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Languages in this order.
ES: a dos, I: a due, F: à deux, D: a due, zu zweit NL: ?, DK: ?, S: ?, FI: ?.
Abbreviated ‘a2’ or ‘a 2’.
ES: accelerando, I: accelerando, F: accelerando, en accélérant, D: accelerando, schneller werden, NL: accelerando, DK: accelerando, S: accelerando, FI: accelerando, kiihdyttäen.
Increase tempo.
ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, FI: aksentti, korostus.
The stress of one tone over others.
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.
appoggiatura, grace notes, ornament.
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.
ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, FI: adagio, hitaasti.
It. comfortable, easy.
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.
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.
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.
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.
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).
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.
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.
ES: andante, I: andante, F: andante, D: Andante, Gehend, NL: andante, DK: andante, S: andante, FI: andante, käyden.
Walking tempo/character.
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.
An appoggiatura may have more notes preceding the main note.
ES: arpegio, I: arpeggio, F: arpège, D: Arpeggio, Akkordbrechungen, gebrochener Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, FI: arpeggio, murtosointu.
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.
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.
ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augmenté, D: übermäßiges Intervall, NL: overmatig interval, DK: forstørret interval, S: överstigande intervall, FI: ylinouseva intervalli.
ES: ?, I: ?, F: ?, D: Augmentation, NL: ?, DK: ?, S: ?, FI: augmentaatio, harvennus.
This is a placeholder for augmentation (wrt mensural notation).
diminution, mensural notation.
ES: manuscrito, I: autografo, F: manuscrit, autographe D: Autograph, Handschrift, NL: manuscript, DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti.
ES: barra, línea divisoria, I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: maatstreep, DK: taktstreg, S: taktstreck, FI: tahtiviiva.
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.
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.
ES: bajo, I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, FI: basso, matala miesääni.
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.
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.
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.
tie.
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):
Angular brackets for connecting parts in an orchestral or choral score:
ES: corchete, I: ?, F: ?, D: Klammer, NL: ?, DK: ?, S: ?, FI: ?.
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.
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.
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’.
mensural notation, note value.
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.
ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, FI: kadenssi, lopuke.
harmonic cadence, functional harmony.
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.
ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, FI: kaanon, tarkka jäljittely.
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).
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.
functional harmony, interval, inversion, quality, third.
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.
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).
ES: modo eclesiástico, I: modo ecclesiastico, F: mode ecclésiastique, D: Kirchentonart, NL: kerktoonladder, DK: kirketoneart, S: kyrkotonart, FI: moodi, kirkkosävellaji.
ES: clave, I: chiave, F: clé, clef, D: Schlüssel, Notenschlüssel, NL: sleutel, DK: nøgle, S: klav, FI: avain, nuottiavain.
The clef indicates which lines of the staff correspond to which pitches. The three clef symbols in common use are:
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:
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:
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.
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.
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.
didymic comma, Pythagorean comma, syntonic comma, temperament.
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.
ES: intervalo invertido, I: rivolto, F: intervalle complémentaire, D: Komplementärintervall, NL: complementair interval, DK: komplementærinterval, S: komplementärintervall (?), FI: täydentävä intervalli.
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.
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.
ES: compás compuesto, compás de amalgama (def. 2), I: ?, F: ?, D: Dreiertakt, Wechseltakt, NL: ?, DK: ?, S: ?, FI: ?.
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:
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.
ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: konsonans, FI: konsonanssi, sopusointi.
ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, FI: kontra-altto.
alto.
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.
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.
ES: contratenor, I: controtenore, F: contre-tenor, D: Countertenor, Kontratenor, NL: contratenor, DK: kontratenor, S: kontratenor, counter tenor, FI: kontratenori.
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.’.
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.
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
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.
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:
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.’.
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.
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.
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.
ES: intervalo disminuido, I: intervallo diminuito, F: intervalle diminué, D: vermindertes Intervall, NL: verminderd interval, DK: formindsket interval, S: förminskat intervall, FI: vähennetty intervalli.
ES: diminuendo, I: diminuendo, F: diminuendo, D: diminuendo, NL: diminuendo, DK: diminuendo, S: diminuendo, FI: diminuendo, hiljentyen.
ES: ?, I: ?, F: ?, D: Diminution, Verkleinerung, NL: ?, DK: ?, S: ?, FI: diminuutio, tihennys.
This is a placeholder for diminution (wrt mensural notation).
augmentation, mensural notation.
ES: ?, I: ?, F: ?, D: Weiser, Zeiger, NL: ?, DK: ?, S: ?, FI: ?.
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.
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.
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?
None yet.
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.
ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: dominant, FI: dominantti, huippusointu.
The fifth scale degree in functional harmony.
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.
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.
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.
ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verlängerungspunkt), NL: punt, DK: punkt, S: punkt, FI: piste.
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.
ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, FI: kaksoisappogiatura, kaksoisetuhele.
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.
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.
ES: doble bemol, I: doppio bemolle, F: double bémol, D: Doppel-B, NL: dubbelmol, DK: dobbelt-b, S: dubbelbe, FI: kaksoisalennusmerkki.
ES: doble sostenido, I: doppio diesis, F: double dièse, D: Doppelkreuz, NL: dubbelkruis, DK: dobbeltkryds, S: dubbelkors, FI: kaksoisylennysmerkki.
ES: ?, I: ?, F: ?, D: Doppeltakt, Wechseltakt, NL: ?, DK: ?, S: ?, FI: ?.
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.
ES: tiempo binario, I: tempo binario, F: temps binaire, D: in zwei, grader Takt, NL: tweedelige maatsoort, DK: todelt takt, S: tvåtakt, FI: kaksoistempo.
ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, FI: duoli.
ES: duración, I: durata, F: durée, D: Dauer, Länge, NL: duur, lengte, DK: varighed, S: tonlängd, FI: kesto, aika-arvo.
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.
piano, forte, crescendo, decrescendo, diminuendo.
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.
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.
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.
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).
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:
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:
melisma, sul G, thorough bass, octave mark, octave marking.
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).
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.
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.
Internals Reference: Manual beams
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.
ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, FI: kvintti.
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.
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.
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.
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:
ES: bemol, I: bemolle, F: bémol, D: B, NL: mol, DK: b, S: beförtecken, FI: alennusmerkki.
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.
ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, FI: kvartti.
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.
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.
ES: pentagramas a la francesa, I: ?, F: ?, D: Notensysteme (ohne leere Takte), NL: ?, DK: ?, S: ?, FI: ?.
The plural of Frenched staff, q.v..
ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, FI: fuuga.
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.
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).
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.
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.
acciaccatura, appoggiatura, grace notes, ornament.
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.
ES: grave, I: grave, F: grave, D: Grave, Langsam, NL: grave, ernstig, DK: grave, S: grave, FI: grave, raskaasti.
Slow, solemn.
turn.
Letter name used for ‘B natural’ in German and Scandinavian usage. In the standard usage of these countries, ‘B’ means ‘B flat’.
Pitch names, B.
Graphical version of the crescendo and decrescendo dynamic marks.
UK: minim, ES: blanca, I: minima, F: blanche, D: Halbe, halbe Note, NL: halve noot, DK: halvnode, S: halvnot, FI: puolinuotti.
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.
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.
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.
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:
Dissonances:
Three note harmony chord.
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
may be thought of having alternating time signatures
and is therefore a polymeter (second definition) of considerable antiquity.
mensural notation, meter, polymeter.
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.
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 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:
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.
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:
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
ES: línea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: notlinje, FI: viiva, nuottiviiva.
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.).
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.
ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, FI: longa.
Note value: double length of breve.
ES: ligadura de letra, I: ?, F: ?, D: Bindestrich, NL: ?, DK: ?, S: ?, FI: ?.
ES: letra (de la canción), I: ?, F: paroles, D: Liedtext, Gesangtext, NL: liedtekst, DK: ?, S: ?, FI: sanoitus.
ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, FI: duuri.
ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: großes Intervall, NL: groot interval, DK: stort interval, S: stort intervall, FI: suuri intervalli.
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.
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.
ES: mediante, I: mediante, modale, F: médiante, NL: mediant, D: Mediante, DK: mediant, S: mediant, FI: keskisävel.
functional harmony, relative key.
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.
ES: línea de melisma, I: ?, F: ?, D: Melismastrich, NL: ?, DK: ?, S: ?, FI: ?.
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)
augmentation, diminution, ligature, proportion.
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):
Simple triple meter:
Simple quadruple meter (French folk tune, Au clair de la lune):
Simple quintuple meter (B. Marcello, 1686-1739):
Compound duple meter (unknown):
Compound triple meter (J.S. Bach, 1685-1750):
Compound quadruple meter (P. Yon, 1886-1943):
‘Monometer’ vs Polymeter
TODO: add information from discussion on lilypond-user related to polymeter.
accent, hemiola, note value, time signature
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.
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).
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.
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.
ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, FI: molli.
ES: intervalo menor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein interval, DK: lille interval, S: litet intervall, FI: pieni intervalli.
ES: modo, I: modo, F: mode, D: Kirchentonart, Modus, NL: modus, DK: skala, S: modus, skala, FI: moodi, kirkkosävelasteikko.
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.
I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, FI: mordent, korukuvio.
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.
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.
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.
ES: becuadro, I: bequadro, F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, DK: opløsningstegn, S: återställningstecken, FI: palautusmerkki.
acciaccatura, appoggiatura, grace notes, ornament.
ES: novena, I: nona, F: neuvième, D: None, NL: noon, DK: none, S: nona, FI: nooni.
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.
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.
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.
An augmentation dot after a note multiplies the duration by one and a half. Another dot adds yet a fourth of the duration.
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.
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.
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.
F clef, G clef, loco, 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.
interval, loco, octave, octave mark.
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.
Other frequently used ornaments are the turn, the mordent, and the prall (inverted mordent).
acciaccatura, appoggiatura, grace notes.
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.
ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: stämma, FI: stemma, instrumenttiosuus.
flag.
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:
repeat, University of Vermont Music Dictionary.
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.
ES: intervalo justo, I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein interval, DK: rent interval, S: rent intervall, FI: puhdas intervalli.
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.
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.
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.
ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti.
ES: altura, I: altezza, F: hauteur, D: Tonhöhe, NL: toonhoogte, DK: tonehøjde, S: tonhöjd, FI: sävelkorkeus.
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.
ES: compás polimétrico, I: ?, F: ?, D: Polymetrik, NL: ?, DK: ?, S: ?, FI: polymetriikka.
polymetric (adj.)
ES: polimétrico, I: ?, F: ?, D: polymetrisch, NL: ?, DK: ?, S: ?, FI: polymetrinen.
Using two or more metric frameworks simultaneously or in alternation.
polymeter (noun)
ES: compás polimétrico, I: ?, F: ?, D: polymetrische Taktart, NL: ?, DK: ?, S: ?, FI: polymetrinen tahtiosoitus.
A time signature that indicates regularly alternating polymetric time.
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.
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.
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.
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.
ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, FI: kvartoli.
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.
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.
ES: cinquillo, quintillo. I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, FI: kvintoli.
ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer werden, NL: rallentando, DK: rallentando, S: rallentando, FI: rallerdando, hidastuen.
Abbreviation "rall.".
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.
ES: repetición, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: gentagelse, S: repris, FI: toisto.
ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, FI: tauko.
ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, FI: rytmi.
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.
ES: ritenuto, I: ritenuto, F: ritenuto, D: ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, FI: ritenuto, hidastaen.
Immediate reduction of speed.
ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, FI: asteikko, sävelasteikko.
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).
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.
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.
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.
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.
ES: séptima, I: settima, F: septième, D: Septime, NL: septiem, DK: septim, S: septim, FI: septimi.
ES: seisillo, I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, FI: sekstoli.
ES: sostenido, I: diesis, F: dièse, D: Kreuz, NL: kruis, DK: kryds, S: korsförtecken, FI: korotusmerkki.
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.
TODO: Where else could I refer the reader?
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.
ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, FI: seksti.
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.
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)).
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.
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.
ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, FI: sopraano, korkea naisääni.
The highest female voice.
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.
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.
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.
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.
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.
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.
beat, accent, measure, rhythm.
ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: subdominant, S: subdominant, FI: subdominantti, alidominantti.
The fourth scale degree.
ES: submediante, I: sopratonica, F: sous-médiante, D: Submediante, NL: submediant, DK: Submediant, S: submediant, FI: alikeskisävel.
The sixth scale degree.
ES: subtónica, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: subtonika, FI: subtoonika, alitoonika.
The seventh scale degree.
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.
ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominante, NL: superdominant, DK: superdominant, S: superdominant, FI: ylidominantti.
The sixth scale degree.
ES: supertónica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: supertonika, S: supertonika, FI: ylitoonika.
The second scale degree.
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.
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.
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.
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.
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.
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.
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).
ES: décima, I: decima, F: dixième, D: Dezime, NL: deciem, DK: decim, S: decima, FI: desimi.
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.
ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, FI: terssi.
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.
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.
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.
ES: tónica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, FI: toonika.
The first scale degree.
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:
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.
ES: clave de sol, I: chiave di violino, F: clef de sol, D: Violinschlüssel, Sopranschlüssel, NL: viool sleutel, DK: diskantnøgle, S: diskantklav, FI: diskanttiavain.
ES: trémolo, I: tremolo, F: trémolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, FI: tremolo.
On stringed instruments:
ES: tríada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, FI: kolmisointu.
ES: trino, I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL: triller, DK: trille, S: drill, FI: trilli.
ES: compás ternario, I: tempo ternario, F: mesure ternaire, D: in drei, ungerader Takt, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, FI: kolmijakoinen.
ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, FI: trioli.
ES: tritono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, FI: tritonus.
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.
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.
ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag, S: dubbelslag, FI: korukuvio.
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.
ES: anacrusa, I: anacrusi, F: anacrouse, levée, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, FI: kohotahti.
ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: stämma, FI: ääni, lauluääni.
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.
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.
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.
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.
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
|
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 | ré | 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
|
This page is for LilyPond-2.11.58 (development-branch).
Report errors to http://post.gmane.org/post.php?group=gmane.comp.gnu.lilypond.bugs.
Your suggestions for the documentation are welcome.