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.ps.gz,gzipped
13 PostScript} and @uref{music-glossary.pdf,PDF}.
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'
34 Copyright @copyright{} 1999--2004 by the authors
37 Permission is granted to copy, distribute and/or modify this document
38 under the terms of the GNU Free Documentation License, Version 1.1
39 or any later version published by the Free Software Foundation,
40 without Invariant Sections.
45 @c FIXME: multiple omfcreators?
47 @omfcreator Christian Mondrup
48 @omfdescription Glossary of musical terms with translations
50 @omfcategory Applications|Publishing
57 @c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
68 @item Christian Mondrup
69 Original author of LilyPond glossary, Danish glossary,
72 @item Fran@,{c}ois Pinard
73 Original glossary of GNU music project, French glossary,
74 @item Han-Wen Nienhuys
76 @item Jan Nieuwenhuizen
81 English glossary translations,
83 Finnish glossary translations.
86 Copyright 1999--2004 by the authors
89 Permission is granted to copy, distribute and/or modify this document
90 under the terms of the GNU Free Documentation License, Version 1.1
91 or any later version published by the Free Software Foundation,
92 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
110 We do not use refs for Info:
112 @w{@arrow{}\word\}@c vs:
113 @w{@arrow{}@pxref{\word\}}@c
115 they look too intrusive (says Han-Wen).
122 @w{@arrow{}@strong{\word\}}@c
125 @arrow{}@ref{\word\, @strong{\word\}}@c
133 @c If we want hyperlinks, we must add anchors.
134 @c Hmm, we need the @anchor command in the item description itself
135 @c (not before or after) to get mozilla jump to the right place.
138 @item \word\@anchor{\word\}
140 @macro aitemii{one,two}
141 @item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
143 @macro aitemiii{one,two,three}
144 @item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
154 @item UK - British English
160 This is an example reference, that points you to the @aref{accent}
163 @c All `@table @strong' replaced by `@table @samp'
164 @c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
185 FI: aksentti, korostus.
187 The stress of one tone over others.
189 @c F: how to distinguish between accidental and key-sig alteration?
193 I: alterazione, accidente,
195 D: Vorzeichen, Versetzungszeichen,
198 S: tillfälligt förtecken,
199 FI: tilapäinen etumerkki.
201 @c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
202 @c Akzidenz, NL: toevallig teken, I: accidento.
204 A sharp raises a tone by a @aref{semitone}, a double sharp raises it
205 by a @aref{whole tone}, a flat lowers it by a semitone and a double
206 flat lowers it by a whole tone. A natural cancels the effect of a previous
209 @lilypond[fragment,notime,linewidth=13.0\cm]
210 \set Score.automaticBars = ##f
211 %\override TextScript #'font-style = #'large
213 \context Staff \relative c'' {
214 gis1 gisis ges geses g!
216 \context Lyrics \lyrics {
217 \override Lyrics .LyricText #'self-alignment-X = #-1
218 sharp "db. sharp" flat "db. flat" natural
225 F: accelerando, en accélérant,
226 D: accelerando, schneller werden,
230 FI: accelerando, kiihdyttäen.
242 FI: adagio, hitaasti.
244 It.@: comfortable, easy.
245 1. Slow tempo, slower -- especially in even meter -- than
246 @aref{andante} and faster than @aref{largo}.
247 2. A movement in slow tempo, especially the second (slow) movement of
248 @aref{sonata}s, symphonies, etc.
254 D: Allegro, Schnell, Fröhlich, Lustig,
258 FI: allegro, nopeasti.
260 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
261 tempo, especially the first and last movements of a @aref{sonata}.
271 FI: altto, matala naisääni.
273 A female voice of low range (@emph{contralto}). Originally the alto was a
274 high male voice (hence the name) which by the use of falsetto reached the
275 height of the female voice. This type of voice is also known as
276 @aref{counter tenor}.
279 ES: clave de do en tercera,
280 I: chiave di contralto,
281 F: clef d'ut troisième ligne,
282 D: Altschlüssel, Bratschenschlüssel,
288 C clef setting middle C on the middle line of the staff
299 FI: ambitus, ääniala, soitinala.
301 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
302 of pitches for a given voice in a part of music. It may also denote
303 the pitch range that a musical instrument is capable of playing.
305 @aitem{ancient minor scale}
306 I: scala minore naturale,
307 F: forme du mode mineur ancien, troisème mode, mode hellénique
309 NL: authentieke mineurtoonladder,
312 FI: luonnollinen molliasteikko.
314 @aref{diatonic scale} (ancient minor).
316 @lilypond[fragment,notime,linewidth=13.0\cm]
317 \set Score.automaticBars = ##f
332 Walking tempo/character.
337 F: appogiature, (port de voix),
342 FI: appoggiatura, etuhele.
344 Ornamental note, usually a second, that is melodically connected with the
345 main note following it. In music before the 19th century a.@: were usually
346 performed on the beat, after that mostly before the beat. While the short
347 a.@: is performed as a short note regardless of the duration of the main note
348 the duration of the long a.@: is proportional to that of the main note.
350 @lilypond[linewidth=13.0\cm]
351 \context Voice \relative c'' {
355 %\override Score.TextScript #'font-style = #'large
356 <d a fis>4_"notation" r
357 { \override Stem #'flag-style = #'()
359 \revert Stem #'flag-style
362 { \override Stem #'flag-style = #'()
364 \revert Stem #'flag-style
367 \cadenzaOn a4 \bar "||" \cadenzaOff
369 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
370 \cadenzaOn a4 \bar "||" \cadenzaOff
374 An appoggiatura may have more notes preceding the main note.
376 @lilypond[linewidth=13.0\cm]
380 % \override Score.TextScript #'font-style = #'large
381 \grace { bes16 } as8_"notation" as16 bes as8 g |
382 \grace { as16[( bes] } < c as >4-)
383 \grace { as16[( bes] } < c as >4-) \bar "||"
384 \grace { bes16 } as8_"performance" as16 bes as8 g |
385 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
386 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
395 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
397 DK: arpeggio, akkordbrydning,
399 FI: arpeggio, murtosointu.
401 @lilypond[fragment,linewidth=13.0\cm]
402 \context PianoStaff <<
403 \context Staff = SA \relative c'' {
406 r8 g16 c e g, c e r8 g,16 c e g, c e |
407 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
408 \context Staff = SB \relative c' {
410 << \context Voice = va {
412 r16 e8. ( e4) r16 e8. ( e4) |
413 r16 d8. ( d4) r16 d8. ( d4) }
414 \context Voice = vb {
421 @aitem{ascending interval}
422 ES: Intervalo ascendente,
423 I: intervallo ascendente,
424 F: intervalle ascendant,
425 D: steigendes Intervall,
426 NL: stijgend interval,
427 DK:@w{ }stigende interval,
428 S: stigande intervall,
429 FI: nouseva intervalli.
431 A distance between a starting lower note and a higher ending note.
433 @aitem{augmented interval}
434 ES: intervalo aumentado,
435 I: intervallo aumentato,
436 F: intervalle augmenté,
437 D: übermäßiges Intervall,
438 NL: overmatig interval,
439 DK: forstørret interval,
440 S: överstigande intervall,
441 FI: ylinouseva intervalli.
448 D: Autograph, Handschrift,
450 DK: håndskrift, autograf,
452 FI: käsinkirjoitettu nuotti.
454 1. A manuscript in the composer's own hand.
455 2. Music prepared for photoreproduction by freehand drawing,
456 with the aid of a straightedge ruler and T-square only,
457 which attempts to emulate engraving.
458 This required more skill than did engraving.
470 @aitemii{backfall,forefall}
475 I: stanghetta, barra (di divisione),
476 F: barre (de mesure),
484 ES: compás, @aref{measure}.
494 FI: baritoni, keskikorkuinen miesääni.
496 The male voice intermediate between the @aref{bass} and the
499 @c F: clef de troisième ligne dropped
501 @aitem{baritone clef}
502 ES: clave de fa en tercera,
503 I: chiave di baritono,
504 F: clef d' Ut cinquième ligne, clef de Fa troisième,
511 C or F clef setting middle C on the upper staff line.
512 @aref{C clef}, @aref{F clef}.
515 ES: clave de fa en cuarta,
517 F: clé de fa quatrième ligne,
524 A clef setting with middle C on the first top ledger line.
534 FI: basso, matala miesääni.
536 1. The lowest of men's voices.
537 2. Sometimes, especially in jazz music, used as
538 an abbreviation for double bass.
550 Line connecting a series of notes (shorter than a quarter note).
551 The number of beams determine the note value of the connected notes.
553 @lilypond[fragment,notime,linewidth=13.0\cm]
554 \set Score.automaticBars = ##f
555 %\override TextScript #'font-style = #'large
558 g16_"1/16"[ g g g] s16
559 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
560 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
567 D: Takt, Taktschlag, Zeit (im Takt),
573 Note value used for counting, most often half-, fourth-, and eighth notes.
574 The base counting value and the number of them per measure is indicated at
575 the start of the music.
577 @lilypond[fragment,linewidth=13.0\cm]
580 \relative c'' { g4 c b a | g1 \bar "||"}
582 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
592 D: Klammer, Akkolade,
593 NL: accolade, teksthaak,
596 FI: yhdistävä sulkumerkki.
598 Symbol at the start of a system connecting staves. Curly braces are used
599 for connecting piano staves, angular brackets for connecting parts in an
600 orchestral or choral score.
602 @lilypond[fragment,raggedright]
603 \context GrandStaff <<
604 \relative c''\context Staff = SA { \clef treble g4 e c2 }
605 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
608 @lilypond[fragment,raggedright]
609 \context StaffGroup <<
610 % \set StaffGroup.minVerticalAlign = #12
611 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
612 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
622 S: brassinstrument, mässingsinstrument,
625 A family of blown musical instruments made of brass all using a cup formed
626 mouth piece. The brass instruments commonly used in a symphony orchestra are
627 trumpet, trombone, french horn, and tube.
632 D: Atemzeichen, Trennungszeichen,
633 NL: repercussieteken,
634 DK: vejrtrækningstegn,
638 Indication of where to breathe in vocal and wind instrument parts.
650 @aref{note value} twice as long as a whole note. Mainly used
653 @lilypond[fragment,notime,raggedright]
654 \set Score.automaticBars = ##f
655 \relative c'' { g\breve }
678 Clef symbol indicating the position of the middle C. Used on all note
681 @lilypond[fragment,notime,linewidth=13.0\cm]
682 \set Score.automaticBars = ##f
683 \override Score.Clef #'full-size-change = ##t
684 %\override Score.LyricText #'font-style = #'large
686 \context Staff \relative c' {
688 \clef mezzosoprano c s s
693 \context Lyrics \lyrics {
694 \override Lyrics .LyricText #'self-alignment-X = #-1
695 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
707 FI: kadenssi, lopuke.
709 @aref{harmonic cadence}, @aref{functional harmony}.
719 FI: kadenssi, lopuke.
721 An extended, improvisatory style section inserted near the end of
722 movement. The purpose of a cadenza is to give singers or players a chance
723 to exhibit their technical skill and not the least their ability to
724 improvise. Since the middle of the 19th century, however, most cadences have
725 been written down by the composer.
735 FI: kaanon, tarkka jäljittely.
747 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
749 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
750 of an equally tempered @aref{semitone}).
751 @aref{equal temperament}.
766 Three or more tones sounding simultaneously. In traditional European music the
767 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
768 minor @aref{third}) as well as @emph{minor} (minor + major third)
769 chords may be extended with more thirds. Four-tone @emph{seventh chords}
770 and five-tone @emph{ninth} major chords are most often used as dominants
771 (@aref{functional harmony}). A special case is chords having no
772 third above the lower notes to define their quality as major or minor. Such
773 chords are denoted open chords
775 @lilypond[fragment,notime,linewidth=13.0\cm]
776 \set Score.automaticBars = ##f
777 %\override TextScript #'font-style = #'large
779 \context Staff \relative c'' {
787 \context Lyrics \lyrics{
797 @aitem{chromatic scale}
798 ES: escala cromática,
800 F: gamme chromatique,
801 D: chro@-ma@-ti@-sche Tonleiter,
802 NL: chromatische toonladder,
805 FI: kromaattinen asteikko.
807 A scale consisting of all 12 @aref{semitone}s.
809 @lilypond[fragment,notime,linewidth=13.0\cm]
810 \set Score.automaticBars = ##f
811 \relative c' { c1 cis d dis e f fis g gis a ais b c }
824 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
826 @aitemii{church mode,ecclesiastical mode}
827 ES: modo eclesiástico,
828 I: modo ecclesiastico,
829 F: mode ecclésiastique,
834 FI: moodi, kirkkosävellaji.
836 @aref{diatonic scale}.
842 D: Schlüssel, Notenschlüssel,
846 FI: avain, nuottiavain.
848 @aref{C clef}, @aref{F clef}, @aref{G clef}.
852 A @emph{cluster} is a range of simultaneously sounding pitches that
853 may change over time. The set of available pitches to apply usually
854 depends on the acoustic source. Thus, in piano music, a cluster
855 typically consists of a continuous range of the semitones as provided
856 by the piano's fixed set of a chromatic scale. In choral music, each
857 singer of the choir typically may sing an arbitrary pitch within the
858 cluster's range that is not bound to any diatonic, chromatic or other
859 scale. In electronic music, a cluster (theoretically) may even cover
860 a continuous range of pitches, thus resulting in colored noise, such
863 Clusters can be denoted in the context of ordinary staff notation by
864 engraving simple geometrical shapes that replace ordinary notation of
865 notes. Ordinary notes as musical events specify starting time and
866 duration of pitches; however, the duration of a note is expressed by
867 the shape of the note head rather than by the horizontal graphical
868 extent of the note symbol. In contrast, the shape of a cluster
869 geometrically describes the development of a range of pitches
870 (vertical extent) over time (horizontal extent). Still, the
871 geometrical shape of a cluster covers the area in which any single
872 pitch contained in the cluster would be notated as an ordinary note.
874 @lilypond[fragment,relative=2,verbatim,raggedright]
875 \makeClusters { <c e > <b f'> <b g'> <c g> <f e> }
885 FI: komma, korvinkuultava ero äänenkorkeudessa.
887 Difference in pitch between a note derived from pure tuning and the same note
888 derived from some other tuning method. @aref{temperament}.
893 @aitem{compound interval}
894 ES: intervalo compuesto,
895 I: intervallo composto,
896 F: intervalle composé,
898 NL: samengesteld interval,
899 DK: sammensat interval,
900 S: sammansatt intervall,
901 FI: oktaavia laajempi intervalli.
903 Intervals larger than an octave.
909 F: intervalle complémentaire,
910 D: Komplementärintervall,
911 NL: complementair interval,
912 DK: komplementærinterval,
913 S: komplementärintervall (?),
914 FI: täydentävä intervalli.
916 @aref{inverted interval}.
918 @aitem{conjunct movement}
919 ES: movimiento conjunto,
921 F: mouvement conjoint,
922 D: schritt@-weise, stufenweise Bewegung,
923 NL: stapsgewijze, trapsgewijze beweging,
924 DK: trinvis bevægelse,
926 FI: asteittainen liike.
928 Progressing melodically by intervals of a second. The opposite of a
929 @aref{disjunct movement}.
931 @lilypond[fragment,linewidth=13.0\cm]
932 \key g \major \time 4/4
933 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
944 FI: konsonanssi, sopusointi.
968 FI: kontrapunkti, ääni ääntä vastaan.
970 From latin @emph{punctus contra punctum}, note against note. The combination
971 into a single musical fabric of lines or parts which have distinct melodic
972 significance. A frequently used polyphonic technique is imitation, in its
973 strictest form found in the canon needing only one part to be written down
974 while the other parts are performed with a given displacement. Imitation is
975 also the contrapunctal technique used in the @emph{fugue} which, since the
976 music of the baroque era, has been one of the most popular polyphonic
979 @lilypond[fragment,staffsize=12,linewidth=13.0\cm]
980 \override Score.TimeSignature #'break-visibility = #all-invisible
981 \context PianoStaff <<
982 \context Staff = SA \relative c' {
986 << \context Voice = rha {
988 r1 | r2 r8 g'8 bes d, |
989 cis4 d r8 e!16 f g8 f16 e |
990 f8 g16 a bes8 a16 g a8
992 \context Voice = rhb {
998 \context Staff = SB \relative c' {
1001 << \context Voice = lha {
1003 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1004 r8 a16 g f8 g16 a bes8 g e! cis' |
1007 \context Voice = lhb {
1015 @aitem{counter tenor}
1022 S: kontratenor, counter tenor,
1027 @aitem{copying, music}
1028 A music copyist did fast freehand scores and parts on preprinted staff lines
1029 for performance. Some of their conventions (e.g., the placement of note heads
1030 on stems) varied slightly from those of engravers. Some of their working
1031 methods were superior and could well be adopted by music typesetters. This
1032 required more skill than engraving.
1038 D: Crescendo, lauter werden,
1042 FI: cresendo, voimistuen.
1044 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1045 abbreviation ``cresc.''.
1047 @lilypond[fragment,raggedright]
1048 \key g \major \time 4/4
1049 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1055 F: petites notes précédent l'entrée d'in instrument, réplique,
1062 In a separate part notes belonging to another part with the purpose of hinting
1063 when to start playing. Usually printed in a smaller type.
1067 A custos is a staff symbol that appears at the end of a staff line
1068 with monophonic musical contents (i.e., with a single voice). It
1069 anticipates the pitch of the first note of the following line and thus
1070 helps the player or singer to manage line breaks during performance,
1071 thus enhancing readability of a score.
1073 Custodes were frequently used in music notation until the 16th
1074 century. There were different appearences for different notation
1075 styles. Nowadays, they have survived only in special forms of musical
1076 notation such as via the editio vaticana dating back to the beginning
1082 % \override Staff.Custos #'neutral-position = #4
1083 \override Staff.Custos #'neutral-direction = #-1
1084 \override Staff.Custos #'style = #'hufnagel
1092 \consists Custos_engraver
1112 F: da capo, depuis le commencement,
1113 D: da capo, von Anfang,
1117 FI: da capo, alusta.
1119 The term indicates repetition of the piece from the beginning to the end or
1120 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1125 F: dal segno, depuis le signe,
1130 FI: dal segno, lähtien merkistä.
1132 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1133 another place frequently near the beginning marked by a sign:
1135 @lilypond[fragment,raggedright]
1136 %\override TextScript #'font-style = #'large
1137 \override TextScript #'font-shape = #'italic
1138 \key g \major \time 4/4
1143 \line < "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" > }
1151 D: Decrescendo, leiser werden,
1155 FI: decresendo, hiljentyen.
1157 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1158 or the abbreviation ``decresc.''.
1160 @lilypond[fragment,raggedright]
1162 \key g \major \time 4/4
1163 d4 \> c b a | g1 \! \bar "|."
1167 @aitem{descending interval}
1168 ES: intervalo descendente,
1169 I: intervallo discendente,
1170 F: intervalle descendant,
1171 D: fallendes Intervall, absteigendes Intervall,
1172 NL: dalend interval,
1173 DK: faldende interval,
1174 S: fallande intervall,
1175 FI: laskeva intervalli.
1177 A distance between a starting higher note and a lower ending note.
1179 @aitem{diatonic scale}
1180 ES: escala diatónica,
1182 F: gamme diatonique,
1183 D: diatonische Tonleiter,
1184 NL: diatonische toonladder,
1185 DK: diatonisk skala,
1187 FI: diatoninen asteikko.
1189 A scale consisting of 5@w{ }@aref{whole tone}s and
1190 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1191 of a piano keybord are diatonic.
1193 The church modes are used in gregorial chant and in pre baroque early
1194 music but also to some extent in newer jazz music.
1196 @lilypond[fragment,notime,raggedright]
1197 \set Score.automaticBars = ##f
1198 %\override Score.LyricText #'font-style = #'large
1199 %\override Score.TextScript #'font-style = #'large
1201 \context Staff \relative c' {
1203 \override TextScript #'padding = #-4
1204 e^"~~ S" f g a b^"~~ S" c
1206 \context Lyrics \lyrics {
1211 @lilypond[fragment,notime,raggedright]
1212 \set Score.automaticBars = ##f
1213 %\override Score.LyricText #'font-style = #'large
1214 %\override Score.TextScript #'font-style = #'large
1216 \context Staff \relative c' {
1218 \override TextScript #'padding = #-4
1219 e^"~~ S" f g a b^"~~ S" c d
1221 \context Lyrics \lyrics {
1226 @lilypond[fragment,notime,raggedright]
1227 \set Score.automaticBars = ##f
1228 %\override Score.LyricText #'font-style = #'large
1229 %\override Score.TextScript #'font-style = #'large
1232 \override TextScript #'padding = #-4
1233 e1^"~~ S" f g a b^"~~ S" c d e
1235 \context Lyrics \lyrics {
1240 @lilypond[fragment,notime,raggedright]
1241 \set Score.automaticBars = ##f
1242 %\override Score.LyricText #'font-style = #'large
1243 %\override Score.TextScript #'font-style = #'large
1247 \override TextScript #'padding = #-4
1248 b^"~~ S" c d e^"~~ S" f
1250 \context Lyrics \lyrics {
1255 @lilypond[fragment,notime,raggedright]
1256 \set Score.automaticBars = ##f
1257 %\override Score.LyricText #'font-style = #'large
1258 %\override Score.TextScript #'font-style = #'large
1262 \override TextScript #'padding = #-4
1263 b^"~~ S" c d e^"~~ S" f g }
1264 \context Lyrics \lyrics {
1269 @lilypond[fragment,notime,raggedright]
1270 \set Score.automaticBars = ##f
1271 %\override Score.LyricText #'font-style = #'large
1272 %\override Score.TextScript #'font-style = #'large
1276 \override TextScript #'padding = #-4
1277 b^"~~ S" c d e^"~~ S" f g a
1279 \context Lyrics \lyrics {
1284 From the beginning of the 17th century the scales used in European
1285 compositional music are primarily the major and the minor scales. In the
1286 harmonic minor scale type an augmented second (A) occurs between the 6th and
1289 @lilypond[fragment,notime,raggedright]
1290 \set Score.automaticBars = ##f
1291 %\override Score.LyricText #'font-style = #'large
1292 %\override Score.TextScript #'font-style = #'large
1296 \override TextScript #'padding = #-4
1297 e^"~~ S" f g a b^"~~ S" c
1299 \context Lyrics \lyrics {
1304 @lilypond[fragment,notime,raggedright]
1305 \set Score.automaticBars = ##f
1306 %\override Score.LyricText #'font-style = #'large
1307 %\override Score.TextScript #'font-style = #'large
1311 \override TextScript #'padding = #-4
1312 b^"~~ S" c d e^"~~ S" f g a
1314 \context Lyrics \lyrics {
1319 @lilypond[fragment,notime,raggedright]
1320 \set Score.automaticBars = ##f
1321 %\override Score.LyricText #'font-style = #'large
1322 %\override Score.TextScript #'font-style = #'large
1326 \override TextScript #'padding = #-4
1327 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1329 \context Lyrics \lyrics {
1334 @lilypond[fragment,notime,linewidth=13.0\cm]
1335 \set Score.automaticBars = ##f
1336 %\override Score.LyricText #'font-style = #'large
1337 %\override Score.TextScript #'font-style = #'large
1341 \override TextScript #'padding = #-4
1342 b^"~~ S" c d e fis gis^"~~ S"
1343 a g! f!^"~~ S" e d c^"~~ S" b a
1345 \context Lyrics \lyrics {
1350 @aitem{diminished interval}
1351 ES: intervalo disminuído,
1352 I: intervallo diminuito,
1353 F: intervalle diminué,
1354 D: vermindertes Intervall,
1355 NL: verminderd interval,
1356 DK: formindsket interval,
1357 S: förminskat intervall,
1358 FI: vähennetty intervalli.
1370 FI: diminuendo, hiljentyen.
1374 @aitem{disjunct movement}
1375 ES: movimiendo disjunto,
1377 F: mouvement disjoint,
1378 D: sprunghafte Bewegung,
1379 NL: sprongsgewijze beweging,
1380 DK: springende bevægelse,
1381 S: hoppande rörelse,
1382 FI: melodian hyppivä liike.
1384 Progressing melodically by intervals larger than a major second.
1385 Opposite of @aref{conjunct movement}.
1387 @lilypond[fragment,raggedright]
1392 a4. gis8 b a e cis |
1393 fis2 d4. \bar "||" }
1396 @aitemii{dissonant interval,dissonance}
1397 ES: intervalo disonante, disonancias,
1398 I: intervallo dissonante, dissonanza,
1401 NL: dissonant interval; dissonant,
1402 DK: dissonerende interval, dissonans,
1404 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1408 @aitem{dominant ninth chord}
1409 I: accordo di nona di dominante,
1410 F: accord de neuvième dominante,
1411 D: Domi@-nant@-nonen@-akkord,
1412 NL: dominant noon akkoord,
1413 DK: dominantnoneakkord,
1414 S: dominantnonackord,
1415 FI: dominanttinoonisointu.
1417 @aref{chord}, @aref{functional harmony}.
1419 @aitem{dominant seventh chord}
1420 ES: acorde de séptima de dominante,
1421 I: accordo di settima di dominante,
1422 F: accord de septième dominante,
1423 D: Dominantseptakkord,
1424 NL: dominant septiem akkoord,
1425 DK: dominantseptimakkord,
1426 S: dominantseptimackord,
1427 FI: dominanttiseptimisointu.
1429 @aref{chord}, @aref{functional harmony}.
1439 FI: dominantti, huippusointu.
1441 The fifth @aref{scale degree},
1442 @aref{functional harmony}.
1448 D: dorisch, dorischer Kirchenton,
1449 NL: dorische toonladder,
1454 @aref{diatonic scale}.
1456 @aitem{dot (augmentation dot)}
1458 I: punto (di valore),
1460 D: Punkt (Verlängerungspunkt),
1469 ES: nota con puntillo,
1473 NL: gepuncteerde noot,
1476 FI: pisteellinen nuotti.
1480 @aitem{double appoggiatura}
1481 ES: apoyatura doble,
1482 I: appoggiatura doppia,
1483 F: appoggiature double,
1484 D: doppelter Vorschlag,
1485 NL: dubbele voorslag,
1486 DK: dobbelt forslag,
1488 FI: kaksoisappogiatura, kaksoisetuhele.
1490 @aref{appoggiatura}.
1492 @aitem{double bar line}
1496 NL: dubbele maatstreep,
1499 FI: kaksoistahtiviiva.
1501 Indicates the end of a section within a movement.
1503 @aitem{double dotted note}
1504 ES: nota con dos puntillos,
1505 I: nota doppiamente puntata,
1506 F: note doublement pointée,
1507 D: doppelt punktierte Note,
1508 NL: dubbelgepuncteerde noot,
1509 DK: dob@-belt@-punk@-te@-ret node,
1510 S: dub@-bel@-punk@-te@-rad not,
1511 FI: kaksoispisteellinen nuotti.
1523 FI: kaksoisalennusmerkki.
1527 @aitem{double sharp}
1528 ES: doble sostenido,
1533 DK: dob@-belt@-kryds,
1535 FI: kaksoisylennysmerkki.
1539 @aitem{double trill}
1544 NL: dubbele triller,
1549 A simultaneous trill on two notes, usually in the distance of a third.
1556 NL: tweedelige maatsoort,
1583 FI: kesto, aika-arvo.
1587 @aitem{dydimic comma}
1588 @aref{syntonic comma}.
1605 D: Achtel, Achtelnote,
1607 DK: ottendedelsnode,
1609 FI: kahdeksasosanuotti.
1614 ES: silencio de corchea,
1620 DK: ottendedelspause,
1622 FI: kahdeksasosatauko.
1630 D: Notenstechen, Notendruck
1636 Engraving means incising or etching a metal plate for
1637 printing. Photoengraving means drawing music with ink in a manner
1638 similar to drafting or engineering drawing, using similar tools.
1640 The traditional process of music printing is done through cutting in a
1641 plate of metal. Now also the term for the art of music typesetting.
1653 Two notes, intervals, or scales are enharmonic if they have different names
1656 @lilypond[fragment,notime,linewidth=13.0\cm]
1657 \set Score.automaticBars = ##f
1658 %\override Score.TextScript #'font-style = #'large
1660 \context Staff \relative c'' {
1661 gis1 s s as s s <des g,!> s s <cis g!> s s
1663 \context Lyrics \lyrics {
1664 \override Lyrics .LyricText #'self-alignment-X = #-1
1665 "g sharp " "a flat " "dim fifth " "augm fourth"
1669 @aitem{equal temperament}
1671 I: temperamento equabile,
1672 F: tempérament égal,
1673 D: gleichschwebende Stimmung,
1674 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
1675 DK: ligesvævende temperatur,
1676 S: liksvävande temperatur,
1679 Tuning system dividing the octave into 12 equal @aref{semitone}s
1680 (precisely 100 @aref{cent}s). @aref{temperament}.
1682 @aitem{expression mark}
1684 I: segno d'espressione,
1685 F: signe d'expression, indication de nuance,
1687 NL: voordrachtsteken,
1688 DK: foredragsbetegnelse,
1689 S: föredragsbeteckning,
1690 FI: nyanssiosoitus, esitysmerkki.
1692 Performance indications concerning 1. volume, dynamics (for example
1693 @aref{forte}, @aref{crescendo}), 2. tempo (for example
1694 @aref{andante}, @aref{allegro}).
1716 The position between the dots of the key symbol is the line of the F below
1717 central@w{ }C. Used on the third, fourth and fifth note line. A
1718 digit@w{ }8 above the clef symbol indicates that the notes must be played
1719 an octave higher (for example bass recorder) while 8@w{ }below the clef
1720 symbol indicates playing an octave lower (for example on double bass
1723 @lilypond[fragment,notime,linewidth=13.0\cm]
1724 \set Score.automaticBars = ##f
1725 \override Staff.Clef #'full-size-change = ##t
1726 %\override Score.LyricText #'font-style = #'large
1740 \context Lyrics \lyrics {
1741 % \override Lyrics .LyricText #'self-alignment-X = #-1
1750 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1755 F: point d'orgue, point d'arr@^et,
1760 FI: fermaatti, pidäke.
1762 Prolonged note or rest of indefinite duration.
1764 @lilypond[fragment,raggedright]
1767 a4 b c2^\fermata \bar "|."
1783 @aitem{figured bass}
1784 ES: bajo cifrado, @aref{thorough bass}.
1796 The methodical use of fingers in the playing of instruments.
1798 @aitemii{flag,pennant}
1800 I: coda (uncinata), bandiera,
1808 Ornament at the end of the stem of a note used for notes with values
1809 less than a quarter note. The number of flags determines the
1812 @lilypond[fragment,notime,raggedright]
1813 \set Score.automaticBars = ##f
1814 %\override Score.TextScript #'font-style = #'large
1835 @aitemii{forefall,backfall}
1836 @aref{appoggiatura}.
1846 FI: forte, voimakkaasti.
1848 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1849 @emph{mezzoforte} (@b{mf}) medium loud.
1873 @aref{counterpoint}.
1875 @aitem{functional harmony}
1876 ES: armonía funcional,
1877 I: armonia funzionale,
1878 F: étude des functions,
1880 NL: functionele harmonie,
1881 DK: funktionsanalyse, funktionsharmonik,
1883 FI: harmoniajärjestelmä.
1885 A system of harmonic analysis. It is based on the idea that, in a given key,
1886 there are only three functionally different chords: tonic (T, the chord on the
1887 first note of the scale), subdominant (S, the chord on the fourth note), and
1888 dominant (D, the chord on the fifth note). Other are considered to be
1889 variants of the base chords.
1891 @lilypond[fragment,notime,linewidth=13.0\cm]
1892 \set Score.automaticBars = ##f
1893 %\override Score.LyricText #'font-style = #'large
1894 %\override Score.TextScript #'font-style = #'large
1897 \context Voice \relative c'' {
1898 <g e c >1 < a f d > < b g e >
1899 <c a f > < d b g > < e c a > < f d b > }
1900 \context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
1917 D: G-Schlüssel, Violinschlüssel,
1923 A clef symbol indicating the G above central@w{ }C. Used on the first
1924 and second note lines. A digit 8 above the clef symbol indicates that
1925 the notes must be played an octave higher while 8 below the clef symbol
1926 indicates playing or singing an octave lower (most tenor parts in choral
1927 scores are notated like that).
1929 @lilypond[fragment,notime,linewidth=13.0\cm]
1930 \set Score.automaticBars = ##f
1931 \override Staff.Clef #'full-size-change = ##t
1932 %\override Score.LyricText #'font-style = #'large
1944 \context Lyrics \lyrics {
1945 \override Lyrics .LyricText #'self-alignment-X = #-1
1946 "french violin clef "
1961 FI: glissando, liukuen.
1963 Letting the pitch slide fluently from one note to the other.
1969 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
1975 Notes printed in small types to indicate that their time values are not
1976 counted in the rhythm of the bar. @aref{appoggiatura}.
1984 S: ackolad, böjd klammer,
1985 FI: kaksoisnuottiviivasto.
1989 A combination of two staves with a brace. Usually used for piano music.
1999 FI: grave, raskaasti.
2008 D: Halbe, halbe Note,
2029 @aitem{harmonic cadence}
2030 ES: cadencia (armónica),
2031 I: cadenza (armonica),
2032 F: cadence harmonique,
2034 NL: harmonische cadens,
2035 DK: harmonisk kadence,
2036 S: (harmonisk) kadens,
2037 FI: harmoninen kadenssi.
2039 A sequence of chords that terminates a musical phrase or
2040 section. @aref{functional harmony}.
2042 @lilypond[fragment,raggedright]
2043 \context PianoStaff <<
2044 \context Staff = SA \relative c'' {
2048 \partial 4 < c g e >4 |
2049 < c a f > < b g d > < c g e >2
2051 % %\override Score.LyricText #'font-style = #'large
2053 \context Staff = SB \relative c {
2055 \partial 4 c4 | f, g c2
2058 \context Lyrics \lyrics {
2068 D: Harmonie, Zusammenklang,
2072 FI: harmonia, yhteissointi.
2074 Tones sounding simultaneously. Two note harmonies fall into the categories
2075 @emph{consonances} and @emph{dissonances}.
2079 @lilypond[fragment,notime,linewidth=13.0\cm]
2080 \set Score.automaticBars = ##f
2081 %\override Score.TextScript #'font-style = #'large
2082 \context Voice \relative c'' {
2095 @lilypond[fragment,notime,linewidth=13.0\cm]
2096 \set Score.automaticBars = ##f
2097 %\override Score.TextScript #'font-style = #'large
2098 \context Voice \relative c'' {
2099 <g a>1_"second " s s
2100 <g f'>_"seventh " s s
2105 Three note harmony @aref{chord}.
2115 FI: homofonia, yksiäänisyys.
2117 Music in which one voice leads melodically followed by the other voices more
2118 or less in the same rhythm. In contrast to @aref{polyphony}.
2128 FI: intervalli, kahden sävelen korkeusero.
2130 Difference in pitch between two notes. Intervals may be perfect, minor, major,
2131 diminished, or augmented. The augmented fourth and the diminished fifth are
2132 identical (@aref{enharmonic}) and are called @emph{tritonus}
2133 because they consist of three @aref{whole tone}s. The addition
2134 of such two forms an octave.
2136 @lilypond[fragment,notime,linewidth=13.0\cm]
2137 \set Score.automaticBars = ##f
2138 %\override Score.LyricText #'font-style = #'large
2139 %\override Score.TextScript #'font-style = #'large
2141 \context Voice \relative c'' {
2146 < gis bes >^"dimin" s
2147 < g! bes >^"minor" s
2151 \context Lyrics \lyrics {
2152 "unisone " "second " "second " "second "
2153 "third " "third " "third " "third"
2157 @lilypond[fragment,notime,linewidth=13.0\cm]
2158 \set Score.automaticBars = ##f
2159 %\override Score.LyricText #'font-style = #'large
2160 %\override Score.TextScript #'font-style = #'large
2162 \context Staff \relative c'' {
2163 < g c >1^"perfect" s
2165 < g d' >^"perfect" s
2166 < g des' > ^"dimin" s
2167 < gis es' >^"dimin" s
2168 < g! es' >^"minor" s
2172 \context Lyrics \lyrics {
2173 "fourth " "fourth " "fifth " "fifth "
2174 "sixth " "sixth " "sixth " "sixth"
2178 @lilypond[fragment,notime,linewidth=13.0\cm]
2179 \set Score.automaticBars = ##f
2180 %\override Score.LyricText #'font-style = #'large
2181 %\override Score.TextScript #'font-style = #'large
2183 \context Staff \relative c'' {
2184 < gis f'! >1^"dimin" s
2185 < g! f'! >^"minor" s
2186 < g fis' >^"major" s
2190 < g bes' >^"minor" s
2193 \context Lyrics \lyrics {
2194 "seventh " "seventh " "seventh " "octave "
2195 "none " "none " "decime " "decime"
2199 @aitem{inverted interval}
2200 ES: intervalo invertido,
2201 I: intervallo rivolto,
2202 F: intervalle reversé,
2203 D: umgekehrtes Intervall,
2204 NL: interval inversie,
2205 DK: omvendingsinterval,
2206 S: intervallets omvändning,
2207 FI: käänteisintervalli.
2209 The difference between an interval and an octave.
2211 @lilypond[fragment,notime,linewidth=13.0\cm]
2212 \set Score.automaticBars = ##f
2213 %\override Score.TextScript #'font-style = #'large
2214 \context Staff \relative c'' {
2215 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2216 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2217 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2221 @aitem{just intonation}
2222 I: intonazione giusta,
2223 F: intonation juste,
2230 Tuning system in which the notes are obtained by adding and subtracting
2231 natural fifths and thirds. @aref{temperament}.
2243 According to the 12@w{ }tones of the @aref{chromatic scale}
2244 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2245 @aref{key signature}.
2247 @aitem{key signature}
2248 ES: armadura de clave,
2249 I: armatura di chiave,
2250 F: armure, armature [de la clé],
2251 D: Vorzeichen, Tonart,
2252 NL: toon@-soort (voortekens),
2255 FI: sävellajiosoitus.
2257 The sharps or flats appearing at the beginning of each staff indicating the
2258 key of the music. @aref{accidental}.
2264 D: Largo, Langsam, Breit,
2268 FI: largo, hitaasti, leveästi.
2270 Very slow in tempo, usually combined with great
2271 expressiveness. @emph{Larghetto} is less slow than largo.
2273 @aitem{leading note}
2283 The seventh @aref{scale degree}, a @aref{semitone} below
2284 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2285 upwards) to the tonic scale degree.
2287 @aitemii{ledger line,leger line}
2288 ES: líneas adicionales,
2289 I: tagli addizionali,
2290 F: ligne supplémentaire,
2297 A ledger line is an extension of the staff.
2299 @lilypond[fragment,notime,raggedright]
2300 \set Score.automaticBars = ##f
2301 \relative c'' { a,1 s c'' }
2314 To be performed (a) without any perceptible interruption between the notes,
2315 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2316 (d) @aref{staccato}.
2318 @lilypond[fragment,notime,linewidth=13.0\cm]
2319 \set Score.automaticBars = ##f
2321 \context Staff \relative c'' {
2322 c4-( d e-) \bar "||"
2323 c4-- d-- e-- \bar "||"
2324 c4-.-( d-. e-.-) \bar "||"
2325 c4-. d-. e-. \bar "||"
2327 \context Lyrics \lyrics {
2328 % \override Lyrics .LyricText #'font-style = #'large
2336 @aitem{legato curve}
2337 @aref{slur}, @aref{legato}.
2340 ES: estanque de lilas,
2341 I: stagno del giglio,
2345 NL: le@-lie@-vij@-ver,
2350 A pond with lilies floating in it, also the name of a music typesetter.
2354 A ligature is a coherent graphical symbol that represents at least two
2355 distinct notes. Ligatures originally appeared in the manuscripts of
2356 Gregorian chant notation roughly since the 9th century to denote
2357 ascending or descending sequences of notes. In early notation,
2358 ligatures were used for monophonic tunes (Gregorian chant) and very
2359 soon denoted also the way of performance in the sense of articulation.
2360 With the invention of the metric system of the white mensural
2361 notation, the need for ligatures to denote such patterns disappeared.
2367 D: Linie, Notenlinie,
2371 FI: viiva, nuottiviiva.
2375 @aitem{long appoggiatura}
2376 ES: apoyatura larga,
2377 I: appoggiatura lunga,
2378 F: appoggiature longue,
2379 D: langer Vorschlag,
2383 FI: pitkä appoggiatura, pitkä etuhele.
2385 @aref{appoggiatura}.
2397 Note value: double length of @aref{breve}.
2400 @lilypond[fragment,notime,raggedright]
2401 \set Score.automaticBars = ##f
2403 \override NoteHead #'style = #'mensural
2408 @aitemii{lyrics,song texts}
2418 @aitem{major interval}
2419 ES: intervalo mayor,
2420 I: intervallo maggiore,
2421 F: intervalle majeur,
2422 D: großes Intervall,
2426 FI: suuri intervalli.
2440 @aref{diatonic scale}.
2442 @aitem{meantone temperament}
2443 I: accordatura mesotonica,
2444 F: tempérament mésotonique,
2445 D: mitteltönige Stimmung,
2446 NL: middenstemming, middentoonstemming,
2447 DK: middeltonetemperatur,
2448 S: medeltonstemperatur,
2449 FI: keskisävelviritys.
2451 Temperament yielding acoustically pure thirds by decreasing the natural fifth
2452 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
2453 @aref{temperament} only a limited set of keys are playable.
2454 Used for tuning keyboard instruments for performance of pre-1650 music.
2456 @aitemii{measure,bar}
2466 A group of @aref{beat}s (units of musical time) the first of which
2467 bears an accent. Such groups in numbers of two or more recur consistently
2468 throughout the composition and are marked from each other by
2469 bar-lines. @aref{meter}.
2473 I: mediante, modale,
2481 1. The third @b{scale degree}.
2482 2. A @aref{chord} having its base tone
2483 a third from that of another chord. For example, the tonic chord may be
2484 replaced by its lower mediant (variant tonic). @aref{functional
2485 harmony}, @aref{relative key}.
2490 FI: melisma, laulettavan tavun sävelkuvio.
2492 A melisma (plural: melismata) is a group of notes or tones sung on one
2493 syllable in plainsong
2495 @aitem{melodic cadence}
2498 @aitemii{meter,time}
2501 F: indication de mésure,
2508 The basic scheme of @aref{note value}s and
2509 @aref{accent}s which remains unaltered throughout a composition
2510 or a section of it. For instance, 3/4 meter means that the basic
2511 @aref{note value}s are quarter notes and that a
2512 @aref{measure} consists of three of those. According to
2513 whether there are two, three or four units to the measure,
2514 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
2515 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
2517 @lilypond[fragment,linewidth=13.0\cm]
2521 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
2524 @lilypond[fragment,linewidth=13.0\cm]
2528 f8 f f f a16 g a f |
2529 c'8 c c c e16 d e c \bar "||"}
2532 @lilypond[fragment,linewidth=13.0\cm]
2536 d4 b8 g b d d c a4 |
2537 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
2550 Device indicating the exact tempo of a piece. @aref{metronomic
2553 @aitem{metronomic indication}
2554 ES: indicación metronómica,
2555 I: indicazione metronomica,
2556 F: indication métronomique,
2558 NL: metronoom aanduiding,
2560 S: metronomangivelse,
2561 FI: metronomiosoitus.
2563 Exact tempo indication (in beats per minute). Also denoted by
2564 M.M.@: (Mälzels Metronom).
2566 @aitem{mezzo-soprano}
2576 The female voice between @aref{soprano} and
2583 D: eingestrichenes@w{ }c,
2585 DK: enstreget@w{ }c,
2586 S: ettstruket@w{ }c,
2589 First C below the 440 Hz A.
2591 @lilypond[fragment,notime,raggedright]
2592 \set Score.automaticBars = ##f
2593 \override Staff.Clef #'full-size-change = ##t
2611 @aref{diatonic scale}.
2613 @aitem{minor interval}
2614 ES: intervalo mayor,
2615 I: intervallo minore,
2616 F: intervalle mineur,
2617 D: kleines Intervall,
2621 FI: pieni intervalli.
2633 FI: moodi, kirkkosävelasteikko.
2635 @aref{church mode}, @aref{diatonic scale}.
2645 FI: modulaatio, sävellajin vaihdos.
2647 Moving from one @aref{key} to another. For example, the second
2648 subject of a @aref{sonata form} movement modulates to the dominant
2649 key if the key is major and to the @aref{relative key} if the key
2659 FI: mordent, korukuvio.
2663 @aitemii{motive,motif}
2671 FI: teema, sävelaihe.
2673 The briefest intelligible and self-contained fragment of a musical theme or
2676 @lilypond[fragment,linewidth=13.0\cm]
2677 \override Score.TimeSignature #'break-visibility = #all-invisible
2678 %\override Score.TextScript #'font-style = #'large
2682 \partial 8 g16_"------" fis |
2683 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
2684 g8 g,16 a b8 cis d16 s
2698 Greater musical works like @aref{symphony} and
2699 @aref{sonata} most often consist of several -- more or less --
2700 independant pieces called movements.
2702 @aitem{multibar rest}
2703 ES: compases de espera,
2707 D: mehrtaktige Pause,
2710 FI: usean tahdin mittainen tauko.
2712 @lilypond[fragment,raggedright]
2715 \set Score.skipBars = ##t R1*3
2720 @aitem{mixolydian mode}
2721 @aref{diatonic scale}.
2723 @aitem{natural sign}
2727 D: Auflösungszeichen,
2728 NL: herstellingsteken,
2729 DK: op@-løsningstegn,
2730 S: återställningstecken,
2735 @aitem{neighbour tones}
2736 @aref{appoggiatura}.
2763 Notes are signs by means of which music is fixed in writing. The term is also
2764 used for the sound indicated by a note, and even for the key of the piano
2765 which produces the sound. However, a clear distinction between the terms tone
2766 and @aref{note} is strongly recommended. Briefly, one sees a note,
2771 I: testa, testina, capocchia,
2772 F: t@^ete de la note,
2779 A head like sign which indicates pitch by its position on a
2780 @aref{staff} provided with a @aref{clef}, and duration
2781 by a variety of shapes such as hollow or black heads with or without
2782 @aref{stem}s, @aref{flag}s, etc. For percussion
2783 instruments (often having no defined pitch) the note head may indicate the
2789 F: durée, valeur (d'une note),
2794 FI: nuotin aika-arvo.
2796 Note values (durations) are measured as fractions, normally 1/2, of the next
2797 higher note value. The longest duration normally used is called @emph{brevis},
2798 but sometimes (mostly in pre baroque music) the double length note value
2799 @emph{longa} is used.
2801 @lilypond[fragment,notime,linewidth=13.0\cm]
2802 %\override Score.TextScript #'font-style = #'large
2803 \set Score.automaticBars = ##f
2805 \override NoteHead #'style = #'mensural
2806 a\longa_"longa" a\breve_"breve"
2807 \revert NoteHead #'style
2808 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
2809 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
2812 @lilypond[fragment,notime,linewidth=13.0\cm]
2813 %\override Score.TextScript #'font-style = #'large
2814 \set Score.automaticBars = ##f
2816 r\longa_"longa" r\breve_"breve"
2817 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
2818 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
2821 An augmentation dot after a note multiplies the duration by one and a
2822 half. Another dot adds yet a fourth of the duration.
2824 @lilypond[fragment,linewidth=13.0\cm]
2825 %\override Score.TextScript #'font-style = #'large
2828 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
2829 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
2832 Alternatively note values may be subdivided by other ratios. Most common is
2833 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
2834 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
2835 dotted notes are also frequently used.
2837 @lilypond[fragment,linewidth=13.0\cm]
2838 %\override Score.TextScript #'font-style = #'large
2841 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
2842 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
2846 @lilypond[fragment,linewidth=13.0\cm]
2849 \times 3/2 {g4_"duplets" g} |
2851 \times 6/4 {g8_"quadruplets" g g g} |
2852 g8 g g g g4 \bar "||"
2857 @aref{G clef}, @aref{F clef}.
2871 @aitemiii{ornament,embellishment,accessory}
2873 I: abbellimento, fioriture,
2874 F: agrément, ornement,
2875 D: Verzierung, Ornament,
2881 Most commonly used is the @emph{trill}, the rapid alternation of a given note
2882 with the diatonic @aref{second} above it. In the music from the
2883 middle of the 19th century and onwards the trill is performed with the main
2884 note first while in the music from the preceding baroque and classic periods
2885 the upper note is played first.
2887 @lilypond[fragment,linewidth=13.0\cm]
2889 \context Staff = sa {
2890 % \override Score.TextScript #'font-style = #'large
2892 c2._"pre-1850" b4\trill | c1 \bar "||"
2893 c2._"post-1850" b4\trill | c1 \bar "||"
2897 c2. c32 b c b c b c b | c1
2898 c2. b32 c b c \times 4/5 { b c b c b } | c1
2903 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
2904 @emph{prall} (inverted mordent).
2906 @lilypond[fragment,linewidth=13.0\cm]
2908 \context Staff = sa {
2909 % \override Score.TextScript #'font-style = #'large
2911 a4_"turn" b\turn c2 \bar "||"
2912 g4_"mordent" a b\mordent a \bar "||"
2913 e'4_"prall" d\prall c2 \bar "||"
2919 e'4 e32[ d e d ~ d8] c2
2924 @aref{appoggiatura}.
2934 FI: ossia, vaihtoehtoinen esitystapa.
2936 Ossia (otherwise) marks an alternative. It is an added staff or piano
2937 score, usually only a few measures long, which presents another version
2938 of the music, for example for small hands.
2948 FI: stemma, instrumenttiosuus.
2950 1. In instrumental or choral music the music for the single instrument
2951 or voice. 2. in contrapuntal music @aref{counterpoint} the single
2952 melodic line of the contrapunctal web.
2958 D: Schlagzeug, Schlagwerk,
2964 A family of musical instruments which are played on by striking or
2965 shaking. Percussion instruments commonly used in a symphony orchestra are
2966 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
2967 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
2970 @aitem{perfect interval}
2971 ES: intervalo justo,
2972 I: intervallo giusto,
2973 F: intervalle juste,
2974 D: reines Intervall,
2978 FI: puhdas intervalli.
2992 A natural division of the melodic line, comparable to a sentence of speech.
3002 FI: fraseeraus, jäsentäminen.
3004 The clear rendering in musical performance of the @aref{phrase}s of
3005 the melody. Phrasing may be indicated by a @aref{slur}.
3017 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3018 @emph{mezzopiano} (@b{mp}) medium soft.
3035 NL: pizzicato, getokkeld,
3038 FI: pizzicato, näppäillen.
3040 Play by plucking the strings.
3050 FI: polyfonia, moniäänisyys.
3052 Music written in a combination of several simultaneous voices (parts) of a
3053 more or less pronounced individuality. @aref{counterpoint}.
3062 D: Presto, Sehr schnell,
3063 NL: presto, Sehr schnell,
3066 FI: presto, hyvin nopeasti.
3068 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3069 denotes the highest possible degree of speed.
3071 @aitem{Pythagorean comma}
3072 ES: coma pitagórico,
3073 I: comma pitagorico,
3074 F: comma pythagoricien,
3075 D: Pythagoräisches Komma,
3076 NL: komma van Pythagoras,
3077 DK: pythagoræisk komma,
3078 S: pytagoreiskt komma,
3079 FI: pytagorinen komma.
3081 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3082 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3083 24 @aref{cent}s higher than the@w{ }C obtained by adding
3084 7@w{ }octaves. The difference between those two pitches is called the
3099 @aitem{quarter note}
3101 I: semiminima, nera,
3104 D: Viertel, Viertelnote,
3108 FI: neljännesosanuotti.
3112 @aitem{quarter rest}
3113 ES: silencio de negra,
3114 I: pausa di semiminima,
3119 DK:@w{ }fjerdedelspause,
3121 FI: neljännesosatauko.
3141 D: rallentando, langsamer werden,
3145 FI: rallerdando, hidastuen.
3147 Abbreviation "rall.". @aref{ritardando}.
3149 @aitem{relative key}
3151 I: tonalità relativa,
3152 F: tonalité relative,
3154 NL: paralleltoonsoort,
3155 DK: paralleltoneart,
3157 FI: rinnakkaissävellaji.
3159 @aref{major} and @aref{minor} @aref{key}
3160 with the same @aref{key signature}.
3162 @lilypond[fragment,notime,linewidth=13.0\cm]
3163 \set Score.automaticBars = ##f
3164 %\override Score.TextScript #'font-style = #'large
3167 es1_"e flat major" f g as bes c d es
3172 @lilypond[fragment,notime,linewidth=13.0\cm]
3173 \set Score.automaticBars = ##f
3174 %\override Score.TextScript #'font-style = #'large
3177 c1_"c minor" d es f g a! b! c \bar "||"
3182 ES: barra de repetición,
3184 F: barre de reprise,
3187 DK: gen@-ta@-gel@-se,
3191 @lilypond[fragment,linewidth=13.0\cm]
3195 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3199 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3200 @c specify the rest's value.
3224 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3225 fixed unit of time, called @aref{beat}, and in which the normal
3226 @aref{accent} recurs in regular intervals, called
3227 @aref{measure}. The basic scheme scheme of time values is called
3228 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3229 accent. In modern notation such music appears as a free alternation of
3230 different measures. (c) Free rhythm, i.e., the use of temporal values having
3231 no common metrical unit (beat).
3237 D: Ritardando, langsamer werden,
3241 FI: ritardando, hidastuen,
3243 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3253 FI: ritenuto, hidastaen.
3255 Immediate reduction of speed.
3265 FI: asteikko, sävelasteikko.
3267 @aref{diatonic scale}.
3269 @aitem{scale degree}
3270 ES: grados de la escala,
3271 I: grado della scala,
3272 F: degré [de la gamme],
3274 NL: trap [van de toonladder],
3277 FI: sävelaste, asteikon sävel.
3279 Names and symbols used in harmonic analysis to denote tones of the scale as
3280 roots of chords. The most important are degrees I = tonic (T), IV =
3281 sub@-do@-mi@-nant (S) and V = dominant (D).
3283 @lilypond[fragment,notime,linewidth=13.0\cm]
3284 \set Score.automaticBars = ##f
3285 %\override Score.LyricText #'font-style = #'large
3286 %\set minVerticalAlign = #8
3288 \context Staff \relative c' {
3291 \context Lyrics \lyrics {
3292 << { I II III IV V VI VII I }
3297 @aref{functional harmony}.
3303 D: Partitur (full score), Klavierauszug (vocal score)
3309 A copy of orchestral, choral, or chamber music showing what each instrument is
3310 to play, each voice to sing, having each part arranged one underneath the
3311 other on different staves @aref{staff}.
3323 The @aref{interval} between two neigbouring tones of a scale. A
3324 @aref{diatonic scale} consists of alternating
3325 @aref{semitone}s and @aref{whole tone}s, hence the size
3326 of a se@-cond depends on the scale degrees in question.
3338 The @aref{interval} of a minor second. The (usually) smallest
3339 interval in European composed music. The interval between two neighbouring
3340 tones on the piano keyboard -- including black and white keys -- is a
3341 semitone. An octave may be divided into 12@w{ }semitones.
3342 @aref{interval}, @aref{chromatic scale}.
3344 @lilypond[fragment,notime,linewidth=13.0\cm]
3345 \set Score.automaticBars = ##f
3346 \relative c'' { g1 gis s a bes s b! c }
3361 @aitem{sextuplet, sextolet}
3384 @aitem{short appoggiatura}
3385 @aref{appoggiatura}.
3387 @aitem{sixteenth note}
3392 D: Sechzehntel, Sechzehntelnote,
3393 NL: zes@-ti@-ende noot,
3394 DK: sekstendedelsnode,
3396 FI: kuudestoistaosanuotti.
3400 @aitem{sixteenth rest}
3401 ES: silencia de semicorchea,
3402 I: pausa di semicroma,
3404 UK: semiquaver rest,
3405 D: Sechzehntelpause,
3407 DK: sekstendedelspause,
3425 @aitem{sixty-fourth note}
3428 F: quadruple croche,
3429 UK: hemidemisemiquaver,
3430 D: Vierundsechzigstel, Vierundsechzigstelnote,
3431 NL: vierenzestigste noot,
3432 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
3433 S: sextiofjärdedelsnot,
3434 FI: kuudeskymmenesneljäsosanuotti.
3438 @aitem{sixty-fourth rest}
3439 ES: silencia de semifusa,
3440 I: pausa di semibiscroma,
3441 F: seizième de soupir,
3442 UK: hemidemisemiquaver rest,
3443 D: Vierundsechzigstelpause,
3444 NL: vierenzestigste rust,
3445 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
3446 S: sextiofjärdedelspaus,
3447 FI: kuudeskymmenesneljäsosatauko.
3453 I: legatura (di portamento or espressiva),
3455 D: Bogen, Legatobogen, Phrasierungsbogen,
3456 NL: fraseringsboog, legatoboog, streekboog,
3457 DK: legatobue, fraseringsbue,
3461 A slur above or below a group of notes indicates that they are to be played
3462 @aref{legato}, e.g., with one stroke of the violin bow or with one
3472 FI: suhteelliset laulunimet.
3474 General term for systems of designating the degrees of the
3475 @aref{scale}, not by letters, but by syllables (@emph{do}
3476 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
3477 (@emph{ti})). @aref{scale degree}.
3489 In its present-day meaning a sonata denotes an instrumental composition for
3490 piano or for some other instrument with piano accompaniment, which consists of
3491 three or four independant pieces, called movements.
3496 F: [en] forme de sonate,
3498 NL: hoofdvorm, sonatevorm,
3503 A form used frequently for single movements of the @aref{sonata},
3504 @aref{symphony}, quartet, etc. A movement written in sonata form
3505 falls into three sections called @emph{exposition}, @emph{development} and
3506 @emph{recapitulation}. In the exposition the composer introduces some musical
3507 ideas, consisting of a number of themes; in the development section the composer
3508 "develops" this material, and in the recapitulation the composer repeats the exposition,
3509 with certain modificationsr. The exposition contains a number of themes
3510 which fall into two groups, often called first and second subject. Other
3511 melodies occurring in each group are considered as continuations of these
3512 two. The second theme is in another key, normally in the key of the
3513 @aref{dominant} if the @aref{tonic} is
3514 @aref{major}, and in the @aref{relative key} if the
3515 tonic is @aref{minor}.
3525 FI: sopraano, korkea naisääni.
3527 The highest female voice.
3532 F: staccato, piqué, détaché,
3537 FI: staccato, lyhyesti, terävästi.
3539 Playing the note(s) short. Staccato is indicated by a dot above or below the
3542 @lilypond[fragment,raggedright]
3547 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
3552 @aitemii{staff, pl. staves}
3554 I: pentagramma, rigo (musicale),
3557 NL: (noten)balk, partij,
3562 A series of (normally@w{ }5) horizontal lines upon and between
3563 which the musical notes are written, thus indicating (in connection
3564 with a @aref{clef}) their pitch. Staves for
3565 @aref{percussion} instruments may have fewer lines.
3571 D: Hals, Notenhals, Stiel,
3577 Vertical line above or below a @aref{note head} shorter than a
3578 whole note. @aref{beam}.
3580 @lilypond[fragment,notime,linewidth=13.0\cm]
3581 \set Score.autoBeaming = ##f
3582 \set Score.automaticBars = ##f
3583 %\override Score.TextScript #'font-style = #'large
3602 A family of stringed musical instruments played with a bow. Strings commonly
3603 used in a symphony orchestra are violin, viola, violoncello, and double bass.
3609 D: betonter Taktteil oder Taktschlag,
3611 D: betonet taktslag,
3612 S: betonat taktslag,
3613 FI: tahdin vahva isku.
3615 @aref{beat}, @aref{accent}, @aref{measure},
3626 FI: subdominantti, alidominantti.
3628 The fourth @aref{scale degree}. @aref{functional
3641 The sixth @aref{scale degree}.
3651 FI: subtoonika, alitoonika.
3653 The seventh @aref{scale degree}.
3655 @aitem{superdominant}
3665 The sixth @aref{scale degree}.
3677 The second @aref{scale degree}.
3683 D: Sinfonie, Symphonie,
3689 A symphony may be defined as a @aref{sonata} for orchestra.
3701 Any deliberate upsetting of the normal pulse of @aref{meter},
3702 @aref{accent} and @aref{rhythm}. Our system of musical
3703 rhythm rests upon the grouping of equal beats into groups of two or three,
3704 with a regularly recurrent accent on the first beat of each group. Any
3705 deviation from this scheme is felt as a disturbance or contradiction between
3706 the underlaying (normal) pulse and the actual (abnormal) rhythm.
3708 @lilypond[fragment,raggedright]
3713 e c'4 e,8 c'4 e,8 c' ( | c2)
3717 @aitemii{syntonic comma,dydimic comma}
3718 I: comma sintonico (o didimico),
3719 F: comma syntonique,
3720 D: syntonisches Komma,
3721 NL: syntonische komma,
3722 DK: syntonisk komma,
3723 S: syntoniskt komma,
3724 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
3726 Difference between the natural third and the third obtained by Pythagorean
3727 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
3736 FI: nuottijärjestelmä.
3738 The collection of staves @aref{staff}, two or more, as used for
3739 writing down of keyboard, chamber, choral, or orchestral music.
3745 D: Stimmung, Tem@-pe@-ra@-tur,
3746 NL: stemming, temperatuur,
3749 FI: viritysjärjestelmä.
3751 Systems of tuning in which the intervals deviate from the acoustically pure
3752 intervals. @aref{meantone temperament}, @aref{equal
3755 @aitem{tempo indication}
3756 ES: indicación de tempo,
3757 I: indicazione di tempo,
3758 F: indication de temps,
3759 D: Zeitmaß, Tempobezeichnung,
3760 NL: tempo aanduiding,
3765 The rate of speed of a composition or a section thereof, ranging from the
3766 slowest to the quickest, as is indicated by tempo marks as
3767 @aref{largo}, @aref{adagio}, @aref{andante},
3768 @aref{allegro}, and @aref{presto}.
3778 FI: tenori, korkea miesääni.
3780 The highest voice of men (apart from @aref{counter tenor}).
3806 @aitem{thirty-second note}
3811 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
3812 NL: twee-endertig@-ste noot,
3813 DK: toogtredivtedelsnode,
3814 S: trettiotvåondelsnot,
3815 FI: kolmanneskymmeneskahdesosanuotti.
3819 @aitem{thirty-second rest}
3820 ES: silencio de fusa,
3821 I: pausa di biscroma,
3822 F: huitième de soupir,
3823 UK: demisemiquaver rest,
3824 D: Zweiunddreissigstel@-pause,
3826 DK: toogtredivtedelspause,
3827 S: trettiotvåondelspaus,
3828 FI: kolmanneskymmeneskahdesosatauko.
3832 @aitemii{thorough bass,figured bass}
3834 I: basso continuo, basso numerato,
3836 D: Generalbass, bezifferter Bass,
3837 NL: basso continuo, becijferde bas
3840 FI: kenraalibasso, numeroitu basso.
3842 A method of indicating an accompaniment part by the bass notes only, together
3843 with figures designating the chief @aref{interval}s and
3844 @aref{chord}s to be played above the bass notes.
3846 @lilypond[fragment,linewidth=13.0\cm]
3847 \context GrandStaff <<
3848 \context Staff = lh \relative c'' {
3852 << \context Voice = rha {
3855 \context Voice = rhb {
3857 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3861 \context Staff = rh \relative c' {
3864 es8 c d bes c as bes16 as g f | es4
3866 \context Lyrics \lyrics {
3867 \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
3868 << { "" "6" "" "4" "" "6" "" "" "6" "4" }
3869 { "" "" "" "2" "" "" "" "" "" "2" } >>
3875 ES: ligadura de prolongación,
3876 I: legatura (di valore),
3879 NL: overbinding, bindingsboog,
3881 S: bindebåge, överbindning,
3884 A curved line, identical in appearance with the @aref{slur}, which
3885 connects two succesive notes of the same pitch, and which has the function of
3886 uniting them into a single sound equal to the combined durations.
3888 @lilypond[fragment,notime,raggedright]
3889 \set Score.automaticBars = ##f
3890 \relative c'' { g2 ~ g4. }
3893 @aitem{time signature}
3894 ES: cifra indicadora de compás,
3896 F: chiffrage (chiffres indicateurs), signe de valeur,
3897 D: Taktangabe, Angabe der Taktart,
3900 S: taktartssignatur,
3915 A sound of definite pitch and duration, as distinct from @emph{noise}.
3916 Tone is a primary building material of music.
3917 Music from the 20th century may be based on non tone related sounds.
3929 The first @aref{scale degree}.
3930 @aref{functional harmony}.
3932 @aitem{transposition}
3942 Shifting a melody up or down in pitch, while keeping the same
3945 @lilypond[fragment,linewidth=13.0\cm]
3950 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3955 @lilypond[fragment,linewidth=13.0\cm]
3958 \transpose c bes \relative c'' {
3960 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
3967 I: chiave di violino,
3969 D: Violinschlüssel, Sopranschlüssel,
3971 DK:@w{ }diskantnøgle,
3987 On stringed instruments (@aref{strings}) the quick reiteration of
3988 the same tone, produced by a rapid up-and-down movement movement of the bow
3989 (a). The term is also used for the rapid alternation (b) between two notes of
3990 a @aref{chord}, usually in the distance of a third
3993 @lilypond[fragment,notime,raggedright]
3994 \set Score.automaticBars = ##f
3995 %\override Score.TextScript #'font-style = #'large
3998 f:32 [ e8:16 f:16 g:16 a:16 ] s4
3999 \repeat "tremolo" 8 { e32_"b" g }
4006 F: triade, accord parfait, accord de trois sons,
4015 @aitemii{trill,shake}
4018 F: trille, tremblement, battement (cadence),
4027 @aitem{triple meter}
4028 ES: compás compuesto,
4032 NL: driedelige maatsoort,
4065 I: diapason, corista,
4073 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4074 give the international pitch for the tone @emph{a} (440 vibrations per second.)
4076 @aitemii{turn,gruppetto}
4096 FI: unisono, yksiäänisesti.
4098 Playing of the same notes or the same melody by various instruments (voices)
4099 or by the whole orchestra (choir), either at exactly the same pitch or in a
4103 ES: entrada anacrúsica,
4105 F: anacrouse, levée,
4112 Initial note(s) of a melody occurring before the first bar
4113 line. @aref{measure}, @aref{meter}.
4115 @lilypond[fragment,linewidth=13.0\cm]
4119 \partial 4 f4 | bes4. a8 bes4 c |
4120 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4131 FI: ääni, lauluääni.
4133 1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
4134 @aref{contralto}, @aref{tenor},
4135 @aref{baritone}, @aref{bass}.
4136 2. A melodic layer or part of a polyphonic composition.
4140 I: tempo debole, arsi,
4142 D: unbetonter Taktteil oder Taktschlag,
4144 DK: ubetonet taktslag,
4145 S: obetonat taktslag,
4146 FI: tahdin heikko isku.
4148 @aref{beat}, @aref{measure}, @aref{rhythm}.
4155 D: Ganze, ganze Note,
4164 ES: silencio de redonda,
4165 I: pausa di semibreve,
4168 D: ganze Pause, ganztaktige Pause,
4186 The @aref{interval} of a major second. The interval between two
4187 tones on the piano keyboard with exactly one key between them -- including
4188 black and white keys -- is a whole tone.
4200 A family of blown wooden musical instruments. Today some of these instruments
4201 are actually made from metal. The woodwind instruments commonly used in a
4202 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
4209 @item DURATION NAMES, NOTES AND RESTS
4212 @multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
4214 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4215 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4219 @item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
4220 @tab longa @tab longa @tab longa
4224 @item @strong{breve} @tab breve @tab breve @tab brève @tab Brevis @tab
4225 brevis @tab brevis @tab brevis @tab brevis
4229 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
4230 Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
4234 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
4235 halve @tab halv @tab halv @tab puoli- @tab
4239 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
4240 Viertel @tab kwart @tab fjerde@-del @tab fjärde@-del @tab neljännes- @tab
4244 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
4245 achtste @tab ottende@-del @tab åtton@-del @tab kahdeksasosa- @tab
4249 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
4250 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
4251 @tab kuudestoistaosa- @tab
4255 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
4256 triple croche @tab Zwei@-und@-drei@-ßig@-stel @tab twee-en@-dertig@-ste
4257 @tab toog@-tredivte-del @tab trettio@-tvåon@-del @tab kolmaskymmeneskahdesosa- @tab
4261 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
4262 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
4263 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
4264 sextio@-fjärde@-del @tab kuudeskymmenesneljäsosa- @tab
4267 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
4275 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
4277 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
4278 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
4282 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
4286 @item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
4287 cis @tab cis @tab cis
4291 @item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
4292 des @tab des @tab des
4296 @item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
4300 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
4304 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
4308 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
4312 @item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
4317 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
4321 @item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
4322 ais @tab ais @tab ais
4326 @item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
4331 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
4336 @unnumbered Literature used
4337 The Harvard Dictionary of Music, London 1944. Many more or less literal
4338 quotes from its articles have been included into the item explanation texts.
4340 Hugo Riemanns Musiklexicon, Berlin 1929.
4342 Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980
4343 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
4345 Webster's Revised Unabridged Dictionary, Springfield 1913.