
1368 NL: dominant noon akkoord,
1369 DK: dominantnoneakkord,
1370 S: dominantnonackord,
1371 FI: dominanttinoonisointu,
1374 @aref{chord}, @aref{functional harmony}.
1376 @aitem{dominant seventh chord}
1377 ES: acorde de s@'eptima de dominante,
1378 I: accordo di settima di dominante,
1379 F: accord de septi@`eme dominante,
1380 D: Dominantseptakkord,
1381 NL: dominant septiem akkoord,
1382 DK: dominantseptimakkord,
1383 S: dominantseptimackord,
1384 FI: dominanttiseptimisointu,
1387 @aref{chord}, @aref{functional harmony}.
1397 FI: dominantti, huippusointu,
1400 The fifth @aref{scale degree},
1401 @aref{functional harmony}.
1407 D: dorisch, dorischer Kirchenton,
1408 NL: dorische toonladder,
1414 @aref{diatonic scale}.
1416 @aitem{dot (augmentation dot)}
1418 I: punto (di valore),
1420 D: Punkt (Verl@"angerungspunkt),
1430 ES: nota con puntillo,
1434 NL: gepuncteerde noot,
1437 FI: pisteellinen nuotti,
1442 @aitem{double appoggiatura}
1443 ES: apoyatura doble,
1444 I: appoggiatura doppia,
1445 F: appoggiature double,
1446 D: doppelter Vorschlag,
1447 NL: dubbele voorslag,
1448 DK: dobbelt forslag,
1450 FI: kaksoisappogiatura, kaksoisetuhele,
1453 @aref{appoggiatura}.
1455 @aitem{double bar line}
1459 NL: dubbele maatstreep,
1462 FI: kaksoistahtiviiva,
1465 Indicates the end of a section within a movement.
1467 @aitem{double dotted note}
1468 ES: nota con dos puntillos,
1469 I: nota doppiamente puntata,
1470 F: note doublement point@'ee,
1471 D: doppelt punktierte Note,
1472 NL: dubbelgepuncteerde noot,
1473 DK: dob@-belt@-punk@-te@-ret node,
1474 S: dub@-bel@-punk@-te@-rad not,
1475 FI: kaksoispisteellinen nuotti,
1488 FI: kaksoisalennusmerkki,
1493 @aitem{double sharp}
1494 ES: doble sostenido,
1499 DK: dob@-belt@-kryds,
1501 FI: kaksoisylennysmerkki,
1506 @aitem{double trill}
1511 NL: dubbele triller,
1517 A simultaneous trill on two notes, usually in the distance of a third.
1524 NL: tweedelige maatsoort,
1553 FI: kesto, aika-arvo,
1558 @aitem{dydimic comma}
1559 @aref{syntonic comma}.
1577 D: Achtel, Achtelnote,
1579 DK: ottendedelsnode,
1580 S: @aa{}ttondelsnot,
1581 FI: kahdeksasosanuotti,
1587 ES: silencio de corchea,
1593 DK: ottendedelspause,
1594 S: @aa{}ttonddelspaus,
1595 FI: kahdeksasosatauko,
1604 D: Notenstechen, Notendruck
1611 Engraving means incising or etching a metal plate for
1612 printing. Photoengraving means drawing music with ink in a manner
1613 similar to drafting or engineering drawing, using similar tools.
1615 The traditional process of music printing is done through cutting in a
1616 plate of metal. Now also the term for the art of music typesetting.
1629 Two notes, intervals, or scales are enharmonic if they have different names
1632 @lilypond[13pt,notime]
1633 \property Score.barNonAuto = ##t
1634 \property Score.TextScript \set #'font-style = #'large
1636 \context Staff \notes\relative c'' {
1637 gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
1639 \context Lyrics \lyrics {
1640 \property Lyrics . LyricText \override #'alignment = #-1
1641 "g sharp " "a flat " "dim fifth " "augm fourth"
1645 @aitem{equal temperament}
1647 I: temperamento equabile,
1648 F: temp@'erament @'egal,
1649 D: gleichschwebende Stimmung,
1650 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1651 DK: ligesv@ae{}vende temperatur,
1652 S: liksv@"avande temperatur,
1656 Tuning system dividing the octave into 12 equal @aref{semitone}s
1657 (precisely 100 @aref{cent}s). @aref{temperament}.
1659 @aitem{expression mark}
1661 I: segno d'espressione,
1662 F: signe d'expression, indication de nuance,
1664 NL: voordrachtsteken,
1665 DK: foredragsbetegnelse,
1666 S: f@"oredragsbeteckning,
1667 FI: nyanssiosoitus, esitysmerkki,
1670 Performance indications concerning 1. volume, dynamics (for example
1671 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1672 @aref{andante}, @aref{allegro}).
1696 The position between the dots of the key symbol is the line of the F below
1697 central@w{ }C. Used on the third, fourth and fifth note line. A
1698 digit@w{ }8 above the clef symbol indicates that the notes must be played
1699 an octave higher (for example bass recorder) while 8@w{ }below the clef
1700 symbol indicates playing an octave lower (for example on double bass
1703 @lilypond[13pt,notime]
1704 \property Score.barNonAuto = ##t
1705 \property Staff.Clef \override #'full-size-change = ##t
1706 \property Score.LyricText \set #'font-style = #'large
1720 \context Lyrics \lyrics {
1721 \property Lyrics . LyricText \override #'alignment = #-1
1730 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1735 F: point d'orgue, point d'arr@^et,
1740 FI: fermaatti, pid@"ake,
1743 Prolonged note or rest of indefinite duration.
1747 \notes\relative c'' {
1748 a4 b c2^\fermata \bar "|."
1765 @aitem{figured bass}
1766 ES: bajo cifrado, @aref{thorough bass}.
1774 DK: fingers@ae{}tning,
1775 S: fingers@"attning,
1779 The methodical use of fingers in the playing of instruments.
1781 @aitem{flag,pennant}
1783 I: coda (uncinata), bandiera,
1785 D: Fahne, F@"ahnchen,
1792 Ornament at the end of the stem of a note used for notes with values
1793 less than a quarter note. The number of flags determines the
1796 @lilypond[13pt,notime]
1797 \property Score.barNonAuto = ##t
1798 \property Score.TextScript \set #'font-style = #'large
1799 \notes\relative c'' {
1820 @aitemii{forefall,backfall}
1821 @aref{appoggiatura}.
1831 FI: forte, voimakkaasti,
1834 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1835 @emph{mezzoforte} (@b{mf}) medium loud.
1861 @aref{counterpoint}.
1863 @aitem{functional harmony}
1864 ES: armon@'{@dotless{i}}a funcional,
1865 I: armonia funzionale,
1866 F: @'etude des functions,
1869 DK: funktionsanalyse, funktionsharmonik,
1871 FI: harmoniaj@"arjestelm@"a,
1874 A system of harmonic analysis. It is based on the idea that, in a given key,
1875 there are only three functionally different chords: tonic (T, the chord on the
1876 first note of the scale), subdominant (S, the chord on the fourth note), and
1877 dominant (D, the chord on the fifth note). Other are considered to be
1878 variants of the base chords.
1880 @lilypond[13pt,notime]
1881 \property Score.barNonAuto = ##t
1882 \property Score.LyricText \set #'font-style = #'large
1883 \property Score.TextScript \set #'font-style = #'large
1885 \context Voice \notes\relative c'' {
1886 <<g e c >>1 << a f d >> << b g e >>
1887 <<c a f >> << d b g >> << e c a >> << f d b >> }
1888 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1906 D: G-Schl@"ussel, Violinschl@"ussel,
1913 A clef symbol indicating the G above central@w{ }C. Used on the first
1914 and second note lines. A digit 8 above the clef symbol indicates that
1915 the notes must be played an octave higher while 8 below the clef symbol
1916 indicates playing or singing an octave lower (most tenor parts in choral
1917 scores are notated like that).
1919 @lilypond[13pt,notime]
1920 \property Score.barNonAuto = ##t
1921 \property Staff.Clef \set #'full-size-change = ##t
1922 \property Score.LyricText \set #'font-style = #'large
1924 \notes\relative c'' {
1934 \context Lyrics \lyrics {
1935 \property Lyrics . LyricText \override #'alignment = #-1
1936 "french violin clef "
1951 FI: glissando, liukuen,
1954 Letting the pitch slide fluently from one note to the other.
1960 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1967 Notes printed in small types to indicate that their time values are not
1968 counted in the rhythm of the bar. @aref{appoggiatura}.
1976 S: ackolad, b@"ojd klammer,
1977 FI: kaksoisnuottiviivasto,
1982 A combination of two staves with a brace. Usually used for piano music.
1992 FI: grave, raskaasti,
2002 D: Halbe, halbe Note,
2025 @aitem{harmonic cadence}
2026 ES: cadencia (arm@'onica),
2027 I: cadenza (armonica),
2028 F: cadence harmonique,
2030 NL: harmonische cadens,
2031 DK: harmonisk kadence,
2032 S: (harmonisk) kadens,
2033 FI: harmoninen kadenssi,
2036 Sequence of chords that terminate a musical phrase or
2037 section. @aref{functional harmony}.
2040 \notes\context PianoStaff <
2041 \context Staff = SA \relative c'' {
2045 \partial 4 << c g e >>4 |
2046 << c a f >> << b g d >> << c g e >>2
2048 \property Score.LyricText \set #'font-style = #'large
2050 \context Staff = SB \relative c {
2052 \partial 4 c4 | f, g c2
2055 \context Lyrics \lyrics {
2062 ES: armon@'{@dotless{i}}a,
2065 D: Harmonie, Zusammenklang,
2069 FI: harmonia, yhteissointi,
2072 Tones sounding simultaneously. Two note harmonies fall into the categories
2073 @emph{consonances} and @emph{dissonances}.
2077 @lilypond[13pt,notime]
2078 \property Score.barNonAuto = ##t
2079 \property Score.TextScript \set #'font-style = #'large
2080 \context Voice \notes\relative c'' {
2081 <<g g>>1_"unisone " s
2086 <<g g'>>_"octave " s
2087 <<g b'>>_"decime" s s
2093 @lilypond[13pt,notime]
2094 \property Score.barNonAuto = ##t
2095 \property Score.TextScript \set #'font-style = #'large
2096 \context Voice \notes\relative c'' {
2097 <<g a>>1_"second " s s
2098 <<g f'>>_"seventh " s s
2099 <<g a'>>_"ninth" s s
2103 Three note harmony @aref{chord}.
2106 ES: homofon@'{@dotless{i}}a,
2113 FI: homofonia, yksi@"a@"anisyys,
2116 Music in which one voice leads melodically followed by the other voices more
2117 or less in the same rhythm. In contrast to @aref{polyphony}.
2127 FI: intervalli, kahden s@"avelen korkeusero,
2130 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2131 diminished, or augmented. The augmented fourth and the diminished fifth are
2132 identical (@aref{enharmonic}) and are called @emph{tritonus}
2133 because they consist of three @aref{whole tone}s. The addition
2134 of such two forms an octave.
2136 @lilypond[13pt,notime]
2137 \property Score.barNonAuto = ##t
2138 \property Score.LyricText \set #'font-style = #'large
2139 \property Score.TextScript \set #'font-style = #'large
2141 \context Voice \notes\relative c'' {
2143 << g as >>^"minor" s
2145 << g ais >>^"augm" s
2146 << gis bes >>^"dimin" s
2147 << g! bes >>^"minor" s
2148 << g b! >>^"major" s
2149 << g bis >>^"augm" s
2151 \context Lyrics \lyrics {
2152 "unisone " "second " "second " "second "
2153 "third " "third " "third " "third "
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 Staff \notes\relative c'' {
2163 << g c >>^"perfect" s
2164 << g cis >>^"augm" s
2165 << g d' >>^"perfect" s
2166 << g des' >> ^"dim" s
2167 << gis es' >>^"dimin" s
2168 << g! es' >>^"minor" s
2169 << g e'! >>^"major" s
2170 << g eis' >>^"augm" s
2172 \context Lyrics \lyrics {
2173 "fourth " "fourth " "fifth " "fifth "
2174 "sixth " "sixth " "sixth " "sixth "
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 << gis f'! >>1^"dimin" s
2185 << g! f'! >>^"minor" s
2186 << g fis' >>^"major" s
2188 << g as' >>^"minor" s
2189 << g a'! >>^"major" s
2190 << g bes' >>^"minor" s
2191 << g b'! >>^"major" s
2193 \context Lyrics \lyrics {
2194 "seventh " "seventh " "seventh " "octave "
2195 "none " "none " "decime " "decime "
2199 @aitem{inverted interval}
2200 ES: intervalo invertido,
2201 I: intervallo rivolto,
2202 F: intervalle revers@'e,
2203 D: umgekehrtes Intervall,
2204 NL: interval inversie,
2205 DK: omvendingsinterval,
2206 S: intervallets omv@"andning,
2207 FI: k@"a@"anteisintervalli,
2210 The difference between an interval and an octave.
2212 @lilypond[13pt,notime]
2213 \property Score.barNonAuto = ##t
2214 \property Score.TextScript \set #'font-style = #'large
2215 \context Staff \notes\relative c'' {
2216 << g a >>1_"second " s s << g' a, >>_"seventh " s s \bar "||"
2217 << g, b >>_"third " s s << g' b, >>_"sixth " s s \bar "||"
2218 << g, c >>_"fourth " s s << g' c, >>_"fifth " s s \bar "||"
2222 @aitem{just intonation}
2223 I: intonazione giusta,
2224 F: intonation juste,
2232 Tuning system in which the notes are obtained by adding and subtracting
2233 natural fifths and thirds. @aref{temperament}.
2246 According to the 12@w{ }tones of the @aref{chromatic scale}
2247 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2248 @aref{key signature}.
2250 @aitem{key signature}
2251 ES: armadura de clave,
2252 I: armatura di chiave,
2253 F: armure, armature [de la cl@'e],
2254 D: Vorzeichen, Tonart,
2255 NL: toon@-soort (voortekens),
2258 FI: s@"avellajiosoitus,
2261 The sharps or flats appearing at the beginning of each staff indicating the
2262 key of the music. @aref{accidental}.
2268 D: Largo, Langsam, Breit,
2272 FI: largo, hitaasti, leve@"asti,
2275 Very slow in tempo, usually combined with great
2276 expressiveness. @emph{Larghetto} is less slow than largo.
2278 @aitem{leading note}
2289 The seventh @aref{scale degree}, a @aref{semitone} below
2290 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2291 upwards) to the tonic scale degree.
2293 @aitemii{ledger line,leger line}
2294 ES: l@'{@dotless{i}}neas adicionales,
2295 I: tagli addizionali,
2296 F: ligne suppl@'ementaire,
2299 DK: hj@ae{}lpelinie,
2304 A ledger line is an extension of the staff.
2306 @lilypond[13pt,notime]
2307 \property Score.barNonAuto = ##t
2308 \notes\relative c'' { a,1 s c'' }
2322 To be performed without any perceptible interruption between the notes (a)
2323 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
2324 @aref{staccato} (d).
2326 @lilypond[13pt,notime]
2327 \property Score.barNonAuto = ##t
2329 \context Staff \notes\relative c'' {
2331 c4-- d-- e-- \bar "||"
2332 c4-.( d-. )e-. \bar "||"
2333 c4-. d-. e-. \bar "||"
2335 \context Lyrics \lyrics {
2336 \property Lyrics . LyricText \set #'font-style = #'large
2344 @aitem{legato curve}
2345 @aref{slur}, @aref{legato}.
2348 ES: estanque de lilas,
2349 I: stagno del giglio,
2353 NL: le@-lie@-vij@-ver,
2359 A pond with lilies floating in it, also the name of a music typesetter.
2362 ES: l@'{@dotless{i}}nea,
2365 D: Linie, Notenlinie,
2369 FI: viiva, nuottiviiva,
2374 @aitem{long appoggiatura}
2375 ES: apoyatura larga,
2376 I: appoggiatura lunga,
2377 F: appoggiature longue,
2378 D: langer Vorschlag,
2380 S: l@aa{}ngt f@"orslag,
2381 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2384 @aref{appoggiatura}.
2397 Note value: double length of @aref{breve}.
2400 @lilypond[13pt,notime]
2401 \property Score.barNonAuto = ##t
2402 \notes\relative c'' {
2403 \property Voice.NoteHead \set #'style = #'mensural
2408 @aitemii{lyrics,song texts}
2419 @aitem{major interval}
2420 ES: intervalo mayor,
2421 I: intervallo maggiore,
2422 F: intervalle majeur,
2423 D: gro@ss{}es Intervall,
2427 FI: suuri intervalli,
2443 @aref{diatonic scale}.
2445 @aitem{meantone temperament}
2446 I: accordatura mesotonica,
2447 F: temp@'erament m@'esotonique,
2448 D: mittelt@"onige Stimmung,
2450 DK: middeltonetemperatur,
2451 S: medeltonstemperatur,
2452 FI: keskis@"avelviritys,
2455 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2456 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2457 @aref{temperament} only a limited set of keys are playable.
2458 Used for tuning keyboard instruments for performance of pre-1650 music.
2460 @aitem{measure, bar}
2471 A group of @aref{beat}s (units of musical time) the first of which
2472 bears an accent. Such groups in numbers of two or more recur consistently
2473 throughout the composition and are marked from each other by
2474 bar-lines. @aref{meter}.
2478 I: mediante, modale,
2487 1. The third @b{scale degree}.
2488 2. A @aref{chord} having its base tone
2489 a third from that of another chord. For example, the tonic chord may be
2490 replaced by its lower mediant (variant tonic). @aref{functional
2491 harmony}, @aref{relative key}.
2497 A melisma (plural: melismata) is a group of notes or tones sung on one
2498 syllable in plainsong
2500 @aitem{melodic cadence}
2506 F: indication de m@'esure,
2514 The basic scheme of @aref{note value}s and
2515 @aref{accent}s which remains unaltered throughout a composition
2516 or a section of it. For instance, 3/4 meter means that the basic
2517 @aref{note value}s are quarter notes and that a
2518 @aref{measure} consists of three of those. According to
2519 whether there are two, three or four units to the measure,
2520 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2521 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2524 \notes\relative c'' {
2527 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2531 \notes\relative c' {
2534 f8 f f f a16 g a f |
2535 c'8 c c c e16 d e c \bar "||"}
2539 \notes\relative c'' {
2542 d4 b8 g b d d c a4 |
2543 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2557 Device indicating the exact tempo of a piece. @aref{metronomic
2560 @aitem{metronomic indication}
2561 ES: indicaci@'on metron@'omica,
2562 I: indicazione metronomica,
2563 F: indication m@'etronomique,
2565 NL: metronoom aanduiding,
2567 S: metronomangivelse,
2568 FI: metronomiosoitus,
2571 Exact tempo indication (in beats per minute). Also denoted by
2572 M.M. (M@"alzels Metronom).
2574 @aitem{mezzo-soprano}
2585 The female voice between @aref{soprano} and
2592 D: eingestrichenes@w{ }c,
2594 DK: enstreget@w{ }c,
2595 S: ettstruket@w{ }c,
2599 First C below the 440 Hz A.
2601 @lilypond[13pt,notime]
2602 \property Score.barNonAuto = ##t
2603 \property Staff.Clef \set #'full-size-change = ##t
2604 \notes\relative c' {
2622 @aref{diatonic scale}.
2624 @aitem{minor interval}
2625 ES: intervalo mayor,
2626 I: intervallo minore,
2627 F: intervalle mineur,
2628 D: kleines Intervall,
2632 FI: pieni intervalli,
2645 FI: moodi, kirkkos@"avelasteikko,
2648 @aref{church mode}, @aref{diatonic scale}.
2658 FI: modulaatio, s@"avellajin vaihdos,
2661 Moving from one @aref{key} to another. For example, the second
2662 subject of a @aref{sonata form} movement modulates to the dominant
2663 key if the key is major and to the @aref{relative key} if the key
2673 FI: mordent, korukuvio,
2678 @aitemii{motive,motif}
2686 FI: teema, s@"avelaihe,
2689 The briefest intelligible and self-contained fragment of a musical theme or
2693 \property Score.TimeSignature \override #'style = #'()
2694 \property Score.TextScript \set #'font-style = #'large
2695 \notes\relative c'' {
2698 \partial 8 g16_"------" fis |
2699 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2700 g8 g,16 a b8 cis d16 s
2715 Greater musical works like @aref{symphony} and
2716 @aref{sonata} most often consist of several -- more or less --
2717 independant pieces called movements.
2719 @aitem{multibar rest}
2720 ES: compases de espera,
2724 D: mehrtaktige Pause,
2727 FI: usean tahdin mittainen tauko,
2731 \notes\relative c'' {
2733 \property Score.skipBars=##t R1*3
2738 @aitem{mixolydian mode}
2739 @aref{diatonic scale}.
2741 @aitem{natural sign}
2745 D: Aufl@"osungszeichen,
2746 NL: herstellingsteken,
2747 DK: op@-l@o{}sningstegn,
2748 S: @aa{}terst@"allningstecken,
2754 @aitem{neighbour tones}
2755 @aref{appoggiatura}.
2784 Notes are signs by means of which music is fixed in writing. The term is also
2785 used for the sound indicated by a note, and even for the key of the piano
2786 which produces the sound. However, a clear distinction between the terms tone
2787 and @aref{note} is strongly recommended. Briefly, one sees a note,
2792 I: testa, testina, capocchia,
2793 F: t@^ete de la note,
2801 A head like sign which indicates pitch by its position on a
2802 @aref{staff} provided with a @aref{clef}, and duration
2803 by a variety of shapes such as hollow or black heads with or without
2804 @aref{stem}s, @aref{flag}s, etc. For percussion
2805 instruments (often having no defined pitch) the note head may indicate the
2811 F: dur@'ee, valeur (d'une note),
2816 FI: nuotin aika-arvo,
2819 Note values (durations) are measured as fractions, normally 1/2, of the next
2820 higher note value. The longest duration normally used is called @emph{brevis},
2821 but sometimes (mostly in pre baroque music) the double length note value
2822 @emph{longa} is used.
2824 @lilypond[13pt,notime]
2825 \property Score.TextScript \set #'font-style = #'large
2826 \property Score.barNonAuto = ##t
2827 \notes\relative c'' {
2828 \property Voice.NoteHead \override #'style = #'mensural
2829 g\longa_"longa" g\breve_"breve"
2830 \property Voice.NoteHead \revert #'style
2831 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2832 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2835 @lilypond[13pt,notime]
2836 \property Score.TextScript \set #'font-style = #'large
2837 \property Score.barNonAuto = ##t
2838 \notes\relative c'' {
2839 r\longa_"longa" r\breve_"breve"
2840 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2841 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2844 An augmentation dot after a note multiplies the duration by one and a
2845 half. Another dot adds yet a fourth of the duration.
2848 \property Score.TextScript \set #'font-style = #'large
2849 \notes\relative c'' {
2851 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
2852 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
2855 Alternatively note values may be subdivided by other ratios. Most common is
2856 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2857 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2858 dotted notes are also frequently used.
2861 \property Score.TextScript \set #'font-style = #'large
2862 \notes\relative c'' {
2864 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2865 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2870 \notes\relative c'' {
2872 \times 3/2 {g4_"duplets" g} |
2874 \times 6/4 {g8_"quadruplets" g g g} |
2875 g8 g g g g4 \bar "||"
2880 @aref{G clef}, @aref{F clef}.
2895 @aitemiii{ornament,embellishment,accessory}
2897 I: abbellimento, fioriture,
2898 F: agr@'ement, ornement,
2899 D: Verzierung, Ornament,
2906 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2907 with the diatonic @aref{second} above it. In the music from the
2908 middle of the 19th century and onwards the trill is performed with the main
2909 note first while in the music from the preceding baroque and classic periods
2910 the upper note is played first.
2914 \context Staff = sa {
2915 \property Score.TextScript \set #'font-style = #'large
2916 \notes\relative c'' {
2917 c2._"pre-1850" b4\trill | c1 \bar "||"
2918 c2._"post-1850" b4\trill | c1 \bar "||"
2921 \notes\relative c'' {
2922 c2. c32 b c b c b c b | c1
2923 c2. b32 c b c \times 4/5 { b c b c b } | c1
2928 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2929 @emph{prall} (inverted mordent).
2933 \context Staff = sa {
2934 \property Score.TextScript \set #'font-style = #'large
2935 \notes\relative c'' {
2936 a4_"turn" b\turn c2 \bar "||"
2937 g4_"mordent" a b\mordent a \bar "||"
2938 e'4_"prall" d\prall c2 \bar "||"
2941 \notes\relative c'' {
2944 e'4 [e32 d e d ~ d8] c2
2949 @aref{appoggiatura}.
2959 FI: ossia, vaihtoehtoinen esitystapa,
2962 Ossia (otherwise) marks an alternative. It is an added staff or piano
2963 score, usually only a few measures long, which presents another version
2964 of the music, for example for small hands.
2974 FI: stemma, instrumenttiosuus,
2977 1. In instrumental or choral music the music for the single instrument
2978 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2979 melodic line of the contrapunctal web.
2985 D: Schlagzeug, Schlagwerk,
2989 FI: ly@"om@"asoittimet,
2992 A family of musical instruments which are played on by striking or
2993 shaking. Percussion instruments commonly used in a symphony orchestra are
2994 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2995 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2998 @aitem{perfect interval}
2999 ES: intervalo justo,
3000 I: intervallo giusto,
3001 F: intervalle juste,
3002 D: reines Intervall,
3006 FI: puhdas intervalli,
3022 A natural division of the melodic line, comparable to a sentence of speech.
3032 FI: fraseeraus, j@"asent@"aminen,
3035 The clear rendering in musical performance of the @aref{phrase}s of
3036 the melody. Phrasing may be indicated by a @aref{slur}.
3049 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3050 @emph{mezzopiano} (@b{mp}) medium soft.
3068 NL: pizzicato, getokkeld,
3071 FI: pizzicato, n@"app@"aillen,
3074 Play by plucking the strings.
3077 ES: polifon@'{@dotless{i}}a,
3084 FI: polyfonia, moni@"a@"anisyys,
3087 Music written in a combination of several simultaneous voices (parts) of a
3088 more or less pronounced individuality. @aref{counterpoint}.
3097 D: Presto, Sehr schnell,
3098 NL: presto, Sehr schnell,
3101 FI: presto, hyvin nopeasti,
3104 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3105 denotes the highest possible degree of speed.
3107 @aitem{Pythagorean comma}
3108 ES: coma pitag@'orico,
3109 I: comma pitagorico,
3110 F: comma pythagoricien,
3111 D: Pythagor@"aisches Komma,
3112 NL: komma van Pythagoras,
3113 DK: pythagor@ae{}isk komma,
3114 S: pytagoreiskt komma,
3115 FI: pytagorinen komma,
3118 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3119 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3120 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3121 7@w{ }octaves. The difference between those two pitches is called the
3137 @aitem{quarter note}
3139 I: semiminima, nera,
3142 D: Viertel, Viertelnote,
3146 FI: nelj@"annesosanuotti,
3151 @aitem{quarter rest}
3152 ES: silencio de negra,
3153 I: pausa di semiminima,
3158 DK:@w{ }fjerdedelspause,
3159 S: fj@"ardedelspaus,
3160 FI: nelj@"annesosatauko,
3182 D: rallentando, langsamer werden,
3186 FI. rallerdando, hidastuen,
3189 Abbreviation "rall.". @aref{ritardando}.
3191 @aitem{relative key}
3193 I: tonalit@`a relativa,
3194 F: tonalit@'e relative,
3196 DK: paralleltoneart,
3198 FI: rinnakkaiss@"avellaji,
3201 @aref{major} and @aref{minor} @aref{key}
3202 with the same @aref{key signature}.
3204 @lilypond[13pt,notime]
3205 \property Score.barNonAuto = ##t
3206 \property Score.TextScript \set #'font-style = #'large
3207 \notes\relative c' {
3209 es1_"e flat major" f g as bes c d es
3214 @lilypond[13pt,notime]
3215 \property Score.barNonAuto = ##t
3216 \property Score.TextScript \set #'font-style = #'large
3217 \notes\relative c' {
3219 c1_"c minor" d es f g a! b! c \bar "||"
3224 ES: barra de repetici@'on,
3226 F: barre de reprise,
3229 DK: gen@-ta@-gel@-se,
3237 \notes\relative c'' {
3238 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3242 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3243 @c specify the rest's value.
3269 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3270 fixed unit of time, called @aref{beat}, and in which the normal
3271 @aref{accent} recurs in regular intervals, called
3272 @aref{measure}. The basic scheme scheme of time values is called
3273 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3274 accent. In modern notation such music appears as a free alternation of
3275 different measures. (c) Free rhythm, i.e., the use of temporal values having
3276 no common metrical unit (beat).
3282 D: Ritardando, langsamer werden,
3286 FI. ritardando, hidastuen,
3289 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3299 FI: ritenuto, hidastaen,
3302 Immediate reduction of speed.
3312 FI: asteikko, s@"avelasteikko,
3315 @aref{diatonic scale}.
3317 @aitem{scale degree}
3318 ES: grados de la escala,
3319 I: grado della scala,
3320 F: degr@'e [de la gamme],
3322 NL: trap [van de toonladder],
3325 FI: s@"avelaste, asteikon s@"avel,
3328 Names and symbols used in harmonic analysis to denote tones of the scale as
3329 roots of chords. The most important are degrees I = tonic (T), IV =
3330 sub@-do@-mi@-nant (S) and V = dominant (D).
3332 @lilypond[13pt,notime]
3333 \property Score.barNonAuto = ##t
3334 \property Score.LyricText \set #'font-style = #'large
3335 %\property Lyrics.minVerticalAlign = #8
3337 \context Staff \notes\relative c' {
3340 \context Lyrics \lyrics {
3341 < { I II III IV V VI VII I }
3346 @aref{functional harmony}.
3352 D: Partitur (full score), Klavierauszug (vocal score)
3359 A copy of orchestral, choral or chamber music showing what each instrument is
3360 to play, each voice to sing, having each part arranged one underneath the
3361 other on different staves @aref{staff}.
3374 The @aref{interval} between two neigbouring tones of a scale. A
3375 @aref{diatonic scale} consists of alternating
3376 @aref{semitone}s and @aref{whole tone}s, hence the size
3377 of a se@-cond depends on the scale degrees in question.
3390 The @aref{interval} of a minor second. The (usually) smallest
3391 interval in European composed music. The interval between two neighbouring
3392 tones on the piano keyboard -- including black and white keys -- is a
3393 semitone. An octave may be divided into 12@w{ }semitones.
3394 @aref{interval}, @aref{chromatic scale}.
3396 @lilypond[13pt,notime]
3397 \property Score.barNonAuto = ##t
3398 \notes\relative c'' { g1 gis s a bes s b! c }
3414 @aitem{sextuplet, sextolet}
3439 @aitem{short appoggiatura}
3440 @aref{appoggiatura}.
3442 @aitem{sixteenth note}
3447 D: Sechzehntel, Sechzehntelnote,
3448 NL: zes@-ti@-ende noot,
3449 DK: sekstendedelsnode,
3451 FI: kuudestoistaosanuotti,
3456 @aitem{sixteenth rest}
3457 ES: silencia de semicorchea,
3458 I: pausa di semicroma,
3460 UK: semiquaver rest,
3461 D: Sechzehntelpause,
3463 DK: sekstendedelspause,
3483 @aitem{sixty-fourth note}
3486 F: quadruple croche,
3487 UK: hemidemisemiquaver,
3488 D: Vierundsechzigstel, Vierundsechzigstelnote,
3489 NL: vierenzestigste noot,
3490 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3491 S: sextiofj@"ardedelsnot,
3492 FI: kuudeskymmenesnelj@"asosanuotti,
3497 @aitem{sixty-fourth rest}
3498 ES: silencia de semifusa,
3499 I: pausa di semibiscroma,
3500 F: seizi@`eme de soupir,
3501 UK: hemidemisemiquaver rest,
3502 D: Vierundsechzigstelpause,
3503 NL: vierenzestigste rust,
3504 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3505 S: sextiofj@"ardedelspaus,
3506 FI: kuudeskymmenesnelj@"asosatauko,
3513 I: legatura (di portamento or espressiva),
3514 F: liaison, coul@'e,
3515 D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen,
3516 NL: binding, bindingsboog,
3517 DK: legatobue, fraseringsbue,
3522 A slur above or below a group of notes indicates that they are to be played
3523 @aref{legato}, e.g., with one stroke of the violin bow or with one
3533 FI: suhteelliset laulunimet,
3536 General term for systems of designating the degrees of the
3537 @aref{scale}, not by letters, but by syllables (@emph{do}
3538 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3539 (@emph{ti})). @aref{scale degree}.
3552 In its present-day meaning a sonata denotes an instrumental composition for
3553 piano or for some other instrument with piano accompaniment, which consists of
3554 three or four independant pieces, called movements.
3559 F: [en] forme de sonate,
3561 NL: hoofdvorm, sonatevorm,
3567 A form used frequently for single movements of the @aref{sonata},
3568 @aref{symphony}, quartet, etc. A movement written in sonata form
3569 falls into three sections called @emph{exposition}, @emph{development} and
3570 @emph{recapitulation}. In the exposition the composer introduces his musical
3571 ideas, consisting of a number of themes; in the development section he
3572 "develops" this material, and in the recapitulation he repeats the exposition,
3573 with certain modifications, however. The exposition contains a number of themes
3574 which fall into two groups, often called first and second subject. Other
3575 melodies occurring in each group are considered as continuations of these
3576 two. The second theme is in another key, normally in the key of the
3577 @aref{dominant} if the @aref{tonic} is
3578 @aref{major}, and in the @aref{relative key} if the
3579 tonic is @aref{minor}.
3589 FI: sopraano, korkea nais@"a@"ani,
3592 The highest female voice.
3597 F: staccato, piqu@'e, d@'etach@'e,
3602 FI: staccato, lyhyesti, ter@"av@"asti,
3605 Playing the note(s) short. Staccato is indicated by a dot above or below the
3611 \notes\relative c'' {
3613 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3620 I: pentagramma, rigo (musicale),
3623 NL: (noten)balk, partij,
3629 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3630 which the musical notes are written, thus indicating (in connection
3631 with a @aref{clef}) their pitch. Staves for
3632 @aref{percussion} instruments may have fewer lines.
3638 D: Hals, Notenhals, Stiel,
3645 Vertical line above or below a @aref{note head} shorter than a
3646 whole note. @aref{beam}.
3648 @lilypond[13pt,notime]
3649 \property Score.autoBeaming = ##f
3650 \property Score.barNonAuto = ##t
3651 \property Score.TextScript \set #'font-style = #'large
3652 \notes\relative c'' {
3671 A family of stringed musical instruments played with a bow. Strings commonly
3672 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3678 D: betonter Taktteil oder Taktschlag,
3680 D: betonet taktslag,
3681 S: betonat taktslag,
3682 FI: tahdin vahva isku,
3685 @aref{beat}, @aref{accent}, @aref{measure},
3696 FI: subdominantti, alidominantti,
3699 The fourth @aref{scale degree}. @aref{functional
3710 FI: alikeskis@"avel,
3713 The sixth @aref{scale degree}.
3723 FI: subtoonika, alitoonika,
3726 The seventh @aref{scale degree}.
3728 @aitem{superdominant}
3739 The sixth @aref{scale degree}.
3752 The second @aref{scale degree}.
3755 ES: sinfon@'{@dotless{i}}a,
3758 D: Sinfonie, Symphonie,
3765 A symphony may be defined as a @aref{sonata} for orchestra.
3778 Any deliberate upsetting of the normal pulse of @aref{meter},
3779 @aref{accent} and @aref{rhythm}. Our system of musical
3780 rhythm rests upon the grouping of equal beats into groups of two or three,
3781 with a regularly recurrent accent on the first beat of each group. Any
3782 deviation from this scheme is felt as a disturbance or contradiction between
3783 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3787 \notes\relative c' {
3790 e c'4 e,8 c'4 e,8 c' ( | ) c2
3794 @aitemii{syntonic comma,dydimic comma}
3795 I: comma sintonico (o didimico),
3796 F: comma syntonique,
3797 D: syntonisches Komma,
3798 NL: syntonische komma,
3799 DK: syntonisk komma,
3800 S: syntoniskt komma,
3801 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3804 Difference between the natural third and the third obtained by Pythagorean
3805 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3814 FI: nuottij@"arjestelm@"a,
3817 The collection of staves @aref{staff}, two or more, as used for
3818 writing down of keyboard, chamber, choral, or orchestral music.
3824 D: Stimmung, Temperatur,
3828 FI: viritysj@"arjestelm@"a,
3831 Systems of tuning in which the intervals deviate from the acoustically pure
3832 intervals. @aref{meantone temperament}, @aref{equal
3835 @aitem{tempo indication}
3836 ES: indicaci@'on de tempo,
3837 I: indicazione di tempo,
3838 F: indication de temps,
3839 D: Zeitma@ss{}, Tempobezeichnung,
3840 NL: tempo aanduiding,
3843 FI: tempomerkint@"a,
3846 The rate of speed of a composition or a section thereof, ranging from the
3847 slowest to the quickest, as is indicated by tempo marks as
3848 @aref{largo}, @aref{adagio}, @aref{andante},
3849 @aref{allegro}, and @aref{presto}.
3859 FI: tenori, korkea mies@"a@"ani,
3862 The highest voice of men (apart from @aref{counter tenor}).
3890 @aitem{thirty-second note}
3895 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3896 NL: twee-endertig@-ste noot,
3897 DK: toogtredivtedelsnode,
3898 S: trettiotv@aa{}ondelsnot,
3899 FI: kolmanneskymmeneskahdesosanuotti,
3904 @aitem{thirty-second rest}
3905 ES: silencio de fusa,
3906 I: pausa di biscroma,
3907 F: huiti@`eme de soupir,
3908 UK: demisemiquaver rest,
3909 D: Zweiunddreissigstel@-pause,
3911 DK: toogtredivtedelspause,
3912 S: trettiotv@aa{}ondelspaus,
3913 FI: kolmanneskymmeneskahdesosatauko,
3918 @aitemii{thorough bass,figured bass}
3920 I: basso continuo, basso numerato,
3921 F: basse chiffr@'ee,
3922 D: Generalbass, bezifferter Bass,
3926 FI: kenraalibasso, numeroitu basso,
3929 A method of indicating an accompaniment part by the bass notes only, together
3930 with figures designating the chief @aref{interval}s and
3931 @aref{chord}s to be played above the bass notes.
3934 \context GrandStaff <
3935 \context Staff = lh \notes\relative c'' {
3939 < \context Voice = rha {
3942 \context Voice = rhb {
3944 << bes g >>8 as << as f >> g << g es >> f << d f >> es | << g es >>4 }
3948 \context Staff = rh \notes\relative c' {
3951 es8 c d bes c as bes16 as g f | es4
3953 \context Lyrics \lyrics {
3954 \property Lyrics . LyricText \set #'font-style = #'Large
3955 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
3956 < { "" "6" "" "4" "" "6" "" "" "6" "4" }
3957 { "" "" "" "2" "" "" "" "" "" "2" } >
3963 ES: ligadura de prolongaci@'on,
3964 I: legatura (di valore),
3969 S: bindeb@aa{}ge, @"overbindning,
3973 A curved line, identical in appearance with the @aref{slur}, which
3974 connects two succesive notes of the same pitch, and which has the function of
3975 uniting them into a single sound equal to the combined durations.
3977 @lilypond[13pt,notime]
3978 \property Score.barNonAuto = ##t
3979 \notes\relative c'' { g2 ~ g4. }
3982 @aitem{time signature}
3983 ES: cifra indicadora de comp@'as,
3985 F: chiffrage (chiffres indicateurs), signe de valeur,
3986 D: Taktangabe, Angabe der Taktart,
3989 S: taktartssignatur,
4006 A sound of definite pitch and duration, as distinct from @emph{noise}.
4007 Tone is a primary building material of music.
4008 Music from the 20th century may be based on non tone related sounds.
4021 The first @aref{scale degree}.
4022 @aref{functional harmony}.
4024 @aitem{transposition}
4025 ES: transposici@'on,
4035 Shifting a melody up or down in pitch, while keeping the same
4041 \notes\relative c'' {
4043 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4051 \transpose c bes \relative c'' {
4053 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4060 I: chiave di violino,
4062 D: Violinschl@"ussel, Sopranschl@"ussel,
4064 DK:@w{ }diskantn@o{}gle,
4082 On stringed instruments (@aref{strings}) the quick reiteration of
4083 the same tone, produced by a rapid up-and-down movement movement of the bow
4084 (a). The term is also used for the rapid alternation (b) between two notes of
4085 a @aref{chord}, usually in the distance of a third
4088 @lilypond[13pt,notime]
4089 \property Score.barNonAuto = ##t
4090 \property Score.TextScript \set #'font-style = #'large
4091 \notes\relative c' {
4093 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4094 \repeat "tremolo" 8 { e32_"b" g }
4099 ES: tr@'{@dotless{i}}ada,
4101 F: triade, accord parfait, accord de trois sons,
4111 @aitemii{trill,shake}
4114 F: trille, tremblement, battement (cadence),
4124 @aitem{triple meter}
4125 ES: comp@'as compuesto,
4129 NL: driedelige maatsoort,
4151 ES: tr@'{@dotless{i}}tono,
4165 I: diapason, corista,
4174 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4175 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4177 @aitemii{turn,gruppetto}
4191 ES: un@'{@dotless{i}}sono,
4198 FI: unisono, yksi@"a@"anisesti,
4201 Playing of the same notes or the same melody by various instruments (voices)
4202 or by the whole orchestra (choir), either at exactly the same pitch or in a
4206 ES: entrada anacr@'usica,
4208 F: anacrouse, lev@'ee,
4216 Initial note(s) of a melody occurring before the first bar
4217 line. @aref{measure}, @aref{meter}.
4222 \notes\relative c' {
4223 \partial 4 f4 | bes4. a8 bes4 c |
4224 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
4235 FI: @"a@"ani, laulu@"a@"ani,
4238 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4239 @aref{contralto}, @aref{tenor},
4240 @aref{baritone}, @aref{bass}.
4241 2. A melodic layer or part of a polyphonic composition.
4245 I: tempo debole, arsi,
4247 D: unbetonter Taktteil oder Taktschlag,
4249 DK: ubetonet taktslag,
4250 S: obetonat taktslag,
4251 FI: tahdin heikko isku,
4254 @aref{beat}, @aref{measure}, @aref{rhythm}.
4261 D: Ganze, ganze Note,
4271 ES: silencio de redonda,
4272 I: pausa di semibreve,
4275 D: ganze Pause, ganztaktige Pause,
4295 The @aref{interval} of a major second. The interval between two
4296 tones on the piano keyboard with exactly one key between them -- including
4297 black and white keys -- is a whole tone.
4305 DK tr@ae{}bl@ae{}sere,
4306 S: tr@"abl@aa{}sare,
4310 A family of blown wooden musical instruments. Today some of these instruments
4311 are actually made from metal. The woodwind instruments commonly used in a
4312 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4319 @item DURATION NAMES, NOTES AND RESTS
4322 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4324 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4325 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4329 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4330 @tab longa @tab longa @tab longa @tab longa
4334 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4335 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4339 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4340 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4344 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4345 halve @tab halv @tab halv @tab puoli- @tab
4349 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4350 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4354 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4355 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4359 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4360 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4361 @tab kuudestoistaosa- @tab
4365 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4366 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4367 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4371 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4372 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4373 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4374 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4377 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4385 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4387 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4388 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4393 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4397 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4398 cis @tab cis @tab Cis @tab cis
4402 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4403 des @tab des @tab Des @tab des
4407 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4411 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4415 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4419 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4423 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4424 @tab as @tab As @tab as
4428 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4432 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4433 ais @tab ais @tab Ais @tab ais
4437 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4438 @tab b @tab B @tab b
4442 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4450 @item ---------------------
4454 @item Literature used
4455 The Harvard Dictionary of Music, London 1944. Many more or less literal
4456 quotes from its articles have been included into the item explanation texts.
4458 Hugo Riemanns Musiklexicon, Berlin 1929
4460 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4461 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.