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'
30 Copyright @copyright{} 1999--2004 by the authors
33 Permission is granted to copy, distribute and/or modify this document
34 under the terms of the GNU Free Documentation License, Version 1.1
35 or any later version published by the Free Software Foundation,
36 without Invariant Sections.
41 @c FIXME: multiple omfcreators?
43 @omfcreator Christian Mondrup
44 @omfdescription Glossary of musical terms with translations
46 @omfcategory Applications|Publishing
53 @chapter Music Glossary
64 @item Christian Mondrup
65 Original author of LilyPond glossary, Danish glossary,
68 @item Fran@,{c}ois Pinard
69 Original glossary of GNU music project, French glossary,
70 @item Han-Wen Nienhuys
72 @item Jan Nieuwenhuizen
77 English glossary translations,
79 Finnish glossary translations.
82 Copyright 1999--2004 by the authors
85 Permission is granted to copy, distribute and/or modify this document
86 under the terms of the GNU Free Documentation License, Version 1.1
87 or any later version published by the Free Software Foundation,
88 without Invariant Sections.
98 @c @everyheading @| @thispage @|
99 @c @evenheading @thispage @| @|
100 @c @oddheading @| @| @thispage @|
104 @tex $\\Rightarrow$ @end tex@c
117 We do not use refs for Info:
119 @w{@ar{}\word\}@c vs:
120 @w{@ar{}@pxref{\word\}}@c
122 they look too intrusive (says Han-Wen).
129 @w{@ar{}@strong{\word\}}@c
132 @ar{}@ref{\word\, @strong{\word\}}@c
140 @c If we want hypelinks, we must add anchors.
141 @c Hmm, we need the @achor command in the item description itself
142 @c (not before or after) to get mozilla jump to the right place.
145 @item \word\@anchor{\word\}
147 @macro aitemii{one,two}
148 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
150 @macro aitemiii{one,two,three}
151 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
161 @item UK - British English
168 This is an example reference, that points you to the @aref{accent}
193 FI: aksentti, korostus,
196 The stress of one tone over others.
198 @c F: how to distinguish between accidental and key-sig alteration?
202 I: alterazione, accidente,
204 D: Vorzeichen, Versetzungszeichen,
207 S: tillf@"alligt f@"ortecken,
208 FI: tilap@"ainen etumerkki,
211 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
212 @c Akzidenz, NL: toevallig teken, I: accidento.
214 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
215 by a @aref{whole tone}, a flat lowers it by a semitone and a double
216 flat lowers it by a whole tone. A natural cancels the effect of a previous
220 \set Score.automaticBars = ##f
221 %\override TextScript #'font-style = #'large
223 \context Staff \notes\relative c'' {
224 gis1 s s gisis s s ges s s geses s s g!
226 \context Lyrics \lyrics {
227 \override Lyrics .LyricText #'self-alignment-X = #-1
228 "sharp " "db. sharp " "flat " "db. flat " natural
235 F: accelerando, en acc@'el@'erant,
236 D: accelerando, schneller werden,
240 FI: accelerando, kiihdytt@"aen,
253 FI: adagio, hitaasti,
256 It. comfortable, easy.
257 1. Slow tempo, slower -- especially in even meter -- than
258 @aref{andante} and faster than @aref{largo}.
259 2. A movement in slow tempo, especially the second (slow) movement of
260 @aref{sonata}s, symphonies, etc.
266 D: Allegro, Schnell, Fr@"ohlich, Lustig,
270 FI: allegro, nopeasti,
273 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
274 especially the first and last movements of a @aref{sonata}.
284 FI: altto, matala nais@"a@"ani,
287 A female voice of low range (@emph{contralto}). Originally the alto was a high
288 male voice (hence the name) which by the use of falsetto reached the height of
289 the female voice. This type of voice is also known as @aref{counter
293 ES: clave de do en tercera,
294 I: chiave di contralto,
295 F: clef d'ut troisi@`eme ligne,
296 D: Altschl@"ussel, Bratschenschl@"ussel,
303 C clef setting central C on the middle line of the staff
314 FI: ambitus, @"a@"aniala, soitinala,
317 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.
319 @aitem{ancient minor scale}
320 I: scala minore naturale,
321 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
323 NL: authentieke mineurtoonladder,
326 FI: luonnollinen molliasteikko,
330 \set Score.automaticBars = ##f
331 \notes\relative c'' {
343 FI: andante, k@"ayden,
346 Walking tempo/character.
351 F: appogiature, (port de voix),
356 FI: appoggiatura, etuhele,
359 Ornamental note, usually a second, that is melodically connected with the main
360 note that follows it. In music before the 19th century a. were usually
361 performed on the beat, after that mostly before the beat. While the short
362 a. is performed as a short note regardless of the duration of the main note
363 the duration of the long a. is proportional to that of the main note.
366 \context Voice \notes\relative c'' {
370 %\override Score.TextScript #'font-style = #'large
371 <d a fis>4_"notation" r
372 { \override Stem #'flag-style = #'()
374 \revert Stem #'flag-style
377 { \override Stem #'flag-style = #'()
379 \revert Stem #'flag-style
382 \cadenzaOn a4 \bar "||" \cadenzaOff }
383 \notes\relative c'' {
384 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
385 \cadenzaOn a4 \bar "||" \cadenzaOff }
388 An appoggiatura may have more notes preceding the main note.
391 \notes\relative c'' {
394 % \override Score.TextScript #'font-style = #'large
395 \grace { bes16 } as8_"notation" as16 bes as8 g |
396 \grace { as16[( bes] } < c as >4-)
397 \grace { as16[( bes] } < c as >4-) \bar "||"
398 \grace { bes16 } as8_"performance" as16 bes as8 g |
399 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
400 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
409 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
411 DK: arpeggio, akkordbrydning,
413 FI: arpeggio, murtosointu,
417 \notes \context PianoStaff <<
418 \context Staff = SA \relative c'' {
421 r8 g16 c e g, c e r8 g,16 c e g, c e |
422 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
423 \context Staff = SB \relative c' {
425 << \context Voice = va {
427 r16 e8. ( e4) r16 e8. ( e4) |
428 r16 d8. ( d4) r16 d8. ( d4) }
429 \context Voice = vb {
436 @aitem{ascending interval}
437 ES: Intervalo ascendente,
438 I: intervallo ascendente,
439 F: intervalle ascendant,
440 D: steigendes Intervall,
441 NL: stijgend interval,
442 DK:@w{ }stigende interval,
443 S: stigande intervall,
444 FI: nouseva intervalli,
447 A distance between a starting lower note and a higher ending note.
449 @aitem{augmented interval}
450 ES: intervalo aumentado,
451 I: intervallo aumentato,
452 F: intervalle augment@'e,
453 D: @"uberm@"a@ss{}iges Intervall,
454 NL: overmatig interval,
455 DK: forst@o{}rret interval,
456 S: @"overstigande intervall,
457 FI: ylinouseva intervalli,
465 D: Autograph, Handschrift,
467 DK: h@aa{}ndskrift, autograf,
469 FI: k@"asinkirjoitettu nuotti,
472 1. A manuscript in the composer's own hand.
473 2. Music prepared for photoreproduction by freehand drawing,
474 with only the aid of a straightedge ruler and T-square,
475 which attempts to emulate engraving.
476 This required more skill than did engraving.
489 @aitemii{backfall,forefall}
494 I: stanghetta, barra (di divisione),
495 F: barre (de mesure),
504 ES: comp@'as, @aref{measure}.
507 ES: bar@'{@dotless{i}}tono,
514 FI: baritoni, keskikorkuinen mies@"a@"ani,
517 The male voice intermediate between the @aref{bass} and the
520 @c F: clef de troisi@`eme ligne dropped
522 @aitem{baritone clef}
523 ES: clave de fa en tercera,
524 I: chiave di baritono,
525 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
526 D: Baritonschl@"ussel,
533 C or F clef setting central C on the upper staff line.
534 @aref{C clef}, @aref{F clef}.
537 ES: clave de fa en cuarta,
539 F: cl@'e de fa quatri@`eme ligne,
547 A clef setting with central C on the first top ledger line.
557 FI: basso, matala mies@"a@"ani,
560 1. The lowest of men's voices.
561 2. Sometimes, especially in jazz music, used as
562 an abbreviation for double bass.
575 Line connecting a series of notes (shorter than a quarter note).
576 The number of beams determine the note value of the connected notes.
579 \set Score.automaticBars = ##f
580 %\override TextScript #'font-style = #'large
581 \notes\relative c'' {
583 g16_"1/16"[ g g g] s16
584 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
585 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
592 D: Takt, Taktschlag, Zeit (im Takt),
599 Note value used for counting, most often half-, fourth-, and eighth notes.
600 The base counting value and the number of them per measure is indicated at
601 the start of the music.
606 \notes\relative c'' { g4 c b a | g1 \bar "||"}
608 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
618 D: Klammer, Akkolade,
619 NL: accolade, teksthaak,
622 FI: yhdist@"av@"a sulkumerkki,
625 Symbol at the start of a system connecting staves. Curly braces are used
626 for connecting piano staves, angular brackets for connecting parts in an
627 orchestral or choral score.
630 \notes\context GrandStaff <<
631 \relative c''\context Staff = SA { \clef treble g4 e c2 }
632 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
636 \context StaffGroup <<
637 % \set StaffGroup.minVerticalAlign = #12
638 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
639 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
648 DK: messingbl@ae{}sere,
649 S: brassinstrument, m@"assingsinstrument,
653 A family of blown musical instruments made of brass all using a cup formed
654 mouth piece. The brass instruments commonly used in a symphony orchestra are
655 trumpet, trombone, french horn, and tube.
660 D: Atemzeichen, Trennungszeichen,
661 NL: repercussieteken,
662 DK: vejrtr@ae{}kningstegn,
667 Indication of where to breathe in vocal and wind instrument parts.
680 @aref{note value} twice as long as a whole note. Mainly used
684 \set Score.automaticBars = ##f
685 \notes\relative c'' { g\breve }
710 Clef symbol indicating the position of the central C. Used on all note
714 \set Score.automaticBars = ##f
715 \override Score.Clef #'full-size-change = ##t
716 %\override Score.LyricText #'font-style = #'large
718 \context Staff \notes\relative c' {
720 \clef mezzosoprano c s s
725 \context Lyrics \lyrics {
726 \override Lyrics .LyricText #'self-alignment-X = #-1
727 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
739 FI: kadenssi, lopuke,
742 @aref{harmonic cadence}, @aref{functional harmony}.
752 FI: kadenssi, lopuke,
755 An extended, improvisatory style section inserted near the end of
756 movement. The purpose of a cadenza is to give the singer or player a chance to
757 exhibit her technichal skill and not the least her ability to improvise. Since
758 the middle of the 19th century, however, most cadences have been written down
769 FI: kaanon, tarkka j@"aljittely,
782 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
785 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
786 equally tempered @aref{semitone}).
787 @aref{equal temperament}.
803 Three or more tones sounding simultaneously. In traditional European music the
804 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
805 minor @aref{third}) as well as @emph{minor} (minor + major third)
806 chords may be extended with more thirds. Four-tone @emph{seventh chords}
807 and five-tone @emph{ninth} major chords are most often used as dominants
808 (@aref{functional harmony}). A special case is chords having no
809 third above the lower notes to define their quality as major or minor. Such
810 chords are denoted open chords
813 \set Score.automaticBars = ##f
814 %\override TextScript #'font-style = #'large
816 \context Staff \notes\relative c'' {
824 \context Lyrics \lyrics{
825 \override Lyrics .LyricText #'self-alignment-X = #-1
826 "major " "minor " "diminished " "augmented "
827 "seventh-chord " "ninth-chord "
831 @aitem{chromatic scale}
832 ES: escala crom@'atica,
834 F: gamme chromatique,
835 D: chromatische Tonleiter,
836 NL: chromatische toonladder,
839 FI: kromaattinen asteikko,
842 A scale consisting of all 11 @aref{semitone}s.
845 \set Score.automaticBars = ##f
846 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
860 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
862 @aitemii{church mode,ecclesiastical mode}
863 ES: modo eclesi@'astico,
864 I: modo ecclesiastico,
865 F: mode eccl@'esiastique,
870 FI: moodi, kirkkos@"avellaji,
873 @aref{diatonic scale}.
879 D: Schl@"ussel, Notenschl@"ussel,
883 FI: avain, nuottiavain,
886 @aref{C clef}, @aref{F clef}, @aref{G clef}.
895 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
898 Difference in pitch between a note derived from pure tuning and the same note
899 derived from some other tuning method. @aref{temperament}.
904 @aitem{compound interval}
905 ES: intervalo compuesto,
906 I: intervallo composto,
907 F: intervalle compos@'e,
909 NL: samengesteld interval,
910 DK: sammensat interval,
911 S: sammansatt intervall,
912 FI: oktaavia laajempi intervalli,
915 Intervals larger than an octave.
921 F: intervalle compl@'ementaire,
922 D: Komplement@"arintervall,
923 NL: complementair interval,
924 DK: komplement@ae{}rinterval,
925 S: komplement@"arintervall (?),
926 FI: t@"aydent@"av@"a intervalli,
929 @aref{inverted interval}.
931 @aitem{conjunct movement}
932 ES: movimiento conjunto,
934 F: mouvement conjoint,
935 D: schrittweise, stufenweise Bewegung,
936 NL: stapsgewijze, trapsgewijze beweging,
937 DK: trinvis bev@ae{}gelse,
938 S: stegvis r@"orelse,
939 FI: asteittainen liike,
942 Melody moving in the narrow steps of the scale.
945 \key g \major \time 4/4
946 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
957 FI: konsonanssi, sopusointi,
983 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
986 From latin @emph{punctus contra punctum}, note against note. The combination
987 into a single musical fabric of lines or parts which have distinct melodic
988 significance. A frequently used polyphonic technique is imitation, in its
989 strictest form found in the canon needing only one part to be written down
990 while the other parts are performed with a given displacement. Imitation is
991 also the contrapunctal technique used in the @emph{fugue} which, since the
992 music of the baroque era, has been one of the most popular polyphonic
995 @lilypond[staffsize=11,noquote]
996 \override Score.TimeSignature #'style =\turnOff
997 \notes\context PianoStaff <<
998 \context Staff = SA \relative c' {
1002 << \context Voice = rha {
1004 r1 | r2 r8 g'8 bes d, |
1005 cis4 d r8 e!16 f g8 f16 e |
1006 f8 g16 a bes8 a16 g a8
1008 \context Voice = rhb {
1014 \context Staff = SB \relative c' {
1017 << \context Voice = lha {
1019 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1020 r8 a16 g f8 g16 a bes8 g e! cis' |
1023 \context Voice = lhb {
1031 @aitem{counter tenor}
1038 S: kontratenor, counter tenor,
1044 @aitem{Copying, Music}
1045 A music copyist did fast freehand scores and parts on preprinted staff lines
1046 for performance. Some of their conventions (e.g., the placement of noteheads
1047 on stems) varied slightly from those of engravers. Some of their working
1048 methods were superior and could well be adopted by music typesetters. This
1049 required more skill than engraving.
1055 D: Crescendo, lauter werden,
1059 FI: cresendo, voimistuen,
1062 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1063 abbreviation ``cresc.''.
1066 \key g \major \time 4/4
1067 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1073 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1081 In a separate part notes belonging to another part with the purpose of hinting
1082 when to start playing. Usually printed in a smaller type.
1086 A custos is a staff symbol that appears at the end of a staff line
1087 with monophonic musical contents (i.e. with a single voice). It
1088 anticipates the pitch of the first note of the following line and thus
1089 helps the player or singer to manage line breaks during performance,
1090 thus enhancing readability of a score.
1092 Custodes were frequently used in music notation until the 16th
1093 century. There were different appearences for different notation
1094 styles. Nowadays, they have survived only in special forms of musical
1095 notation such as via the editio vaticana dating back to the beginning
1101 \override Staff.Custos #'neutral-position = #4
1102 \override Staff.Custos #'neutral-direction = #-1
1103 \override Staff.Custos #'adjust-if-on-staffline = ##t
1105 \override Staff.Custos #'style = #'hufnagel
1107 \break < d' a' f''>1
1112 \consists Custos_engraver
1133 F: da capo, depuis le commencement,
1134 D: da capo, von Anfang,
1138 FI: da capo, alusta,
1141 The term indicates repetition of the piece from the beginning to the end or to
1142 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1147 F: dal segno, depuis le signe,
1152 FI: dal segno, merkkiin asti,
1155 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1156 another place frequently near the beginning marked by a sign:
1159 %\override TextScript #'font-style = #'large
1160 \override TextScript #'font-shape = #'italic
1161 \key g \major \time 4/4
1162 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1168 D: Decrescendo, leiser werden,
1172 FI: decresendo, hiljentyen,
1175 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1176 or the abbreviation ``decresc.''.
1179 \notes\relative c'' {
1180 \key g \major \time 4/4
1181 d4 \> c b a | g1 \! \bar "|."
1185 @aitem{descending interval}
1186 ES: intervalo descendente,
1187 I: intervallo discendente,
1188 F: intervalle descendant,
1189 D: fallendes Intervall, absteigendes Intervall,
1190 NL: dalend interval,
1191 DK: faldende interval,
1192 S: fallande intervall,
1193 FI: laskeva intervalli,
1196 A distance between a starting higher note and a lower ending note.
1198 @aitem{diatonic scale}
1199 ES: escala diat@'onica,
1201 F: gamme diatonique,
1202 D: diatonische Tonleiter,
1203 NL: diatonische toonladder,
1204 DK: diatonisk skala,
1206 FI: diatoninen asteikko,
1209 A scale consisting of 5@w{ }@aref{whole tone}s and
1210 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1211 of a piano keybord are diatonic.
1213 The church modes are used in gregorial chant and pre baroque early music but
1214 also to some extent in newer jazz music.
1216 @lilypond[notime,linewidth=110\mm]
1217 \set Score.automaticBars = ##f
1218 %\override Score.LyricText #'font-style = #'large
1219 %\override Score.TextScript #'font-style = #'large
1221 \context Staff \notes\relative c' {
1223 \override TextScript #'padding = #-4
1224 e^"~~ S" f g a b^"~~ S" c
1226 \context Lyrics \lyrics {
1232 \set Score.automaticBars = ##f
1233 %\override Score.LyricText #'font-style = #'large
1234 %\override Score.TextScript #'font-style = #'large
1236 \context Staff \notes\relative c' {
1238 \override TextScript #'padding = #-4
1239 e^"~~ S" f g a b^"~~ S" c d
1241 \context Lyrics \lyrics {
1247 \set Score.automaticBars = ##f
1248 %\override Score.LyricText #'font-style = #'large
1249 %\override Score.TextScript #'font-style = #'large
1251 \notes\relative c' {
1252 \override TextScript #'padding = #-4
1253 e1^"~~ S" f g a b^"~~ S" c d e
1255 \context Lyrics \lyrics {
1261 \set Score.automaticBars = ##f
1262 %\override Score.LyricText #'font-style = #'large
1263 %\override Score.TextScript #'font-style = #'large
1265 \notes\relative c' {
1267 \override TextScript #'padding = #-4
1268 b^"~~ S" c d e^"~~ S" f
1270 \context Lyrics \lyrics {
1276 \set Score.automaticBars = ##f
1277 %\override Score.LyricText #'font-style = #'large
1278 %\override Score.TextScript #'font-style = #'large
1280 \notes\relative c'' {
1282 \override TextScript #'padding = #-4
1283 b^"~~ S" c d e^"~~ S" f g }
1284 \context Lyrics \lyrics {
1290 \set Score.automaticBars = ##f
1291 %\override Score.LyricText #'font-style = #'large
1292 %\override Score.TextScript #'font-style = #'large
1294 \notes\relative c'' {
1296 \override TextScript #'padding = #-4
1297 b^"~~ S" c d e^"~~ S" f g a
1299 \context Lyrics \lyrics {
1304 From the beginning of the 17th century the scales used in European
1305 compositional music are primarily the major and the minor scales. In the
1306 harmonic minor scale type an augmented second (A) occurs between the 6th and
1310 \set Score.automaticBars = ##f
1311 %\override Score.LyricText #'font-style = #'large
1312 %\override Score.TextScript #'font-style = #'large
1314 \notes\relative c' {
1316 \override TextScript #'padding = #-4
1317 e^"~~ S" f g a b^"~~ S" c
1319 \context Lyrics \lyrics {
1325 \set Score.automaticBars = ##f
1326 %\override Score.LyricText #'font-style = #'large
1327 %\override Score.TextScript #'font-style = #'large
1329 \notes\relative c'' {
1331 \override TextScript #'padding = #-4
1332 b^"~~ S" c d e^"~~ S" f g a
1334 \context Lyrics \lyrics {
1340 \set Score.automaticBars = ##f
1341 %\override Score.LyricText #'font-style = #'large
1342 %\override Score.TextScript #'font-style = #'large
1344 \notes\relative c'' {
1346 \override TextScript #'padding = #-4
1347 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1349 \context Lyrics \lyrics {
1355 \set Score.automaticBars = ##f
1356 %\override Score.LyricText #'font-style = #'large
1357 %\override Score.TextScript #'font-style = #'large
1359 \notes\relative c'' {
1361 \override TextScript #'padding = #-4
1362 b^"~~ S" c d e fis gis^"~~ S"
1363 a g! f!^"~~ S" e d c^"~~ S" b a
1365 \context Lyrics \lyrics {
1370 @aitem{diminished interval}
1371 ES: intervalo disminu@'{@dotless{i}}do,
1372 I: intervallo diminuito,
1373 F: intervalle diminu@'e,
1374 D: vermindertes Intervall,
1375 NL: verminderd interval,
1376 DK: formindsket interval,
1377 S: f@"orminskat intervall,
1378 FI: v@"ahennetty intervalli,
1391 FI: diminuendo, hiljentyen,
1396 @aitem{disjunct movement}
1397 ES: movimiendo disjunto,
1399 F: mouvement disjoint,
1400 D: sprunghafte Bewegung,
1401 NL: sprongsgewijze beweging,
1402 DK: springende bev@ae{}gelse,
1403 S: hoppande r@"orelse,
1404 FI: melodian hyppiv@"a liike,
1407 Melody moving in steps greater than those of the
1408 scale. Opposite of @aref{conjunct movement}.
1413 \notes\relative c' {
1415 a4. gis8 b a e cis |
1416 fis2 d4. \bar "||" }
1419 @aitemii{dissonant interval,dissonance}
1420 ES: intervalo disonante, disonancias,
1421 I: intervallo dissonante, dissonanza,
1424 NL: dissonant interval; dissonant,
1425 DK: dissonerende interval, dissonans,
1427 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1432 @aitem{dominant ninth chord}
1433 I: accordo di nona di dominante,
1434 F: accord de neuvi@`eme dominante,
1435 D: Dominantnoneakkord,
1436 NL: dominant noon akkoord,
1437 DK: dominantnoneakkord,
1438 S: dominantnonackord,
1439 FI: dominanttinoonisointu,
1442 @aref{chord}, @aref{functional harmony}.
1444 @aitem{dominant seventh chord}
1445 ES: acorde de s@'eptima de dominante,
1446 I: accordo di settima di dominante,
1447 F: accord de septi@`eme dominante,
1448 D: Dominantseptakkord,
1449 NL: dominant septiem akkoord,
1450 DK: dominantseptimakkord,
1451 S: dominantseptimackord,
1452 FI: dominanttiseptimisointu,
1455 @aref{chord}, @aref{functional harmony}.
1465 FI: dominantti, huippusointu,
1468 The fifth @aref{scale degree},
1469 @aref{functional harmony}.
1475 D: dorisch, dorischer Kirchenton,
1476 NL: dorische toonladder,
1482 @aref{diatonic scale}.
1484 @aitem{dot (augmentation dot)}
1486 I: punto (di valore),
1488 D: Punkt (Verl@"angerungspunkt),
1498 ES: nota con puntillo,
1502 NL: gepuncteerde noot,
1505 FI: pisteellinen nuotti,
1510 @aitem{double appoggiatura}
1511 ES: apoyatura doble,
1512 I: appoggiatura doppia,
1513 F: appoggiature double,
1514 D: doppelter Vorschlag,
1515 NL: dubbele voorslag,
1516 DK: dobbelt forslag,
1518 FI: kaksoisappogiatura, kaksoisetuhele,
1521 @aref{appoggiatura}.
1523 @aitem{double bar line}
1527 NL: dubbele maatstreep,
1530 FI: kaksoistahtiviiva,
1533 Indicates the end of a section within a movement.
1535 @aitem{double dotted note}
1536 ES: nota con dos puntillos,
1537 I: nota doppiamente puntata,
1538 F: note doublement point@'ee,
1539 D: doppelt punktierte Note,
1540 NL: dubbelgepuncteerde noot,
1541 DK: dob@-belt@-punk@-te@-ret node,
1542 S: dub@-bel@-punk@-te@-rad not,
1543 FI: kaksoispisteellinen nuotti,
1556 FI: kaksoisalennusmerkki,
1561 @aitem{double sharp}
1562 ES: doble sostenido,
1567 DK: dob@-belt@-kryds,
1569 FI: kaksoisylennysmerkki,
1574 @aitem{double trill}
1579 NL: dubbele triller,
1585 A simultaneous trill on two notes, usually in the distance of a third.
1592 NL: tweedelige maatsoort,
1621 FI: kesto, aika-arvo,
1626 @aitem{dydimic comma}
1627 @aref{syntonic comma}.
1645 D: Achtel, Achtelnote,
1647 DK: ottendedelsnode,
1648 S: @aa{}ttondelsnot,
1649 FI: kahdeksasosanuotti,
1655 ES: silencio de corchea,
1661 DK: ottendedelspause,
1662 S: @aa{}ttonddelspaus,
1663 FI: kahdeksasosatauko,
1672 D: Notenstechen, Notendruck
1679 Engraving means incising or etching a metal plate for
1680 printing. Photoengraving means drawing music with ink in a manner
1681 similar to drafting or engineering drawing, using similar tools.
1683 The traditional process of music printing is done through cutting in a
1684 plate of metal. Now also the term for the art of music typesetting.
1697 Two notes, intervals, or scales are enharmonic if they have different names
1701 \set Score.automaticBars = ##f
1702 %\override Score.TextScript #'font-style = #'large
1704 \context Staff \notes\relative c'' {
1705 gis1 s s as s s <des g,!> s s <cis g!> s s
1707 \context Lyrics \lyrics {
1708 \override Lyrics .LyricText #'self-alignment-X = #-1
1709 "g sharp " "a flat " "dim fifth " "augm fourth"
1713 @aitem{equal temperament}
1715 I: temperamento equabile,
1716 F: temp@'erament @'egal,
1717 D: gleichschwebende Stimmung,
1718 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1719 DK: ligesv@ae{}vende temperatur,
1720 S: liksv@"avande temperatur,
1724 Tuning system dividing the octave into 12 equal @aref{semitone}s
1725 (precisely 100 @aref{cent}s). @aref{temperament}.
1727 @aitem{expression mark}
1729 I: segno d'espressione,
1730 F: signe d'expression, indication de nuance,
1732 NL: voordrachtsteken,
1733 DK: foredragsbetegnelse,
1734 S: f@"oredragsbeteckning,
1735 FI: nyanssiosoitus, esitysmerkki,
1738 Performance indications concerning 1. volume, dynamics (for example
1739 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1740 @aref{andante}, @aref{allegro}).
1764 The position between the dots of the key symbol is the line of the F below
1765 central@w{ }C. Used on the third, fourth and fifth note line. A
1766 digit@w{ }8 above the clef symbol indicates that the notes must be played
1767 an octave higher (for example bass recorder) while 8@w{ }below the clef
1768 symbol indicates playing an octave lower (for example on double bass
1772 \set Score.automaticBars = ##f
1773 \override Staff.Clef #'full-size-change = ##t
1774 %\override Score.LyricText #'font-style = #'large
1788 \context Lyrics \lyrics {
1789 \override Lyrics .LyricText #'self-alignment-X = #-1
1798 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1803 F: point d'orgue, point d'arr@^et,
1808 FI: fermaatti, pid@"ake,
1811 Prolonged note or rest of indefinite duration.
1815 \notes\relative c'' {
1816 a4 b c2^\fermata \bar "|."
1833 @aitem{figured bass}
1834 ES: bajo cifrado, @aref{thorough bass}.
1842 DK: fingers@ae{}tning,
1843 S: fingers@"attning,
1847 The methodical use of fingers in the playing of instruments.
1849 @aitem{flag,pennant}
1851 I: coda (uncinata), bandiera,
1853 D: Fahne, F@"ahnchen,
1860 Ornament at the end of the stem of a note used for notes with values
1861 less than a quarter note. The number of flags determines the
1865 \set Score.automaticBars = ##f
1866 %\override Score.TextScript #'font-style = #'large
1867 \notes\relative c'' {
1888 @aitemii{forefall,backfall}
1889 @aref{appoggiatura}.
1899 FI: forte, voimakkaasti,
1902 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1903 @emph{mezzoforte} (@b{mf}) medium loud.
1929 @aref{counterpoint}.
1931 @aitem{functional harmony}
1932 ES: armon@'{@dotless{i}}a funcional,
1933 I: armonia funzionale,
1934 F: @'etude des functions,
1936 NL: functionele harmonie,
1937 DK: funktionsanalyse, funktionsharmonik,
1939 FI: harmoniaj@"arjestelm@"a,
1942 A system of harmonic analysis. It is based on the idea that, in a given key,
1943 there are only three functionally different chords: tonic (T, the chord on the
1944 first note of the scale), subdominant (S, the chord on the fourth note), and
1945 dominant (D, the chord on the fifth note). Other are considered to be
1946 variants of the base chords.
1949 \set Score.automaticBars = ##f
1950 %\override Score.LyricText #'font-style = #'large
1951 %\override Score.TextScript #'font-style = #'large
1953 \context Voice \notes\relative c'' {
1954 <g e c >1 < a f d > < b g e >
1955 <c a f > < d b g > < e c a > < f d b > }
1956 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1974 D: G-Schl@"ussel, Violinschl@"ussel,
1981 A clef symbol indicating the G above central@w{ }C. Used on the first
1982 and second note lines. A digit 8 above the clef symbol indicates that
1983 the notes must be played an octave higher while 8 below the clef symbol
1984 indicates playing or singing an octave lower (most tenor parts in choral
1985 scores are notated like that).
1988 \set Score.automaticBars = ##f
1989 \override Staff.Clef #'full-size-change = ##t
1990 %\override Score.LyricText #'font-style = #'large
1992 \notes\relative c'' {
2002 \context Lyrics \lyrics {
2003 \override Lyrics .LyricText #'self-alignment-X = #-1
2004 "french violin clef "
2019 FI: glissando, liukuen,
2022 Letting the pitch slide fluently from one note to the other.
2028 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
2035 Notes printed in small types to indicate that their time values are not
2036 counted in the rhythm of the bar. @aref{appoggiatura}.
2044 S: ackolad, b@"ojd klammer,
2045 FI: kaksoisnuottiviivasto,
2050 A combination of two staves with a brace. Usually used for piano music.
2060 FI: grave, raskaasti,
2070 D: Halbe, halbe Note,
2093 @aitem{harmonic cadence}
2094 ES: cadencia (arm@'onica),
2095 I: cadenza (armonica),
2096 F: cadence harmonique,
2098 NL: harmonische cadens,
2099 DK: harmonisk kadence,
2100 S: (harmonisk) kadens,
2101 FI: harmoninen kadenssi,
2104 Sequence of chords that terminate a musical phrase or
2105 section. @aref{functional harmony}.
2108 \notes\context PianoStaff <<
2109 \context Staff = SA \relative c'' {
2113 \partial 4 < c g e >4 |
2114 < c a f > < b g d > < c g e >2
2116 % %\override Score.LyricText #'font-style = #'large
2118 \context Staff = SB \relative c {
2120 \partial 4 c4 | f, g c2
2123 \context Lyrics \lyrics {
2130 ES: armon@'{@dotless{i}}a,
2133 D: Harmonie, Zusammenklang,
2137 FI: harmonia, yhteissointi,
2140 Tones sounding simultaneously. Two note harmonies fall into the categories
2141 @emph{consonances} and @emph{dissonances}.
2146 \set Score.automaticBars = ##f
2147 %\override Score.TextScript #'font-style = #'large
2148 \context Voice \notes\relative c'' {
2162 \set Score.automaticBars = ##f
2163 %\override Score.TextScript #'font-style = #'large
2164 \context Voice \notes\relative c'' {
2165 <g a>1_"second " s s
2166 <g f'>_"seventh " s s
2171 Three note harmony @aref{chord}.
2174 ES: homofon@'{@dotless{i}}a,
2181 FI: homofonia, yksi@"a@"anisyys,
2184 Music in which one voice leads melodically followed by the other voices more
2185 or less in the same rhythm. In contrast to @aref{polyphony}.
2195 FI: intervalli, kahden s@"avelen korkeusero,
2198 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2199 diminished, or augmented. The augmented fourth and the diminished fifth are
2200 identical (@aref{enharmonic}) and are called @emph{tritonus}
2201 because they consist of three @aref{whole tone}s. The addition
2202 of such two forms an octave.
2205 \set Score.automaticBars = ##f
2206 %\override Score.LyricText #'font-style = #'large
2207 %\override Score.TextScript #'font-style = #'large
2209 \context Voice \notes\relative c'' {
2214 < gis bes >^"dimin" s
2215 < g! bes >^"minor" s
2219 \context Lyrics \lyrics {
2220 "unisone " "second " "second " "second "
2221 "third " "third " "third " "third "
2226 \set Score.automaticBars = ##f
2227 %\override Score.LyricText #'font-style = #'large
2228 %\override Score.TextScript #'font-style = #'large
2230 \context Staff \notes\relative c'' {
2233 < g d' >^"perfect" s
2235 < gis es' >^"dimin" s
2236 < g! es' >^"minor" s
2240 \context Lyrics \lyrics {
2241 "fourth " "fourth " "fifth " "fifth "
2242 "sixth " "sixth " "sixth " "sixth "
2247 \set Score.automaticBars = ##f
2248 %\override Score.LyricText #'font-style = #'large
2249 %\override Score.TextScript #'font-style = #'large
2251 \context Staff \notes\relative c'' {
2252 < gis f'! >1^"dimin" s
2253 < g! f'! >^"minor" s
2254 < g fis' >^"major" s
2258 < g bes' >^"minor" s
2261 \context Lyrics \lyrics {
2262 "seventh " "seventh " "seventh " "octave "
2263 "none " "none " "decime " "decime "
2267 @aitem{inverted interval}
2268 ES: intervalo invertido,
2269 I: intervallo rivolto,
2270 F: intervalle revers@'e,
2271 D: umgekehrtes Intervall,
2272 NL: interval inversie,
2273 DK: omvendingsinterval,
2274 S: intervallets omv@"andning,
2275 FI: k@"a@"anteisintervalli,
2278 The difference between an interval and an octave.
2281 \set Score.automaticBars = ##f
2282 %\override Score.TextScript #'font-style = #'large
2283 \context Staff \notes\relative c'' {
2284 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2285 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2286 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2290 @aitem{just intonation}
2291 I: intonazione giusta,
2292 F: intonation juste,
2300 Tuning system in which the notes are obtained by adding and subtracting
2301 natural fifths and thirds. @aref{temperament}.
2314 According to the 12@w{ }tones of the @aref{chromatic scale}
2315 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2316 @aref{key signature}.
2318 @aitem{key signature}
2319 ES: armadura de clave,
2320 I: armatura di chiave,
2321 F: armure, armature [de la cl@'e],
2322 D: Vorzeichen, Tonart,
2323 NL: toon@-soort (voortekens),
2326 FI: s@"avellajiosoitus,
2329 The sharps or flats appearing at the beginning of each staff indicating the
2330 key of the music. @aref{accidental}.
2336 D: Largo, Langsam, Breit,
2340 FI: largo, hitaasti, leve@"asti,
2343 Very slow in tempo, usually combined with great
2344 expressiveness. @emph{Larghetto} is less slow than largo.
2346 @aitem{leading note}
2357 The seventh @aref{scale degree}, a @aref{semitone} below
2358 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2359 upwards) to the tonic scale degree.
2361 @aitemii{ledger line,leger line}
2362 ES: l@'{@dotless{i}}neas adicionales,
2363 I: tagli addizionali,
2364 F: ligne suppl@'ementaire,
2367 DK: hj@ae{}lpelinie,
2372 A ledger line is an extension of the staff.
2375 \set Score.automaticBars = ##f
2376 \notes\relative c'' { a,1 s c'' }
2390 To be performed (a) without any perceptible interruption between the notes
2391 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2392 (d) @aref{staccato}.
2395 \set Score.automaticBars = ##f
2397 \context Staff \notes\relative c'' {
2398 c4-( d e-) \bar "||"
2399 c4-- d-- e-- \bar "||"
2400 c4-.-( d-. e-.-) \bar "||"
2401 c4-. d-. e-. \bar "||"
2403 \context Lyrics \lyrics {
2404 % \override Lyrics .LyricText #'font-style = #'large
2412 @aitem{legato curve}
2413 @aref{slur}, @aref{legato}.
2416 ES: estanque de lilas,
2417 I: stagno del giglio,
2421 NL: le@-lie@-vij@-ver,
2427 A pond with lilies floating in it, also the name of a music typesetter.
2430 ES: l@'{@dotless{i}}nea,
2433 D: Linie, Notenlinie,
2437 FI: viiva, nuottiviiva,
2442 @aitem{long appoggiatura}
2443 ES: apoyatura larga,
2444 I: appoggiatura lunga,
2445 F: appoggiature longue,
2446 D: langer Vorschlag,
2449 S: l@aa{}ngt f@"orslag,
2450 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2453 @aref{appoggiatura}.
2466 Note value: double length of @aref{breve}.
2470 \set Score.automaticBars = ##f
2471 \notes\relative c'' {
2472 \override NoteHead #'style = #'mensural
2477 @aitemii{lyrics,song texts}
2488 @aitem{major interval}
2489 ES: intervalo mayor,
2490 I: intervallo maggiore,
2491 F: intervalle majeur,
2492 D: gro@ss{}es Intervall,
2496 FI: suuri intervalli,
2512 @aref{diatonic scale}.
2514 @aitem{meantone temperament}
2515 I: accordatura mesotonica,
2516 F: temp@'erament m@'esotonique,
2517 D: mittelt@"onige Stimmung,
2518 NL: middenstemming, middentoonstemming,
2519 DK: middeltonetemperatur,
2520 S: medeltonstemperatur,
2521 FI: keskis@"avelviritys,
2524 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2525 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2526 @aref{temperament} only a limited set of keys are playable.
2527 Used for tuning keyboard instruments for performance of pre-1650 music.
2529 @aitem{measure, bar}
2540 A group of @aref{beat}s (units of musical time) the first of which
2541 bears an accent. Such groups in numbers of two or more recur consistently
2542 throughout the composition and are marked from each other by
2543 bar-lines. @aref{meter}.
2547 I: mediante, modale,
2556 1. The third @b{scale degree}.
2557 2. A @aref{chord} having its base tone
2558 a third from that of another chord. For example, the tonic chord may be
2559 replaced by its lower mediant (variant tonic). @aref{functional
2560 harmony}, @aref{relative key}.
2565 FI: melisma, laulettavan tavun s@"avelkuvio,
2567 A melisma (plural: melismata) is a group of notes or tones sung on one
2568 syllable in plainsong
2570 @aitem{melodic cadence}
2576 F: indication de m@'esure,
2584 The basic scheme of @aref{note value}s and
2585 @aref{accent}s which remains unaltered throughout a composition
2586 or a section of it. For instance, 3/4 meter means that the basic
2587 @aref{note value}s are quarter notes and that a
2588 @aref{measure} consists of three of those. According to
2589 whether there are two, three or four units to the measure,
2590 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2591 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2594 \notes\relative c'' {
2597 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2601 \notes\relative c' {
2604 f8 f f f a16 g a f |
2605 c'8 c c c e16 d e c \bar "||"}
2609 \notes\relative c'' {
2612 d4 b8 g b d d c a4 |
2613 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2627 Device indicating the exact tempo of a piece. @aref{metronomic
2630 @aitem{metronomic indication}
2631 ES: indicaci@'on metron@'omica,
2632 I: indicazione metronomica,
2633 F: indication m@'etronomique,
2635 NL: metronoom aanduiding,
2637 S: metronomangivelse,
2638 FI: metronomiosoitus,
2641 Exact tempo indication (in beats per minute). Also denoted by
2642 M.M. (M@"alzels Metronom).
2644 @aitem{mezzo-soprano}
2655 The female voice between @aref{soprano} and
2662 D: eingestrichenes@w{ }c,
2664 DK: enstreget@w{ }c,
2665 S: ettstruket@w{ }c,
2669 First C below the 440 Hz A.
2672 \set Score.automaticBars = ##f
2673 \override Staff.Clef #'full-size-change = ##t
2674 \notes\relative c' {
2692 @aref{diatonic scale}.
2694 @aitem{minor interval}
2695 ES: intervalo mayor,
2696 I: intervallo minore,
2697 F: intervalle mineur,
2698 D: kleines Intervall,
2702 FI: pieni intervalli,
2715 FI: moodi, kirkkos@"avelasteikko,
2718 @aref{church mode}, @aref{diatonic scale}.
2728 FI: modulaatio, s@"avellajin vaihdos,
2731 Moving from one @aref{key} to another. For example, the second
2732 subject of a @aref{sonata form} movement modulates to the dominant
2733 key if the key is major and to the @aref{relative key} if the key
2743 FI: mordent, korukuvio,
2748 @aitemii{motive,motif}
2756 FI: teema, s@"avelaihe,
2759 The briefest intelligible and self-contained fragment of a musical theme or
2763 \override Score.TimeSignature #'style = \turnOff
2764 %\override Score.TextScript #'font-style = #'large
2765 \notes\relative c'' {
2768 \partial 8 g16_"------" fis |
2769 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2770 g8 g,16 a b8 cis d16 s
2785 Greater musical works like @aref{symphony} and
2786 @aref{sonata} most often consist of several -- more or less --
2787 independant pieces called movements.
2789 @aitem{multibar rest}
2790 ES: compases de espera,
2794 D: mehrtaktige Pause,
2797 FI: usean tahdin mittainen tauko,
2801 \notes\relative c'' {
2803 \set Score.skipBars = ##t R1*3
2808 @aitem{mixolydian mode}
2809 @aref{diatonic scale}.
2811 @aitem{natural sign}
2815 D: Aufl@"osungszeichen,
2816 NL: herstellingsteken,
2817 DK: op@-l@o{}sningstegn,
2818 S: @aa{}terst@"allningstecken,
2824 @aitem{neighbour tones}
2825 @aref{appoggiatura}.
2854 Notes are signs by means of which music is fixed in writing. The term is also
2855 used for the sound indicated by a note, and even for the key of the piano
2856 which produces the sound. However, a clear distinction between the terms tone
2857 and @aref{note} is strongly recommended. Briefly, one sees a note,
2862 I: testa, testina, capocchia,
2863 F: t@^ete de la note,
2871 A head like sign which indicates pitch by its position on a
2872 @aref{staff} provided with a @aref{clef}, and duration
2873 by a variety of shapes such as hollow or black heads with or without
2874 @aref{stem}s, @aref{flag}s, etc. For percussion
2875 instruments (often having no defined pitch) the note head may indicate the
2881 F: dur@'ee, valeur (d'une note),
2886 FI: nuotin aika-arvo,
2889 Note values (durations) are measured as fractions, normally 1/2, of the next
2890 higher note value. The longest duration normally used is called @emph{brevis},
2891 but sometimes (mostly in pre baroque music) the double length note value
2892 @emph{longa} is used.
2895 %\override Score.TextScript #'font-style = #'large
2896 \set Score.automaticBars = ##f
2897 \notes\relative c'' {
2898 \override NoteHead #'style = #'mensural
2899 g\longa_"longa" g\breve_"breve"
2900 \revert NoteHead #'style
2901 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2902 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2906 %\override Score.TextScript #'font-style = #'large
2907 \set Score.automaticBars = ##f
2908 \notes\relative c'' {
2909 r\longa_"longa" r\breve_"breve"
2910 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2911 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2914 An augmentation dot after a note multiplies the duration by one and a
2915 half. Another dot adds yet a fourth of the duration.
2918 %\override Score.TextScript #'font-style = #'large
2919 \notes\relative c'' {
2921 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2922 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2925 Alternatively note values may be subdivided by other ratios. Most common is
2926 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2927 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2928 dotted notes are also frequently used.
2931 %\override Score.TextScript #'font-style = #'large
2932 \notes\relative c'' {
2934 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2935 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2940 \notes\relative c'' {
2942 \times 3/2 {g4_"duplets" g} |
2944 \times 6/4 {g8_"quadruplets" g g g} |
2945 g8 g g g g4 \bar "||"
2950 @aref{G clef}, @aref{F clef}.
2965 @aitemiii{ornament,embellishment,accessory}
2967 I: abbellimento, fioriture,
2968 F: agr@'ement, ornement,
2969 D: Verzierung, Ornament,
2976 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2977 with the diatonic @aref{second} above it. In the music from the
2978 middle of the 19th century and onwards the trill is performed with the main
2979 note first while in the music from the preceding baroque and classic periods
2980 the upper note is played first.
2984 \context Staff = sa {
2985 % \override Score.TextScript #'font-style = #'large
2986 \notes\relative c'' {
2987 c2._"pre-1850" b4\trill | c1 \bar "||"
2988 c2._"post-1850" b4\trill | c1 \bar "||"
2991 \notes\relative c'' {
2992 c2. c32 b c b c b c b | c1
2993 c2. b32 c b c \times 4/5 { b c b c b } | c1
2998 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2999 @emph{prall} (inverted mordent).
3003 \context Staff = sa {
3004 % \override Score.TextScript #'font-style = #'large
3005 \notes\relative c'' {
3006 a4_"turn" b\turn c2 \bar "||"
3007 g4_"mordent" a b\mordent a \bar "||"
3008 e'4_"prall" d\prall c2 \bar "||"
3011 \notes\relative c'' {
3014 e'4 e32[ d e d ~ d8] c2
3019 @aref{appoggiatura}.
3029 FI: ossia, vaihtoehtoinen esitystapa,
3032 Ossia (otherwise) marks an alternative. It is an added staff or piano
3033 score, usually only a few measures long, which presents another version
3034 of the music, for example for small hands.
3044 FI: stemma, instrumenttiosuus,
3047 1. In instrumental or choral music the music for the single instrument
3048 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3049 melodic line of the contrapunctal web.
3055 D: Schlagzeug, Schlagwerk,
3059 FI: ly@"om@"asoittimet,
3062 A family of musical instruments which are played on by striking or
3063 shaking. Percussion instruments commonly used in a symphony orchestra are
3064 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3065 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3068 @aitem{perfect interval}
3069 ES: intervalo justo,
3070 I: intervallo giusto,
3071 F: intervalle juste,
3072 D: reines Intervall,
3076 FI: puhdas intervalli,
3092 A natural division of the melodic line, comparable to a sentence of speech.
3102 FI: fraseeraus, j@"asent@"aminen,
3105 The clear rendering in musical performance of the @aref{phrase}s of
3106 the melody. Phrasing may be indicated by a @aref{slur}.
3119 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3120 @emph{mezzopiano} (@b{mp}) medium soft.
3138 NL: pizzicato, getokkeld,
3141 FI: pizzicato, n@"app@"aillen,
3144 Play by plucking the strings.
3147 ES: polifon@'{@dotless{i}}a,
3154 FI: polyfonia, moni@"a@"anisyys,
3157 Music written in a combination of several simultaneous voices (parts) of a
3158 more or less pronounced individuality. @aref{counterpoint}.
3167 D: Presto, Sehr schnell,
3168 NL: presto, Sehr schnell,
3171 FI: presto, hyvin nopeasti,
3174 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3175 denotes the highest possible degree of speed.
3177 @aitem{Pythagorean comma}
3178 ES: coma pitag@'orico,
3179 I: comma pitagorico,
3180 F: comma pythagoricien,
3181 D: Pythagor@"aisches Komma,
3182 NL: komma van Pythagoras,
3183 DK: pythagor@ae{}isk komma,
3184 S: pytagoreiskt komma,
3185 FI: pytagorinen komma,
3188 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3189 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3190 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3191 7@w{ }octaves. The difference between those two pitches is called the
3207 @aitem{quarter note}
3209 I: semiminima, nera,
3212 D: Viertel, Viertelnote,
3216 FI: nelj@"annesosanuotti,
3221 @aitem{quarter rest}
3222 ES: silencio de negra,
3223 I: pausa di semiminima,
3228 DK:@w{ }fjerdedelspause,
3229 S: fj@"ardedelspaus,
3230 FI: nelj@"annesosatauko,
3252 D: rallentando, langsamer werden,
3256 FI. rallerdando, hidastuen,
3259 Abbreviation "rall.". @aref{ritardando}.
3261 @aitem{relative key}
3263 I: tonalit@`a relativa,
3264 F: tonalit@'e relative,
3266 NL: paralleltoonsoort,
3267 DK: paralleltoneart,
3269 FI: rinnakkaiss@"avellaji,
3272 @aref{major} and @aref{minor} @aref{key}
3273 with the same @aref{key signature}.
3276 \set Score.automaticBars = ##f
3277 %\override Score.TextScript #'font-style = #'large
3278 \notes\relative c' {
3280 es1_"e flat major" f g as bes c d es
3286 \set Score.automaticBars = ##f
3287 %\override Score.TextScript #'font-style = #'large
3288 \notes\relative c' {
3290 c1_"c minor" d es f g a! b! c \bar "||"
3295 ES: barra de repetici@'on,
3297 F: barre de reprise,
3300 DK: gen@-ta@-gel@-se,
3308 \notes\relative c'' {
3309 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3313 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3314 @c specify the rest's value.
3340 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3341 fixed unit of time, called @aref{beat}, and in which the normal
3342 @aref{accent} recurs in regular intervals, called
3343 @aref{measure}. The basic scheme scheme of time values is called
3344 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3345 accent. In modern notation such music appears as a free alternation of
3346 different measures. (c) Free rhythm, i.e., the use of temporal values having
3347 no common metrical unit (beat).
3353 D: Ritardando, langsamer werden,
3357 FI. ritardando, hidastuen,
3360 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3370 FI: ritenuto, hidastaen,
3373 Immediate reduction of speed.
3383 FI: asteikko, s@"avelasteikko,
3386 @aref{diatonic scale}.
3388 @aitem{scale degree}
3389 ES: grados de la escala,
3390 I: grado della scala,
3391 F: degr@'e [de la gamme],
3393 NL: trap [van de toonladder],
3396 FI: s@"avelaste, asteikon s@"avel,
3399 Names and symbols used in harmonic analysis to denote tones of the scale as
3400 roots of chords. The most important are degrees I = tonic (T), IV =
3401 sub@-do@-mi@-nant (S) and V = dominant (D).
3404 \set Score.automaticBars = ##f
3405 %\override Score.LyricText #'font-style = #'large
3406 %\set minVerticalAlign = #8
3408 \context Staff \notes\relative c' {
3411 \context Lyrics \lyrics {
3412 << { I II III IV V VI VII I }
3417 @aref{functional harmony}.
3423 D: Partitur (full score), Klavierauszug (vocal score)
3430 A copy of orchestral, choral or chamber music showing what each instrument is
3431 to play, each voice to sing, having each part arranged one underneath the
3432 other on different staves @aref{staff}.
3445 The @aref{interval} between two neigbouring tones of a scale. A
3446 @aref{diatonic scale} consists of alternating
3447 @aref{semitone}s and @aref{whole tone}s, hence the size
3448 of a se@-cond depends on the scale degrees in question.
3461 The @aref{interval} of a minor second. The (usually) smallest
3462 interval in European composed music. The interval between two neighbouring
3463 tones on the piano keyboard -- including black and white keys -- is a
3464 semitone. An octave may be divided into 12@w{ }semitones.
3465 @aref{interval}, @aref{chromatic scale}.
3468 \set Score.automaticBars = ##f
3469 \notes\relative c'' { g1 gis s a bes s b! c }
3485 @aitem{sextuplet, sextolet}
3510 @aitem{short appoggiatura}
3511 @aref{appoggiatura}.
3513 @aitem{sixteenth note}
3518 D: Sechzehntel, Sechzehntelnote,
3519 NL: zes@-ti@-ende noot,
3520 DK: sekstendedelsnode,
3522 FI: kuudestoistaosanuotti,
3527 @aitem{sixteenth rest}
3528 ES: silencia de semicorchea,
3529 I: pausa di semicroma,
3531 UK: semiquaver rest,
3532 D: Sechzehntelpause,
3534 DK: sekstendedelspause,
3554 @aitem{sixty-fourth note}
3557 F: quadruple croche,
3558 UK: hemidemisemiquaver,
3559 D: Vierundsechzigstel, Vierundsechzigstelnote,
3560 NL: vierenzestigste noot,
3561 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3562 S: sextiofj@"ardedelsnot,
3563 FI: kuudeskymmenesnelj@"asosanuotti,
3568 @aitem{sixty-fourth rest}
3569 ES: silencia de semifusa,
3570 I: pausa di semibiscroma,
3571 F: seizi@`eme de soupir,
3572 UK: hemidemisemiquaver rest,
3573 D: Vierundsechzigstelpause,
3574 NL: vierenzestigste rust,
3575 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3576 S: sextiofj@"ardedelspaus,
3577 FI: kuudeskymmenesnelj@"asosatauko,
3584 I: legatura (di portamento or espressiva),
3585 F: liaison, coul@'e,
3586 D: Bogen, Legatobogen, Phrasierungsbogen,
3587 NL: fraseringsboog, legatoboog, streekboog,
3588 DK: legatobue, fraseringsbue,
3593 A slur above or below a group of notes indicates that they are to be played
3594 @aref{legato}, e.g., with one stroke of the violin bow or with one
3604 FI: suhteelliset laulunimet,
3607 General term for systems of designating the degrees of the
3608 @aref{scale}, not by letters, but by syllables (@emph{do}
3609 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3610 (@emph{ti})). @aref{scale degree}.
3623 In its present-day meaning a sonata denotes an instrumental composition for
3624 piano or for some other instrument with piano accompaniment, which consists of
3625 three or four independant pieces, called movements.
3630 F: [en] forme de sonate,
3632 NL: hoofdvorm, sonatevorm,
3638 A form used frequently for single movements of the @aref{sonata},
3639 @aref{symphony}, quartet, etc. A movement written in sonata form
3640 falls into three sections called @emph{exposition}, @emph{development} and
3641 @emph{recapitulation}. In the exposition the composer introduces his musical
3642 ideas, consisting of a number of themes; in the development section he
3643 "develops" this material, and in the recapitulation he repeats the exposition,
3644 with certain modifications, however. The exposition contains a number of themes
3645 which fall into two groups, often called first and second subject. Other
3646 melodies occurring in each group are considered as continuations of these
3647 two. The second theme is in another key, normally in the key of the
3648 @aref{dominant} if the @aref{tonic} is
3649 @aref{major}, and in the @aref{relative key} if the
3650 tonic is @aref{minor}.
3660 FI: sopraano, korkea nais@"a@"ani,
3663 The highest female voice.
3668 F: staccato, piqu@'e, d@'etach@'e,
3673 FI: staccato, lyhyesti, ter@"av@"asti,
3676 Playing the note(s) short. Staccato is indicated by a dot above or below the
3682 \notes\relative c'' {
3684 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3691 I: pentagramma, rigo (musicale),
3694 NL: (noten)balk, partij,
3700 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3701 which the musical notes are written, thus indicating (in connection
3702 with a @aref{clef}) their pitch. Staves for
3703 @aref{percussion} instruments may have fewer lines.
3709 D: Hals, Notenhals, Stiel,
3716 Vertical line above or below a @aref{note head} shorter than a
3717 whole note. @aref{beam}.
3720 \set Score.autoBeaming = ##f
3721 \set Score.automaticBars = ##f
3722 %\override Score.TextScript #'font-style = #'large
3723 \notes\relative c'' {
3742 A family of stringed musical instruments played with a bow. Strings commonly
3743 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3749 D: betonter Taktteil oder Taktschlag,
3751 D: betonet taktslag,
3752 S: betonat taktslag,
3753 FI: tahdin vahva isku,
3756 @aref{beat}, @aref{accent}, @aref{measure},
3767 FI: subdominantti, alidominantti,
3770 The fourth @aref{scale degree}. @aref{functional
3781 FI: alikeskis@"avel,
3784 The sixth @aref{scale degree}.
3794 FI: subtoonika, alitoonika,
3797 The seventh @aref{scale degree}.
3799 @aitem{superdominant}
3810 The sixth @aref{scale degree}.
3823 The second @aref{scale degree}.
3826 ES: sinfon@'{@dotless{i}}a,
3829 D: Sinfonie, Symphonie,
3836 A symphony may be defined as a @aref{sonata} for orchestra.
3849 Any deliberate upsetting of the normal pulse of @aref{meter},
3850 @aref{accent} and @aref{rhythm}. Our system of musical
3851 rhythm rests upon the grouping of equal beats into groups of two or three,
3852 with a regularly recurrent accent on the first beat of each group. Any
3853 deviation from this scheme is felt as a disturbance or contradiction between
3854 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3858 \notes\relative c' {
3861 e c'4 e,8 c'4 e,8 c' ( | c2)
3865 @aitemii{syntonic comma,dydimic comma}
3866 I: comma sintonico (o didimico),
3867 F: comma syntonique,
3868 D: syntonisches Komma,
3869 NL: syntonische komma,
3870 DK: syntonisk komma,
3871 S: syntoniskt komma,
3872 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3875 Difference between the natural third and the third obtained by Pythagorean
3876 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3885 FI: nuottij@"arjestelm@"a,
3888 The collection of staves @aref{staff}, two or more, as used for
3889 writing down of keyboard, chamber, choral, or orchestral music.
3895 D: Stimmung, Temperatur,
3896 NL: stemming, temperatuur,
3899 FI: viritysj@"arjestelm@"a,
3902 Systems of tuning in which the intervals deviate from the acoustically pure
3903 intervals. @aref{meantone temperament}, @aref{equal
3906 @aitem{tempo indication}
3907 ES: indicaci@'on de tempo,
3908 I: indicazione di tempo,
3909 F: indication de temps,
3910 D: Zeitma@ss{}, Tempobezeichnung,
3911 NL: tempo aanduiding,
3914 FI: tempomerkint@"a,
3917 The rate of speed of a composition or a section thereof, ranging from the
3918 slowest to the quickest, as is indicated by tempo marks as
3919 @aref{largo}, @aref{adagio}, @aref{andante},
3920 @aref{allegro}, and @aref{presto}.
3930 FI: tenori, korkea mies@"a@"ani,
3933 The highest voice of men (apart from @aref{counter tenor}).
3961 @aitem{thirty-second note}
3966 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3967 NL: twee-endertig@-ste noot,
3968 DK: toogtredivtedelsnode,
3969 S: trettiotv@aa{}ondelsnot,
3970 FI: kolmanneskymmeneskahdesosanuotti,
3975 @aitem{thirty-second rest}
3976 ES: silencio de fusa,
3977 I: pausa di biscroma,
3978 F: huiti@`eme de soupir,
3979 UK: demisemiquaver rest,
3980 D: Zweiunddreissigstel@-pause,
3982 DK: toogtredivtedelspause,
3983 S: trettiotv@aa{}ondelspaus,
3984 FI: kolmanneskymmeneskahdesosatauko,
3989 @aitemii{thorough bass,figured bass}
3991 I: basso continuo, basso numerato,
3992 F: basse chiffr@'ee,
3993 D: Generalbass, bezifferter Bass,
3994 NL: basso continuo, becijferde bas
3997 FI: kenraalibasso, numeroitu basso,
4000 A method of indicating an accompaniment part by the bass notes only, together
4001 with figures designating the chief @aref{interval}s and
4002 @aref{chord}s to be played above the bass notes.
4005 \context GrandStaff <<
4006 \context Staff = lh \notes\relative c'' {
4010 << \context Voice = rha {
4013 \context Voice = rhb {
4015 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4019 \context Staff = rh \notes\relative c' {
4022 es8 c d bes c as bes16 as g f | es4
4024 \context Lyrics \lyrics {
4025 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4026 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4027 { "" "" "" "2" "" "" "" "" "" "2" } >>
4033 ES: ligadura de prolongaci@'on,
4034 I: legatura (di valore),
4037 NL: overbinding, bindingsboog,
4039 S: bindeb@aa{}ge, @"overbindning,
4043 A curved line, identical in appearance with the @aref{slur}, which
4044 connects two succesive notes of the same pitch, and which has the function of
4045 uniting them into a single sound equal to the combined durations.
4048 \set Score.automaticBars = ##f
4049 \notes\relative c'' { g2 ~ g4. }
4052 @aitem{time signature}
4053 ES: cifra indicadora de comp@'as,
4055 F: chiffrage (chiffres indicateurs), signe de valeur,
4056 D: Taktangabe, Angabe der Taktart,
4059 S: taktartssignatur,
4076 A sound of definite pitch and duration, as distinct from @emph{noise}.
4077 Tone is a primary building material of music.
4078 Music from the 20th century may be based on non tone related sounds.
4091 The first @aref{scale degree}.
4092 @aref{functional harmony}.
4094 @aitem{transposition}
4095 ES: transposici@'on,
4105 Shifting a melody up or down in pitch, while keeping the same
4111 \notes\relative c'' {
4113 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4121 \transpose c bes \relative c'' {
4123 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4130 I: chiave di violino,
4132 D: Violinschl@"ussel, Sopranschl@"ussel,
4134 DK:@w{ }diskantn@o{}gle,
4152 On stringed instruments (@aref{strings}) the quick reiteration of
4153 the same tone, produced by a rapid up-and-down movement movement of the bow
4154 (a). The term is also used for the rapid alternation (b) between two notes of
4155 a @aref{chord}, usually in the distance of a third
4159 \set Score.automaticBars = ##f
4160 %\override Score.TextScript #'font-style = #'large
4161 \notes\relative c' {
4163 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4164 \repeat "tremolo" 8 { e32_"b" g }
4169 ES: tr@'{@dotless{i}}ada,
4171 F: triade, accord parfait, accord de trois sons,
4181 @aitemii{trill,shake}
4184 F: trille, tremblement, battement (cadence),
4194 @aitem{triple meter}
4195 ES: comp@'as compuesto,
4199 NL: driedelige maatsoort,
4221 ES: tr@'{@dotless{i}}tono,
4235 I: diapason, corista,
4244 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4245 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4247 @aitemii{turn,gruppetto}
4261 ES: un@'{@dotless{i}}sono,
4268 FI: unisono, yksi@"a@"anisesti,
4271 Playing of the same notes or the same melody by various instruments (voices)
4272 or by the whole orchestra (choir), either at exactly the same pitch or in a
4276 ES: entrada anacr@'usica,
4278 F: anacrouse, lev@'ee,
4286 Initial note(s) of a melody occurring before the first bar
4287 line. @aref{measure}, @aref{meter}.
4292 \notes\relative c' {
4293 \partial 4 f4 | bes4. a8 bes4 c |
4294 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4305 FI: @"a@"ani, laulu@"a@"ani,
4308 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4309 @aref{contralto}, @aref{tenor},
4310 @aref{baritone}, @aref{bass}.
4311 2. A melodic layer or part of a polyphonic composition.
4315 I: tempo debole, arsi,
4317 D: unbetonter Taktteil oder Taktschlag,
4319 DK: ubetonet taktslag,
4320 S: obetonat taktslag,
4321 FI: tahdin heikko isku,
4324 @aref{beat}, @aref{measure}, @aref{rhythm}.
4331 D: Ganze, ganze Note,
4341 ES: silencio de redonda,
4342 I: pausa di semibreve,
4345 D: ganze Pause, ganztaktige Pause,
4365 The @aref{interval} of a major second. The interval between two
4366 tones on the piano keyboard with exactly one key between them -- including
4367 black and white keys -- is a whole tone.
4375 DK tr@ae{}bl@ae{}sere,
4376 S: tr@"abl@aa{}sare,
4380 A family of blown wooden musical instruments. Today some of these instruments
4381 are actually made from metal. The woodwind instruments commonly used in a
4382 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4389 @item DURATION NAMES, NOTES AND RESTS
4392 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4394 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4395 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4399 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4400 @tab longa @tab longa @tab longa @tab longa
4404 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4405 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4409 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4410 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4414 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4415 halve @tab halv @tab halv @tab puoli- @tab
4419 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4420 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4424 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4425 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4429 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4430 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4431 @tab kuudestoistaosa- @tab
4435 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4436 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4437 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4441 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4442 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4443 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4444 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4447 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4455 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4457 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4458 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4463 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4467 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4468 cis @tab cis @tab Cis @tab cis
4472 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4473 des @tab des @tab Des @tab des
4477 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4481 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4485 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4489 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4493 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4494 @tab as @tab As @tab as
4498 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4502 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4503 ais @tab ais @tab Ais @tab ais
4507 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4508 @tab b @tab B @tab b
4512 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4520 @item ---------------------
4524 @item Literature used
4525 The Harvard Dictionary of Music, London 1944. Many more or less literal
4526 quotes from its articles have been included into the item explanation texts.
4528 Hugo Riemanns Musiklexicon, Berlin 1929.
4530 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4531 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.