2 @setfilename glossary.info
6 @c @everyheading @| @thispage @|
7 @c @evenheading @thispage @| @|
8 @c @oddheading @| @| @thispage @|
11 glossary by Christian Mondrup
13 spanish by David González <dgonzal@quanta.net.py>
24 @item UK - British English
34 @tex $\\Rightarrow$ @end tex
44 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
50 : la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
53 ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
55 The stress of one tone over others.
58 ES: alteración, I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
59 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
62 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
63 @c Akzidenz, NL: toevallig teken, I: accidento.
65 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
66 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
67 flat lowers it by a whole tone. A natural cancels the effect of a previous
73 \property Score.barNonAuto = ##t
74 \property Voice.TextScript \set #'font-style = #'large
77 gisis1_"db. sharp" s s2
79 geses1_"db. flat" s s2
84 ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
85 NL: accelerando, DK: accelerando, S: accelerando, N:
91 ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
94 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
95 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
96 movement in slow tempo, esepecially the scond (slow) movement of
97 @w{@ar{}@strong{sonata}s}, symphonies etc.
100 ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
101 DK: allegro, S: allegro, N: allegro.
103 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
104 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
107 ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
109 A female voice of low range (@emph{contralto}). Originally the alto was a high
110 male voice (hence the name) which by the use of falsetto reached the height of
111 the female voice. This type of voice is also known as @w{@ar{}@strong{counter
115 ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
116 Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
118 C clef setting central C on the middle line of the staff
119 @w{@ar{}@strong{C clef}}
121 @item ancient minor scale
122 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
123 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
128 \property Score.barNonAuto = ##t
129 \notes\relative c'' {
134 ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
137 walking tempo/character
140 ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag,
141 DK: forslag, S: f@"orslag, N:
143 Ornamental note, usually a second, that is melodically connected with the main
144 note that follows it. In music before the 19'th century a. were usually
145 performed on the beat, after that mostly before the beat. While the short
146 a. is performed as a short note regardless of the duration of the main note
147 the duration of the long a. is proportionate to that of the main note.
153 %\property Voice.textNonEmpty = ##f
154 \property Voice.TextScript \set #'font-style = #'large
155 \notes\relative c'' {
158 <d4_"notation" a fis> r
159 { \property Grace.Stem \override #'flag-style = ##f
162 { \property Grace.Stem \override #'flag-style = ##f
164 g8 fis16 g | a4 \bar "||"; }
165 \notes\relative c'' {
166 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
169 An appoggiatura may have more notes preceding the main note.
175 \property Voice.TextScript \set #'font-style = #'large
176 \notes\relative c'' {
179 \grace { bes16 } as8_"notation" as16 bes as8 g |
180 \grace { [as16 ( bes] } < ) c4 as >
181 \grace { [as16 ( bes] } < ) c4 as > \bar "||";
182 \grace { bes16 } as8_"performance" as16 bes as8 g |
183 < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. }
184 \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } >
190 ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
191 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
196 \notes \context PianoStaff <
197 \context Staff = SA \relative c'' {
200 r8 g16 c e g, c e r8 g,16 c e g, c e |
201 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
202 \context Staff = SB \relative c' {
204 < \context Voice = va {
206 r16 e8. () e4 r16 e8. () e4 |
207 r16 d8. () d4 r16 d8. () d4 }
208 \context Voice = vb {
215 @item ascending interval
216 ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
217 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
219 A distance between a starting lower note and a higher ending note.
221 @item augmented interval
222 ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
223 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
224 @"overstigande intervall, N:
226 @w{@ar{}@strong{interval}}
229 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
230 h@aa{}ndskrift, autograf, S: handskrift, N: .
232 1. A manuscript in the composer's own hand. 2. Music prepared for
233 photoreproduction by freehand drawing, with only the aid of a
234 straightedge ruler and T-square, which attempts to emulate
235 engraving. This required more skill than did engraving.
238 ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
240 @item backfall; forefall
241 @w{@ar{}@strong{appoggiatura}}
244 ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
245 maatstreep, DK: taktstreg, S: taktstreck, N:
248 ES: compás, @w{@ar{}@strong{measure}}
251 ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
254 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
255 @w{@ar{}@strong{tenor}}.
258 ES: clave de fa en tercera
259 I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
260 ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
263 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
264 @w{@ar{}@strong{f clef}}
267 ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
268 bassleutel, DK: basn@o{}gle, S: basklav, N:
270 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
274 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
276 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
277 an abbreviation for double bass @w{@ar{}@strong{strings}}.
280 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
282 Line connecting a series of notes (shorter than a quarter note). The number of
283 beams determine the note value of the connected notes.
288 \property Score.barNonAuto = ##t
290 \property Voice.TextScript \set #'font-style = #'large
291 \notes\relative c'' {
293 [g16_"1/16" g g g] s16
294 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
295 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
299 ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
302 Note value used for counting, most often half-, fourth- and eighth notes. The
303 base counting value and the number of them per measure is indicated at the
311 \notes\relative c'' { g4 c b a | g1 \bar "||";}
313 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
317 @w{@ar{}@strong{tie}}
321 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
322 accolade, teksthaak, DK: klamme, S: klammer, N:
324 Symbol at the start of a system connecting staffs. Curly braces are used
325 for connecting piano staves, angular brackets for connecting parts in an
326 orchestral or choral score.
329 \notes\context GrandStaff <
330 \relative c''\context Staff = SA { \clef treble; g4 e c2 }
331 \relative c \context Staff = SB { \clef bass; c1 \bar "|."; } >
335 \context StaffGroup <
336 % \property StaffGroup.minVerticalAlign = 12
337 \notes\relative c'' \context Staff = SA { \clef treble; g4 e c2 }
338 \notes\relative c \context Staff = SB { \clef bass; c1 \bar "|."; } >
342 ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
343 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
345 A family of blown musical instruments made of brass all using a cup formed
346 mouth piece. The brass instruments commonly used in a symphony orchestra are
347 trumpet, trombone, french horn and tube.
350 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
351 repercussieteken, DK:
352 vejrtr@ae{}kningstegn, S: andningstecken, N: .
354 Indication of where to breathe in vocal and wind instrument parts.
357 ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
359 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
365 \property Score.barNonAuto = ##t
366 \notes\relative c'' { g\breve }
370 ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
373 ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
374 c-n@o{}gle, S: c-klav, N:
376 Clef symbol indicating the position of the central C. Used on all note
382 \property Score.barNonAuto = ##t
383 \property Score.Clef \override #'full-size-change = ##t
384 \property Score.LyricText \set #'font-style = #'large
386 \context Staff \notes\relative c' {
388 \clef mezzosoprano; c
393 \context Lyrics \lyrics {
394 Soprano Mezzosoprano Alto Tenor Baritone
399 ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
401 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
404 ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
406 An extended, improvisatory style section inserted near the end of
407 movement. The purpose of a cadenza is to give the singer or player a chance to
408 exhibit her technichal skill and not the least her ability to improvise. Since
409 the middle of the 19'th century, however, most cadences have been written down
413 ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
415 @w{@ar{}@strong{counterpoint}}
418 ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
420 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
421 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
424 @w{@ar{}@strong{middle C}}
427 ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
429 Three or more tones sounding simultaneously. In traditional European music the
430 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
431 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
432 chords may be extended with more thirds. Four- @emph{seventh chords} and five
433 tone @emph{ninth} major chords are most often used as dominants
434 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
435 third above the lower notes to define their quality as major or minor. Such
436 chords are denoted open chords
441 \property Score.barNonAuto = ##t
442 \property Voice.textNonEmpty = ##t
443 \property Voice.TextScript \set #'font-style = #'large
445 \notes\relative c'' {
448 <g_"dimished" bes des>
449 <g_"augmented~" b dis>
450 <g_"seventh-chord~" b d f>
451 <g_"ninth-chord" b d f a> s s2
455 @item chromatic scale
456 ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
457 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
459 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
464 \property Score.barNonAuto = ##t
465 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
469 ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
472 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
474 @item church mode; ecclesiastical mode ES: modo eclesiástico, I: modo
475 ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
476 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
478 @w{@ar{}@strong{diatonic scale}}
481 ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
482 sleutel, DK: n@o{}gle, S: klav, N:
484 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
487 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
489 Difference in pitch between a note derived from pure tuning and the same note
490 derived from some other tuning method. @w{@ar{}@strong{temperament}}
493 @w{@ar{}@strong{meter}}
495 @item compound interval
496 ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
497 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
499 Intervals larger than an octave
501 @w{@ar{}@strong{interval}}
504 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
505 complementair interval, DK: komplement@ae{}rinterval, S:
506 komplement@"arintervall (?), N:
508 @w{@ar{}@strong{inverted interval}}
510 @item conjunct movement
511 ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
512 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
514 Melody moving in the narrow steps of the scale;
519 \key g \major; \time 4/4;
520 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
524 ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
527 @w{@ar{}@strong{harmony}}
530 ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
532 @w{@ar{}@strong{alto}}
535 ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
536 kontrapunkt, S: kontrapunkt, N: .
538 From latin @emph{punctus contra punctum}, note against note. The combination
539 into a single musical fabric of lines or parts which have distinct melodic
540 significance. A frequently used polyphonic technique is imitation, in its
541 strictest form found in the canon needing only one part to be written down
542 while the other parts are performed with a given displacement. Imitation is
543 also the contrapuntal technique used in the @emph{fugue} which, since the
544 music of the baroque era, has been one of the most popular polyphonic
550 \property Score.TimeSignature \override #'style = #'C2/2
551 \notes\context PianoStaff <
552 \context Staff = SA \relative c' {
556 < \context Voice = rha {
558 r1 | r2 r8 g'8 bes d, |
559 cis4 d r8 e!16 f g8 f16 e |
560 f8 g16 a bes8 a16 g a8
562 \context Voice = rhb {
568 \context Staff = SB \relative c' {
571 < \context Voice = lha {
573 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
574 r8 a16 g f8 g16 a bes8 g e! cis' |
577 \context Voice = lhb {
586 ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
587 kontratenor, S: kontratenor, counter tenor, N: kontratenor
589 @w{@ar{}@strong{contralto}}
592 A music copyist did fast freehand scores and parts on preprinted staff lines
593 for performance. Some of their conventions (e.g.: the placement of noteheads
594 on stems) varied slightly from those of engravers. Some of their working
595 methods were superior and could well be adopted by music typesetters. This
596 required more skill than engraving.
599 ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
600 crescendo, S: crescendo, N:@w{ }crescendo.
602 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
603 abbreviation "cresc.".
608 \key g \major; \time 4/4;
609 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
613 ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
614 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
616 In a separate part notes belonging to another part with the purpose of hinting
617 when to start playing. Usually printed in a smaller type.
620 ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
623 ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
624 capo, DK: da capo, S: da capo, N: .
626 The term indicates repetition of the piece from the beginning to the end or to
627 a certain place marked @emph{fine}. Mostly abbreviated D.C.
630 ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
631 dal segno, S: dal segno, N: .
633 abbreviated d.s. Repetition, not from the beginning, but from another place
634 frequently near the beginning marked by a sign:
639 \property Voice.TextScript \set #'font-style = #'large
640 \key g \major; \time 4/4;
641 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
645 ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
646 decrescendo, N: decrescendo
648 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
649 or the abbreviation "decresc.".
654 \context Staff \notes\relative c'' {\key g \major; \time 4/4;
655 d4 \> c b a | \! g1 \bar "|."; }
658 @item descending interval
659 ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
660 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
661 fallande intervall, N:
663 An distance between a starting higher note and a lower ending note.
666 ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
667 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
669 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
670 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
671 keybord are diatonic.
673 The church modes are used in gregorial chant and pre baroque early music but
674 also to some extent in newer jazz music.
680 \property Score.barNonAuto = ##t
681 \property Lyrics.LyricText \set #'font-style = #'large
682 \property Voice.TextScript \set #'font-style = #'large
686 \property Voice.TextScript \set #'padding = #-10
688 \property Voice.TextScript \set #'padding = #-4
690 \context Lyrics \lyrics { Ionian }
695 \property Score.barNonAuto = ##t
696 \property Lyrics.LyricText \set #'font-style = #'large
697 \property Voice.TextScript \set #'font-style = #'large
701 \property Voice.TextScript \set #'padding = #-10
704 \property Voice.TextScript \set #'padding = #-4
706 \context Lyrics \lyrics { Dorian }
711 \property Score.barNonAuto = ##t
712 \property Lyrics.LyricText \set #'font-style = #'large
713 \property Voice.TextScript \set #'font-style = #'large
716 \property Voice.TextScript \set #'padding = #-10
719 \property Voice.TextScript \set #'padding = #-4
721 \context Lyrics \lyrics { Phrygian }
726 \property Score.barNonAuto = ##t
727 \property Lyrics.LyricText \set #'font-style = #'large
728 \property Voice.TextScript \set #'font-style = #'large
732 \property Voice.TextScript \set #'padding = #-4
734 \property Voice.TextScript \set #'padding = #0
736 \context Lyrics \lyrics { Lydian }
741 \property Score.barNonAuto = ##t
742 \property Lyrics.LyricText \set #'font-style = #'large
743 \property Voice.TextScript \set #'font-style = #'large
745 \notes\relative c'' {
747 \property Voice.TextScript \set #'padding = #-4
749 \property Voice.TextScript \set #'padding = #0
751 \context Lyrics \lyrics { Mixolydian }
756 \property Score.barNonAuto = ##t
757 \property Lyrics.LyricText \set #'font-style = #'large
758 \property Voice.TextScript \set #'font-style = #'large
760 \notes\relative c'' {
762 \property Voice.TextScript \set #'padding = #-4
764 \property Voice.TextScript \set #'padding = #0
766 \context Lyrics \lyrics { Aeolian }
769 From the beginning of the 17th century the scales used in European
770 compositional music are primarily the major and the minor scales. In the
771 harmonic minor scale type an augmented second (A) occurs between the 6th and
776 \property Score.barNonAuto = ##t
777 \property Lyrics.LyricText \set #'font-style = #'large
778 \property Voice.TextScript \set #'font-style = #'large
782 \property Voice.TextScript \set #'padding = #-10
784 \property Voice.TextScript \set #'padding = #-4
786 \context Lyrics \lyrics { Major }
791 \property Score.barNonAuto = ##t
792 \property Lyrics.LyricText \set #'font-style = #'large
793 \property Voice.TextScript \set #'font-style = #'large
795 \notes\relative c'' {
797 \property Voice.TextScript \set #'padding = #-4
799 \property Voice.TextScript \set #'padding = #0
801 \context Lyrics \lyrics { "ancient minor" }
806 \property Score.barNonAuto = ##t
807 \property Lyrics.LyricText \set #'font-style = #'large
808 \property Voice.TextScript \set #'font-style = #'large
810 \notes\relative c'' {
812 \property Voice.TextScript \set #'padding = #-4
814 \property Voice.TextScript \set #'padding = #0
816 \property Voice.TextScript \set #'padding = #1
820 \context Lyrics \lyrics { "Harmonic minor" }
825 \property Score.barNonAuto = ##t
826 \property Lyrics.LyricText \set #'font-style = #'large
827 \property Voice.TextScript \set #'font-style = #'large
829 \notes\relative c'' {
831 \property Voice.TextScript \set #'padding = #-4
833 \property Voice.TextScript \set #'padding = #0
835 \property Voice.TextScript \set #'padding = #-1
837 \property Voice.TextScript \set #'padding = #-4
840 \context Lyrics \lyrics { "Melodic minor" }
843 @item diminished interval
844 ES: intervalo disminuído, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
845 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
848 @w{@ar{}@strong{interval}}
851 ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
852 S:@w{ }diminuendo, N:@w{ }diminuendo.
854 @w{@ar{}@strong{decrescendo}}
856 @item disjunct movement
857 ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
858 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
861 Melody moving in steps greater than those of the
862 scale. Opposite of @ar{}@strong{conjunct movement}.
870 \partial 8; e8 | a4. gis8 b a e cis |
871 fis2 d4. \bar "||"; }
874 @item dissonant interval; dissonance
875 ES: intervalo disonante, disonancias,
876 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
877 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
880 @w{@ar{}@strong{harmony}}
882 @item dominant ninth chord
883 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
884 Dominantnoneakkord, NL: dominant noon akkoord, DK:
885 dominantnoneakkord, S: dominantnonackord, N: .
887 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
889 @item dominant seventh chord
890 ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
891 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
892 dominantseptimackord, N:
894 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
897 ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
900 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
903 ES: modo dórico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
904 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
906 @w{@ar{}@strong{diatonic scale}}
908 @item dot (augmentation dot)
909 ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
912 @w{@ar{}@strong{dotted note}}
915 ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
916 DK: punkteret node, S: punkterad not, N:
918 @w{@ar{}@strong{note value}}
920 @item double appoggiatura
921 ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
922 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
924 @w{@ar{}@strong{appoggiatura}}
926 @item double bar line
927 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
928 dobbeltstreg, S: dubbelstreck, N: .
930 Indicates the end of a section within a movement.
932 @item double dotted note
933 ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
934 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
935 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
937 @w{@ar{}@strong{note value}}
941 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
942 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
944 @w{@ar{}@strong{accidental}}
947 ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
948 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
950 @w{@ar{}@strong{accidental}}
953 ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
954 dobbelttrille, S: dubbeldrill, N: .
956 A simultaneous trill on two notes, usually in the distance of a third.
959 ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
960 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
962 @w{@ar{}@strong{meter}}
965 ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
967 @w{@ar{}@strong{note value}}
970 ES: duración, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
973 @w{@ar{}@strong{note value}}
976 @w{@ar{}@strong{syntonic comma}}
979 ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
982 ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
983 ottendedelsnode, S: @aa{}ttondelsnot, N: .
985 @w{@ar{}@strong{note value}}
988 ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
989 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
991 @w{@ar{}@strong{note value}}
994 ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
997 Engraving means incising or etching a metal plate for
998 printing. Photoengraving means drawing music with ink in a manner
999 similar to drafting or engineering drawing, using similar tools.
1001 The traditional process of music printing is done through cutting in a
1002 plate of metal. Now also the term for the art of music typesetting.
1005 ES: enharmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
1006 enharmonisk, S: enharmonisk, N: .
1008 Two notes, intervals, or scales are enharmonic if they have different names
1013 \property Score.barNonAuto = ##t
1014 \property Voice.TextScript \set #'font-style = #'large
1015 \notes\relative c'' {
1016 gis1_"g sharp" s as1_"a flat" s s
1017 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1021 @item equal temperament
1022 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1023 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1024 temperatur, S: liksv@"avande temperatur, N: .
1026 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1027 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1029 @item expression mark
1030 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1031 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1032 f@"oredragsbeteckning, N: .
1034 Performance indications concerning 1. volume, dynamics (for example
1035 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1036 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1039 ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1042 ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1043 F-n@o{}gle, S: f-klav, N: .
1045 The position between the dots of the key symbol is the line of the F below
1046 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1047 clef symbol indicates that the notes must be played an octave higher (for
1048 example bass recorder) while 8 below the clef symbol indicates playing an
1049 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1053 \property Score.barNonAuto = ##t
1054 \property Staff.Clef \override #'full-size-change = ##t
1055 \property Lyrics.LyricText \set #'font-style = #'large
1070 \context Lyrics \lyrics {
1080 ES: Calderón, I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1082 Prolonged note or rest of indefinite duration.
1087 \notes\relative c'' {
1088 a4 b c2^\fermata \bar "|."; }
1092 ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1095 @w{@ar{}@strong{interval}}
1098 ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
1101 ES: digitación, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1102 fingers@ae{}tning, S: fingers@"attning, N: .
1104 The methodical use of fingers in the playing of instruments.
1108 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1109 DK: fane, S: flagga, N: .
1111 Ornament at the end of the stem of a note used for notes with values less than
1112 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1116 \property Score.barNonAuto = ##t
1118 \property Voice.TextScript \set #'font-style = #'large
1119 \notes\relative c'' {
1127 ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1129 @w{@ar{}@strong{accidental}}
1131 @item forefall; backfall
1132 @w{@ar{}@strong{appoggiatura}}
1135 ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1137 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1138 @emph{mezzoforte} (@b{mf}) medium loud.
1141 ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1143 @w{@ar{}@strong{interval}}
1146 ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1148 @w{@ar{}@strong{counterpoint}}
1150 @item functional harmony
1151 ES: armonía funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1152 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1154 A system of harmonic analysis. It is based on the idea that, in a given key,
1155 there are only three functionally different chords: tonic (T, the chord on the
1156 first note of the scale), subdominant (S, the chord on the fourth note) and
1157 dominant (D, the chord on the fifth note). Other are considered to be variants
1164 \property Score.barNonAuto = ##t
1165 \property Lyrics.LyricText \set #'font-style = #'large
1166 \property Voice.TextScript \set #'font-style = #'large
1168 \notes\relative c'' {
1169 < g1 e c > < a f d > < b g e >
1170 < c a f > < d b g > < e c a > < f d b > }
1171 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1175 ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1178 ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1179 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1181 A clef symbol indicating the G above central C. Used on the first and second
1182 note lines. A digit 8 above the clef symbol indicates that the notes must be
1183 played an octave higher while 8 below the clef symbol indicates playing or
1184 singing an octave lower (most tenor parts in choral scores are notated like
1190 \property Score.barNonAuto = ##t
1191 \property Staff.Clef \set #'full-size-change = ##t
1192 \property Lyrics.LyricText \set #'font-style = #'large
1194 \notes\relative c'' {
1204 \context Lyrics \lyrics {
1205 "french violin clef"
1213 ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1214 glissando, N: glissando.
1216 Letting the pitch slide fluently from one note to the other
1219 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1220 NL: versieringen, DK: forsiringer, S: ornament, N: .
1222 Notes printed in small types to indicate that their time values are not
1223 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1226 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1227 S: ackolad, b@"ojd klammer, N: .
1229 @w{@ar{}@strong{brace}}
1231 A combination of two staffs with a brace. Usually used for piano music.
1234 ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1240 ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1241 halvnode, S: halvnot, N: .
1243 @w{@ar{}@strong{note value}}
1246 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1247 rust, DK: halvnodespause, S: halvpaus, N: .
1249 @w{@ar{}@strong{note value}}
1251 @item harmonic cadence
1252 ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1253 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1255 Sequence of chords that terminate a musical phrase or
1256 section. @ar{}@w{}@strong{functional harmony}
1261 \notes\context PianoStaff <
1262 \context Staff = SA \relative c'' {
1265 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1266 \property Lyrics.LyricText \set #'font-style = #'large
1268 \context Staff = SB \relative c {
1270 \partial 4; c4 | f, g c2
1272 \context Lyrics \lyrics { T S D T } >
1276 ES: armonía , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1277 samklang, S: samklang, N:
1279 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1280 @emph{consonances} and @emph{dissonances}.
1287 \property Score.barNonAuto = ##t
1288 \property Voice.TextScript \set #'font-style = #'large
1289 \notes\relative c'' {
1296 <g1_"decime" b'> s s
1305 \property Score.barNonAuto = ##t
1306 \property Voice.TextScript \set #'font-style = #'large
1307 \notes\relative c'' {
1314 Three note harmony @w{@ar{}@strong{chord}}
1317 ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1320 Music in which one voice leads melodically followed by the other voices more
1321 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1324 ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1327 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1328 diminished or augmented. The augmented fourth and the diminished fifth are
1329 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1330 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1336 \property Score.barNonAuto = ##t
1337 \property Score.LyricText \set #'font-style = #'large
1338 \property Score.TextScript \set #'font-style = #'large
1340 \context Staff \notes\relative c'' {
1345 < gis^"dimin" bes > s
1346 < g!^"minor" bes > s
1350 \context Lyrics \lyrics {
1351 unisone second second second third third third third }
1357 \property Score.barNonAuto = ##t
1358 \property Score.LyricText \set #'font-style = #'large
1359 \property Score.TextScript \set #'font-style = #'large
1361 \context Staff \notes\relative c'' {
1362 < g1^"perfect" c > s
1364 < g^"perfect" d' > s
1366 < gis^"dimin" es' > s
1367 < g!^"minor" es' > s
1371 \context Lyrics \lyrics {
1372 fourth fourth fifth fifth sixth sixth sixth sixth }
1378 \property Score.barNonAuto = ##t
1379 \property Score.LyricText \set #'font-style = #'large
1380 \property Score.TextScript \set #'font-style = #'large
1382 \context Staff \notes\relative c'' {
1383 < gis1^"dimin" f'! > s
1384 < g!^"minor" f'! > s
1385 < g^"major" fis' > s
1389 < g^"minor" bes' > s
1392 \context Lyrics \lyrics {
1393 seventh seventh seventh octave none none decime decime }
1396 @item inverted interval
1397 ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1398 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1400 The difference between an interval and an octave.
1405 \property Score.barNonAuto = ##t
1406 \property Score.TextScript \set #'font-style = #'large
1407 \context Staff \notes\relative c'' {
1408 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1409 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1410 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1414 @item just intonation
1415 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1416 stemming, DK: ren stemning, S: ren st@"amning, N: .
1418 Tuning system in which the notes are obtained by adding and subtracting
1419 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1422 ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1425 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1426 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1429 ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1430 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1431 S: tonartssignatur, N: .
1433 The sharps or flats appearing at the beginning of each staff indicating the
1434 key of the music. @w{@ar{}@strong{accidental}}
1437 ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1440 Very slow in tempo, usually combined with great
1441 expressiveness. @emph{Larghetto} less slow than largo.
1444 ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1447 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1448 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1449 upwards) to the tonic scale degree.
1451 @item ledger line; leger line
1453 ES: líneas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1454 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1456 A ledger line is an extension of the staff.
1461 \property Score.barNonAuto = ##t
1462 \notes\relative c'' { a,1 s c'' }
1466 ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1469 To be performed without any perceptible interruption between the notes (a)
1470 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1471 @w{@ar{}@strong{staccato}} (d)
1476 \property Score.barNonAuto = ##t
1478 \property Lyrics.LyricText \set #'font-style = #'large
1480 \notes\relative c'' {
1482 c4-- d-- e-- \bar "||";
1483 c4-.( d-. )e-. \bar "||";
1484 c4-. d-. e-. \bar "||";
1486 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1490 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1493 ES: estanque de lilas,
1494 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1495 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1497 A pond with lilies floating in it, also the name of a music typesetter.
1500 ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1503 @w{@ar{}@strong{staff}}
1505 @item long appoggiatura
1506 ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1507 forslag, S: l@aa{}ngt f@"orslag, N: .
1509 @w{@ar{}@strong{appoggiatura}}
1512 ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1514 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1519 \property Score.barNonAuto = ##t
1520 \notes\relative c'' {
1521 \property Voice.NoteHead \set #'style = #'mensural
1526 @item major interval
1527 ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1528 groot interval, DK: stort interval, S: stort intervall, N: .
1530 @w{@ar{}@strong{interval}}
1533 ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1535 @w{@ar{}@strong{diatonic scale}}
1537 @item meantone temperament
1538 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1539 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1541 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1542 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1543 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1544 tuning keyboard instruments for performance of pre-1650 music.
1547 ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1549 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1550 bears an accent. Such groups in numbers of two or more recur consistently
1551 throughout the composition and are marked from each other by
1552 bar-lines. @w{@ar{}@strong{meter}}
1555 ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1558 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1559 a third from that of another chord. For example the tonic chord may be
1560 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1561 harmony}} @w{@ar{}@strong{relative key}}.
1563 @item melodic cadence
1565 @w{@ar{}@strong{cadenza}}
1568 ES: compás, I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1571 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1572 which remains unaltered throughout a composition or a section of it. For
1573 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1574 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1575 those. According to whether there are two, three or four units to the measure,
1576 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1577 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1582 \notes\relative c'' {
1585 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1589 \notes\relative c' {
1592 f8 f f f a16 g a f |
1593 c'8 c c c e16 d e c \bar "||";}
1597 \notes\relative c'' {
1600 d4 b8 g b d d c a4 |
1601 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1605 ES: metrónomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1606 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1608 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1611 @item metronomic indication
1612 ES: indicación metronómica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1613 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1615 Exact tempo indication (in beats per minute). Also denoted by
1616 M.M. (M@"alzel's Metronom)
1619 ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1620 mezzosopran, S: mezzosopran, N: mezzosopran.
1622 The female voice between @w{@ar{}@strong{soprano}} and
1623 @w{@ar{}@strong{contralto}}.
1626 ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1627 enstreget c, S: ettstruket c, N:
1629 First C below the 440 Hz A.
1634 \property Score.barNonAuto = ##t
1635 \property Staff.Clef \set #'full-size-change = ##t
1636 \notes\relative c' {
1643 @item minor interval
1644 ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1645 interval, DK: lille interval, S: litet intervall, N: .
1647 @w{@ar{}@strong{interval}}
1650 ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1652 @w{@ar{}@strong{diatonic scale}}
1655 ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1657 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1660 ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1663 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1664 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1665 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1669 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1672 @w{@ar{}@strong{ornament}}
1676 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1678 The briefest intelligible and self-contained fragment of a musical theme or
1684 \property Score.TimeSignature \override #'style = #'C2/2
1686 \property Voice.TextScript \set #'font-style = #'large
1687 \notes\relative c'' {
1690 \partial 8; g16_"------" fis |
1691 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1692 g8 g,16 a b8 cis d16 s
1697 ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1699 Greater musical works like @w{@ar{}@strong{symphony}} and
1700 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1701 independant pieces called movements.
1704 ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1705 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1710 \notes\relative c'' {
1712 \property Score.skipBars=##t R1*3
1716 @item mixolydian mode
1717 @w{@ar{}@strong{diatonic scale}}
1720 ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1721 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1723 @w{@ar{}@strong{accidental}}
1725 @item neighbour tones
1726 @w{@ar{}@strong{appoggiatura}}
1729 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1731 @w{@ar{}@strong{interval}}
1734 @w{@ar{}@strong{legato}}
1737 ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1739 Notes are signs by means of which music is fixed in writing. The term is also
1740 used for the sound indicated by a note, and even for the key of the piano
1741 which produces the sound. However, a clear distinction between the terms tone
1742 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1746 ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1747 nootballetje, DK: nodehovede, S: nothuvud, N: .
1749 A head like sign which indicates pitch by its position on a
1750 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1751 by a variety of shapes such as hollow or black heads with or without
1752 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1753 instruments (often having no defined pitch) the note head may indicate the
1757 ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1758 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1760 Note values (durations) are measured as fractions, normally 1/2, of the next
1761 higher note value. The longest duration normally used is called @emph{brevis},
1762 but sometimes (mostly in pre baroque music) the double length note value
1763 @emph{longa} is used.
1768 \property Voice.TextScript \set #'font-style = #'large
1769 \property Score.barNonAuto = ##t
1770 \notes\relative c'' {
1771 \property Voice.NoteHead \override #'style = #'mensural
1772 g\longa_"longa" g\breve_"breve"
1773 \property Voice.NoteHead \revert #'style
1774 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1775 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1779 \property Voice.TextScript \set #'font-style = #'large
1780 \property Score.barNonAuto = ##t
1781 \notes\relative c'' {
1782 r\longa_"longa" r\breve_"breve"
1783 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1784 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1787 An augmentation dot after a note multiplies the duration by one and a
1788 half. Another dot adds yet a fourth of the duration.
1794 \property Voice.TextScript \set #'font-style = #'large
1795 \notes\relative c'' {
1797 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1798 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1801 Alternatively note values may be subdivided by other ratios. Most common is
1802 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1803 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1809 \property Voice.TextScript \set #'font-style = #'large
1811 \notes\relative c'' {
1813 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1814 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1816 \times 3/2 {g4_"duplets" g} |
1818 \times 6/4 {g8_"quadruplets" g g g} |
1819 g8 g g g g4 \bar "||";}
1826 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1829 ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1831 @w{@ar{}@strong{interval}}
1833 @item ornament; embellishment; accessory
1835 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1836 NL: versiering, DK: forsiring, S: ornament, N: .
1838 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1839 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1840 middle of the 19th century and onwards the trill is performed with the main
1841 note first while in the music from the preceding baroque and classic periods
1842 the upper note is played first.
1846 \context Staff = sa {
1848 \property Voice.TextScript \set #'font-style = #'large
1849 \notes\relative c'' {
1850 c2._"pre-1850" b4\trill | c1 \bar "||";
1851 c2._"post-1850" b4\trill | c1 \bar "||";
1854 \notes\relative c'' {
1855 c2. c32 b c b c b c b | c1
1856 c2. b32 c b c \times 4/5 { b c b c b } | c1
1861 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1862 @emph{prall} (inverted mordent).
1868 \context Staff = sa {
1870 \property Voice.TextScript \set #'font-style = #'large
1871 \notes\relative c'' {
1872 a4_"turn" b\turn c2 \bar "||";
1873 g4_"mordent" a b\mordent a \bar "||";
1874 e'4_"prall" d\prall c2 \bar "||";
1877 \notes\relative c'' {
1880 e'4 [e8 ~ e32 d e d] c2
1885 @w{@ar{}@strong{appoggiatura}}
1888 ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1890 Ossia (otherwise) marks an alternative. It is an added staff or piano
1891 score, usually only a few measures long, which presents another version
1892 of the music, for example for small hands.
1895 ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1897 1. In instrumental or choral music the music for the single instrument
1898 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1899 melodic line of the contrapuntal web.
1902 ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1905 A family of musical instruments which are played on by striking or
1906 shaking. Percussion instruments commonly used in a symphony orchestra are
1907 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1908 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1911 @item perfect interval
1912 ES: intervalo justo,
1913 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1914 interval, DK: rent interval, S: rent intervall, N: .
1916 @w{@ar{}@strong{interval}}
1919 ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1921 A natural division of the melodic line, comparable to a sentence of speech.
1924 ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1927 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1928 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1931 ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1933 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1934 @emph{mezzopiano} (@b{mp}) medium soft.
1937 ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1941 ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1942 pizzicato, S: pizzicato.
1944 Play by plucking the strings.
1947 ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1950 Music written in a combination of several simultaneous voices (parts) of a
1951 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1954 @w{@ar{}@strong{legato}}
1957 ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1958 presto, S: presto, N: .
1960 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1961 denotes the highest possible degree of speed.
1963 @item Pythagorean comma
1964 ES: coma pitagórico,
1965 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1966 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1968 A sequence of fifths starting on C eventually circles back to C, but this C,
1969 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1970 obtained by adding 7 octaves. The difference between those two pitches is
1971 called the Pythagorean comma.
1974 ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1977 @w{@ar{}@strong{note value}}
1980 ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1981 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1983 @w{@ar{}@strong{note value}}
1986 ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1987 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1989 @w{@ar{}@strong{note value}}
1992 ES: quintillo, I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S:
1995 @w{@ar{}@strong{note value}}
1998 ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1999 rallentando, S: rallentando, N: rallentando.
2001 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
2004 ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
2005 paralleltoneart, S: parallelltonart, N: .
2007 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
2008 the same @w{@ar{}@strong{signature}}.
2014 \property Score.barNonAuto = ##t
2015 \property Voice.TextScript \set #'font-style = #'large
2016 \notes\relative c' {
2018 es1_"e flat major" f g as bes c d es
2021 c,1_"c minor" d es f g a! b! c \bar "||";
2026 ES: barra de repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2027 gen@-ta@-gel@-se, S: repris, N: .
2034 \notes\relative c'' {
2035 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2040 ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2042 @w{@ar{}@strong{note value}}
2045 ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2047 (a) metrical rhythm in which every time value is a multiple or fraction of a
2048 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2049 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2050 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2051 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2052 accent. In modern notation such music appears as a free alternation of
2053 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2054 common metrical unit (beat).
2057 ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2058 ritardando, S: ritardando, N: .
2060 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2063 ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2066 Immediate reduction of speed.
2069 ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2071 @w{@ar{}@strong{diatonic scale}}
2074 ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2075 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2077 Names and symbols used in harmonic analysis to denote tones of the scale as
2078 roots of chords. The most important are degrees I = tonic (T), IV =
2079 sub@-do@-mi@-nant (S) and V = dominant (D).
2085 \property Score.barNonAuto = ##t
2086 \property Lyrics.LyricText \set #'font-style = #'large
2087 %\property Lyrics.minVerticalAlign = 8
2089 \notes\relative c' {
2091 \context Lyrics \lyrics {
2092 < { I II III IV V VI VII I }
2097 @w{@ar{}@strong{functional harmony}}
2100 ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2103 A copy of orchestral, choral or chamber music showing what each instrument is
2104 to play, each voice to sing, having each part arranged one underneath the
2105 other on different @w{@ar{}@strong{stave}}s.
2108 ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2110 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2111 @w{@ar{}@strong{diatonic scale}} consists of alternating
2112 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2113 of a se@-cond depends on the scale degrees in question.
2116 ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2119 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2120 interval in European composed music. The interval between two neighbouring
2121 tones on the piano keyboard - including black and white keys - is a
2122 semitone. An octave may be divided into 12
2123 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2128 \property Score.barNonAuto = ##t
2129 \notes\relative c'' { g1 gis s a bes s b c }
2133 ES: séptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2135 @w{@ar{}@strong{interval}}
2137 @item sextuplet, sextolet
2138 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2141 @w{@ar{}@strong{note value}}
2144 ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2146 @w{@ar{}@strong{accidental}}
2148 @item short appoggiatura
2149 @w{@ar{}@strong{appoggiatura}}
2151 @item sixteenth note
2152 ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2153 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2156 @w{@ar{}@strong{note value}}
2158 @item sixteenth rest
2159 ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2160 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2161 sextondelspaus, N: .
2163 @w{@ar{}@strong{note value}}
2166 ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2168 @w{@ar{}@strong{interval}}
2170 @item sixty-fourth note
2172 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2173 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2174 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2175 sextiofj@"ardedelsnot, N: .
2177 @w{@ar{}@strong{note value}}
2179 @item sixty-fourth rest
2180 ES: silencia de semifusa,
2181 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2182 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2183 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2184 sextiofj@"ardedelspaus, N: .
2186 @w{@ar{}@strong{note value}}
2189 ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2190 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2191 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2193 A slur above or below a group of notes indicates that they are to be played
2194 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2198 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2199 solmisation, S: solmisation, N: .
2201 General term for systems of designating the degrees of the
2202 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2203 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2204 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2207 ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2209 In its present-day meaning a sonata denotes an instrumental composition for
2210 piano or for some other instrument with piano accompaniment, which consists of
2211 three or four independant pieces, called movements.
2214 ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2215 sonatevorm, DK: sonateform, S: sonatform, N: .
2217 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2218 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2219 falls in three sections called @emph{exposition}, @emph{development} and
2220 @emph{recapitulation}. In the exposition the composer introduces his musical
2221 ideas, consisting of a number of themes; in the development section he
2222 "develops" this material, and in the recapitulation he repeats the exposition,
2223 with certain modifications however. The exposition contains a number of themes
2224 which fall into two groups, often called first and second subject. Other
2225 melodies occurring in each group are considered as continuations of these
2226 two. The second theme is in another key, normally in the key of the
2227 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2228 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2229 tonic is @w{@ar{}@strong{minor}}.
2232 ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2234 The highest female voice.
2237 ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2238 staccato, S: staccato, N:
2240 Playing the note(s) short. Staccato is indicated by a dot above or below the
2248 \notes\relative c'' {
2250 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2255 ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2256 partij, DK: nodesystem, S: notsystem, N: .
2258 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2259 between which the musical notes are written, thus indicating (in connection
2260 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2261 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2264 ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2267 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2268 note. @w{@ar{}@strong{beam}}
2273 \property Score.noAutoBeaming = ##t
2274 \property Score.barNonAuto = ##t
2276 \property Voice.TextScript \set #'font-style = #'large
2277 \notes\relative c'' {
2286 ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2289 A family of stringed musical instruments played with a bow. Strings commonly
2290 used in a symphony orchestra are violin, viola, violoncello and double bass.
2293 ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2294 D: betonet taktslag, S: betonat taktslag, N: .
2296 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2297 @w{@ar{}@strong{rhythm}}
2300 ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2301 subdominant, S: subdominant, N: .
2303 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2307 ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2308 Submediant, S: submediant, N: .
2310 The sixth @w{@ar{}@strong{scale degree}}.
2313 ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2316 The seventh @w{@ar{}@strong{scale degree}}
2319 ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2320 superdominant, S: superdominant, N: .
2322 The sixth @w{@ar{}@strong{scale degree}}
2325 ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2326 supertonika, S: supertonika, N: .
2328 The second @w{@ar{}@strong{scale degree}}.
2331 ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2334 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2337 ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2339 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2340 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2341 rhythm rests upon the grouping of equal beats into groups of two or three,
2342 with a regularly recurrent accent on the first beat of each group. Any
2343 deviation from this scheme is felt as a disturbance or contradiction between
2344 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2350 \property Voice.TextScript \set #'font-style = #'large
2352 \notes\relative c' {
2355 e c'4 e,8 c'4 e,8 c' ( | ) c2
2359 @item syntonic comma; dydimic comma
2361 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2362 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2364 Difference between the natural third and the third obtained by Pythagorean
2365 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2368 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2371 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2372 writing down of keyboard, chamber, choral or orchestral music.
2375 ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2376 DK: temperatur, S: temperatur, N: .
2378 Systems of tuning in which the intervals deviate from the accoustically pure
2379 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2382 @item tempo indication
2383 ES: indicación de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2384 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2385 tempobeteckning, N: .
2387 The rate of speed of a composition or a section thereof, ranging from the
2388 slowest to the quickest, as is indicated by tempo marks as
2389 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2390 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2393 ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2395 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2398 ES: décima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2400 @w{@ar{}@strong{note value}}
2403 ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2405 @w{@ar{}@strong{interval}}
2407 @item thirty-second note
2409 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2410 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2411 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2413 @w{@ar{}@strong{note value}}
2415 @item thirty-second rest
2416 ES: silencio de fusa,
2417 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2418 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2419 trettiotv@aa{}ondelspaus, N: .
2421 @w{@ar{}@strong{note value}}
2423 @item thorough bass; figured bass
2425 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2426 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2428 A method of indicating an accompaniment part by the bass notes only, together
2429 with figures designating the chief @w{@ar{}@strong{interval}}s and
2430 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2435 \context GrandStaff <
2436 \notes\relative c'' {
2440 < \context Voice = rha {
2443 \context Voice = rhb {
2445 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2448 \property Voice.TextScript \set #'font-style = #'large
2449 \property Lyrics.LyricText \set #'font-style = #'Large
2450 \property Lyrics.minVerticalAlign = 6
2452 \notes\relative c' {
2455 es8 c () c bes () bes as () as g16 f | es4
2457 \context Lyrics \lyrics {
2458 < { "" "6" "4" "6" "4" "6" "4" "6" }
2459 { "" "" "2" "" "2" "" "2" "" } >
2465 ES: ligadura de prolongación,
2466 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2467 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2469 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2470 connects two succesive notes of the same pitch, and which has the function of
2471 uniting them into a single sound equal to the combined durations.
2476 \property Score.barNonAuto = ##t
2477 \notes\relative c'' { g2 ~ g4. }
2480 @item time signature
2482 ES: cifra indicadora de compás,
2483 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2484 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2485 taktartssignatur, N: .
2487 @w{@ar{}@strong{meter}}
2490 ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2492 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2493 a primary building material of music. Music from the 20th century may be based
2494 on non tone related sounds.
2497 ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2499 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2502 ES: transposición, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2503 transposition, S: transponering, N: .
2505 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2512 \notes\relative c'' {
2514 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2515 \transpose bes\relative c'' {
2517 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2522 ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2523 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2526 @w{@ar{}@strong{G clef}}
2529 ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2532 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2533 the same tone, produced by a rapid up-and-down movement movement of the bow
2534 (a). The term is also used for the rapid alternation (b) between two notes of
2535 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2536 (@w{@ar{}@strong{interval}}).
2542 \property Score.barNonAuto = ##t
2543 \property Voice.TextScript \set #'font-style = #'large
2544 \notes\relative c' {
2545 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2546 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2547 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2552 ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2553 drieklank, DK: treklang, S: treklang, N:
2555 @w{@ar{}@strong{chord}}
2559 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2560 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2562 @w{@ar{}@strong{ornament}}
2565 ES: compás compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2566 maatsoort, DK: tredelt takt, S: tretakt, N: .
2568 @w{@ar{}@strong{meter}}
2571 ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2573 @w{@ar{}@strong{note value}}
2576 ES: trítono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2579 @w{@ar{}@strong{interval}}
2582 ES: diapasón, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2583 stemmegaffel, S: st@"amgaffel, N: .
2585 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2586 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2588 @item turn; gruppetto
2590 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2594 ES: unísono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2597 Playing of the same notes or the same melody by various instruments (voices)
2598 or by the whole orchestra (choir), either at exactly the same pitch or in a
2602 ES: entrada anacrúsica, I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
2605 Initial note(s) of a melody occurring before the first bar
2606 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2613 \notes\relative c' {
2614 \partial 4; f4 | bes4. a8 bes4 c |
2615 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2619 ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2621 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2622 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2623 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2624 of a polyphonic composition.
2627 ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2628 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2630 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2633 ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2634 DK: helnode, S: helnot, N: .
2636 @w{@ar{}@strong{note value}}
2639 ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2640 rust, DK: helnodespause, S: helpaus, N: .
2642 @w{@ar{}@strong{note value}}
2645 ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2648 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2649 tones on the piano keyboard with exactly one key between them - including
2650 black and white keys - is a whole tone.
2653 ES: maderas, I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2654 S: tr@"abl@aa{}sare, N: .
2656 A family of blown wooden musical instruments. Today some of these instruments
2657 are actually made from metal. The woodwind instruments commonly used in a
2658 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2665 @item DURATION NAMES, NOTES AND RESTS
2668 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2670 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2671 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2675 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2676 @tab longa @tab longa @tab longa
2680 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2681 brevis @tab brevis @tab brevis @tab brevis
2685 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2686 Ganze @tab hele @tab hel @tab hel @tab
2690 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2691 halve @tab halv @tab halv @tab
2695 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2696 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2700 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2701 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2705 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2706 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2711 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2712 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2713 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2717 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2718 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2719 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2720 sextio@-fj@"arde@-del @tab
2723 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2731 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2733 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2734 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2738 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2742 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2743 cis @tab cis @tab cis
2747 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2748 des @tab des @tab des
2752 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2756 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2760 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2764 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2768 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2773 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2777 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2778 ais @tab ais @tab ais
2782 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2787 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2794 @item ---------------------
2798 @item Literature used
2799 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2800 quotes from its articles have been included into the item explanation texts.
2802 Hugo Riemans Musiklexicon, Berlin 1929
2805 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2806 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.