\input texinfo @c -*- coding: utf8; mode: texinfo; -*- @setfilename music-glosssary.info @settitle Music Glossary @documentencoding utf-8 @documentlanguage en @dircategory GNU music project @direntry * Glossary: (lilypond/music-glossary). Glossary of music terms. @end direntry @ifhtml This document is also available in @uref{source/Documentation/user/music-glossary.pdf,PDF} and as @uref{source/Documentation/user/music-glossary.html,one big page}. @end ifhtml @titlepage @title Music Glossary @author Christian Mondrup @c Original author of LilyPond glossary @c Danish glossary @author François Pinard @c Original glossary of GNU music project, @c French glossary @author Han-Wen Nienhuys @c Dutch glossary @author Jan Nieuwenhuizen @c Dutch glossary @author Dadiv Gonzalez @c Spanish glossary @author Bjoern Jacke @c German glossary @author Neil Jerram @c English glossary translations @author Mats Bengtsson @c Swedish glossary @author Adrian Mariano @c Italian glossary @author Heikki Junes @c Finnish glossary @c Fixes by Jean-Pierre Coulon and `Dirk' Copyright @copyright{} 1999--2006 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, without Invariant Sections. @end titlepage @c FIXME: multiple omfcreators? @ignore @omfcreator Christian Mondrup @omfdescription Glossary of musical terms with translations @omftype user's guide @omfcategory Applications|Publishing @omflanguage English @end ignore @ifnottex @node Top @top Music glossary @end ifnottex This glossary was brought you by @ifnottex @table @code @item Adrian Mariano Italian glossary, @item Bjoern Jacke German glossary, @item Christian Mondrup Original author of LilyPond glossary, Danish glossary, @item Dadiv Gonzalez Spanish glossary, @item Fran@,{c}ois Pinard Original glossary of GNU music project, French glossary, @item Han-Wen Nienhuys Dutch glossary, @item Jan Nieuwenhuizen Dutch glossary, @item Mats Bengtsson Swedish glossary, @item Neil Jerram English glossary translations, @item Heikki Junes Finnish glossary translations. @end table @* Copyright 1999--2006 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, without Invariant Sections. @* @end ifnottex @c @pagesizes 10.3in @c @everyheading @| @thispage @| @c @evenheading @thispage @| @| @c @oddheading @| @| @thispage @| @include macros.itexi @c arrowref @macro aref{word} @iftex @w{@arrow{}@strong{\word\}}@c @end iftex @ifnottex @arrow{}@ref{\word\, @strong{\word\}}@c @end ifnottex @end macro @menu * Musical terms A-Z:: * Duration names notes and rests:: * Pitch names:: * Literature used:: @end menu @node Musical terms A-Z @chapter Musical terms A-Z Languages in this order. @itemize @item ES - Spanish @item I - Italian @item F - French @item D - German @item NL - Dutch @item UK - British English @item DK - Danish @item S - Swedish @item FI - Finnish @end itemize @menu * A:: * accent:: * accessory:: * accidental:: * accelerando:: * adagio:: * allegro:: * alteration:: * alto:: * alto clef:: * ambit:: * ancient minor scale:: * andante:: * appoggiatura:: * arpeggio:: * ascending interval:: * augmented interval:: * autograph:: * B:: * backfall:: * bar:: * bar line:: * baritone:: * baritone clef:: * bass clef:: * bass:: * beam:: * beat:: * bind:: * brace:: * brass:: * breath mark:: * breve:: * C:: * C clef:: * cadence:: * cadenza:: * canon:: * cent:: * central C:: * chord:: * chromatic scale:: * chromaticism:: * church mode:: * clef:: * cluster:: * comma:: * common meter:: * compound interval:: * complement:: * conjunct movement:: * consonance:: * contralto:: * counterpoint:: * counter tenor:: * copying music:: * crescendo:: * cue-notes:: * custos:: * D:: * da capo:: * dal segno:: * decrescendo:: * descending interval:: * diatonic scale:: * diminished interval:: * diminuendo:: * disjunct movement:: * dissonance:: * dissonant interval:: * dominant ninth chord:: * dominant seventh chord:: * dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: * double appoggiatura:: * double bar line:: * double dotted note:: * double flat:: * double sharp:: * double trill:: * duple meter:: * duplet:: * duration:: * dydimic comma:: * E:: * ecclesiastical mode:: * eighth note:: * eighth rest:: * embellishment:: * engraving:: * enharmonic:: * equal temperament:: * expression mark:: * F:: * F clef:: * fermata:: * fifth:: * figured bass:: * fingering:: * flag:: * flat:: * forefall:: * forte:: * fourth:: * fugue:: * functional harmony:: * G:: * G clef:: * glissando:: * grace notes:: * grand staff:: * grave:: * gruppetto:: * half note:: * half rest:: * harmonic cadence:: * harmony:: * homophony:: * interval:: * inverted interval:: * just intonation:: * key:: * key signature:: * largo:: * leading note:: * ledger line:: * legato:: * legato curve:: * leger line:: * lilypond:: * ligature:: * line:: * long appoggiatura:: * longa:: * lyrics:: * major interval:: * major:: * meantone temperament:: * measure:: * mediant:: * melisma:: * melodic cadence:: * meter:: * metronome:: * metronomic indication:: * mezzo-soprano:: * middle C:: * minor:: * minor interval:: * mode:: * modulation:: * mordent:: * motif:: * motive:: * movement:: * multibar rest:: * mixolydian mode:: * natural sign:: * neighbour tones:: * ninth:: * non-legato:: * note:: * note head:: * note value:: * octave sign:: * octave:: * ornament:: * ossia:: * part:: * pennant:: * percussion:: * perfect interval:: * phrase:: * phrasing:: * piano:: * pitch:: * pizzicato:: * polyphony:: * portato:: * presto:: * Pythagorean comma:: * quadruplet:: * quarter note:: * quarter rest:: * quintuplet:: * rallentando:: * relative key:: * repeat:: * rest:: * rhythm:: * ritardando:: * ritenuto:: * scale:: * scale degree:: * score:: * second:: * semitone:: * seventh:: * sextolet:: * sextuplet:: * shake:: * sharp:: * short appoggiatura:: * sixteenth note:: * sixteenth rest:: * sixth:: * sixty-fourth note:: * sixty-fourth rest:: * slur:: * solmization:: * sonata:: * sonata form:: * song texts:: * soprano:: * staccato:: * staff:: * staves:: * stem:: * strings:: * strong beat:: * subdominant:: * submediant:: * subtonic:: * superdominant:: * supertonic:: * symphony:: * syncopation:: * syntonic comma:: * system:: * temperament:: * tempo indication:: * tenor:: * tenth:: * tenuto:: * third:: * thirty-second note:: * thirty-second rest:: * thorough bass:: * tie:: * time:: * time signature:: * tone:: * tonic:: * transposition:: * treble clef:: * tremolo:: * triad:: * trill:: * triple meter:: * triplet:: * tritone:: * tuning fork:: * turn:: * unison:: * upbeat:: * voice:: * weak beat:: * whole note:: * whole rest:: * whole tone:: * woodwind:: @end menu @node A @section A ES: la, I: la, F: la, D: A, a, NL: a, DK: a, S: a, FI: A, a. @node accent @section accent ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, FI: aksentti, korostus. The stress of one tone over others. @node accessory @section accessory @aref{ornament}. @node accidental @section accidental ES: alteración accidentelle, I: accidento, F: altération accidentelle, D: Vorzeichen, Versetzungszeichen, Akzidenz, NL: toevallig (verplaatsings)teken, DK: løst fortegn, S: tillfälligt förtecken, FI: tilapäinen etumerkki. An accidental has the effect of an @aref{alteration} of a note. A sharp raises a tone by a @aref{semitone}, a double sharp raises it by a @aref{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. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Staff \relative c'' { gis1 gisis ges geses g! } \lyrics { \override Lyrics .LyricText #'self-alignment-X = #-1 sharp "db. sharp" flat "db. flat" natural } >> @end lilypond @node accelerando @section accelerando ES: accelerando, I: accelerando, F: accelerando, en accélérant, D: accelerando, schneller werden, NL: accelerando, DK: accelerando, S: accelerando, FI: accelerando, kiihdyttäen. Increase tempo. @node adagio @section adagio ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, FI: adagio, hitaasti. It.@: comfortable, easy. 1.@tie{}Slow tempo, slower -- especially in even meter -- than @aref{andante} and faster than @aref{largo}. 2.@tie{}A movement in slow tempo, especially the second (slow) movement of @aref{sonata}s, symphonies, etc. @node allegro @section allegro ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fröhlich, Lustig, NL: allegro, DK: allegro, S: allegro, FI: allegro, nopeasti. It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a @aref{sonata}. @node alteration @section alteration ES: alteración, I: alterazione F: altération D: NL: verhoging of verlaging, DK: S: FI: An alteration is the modification, raising or lowering, of a note's pitch. It is established by an @aref{accidental}. @node alto @section alto ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, FI: altto, matala naisääni. 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 @aref{counter tenor}. @node alto clef @section alto clef ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisième ligne, D: Altschlüssel, Bratschenschlüssel, NL: alt sleutel, DK: altnøgle, S: altklav, FI: alttoavain. C clef setting middle C on the middle line of the staff @aref{C clef}. @node ambit @section ambit ES: ámbito, I: ambitus, F: ambitus, D: ambitus, NL: ambitus, DK: ambitus, S: ambitus, FI: ambitus, ääniala, soitinala. The term ambit (from latin: ambitus, plural: ambitus) denotes a range of pitches for a given voice in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. @node ancient minor scale @section ancient minor scale ES: escala menor antigua I: scala minore naturale, F: forme du mode mineur ancien, troisème mode, mode hellénique D: reines Moll, NL: authentieke mineurtoonladder, DK: ren mol, S: ren mollskala, FI: luonnollinen molliasteikko. @aref{diatonic scale}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c'' { a1 b c d e f g a } @end lilypond @node andante @section andante ES: andante, I: andante, F: andante, D: Andante, Gehend, NL: andante, DK: andante, S: andante, FI: andante, käyden. Walking tempo/character. @node appoggiatura @section appoggiatura ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag, DK: forslag, S: förslag, FI: appoggiatura, etuhele. Ornamental note, usually a second, that is melodically connected with the main note following it. In music before the 19th 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 proportional to that of the main note. @lilypond[line-width=13.0\cm] \context Voice \relative c'' { \key d \major \time 4/4 %\override Score.TextScript #'font-style = #'large 4_"notation" r { \override Stem #'flag-style = #'() \grace g16 \revert Stem #'flag-style } fis8 e16 fis { \override Stem #'flag-style = #'() \grace a16 \revert Stem #'flag-style } g8 fis16 g | \cadenzaOn a4 \bar "||" \cadenzaOff 4_"performance" r g16 ( fis) e fis a ( g) fis g | \cadenzaOn a4 \bar "||" \cadenzaOff } @end lilypond An appoggiatura may have more notes preceding the main note. @lilypond[line-width=13.0\cm] \relative c'' { \key as \major \time 2/4 % \override Score.TextScript #'font-style = #'large \grace { bes16 } as8_"notation" as16 bes as8 g | \grace { as16[( bes] } < c as >4-) \grace { as16[( bes] } < c as >4-) \bar "||" \grace { bes16 } as8_"performance" as16 bes as8 g | << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. } \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >> \bar "||" } @end lilypond @node arpeggio @section arpeggio ES: arpegio, I: arpeggio, F: arpège, D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, FI: arpeggio, murtosointu. @lilypond[fragment,line-width=13.0\cm] \context PianoStaff << \context Staff = SA \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 "||" } \context Staff = SB \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 lilypond @node ascending interval @section ascending interval ES: intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, FI: nouseva intervalli. A distance between a starting lower note and a higher ending note. @node augmented interval @section augmented interval ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augmenté, D: übermäßiges Intervall, NL: overmatig interval, DK: forstørret interval, S: överstigande intervall, FI: ylinouseva intervalli. @aref{interval}. @node autograph @section autograph ES: manuscrito, I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti. 1.@tie{}A manuscript in the composer's own hand. 2.@tie{}Music prepared for photoreproduction by freehand drawing, with the aid of a straightedge ruler and T-square only, which attempts to emulate engraving. This required more skill than did engraving. @node B @section B ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, FI: H, h. @node backfall @section backfall @aref{appoggiatura}. @node bar @section bar ES: compás, @aref{measure}. @node bar line @section bar line ES: barra, línea divisoria, I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: maatstreep, DK: taktstreg, S: taktstreck, FI: tahtiviiva. @node baritone @section baritone ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, FI: baritoni, keskikorkuinen miesääni. The male voice intermediate between the @aref{bass} and the @aref{tenor}. @c F: clef de troisième ligne dropped @node baritone clef @section baritone clef ES: clave de fa en tercera, I: chiave di baritono, F: clef d' Ut cinquième ligne, clef de Fa troisième, D: Baritonschlüssel, NL: baritonsleutel, DK: barytonnøgle, S: barytonklav, FI: baritoniavain. C or F clef setting middle C on the upper staff line. @aref{C clef}, @aref{F clef}. @node bass clef @section bass clef ES: clave de fa en cuarta, I: chiave di basso, F: clé de fa quatrième ligne, D: Bassschlüssel, NL: bassleutel, DK: basnøgle, S: basklav, FI: bassoavain. A clef setting with middle C on the first top ledger line. @aref{F clef}. @node bass @section bass ES: bajo, I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, FI: basso, matala miesääni. 1.@tie{}The lowest male voice. 2.@tie{}Sometimes, especially in jazz music, used as an abbreviation for double bass. @aref{strings}. @node beam @section beam ES: barra I: coda, F: barre, D: Balken, NL: waardestreep, DK: bjælke, S: balk, FI: palkki. Line connecting a series of notes (shorter than a quarter note). The number of beams determines the note value of the connected notes. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override TextScript #'font-style = #'large \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 lilypond @node beat @section beat ES: tiempo, parte (de compás) I: tempi, F: temps, D: Takt, Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: taktslag, FI: aika-arvo. 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. @lilypond[fragment,line-width=13.0\cm] \key g \major \time 4/4 \relative c'' { g4 c b a | g1 \bar "||"} \time 3/8 \relative c'' { g8 d' c | b c a | g4. \bar "||"} @end lilypond @node bind @section bind @aref{tie}. @node brace @section brace ES: llave, corchete, I: graffa, F: accolade, D: Klammer, Akkolade, NL: accolade, teksthaak, DK: klamme, S: klammer, FI: yhdistävä sulkumerkki. Symbol at the start of a system connecting staves. Curly braces are used for connecting piano staves, angular brackets for connecting parts in an orchestral or choral score. @lilypond[fragment,ragged-right] \context GrandStaff << \relative c''\context Staff = SA { \clef treble g4 e c2 } \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond @lilypond[fragment,ragged-right] \context StaffGroup << % \set StaffGroup.minVerticalAlign = #12 \relative c'' \context Staff = SA { \clef treble g4 e c2 } \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond @node brass @section brass ES: metales, I: ottoni, D: Blechbläser, NL: koper (blazers), F: cuivres, DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin. 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. @node breath mark @section breath mark ES: respiración, I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL: repercussieteken, DK: vejrtrækningstegn, S: andningstecken, FI: hengitysmerkki. Indication of where to breathe in vocal and wind instrument parts. @node breve @section breve ES: cuadrada, breve, I: breve, F: brève, D: Brevis, NL: brevis, DK: brevis, S: brevis, FI: brevis. @aref{note value}, twice as long as a whole note. Mainly used in pre-1650 music. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { g\breve } @end lilypond @node C @section C ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, FI: C, c. @node C clef @section C clef ES: clave de do, I: chiave di do, F: clé d'ut, D: C-Schlüssel, NL: C-sleutel, DK: c-nøgle, S: c-klav, FI: C-avain. Clef symbol indicating the position of the middle C. Used on all note lines. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \override Score.Clef #'full-size-change = ##t << \context Staff \relative c' { \clef soprano c1 \clef mezzosoprano c \clef alto c \clef tenor c \clef baritone c } \context Lyrics \lyrics { \override Lyrics .LyricText #'self-alignment-X = #-1 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone } >> @end lilypond @node cadence @section cadence ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke. @aref{harmonic cadence}, @aref{functional harmony}. @node cadenza @section cadenza ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke. An extended, improvisatory style section inserted near the end of movement. The purpose of a cadenza is to give singers or players a chance to exhibit their technical skill and -- not last -- their ability to improvise. Since the middle of the 19th century, however, most cadences have been written down by the composer. @node canon @section canon ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, FI: kaanon, tarkka jäljittely. @aref{counterpoint}. @node cent @section cent ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100 of an equally tempered @aref{semitone}). @aref{equal temperament}. @node central C @section central C @aref{middle C}. @node chord @section chord ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, FI: sointu. Three or more tones sounding simultaneously. In traditional European music the base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major + minor @aref{third}) as well as @emph{minor} (minor + major third) chords may be extended with more thirds. Four-tone @emph{seventh chords} and five-tone @emph{ninth} major chords are most often used as dominants (@aref{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 @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override TextScript #'font-style = #'large << \context Staff \relative c'' { 1 } \lyrics{ "major " "minor " "diminished " "augmented " "seventh-chord " ninth-chord } >> @end lilypond @node chromatic scale @section chromatic scale ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: chro@-ma@-ti@-sche Tonleiter, NL: chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, FI: kromaattinen asteikko. A scale consisting of all 12 @aref{semitone}s. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c' { c1 cis d dis e f fis g gis a ais b c } @end lilypond @node chromaticism @section chromaticism ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik, FI: kromatiikka. Use of tones extraneous to a @aref{diatonic scale} (minor, major). @node church mode @section church mode ES: modo eclesiástico, I: modo ecclesiastico, F: mode ecclésiastique, D: Kirchentonart, NL: kerktoonladder, DK: kirketoneart, S: kyrkotonart, FI: moodi, kirkkosävellaji. @aref{diatonic scale}. @node clef @section clef ES: clave, I: chiave, F: clé, clef, D: Schlüssel, Notenschlüssel, NL: sleutel, DK: nøgle, S: klav, FI: avain, nuottiavain. @aref{C clef}, @aref{F clef}, @aref{G clef}. @node cluster @section cluster A @emph{cluster} is a range of simultaneously sounding pitches that may change over time. The set of available pitches to apply usually depends on the acoustic source. Thus, in piano music, a cluster typically consists of a continuous range of the semitones as provided by the piano's fixed set of a chromatic scale. In choral music, each singer of the choir typically may sing an arbitrary pitch within the cluster's range that is not bound to any diatonic, chromatic or other scale. In electronic music, a cluster (theoretically) may even cover a continuous range of pitches, thus resulting in colored noise, such as pink noise. Clusters can be denoted in the context of ordinary staff notation by engraving simple geometrical shapes that replace ordinary notation of notes. Ordinary notes as musical events specify starting time and duration of pitches; however, the duration of a note is expressed by the shape of the note head rather than by the horizontal graphical extent of the note symbol. In contrast, the shape of a cluster geometrically describes the development of a range of pitches (vertical extent) over time (horizontal extent). Still, the geometrical shape of a cluster covers the area in which any single pitch contained in the cluster would be notated as an ordinary note. @lilypond[fragment,relative=2,verbatim,ragged-right] \makeClusters { } @end lilypond @node comma @section comma ES: coma, comma I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa. Difference in pitch between a note derived from pure tuning and the same note derived from some other tuning method. @aref{temperament}. @node common meter @section common meter @aref{meter}. @node compound interval @section compound interval ES: intervalo compuesto, I: intervallo composto, F: intervalle composé, D: weites Intervall, NL: samengesteld interval, DK: sammensat interval, S: sammansatt intervall, FI: oktaavia laajempi intervalli. Intervals larger than an octave. @aref{interval}. @node complement @section complement ES: intervalo invertido I: rivolto, F: intervalle complémentaire, D: Komplementärintervall, NL: complementair interval, DK: komplementærinterval, S: komplementärintervall (?), FI: täydentävä intervalli. @aref{inverted interval}. @node conjunct movement @section conjunct movement ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schritt@-weise, stufenweise Bewegung, NL: stapsgewijze, trapsgewijze beweging, DK: trinvis bevægelse, S: stegvis rörelse, FI: asteittainen liike. Progressing melodically by intervals of a second. The opposite of a @aref{disjunct movement}. @lilypond[fragment,line-width=13.0\cm] \key g \major \time 4/4 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } @end lilypond @node consonance @section consonance ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: konsonans, FI: konsonanssi, sopusointi. @aref{harmony}. @node contralto @section contralto ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, FI: kontra-altto. @aref{alto}. @node counterpoint @section counterpoint ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK: kontrapunkt, S: kontrapunkt, FI: kontrapunkti, ääni ääntä vastaan. 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 contrapunctal technique used in the @emph{fugue} which, since the music of the baroque era, has been one of the most popular polyphonic composition methods. @lilypond[fragment,staffsize=12,line-width=13.0\cm] \override Score.TimeSignature #'break-visibility = #all-invisible \context PianoStaff << \context Staff = SA \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 } >> } \context Staff = SB \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 lilypond @node counter tenor @section counter tenor ES: contratenor, I: controtenore, F: contre-tenor, D: Countertenor, Kontratenor, NL: contratenor, DK: kontratenor, S: kontratenor, counter tenor, FI: kontratenori. @aref{contralto}. @node copying music @section 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 note heads 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. @node crescendo @section crescendo ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, lauter werden, NL: crescendo, DK: crescendo, S: crescendo, FI: cresendo, voimistuen. Increasing volume. Indicated by a rightwards opening horizontal wedge or the abbreviation ``cresc.''. @lilypond[fragment,ragged-right] \key g \major \time 4/4 \relative c'' { g4 \< a b c | d1\! \bar "|." } @end lilypond @node cue-notes @section cue-notes ES: notas guía, I: notine, F: petites notes précédent l'entrée d'in instrument, réplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, FI: vihjenuotit. In a separate part notes belonging to another part with the purpose of hinting when to start playing. Usually printed in a smaller type. @node custos @section custos A custos is a staff symbol that appears at the end of a staff line with monophonic musical contents (i.e., with a single voice). It anticipates the pitch of the first note of the following line and thus helps the player or singer to manage line breaks during performance, thus enhancing readability of a score. Custodes were frequently used in music notation until the 16th century. There were different appearences for different notation styles. Nowadays, they have survived only in special forms of musical notation such as via the editio vaticana dating back to the beginning of the 20th century @lilypond \score { { % \override Staff.Custos #'neutral-position = #4 \override Staff.Custos #'neutral-direction = #down \override Staff.Custos #'style = #'hufnagel c'1 \break 1 } \layout { \context { \Staff \consists Custos_engraver } ragged-right = ##t } } @end lilypond @node D @section D ES: re, I: re, F: ré, D: D, d, NL: d, DK: d, S: d, FI: D, d. @node da capo @section da capo ES: 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, FI: da capo, alusta. The term indicates repetition of the piece from the beginning to the end or to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''. @node dal segno @section dal segno ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, ab dem Zeichen, NL: dal segno, DK: dal segno, S: dal segno, FI: dal segno, lähtien merkistä. Abbreviated ``d.s.''. Repetition, not from the beginning, but from another place frequently near the beginning marked by a sign: @lilypond[fragment,ragged-right] %\override TextScript #'font-style = #'large \override TextScript #'font-shape = #'italic \key g \major \time 4/4 \relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } } \bar "|." } @end lilypond @node decrescendo @section decrescendo ES: decrescendo, I: decrescendo, D: Decrescendo, leiser werden, NL: decrescendo, DK: decrescendo, S: decrescendo, FI: decresendo, hiljentyen. Decreasing tone volume. Indicated by a leftwards opening horizontal wedge or the abbreviation ``decresc.''. @lilypond[fragment,ragged-right] \relative c'' { \key g \major \time 4/4 d4 \> c b a | g1 \! \bar "|." } @end lilypond @node descending interval @section descending interval ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall, absteigendes Intervall, NL: dalend interval, DK: faldende interval, S: fallande intervall, FI: laskeva intervalli. A distance between a starting higher note and a lower ending note. @node diatonic scale @section diatonic scale ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko. A scale consisting of 5@w{ }@aref{whole tone}s and 2@w{ }@aref{semitone}s (S). Scales played on the white keys of a piano keybord are diatonic. The church modes are used in gregorial chant and in pre-baroque early music but also to some extent in newer jazz music. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f %\override Score.LyricText #'font-style = #'large %\override Score.TextScript #'font-style = #'large << \context Staff \relative c' { c1 d \override TextScript #'padding = #-4 e^"~~ S" f g a b^"~~ S" c } \context Lyrics \lyrics { Ionian } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \context Staff \relative c' { d1 \override TextScript #'padding = #-4 e^"~~ S" f g a b^"~~ S" c d } \lyrics { Dorian } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \relative c' { \override TextScript #'padding = #-4 e1^"~~ S" f g a b^"~~ S" c d e } \lyrics { Phrygian } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \relative c' { f1 g a \override TextScript #'padding = #-4 b^"~~ S" c d e^"~~ S" f } \lyrics { Lydian } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \relative c'' { g1 a \override TextScript #'padding = #-4 b^"~~ S" c d e^"~~ S" f g } \lyrics { Mixolydian } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f %\override Score.LyricText #'font-style = #'large %\override Score.TextScript #'font-style = #'large << \relative c'' { a1 \override TextScript #'padding = #-4 b^"~~ S" c d e^"~~ S" f g a } \lyrics { Aeolian } >> @end lilypond 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. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \relative c' { c1 d \override TextScript #'padding = #-4 e^"~~ S" f g a b^"~~ S" c } \lyrics { Major } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \relative c'' { a1 \override TextScript #'padding = #-4 b^"~~ S" c d e^"~~ S" f g a } \lyrics { "ancient minor" } >> @end lilypond @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f << \relative c'' { a1 \override TextScript #'padding = #-4 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a } \context Lyrics \lyrics { "Harmonic minor" } >> @end lilypond @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override Score.LyricText #'font-style = #'large %\override Score.TextScript #'font-style = #'large << \relative c'' { a1 \override TextScript #'padding = #-4 b^"~~ S" c d e fis gis^"~~ S" a g! f!^"~~ S" e d c^"~~ S" b a } \lyrics { "Melodic minor" } >> @end lilypond @node diminished interval @section diminished interval ES: intervalo disminuído, I: intervallo diminuito, F: intervalle diminué, D: vermindertes Intervall, NL: verminderd interval, DK: formindsket interval, S: förminskat intervall, FI: vähennetty intervalli. @aref{interval}. @node diminuendo @section diminuendo ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo, S: diminuendo, FI: diminuendo, hiljentyen. @aref{decrescendo}. @node disjunct movement @section disjunct movement ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D: sprunghafte Bewegung, NL: sprongsgewijze beweging, DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. Progressing melodically by intervals larger than a major second. Opposite of @aref{conjunct movement}. @lilypond[fragment,ragged-right] \key a \major \time 4/4 \relative c' { \partial 8 e8 | a4. gis8 b a e cis | fis2 d4. \bar "||" } @end lilypond @node dissonance @section dissonance @ref{dissonant interval}. @node dissonant interval @section dissonant interval ES: intervalo disonante, disonancia, I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL: dissonant interval; dissonant, DK: dissonerende interval, dissonans, S: dissonans, FI: dissonanssi, dissonoiva intervalli, riitasointi. @aref{harmony}. @node dominant ninth chord @section dominant ninth chord ES: acorde de novena de dominante, I: accordo di nona di dominante, F: accord de neuvième dominante, D: Domi@-nant@-nonen@-akkord, NL: dominant noon akkoord, DK: dominantnoneakkord, S: dominantnonackord, FI: dominanttinoonisointu. @aref{chord}, @aref{functional harmony}. @node dominant seventh chord @section dominant seventh chord ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septième dominante, D: Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S: dominantseptimackord, FI: dominanttiseptimisointu. @aref{chord}, @aref{functional harmony}. @node dominant @section dominant ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: dominant, FI: dominantti, huippusointu. The fifth @aref{scale degree}, @aref{functional harmony}. @node dorian mode @section dorian mode ES: modo dórico, I: modo dorico, F: mode dorien, D: dorisch, dorischer Kirchenton, NL: dorische toonladder, DK: dorisk skala, S: dorisk tonart, FI: doorinen moodi. @aref{diatonic scale}. @node dot (augmentation dot) @section dot (augmentation dot) ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verlängerungspunkt), NL: punt, DK: punkt, S: punkt, FI: piste. @aref{dotted note}. @node dotted note @section dotted note ES: nota con puntillo, I: nota puntata, F: note pointée, D: punktierte Note, NL: gepuncteerde noot, DK: punkteret node, S: punkterad not, FI: pisteellinen nuotti. @aref{note value}. @node double appoggiatura @section double appoggiatura ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, FI: kaksoisappogiatura, kaksoisetuhele. @aref{appoggiatura}. @node double bar line @section double bar line ES: doble barra, I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK: dobbeltstreg, S: dubbelstreck, FI: kaksoistahtiviiva. Indicates the end of a section within a movement. @node double dotted note @section double dotted note ES: nota con doble puntillo, I: nota doppiamente puntata, F: note doublement pointée, D: doppelt punktierte Note, NL: dubbelgepuncteerde noot, DK: dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, FI: kaksoispisteellinen nuotti. @aref{note value}. @node double flat @section double flat ES: doble bemol, I: doppio bemolle, F: double bémol, D: Doppel-B, NL: dubbelmol, DK: dob@-belt-b, S: dubbelbe, FI: kaksoisalennusmerkki. @aref{accidental}. @node double sharp @section double sharp ES: doble sostenido, I: doppio diesis, F: double dièse, D: Doppelkreuz, NL: dubbelkruis, DK: dob@-belt@-kryds, S: dubbelkors, FI: kaksoisylennysmerkki. @aref{accidental}. @node double trill @section double trill ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK: dobbelttrille, S: dubbeldrill, FI: kaksoistrilli. A simultaneous trill on two notes, usually in the distance of a third. @node duple meter @section duple meter ES: tiempo binario, I: tempo binario, F: temps binaire, D: in zwei, NL: tweedelige maatsoort, DK: todelt takt, S: tvåtakt, FI: kaksoistempo. @aref{meter}. @node duplet @section duplet ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, FI: duoli. @aref{note value}. @node duration @section duration ES: duración, I: durata, F: durée, D: Dauer, Länge, NL: duur, lengte, DK: varighed, S: tonlängd, FI: kesto, aika-arvo. @aref{note value}. @node dydimic comma @section dydimic comma @aref{syntonic comma}. @node E @section E ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, FI: E, e. @node ecclesiastical mode @section ecclesiastical mode @aref{church mode}. @node eighth note @section eighth note ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK: ottendedelsnode, S: åttondelsnot, FI: kahdeksasosanuotti. @aref{note value}. @node eighth rest @section eighth rest ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: achtste rust, DK: ottendedelspause, S: åttonddelspaus, FI: kahdeksasosatauko. @aref{note value}. @node embellishment @section embellishment @aref{ornament}. @node engraving @section engraving ES: grabar, I: incisione, F: gravure, D: Notenstechen, Notendruck NL: steken, DK: nodestik, S: nottryck, FI: painatus. 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. @node enharmonic @section enharmonic ES: enharmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: enharmonisk, S: enharmonisk, FI: enharmoninen. Two notes, intervals, or scales are enharmonic if they have different names but equal pitch. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Staff \relative c'' { gis1 as } \context Lyrics \lyrics { \override Lyrics .LyricText #'self-alignment-X = #-1 "g sharp " "a flat " "dim fifth " "augm fourth" } >> @end lilypond @node equal temperament @section equal temperament ES: temperamento igual, I: temperamento equabile, F: tempérament égal, D: gleichschwebende Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesvævende temperatur, S: liksvävande temperatur, FI: tasavireinen. Tuning system dividing the octave into 12 equal @aref{semitone}s (precisely 100 @aref{cent}s). @aref{temperament}. @node expression mark @section expression mark ES: expresión, I: segno d'espressione, F: signe d'expression, indication de nuance, D: Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki. Performance indications concerning 1. volume, dynamics (for example @aref{forte}, @aref{crescendo}), 2. tempo (for example @aref{andante}, @aref{allegro}). @node F @section F ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, FI: F, f. @node F clef @section F clef ES: clave de fa, I: chiave di fa, F: clé de fa, D: F-Schlüssel, NL: F-sleutel, DK: F-nøgle, S: f-klav, FI: F-avain. The position between the dots of the key symbol is the line of the F below central@w{ }C. Used on the third, fourth and fifth note line. A digit@w{ }8 above the clef symbol indicates that the notes must be played an octave higher (for example bass recorder) while 8@w{ }below the clef symbol indicates playing an octave lower (for example on double bass @aref{strings}). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \override Staff.Clef #'full-size-change = ##t << \relative c { \clef varbaritone f1 \clef bass f1 \clef subbass f1 \clef "F^8" f1 \clef "F_8" f1 } \lyrics { "baritone " "bass " "sub-bass " "octaved up " "octaved down" } >> @end lilypond @c F: 'point d'orgue' on a note, 'point d'arret' on a rest. @node fermata @section fermata ES: Calderón, I: corona, F: point d'orgue, point d'arr@^et, D: Fermate, NL: fermate, DK: fermat, S: fermat, FI: fermaatti, pidäke. Prolonged note or rest of indefinite duration. @lilypond[fragment,ragged-right] \time 4/4 \relative c'' { a4 b c2^\fermata \bar "|." } @end lilypond @node fifth @section fifth ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, FI: kvintti. @aref{interval}. @node figured bass @section figured bass ES: bajo cifrado, @aref{thorough bass}. @node fingering @section fingering ES: digitación, I: diteggiatura, F: doigté, D: Fingersatz, NL: vingerzetting, DK: fingersætning, S: fingersättning, FI: sormitus. The methodical use of fingers in the playing of instruments. @node flag @section flag ES: corchete, I: coda (uncinata), bandiera, F: crochet, D: Fahne, Fähnchen, NL: vlaggetje, DK: fane, S: flagga, FI: lippu, viiri. 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 @aref{note value}. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \relative c'' { g8_"1/8" s8 g16_"1/16" s8 g32_"1/32" s8 g64_"1/64" s8 } @end lilypond @node flat @section flat ES: bemol, I: bemolle, F: bémol, D: B, b, NL: mol, DK: b, S: beförtecken, FI: alennusmerkki. @aref{accidental}. @node forefall @section forefall @aref{appoggiatura}. @node forte @section forte ES: forte, I: forte, F: forte, D: forte, laut, NL: forte, DK: forte, S: forte, FI: forte, voimakkaasti. Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud, @emph{mezzoforte} (@b{mf}) medium loud. @node fourth @section fourth ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, FI: kvartti. @aref{interval}. @node fugue @section fugue ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, FI: fuuga. @aref{counterpoint}. @node functional harmony @section functional harmony ES: armonía funcional, I: armonia funzionale, F: étude des functions, D: Funktionslehre, NL: functionele harmonie, DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä. 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). Others are considered to be variants of the base chords. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Voice \relative c'' { 1 < a f d > < b g e > < d b g > < e c a > < f d b > } \context Lyrics \lyrics { T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } } >> @end lilypond @node G @section G ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, FI: G, g. @node G clef @section G clef ES: clave de sol, I: chiave di sol, F: clé de sol, D: G-Schlüssel, Violinschlüssel, NL: G-sleutel, DK: g-nøgle, S: g-klav, FI: G-avain. A clef symbol indicating the G above central@w{ }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). @lilypond[fragment,notime,ragged-right] << \set Score.automaticBars = ##f \override Staff.Clef #'full-size-change = ##t \relative c'' { \set Score.proportionalNotationDuration = #(ly:make-moment 1 8) \clef french g1 \clef treble g \clef "G^8" g \clef "G_8" g } \context Lyrics \lyrics { \override Lyrics . LyricText #'X-offset = #-5 "french violin clef" "violin clef" "octaved up" "octaved down" } >> @end lilypond @node glissando @section glissando ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S: glissando, FI: glissando, liukuen. Letting the pitch slide fluently from one note to the other. @node grace notes @section grace notes ES: mordente, I: abbellimenti, F: fioriture, D: Verzierungen, Vorschläge, Vor@-schlags@-noten, NL: versieringen, DK: forsiringer, S: ornament, FI: korunuotit. Notes printed in small types to indicate that their time values are not counted in the rhythm of the bar. @aref{appoggiatura}. @node grand staff @section grand staff ES: sistema de piano, I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem, S: ackolad, böjd klammer, FI: kaksoisnuottiviivasto. @aref{brace}. A combination of two staves with a brace. Usually used for piano music. @node grave @section grave ES: grave, I: grave, F: grave, D: grave, langsam, NL: grave, ernstig, DK: grave, S: grave, FI: grave, raskaasti. Slow, solemn. @node gruppetto @section gruppetto @aref{turn}. @node half note @section half note ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK: halvnode, S: halvnot, FI: puolinuotti. @aref{note value}. @node half rest @section half rest ES: silencio de blanca, I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve, rust, DK: halvnodespause, S: halvpaus, FI: puolitauko. @aref{note value}. @node harmonic cadence @section harmonic cadence ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi. A sequence of chords that terminates a musical phrase or section. @aref{functional harmony}. @lilypond[fragment,ragged-right] \context PianoStaff << \context Staff = SA \relative c'' { \time 4/4 \clef treble \context Voice \partial 4 < c g e >4 | < c a f > < b g d > < c g e >2 } << \context Staff = SB \relative c { \clef bass \partial 4 c4 | f, g c2 \bar "|." } \lyrics { T S D T } >> >> @end lilypond @node harmony @section harmony ES: armonía, I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S: samklang, FI: harmonia, yhteissointi. Tones sounding simultaneously. Two note harmonies fall into the categories @emph{consonances} and @emph{dissonances}. Consonances: @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \context Voice \relative c'' { 1_"unisone " s _"third " s _"fourth " s _"fifth " s _"sixth " s _"octave " s _"decime" s s } @end lilypond Dissonances: @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \context Voice \relative c'' { 1_"second " s s _"seventh " s s _"ninth" s s } @end lilypond Three note harmony @aref{chord}. @node homophony @section homophony ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys. Music in which one voice leads melodically followed by the other voices more or less in the same rhythm. In contrast to @aref{polyphony}. @node interval @section interval ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero. Difference in pitch between two notes. Intervals may be perfect, minor, major, diminished, or augmented. The augmented fourth and the diminished fifth are identical (@aref{enharmonic}) and are called @emph{tritonus} because they consist of three @aref{whole tone}s. The addition of such two intervals forms an octave. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Voice \relative c'' { < g g >1 < g as >^"minor" < g a! > < g ais >^"augm" < gis bes >^"dimin" < g! bes >^"minor" < g b! >^"major" < g bis >^"augm" } \context Lyrics \lyrics { "unisone " "second " "second " "second " "third " "third " "third " "third" } >> @end lilypond @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Staff \relative c'' { < g c >1^"perfect" < g cis >^"augm" < g d' >^"perfect" < g des' > ^"dimin" < gis es' >^"dimin" < g! es' >^"minor" < g e'! >^"major" < g eis' >^"augm" } \lyrics { "fourth " "fourth " "fifth " "fifth " "sixth " "sixth " "sixth " "sixth" } >> @end lilypond @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Staff \relative c'' { < gis f'! >1^"dimin" < g! f'! >^"minor" < g fis' >^"major" < g g' > < g as' >^"minor" < g a'! >^"major" < g bes' >^"minor" < g b'! >^"major" } \context Lyrics \lyrics { "seventh " "seventh " "seventh " "octave " "none " "none " "decime " "decime" } >> @end lilypond @node inverted interval @section inverted interval ES: intervalo invertido, I: intervallo rivolto, F: intervalle reversé, D: umgekehrtes Intervall, NL: interval inversie, DK: omvendingsinterval, S: intervallets omvändning, FI: käänteisintervalli. The difference between an interval and an octave. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \context Staff \relative c'' { < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||" < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||" < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||" } @end lilypond @node just intonation @section just intonation ES: entonación justa, I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine stemming, DK: ren stemning, S: ren stämning, FI: puhdas viritys. Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds. @aref{temperament}. @node key @section key ES: tonalidad, I: tonalità, F: tonalité, D: Tonart, NL: toonsoort, DK: toneart, S: tonart, FI: tonaliteetti. According to the 12@w{ }tones of the @aref{chromatic scale} there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc. @aref{key signature}. @node key signature @section key signature ES: armadura (de la clave), I: armatura di chiave, F: armure, armature [de la clé], D: Vorzeichen, Tonart, NL: toon@-soort (voortekens), DK: faste fortegn, S: tonartssignatur, FI: sävellajiosoitus. The sharps or flats appearing at the beginning of each staff indicating the key of the music. @aref{accidental}. @node largo @section largo ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, FI: largo, hitaasti, leveästi. Very slow in tempo, usually combined with great expressiveness. @emph{Larghetto} is less slow than largo. @node leading note @section leading note ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton, FI: johtosävel. The seventh @aref{scale degree}, a @aref{semitone} below the tonic; so called because of its strong tendency to ``lead up'' (resolve upwards) to the tonic scale degree. @node ledger line @section ledger line ES: líneas adicionales, I: tagli addizionali, F: ligne supplémentaire, D: Hilfslinie, NL: hulplijntje, DK: hjælpelinie, S: hjälplinje, FI: apuviiva. A ledger line is an extension of the staff. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { a,1 s c'' } @end lilypond @node legato @section legato ES: legato, I: legato, F: legato, lié, D: legato, NL: legato, DK: legato, S: legato, FI: legato, sitoen. To be performed (a) without any perceptible interruption between the notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and (d) @aref{staccato}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Staff \relative c'' { c4-( d e-) \bar "||" c4-- d-- e-- \bar "||" c4-.-( d-. e-.-) \bar "||" c4-. d-. e-. \bar "||" } \lyrics { a1 b c d } >> @end lilypond @node legato curve @section legato curve @aref{slur}, @aref{legato}. @node leger line @section leger line @aref{ledger line}. @node lilypond @section lilypond ES: estanque de nenúfares, I: stagno del giglio, F: étang de lis, UK: lily pond, D: Seerosenteich, NL: le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, FI: liljalampi. A pond with lilies floating in it, also the name of a music typesetter. @node ligature @section ligature ES: ligadura A ligature is a coherent graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of Gregorian chant notation roughly since the 9th century to denote ascending or descending sequences of notes. In early notation, ligatures were used for monophonic tunes (Gregorian chant) and very soon denoted also the way of performance in the sense of articulation. With the invention of the metric system of the white mensural notation, the need for ligatures to denote such patterns disappeared. @node line @section line ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: notlinje, FI: viiva, nuottiviiva. @aref{staff}. @node long appoggiatura @section long appoggiatura ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, NL: Lange voorslag, DK: langt forslag, S: långt förslag, FI: pitkä appoggiatura, pitkä etuhele. @aref{appoggiatura}. @node longa @section longa ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, FI: longa. Note value: double length of @aref{breve}. @aref{note value}. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { \override NoteHead #'style = #'mensural g\longa } @end lilypond @node lyrics @section lyrics ES: letra (de la canción), I: ., F: ., D: Liedtext, NL: liedtekst, DK: ., S: ., FI, sanoitus. @node major interval @section major interval ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: großes Intervall, NL: groot interval, DK: stort interval, S: stort intervall, FI: suuri intervalli. @aref{interval}. @node major @section major ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, FI: duuri. @aref{diatonic scale}. @node meantone temperament @section meantone temperament ES: afinación mesotónica, I: accordatura mesotonica, F: tempérament mésotonique, D: mitteltönige Stimmung, NL: middenstemming, middentoonstemming, DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys. Temperament yielding acoustically pure thirds by decreasing the natural fifth by 16@w{ }@aref{cent}s. Due to the non-circular character of this @aref{temperament} only a limited set of keys are playable. Used for tuning keyboard instruments for performance of pre-1650 music. @node measure @section measure ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, FI: tahti. A group of @aref{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. @aref{meter}. @node mediant @section mediant ES: mediante, I: mediante, modale, F: médiante, NL: mediant, D: Mediante, DK: mediant, S: mediant, FI: keskisävel. 1.@tie{}The third @b{scale degree}. 2.@tie{}A @aref{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). @aref{functional harmony}, @aref{relative key}. @node melisma @section melisma ES: melisma, NL: melisma, FI: melisma, laulettavan tavun sävelkuvio. A melisma (plural: melismata) is a group of notes or tones sung on one syllable in plainsong @node melodic cadence @section melodic cadence @aref{cadenza}. @node meter @section meter ES: compás, I: tempo, metro, F: indication de mésure, D: Taktart, Metrum, NL: maatsoort, DK: taktart, S: taktart, FI: aika-arvo. The basic scheme of @aref{note value}s and @aref{accent}s which remains unaltered throughout a composition or a section of it. For instance, 3/4 meter means that the basic @aref{note value}s are quarter notes and that a @aref{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. @lilypond[fragment,line-width=13.0\cm] \relative c'' { \time 3/4 \key f \major c es d | c bes8 a bes4 | c es d | c2 \bar "||"} @end lilypond @lilypond[fragment,line-width=13.0\cm] \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 lilypond @lilypond[fragment,line-width=13.0\cm] \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 lilypond @node metronome @section metronome ES: metrónomo, I: metronomo, F: métronome, D: Metronom, NL: metronoom, DK: me@-tro@-nom, S: me@-tro@-nom, FI: metronomi. Device indicating the exact tempo of a piece. @aref{metronomic indication}. @node metronomic indication @section metronomic indication ES: indicación metronómica, I: indicazione metronomica, F: indication métronomique, D: Metronomangabe, NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, FI: metronomiosoitus. Exact tempo indication (in beats per minute). Also denoted by M.M.@: (Mälzels Metronom). @node mezzo-soprano @section mezzo-soprano ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK: mezzosopran, S: mezzosopran, FI: mezzosopraano. The female voice between @aref{soprano} and @aref{contralto}. @node middle C @section middle C ES: do central, I: do centrale, F: do central, D: eingestrichenes@w{ }c, NL: centrale@w{ }c, DK: enstreget@w{ }c, S: ettstruket@w{ }c, FI: keski-C. First C below the 440 Hz A. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \override Staff.Clef #'full-size-change = ##t \relative c' { \clef bass c1 s \clef alto c s \clef treble c s } @end lilypond @node minor @section minor ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, FI: molli. @aref{diatonic scale}. @node minor interval @section minor interval ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein interval, DK: lille interval, S: litet intervall, FI: pieni intervalli. @aref{interval}. @node mode @section mode ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, FI: moodi, kirkkosävelasteikko. @aref{church mode}, @aref{diatonic scale}. @node modulation @section modulation ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, S: modulering, FI: modulaatio, sävellajin vaihdos. Moving from one @aref{key} to another. For example, the second subject of a @aref{sonata form} movement modulates to the dominant key if the key is major and to the @aref{relative key} if the key is minor. @node mordent @section mordent I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, FI: mordent, korukuvio. @aref{ornament}. @node motif @section motif @aref{motive}. @node motive @section motive ES: tema, I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, FI: teema, sävelaihe. The briefest intelligible and self-contained fragment of a musical theme or subject. @lilypond[fragment,line-width=13.0\cm] \override Score.TimeSignature #'break-visibility = #all-invisible %\override Score.TextScript #'font-style = #'large \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 lilypond @node movement @section movement ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, FI: osa. Greater musical works like @aref{symphony} and @aref{sonata} most often consist of several -- more or less -- independant pieces called movements. @node multibar rest @section multibar rest ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D: mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, FI: usean tahdin mittainen tauko. @lilypond[fragment,ragged-right] \relative c'' { a1 \set Score.skipBars = ##t R1*3 a1 } @end lilypond @node mixolydian mode @section mixolydian mode @aref{diatonic scale}. @node natural sign @section natural sign ES: becuadro, I: bequadro, F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, DK: op@-løsningstegn, S: återställningstecken, FI: palautusmerkki. @aref{accidental}. @node neighbour tones @section neighbour tones @aref{appoggiatura}. @node ninth @section ninth ES: novena, I: nona, F: neuvième, D: None, NL: noon, DK: none, S: nona, FI: nooni. @aref{interval}. @node non-legato @section non-legato @aref{legato}. @node note @section note ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, FI: nuotti. 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 @aref{note} is strongly recommended. Briefly, one sees a note, and hears a tone. @node note head @section note head ES: cabeza, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, FI: nuotin pää. A head-like sign which indicates pitch by its position on a @aref{staff} provided with a @aref{clef}, and duration by a variety of shapes such as hollow or black heads with or without @aref{stem}s, @aref{flag}s, etc. For percussion instruments (often having no defined pitch) the note head may indicate the instrument. @node note value @section note value ES: valor (duración), I: valore, durata, F: durée, valeur (d'une note), D: Notenwert, NL: nootwaarde, DK nodeværdi, S: notvärde, FI: nuotin aika-arvo. 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. @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large \set Score.automaticBars = ##f \relative c'' { \override NoteHead #'style = #'mensural a\longa_"longa" a\breve_"breve" \revert NoteHead #'style a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 } @end lilypond @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large \set Score.automaticBars = ##f \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 lilypond An augmentation dot after a note multiplies the duration by one and a half. Another dot adds yet a fourth of the duration. @lilypond[fragment,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large \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 lilypond Alternatively note values may be subdivided by other ratios. Most common is subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}). Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of dotted notes are also frequently used. @lilypond[fragment,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large \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 "||" } @end lilypond @lilypond[fragment,line-width=13.0\cm] \relative c'' { \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 lilypond @node octave sign @section octave sign @aref{G clef}, @aref{F clef}. @node octave @section octave ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, FI: oktaavi. @aref{interval}. @node ornament @section ornament ES: adorno, I: abbellimento, fioriture, F: agrément, ornement, D: Verzierung, Ornament, NL: versiering, DK: forsiring, S: ornament, FI: koru, hele. Most commonly used is the @emph{trill}, the rapid alternation of a given note with the diatonic @aref{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. @lilypond[fragment,line-width=13.0\cm] << \context Staff = sa { % \override Score.TextScript #'font-style = #'large \relative c'' { c2._"pre-1850" b4\trill | c1 \bar "||" c2._"post-1850" b4\trill | c1 \bar "||" } } \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 lilypond Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the @emph{prall} (inverted mordent). @lilypond[fragment,line-width=13.0\cm] << \context Staff = sa { % \override Score.TextScript #'font-style = #'large \relative c'' { a4_"turn" b\turn c2 \bar "||" g4_"mordent" a b\mordent a \bar "||" e'4_"prall" d\prall c2 \bar "||" } } \relative c'' { a4 c16[ b a b] c2 g4 a b16-[ a b8] a4 e'4 e32[ d e d ~ d8] c2 } >> @end lilypond @aref{appoggiatura}. @node ossia @section ossia ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, FI: ossia, vaihtoehtoinen esitystapa. 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. @node part @section part ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: stämma, FI: stemma, instrumenttiosuus. 1.@tie{}In instrumental or choral music the music for the single instrument or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single melodic line of the contrapunctal web. @node pennant @section pennant @aref{flag}. @node percussion @section percussion ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, Schlagwerk, NL: slagwerk, DK: slagtøj, S: slagverk, FI: lyömäsoittimet. 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. @node perfect interval @section perfect interval ES: intervalo justo, I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein interval, DK: rent interval, S: rent intervall, FI: puhdas intervalli. @aref{interval}. @node phrase @section phrase ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, FI: fraasi, lause. A natural division of the melodic line, comparable to a sentence of speech. @node phrasing @section phrasing ES: fraseo, I: fraseggio, F: phrasé, D: Phrasierung, NL: frasering, DK: frasering, S: fra@-se@-ring, FI: fraseeraus, jäsentäminen. The clear rendering in musical performance of the @aref{phrase}s of the melody. Phrasing may be indicated by a @aref{slur}. @node piano @section piano ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, FI, piano, hiljaa. @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, @emph{mezzopiano} (@b{mp}) medium soft. @node pitch @section pitch ES: altura, I: altezza, F: hauteur, D: Tonhöhe, NL: toonhoogte, DK: tonehøjde, S: tonhöjd, FI: sävelkorkeus. @node pizzicato @section pizzicato ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. Play by plucking the strings. @node polyphony @section polyphony ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, Mehrstimmigkeit, NL: polyfonie, DK: polyfoni, S: polyfoni, FI: polyfonia, moniäänisyys. Music written in a combination of several simultaneous voices (parts) of a more or less pronounced individuality. @aref{counterpoint}. @node portato @section portato @aref{legato}. @node presto @section presto ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: presto, S: presto, FI: presto, hyvin nopeasti. Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo} denotes the highest possible degree of speed. @node Pythagorean comma @section Pythagorean comma ES: coma pitagórico, I: comma pitagorico, F: comma pythagoricien, D: Pythagoräisches Komma, NL: komma van Pythagoras, DK: pythagoræisk komma, S: pytagoreiskt komma, FI: pytagorinen komma. A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C, but this@w{ }C, obtained by adding 12@w{ }fifths, is 24 @aref{cent}s higher than the@w{ }C obtained by adding 7@w{ }octaves. The difference between those two pitches is called the Pythagorean comma. @node quadruplet @section quadruplet ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, FI: kvartoli. @aref{note value}. @node quarter note @section quarter note ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL: kwartnoot, DK: fjerdedelsnode, S: fjärdedelsnot, FI: neljännesosanuotti. @aref{note value}. @node quarter rest @section quarter rest ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL: kwart rust, DK:@w{ }fjerdedelspause, S: fjärdedelspaus, FI: neljännesosatauko. @aref{note value}. @node quintuplet @section quintuplet ES: cinquillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, FI: kvintoli. @aref{note value}. @node rallentando @section rallentando ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer werden, NL: rallentando, DK: rallentando, S: rallentando, FI: rallerdando, hidastuen. Abbreviation "rall.". @aref{ritardando}. @node relative key @section relative key ES: relativa, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, NL: paralleltoonsoort, DK: paralleltoneart, S: parallelltonart, FI: rinnakkaissävellaji. @aref{major} and @aref{minor} @aref{key} with the same @aref{key signature}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \relative c' { \key es \major es1_"e flat major" f g as bes c d es \bar "||" } @end lilypond @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \relative c' { \key es \major c1_"c minor" d es f g a! b! c \bar "||" } @end lilypond @node repeat @section repeat ES: barra de repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: gen@-ta@-gel@-se, S: repris, FI: toisto. @lilypond[fragment,line-width=13.0\cm] \key g \major \time 4/4 \relative c'' { \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 } } @end lilypond @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to @c specify the rest's value. @node rest @section rest ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, FI: tauko. @aref{note value}. @node rhythm @section rhythm ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, FI: rytmi. (a) Metrical rhythm in which every time value is a multiple or fraction of a fixed unit of time, called @aref{beat}, and in which the normal @aref{accent} recurs in regular intervals, called @aref{measure}. The basic scheme of time values is called @aref{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). @node ritardando @section ritardando ES: ritardando, I: ritardando, F: ritardando, D: Ritardando, langsamer werden, NL: ritardando, DK: ritardando, S: ritardando, FI: ritardando, hidastuen, Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. @node ritenuto @section ritenuto ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, FI: ritenuto, hidastaen. Immediate reduction of speed. @node scale @section scale ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, FI: asteikko, sävelasteikko. @aref{diatonic scale}. @node scale degree @section scale degree ES: grados de la escala, I: grado della scala, F: degré [de la gamme], D: Tonleiterstufe, NL: trap [van de toonladder], DK: skalatrin, S: skalsteg (?), FI: sävelaste, asteikon sävel. 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). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f << \context Staff \relative c' { c1 d e f g a b c } \lyrics { << { I II III IV V VI VII I } { T "" "" S D } >> } >> @end lilypond @aref{functional harmony}. @node score @section score ES: partitura, I: partitura, F: partition, D: Partitur (full score), Klavierauszug (vocal score) NL: partituur, DK: partitur, S: partitur, FI: partituuri. 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 staves @aref{staff}. @node second @section second ES: segunda, I: secunda, F: seconde, D: Sekund(a), NL: secunde, DK: sekund, S: sekund, FI: sekunti. The @aref{interval} between two neigbouring tones of a scale. A @aref{diatonic scale} consists of alternating @aref{semitone}s and @aref{whole tone}s, hence the size of a se@-cond depends on the scale degrees in question. @node semitone @section semitone ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S: halvton, FI: puolisävel. The @aref{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@w{ }semitones. @aref{interval}, @aref{chromatic scale}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c'' { g1 gis s a bes s b! c } @end lilypond @node seventh @section seventh ES: séptima, I: settima, F: septième, D: Septime, NL: septiem, DK: septim, S: septim, FI: septimi. @aref{interval}. @node sextolet @section sextolet @aref{sextuplet} @node sextuplet @section sextuplet ES: seisillo, I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, FI: sekstoli. @aref{note value}. @node shake @section shake @aref{trill}. @node sharp @section sharp ES: sostenido, I: diesis, F: dièse, D: Kreuz, NL: kruis, DK: kryds, S: kors@-förtecken, FI: korotusmerkki. @aref{accidental}. @node short appoggiatura @section short appoggiatura @aref{appoggiatura}. @node sixteenth note @section sixteenth note ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel, Sechzehntelnote, NL: zes@-ti@-ende noot, DK: sekstendedelsnode, S: sextondelsnot, FI: kuudestoistaosanuotti. @aref{note value}. @node sixteenth rest @section sixteenth rest ES: silencio de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D: Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S: sextondelspaus, FI: kuudesosatauko. @aref{note value}. @node sixth @section sixth ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, FI: seksti. @aref{interval}. @node sixty-fourth note @section sixty-fourth note ES: semifusa, 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: sextiofjärdedelsnot, FI: kuudeskymmenesneljäsosanuotti. @aref{note value}. @node sixty-fourth rest @section sixty-fourth rest ES: silencio de semifusa, I: pausa di semibiscroma, F: seizième de soupir, UK: hemidemisemiquaver rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S: sextiofjärdedelspaus, FI: kuudeskymmenesneljäsosatauko. @aref{note value}. @node slur @section slur ES: ligadura (de expresión), I: legatura (di portamento or espressiva), F: liaison, coulé, D: Bogen, Legatobogen, Phrasierungsbogen, NL: fraseringsboog, legatoboog, streekboog, DK: legatobue, fraseringsbue, S: båge, FI: kaari. A slur above or below a group of notes indicates that they are to be played @aref{legato}, e.g., with one stroke of the violin bow or with one breath in singing. @node solmization @section solmization ES: solmisación, I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK: solmisation, S: solmisation, FI: suhteelliset laulunimet. General term for systems of designating the degrees of the @aref{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})). @aref{scale degree}. @node sonata @section sonata ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, FI: sonaatti. 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. @node sonata form @section sonata form ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm, sonatevorm, DK: sonateform, S: sonatform, FI: sonaattimuoto. A form used frequently for single movements of the @aref{sonata}, @aref{symphony}, quartet, etc. A movement written in sonata form falls into three sections called @emph{exposition}, @emph{development} and @emph{recapitulation}. In the exposition the composer introduces some musical ideas, consisting of a number of themes; in the development section the composer `develops' this material, and in the recapitulation the composer repeats the exposition, with certain modifications. The exposition contains a number of themes that 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 @aref{dominant} if the @aref{tonic} is @aref{major}, and in the @aref{relative key} if the tonic is @aref{minor}. @node song texts @section song texts @aref{lyrics}. @node soprano @section soprano ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, FI: sopraano, korkea naisääni. The highest female voice. @node staccato @section staccato ES: picado (staccato), I: staccato, F: staccato, piqué, détaché, D: Staccato, NL: staccato, DK: staccato, S: staccato, FI: staccato, lyhyesti, terävästi. Playing the note(s) short. Staccato is indicated by a dot above or below the note head. @lilypond[fragment,ragged-right] \key d \major \time 4/4 \relative c'' { \partial 8 a8 | d4-\staccato cis-\staccato b-\staccato cis-\staccato | d2. \bar "||" } @end lilypond @node staff @section staff ES: pentagrama, I: pentagramma, rigo (musicale), F: portée, D: Notenzeile, NL: (noten)balk, partij, DK: nodesystem, S: notsystem, FI: nuottiviivasto. A staff (pl. staves) is a series of (normally five) horizontal lines upon and between which the musical notes are written, thus indicating (in connection with a @aref{clef}) their pitch. Staves for @aref{percussion} instruments may have fewer lines. @node staves @section staves @aref{staff}. @node stem @section stem ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft, FI: nuottipalkki. Vertical line above or below a @aref{note head} shorter than a whole note. @aref{beam}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.autoBeaming = ##f \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \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 lilypond @node strings @section strings ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S: stråkar, FI: jouset. A family of stringed musical instruments played with a bow. Strings commonly used in a symphony orchestra are violin, viola, violoncello, and double bass. @node strong beat @section strong beat ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder Taktschlag, NL: thesis, D: betonet taktslag, S: betonat taktslag, FI: tahdin vahva isku. @aref{beat}, @aref{accent}, @aref{measure}, @aref{rhythm}. @node subdominant @section subdominant ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: subdominant, S: subdominant, FI: subdominantti, alidominantti. The fourth @aref{scale degree}. @aref{functional harmony}. @node submediant @section submediant ES: submediante, I: sopratonica, F: sous-médiante, D: Submediante, NL: submediant, DK: Submediant, S: submediant, FI: alikeskisävel. The sixth @aref{scale degree}. @node subtonic @section subtonic ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: subtonika, FI: subtoonika, alitoonika. The seventh @aref{scale degree}. @node superdominant @section superdominant ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominante, NL: superdominant, DK: superdominant, S: superdominant, FI: ylidominantti. The sixth @aref{scale degree}. @node supertonic @section supertonic ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: supertonika, S: supertonika, FI: ylitoonika. The second @aref{scale degree}. @node symphony @section symphony ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, Symphonie, NL: symfonie, DK: symfoni, S: symfoni, FI: sinfonia. A symphony may be defined as a @aref{sonata} for orchestra. @node syncopation @section syncopation ES: síncopa, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, FI: synkooppi. Any deliberate upsetting of the normal pulse of @aref{meter}, @aref{accent}, and @aref{rhythm}. The occidental 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. @lilypond[fragment,ragged-right] \time 4/4 \relative c' { \partial 4 d8 dis | e c'4 e,8 c'4 e,8 c' ( | c2) } @end lilypond @node syntonic comma @section syntonic comma ES: coma sintónica, I: comma sintonico (o didimico), F: comma syntonique, D: syntonisches Komma, NL: syntonische komma, DK: syntonisk komma, S: syntoniskt komma, FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä. Difference between the natural third and the third obtained by Pythagorean tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents. @node system @section system ES: sistema, I: accollatura, F: système, D: Notensystem, NL: systeem, DK: system, S: system, FI: nuottijärjestelmä. The collection of staves @aref{staff}, two or more, as used for writing down of keyboard, chamber, choral, or orchestral music. @node temperament @section temperament ES: temperamento, I: temperamento, F: tempérament, D: Stimmung, Tem@-pe@-ra@-tur, NL: stemming, temperatuur, DK: temperatur, S: temperatur, FI: viritysjärjestelmä. Systems of tuning in which the intervals deviate from the acoustically pure intervals. @aref{meantone temperament}, @aref{equal temperament}. @node tempo indication @section tempo indication ES: indicación de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, FI: tempomerkintä. 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 @aref{largo}, @aref{adagio}, @aref{andante}, @aref{allegro}, and @aref{presto}. @node tenor @section tenor ES: tenor, I: tenore, F: ténor, D: Tenor, NL: tenor, DK: tenor, S: tenor, FI: tenori, korkea miesääni. The highest male voice (apart from @aref{counter tenor}). @node tenth @section tenth ES: décima, I: decima, F: dixième, D: Dezime, NL: deciem, DK: decim, S: decima, FI: desimi. @aref{note value}. @node tenuto @section tenuto ES: tenuto, I: tenuto, F: tenue, tenuto, D: gehalten, tenuo, NL: tenuto, DK: tenuto, S: tenuto, FI: viiva, tenuto. An indication that a particular note should be held for the whole length, although this can vary depending on the composer and era. @node third @section third ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, FI: terssi. @aref{interval}. @node thirty-second note @section thirty-second note ES: fusa, I: biscroma, F: triple croche, UK: demisemiquaver, D: Zweiunddreissigstel, Zweiunddreissigstelnote, NL: twee-endertig@-ste noot, DK: toogtredivtedelsnode, S: trettiotvåondelsnot, FI: kolmanneskymmeneskahdesosanuotti. @aref{note value}. @node thirty-second rest @section thirty-second rest ES: silencio de fusa, I: pausa di biscroma, F: huitième de soupir, UK: demisemiquaver rest, D: Zweiunddreissigstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S: trettiotvåondelspaus, FI: kolmanneskymmeneskahdesosatauko. @aref{note value}. @node thorough bass @section thorough bass ES: bajo cifrado, I: basso continuo, basso numerato, F: basse chiffrée, D: Generalbass, bezifferter Bass, NL: basso continuo, becijferde bas DK: generalbas, S: generalbas, FI: kenraalibasso, numeroitu basso. A method of indicating an accompaniment part by the bass notes only, together with figures designating the chief @aref{interval}s and @aref{chord}s to be played above the bass notes. @lilypond[fragment,line-width=13.0\cm] \context GrandStaff << \context Staff = lh \relative c'' { \time 4/4 \key es \major \clef treble << \context Voice = rha { \stemUp es4 d c bes | bes } \context Voice = rhb { \stemDown < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } >> } << \context Staff = rh \relative c' { \clef bass \key es \major es8 c d bes c as bes16 as g f | es4 } \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> } >> >> @end lilypond @node tie @section tie ES: ligadura de prolongación, I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, bindingsboog, DK: bindebue, S: bindebåge, överbindning, FI: sitominen. A curved line, identical in appearance with the @aref{slur}, which connects two succesive notes of the same pitch, and which has the function of uniting them into a single sound (tone) equal to the combined durations. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { g2 ~ g4. } @end lilypond @node time @section time @aref{meter}. @node time signature @section time signature ES: cifra indicadora de compás, I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S: taktartssignatur, FI: tahtiosoitus. @aref{meter}. @node tone @section tone ES: tono, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, FI: ääni. 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 atonal sounds. @node tonic @section tonic ES: tónica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, FI: toonika. The first @aref{scale degree}. @aref{functional harmony}. @node transposition @section transposition ES: transposición, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: transposition, S: transponering, FI: transponointi. Shifting a melody up or down in pitch, while keeping the same relative pitches. @lilypond[fragment,line-width=13.0\cm] \context Staff { \time 3/4 \relative c'' { \key g \major d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." } } @end lilypond @lilypond[fragment,line-width=13.0\cm] \context Staff { \time 3/4 \transpose c 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 lilypond @node treble clef @section treble clef ES: clave de sol, I: chiave di violino, F: clé de sol, D: Violinschlüssel, Sopranschlüssel, NL: viool sleutel, DK:@w{ }diskantnøgle, S: diskantklav, FI: diskanttiavain. @aref{G clef}. @node tremolo @section tremolo ES: trémolo, I: tremolo, F: trémolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, FI: tremolo. On stringed instruments (@aref{strings}) the quick reiteration of the same tone, produced by a rapid up-and-down movement of the bow (a). The term is also used for the rapid alternation (b) between two notes of a @aref{chord}, usually in the distance of a third (@aref{interval}). @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \relative c' { e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g } } @end lilypond @node triad @section triad ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Drei@-klang, NL: drieklank, DK: treklang, S: treklang, FI: kolmisointu. @aref{chord}. @node trill @section trill ES: trino, I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL: triller, DK: trille, S: drill, FI: trilli. @aref{ornament}. @node triple meter @section triple meter ES: compás compuesto, I: tempo ternario, F: mesure ternaire, D: in drei, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, FI: kolmijakoinen. @aref{meter}. @node triplet @section triplet ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, FI: trioli. @aref{note value}. @node tritone @section tritone ES: trítono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, FI: tritonus. @aref{interval}. @node tuning fork @section tuning fork ES: diapasón, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: stemmegaffel, S: stämgaffel, FI: viritysavain. 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). @node turn @section turn ES: grupeto, I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag, S: dubbelslag, FI: korukuvio. @aref{ornament}. @node unison @section unison ES: unísono, I: unisono, F: unisson, D: unisono, NL: unisono, DK: unison, S: unison, FI: unisono, yksiäänisesti. 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. @node upbeat @section upbeat ES: entrada anacrúsica, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti. Initial note(s) of a melody occurring before the first bar line. @aref{measure}, @aref{meter}. @lilypond[fragment,line-width=13.0\cm] \key f \major \time 4/4 \relative c' { \partial 4 f4 | bes4. a8 bes4 c | bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" } @end lilypond @node voice @section voice ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: stämma, FI: ääni, lauluääni. 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano}, @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}. 2.@tie{}A melodic layer or part of a polyphonic composition. @node weak beat @section weak beat ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder Taktschlag, NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, FI: tahdin heikko isku. @aref{beat}, @aref{measure}, @aref{rhythm}. @node whole note @section whole note ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, ganze Note, NL: hele noot, DK: helnode, S: helnot, FI: kokonuotti. @aref{note value}. @node whole rest @section whole rest ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: ganze Pause, ganztaktige Pause, NL: hele rust, DK: helnodespause, S: helpaus, FI: kokotauko. @aref{note value}. @node whole tone @section whole tone ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S: helton, FI: kokoaskel. The @aref{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. @node woodwind @section woodwind ES: maderas, I: legni, F: les bois, D: Holzbläser, NL: houtblazers, DK træblæsere, S: träblåsare, FI: puupuhaltimet. 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. @node Duration names notes and rests @chapter Duration names, notes and rests @table @code @item DURATION NAMES, NOTES AND RESTS @end table @multitable @columnfractions .15 .26 .33 .26 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F (note name / rest name)} @item @tab @strong{D} @tab @strong{NL} @tab @strong{DK} @item @tab @strong{S} @tab @strong{FI} @tab @strong{ES} @item @item @strong{longa} @tab longa @tab longa @tab longa @item @tab Longa @tab longa @tab longa @item @tab longa @tab longa @tab longa @item @item @strong{breve} @tab breve @tab breve @tab brève / double-pause @item @tab Brevis @tab brevis @tab brevis @item @tab brevis @tab brevis @tab cuadrada @item @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde / pause @item @tab Ganze @tab hele @tab hel @item @tab hel @tab koko@-nuotti/@w{-tauko} @tab redonda @item @item @strong{half} @tab minim @tab minima @tab blanche / demi-pause @item @tab Halbe @tab halve @tab halv @item @tab halv @tab puoli@-nuotti/@w{-tauko} @tab blanca @item @item @strong{quarter} @tab crotchet @tab semiminima @tab noire / soupir @item @tab Viertel @tab kwart @tab fjerdedel @item @tab fjärdedel @tab neljännesosa@-nuotti/@w{-tauko} @tab negra @item @item @strong{eighth} @tab quaver @tab croma @tab croche / demi-soupir @item @tab Achtel @tab achtste @tab ottendedel @item @tab åttondel @tab kahdeksasosa@-nuotti/@w{-tauko} @tab corchea @item @item @strong{sixteenth} @tab semiquaver @tab semicroma @tab double croche / quart de soupir @item @tab Sechzehntel @tab zestiende @tab sekstendedel @item @tab sextondel @tab kuudestoistaosa@-nuotti/@w{-tauko} @tab semicorchea @item @item @strong{thirty-second} @tab demisemiquaver @tab biscroma @tab triple croche / huitième de soupir @item @tab Zweiunddreissigstel @tab tweeendertigste @tab toogtredivtedel @item @tab trettiotvåondel @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko} @tab fusa @item @item @strong{sixty-fourth} @tab hemidemisemiquaver @tab semibiscroma @tab quadruple croche / seizième de soupir @item @tab Vierundsechzigstel @tab vierenzestigste @tab fireogtred@-sindstyvendedel @item @tab sextiofjärdedel @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko} @tab semifusa @end multitable @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab @node Pitch names @chapter Pitch names @table @code @item PITCH NAMES @end table @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} @item @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c @item @item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab Cis @tab cis @tab cis @tab cis @tab cis @item @item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab Des @tab des @tab des @tab des @tab des @item @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d @item @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e @item @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f @item @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g @item @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as @tab as @tab as @item @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a @item @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab ais @tab ais @tab ais @item @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b @tab b @tab b @item @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h @end multitable @node Literature used @unnumbered Literature used @itemize @item The Harvard Dictionary of Music, London 1944. Many more or less literal quotes from its articles have been included into the item explanation texts. @item Hugo Riemanns Musiklexicon, Berlin 1929. @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980. @item Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974. @item Webster's Revised Unabridged Dictionary, Springfield 1913. @end itemize @bye