1 \input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
3 @settitle Music Glossary
4 @setfilename music-glosssary.info
6 @dircategory GNU music project
8 * Glossary: (lilypond/music-glossary). Glossary of music terms.
12 This document is also available in @uref{music-glossary.pdf,PDF}
13 and as @uref{../music-glossary.html,one big page}.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
22 @author Han-Wen Nienhuys @c Dutch glossary
23 @author Jan Nieuwenhuizen @c Dutch glossary
24 @author Dadiv Gonzalez @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Mats Bengtsson @c Swedish glossary
28 @author Adrian Mariano @c Italian glossary
29 @author Heikki Junes @c Finnish glossary
31 @c Fixes by Jean-Pierre Coulon and `Dirk'
33 Copyright @copyright{} 1999--2005 by the authors
36 Permission is granted to copy, distribute and/or modify this document
37 under the terms of the GNU Free Documentation License, Version 1.1
38 or any later version published by the Free Software Foundation,
39 without Invariant Sections.
44 @c FIXME: multiple omfcreators?
46 @omfcreator Christian Mondrup
47 @omfdescription Glossary of musical terms with translations
49 @omfcategory Applications|Publishing
58 This glossary was brought you by
66 @item Christian Mondrup
67 Original author of LilyPond glossary, Danish glossary,
70 @item Fran@,{c}ois Pinard
71 Original glossary of GNU music project, French glossary,
72 @item Han-Wen Nienhuys
74 @item Jan Nieuwenhuizen
79 English glossary translations,
81 Finnish glossary translations.
84 Copyright 1999--2005 by the authors
87 Permission is granted to copy, distribute and/or modify this document
88 under the terms of the GNU Free Documentation License, Version 1.1
89 or any later version published by the Free Software Foundation,
90 without Invariant Sections.
96 @c @everyheading @| @thispage @|
97 @c @evenheading @thispage @| @|
98 @c @oddheading @| @| @thispage @|
100 @include macros.itexi
105 @w{@arrow{}@strong{\word\}}@c
108 @arrow{}@ref{\word\, @strong{\word\}}@c
113 * Table of contents::
116 @node Table of contents
117 @chapter Table of contents
131 * ancient minor scale::
135 * ascending interval::
136 * augmented interval::
168 * compound interval::
170 * conjunct movement::
183 * descending interval::
185 * diminished interval::
187 * disjunct movement::
189 * dissonant interval::
190 * dominant ninth chord::
191 * dominant seventh chord::
194 * dot (augmentation dot)::
196 * double appoggiatura::
198 * double dotted note::
207 * ecclesiastical mode::
213 * equal temperament::
227 * functional harmony::
241 * inverted interval::
254 * long appoggiatura::
259 * meantone temperament::
266 * metronomic indication::
302 * Pythagorean comma::
324 * short appoggiatura::
328 * sixty-fourth note::
329 * sixty-fourth rest::
356 * thirty-second note::
357 * thirty-second rest::
385 @section Introduction
387 Languages in this order.
394 @item UK - British English
423 FI: aksentti, korostus.
425 The stress of one tone over others.
432 @c F: how to distinguish between accidental and key-sig alteration?
438 I: alterazione, accidente,
440 D: Vorzeichen, Versetzungszeichen,
443 S: tillfälligt förtecken,
444 FI: tilapäinen etumerkki.
446 @c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
447 @c Akzidenz, NL: toevallig teken, I: accidento.
449 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
450 by a @aref{whole tone}, a flat lowers it by a semitone and a double
451 flat lowers it by a whole tone. A natural cancels the effect of a previous
454 @lilypond[fragment,notime,linewidth=13.0\cm]
455 \set Score.automaticBars = ##f
456 %\override TextScript #'font-style = #'large
458 \context Staff \relative c'' {
459 gis1 gisis ges geses g!
461 \context Lyrics \lyrics {
462 \override Lyrics .LyricText #'self-alignment-X = #-1
463 sharp "db. sharp" flat "db. flat" natural
472 F: accelerando, en accélérant,
473 D: accelerando, schneller werden,
477 FI: accelerando, kiihdyttäen.
491 FI: adagio, hitaasti.
493 It.@: comfortable, easy.
494 1.@tie{}Slow tempo, slower -- especially in even meter -- than
495 @aref{andante} and faster than @aref{largo}.
496 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
497 @aref{sonata}s, symphonies, etc.
505 D: Allegro, Schnell, Fröhlich, Lustig,
509 FI: allegro, nopeasti.
511 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
512 tempo, especially the first and last movements of a @aref{sonata}.
524 FI: altto, matala naisääni.
526 A female voice of low range (@emph{contralto}). Originally the alto was a
527 high male voice (hence the name), which by the use of falsetto reached the
528 height of the female voice. This type of voice is also known as
529 @aref{counter tenor}.
534 ES: clave de do en tercera,
535 I: chiave di contralto,
536 F: clef d'ut troisième ligne,
537 D: Altschlüssel, Bratschenschlüssel,
543 C clef setting middle C on the middle line of the staff
556 FI: ambitus, ääniala, soitinala.
558 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
559 of pitches for a given voice in a part of music. It may also denote
560 the pitch range that a musical instrument is capable of playing.
562 @node ancient minor scale
563 @section ancient minor scale
565 I: scala minore naturale,
566 F: forme du mode mineur ancien, troisème mode, mode hellénique
568 NL: authentieke mineurtoonladder,
571 FI: luonnollinen molliasteikko.
573 @aref{diatonic scale}.
575 @lilypond[fragment,notime,linewidth=13.0\cm]
576 \set Score.automaticBars = ##f
593 Walking tempo/character.
596 @section appoggiatura
600 F: appogiature, (port de voix),
605 FI: appoggiatura, etuhele.
607 Ornamental note, usually a second, that is melodically connected with the
608 main note following it. In music before the 19th century a.@: were usually
609 performed on the beat, after that mostly before the beat. While the short
610 a.@: is performed as a short note regardless of the duration of the main note
611 the duration of the long a.@: is proportional to that of the main note.
613 @lilypond[linewidth=13.0\cm]
614 \context Voice \relative c'' {
618 %\override Score.TextScript #'font-style = #'large
619 <d a fis>4_"notation" r
620 { \override Stem #'flag-style = #'()
622 \revert Stem #'flag-style
625 { \override Stem #'flag-style = #'()
627 \revert Stem #'flag-style
630 \cadenzaOn a4 \bar "||" \cadenzaOff
632 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
633 \cadenzaOn a4 \bar "||" \cadenzaOff
637 An appoggiatura may have more notes preceding the main note.
639 @lilypond[linewidth=13.0\cm]
643 % \override Score.TextScript #'font-style = #'large
644 \grace { bes16 } as8_"notation" as16 bes as8 g |
645 \grace { as16[( bes] } < c as >4-)
646 \grace { as16[( bes] } < c as >4-) \bar "||"
647 \grace { bes16 } as8_"performance" as16 bes as8 g |
648 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
649 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
660 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
662 DK: arpeggio, akkordbrydning,
664 FI: arpeggio, murtosointu.
666 @lilypond[fragment,linewidth=13.0\cm]
667 \context PianoStaff <<
668 \context Staff = SA \relative c'' {
671 r8 g16 c e g, c e r8 g,16 c e g, c e |
672 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
673 \context Staff = SB \relative c' {
675 << \context Voice = va {
677 r16 e8. ( e4) r16 e8. ( e4) |
678 r16 d8. ( d4) r16 d8. ( d4) }
679 \context Voice = vb {
686 @node ascending interval
687 @section ascending interval
689 ES: Intervalo ascendente,
690 I: intervallo ascendente,
691 F: intervalle ascendant,
692 D: steigendes Intervall,
693 NL: stijgend interval,
694 DK:@w{ }stigende interval,
695 S: stigande intervall,
696 FI: nouseva intervalli.
698 A distance between a starting lower note and a higher ending note.
700 @node augmented interval
701 @section augmented interval
703 ES: intervalo aumentado,
704 I: intervallo aumentato,
705 F: intervalle augmenté,
706 D: übermäßiges Intervall,
707 NL: overmatig interval,
708 DK: forstørret interval,
709 S: överstigande intervall,
710 FI: ylinouseva intervalli.
719 D: Autograph, Handschrift,
721 DK: håndskrift, autograf,
723 FI: käsinkirjoitettu nuotti.
725 1.@tie{}A manuscript in the composer's own hand.
726 2.@tie{}Music prepared for photoreproduction by freehand drawing,
727 with the aid of a straightedge ruler and T-square only,
728 which attempts to emulate engraving.
729 This required more skill than did engraving.
751 ES: compás, @aref{measure}.
757 I: stanghetta, barra (di divisione),
758 F: barre (de mesure),
775 FI: baritoni, keskikorkuinen miesääni.
777 The male voice intermediate between the @aref{bass} and the
780 @c F: clef de troisième ligne dropped
783 @section baritone clef
785 ES: clave de fa en tercera,
786 I: chiave di baritono,
787 F: clef d' Ut cinquième ligne, clef de Fa troisième,
794 C or F clef setting middle C on the upper staff line.
795 @aref{C clef}, @aref{F clef}.
800 ES: clave de fa en cuarta,
802 F: clé de fa quatrième ligne,
809 A clef setting with middle C on the first top ledger line.
821 FI: basso, matala miesääni.
823 1.@tie{}The lowest male voice.
824 2.@tie{}Sometimes, especially in jazz music, used as
825 an abbreviation for double bass.
839 Line connecting a series of notes (shorter than a quarter note).
840 The number of beams determines the note value of the connected notes.
842 @lilypond[fragment,notime,linewidth=13.0\cm]
843 \set Score.automaticBars = ##f
844 %\override TextScript #'font-style = #'large
847 g16_"1/16"[ g g g] s16
848 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
849 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
858 D: Takt, Taktschlag, Zeit (im Takt),
864 Note value used for counting, most often half-, fourth-, and eighth notes.
865 The base counting value and the number of them per measure is indicated at
866 the start of the music.
868 @lilypond[fragment,linewidth=13.0\cm]
871 \relative c'' { g4 c b a | g1 \bar "||"}
873 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
887 D: Klammer, Akkolade,
888 NL: accolade, teksthaak,
891 FI: yhdistävä sulkumerkki.
893 Symbol at the start of a system connecting staves. Curly braces are used
894 for connecting piano staves, angular brackets for connecting parts in an
895 orchestral or choral score.
897 @lilypond[fragment,raggedright]
898 \context GrandStaff <<
899 \relative c''\context Staff = SA { \clef treble g4 e c2 }
900 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
903 @lilypond[fragment,raggedright]
904 \context StaffGroup <<
905 % \set StaffGroup.minVerticalAlign = #12
906 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
907 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
919 S: brassinstrument, mässingsinstrument,
922 A family of blown musical instruments made of brass, all using a cup formed
923 mouth piece. The brass instruments commonly used in a symphony orchestra are
924 trumpet, trombone, french horn, and tube.
931 D: Atemzeichen, Trennungszeichen,
932 NL: repercussieteken,
933 DK: vejrtrækningstegn,
937 Indication of where to breathe in vocal and wind instrument parts.
950 @aref{note value}, twice as long as a whole note. Mainly used
953 @lilypond[fragment,notime,raggedright]
954 \set Score.automaticBars = ##f
955 \relative c'' { g\breve }
982 Clef symbol indicating the position of the middle C. Used on all note
985 @lilypond[fragment,notime,linewidth=13.0\cm]
986 \set Score.automaticBars = ##f
987 \override Score.Clef #'full-size-change = ##t
988 %\override Score.LyricText #'font-style = #'large
990 \context Staff \relative c' {
992 \clef mezzosoprano c s s
997 \context Lyrics \lyrics {
998 \override Lyrics .LyricText #'self-alignment-X = #-1
999 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1013 FI: kadenssi, lopuke.
1015 @aref{harmonic cadence}, @aref{functional harmony}.
1027 FI: kadenssi, lopuke.
1029 An extended, improvisatory style section inserted near the end of
1030 movement. The purpose of a cadenza is to give singers or players a chance
1031 to exhibit their technical skill and -- not last -- their ability to
1032 improvise. Since the middle of the 19th century, however, most cadences have
1033 been written down by the composer.
1045 FI: kaanon, tarkka jäljittely.
1047 @aref{counterpoint}.
1059 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
1061 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1062 of an equally tempered @aref{semitone}).
1063 @aref{equal temperament}.
1082 Three or more tones sounding simultaneously. In traditional European music the
1083 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1084 minor @aref{third}) as well as @emph{minor} (minor + major third)
1085 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1086 and five-tone @emph{ninth} major chords are most often used as dominants
1087 (@aref{functional harmony}). A special case is chords having no
1088 third above the lower notes to define their quality as major or minor. Such
1089 chords are denoted open chords
1091 @lilypond[fragment,notime,linewidth=13.0\cm]
1092 \set Score.automaticBars = ##f
1093 %\override TextScript #'font-style = #'large
1095 \context Staff \relative c'' {
1103 \context Lyrics \lyrics{
1113 @node chromatic scale
1114 @section chromatic scale
1116 ES: escala cromática,
1118 F: gamme chromatique,
1119 D: chro@-ma@-ti@-sche Tonleiter,
1120 NL: chromatische toonladder,
1121 DK: kromatisk skala,
1123 FI: kromaattinen asteikko.
1125 A scale consisting of all 12 @aref{semitone}s.
1127 @lilypond[fragment,notime,linewidth=13.0\cm]
1128 \set Score.automaticBars = ##f
1129 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1133 @section chromaticism
1144 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1147 @section church mode
1149 ES: modo eclesiástico,
1150 I: modo ecclesiastico,
1151 F: mode ecclésiastique,
1156 FI: moodi, kirkkosävellaji.
1158 @aref{diatonic scale}.
1166 D: Schlüssel, Notenschlüssel,
1170 FI: avain, nuottiavain.
1172 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1177 A @emph{cluster} is a range of simultaneously sounding pitches that
1178 may change over time. The set of available pitches to apply usually
1179 depends on the acoustic source. Thus, in piano music, a cluster
1180 typically consists of a continuous range of the semitones as provided
1181 by the piano's fixed set of a chromatic scale. In choral music, each
1182 singer of the choir typically may sing an arbitrary pitch within the
1183 cluster's range that is not bound to any diatonic, chromatic or other
1184 scale. In electronic music, a cluster (theoretically) may even cover
1185 a continuous range of pitches, thus resulting in colored noise, such
1188 Clusters can be denoted in the context of ordinary staff notation by
1189 engraving simple geometrical shapes that replace ordinary notation of
1190 notes. Ordinary notes as musical events specify starting time and
1191 duration of pitches; however, the duration of a note is expressed by
1192 the shape of the note head rather than by the horizontal graphical
1193 extent of the note symbol. In contrast, the shape of a cluster
1194 geometrically describes the development of a range of pitches
1195 (vertical extent) over time (horizontal extent). Still, the
1196 geometrical shape of a cluster covers the area in which any single
1197 pitch contained in the cluster would be notated as an ordinary note.
1199 @lilypond[fragment,relative=2,verbatim,raggedright]
1200 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1212 FI: komma, korvinkuultava ero äänenkorkeudessa.
1214 Difference in pitch between a note derived from pure tuning and the same note
1215 derived from some other tuning method. @aref{temperament}.
1218 @section common meter
1222 @node compound interval
1223 @section compound interval
1225 ES: intervalo compuesto,
1226 I: intervallo composto,
1227 F: intervalle composé,
1228 D: weites Intervall,
1229 NL: samengesteld interval,
1230 DK: sammensat interval,
1231 S: sammansatt intervall,
1232 FI: oktaavia laajempi intervalli.
1234 Intervals larger than an octave.
1242 F: intervalle complémentaire,
1243 D: Komplementärintervall,
1244 NL: complementair interval,
1245 DK: komplementærinterval,
1246 S: komplementärintervall (?),
1247 FI: täydentävä intervalli.
1249 @aref{inverted interval}.
1251 @node conjunct movement
1252 @section conjunct movement
1254 ES: movimiento conjunto,
1256 F: mouvement conjoint,
1257 D: schritt@-weise, stufenweise Bewegung,
1258 NL: stapsgewijze, trapsgewijze beweging,
1259 DK: trinvis bevægelse,
1261 FI: asteittainen liike.
1263 Progressing melodically by intervals of a second. The opposite of a
1264 @aref{disjunct movement}.
1266 @lilypond[fragment,linewidth=13.0\cm]
1267 \key g \major \time 4/4
1268 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1281 FI: konsonanssi, sopusointi.
1300 @section counterpoint
1309 FI: kontrapunkti, ääni ääntä vastaan.
1311 From latin @emph{punctus contra punctum}, note against note. The combination
1312 into a single musical fabric of lines or parts which have distinct melodic
1313 significance. A frequently used polyphonic technique is imitation, in its
1314 strictest form found in the canon needing only one part to be written down
1315 while the other parts are performed with a given displacement. Imitation is
1316 also the contrapunctal technique used in the @emph{fugue} which, since the
1317 music of the baroque era, has been one of the most popular polyphonic
1318 composition methods.
1320 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
1321 \override Score.TimeSignature #'break-visibility = #all-invisible
1322 \context PianoStaff <<
1323 \context Staff = SA \relative c' {
1327 << \context Voice = rha {
1329 r1 | r2 r8 g'8 bes d, |
1330 cis4 d r8 e!16 f g8 f16 e |
1331 f8 g16 a bes8 a16 g a8
1333 \context Voice = rhb {
1339 \context Staff = SB \relative c' {
1342 << \context Voice = lha {
1344 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1345 r8 a16 g f8 g16 a bes8 g e! cis' |
1348 \context Voice = lhb {
1357 @section counter tenor
1362 D: Countertenor, Kontratenor,
1365 S: kontratenor, counter tenor,
1371 @section copying music
1373 A music copyist did fast freehand scores and parts on preprinted staff lines
1374 for performance. Some of their conventions (e.g., the placement of note heads
1375 on stems) varied slightly from those of engravers. Some of their working
1376 methods were superior and could well be adopted by music typesetters. This
1377 required more skill than engraving.
1385 D: Crescendo, lauter werden,
1389 FI: cresendo, voimistuen.
1391 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1392 abbreviation ``cresc.''.
1394 @lilypond[fragment,raggedright]
1395 \key g \major \time 4/4
1396 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1404 F: petites notes précédent l'entrée d'in instrument, réplique,
1411 In a separate part notes belonging to another part with the purpose of hinting
1412 when to start playing. Usually printed in a smaller type.
1417 A custos is a staff symbol that appears at the end of a staff line
1418 with monophonic musical contents (i.e., with a single voice). It
1419 anticipates the pitch of the first note of the following line and thus
1420 helps the player or singer to manage line breaks during performance,
1421 thus enhancing readability of a score.
1423 Custodes were frequently used in music notation until the 16th
1424 century. There were different appearences for different notation
1425 styles. Nowadays, they have survived only in special forms of musical
1426 notation such as via the editio vaticana dating back to the beginning
1432 % \override Staff.Custos #'neutral-position = #4
1433 \override Staff.Custos #'neutral-direction = #-1
1434 \override Staff.Custos #'style = #'hufnagel
1442 \consists Custos_engraver
1466 F: da capo, depuis le commencement,
1467 D: da capo, von Anfang,
1471 FI: da capo, alusta.
1473 The term indicates repetition of the piece from the beginning to the end or
1474 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1481 F: dal segno, depuis le signe,
1482 D: dal segno, ab dem Zeichen,
1486 FI: dal segno, lähtien merkistä.
1488 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1489 another place frequently near the beginning marked by a sign:
1491 @lilypond[fragment,raggedright]
1492 %\override TextScript #'font-style = #'large
1493 \override TextScript #'font-shape = #'italic
1494 \key g \major \time 4/4
1499 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
1505 @section decrescendo
1509 D: Decrescendo, leiser werden,
1513 FI: decresendo, hiljentyen.
1515 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1516 or the abbreviation ``decresc.''.
1518 @lilypond[fragment,raggedright]
1520 \key g \major \time 4/4
1521 d4 \> c b a | g1 \! \bar "|."
1525 @node descending interval
1526 @section descending interval
1528 ES: intervalo descendente,
1529 I: intervallo discendente,
1530 F: intervalle descendant,
1531 D: fallendes Intervall, absteigendes Intervall,
1532 NL: dalend interval,
1533 DK: faldende interval,
1534 S: fallande intervall,
1535 FI: laskeva intervalli.
1537 A distance between a starting higher note and a lower ending note.
1539 @node diatonic scale
1540 @section diatonic scale
1542 ES: escala diatónica,
1544 F: gamme diatonique,
1545 D: diatonische Tonleiter,
1546 NL: diatonische toonladder,
1547 DK: diatonisk skala,
1549 FI: diatoninen asteikko.
1551 A scale consisting of 5@w{ }@aref{whole tone}s and
1552 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1553 of a piano keybord are diatonic.
1555 The church modes are used in gregorial chant and in pre-baroque early
1556 music but also to some extent in newer jazz music.
1558 @lilypond[fragment,notime,raggedright]
1559 \set Score.automaticBars = ##f
1560 %\override Score.LyricText #'font-style = #'large
1561 %\override Score.TextScript #'font-style = #'large
1563 \context Staff \relative c' {
1565 \override TextScript #'padding = #-4
1566 e^"~~ S" f g a b^"~~ S" c
1568 \context Lyrics \lyrics {
1573 @lilypond[fragment,notime,raggedright]
1574 \set Score.automaticBars = ##f
1575 %\override Score.LyricText #'font-style = #'large
1576 %\override Score.TextScript #'font-style = #'large
1578 \context Staff \relative c' {
1580 \override TextScript #'padding = #-4
1581 e^"~~ S" f g a b^"~~ S" c d
1583 \context Lyrics \lyrics {
1588 @lilypond[fragment,notime,raggedright]
1589 \set Score.automaticBars = ##f
1590 %\override Score.LyricText #'font-style = #'large
1591 %\override Score.TextScript #'font-style = #'large
1594 \override TextScript #'padding = #-4
1595 e1^"~~ S" f g a b^"~~ S" c d e
1597 \context Lyrics \lyrics {
1602 @lilypond[fragment,notime,raggedright]
1603 \set Score.automaticBars = ##f
1604 %\override Score.LyricText #'font-style = #'large
1605 %\override Score.TextScript #'font-style = #'large
1609 \override TextScript #'padding = #-4
1610 b^"~~ S" c d e^"~~ S" f
1612 \context Lyrics \lyrics {
1617 @lilypond[fragment,notime,raggedright]
1618 \set Score.automaticBars = ##f
1619 %\override Score.LyricText #'font-style = #'large
1620 %\override Score.TextScript #'font-style = #'large
1624 \override TextScript #'padding = #-4
1625 b^"~~ S" c d e^"~~ S" f g }
1626 \context Lyrics \lyrics {
1631 @lilypond[fragment,notime,raggedright]
1632 \set Score.automaticBars = ##f
1633 %\override Score.LyricText #'font-style = #'large
1634 %\override Score.TextScript #'font-style = #'large
1638 \override TextScript #'padding = #-4
1639 b^"~~ S" c d e^"~~ S" f g a
1641 \context Lyrics \lyrics {
1646 From the beginning of the 17th century the scales used in European
1647 compositional music are primarily the major and the minor scales. In the
1648 harmonic minor scale type an augmented second (A) occurs between the 6th and
1651 @lilypond[fragment,notime,raggedright]
1652 \set Score.automaticBars = ##f
1653 %\override Score.LyricText #'font-style = #'large
1654 %\override Score.TextScript #'font-style = #'large
1658 \override TextScript #'padding = #-4
1659 e^"~~ S" f g a b^"~~ S" c
1661 \context Lyrics \lyrics {
1666 @lilypond[fragment,notime,raggedright]
1667 \set Score.automaticBars = ##f
1668 %\override Score.LyricText #'font-style = #'large
1669 %\override Score.TextScript #'font-style = #'large
1673 \override TextScript #'padding = #-4
1674 b^"~~ S" c d e^"~~ S" f g a
1676 \context Lyrics \lyrics {
1681 @lilypond[fragment,notime,raggedright]
1682 \set Score.automaticBars = ##f
1683 %\override Score.LyricText #'font-style = #'large
1684 %\override Score.TextScript #'font-style = #'large
1688 \override TextScript #'padding = #-4
1689 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1691 \context Lyrics \lyrics {
1696 @lilypond[fragment,notime,linewidth=13.0\cm]
1697 \set Score.automaticBars = ##f
1698 %\override Score.LyricText #'font-style = #'large
1699 %\override Score.TextScript #'font-style = #'large
1703 \override TextScript #'padding = #-4
1704 b^"~~ S" c d e fis gis^"~~ S"
1705 a g! f!^"~~ S" e d c^"~~ S" b a
1707 \context Lyrics \lyrics {
1712 @node diminished interval
1713 @section diminished interval
1715 ES: intervalo disminuído,
1716 I: intervallo diminuito,
1717 F: intervalle diminué,
1718 D: vermindertes Intervall,
1719 NL: verminderd interval,
1720 DK: formindsket interval,
1721 S: förminskat intervall,
1722 FI: vähennetty intervalli.
1736 FI: diminuendo, hiljentyen.
1740 @node disjunct movement
1741 @section disjunct movement
1743 ES: movimiendo disjunto,
1745 F: mouvement disjoint,
1746 D: sprunghafte Bewegung,
1747 NL: sprongsgewijze beweging,
1748 DK: springende bevægelse,
1749 S: hoppande rörelse,
1750 FI: melodian hyppivä liike.
1752 Progressing melodically by intervals larger than a major second.
1753 Opposite of @aref{conjunct movement}.
1755 @lilypond[fragment,raggedright]
1760 a4. gis8 b a e cis |
1761 fis2 d4. \bar "||" }
1767 @ref{dissonant interval}.
1769 @node dissonant interval
1770 @section dissonant interval
1772 ES: intervalo disonante, disonancias,
1773 I: intervallo dissonante, dissonanza,
1776 NL: dissonant interval; dissonant,
1777 DK: dissonerende interval, dissonans,
1779 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1783 @node dominant ninth chord
1784 @section dominant ninth chord
1786 I: accordo di nona di dominante,
1787 F: accord de neuvième dominante,
1788 D: Domi@-nant@-nonen@-akkord,
1789 NL: dominant noon akkoord,
1790 DK: dominantnoneakkord,
1791 S: dominantnonackord,
1792 FI: dominanttinoonisointu.
1794 @aref{chord}, @aref{functional harmony}.
1796 @node dominant seventh chord
1797 @section dominant seventh chord
1799 ES: acorde de séptima de dominante,
1800 I: accordo di settima di dominante,
1801 F: accord de septième dominante,
1802 D: Dominantseptakkord,
1803 NL: dominant septiem akkoord,
1804 DK: dominantseptimakkord,
1805 S: dominantseptimackord,
1806 FI: dominanttiseptimisointu.
1808 @aref{chord}, @aref{functional harmony}.
1820 FI: dominantti, huippusointu.
1822 The fifth @aref{scale degree},
1823 @aref{functional harmony}.
1826 @section dorian mode
1831 D: dorisch, dorischer Kirchenton,
1832 NL: dorische toonladder,
1837 @aref{diatonic scale}.
1839 @node dot (augmentation dot)
1840 @section dot (augmentation dot)
1843 I: punto (di valore),
1845 D: Punkt (Verlängerungspunkt),
1854 @section dotted note
1856 ES: nota con puntillo,
1860 NL: gepuncteerde noot,
1863 FI: pisteellinen nuotti.
1867 @node double appoggiatura
1868 @section double appoggiatura
1870 ES: apoyatura doble,
1871 I: appoggiatura doppia,
1872 F: appoggiature double,
1873 D: doppelter Vorschlag,
1874 NL: dubbele voorslag,
1875 DK: dobbelt forslag,
1877 FI: kaksoisappogiatura, kaksoisetuhele.
1879 @aref{appoggiatura}.
1881 @node double bar line
1882 @section double bar line
1887 NL: dubbele maatstreep,
1890 FI: kaksoistahtiviiva.
1892 Indicates the end of a section within a movement.
1894 @node double dotted note
1895 @section double dotted note
1897 ES: nota con dos puntillos,
1898 I: nota doppiamente puntata,
1899 F: note doublement pointée,
1900 D: doppelt punktierte Note,
1901 NL: dubbelgepuncteerde noot,
1902 DK: dob@-belt@-punk@-te@-ret node,
1903 S: dub@-bel@-punk@-te@-rad not,
1904 FI: kaksoispisteellinen nuotti.
1909 @section double flat
1918 FI: kaksoisalennusmerkki.
1923 @section double sharp
1925 ES: doble sostenido,
1930 DK: dob@-belt@-kryds,
1932 FI: kaksoisylennysmerkki.
1937 @section double trill
1943 NL: dubbele triller,
1948 A simultaneous trill on two notes, usually in the distance of a third.
1951 @section duple meter
1957 NL: tweedelige maatsoort,
1988 FI: kesto, aika-arvo.
1993 @section dydimic comma
1995 @aref{syntonic comma}.
2009 @node ecclesiastical mode
2010 @section ecclesiastical mode
2015 @section eighth note
2021 D: Achtel, Achtelnote,
2023 DK: ottendedelsnode,
2025 FI: kahdeksasosanuotti.
2030 @section eighth rest
2032 ES: silencio de corchea,
2038 DK: ottendedelspause,
2040 FI: kahdeksasosatauko.
2045 @section embellishment
2056 D: Notenstechen, Notendruck
2062 Engraving means incising or etching a metal plate for
2063 printing. Photoengraving means drawing music with ink in a manner
2064 similar to drafting or engineering drawing, using similar tools.
2066 The traditional process of music printing is done through cutting in a
2067 plate of metal. Now also the term for the art of music typesetting.
2081 Two notes, intervals, or scales are enharmonic if they have different names
2084 @lilypond[fragment,notime,linewidth=13.0\cm]
2085 \set Score.automaticBars = ##f
2086 %\override Score.TextScript #'font-style = #'large
2088 \context Staff \relative c'' {
2089 gis1 s s as s s <des g,!> s s <cis g!> s s
2091 \context Lyrics \lyrics {
2092 \override Lyrics .LyricText #'self-alignment-X = #-1
2093 "g sharp " "a flat " "dim fifth " "augm fourth"
2097 @node equal temperament
2098 @section equal temperament
2101 I: temperamento equabile,
2102 F: tempérament égal,
2103 D: gleichschwebende Stimmung,
2104 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2105 DK: ligesvævende temperatur,
2106 S: liksvävande temperatur,
2109 Tuning system dividing the octave into 12 equal @aref{semitone}s
2110 (precisely 100 @aref{cent}s). @aref{temperament}.
2112 @node expression mark
2113 @section expression mark
2116 I: segno d'espressione,
2117 F: signe d'expression, indication de nuance,
2119 NL: voordrachtsteken,
2120 DK: foredragsbetegnelse,
2121 S: föredragsbeteckning,
2122 FI: nyanssiosoitus, esitysmerkki.
2124 Performance indications concerning 1. volume, dynamics (for example
2125 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2126 @aref{andante}, @aref{allegro}).
2152 The position between the dots of the key symbol is the line of the F below
2153 central@w{ }C. Used on the third, fourth and fifth note line. A
2154 digit@w{ }8 above the clef symbol indicates that the notes must be played
2155 an octave higher (for example bass recorder) while 8@w{ }below the clef
2156 symbol indicates playing an octave lower (for example on double bass
2159 @lilypond[fragment,notime,linewidth=13.0\cm]
2160 \set Score.automaticBars = ##f
2161 \override Staff.Clef #'full-size-change = ##t
2162 %\override Score.LyricText #'font-style = #'large
2176 \context Lyrics \lyrics {
2177 % \override Lyrics .LyricText #'self-alignment-X = #-1
2186 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2193 F: point d'orgue, point d'arr@^et,
2198 FI: fermaatti, pidäke.
2200 Prolonged note or rest of indefinite duration.
2202 @lilypond[fragment,raggedright]
2205 a4 b c2^\fermata \bar "|."
2224 @section figured bass
2226 ES: bajo cifrado, @aref{thorough bass}.
2240 The methodical use of fingers in the playing of instruments.
2246 I: coda (uncinata), bandiera,
2254 Ornament at the end of the stem of a note used for notes with values
2255 less than a quarter note. The number of flags determines the
2258 @lilypond[fragment,notime,raggedright]
2259 \set Score.automaticBars = ##f
2260 %\override Score.TextScript #'font-style = #'large
2286 @aref{appoggiatura}.
2298 FI: forte, voimakkaasti.
2300 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2301 @emph{mezzoforte} (@b{mf}) medium loud.
2329 @aref{counterpoint}.
2331 @node functional harmony
2332 @section functional harmony
2334 ES: armonía funcional,
2335 I: armonia funzionale,
2336 F: étude des functions,
2338 NL: functionele harmonie,
2339 DK: funktionsanalyse, funktionsharmonik,
2341 FI: harmoniajärjestelmä.
2343 A system of harmonic analysis. It is based on the idea that, in a given key,
2344 there are only three functionally different chords: tonic (T, the chord on the
2345 first note of the scale), subdominant (S, the chord on the fourth note), and
2346 dominant (D, the chord on the fifth note). Others are considered to be
2347 variants of the base chords.
2349 @lilypond[fragment,notime,linewidth=13.0\cm]
2350 \set Score.automaticBars = ##f
2351 %\override Score.LyricText #'font-style = #'large
2352 %\override Score.TextScript #'font-style = #'large
2354 \context Voice \relative c'' {
2355 <g e c >1 < a f d > < b g e >
2356 <c a f > < d b g > < e c a > < f d b > }
2357 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
2378 D: G-Schlüssel, Violinschlüssel,
2384 A clef symbol indicating the G above central@w{ }C. Used on the first
2385 and second note lines. A digit 8 above the clef symbol indicates that
2386 the notes must be played an octave higher while 8 below the clef symbol
2387 indicates playing or singing an octave lower (most tenor parts in choral
2388 scores are notated like that).
2390 @lilypond[fragment,notime,linewidth=13.0\cm]
2391 \set Score.automaticBars = ##f
2392 \override Staff.Clef #'full-size-change = ##t
2393 %\override Score.LyricText #'font-style = #'large
2405 \context Lyrics \lyrics {
2406 \override Lyrics .LyricText #'self-alignment-X = #-1
2407 "french violin clef "
2424 FI: glissando, liukuen.
2426 Letting the pitch slide fluently from one note to the other.
2429 @section grace notes
2434 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2440 Notes printed in small types to indicate that their time values are not
2441 counted in the rhythm of the bar. @aref{appoggiatura}.
2444 @section grand staff
2451 S: ackolad, böjd klammer,
2452 FI: kaksoisnuottiviivasto.
2456 A combination of two staves with a brace. Usually used for piano music.
2468 FI: grave, raskaasti.
2484 D: Halbe, halbe Note,
2507 @node harmonic cadence
2508 @section harmonic cadence
2510 ES: cadencia (armónica),
2511 I: cadenza (armonica),
2512 F: cadence harmonique,
2514 NL: harmonische cadens,
2515 DK: harmonisk kadence,
2516 S: (harmonisk) kadens,
2517 FI: harmoninen kadenssi.
2519 A sequence of chords that terminates a musical phrase or
2520 section. @aref{functional harmony}.
2522 @lilypond[fragment,raggedright]
2523 \context PianoStaff <<
2524 \context Staff = SA \relative c'' {
2528 \partial 4 < c g e >4 |
2529 < c a f > < b g d > < c g e >2
2531 % %\override Score.LyricText #'font-style = #'large
2533 \context Staff = SB \relative c {
2535 \partial 4 c4 | f, g c2
2538 \context Lyrics \lyrics {
2550 D: Harmonie, Zusammenklang,
2554 FI: harmonia, yhteissointi.
2556 Tones sounding simultaneously. Two note harmonies fall into the categories
2557 @emph{consonances} and @emph{dissonances}.
2561 @lilypond[fragment,notime,linewidth=13.0\cm]
2562 \set Score.automaticBars = ##f
2563 %\override Score.TextScript #'font-style = #'large
2564 \context Voice \relative c'' {
2577 @lilypond[fragment,notime,linewidth=13.0\cm]
2578 \set Score.automaticBars = ##f
2579 %\override Score.TextScript #'font-style = #'large
2580 \context Voice \relative c'' {
2581 <g a>1_"second " s s
2582 <g f'>_"seventh " s s
2587 Three note harmony @aref{chord}.
2599 FI: homofonia, yksiäänisyys.
2601 Music in which one voice leads melodically followed by the other voices more
2602 or less in the same rhythm. In contrast to @aref{polyphony}.
2614 FI: intervalli, kahden sävelen korkeusero.
2616 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2617 diminished, or augmented. The augmented fourth and the diminished fifth are
2618 identical (@aref{enharmonic}) and are called @emph{tritonus}
2619 because they consist of three @aref{whole tone}s. The addition
2620 of such two intervals forms an octave.
2622 @lilypond[fragment,notime,linewidth=13.0\cm]
2623 \set Score.automaticBars = ##f
2624 %\override Score.LyricText #'font-style = #'large
2625 %\override Score.TextScript #'font-style = #'large
2627 \context Voice \relative c'' {
2632 < gis bes >^"dimin" s
2633 < g! bes >^"minor" s
2637 \context Lyrics \lyrics {
2638 "unisone " "second " "second " "second "
2639 "third " "third " "third " "third"
2643 @lilypond[fragment,notime,linewidth=13.0\cm]
2644 \set Score.automaticBars = ##f
2645 %\override Score.LyricText #'font-style = #'large
2646 %\override Score.TextScript #'font-style = #'large
2648 \context Staff \relative c'' {
2649 < g c >1^"perfect" s
2651 < g d' >^"perfect" s
2652 < g des' > ^"dimin" s
2653 < gis es' >^"dimin" s
2654 < g! es' >^"minor" s
2658 \context Lyrics \lyrics {
2659 "fourth " "fourth " "fifth " "fifth "
2660 "sixth " "sixth " "sixth " "sixth"
2664 @lilypond[fragment,notime,linewidth=13.0\cm]
2665 \set Score.automaticBars = ##f
2666 %\override Score.LyricText #'font-style = #'large
2667 %\override Score.TextScript #'font-style = #'large
2669 \context Staff \relative c'' {
2670 < gis f'! >1^"dimin" s
2671 < g! f'! >^"minor" s
2672 < g fis' >^"major" s
2676 < g bes' >^"minor" s
2679 \context Lyrics \lyrics {
2680 "seventh " "seventh " "seventh " "octave "
2681 "none " "none " "decime " "decime"
2685 @node inverted interval
2686 @section inverted interval
2688 ES: intervalo invertido,
2689 I: intervallo rivolto,
2690 F: intervalle reversé,
2691 D: umgekehrtes Intervall,
2692 NL: interval inversie,
2693 DK: omvendingsinterval,
2694 S: intervallets omvändning,
2695 FI: käänteisintervalli.
2697 The difference between an interval and an octave.
2699 @lilypond[fragment,notime,linewidth=13.0\cm]
2700 \set Score.automaticBars = ##f
2701 %\override Score.TextScript #'font-style = #'large
2702 \context Staff \relative c'' {
2703 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2704 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2705 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2709 @node just intonation
2710 @section just intonation
2712 I: intonazione giusta,
2713 F: intonation juste,
2720 Tuning system in which the notes are obtained by adding and subtracting
2721 natural fifths and thirds. @aref{temperament}.
2735 According to the 12@w{ }tones of the @aref{chromatic scale}
2736 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2737 @aref{key signature}.
2740 @section key signature
2742 ES: armadura de clave,
2743 I: armatura di chiave,
2744 F: armure, armature [de la clé],
2745 D: Vorzeichen, Tonart,
2746 NL: toon@-soort (voortekens),
2749 FI: sävellajiosoitus.
2751 The sharps or flats appearing at the beginning of each staff indicating the
2752 key of the music. @aref{accidental}.
2760 D: Largo, Langsam, Breit,
2764 FI: largo, hitaasti, leveästi.
2766 Very slow in tempo, usually combined with great
2767 expressiveness. @emph{Larghetto} is less slow than largo.
2770 @section leading note
2781 The seventh @aref{scale degree}, a @aref{semitone} below
2782 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2783 upwards) to the tonic scale degree.
2786 @section ledger line
2788 ES: líneas adicionales,
2789 I: tagli addizionali,
2790 F: ligne supplémentaire,
2797 A ledger line is an extension of the staff.
2799 @lilypond[fragment,notime,raggedright]
2800 \set Score.automaticBars = ##f
2801 \relative c'' { a,1 s c'' }
2816 To be performed (a) without any perceptible interruption between the notes,
2817 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2818 (d) @aref{staccato}.
2820 @lilypond[fragment,notime,linewidth=13.0\cm]
2821 \set Score.automaticBars = ##f
2823 \context Staff \relative c'' {
2824 c4-( d e-) \bar "||"
2825 c4-- d-- e-- \bar "||"
2826 c4-.-( d-. e-.-) \bar "||"
2827 c4-. d-. e-. \bar "||"
2829 \context Lyrics \lyrics {
2830 % \override Lyrics .LyricText #'font-style = #'large
2839 @section legato curve
2841 @aref{slur}, @aref{legato}.
2851 ES: estanque de lilas,
2852 I: stagno del giglio,
2856 NL: le@-lie@-vij@-ver,
2861 A pond with lilies floating in it, also the name of a music typesetter.
2866 A ligature is a coherent graphical symbol that represents at least two
2867 distinct notes. Ligatures originally appeared in the manuscripts of
2868 Gregorian chant notation roughly since the 9th century to denote
2869 ascending or descending sequences of notes. In early notation,
2870 ligatures were used for monophonic tunes (Gregorian chant) and very
2871 soon denoted also the way of performance in the sense of articulation.
2872 With the invention of the metric system of the white mensural
2873 notation, the need for ligatures to denote such patterns disappeared.
2881 D: Linie, Notenlinie,
2885 FI: viiva, nuottiviiva.
2889 @node long appoggiatura
2890 @section long appoggiatura
2892 ES: apoyatura larga,
2893 I: appoggiatura lunga,
2894 F: appoggiature longue,
2895 D: langer Vorschlag,
2899 FI: pitkä appoggiatura, pitkä etuhele.
2901 @aref{appoggiatura}.
2915 Note value: double length of @aref{breve}.
2918 @lilypond[fragment,notime,raggedright]
2919 \set Score.automaticBars = ##f
2921 \override NoteHead #'style = #'mensural
2938 @node major interval
2939 @section major interval
2941 ES: intervalo mayor,
2942 I: intervallo maggiore,
2943 F: intervalle majeur,
2944 D: großes Intervall,
2948 FI: suuri intervalli.
2964 @aref{diatonic scale}.
2966 @node meantone temperament
2967 @section meantone temperament
2969 I: accordatura mesotonica,
2970 F: tempérament mésotonique,
2971 D: mitteltönige Stimmung,
2972 NL: middenstemming, middentoonstemming,
2973 DK: middeltonetemperatur,
2974 S: medeltonstemperatur,
2975 FI: keskisävelviritys.
2977 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2978 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2979 @aref{temperament} only a limited set of keys are playable.
2980 Used for tuning keyboard instruments for performance of pre-1650 music.
2994 A group of @aref{beat}s (units of musical time) the first of which
2995 bears an accent. Such groups in numbers of two or more recur consistently
2996 throughout the composition and are marked from each other by
2997 bar-lines. @aref{meter}.
3003 I: mediante, modale,
3011 1.@tie{}The third @b{scale degree}.
3012 2.@tie{}A @aref{chord} having its base tone
3013 a third from that of another chord. For example, the tonic chord may be
3014 replaced by its lower mediant (variant tonic). @aref{functional
3015 harmony}, @aref{relative key}.
3021 FI: melisma, laulettavan tavun sävelkuvio.
3023 A melisma (plural: melismata) is a group of notes or tones sung on one
3024 syllable in plainsong
3026 @node melodic cadence
3027 @section melodic cadence
3036 F: indication de mésure,
3043 The basic scheme of @aref{note value}s and
3044 @aref{accent}s which remains unaltered throughout a composition
3045 or a section of it. For instance, 3/4 meter means that the basic
3046 @aref{note value}s are quarter notes and that a
3047 @aref{measure} consists of three of those. According to
3048 whether there are two, three, or four units to the measure,
3049 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3050 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3052 @lilypond[fragment,linewidth=13.0\cm]
3056 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3059 @lilypond[fragment,linewidth=13.0\cm]
3063 f8 f f f a16 g a f |
3064 c'8 c c c e16 d e c \bar "||"}
3067 @lilypond[fragment,linewidth=13.0\cm]
3071 d4 b8 g b d d c a4 |
3072 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3087 Device indicating the exact tempo of a piece. @aref{metronomic
3090 @node metronomic indication
3091 @section metronomic indication
3093 ES: indicación metronómica,
3094 I: indicazione metronomica,
3095 F: indication métronomique,
3097 NL: metronoom aanduiding,
3099 S: metronomangivelse,
3100 FI: metronomiosoitus.
3102 Exact tempo indication (in beats per minute). Also denoted by
3103 M.M.@: (Mälzels Metronom).
3106 @section mezzo-soprano
3117 The female voice between @aref{soprano} and
3126 D: eingestrichenes@w{ }c,
3128 DK: enstreget@w{ }c,
3129 S: ettstruket@w{ }c,
3132 First C below the 440 Hz A.
3134 @lilypond[fragment,notime,raggedright]
3135 \set Score.automaticBars = ##f
3136 \override Staff.Clef #'full-size-change = ##t
3156 @aref{diatonic scale}.
3158 @node minor interval
3159 @section minor interval
3161 ES: intervalo mayor,
3162 I: intervallo minore,
3163 F: intervalle mineur,
3164 D: kleines Intervall,
3168 FI: pieni intervalli.
3182 FI: moodi, kirkkosävelasteikko.
3184 @aref{church mode}, @aref{diatonic scale}.
3196 FI: modulaatio, sävellajin vaihdos.
3198 Moving from one @aref{key} to another. For example, the second
3199 subject of a @aref{sonata form} movement modulates to the dominant
3200 key if the key is major and to the @aref{relative key} if the key
3212 FI: mordent, korukuvio.
3231 FI: teema, sävelaihe.
3233 The briefest intelligible and self-contained fragment of a musical theme or
3236 @lilypond[fragment,linewidth=13.0\cm]
3237 \override Score.TimeSignature #'break-visibility = #all-invisible
3238 %\override Score.TextScript #'font-style = #'large
3242 \partial 8 g16_"------" fis |
3243 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3244 g8 g,16 a b8 cis d16 s
3260 Greater musical works like @aref{symphony} and
3261 @aref{sonata} most often consist of several -- more or less --
3262 independant pieces called movements.
3265 @section multibar rest
3267 ES: compases de espera,
3271 D: mehrtaktige Pause,
3274 FI: usean tahdin mittainen tauko.
3276 @lilypond[fragment,raggedright]
3279 \set Score.skipBars = ##t R1*3
3284 @node mixolydian mode
3285 @section mixolydian mode
3287 @aref{diatonic scale}.
3290 @section natural sign
3295 D: Auflösungszeichen,
3296 NL: herstellingsteken,
3297 DK: op@-løsningstegn,
3298 S: återställningstecken,
3303 @node neighbour tones
3304 @section neighbour tones
3306 @aref{appoggiatura}.
3339 Notes are signs by means of which music is fixed in writing. The term is also
3340 used for the sound indicated by a note, and even for the key of the piano
3341 which produces the sound. However, a clear distinction between the terms tone
3342 and @aref{note} is strongly recommended. Briefly, one sees a note,
3349 I: testa, testina, capocchia,
3350 F: t@^ete de la note,
3357 A head-like sign which indicates pitch by its position on a
3358 @aref{staff} provided with a @aref{clef}, and duration
3359 by a variety of shapes such as hollow or black heads with or without
3360 @aref{stem}s, @aref{flag}s, etc. For percussion
3361 instruments (often having no defined pitch) the note head may indicate the
3369 F: durée, valeur (d'une note),
3374 FI: nuotin aika-arvo.
3376 Note values (durations) are measured as fractions, normally 1/2, of the next
3377 higher note value. The longest duration normally used is called @emph{brevis},
3378 but sometimes (mostly in pre-baroque music) the double length note value
3379 @emph{longa} is used.
3381 @lilypond[fragment,notime,linewidth=13.0\cm]
3382 %\override Score.TextScript #'font-style = #'large
3383 \set Score.automaticBars = ##f
3385 \override NoteHead #'style = #'mensural
3386 a\longa_"longa" a\breve_"breve"
3387 \revert NoteHead #'style
3388 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3389 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3392 @lilypond[fragment,notime,linewidth=13.0\cm]
3393 %\override Score.TextScript #'font-style = #'large
3394 \set Score.automaticBars = ##f
3396 r\longa_"longa" r\breve_"breve"
3397 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3398 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3401 An augmentation dot after a note multiplies the duration by one and a
3402 half. Another dot adds yet a fourth of the duration.
3404 @lilypond[fragment,linewidth=13.0\cm]
3405 %\override Score.TextScript #'font-style = #'large
3408 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3409 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3412 Alternatively note values may be subdivided by other ratios. Most common is
3413 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3414 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3415 dotted notes are also frequently used.
3417 @lilypond[fragment,linewidth=13.0\cm]
3418 %\override Score.TextScript #'font-style = #'large
3421 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3422 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3426 @lilypond[fragment,linewidth=13.0\cm]
3429 \times 3/2 {g4_"duplets" g} |
3431 \times 6/4 {g8_"quadruplets" g g g} |
3432 g8 g g g g4 \bar "||"
3437 @section octave sign
3439 @aref{G clef}, @aref{F clef}.
3459 I: abbellimento, fioriture,
3460 F: agrément, ornement,
3461 D: Verzierung, Ornament,
3467 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3468 with the diatonic @aref{second} above it. In the music from the
3469 middle of the 19th century and onwards the trill is performed with the main
3470 note first while in the music from the preceding baroque and classic periods
3471 the upper note is played first.
3473 @lilypond[fragment,linewidth=13.0\cm]
3475 \context Staff = sa {
3476 % \override Score.TextScript #'font-style = #'large
3478 c2._"pre-1850" b4\trill | c1 \bar "||"
3479 c2._"post-1850" b4\trill | c1 \bar "||"
3483 c2. c32 b c b c b c b | c1
3484 c2. b32 c b c \times 4/5 { b c b c b } | c1
3489 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
3490 @emph{prall} (inverted mordent).
3492 @lilypond[fragment,linewidth=13.0\cm]
3494 \context Staff = sa {
3495 % \override Score.TextScript #'font-style = #'large
3497 a4_"turn" b\turn c2 \bar "||"
3498 g4_"mordent" a b\mordent a \bar "||"
3499 e'4_"prall" d\prall c2 \bar "||"
3505 e'4 e32[ d e d ~ d8] c2
3510 @aref{appoggiatura}.
3522 FI: ossia, vaihtoehtoinen esitystapa.
3524 Ossia (otherwise) marks an alternative. It is an added staff or piano
3525 score, usually only a few measures long, which presents another version
3526 of the music, for example for small hands.
3538 FI: stemma, instrumenttiosuus.
3540 1.@tie{}In instrumental or choral music the music for the single instrument
3541 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3542 melodic line of the contrapunctal web.
3555 D: Schlagzeug, Schlagwerk,
3561 A family of musical instruments which are played on by striking or
3562 shaking. Percussion instruments commonly used in a symphony orchestra are
3563 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3564 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3567 @node perfect interval
3568 @section perfect interval
3570 ES: intervalo justo,
3571 I: intervallo giusto,
3572 F: intervalle juste,
3573 D: reines Intervall,
3577 FI: puhdas intervalli.
3593 A natural division of the melodic line, comparable to a sentence of speech.
3605 FI: fraseeraus, jäsentäminen.
3607 The clear rendering in musical performance of the @aref{phrase}s of
3608 the melody. Phrasing may be indicated by a @aref{slur}.
3622 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3623 @emph{mezzopiano} (@b{mp}) medium soft.
3644 NL: pizzicato, getokkeld,
3647 FI: pizzicato, näppäillen.
3649 Play by plucking the strings.
3657 D: Polyphonie, Mehrstimmigkeit,
3661 FI: polyfonia, moniäänisyys.
3663 Music written in a combination of several simultaneous voices (parts) of a
3664 more or less pronounced individuality. @aref{counterpoint}.
3677 D: Presto, Sehr schnell,
3678 NL: presto, Sehr schnell,
3681 FI: presto, hyvin nopeasti.
3683 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3684 denotes the highest possible degree of speed.
3686 @node Pythagorean comma
3687 @section Pythagorean comma
3689 ES: coma pitagórico,
3690 I: comma pitagorico,
3691 F: comma pythagoricien,
3692 D: Pythagoräisches Komma,
3693 NL: komma van Pythagoras,
3694 DK: pythagoræisk komma,
3695 S: pytagoreiskt komma,
3696 FI: pytagorinen komma.
3698 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3699 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3700 24 @aref{cent}s higher than the@w{ }C obtained by adding
3701 7@w{ }octaves. The difference between those two pitches is called the
3719 @section quarter note
3722 I: semiminima, nera,
3725 D: Viertel, Viertelnote,
3729 FI: neljännesosanuotti.
3734 @section quarter rest
3736 ES: silencio de negra,
3737 I: pausa di semiminima,
3742 DK:@w{ }fjerdedelspause,
3744 FI: neljännesosatauko.
3763 @section rallentando
3768 D: rallentando, langsamer werden,
3772 FI: rallerdando, hidastuen.
3774 Abbreviation "rall.". @aref{ritardando}.
3777 @section relative key
3780 I: tonalità relativa,
3781 F: tonalité relative,
3783 NL: paralleltoonsoort,
3784 DK: paralleltoneart,
3786 FI: rinnakkaissävellaji.
3788 @aref{major} and @aref{minor} @aref{key}
3789 with the same @aref{key signature}.
3791 @lilypond[fragment,notime,linewidth=13.0\cm]
3792 \set Score.automaticBars = ##f
3793 %\override Score.TextScript #'font-style = #'large
3796 es1_"e flat major" f g as bes c d es
3801 @lilypond[fragment,notime,linewidth=13.0\cm]
3802 \set Score.automaticBars = ##f
3803 %\override Score.TextScript #'font-style = #'large
3806 c1_"c minor" d es f g a! b! c \bar "||"
3813 ES: barra de repetición,
3815 F: barre de reprise,
3818 DK: gen@-ta@-gel@-se,
3822 @lilypond[fragment,linewidth=13.0\cm]
3826 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3830 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3831 @c specify the rest's value.
3859 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3860 fixed unit of time, called @aref{beat}, and in which the normal
3861 @aref{accent} recurs in regular intervals, called
3862 @aref{measure}. The basic scheme of time values is called
3863 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3864 accent. In modern notation such music appears as a free alternation of
3865 different measures. (c) Free rhythm, i.e., the use of temporal values having
3866 no common metrical unit (beat).
3874 D: Ritardando, langsamer werden,
3878 FI: ritardando, hidastuen,
3880 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3892 FI: ritenuto, hidastaen.
3894 Immediate reduction of speed.
3906 FI: asteikko, sävelasteikko.
3908 @aref{diatonic scale}.
3911 @section scale degree
3913 ES: grados de la escala,
3914 I: grado della scala,
3915 F: degré [de la gamme],
3917 NL: trap [van de toonladder],
3920 FI: sävelaste, asteikon sävel.
3922 Names and symbols used in harmonic analysis to denote tones of the scale as
3923 roots of chords. The most important are degrees I = tonic (T), IV =
3924 sub@-do@-mi@-nant (S) and V = dominant (D).
3926 @lilypond[fragment,notime,linewidth=13.0\cm]
3927 \set Score.automaticBars = ##f
3928 %\override Score.LyricText #'font-style = #'large
3929 %\set minVerticalAlign = #8
3931 \context Staff \relative c' {
3934 \context Lyrics \lyrics {
3935 << { I II III IV V VI VII I }
3940 @aref{functional harmony}.
3948 D: Partitur (full score), Klavierauszug (vocal score)
3954 A copy of orchestral, choral, or chamber music showing what each instrument is
3955 to play, each voice to sing, having each part arranged one underneath the
3956 other on different staves @aref{staff}.
3970 The @aref{interval} between two neigbouring tones of a scale. A
3971 @aref{diatonic scale} consists of alternating
3972 @aref{semitone}s and @aref{whole tone}s, hence the size
3973 of a se@-cond depends on the scale degrees in question.
3987 The @aref{interval} of a minor second. The (usually) smallest
3988 interval in European composed music. The interval between two neighbouring
3989 tones on the piano keyboard -- including black and white keys -- is a
3990 semitone. An octave may be divided into 12@w{ }semitones.
3991 @aref{interval}, @aref{chromatic scale}.
3993 @lilypond[fragment,notime,linewidth=13.0\cm]
3994 \set Score.automaticBars = ##f
3995 \relative c'' { g1 gis s a bes s b! c }
4049 @node short appoggiatura
4050 @section short appoggiatura
4052 @aref{appoggiatura}.
4054 @node sixteenth note
4055 @section sixteenth note
4061 D: Sechzehntel, Sechzehntelnote,
4062 NL: zes@-ti@-ende noot,
4063 DK: sekstendedelsnode,
4065 FI: kuudestoistaosanuotti.
4069 @node sixteenth rest
4070 @section sixteenth rest
4072 ES: silencia de semicorchea,
4073 I: pausa di semicroma,
4075 UK: semiquaver rest,
4076 D: Sechzehntelpause,
4078 DK: sekstendedelspause,
4098 @node sixty-fourth note
4099 @section sixty-fourth note
4103 F: quadruple croche,
4104 UK: hemidemisemiquaver,
4105 D: Vierundsechzigstel, Vierundsechzigstelnote,
4106 NL: vierenzestigste noot,
4107 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4108 S: sextiofjärdedelsnot,
4109 FI: kuudeskymmenesneljäsosanuotti.
4113 @node sixty-fourth rest
4114 @section sixty-fourth rest
4116 ES: silencia de semifusa,
4117 I: pausa di semibiscroma,
4118 F: seizième de soupir,
4119 UK: hemidemisemiquaver rest,
4120 D: Vierundsechzigstelpause,
4121 NL: vierenzestigste rust,
4122 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4123 S: sextiofjärdedelspaus,
4124 FI: kuudeskymmenesneljäsosatauko.
4132 I: legatura (di portamento or espressiva),
4134 D: Bogen, Legatobogen, Phrasierungsbogen,
4135 NL: fraseringsboog, legatoboog, streekboog,
4136 DK: legatobue, fraseringsbue,
4140 A slur above or below a group of notes indicates that they are to be played
4141 @aref{legato}, e.g., with one stroke of the violin bow or with one
4145 @section solmization
4153 FI: suhteelliset laulunimet.
4155 General term for systems of designating the degrees of the
4156 @aref{scale}, not by letters, but by syllables (@emph{do}
4157 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4158 (@emph{ti})). @aref{scale degree}.
4172 In its present-day meaning a sonata denotes an instrumental composition for
4173 piano or for some other instrument with piano accompaniment, which consists of
4174 three or four independant pieces, called movements.
4177 @section sonata form
4181 F: [en] forme de sonate,
4183 NL: hoofdvorm, sonatevorm,
4188 A form used frequently for single movements of the @aref{sonata},
4189 @aref{symphony}, quartet, etc. A movement written in sonata form
4190 falls into three sections called @emph{exposition}, @emph{development} and
4191 @emph{recapitulation}. In the exposition the composer introduces some musical
4192 ideas, consisting of a number of themes; in the development section the
4193 composer `develops' this material, and in the recapitulation the composer
4194 repeats the exposition, with certain modifications. The exposition contains a
4195 number of themes that fall into two groups, often called first and second
4196 subject. Other melodies occurring in each group are considered as
4197 continuations of these two. The second theme is in another key, normally in
4198 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4199 @aref{relative key} if the tonic is @aref{minor}.
4216 FI: sopraano, korkea naisääni.
4218 The highest female voice.
4225 F: staccato, piqué, détaché,
4230 FI: staccato, lyhyesti, terävästi.
4232 Playing the note(s) short. Staccato is indicated by a dot above or below the
4235 @lilypond[fragment,raggedright]
4240 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4249 I: pentagramma, rigo (musicale),
4252 NL: (noten)balk, partij,
4257 A staff (pl. staves) is a series of (normally five) horizontal lines
4258 upon and between which the musical notes are written, thus indicating
4259 (in connection with a @aref{clef}) their pitch. Staves for
4260 @aref{percussion} instruments may have fewer lines.
4273 D: Hals, Notenhals, Stiel,
4279 Vertical line above or below a @aref{note head} shorter than a
4280 whole note. @aref{beam}.
4282 @lilypond[fragment,notime,linewidth=13.0\cm]
4283 \set Score.autoBeaming = ##f
4284 \set Score.automaticBars = ##f
4285 %\override Score.TextScript #'font-style = #'large
4306 A family of stringed musical instruments played with a bow. Strings commonly
4307 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4310 @section strong beat
4315 D: betonter Taktteil oder Taktschlag,
4317 D: betonet taktslag,
4318 S: betonat taktslag,
4319 FI: tahdin vahva isku.
4321 @aref{beat}, @aref{accent}, @aref{measure},
4325 @section subdominant
4334 FI: subdominantti, alidominantti.
4336 The fourth @aref{scale degree}. @aref{functional harmony}.
4350 The sixth @aref{scale degree}.
4362 FI: subtoonika, alitoonika.
4364 The seventh @aref{scale degree}.
4367 @section superdominant
4378 The sixth @aref{scale degree}.
4392 The second @aref{scale degree}.
4400 D: Sinfonie, Symphonie,
4406 A symphony may be defined as a @aref{sonata} for orchestra.
4409 @section syncopation
4420 Any deliberate upsetting of the normal pulse of @aref{meter},
4421 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4422 rhythm rests upon the grouping of equal beats into groups of two or three,
4423 with a regularly recurrent accent on the first beat of each group. Any
4424 deviation from this scheme is felt as a disturbance or contradiction between
4425 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4427 @lilypond[fragment,raggedright]
4432 e c'4 e,8 c'4 e,8 c' ( | c2)
4436 @node syntonic comma
4437 @section syntonic comma
4439 I: comma sintonico (o didimico),
4440 F: comma syntonique,
4441 D: syntonisches Komma,
4442 NL: syntonische komma,
4443 DK: syntonisk komma,
4444 S: syntoniskt komma,
4445 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
4447 Difference between the natural third and the third obtained by Pythagorean
4448 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4459 FI: nuottijärjestelmä.
4461 The collection of staves @aref{staff}, two or more, as used for
4462 writing down of keyboard, chamber, choral, or orchestral music.
4465 @section temperament
4470 D: Stimmung, Tem@-pe@-ra@-tur,
4471 NL: stemming, temperatuur,
4474 FI: viritysjärjestelmä.
4476 Systems of tuning in which the intervals deviate from the acoustically pure
4477 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4479 @node tempo indication
4480 @section tempo indication
4482 ES: indicación de tempo,
4483 I: indicazione di tempo,
4484 F: indication de temps,
4485 D: Zeitmaß, Tempobezeichnung,
4486 NL: tempo aanduiding,
4491 The rate of speed of a composition or a section thereof, ranging from the
4492 slowest to the quickest, as is indicated by tempo marks as
4493 @aref{largo}, @aref{adagio}, @aref{andante},
4494 @aref{allegro}, and @aref{presto}.
4506 FI: tenori, korkea miesääni.
4508 The highest male voice (apart from @aref{counter tenor}).
4538 @node thirty-second note
4539 @section thirty-second note
4545 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4546 NL: twee-endertig@-ste noot,
4547 DK: toogtredivtedelsnode,
4548 S: trettiotvåondelsnot,
4549 FI: kolmanneskymmeneskahdesosanuotti.
4553 @node thirty-second rest
4554 @section thirty-second rest
4556 ES: silencio de fusa,
4557 I: pausa di biscroma,
4558 F: huitième de soupir,
4559 UK: demisemiquaver rest,
4560 D: Zweiunddreissigstel@-pause,
4562 DK: toogtredivtedelspause,
4563 S: trettiotvåondelspaus,
4564 FI: kolmanneskymmeneskahdesosatauko.
4569 @section thorough bass
4572 I: basso continuo, basso numerato,
4574 D: Generalbass, bezifferter Bass,
4575 NL: basso continuo, becijferde bas
4578 FI: kenraalibasso, numeroitu basso.
4580 A method of indicating an accompaniment part by the bass notes only, together
4581 with figures designating the chief @aref{interval}s and
4582 @aref{chord}s to be played above the bass notes.
4584 @lilypond[fragment,linewidth=13.0\cm]
4585 \context GrandStaff <<
4586 \context Staff = lh \relative c'' {
4590 << \context Voice = rha {
4593 \context Voice = rhb {
4595 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4599 \context Staff = rh \relative c' {
4602 es8 c d bes c as bes16 as g f | es4
4604 \context Lyrics \lyrics {
4605 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
4606 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4607 { "" "" "" "2" "" "" "" "" "" "2" } >>
4615 ES: ligadura de prolongación,
4616 I: legatura (di valore),
4619 NL: overbinding, bindingsboog,
4621 S: bindebåge, överbindning,
4624 A curved line, identical in appearance with the @aref{slur}, which
4625 connects two succesive notes of the same pitch, and which has the function of
4626 uniting them into a single sound (tone) equal to the combined durations.
4628 @lilypond[fragment,notime,raggedright]
4629 \set Score.automaticBars = ##f
4630 \relative c'' { g2 ~ g4. }
4638 @node time signature
4639 @section time signature
4641 ES: cifra indicadora de compás,
4643 F: chiffrage (chiffres indicateurs), signe de valeur,
4644 D: Taktangabe, Angabe der Taktart,
4647 S: taktartssignatur,
4664 A sound of definite pitch and duration, as distinct from @emph{noise}.
4665 Tone is a primary building material of music.
4666 Music from the 20th century may be based on atonal sounds.
4680 The first @aref{scale degree}.
4681 @aref{functional harmony}.
4684 @section transposition
4695 Shifting a melody up or down in pitch, while keeping the same
4698 @lilypond[fragment,linewidth=13.0\cm]
4703 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4708 @lilypond[fragment,linewidth=13.0\cm]
4711 \transpose c bes \relative c'' {
4713 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4719 @section treble clef
4722 I: chiave di violino,
4724 D: Violinschlüssel, Sopranschlüssel,
4726 DK:@w{ }diskantnøgle,
4744 On stringed instruments (@aref{strings}) the quick reiteration of
4745 the same tone, produced by a rapid up-and-down movement of the bow
4746 (a). The term is also used for the rapid alternation (b) between two notes of
4747 a @aref{chord}, usually in the distance of a third
4750 @lilypond[fragment,notime,raggedright]
4751 \set Score.automaticBars = ##f
4752 %\override Score.TextScript #'font-style = #'large
4755 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4756 \repeat "tremolo" 8 { e32_"b" g }
4765 F: triade, accord parfait, accord de trois sons,
4779 F: trille, tremblement, battement (cadence),
4789 @section triple meter
4791 ES: compás compuesto,
4795 NL: driedelige maatsoort,
4831 @section tuning fork
4834 I: diapason, corista,
4842 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4843 give the international pitch for the tone @emph{a} (440 vibrations per second).
4869 FI: unisono, yksiäänisesti.
4871 Playing of the same notes or the same melody by various instruments (voices)
4872 or by the whole orchestra (choir), either at exactly the same pitch or in a
4878 ES: entrada anacrúsica,
4880 F: anacrouse, levée,
4887 Initial note(s) of a melody occurring before the first bar
4888 line. @aref{measure}, @aref{meter}.
4890 @lilypond[fragment,linewidth=13.0\cm]
4894 \partial 4 f4 | bes4. a8 bes4 c |
4895 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4908 FI: ääni, lauluääni.
4910 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4911 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4912 2.@tie{}A melodic layer or part of a polyphonic composition.
4918 I: tempo debole, arsi,
4920 D: unbetonter Taktteil oder Taktschlag,
4922 DK: ubetonet taktslag,
4923 S: obetonat taktslag,
4924 FI: tahdin heikko isku.
4926 @aref{beat}, @aref{measure}, @aref{rhythm}.
4935 D: Ganze, ganze Note,
4946 ES: silencio de redonda,
4947 I: pausa di semibreve,
4950 D: ganze Pause, ganztaktige Pause,
4970 The @aref{interval} of a major second. The interval between two
4971 tones on the piano keyboard with exactly one key between them -- including
4972 black and white keys -- is a whole tone.
4986 A family of blown wooden musical instruments. Today some of these instruments
4987 are actually made from metal. The woodwind instruments commonly used in a
4988 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4993 @item DURATION NAMES, NOTES AND RESTS
4996 @multitable @columnfractions .15 .26 .33 .26
5013 @item @strong{longa}
5028 @item @strong{breve}
5043 @item @strong{whole}
5053 @tab koko@-nuotti/@w{-tauko}
5068 @tab puoli@-nuotti/@w{-tauko}
5073 @item @strong{quarter}
5083 @tab neljännesosa@-nuotti/@w{-tauko}
5088 @item @strong{eighth}
5098 @tab kahdeksasosa@-nuotti/@w{-tauko}
5103 @item @strong{sixteenth}
5113 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5118 @item @strong{thirty-second}
5123 @tab Zweiunddreissigstel
5124 @tab tweeendertigste
5125 @tab toogtredivtedel
5127 @tab trettiotvåondel
5128 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5133 @item @strong{sixty-fourth}
5134 @tab hemidemisemiquaver
5136 @tab quadruple croche
5138 @tab Vierundsechzigstel
5139 @tab vierenzestigste
5140 @tab fireogtred@-sindstyvendedel
5142 @tab sextiofjärdedel
5143 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5147 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5155 @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5157 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
5158 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5162 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5166 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
5167 cis @tab cis @tab cis
5171 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
5172 des @tab des @tab des
5176 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5180 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5184 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5188 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
5192 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
5197 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5201 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
5202 ais @tab ais @tab ais
5206 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
5211 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5216 @unnumbered Literature used
5219 @item The Harvard Dictionary of Music, London 1944. Many more or less
5220 literal quotes from its articles have been included into the item
5223 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5225 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5227 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5230 @item Webster's Revised Unabridged Dictionary, Springfield 1913.