1 \input texinfo @c -*- coding: utf8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding utf-8
8 @dircategory GNU music project
10 * Glossary: (lilypond/music-glossary). Glossary of music terms.
14 This document is also available in
15 @uref{source/Documentation/user/music-glossary.pdf,PDF}
16 and as @uref{source/Documentation/user/music-glossary.html,one big page}.
21 @author Christian Mondrup @c Original author of LilyPond glossary
23 @author François Pinard @c Original glossary of GNU music project,
25 @author Han-Wen Nienhuys @c Dutch glossary
26 @author Jan Nieuwenhuizen @c Dutch glossary
27 @author Dadiv Gonzalez @c Spanish glossary
28 @author Bjoern Jacke @c German glossary
29 @author Neil Jerram @c English glossary translations
30 @author Mats Bengtsson @c Swedish glossary
31 @author Adrian Mariano @c Italian glossary
32 @author Heikki Junes @c Finnish glossary
34 @c Fixes by Jean-Pierre Coulon and `Dirk'
36 Copyright @copyright{} 1999--2006 by the authors
39 Permission is granted to copy, distribute and/or modify this document
40 under the terms of the GNU Free Documentation License, Version 1.1
41 or any later version published by the Free Software Foundation,
42 without Invariant Sections.
47 @c FIXME: multiple omfcreators?
49 @omfcreator Christian Mondrup
50 @omfdescription Glossary of musical terms with translations
52 @omfcategory Applications|Publishing
61 This glossary was brought you by
69 @item Christian Mondrup
70 Original author of LilyPond glossary, Danish glossary,
73 @item Fran@,{c}ois Pinard
74 Original glossary of GNU music project, French glossary,
75 @item Han-Wen Nienhuys
77 @item Jan Nieuwenhuizen
82 English glossary translations,
84 Finnish glossary translations.
87 Copyright 1999--2006 by the authors
90 Permission is granted to copy, distribute and/or modify this document
91 under the terms of the GNU Free Documentation License, Version 1.1
92 or any later version published by the Free Software Foundation,
93 without Invariant Sections.
99 @c @everyheading @| @thispage @|
100 @c @evenheading @thispage @| @|
101 @c @oddheading @| @| @thispage @|
103 @include macros.itexi
108 @w{@arrow{}@strong{\word\}}@c
111 @arrow{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
132 @item UK - British English
150 * ancient minor scale::
154 * ascending interval::
155 * augmented interval::
187 * compound interval::
189 * conjunct movement::
202 * descending interval::
204 * diminished interval::
206 * disjunct movement::
208 * dissonant interval::
209 * dominant ninth chord::
210 * dominant seventh chord::
213 * dot (augmentation dot)::
215 * double appoggiatura::
217 * double dotted note::
226 * ecclesiastical mode::
232 * equal temperament::
246 * functional harmony::
260 * inverted interval::
273 * long appoggiatura::
278 * meantone temperament::
285 * metronomic indication::
321 * Pythagorean comma::
343 * short appoggiatura::
347 * sixty-fourth note::
348 * sixty-fourth rest::
376 * thirty-second note::
377 * thirty-second rest::
426 FI: aksentti, korostus.
428 The stress of one tone over others.
438 ES: alteración accidentelle,
440 F: altération accidentelle,
441 D: Vorzeichen, Versetzungszeichen, Akzidenz,
442 NL: toevallig (verplaatsings)teken,
444 S: tillfälligt förtecken,
445 FI: tilapäinen etumerkki.
447 An accidental has the effect of an @aref{alteration} of a note. A
448 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
449 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
450 lowers it by a whole tone. A natural cancels the effect of a previous
453 @lilypond[fragment,notime,line-width=13.0\cm]
454 \set Score.automaticBars = ##f
456 \context Staff \relative c'' {
457 gis1 gisis ges geses g!
460 \override Lyrics .LyricText #'self-alignment-X = #-1
461 sharp "db. sharp" flat "db. flat" natural
471 F: accelerando, en accélérant,
472 D: accelerando, schneller werden,
476 FI: accelerando, kiihdyttäen.
490 FI: adagio, hitaasti.
492 It.@: comfortable, easy.
493 1.@tie{}Slow tempo, slower -- especially in even meter -- than
494 @aref{andante} and faster than @aref{largo}.
495 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
496 @aref{sonata}s, symphonies, etc.
504 D: Allegro, Schnell, Fröhlich, Lustig,
508 FI: allegro, nopeasti.
510 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
511 tempo, especially the first and last movements of a @aref{sonata}.
520 NL: verhoging of verlaging,
525 An alteration is the modification, raising or lowering, of a note's
526 pitch. It is established by an @aref{accidental}.
538 FI: altto, matala naisääni.
540 A female voice of low range (@emph{contralto}). Originally the alto was a
541 high male voice (hence the name), which by the use of falsetto reached the
542 height of the female voice. This type of voice is also known as
543 @aref{counter tenor}.
548 ES: clave de do en tercera,
549 I: chiave di contralto,
550 F: clef d'ut troisième ligne,
551 D: Altschlüssel, Bratschenschlüssel,
557 C clef setting middle C on the middle line of the staff
570 FI: ambitus, ääniala, soitinala.
572 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
573 of pitches for a given voice in a part of music. It may also denote
574 the pitch range that a musical instrument is capable of playing.
576 @node ancient minor scale
577 @section ancient minor scale
579 ES: escala menor antigua
580 I: scala minore naturale,
581 F: forme du mode mineur ancien, troisème mode, mode hellénique
583 NL: authentieke mineurtoonladder,
586 FI: luonnollinen molliasteikko.
588 @aref{diatonic scale}.
590 @lilypond[fragment,notime,line-width=13.0\cm]
591 \set Score.automaticBars = ##f
608 Walking tempo/character.
611 @section appoggiatura
615 F: appogiature, (port de voix),
620 FI: appoggiatura, etuhele.
622 Ornamental note, usually a second, that is melodically connected with the
623 main note following it. In music before the 19th century a.@: were usually
624 performed on the beat, after that mostly before the beat. While the short
625 a.@: is performed as a short note regardless of the duration of the main note
626 the duration of the long a.@: is proportional to that of the main note.
628 @lilypond[line-width=13.0\cm]
629 \context Voice \relative c'' {
633 %\override Score.TextScript #'font-style = #'large
634 <d a fis>4_"notation" r
635 { \override Stem #'flag-style = #'()
637 \revert Stem #'flag-style
640 { \override Stem #'flag-style = #'()
642 \revert Stem #'flag-style
645 \cadenzaOn a4 \bar "||" \cadenzaOff
647 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
648 \cadenzaOn a4 \bar "||" \cadenzaOff
652 An appoggiatura may have more notes preceding the main note.
654 @lilypond[line-width=13.0\cm]
658 % \override Score.TextScript #'font-style = #'large
659 \grace { bes16 } as8_"notation" as16 bes as8 g |
660 \grace { as16[( bes] } < c as >4-)
661 \grace { as16[( bes] } < c as >4-) \bar "||"
662 \grace { bes16 } as8_"performance" as16 bes as8 g |
663 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
664 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
675 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
677 DK: arpeggio, akkordbrydning,
679 FI: arpeggio, murtosointu.
681 @lilypond[fragment,line-width=13.0\cm]
682 \context PianoStaff <<
683 \context Staff = SA \relative c'' {
686 r8 g16 c e g, c e r8 g,16 c e g, c e |
687 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
688 \context Staff = SB \relative c' {
690 << \context Voice = va {
692 r16 e8. ( e4) r16 e8. ( e4) |
693 r16 d8. ( d4) r16 d8. ( d4) }
694 \context Voice = vb {
701 @node ascending interval
702 @section ascending interval
704 ES: intervalo ascendente,
705 I: intervallo ascendente,
706 F: intervalle ascendant,
707 D: steigendes Intervall,
708 NL: stijgend interval,
709 DK:@w{ }stigende interval,
710 S: stigande intervall,
711 FI: nouseva intervalli.
713 A distance between a starting lower note and a higher ending note.
715 @node augmented interval
716 @section augmented interval
718 ES: intervalo aumentado,
719 I: intervallo aumentato,
720 F: intervalle augmenté,
721 D: übermäßiges Intervall,
722 NL: overmatig interval,
723 DK: forstørret interval,
724 S: överstigande intervall,
725 FI: ylinouseva intervalli.
735 D: Autograph, Handschrift,
737 DK: håndskrift, autograf,
739 FI: käsinkirjoitettu nuotti.
741 1.@tie{}A manuscript in the composer's own hand.
742 2.@tie{}Music prepared for photoreproduction by freehand drawing,
743 with the aid of a straightedge ruler and T-square only,
744 which attempts to emulate engraving.
745 This required more skill than did engraving.
767 ES: compás, @aref{measure}.
772 ES: barra, lÃnea divisoria,
773 I: stanghetta, barra (di divisione),
774 F: barre (de mesure),
791 FI: baritoni, keskikorkuinen miesääni.
793 The male voice intermediate between the @aref{bass} and the
796 @c F: clef de troisième ligne dropped
799 @section baritone clef
801 ES: clave de fa en tercera,
802 I: chiave di baritono,
803 F: clef d' Ut cinquième ligne, clef de Fa troisième,
810 C or F clef setting middle C on the upper staff line.
811 @aref{C clef}, @aref{F clef}.
816 ES: clave de fa en cuarta,
818 F: clé de fa quatrième ligne,
825 A clef setting with middle C on the first top ledger line.
838 FI: basso, matala miesääni.
840 1.@tie{}The lowest male voice.
841 2.@tie{}Sometimes, especially in jazz music, used as
842 an abbreviation for double bass.
857 Line connecting a series of notes (shorter than a quarter note).
858 The number of beams determines the note value of the connected notes.
860 @lilypond[fragment,notime,line-width=13.0\cm]
861 \set Score.automaticBars = ##f
862 %\override TextScript #'font-style = #'large
865 g16_"1/16"[ g g g] s16
866 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
867 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
873 ES: tiempo, parte (de compás)
876 D: Takt, Taktschlag, Zeit (im Takt),
882 Note value used for counting, most often half-, fourth-, and eighth notes.
883 The base counting value and the number of them per measure is indicated at
884 the start of the music.
886 @lilypond[fragment,line-width=13.0\cm]
889 \relative c'' { g4 c b a | g1 \bar "||"}
891 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
905 D: Klammer, Akkolade,
906 NL: accolade, teksthaak,
909 FI: yhdistävä sulkumerkki.
911 Symbol at the start of a system connecting staves. Curly braces are used
912 for connecting piano staves, angular brackets for connecting parts in an
913 orchestral or choral score.
915 @lilypond[fragment,ragged-right]
916 \context GrandStaff <<
917 \relative c''\context Staff = SA { \clef treble g4 e c2 }
918 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
921 @lilypond[fragment,ragged-right]
922 \context StaffGroup <<
923 % \set StaffGroup.minVerticalAlign = #12
924 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
925 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
937 S: brassinstrument, mässingsinstrument,
940 A family of blown musical instruments made of brass, all using a cup formed
941 mouth piece. The brass instruments commonly used in a symphony orchestra are
942 trumpet, trombone, french horn, and tube.
950 D: Atemzeichen, Trennungszeichen,
951 NL: repercussieteken,
952 DK: vejrtrækningstegn,
956 Indication of where to breathe in vocal and wind instrument parts.
969 @aref{note value}, twice as long as a whole note. Mainly used
972 @lilypond[fragment,notime,ragged-right]
973 \set Score.automaticBars = ##f
974 \relative c'' { g\breve }
1001 Clef symbol indicating the position of the middle C. Used on all note
1004 @lilypond[fragment,notime,line-width=13.0\cm]
1005 \set Score.automaticBars = ##f
1006 \override Score.Clef #'full-size-change = ##t
1008 \context Staff \relative c' {
1010 \clef mezzosoprano c
1015 \context Lyrics \lyrics {
1016 \override Lyrics .LyricText #'self-alignment-X = #-1
1017 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1032 FI: kadenssi, lopuke.
1034 @aref{harmonic cadence}, @aref{functional harmony}.
1046 FI: kadenssi, lopuke.
1048 An extended, improvisatory style section inserted near the end of
1049 movement. The purpose of a cadenza is to give singers or players a chance
1050 to exhibit their technical skill and -- not last -- their ability to
1051 improvise. Since the middle of the 19th century, however, most cadences have
1052 been written down by the composer.
1064 FI: kaanon, tarkka jäljittely.
1066 @aref{counterpoint}.
1078 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1079 viritysjärjestelmässä.
1081 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1082 of an equally tempered @aref{semitone}).
1083 @aref{equal temperament}.
1102 Three or more tones sounding simultaneously. In traditional European music
1104 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1106 minor @aref{third}) as well as @emph{minor} (minor + major third)
1107 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1108 and five-tone @emph{ninth} major chords are most often used as dominants
1109 (@aref{functional harmony}). A special case is chords having no
1110 third above the lower notes to define their quality as major or minor. Such
1111 chords are denoted open chords
1113 @lilypond[fragment,notime,line-width=13.0\cm]
1114 \set Score.automaticBars = ##f
1115 %\override TextScript #'font-style = #'large
1117 \context Staff \relative c'' {
1136 @node chromatic scale
1137 @section chromatic scale
1139 ES: escala cromática,
1141 F: gamme chromatique,
1142 D: chro@-ma@-ti@-sche Tonleiter,
1143 NL: chromatische toonladder,
1144 DK: kromatisk skala,
1146 FI: kromaattinen asteikko.
1148 A scale consisting of all 12 @aref{semitone}s.
1150 @lilypond[fragment,notime,line-width=13.0\cm]
1151 \set Score.automaticBars = ##f
1152 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1156 @section chromaticism
1167 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1170 @section church mode
1172 ES: modo eclesiástico,
1173 I: modo ecclesiastico,
1174 F: mode ecclésiastique,
1179 FI: moodi, kirkkosävellaji.
1181 @aref{diatonic scale}.
1189 D: Schlüssel, Notenschlüssel,
1193 FI: avain, nuottiavain.
1195 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1200 A @emph{cluster} is a range of simultaneously sounding pitches that
1201 may change over time. The set of available pitches to apply usually
1202 depends on the acoustic source. Thus, in piano music, a cluster
1203 typically consists of a continuous range of the semitones as provided
1204 by the piano's fixed set of a chromatic scale. In choral music, each
1205 singer of the choir typically may sing an arbitrary pitch within the
1206 cluster's range that is not bound to any diatonic, chromatic or other
1207 scale. In electronic music, a cluster (theoretically) may even cover
1208 a continuous range of pitches, thus resulting in colored noise, such
1211 Clusters can be denoted in the context of ordinary staff notation by
1212 engraving simple geometrical shapes that replace ordinary notation of
1213 notes. Ordinary notes as musical events specify starting time and
1214 duration of pitches; however, the duration of a note is expressed by
1215 the shape of the note head rather than by the horizontal graphical
1216 extent of the note symbol. In contrast, the shape of a cluster
1217 geometrically describes the development of a range of pitches
1218 (vertical extent) over time (horizontal extent). Still, the
1219 geometrical shape of a cluster covers the area in which any single
1220 pitch contained in the cluster would be notated as an ordinary note.
1222 @lilypond[fragment,relative=2,verbatim,ragged-right]
1223 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1236 FI: komma, korvinkuultava ero äänenkorkeudessa.
1238 Difference in pitch between a note derived from pure tuning and the same note
1239 derived from some other tuning method. @aref{temperament}.
1242 @section common meter
1246 @node compound interval
1247 @section compound interval
1249 ES: intervalo compuesto,
1250 I: intervallo composto,
1251 F: intervalle composé,
1252 D: weites Intervall,
1253 NL: samengesteld interval,
1254 DK: sammensat interval,
1255 S: sammansatt intervall,
1256 FI: oktaavia laajempi intervalli.
1258 Intervals larger than an octave.
1265 ES: intervalo invertido
1267 F: intervalle complémentaire,
1268 D: Komplementärintervall,
1269 NL: complementair interval,
1270 DK: komplementærinterval,
1271 S: komplementärintervall (?),
1272 FI: täydentävä intervalli.
1274 @aref{inverted interval}.
1276 @node conjunct movement
1277 @section conjunct movement
1279 ES: movimiento conjunto,
1281 F: mouvement conjoint,
1282 D: schritt@-weise, stufenweise Bewegung,
1283 NL: stapsgewijze, trapsgewijze beweging,
1284 DK: trinvis bevægelse,
1286 FI: asteittainen liike.
1288 Progressing melodically by intervals of a second. The opposite of a
1289 @aref{disjunct movement}.
1291 @lilypond[fragment,line-width=13.0\cm]
1292 \key g \major \time 4/4
1293 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1306 FI: konsonanssi, sopusointi.
1325 @section counterpoint
1334 FI: kontrapunkti, ääni ääntä vastaan.
1336 From latin @emph{punctus contra punctum}, note against note. The combination
1337 into a single musical fabric of lines or parts which have distinct melodic
1338 significance. A frequently used polyphonic technique is imitation, in its
1339 strictest form found in the canon needing only one part to be written down
1340 while the other parts are performed with a given displacement. Imitation is
1341 also the contrapunctal technique used in the @emph{fugue} which, since the
1342 music of the baroque era, has been one of the most popular polyphonic
1343 composition methods.
1345 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1346 \override Score.TimeSignature #'break-visibility = #all-invisible
1347 \context PianoStaff <<
1348 \context Staff = SA \relative c' {
1352 << \context Voice = rha {
1354 r1 | r2 r8 g'8 bes d, |
1355 cis4 d r8 e!16 f g8 f16 e |
1356 f8 g16 a bes8 a16 g a8
1358 \context Voice = rhb {
1364 \context Staff = SB \relative c' {
1367 << \context Voice = lha {
1369 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1370 r8 a16 g f8 g16 a bes8 g e! cis' |
1373 \context Voice = lhb {
1382 @section counter tenor
1387 D: Countertenor, Kontratenor,
1390 S: kontratenor, counter tenor,
1396 @section copying music
1398 A music copyist did fast freehand scores and parts on preprinted staff lines
1399 for performance. Some of their conventions (e.g., the placement of note heads
1400 on stems) varied slightly from those of engravers. Some of their working
1401 methods were superior and could well be adopted by music typesetters. This
1402 required more skill than engraving.
1410 D: Crescendo, lauter werden,
1414 FI: cresendo, voimistuen.
1416 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1417 abbreviation ``cresc.''.
1419 @lilypond[fragment,ragged-right]
1420 \key g \major \time 4/4
1421 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1429 F: petites notes précédent l'entrée d'in instrument, réplique,
1436 In a separate part notes belonging to another part with the purpose of hinting
1437 when to start playing. Usually printed in a smaller type.
1442 A custos is a staff symbol that appears at the end of a staff line
1443 with monophonic musical contents (i.e., with a single voice). It
1444 anticipates the pitch of the first note of the following line and thus
1445 helps the player or singer to manage line breaks during performance,
1446 thus enhancing readability of a score.
1448 Custodes were frequently used in music notation until the 16th
1449 century. There were different appearences for different notation
1450 styles. Nowadays, they have survived only in special forms of musical
1451 notation such as via the editio vaticana dating back to the beginning
1457 % \override Staff.Custos #'neutral-position = #4
1458 \override Staff.Custos #'neutral-direction = #down
1459 \override Staff.Custos #'style = #'hufnagel
1467 \consists Custos_engraver
1491 F: da capo, depuis le commencement,
1492 D: da capo, von Anfang,
1496 FI: da capo, alusta.
1498 The term indicates repetition of the piece from the beginning to the end or
1499 to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
1506 F: dal segno, depuis le signe,
1507 D: dal segno, ab dem Zeichen,
1511 FI: dal segno, lähtien merkistä.
1513 Abbreviated ``d.s.''. Repetition, not from the beginning, but from
1514 another place frequently near the beginning marked by a sign:
1516 @lilypond[fragment,ragged-right]
1517 %\override TextScript #'font-style = #'large
1518 \override TextScript #'font-shape = #'italic
1519 \key g \major \time 4/4
1524 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1530 @section decrescendo
1534 D: Decrescendo, leiser werden,
1538 FI: decresendo, hiljentyen.
1540 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1541 or the abbreviation ``decresc.''.
1543 @lilypond[fragment,ragged-right]
1545 \key g \major \time 4/4
1546 d4 \> c b a | g1 \! \bar "|."
1550 @node descending interval
1551 @section descending interval
1553 ES: intervalo descendente,
1554 I: intervallo discendente,
1555 F: intervalle descendant,
1556 D: fallendes Intervall, absteigendes Intervall,
1557 NL: dalend interval,
1558 DK: faldende interval,
1559 S: fallande intervall,
1560 FI: laskeva intervalli.
1562 A distance between a starting higher note and a lower ending note.
1564 @node diatonic scale
1565 @section diatonic scale
1567 ES: escala diatónica,
1569 F: gamme diatonique,
1570 D: diatonische Tonleiter,
1571 NL: diatonische toonladder,
1572 DK: diatonisk skala,
1574 FI: diatoninen asteikko.
1576 A scale consisting of 5@w{ }@aref{whole tone}s and
1577 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1578 of a piano keybord are diatonic.
1580 The church modes are used in gregorial chant and in pre-baroque early
1581 music but also to some extent in newer jazz music.
1583 @lilypond[fragment,notime,ragged-right]
1584 \set Score.automaticBars = ##f
1585 %\override Score.LyricText #'font-style = #'large
1586 %\override Score.TextScript #'font-style = #'large
1588 \context Staff \relative c' {
1590 \override TextScript #'padding = #-4
1591 e^"~~ S" f g a b^"~~ S" c
1593 \context Lyrics \lyrics {
1599 @lilypond[fragment,notime,ragged-right]
1600 \set Score.automaticBars = ##f
1602 \context Staff \relative c' {
1604 \override TextScript #'padding = #-4
1605 e^"~~ S" f g a b^"~~ S" c d
1613 @lilypond[fragment,notime,ragged-right]
1614 \set Score.automaticBars = ##f
1617 \override TextScript #'padding = #-4
1618 e1^"~~ S" f g a b^"~~ S" c d e
1626 @lilypond[fragment,notime,ragged-right]
1627 \set Score.automaticBars = ##f
1631 \override TextScript #'padding = #-4
1632 b^"~~ S" c d e^"~~ S" f
1640 @lilypond[fragment,notime,ragged-right]
1641 \set Score.automaticBars = ##f
1645 \override TextScript #'padding = #-4
1646 b^"~~ S" c d e^"~~ S" f g }
1653 @lilypond[fragment,notime,ragged-right]
1654 \set Score.automaticBars = ##f
1655 %\override Score.LyricText #'font-style = #'large
1656 %\override Score.TextScript #'font-style = #'large
1660 \override TextScript #'padding = #-4
1661 b^"~~ S" c d e^"~~ S" f g a
1669 From the beginning of the 17th century the scales used in European
1670 compositional music are primarily the major and the minor scales. In the
1671 harmonic minor scale type an augmented second (A) occurs between the 6th and
1674 @lilypond[fragment,notime,ragged-right]
1675 \set Score.automaticBars = ##f
1679 \override TextScript #'padding = #-4
1680 e^"~~ S" f g a b^"~~ S" c
1688 @lilypond[fragment,notime,ragged-right]
1689 \set Score.automaticBars = ##f
1693 \override TextScript #'padding = #-4
1694 b^"~~ S" c d e^"~~ S" f g a
1702 @lilypond[fragment,notime,ragged-right]
1703 \set Score.automaticBars = ##f
1707 \override TextScript #'padding = #-4
1708 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
1710 \context Lyrics \lyrics {
1716 @lilypond[fragment,notime,line-width=13.0\cm]
1717 \set Score.automaticBars = ##f
1718 %\override Score.LyricText #'font-style = #'large
1719 %\override Score.TextScript #'font-style = #'large
1723 \override TextScript #'padding = #-4
1724 b^"~~ S" c d e fis gis^"~~ S"
1725 a g! f!^"~~ S" e d c^"~~ S" b a
1733 @node diminished interval
1734 @section diminished interval
1736 ES: intervalo disminuído,
1737 I: intervallo diminuito,
1738 F: intervalle diminué,
1739 D: vermindertes Intervall,
1740 NL: verminderd interval,
1741 DK: formindsket interval,
1742 S: förminskat intervall,
1743 FI: vähennetty intervalli.
1757 FI: diminuendo, hiljentyen.
1761 @node disjunct movement
1762 @section disjunct movement
1764 ES: movimiendo disjunto,
1766 F: mouvement disjoint,
1767 D: sprunghafte Bewegung,
1768 NL: sprongsgewijze beweging,
1769 DK: springende bevægelse,
1770 S: hoppande rörelse,
1771 FI: melodian hyppivä liike.
1773 Progressing melodically by intervals larger than a major second.
1774 Opposite of @aref{conjunct movement}.
1776 @lilypond[fragment,ragged-right]
1781 a4. gis8 b a e cis |
1782 fis2 d4. \bar "||" }
1788 @ref{dissonant interval}.
1790 @node dissonant interval
1791 @section dissonant interval
1793 ES: intervalo disonante, disonancia,
1794 I: intervallo dissonante, dissonanza,
1797 NL: dissonant interval; dissonant,
1798 DK: dissonerende interval, dissonans,
1800 FI: dissonanssi, dissonoiva intervalli, riitasointi.
1804 @node dominant ninth chord
1805 @section dominant ninth chord
1807 ES: acorde de novena de dominante,
1808 I: accordo di nona di dominante,
1809 F: accord de neuvième dominante,
1810 D: Domi@-nant@-nonen@-akkord,
1811 NL: dominant noon akkoord,
1812 DK: dominantnoneakkord,
1813 S: dominantnonackord,
1814 FI: dominanttinoonisointu.
1816 @aref{chord}, @aref{functional harmony}.
1818 @node dominant seventh chord
1819 @section dominant seventh chord
1821 ES: acorde de séptima de dominante,
1822 I: accordo di settima di dominante,
1823 F: accord de septième dominante,
1824 D: Dominantseptakkord,
1825 NL: dominant septiem akkoord,
1826 DK: dominantseptimakkord,
1827 S: dominantseptimackord,
1828 FI: dominanttiseptimisointu.
1830 @aref{chord}, @aref{functional harmony}.
1842 FI: dominantti, huippusointu.
1844 The fifth @aref{scale degree},
1845 @aref{functional harmony}.
1848 @section dorian mode
1853 D: dorisch, dorischer Kirchenton,
1854 NL: dorische toonladder,
1859 @aref{diatonic scale}.
1861 @node dot (augmentation dot)
1862 @section dot (augmentation dot)
1865 I: punto (di valore),
1867 D: Punkt (Verlängerungspunkt),
1876 @section dotted note
1878 ES: nota con puntillo,
1882 NL: gepuncteerde noot,
1885 FI: pisteellinen nuotti.
1889 @node double appoggiatura
1890 @section double appoggiatura
1892 ES: apoyatura doble,
1893 I: appoggiatura doppia,
1894 F: appoggiature double,
1895 D: doppelter Vorschlag,
1896 NL: dubbele voorslag,
1897 DK: dobbelt forslag,
1899 FI: kaksoisappogiatura, kaksoisetuhele.
1901 @aref{appoggiatura}.
1903 @node double bar line
1904 @section double bar line
1910 NL: dubbele maatstreep,
1913 FI: kaksoistahtiviiva.
1915 Indicates the end of a section within a movement.
1917 @node double dotted note
1918 @section double dotted note
1920 ES: nota con doble puntillo,
1921 I: nota doppiamente puntata,
1922 F: note doublement pointée,
1923 D: doppelt punktierte Note,
1924 NL: dubbelgepuncteerde noot,
1925 DK: dob@-belt@-punk@-te@-ret node,
1926 S: dub@-bel@-punk@-te@-rad not,
1927 FI: kaksoispisteellinen nuotti.
1932 @section double flat
1941 FI: kaksoisalennusmerkki.
1946 @section double sharp
1948 ES: doble sostenido,
1953 DK: dob@-belt@-kryds,
1955 FI: kaksoisylennysmerkki.
1960 @section double trill
1966 NL: dubbele triller,
1971 A simultaneous trill on two notes, usually in the distance of a third.
1974 @section duple meter
1980 NL: tweedelige maatsoort,
2011 FI: kesto, aika-arvo.
2016 @section dydimic comma
2018 @aref{syntonic comma}.
2032 @node ecclesiastical mode
2033 @section ecclesiastical mode
2038 @section eighth note
2044 D: Achtel, Achtelnote,
2046 DK: ottendedelsnode,
2048 FI: kahdeksasosanuotti.
2053 @section eighth rest
2055 ES: silencio de corchea,
2061 DK: ottendedelspause,
2063 FI: kahdeksasosatauko.
2068 @section embellishment
2079 D: Notenstechen, Notendruck
2085 Engraving means incising or etching a metal plate for
2086 printing. Photoengraving means drawing music with ink in a manner
2087 similar to drafting or engineering drawing, using similar tools.
2089 The traditional process of music printing is done through cutting in a
2090 plate of metal. Now also the term for the art of music typesetting.
2104 Two notes, intervals, or scales are enharmonic if they have different names
2107 @lilypond[fragment,notime,line-width=13.0\cm]
2108 \set Score.automaticBars = ##f
2110 \context Staff \relative c'' {
2111 gis1 as <des g,!> <cis g!>
2113 \context Lyrics \lyrics {
2114 \override Lyrics .LyricText #'self-alignment-X = #-1
2115 "g sharp " "a flat " "dim fifth " "augm fourth"
2120 @node equal temperament
2121 @section equal temperament
2123 ES: temperamento igual,
2124 I: temperamento equabile,
2125 F: tempérament égal,
2126 D: gleichschwebende Stimmung,
2127 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2128 DK: ligesvævende temperatur,
2129 S: liksvävande temperatur,
2132 Tuning system dividing the octave into 12 equal @aref{semitone}s
2133 (precisely 100 @aref{cent}s). @aref{temperament}.
2135 @node expression mark
2136 @section expression mark
2139 I: segno d'espressione,
2140 F: signe d'expression, indication de nuance,
2142 NL: voordrachtsteken,
2143 DK: foredragsbetegnelse,
2144 S: föredragsbeteckning,
2145 FI: nyanssiosoitus, esitysmerkki.
2147 Performance indications concerning 1. volume, dynamics (for example
2148 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2149 @aref{andante}, @aref{allegro}).
2175 The position between the dots of the key symbol is the line of the F below
2176 central@w{ }C. Used on the third, fourth and fifth note line. A
2177 digit@w{ }8 above the clef symbol indicates that the notes must be played
2178 an octave higher (for example bass recorder) while 8@w{ }below the clef
2179 symbol indicates playing an octave lower (for example on double bass
2182 @lilypond[fragment,notime,line-width=13.0\cm]
2183 \set Score.automaticBars = ##f
2184 \override Staff.Clef #'full-size-change = ##t
2208 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2215 F: point d'orgue, point d'arr@^et,
2220 FI: fermaatti, pidäke.
2222 Prolonged note or rest of indefinite duration.
2224 @lilypond[fragment,ragged-right]
2227 a4 b c2^\fermata \bar "|."
2246 @section figured bass
2248 ES: bajo cifrado, @aref{thorough bass}.
2262 The methodical use of fingers in the playing of instruments.
2268 I: coda (uncinata), bandiera,
2276 Ornament at the end of the stem of a note used for notes with values
2277 less than a quarter note. The number of flags determines the
2280 @lilypond[fragment,notime,ragged-right]
2281 \set Score.automaticBars = ##f
2282 %\override Score.TextScript #'font-style = #'large
2308 @aref{appoggiatura}.
2320 FI: forte, voimakkaasti.
2322 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2323 @emph{mezzoforte} (@b{mf}) medium loud.
2351 @aref{counterpoint}.
2353 @node functional harmony
2354 @section functional harmony
2356 ES: armonía funcional,
2357 I: armonia funzionale,
2358 F: étude des functions,
2360 NL: functionele harmonie,
2361 DK: funktionsanalyse, funktionsharmonik,
2363 FI: harmoniajärjestelmä.
2365 A system of harmonic analysis. It is based on the idea that, in a given key,
2366 there are only three functionally different chords: tonic (T, the chord on the
2367 first note of the scale), subdominant (S, the chord on the fourth note), and
2368 dominant (D, the chord on the fifth note). Others are considered to be
2369 variants of the base chords.
2371 @lilypond[fragment,notime,line-width=13.0\cm]
2372 \set Score.automaticBars = ##f
2374 \context Voice \relative c'' {
2375 <g e c >1 < a f d > < b g e >
2376 <c a f > < d b g > < e c a > < f d b > }
2377 \context Lyrics \lyrics {
2378 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2400 D: G-Schlüssel, Violinschlüssel,
2406 A clef symbol indicating the G above central@w{ }C. Used on the first
2407 and second note lines. A digit 8 above the clef symbol indicates that
2408 the notes must be played an octave higher while 8 below the clef symbol
2409 indicates playing or singing an octave lower (most tenor parts in choral
2410 scores are notated like that).
2412 @lilypond[fragment,notime,ragged-right]
2414 \set Score.automaticBars = ##f
2415 \override Staff.Clef #'full-size-change = ##t
2418 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2428 \context Lyrics \lyrics {
2429 \override Lyrics . LyricText #'X-offset = #-5
2430 "french violin clef"
2448 FI: glissando, liukuen.
2450 Letting the pitch slide fluently from one note to the other.
2453 @section grace notes
2458 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2464 Notes printed in small types to indicate that their time values are not
2465 counted in the rhythm of the bar. @aref{appoggiatura}.
2468 @section grand staff
2470 ES: sistema de piano,
2476 S: ackolad, böjd klammer,
2477 FI: kaksoisnuottiviivasto.
2481 A combination of two staves with a brace. Usually used for piano music.
2493 FI: grave, raskaasti.
2509 D: Halbe, halbe Note,
2520 ES: silencio de blanca,
2532 @node harmonic cadence
2533 @section harmonic cadence
2535 ES: cadencia (armónica),
2536 I: cadenza (armonica),
2537 F: cadence harmonique,
2539 NL: harmonische cadens,
2540 DK: harmonisk kadence,
2541 S: (harmonisk) kadens,
2542 FI: harmoninen kadenssi.
2544 A sequence of chords that terminates a musical phrase or
2545 section. @aref{functional harmony}.
2547 @lilypond[fragment,ragged-right]
2548 \context PianoStaff <<
2549 \context Staff = SA \relative c'' {
2553 \partial 4 < c g e >4 |
2554 < c a f > < b g d > < c g e >2
2557 \context Staff = SB \relative c {
2559 \partial 4 c4 | f, g c2
2576 D: Harmonie, Zusammenklang,
2580 FI: harmonia, yhteissointi.
2582 Tones sounding simultaneously. Two note harmonies fall into the categories
2583 @emph{consonances} and @emph{dissonances}.
2587 @lilypond[fragment,notime,line-width=13.0\cm]
2588 \set Score.automaticBars = ##f
2589 %\override Score.TextScript #'font-style = #'large
2590 \context Voice \relative c'' {
2603 @lilypond[fragment,notime,line-width=13.0\cm]
2604 \set Score.automaticBars = ##f
2605 %\override Score.TextScript #'font-style = #'large
2606 \context Voice \relative c'' {
2607 <g a>1_"second " s s
2608 <g f'>_"seventh " s s
2613 Three note harmony @aref{chord}.
2625 FI: homofonia, yksiäänisyys.
2627 Music in which one voice leads melodically followed by the other voices more
2628 or less in the same rhythm. In contrast to @aref{polyphony}.
2640 FI: intervalli, kahden sävelen korkeusero.
2642 Difference in pitch between two notes. Intervals may be perfect, minor,
2644 diminished, or augmented. The augmented fourth and the diminished fifth are
2645 identical (@aref{enharmonic}) and are called @emph{tritonus}
2646 because they consist of three @aref{whole tone}s. The addition
2647 of such two intervals forms an octave.
2649 @lilypond[fragment,notime,line-width=13.0\cm]
2650 \set Score.automaticBars = ##f
2652 \context Voice \relative c'' {
2662 \context Lyrics \lyrics {
2663 "unisone " "second " "second " "second "
2664 "third " "third " "third " "third"
2669 @lilypond[fragment,notime,line-width=13.0\cm]
2670 \set Score.automaticBars = ##f
2672 \context Staff \relative c'' {
2683 "fourth " "fourth " "fifth " "fifth "
2684 "sixth " "sixth " "sixth " "sixth"
2689 @lilypond[fragment,notime,line-width=13.0\cm]
2690 \set Score.automaticBars = ##f
2692 \context Staff \relative c'' {
2693 < gis f'! >1^"dimin"
2702 \context Lyrics \lyrics {
2703 "seventh " "seventh " "seventh " "octave "
2704 "none " "none " "decime " "decime"
2709 @node inverted interval
2710 @section inverted interval
2712 ES: intervalo invertido,
2713 I: intervallo rivolto,
2714 F: intervalle reversé,
2715 D: umgekehrtes Intervall,
2716 NL: interval inversie,
2717 DK: omvendingsinterval,
2718 S: intervallets omvändning,
2719 FI: käänteisintervalli.
2721 The difference between an interval and an octave.
2723 @lilypond[fragment,notime,line-width=13.0\cm]
2724 \set Score.automaticBars = ##f
2725 %\override Score.TextScript #'font-style = #'large
2726 \context Staff \relative c'' {
2727 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
2728 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
2729 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
2733 @node just intonation
2734 @section just intonation
2736 ES: entonación justa,
2737 I: intonazione giusta,
2738 F: intonation juste,
2745 Tuning system in which the notes are obtained by adding and subtracting
2746 natural fifths and thirds. @aref{temperament}.
2760 According to the 12@w{ }tones of the @aref{chromatic scale}
2761 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
2762 @aref{key signature}.
2765 @section key signature
2767 ES: armadura (de la clave),
2768 I: armatura di chiave,
2769 F: armure, armature [de la clé],
2770 D: Vorzeichen, Tonart,
2771 NL: toon@-soort (voortekens),
2774 FI: sävellajiosoitus.
2776 The sharps or flats appearing at the beginning of each staff indicating the
2777 key of the music. @aref{accidental}.
2785 D: Largo, Langsam, Breit,
2789 FI: largo, hitaasti, leveästi.
2791 Very slow in tempo, usually combined with great
2792 expressiveness. @emph{Larghetto} is less slow than largo.
2795 @section leading note
2806 The seventh @aref{scale degree}, a @aref{semitone} below
2807 the tonic; so called because of its strong tendency to ``lead up'' (resolve
2808 upwards) to the tonic scale degree.
2811 @section ledger line
2813 ES: líneas adicionales,
2814 I: tagli addizionali,
2815 F: ligne supplémentaire,
2822 A ledger line is an extension of the staff.
2824 @lilypond[fragment,notime,ragged-right]
2825 \set Score.automaticBars = ##f
2826 \relative c'' { a,1 s c'' }
2841 To be performed (a) without any perceptible interruption between the notes,
2842 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
2843 (d) @aref{staccato}.
2845 @lilypond[fragment,notime,line-width=13.0\cm]
2846 \set Score.automaticBars = ##f
2848 \context Staff \relative c'' {
2849 c4-( d e-) \bar "||"
2850 c4-- d-- e-- \bar "||"
2851 c4-.-( d-. e-.-) \bar "||"
2852 c4-. d-. e-. \bar "||"
2864 @section legato curve
2866 @aref{slur}, @aref{legato}.
2876 ES: estanque de nenúfares,
2877 I: stagno del giglio,
2881 NL: le@-lie@-vij@-ver,
2886 A pond with lilies floating in it, also the name of a music typesetter.
2893 A ligature is a coherent graphical symbol that represents at least two
2894 distinct notes. Ligatures originally appeared in the manuscripts of
2895 Gregorian chant notation roughly since the 9th century to denote
2896 ascending or descending sequences of notes. In early notation,
2897 ligatures were used for monophonic tunes (Gregorian chant) and very
2898 soon denoted also the way of performance in the sense of articulation.
2899 With the invention of the metric system of the white mensural
2900 notation, the need for ligatures to denote such patterns disappeared.
2908 D: Linie, Notenlinie,
2912 FI: viiva, nuottiviiva.
2916 @node long appoggiatura
2917 @section long appoggiatura
2919 ES: apoyatura larga,
2920 I: appoggiatura lunga,
2921 F: appoggiature longue,
2922 D: langer Vorschlag,
2926 FI: pitkä appoggiatura, pitkä etuhele.
2928 @aref{appoggiatura}.
2942 Note value: double length of @aref{breve}.
2945 @lilypond[fragment,notime,ragged-right]
2946 \set Score.automaticBars = ##f
2948 \override NoteHead #'style = #'mensural
2956 ES: letra (de la canción),
2965 @node major interval
2966 @section major interval
2968 ES: intervalo mayor,
2969 I: intervallo maggiore,
2970 F: intervalle majeur,
2971 D: großes Intervall,
2975 FI: suuri intervalli.
2991 @aref{diatonic scale}.
2993 @node meantone temperament
2994 @section meantone temperament
2996 ES: afinación mesotónica,
2997 I: accordatura mesotonica,
2998 F: tempérament mésotonique,
2999 D: mitteltönige Stimmung,
3000 NL: middenstemming, middentoonstemming,
3001 DK: middeltonetemperatur,
3002 S: medeltonstemperatur,
3003 FI: keskisävelviritys.
3005 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3006 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3007 @aref{temperament} only a limited set of keys are playable.
3008 Used for tuning keyboard instruments for performance of pre-1650 music.
3022 A group of @aref{beat}s (units of musical time) the first of which
3023 bears an accent. Such groups in numbers of two or more recur consistently
3024 throughout the composition and are marked from each other by
3025 bar-lines. @aref{meter}.
3031 I: mediante, modale,
3039 1.@tie{}The third @b{scale degree}.
3040 2.@tie{}A @aref{chord} having its base tone
3041 a third from that of another chord. For example, the tonic chord may be
3042 replaced by its lower mediant (variant tonic). @aref{functional
3043 harmony}, @aref{relative key}.
3050 FI: melisma, laulettavan tavun sävelkuvio.
3052 A melisma (plural: melismata) is a group of notes or tones sung on one
3053 syllable in plainsong
3055 @node melodic cadence
3056 @section melodic cadence
3065 F: indication de mésure,
3072 The basic scheme of @aref{note value}s and
3073 @aref{accent}s which remains unaltered throughout a composition
3074 or a section of it. For instance, 3/4 meter means that the basic
3075 @aref{note value}s are quarter notes and that a
3076 @aref{measure} consists of three of those. According to
3077 whether there are two, three, or four units to the measure,
3078 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3079 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3081 @lilypond[fragment,line-width=13.0\cm]
3085 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3088 @lilypond[fragment,line-width=13.0\cm]
3092 f8 f f f a16 g a f |
3093 c'8 c c c e16 d e c \bar "||"}
3096 @lilypond[fragment,line-width=13.0\cm]
3100 d4 b8 g b d d c a4 |
3101 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3116 Device indicating the exact tempo of a piece. @aref{metronomic
3119 @node metronomic indication
3120 @section metronomic indication
3122 ES: indicación metronómica,
3123 I: indicazione metronomica,
3124 F: indication métronomique,
3126 NL: metronoom aanduiding,
3128 S: metronomangivelse,
3129 FI: metronomiosoitus.
3131 Exact tempo indication (in beats per minute). Also denoted by
3132 M.M.@: (Mälzels Metronom).
3135 @section mezzo-soprano
3146 The female voice between @aref{soprano} and
3155 D: eingestrichenes@w{ }c,
3157 DK: enstreget@w{ }c,
3158 S: ettstruket@w{ }c,
3161 First C below the 440 Hz A.
3163 @lilypond[fragment,notime,ragged-right]
3164 \set Score.automaticBars = ##f
3165 \override Staff.Clef #'full-size-change = ##t
3185 @aref{diatonic scale}.
3187 @node minor interval
3188 @section minor interval
3190 ES: intervalo mayor,
3191 I: intervallo minore,
3192 F: intervalle mineur,
3193 D: kleines Intervall,
3197 FI: pieni intervalli.
3211 FI: moodi, kirkkosävelasteikko.
3213 @aref{church mode}, @aref{diatonic scale}.
3225 FI: modulaatio, sävellajin vaihdos.
3227 Moving from one @aref{key} to another. For example, the second
3228 subject of a @aref{sonata form} movement modulates to the dominant
3229 key if the key is major and to the @aref{relative key} if the key
3241 FI: mordent, korukuvio.
3260 FI: teema, sävelaihe.
3262 The briefest intelligible and self-contained fragment of a musical theme or
3265 @lilypond[fragment,line-width=13.0\cm]
3266 \override Score.TimeSignature #'break-visibility = #all-invisible
3267 %\override Score.TextScript #'font-style = #'large
3271 \partial 8 g16_"------" fis |
3272 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
3273 g8 g,16 a b8 cis d16 s
3289 Greater musical works like @aref{symphony} and
3290 @aref{sonata} most often consist of several -- more or less --
3291 independant pieces called movements.
3294 @section multibar rest
3296 ES: compases de espera,
3300 D: mehrtaktige Pause,
3303 FI: usean tahdin mittainen tauko.
3305 @lilypond[fragment,ragged-right]
3308 \set Score.skipBars = ##t R1*3
3313 @node mixolydian mode
3314 @section mixolydian mode
3316 @aref{diatonic scale}.
3319 @section natural sign
3324 D: Auflösungszeichen,
3325 NL: herstellingsteken,
3326 DK: op@-løsningstegn,
3327 S: återställningstecken,
3332 @node neighbour tones
3333 @section neighbour tones
3335 @aref{appoggiatura}.
3368 Notes are signs by means of which music is fixed in writing. The term is also
3369 used for the sound indicated by a note, and even for the key of the piano
3370 which produces the sound. However, a clear distinction between the terms tone
3371 and @aref{note} is strongly recommended. Briefly, one sees a note,
3378 I: testa, testina, capocchia,
3379 F: t@^ete de la note,
3386 A head-like sign which indicates pitch by its position on a
3387 @aref{staff} provided with a @aref{clef}, and duration
3388 by a variety of shapes such as hollow or black heads with or without
3389 @aref{stem}s, @aref{flag}s, etc. For percussion
3390 instruments (often having no defined pitch) the note head may indicate the
3396 ES: valor (duración),
3398 F: durée, valeur (d'une note),
3403 FI: nuotin aika-arvo.
3405 Note values (durations) are measured as fractions, normally 1/2, of the next
3406 higher note value. The longest duration normally used is called
3408 but sometimes (mostly in pre-baroque music) the double length note value
3409 @emph{longa} is used.
3411 @lilypond[fragment,notime,line-width=13.0\cm]
3412 %\override Score.TextScript #'font-style = #'large
3413 \set Score.automaticBars = ##f
3415 \override NoteHead #'style = #'mensural
3416 a\longa_"longa" a\breve_"breve"
3417 \revert NoteHead #'style
3418 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3419 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3422 @lilypond[fragment,notime,line-width=13.0\cm]
3423 %\override Score.TextScript #'font-style = #'large
3424 \set Score.automaticBars = ##f
3426 r\longa_"longa" r\breve_"breve"
3427 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3428 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3431 An augmentation dot after a note multiplies the duration by one and a
3432 half. Another dot adds yet a fourth of the duration.
3434 @lilypond[fragment,line-width=13.0\cm]
3435 %\override Score.TextScript #'font-style = #'large
3438 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3439 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3442 Alternatively note values may be subdivided by other ratios. Most common is
3443 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3444 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3445 dotted notes are also frequently used.
3447 @lilypond[fragment,line-width=13.0\cm]
3448 %\override Score.TextScript #'font-style = #'large
3451 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3452 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3456 @lilypond[fragment,line-width=13.0\cm]
3459 \times 3/2 {g4_"duplets" g} |
3461 \times 6/4 {g8_"quadruplets" g g g} |
3462 g8 g g g g4 \bar "||"
3467 @section octave sign
3469 @aref{G clef}, @aref{F clef}.
3489 I: abbellimento, fioriture,
3490 F: agrément, ornement,
3491 D: Verzierung, Ornament,
3497 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3498 with the diatonic @aref{second} above it. In the music from the
3499 middle of the 19th century and onwards the trill is performed with the main
3500 note first while in the music from the preceding baroque and classic periods
3501 the upper note is played first.
3503 @lilypond[fragment,line-width=13.0\cm]
3505 \context Staff = sa {
3506 % \override Score.TextScript #'font-style = #'large
3508 c2._"pre-1850" b4\trill | c1 \bar "||"
3509 c2._"post-1850" b4\trill | c1 \bar "||"
3513 c2. c32 b c b c b c b | c1
3514 c2. b32 c b c \times 4/5 { b c b c b } | c1
3519 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3521 @emph{prall} (inverted mordent).
3523 @lilypond[fragment,line-width=13.0\cm]
3525 \context Staff = sa {
3526 % \override Score.TextScript #'font-style = #'large
3528 a4_"turn" b\turn c2 \bar "||"
3529 g4_"mordent" a b\mordent a \bar "||"
3530 e'4_"prall" d\prall c2 \bar "||"
3536 e'4 e32[ d e d ~ d8] c2
3541 @aref{appoggiatura}.
3553 FI: ossia, vaihtoehtoinen esitystapa.
3555 Ossia (otherwise) marks an alternative. It is an added staff or piano
3556 score, usually only a few measures long, which presents another version
3557 of the music, for example for small hands.
3569 FI: stemma, instrumenttiosuus.
3571 1.@tie{}In instrumental or choral music the music for the single instrument
3572 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3573 melodic line of the contrapunctal web.
3586 D: Schlagzeug, Schlagwerk,
3592 A family of musical instruments which are played on by striking or
3593 shaking. Percussion instruments commonly used in a symphony orchestra are
3594 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3595 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3598 @node perfect interval
3599 @section perfect interval
3601 ES: intervalo justo,
3602 I: intervallo giusto,
3603 F: intervalle juste,
3604 D: reines Intervall,
3608 FI: puhdas intervalli.
3624 A natural division of the melodic line, comparable to a sentence of speech.
3636 FI: fraseeraus, jäsentäminen.
3638 The clear rendering in musical performance of the @aref{phrase}s of
3639 the melody. Phrasing may be indicated by a @aref{slur}.
3653 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3654 @emph{mezzopiano} (@b{mp}) medium soft.
3675 NL: pizzicato, getokkeld,
3678 FI: pizzicato, näppäillen.
3680 Play by plucking the strings.
3688 D: Polyphonie, Mehrstimmigkeit,
3692 FI: polyfonia, moniäänisyys.
3694 Music written in a combination of several simultaneous voices (parts) of a
3695 more or less pronounced individuality. @aref{counterpoint}.
3708 D: Presto, Sehr schnell,
3709 NL: presto, Sehr schnell,
3712 FI: presto, hyvin nopeasti.
3714 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
3715 denotes the highest possible degree of speed.
3717 @node Pythagorean comma
3718 @section Pythagorean comma
3720 ES: coma pitagórico,
3721 I: comma pitagorico,
3722 F: comma pythagoricien,
3723 D: Pythagoräisches Komma,
3724 NL: komma van Pythagoras,
3725 DK: pythagoræisk komma,
3726 S: pytagoreiskt komma,
3727 FI: pytagorinen komma.
3729 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
3730 but this@w{ }C, obtained by adding 12@w{ }fifths, is
3731 24 @aref{cent}s higher than the@w{ }C obtained by adding
3732 7@w{ }octaves. The difference between those two pitches is called the
3750 @section quarter note
3753 I: semiminima, nera,
3756 D: Viertel, Viertelnote,
3760 FI: neljännesosanuotti.
3765 @section quarter rest
3767 ES: silencio de negra,
3768 I: pausa di semiminima,
3773 DK:@w{ }fjerdedelspause,
3775 FI: neljännesosatauko.
3794 @section rallentando
3799 D: rallentando, langsamer werden,
3803 FI: rallerdando, hidastuen.
3805 Abbreviation "rall.". @aref{ritardando}.
3808 @section relative key
3811 I: tonalità relativa,
3812 F: tonalité relative,
3814 NL: paralleltoonsoort,
3815 DK: paralleltoneart,
3817 FI: rinnakkaissävellaji.
3819 @aref{major} and @aref{minor} @aref{key}
3820 with the same @aref{key signature}.
3822 @lilypond[fragment,notime,line-width=13.0\cm]
3823 \set Score.automaticBars = ##f
3824 %\override Score.TextScript #'font-style = #'large
3827 es1_"e flat major" f g as bes c d es
3832 @lilypond[fragment,notime,line-width=13.0\cm]
3833 \set Score.automaticBars = ##f
3834 %\override Score.TextScript #'font-style = #'large
3837 c1_"c minor" d es f g a! b! c \bar "||"
3844 ES: barra de repetición,
3846 F: barre de reprise,
3849 DK: gen@-ta@-gel@-se,
3853 @lilypond[fragment,line-width=13.0\cm]
3857 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
3861 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
3862 @c specify the rest's value.
3890 (a) Metrical rhythm in which every time value is a multiple or fraction of a
3891 fixed unit of time, called @aref{beat}, and in which the normal
3892 @aref{accent} recurs in regular intervals, called
3893 @aref{measure}. The basic scheme of time values is called
3894 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
3895 accent. In modern notation such music appears as a free alternation of
3896 different measures. (c) Free rhythm, i.e., the use of temporal values having
3897 no common metrical unit (beat).
3905 D: Ritardando, langsamer werden,
3909 FI: ritardando, hidastuen,
3911 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
3923 FI: ritenuto, hidastaen.
3925 Immediate reduction of speed.
3937 FI: asteikko, sävelasteikko.
3939 @aref{diatonic scale}.
3942 @section scale degree
3944 ES: grados de la escala,
3945 I: grado della scala,
3946 F: degré [de la gamme],
3948 NL: trap [van de toonladder],
3951 FI: sävelaste, asteikon sävel.
3953 Names and symbols used in harmonic analysis to denote tones of the scale as
3954 roots of chords. The most important are degrees I = tonic (T), IV =
3955 sub@-do@-mi@-nant (S) and V = dominant (D).
3957 @lilypond[fragment,notime,line-width=13.0\cm]
3958 \set Score.automaticBars = ##f
3960 \context Staff \relative c' {
3964 << { I II III IV V VI VII I }
3970 @aref{functional harmony}.
3978 D: Partitur (full score), Klavierauszug (vocal score)
3984 A copy of orchestral, choral, or chamber music showing what each instrument is
3985 to play, each voice to sing, having each part arranged one underneath the
3986 other on different staves @aref{staff}.
4000 The @aref{interval} between two neigbouring tones of a scale. A
4001 @aref{diatonic scale} consists of alternating
4002 @aref{semitone}s and @aref{whole tone}s, hence the size
4003 of a se@-cond depends on the scale degrees in question.
4017 The @aref{interval} of a minor second. The (usually) smallest
4018 interval in European composed music. The interval between two neighbouring
4019 tones on the piano keyboard -- including black and white keys -- is a
4020 semitone. An octave may be divided into 12@w{ }semitones.
4021 @aref{interval}, @aref{chromatic scale}.
4023 @lilypond[fragment,notime,line-width=13.0\cm]
4024 \set Score.automaticBars = ##f
4025 \relative c'' { g1 gis s a bes s b! c }
4080 @node short appoggiatura
4081 @section short appoggiatura
4083 @aref{appoggiatura}.
4085 @node sixteenth note
4086 @section sixteenth note
4092 D: Sechzehntel, Sechzehntelnote,
4093 NL: zes@-ti@-ende noot,
4094 DK: sekstendedelsnode,
4096 FI: kuudestoistaosanuotti.
4100 @node sixteenth rest
4101 @section sixteenth rest
4103 ES: silencio de semicorchea,
4104 I: pausa di semicroma,
4106 UK: semiquaver rest,
4107 D: Sechzehntelpause,
4109 DK: sekstendedelspause,
4129 @node sixty-fourth note
4130 @section sixty-fourth note
4134 F: quadruple croche,
4135 UK: hemidemisemiquaver,
4136 D: Vierundsechzigstel, Vierundsechzigstelnote,
4137 NL: vierenzestigste noot,
4138 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4139 S: sextiofjärdedelsnot,
4140 FI: kuudeskymmenesneljäsosanuotti.
4144 @node sixty-fourth rest
4145 @section sixty-fourth rest
4147 ES: silencio de semifusa,
4148 I: pausa di semibiscroma,
4149 F: seizième de soupir,
4150 UK: hemidemisemiquaver rest,
4151 D: Vierundsechzigstelpause,
4152 NL: vierenzestigste rust,
4153 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4154 S: sextiofjärdedelspaus,
4155 FI: kuudeskymmenesneljäsosatauko.
4162 ES: ligadura (de expresión),
4163 I: legatura (di portamento or espressiva),
4165 D: Bogen, Legatobogen, Phrasierungsbogen,
4166 NL: fraseringsboog, legatoboog, streekboog,
4167 DK: legatobue, fraseringsbue,
4171 A slur above or below a group of notes indicates that they are to be played
4172 @aref{legato}, e.g., with one stroke of the violin bow or with one
4176 @section solmization
4185 FI: suhteelliset laulunimet.
4187 General term for systems of designating the degrees of the
4188 @aref{scale}, not by letters, but by syllables (@emph{do}
4189 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4190 (@emph{ti})). @aref{scale degree}.
4204 In its present-day meaning a sonata denotes an instrumental composition for
4205 piano or for some other instrument with piano accompaniment, which consists of
4206 three or four independant pieces, called movements.
4209 @section sonata form
4213 F: [en] forme de sonate,
4215 NL: hoofdvorm, sonatevorm,
4220 A form used frequently for single movements of the @aref{sonata},
4221 @aref{symphony}, quartet, etc. A movement written in sonata form
4222 falls into three sections called @emph{exposition}, @emph{development} and
4223 @emph{recapitulation}. In the exposition the composer introduces some musical
4224 ideas, consisting of a number of themes; in the development section the
4225 composer `develops' this material, and in the recapitulation the composer
4226 repeats the exposition, with certain modifications. The exposition contains a
4227 number of themes that fall into two groups, often called first and second
4228 subject. Other melodies occurring in each group are considered as
4229 continuations of these two. The second theme is in another key, normally in
4230 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4231 @aref{relative key} if the tonic is @aref{minor}.
4248 FI: sopraano, korkea naisääni.
4250 The highest female voice.
4255 ES: picado (staccato),
4257 F: staccato, piqué, détaché,
4262 FI: staccato, lyhyesti, terävästi.
4264 Playing the note(s) short. Staccato is indicated by a dot above or below the
4267 @lilypond[fragment,ragged-right]
4272 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4281 I: pentagramma, rigo (musicale),
4284 NL: (noten)balk, partij,
4289 A staff (pl. staves) is a series of (normally five) horizontal lines
4290 upon and between which the musical notes are written, thus indicating
4291 (in connection with a @aref{clef}) their pitch. Staves for
4292 @aref{percussion} instruments may have fewer lines.
4305 D: Hals, Notenhals, Stiel,
4311 Vertical line above or below a @aref{note head} shorter than a
4312 whole note. @aref{beam}.
4314 @lilypond[fragment,notime,line-width=13.0\cm]
4315 \set Score.autoBeaming = ##f
4316 \set Score.automaticBars = ##f
4317 %\override Score.TextScript #'font-style = #'large
4338 A family of stringed musical instruments played with a bow. Strings commonly
4339 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4342 @section strong beat
4347 D: betonter Taktteil oder Taktschlag,
4349 D: betonet taktslag,
4350 S: betonat taktslag,
4351 FI: tahdin vahva isku.
4353 @aref{beat}, @aref{accent}, @aref{measure},
4357 @section subdominant
4366 FI: subdominantti, alidominantti.
4368 The fourth @aref{scale degree}. @aref{functional harmony}.
4382 The sixth @aref{scale degree}.
4394 FI: subtoonika, alitoonika.
4396 The seventh @aref{scale degree}.
4399 @section superdominant
4410 The sixth @aref{scale degree}.
4424 The second @aref{scale degree}.
4432 D: Sinfonie, Symphonie,
4438 A symphony may be defined as a @aref{sonata} for orchestra.
4441 @section syncopation
4452 Any deliberate upsetting of the normal pulse of @aref{meter},
4453 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4454 rhythm rests upon the grouping of equal beats into groups of two or three,
4455 with a regularly recurrent accent on the first beat of each group. Any
4456 deviation from this scheme is felt as a disturbance or contradiction between
4457 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4459 @lilypond[fragment,ragged-right]
4464 e c'4 e,8 c'4 e,8 c' ( | c2)
4468 @node syntonic comma
4469 @section syntonic comma
4471 ES: coma sintónica,
4472 I: comma sintonico (o didimico),
4473 F: comma syntonique,
4474 D: syntonisches Komma,
4475 NL: syntonische komma,
4476 DK: syntonisk komma,
4477 S: syntoniskt komma,
4478 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4479 viritysjärjestelmässä.
4481 Difference between the natural third and the third obtained by Pythagorean
4482 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4494 FI: nuottijärjestelmä.
4496 The collection of staves @aref{staff}, two or more, as used for
4497 writing down of keyboard, chamber, choral, or orchestral music.
4500 @section temperament
4505 D: Stimmung, Tem@-pe@-ra@-tur,
4506 NL: stemming, temperatuur,
4509 FI: viritysjärjestelmä.
4511 Systems of tuning in which the intervals deviate from the acoustically pure
4512 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4514 @node tempo indication
4515 @section tempo indication
4517 ES: indicación de tempo,
4518 I: indicazione di tempo,
4519 F: indication de temps,
4520 D: Zeitmaß, Tempobezeichnung,
4521 NL: tempo aanduiding,
4526 The rate of speed of a composition or a section thereof, ranging from the
4527 slowest to the quickest, as is indicated by tempo marks as
4528 @aref{largo}, @aref{adagio}, @aref{andante},
4529 @aref{allegro}, and @aref{presto}.
4541 FI: tenori, korkea miesääni.
4543 The highest male voice (apart from @aref{counter tenor}).
4571 An indication that a particular note should be held for the whole
4572 length, although this can vary depending on the composer and era.
4588 @node thirty-second note
4589 @section thirty-second note
4595 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4596 NL: twee-endertig@-ste noot,
4597 DK: toogtredivtedelsnode,
4598 S: trettiotvåondelsnot,
4599 FI: kolmanneskymmeneskahdesosanuotti.
4603 @node thirty-second rest
4604 @section thirty-second rest
4606 ES: silencio de fusa,
4607 I: pausa di biscroma,
4608 F: huitième de soupir,
4609 UK: demisemiquaver rest,
4610 D: Zweiunddreissigstel@-pause,
4612 DK: toogtredivtedelspause,
4613 S: trettiotvåondelspaus,
4614 FI: kolmanneskymmeneskahdesosatauko.
4619 @section thorough bass
4622 I: basso continuo, basso numerato,
4624 D: Generalbass, bezifferter Bass,
4625 NL: basso continuo, becijferde bas
4628 FI: kenraalibasso, numeroitu basso.
4630 A method of indicating an accompaniment part by the bass notes only, together
4631 with figures designating the chief @aref{interval}s and
4632 @aref{chord}s to be played above the bass notes.
4634 @lilypond[fragment,line-width=13.0\cm]
4635 \context GrandStaff <<
4636 \context Staff = lh \relative c'' {
4640 << \context Voice = rha {
4643 \context Voice = rhb {
4645 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4649 \context Staff = rh \relative c' {
4652 es8 c d bes c as bes16 as g f | es4
4654 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4662 ES: ligadura de prolongación,
4663 I: legatura (di valore),
4666 NL: overbinding, bindingsboog,
4668 S: bindebåge, överbindning,
4671 A curved line, identical in appearance with the @aref{slur}, which
4672 connects two succesive notes of the same pitch, and which has the function of
4673 uniting them into a single sound (tone) equal to the combined durations.
4675 @lilypond[fragment,notime,ragged-right]
4676 \set Score.automaticBars = ##f
4677 \relative c'' { g2 ~ g4. }
4685 @node time signature
4686 @section time signature
4688 ES: cifra indicadora de compás,
4690 F: chiffrage (chiffres indicateurs), signe de valeur,
4691 D: Taktangabe, Angabe der Taktart,
4694 S: taktartssignatur,
4711 A sound of definite pitch and duration, as distinct from @emph{noise}.
4712 Tone is a primary building material of music.
4713 Music from the 20th century may be based on atonal sounds.
4727 The first @aref{scale degree}.
4728 @aref{functional harmony}.
4731 @section transposition
4742 Shifting a melody up or down in pitch, while keeping the same
4745 @lilypond[fragment,line-width=13.0\cm]
4750 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4755 @lilypond[fragment,line-width=13.0\cm]
4758 \transpose c bes \relative c'' {
4760 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
4766 @section treble clef
4769 I: chiave di violino,
4771 D: Violinschlüssel, Sopranschlüssel,
4773 DK:@w{ }diskantnøgle,
4791 On stringed instruments (@aref{strings}) the quick reiteration of
4792 the same tone, produced by a rapid up-and-down movement of the bow
4793 (a). The term is also used for the rapid alternation (b) between two notes of
4794 a @aref{chord}, usually in the distance of a third
4797 @lilypond[fragment,notime,ragged-right]
4798 \set Score.automaticBars = ##f
4799 %\override Score.TextScript #'font-style = #'large
4802 f:32 [ e8:16 f:16 g:16 a:16 ] s4
4803 \repeat "tremolo" 8 { e32_"b" g }
4812 F: triade, accord parfait, accord de trois sons,
4826 F: trille, tremblement, battement (cadence),
4836 @section triple meter
4838 ES: compás compuesto,
4842 NL: driedelige maatsoort,
4878 @section tuning fork
4881 I: diapason, corista,
4889 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
4890 give the international pitch for the tone @emph{a} (440 vibrations per
4917 FI: unisono, yksiäänisesti.
4919 Playing of the same notes or the same melody by various instruments (voices)
4920 or by the whole orchestra (choir), either at exactly the same pitch or in a
4926 ES: entrada anacrúsica,
4928 F: anacrouse, levée,
4935 Initial note(s) of a melody occurring before the first bar
4936 line. @aref{measure}, @aref{meter}.
4938 @lilypond[fragment,line-width=13.0\cm]
4942 \partial 4 f4 | bes4. a8 bes4 c |
4943 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
4956 FI: ääni, lauluääni.
4958 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
4959 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
4960 2.@tie{}A melodic layer or part of a polyphonic composition.
4966 I: tempo debole, arsi,
4968 D: unbetonter Taktteil oder Taktschlag,
4970 DK: ubetonet taktslag,
4971 S: obetonat taktslag,
4972 FI: tahdin heikko isku.
4974 @aref{beat}, @aref{measure}, @aref{rhythm}.
4983 D: Ganze, ganze Note,
4994 ES: silencio de redonda,
4995 I: pausa di semibreve,
4998 D: ganze Pause, ganztaktige Pause,
5018 The @aref{interval} of a major second. The interval between two
5019 tones on the piano keyboard with exactly one key between them -- including
5020 black and white keys -- is a whole tone.
5034 A family of blown wooden musical instruments. Today some of these instruments
5035 are actually made from metal. The woodwind instruments commonly used in a
5036 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5038 @node Duration names notes and rests
5039 @chapter Duration names, notes and rests
5042 @item DURATION NAMES, NOTES AND RESTS
5045 @multitable @columnfractions .15 .26 .33 .26
5050 @tab @strong{F (note name / rest name)}
5062 @item @strong{longa}
5077 @item @strong{breve}
5080 @tab brève / double-pause
5092 @item @strong{whole}
5102 @tab koko@-nuotti/@w{-tauko}
5110 @tab blanche / demi-pause
5117 @tab puoli@-nuotti/@w{-tauko}
5122 @item @strong{quarter}
5132 @tab neljännesosa@-nuotti/@w{-tauko}
5137 @item @strong{eighth}
5140 @tab croche / demi-soupir
5147 @tab kahdeksasosa@-nuotti/@w{-tauko}
5152 @item @strong{sixteenth}
5155 @tab double croche / quart de soupir
5162 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5167 @item @strong{thirty-second}
5170 @tab triple croche / huitième de soupir
5172 @tab Zweiunddreissigstel
5173 @tab tweeendertigste
5174 @tab toogtredivtedel
5176 @tab trettiotvåondel
5177 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5182 @item @strong{sixty-fourth}
5183 @tab hemidemisemiquaver
5185 @tab quadruple croche / seizième de soupir
5187 @tab Vierundsechzigstel
5188 @tab vierenzestigste
5189 @tab fireogtred@-sindstyvendedel
5191 @tab sextiofjärdedel
5192 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5196 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5199 @chapter Pitch names
5205 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5206 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5208 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5209 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5213 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5217 @item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab
5219 cis @tab cis @tab cis
5223 @item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab
5225 des @tab des @tab des
5229 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5233 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5237 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5241 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5246 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5252 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5256 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5258 ais @tab ais @tab ais
5262 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5268 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5273 @node Literature used
5274 @unnumbered Literature used
5277 @item The Harvard Dictionary of Music, London 1944. Many more or less
5278 literal quotes from its articles have been included into the item
5281 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5283 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5285 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5288 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
projects / lilypond.git / blob