\input texinfo
@setfilename glossary.info

@c @pagesizes 10.3in

@c @everyheading @| @thispage @|
@evenheading @thispage @| @| 
@oddheading @| @| @thispage @|

@itemize 

@item I - Italian 
@item F - French 
@item D - German 
@item NL - Nederlands 
@item UK - British English 
@item DK - Danish 
@item S - Swedish
@item N - Norwegian 
@end itemize

@ 

@macro ar{}
@iftex
@tex $\\Rightarrow$ @end tex
@end iftex
@ifhtml
-->
@end ifhtml
@ifinfo
-->
@end ifinfo
@end macro

A reference is indicated by @ar{} followed by the term in @strong{boldface}. 

@table @strong

@item A
I: la, F: la,  D: A, a, NL: a, DK: a, S: a, N: a.

@item accent
I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N: 

The stress of one tone over others.

@item accidental
I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt 
f@"ortecken, N:

@c F: alt@'eration accidentelle,  D: Vorzeichen, Versetzungszeichen,
@c Akzidenz, NL: toevallig teken, I: accidento.  

A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
flat lowers it by a whole tone. A natural cancels the effect of a previous
accidental.

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
  gis1_"sharp" s s2
  gisis1_"db. sharp" s s2
  ges1_"flat" s s2
  geses1_"db. flat" s s2 
  g!1_"natural" s2
}
@end mudela
@item accelerando 
I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
NL: accelerando, DK: accelerando, S: accelerando, N:

Still faster tempo.


@item adagio
I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
adagio, N: adagio.

It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
movement in slow tempo, esepecially the scond (slow) movement of
@w{@ar{}@strong{sonata}s}, symphonies etc.

@item allegro
I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
DK: allegro, S: allegro, N: allegro.

It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
especially the first and last movements of a @w{@ar{}@strong{sonata}}.

@item alto
I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.

A female voice of low range (@emph{contralto}). Originally the alto was a high
male voice (hence the name) which by the use of falsetto reached the height of
the female voice. This type of voice is also known as @w{@ar{}@strong{counter
tenor}}.

@item alto clef
I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:

C clef setting central C on the middle line of the staff 
@w{@ar{}@strong{C clef}}

@item ancient minor scale
I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\notes\relative c'' {
a1 b c d e f g a }
@end mudela

@item andante
I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
N: andante. 

walking tempo/character

@item appoggiatura 
I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
DK: forslag, S: f@"orslag, N:

Ornamental note, usually a second, that is melodically connected with the main
note that follows it. In music before the 19'th century a. were usually
performed on the beat, after that mostly before the beat. While the short
a. is performed as a short note regardless of the duration of the main note
the duration of the long a. is proportionate to that of the main note. 

@

@mudela[13pt,eps]
\emptyText
%\property Voice.textEmptyDimension = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
\key d \major;
\time 4/4;
<d4_"notation" a fis> r 
{ \property Grace.stemStyle = ""
  \grace g16 }
fis8 e16 fis 
{ \property Grace.stemStyle = ""
  \grace a16 }
g8 fis16 g | a4 \bar "||"; }
\notes\relative c'' {
<d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
@end mudela

An appoggiatura may have more notes preceding the main note.

@

@mudela[13pt,eps]
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' {
  \key as \major;
  \time 2/4;
  \grace { bes16 } as8_"notation" as16 bes as8 g |
  \grace { [as16 ( bes] } < ) c4 as > 
  \grace { [as16 ( bes] } < ) c4 as > \bar "||";
  \grace { bes16 } as8_"performance" as16 bes as8 g |
  < \context Voice = va { \stemup as32 bes c8. as32 bes c8. }
    \context Voice = vb { \stemdown as16 ~ as8. as16 ~ as8. } >
  \bar "||";
}
@end mudela

@item arpeggio
I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:

@

@mudela[13pt,eps]
\context GrandStaff <
  \notes\relative c'' { 
    \time 4/4;
    \clef treble; 
    r8 g16 c e g, c e r8 g,16 c e g, c e |
    r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
  \notes\relative c' {
    \clef bass; 
    < \context Voice = va { 
        \stemup 
        r16 e8. () e4 r16 e8. () e4 |
        r16 d8. () d4 r16 d8. () d4 }
      \context Voice = vb { 
        \stemdown 
        c2 c | c c } >
  }
>
@end mudela

@item ascending interval
I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:

A distance between a starting lower note and a higher ending note.

@item augmented interval
I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
@"overstigande intervall, N:

@w{@ar{}@strong{interval}}

@item autograph	
I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
h@aa{}ndskrift, autograf, S: handskrift, N: .

1. A manuscript in the composer's own hand. 2.  Music prepared for
photoreproduction by freehand drawing, with only the aid of a
straightedge ruler and T-square, which attempts to emulate
engraving. This required more skill than did engraving.

@item B
I: si, F: si,  D: H, h, NL: b, DK: h, S: h, N: h.

@item backfall; forefall 
@w{@ar{}@strong{appoggiatura}}

@item bar line
I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
maatstreep, DK: taktstreg, S: taktstreck, N:

@item bar
@w{@ar{}@strong{measure}}

@item baritone
I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
baryton.

The male voice intermediate between the @w{@ar{}@strong{bass}} and the
@w{@ar{}@strong{tenor}}.

@item baritone clef
I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
barytonklav, N: .

C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
@w{@ar{}@strong{f clef}}

@item bass clef
I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
bassleutel, DK: basn@o{}gle, S: basklav, N:

A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
clef}}

@item bass
I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.

1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
an abbreviation for double bass @w{@ar{}@strong{strings}}.

@item beam
I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:

Line connecting a series of notes (shorter than a quarter note). The number of
beams determine the note value of the connected notes.

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' { 
  [g8_"1/8" g g g] s16
  [g16_"1/16" g g g] s16
  [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
  [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
@end mudela

@item beat
I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
taktslag, N:

Note value used for counting, most often half-, fourth- and eighth notes. The
base counting value and the number of them per measure is indicated at the
start of the music.

@

@mudela[13pt,eps]
\key g \major;
\time 4/4;
\notes\relative c'' { g4 c b a | g1 \bar "||";}
\time 3/8;
\notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
@end mudela

@item bind
@w{@ar{}@strong{tie}}

@item brace
I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
accolade, teksthaak, DK: klamme, S: klammer, N:

Symbol at the start of a system connecting staffs. Curly braces are used
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.

@

@mudela[13pt,eps] 
\context GrandStaff < 
  \property GrandStaff.minVerticalAlign = 12
  \notes\relative c'' { \clef treble; g4 e c2 }
  \notes\relative c { \clef bass; c1 \bar "|."; } > 
@end mudela

@

@mudela[13pt,eps] 
%\context StaffGroup < 
\context ChoirStaff < 
  \property StaffGroup.minVerticalAlign = 12
  \notes\relative c'' { \clef treble; g4 e c2 }
  \notes\relative c { \clef bass; c1 \bar "|."; } > 
@end mudela

@item brass
I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:

A family of blown musical instruments made of brass all using a cup formed
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn and tube.

@item breath mark
I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
repercussieteken, DK:
vejrtr@ae{}kningstegn, S: andningstecken, N: .

Indication of where to breathe in vocal and wind instrument parts.

@item breve
I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:

@w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
in pre-1650 music.

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\notes\relative c'' { g\breve } 
@end mudela

@item C
I: do, F: ut,  D: C, c, NL: c, DK: c, S: c, N: c

@item C clef
I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
c-n@o{}gle, S: c-klav, N:

Clef symbol indicating the position of the central C. Used on all note
lines.

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Staff.clefStyle = #"fullSizeChanges"
\property Staff.textStyle = #"large"
\property Lyrics.textStyle = #"large"
\addlyrics
\notes\relative c' { 
  \clef soprano; c1 s s
  \clef mezzosoprano; c s s
  \clef alto; c s s
  \clef tenor; c s s
  \clef baritone; c s
}
\context Lyrics \lyrics { 
  Soprano Mezzosoprano Alto Tenor Baritone 
}
@end mudela

@item cadence 
I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .

@w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}

@item cadenza
I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .

An extended, improvisatory style section inserted near the end of
movement. The purpose of a cadenza is to give the singer or player a chance to
exhibit her technichal skill and not the least her ability to improvise. Since
the middle of the 19'th century, however, most cadences have been written down
by the composer.

@item canon
I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .

@w{@ar{}@strong{counterpoint}}

@item cent
I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .

Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}

@item central C
@w{@ar{}@strong{middle C}}

@item chord
I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .

Three or more tones sounding simultaneously. In traditional European music the
base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
chords may be extended with more thirds. Four- @emph{seventh chords} and five
tone @emph{ninth} major chords are most often used as dominants
(@w{@ar{}@strong{functional harmony}}). A special case is chords having no
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Voice.textNonEmpty = ##t
\property Voice.textStyle = "large"
\time 4/4;
\notes\relative c'' {
  <g1_"major" b d> 
  <g_"minor" bes d> 
  <g_"dimished" bes des>
  <g_"augmented~" b dis>
  <g_"seventh-chord~" b d f>
  <g_"ninth-chord" b d f a> s s2
}
@end mudela

@item chromatic scale
I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .

A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end mudela

@item chromaticism
I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
kromatik, N:

Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).

@item church mode; ecclesiastical mode 
I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:

@w{@ar{}@strong{diatonic scale}}

@item clef
I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
sleutel, DK: n@o{}gle, S: klav, N:

@w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}

@item comma
I: comma, F: comma,  D: Komma, NL: komma, DK: komma, S: komma, N:

Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @w{@ar{}@strong{temperament}}

@item common meter
@w{@ar{}@strong{meter}}

@item compound interval
I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .

Intervals larger than an octave

@w{@ar{}@strong{interval}}

@item complement
I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
complementair interval, DK: komplement@ae{}rinterval, S:
komplement@"arintervall (?), N:

@w{@ar{}@strong{inverted interval}}

@item conjunct movement
I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:

Melody moving in the narrow steps of the scale;

@

@mudela[13pt,eps] 
\key g \major; \time 4/4;
\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
@end mudela

@item consonance 
I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
konsonans, N:

@w{@ar{}@strong{harmony}}

@item contralto
I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:

@w{@ar{}@strong{alto}}

@item counterpoint 
I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
kontrapunkt, S: kontrapunkt, N: .

From latin @emph{punctus contra punctum}, note against note. The combination
into a single musical fabric of lines or parts which have distinct melodic
significance. A frequently used polyphonic technique is imitation, in its
strictest form found in the canon needing only one part to be written down
while the other parts are performed with a given displacement. Imitation is
also the contrapuntal technique used in the @emph{fugue} which, since the
music of the baroque era, has been one of the most popular polyphonic
composition methods.

@

@mudela[13pt,eps]
\property Score.timeSignatureStyle = "C2/2"
\context GrandStaff <
  \notes\relative c' { 
    \key bes \major;
    \time 4/4;
    \clef treble; 
    < \context Voice = rha {
        \stemup
        r1 | r2 r8 g'8 bes d, | 
        cis4 d r8 e!16 f g8 f16 e |
        f8 g16 a bes8 a16 g a8 
      }
      \context Voice = rhb { 
        \stemdown
        r1 | r | r | r2 s8
      }
    >
  }
  \notes\relative c' {
    \clef bass; 
    \key bes \major;
    < \context Voice = lha {
        \stemup
        r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
        r8 a16 g f8 g16 a bes8 g e! cis' |
        d4. e!8 f 
      }
      \context Voice = lhb { 
        \stemdown 
        r1 | r | r | r2 s8
      } >
  }
>
@end mudela

@item counter tenor
I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
kontratenor, S: kontratenor, counter tenor, N: kontratenor

@w{@ar{}@strong{contralto}}

@item Copying, Music
A music copyist did fast freehand scores and parts on preprinted staff lines
for performance. Some of their conventions (e.g.: the placement of noteheads
on stems) varied slightly from those of engravers. Some of their working
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.

@item crescendo
I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
crescendo, S: crescendo, N:@w{ }crescendo.

Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation "cresc.".

@

@mudela[13pt,eps] 
\key g \major; \time 4/4;
\notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
@end mudela

@item cue-notes
I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:

In a separate part notes belonging to another part with the purpose of hinting
when to start playing.  Usually printed in a smaller type.

@item D
I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d

@item da capo 
I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
capo, DK: da capo, S: da capo, N: .

The term indicates repetition of the piece from the beginning to the end or to
a certain place marked @emph{fine}. Mostly abbreviated D.C.

@item dal segno
I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
dal segno, S: dal segno, N: .

abbreviated d.s. Repetition, not from the beginning, but from another place
frequently near the beginning marked by a sign:

@

@mudela[13pt,eps] 
\property Voice.textStyle = "large"
\key g \major; \time 4/4;
\notes\relative c'' { d1 | g,4^\segno  a b c | b a g2_"d.s." \bar "|."; }
@end mudela

@item decrescendo
I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
decrescendo, N: decrescendo

Decreasing tone volume. Indicated by a leftwards opening horizontal wedge  
or the abbreviation "decresc.".

@

@mudela[13pt,eps] 
\key g \major; \time 4/4;
\notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
@end mudela

@item descending interval
I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
fallande intervall, N:

An distance between a starting higher note and a lower ending note.

@item diatonic scale
I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:

A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
@w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
keybord are diatonic.

The church modes are used in gregorial chant and pre baroque early music but
also to some extent in newer jazz music.
 
@

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c' { 
  c1 d
  \property Voice.textScriptPadding = #-10
  e^"~~ S" f g a 
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c }
  \context Lyrics \lyrics { Ionian }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c' { 
  d1
  \property Voice.textScriptPadding = #-10
  e^"~~ S"
  f g a 
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d }
  \context Lyrics \lyrics { Dorian }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c' { 
  \property Voice.textScriptPadding = #-10
  e1^"~~ S"
  f g a 
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d e }
  \context Lyrics \lyrics { Phrygian }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c' { 
  f1 g a 
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d 
  \property Voice.textScriptPadding = #0
  e^"~~ S" f }
  \context Lyrics \lyrics { Lydian }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  g1 a 
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d 
  \property Voice.textScriptPadding = #0
  e^"~~ S" f g }
  \context Lyrics \lyrics { Mixolydian }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d 
  \property Voice.textScriptPadding = #0
  e^"~~ S" f g a }
  \context Lyrics \lyrics { Aeolian }
@end mudela

From the beginning of the 17th century the scales used in European
compositional music are primarily the major and the minor scales. In the
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c' { 
  c1 d
  \property Voice.textScriptPadding = #-10
  e^"~~ S" f g a 
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c }
  \context Lyrics \lyrics { Major }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d 
  \property Voice.textScriptPadding = #0
  e^"~~ S" f g a }
  \context Lyrics \lyrics { "ancient minor" }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d 
  \property Voice.textScriptPadding = #0
  e^"~~ S" 
  \property Voice.textScriptPadding = #1
  f!^"~~ A" 
  gis^"~~ S" 
  a }
  \context Lyrics \lyrics { "Harmonic minor" }
@end mudela

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  a1
  \property Voice.textScriptPadding = #-4
  b^"~~ S" c d e fis 
  \property Voice.textScriptPadding = #0
  gis^"~~ S" a g! 
  \property Voice.textScriptPadding = #-1
  f!^"~~ S" e d 
  \property Voice.textScriptPadding = #-4
  c^"~~ S" b a
}
  \context Lyrics \lyrics { "Melodic minor" }
@end mudela

@item diminished interval
I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
intervall, N: .

@w{@ar{}@strong{interval}}

@item diminuendo
I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
S:@w{ }diminuendo, N:@w{ }diminuendo.

@w{@ar{}@strong{decrescendo}}

@item disjunct movement
I: moto disgiunto, F: mouvement disjoint, D:
sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
r@"orelse, N:

Melody moving in steps greater than those of the
scale. Opposite of @ar{}@strong{conjunct movement}.

@

@mudela[13pt,eps]
\key a \major;
\time 4/4;
\notes\relative c' { 
  \partial 8; e8 | a4. gis8 b a e cis |
  fis2 d4. \bar "||"; }
@end mudela

@item dissonant interval; dissonance
I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
dissonans, N: .

@w{@ar{}@strong{harmony}}

@item dominant ninth chord
I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
Dominantnoneakkord, NL: dominant noon akkoord, DK:
dominantnoneakkord, S: dominantnonackord, N: .

@w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}

@item dominant seventh chord
I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
dominantseptimackord, N:

@w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}

@item dominant
I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
dominant, N: .

The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}

@item dorian mode
I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:

@w{@ar{}@strong{diatonic scale}}

@item dot (augmentation dot)
I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
punkt, S: punkt, N:

@w{@ar{}@strong{dotted note}}

@item dotted note
I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
DK: punkteret node, S: punkterad not, N:

@w{@ar{}@strong{note value}}

@item double appoggiatura
I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:

@w{@ar{}@strong{appoggiatura}}

@item double bar line
I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
dobbeltstreg, S: dubbelstreck, N: .

Indicates the end of a section within a movement.

@item double dotted note
I: nota doppiamente puntata, F: note doublement point@'ee, D:
doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .

@w{@ar{}@strong{note value}}

@item double flat

I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol, 
DK:@w{ }dob@-belt-b, S: dubbelbe, N: .

@w{@ar{}@strong{accidental}}

@item double sharp
I: doppio diesis, F: double di@`ese,  D: Doppelkreuz, NL: dubbelkruis, 
DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .

@w{@ar{}@strong{accidental}}

@item double trill
I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
dobbelttrille, S: dubbeldrill, N: .

A simultaneous trill on two notes, usually in the distance of a third.

@item duple meter
I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .

@w{@ar{}@strong{meter}}

@item duplet
I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .

@w{@ar{}@strong{note value}}

@item duration
I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
tonl@"angd, N: .

@w{@ar{}@strong{note value}}

@item dydimic comma
@w{@ar{}@strong{syntonic comma}}

@item E
I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.

@item eighth note
I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
ottendedelsnode, S: @aa{}ttondelsnot, N: .

@w{@ar{}@strong{note value}}

@item eighth rest
I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .

@w{@ar{}@strong{note value}}

@item engraving
I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
nottryck, N: .

Engraving means incising or etching a metal plate for
printing. Photoengraving means drawing music with ink in a manner
similar to drafting or engineering drawing, using similar tools.

The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.

@item enharmonic
I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
enharmonisk, S: enharmonisk, N: .

Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
  gis1_"g sharp" s as1_"a flat" s s
  < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
}
@end mudela

@item equal temperament 
I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
temperatur, S: liksv@"avande temperatur, N: .

Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
(precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}

@item expression mark
I: segno d'espressione, F: signe d'expression, indication de nuance, D:
Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
f@"oredragsbeteckning, N: .

Performance indications concerning 1. volume, dynamics (for example
@w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
@w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
 
@item F
I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.

@item F clef
I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
F-n@o{}gle, S: f-klav, N: .

The position between the dots of the key symbol is the line of the F below
central C. Used on the third, fourth and fifth note line. A digit 8 above the
clef symbol indicates that the notes must be played an octave higher (for
example bass recorder) while 8 below the clef symbol indicates playing an
octave lower (for example on double bass @w{@ar{}@strong{strings}}).

@

@c @ignore
@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Staff.clefStyle = #"fullSizeChanges"
\property Lyrics.textStyle = "large"
\addlyrics
\notes\relative c { 
%  \clef "F3";
  \clef varbaritone;
  f1 s
%  \clef "F4";
  \clef bass;
  f1 s
%  \clef "F5";
  \clef subbass;
  f1 s
  \clef "F^8";
  f'1 s s
  \clef "F_8";
  f,,1 s s
} 
\context Lyrics \lyrics { 
  baritone 
  bass 
  "sub-bass" 
  "octaved up" 
  "octaved down" 
}
@end mudela
@c @end ignore

@item fermata
I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .

Prolonged note or rest of indefinite duration.

@

@mudela[13pt,eps]
\time 4/4;
\notes\relative c'' {
a4 b c2^\fermata \bar "|."; }
@end mudela

@item fifth
I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
kvint.

@w{@ar{}@strong{interval}}

@item figured bass
@w{@ar{}@strong{thorough bass}}

@item fingering
I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
fingers@ae{}tning, S: fingers@"attning, N: .

The methodical use of fingers in the playing of instruments.

@item flag; pennant 
I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
DK: fane, S: flagga, N: .

Ornament at the end of the stem of a note used for notes with values less than
a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' { 
  g8_"1/8" s8 
  g16_"1/16" s8 
  g32_"1/32" s8 
  g64_"1/64" s8 }
@end mudela

@item flat
I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .

@w{@ar{}@strong{accidental}}

@item forefall; backfall  
@w{@ar{}@strong{appoggiatura}}

@item forte
I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .

Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.

@item fourth
I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .

@w{@ar{}@strong{interval}}

@item fugue 
I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .

@w{@ar{}@strong{counterpoint}}

@item functional harmony
I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:

A system of harmonic analysis. It is based on the idea that, in a given key,
there are only three functionally different chords: tonic (T, the chord on the
first note of the scale), subdominant (S, the chord on the fourth note) and
dominant (D, the chord on the fifth note). Other are considered to be variants
of the base chords.

@

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' {
  < g1 e c > < a f d > < b g e > 
  < c a f > < d b g > < e c a > < f d b > }
\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" } 
@end mudela

@item G
I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.

@item G clef
I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .

A clef symbol indicating the G above central C. Used on the first and second
note lines. A digit 8 above the clef symbol indicates that the notes must be
played an octave higher while 8 below the clef symbol indicates playing or
singing an octave lower (most tenor parts in choral scores are notated like
that). 

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Staff.clefStyle = #"fullSizeChanges"
\property Lyrics.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  \clef french; 
  g1 s s s s
  \clef treble; 
  g s s s
  \clef "G^8"; 
  g' s s s 
  \clef "G_8"; 
  g,, s s
}
\context Lyrics \lyrics { 
  "french violin clef" 
  "violin clef" 
  "octaved up"
  "octaved down"
}
@end mudela

@item glissando
I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
glissando, N: glissando.

Letting the pitch  slide fluently from one note to the other

@item grace notes
I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
NL: versieringen, DK: forsiringer, S: ornament, N: .

Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}

@item grand staff
I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
S: ackolad, b@"ojd klammer, N: .

@w{@ar{}@strong{brace}}

A combination of two staffs with a brace.  Usually used for piano music.

@item grave
I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
.

Slow, solemn.

@item half note
I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
halvnode, S: halvnot, N: .

@w{@ar{}@strong{note value}}

@item half rest
I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
rust, DK: halvnodespause, S: halvpaus, N: .

@w{@ar{}@strong{note value}}

@item harmonic cadence
I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .

Sequence of chords that terminate a musical phrase or
section. @ar{}@w{}@strong{functional harmony}

@

@mudela[13pt,eps] 
\context GrandStaff < 
  \notes\relative c'' { 
    \time 4/4;
    \clef treble; 
    \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
  \property Lyrics.textStyle = "large"
  \addlyrics
  \notes\relative c { 
    \clef bass; 
    \partial 4; c4 | f, g c2
    \bar "|."; } 
  \context Lyrics \lyrics { T S D T } > 
@end mudela

@item harmony
I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
samklang, S: samklang, N:

Tones sounding simultaneously. Two note harmonies fall into the cathegories
@emph{consonances} and @emph{dissonances}.

Consonances:

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
  <g1_"unisone" g> s
  <g1_"third" b> s
  <g1_"fourth" c> s
  <g1_"fifth" d'> s
  <g1_"sixth" e'> s
  <g1_"octave" g'> s
  <g1_"decime" b'> s s
}
@end mudela

Dissonances:

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
  <g1_"second" a> s
  <g1_"seventh" f'> s 
  <g1_"ninth" a'> s s
}
@end mudela

Three note harmony @w{@ar{}@strong{chord}}

@item homophony
I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
homofoni, N: .

Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.

@item interval
I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
intervall, N: .

Difference in pitch between two notes. Intervals may be perfect, minor, major,
diminished or augmented. The augmented fourth and the diminished fifth are
identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
forms an octave.

@ 

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' {
  < g1 g > s
  < g^"minor" as > s
  < g^"major" a! > s
  < g^"augm" ais > s
  < gis^"dimin" bes > s
  < g!^"minor" bes > s
  < g^"major" b! > s 
  < g^"augm" bis > s 
}
\context Lyrics \lyrics { 
  unisone second second second third third third third } 
@end mudela

@ 

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' {
  < g1^"perfect" c > s
  < g^"augm" cis > s
  < g^"perfect" d' > s
  < g^"dim" des' > s
  < gis^"dimin" es' > s
  < g!^"minor" es' > s
  < g^"major" e'! > s
  < g^"augm" eis' > s
}
\context Lyrics \lyrics { 
  fourth fourth fifth fifth sixth sixth sixth sixth } 
@end mudela

@ 

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Lyrics.textStyle = "large"
\property Voice.textStyle = "large"
\addlyrics
\notes\relative c'' {
  < gis1^"dimin" f'! > s
  < g!^"minor" f'! > s
  < g^"major" fis' > s
  < g g' > s
  < g^"minor" as' > s
  < g^"major" a'! > s
  < g^"minor" bes' > s
  < g^"major" b'! > s
}
\context Lyrics \lyrics { 
  seventh seventh seventh octave none none decime decime } 
@end mudela

@item inverted interval
I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .

The difference between an interval and an octave.

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
  < g1_"second" a > s < g'_"seventh" a, > s \bar "||"; 
  < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
  < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
}
@end mudela

@item just intonation
I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
stemming, DK: ren stemning, S: ren st@"amning, N: .

Tuning system in which the notes are obtained by adding and subtracting
@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}

@item key
I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
tonart, N: .

According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}

@item key signature
I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, 
S: tonartssignatur, N: .

The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @w{@ar{}@strong{accidental}}

@item largo
I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
N: largo

Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} less slow than largo.

@item leading note
I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
ledton, N: .

The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
upwards) to the tonic scale degree.

@item ledger line; leger line

I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .

A ledger line is an extension of the staff.

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c'' { a,1 s c'' } 
@end mudela

@item legato
I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
.

To be performed without any perceptible interruption between the notes (a)
unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
@w{@ar{}@strong{staccato}} (d)

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\emptyText
\property Lyrics.textStyle = "large"
\addlyrics
\notes\relative c'' { 
  c4( d )e \bar "||"; 
  c4-- d-- e-- \bar "||"; 
  c4-.( d-. )e-. \bar "||"; 
  c4-. d-. e-. \bar "||"; 
}
\context Lyrics \lyrics { a "" "" b "" "" c "" "" d  }
@end mudela

@item legato curve
@w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}

@item lilypond
I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .

A pond with  lilies floating in it, also the name of a music typesetter.

@item line
I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
notlinje, N: .

@w{@ar{}@strong{staff}}

@item long appoggiatura 
I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
forslag, S: l@aa{}ngt f@"orslag, N: .

@w{@ar{}@strong{appoggiatura}}

@item longa
I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa

note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c'' { 
  \property Voice.noteHeadStyle = #'mensural
  g\longa 
} 
@end mudela

@item major interval
I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
groot interval, DK: stort interval, S: stort intervall, N: .

@w{@ar{}@strong{interval}}

@item major
I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.

@w{@ar{}@strong{diatonic scale}}

@item meantone temperament
I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .

Temperament yielding acoustically pure thirds by decreasing the natural fifth
by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
@w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
tuning keyboard instruments for performance of pre-1650 music.

@item measure, bar
I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.

A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
bears an accent. Such groups in numbers of two or more recur consistently
throughout the composition and are marked from each other by
bar-lines. @w{@ar{}@strong{meter}}

@item mediant
I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
mediant, N: .

1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
a third from that of another chord. For example the tonic chord may be
replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
harmony}} @w{@ar{}@strong{relative key}}.

@item melodic cadence

@w{@ar{}@strong{cadenza}}

@item meter, time
I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
S: taktart, N: .

The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
which remains unaltered throughout a composition or a section of it. For
instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
those. According to whether there are two, three or four units to the measure,
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.

@

@mudela[13pt,eps]
\notes\relative c'' { 
  \time 3/4;
  \key f \major;
  c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
@end mudela

@mudela[13pt,eps]
\notes\relative c' { 
  \time 6/8;
  \key f \major;
  f8 f f f a16 g a f | 
  c'8 c c c e16 d e c \bar "||";}
@end mudela

@mudela[13pt,eps]
\notes\relative c'' { 
  \time 5/4;
  \key g \major;
  d4 b8 g b d d c a4 | 
  g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
@end mudela

@item metronome
I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, 
DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.

Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
indication}}

@item metronomic indication
I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .

Exact tempo indication (in beats per minute).  Also denoted by
M.M. (M@"alzel's Metronom) 

@item mezzo-soprano
I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
mezzosopran, S: mezzosopran, N: mezzosopran.

The female voice between @w{@ar{}@strong{soprano}} and
@w{@ar{}@strong{contralto}}.

@item middle C
I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
enstreget c, S: ettstruket c, N:

First C below the 440 Hz A.

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\property Staff.clefStyle = #"fullSizeChanges"
\notes\relative c' { 
  \clef bass; c1 s
  \clef alto; c s
  \clef treble; c s
} 
@end mudela

@item minor interval
I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
interval, DK: lille interval, S: litet intervall, N: .

@w{@ar{}@strong{interval}}

@item minor
I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .

@w{@ar{}@strong{diatonic scale}}

@item mode
I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .

@w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}

@item modulation
I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
S: modulering, N: .

Moving from one @w{@ar{}@strong{key}} to another. For example the second
subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
is minor.

@item mordent
I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
.

@w{@ar{}@strong{ornament}}

@item motive; motif
I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .

The briefest intelligible and self-contained fragment of a musical theme or
subject. 

@

@mudela[13pt,eps] 
\property Score.timeSignatureStyle = "C2/2"
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' { 
  \time 4/4;
  \key g \major; 
  \partial 8; g16_"------" fis |
  g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
  g8 g,16 a b8 cis d16 s 
} 
@end mudela

@item movement
I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .

Greater musical works like @w{@ar{}@strong{symphony}} and
@w{@ar{}@strong{sonata}} most often consist of several - more or less -
independant pieces called movements.

@item multibar rest
I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .

@

@mudela[13pt,eps]
\notes\relative c'' {
a1
\property Score.skipBars=##t R1*3 
a1 }
@end mudela

@item mixolydian mode
@w{@ar{}@strong{diatonic scale}}

@item natural sign
I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, 
DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .

@w{@ar{}@strong{accidental}}

@item neighbour tones
@w{@ar{}@strong{appoggiatura}}

@item ninth
I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .

@w{@ar{}@strong{interval}}

@item non-legato
@w{@ar{}@strong{legato}}

@item note
I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,

Notes are signs by means of which music is fixed in writing. The term is also
used for the sound indicated by a note, and even for the key of the piano
which produces the sound. However, a clear distinction between the terms tone
and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
and hears a tone.

@item note head
I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
nootballetje, DK: nodehovede, S: nothuvud, N: .

A head like sign which indicates pitch by its position on a
@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
by a variety of shapes such as hollow or black heads with or without
@w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
instruments (often having no defined pitch) the note head may indicate the
instrument.

@item note value
I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .

Note values (durations) are measured as fractions, normally 1/2, of the next
higher note value. The longest duration normally used is called @emph{brevis},
but sometimes (mostly in pre baroque music) the double length note value
@emph{longa} is used.

@

@mudela[13pt,eps]
\property Voice.textStyle = "large"
\property Score.barNonAuto = ##t
\notes\relative c'' { 
  \property Voice.noteHeadStyle = #'mensural
  g\longa_"longa" g\breve_"breve" 
  \property Voice.noteHeadStyle = ##f
  g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
  g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
@end mudela

@mudela[13pt,eps]
\property Voice.textStyle = "large"
\property Score.barNonAuto = ##t
\notes\relative c'' { 
  r\longa_"longa" r\breve_"breve" 
  r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
  r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
@end mudela

An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.

@

@mudela[13pt,eps]
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' { 
  \time 4/4;
  g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"; 
  g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
@end mudela

Alternatively note values may be subdivided by other ratios. Most common is
subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
frequently used.

@

@mudela[13pt,eps]
\property Voice.textStyle = "large"
\emptyText
\notes\relative c'' { 
  \time 4/4;
  \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"; 
  \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
  \time 3/4;
  \times 3/2 {g4_"duplets" g} |
  g4 g g \bar "||";
  \times 6/4 {g8_"quadruplets" g g g} |
  g8 g g g g4 \bar "||";}
@end mudela

@


@item octave sign
@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}

@item octave
I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .

@w{@ar{}@strong{interval}}

@item ornament; embellishment; accessory
I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
NL: versiering, DK: forsiring, S: ornament, N: .

Most commonly used is the @emph{trill}, the rapid alternation of a given note
with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
middle of the 19th century and onwards the trill is performed with the main
note first while in the music from the preceding baroque and classic periods
the upper note is played first.

@mudela[13pt,eps]
<
  \context Staff = sa {
    \emptyText
    \property Voice.textStyle = "large"
    \notes\relative c'' { 
      c2._"pre-1850"  b4\trill | c1 \bar "||";
      c2._"post-1850" b4\trill | c1 \bar "||";
    }
  }
  \notes\relative c'' {
    c2. c32 b c b c b c b | c1
    c2. b32 c b c \times 4/5 { b c b c b } | c1
  }
>
@end mudela

Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
@emph{prall} (inverted mordent).

@

@mudela[13pt,eps]
<
  \context Staff = sa {
    \emptyText
    \property Voice.textStyle = "large"
    \notes\relative c'' { 
      a4_"turn" b\turn c2 \bar "||";
      g4_"mordent" a b\mordent a \bar "||";
      e'4_"prall" d\prall c2 \bar "||";
    } 
  }
  \notes\relative c'' { 
    a4 [c16 b a b] c2 
    g4 a [b16 a b8] a4
    e'4 [e8 ~ e32 d e d] c2
  } 
>
@end mudela

@w{@ar{}@strong{appoggiatura}}

@item ossia
I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .

Ossia (otherwise) marks an alternative. It is an added staff or piano
score, usually only a few measures long, which presents another version
of the music, for example for small hands.

@item part
I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .

1. In instrumental or choral music the music for the single instrument
or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
melodic line of the contrapuntal web.

@item percussion
I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
slagverk, N: .

A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
and xylophone.

@item perfect interval

I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
interval, DK: rent interval, S: rent intervall, N: .

@w{@ar{}@strong{interval}}

@item phrase
I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .

A natural division of the melodic line, comparable to a sentence of speech.

@item phrasing
I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
fra@-se@-ring, N: .

The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.

@item piano 
I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .

@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.

@item pitch
I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
tonh@"ojd, N: .

@item pizzicato
I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
pizzicato, S: pizzicato.

Play by plucking the strings.

@item polyphony
I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
polyfoni, N: .

Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}

@item portato
@w{@ar{}@strong{legato}}

@item presto
I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
presto, S: presto, N: .

Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
denotes the highest possible degree of speed.

@item Pythagorean comma
I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .

A sequence of fifths starting on C eventually circles back to C, but this C,
obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
obtained by adding 7 octaves. The difference between those two pitches is
called the Pythagorean comma.

@item quadruplet
I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
N: .

@w{@ar{}@strong{note value}}

@item quarter note
I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:

@w{@ar{}@strong{note value}}

@item quarter rest
I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .

@w{@ar{}@strong{note value}}

@item quintuplet
I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
kvintol, N: .

@w{@ar{}@strong{note value}}

@item rallentando
I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
rallentando, S: rallentando, N: rallentando.

Abbreviation "rall.". @w{@ar{}@strong{ritardando}}

@item relative key
I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
paralleltoneart, S: parallelltonart, N: .

@w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
the same @w{@ar{}@strong{signature}}.

@

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Voice.textStyle = "large"
\notes\relative c' { 
  \key es \major;
  es1_"e flat major" f g as bes c d es 
  \bar "||"; s16 
  \key es \major;
  c,1_"c minor" d es f g a! b! c \bar "||";
}
@end mudela

@item repeat
I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
gen@-ta@-gel@-se, S: repris, N: .

@

@mudela[13pt,eps]
\key g \major;
\time 4/4;
\notes\relative c'' { 
  \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
}
@end mudela

@item rest
I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .

@w{@ar{}@strong{note value}}

@item rhythm
I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .

(a) metrical rhythm in which every time value is a multiple or fraction of a
fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
@w{@ar{}@strong{accent}} recurs in regular intervals, called
@w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
@w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
accent. In modern notation such music appears as a free alternation of
different measures. (c) Free rhythm, i.e. the use of temporal values having no
common metrical unit (beat).

@item ritardando
I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
ritardando, S: ritardando, N: .

Gradually slackening in speed. Mostly abbreviated to rit. or ritard. 

@item ritenuto
I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
ritenuto, N: .

Immediate reduction of speed.

@item scale
I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .

@w{@ar{}@strong{diatonic scale}}

@item scale degree
I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
[van de toonladder], DK: skalatrin, S: skalsteg (?), N: .

Names and symbols used in harmonic analysis to denote tones of the scale as
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).

@

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Lyrics.textStyle = "large"
\property Lyrics.minVerticalAlign = 8
\addlyrics
\notes\relative c' { 
  c1 d e f g a b c }
\context Lyrics \lyrics { 
  < { I II III IV V VI VII I } 
    { T "" "" S D } >
}
@end mudela

@w{@ar{}@strong{functional harmony}}

@item score
I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
partitur, N: .

A copy of orchestral, choral or chamber music showing what each instrument is
to play, each voice to sing, having each part arranged one underneath the
other on different @w{@ar{}@strong{stave}}s.

@item second
I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .

The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
@w{@ar{}@strong{diatonic scale}} consists of alternating
@w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
of a se@-cond depends on the scale degrees in question.

@item semitone
I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
halvton, N: .

The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
interval in European composed music. The interval between two neighbouring
tones on the piano keyboard - including black and white keys - is a
semitone. An octave may be divided into 12
semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}

@

@mudela[13pt,eps] 
\property Score.barNonAuto = ##t 
\notes\relative c'' { g1 gis s a bes s b c }
@end mudela

@item seventh
I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .

@w{@ar{}@strong{interval}}

@item sextuplet, sextolet
I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
.

@w{@ar{}@strong{note value}}

@item sharp
I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .

@w{@ar{}@strong{accidental}}

@item short appoggiatura
@w{@ar{}@strong{appoggiatura}}

@item sixteenth note
I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
sextondelsnot, N: .

@w{@ar{}@strong{note value}}

@item sixteenth rest
I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
sextondelspaus, N: .

@w{@ar{}@strong{note value}}

@item sixth
I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .

@w{@ar{}@strong{interval}}

@item sixty-fourth note
I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
sextiofj@"ardedelsnot, N: .

@w{@ar{}@strong{note value}}

@item sixty-fourth rest
I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
sextiofj@"ardedelspaus, N: .

@w{@ar{}@strong{note value}}

@item slur
I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog, 
DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .

A slur above or below a group of notes indicates that they are to be played
@w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
breath in singing.

@item solmization
I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
solmisation, S: solmisation, N: .

General term for systems of designating the degrees of the
@w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})). @w{@ar{}@strong{scale degree}}.

@item sonata
I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .

In its present-day meaning a sonata denotes an instrumental composition for
piano or for some other instrument with piano accompaniment, which consists of
three or four independant pieces, called movements.

@item sonata form
I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
sonatevorm, DK: sonateform, S: sonatform, N: .

A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
@w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
falls in three sections called @emph{exposition}, @emph{development} and
@emph{recapitulation}. In the exposition the composer introduces his musical
ideas, consisting of a number of themes; in the development section he
"develops" this material, and in the recapitulation he repeats the exposition,
with certain modifications however. The exposition contains a number of themes
which fall into two groups, often called first and second subject. Other
melodies occurring in each group are considered as continuations of these
two. The second theme is in another key, normally in the key of the
@w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
@w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
tonic is @w{@ar{}@strong{minor}}.

@item soprano
I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .

The highest female voice.

@item staccato
I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
staccato, S: staccato, N:

Playing the note(s) short. Staccato is indicated by a dot above or below the
notehead.

@

@mudela[13pt,eps]
\key d \major;
\time 4/4;
\notes\relative c'' { 
  \partial 8; a8 | 
  d4-\staccato cis-\staccato b-\staccato cis-\staccato | 
  d2. \bar "||"; }
@end mudela

@item staff
I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
partij, DK: nodesystem, S: notsystem, N: .

pl. staves or staffs. A series of (normally 5) horizontal lines upon and
between which the musical notes are written, thus indicating (in connection
with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
@w{@ar{}@strong{percussion}} instruments may have fewer lines.

@item stem
I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
N: .

Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
note. @w{@ar{}@strong{beam}}

@

@mudela[13pt,eps]
\property Score.noAutoBeaming = ##t
\property Score.barNonAuto = ##t
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' { 
  g2_"1/2" g' s16
  g,4_"1/4" g' s16
  g,8_"1/8" g' s16
  g,16_"1/16" g' s16
}
@end mudela

@item strings
I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
str@aa{}kar, N: .

A family of stringed musical instruments played with a bow. Strings commonly
used in a symphony orchestra are violin, viola, violoncello and double bass.

@item strong beat
I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
D: betonet taktslag, S: betonat taktslag, N: .

@w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
@w{@ar{}@strong{rhythm}}

@item subdominant
I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
subdominant, S: subdominant, N: .

The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
harmony}}

@item submediant
I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
Submediant, S: submediant, N: .

The sixth @w{@ar{}@strong{scale degree}}.

@item subtonic
I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
subtonika, N: .

The seventh @w{@ar{}@strong{scale degree}}

@item superdominant
I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
superdominant, S: superdominant, N: .

The sixth @w{@ar{}@strong{scale degree}} 

@item supertonic
I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
supertonika, S: supertonika, N: .

The second @w{@ar{}@strong{scale degree}}.

@item symphony
I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
N: .

A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.

@item syncopation
I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .

Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
@w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
rhythm rests upon the grouping of equal beats into groups of two or three,
with a regularly recurrent accent on the first beat of each group. Any
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.

@

@mudela[13pt,eps]
\emptyText
\property Voice.textStyle = "large"
\time 4/4;
\notes\relative c' {
  \partial 4;
  d8 dis |
  e c'4 e,8 c'4 e,8 c' ( | ) c2
}
@end mudela

@item syntonic comma; dydimic comma

I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .

Difference between the natural third and the third obtained by Pythagorean
tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.

@item system
I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
system, N: .

The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
writing down of keyboard, chamber, choral or orchestral music.

@item temperament
I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
DK: temperatur, S: temperatur, N: .

Systems of tuning in which the intervals deviate from the accoustically pure
intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
temperament}}

@item tempo indication
I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
tempobeteckning, N: .

The rate of speed of a composition or a section thereof, ranging from the
slowest to the quickest, as is indicated by tempo marks as
@w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
@w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.

@item tenor
I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .

The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
 
@item tenth
I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .

@w{@ar{}@strong{note value}}

@item third
I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .

@w{@ar{}@strong{interval}}

@item thirty-second note

I: biscroma, F: triple croche, UK: demisemiquaver, D:
Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .

@w{@ar{}@strong{note value}}

@item thirty-second rest

I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
trettiotv@aa{}ondelspaus, N: .

@w{@ar{}@strong{note value}}

@item thorough bass; figured bass
I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .

A method of indicating an accompaniment part by the bass notes only, together
with figures designating the chief @w{@ar{}@strong{interval}}s and
@w{@ar{}@strong{chord}}s to be played above the bass notes.
 
@

@mudela[13pt,eps]
\context GrandStaff <
  \notes\relative c'' { 
    \time 4/4;
    \key es \major;
    \clef treble; 
    < \context Voice = rha { 
        \stemup
        es4 d c bes | bes } 
      \context Voice = rhb { 
        \stemdown
        < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > } 
    >
  }
  \property Voice.textStyle = "large"
  \property Lyrics.textStyle = "Large"
  \property Lyrics.minVerticalAlign = 6
  \addlyrics
    \notes\relative c' { 
    \clef bass;
    \key es \major;
    es8 c () c bes () bes as () as g16 f | es4 
  }
  \context Lyrics \lyrics { 
    < { "" "6" "4" "6" "4" "6" "4" "6" }
      { "" "" "2" "" "2" "" "2" "" } >
  } 
>
@end mudela

@item tie; bind
I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
bindebue, S: bindeb@aa{}ge, @"overbindning, N: .

A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound equal to the combined durations.

@

@mudela[13pt,eps]
\property Score.barNonAuto = ##t
\notes\relative c'' { g2 ~ g4. }
@end mudela

@item time signature

I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur,  D:
Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
taktartssignatur, N: .

@w{@ar{}@strong{meter}}

@item tone
I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .

A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
a primary building material of music. Music from the 20th century may be based
on non tone related sounds.

@item tonic
I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .

The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}

@item transposition
I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
transposition, S: transponering, N: .

Shifting a melody up or down in pitch, while keeping the same relative pitches.

@

@mudela[13pt,eps]
\context Staff {
  \time 3/4;
  \notes\relative c'' {
    \key g \major;
    d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
  \transpose bes\relative c'' {
    \key g \major;
    d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
}
@end mudela

@item treble clef
I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
N: .

@w{@ar{}@strong{G clef}}

@item tremolo
I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
.

On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
the same tone, produced by a rapid up-and-down movement movement of the bow
(a). The term is also used for the rapid alternation (b) between two notes of
a @w{@ar{}@strong{chord}}, usually in the distance of a third
(@w{@ar{}@strong{interval}}).
 
@

@mudela[13pt,eps] 
\emptyText
\property Score.barNonAuto = ##t 
\property Voice.textStyle = "large"
\notes\relative c' {
  % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
  % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
  e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
} 
@end mudela

@item triad
I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
drieklank, DK: treklang, S: treklang, N:

@w{@ar{}@strong{chord}}

@item trill; shake
I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.

@w{@ar{}@strong{ornament}}

@item triple meter
I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
maatsoort, DK: tredelt takt, S: tretakt, N: .

@w{@ar{}@strong{meter}}

@item triplet
I: terzina, F: triolet,  D: Triole, NL: triool, DK: triol, S: triol, N: .

@w{@ar{}@strong{note value}}

@item tritone
I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
.

@w{@ar{}@strong{interval}}

@item tuning fork
I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
stemmegaffel, S: st@"amgaffel, N: .

A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
give the international pitch for the tone @emph{a} (440 vibrations per second.)
 
@item turn; gruppetto
I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
S: dubbelslag, N: .

@item unison
I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
unison, N: .

Playing of the same notes or the same melody by various instruments (voices)
or by the whole orchestra (choir), either at exactly the same pitch or in a
different octave.

@item upbeat
I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
upptakt, N:

Initial note(s) of a melody occurring before the first bar
line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}

@

@mudela[13pt,eps]
\key f \major;
\time 4/4;
\notes\relative c' { 
  \partial 4; f4 | bes4. a8 bes4 c | 
  bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
@end mudela

@item voice
I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,

1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
@w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
@w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
of a polyphonic composition.

@item weak beat
I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .

@w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}

@item whole note
I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
DK: helnode, S: helnot, N: .

@w{@ar{}@strong{note value}}

@item whole rest
I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
rust, DK: helnodespause, S: helpaus, N: .

@w{@ar{}@strong{note value}}

@item whole tone
I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
helton, N: .

The @w{@ar{}@strong{interval}} of a major second. The interval between two
tones on the piano keyboard with exactly one key between them - including
black and white keys - is a whole tone.

@item woodwind
I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
S: tr@"abl@aa{}sare, N: .

A family of blown wooden musical instruments. Today some of these instruments
are actually made from metal. The woodwind instruments commonly used in a
symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.

@end table

@page

@table @strong
@item DURATION NAMES, NOTES AND RESTS
@end table

@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111 

@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}

@item

@item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
@tab longa @tab longa @tab longa

@item

@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
brevis @tab brevis @tab brevis @tab brevis

@item

@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab 
Ganze @tab hele @tab hel @tab hel @tab

@item

@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab 
halve @tab halv @tab halv @tab 

@item

@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab  
Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab 

@item

@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab 
achtste @tab ottende@-del @tab @aa{}tton@-del @tab 

@item

@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
@tab

@item

@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab

@item

@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
sextio@-fj@"arde@-del @tab

@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab 

@page

@table @strong
@item PITCH NAMES
@end table

@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125 

@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}

@item

@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c

@item

@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
cis @tab cis @tab cis

@item

@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
des @tab des @tab des

@item

@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d

@item

@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e

@item

@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f

@item

@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g

@item

@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
@tab as @tab as

@item

@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a

@item

@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
ais @tab ais @tab ais

@item

@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
@tab b @tab b

@item

@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h

@end multitable
@

@table @strong

@item ---------------------

@

@item Literature used
The Harvard Dictionary of Music, London 1944. Many more or less litteral
quotes from its articles have been included into the item explanation texts.

Hugo Riemans Musiklexicon, Berlin 1929


Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.

@end table

@bye