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
25 @c Fixes by Jean-Pierre Coulon and `Dirk'
29 Copyright @copyright{} 1999--2004 by the authors
32 Permission is granted to copy, distribute and/or modify this document
33 under the terms of the GNU Free Documentation License, Version 1.1
34 or any later version published by the Free Software Foundation,
35 without Invariant Sections.
40 @c FIXME: multiple omfcreators?
42 @omfcreator Christian Mondrup
43 @omfdescription Glossary of musical terms with translations
45 @omfcategory Applications|Publishing
52 @chapter Music Glossary
63 @item Christian Mondrup
64 Original author of LilyPond glossary, Danish glossary,
67 @item Fran@,{c}ois Pinard
68 Original glossary of GNU music project, French glossary,
69 @item Han-Wen Nienhuys
71 @item Jan Nieuwenhuizen
76 English glossary translations.
79 Copyright 1999--2004 by the authors
82 Permission is granted to copy, distribute and/or modify this document
83 under the terms of the GNU Free Documentation License, Version 1.1
84 or any later version published by the Free Software Foundation,
85 without Invariant Sections.
95 @c @everyheading @| @thispage @|
96 @c @evenheading @thispage @| @|
97 @c @oddheading @| @| @thispage @|
101 @tex $\\Rightarrow$ @end tex@c
112 We do not use refs for Info:
114 @w{@ar{}\word\}@c vs:
115 @w{@ar{}@pxref{\word\}}@c
117 they look too intrusive (says Han-Wen).
124 @w{@ar{}@strong{\word\}}@c
127 @ar{}@ref{\word\, @strong{\word\}}@c
135 @c If we want hypelinks, we must add anchors.
136 @c Hmm, we need the @achor command in the item description itself
137 @c (not before or after) to get mozilla jump to the right place.
140 @item \word\@anchor{\word\}
142 @macro aitemii{one,two}
143 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
145 @macro aitemiii{one,two,three}
146 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
156 @item UK - British English
163 This is an example reference, that points you to the @aref{accent}
188 FI: aksentti, korostus,
191 The stress of one tone over others.
193 @c F: how to distinguish between accidental and key-sig alteration?
197 I: alterazione, accidente,
199 D: Vorzeichen, Versetzungszeichen,
202 S: tillf@"alligt f@"ortecken,
203 FI: tilap@"ainen etumerkki,
206 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
207 @c Akzidenz, NL: toevallig teken, I: accidento.
209 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
210 by a @aref{whole tone}, a flat lowers it by a semitone and a double
211 flat lowers it by a whole tone. A natural cancels the effect of a previous
215 \property Score.automaticBars = ##f
216 %\property Voice.TextScript \set #'font-style = #'large
218 \context Staff \notes\relative c'' {
219 gis1 s s gisis s s ges s s geses s s g!
221 \context Lyrics \lyrics {
222 \property Lyrics . LyricText \set #'self-alignment-X = #-1
223 "sharp " "db. sharp " "flat " "db. flat " natural
230 F: accelerando, en acc@'el@'erant,
231 D: accelerando, schneller werden,
235 FI: accelerando, kiihdytt@"aen,
248 FI: adagio, hitaasti,
251 It. comfortable, easy.
252 1. Slow tempo, slower -- especially in even meter -- than
253 @aref{andante} and faster than @aref{largo}.
254 2. A movement in slow tempo, especially the second (slow) movement of
255 @aref{sonata}s, symphonies, etc.
261 D: Allegro, Schnell, Fr@"ohlich, Lustig,
265 FI: allegro, nopeasti,
268 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
269 especially the first and last movements of a @aref{sonata}.
279 FI: altto, matala nais@"a@"ani,
282 A female voice of low range (@emph{contralto}). Originally the alto was a high
283 male voice (hence the name) which by the use of falsetto reached the height of
284 the female voice. This type of voice is also known as @aref{counter
288 ES: clave de do en tercera,
289 I: chiave di contralto,
290 F: clef d'ut troisi@`eme ligne,
291 D: Altschl@"ussel, Bratschenschl@"ussel,
298 C clef setting central C on the middle line of the staff
309 FI: ambitus, @"a@"aniala, soitinala,
312 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.
314 @aitem{ancient minor scale}
315 I: scala minore naturale,
316 F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
318 NL: authentieke mineurtoonladder,
321 FI: luonnollinen molliasteikko,
325 \property Score.automaticBars = ##f
326 \notes\relative c'' {
338 FI: andante, k@"ayden,
341 Walking tempo/character.
346 F: appogiature, (port de voix),
351 FI: appoggiatura, etuhele,
354 Ornamental note, usually a second, that is melodically connected with the main
355 note that follows it. In music before the 19th century a. were usually
356 performed on the beat, after that mostly before the beat. While the short
357 a. is performed as a short note regardless of the duration of the main note
358 the duration of the long a. is proportional to that of the main note.
361 \context Voice \notes\relative c'' {
365 %\property Score.TextScript \set #'font-style = #'large
366 <d a fis>4_"notation" r
367 { \property Voice.Stem \override #'flag-style = #'()
369 \property Voice.Stem \revert #'flag-style
372 { \property Voice.Stem \override #'flag-style = #'()
374 \property Voice.Stem \revert #'flag-style
377 \cadenzaOn a4 \bar "||" \cadenzaOff }
378 \notes\relative c'' {
379 <d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
380 \cadenzaOn a4 \bar "||" \cadenzaOff }
383 An appoggiatura may have more notes preceding the main note.
386 \notes\relative c'' {
389 % \property Score.TextScript \set #'font-style = #'large
390 \grace { bes16 } as8_"notation" as16 bes as8 g |
391 \grace { as16[( bes] } < c as >4-)
392 \grace { as16[( bes] } < c as >4-) \bar "||"
393 \grace { bes16 } as8_"performance" as16 bes as8 g |
394 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
395 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
404 D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
406 DK: arpeggio, akkordbrydning,
408 FI: arpeggio, murtosointu,
412 \notes \context PianoStaff <<
413 \context Staff = SA \relative c'' {
416 r8 g16 c e g, c e r8 g,16 c e g, c e |
417 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
418 \context Staff = SB \relative c' {
420 << \context Voice = va {
422 r16 e8. ( e4) r16 e8. ( e4) |
423 r16 d8. ( d4) r16 d8. ( d4) }
424 \context Voice = vb {
431 @aitem{ascending interval}
432 ES: Intervalo ascendente,
433 I: intervallo ascendente,
434 F: intervalle ascendant,
435 D: steigendes Intervall,
436 NL: stijgend interval,
437 DK:@w{ }stigende interval,
438 S: stigande intervall,
439 FI: nouseva intervalli,
442 A distance between a starting lower note and a higher ending note.
444 @aitem{augmented interval}
445 ES: intervalo aumentado,
446 I: intervallo aumentato,
447 F: intervalle augment@'e,
448 D: @"uberm@"a@ss{}iges Intervall,
449 NL: overmatig interval,
450 DK: forst@o{}rret interval,
451 S: @"overstigande intervall,
452 FI: ylinouseva intervalli,
460 D: Autograph, Handschrift,
462 DK: h@aa{}ndskrift, autograf,
464 FI: k@"asinkirjoitettu nuotti,
467 1. A manuscript in the composer's own hand.
468 2. Music prepared for photoreproduction by freehand drawing,
469 with only the aid of a straightedge ruler and T-square,
470 which attempts to emulate engraving.
471 This required more skill than did engraving.
484 @aitemii{backfall,forefall}
489 I: stanghetta, barra (di divisione),
490 F: barre (de mesure),
499 ES: comp@'as, @aref{measure}.
502 ES: bar@'{@dotless{i}}tono,
509 FI: baritoni, keskikorkuinen mies@"a@"ani,
512 The male voice intermediate between the @aref{bass} and the
515 @c F: clef de troisi@`eme ligne dropped
517 @aitem{baritone clef}
518 ES: clave de fa en tercera,
519 I: chiave di baritono,
520 F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
521 D: Baritonschl@"ussel,
528 C or F clef setting central C on the upper staff line.
529 @aref{C clef}, @aref{F clef}.
532 ES: clave de fa en cuarta,
534 F: cl@'e de fa quatri@`eme ligne,
542 A clef setting with central C on the first top ledger line.
552 FI: basso, matala mies@"a@"ani,
555 1. The lowest of men's voices.
556 2. Sometimes, especially in jazz music, used as
557 an abbreviation for double bass.
570 Line connecting a series of notes (shorter than a quarter note).
571 The number of beams determine the note value of the connected notes.
574 \property Score.automaticBars = ##f
575 %\property Voice.TextScript \set #'font-style = #'large
576 \notes\relative c'' {
578 g16_"1/16"[ g g g] s16
579 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
580 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
587 D: Takt, Taktschlag, Zeit (im Takt),
594 Note value used for counting, most often half-, fourth-, and eighth notes.
595 The base counting value and the number of them per measure is indicated at
596 the start of the music.
601 \notes\relative c'' { g4 c b a | g1 \bar "||"}
603 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
613 D: Klammer, Akkolade,
614 NL: accolade, teksthaak,
617 FI: yhdist@"av@"a sulkumerkki,
620 Symbol at the start of a system connecting staves. Curly braces are used
621 for connecting piano staves, angular brackets for connecting parts in an
622 orchestral or choral score.
625 \notes\context GrandStaff <<
626 \relative c''\context Staff = SA { \clef treble g4 e c2 }
627 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
631 \context StaffGroup <<
632 % \property StaffGroup.minVerticalAlign = #12
633 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
634 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
643 DK: messingbl@ae{}sere,
644 S: brassinstrument, m@"assingsinstrument,
648 A family of blown musical instruments made of brass all using a cup formed
649 mouth piece. The brass instruments commonly used in a symphony orchestra are
650 trumpet, trombone, french horn, and tube.
655 D: Atemzeichen, Trennungszeichen,
656 NL: repercussieteken,
657 DK: vejrtr@ae{}kningstegn,
662 Indication of where to breathe in vocal and wind instrument parts.
675 @aref{note value} twice as long as a whole note. Mainly used
679 \property Score.automaticBars = ##f
680 \notes\relative c'' { g\breve }
705 Clef symbol indicating the position of the central C. Used on all note
709 \property Score.automaticBars = ##f
710 \property Score.Clef \override #'full-size-change = ##t
711 %\property Score.LyricText \set #'font-style = #'large
713 \context Staff \notes\relative c' {
715 \clef mezzosoprano c s s
720 \context Lyrics \lyrics {
721 \property Lyrics . LyricText \override #'self-alignment-X = #-1
722 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
734 FI: kadenssi, lopuke,
737 @aref{harmonic cadence}, @aref{functional harmony}.
747 FI: kadenssi, lopuke,
750 An extended, improvisatory style section inserted near the end of
751 movement. The purpose of a cadenza is to give the singer or player a chance to
752 exhibit her technichal skill and not the least her ability to improvise. Since
753 the middle of the 19th century, however, most cadences have been written down
764 FI: kaanon, tarkka j@"aljittely,
777 FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a,
780 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
781 equally tempered @aref{semitone}).
782 @aref{equal temperament}.
798 Three or more tones sounding simultaneously. In traditional European music the
799 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
800 minor @aref{third}) as well as @emph{minor} (minor + major third)
801 chords may be extended with more thirds. Four-tone @emph{seventh chords}
802 and five-tone @emph{ninth} major chords are most often used as dominants
803 (@aref{functional harmony}). A special case is chords having no
804 third above the lower notes to define their quality as major or minor. Such
805 chords are denoted open chords
808 \property Score.automaticBars = ##f
809 %\property Voice.TextScript \set #'font-style = #'large
811 \context Staff \notes\relative c'' {
819 \context Lyrics \lyrics{
820 \property Lyrics . LyricText \set #'self-alignment-X = #-1
821 "major " "minor " "diminished " "augmented "
822 "seventh-chord " "ninth-chord "
826 @aitem{chromatic scale}
827 ES: escala crom@'atica,
829 F: gamme chromatique,
830 D: chromatische Tonleiter,
831 NL: chromatische toonladder,
834 FI: kromaattinen asteikko,
837 A scale consisting of all 11 @aref{semitone}s.
840 \property Score.automaticBars = ##f
841 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
855 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
857 @aitemii{church mode,ecclesiastical mode}
858 ES: modo eclesi@'astico,
859 I: modo ecclesiastico,
860 F: mode eccl@'esiastique,
865 FI: moodi, kirkkos@"avellaji,
868 @aref{diatonic scale}.
874 D: Schl@"ussel, Notenschl@"ussel,
878 FI: avain, nuottiavain,
881 @aref{C clef}, @aref{F clef}, @aref{G clef}.
890 FI: komma, korvinkuultava ero @"a@"anenkorkeudessa,
893 Difference in pitch between a note derived from pure tuning and the same note
894 derived from some other tuning method. @aref{temperament}.
899 @aitem{compound interval}
900 ES: intervalo compuesto,
901 I: intervallo composto,
902 F: intervalle compos@'e,
904 NL: samengesteld interval,
905 DK: sammensat interval,
906 S: sammansatt intervall,
907 FI: oktaavia laajempi intervalli,
910 Intervals larger than an octave.
916 F: intervalle compl@'ementaire,
917 D: Komplement@"arintervall,
918 NL: complementair interval,
919 DK: komplement@ae{}rinterval,
920 S: komplement@"arintervall (?),
921 FI: t@"aydent@"av@"a intervalli,
924 @aref{inverted interval}.
926 @aitem{conjunct movement}
927 ES: movimiento conjunto,
929 F: mouvement conjoint,
930 D: schrittweise, stufenweise Bewegung,
931 NL: stapsgewijze, trapsgewijze beweging,
932 DK: trinvis bev@ae{}gelse,
933 S: stegvis r@"orelse,
934 FI: asteittainen liike,
937 Melody moving in the narrow steps of the scale.
940 \key g \major \time 4/4
941 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
952 FI: konsonanssi, sopusointi,
978 FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan,
981 From latin @emph{punctus contra punctum}, note against note. The combination
982 into a single musical fabric of lines or parts which have distinct melodic
983 significance. A frequently used polyphonic technique is imitation, in its
984 strictest form found in the canon needing only one part to be written down
985 while the other parts are performed with a given displacement. Imitation is
986 also the contrapunctal technique used in the @emph{fugue} which, since the
987 music of the baroque era, has been one of the most popular polyphonic
990 @lilypond[staffsize=11,noquote]
991 \property Score.TimeSignature \override #'style = #'()
992 \notes\context PianoStaff <<
993 \context Staff = SA \relative c' {
997 << \context Voice = rha {
999 r1 | r2 r8 g'8 bes d, |
1000 cis4 d r8 e!16 f g8 f16 e |
1001 f8 g16 a bes8 a16 g a8
1003 \context Voice = rhb {
1009 \context Staff = SB \relative c' {
1012 << \context Voice = lha {
1014 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1015 r8 a16 g f8 g16 a bes8 g e! cis' |
1018 \context Voice = lhb {
1026 @aitem{counter tenor}
1033 S: kontratenor, counter tenor,
1039 @aitem{Copying, Music}
1040 A music copyist did fast freehand scores and parts on preprinted staff lines
1041 for performance. Some of their conventions (e.g., the placement of noteheads
1042 on stems) varied slightly from those of engravers. Some of their working
1043 methods were superior and could well be adopted by music typesetters. This
1044 required more skill than engraving.
1050 D: Crescendo, lauter werden,
1054 FI: cresendo, voimistuen,
1057 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1058 abbreviation ``cresc.''.
1061 \key g \major \time 4/4
1062 \notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
1068 F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
1076 In a separate part notes belonging to another part with the purpose of hinting
1077 when to start playing. Usually printed in a smaller type.
1081 A custos is a staff symbol that appears at the end of a staff line
1082 with monophonic musical contents (i.e. with a single voice). It
1083 anticipates the pitch of the first note of the following line and thus
1084 helps the player or singer to manage line breaks during performance,
1085 thus enhancing readability of a score.
1087 Custodes were frequently used in music notation until the 16th
1088 century. There were different appearences for different notation
1089 styles. Nowadays, they have survived only in special forms of musical
1090 notation such as via the editio vaticana dating back to the beginning
1096 \property Staff.Custos \set #'neutral-position = #4
1097 \property Staff.Custos \set #'neutral-direction = #-1
1098 \property Staff.Custos \set #'adjust-if-on-staffline = ##t
1100 \property Staff.Custos \set #'style = #'hufnagel
1102 \break < d' a' f''>1
1107 \consists Custos_engraver
1128 F: da capo, depuis le commencement,
1129 D: da capo, von Anfang,
1133 FI: da capo, alusta,
1136 The term indicates repetition of the piece from the beginning to the end or to
1137 a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1142 F: dal segno, depuis le signe,
1147 FI: dal segno, merkkiin asti,
1150 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1151 another place frequently near the beginning marked by a sign:
1154 %\property Voice.TextScript \set #'font-style = #'large
1155 \property Voice.TextScript \set #'font-shape = #'italic
1156 \key g \major \time 4/4
1157 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
1163 D: Decrescendo, leiser werden,
1167 FI: decresendo, hiljentyen,
1170 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1171 or the abbreviation ``decresc.''.
1174 \notes\relative c'' {
1175 \key g \major \time 4/4
1176 d4 \> c b a | g1 \! \bar "|."
1180 @aitem{descending interval}
1181 ES: intervalo descendente,
1182 I: intervallo discendente,
1183 F: intervalle descendant,
1184 D: fallendes Intervall, absteigendes Intervall,
1185 NL: dalend interval,
1186 DK: faldende interval,
1187 S: fallande intervall,
1188 FI: laskeva intervalli,
1191 A distance between a starting higher note and a lower ending note.
1193 @aitem{diatonic scale}
1194 ES: escala diat@'onica,
1196 F: gamme diatonique,
1197 D: diatonische Tonleiter,
1198 NL: diatonische toonladder,
1199 DK: diatonisk skala,
1201 FI: diatoninen asteikko,
1204 A scale consisting of 5@w{ }@aref{whole tone}s and
1205 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1206 of a piano keybord are diatonic.
1208 The church modes are used in gregorial chant and pre baroque early music but
1209 also to some extent in newer jazz music.
1211 @lilypond[notime,linewidth=110\mm]
1212 \property Score.automaticBars = ##f
1213 %\property Score.LyricText \set #'font-style = #'large
1214 %\property Score.TextScript \set #'font-style = #'large
1216 \context Staff \notes\relative c' {
1218 \property Voice.TextScript \set #'padding = #-4
1219 e^"~~ S" f g a b^"~~ S" c
1221 \context Lyrics \lyrics {
1227 \property Score.automaticBars = ##f
1228 %\property Score.LyricText \set #'font-style = #'large
1229 %\property Score.TextScript \set #'font-style = #'large
1231 \context Staff \notes\relative c' {
1233 \property Voice.TextScript \set #'padding = #-4
1234 e^"~~ S" f g a b^"~~ S" c d
1236 \context Lyrics \lyrics {
1242 \property Score.automaticBars = ##f
1243 %\property Score.LyricText \set #'font-style = #'large
1244 %\property Score.TextScript \set #'font-style = #'large
1246 \notes\relative c' {
1247 \property Voice.TextScript \set #'padding = #-4
1248 e1^"~~ S" f g a b^"~~ S" c d e
1250 \context Lyrics \lyrics {
1256 \property Score.automaticBars = ##f
1257 %\property Score.LyricText \set #'font-style = #'large
1258 %\property Score.TextScript \set #'font-style = #'large
1260 \notes\relative c' {
1262 \property Voice.TextScript \set #'padding = #-4
1263 b^"~~ S" c d e^"~~ S" f
1265 \context Lyrics \lyrics {
1271 \property Score.automaticBars = ##f
1272 %\property Score.LyricText \set #'font-style = #'large
1273 %\property Score.TextScript \set #'font-style = #'large
1275 \notes\relative c'' {
1277 \property Voice.TextScript \set #'padding = #-4
1278 b^"~~ S" c d e^"~~ S" f g }
1279 \context Lyrics \lyrics {
1285 \property Score.automaticBars = ##f
1286 %\property Score.LyricText \set #'font-style = #'large
1287 %\property Score.TextScript \set #'font-style = #'large
1289 \notes\relative c'' {
1291 \property Voice.TextScript \set #'padding = #-4
1292 b^"~~ S" c d e^"~~ S" f g a
1294 \context Lyrics \lyrics {
1299 From the beginning of the 17th century the scales used in European
1300 compositional music are primarily the major and the minor scales. In the
1301 harmonic minor scale type an augmented second (A) occurs between the 6th and
1305 \property Score.automaticBars = ##f
1306 %\property Score.LyricText \set #'font-style = #'large
1307 %\property Score.TextScript \set #'font-style = #'large
1309 \notes\relative c' {
1311 \property Voice.TextScript \set #'padding = #-4
1312 e^"~~ S" f g a b^"~~ S" c
1314 \context Lyrics \lyrics {
1320 \property Score.automaticBars = ##f
1321 %\property Score.LyricText \set #'font-style = #'large
1322 %\property Score.TextScript \set #'font-style = #'large
1324 \notes\relative c'' {
1326 \property Voice.TextScript \set #'padding = #-4
1327 b^"~~ S" c d e^"~~ S" f g a
1329 \context Lyrics \lyrics {
1335 \property Score.automaticBars = ##f
1336 %\property Score.LyricText \set #'font-style = #'large
1337 %\property Score.TextScript \set #'font-style = #'large
1339 \notes\relative c'' {
1341 \property Voice.TextScript \set #'padding = #-4
1342 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1344 \context Lyrics \lyrics {
1350 \property Score.automaticBars = ##f
1351 %\property Score.LyricText \set #'font-style = #'large
1352 %\property Score.TextScript \set #'font-style = #'large
1354 \notes\relative c'' {
1356 \property Voice.TextScript \set #'padding = #-4
1357 b^"~~ S" c d e fis gis^"~~ S"
1358 a g! f!^"~~ S" e d c^"~~ S" b a
1360 \context Lyrics \lyrics {
1365 @aitem{diminished interval}
1366 ES: intervalo disminu@'{@dotless{i}}do,
1367 I: intervallo diminuito,
1368 F: intervalle diminu@'e,
1369 D: vermindertes Intervall,
1370 NL: verminderd interval,
1371 DK: formindsket interval,
1372 S: f@"orminskat intervall,
1373 FI: v@"ahennetty intervalli,
1386 FI: diminuendo, hiljentyen,
1391 @aitem{disjunct movement}
1392 ES: movimiendo disjunto,
1394 F: mouvement disjoint,
1395 D: sprunghafte Bewegung,
1396 NL: sprongsgewijze beweging,
1397 DK: springende bev@ae{}gelse,
1398 S: hoppande r@"orelse,
1399 FI: melodian hyppiv@"a liike,
1402 Melody moving in steps greater than those of the
1403 scale. Opposite of @aref{conjunct movement}.
1408 \notes\relative c' {
1410 a4. gis8 b a e cis |
1411 fis2 d4. \bar "||" }
1414 @aitemii{dissonant interval,dissonance}
1415 ES: intervalo disonante, disonancias,
1416 I: intervallo dissonante, dissonanza,
1419 NL: dissonant interval; dissonant,
1420 DK: dissonerende interval, dissonans,
1422 FI: dissonanssi, dissonoiva intervalli, riitasointi,
1427 @aitem{dominant ninth chord}
1428 I: accordo di nona di dominante,
1429 F: accord de neuvi@`eme dominante,
1430 D: Dominantnoneakkord,
1431 NL: dominant noon akkoord,
1432 DK: dominantnoneakkord,
1433 S: dominantnonackord,
1434 FI: dominanttinoonisointu,
1437 @aref{chord}, @aref{functional harmony}.
1439 @aitem{dominant seventh chord}
1440 ES: acorde de s@'eptima de dominante,
1441 I: accordo di settima di dominante,
1442 F: accord de septi@`eme dominante,
1443 D: Dominantseptakkord,
1444 NL: dominant septiem akkoord,
1445 DK: dominantseptimakkord,
1446 S: dominantseptimackord,
1447 FI: dominanttiseptimisointu,
1450 @aref{chord}, @aref{functional harmony}.
1460 FI: dominantti, huippusointu,
1463 The fifth @aref{scale degree},
1464 @aref{functional harmony}.
1470 D: dorisch, dorischer Kirchenton,
1471 NL: dorische toonladder,
1477 @aref{diatonic scale}.
1479 @aitem{dot (augmentation dot)}
1481 I: punto (di valore),
1483 D: Punkt (Verl@"angerungspunkt),
1493 ES: nota con puntillo,
1497 NL: gepuncteerde noot,
1500 FI: pisteellinen nuotti,
1505 @aitem{double appoggiatura}
1506 ES: apoyatura doble,
1507 I: appoggiatura doppia,
1508 F: appoggiature double,
1509 D: doppelter Vorschlag,
1510 NL: dubbele voorslag,
1511 DK: dobbelt forslag,
1513 FI: kaksoisappogiatura, kaksoisetuhele,
1516 @aref{appoggiatura}.
1518 @aitem{double bar line}
1522 NL: dubbele maatstreep,
1525 FI: kaksoistahtiviiva,
1528 Indicates the end of a section within a movement.
1530 @aitem{double dotted note}
1531 ES: nota con dos puntillos,
1532 I: nota doppiamente puntata,
1533 F: note doublement point@'ee,
1534 D: doppelt punktierte Note,
1535 NL: dubbelgepuncteerde noot,
1536 DK: dob@-belt@-punk@-te@-ret node,
1537 S: dub@-bel@-punk@-te@-rad not,
1538 FI: kaksoispisteellinen nuotti,
1551 FI: kaksoisalennusmerkki,
1556 @aitem{double sharp}
1557 ES: doble sostenido,
1562 DK: dob@-belt@-kryds,
1564 FI: kaksoisylennysmerkki,
1569 @aitem{double trill}
1574 NL: dubbele triller,
1580 A simultaneous trill on two notes, usually in the distance of a third.
1587 NL: tweedelige maatsoort,
1616 FI: kesto, aika-arvo,
1621 @aitem{dydimic comma}
1622 @aref{syntonic comma}.
1640 D: Achtel, Achtelnote,
1642 DK: ottendedelsnode,
1643 S: @aa{}ttondelsnot,
1644 FI: kahdeksasosanuotti,
1650 ES: silencio de corchea,
1656 DK: ottendedelspause,
1657 S: @aa{}ttonddelspaus,
1658 FI: kahdeksasosatauko,
1667 D: Notenstechen, Notendruck
1674 Engraving means incising or etching a metal plate for
1675 printing. Photoengraving means drawing music with ink in a manner
1676 similar to drafting or engineering drawing, using similar tools.
1678 The traditional process of music printing is done through cutting in a
1679 plate of metal. Now also the term for the art of music typesetting.
1692 Two notes, intervals, or scales are enharmonic if they have different names
1696 \property Score.automaticBars = ##f
1697 %\property Score.TextScript \set #'font-style = #'large
1699 \context Staff \notes\relative c'' {
1700 gis1 s s as s s <des g,!> s s <cis g!> s s
1702 \context Lyrics \lyrics {
1703 \property Lyrics . LyricText \set #'self-alignment-X = #-1
1704 "g sharp " "a flat " "dim fifth " "augm fourth"
1708 @aitem{equal temperament}
1710 I: temperamento equabile,
1711 F: temp@'erament @'egal,
1712 D: gleichschwebende Stimmung,
1713 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1714 DK: ligesv@ae{}vende temperatur,
1715 S: liksv@"avande temperatur,
1719 Tuning system dividing the octave into 12 equal @aref{semitone}s
1720 (precisely 100 @aref{cent}s). @aref{temperament}.
1722 @aitem{expression mark}
1724 I: segno d'espressione,
1725 F: signe d'expression, indication de nuance,
1727 NL: voordrachtsteken,
1728 DK: foredragsbetegnelse,
1729 S: f@"oredragsbeteckning,
1730 FI: nyanssiosoitus, esitysmerkki,
1733 Performance indications concerning 1. volume, dynamics (for example
1734 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1735 @aref{andante}, @aref{allegro}).
1759 The position between the dots of the key symbol is the line of the F below
1760 central@w{ }C. Used on the third, fourth and fifth note line. A
1761 digit@w{ }8 above the clef symbol indicates that the notes must be played
1762 an octave higher (for example bass recorder) while 8@w{ }below the clef
1763 symbol indicates playing an octave lower (for example on double bass
1767 \property Score.automaticBars = ##f
1768 \property Staff.Clef \override #'full-size-change = ##t
1769 %\property Score.LyricText \set #'font-style = #'large
1783 \context Lyrics \lyrics {
1784 \property Lyrics . LyricText \set #'self-alignment-X = #-1
1793 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1798 F: point d'orgue, point d'arr@^et,
1803 FI: fermaatti, pid@"ake,
1806 Prolonged note or rest of indefinite duration.
1810 \notes\relative c'' {
1811 a4 b c2^\fermata \bar "|."
1828 @aitem{figured bass}
1829 ES: bajo cifrado, @aref{thorough bass}.
1837 DK: fingers@ae{}tning,
1838 S: fingers@"attning,
1842 The methodical use of fingers in the playing of instruments.
1844 @aitem{flag,pennant}
1846 I: coda (uncinata), bandiera,
1848 D: Fahne, F@"ahnchen,
1855 Ornament at the end of the stem of a note used for notes with values
1856 less than a quarter note. The number of flags determines the
1860 \property Score.automaticBars = ##f
1861 %\property Score.TextScript \set #'font-style = #'large
1862 \notes\relative c'' {
1883 @aitemii{forefall,backfall}
1884 @aref{appoggiatura}.
1894 FI: forte, voimakkaasti,
1897 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1898 @emph{mezzoforte} (@b{mf}) medium loud.
1924 @aref{counterpoint}.
1926 @aitem{functional harmony}
1927 ES: armon@'{@dotless{i}}a funcional,
1928 I: armonia funzionale,
1929 F: @'etude des functions,
1931 NL: functionele harmonie,
1932 DK: funktionsanalyse, funktionsharmonik,
1934 FI: harmoniaj@"arjestelm@"a,
1937 A system of harmonic analysis. It is based on the idea that, in a given key,
1938 there are only three functionally different chords: tonic (T, the chord on the
1939 first note of the scale), subdominant (S, the chord on the fourth note), and
1940 dominant (D, the chord on the fifth note). Other are considered to be
1941 variants of the base chords.
1944 \property Score.automaticBars = ##f
1945 %\property Score.LyricText \set #'font-style = #'large
1946 %\property Score.TextScript \set #'font-style = #'large
1948 \context Voice \notes\relative c'' {
1949 <g e c >1 < a f d > < b g e >
1950 <c a f > < d b g > < e c a > < f d b > }
1951 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1969 D: G-Schl@"ussel, Violinschl@"ussel,
1976 A clef symbol indicating the G above central@w{ }C. Used on the first
1977 and second note lines. A digit 8 above the clef symbol indicates that
1978 the notes must be played an octave higher while 8 below the clef symbol
1979 indicates playing or singing an octave lower (most tenor parts in choral
1980 scores are notated like that).
1983 \property Score.automaticBars = ##f
1984 \property Staff.Clef \set #'full-size-change = ##t
1985 %\property Score.LyricText \set #'font-style = #'large
1987 \notes\relative c'' {
1997 \context Lyrics \lyrics {
1998 \property Lyrics . LyricText \set #'self-alignment-X = #-1
1999 "french violin clef "
2014 FI: glissando, liukuen,
2017 Letting the pitch slide fluently from one note to the other.
2023 D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
2030 Notes printed in small types to indicate that their time values are not
2031 counted in the rhythm of the bar. @aref{appoggiatura}.
2039 S: ackolad, b@"ojd klammer,
2040 FI: kaksoisnuottiviivasto,
2045 A combination of two staves with a brace. Usually used for piano music.
2055 FI: grave, raskaasti,
2065 D: Halbe, halbe Note,
2088 @aitem{harmonic cadence}
2089 ES: cadencia (arm@'onica),
2090 I: cadenza (armonica),
2091 F: cadence harmonique,
2093 NL: harmonische cadens,
2094 DK: harmonisk kadence,
2095 S: (harmonisk) kadens,
2096 FI: harmoninen kadenssi,
2099 Sequence of chords that terminate a musical phrase or
2100 section. @aref{functional harmony}.
2103 \notes\context PianoStaff <<
2104 \context Staff = SA \relative c'' {
2108 \partial 4 < c g e >4 |
2109 < c a f > < b g d > < c g e >2
2111 % %\property Score.LyricText \set #'font-style = #'large
2113 \context Staff = SB \relative c {
2115 \partial 4 c4 | f, g c2
2118 \context Lyrics \lyrics {
2125 ES: armon@'{@dotless{i}}a,
2128 D: Harmonie, Zusammenklang,
2132 FI: harmonia, yhteissointi,
2135 Tones sounding simultaneously. Two note harmonies fall into the categories
2136 @emph{consonances} and @emph{dissonances}.
2141 \property Score.automaticBars = ##f
2142 %\property Score.TextScript \set #'font-style = #'large
2143 \context Voice \notes\relative c'' {
2157 \property Score.automaticBars = ##f
2158 %\property Score.TextScript \set #'font-style = #'large
2159 \context Voice \notes\relative c'' {
2160 <g a>1_"second " s s
2161 <g f'>_"seventh " s s
2166 Three note harmony @aref{chord}.
2169 ES: homofon@'{@dotless{i}}a,
2176 FI: homofonia, yksi@"a@"anisyys,
2179 Music in which one voice leads melodically followed by the other voices more
2180 or less in the same rhythm. In contrast to @aref{polyphony}.
2190 FI: intervalli, kahden s@"avelen korkeusero,
2193 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2194 diminished, or augmented. The augmented fourth and the diminished fifth are
2195 identical (@aref{enharmonic}) and are called @emph{tritonus}
2196 because they consist of three @aref{whole tone}s. The addition
2197 of such two forms an octave.
2200 \property Score.automaticBars = ##f
2201 %\property Score.LyricText \set #'font-style = #'large
2202 %\property Score.TextScript \set #'font-style = #'large
2204 \context Voice \notes\relative c'' {
2209 < gis bes >^"dimin" s
2210 < g! bes >^"minor" s
2214 \context Lyrics \lyrics {
2215 "unisone " "second " "second " "second "
2216 "third " "third " "third " "third "
2221 \property Score.automaticBars = ##f
2222 %\property Score.LyricText \set #'font-style = #'large
2223 %\property Score.TextScript \set #'font-style = #'large
2225 \context Staff \notes\relative c'' {
2228 < g d' >^"perfect" s
2230 < gis es' >^"dimin" s
2231 < g! es' >^"minor" s
2235 \context Lyrics \lyrics {
2236 "fourth " "fourth " "fifth " "fifth "
2237 "sixth " "sixth " "sixth " "sixth "
2242 \property Score.automaticBars = ##f
2243 %\property Score.LyricText \set #'font-style = #'large
2244 %\property Score.TextScript \set #'font-style = #'large
2246 \context Staff \notes\relative c'' {
2247 < gis f'! >1^"dimin" s
2248 < g! f'! >^"minor" s
2249 < g fis' >^"major" s
2253 < g bes' >^"minor" s
2256 \context Lyrics \lyrics {
2257 "seventh " "seventh " "seventh " "octave "
2258 "none " "none " "decime " "decime "
2262 @aitem{inverted interval}
2263 ES: intervalo invertido,
2264 I: intervallo rivolto,
2265 F: intervalle revers@'e,
2266 D: umgekehrtes Intervall,
2267 NL: interval inversie,
2268 DK: omvendingsinterval,
2269 S: intervallets omv@"andning,
2270 FI: k@"a@"anteisintervalli,
2273 The difference between an interval and an octave.
2276 \property Score.automaticBars = ##f
2277 %\property Score.TextScript \set #'font-style = #'large
2278 \context Staff \notes\relative c'' {
2279 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2280 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2281 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2285 @aitem{just intonation}
2286 I: intonazione giusta,
2287 F: intonation juste,
2295 Tuning system in which the notes are obtained by adding and subtracting
2296 natural fifths and thirds. @aref{temperament}.
2309 According to the 12@w{ }tones of the @aref{chromatic scale}
2310 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2311 @aref{key signature}.
2313 @aitem{key signature}
2314 ES: armadura de clave,
2315 I: armatura di chiave,
2316 F: armure, armature [de la cl@'e],
2317 D: Vorzeichen, Tonart,
2318 NL: toon@-soort (voortekens),
2321 FI: s@"avellajiosoitus,
2324 The sharps or flats appearing at the beginning of each staff indicating the
2325 key of the music. @aref{accidental}.
2331 D: Largo, Langsam, Breit,
2335 FI: largo, hitaasti, leve@"asti,
2338 Very slow in tempo, usually combined with great
2339 expressiveness. @emph{Larghetto} is less slow than largo.
2341 @aitem{leading note}
2352 The seventh @aref{scale degree}, a @aref{semitone} below
2353 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2354 upwards) to the tonic scale degree.
2356 @aitemii{ledger line,leger line}
2357 ES: l@'{@dotless{i}}neas adicionales,
2358 I: tagli addizionali,
2359 F: ligne suppl@'ementaire,
2362 DK: hj@ae{}lpelinie,
2367 A ledger line is an extension of the staff.
2370 \property Score.automaticBars = ##f
2371 \notes\relative c'' { a,1 s c'' }
2385 To be performed (a) without any perceptible interruption between the notes
2386 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
2387 (d) @aref{staccato}.
2390 \property Score.automaticBars = ##f
2392 \context Staff \notes\relative c'' {
2393 c4-( d e-) \bar "||"
2394 c4-- d-- e-- \bar "||"
2395 c4-.-( d-. e-.-) \bar "||"
2396 c4-. d-. e-. \bar "||"
2398 \context Lyrics \lyrics {
2399 % \property Lyrics . LyricText \set #'font-style = #'large
2407 @aitem{legato curve}
2408 @aref{slur}, @aref{legato}.
2411 ES: estanque de lilas,
2412 I: stagno del giglio,
2416 NL: le@-lie@-vij@-ver,
2422 A pond with lilies floating in it, also the name of a music typesetter.
2425 ES: l@'{@dotless{i}}nea,
2428 D: Linie, Notenlinie,
2432 FI: viiva, nuottiviiva,
2437 @aitem{long appoggiatura}
2438 ES: apoyatura larga,
2439 I: appoggiatura lunga,
2440 F: appoggiature longue,
2441 D: langer Vorschlag,
2444 S: l@aa{}ngt f@"orslag,
2445 FI: pitk@"a appoggiatura, pitk@"a etuhele,
2448 @aref{appoggiatura}.
2461 Note value: double length of @aref{breve}.
2465 \property Score.automaticBars = ##f
2466 \notes\relative c'' {
2467 \property Voice.NoteHead \set #'style = #'mensural
2472 @aitemii{lyrics,song texts}
2483 @aitem{major interval}
2484 ES: intervalo mayor,
2485 I: intervallo maggiore,
2486 F: intervalle majeur,
2487 D: gro@ss{}es Intervall,
2491 FI: suuri intervalli,
2507 @aref{diatonic scale}.
2509 @aitem{meantone temperament}
2510 I: accordatura mesotonica,
2511 F: temp@'erament m@'esotonique,
2512 D: mittelt@"onige Stimmung,
2513 NL: middenstemming, middentoonstemming,
2514 DK: middeltonetemperatur,
2515 S: medeltonstemperatur,
2516 FI: keskis@"avelviritys,
2519 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2520 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2521 @aref{temperament} only a limited set of keys are playable.
2522 Used for tuning keyboard instruments for performance of pre-1650 music.
2524 @aitem{measure, bar}
2535 A group of @aref{beat}s (units of musical time) the first of which
2536 bears an accent. Such groups in numbers of two or more recur consistently
2537 throughout the composition and are marked from each other by
2538 bar-lines. @aref{meter}.
2542 I: mediante, modale,
2551 1. The third @b{scale degree}.
2552 2. A @aref{chord} having its base tone
2553 a third from that of another chord. For example, the tonic chord may be
2554 replaced by its lower mediant (variant tonic). @aref{functional
2555 harmony}, @aref{relative key}.
2560 FI: melisma, laulettavan tavun s@"avelkuvio,
2562 A melisma (plural: melismata) is a group of notes or tones sung on one
2563 syllable in plainsong
2565 @aitem{melodic cadence}
2571 F: indication de m@'esure,
2579 The basic scheme of @aref{note value}s and
2580 @aref{accent}s which remains unaltered throughout a composition
2581 or a section of it. For instance, 3/4 meter means that the basic
2582 @aref{note value}s are quarter notes and that a
2583 @aref{measure} consists of three of those. According to
2584 whether there are two, three or four units to the measure,
2585 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2586 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2589 \notes\relative c'' {
2592 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2596 \notes\relative c' {
2599 f8 f f f a16 g a f |
2600 c'8 c c c e16 d e c \bar "||"}
2604 \notes\relative c'' {
2607 d4 b8 g b d d c a4 |
2608 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2622 Device indicating the exact tempo of a piece. @aref{metronomic
2625 @aitem{metronomic indication}
2626 ES: indicaci@'on metron@'omica,
2627 I: indicazione metronomica,
2628 F: indication m@'etronomique,
2630 NL: metronoom aanduiding,
2632 S: metronomangivelse,
2633 FI: metronomiosoitus,
2636 Exact tempo indication (in beats per minute). Also denoted by
2637 M.M. (M@"alzels Metronom).
2639 @aitem{mezzo-soprano}
2650 The female voice between @aref{soprano} and
2657 D: eingestrichenes@w{ }c,
2659 DK: enstreget@w{ }c,
2660 S: ettstruket@w{ }c,
2664 First C below the 440 Hz A.
2667 \property Score.automaticBars = ##f
2668 \property Staff.Clef \set #'full-size-change = ##t
2669 \notes\relative c' {
2687 @aref{diatonic scale}.
2689 @aitem{minor interval}
2690 ES: intervalo mayor,
2691 I: intervallo minore,
2692 F: intervalle mineur,
2693 D: kleines Intervall,
2697 FI: pieni intervalli,
2710 FI: moodi, kirkkos@"avelasteikko,
2713 @aref{church mode}, @aref{diatonic scale}.
2723 FI: modulaatio, s@"avellajin vaihdos,
2726 Moving from one @aref{key} to another. For example, the second
2727 subject of a @aref{sonata form} movement modulates to the dominant
2728 key if the key is major and to the @aref{relative key} if the key
2738 FI: mordent, korukuvio,
2743 @aitemii{motive,motif}
2751 FI: teema, s@"avelaihe,
2754 The briefest intelligible and self-contained fragment of a musical theme or
2758 \property Score.TimeSignature \override #'style = #'()
2759 %\property Score.TextScript \set #'font-style = #'large
2760 \notes\relative c'' {
2763 \partial 8 g16_"------" fis |
2764 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2765 g8 g,16 a b8 cis d16 s
2780 Greater musical works like @aref{symphony} and
2781 @aref{sonata} most often consist of several -- more or less --
2782 independant pieces called movements.
2784 @aitem{multibar rest}
2785 ES: compases de espera,
2789 D: mehrtaktige Pause,
2792 FI: usean tahdin mittainen tauko,
2796 \notes\relative c'' {
2798 \property Score.skipBars=##t R1*3
2803 @aitem{mixolydian mode}
2804 @aref{diatonic scale}.
2806 @aitem{natural sign}
2810 D: Aufl@"osungszeichen,
2811 NL: herstellingsteken,
2812 DK: op@-l@o{}sningstegn,
2813 S: @aa{}terst@"allningstecken,
2819 @aitem{neighbour tones}
2820 @aref{appoggiatura}.
2849 Notes are signs by means of which music is fixed in writing. The term is also
2850 used for the sound indicated by a note, and even for the key of the piano
2851 which produces the sound. However, a clear distinction between the terms tone
2852 and @aref{note} is strongly recommended. Briefly, one sees a note,
2857 I: testa, testina, capocchia,
2858 F: t@^ete de la note,
2866 A head like sign which indicates pitch by its position on a
2867 @aref{staff} provided with a @aref{clef}, and duration
2868 by a variety of shapes such as hollow or black heads with or without
2869 @aref{stem}s, @aref{flag}s, etc. For percussion
2870 instruments (often having no defined pitch) the note head may indicate the
2876 F: dur@'ee, valeur (d'une note),
2881 FI: nuotin aika-arvo,
2884 Note values (durations) are measured as fractions, normally 1/2, of the next
2885 higher note value. The longest duration normally used is called @emph{brevis},
2886 but sometimes (mostly in pre baroque music) the double length note value
2887 @emph{longa} is used.
2890 %\property Score.TextScript \set #'font-style = #'large
2891 \property Score.automaticBars = ##f
2892 \notes\relative c'' {
2893 \property Voice.NoteHead \override #'style = #'mensural
2894 g\longa_"longa" g\breve_"breve"
2895 \property Voice.NoteHead \revert #'style
2896 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
2897 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
2901 %\property Score.TextScript \set #'font-style = #'large
2902 \property Score.automaticBars = ##f
2903 \notes\relative c'' {
2904 r\longa_"longa" r\breve_"breve"
2905 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2906 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2909 An augmentation dot after a note multiplies the duration by one and a
2910 half. Another dot adds yet a fourth of the duration.
2913 %\property Score.TextScript \set #'font-style = #'large
2914 \notes\relative c'' {
2916 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2917 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2920 Alternatively note values may be subdivided by other ratios. Most common is
2921 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2922 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2923 dotted notes are also frequently used.
2926 %\property Score.TextScript \set #'font-style = #'large
2927 \notes\relative c'' {
2929 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2930 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2935 \notes\relative c'' {
2937 \times 3/2 {g4_"duplets" g} |
2939 \times 6/4 {g8_"quadruplets" g g g} |
2940 g8 g g g g4 \bar "||"
2945 @aref{G clef}, @aref{F clef}.
2960 @aitemiii{ornament,embellishment,accessory}
2962 I: abbellimento, fioriture,
2963 F: agr@'ement, ornement,
2964 D: Verzierung, Ornament,
2971 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2972 with the diatonic @aref{second} above it. In the music from the
2973 middle of the 19th century and onwards the trill is performed with the main
2974 note first while in the music from the preceding baroque and classic periods
2975 the upper note is played first.
2979 \context Staff = sa {
2980 % \property Score.TextScript \set #'font-style = #'large
2981 \notes\relative c'' {
2982 c2._"pre-1850" b4\trill | c1 \bar "||"
2983 c2._"post-1850" b4\trill | c1 \bar "||"
2986 \notes\relative c'' {
2987 c2. c32 b c b c b c b | c1
2988 c2. b32 c b c \times 4/5 { b c b c b } | c1
2993 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
2994 @emph{prall} (inverted mordent).
2998 \context Staff = sa {
2999 % \property Score.TextScript \set #'font-style = #'large
3000 \notes\relative c'' {
3001 a4_"turn" b\turn c2 \bar "||"
3002 g4_"mordent" a b\mordent a \bar "||"
3003 e'4_"prall" d\prall c2 \bar "||"
3006 \notes\relative c'' {
3009 e'4 e32[ d e d ~ d8] c2
3014 @aref{appoggiatura}.
3024 FI: ossia, vaihtoehtoinen esitystapa,
3027 Ossia (otherwise) marks an alternative. It is an added staff or piano
3028 score, usually only a few measures long, which presents another version
3029 of the music, for example for small hands.
3039 FI: stemma, instrumenttiosuus,
3042 1. In instrumental or choral music the music for the single instrument
3043 or voice. 2. in contrapuntal music @aref{counterpoint} the single
3044 melodic line of the contrapunctal web.
3050 D: Schlagzeug, Schlagwerk,
3054 FI: ly@"om@"asoittimet,
3057 A family of musical instruments which are played on by striking or
3058 shaking. Percussion instruments commonly used in a symphony orchestra are
3059 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3060 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3063 @aitem{perfect interval}
3064 ES: intervalo justo,
3065 I: intervallo giusto,
3066 F: intervalle juste,
3067 D: reines Intervall,
3071 FI: puhdas intervalli,
3087 A natural division of the melodic line, comparable to a sentence of speech.
3097 FI: fraseeraus, j@"asent@"aminen,
3100 The clear rendering in musical performance of the @aref{phrase}s of
3101 the melody. Phrasing may be indicated by a @aref{slur}.
3114 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3115 @emph{mezzopiano} (@b{mp}) medium soft.
3133 NL: pizzicato, getokkeld,
3136 FI: pizzicato, n@"app@"aillen,
3139 Play by plucking the strings.
3142 ES: polifon@'{@dotless{i}}a,
3149 FI: polyfonia, moni@"a@"anisyys,
3152 Music written in a combination of several simultaneous voices (parts) of a
3153 more or less pronounced individuality. @aref{counterpoint}.
3162 D: Presto, Sehr schnell,
3163 NL: presto, Sehr schnell,
3166 FI: presto, hyvin nopeasti,
3169 Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
3170 denotes the highest possible degree of speed.
3172 @aitem{Pythagorean comma}
3173 ES: coma pitag@'orico,
3174 I: comma pitagorico,
3175 F: comma pythagoricien,
3176 D: Pythagor@"aisches Komma,
3177 NL: komma van Pythagoras,
3178 DK: pythagor@ae{}isk komma,
3179 S: pytagoreiskt komma,
3180 FI: pytagorinen komma,
3183 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3184 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3185 24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
3186 7@w{ }octaves. The difference between those two pitches is called the
3202 @aitem{quarter note}
3204 I: semiminima, nera,
3207 D: Viertel, Viertelnote,
3211 FI: nelj@"annesosanuotti,
3216 @aitem{quarter rest}
3217 ES: silencio de negra,
3218 I: pausa di semiminima,
3223 DK:@w{ }fjerdedelspause,
3224 S: fj@"ardedelspaus,
3225 FI: nelj@"annesosatauko,
3247 D: rallentando, langsamer werden,
3251 FI. rallerdando, hidastuen,
3254 Abbreviation "rall.". @aref{ritardando}.
3256 @aitem{relative key}
3258 I: tonalit@`a relativa,
3259 F: tonalit@'e relative,
3261 NL: paralleltoonsoort,
3262 DK: paralleltoneart,
3264 FI: rinnakkaiss@"avellaji,
3267 @aref{major} and @aref{minor} @aref{key}
3268 with the same @aref{key signature}.
3271 \property Score.automaticBars = ##f
3272 %\property Score.TextScript \set #'font-style = #'large
3273 \notes\relative c' {
3275 es1_"e flat major" f g as bes c d es
3281 \property Score.automaticBars = ##f
3282 %\property Score.TextScript \set #'font-style = #'large
3283 \notes\relative c' {
3285 c1_"c minor" d es f g a! b! c \bar "||"
3290 ES: barra de repetici@'on,
3292 F: barre de reprise,
3295 DK: gen@-ta@-gel@-se,
3303 \notes\relative c'' {
3304 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3308 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3309 @c specify the rest's value.
3335 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3336 fixed unit of time, called @aref{beat}, and in which the normal
3337 @aref{accent} recurs in regular intervals, called
3338 @aref{measure}. The basic scheme scheme of time values is called
3339 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3340 accent. In modern notation such music appears as a free alternation of
3341 different measures. (c) Free rhythm, i.e., the use of temporal values having
3342 no common metrical unit (beat).
3348 D: Ritardando, langsamer werden,
3352 FI. ritardando, hidastuen,
3355 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
3365 FI: ritenuto, hidastaen,
3368 Immediate reduction of speed.
3378 FI: asteikko, s@"avelasteikko,
3381 @aref{diatonic scale}.
3383 @aitem{scale degree}
3384 ES: grados de la escala,
3385 I: grado della scala,
3386 F: degr@'e [de la gamme],
3388 NL: trap [van de toonladder],
3391 FI: s@"avelaste, asteikon s@"avel,
3394 Names and symbols used in harmonic analysis to denote tones of the scale as
3395 roots of chords. The most important are degrees I = tonic (T), IV =
3396 sub@-do@-mi@-nant (S) and V = dominant (D).
3399 \property Score.automaticBars = ##f
3400 %\property Score.LyricText \set #'font-style = #'large
3401 %\property Lyrics.minVerticalAlign = #8
3403 \context Staff \notes\relative c' {
3406 \context Lyrics \lyrics {
3407 << { I II III IV V VI VII I }
3412 @aref{functional harmony}.
3418 D: Partitur (full score), Klavierauszug (vocal score)
3425 A copy of orchestral, choral or chamber music showing what each instrument is
3426 to play, each voice to sing, having each part arranged one underneath the
3427 other on different staves @aref{staff}.
3440 The @aref{interval} between two neigbouring tones of a scale. A
3441 @aref{diatonic scale} consists of alternating
3442 @aref{semitone}s and @aref{whole tone}s, hence the size
3443 of a se@-cond depends on the scale degrees in question.
3456 The @aref{interval} of a minor second. The (usually) smallest
3457 interval in European composed music. The interval between two neighbouring
3458 tones on the piano keyboard -- including black and white keys -- is a
3459 semitone. An octave may be divided into 12@w{ }semitones.
3460 @aref{interval}, @aref{chromatic scale}.
3463 \property Score.automaticBars = ##f
3464 \notes\relative c'' { g1 gis s a bes s b! c }
3480 @aitem{sextuplet, sextolet}
3505 @aitem{short appoggiatura}
3506 @aref{appoggiatura}.
3508 @aitem{sixteenth note}
3513 D: Sechzehntel, Sechzehntelnote,
3514 NL: zes@-ti@-ende noot,
3515 DK: sekstendedelsnode,
3517 FI: kuudestoistaosanuotti,
3522 @aitem{sixteenth rest}
3523 ES: silencia de semicorchea,
3524 I: pausa di semicroma,
3526 UK: semiquaver rest,
3527 D: Sechzehntelpause,
3529 DK: sekstendedelspause,
3549 @aitem{sixty-fourth note}
3552 F: quadruple croche,
3553 UK: hemidemisemiquaver,
3554 D: Vierundsechzigstel, Vierundsechzigstelnote,
3555 NL: vierenzestigste noot,
3556 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3557 S: sextiofj@"ardedelsnot,
3558 FI: kuudeskymmenesnelj@"asosanuotti,
3563 @aitem{sixty-fourth rest}
3564 ES: silencia de semifusa,
3565 I: pausa di semibiscroma,
3566 F: seizi@`eme de soupir,
3567 UK: hemidemisemiquaver rest,
3568 D: Vierundsechzigstelpause,
3569 NL: vierenzestigste rust,
3570 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3571 S: sextiofj@"ardedelspaus,
3572 FI: kuudeskymmenesnelj@"asosatauko,
3579 I: legatura (di portamento or espressiva),
3580 F: liaison, coul@'e,
3581 D: Bogen, Legatobogen, Phrasierungsbogen,
3582 NL: fraseringsboog, legatoboog, streekboog,
3583 DK: legatobue, fraseringsbue,
3588 A slur above or below a group of notes indicates that they are to be played
3589 @aref{legato}, e.g., with one stroke of the violin bow or with one
3599 FI: suhteelliset laulunimet,
3602 General term for systems of designating the degrees of the
3603 @aref{scale}, not by letters, but by syllables (@emph{do}
3604 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3605 (@emph{ti})). @aref{scale degree}.
3618 In its present-day meaning a sonata denotes an instrumental composition for
3619 piano or for some other instrument with piano accompaniment, which consists of
3620 three or four independant pieces, called movements.
3625 F: [en] forme de sonate,
3627 NL: hoofdvorm, sonatevorm,
3633 A form used frequently for single movements of the @aref{sonata},
3634 @aref{symphony}, quartet, etc. A movement written in sonata form
3635 falls into three sections called @emph{exposition}, @emph{development} and
3636 @emph{recapitulation}. In the exposition the composer introduces his musical
3637 ideas, consisting of a number of themes; in the development section he
3638 "develops" this material, and in the recapitulation he repeats the exposition,
3639 with certain modifications, however. The exposition contains a number of themes
3640 which fall into two groups, often called first and second subject. Other
3641 melodies occurring in each group are considered as continuations of these
3642 two. The second theme is in another key, normally in the key of the
3643 @aref{dominant} if the @aref{tonic} is
3644 @aref{major}, and in the @aref{relative key} if the
3645 tonic is @aref{minor}.
3655 FI: sopraano, korkea nais@"a@"ani,
3658 The highest female voice.
3663 F: staccato, piqu@'e, d@'etach@'e,
3668 FI: staccato, lyhyesti, ter@"av@"asti,
3671 Playing the note(s) short. Staccato is indicated by a dot above or below the
3677 \notes\relative c'' {
3679 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3686 I: pentagramma, rigo (musicale),
3689 NL: (noten)balk, partij,
3695 pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
3696 which the musical notes are written, thus indicating (in connection
3697 with a @aref{clef}) their pitch. Staves for
3698 @aref{percussion} instruments may have fewer lines.
3704 D: Hals, Notenhals, Stiel,
3711 Vertical line above or below a @aref{note head} shorter than a
3712 whole note. @aref{beam}.
3715 \property Score.autoBeaming = ##f
3716 \property Score.automaticBars = ##f
3717 %\property Score.TextScript \set #'font-style = #'large
3718 \notes\relative c'' {
3737 A family of stringed musical instruments played with a bow. Strings commonly
3738 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3744 D: betonter Taktteil oder Taktschlag,
3746 D: betonet taktslag,
3747 S: betonat taktslag,
3748 FI: tahdin vahva isku,
3751 @aref{beat}, @aref{accent}, @aref{measure},
3762 FI: subdominantti, alidominantti,
3765 The fourth @aref{scale degree}. @aref{functional
3776 FI: alikeskis@"avel,
3779 The sixth @aref{scale degree}.
3789 FI: subtoonika, alitoonika,
3792 The seventh @aref{scale degree}.
3794 @aitem{superdominant}
3805 The sixth @aref{scale degree}.
3818 The second @aref{scale degree}.
3821 ES: sinfon@'{@dotless{i}}a,
3824 D: Sinfonie, Symphonie,
3831 A symphony may be defined as a @aref{sonata} for orchestra.
3844 Any deliberate upsetting of the normal pulse of @aref{meter},
3845 @aref{accent} and @aref{rhythm}. Our system of musical
3846 rhythm rests upon the grouping of equal beats into groups of two or three,
3847 with a regularly recurrent accent on the first beat of each group. Any
3848 deviation from this scheme is felt as a disturbance or contradiction between
3849 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3853 \notes\relative c' {
3856 e c'4 e,8 c'4 e,8 c' ( | c2)
3860 @aitemii{syntonic comma,dydimic comma}
3861 I: comma sintonico (o didimico),
3862 F: comma syntonique,
3863 D: syntonisches Komma,
3864 NL: syntonische komma,
3865 DK: syntonisk komma,
3866 S: syntoniskt komma,
3867 FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a,
3870 Difference between the natural third and the third obtained by Pythagorean
3871 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3880 FI: nuottij@"arjestelm@"a,
3883 The collection of staves @aref{staff}, two or more, as used for
3884 writing down of keyboard, chamber, choral, or orchestral music.
3890 D: Stimmung, Temperatur,
3891 NL: stemming, temperatuur,
3894 FI: viritysj@"arjestelm@"a,
3897 Systems of tuning in which the intervals deviate from the acoustically pure
3898 intervals. @aref{meantone temperament}, @aref{equal
3901 @aitem{tempo indication}
3902 ES: indicaci@'on de tempo,
3903 I: indicazione di tempo,
3904 F: indication de temps,
3905 D: Zeitma@ss{}, Tempobezeichnung,
3906 NL: tempo aanduiding,
3909 FI: tempomerkint@"a,
3912 The rate of speed of a composition or a section thereof, ranging from the
3913 slowest to the quickest, as is indicated by tempo marks as
3914 @aref{largo}, @aref{adagio}, @aref{andante},
3915 @aref{allegro}, and @aref{presto}.
3925 FI: tenori, korkea mies@"a@"ani,
3928 The highest voice of men (apart from @aref{counter tenor}).
3956 @aitem{thirty-second note}
3961 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3962 NL: twee-endertig@-ste noot,
3963 DK: toogtredivtedelsnode,
3964 S: trettiotv@aa{}ondelsnot,
3965 FI: kolmanneskymmeneskahdesosanuotti,
3970 @aitem{thirty-second rest}
3971 ES: silencio de fusa,
3972 I: pausa di biscroma,
3973 F: huiti@`eme de soupir,
3974 UK: demisemiquaver rest,
3975 D: Zweiunddreissigstel@-pause,
3977 DK: toogtredivtedelspause,
3978 S: trettiotv@aa{}ondelspaus,
3979 FI: kolmanneskymmeneskahdesosatauko,
3984 @aitemii{thorough bass,figured bass}
3986 I: basso continuo, basso numerato,
3987 F: basse chiffr@'ee,
3988 D: Generalbass, bezifferter Bass,
3989 NL: basso continuo, becijferde bas
3992 FI: kenraalibasso, numeroitu basso,
3995 A method of indicating an accompaniment part by the bass notes only, together
3996 with figures designating the chief @aref{interval}s and
3997 @aref{chord}s to be played above the bass notes.
4000 \context GrandStaff <<
4001 \context Staff = lh \notes\relative c'' {
4005 << \context Voice = rha {
4008 \context Voice = rhb {
4010 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4014 \context Staff = rh \notes\relative c' {
4017 es8 c d bes c as bes16 as g f | es4
4019 \context Lyrics \lyrics {
4020 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
4021 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
4022 { "" "" "" "2" "" "" "" "" "" "2" } >>
4028 ES: ligadura de prolongaci@'on,
4029 I: legatura (di valore),
4032 NL: overbinding, bindingsboog,
4034 S: bindeb@aa{}ge, @"overbindning,
4038 A curved line, identical in appearance with the @aref{slur}, which
4039 connects two succesive notes of the same pitch, and which has the function of
4040 uniting them into a single sound equal to the combined durations.
4043 \property Score.automaticBars = ##f
4044 \notes\relative c'' { g2 ~ g4. }
4047 @aitem{time signature}
4048 ES: cifra indicadora de comp@'as,
4050 F: chiffrage (chiffres indicateurs), signe de valeur,
4051 D: Taktangabe, Angabe der Taktart,
4054 S: taktartssignatur,
4071 A sound of definite pitch and duration, as distinct from @emph{noise}.
4072 Tone is a primary building material of music.
4073 Music from the 20th century may be based on non tone related sounds.
4086 The first @aref{scale degree}.
4087 @aref{functional harmony}.
4089 @aitem{transposition}
4090 ES: transposici@'on,
4100 Shifting a melody up or down in pitch, while keeping the same
4106 \notes\relative c'' {
4108 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4116 \transpose c bes \relative c'' {
4118 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4125 I: chiave di violino,
4127 D: Violinschl@"ussel, Sopranschl@"ussel,
4129 DK:@w{ }diskantn@o{}gle,
4147 On stringed instruments (@aref{strings}) the quick reiteration of
4148 the same tone, produced by a rapid up-and-down movement movement of the bow
4149 (a). The term is also used for the rapid alternation (b) between two notes of
4150 a @aref{chord}, usually in the distance of a third
4154 \property Score.automaticBars = ##f
4155 %\property Score.TextScript \set #'font-style = #'large
4156 \notes\relative c' {
4158 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4159 \repeat "tremolo" 8 { e32_"b" g }
4164 ES: tr@'{@dotless{i}}ada,
4166 F: triade, accord parfait, accord de trois sons,
4176 @aitemii{trill,shake}
4179 F: trille, tremblement, battement (cadence),
4189 @aitem{triple meter}
4190 ES: comp@'as compuesto,
4194 NL: driedelige maatsoort,
4216 ES: tr@'{@dotless{i}}tono,
4230 I: diapason, corista,
4239 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4240 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4242 @aitemii{turn,gruppetto}
4256 ES: un@'{@dotless{i}}sono,
4263 FI: unisono, yksi@"a@"anisesti,
4266 Playing of the same notes or the same melody by various instruments (voices)
4267 or by the whole orchestra (choir), either at exactly the same pitch or in a
4271 ES: entrada anacr@'usica,
4273 F: anacrouse, lev@'ee,
4281 Initial note(s) of a melody occurring before the first bar
4282 line. @aref{measure}, @aref{meter}.
4287 \notes\relative c' {
4288 \partial 4 f4 | bes4. a8 bes4 c |
4289 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4300 FI: @"a@"ani, laulu@"a@"ani,
4303 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4304 @aref{contralto}, @aref{tenor},
4305 @aref{baritone}, @aref{bass}.
4306 2. A melodic layer or part of a polyphonic composition.
4310 I: tempo debole, arsi,
4312 D: unbetonter Taktteil oder Taktschlag,
4314 DK: ubetonet taktslag,
4315 S: obetonat taktslag,
4316 FI: tahdin heikko isku,
4319 @aref{beat}, @aref{measure}, @aref{rhythm}.
4326 D: Ganze, ganze Note,
4336 ES: silencio de redonda,
4337 I: pausa di semibreve,
4340 D: ganze Pause, ganztaktige Pause,
4360 The @aref{interval} of a major second. The interval between two
4361 tones on the piano keyboard with exactly one key between them -- including
4362 black and white keys -- is a whole tone.
4370 DK tr@ae{}bl@ae{}sere,
4371 S: tr@"abl@aa{}sare,
4375 A family of blown wooden musical instruments. Today some of these instruments
4376 are actually made from metal. The woodwind instruments commonly used in a
4377 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4384 @item DURATION NAMES, NOTES AND RESTS
4387 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4389 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4390 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @tab @strong{N}
4394 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4395 @tab longa @tab longa @tab longa @tab longa
4399 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
4400 brevis @tab brevis @tab brevis @tab brevis @tab brevis
4404 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4405 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4409 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4410 halve @tab halv @tab halv @tab puoli- @tab
4414 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4415 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
4419 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4420 achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
4424 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4425 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4426 @tab kuudestoistaosa- @tab
4430 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4431 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
4432 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
4436 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4437 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4438 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4439 sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
4442 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4450 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4452 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4453 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4458 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab C @tab c
4462 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
4463 cis @tab cis @tab Cis @tab cis
4467 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
4468 des @tab des @tab Des @tab des
4472 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab D @tab d
4476 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab E @tab e
4480 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab F @tab f
4484 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab G @tab g
4488 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
4489 @tab as @tab As @tab as
4493 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab A @tab a
4497 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
4498 ais @tab ais @tab Ais @tab ais
4502 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
4503 @tab b @tab B @tab b
4507 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab H @tab h
4515 @item ---------------------
4519 @item Literature used
4520 The Harvard Dictionary of Music, London 1944. Many more or less literal
4521 quotes from its articles have been included into the item explanation texts.
4523 Hugo Riemanns Musiklexicon, Berlin 1929.
4525 Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
4526 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.