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, 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.
152 \context Voice\notes\relative c'' {
156 \property Score.TextScript \set #'font-style = #'large
157 <d4_"notation" a fis> r
158 { \property Grace.Stem \override #'flag-style = #""
161 { \property Grace.Stem \override #'flag-style = #""
163 g8 fis16 g | a4 \bar "||" }
164 \notes\relative c'' {
165 <d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
168 An appoggiatura may have more notes preceding the main note.
173 \notes\relative c'' {
176 \property Score.TextScript \set #'font-style = #'large
177 \grace { bes16 } as8_"notation" as16 bes as8 g |
178 \grace { [as16 ( bes] } < ) c4 as >
179 \grace { [as16 ( bes] } < ) c4 as > \bar "||"
180 \grace { bes16 } as8_"performance" as16 bes as8 g |
181 < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
182 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
188 ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
189 Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
194 \notes \context PianoStaff <
195 \context Staff = SA \relative c'' {
198 r8 g16 c e g, c e r8 g,16 c e g, c e |
199 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
200 \context Staff = SB \relative c' {
202 < \context Voice = va {
204 r16 e8. () e4 r16 e8. () e4 |
205 r16 d8. () d4 r16 d8. () d4 }
206 \context Voice = vb {
213 @item ascending interval
214 ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
215 NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
217 A distance between a starting lower note and a higher ending note.
219 @item augmented interval
220 ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
221 Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
222 @"overstigande intervall, N:
224 @w{@ar{}@strong{interval}}
227 I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
228 h@aa{}ndskrift, autograf, S: handskrift, N: .
230 1. A manuscript in the composer's own hand. 2. Music prepared for
231 photoreproduction by freehand drawing, with only the aid of a
232 straightedge ruler and T-square, which attempts to emulate
233 engraving. This required more skill than did engraving.
236 ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
238 @item backfall; forefall
239 @w{@ar{}@strong{appoggiatura}}
242 ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
243 maatstreep, DK: taktstreg, S: taktstreck, N:
246 ES: compás, @w{@ar{}@strong{measure}}
249 ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
252 The male voice intermediate between the @w{@ar{}@strong{bass}} and the
253 @w{@ar{}@strong{tenor}}.
255 @c F: clef de troisi@`eme ligne dropped
258 ES: clave de fa en tercera
259 I: chiave di baritono, F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
262 C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
263 @w{@ar{}@strong{f clef}}
266 ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
267 bassleutel, DK: basn@o{}gle, S: basklav, N:
269 A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
273 I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
275 1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
276 an abbreviation for double bass @w{@ar{}@strong{strings}}.
279 I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
281 Line connecting a series of notes (shorter than a quarter note). The number of
282 beams determine the note value of the connected notes.
287 \property Score.barNonAuto = ##t
288 \property Voice.TextScript \set #'font-style = #'large
289 \notes\relative c'' {
291 [g16_"1/16" g g g] s16
292 [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
293 [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
297 ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
300 Note value used for counting, most often half-, fourth- and eighth notes. The
301 base counting value and the number of them per measure is indicated at the
309 \notes\relative c'' { g4 c b a | g1 \bar "||"}
311 \notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
315 @w{@ar{}@strong{tie}}
319 I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
320 accolade, teksthaak, DK: klamme, S: klammer, N:
322 Symbol at the start of a system connecting staffs. Curly braces are used
323 for connecting piano staves, angular brackets for connecting parts in an
324 orchestral or choral score.
327 \notes\context GrandStaff <
328 \relative c''\context Staff = SA { \clef treble g4 e c2 }
329 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
333 \context StaffGroup <
334 % \property StaffGroup.minVerticalAlign = #12
335 \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
336 \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
340 ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
341 DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
343 A family of blown musical instruments made of brass all using a cup formed
344 mouth piece. The brass instruments commonly used in a symphony orchestra are
345 trumpet, trombone, french horn and tube.
348 I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
349 repercussieteken, DK:
350 vejrtr@ae{}kningstegn, S: andningstecken, N: .
352 Indication of where to breathe in vocal and wind instrument parts.
355 ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
357 @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
363 \property Score.barNonAuto = ##t
364 \notes\relative c'' { g\breve }
368 ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
371 ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
372 c-n@o{}gle, S: c-klav, N:
374 Clef symbol indicating the position of the central C. Used on all note
380 \property Score.barNonAuto = ##t
381 \property Score.Clef \override #'full-size-change = ##t
382 \property Score.LyricText \set #'font-style = #'large
384 \context Staff \notes\relative c' {
391 \context Lyrics \lyrics {
392 Soprano Mezzosoprano Alto Tenor Baritone
397 ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
399 @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
402 ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
404 An extended, improvisatory style section inserted near the end of
405 movement. The purpose of a cadenza is to give the singer or player a chance to
406 exhibit her technichal skill and not the least her ability to improvise. Since
407 the middle of the 19'th century, however, most cadences have been written down
411 ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
413 @w{@ar{}@strong{counterpoint}}
416 ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
418 Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
419 equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
422 @w{@ar{}@strong{middle C}}
425 ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
427 Three or more tones sounding simultaneously. In traditional European music the
428 base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
429 minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
430 chords may be extended with more thirds. Four- @emph{seventh chords} and five
431 tone @emph{ninth} major chords are most often used as dominants
432 (@w{@ar{}@strong{functional harmony}}). A special case is chords having no
433 third above the lower notes to define their quality as major or minor. Such
434 chords are denoted open chords
439 \property Score.barNonAuto = ##t
440 \property Voice.TextScript \set #'font-style = #'large
442 \notes\relative c'' {
445 <g_"dimished" bes des>
446 <g_"augmented~" b dis>
447 <g_"seventh-chord~" b d f>
448 <g_"ninth-chord" b d f a> s s2
452 @item chromatic scale
453 ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
454 chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
456 A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
461 \property Score.barNonAuto = ##t
462 \notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
466 ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
469 Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
471 @item church mode; ecclesiastical mode ES: modo eclesiástico, I: modo
472 ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
473 kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
475 @w{@ar{}@strong{diatonic scale}}
478 ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
479 sleutel, DK: n@o{}gle, S: klav, N:
481 @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
484 I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
486 Difference in pitch between a note derived from pure tuning and the same note
487 derived from some other tuning method. @w{@ar{}@strong{temperament}}
490 @w{@ar{}@strong{meter}}
492 @item compound interval
493 ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
494 samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
496 Intervals larger than an octave
498 @w{@ar{}@strong{interval}}
501 I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
502 complementair interval, DK: komplement@ae{}rinterval, S:
503 komplement@"arintervall (?), N:
505 @w{@ar{}@strong{inverted interval}}
507 @item conjunct movement
508 ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
509 Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
511 Melody moving in the narrow steps of the scale;
516 \key g \major \time 4/4
517 \notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
521 ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
524 @w{@ar{}@strong{harmony}}
527 ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
529 @w{@ar{}@strong{alto}}
532 ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
533 kontrapunkt, S: kontrapunkt, N: .
535 From latin @emph{punctus contra punctum}, note against note. The combination
536 into a single musical fabric of lines or parts which have distinct melodic
537 significance. A frequently used polyphonic technique is imitation, in its
538 strictest form found in the canon needing only one part to be written down
539 while the other parts are performed with a given displacement. Imitation is
540 also the contrapuntal technique used in the @emph{fugue} which, since the
541 music of the baroque era, has been one of the most popular polyphonic
547 \property Score.TimeSignature \override #'style = #'C2/2
548 \notes\context PianoStaff <
549 \context Staff = SA \relative c' {
553 < \context Voice = rha {
555 r1 | r2 r8 g'8 bes d, |
556 cis4 d r8 e!16 f g8 f16 e |
557 f8 g16 a bes8 a16 g a8
559 \context Voice = rhb {
565 \context Staff = SB \relative c' {
568 < \context Voice = lha {
570 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
571 r8 a16 g f8 g16 a bes8 g e! cis' |
574 \context Voice = lhb {
583 ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
584 kontratenor, S: kontratenor, counter tenor, N: kontratenor
586 @w{@ar{}@strong{contralto}}
589 A music copyist did fast freehand scores and parts on preprinted staff lines
590 for performance. Some of their conventions (e.g.: the placement of noteheads
591 on stems) varied slightly from those of engravers. Some of their working
592 methods were superior and could well be adopted by music typesetters. This
593 required more skill than engraving.
596 ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
597 crescendo, S: crescendo, N:@w{ }crescendo.
599 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
600 abbreviation "cresc.".
605 \key g \major \time 4/4
606 \notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
610 ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
611 r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
613 In a separate part notes belonging to another part with the purpose of hinting
614 when to start playing. Usually printed in a smaller type.
617 ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
620 ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
621 capo, DK: da capo, S: da capo, N: .
623 The term indicates repetition of the piece from the beginning to the end or to
624 a certain place marked @emph{fine}. Mostly abbreviated D.C.
627 ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
628 dal segno, S: dal segno, N: .
630 abbreviated d.s. Repetition, not from the beginning, but from another place
631 frequently near the beginning marked by a sign:
636 \property Voice.TextScript \set #'font-style = #'large
637 \key g \major \time 4/4
638 \notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
642 ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
643 decrescendo, N: decrescendo
645 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
646 or the abbreviation "decresc.".
651 \context Staff \notes\relative c'' {\key g \major \time 4/4
652 d4 \> c b a | \! g1 \bar "|." }
655 @item descending interval
656 ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
657 absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
658 fallande intervall, N:
660 An distance between a starting higher note and a lower ending note.
663 ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
664 diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
666 A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
667 @w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
668 keybord are diatonic.
670 The church modes are used in gregorial chant and pre baroque early music but
671 also to some extent in newer jazz music.
676 \property Score.barNonAuto = ##t
677 \property Score.LyricText \set #'font-style = #'large
678 \property Score.TextScript \set #'font-style = #'large
680 \context Staff \notes\relative c' {
682 \property Voice.TextScript \set #'padding = #-10
684 \property Voice.TextScript \set #'padding = #-4
686 \context Lyrics \lyrics { Ionian }
690 \property Score.barNonAuto = ##t
691 \property Score.LyricText \set #'font-style = #'large
692 \property Score.TextScript \set #'font-style = #'large
696 \property Voice.TextScript \set #'padding = #-10
699 \property Voice.TextScript \set #'padding = #-4
701 \context Lyrics \lyrics { Dorian }
705 \property Score.barNonAuto = ##t
706 \property Score.LyricText \set #'font-style = #'large
707 \property Score.TextScript \set #'font-style = #'large
710 \property Voice.TextScript \set #'padding = #-10
713 \property Voice.TextScript \set #'padding = #-4
715 \context Lyrics \lyrics { Phrygian }
719 \property Score.barNonAuto = ##t
720 \property Score.LyricText \set #'font-style = #'large
721 \property Score.TextScript \set #'font-style = #'large
725 \property Voice.TextScript \set #'padding = #-4
727 \property Voice.TextScript \set #'padding = #0
729 \context Lyrics \lyrics { Lydian }
733 \property Score.barNonAuto = ##t
734 \property Score.LyricText \set #'font-style = #'large
735 \property Score.TextScript \set #'font-style = #'large
737 \notes\relative c'' {
739 \property Voice.TextScript \set #'padding = #-4
741 \property Voice.TextScript \set #'padding = #0
743 \context Lyrics \lyrics { Mixolydian }
747 \property Score.barNonAuto = ##t
748 \property Score.LyricText \set #'font-style = #'large
749 \property Score.TextScript \set #'font-style = #'large
751 \notes\relative c'' {
753 \property Voice.TextScript \set #'padding = #-4
755 \property Voice.TextScript \set #'padding = #0
757 \context Lyrics \lyrics { Aeolian }
760 From the beginning of the 17th century the scales used in European
761 compositional music are primarily the major and the minor scales. In the
762 harmonic minor scale type an augmented second (A) occurs between the 6th and
766 \property Score.barNonAuto = ##t
767 \property Score.LyricText \set #'font-style = #'large
768 \property Score.TextScript \set #'font-style = #'large
772 \property Voice.TextScript \set #'padding = #-10
774 \property Voice.TextScript \set #'padding = #-4
776 \context Lyrics \lyrics { Major }
780 \property Score.barNonAuto = ##t
781 \property Score.LyricText \set #'font-style = #'large
782 \property Score.TextScript \set #'font-style = #'large
784 \notes\relative c'' {
786 \property Voice.TextScript \set #'padding = #-4
788 \property Voice.TextScript \set #'padding = #0
790 \context Lyrics \lyrics { "ancient minor" }
794 \property Score.barNonAuto = ##t
795 \property Score.LyricText \set #'font-style = #'large
796 \property Score.TextScript \set #'font-style = #'large
798 \notes\relative c'' {
800 \property Voice.TextScript \set #'padding = #-4
802 \property Voice.TextScript \set #'padding = #0
804 \property Voice.TextScript \set #'padding = #1
808 \context Lyrics \lyrics { "Harmonic minor" }
812 \property Score.barNonAuto = ##t
813 \property Score.LyricText \set #'font-style = #'large
814 \property Score.TextScript \set #'font-style = #'large
816 \notes\relative c'' {
818 \property Voice.TextScript \set #'padding = #-4
820 \property Voice.TextScript \set #'padding = #0
822 \property Voice.TextScript \set #'padding = #-1
824 \property Voice.TextScript \set #'padding = #-4
827 \context Lyrics \lyrics { "Melodic minor" }
830 @item diminished interval
831 ES: intervalo disminuído, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
832 NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
835 @w{@ar{}@strong{interval}}
838 ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
839 S:@w{ }diminuendo, N:@w{ }diminuendo.
841 @w{@ar{}@strong{decrescendo}}
843 @item disjunct movement
844 ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
845 sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
848 Melody moving in steps greater than those of the
849 scale. Opposite of @ar{}@strong{conjunct movement}.
857 \partial 8 e8 | a4. gis8 b a e cis |
861 @item dissonant interval; dissonance
862 ES: intervalo disonante, disonancias,
863 I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
864 dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
867 @w{@ar{}@strong{harmony}}
869 @item dominant ninth chord
870 I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
871 Dominantnoneakkord, NL: dominant noon akkoord, DK:
872 dominantnoneakkord, S: dominantnonackord, N: .
874 @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
876 @item dominant seventh chord
877 ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
878 Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
879 dominantseptimackord, N:
881 @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
884 ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
887 The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
890 ES: modo dórico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
891 toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
893 @w{@ar{}@strong{diatonic scale}}
895 @item dot (augmentation dot)
896 ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
899 @w{@ar{}@strong{dotted note}}
902 ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
903 DK: punkteret node, S: punkterad not, N:
905 @w{@ar{}@strong{note value}}
907 @item double appoggiatura
908 ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
909 dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
911 @w{@ar{}@strong{appoggiatura}}
913 @item double bar line
914 I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
915 dobbeltstreg, S: dubbelstreck, N: .
917 Indicates the end of a section within a movement.
919 @item double dotted note
920 ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
921 doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
922 dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
924 @w{@ar{}@strong{note value}}
928 I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
929 DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
931 @w{@ar{}@strong{accidental}}
934 ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
935 DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
937 @w{@ar{}@strong{accidental}}
940 ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
941 dobbelttrille, S: dubbeldrill, N: .
943 A simultaneous trill on two notes, usually in the distance of a third.
946 ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
947 maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
949 @w{@ar{}@strong{meter}}
952 ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
954 @w{@ar{}@strong{note value}}
957 ES: duración, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
960 @w{@ar{}@strong{note value}}
963 @w{@ar{}@strong{syntonic comma}}
966 ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
969 ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
970 ottendedelsnode, S: @aa{}ttondelsnot, N: .
972 @w{@ar{}@strong{note value}}
975 ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
976 achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
978 @w{@ar{}@strong{note value}}
981 ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
984 Engraving means incising or etching a metal plate for
985 printing. Photoengraving means drawing music with ink in a manner
986 similar to drafting or engineering drawing, using similar tools.
988 The traditional process of music printing is done through cutting in a
989 plate of metal. Now also the term for the art of music typesetting.
992 ES: enharmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
993 enharmonisk, S: enharmonisk, N: .
995 Two notes, intervals, or scales are enharmonic if they have different names
1000 \property Score.barNonAuto = ##t
1001 \property Score.TextScript \set #'font-style = #'large
1002 \notes\relative c'' {
1003 gis1_"g sharp" s as1_"a flat" s s
1004 < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
1008 @item equal temperament
1009 I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
1010 Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
1011 temperatur, S: liksv@"avande temperatur, N: .
1013 Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
1014 (precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
1016 @item expression mark
1017 I: segno d'espressione, F: signe d'expression, indication de nuance, D:
1018 Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
1019 f@"oredragsbeteckning, N: .
1021 Performance indications concerning 1. volume, dynamics (for example
1022 @w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
1023 @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
1026 ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
1029 ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
1030 F-n@o{}gle, S: f-klav, N: .
1032 The position between the dots of the key symbol is the line of the F below
1033 central C. Used on the third, fourth and fifth note line. A digit 8 above the
1034 clef symbol indicates that the notes must be played an octave higher (for
1035 example bass recorder) while 8 below the clef symbol indicates playing an
1036 octave lower (for example on double bass @w{@ar{}@strong{strings}}).
1040 \property Score.barNonAuto = ##t
1041 \property Staff.Clef \override #'full-size-change = ##t
1042 \property Score.LyricText \set #'font-style = #'large
1057 \context Lyrics \lyrics {
1066 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
1069 ES: Calderón, I: corona, F: point d'orgue, point d'arr@^et, UK: pause, corona, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
1071 Prolonged note or rest of indefinite duration.
1076 \notes\relative c'' {
1077 a4 b c2^\fermata \bar "|." }
1081 ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
1084 @w{@ar{}@strong{interval}}
1087 ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
1090 ES: digitación, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
1091 fingers@ae{}tning, S: fingers@"attning, N: .
1093 The methodical use of fingers in the playing of instruments.
1097 I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
1098 DK: fane, S: flagga, N: .
1100 Ornament at the end of the stem of a note used for notes with values
1101 less than a quarter note. The number of flags determines the
1102 @w{@ar{}@strong{note value}}.
1106 \property Score.barNonAuto = ##t
1107 \property Score.TextScript \set #'font-style = #'large
1108 \notes\relative c'' {
1116 ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
1118 @w{@ar{}@strong{accidental}}
1120 @item forefall; backfall
1121 @w{@ar{}@strong{appoggiatura}}
1124 ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
1126 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
1127 @emph{mezzoforte} (@b{mf}) medium loud.
1130 ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
1132 @w{@ar{}@strong{interval}}
1135 ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
1137 @w{@ar{}@strong{counterpoint}}
1139 @item functional harmony
1140 ES: armonía funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
1141 funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
1143 A system of harmonic analysis. It is based on the idea that, in a given key,
1144 there are only three functionally different chords: tonic (T, the chord on the
1145 first note of the scale), subdominant (S, the chord on the fourth note) and
1146 dominant (D, the chord on the fifth note). Other are considered to be variants
1152 \property Score.barNonAuto = ##t
1153 \property Score.LyricText \set #'font-style = #'large
1154 \property Score.TextScript \set #'font-style = #'large
1156 \notes\relative c'' {
1157 < g1 e c > < a f d > < b g e >
1158 < c a f > < d b g > < e c a > < f d b > }
1159 \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
1163 ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
1166 ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
1167 G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
1169 A clef symbol indicating the G above central C. Used on the first and second
1170 note lines. A digit 8 above the clef symbol indicates that the notes must be
1171 played an octave higher while 8 below the clef symbol indicates playing or
1172 singing an octave lower (most tenor parts in choral scores are notated like
1178 \property Score.barNonAuto = ##t
1179 \property Staff.Clef \set #'full-size-change = ##t
1180 \property Score.LyricText \set #'font-style = #'large
1182 \notes\relative c'' {
1192 \context Lyrics \lyrics {
1193 "french violin clef"
1201 ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
1202 glissando, N: glissando.
1204 Letting the pitch slide fluently from one note to the other
1207 I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
1208 NL: versieringen, DK: forsiringer, S: ornament, N: .
1210 Notes printed in small types to indicate that their time values are not
1211 counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
1214 I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
1215 S: ackolad, b@"ojd klammer, N: .
1217 @w{@ar{}@strong{brace}}
1219 A combination of two staffs with a brace. Usually used for piano music.
1222 ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
1228 ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
1229 halvnode, S: halvnot, N: .
1231 @w{@ar{}@strong{note value}}
1234 I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
1235 rust, DK: halvnodespause, S: halvpaus, N: .
1237 @w{@ar{}@strong{note value}}
1239 @item harmonic cadence
1240 ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
1241 harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
1243 Sequence of chords that terminate a musical phrase or
1244 section. @ar{}@w{}@strong{functional harmony}
1249 \notes\context PianoStaff <
1250 \context Staff = SA \relative c'' {
1253 \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
1254 \property Score.LyricText \set #'font-style = #'large
1256 \context Staff = SB \relative c {
1258 \partial 4 c4 | f, g c2
1260 \context Lyrics \lyrics { T S D T } >
1264 ES: armonía , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
1265 samklang, S: samklang, N:
1267 Tones sounding simultaneously. Two note harmonies fall into the cathegories
1268 @emph{consonances} and @emph{dissonances}.
1275 \property Score.barNonAuto = ##t
1276 \property Score.TextScript \set #'font-style = #'large
1277 \notes\relative c'' {
1284 <g1_"decime" b'> s s
1293 \property Score.barNonAuto = ##t
1294 \property Score.TextScript \set #'font-style = #'large
1295 \notes\relative c'' {
1302 Three note harmony @w{@ar{}@strong{chord}}
1305 ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
1308 Music in which one voice leads melodically followed by the other voices more
1309 or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
1312 ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
1315 Difference in pitch between two notes. Intervals may be perfect, minor, major,
1316 diminished or augmented. The augmented fourth and the diminished fifth are
1317 identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
1318 it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
1324 \property Score.barNonAuto = ##t
1325 \property Score.LyricText \set #'font-style = #'large
1326 \property Score.TextScript \set #'font-style = #'large
1328 \context Staff \notes\relative c'' {
1333 < gis^"dimin" bes > s
1334 < g!^"minor" bes > s
1338 \context Lyrics \lyrics {
1339 unisone second second second third third third third }
1345 \property Score.barNonAuto = ##t
1346 \property Score.LyricText \set #'font-style = #'large
1347 \property Score.TextScript \set #'font-style = #'large
1349 \context Staff \notes\relative c'' {
1350 < g1^"perfect" c > s
1352 < g^"perfect" d' > s
1354 < gis^"dimin" es' > s
1355 < g!^"minor" es' > s
1359 \context Lyrics \lyrics {
1360 fourth fourth fifth fifth sixth sixth sixth sixth }
1366 \property Score.barNonAuto = ##t
1367 \property Score.LyricText \set #'font-style = #'large
1368 \property Score.TextScript \set #'font-style = #'large
1370 \context Staff \notes\relative c'' {
1371 < gis1^"dimin" f'! > s
1372 < g!^"minor" f'! > s
1373 < g^"major" fis' > s
1377 < g^"minor" bes' > s
1380 \context Lyrics \lyrics {
1381 seventh seventh seventh octave none none decime decime }
1384 @item inverted interval
1385 ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
1386 interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
1388 The difference between an interval and an octave.
1393 \property Score.barNonAuto = ##t
1394 \property Score.TextScript \set #'font-style = #'large
1395 \context Staff \notes\relative c'' {
1396 < g1_"second" a > s < g'_"seventh" a, > s \bar "||"
1397 < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
1398 < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
1402 @item just intonation
1403 I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
1404 stemming, DK: ren stemning, S: ren st@"amning, N: .
1406 Tuning system in which the notes are obtained by adding and subtracting
1407 @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
1410 ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
1413 According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
1414 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
1417 ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
1418 Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
1419 S: tonartssignatur, N: .
1421 The sharps or flats appearing at the beginning of each staff indicating the
1422 key of the music. @w{@ar{}@strong{accidental}}
1425 ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
1428 Very slow in tempo, usually combined with great
1429 expressiveness. @emph{Larghetto} less slow than largo.
1432 ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
1435 The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
1436 the tonic; so called because of its strong tendency to ``lead up'' (resolve
1437 upwards) to the tonic scale degree.
1439 @item ledger line; leger line
1441 ES: líneas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
1442 hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
1444 A ledger line is an extension of the staff.
1449 \property Score.barNonAuto = ##t
1450 \notes\relative c'' { a,1 s c'' }
1454 ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
1457 To be performed without any perceptible interruption between the notes (a)
1458 unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
1459 @w{@ar{}@strong{staccato}} (d)
1464 \property Score.barNonAuto = ##t
1466 \context Staff \notes\relative c'' {
1468 c4-- d-- e-- \bar "||"
1469 c4-.( d-. )e-. \bar "||"
1470 c4-. d-. e-. \bar "||"
1472 \context Lyrics \lyrics {
1473 \property Lyrics . LyricText \set #'font-style = #'large
1474 a "" "" b "" "" c "" "" d }
1478 @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
1481 ES: estanque de lilas,
1482 I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
1483 le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
1485 A pond with lilies floating in it, also the name of a music typesetter.
1488 ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
1491 @w{@ar{}@strong{staff}}
1493 @item long appoggiatura
1494 ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
1495 forslag, S: l@aa{}ngt f@"orslag, N: .
1497 @w{@ar{}@strong{appoggiatura}}
1500 ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
1502 note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
1507 \property Score.barNonAuto = ##t
1508 \notes\relative c'' {
1509 \property Voice.NoteHead \set #'style = #'mensural
1514 @item major interval
1515 ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
1516 groot interval, DK: stort interval, S: stort intervall, N: .
1518 @w{@ar{}@strong{interval}}
1521 ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
1523 @w{@ar{}@strong{diatonic scale}}
1525 @item meantone temperament
1526 I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
1527 Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
1529 Temperament yielding acoustically pure thirds by decreasing the natural fifth
1530 by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
1531 @w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
1532 tuning keyboard instruments for performance of pre-1650 music.
1535 ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
1537 A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which
1538 bears an accent. Such groups in numbers of two or more recur consistently
1539 throughout the composition and are marked from each other by
1540 bar-lines. @w{@ar{}@strong{meter}}
1543 ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
1546 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
1547 a third from that of another chord. For example the tonic chord may be
1548 replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
1549 harmony}} @w{@ar{}@strong{relative key}}.
1551 @item melodic cadence
1553 @w{@ar{}@strong{cadenza}}
1556 ES: compás, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
1559 The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
1560 which remains unaltered throughout a composition or a section of it. For
1561 instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
1562 quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
1563 those. According to whether there are two, three or four units to the measure,
1564 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
1565 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
1570 \notes\relative c'' {
1573 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
1577 \notes\relative c' {
1580 f8 f f f a16 g a f |
1581 c'8 c c c e16 d e c \bar "||"}
1585 \notes\relative c'' {
1588 d4 b8 g b d d c a4 |
1589 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
1593 ES: metrónomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
1594 DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
1596 Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
1599 @item metronomic indication
1600 ES: indicación metronómica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
1601 NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
1603 Exact tempo indication (in beats per minute). Also denoted by
1604 M.M. (M@"alzel's Metronom)
1607 ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
1608 mezzosopran, S: mezzosopran, N: mezzosopran.
1610 The female voice between @w{@ar{}@strong{soprano}} and
1611 @w{@ar{}@strong{contralto}}.
1614 ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
1615 enstreget c, S: ettstruket c, N:
1617 First C below the 440 Hz A.
1622 \property Score.barNonAuto = ##t
1623 \property Staff.Clef \set #'full-size-change = ##t
1624 \notes\relative c' {
1631 @item minor interval
1632 ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
1633 interval, DK: lille interval, S: litet intervall, N: .
1635 @w{@ar{}@strong{interval}}
1638 ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
1640 @w{@ar{}@strong{diatonic scale}}
1643 ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
1645 @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
1648 ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
1651 Moving from one @w{@ar{}@strong{key}} to another. For example the second
1652 subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
1653 key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
1657 I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
1660 @w{@ar{}@strong{ornament}}
1664 I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
1666 The briefest intelligible and self-contained fragment of a musical theme or
1672 \property Score.TimeSignature \override #'style = #'C2/2
1673 \property Score.TextScript \set #'font-style = #'large
1674 \notes\relative c'' {
1677 \partial 8 g16_"------" fis |
1678 g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
1679 g8 g,16 a b8 cis d16 s
1684 ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
1686 Greater musical works like @w{@ar{}@strong{symphony}} and
1687 @w{@ar{}@strong{sonata}} most often consist of several - more or less -
1688 independant pieces called movements.
1691 ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
1692 mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
1697 \notes\relative c'' {
1699 \property Score.skipBars=##t R1*3
1703 @item mixolydian mode
1704 @w{@ar{}@strong{diatonic scale}}
1707 ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
1708 DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
1710 @w{@ar{}@strong{accidental}}
1712 @item neighbour tones
1713 @w{@ar{}@strong{appoggiatura}}
1716 ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
1718 @w{@ar{}@strong{interval}}
1721 @w{@ar{}@strong{legato}}
1724 ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
1726 Notes are signs by means of which music is fixed in writing. The term is also
1727 used for the sound indicated by a note, and even for the key of the piano
1728 which produces the sound. However, a clear distinction between the terms tone
1729 and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
1733 ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
1734 nootballetje, DK: nodehovede, S: nothuvud, N: .
1736 A head like sign which indicates pitch by its position on a
1737 @w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
1738 by a variety of shapes such as hollow or black heads with or without
1739 @w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
1740 instruments (often having no defined pitch) the note head may indicate the
1744 ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
1745 nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
1747 Note values (durations) are measured as fractions, normally 1/2, of the next
1748 higher note value. The longest duration normally used is called @emph{brevis},
1749 but sometimes (mostly in pre baroque music) the double length note value
1750 @emph{longa} is used.
1755 \property Score.TextScript \set #'font-style = #'large
1756 \property Score.barNonAuto = ##t
1757 \notes\relative c'' {
1758 \property Voice.NoteHead \override #'style = #'mensural
1759 g\longa_"longa" g\breve_"breve"
1760 \property Voice.NoteHead \revert #'style
1761 g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
1762 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
1766 \property Score.TextScript \set #'font-style = #'large
1767 \property Score.barNonAuto = ##t
1768 \notes\relative c'' {
1769 r\longa_"longa" r\breve_"breve"
1770 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
1771 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
1774 An augmentation dot after a note multiplies the duration by one and a
1775 half. Another dot adds yet a fourth of the duration.
1780 \property Score.TextScript \set #'font-style = #'large
1781 \notes\relative c'' {
1783 g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
1784 g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
1787 Alternatively note values may be subdivided by other ratios. Most common is
1788 subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
1789 2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
1795 \property Score.TextScript \set #'font-style = #'large
1796 \notes\relative c'' {
1798 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
1799 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
1801 \times 3/2 {g4_"duplets" g} |
1803 \times 6/4 {g8_"quadruplets" g g g} |
1804 g8 g g g g4 \bar "||"}
1811 @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
1814 ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
1816 @w{@ar{}@strong{interval}}
1818 @item ornament; embellishment; accessory
1820 I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
1821 NL: versiering, DK: forsiring, S: ornament, N: .
1823 Most commonly used is the @emph{trill}, the rapid alternation of a given note
1824 with the diatonic @w{@ar{}@strong{second}} above it. In the music from the
1825 middle of the 19th century and onwards the trill is performed with the main
1826 note first while in the music from the preceding baroque and classic periods
1827 the upper note is played first.
1831 \context Staff = sa {
1832 \property Score.TextScript \set #'font-style = #'large
1833 \notes\relative c'' {
1834 c2._"pre-1850" b4\trill | c1 \bar "||"
1835 c2._"post-1850" b4\trill | c1 \bar "||"
1838 \notes\relative c'' {
1839 c2. c32 b c b c b c b | c1
1840 c2. b32 c b c \times 4/5 { b c b c b } | c1
1845 Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
1846 @emph{prall} (inverted mordent).
1852 \context Staff = sa {
1853 \property Score.TextScript \set #'font-style = #'large
1854 \notes\relative c'' {
1855 a4_"turn" b\turn c2 \bar "||"
1856 g4_"mordent" a b\mordent a \bar "||"
1857 e'4_"prall" d\prall c2 \bar "||"
1860 \notes\relative c'' {
1863 e'4 [e8 ~ e32 d e d] c2
1868 @w{@ar{}@strong{appoggiatura}}
1871 ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
1873 Ossia (otherwise) marks an alternative. It is an added staff or piano
1874 score, usually only a few measures long, which presents another version
1875 of the music, for example for small hands.
1878 ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
1880 1. In instrumental or choral music the music for the single instrument
1881 or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
1882 melodic line of the contrapuntal web.
1885 ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
1888 A family of musical instruments which are played on by striking or
1889 shaking. Percussion instruments commonly used in a symphony orchestra are
1890 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
1891 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
1894 @item perfect interval
1895 ES: intervalo justo,
1896 I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
1897 interval, DK: rent interval, S: rent intervall, N: .
1899 @w{@ar{}@strong{interval}}
1902 ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
1904 A natural division of the melodic line, comparable to a sentence of speech.
1907 ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
1910 The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
1911 the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
1914 ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
1916 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
1917 @emph{mezzopiano} (@b{mp}) medium soft.
1920 ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
1924 ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
1925 pizzicato, S: pizzicato.
1927 Play by plucking the strings.
1930 ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
1933 Music written in a combination of several simultaneous voices (parts) of a
1934 more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
1937 @w{@ar{}@strong{legato}}
1940 ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
1941 presto, S: presto, N: .
1943 Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
1944 denotes the highest possible degree of speed.
1946 @item Pythagorean comma
1947 ES: coma pitagórico,
1948 I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
1949 komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
1951 A sequence of fifths starting on C eventually circles back to C, but this C,
1952 obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
1953 obtained by adding 7 octaves. The difference between those two pitches is
1954 called the Pythagorean comma.
1957 ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
1960 @w{@ar{}@strong{note value}}
1963 ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
1964 kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
1966 @w{@ar{}@strong{note value}}
1969 ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
1970 kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
1972 @w{@ar{}@strong{note value}}
1975 ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S:
1978 @w{@ar{}@strong{note value}}
1981 ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
1982 rallentando, S: rallentando, N: rallentando.
1984 Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
1987 ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
1988 paralleltoneart, S: parallelltonart, N: .
1990 @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
1991 the same @w{@ar{}@strong{signature}}.
1996 \property Score.barNonAuto = ##t
1997 \property Score.TextScript \set #'font-style = #'large
1998 \notes\relative c' {
2000 es1_"e flat major" f g as bes c d es
2003 c,1_"c minor" d es f g a! b! c \bar "||"
2008 ES: barra de repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
2009 gen@-ta@-gel@-se, S: repris, N: .
2016 \notes\relative c'' {
2017 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
2021 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
2022 @c specify the rest's value.
2024 ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
2026 @w{@ar{}@strong{note value}}
2029 ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
2031 (a) metrical rhythm in which every time value is a multiple or fraction of a
2032 fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
2033 @w{@ar{}@strong{accent}} recurs in regular intervals, called
2034 @w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
2035 @w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
2036 accent. In modern notation such music appears as a free alternation of
2037 different measures. (c) Free rhythm, i.e. the use of temporal values having no
2038 common metrical unit (beat).
2041 ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
2042 ritardando, S: ritardando, N: .
2044 Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
2047 ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
2050 Immediate reduction of speed.
2053 ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
2055 @w{@ar{}@strong{diatonic scale}}
2058 ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
2059 [van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
2061 Names and symbols used in harmonic analysis to denote tones of the scale as
2062 roots of chords. The most important are degrees I = tonic (T), IV =
2063 sub@-do@-mi@-nant (S) and V = dominant (D).
2068 \property Score.barNonAuto = ##t
2069 \property Score.LyricText \set #'font-style = #'large
2070 %\property Lyrics.minVerticalAlign = #8
2072 \context Staff \notes\relative c' {
2074 \context Lyrics \lyrics {
2075 < { I II III IV V VI VII I }
2080 @w{@ar{}@strong{functional harmony}}
2083 ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
2086 A copy of orchestral, choral or chamber music showing what each instrument is
2087 to play, each voice to sing, having each part arranged one underneath the
2088 other on different @w{@ar{}@strong{stave}}s.
2091 ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
2093 The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
2094 @w{@ar{}@strong{diatonic scale}} consists of alternating
2095 @w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
2096 of a se@-cond depends on the scale degrees in question.
2099 ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
2102 The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest
2103 interval in European composed music. The interval between two neighbouring
2104 tones on the piano keyboard - including black and white keys - is a
2105 semitone. An octave may be divided into 12
2106 semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
2111 \property Score.barNonAuto = ##t
2112 \notes\relative c'' { g1 gis s a bes s b c }
2116 ES: séptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
2118 @w{@ar{}@strong{interval}}
2120 @item sextuplet, sextolet
2121 I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
2124 @w{@ar{}@strong{note value}}
2127 ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
2129 @w{@ar{}@strong{accidental}}
2131 @item short appoggiatura
2132 @w{@ar{}@strong{appoggiatura}}
2134 @item sixteenth note
2135 ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
2136 Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
2139 @w{@ar{}@strong{note value}}
2141 @item sixteenth rest
2142 ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
2143 Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
2144 sextondelspaus, N: .
2146 @w{@ar{}@strong{note value}}
2149 ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
2151 @w{@ar{}@strong{interval}}
2153 @item sixty-fourth note
2155 I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
2156 Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
2157 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
2158 sextiofj@"ardedelsnot, N: .
2160 @w{@ar{}@strong{note value}}
2162 @item sixty-fourth rest
2163 ES: silencia de semifusa,
2164 I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
2165 rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
2166 fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
2167 sextiofj@"ardedelspaus, N: .
2169 @w{@ar{}@strong{note value}}
2172 ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
2173 Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
2174 DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
2176 A slur above or below a group of notes indicates that they are to be played
2177 @w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
2181 I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
2182 solmisation, S: solmisation, N: .
2184 General term for systems of designating the degrees of the
2185 @w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
2186 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
2187 (@emph{ti})). @w{@ar{}@strong{scale degree}}.
2190 ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
2192 In its present-day meaning a sonata denotes an instrumental composition for
2193 piano or for some other instrument with piano accompaniment, which consists of
2194 three or four independant pieces, called movements.
2197 ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
2198 sonatevorm, DK: sonateform, S: sonatform, N: .
2200 A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
2201 @w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
2202 falls in three sections called @emph{exposition}, @emph{development} and
2203 @emph{recapitulation}. In the exposition the composer introduces his musical
2204 ideas, consisting of a number of themes; in the development section he
2205 "develops" this material, and in the recapitulation he repeats the exposition,
2206 with certain modifications however. The exposition contains a number of themes
2207 which fall into two groups, often called first and second subject. Other
2208 melodies occurring in each group are considered as continuations of these
2209 two. The second theme is in another key, normally in the key of the
2210 @w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
2211 @w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
2212 tonic is @w{@ar{}@strong{minor}}.
2215 ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
2217 The highest female voice.
2220 ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
2221 staccato, S: staccato, N:
2223 Playing the note(s) short. Staccato is indicated by a dot above or below the
2231 \notes\relative c'' {
2233 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
2238 ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
2239 partij, DK: nodesystem, S: notsystem, N: .
2241 pl. staves or staffs. A series of (normally 5) horizontal lines upon and
2242 between which the musical notes are written, thus indicating (in connection
2243 with a @w{@ar{}@strong{clef}}) their pitch. Staffs for
2244 @w{@ar{}@strong{percussion}} instruments may have fewer lines.
2247 ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
2250 Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
2251 note. @w{@ar{}@strong{beam}}
2256 \property Score.noAutoBeaming = ##t
2257 \property Score.barNonAuto = ##t
2258 \property Score.TextScript \set #'font-style = #'large
2259 \notes\relative c'' {
2268 ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
2271 A family of stringed musical instruments played with a bow. Strings commonly
2272 used in a symphony orchestra are violin, viola, violoncello and double bass.
2275 ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
2276 D: betonet taktslag, S: betonat taktslag, N: .
2278 @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
2279 @w{@ar{}@strong{rhythm}}
2282 ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
2283 subdominant, S: subdominant, N: .
2285 The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
2289 ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
2290 Submediant, S: submediant, N: .
2292 The sixth @w{@ar{}@strong{scale degree}}.
2295 ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
2298 The seventh @w{@ar{}@strong{scale degree}}
2301 ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
2302 superdominant, S: superdominant, N: .
2304 The sixth @w{@ar{}@strong{scale degree}}
2307 ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
2308 supertonika, S: supertonika, N: .
2310 The second @w{@ar{}@strong{scale degree}}.
2313 ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
2316 A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
2319 ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
2321 Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
2322 @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical
2323 rhythm rests upon the grouping of equal beats into groups of two or three,
2324 with a regularly recurrent accent on the first beat of each group. Any
2325 deviation from this scheme is felt as a disturbance or contradiction between
2326 the underlaying (normal) pulse and the actual (abnormal) rhythm.
2331 \property Score.TextScript \set #'font-style = #'large
2333 \notes\relative c' {
2336 e c'4 e,8 c'4 e,8 c' ( | ) c2
2340 @item syntonic comma; dydimic comma
2342 I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
2343 NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
2345 Difference between the natural third and the third obtained by Pythagorean
2346 tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
2349 I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
2352 The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
2353 writing down of keyboard, chamber, choral or orchestral music.
2356 ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
2357 DK: temperatur, S: temperatur, N: .
2359 Systems of tuning in which the intervals deviate from the accoustically pure
2360 intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
2363 @item tempo indication
2364 ES: indicación de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
2365 Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
2366 tempobeteckning, N: .
2368 The rate of speed of a composition or a section thereof, ranging from the
2369 slowest to the quickest, as is indicated by tempo marks as
2370 @w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
2371 @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
2374 ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
2376 The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
2379 ES: décima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
2381 @w{@ar{}@strong{note value}}
2384 ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
2386 @w{@ar{}@strong{interval}}
2388 @item thirty-second note
2390 I: biscroma, F: triple croche, UK: demisemiquaver, D:
2391 Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
2392 noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
2394 @w{@ar{}@strong{note value}}
2396 @item thirty-second rest
2397 ES: silencio de fusa,
2398 I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
2399 Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
2400 trettiotv@aa{}ondelspaus, N: .
2402 @w{@ar{}@strong{note value}}
2404 @item thorough bass; figured bass
2406 I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
2407 bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
2409 A method of indicating an accompaniment part by the bass notes only, together
2410 with figures designating the chief @w{@ar{}@strong{interval}}s and
2411 @w{@ar{}@strong{chord}}s to be played above the bass notes.
2416 \context GrandStaff <
2417 \context Staff = lh \notes\relative c'' {
2421 < \context Voice = rha {
2424 \context Voice = rhb {
2426 < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
2430 \context Staff = rh \notes\relative c' {
2433 es8 c () c bes () bes as () as g16 f | es4
2435 \context Lyrics \lyrics {
2436 \property Lyrics . LyricText \set #'font-style = #'Large
2437 \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
2438 < { "" "6" "4" "6" "4" "6" "4" "6" }
2439 { "" "" "2" "" "2" "" "2" "" } >
2445 ES: ligadura de prolongación,
2446 I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
2447 bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
2449 A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
2450 connects two succesive notes of the same pitch, and which has the function of
2451 uniting them into a single sound equal to the combined durations.
2456 \property Score.barNonAuto = ##t
2457 \notes\relative c'' { g2 ~ g4. }
2460 @item time signature
2462 ES: cifra indicadora de compás,
2463 I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
2464 Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
2465 taktartssignatur, N: .
2467 @w{@ar{}@strong{meter}}
2470 ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
2472 A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
2473 a primary building material of music. Music from the 20th century may be based
2474 on non tone related sounds.
2477 ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
2479 The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
2482 ES: transposición, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
2483 transposition, S: transponering, N: .
2485 Shifting a melody up or down in pitch, while keeping the same relative pitches.
2492 \notes\relative c'' {
2494 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2495 \transpose bes\relative c'' {
2497 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
2502 ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
2503 Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
2506 @w{@ar{}@strong{G clef}}
2509 ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
2512 On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
2513 the same tone, produced by a rapid up-and-down movement movement of the bow
2514 (a). The term is also used for the rapid alternation (b) between two notes of
2515 a @w{@ar{}@strong{chord}}, usually in the distance of a third
2516 (@w{@ar{}@strong{interval}}).
2521 \property Score.barNonAuto = ##t
2522 \property Score.TextScript \set #'font-style = #'large
2523 \notes\relative c' {
2524 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
2525 % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
2526 e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
2531 ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
2532 drieklank, DK: treklang, S: treklang, N:
2534 @w{@ar{}@strong{chord}}
2538 I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
2539 triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
2541 @w{@ar{}@strong{ornament}}
2544 ES: compás compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
2545 maatsoort, DK: tredelt takt, S: tretakt, N: .
2547 @w{@ar{}@strong{meter}}
2550 ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
2552 @w{@ar{}@strong{note value}}
2555 ES: trítono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
2558 @w{@ar{}@strong{interval}}
2561 ES: diapasón, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
2562 stemmegaffel, S: st@"amgaffel, N: .
2564 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
2565 give the international pitch for the tone @emph{a} (440 vibrations per second.)
2567 @item turn; gruppetto
2569 I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
2573 ES: unísono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
2576 Playing of the same notes or the same melody by various instruments (voices)
2577 or by the whole orchestra (choir), either at exactly the same pitch or in a
2581 ES: entrada anacrúsica, I: anacrusi, F: anacrouse, lev@'ee, D: Auftakt, NL: opmaat, DK: optakt, S:
2584 Initial note(s) of a melody occurring before the first bar
2585 line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
2592 \notes\relative c' {
2593 \partial 4 f4 | bes4. a8 bes4 c |
2594 bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
2598 ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
2600 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
2601 @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
2602 @w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
2603 of a polyphonic composition.
2606 ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
2607 NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
2609 @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
2612 ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
2613 DK: helnode, S: helnot, N: .
2615 @w{@ar{}@strong{note value}}
2618 ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
2619 rust, DK: helnodespause, S: helpaus, N: .
2621 @w{@ar{}@strong{note value}}
2624 ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
2627 The @w{@ar{}@strong{interval}} of a major second. The interval between two
2628 tones on the piano keyboard with exactly one key between them - including
2629 black and white keys - is a whole tone.
2632 ES: maderas, I: legni, F: les bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
2633 S: tr@"abl@aa{}sare, N: .
2635 A family of blown wooden musical instruments. Today some of these instruments
2636 are actually made from metal. The woodwind instruments commonly used in a
2637 symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
2644 @item DURATION NAMES, NOTES AND RESTS
2647 @multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
2649 @item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2650 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2654 @item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
2655 @tab longa @tab longa @tab longa
2659 @item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
2660 brevis @tab brevis @tab brevis @tab brevis
2664 @item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
2665 Ganze @tab hele @tab hel @tab hel @tab
2669 @item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
2670 halve @tab halv @tab halv @tab
2674 @item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
2675 Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
2679 @item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
2680 achtste @tab ottende@-del @tab @aa{}tton@-del @tab
2684 @item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
2685 @tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
2690 @item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
2691 triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
2692 @tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
2696 @item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
2697 semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
2698 vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
2699 sextio@-fj@"arde@-del @tab
2702 @c @item @tab @tab @tab @tab @tab @tab @tab @tab
2710 @multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
2712 @item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
2713 @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
2717 @item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
2721 @item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
2722 cis @tab cis @tab cis
2726 @item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
2727 des @tab des @tab des
2731 @item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
2735 @item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
2739 @item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
2743 @item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
2747 @item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
2752 @item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
2756 @item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
2757 ais @tab ais @tab ais
2761 @item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
2766 @item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
2773 @item ---------------------
2777 @item Literature used
2778 The Harvard Dictionary of Music, London 1944. Many more or less litteral
2779 quotes from its articles have been included into the item explanation texts.
2781 Hugo Riemans Musiklexicon, Berlin 1929
2784 Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
2785 Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.