3 @setfilename glossary.info
5 @c @everyheading @| @thispage @|
6 @evenheading @thispage @| @|
7 @oddheading @| @| @thispage @|
15 @item UK - British English
25 @tex $\\Rightarrow$ @end tex
35 A reference is indicated by @ar{} followed by the term in @strong{boldface}.
40 I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
43 I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
45 The stress of one tone over others.
48 I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
49 Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: f@"ortecken, N:
51 @c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
52 @c Akzidenz, NL: toevallig teken, I: accidento.
54 A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
55 by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double
56 flat lowers it by a whole tone. A natural cancels the effect of a previous
62 \property Score.barNonAuto = "1"
63 \property Voice.textStyle = "large"
66 gisis1_"db. sharp" s s2
68 geses1_"db. flat" s s2
74 I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N:
77 It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
78 @w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
79 movement in slow tempo, esepecially the scond (slow) movement of
80 @w{@ar{}@strong{sonata}s}, symphonies etc.
83 I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK:
84 accelerando, S: accelerando, N:
89 I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK:
90 allegro, S: allegro, N: allegro.
92 It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
93 especially the first and last movements of a @w{@ar{}@strong{sonata}}.
96 I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
98 A female voice of low range (@emph{contralto}). Originally the alto was a high
99 male voice (hence the name) which by the use of falsetto reached the height
100 height of the female voice. This type of voice is also known as
101 @w{@ar{}@strong{counter tenor}}.
104 @c F: cl@'e d'ut, D: Altschl@"ussel, Bratschenschl@"ussel, NL: altsleutel, I:
107 I: chiave di contralto, F: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt
108 sleutel, DK: altn@o{}gle, S: altklav, N:
110 C clef setting central C on the middle line of the staff
111 @w{@ar{}@strong{C clef}}
113 @item ancient minor scale
114 I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
115 mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
120 \property Score.barNonAuto = "1"
121 \notes\relative c'' {
126 I: andante, F: , D: Andante, NL: andante, DK: andante, S: andante,
129 walking tempo/character
132 I: appoggiatura, F: port de voix, D: Vorschlag, NL: voorslag, DK: forslag, S:
135 Ornamental note, usually a second, that is melodically connected with the main
136 note that follows it. In music before the 19'th century a. were usually
137 performed on the beat, after that mostly before the beat. While the short
138 a. is performed as a short note regardless of the duration of the main note
139 the duration of the long a. is proportionate to that of the main note.
144 \property Voice.textEmptyDimension = "1"
145 \property Voice.textStyle = "large"
146 \notes\relative c'' {
149 <d4_"notation" a fis> r
150 { \property Grace.stemStyle = ""
153 { \property Grace.stemStyle = ""
155 g8 fis16 g | a4 \bar "||"; }
156 \notes\relative c'' {
157 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||"; }
160 An appoggiatura may have more notes preceding the main note.
165 \property Voice.textEmptyDimension = "1"
166 \property Voice.textStyle = "large"
167 \notes\relative c'' {
170 \grace { bes16 } as8_"notation" as16 bes as8 g |
171 \grace { [as16 ( bes] } < ) c4 as >
172 \grace { [as16 ( bes] } < ) c4 as > \bar "||";
173 \grace { bes16 } as8_"performance" as16 bes as8 g |
174 < \context Voice = va { \stemup as32 bes c8. as32 bes c8. }
175 \context Voice = vb { \stemdown as16 ~ as8. as16 ~ as8. } >
181 I: arpeggio, F: arp@`ege, arp@`egement, D: Arpeggio, Akkordbrechungen,
182 gebrochener Akkord, NL: gebroken akoord, DK: arpeggio,
183 akkordbrydning, S: arpeggio, N:
188 \context GrandStaff <
189 \notes\relative c'' {
192 r8 g16 c e g, c e r8 g,16 c e g, c e |
193 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; }
196 < \context Voice = va {
198 r16 e8. () e4 r16 e8. () e4 |
199 r16 d8. () d4 r16 d8. () d4 }
200 \context Voice = vb {
207 @item ascending interval
208 I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
209 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
211 @item augmented interval
212 I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
213 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
214 @"overstigande intervall, N:
216 @w{@ar{}@strong{interval}}
219 I: autografo, F: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift,
220 autograf, S: handskrift, N: .
222 1. A manuscript in the composer's own hand. 2. Music prepared for
223 photoreproduction by freehand drawing, with only the aid of a
224 straightedge ruler and T-square, which attempts to emulate
225 engraving. This required more skill than did engraving.
228 I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
230 @item backfall; forefall
231 @w{@ar{}@strong{appoggiatura}}
234 I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
235 maatstreep, DK: taktstreg, S: taktstreck, N:
238 @w{@ar{}@strong{measure}}
241 I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
244 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
245 @w{@ar{}@strong{tenor}}.
248 I: chiave di baritono, F: , D: Barytonschl@"ussel, NL: baritonsleutel, DK:
249 barytonn@o{}gle, S: barytonklav, N: .
251 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
252 @w{@ar{}@strong{f clef}}
255 I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK:
256 basn@o{}gle, S: basklav, N:
258 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
262 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
264 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
265 an abbreviation for double bass @w{@ar{}@strong{strings}}.
268 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
270 Line connecting a series of notes (shorter than a quarter note). The number of
271 beams determine the note value of the connected notes.
276 \property Score.barNonAuto = "1"
277 \property Voice.textEmptyDimension = "1"
278 \property Voice.textStyle = "large"
279 \notes\relative c'' {
281 [g16_"1/16" g g g] s16
282 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
283 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
287 I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
290 Note value used for counting, most often half-, fourth- and eighth notes. The
291 base counting value and the number of them per measure is indicated at the
299 \notes\relative c'' { g4 c b a | g1 \bar "||";}
301 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||";}
305 @w{@ar{}@strong{tie}}
308 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
309 accolade, teksthaak, DK: klamme, S: klammer, N:
311 Symbol at the start of a system connecting staffs. Curly braces are used
312 for connecting piano staves, angular brackets for connecting parts in an
313 orchestral or choral score.
318 \context GrandStaff <
319 \property GrandStaff.minVerticalAlign = 12
320 \notes\relative c'' { \clef treble; g4 e c2 }
321 \notes\relative c { \clef bass; c1 \bar "|."; } >
327 \context StaffGroup <
328 \property StaffGroup.minVerticalAlign = 12
329 \notes\relative c'' { \clef treble; g4 e c2 }
330 \notes\relative c { \clef bass; c1 \bar "|."; } >
334 I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: instruments de cuivre,
335 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
337 A family of blown musical instruments made of brass all using a cup formed
338 mouth piece. The brass instruments commonly used in a symphony orchestra are
339 trumpet, trombone, french horn and tube.
342 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
343 repercussieteken, DK:
344 vejrtr@ae{}kningstegn, S: andningstecken, N: .
347 I: breve, F: , D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
349 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
355 \property Score.barNonAuto = "1"
356 \notes\relative c'' { g\breve }
360 I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
363 I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
364 c-n@o{}gle, S: c-klav, N:
366 Clef symbol indicating the position of the central C. Used on all note
372 \property Score.barNonAuto = "1"
373 \property Lyrics.textStyle = "large"
374 \property Voice.clefStyle = "fullSizeChanges"
383 \context Lyrics \lyrics { Soprano Mezzosoprano Alto Tenor Baritone }
387 I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
389 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
392 I: cadenza, F: fioriture, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
394 An extended, improvisatory style section inserted near the end of
395 movement. The purpose of a c. is to give the singer or player a chance to
396 exhibit her technichal skill and not the least her ability to improvise. Since
397 the middle of the 19'th century, however, most cadences have been written down
401 I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
403 @w{@ar{}@strong{counterpoint}}
406 I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: .
408 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
409 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
412 @w{@ar{}@strong{middle C}}
415 I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
417 Three or more tones sounding simultaneously. In traditional European music the
418 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
419 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
420 chords may be extended with more thirds. Four- @emph{seventh chords} and five
421 tone @emph{ninth} major chords are most often used as dominants
422 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
423 third above the lower notes to define their quality as major or minor. Such
424 chords are denoted open chords
429 \property Score.barNonAuto = "1"
430 \property Voice.textStyle = "large"
432 \notes\relative c'' {
435 <g_"dimished" bes des>
436 <g_"augmented~" b dis>
437 <g_"seventh-chord~" b d f>
438 <g_"ninth-chord" b d f a>
442 @item chromatic scale
443 I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
444 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
446 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
451 \property Score.barNonAuto = "1"
452 \notes\relative c' { c1 cis e f fis g gis a ais b c }
456 I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik,
459 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
461 @item church mode; ecclesiastical mode
462 I: modi ecclesiastici, F: mode eccl@'esiastique, D: Kirchentonart, NL:
463 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
465 @w{@ar{}@strong{diatonic scale}}
468 I: chiave, F: cl@'e, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
469 sleutel, DK: n@o{}gle, S: klav, N:
471 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
474 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
476 Difference in pitch between a note derived from pure tuning and the same note
477 derived from some other tuning method. @w{@ar{}@strong{temperament}}
480 @w{@ar{}@strong{meter}}
482 @item compound interval
483 I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
484 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
486 Intervals larger than an octave
488 @w{@ar{}@strong{interval}}
491 I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK:
492 komplement@ae{}rinterval, S: komplement@"arintervall (?), N:
494 @w{@ar{}@strong{inverted interval}}
496 @item conjunct movement
497 I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis
498 bev@ae{}gelse, S: stegvis r@"orelse, N:
500 Melody moving in the narrow steps of the scale;
506 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
510 I: consonanza, F :consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
513 @w{@ar{}@strong{harmony}}
516 I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
518 @w{@ar{}@strong{alto}}
521 I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
522 kontrapunkt, S: kontrapunkt, N: .
524 From latin @emph{punctus contra punctum}, note against note. The combination
525 into a single musical fabric of lines or parts which have distinct melodic
526 significance. A frequently used polyphonic technique is imitation, in its
527 strictest form found in the canon needing only one part to be written down
528 while the other parts are performed with a given displacement. Imitation is
529 also the contrapuntal technique used in the @emph{fugue} which, since the
530 music of the baroque era, has been one of the most popular polyphonic
536 \property Score.timeSignatureStyle = "C2/2"
537 \context GrandStaff <
542 < \context Voice = rha {
544 r1 | r2 r8 g'8 bes d, |
545 cis4 d r8 e!16 f g8 f16 e |
546 f8 g16 a bes8 a16 g a8
548 \context Voice = rhb {
557 < \context Voice = lha {
559 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
560 r8 a16 g f8 g16 a bes8 g e! cis' |
563 \context Voice = lhb {
572 I: controtenore, F: , D: Kontratenor, NL: contratenor, DK: kontratenor, S:
573 kontratenor, counter tenor, N: kontratenor
575 @w{@ar{}@strong{contralto}}
578 A music copyist did fast freehand scores and parts on preprinted staff lines
579 for performance. Some of their conventions (e.g.: the placement of noteheads
580 on stems) varied slightly from those of engravers. Some of their working
581 methods were superior and could well be adopted by music typesetters. This
582 required more skill than engraving.
585 I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
586 crescendo, S: crescendo, N:@w{ }crescendo.
588 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
589 abbreviation "cresc".
595 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
599 I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S:
602 In a separate part notes belonging to another part with the purpose of hinting
603 when to start playing. Usually printed in a smaller type.
606 I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
609 I: da capo, F: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo,
612 The term indicates repetition of the piece from the beginning to the end or to
613 a certain place marked @emph{fine}. Mostly abbreviated D.C.
616 I: dal segno, F: , D: dal segno, NL: dal segno, DK: dal segno, S: dal
619 abbreviated d.s. Repetition, not from the beginning, but from another place
620 frequently near the beginning marked by a sign:
625 \property Voice.textStyle = "large"
627 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
631 I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
632 decrescendo, N: decrescendo
634 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
635 or the abbreviation "decresc".
641 \notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
644 @item descending interval
645 I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
646 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
647 fallande intervall, N:
650 I: scala diatonica, F: , D: diatonische Tonleiter, NL: diatonische toonladder,
651 DK: diatonisk skala, S: diatonisk skala, N:
653 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
654 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
655 keybord are diatonic.
657 The church modes are used in gregorial chant and pre baroque early music but
658 also to some extent in newer jazz music.
663 \property Voice.textEmptyDimension = "1"
664 \property Score.barNonAuto = "1"
665 \property Lyrics.textStyle = "large"
666 \property Voice.textStyle = "large"
670 \property Voice.textScriptPadding = "-10"
672 \property Voice.textScriptPadding = "-4"
674 \context Lyrics \lyrics { Ionian }
678 \property Voice.textEmptyDimension = "1"
679 \property Score.barNonAuto = "1"
680 \property Lyrics.textStyle = "large"
681 \property Voice.textStyle = "large"
685 \property Voice.textScriptPadding = "-10"
688 \property Voice.textScriptPadding = "-4"
690 \context Lyrics \lyrics { Dorian }
694 \property Voice.textEmptyDimension = "1"
695 \property Score.barNonAuto = "1"
696 \property Lyrics.textStyle = "large"
697 \property Voice.textStyle = "large"
700 \property Voice.textScriptPadding = "-10"
703 \property Voice.textScriptPadding = "-4"
705 \context Lyrics \lyrics { Phrygian }
709 \property Voice.textEmptyDimension = "1"
710 \property Score.barNonAuto = "1"
711 \property Lyrics.textStyle = "large"
712 \property Voice.textStyle = "large"
716 \property Voice.textScriptPadding = "-4"
718 \property Voice.textScriptPadding = "0"
720 \context Lyrics \lyrics { Lydian }
724 \property Voice.textEmptyDimension = "1"
725 \property Score.barNonAuto = "1"
726 \property Lyrics.textStyle = "large"
727 \property Voice.textStyle = "large"
729 \notes\relative c'' {
731 \property Voice.textScriptPadding = "-4"
733 \property Voice.textScriptPadding = "0"
735 \context Lyrics \lyrics { Mixolydian }
739 \property Voice.textEmptyDimension = "1"
740 \property Score.barNonAuto = "1"
741 \property Lyrics.textStyle = "large"
742 \property Voice.textStyle = "large"
744 \notes\relative c'' {
746 \property Voice.textScriptPadding = "-4"
748 \property Voice.textScriptPadding = "0"
750 \context Lyrics \lyrics { Aeolian }
753 From the beginning of the 17th century the scales used in European
754 compositional music are primarily the major and the minor scales. In the
755 harmonic minor scale type an augmented second (A) occurs between the 6th and
759 \property Voice.textEmptyDimension = "1"
760 \property Score.barNonAuto = "1"
761 \property Lyrics.textStyle = "large"
762 \property Voice.textStyle = "large"
766 \property Voice.textScriptPadding = "-10"
768 \property Voice.textScriptPadding = "-4"
770 \context Lyrics \lyrics { Major }
774 \property Voice.textEmptyDimension = "1"
775 \property Score.barNonAuto = "1"
776 \property Lyrics.textStyle = "large"
777 \property Voice.textStyle = "large"
779 \notes\relative c'' {
781 \property Voice.textScriptPadding = "-4"
783 \property Voice.textScriptPadding = "0"
785 \context Lyrics \lyrics { "ancient minor" }
789 \property Voice.textEmptyDimension = "1"
790 \property Score.barNonAuto = "1"
791 \property Lyrics.textStyle = "large"
792 \property Voice.textStyle = "large"
794 \notes\relative c'' {
796 \property Voice.textScriptPadding = "-4"
798 \property Voice.textScriptPadding = "0"
800 \property Voice.textScriptPadding = "1"
804 \context Lyrics \lyrics { "Harmonic minor" }
808 \property Voice.textEmptyDimension = "1"
809 \property Score.barNonAuto = "1"
810 \property Lyrics.textStyle = "large"
811 \property Voice.textStyle = "large"
813 \notes\relative c'' {
815 \property Voice.textScriptPadding = "-4"
817 \property Voice.textScriptPadding = "0"
819 \property Voice.textScriptPadding = "-1"
821 \property Voice.textScriptPadding = "-4"
824 \context Lyrics \lyrics { "Melodic minor" }
827 @item diminished interval
828 I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
829 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
832 @w{@ar{}@strong{interval}}
835 I: diminuendo, F: , D: Diminuendo, NL: diminuendo, DK: diminuendo,
836 S:@w{ }diminuendo, N:@w{ }diminuendo.
838 @w{@ar{}@strong{decrescendo}}
840 @item disjunct movement
841 I: moto disgiunto, F: mouvement disjoint, D: , NL: , DK: springende
842 bev@ae{}gelse, S: hoppande r@"orelse, N:
844 Melody moving in steps greater than those of the
845 scale. Opposite of @ar{}@strong{conjunct movement}.
853 \partial 8; e8 | a4. gis8 b a e cis |
854 fis2 d4. \bar "||"; }
857 @item dissonant interval; dissonance
858 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
859 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
862 @w{@ar{}@strong{harmony}}
864 @item dominant ninth chord
865 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
866 Dominantnoneakkord, NL: dominant noon akkoord, DK:
867 dominantnoneakkord, S: dominantnonackord, N: .
869 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
871 @item dominant seventh chord
872 I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
873 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
874 dominantseptimackord, N:
876 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
879 I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
882 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
885 I: modo dorico, F: , D: Dorischer Kirchenton, NL: dorische toonladder,
886 dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N:
888 @w{@ar{}@strong{diatonic scale}}
890 @item dot (augmentation dot)
891 I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
894 @w{@ar{}@strong{dotted note}}
897 I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
898 DK: punkteret node, S: punkterad not, N:
900 @w{@ar{}@strong{note value}}
902 @item double appoggiatura
903 I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
904 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
906 @w{@ar{}@strong{appoggiatura}}
908 @item double bar line
909 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
910 dobbeltstreg, S: dubbelstreck, N: .
912 Indicates the end of a section within a movement.
914 @item double dotted note
915 I: nota doppiamente puntata, F: note doublement point@'ee, D:
916 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
917 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
919 @w{@ar{}@strong{note value}}
923 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
924 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
926 @w{@ar{}@strong{accidental}}
929 I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
930 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
932 @w{@ar{}@strong{accidental}}
935 I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
936 dobbelttrille, S: dubbeldrill, N: .
938 A simultaneous trill on two notes, usually in the distance of a third.
941 I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
942 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
944 @w{@ar{}@strong{meter}}
947 I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
949 @w{@ar{}@strong{note value}}
952 I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
955 @w{@ar{}@strong{note value}}
958 @w{@ar{}@strong{syntonic comma}}
961 I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
964 I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
965 ottendedelsnode, S: @aa{}ttondelsnot, N: .
967 @w{@ar{}@strong{note value}}
970 I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
971 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
973 @w{@ar{}@strong{note value}}
976 I: incisione, F: , D: Notenstechen, NL: steken, DK: nodestik, S: nottryck, N: .
978 Engraving means incising or etching a metal plate for
979 printing. Photoengraving means drawing music with ink in a manner
980 similar to drafting or engineering drawing, using similar tools.
982 The traditional process of music printing is done through cutting in a
983 plate of metal. Now also the term for the art of music typesetting.
986 I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
987 enharmonisk, S: enharmonisk, N: .
989 Two notes, intervals, or scales are enharmonic if they have different names
995 \property Score.barNonAuto = "1"
996 \property Voice.textStyle = "large"
997 \notes\relative c'' {
998 gis1_"g sharp" s as1_"a flat" s s
999 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1003 @item equal temperament
1004 I: temperamento equabile, F: , D: gleichschwebende Stimmung, NL:
1005 ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende temperatur,
1006 S: liksv@"avande temperatur, N: .
1008 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1009 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1011 @item expression mark
1012 I: segno d'espressione, F: signe d'expressoin, D: Vortragszeichen, NL:
1013 voordrachtsteken, DK: foredragsbetegnelse, S: f@"oredragsbeteckning, N: .
1015 Performance indications concerning 1. volume, dynamics (for example
1016 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1017 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1020 I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1023 I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1024 F-n@o{}gle, S: f-klav, N: .
1026 The position between the dots of the key symbol is the line of the F below
1027 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1028 clef symbol indicates that the notes must be played an octave higher (for
1029 example bass recorder) while 8 below the clef symbol indicates playing an
1030 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1036 \property Score.barNonAuto = "1"
1037 \property Voice.clefStyle = "fullSizeChanges"
1038 \property Lyrics.textStyle = "large"
1052 \context Lyrics \lyrics {
1063 I: corona, F: pauses, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1065 Prolonged note or rest of indefinite duration.
1071 \notes\relative c'' {
1072 a4 b c2^\fermata \bar "|."; }
1076 I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint.
1078 @w{@ar{}@strong{interval}}
1081 @w{@ar{}@strong{thorough bass}}
1084 I: ditteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1085 fingers@ae{}tning, S: fingers@"attning, N: .
1087 The methodical use of fingers in the playing of instruments.
1090 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1091 DK: fane, S: flagga, N: .
1093 Ornament at the end of the stem of a note used for notes with values less than
1094 a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
1099 \property Score.barNonAuto = "1"
1100 \property Voice.textEmptyDimension = "1"
1101 \property Voice.textStyle = "large"
1102 \notes\relative c'' {
1110 I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1112 @w{@ar{}@strong{accidental}}
1114 @item forefall; backfall
1115 @w{@ar{}@strong{appoggiatura}}
1118 I: forte, F: , D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1120 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1121 @emph{mezzoforte} (@b{mf}) medium loud.
1124 I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1126 @w{@ar{}@strong{interval}}
1129 I: fuga, F: , D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1131 @w{@ar{}@strong{counterpoint}}
1133 @item functiontional harmony
1134 I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse,
1135 funktionsharmonik, S: funktionsl@"ara, N:
1137 A system of harmonic analysis. It is based on the idea that, in a given key,
1138 there are only three functionally different chords: tonic (T, the chord on the
1139 first note of the scale), subdominant (S, the chord on the fourth note) and
1140 dominant (D, the chord on the fifth note). Other are considered to be variants
1146 \property Voice.textEmptyDimension = "1"
1147 \property Score.barNonAuto = "1"
1148 \property Lyrics.textStyle = "large"
1149 \property Voice.textStyle = "large"
1151 \notes\relative c'' {
1152 < g1 e c > < a f d > < b g e >
1153 < c a f > < d b g > < e c a > < f d b > }
1154 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1158 I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1161 I: chiave di sol, F: , D: G-Schl@"ussel, Violinschl@"ussel, NL: G-sleutel, DK:
1162 g-n@o{}gle, S: g-klav, N: .
1164 A clef symbol indicating the G above central C. Used on the first and second
1165 note lines. A digit 8 above the clef symbol indicates that the notes must be
1166 played an octave higher while 8 below the clef symbol indicates playing or
1167 singing an octave lower (most tenor parts in choral scores are notated like
1173 \property Score.barNonAuto = "1"
1174 \property Lyrics.textStyle = "large"
1175 \property Voice.clefStyle = "fullSizeChanges"
1177 \notes\relative c'' {
1178 \clef "G1"; g1 s s s s
1180 \clef "G^8"; g' s s s
1181 \clef "G_8"; g,, s s
1183 \context Lyrics \lyrics {
1184 "french violin clef"
1192 I: glissando, F: glissement, D: Glissando, NL: glissando, DK: glissando, S:
1193 glissando, N: glissando.
1195 Letting the pitch slide fluently from one note to the other
1198 I: abbellimenti, F: , D: Verzierungen, Vorschl@"age, Vorschlagsnoten, NL:
1199 versieringen, DK: forsiringer, S: ornament, N: .
1201 Notes printed in small types to indicate that their time values are not
1202 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1205 I: accolatura, F: , D: Akkolade, NL: piano systeem, DK: klaversystem, S:
1206 ackolad, b@"ojd klammer, N: .
1208 @w{@ar{}@strong{brace}}
1210 A combination of two staffs with a brace. Usually used for piano music.
1213 I: grave, F: , D: grave, langsam, traurig, NL: , DK: grave, S: grave, N: .
1216 I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1217 halvnode, S: halvnot, N: .
1219 @w{@ar{}@strong{note value}}
1222 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1223 rust, DK: halvnodespause, S: halvnotspaus, N: .
1225 @w{@ar{}@strong{note value}}
1227 @item harmonic cadence
1228 I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1229 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1231 Sequence of chords that terminate a musical phrase or
1232 section. @ar{}@w{}@strong{functional harmony}
1237 \context GrandStaff <
1238 \notes\relative c'' {
1241 \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > }
1242 \property Lyrics.textStyle = "large"
1246 \partial 4; c4 | f, g c2
1248 \context Lyrics \lyrics { T S D T } >
1252 I: armonia, F: , D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S:
1255 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1256 @emph{consonances} and @emph{dissonances}.
1263 \property Score.barNonAuto = "1"
1264 \property Voice.textStyle = "large"
1265 \notes\relative c'' {
1272 <g1_"decime" b'> s s
1281 \property Score.barNonAuto = "1"
1282 \property Voice.textStyle = "large"
1283 \notes\relative c'' {
1290 Three note harmony @w{@ar{}@strong{chord}}
1293 I: omofonia, F: , D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, N: .
1295 Music in which one voice leads melodically followed by the other voices more
1296 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1299 I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1302 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1303 diminished or augmented. The augmented fourth and the diminished fifth are
1304 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1305 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1311 \property Score.barNonAuto = "1"
1312 \property Lyrics.textStyle = "large"
1313 \property Voice.textStyle = "large"
1315 \notes\relative c'' {
1320 < gis^"dimin" bes > s
1321 < g!^"minor" bes > s
1325 \context Lyrics \lyrics {
1326 unisone second second second third third third third }
1332 \property Score.barNonAuto = "1"
1333 \property Lyrics.textStyle = "large"
1334 \property Voice.textStyle = "large"
1336 \notes\relative c'' {
1337 < g1^"perfect" c > s
1339 < g^"perfect" d' > s
1341 < gis^"dimin" es' > s
1342 < g!^"minor" es' > s
1346 \context Lyrics \lyrics {
1347 fourth fourth fifth fifth sixth sixth sixth sixth }
1353 \property Score.barNonAuto = "1"
1354 \property Lyrics.textStyle = "large"
1355 \property Voice.textStyle = "large"
1357 \notes\relative c'' {
1358 < gis1^"dimin" f'! > s
1359 < g!^"minor" f'! > s
1360 < g^"major" fis' > s
1364 < g^"minor" bes' > s
1367 \context Lyrics \lyrics {
1368 seventh seventh seventh octave none none decime decime }
1371 @item inverted interval
1372 I: rivolto, F: renversement d'intervalle, D: umgekerhtes Intervall, NL:
1373 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1375 The difference between an interval and an octave.
1380 \property Score.barNonAuto = "1"
1381 \property Voice.textStyle = "large"
1382 \notes\relative c'' {
1383 < g1_"second" a > s < g'_"seventh" a, > s \bar "||";
1384 < g,_"third" b > s < g'_"sixth" b, > s \bar "||";
1385 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||";
1389 @item just intonation
1390 I: intonazione giusta, F: , D: reine Stimmung, NL: reine stemming, DK: ren
1391 stemning, S: ren st@"amning, N: .
1393 Tuning system in which the notes are obtained by adding and subtracting
1394 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1397 I: tonalit@`a, F: , D: Tonart, NL: toonsoort, DK: toneart, S: tonart, N: .
1399 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1400 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1403 I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1404 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: largo, N: .
1406 The sharps or flats appearing at the beginning of each staff indicating the
1407 key of the music. @w{@ar{}@strong{accidental}}
1410 I: largo, F: , D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, N:
1413 Very slow in tempo, usually combined with great
1414 expressiveness. @emph{Larghetto} less slow than largo.
1417 I: sensibile, F: sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton,
1420 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1421 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1422 upwards) to the tonic scale degree.
1424 @item ledger line; leger line
1426 I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1427 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: .
1429 A ledger line is an extension of the staff.
1434 \property Score.barNonAuto = "1"
1435 \notes\relative c'' { a,1 s c'' }
1439 I: legato, F: , D: legato, NL: legato, DK: legato, S: legato, N: .
1441 To be performed without any perceptible interruption between the notes (a)
1442 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1443 @w{@ar{}@strong{staccato}} (d)
1448 \property Score.barNonAuto = "1"
1449 \property Voice.textEmptyDimension = "1"
1450 \property Lyrics.textStyle = "large"
1452 \notes\relative c'' {
1454 c4-- d-- e-- \bar "||";
1455 c4-.( d-. )e-. \bar "||";
1456 c4-. d-. e-. \bar "||";
1458 \context Lyrics \lyrics { a "" "" b "" "" c "" "" d }
1462 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1465 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1466 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1468 A pond with lilies floating in it, also the name of a music typesetter.
1471 I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1474 @w{@ar{}@strong{staff}}
1476 @item long appoggiatura
1477 I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1478 forslag, S: l@aa{}ngt f@"orslag, N: .
1480 @w{@ar{}@strong{appoggiatura}}
1483 I: longa, F: , D: Longa, NL: longa, DK: longa, S: longa, N: longa
1485 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1490 \property Score.barNonAuto = "1"
1491 \notes\relative c'' { g\longa }
1494 @item major interval
1495 I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1496 groot interval, DK: stort interval, S: stort intervall, N: .
1498 @w{@ar{}@strong{interval}}
1501 I: maggiore, F: mode majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1503 @w{@ar{}@strong{diatonic scale}}
1505 @item meantone temperament
1506 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1507 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1509 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1510 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1511 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1512 tuning keyboard instruments for performance of pre-1650 music.
1515 I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1517 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1518 bears an accent. Such groups in numbers of two or more recur consistently
1519 throughout the composition and are marked from each other by
1520 bar-lines. @w{@ar{}@strong{meter}}
1523 I: mediante, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S: mediant,
1526 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1527 a third from that of another chord. For example the tonic chord may be
1528 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1529 harmony}} @w{@ar{}@strong{relative key}}.
1531 @item melodic cadence
1533 @w{@ar{}@strong{cadenza}}
1536 I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1539 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1540 which remains unaltered throughout a composition or a section of it. For
1541 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1542 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1543 those. According to whether there are two, three or four units to the measure,
1544 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1545 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1550 \notes\relative c'' {
1553 c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
1557 \notes\relative c' {
1560 f8 f f f a16 g a f |
1561 c'8 c c c e16 d e c \bar "||";}
1565 \notes\relative c'' {
1568 d4 b8 g b d d c a4 |
1569 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
1573 I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1574 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1576 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1579 @item metronomic indication
1580 I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1581 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1583 Exact tempo indication (in beats per minute). Also denoted by
1584 M.M. (M@"alzel's Metronom)
1587 I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1588 mezzosopran, S: mezzosopran, N: mezzosopran.
1590 The female voice between @w{@ar{}@strong{soprano}} and
1591 @w{@ar{}@strong{contralto}}.
1594 I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1595 enstreget c, S: ettstruket c, N:
1597 First C below the 440 Hz A.
1602 \property Score.barNonAuto = "1"
1603 \property Voice.clefStyle = "fullSizeChanges"
1604 \notes\relative c' {
1611 @item minor interval
1612 I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1613 interval, DK: lille interval, S: litet intervall, N: .
1615 @w{@ar{}@strong{interval}}
1618 I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1620 @w{@ar{}@strong{diatonic scale}}
1623 I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1625 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1628 I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1631 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1632 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1633 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1637 I: mordente, F: mordant, pinc@`e, D: Mordent, NL: mordent, DK: mordent, S:
1640 @w{@ar{}@strong{ornament}}
1643 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1645 The briefest intelligible and self-contained fragment of a musical theme or
1651 \property Score.timeSignatureStyle = "C2/2"
1652 \property Voice.textEmptyDimension = "1"
1653 \property Voice.textStyle = "large"
1654 \notes\relative c'' {
1657 \partial 8; g16_"------" fis |
1658 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1659 g8 g,16 a b8 cis d16 s
1664 I: movimento, F: , D: Satz, NL: deel, DK: sats, S: sats, N: .
1666 Greater musical works like @w{@ar{}@strong{symphony}} and
1667 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1668 independant pieces called movements.
1671 I: pausa multipla, F: b@^aton de pause, NL: meermaats rust, D:
1672 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1677 \notes\relative c'' {
1679 \property Score.skipBars=1 R1*3
1683 @item mixolydian mode
1684 @w{@ar{}@strong{diatonic scale}}
1687 I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1688 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1690 @w{@ar{}@strong{accidental}}
1692 @item neighbour tones
1693 @w{@ar{}@strong{appoggiatura}}
1696 I: nona, F: , D: None, NL: noon, DK: none, S: nona, N: .
1698 @w{@ar{}@strong{interval}}
1701 @w{@ar{}@strong{legato}}
1704 I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1707 I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N:
1710 A head like sign which indicates pitch by its position on a
1711 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1712 by a variety of shapes such as hollow or black heads with or without
1713 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1714 instruments (often having no defined pitch) the note head may indicate the
1718 I: valore, durata, F: , D: Notenwert, NL: nootwaarde, DK nodev@ae{}rdi, S:
1721 Note values (durations) are measured as fractions, normally 1/2, of the next
1722 higher note value. The longest duration normally used is called @emph{brevis},
1723 but sometimes (mostly in pre baroque music) the double length note value
1724 @emph{longa} is used.
1729 \property Voice.textStyle = "large"
1730 \property Score.barNonAuto = "1"
1731 \notes\relative c'' {
1732 g\longa_"longa" g\breve_"breve"
1733 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1734 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1738 \property Voice.textStyle = "large"
1739 \property Score.barNonAuto = "1"
1740 \notes\relative c'' {
1741 r\longa_"longa" r\breve_"breve"
1742 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1743 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1746 An augmentation dot after a note multiplies the duration by one and a
1747 half. Another dot adds yet a fourth of the duration.
1752 \property Voice.textEmptyDimension = "1"
1753 \property Voice.textStyle = "large"
1754 \notes\relative c'' {
1756 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||";
1757 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; }
1760 Alternatively note values may be subdivided by other ratios. Most common is
1761 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1762 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1768 \property Voice.textStyle = "large"
1769 \property Voice.textEmptyDimension = "1"
1770 \notes\relative c'' {
1772 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||";
1773 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||";
1775 \times 3/2 {g4_"duplets" g} |
1777 \times 6/4 {g8_"quadruplets" g g g} |
1778 g8 g g g g4 \bar "||";}
1782 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1785 I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1787 @w{@ar{}@strong{interval}}
1789 @item ornament; embellishment; accessory
1790 I: abbellimento, fioriture, abbellimenti, F: agr@`ement, ornement, D:
1791 Verzierung, Ornament, NL: versiering, DK: forsiring, S: ornament, N: .
1793 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1794 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1795 middle of the 19th century and onwards the trill is performed with the main
1796 note first while in the music from the preceding baroque and classic periods
1797 the upper note is played first.
1803 \context Staff = sa {
1804 \property Voice.textEmptyDimension = "1"
1805 \property Voice.textStyle = "large"
1806 \notes\relative c'' {
1807 c2._"pre-1850" b4\trill | c1 \bar "||";
1808 c2._"post-1850" b4\trill | c1 \bar "||";
1811 \notes\relative c'' {
1812 c2. c32 b c b c b c b | c1
1813 c2. b32 c b c \times 4/5 { b c b c b } | c1
1818 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1819 @emph{prall} (inverted mordent).
1825 \context Staff = sa {
1826 \property Voice.textEmptyDimension = "1"
1827 \property Voice.textStyle = "large"
1828 \notes\relative c'' {
1829 a4_"turn" b\turn c2 \bar "||";
1830 g4_"mordent" a b\mordent a \bar "||";
1831 e'4_"prall" d\prall c2 \bar "||";
1834 \notes\relative c'' {
1837 e'4 [e8 ~ e32 d e d] c2
1842 @w{@ar{}@strong{appoggiatura}}
1845 I: ossia, F: facilit@'e, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1847 Ossia (otherwise) marks an alternative. It is an added staff or piano
1848 score, usually only a few measures long, which presents another version
1849 of the music, for example for small hands.
1852 I: voce, parte, F: , D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1854 1. In instrumental or choral music the music for the single instrument
1855 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1856 melodic line of the contrapuntal web.
1859 I: percussioni, F: , D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: slagverk,
1862 A family of musical instruments which are played on by striking or
1863 shaking. Percussion instruments commonly used in a symphony orchestra are
1864 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1865 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1868 @item perfect interval
1870 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1871 interval, DK: rent interval, S: rent intervall, N: .
1873 @w{@ar{}@strong{interval}}
1876 I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1878 A natural division of the melodic line, comparable to a sentence of speech.
1881 I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1884 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1885 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1888 I: piano, F: , D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1890 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1891 @emph{mezzopiano} (@b{mp}) medium soft.
1894 I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1898 I: pizzicato, F: , D: pizzicato, NL: pizzicato, getokkeld, DK: pizzicato, S:
1901 Play by plucking the strings.
1904 I: polifonia, F: , D: Polyphonie, NL: polyfonie, DK: polyfoni, S: polyfoni, N:
1907 Music written in a combination of several simultaneous voices (parts) of a
1908 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1911 @w{@ar{}@strong{legato}}
1914 I: presto, F: , D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: presto,
1917 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1918 denotes the highest possible degree of speed.
1920 @item Pythagorean comma
1921 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1922 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1924 A sequence of fifths starting on C eventually circles back to C, but this C,
1925 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1926 obtained by adding 7 octaves. The difference between those two pitches is
1927 called the Pythagorean comma.
1930 I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1933 @w{@ar{}@strong{note value}}
1936 I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1937 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1939 @w{@ar{}@strong{note value}}
1942 I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1943 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1945 @w{@ar{}@strong{note value}}
1948 I: quintina, F: , D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, N: .
1950 @w{@ar{}@strong{note value}}
1953 I: rallentando, F: , D: rallentando, langsamer, NL: rallentando, DK:
1954 rallentando, S: rallentando, N: .
1956 @w{@ar{}@strong{ritardando}}
1959 I: tonalit@`a relativa, F: , D: Paralleltonart, DK: paralleltoneart, S:
1960 parallelltonart, N: .
1962 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1963 the same @w{@ar{}@strong{signature}}.
1968 \property Voice.textEmptyDimension = "1"
1969 \property Score.barNonAuto = "1"
1970 \property Voice.textStyle = "large"
1971 \notes\relative c' {
1973 es1_"e flat major" f g as bes c d es
1976 c,1_"c minor" d es f g a! b! c \bar "||";
1981 I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
1982 gen@-ta@-gel@-se, S: repris, N: .
1989 \notes\relative c'' {
1990 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
1995 I: pausa, F: soupir, D: Pause, NL: rust, DK: pause, S: paus, N: .
1997 @w{@ar{}@strong{note value}}
2000 I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2002 (a) metrical rhythm in which every time value is a multiple or fraction of a
2003 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2004 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2005 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2006 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2007 accent. In modern notation such music appears as a free alternation of
2008 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2009 common metrical unit (beat).
2012 I: ritardando, F: , D: Ritardando, Langsamer, NL: ritardando, DK: ritardando,
2015 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2018 I: ritenuto, F: , D: Ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, N: .
2020 Immediate reduction of speed.
2023 I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2025 @w{@ar{}@strong{diatonic scale}}
2028 I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2029 [van de toonladder], DK: skalatrin, S: skalatrin (?), N: .
2031 Names and symbols used in harmonic analysis to denote tones of the scale as
2032 roots of chords. The most important are degrees I = tonic (T), IV =
2033 sub@-do@-mi@-nant (S) and V = dominant (D).
2038 \property Voice.textEmptyDimension = "1"
2039 \property Score.barNonAuto = "1"
2040 \property Lyrics.textStyle = "large"
2041 \property Lyrics.minVerticalAlign = 8
2043 \notes\relative c' {
2045 \context Lyrics \lyrics {
2046 < { I II III IV V VI VII I }
2051 @w{@ar{}@strong{functional harmony}}
2054 I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2057 A copy of orchestral, choral or chamber music showing what each instrument is
2058 to play, each voice to sing, having each part arranged one underneath the
2059 other on different @w{@ar{}@strong{stave}}s.
2062 I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2064 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2065 @w{@ar{}@strong{diatonic scale}} consists of alternating
2066 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2067 of a se@-cond depends on the scale degrees in question.
2070 I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2073 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2074 interval in European composed music. The interval between two neighbouring
2075 tones on the piano keyboard - including black and white keys - is a
2076 semitone. An octave may be divided into 12
2077 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2082 \property Score.barNonAuto = "1"
2083 \notes\relative c'' { g1 gis s a bes s b c }
2087 I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2089 @w{@ar{}@strong{interval}}
2091 @item sextuplet, sextolet
2092 I: settimina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2095 @w{@ar{}@strong{note value}}
2098 I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2100 @w{@ar{}@strong{accidental}}
2102 @item short appoggiatura
2103 @w{@ar{}@strong{appoggiatura}}
2105 @item sixteenth note
2106 I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2107 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2110 @w{@ar{}@strong{note value}}
2112 @item sixteenth rest
2113 I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2114 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2115 sextondelspaus, N: .
2117 @w{@ar{}@strong{note value}}
2120 I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2122 @w{@ar{}@strong{interval}}
2124 @item sixty-fourth note
2125 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2126 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2127 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2128 sextiofj@"ardedelsnot, N: .
2130 @w{@ar{}@strong{note value}}
2132 @item sixty-fourth rest
2133 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2134 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2135 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2136 sextiofj@"ardedelspaus, N: .
2138 @w{@ar{}@strong{note value}}
2141 I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2142 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2143 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2145 A slur above or below a group of notes indicates that they are to be played
2146 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2150 I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S:
2153 General term for systems of designating the degrees of the
2154 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2155 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2156 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2159 I: sonata, F: , D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2161 In its present-day meaning a sonata denotes an instrumental composition for
2162 piano or for some other instrument with piano accompaniment, which consists of
2163 three or four independant pieces, called movements.
2166 I: forma sonata, F: , D: Sonatenform, NL: hoofdvorm, sonatevorm, DK:
2167 sonateform, S: sonatform, N: .
2169 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2170 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2171 falls in three sections called @emph{exposition}, @emph{development} and
2172 @emph{recapitulation}. In the exposition the composer introduces his musical
2173 ideas, consisting of a number of themes; in the development section he
2174 "develops" this material, and in the recapitulation he repeats the exposition,
2175 with certain modifications however. The exposition contains a number of themes
2176 which fall into two groups, often called first and second subject. Other
2177 melodies occurring in each group are considered as continuations of these
2178 two. The second theme is in another key, normally in the key of the
2179 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2180 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2181 tonic is @w{@ar{}@strong{minor}}.
2184 I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2186 The highest female voice.
2189 I: staccato, F: , D: staccato, NL: staccato, DK: staccato, S: staccato, N:
2191 Playing the note(s) short. Staccato is indicated by a dot above or below the
2199 \notes\relative c'' {
2201 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2206 I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2207 partij, DK: nodesystem, S: notsystem, N: .
2209 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2210 between which the musical notes are written, thus indicating (in connection
2211 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2212 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2215 I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2218 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2219 note. @w{@ar{}@strong{beam}}
2224 \property Score.noAutoBeaming = "1"
2225 \property Score.barNonAuto = "1"
2226 \property Voice.textEmptyDimension = "1"
2227 \property Voice.textStyle = "large"
2228 \notes\relative c'' {
2237 I: archi, F: , D: Streicher, NL: strijkers, DK: strygere, S: str@aa{}kar, N: .
2239 A family of stringed musical instruments played with a bow. Strings commonly
2240 used in a symphony orchestra are violin, viola, violoncello and double bass.
2243 I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2244 D: betonet taktslag, S: betonat taktslag, N: .
2246 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2247 @w{@ar{}@strong{rhythm}}
2250 I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2251 subdominant, S: subdominant, N: .
2253 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2257 I: sopradominante, F: , D: Submediant, NL: submediant, DK: Submediant, S:
2260 The sixth @w{@ar{}@strong{scale degree}}.
2263 I: sensibile, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2266 The seventh @w{@ar{}@strong{scale degree}}
2269 I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2270 superdominant, S: superdominant, N: .
2272 The sixth @w{@ar{}@strong{scale degree}}
2275 I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2276 supertonika, S: supertonika, N: .
2278 The second @w{@ar{}@strong{scale degree}}.
2281 I: sinfonia, F: , D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, N: .
2283 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2286 I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2288 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2289 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2290 rhythm rests upon the grouping of equal beats into groups of two or three,
2291 with a regularly recurrent accent on the first beat of each group. Any
2292 deviation from this scheme is felt as a disturbance or contradiction between
2293 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2298 \property Voice.textEmptyDimension = "1"
2299 \property Voice.textStyle = "large"
2301 \notes\relative c' {
2304 e c'4 e,8 c'4 e,8 c' ( | ) c2
2308 @item syntonic comma; dydimic comma
2310 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2311 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2313 Difference between the natural third and the third obtained by Pythagorean
2314 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2317 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2320 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2321 writing down of keyboard, chamber, choral or orchestral music.
2324 I: temperamento, F: , D: Stimmung, Temperatur, NL: temperament, DK:
2325 temperatur, S: temperatur, N: .
2327 Systems of tuning in which the intervals deviate from the accoustically pure
2328 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2331 @item tempo indication
2332 I: indicazioni di tempo, F: signe de temps, D: Zeitma@ss{}, Tempobezeichnung,
2333 NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, N: .
2335 The rate of speed of a composition or a section thereof, ranging from the
2336 slowest to the quickest, as is indicated by tempo marks as
2337 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2338 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2341 I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2343 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2346 I: decima, F: , D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2348 @w{@ar{}@strong{note value}}
2351 I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2353 @w{@ar{}@strong{interval}}
2355 @item thirty-second note
2357 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2358 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: 32e noot, DK:
2359 toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2361 @w{@ar{}@strong{note value}}
2363 @item thirty-second rest
2365 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2366 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2367 trettiotv@aa{}ondelspaus, N: .
2369 @w{@ar{}@strong{note value}}
2371 @item thorough bass; figured bass
2372 I: basso continuo, F: basse chiffr@'e, D: Generalbass, bezifferter Bass, NL:
2373 basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2375 A method of indicating an accompaniment part by the bass notes only, together
2376 with figures designating the chief @w{@ar{}@strong{interval}}s and
2377 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2382 \context GrandStaff <
2383 \notes\relative c'' {
2387 < \context Voice = rha {
2390 \context Voice = rhb {
2392 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2395 \property Voice.textStyle = "large"
2396 \property Lyrics.textStyle = "Large"
2397 \property Lyrics.minVerticalAlign = 6
2399 \notes\relative c' {
2402 es8 c () c bes () bes as () as g16 f | es4
2404 \context Lyrics \lyrics {
2405 < { "" "6" "4" "6" "4" "6" "4" "6" }
2406 { "" "" "2" "" "2" "" "2" "" } >
2412 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2413 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2415 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2416 connects two succesive notes of the same pitch, and which has the function of
2417 uniting them into a single sound equal to the combined durations.
2422 \property Score.barNonAuto = "1"
2423 \notes\relative c'' { g2 ~ g4. }
2426 @item time signature
2428 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2429 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2430 taktartssignatur, N: .
2432 @w{@ar{}@strong{meter}}
2435 I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2437 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2438 a primary building material of music. Music from the 20th century may be based
2439 on non tone related sounds.
2442 I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2444 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2447 I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2448 transposition, S: transponering, N: .
2450 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2457 \notes\relative c'' {
2459 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2460 \transpose bes\relative c'' {
2462 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
2467 I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2468 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2471 @w{@ar{}@strong{G clef}}
2474 I: tremolo, F: tr@`emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2477 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2478 the same tone, produced by a rapid up-and-down movement movement of the bow
2479 (a). The term is also used for the rapid alternation (b) between two notes of
2480 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2481 (@w{@ar{}@strong{interval}}).
2486 \property Voice.textEmptyDimension = "1"
2487 \property Score.barNonAuto = "1"
2488 \property Voice.textStyle = "large"
2489 \notes\relative c' {
2490 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2495 I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N:
2497 @w{@ar{}@strong{chord}}
2500 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2501 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2503 @w{@ar{}@strong{ornament}}
2506 I: tempo ternario, F: temps ternaire, D: dreiteiliger Takt, NL: driedelige
2507 maatsoort, DK: tredelt takt, S: tretakt, N: .
2509 @w{@ar{}@strong{meter}}
2512 I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2514 @w{@ar{}@strong{note value}}
2517 I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2520 @w{@ar{}@strong{interval}}
2523 I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2524 stemmegaffel, S: st@"amgaffel, N: .
2526 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2527 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2529 @item turn; gruppetto
2530 I: grupetto, F: bris@`e, groupe, doubl@`e, grupetto, D: Doppelschlag, NL:
2531 dubbelslag, DK: dobbeltslag, S: dubbelslag, N: .
2534 I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2537 Playing of the same notes or the same melody by various instruments (voices)
2538 or by the whole orchestra (choir), either at exactly the same pitch or in a
2542 I: anacrusi, F: , D: Auftakt, NL: opmaat, I: , DK: optakt, S: upptakt, N:
2544 Initial note(s) of a melody occurring before the first bar
2545 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2552 \notes\relative c' {
2553 \partial 4; f4 | bes4. a8 bes4 c |
2554 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; }
2558 I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2560 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2561 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2562 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2563 of a polyphonic composition.
2566 I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2567 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2569 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2572 I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2573 DK: helnode, S: helnot, N: .
2575 @w{@ar{}@strong{note value}}
2578 I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2579 rust, DK: helnodespause, S: helnotspaus, N: .
2581 @w{@ar{}@strong{note value}}
2584 I: tono intero, F: , D: Ganzton, NL: hele toon, DK: heltone, S: helton, N: .
2586 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2587 tones on the piano keyboard with exactly one key between them - including
2588 black and white keys - is a whole tone.
2591 I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S:
2592 tr@"abl@aa{}sare, N: .
2594 A family of blown wooden musical instruments. Today some of these instruments
2595 are actually made from metal. The woodwind instruments commonly used in a
2596 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2600 @item ---------------------
2604 @item Litterature used
2605 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2606 quotes from its articles have been included into the item explanation texts.
2608 Hugo Riemans Musiklexicon, Berlin 1929
2610 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.