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Music glossary

This glossary was brought you by

Adrian Mariano
Italian glossary,
Bjoern Jacke
German glossary,
Christian Mondrup
Original author of LilyPond glossary, Danish glossary,
David González
Spanish glossary,
François Pinard
Original glossary of GNU music project, French glossary,
Han-Wen Nienhuys
Dutch glossary,
Heikki Junes
Finnish glossary translations,
Jan Nieuwenhuizen
Dutch glossary,
Kurtis Kroon
English glossary,
Mats Bengtsson
Swedish glossary,
Neil Jerram
English glossary translations.

Copyright 1999–2007 by the authors

Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, without Invariant Sections.


This is the Music Glossary (MG) for GNU LilyPond version 2.11.58. For more information about how this fits with the other documentation, see About the documentation.

Table of Contents

1 Musical terms A-Z

Languages in this order.

1.1 A

See also

Pitch names

1.2 a due

ES: a dos, I: a due, F: à deux, D: a due, zu zweit NL: ?, DK: ?, S: ?, FI: ?.

Abbreviated ‘a2’ or ‘a 2’.

  1. An indication in orchestral scores that a single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players.
  2. Or conversely, that two pitches or parts notated on a staff that normally carries a single part (e.g. first violin) are to be played by different players, or groups of players (‘desks’).

See also

Pitch names

1.3 accelerando

ES: accelerando, I: accelerando, F: accelerando, en accélérant, D: accelerando, schneller werden, NL: accelerando, DK: accelerando, S: accelerando, FI: accelerando, kiihdyttäen.

Increase tempo.

1.4 accent

ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, FI: aksentti, korostus.

The stress of one tone over others.

1.5 accessory

See also

ornament.

1.6 acciaccatura

A grace note which takes its time from the rest or note preceding the principal note to which it is attached. The acciaccatura is drawn as a small eighth note (quaver) with a line drawn through the flag and stem.

See also

appoggiatura, grace notes, ornament.

1.7 accidental

ES: alteración accidental, I: accidento, F: altération accidentelle, D: Versetzungszeichen, Akzidenz, NL: toevallig (verplaatsings)teken, DK: løst fortegn, S: tillfälligt förtecken, FI: tilapäinen etumerkki.

An accidental has the effect of an alteration of a note. A sharp raises a tone by a semitone, a double sharp raises it by a whole tone, a flat lowers it by a semitone and a double flat lowers it by a whole tone. A natural cancels the effect of a previous accidental, or a sharp or flat in the key signature.

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1.8 adagio

ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, FI: adagio, hitaasti.

It. comfortable, easy.

1.9 allegro

ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fröhlich, Lustig, NL: allegro, DK: allegro, S: allegro, FI: allegro, nopeasti.

It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a sonata.

1.10 alteration

ES: alteración, I: alterazione, F: altération, D: Alteration, NL: verhoging of verlaging, DK: ?, S: ?, FI: kromaattinen merkki, muunnemerkki.

An alteration is the modification, raising or lowering, of a note's pitch. It is established by an accidental.

1.11 alto

ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, FI: altto, matala naisääni.

A female voice of low range (contralto). Originally the alto was a high male voice (hence the name), which by the use of falsetto reached the height of the female voice. This type of voice is also known as countertenor.

1.12 alto clef

ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisième ligne, D: Altschlüssel, Bratschenschlüssel, NL: alt sleutel, DK: altnøgle, S: altklav, FI: alttoavain.

C clef setting middle C on the middle line of the staff.

See also

C clef.

1.13 ambitus

ES: ámbito, I: ambitus, F: ambitus, D: Ambitus, NL: ambitus, DK: ambitus, S: ambitus, FI: ambitus, ääniala, soitinala.

[Latin: past participle of ambire, ‘to go around’; plural: ambitus] Denotes a range of pitches for a given voice in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. Sometimes anglicized to ambit (pl. ambits).

1.14 anacrusis

ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti.

An anacrusis (also known as pickup or upbeat) is an incomplete measure of music before a section of music. It also refers to the initial note(s) of a melody occurring in that incomplete measure.

See also

measure, meter.

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1.15 ancient minor scale

ES: escala menor natural, I: scala minore naturale, F: forme du mode mineur ancien, troisème mode, mode hellénique, D: reines Moll, natürliches Moll, NL: authentieke mineurtoonladder, DK: ren mol, S: ren mollskala, FI: luonnollinen molliasteikko.

[image of music]

See also

diatonic scale.

1.16 andante

ES: andante, I: andante, F: andante, D: Andante, Gehend, NL: andante, DK: andante, S: andante, FI: andante, käyden.

Walking tempo/character.

1.17 appoggiatura

ES: apoyatura, I: appoggiatura, F: appoggiature, (port de voix), D: Vorschlag, Vorhalt NL: voorslag, DK: forslag, S: förslag, FI: appoggiatura, etuhele.

Ornamental note, usually a second, that is melodically connected with the main note following it. In music before the 19th century appoggiature were usually performed on the beat, after that mostly before the beat. While the short appoggiatura is performed as a short note regardless of the duration of the main note the duration of the long appoggiatura is proportional to that of the main note.

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An appoggiatura may have more notes preceding the main note.

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1.18 arpeggio

ES: arpegio, I: arpeggio, F: arpège, D: Arpeggio, Akkordbrechungen, gebrochener Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, FI: arpeggio, murtosointu.

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1.19 articulation

ES: articulación, I: articulazione, F: articulation, D: Artikulation, NL: articulatie, DK: ?, S: ?, FI: artikulaatio, ilmaisu.

Articulation refers to notation which indicates how a note or notes should be played. Slurs, accents, staccato, and legato are all examples of articulation.

1.20 ascending interval

ES: intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, NL: stijgend interval, DK: stigende interval, S: stigande intervall, FI: nouseva intervalli.

A distance between a starting lower note and a higher ending note.

1.21 augmented interval

ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augmenté, D: übermäßiges Intervall, NL: overmatig interval, DK: forstørret interval, S: överstigande intervall, FI: ylinouseva intervalli.

See also

interval.

1.22 augmentation

ES: ?, I: ?, F: ?, D: Augmentation, NL: ?, DK: ?, S: ?, FI: augmentaatio, harvennus.

This is a placeholder for augmentation (wrt mensural notation).

See also

diminution, mensural notation.

1.23 autograph

ES: manuscrito, I: autografo, F: manuscrit, autographe D: Autograph, Handschrift, NL: manuscript, DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti.

1.24 B

See also

Pitch names

1.25 backfall

See also

appoggiatura.

1.26 bar

See also

measure.

1.27 bar line

ES: barra, línea divisoria, I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: maatstreep, DK: taktstreg, S: taktstreck, FI: tahtiviiva.

1.28 baritone

ES: barítono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, FI: baritoni, keskikorkuinen miesääni.

The male voice intermediate between the bass and the tenor.

1.29 baritone clef

ES: clave de fa en tercera, I: chiave di baritono, F: clef d' Ut cinquième ligne, clef de Fa troisième, D: Baritonschlüssel, NL: baritonsleutel, DK: barytonnøgle, S: barytonklav, FI: baritoniavain.

C or F clef setting middle C on the upper staff line.

See also

C clef, F clef.

1.30 bass

ES: bajo, I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, FI: basso, matala miesääni.

See also

strings.

1.31 bass clef

ES: clave de fa en cuarta, I: chiave di basso, F: clef de fa quatrième ligne, D: Bassschlüssel, NL: bassleutel, DK: basnøgle, S: basklav, FI: bassoavain.

A clef setting with middle C on the first top ledger line.

See also

F clef.

1.32 beam

ES: barra I: coda, F: barre, D: Balken, NL: waardestreep, DK: bjælke, S: balk, FI: palkki.

Line connecting a series of notes (shorter than a quarter note). The number of beams determines the note value of the connected notes.

[image of music]

See also

feathered beam.

1.33 beat

ES: tiempo, parte (de compás) I: tempi, F: temps, D: Takt, Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: taktslag, FI: aika-arvo.

Note value used for counting, most often half-, fourth-, and eighth notes. The base counting value and the number of them per measure is indicated at the start of the music.

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1.34 beat repeat

See also

percent repeat.

1.35 bind

See also

tie.

1.36 brace

ES: llave, corchete, I: graffa, F: accolade, D: Klammer, Akkolade, NL: accolade, teksthaak, DK: klamme, S: klammer, FI: yhdistävä sulkumerkki.

Symbol at the start of a system connecting staves.

Curly braces are used for connecting piano staves, and sometimes for connecting the staves of like instruments in an orchestral score when written on different staves (e.g. first and second flutes):

[image of music]

Angular brackets for connecting parts in an orchestral or choral score:

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1.37 bracket

ES: corchete, I: ?, F: ?, D: Klammer, NL: ?, DK: ?, S: ?, FI: ?.

See also

brace

1.38 brass

ES: metales, I: ottoni, D: Blechbläser, NL: koper (blazers), F: cuivres, DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin.

A family of blown musical instruments made of brass, all using a cup formed mouth piece. The brass instruments commonly used in a symphony orchestra are trumpet, trombone, french horn, and tube.

1.39 breath mark

ES: respiración, I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL: repercussieteken, DK: vejrtrækningstegn, S: andningstecken, FI: hengitysmerkki.

Indication of where to breathe in vocal and wind instrument parts.

1.40 breve

ES: cuadrada, breve, I: breve, F: brève, D: Brevis, NL: brevis, DK: brevis, S: brevis, FI: brevis, kaksoiskokonuotti.

Note value twice as long as a whole note. Mainly used in pre-1650 music. The shortest note value generally used in white mensural notation, hence the name, which originally meant ‘of short duration’.

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See also

mensural notation, note value.

1.41 C

See also

Pitch names

1.42 C clef

ES: clave de do, I: chiave di do, F: clef d'ut, D: C-Schlüssel, NL: C-sleutel, DK: c-nøgle, S: c-klav, FI: C-avain.

Clef symbol indicating the position of the middle C. Used on all note lines.

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1.43 cadence

ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke.

See also

harmonic cadence, functional harmony.

1.44 cadenza

ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke.

An extended, improvisatory style section inserted near the end of movement. The purpose of a cadenza is to give singers or players a chance to exhibit their technical skill and – not last – their ability to improvise. Since the middle of the 19th century, however, most cadenzas have been written down by the composer.

1.45 canon

ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, FI: kaanon, tarkka jäljittely.

See also

counterpoint.

1.46 cent

ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.

Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an equally tempered semitone).

See also

equal temperament.

1.47 central C

See also

middle C.

1.48 chord

ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, FI: sointu.

Three or more tones sounding simultaneously. In traditional European music the base chord is a triad consisting of two thirds. Major (major + minor third) as well as minor (minor + major third) chords may be extended with more thirds. Four-tone seventh chords and five-tone ninth major chords are most often used as dominants (functional harmony). Chords having no third above the lower notes to define their mood are a special case called ‘open chords’. The lack of the middle third means their quality is ambivalent: neither major nor minor.

[image of music]

See also

functional harmony, interval, inversion, quality, third.

1.49 chromatic scale

ES: escala cromática, I: scala cromatica, F: gamme chromatique, D: chromatische Tonleiter, NL: chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, FI: kromaattinen asteikko.

A scale consisting of all 12 semitones.

[image of music]

1.50 chromaticism

ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik, FI: kromatiikka.

Use of tones extraneous to a diatonic scale (minor, major).

1.51 church mode

ES: modo eclesiástico, I: modo ecclesiastico, F: mode ecclésiastique, D: Kirchentonart, NL: kerktoonladder, DK: kirketoneart, S: kyrkotonart, FI: moodi, kirkkosävellaji.

See also

diatonic scale.

1.52 clef

ES: clave, I: chiave, F: clé, clef, D: Schlüssel, Notenschlüssel, NL: sleutel, DK: nøgle, S: klav, FI: avain, nuottiavain.

See also

C clef, F clef, G clef.

The clef indicates which lines of the staff correspond to which pitches. The three clef symbols in common use are:

[image of music]

Imagine a large staff of 11 lines centered on middle C, sometimes called a ‘grand staff’, with the bottom line representing low G and the top line high F:

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Staves of five lines are usually used, and the clef superimposed on them indicates which five lines have been selected from this ‘grand staff’. For example, the treble or G clef indicates that the top five lines have been selected:

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The ‘curl’ of the G clef is centered on the line that represents the pitch G.

In the same way, the bass or F clef indicates that the bottom five lines have been selected from the ‘grand staff’, and the alto or C clef indicates the middle five lines have been selected. This relationship is shown below, where the notes show an arpeggio on a C major chord.

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1.53 cluster

ES: racimo, I: ?, F: ?, D: Cluster, NL: ?, DK: ?, S: ?, FI: klusteri, cluster.

A cluster is a range of simultaneously sounding pitches that may change over time. The set of available pitches to apply usually depends on the acoustic source. Thus, in piano music, a cluster typically consists of a continuous range of the semitones as provided by the piano's fixed set of a chromatic scale. In choral music, each singer of the choir typically may sing an arbitrary pitch within the cluster's range that is not bound to any diatonic, chromatic or other scale. In electronic music, a cluster (theoretically) may even cover a continuous range of pitches, thus resulting in colored noise, such as pink noise.

Clusters can be denoted in the context of ordinary staff notation by engraving simple geometrical shapes that replace ordinary notation of notes. Ordinary notes as musical events specify starting time and duration of pitches; however, the duration of a note is expressed by the shape of the note head rather than by the horizontal graphical extent of the note symbol. In contrast, the shape of a cluster geometrically describes the development of a range of pitches (vertical extent) over time (horizontal extent). Still, the geometrical shape of a cluster covers the area in which any single pitch contained in the cluster would be notated as an ordinary note.

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1.54 comma

ES: coma, comma, I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa.

Difference in pitch between a note derived from pure tuning and the same note derived from some other tuning method.

See also

didymic comma, Pythagorean comma, syntonic comma, temperament.

1.55 common meter

common time

See also

meter.

1.56 common time

ES: compasillo, I: ?, F: ?, D: Vier-Viertel-Takt, NL: ?, DK: ?, S: ?, FI: ?.

4/4 time. The symbol, which resembles a capital letter C, derives from mensural notation.

See also

mensural notation, meter.

1.57 complement

ES: intervalo invertido, I: rivolto, F: intervalle complémentaire, D: Komplementärintervall, NL: complementair interval, DK: komplementærinterval, S: komplementärintervall (?), FI: täydentävä intervalli.

See also

inverted interval.

1.58 compound interval

ES: intervalo compuesto, I: intervallo composto, F: intervalle composé, D: weites Intervall, NL: samengesteld interval, DK: sammensat interval, S: sammansatt intervall, FI: oktaavia laajempi intervalli.

Intervals larger than an octave.

See also

interval.

1.59 compound meter

ES: compás compuesto, compás de subdivisión ternaria, I: ?, F: ?, D: Dreiertakt, NL: ?, DK: ?, S: ?, FI: kolmijakoinen rytmi.

A meter that includes a triplet subdivision within the beat, such as 6/8, 9/8, 12/8.

See also

meter, simple meter.

1.60 compound time

ES: compás compuesto, compás de amalgama (def. 2), I: ?, F: ?, D: Dreiertakt, Wechseltakt, NL: ?, DK: ?, S: ?, FI: ?.

  1. A meter that includes a triplet subdivision within the beat: see compound meter.
  2. A time signature that additively combines two or more unequal meters, e.g. "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.

    [image of music]

See also

compound meter, meter.

1.61 concert pitch

ES: en Do, afinación de concierto, I: ?, F: ?, D: Kammerton, NL: ?, DK: ?, S: ?, FI: ?.

The pitch at which the piano and other nontransposing instruments play: such instruments are said to be ‘in C’. The following list includes some (but not all) instruments that play in concert pitch:

The trombones are a special case: although they are said to be ‘in F’ (alto or bass) or ‘in B-flat’ (tenor), this refers to their fundamental note, not to their parts' transposition. (In fact, the trombones' parts are written at concert pitch with an appropriate clef – alto, tenor or bass.) This differs from other instruments ‘in F’, ‘in B-flat’, and so on, which are transposing instruments.

Instruments that play ‘in C’ but in a different octave than what is written are, technically speaking, transposing instruments:

See also

transposing instrument.

1.62 conjunct movement

ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise, stufenweise Bewegung, NL: stapsgewijze, trapsgewijze beweging, DK: trinvis bevægelse, S: stegvis rörelse, FI: asteittainen liike.

Progressing melodically by intervals of a second. The opposite of a disjunct movement.

[image of music]

1.63 consonance

ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: konsonans, FI: konsonanssi, sopusointi.

See also

harmony.

1.64 contralto

ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, FI: kontra-altto.

See also

alto.

1.65 copying music

A music copyist did fast freehand scores and parts on preprinted staff lines for performance. Some of their conventions (e.g., the placement of note heads on stems) varied slightly from those of engravers. Some of their working methods were superior and could well be adopted by music typesetters.

1.66 counterpoint

ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK: kontrapunkt, S: kontrapunkt, FI: kontrapunkti, ääni ääntä vastaan.

From Latin punctus contra punctum, note against note. The combination into a single musical fabric of lines or parts which have distinct melodic significance. A frequently used polyphonic technique is imitation, in its strictest form found in the canon needing only one part to be written down while the other parts are performed with a given displacement. Imitation is also the contrapunctal technique used in the fugue which, since the music of the baroque era, has been one of the most popular polyphonic composition methods.

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1.67 countertenor

ES: contratenor, I: controtenore, F: contre-tenor, D: Countertenor, Kontratenor, NL: contratenor, DK: kontratenor, S: kontratenor, counter tenor, FI: kontratenori.

See also

contralto.

1.68 crescendo

ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, lauter werden, NL: crescendo, DK: crescendo, S: crescendo, FI: cresendo, voimistuen.

Increasing volume. Indicated by a rightwards opening horizontal wedge (hairpin) or the abbreviation ‘cresc.’.

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1.69 cue-notes

ES: notas guía, I: notine, F: petites notes précédent l'entrée d'un instrument, réplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, FI: vihjenuotit.

In a separate part notes belonging to another part with the purpose of hinting when to start playing. Usually printed in a smaller type.

1.70 custos

ES: custos, I: ?, F: guidon, D: Notenzeiger, Custos, NL: ?, DK: ?, S: ?, FI: ?.

A custos (plural: custodes) is a staff symbol that appears at the end of a staff line with monophonic musical contents (i.e., with a single voice). It anticipates the pitch of the first note of the following line and thus helps the player or singer to manage line breaks during performance, thus enhancing readability of a score.

Custodes were frequently used in music notation until the 16th century. There were different appearences for different notation styles. Nowadays, they have survived only in special forms of musical notation such as via the Editio Vaticana dating back to the beginning of the 20th century

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1.71 D

See also

Pitch names

1.72 da capo

ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo, FI: da capo, alusta.

Abbreviated ‘D.C.’. Indicates that the piece is to be repeated from the beginning to the end or to a certain place marked fine.

1.73 dal segno

ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, ab dem Zeichen, NL: dal segno, DK: dal segno, S: dal segno, FI: dal segno, lähtien merkistä.

Abbreviated ‘D.S.’. Repetition, not from the beginning, but from another place frequently near the beginning marked by a sign:

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1.74 decrescendo

ES: decrescendo, I: decrescendo, D: Decrescendo, leiser werden, NL: decrescendo, DK: decrescendo, S: decrescendo, FI: decresendo, hiljentyen.

Decreasing tone volume. Indicated by a leftwards opening horizontal wedge (hairpin) or the abbreviation ‘decresc.’.

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1.75 descending interval

ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall, absteigendes Intervall, NL: dalend interval, DK: faldende interval, S: fallande intervall, FI: laskeva intervalli.

A distance between a starting higher note and a lower ending note.

1.76 diatonic scale

ES: escala diatónica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko.

A scale consisting of 5 whole tones and 2 semitones (S). Scales played on the white keys of a piano keybord are diatonic; and these scales are sometimes called, somewhat inaccurately, ‘church modes’).

These ‘modes’ are used in Gregorian chant and in pre-baroque early music but also to some extent in newer jazz music.

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From the beginning of the 17th century the scales used in European compositional music are primarily the major and the minor scales. In the harmonic minor scale type an augmented second (A) occurs between the 6th and 7th tone.

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1.77 didymic comma

See also

syntonic comma.

1.78 diminished interval

ES: intervalo disminuido, I: intervallo diminuito, F: intervalle diminué, D: vermindertes Intervall, NL: verminderd interval, DK: formindsket interval, S: förminskat intervall, FI: vähennetty intervalli.

See also

interval.

1.79 diminuendo

ES: diminuendo, I: diminuendo, F: diminuendo, D: diminuendo, NL: diminuendo, DK: diminuendo, S: diminuendo, FI: diminuendo, hiljentyen.

See also

decrescendo.

1.80 diminution

ES: ?, I: ?, F: ?, D: Diminution, Verkleinerung, NL: ?, DK: ?, S: ?, FI: diminuutio, tihennys.

This is a placeholder for diminution (wrt mensural notation).

See also

augmentation, mensural notation.

1.81 direct

ES: ?, I: ?, F: ?, D: Weiser, Zeiger, NL: ?, DK: ?, S: ?, FI: ?.

See also

custos.

1.82 disjunct movement

ES: movimiento disjunto, I: moto disgiunto, F: mouvement disjoint, D: sprunghafte Bewegung, NL: sprongsgewijze beweging, DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike.

Progressing melodically by intervals larger than a major second, as opposed to conjunct movement.

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1.83 dissonance

dissonant interval.

1.84 dissonant interval

ES: intervalo disonante, disonancia, I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL: dissonant interval, dissonant, DK: dissonerende interval, dissonans, S: dissonans, FI: dissonanssi, dissonoiva intervalli, riitasointi.

See also

harmony.

1.85 divisio

ES: ?, I: ?, F: ?, D: Divisio, NL: ?, DK: ?, S: ?, FI: ?.

[Latin: ‘division’: pl. divisiones] In Gregorian chant, a vertical stroke through part or all of the staff that serves to structure a chant into phrases and sections. There are four types:

TODO: musical example here?

See also

None yet.

1.86 doit

ES: ?, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: ?.

Indicator for a indeterminately rising pitch bend. Compare with glissando, which has determinate starting and ending pitches.

See also

fall, glissando.

1.87 dominant

ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: dominant, FI: dominantti, huippusointu.

The fifth scale degree in functional harmony.

1.88 dominant ninth chord

ES: acorde de novena de dominante, I: accordo di nona di dominante, F: accord de neuvième dominante, D: Dominantnonenakkord, NL: dominant noon akkoord, DK: dominantnoneakkord, S: dominantnonackord, FI: dominanttinoonisointu.

See also

chord, functional harmony.

1.89 dominant seventh chord

ES: acorde de séptima de dominante, I: accordo di settima di dominante, F: accord de septième dominante, D: Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S: dominantseptimackord, FI: dominanttiseptimisointu.

See also

chord, functional harmony.

1.90 dorian mode

ES: modo dórico, I: modo dorico, F: mode dorien, D: dorisch, dorischer Kirchenton, NL: dorische toonladder, DK: dorisk skala, S: dorisk tonart, FI: doorinen moodi.

See also

diatonic scale.

1.91 dot (augmentation dot)

ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verlängerungspunkt), NL: punt, DK: punkt, S: punkt, FI: piste.

See also

dotted note, note value.

1.92 dotted note

ES: nota con puntillo, I: nota puntata, F: note pointée, D: punktierte Note, NL: gepuncteerde noot, DK: punkteret node, S: punkterad not, FI: pisteellinen nuotti.

See also

note value.

1.93 double appoggiatura

ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, FI: kaksoisappogiatura, kaksoisetuhele.

See also

appoggiatura.

1.94 double bar line

ES: doble barra, I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK: dobbeltstreg, S: dubbelstreck, FI: kaksoistahtiviiva.

Indicates the end of a section within a movement.

1.95 double dotted note

ES: nota con doble puntillo, I: nota doppiamente puntata, F: note doublement pointée, D: doppelt punktierte Note, NL: dubbelgepuncteerde noot, DK: dobbeltpunkteret node, S: dubbelpunkterad not, FI: kaksoispisteellinen nuotti.

See also

note value.

1.96 double flat

ES: doble bemol, I: doppio bemolle, F: double bémol, D: Doppel-B, NL: dubbelmol, DK: dobbelt-b, S: dubbelbe, FI: kaksoisalennusmerkki.

See also

accidental.

1.97 double sharp

ES: doble sostenido, I: doppio diesis, F: double dièse, D: Doppelkreuz, NL: dubbelkruis, DK: dobbeltkryds, S: dubbelkors, FI: kaksoisylennysmerkki.

See also

accidental.

1.98 double time signature

ES: ?, I: ?, F: ?, D: Doppeltakt, Wechseltakt, NL: ?, DK: ?, S: ?, FI: ?.

See also

polymetric time signature.

1.99 double trill

ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK: dobbelttrille, S: dubbeldrill, FI: kaksoistrilli.

A simultaneous trill on two notes, usually in the distance of a third.

1.100 duple meter

ES: tiempo binario, I: tempo binario, F: temps binaire, D: in zwei, grader Takt, NL: tweedelige maatsoort, DK: todelt takt, S: tvåtakt, FI: kaksoistempo.

See also

meter.

1.101 duplet

ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, FI: duoli.

See also

note value.

1.102 duration

ES: duración, I: durata, F: durée, D: Dauer, Länge, NL: duur, lengte, DK: varighed, S: tonlängd, FI: kesto, aika-arvo.

See also

note value.

1.103 dynamics

ES: dinámica, matices, I: ?, F: nuances, D: Dynamik, Lautstärke, NL: ?, DK: ?, S: ?, FI: dynamiikka, voimakkuusvaihtelut.

The aspect of music relating to degrees of loudness, or changes from one degree to another. The terms, abbreviations, and symbols used to indicate this information are called dynamic marks.

See also

piano, forte, crescendo, decrescendo, diminuendo.

1.104 E

See also

Pitch names

1.105 ecclesiastical mode

See also

church mode.

1.106 eighth note

See also

note value.

1.107 eighth rest

See also

note value.

1.108 elision

ES: sinalefa, I: ?, F: ?, D: Elision, Auslassung, NL: ?, DK: ?, S: ?, FI: ?.

More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην ‘to smear together’].

The singing of several syllables on a single note. Elision may be indicated by a lyric tie, which is looks like (and serves the same function) as a musical tie.

See also

lyric tie.

1.109 embellishment

See also

ornament.

1.110 engraving

ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck NL: steken, DK: nodestik, S: nottryck, FI: painatus.

Engraving means incising or etching a metal plate for printing. Photoengraving means drawing music with ink in a manner similar to drafting or engineering drawing, using similar tools.

The traditional process of music printing is done through cutting in a plate of metal. Now also the term for the art of music typesetting.

1.111 enharmonic

ES: enarmónico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: enharmonisk, S: enharmonisk, FI: enharmoninen.

Two notes, intervals, or scales are enharmonic if they have different names but equal pitch.

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1.112 equal temperament

ES: temperamento igual, I: temperamento equabile, F: tempérament égal, D: gleichschwebende Stimmung, NL: gelijkzwevende temperatuur, DK: ligesvævende temperatur, S: liksvävande temperatur, FI: tasavireinen.

Tuning system dividing the octave into 12 equal semitones (precisely 100 cents).

See also

temperament.

1.113 expression mark

ES: expresión, I: segno d'espressione, F: signe d'expression, indication de nuance, D: Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki.

Performance indications concerning:

1.114 extender line

ES: línea de extensión [de melisma, de bajo cifrado, etc.], I: ?, F: ligne d'extension [de mélisme, de basse chiffrée, etc.], D: Fülllinie, NL: ?, DK: ?, S: ?, FI: ?.

The generic term for a line (or dash) of arbitrary length that extends text (without indicating the musical function of that text).

Used in many contexts, for example:

See also

melisma, sul G, thorough bass, octave mark, octave marking.

1.115 F

See also

Pitch names

1.116 F clef

ES: clave de fa, I: chiave di fa, F: clef de fa, D: F-Schlüssel, NL: F-sleutel, DK: F-nøgle, S: f-klav, FI: F-avain.

The position between the dots of the key symbol is the line of the F below central C. Used on the third, fourth and fifth note line. A digit 8 above the clef symbol indicates that the notes must be played an octave higher (for example, bass recorder) while 8 below the clef symbol indicates playing an octave lower (for example, on double bass strings).

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See also

baritone clef

1.117 fall

ES: ?, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: ?.

Indicator for a indeterminately falling pitch bend. Compare with glissando, which has determinate starting and ending pitches.

See also

doit, glissando.

1.118 feathered beam

ES: barra punteada, I: ?, F: liens de croches en soufflet, D: gespreizter Balken, NL: ?, DK: ?, S: ?, FI: ?.

A type of beam used to indicate that a small group of notes should be played at an increasing or decreasing tempo – depending on the direction of ‘feathering’ – but without changing the overall tempo of the piece.

See also

Internals Reference: Manual beams

1.119 fermata

ES: calderón, I: corona, F: point d'orgue, point d'arrêt, D: Fermate, NL: fermate, DK: fermat, S: fermat, FI: fermaatti, pidäke.

Prolonged note or rest of indefinite duration.

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1.120 fifth

ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, FI: kvintti.

See also

interval.

1.121 figured bass

ES: bajo cifrado, I: basso continuo, basso numerato, F: basse chiffrée, basse continue, D: Generalbass, bezifferter Bass, NL: basso continuo, becijferde bas DK: generalbas, S: generalbas, FI: kenraalibasso, numeroitu basso.

Also called ‘thorough bass’.

A method of indicating an accompaniment part by the bass notes only, together with figures designating the chief intervals and chords to be played above the bass notes.

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1.122 fingering

ES: digitación, I: diteggiatura, F: doigté, D: Fingersatz, NL: vingerzetting, DK: fingersætning, S: fingersättning, FI: sormitus.

The methodical use of fingers in the playing of instruments.

1.123 flag

ES: corchete, I: coda (uncinata), bandiera, F: crochet, D: Fahne, Fähnchen, NL: vlaggetje, DK: fane, S: flagga, FI: lippu, viiri.

Ornament at the end of the stem of a note used for notes with values less than a quarter note. The number of flags determines the note value.

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1.124 flageolet

ES: ?, I: ?, F: ?, D: Flageolett, NL: ?, DK: ?, S: ?, FI: flageoletti.

An articulation for string players that means the note or passage is to be played in harmonics.

Also:

See also

articulation, harmonics.

1.125 flat

ES: bemol, I: bemolle, F: bémol, D: B, NL: mol, DK: b, S: beförtecken, FI: alennusmerkki.

See also

accidental.

1.126 forefall

See also

appoggiatura.

1.127 forte

ES: forte, I: forte, F: forte, D: forte, laut, NL: forte, DK: forte, S: forte, FI: forte, voimakkaasti.

Loud, abbreviated ‘f’, fortissimo (‘ff’) very loud, mezzo forte (‘mf’) medium loud.

1.128 fourth

ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, FI: kvartti.

See also

interval.

1.129 Frenched score

ES: partitura a la francesa, I: ?, F: ?, D: Partitur (ohne leere Takte), NL: ?, DK: ?, S: ?, FI: ?.

A ‘condensed’ score, produced by omitting staves for instruments that are not playing at the moment, and by moving up additional systems from following pages to take up the space thus liberated, which reduces the total number of pages used to print the work.

The specific rules for ‘frenching’ a score differ from publisher to publisher. If you are producing scores for eventual publication by a commercial publisher, you may wish to procure a copy of their style manual.

See also

Frenched staff.

1.130 Frenched staff

ES: pentagrama a la francesa, I: ?, F: ?, D: Notensystem (ohne leere Takte), NL: ?, DK: ?, S: ?, FI: ?.

Analogous to Frenched scores (q.v), a Frenched staff has unneeded measures or sections removed. This would be useful for producing, for example, an ossia staff.

See also

ossia.

1.131 Frenched staves

ES: pentagramas a la francesa, I: ?, F: ?, D: Notensysteme (ohne leere Takte), NL: ?, DK: ?, S: ?, FI: ?.

The plural of Frenched staff, q.v..

1.132 fugue

ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, FI: fuuga.

See also

counterpoint.

1.133 functional harmony

ES: armonía funcional, I: armonia funzionale, F: étude des functions, D: Funktionslehre, NL: functionele harmonie, DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä.

A system of harmonic analysis. It is based on the idea that, in a given key, there are only three functionally different chords: tonic (T, the chord on the first note of the scale), subdominant (S, the chord on the fourth note), and dominant (D, the chord on the fifth note). Others are considered to be variants of the base chords.

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1.134 G

See also

Pitch names

1.135 G clef

ES: clave de sol, I: chiave di sol, F: clef de sol, D: G-Schlüssel, Violinschlüssel, NL: G-sleutel, DK: g-nøgle, S: g-klav, FI: G-avain.

A clef symbol indicating the G above middle C. Used on the first and second note lines. A digit 8 above the clef symbol indicates that the notes must be played an octave higher while 8 below the clef symbol indicates playing or singing an octave lower (most tenor parts in choral scores are notated like that).

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1.136 glissando

ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S: glissando, FI: glissando, liukuen.

Letting the pitch slide fluently from one note to the other.

1.137 grace notes

ES: notas de adorno, I: abbellimenti, F: fioriture, D: Verzierungen, Vorschläge, Vorschlagsnoten, NL: versieringen, DK: forsiringer, S: ornament, FI: korunuotit.

Notes printed in small types to indicate that their time values are not counted in the rhythm of the bar.

See also

acciaccatura, appoggiatura, grace notes, ornament.

1.138 grand staff

ES: sistema de piano, I: accolatura, F: accolade, D: Akkolade, Klaviersystem, NL: piano systeem, DK: klaversystem, S: ackolad, böjd klammer, FI: kaksoisnuottiviivasto.

A combination of two staves with a brace. Usually used for piano music.

See also

brace.

1.139 grave

ES: grave, I: grave, F: grave, D: Grave, Langsam, NL: grave, ernstig, DK: grave, S: grave, FI: grave, raskaasti.

Slow, solemn.

1.140 gruppetto

See also

turn.

1.141 H

Letter name used for ‘B natural’ in German and Scandinavian usage. In the standard usage of these countries, ‘B’ means ‘B flat’.

See also

Pitch names, B.

1.142 hairpin

Graphical version of the crescendo and decrescendo dynamic marks.

See also

crescendo, decrescendo.

1.143 half note

UK: minim, ES: blanca, I: minima, F: blanche, D: Halbe, halbe Note, NL: halve noot, DK: halvnode, S: halvnot, FI: puolinuotti.

See also

note value.

1.144 half rest

UK: minim rest, ES: silencio de blanca, I: pausa di minima, F: demi-pause, D: halbe Pause, NL: halve, rust, DK: halvnodespause, S: halvpaus, FI: puolitauko.

See also

note value.

1.145 harmonic cadence

ES: cadencia (armónica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi.

A sequence of chords that terminates a musical phrase or section.

functional harmony.

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1.146 harmonics

ES: sonidos del flautín, I: suoni flautati, F: flageolet, sons harmoniques, D: Flageolett-Töne, NL: ?, DK: ?, S: ?, FI: yläsävelsarjan flageoletti-ääni.

The general class of pitches produced by sounding the second or higher harmonic of a tone producer: string, column of air, and so on.

On stringed instruments, these pitches sound rather flute-like; hence, their name in languages other than English. They are produced by lightly touching the string at a node for the desired mode of vibration while it is being bowed or plucked.

For instruments of the violin family, there are two types of harmonics: natural harmonics, which are those played on the open string; and artificial harmonics, which are produced on stopped strings.

1.147 harmony

ES: armonía, I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S: samklang, FI: harmonia, yhteissointi.

Tones sounding simultaneously. Two note harmonies fall into the categories consonances and dissonances.

Consonances:

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Dissonances:

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Three note harmony chord.

1.148 hemiola

ES: hemiolia, I: ?, F: ?, D: Hemiole, NL: ?, DK: ?, S: hemiol, FI: ?.

[From Greek: in Latin, sesquialtera] The ratio 3:2. Refers to the use of three notes of equal value in the time normally occupied by of two notes of equal value. The resulting rhythm can be expressed in modern terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently as a special effect (or affect) at cadences.

For example, this phrase in 6/4 time

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may be thought of having alternating time signatures

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and is therefore a polymeter (second definition) of considerable antiquity.

See also

mensural notation, meter, polymeter.

1.149 homophony

ES: homofonía, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys.

Music in which one voice leads melodically followed by the other voices more or less in the same rhythm. In contrast to polyphony.

1.150 hymn meter

ES: ?, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: ?.

A group or list of numbers that indicate the number of syllables in a line of a hymn's verse. Different hymnals have different ways of noting the hymn meter – consider a hymn having four lines in two couplets that alternate between eight and seven syllables. The English Hymnal notes this as 87. 87. Other hymnals may note it as 8787, 87.87, or 8 7.

Some frequently-used hymn meters have traditional names:

Some hymns and their tunes are doubled versions of a simpler meter: for easier reading, a hymn with a meter of 87.87.87.87 is usually written 87.87D. The traditional names above also have doubled versions:

1.151 interval

ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero.

Difference in pitch between two notes. Intervals may be perfect, minor, major, diminished, or augmented. The augmented fourth and the diminished fifth are identical (enharmonic) and are called tritonus because they consist of three whole tones. The addition of such two intervals forms an octave.

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1.152 inversion

ES: ?, I: ?, F: inversion, D: Umkehrung (Akkord), NL: ?, DK: ?, S: ?, FI: (kolmisoinnun) käännös.

When the bass is not the same as the root, the chord is inverted. The number of inversions that a chord can have is one fewer than the number of constituent notes. Triads, for example, (having three constituent notes) can have three positions, two of which are inversions:

Root position
The root note is in the bass, and above that are the third and the fifth. A triad built on the first scale degree, for example, is marked I.
First inversion
The third is in the bass, and above it are the fifth and the root. This creates an interval of a sixth and a third above the bass note, and so is marked in figured Roman notation as 6/3. This is commonly abbreviated to I6 (or Ib) since the sixth is the characteristic interval of the inversion, and so always implies 6/3.
Second inversion
The fifth is in the bass, and above it are the root and the third. This creates an interval of a sixth and a fourth above the bass note, and so is marked as I6/4 or Ic. Second inversion is the most unstable chord position.

1.153 inverted interval

ES: intervalo invertido, I: intervallo rivolto, F: intervalle reversé, D: umgekehrtes Intervall, NL: interval inversie, DK: omvendingsinterval, S: intervallets omvändning, FI: käänteisintervalli.

The difference between an interval and an octave.

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1.154 just intonation

ES: entonación justa, I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine stemming, DK: ren stemning, S: ren stämning, FI: puhdas viritys.

Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds.

temperament.

1.155 key

ES: tonalidad, I: tonalità, F: tonalité, D: Tonart, NL: toonsoort, DK: toneart, S: tonart, FI: tonaliteetti.

According to the 12 tones of the chromatic scale there are 12 keys, one on c, one on c-sharp, etc.

See also

key signature.

1.156 key signature

ES: armadura (de la clave), I: armatura di chiave, F: armure, armature [de la clé], D: Vorzeichen, Tonart, NL: toonsoort (voortekens), DK: faste fortegn, S: tonartssignatur, FI: sävellajiosoitus.

The sharps or flats appearing at the beginning of each staff indicating the key of the music.

accidental.

1.157 laissez vibrer

ES: dejar vibrar, I: ?, F: laissez vibrer, D: Laissez vibrer, klingen lassen, NL: ?, DK: ?, S: ?, FI: ?.

[From French, ‘Let vibrate’]. Most frequently associated with harp parts. Marked ‘l.v.’ in the score.

1.158 largo

ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, FI: largo, hitaasti, leveästi.

Very slow in tempo, usually combined with great expressiveness. Larghetto is less slow than largo.

1.159 leading note

ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton, FI: johtosävel.

The seventh scale degree, a semitone below the tonic; so called because of its strong tendency to ‘lead up’ (resolve upwards) to the tonic scale degree.

1.160 ledger line

ES: línea adicional, I: tagli addizionali, F: ligne supplémentaire, D: Hilfslinie, NL: hulplijntje, DK: hjælpelinie, S: hjälplinje, FI: apuviiva.

A ledger line is an extension of the staff.

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1.161 legato

ES: legato, I: legato, F: legato, lié, D: legato, gebunden, NL: legato, DK: legato, S: legato, FI: legato, sitoen.

To be performed (a) without any perceptible interruption between the notes, unlike (b) leggiero or non-legato, (c) portato, and (d) staccato.

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1.162 legato curve

See also

slur, legato.

1.163 leger line

See also

ledger line.

1.164 ligature

ES: ligadura, I: ?, F: ligature, DE: Ligatur, NL: ?, DK: ?, S: ?, FI: ligatuura.

A ligature is a coherent graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of Gregorian chant notation roughly since the 9th century to denote ascending or descending sequences of notes. In early notation, ligatures were used for monophonic tunes (Gregorian chant) and very soon denoted also the way of performance in the sense of articulation. With the invention of the metric system of the white mensural notation, the need for ligatures to denote such patterns disappeared.

See also

mensural notation.

1.165 lilypond

UK: lily pond, ES: estanque de nenúfares, I: stagno del giglio, F: étang de nénuphars, étang de nymphéas, D: Seerosenteich, NL: lelievijver, DK: liliedam, S: liljedamm, FI: liljalampi.

A pond with lilies floating in it. Also, the name of a music typesetting program.

1.166 line

ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: notlinje, FI: viiva, nuottiviiva.

See also

staff.

1.167 loco

ES: en su lugar, I: loco, F: ?, D: loco, NL: ?, DK: ?, S: ?, FI: ?.

[From Italian, ‘place’]. Instruction to play the following passage at the written pitch. Cancels octave mark (q.v.).

See also

octave mark, octave marking.

1.168 long appoggiatura

ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: Vorhalt, NL: Lange voorslag, DK: langt forslag, S: långt förslag, FI: pitkä appoggiatura, pitkä etuhele.

See also

appoggiatura.

1.169 longa

ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, FI: longa.

Note value: double length of breve.

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See also

note value.

1.170 lyric tie

ES: ligadura de letra, I: ?, F: ?, D: Bindestrich, NL: ?, DK: ?, S: ?, FI: ?.

See also

elision.

1.171 lyrics

ES: letra (de la canción), I: ?, F: paroles, D: Liedtext, Gesangtext, NL: liedtekst, DK: ?, S: ?, FI: sanoitus.

1.172 major

ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, FI: duuri.

See also

diatonic scale.

1.173 major interval

ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: großes Intervall, NL: groot interval, DK: stort interval, S: stort intervall, FI: suuri intervalli.

See also

interval.

1.174 meantone temperament

ES: afinación mesotónica, I: accordatura mesotonica, F: tempérament mésotonique, D: mitteltönige Stimmung, NL: middenstemming, middentoonstemming, DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys.

Temperament yielding acoustically pure thirds by decreasing the natural fifth by 16 cents. Due to the non-circular character of this temperament only a limited set of keys are playable. Used for tuning keyboard instruments for performance of pre-1650 music.

1.175 measure

ES: compás, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, FI: tahti.

A group of beats (units of musical time) the first of which bears an accent. Such groups in numbers of two or more recur consistently throughout the composition and are marked from each other by bar-lines.

meter.

1.176 measure repeat

See also

percent repeat.

1.177 mediant

ES: mediante, I: mediante, modale, F: médiante, NL: mediant, D: Mediante, DK: mediant, S: mediant, FI: keskisävel.

See also

functional harmony, relative key.

1.178 melisma

ES: melisma, I: ?, F: mélisme, D: Melisma, NL: melisma, DK: ?, S: ?, FI: melisma, laulettavan tavun sävelkuvio.

A melisma (plural, from Greek: melismata) is a group of notes or tones sung on one syllable, especially as applied to liturgical chant.

1.179 melisma line

ES: línea de melisma, I: ?, F: ?, D: Melismastrich, NL: ?, DK: ?, S: ?, FI: ?.

See also

extender line.

1.180 melodic cadence

See also

cadenza.

1.181 mensural notation

ES: notación mensural, I: ?, F: ?, D: Mensuralnotation, NL: ?, DK: ?, S: ?, FI: mensuraalinuottikirjoitus.

A system of duration notation whose principles were first established in the mid-13th century, and that (with various changes) remained in use until about 1600. As such, it is the basis for the notation of rhythms in Western musical notation.

Franco of Cologne (ca. 1250) is credited with the first systematic explanation of the notation's principles, so the notation of this earliest period is called ‘Franconian’. Franco's system made use of three note values – long, breve, and semibreve – each of which was normally equivalent to three of the next lower note value.

Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs added several note values (the minim, semiminim and fusa) and extended Franco's principles to govern the relationship between these values. They also put the duple division of note values on an equal footing with the earlier (preferred) triple division.

TODO: continue description of French and Italian black notation, and the relationship betwixt them.

White or void mensural notation

In the 15th century, hollow (or void) notes began to substitute for the earlier solid black ones, which were then free to assume the function of red (or colored) notes in the earlier notation. ...

TODO: add to definition (including summary info on proportional notation)

See also

augmentation, diminution, ligature, proportion.

1.182 meter

ES: tiempo, compás, I: tempo, misura, F: indication de mesure, mesure, D: Taktart, Metrum, NL: maatsoort, DK: taktart, S: taktart, FI: aika-arvo.

The pattern of note values and accents in a composition or a section thereof. There are a couple ways to classify ‘traditional’ meter (i.e. not polymeter): by grouping beats and by subdividing the primary beat.

By grouping beats:

Other than triple meter and its subdivided variants (see below), meters that feature odd groupings of beats (e.g. quintuple or septuple meter) are not frequently used prior to the 20th Century.

By subdividing the primary beat:

Time signatures are placed at the beginning of a composition (or section) to indicate the meter. For instance, a piece written in simple triple meter with a beat on each quarter note is conventionally written with a time signature of 3/4. Here are some combinations of the two classifications above:

Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):

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Simple triple meter:

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Simple quadruple meter (French folk tune, Au clair de la lune):

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Simple quintuple meter (B. Marcello, 1686-1739):

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Compound duple meter (unknown):

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Compound triple meter (J.S. Bach, 1685-1750):

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Compound quadruple meter (P. Yon, 1886-1943):

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‘Monometer’ vs Polymeter

TODO: add information from discussion on lilypond-user related to polymeter.

See also

accent, hemiola, note value, time signature

1.183 metronome

ES: metrónomo, I: metronomo, F: métronome, D: Metronom, NL: metronoom, DK: metronom, S: metronom, FI: metronomi.

Device indicating the exact tempo of a piece.

Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo divisions, and patented it as a "metronome". The inevitable lawsuit that followed acknowledged Winkler as the creator, but by then Mälzel had already sold many of them, and people had taken to calling it a Mälzel Metronome.

See also

metronome mark.

1.184 metronome mark

ES: indicación metronómica, I: indicazione metronomica, F: indication métronomique, D: Metronomangabe, NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, FI: metronomiosoitus.

Exact tempo indication (in beats per minute). Abbreviated ‘M.M.’ or ‘MM’, which is short for Mälzels Metronom (or Mälzel's Mark, anglice).

See also

metronome

1.185 metronomic indication

See also

metronome mark

1.186 mezzo-soprano

ES: mezzosoprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK: mezzosopran, S: mezzosopran, FI: mezzosopraano.

The female voice between soprano and contralto.

1.187 middle C

ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK: enstreget c, S: ettstruket c, FI: keski-C.

First C below the 440 Hz A.

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1.188 minor

ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, FI: molli.

See also

diatonic scale.

1.189 minor interval

ES: intervalo menor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein interval, DK: lille interval, S: litet intervall, FI: pieni intervalli.

See also

interval.

1.190 mixolydian mode

See also

diatonic scale.

1.191 mode

ES: modo, I: modo, F: mode, D: Kirchentonart, Modus, NL: modus, DK: skala, S: modus, skala, FI: moodi, kirkkosävelasteikko.

See also

church mode, diatonic scale.

1.192 modulation

ES: modulación, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, S: modulering, FI: modulaatio, sävellajin vaihdos.

Moving from one key to another. For example, the second subject of a sonata form movement modulates to the dominant key if the key is major and to the relative key if the key is minor.

1.193 mordent

I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, FI: mordent, korukuvio.

See also

ornament.

1.194 motif

See also

motive.

1.195 motive

ES: motivo, I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, FI: teema, sävelaihe.

The briefest intelligible and self-contained fragment of a musical theme or subject.

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1.196 movement

ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, FI: osa.

Greater musical works like symphony and sonata most often consist of several – more or less – independant pieces called movements.

1.197 multi-measure rest

ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D: mehrtaktige Pause, Kirchenpause, DK: flertaktspause, S: flertaktspaus, FI: usean tahdin mittainen tauko.

Multi-measure rests are conventionally typeset with a combination of longa, breve and whole rests for shorter and a long horizontal bar for longer spans of rest, with a number above to indicate the duration (in measures) of the rest. The former style is called ‘Kirchenpausen’ in German, as a reminiscence of its use in Renaissance vocal polyphony.

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See also

longa, breve.

1.198 natural

ES: becuadro, I: bequadro, F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, DK: opløsningstegn, S: återställningstecken, FI: palautusmerkki.

See also

accidental.

1.199 neighbour tones

See also

acciaccatura, appoggiatura, grace notes, ornament.

1.200 ninth

ES: novena, I: nona, F: neuvième, D: None, NL: noon, DK: none, S: nona, FI: nooni.

See also

interval.

1.201 non-legato

See also

legato.

1.202 note

ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, FI: nuotti.

Notes are signs by means of which music is fixed in writing. The term is also used for the sound indicated by a note, and even for the key of the piano which produces the sound. However, a clear distinction between the terms tone and note is strongly recommended. Briefly, one sees a note, and hears a tone.

1.203 note head

ES: cabeza, I: testa, testina, capocchia, F: tête de la note, D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, FI: nuotin pää.

A head-like sign which indicates pitch by its position on a staff provided with a clef, and duration by a variety of shapes such as hollow or black heads with or without stems, flags, etc. For percussion instruments (often having no defined pitch) the note head may indicate the instrument.

1.204 note names

See also

Pitch names

1.205 note value

ES: valor (duración), I: valore, durata, F: durée, valeur (d'une note), D: Notenwert, NL: nootwaarde, DK nodeværdi, S: notvärde, FI: nuotin aika-arvo.

Note values (durations) are measured as fractions, normally 1/2, of the next higher note value. The longest duration normally used is called brevis, but sometimes (mostly in pre-baroque music) the double-length note value longa or the quadruple-length note value maxima are used.

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An augmentation dot after a note multiplies the duration by one and a half. Another dot adds yet a fourth of the duration.

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Alternatively note values may be subdivided by other ratios. Most common is subdivision by 3 (triplets) and 5 (quintuplets). Subdivisions by 2 (duplets) or 4 (quadruplets) of dotted notes are also frequently used.

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1.206 octavation

See also

octave marking.

1.207 octave

ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, FI: oktaavi.

The interval of an octave, sometimes abbreviated ‘8ve’.

For uses like all'ottava or 8va with an extender line or bracket, or ‘loco’ see octave marking.

See also

interval, octave marking.

1.208 octave mark

ES: indicación de octava, I: ?, F: ?, D: Oktavierungszeichen, NL: ?, DK: ?, S: ?, FI: oktaavamerkki.

The phrase, abbreviation, or other mark used (with or without an extender line or bracket) to indicate that the music is to be played in a different octave:

For longer passages, it may be more practical to mark the octave change at the beginning with a phrase (see the list below for examples), but without a bracket or extender line. Then, when the music returns to the written pitch, the octave change is cancelled with the word loco (q.v.).

To parallel the list above:

In the phrases above, quindicesima is sometimes replaced with quindecima, which is Latin.

Finally, the music on an entire staff can be marked to be played in a different octave by putting an 8 or 15 above or below the clef at the beginning. This octave mark can be applied to any clef, but it is most frequently used with the G and F clefs.

See also

F clef, G clef, loco, octave marking.

1.209 octave marking

ES: a la octava, I: all'ottava, F: octaviation, D: Oktavierung, NL: octaveren, DK: oktavering, S: oktavering, FI: oktaavamerkintä.

The practice of marking music – an entire staff, a passage, etc. – to indicate that it is to be played in a different octave. If applied to the clef at the beginning of the staff, all music on that staff is to played at the indicated octave.

For a list of the specific marks used, see octave mark.

See also

interval, loco, octave, octave mark.

1.210 octave sign

See also

octave mark.

1.211 ornament

ES: adorno, I: abbellimento, fioriture, F: agrément, ornement, D: Verzierung, Ornament, NL: versiering, DK: forsiring, S: ornament, FI: koru, hele.

Most commonly used is the trill, the rapid alternation of a given note with the diatonic second above it. In the music from the middle of the 19th century and onwards the trill is performed with the main note first while in the music from the preceding baroque and classic periods the upper note is played first.

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Other frequently used ornaments are the turn, the mordent, and the prall (inverted mordent).

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See also

acciaccatura, appoggiatura, grace notes.

1.212 ossia

ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, FI: ossia, vaihtoehtoinen esitystapa.

Ossia (otherwise) marks an alternative. It is an added staff or piano score, usually only a few measures long, which presents another version of the music, for example for small hands.

1.213 part

ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: stämma, FI: stemma, instrumenttiosuus.

See also

counterpoint

1.214 pause

See also

fermata.

1.215 pennant

See also

flag.

1.216 percent repeat

LilyPond-specific term to indicate the repetition of a musical expression on a single staff, as opposed to the more usual definition of repeat, which affects all parts. The musical expression can be anything from a single note or note pattern to one or more measures. There are other names for this symbol:

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See also

repeat, University of Vermont Music Dictionary.

1.217 percussion

ES: percusión, I: percussioni, F: percussion, D: Schlagzeug, Schlagwerk, NL: slagwerk, DK: slagtøj, S: slagverk, FI: lyömäsoittimet.

A family of musical instruments which are played on by striking or shaking. Percussion instruments commonly used in a symphony orchestra are kettledrums (I: timpani, D: Pauken), snare drum, bass drum, tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel, and xylophone.

1.218 perfect interval

ES: intervalo justo, I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein interval, DK: rent interval, S: rent intervall, FI: puhdas intervalli.

See also

interval.

1.219 phrase

ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, FI: fraasi, lause.

A natural division of the melodic line, comparable to a sentence of speech.

1.220 phrasing

ES: fraseo, I: fraseggio, F: phrasé, D: Phrasierung, NL: frasering, DK: frasering, S: frasering, FI: fraseeraus, jäsentäminen.

The clear rendering in musical performance of the phrases of the melody. Phrasing may be indicated by a slur.

1.221 piano

ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, FI, piano, hiljaa.

piano (p) soft, pianissimo (pp) very soft, mezzo piano (mp) medium soft.

1.222 pickup

ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti.

See also

anacrusis.

1.223 pitch

ES: altura, I: altezza, F: hauteur, D: Tonhöhe, NL: toonhoogte, DK: tonehøjde, S: tonhöjd, FI: sävelkorkeus.

  1. The perceived quality of a sound that is primarily a function of its fundamental frequency.
  2. [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
  3. [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized association of a particular frequency with a particular pitch name, e.g., c' = 256 Hz.

See also

Pitch names.

1.224 pizzicato

ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen.

A technique for stringed instruments, abbr. pizz. To play by plucking the strings.

1.225 polymeter

ES: compás polimétrico, I: ?, F: ?, D: Polymetrik, NL: ?, DK: ?, S: ?, FI: polymetriikka.

See also

polymetric (adj.)

1.226 polymetric

ES: polimétrico, I: ?, F: ?, D: polymetrisch, NL: ?, DK: ?, S: ?, FI: polymetrinen.

Using two or more metric frameworks simultaneously or in alternation.

See also

polymeter (noun)

1.227 polymetric time signature

ES: compás polimétrico, I: ?, F: ?, D: polymetrische Taktart, NL: ?, DK: ?, S: ?, FI: polymetrinen tahtiosoitus.

A time signature that indicates regularly alternating polymetric time.

See also

polymetric.

1.228 polyphony

ES: polifonía, I: polifonia, F: polyphonie, D: Polyphonie, Mehrstimmigkeit, NL: polyfonie, DK: polyfoni, S: polyfoni, FI: polyfonia, moniäänisyys.

Music written in a combination of several simultaneous voices (parts) of a more or less pronounced individuality.

counterpoint.

1.229 portato

See also

legato.

1.230 presto

ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: presto, S: presto, FI: presto, hyvin nopeasti.

Very quick, i.e., quicker than allegro; prestissimo denotes the highest possible degree of speed.

1.231 proportion

ES: proporción, I: proprozione (?), F: proportion, D: Proportion, proportio, NL: ?, DK: ?, S: ?, FI: ?.

[From Latin proportio] In mensural notation, a ratio that expresses the relationship between the note values that follow with those that precede; or between the note values of a passage and the ‘normal’ relationship of note values to the metrical pulse.

See also

mensural notation

1.232 Pythagorean comma

ES: coma pitagórica, I: comma pitagorico, F: comma pythagoricien, D: Pythagoräisches Komma, NL: komma van Pythagoras, DK: pythagoræisk komma, S: pytagoreiskt komma, FI: pytagorinen komma.

Originally, the interval by which the sum of six whole tones exceeds the octave – (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.

Modern acoustical theory defines it as the interval by which twelve fifths exceed seven octaves. To put it another way: A sequence of fifths that starts on C eventually circles back to C. However, this C is 23.5 cents higher than the C obtained by adding 7 octaves. The difference between those two pitches is the Pythagorean comma.

See also

cent, temperament.

1.233 quadruplet

ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, FI: kvartoli.

See also

note value.

1.234 quality

ES: ?, I: qualità (?), F: qualité (?), D: ?, NL: ?, DK: ?, S: ?, FI: ?.

The quality of a triad is determined by the precise arrangement of its intervals. Tertian triads can be described as a series of three notes. The first element is the root note (or simply ‘root’) of the chord, the second note is the ‘third’ of the chord, and the last note is the ‘fifth’ of the chord. These are described below:

Chord name Component intervals Example Symbol
major triad major third/perfect fifth C-E-G C, CM, Cma, Cmaj, CΔ
minor triad minor third/perfect fifth C-E♭-G Cm, Cmi, Cmin, C-
augmented triad major third/augmented fifth C-E-G♯ C+, C^+, Caug
diminished triad minor third/diminished fifth C-E♭-G♭ Cm(♭5), Cº, Cdim

There are various types of seventh chords depending on the quality of the original chord and the quality of the seventh added.

Five common types of seventh chords have standard symbols. The chord quality indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7, and D^m7 are all identical). The last three chords are not commonly used except in jazz.

See also

chord.

1.235 quarter note

See also

note value.

1.236 quarter rest

See also

note value.

1.237 quarter tone

ES: cuarto de tonno, I: ?, F: quart de ton, D: Viertelton, NL: kwart toon, DK: ?, S: kvartston, FI: neljännes sävelaskel.

An interval equal to half a semitone.

See also

interval

1.238 quintuplet

ES: cinquillo, quintillo. I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, FI: kvintoli.

See also

note value.

1.239 rallentando

ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer werden, NL: rallentando, DK: rallentando, S: rallentando, FI: rallerdando, hidastuen.

Abbreviation "rall.".

ritardando.

1.240 relative key

ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, NL: paralleltoonsoort, DK: paralleltoneart, S: parallelltonart, FI: rinnakkaissävellaji.

major and minor keys with the same key signature.

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1.241 repeat

ES: repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: gentagelse, S: repris, FI: toisto.

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1.242 rest

ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, FI: tauko.

See also

note value.

1.243 rhythm

ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, FI: rytmi.

1.244 ritardando

ES: ritardando, I: ritardando, F: ritardando, D: ritardando, langsamer werden, NL: ritardando, DK: ritardando, S: ritardando, FI: ritardando, hidastuen,

Gradually slackening in speed. Mostly abbreviated to rit. or ritard.

1.245 ritenuto

ES: ritenuto, I: ritenuto, F: ritenuto, D: ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, FI: ritenuto, hidastaen.

Immediate reduction of speed.

1.246 scale

ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, FI: asteikko, sävelasteikko.

See also

diatonic scale.

1.247 scale degree

ES: grado (de la escala), I: grado della scala, F: degré [de la gamme], D: Tonleiterstufe, NL: trap [van de toonladder], DK: skalatrin, S: skalsteg (?), FI: sävelaste, asteikon sävel.

Names and symbols used in harmonic analysis to denote tones of the scale as roots of chords. The most important are degrees I = tonic (T), IV = subdominant (S) and V = dominant (D).

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See also

functional harmony.

1.248 scordatura

ES: encordado, I: scordatura, F: à cordes ravallées, D: Skordatur, NL: ?, DK: ?, S: ?, FI: ?.

[From Italian, scordare, ‘to mistune’.] Unconventional tuning of stringed instruments, particularly lutes or violins. Used to:

Tunings that could be called scordatura first appeared early in the 16th Century and became commonplace in the 17th.

1.249 score

ES: partitura, I: partitura, F: partition, D: Partitur (full score), Klavierauszug (vocal score), NL: partituur, DK: partitur, S: partitur, FI: partituuri.

A copy of orchestral, choral, or chamber music showing what each instrument is to play, each voice to sing, having each part arranged one underneath the other on different staves staff.

1.250 second

ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, FI: sekunti.

The interval between two neigbouring tones of a scale. A diatonic scale consists of alternating semitones and whole tones, hence the size of a second depends on the scale degrees in question.

1.251 semitone

ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S: halvton, FI: puolisävel.

The interval of a minor second. The (usually) smallest interval in European composed music. The interval between two neighbouring tones on the piano keyboard – including black and white keys – is a semitone. An octave may be divided into 12 semitones.

[image of music]

See also

interval, chromatic scale.

1.252 seventh

ES: séptima, I: settima, F: septième, D: Septime, NL: septiem, DK: septim, S: septim, FI: septimi.

See also

interval.

1.253 sextolet

See also

sextuplet, note value.

1.254 sextuplet

ES: seisillo, I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, FI: sekstoli.

See also

note value.

1.255 shake

See also

trill.

1.256 sharp

ES: sostenido, I: diesis, F: dièse, D: Kreuz, NL: kruis, DK: kryds, S: korsförtecken, FI: korotusmerkki.

See also

accidental.

1.257 simile

ES: simile, I: simile, F: ?, D: simile, gleichartig, NL: ?, DK: ?, S: ?, FI: samaan tapaan.

[From It, ‘in the same manner’] Performance direction: the music thus marked is to be played in the same manner (i.e. with the same articulations, dynamics, etc.) as the music that precedes it.

See also

TODO: Where else could I refer the reader?

1.258 simple meter

ES: compás simple, compás de subdivisión binaria, I: ?, F: ?, D: Zweiertakt, NL: ?, DK: ?, S: ?, FI: tasajakoinen rytmi.

A meter in which the basic beat is subdivided in two: that is, a meter that does not include triplet subdivision of the beat.

See also

compound meter, meter.

1.259 sixteenth note

See also

note value.

1.260 sixteenth rest

See also

note value.

1.261 sixth

ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, FI: seksti.

See also

interval.

1.262 sixty-fourth note

See also

note value.

1.263 sixty-fourth rest

See also

note value.

1.264 slash repeat

See also

percent repeat.

1.265 slur

ES: ligadura (de expresión), I: legatura (di portamento or espressiva), F: liaison, coulé, D: Bogen (Legatobogen, Phrasierungsbogen), NL: fraseringsboog, legatoboog, streekboog, DK: legatobue, fraseringsbue, S: båge, FI: kaari.

A slur above or below a group of notes indicates that they are to be played legato, e.g., with one stroke of the violin bow or with one breath in singing.

1.266 solmization

ES: solmisación, I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK: solmisation, S: solmisation, FI: suhteelliset laulunimet.

General term for systems of designating the degrees of the scale, not by letters, but by syllables (do (ut), re, mi, fa, sol, la, si (ti)).

scale degree.

1.267 sonata

ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, FI: sonaatti.

In its present-day meaning a sonata denotes an instrumental composition for piano or for some other instrument with piano accompaniment, which consists of three or four independant pieces, called movements.

1.268 sonata form

ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm, sonatevorm, DK: sonateform, S: sonatform, FI: sonaattimuoto.

A form used frequently for single movements of the sonata, symphony, quartet, etc. A movement written in sonata form falls into three sections called exposition, development and recapitulation. In the exposition the composer introduces some musical ideas, consisting of a number of themes; in the development section the composer ‘develops’ this material, and in the recapitulation the composer repeats the exposition, with certain modifications. The exposition contains a number of themes that fall into two groups, often called first and second subject. Other melodies occurring in each group are considered as continuations of these two. The second theme is in another key, normally in the key of the dominant if the tonic is major, and in the relative key if the tonic is minor.

1.269 song texts

See also

lyrics.

1.270 soprano

ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, FI: sopraano, korkea naisääni.

The highest female voice.

1.271 staccato

ES: picado, I: staccato, F: staccato, piqué, détaché, D: staccato, NL: staccato, DK: staccato, S: staccato, FI: staccato, lyhyesti, terävästi.

Playing the note(s) short. Staccato is indicated by a dot above or below the note head.

[image of music]

1.272 staff

ES: pentagrama, I: pentagramma, rigo (musicale), F: portée, D: Notensystem, Notenzeile, NL: (noten)balk, partij, DK: nodesystem, S: notsystem, FI: nuottiviivasto.

A staff (plural: staves) is a series of (normally five) horizontal lines upon and between which the musical notes are written, thus indicating (in connection with a clef) their pitch. Staves for percussion instruments may have fewer lines.

1.273 staves

See also

staff.

1.274 stem

ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft, FI: nuottipalkki.

Vertical line above or below a note head shorter than a whole note.

beam.

[image of music]

1.275 stringendo

ES: ?, I: stringendo, F: ?, D: Stringendo, steigernd, NL: ?, DK: ?, S: ?, FI: stringendo, kiihtyen.

[It, ‘pressing’]. Pressing, urging, or hastening the time, as to a climax.

See also

accelerando.

1.276 strings

ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S: stråkar, FI: jouset.

A family of stringed musical instruments played with a bow. Strings commonly used in a symphony orchestra are violin, viola, violoncello, and double bass.

1.277 strong beat

ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder Taktschlag, NL: thesis, D: betonet taktslag, S: betonat taktslag, FI: tahdin vahva isku.

See also

beat, accent, measure, rhythm.

1.278 subdominant

ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: subdominant, S: subdominant, FI: subdominantti, alidominantti.

The fourth scale degree.

functional harmony.

1.279 submediant

ES: submediante, I: sopratonica, F: sous-médiante, D: Submediante, NL: submediant, DK: Submediant, S: submediant, FI: alikeskisävel.

The sixth scale degree.

1.280 subtonic

ES: subtónica, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: subtonika, FI: subtoonika, alitoonika.

The seventh scale degree.

1.281 sul G

ES: sobre la cuerda de Sol, I: sul g, F: sur la G, D: auf G, auf der G-Saite, NL: ?, DK: ?, S: ?, FI: ?.

Indicates that the indicated passage (or note) should be played on the G string.

1.282 superdominant

ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominante, NL: superdominant, DK: superdominant, S: superdominant, FI: ylidominantti.

The sixth scale degree.

1.283 supertonic

ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: supertonika, S: supertonika, FI: ylitoonika.

The second scale degree.

1.284 symphony

ES: sinfonía, I: sinfonia, F: symphonie, D: Sinfonie, Symphonie, NL: symfonie, DK: symfoni, S: symfoni, FI: sinfonia.

A symphony may be defined as a sonata for orchestra.

1.285 syncopation

ES: síncopa, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, FI: synkooppi.

Any deliberate upsetting of the normal pulse of meter, accent, and rhythm. The occidental system of musical rhythm rests upon the grouping of equal beats into groups of two or three, with a regularly recurrent accent on the first beat of each group. Any deviation from this scheme is felt as a disturbance or contradiction between the underlaying (normal) pulse and the actual (abnormal) rhythm.

[image of music]

1.286 syntonic comma

ES: coma sintónica, coma de Dídimo, I: comma sintonico (o didimico), F: comma syntonique, D: syntonisches Komma, NL: syntonische komma, DK: syntonisk komma, S: syntoniskt komma, FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.

Named after Ptolemy's syntonic diatonic genus. Originally, the difference by which the ditone exceeds the pure major third obtained by Pythagorean tuning – (9:8)^2 - 5:4 = 81:80, or 21.5 cents.

Modern acoustical theory defines it as the interval by which four fifths exceed the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)

This comma is also known as the comma of Didymus, or didymic comma.

See also

Pythagorean comma

1.287 system

ES: sistema, I: accollatura, F: système, D: Notensystem, Partitur, NL: systeem, DK: system, S: system, FI: nuottijärjestelmä.

The collection of staves (staff), two or more, as used for writing down of keyboard, chamber, choral, or orchestral music.

1.288 temperament

ES: temperamento, I: temperamento, F: tempérament, D: Stimmung, Temperatur, NL: stemming, temperatuur, DK: temperatur, S: temperatur, FI: viritysjärjestelmä.

Systems of tuning in which the intervals deviate from the acoustically pure intervals.

meantone temperament, equal temperament.

1.289 tempo indication

ES: indicación de tempo, I: indicazione di tempo, F: indication de tempo, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, FI: tempomerkintä.

The rate of speed of a composition or a section thereof, ranging from the slowest to the quickest, as is indicated by tempo marks as largo, adagio, andante, allegro, and presto.

1.290 tenor

ES: tenor, I: tenore, F: ténor, D: Tenor, NL: tenor, DK: tenor, S: tenor, FI: tenori, korkea miesääni.

The highest male voice (apart from countertenor).

1.291 tenth

ES: décima, I: decima, F: dixième, D: Dezime, NL: deciem, DK: decim, S: decima, FI: desimi.

See also

note value.

1.292 tenuto

ES: subrayado (tenuto), I: tenuto, F: tenue, tenuto, D: gehalten, tenuo, NL: tenuto, DK: tenuto, S: tenuto, FI: viiva, tenuto.

An indication that a particular note should be held for the whole length, although this can vary depending on the composer and era.

1.293 third

ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, FI: terssi.

See also

interval.

1.294 thirty-second note

See also

note value.

1.295 thirty-second rest

See also

note value.

1.296 thorough bass

See also

figured bass.

1.297 tie

ES: ligadura de prolongación, ligadura de unión, I: legatura (di valore), F: liaison, D: Haltebogen, Bindebogen, NL: overbinding, bindingsboog, DK: bindebue, S: bindebåge, överbindning, FI: sitominen.

A curved line, identical in appearance with the slur, which connects two succesive notes of the same pitch, and which has the function of uniting them into a single sound (tone) equal to the combined durations.

[image of music]

1.298 time

See also

meter.

1.299 time signature

ES: indicación de compás, I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure, D: Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S: taktartssignatur, FI: tahtiosoitus.

The sign placed at the beginning of a composition to indicate its meter. It most often takes the form of a fraction, but a few signs derived from mensural notation and proportions are also employed.

See also

mensural notation, meter.

1.300 tone

ES: tono, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, FI: ääni.

A sound of definite pitch and duration, as distinct from noise. Tone is a primary building material of music.

1.301 tonic

ES: tónica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, FI: toonika.

The first scale degree.

See also

functional harmony.

1.302 transposing instrument

ES: instrumento transpositor, I: ?, F: ?, D: transponierende Instrumente, NL: ?, DK: ?, S: ?, FI: transponoivat soitimet.

Instruments whose notated pitch is different from their sounded pitch. Except for those whose notated and sounding pitches differ by one or more octaves (to reduce the number of ledger lines needed), most such instruments are identified by the letter name of the pitch class of their fundamental. The pitch class is the note that sounds (disregarding the octave in which it sounds) when the instrument plays a notated C.

For example: when played on the B-flat clarinet, the note middle C sounds the B-flat one tone lower. If played on the A clarinet, the same written note sounds the A (one and half tones – a minor third – lower).

Not all transposing instruments include the pitch class in their name:

See also

concert pitch.

1.303 transposition

ES: transporte, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: transposition, S: transponering, FI: transponointi.

Shifting a melody up or down in pitch, while keeping the same relative pitches.

[image of music]

[image of music]

1.304 treble clef

ES: clave de sol, I: chiave di violino, F: clef de sol, D: Violinschlüssel, Sopranschlüssel, NL: viool sleutel, DK: diskantnøgle, S: diskantklav, FI: diskanttiavain.

See also

G clef.

1.305 tremolo

ES: trémolo, I: tremolo, F: trémolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, FI: tremolo.

On stringed instruments:

  1. The quick reiteration of the same tone, produced by a rapid up-and-down movement of the bow.
  2. Or, the rapid alternation between two notes of a chord, usually in the distance of a third (interval).

[image of music]

See also

strings

1.306 triad

ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, FI: kolmisointu.

See also

chord.

1.307 trill

ES: trino, I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL: triller, DK: trille, S: drill, FI: trilli.

See also

ornament.

1.308 triple meter

ES: compás ternario, I: tempo ternario, F: mesure ternaire, D: in drei, ungerader Takt, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, FI: kolmijakoinen.

See also

meter.

1.309 triplet

ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, FI: trioli.

See also

note value.

1.310 tritone

ES: tritono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, FI: tritonus.

See also

interval.

1.311 tuning fork

ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: stemmegaffel, S: stämgaffel, FI: viritysavain.

A two-pronged piece of steel used to indicate an absolute pitch, usually for A above middle C (440 cps/Hz), which is the international tuning standard. Tuning forks for other pitches are available.

See also

middle C.

1.312 tuplet

A non-standard subdivision of a beat or part of a beat, usually indicated with a bracket and a number indicating the number of subdivisions.

See also

triplet, note value.

1.313 turn

ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag, S: dubbelslag, FI: korukuvio.

See also

ornament.

1.314 unison

ES: unísono, I: unisono, F: unisson, D: unisono, NL: unisono, DK: unison, S: unison, FI: unisono, yksiäänisesti.

Playing of the same notes or the same melody by various instruments (voices) or by the whole orchestra (choir), either at exactly the same pitch or in a different octave.

1.315 upbeat

ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti.

See also

anacrusis

1.316 voice

ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: stämma, FI: ääni, lauluääni.

1.317 volta

ES: vez, primera y segunda vez, I: volta, F: ?, D: Volta, Wiederholungsklammer, NL: ?, DK: ?, S: ?, FI: ?.

[From Italian, ‘time’ (instance, not duration)]. An ending, such as a first or second ending. LilyPond extends this idea to any number, and allows any text (not just a number) – to serve as the ‘volta’ text.

1.318 weak beat

ES: tiempo débil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder Taktschlag, NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, FI: tahdin heikko isku.

See also

beat, measure, rhythm.

1.319 whole note

See also

note value.

1.320 whole rest

See also

note value.

1.321 whole tone

ES: tono (entero), I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S: helton, FI: kokoaskel.

The interval of a major second. The interval between two tones on the piano keyboard with exactly one key between them – including black and white keys – is a whole tone.

See also

interval.

1.322 woodwind

ES: maderas, I: legni, F: les bois, D: Holzbläser, NL: houtblazers, DK træblæsere, S: träblåsare, FI: puupuhaltimet.

A family of blown wooden musical instruments. Today some of these instruments are actually made from metal. The woodwind instruments commonly used in a symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.

2 Duration names notes and rests

Lang. note name rest name note name rest name
US long long rest breve breve rest
UK longa longa rest breve breve rest
ES longa silencio de longa cuadrada silencio de cuadrada
IT longa pausa di longa breve pausa di breve
FR longa quadruple-pause brève double-pause
DE Longa longa Pause Brevis brevis Pause
NL longa longa rust brevis brevis rust
DK longa longanodespause brevis brevis(nodes)pause
SE longa longapaus brevis brevispaus
FI longa-nuotti longa-tauko brevis-nuotti, kaksoiskokonuotti brevis-tauko, kaksoiskokotauko

Lang. note name rest name note name rest name
US whole note whole rest half note half rest
UK semibreve semibreve rest minim minim rest
ES redonda silencio de redonda blanca silencio de blanca
IT semibreve pause di semibreve minima pausa di minima
FR ronde pause blanche demi-pause
DE ganze Note ganze Pause halbe Note halbe Pause
NL hele noot hele rust halve noot halve rust
DK helnode helnodespause halvnode halvnodespause
SE helnot helpaus halvnot halvpaus
FI kokonuotti kokotauko puolinuotti puolitauko

Lang. note name rest name note name rest name
US quarter note quarter rest eighth note eighth rest
UK crotchet crotchet rest quaver quaver rest
ES negra silencio de negra corchea silencio de corchea
IT semiminima, nera pausa di semiminima, pausa di nera croma pausa di croma
FR noire soupir* croche* demi-soupir
DE Viertelnote Viertelpause Achtelnote Achtelpause
NL kwartnoot kwartrust achtste noot achtste rust
DK fjerdedelsnode fjerdedelspause ottendedelsnode ottendedelspause
SE fjärdedelsnot fjärdedelspaus åttondelsnot åttondelspaus
FI neljäsosanuotti neljäsosatauko kahdeksasosanuotti kahdeksasosatauko

* About the French naming system: croche refers to the note's "hook". Therefore, from the eighth note on, the note names mean ‘hook’, ‘doubled hook’, ‘trebled hook’, and so on.

The rest names are based on the soupir, or quarter rest. Subsequent rests are expressed as fractions thereof: half a soupir, a quarter of a soupir, and so on.

Each of the following tables contains one type of note and its matching rest, with abbreviations that apply to both notes and rests. Just switch the part that means ‘note’ with the part that means ‘rest’, for example:

I put a dash ‘-’ when I could not find a language-specific abbreviation for a duration name. If you know of one that I missed, please send it to me, care of the lilypond-user discussion list.

Lang. Note name Rest name Abbr.
US sixteenth note sixteenth rest 16th note
UK semiquaver semiquaver rest -
ES semicorchea silencio de semicorchea -
IT semicroma pausa di semicroma -
FR double croche quart de soupir -
DE Sechzehntelnote Sechzehntelpause 16tel-Note
NL zestiende noot zestiende rust 16e noot
DK sekstendedelsnode sekstendedelspause -
SE sextondelsnot sextondelspaus -
FI kuudestoistaosanuotti kuudestoistaosatauko 16-osanuotti

Lang. Note name Rest name Abbr.
US thirty-second note thirty-second rest 32nd note
UK demisemiquaver demisemiquaver rest -
ES fusa silencio de fusa -
IT biscroma pausa di biscroma -
FR triple croche huitième de soupir -
DE Zweiunddreißigstelnote Zweiunddreißigstelpause 32tel-Note
NL tweeendertigste noot tweeendertigste rust 32e noot
DK toogtredivtedelsnode toogtredivtedelspause -
SE trettiotvåondelsnot trettiotvåondelspaus -
FI kolmaskymmeneskahdesosanuotti kolmaskymmeneskahdesosatauko 32-osanuotti

Lang. Note name Rest name Abbr.
US sixty-fourth note sixty-fourth rest 64th note
UK hemidemisemiquaver hemidemisemiquaver rest -
ES semifusa silencio de semifusa -
IT semibiscroma pausa di semibiscroma -
FR quadruple croche seizième de soupir -
DE Vierundsechzigstelnote Vierundsechzigstelpause 64tel-Note
NL vierenzestigste noot vierenzestigste rust 64e noot
DK fireogtredsindstyvendedelsnode fireogtredsindstyvendedelspause -
SE sextiofjärdedelsnot sextiofjärdedelspaus -
FI kuudeskymmenesneljäsosanuotti kuudeskymmenesneljäsosatauko 64-osanuotti

Lang. Note name Rest name Abbr.
US one-hundred-twenty-eighth note one-hundred-twenty-eighth rest 128th note
UK semihemidemisemiquaver semihemidemisemiquaver rest -
ES garrapatea silencio de garrapatea -
IT fusa pausa di fusa -
FR quintuple croche trente-deuxième de soupir -
DE Hundertundachtundzwanzigstel Hundertundachtundzwanzigstel 128tel-Note
NL honderdachtentwintigste noot honderdachtentwintigste rust 128e noot
DK hundredeotteogtyvendedelsnode hundredeotteogtyvendedelspause -
SE hundratjugoåttondelsnot hundratjugoåttondelspaus -
FI sadaskahdeskymmeneskahdeksasosanuotti sadaskahdeskymmeneskahdeksasosatauko 128-osanuotti

Lang. Note name Rest name Abbr.
US two-hundred-fifty-sixth note two-hundred-fifty-sixth rest 256th note
UK demisemihemidemisemiquaver demisemihemidemisemiquaver rest -
ES semigarrapatea silencio de semigarrapatea -
IT semifusa pausa di semifusa -
FR sextuple croche soixante-quatrième de soupir -
DE Zweihundertundsechsundfünfzigstelnote Zweihundertundsechsundfünfzigstel 256tel-Note
NL tweehonderdzesenvijftigste noot tweehonderdzesenvijftigste rust 256e noot
DK tohundredeseksoghalvtredsendedelsnode tohundredeseksoghalvtredsendedelspause -
SE tvåhundrafemtiosjättedelsnot tvåhundrafemtiosjättedelspaus -
FI kahdessadasviideskymmeneskuudesosanuotti kahdessadasviideskymmeneskuudesosatauko 256-osanuotti

See also

mensural notation

3 Pitch names

EN ES I F D NL DK S FI
c do do ut C c c c c
c-sharp do sostenido do diesis ut dièse Cis cis cis ciss cis
d-flat re bemol re bemolle ré bémol Des des des dess des
d re re D d d d d
d-sharp re sostenido re diesis re dièse Dis dis dis diss dis
e-flat mi bemol mi bemolle mi bémol Es es es ess es
e mi mi mi E e e e e
f-flat = e fa bemol fa bemolle fa bémol Fes fes fes fess fes
f fa fa fa F f f f f
e-sharp = f mi sostenido mi diesis mi dièse Eis eis eis eiss eis
f-sharp fa sostenido fa diesis fa dièse Fis fis fis fiss fis
g-flat sol bemol sol bemolle sol bémol Ges ges ges gess ges
g sol sol sol G g g g g
g-sharp sol sostenido sol diesis sol dièse Gis gis gis giss gis
a-flat la bemol la bemolle la bémol As as as ass as
a la la la A a a a a
a-sharp la sostenido la diesis la dièse Ais ais ais aiss ais
b-flat si bemol si bemolle si bémol B bes b b b
b si si si H b h h h

Literature used

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