Music glossary

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This glossary was brought you by:

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

with additional contributions: thanks to all who have contributed.

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 2.11.65. For more information about how this fits with the other documentation, see About the documentation.

1. Musical terms A-Z

Languages in this order.

UK - British English (where it differs from American English)
ES - Spanish
I - Italian
F - French
D - German
NL - Dutch
DK - Danish
S - Swedish
FI - Finnish

1.1 A

ES: la
I: la
F: la
D: A, a
NL: a
DK: a
S: a
FI: A, a

1.2 a due

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

Abbreviated a2 or a 2.

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.
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’).

1.3 accelerando

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

[Italian: ‘speed up, accelerate’.]

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

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.

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 alters a note by:

Raising its pitch:
- A double sharp, by two semitones (a whole tone)
- A sharp, by one semitone
Lowering its pitch:
- A flat, by one semitone
- A double flat, by two semitones (a whole tone)
Canceling the effects of the key signature or previous accidentals.

1.8 adagio

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

[Italian: ‘comfortable, easy’.]

Slow tempo, slower – especially in even meter – than andante and faster than largo.
A movement in slow tempo, especially the second (slow) movement of sonatas, symphonies, etc.

1.9 al niente

ES: ?, I: al niente, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: häviten olemattomiin.

[Italian: ‘to nothing’.] Used with decrescendo to indicate that the sound should fade away to nothing.

Al niente is indicated by circling the tip of the hairpin:

or with the actual phrase al niente. This may be easier with text markup, rather than as part of the decrescendo text:

Since one does not crescendo to nothing, it is not correct to use al niente with crescendo. Instead, one should use dal niente (from nothing).

1.10 allegro

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

[Italian: ‘cheerful’.] Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a sonata.

1.11 alteration

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

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

1.12 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.

1.13 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.

1.14 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).

1.15 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.

1.16 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.

Also called ‘natural minor scale’.

1.17 andante

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

[Italian: present participle of andare, ‘to walk’.]

Walking tempo/character.

1.18 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.

An appoggiatura may have more notes preceding the main note.

1.19 arpeggio

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

[Italian: ‘harp-like, played like a harp’.]

1.20 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.

1.21 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.

1.22 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.

1.23 augmentation

ES: ?, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: aika-arvojen pidentäminen.

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

1.24 autograph

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

A manuscript written in the composer’s own hand.
Music prepared for photoreproduction by freehand drawing, with the aid of a straightedge ruler and T-square only, which attempts to emulate engraving. This required more skill than did engraving.

1.25 B

ES: si
I: si
F: si
D: H, h
NL: b
DK: h
S: h
FI: H, h

1.26 backfall

1.27 bar

1.28 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.

A vertical line through the staff (or through multiple staves) that separates measures. Used very infrequently during the Renaissance (mostly in secular music, or in sacred music to indicate congruences between parts in otherwise-unmetered music).

1.29 baritone

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

The male voice intermediate in pitch between the bass and the tenor.

1.30 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.

1.31 bass

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

The lowest male voice.
Sometimes, especially in jazz music, used as an abbreviation for double bass.

1.32 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.

1.33 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.

1.34 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 in each measure is indicated at the start of the music by the time signature.

1.35 beat repeat

1.36 bind

1.37 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):

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

1.38 bracket

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

1.39 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.

1.40 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.

1.41 breve

US: breve, double-whole note,
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’.

1.42 C

ES: do
I: do
F: ut
D: C, c
NL: c
DK: c
S: c
FI: C, c

1.43 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.

1.44 cadence

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

1.45 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.

1.46 caesura

ES: cesura, I: cesura, F: césura, D: Zäsur, NL: ?, DK: ?, S: ?, FI: välimerkki.

[Latin: from the supine of caedere ‘to cut down’.]

The break between two musical phrases, sometimes (but not always) marked by a rest or a breath mark.

1.47 canon

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

1.48 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).

1.49 central C

1.50 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.

1.51 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.

1.52 chromaticism

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

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

1.53 church mode

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

1.54 clef

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.

1.55 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.

1.56 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.

1.57 common meter

Another name for common time.

1.58 common time

ES: compasillo, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: C-merkintä.

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

1.59 complement

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

1.60 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.

1.61 compound meter

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

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

1.62 compound time

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

A meter that includes a triplet subdivision within the beat: see compound meter.
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.

1.63 concert pitch

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

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:

Woodwinds	Brass	Strings
flute oboe bassoon	alto trombone tenor trombone bass trombone	violin viola violincello

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:

piccolo (plays an octave higher)
celesta (plays an octave higher)
double-bass (plays an octave lower)

1.64 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, as contrasted with disjunct movement.

1.65 consonance

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

1.66 contralto

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

1.67 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.

1.68 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.

1.69 countertenor

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

1.70 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..

1.71 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.

1.72 custos

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

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, which enhances the 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 the Editio Vaticana, dating from the beginning of the 20th century

1.73 D

ES: re
I: re
F: ré
D: D, d
NL: d
DK: d
S: d
FI: D, d

1.74 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.

1.75 dal niente

ES: ?, I: dal niente, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: tyhjästä ilmaantuen.

[Italian: ‘from nothing’.] Used with crescendo to indicate that the sound should gradually increase from nothing.

1.76 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 (segno):

1.77 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..

1.78 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.

1.79 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. 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.

1.80 didymic comma

1.81 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.

1.82 diminuendo

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

1.83 diminution

ES: ?, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: aika-arvojen tihennys.

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

1.84 direct

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

1.85 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 contrasted with conjunct movement.

1.86 dissonance

Another name for dissonant interval.

1.87 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.

1.88 divisio

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

[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:

divisio minima, a short pause
divisio maior, a medium pause
divisio maxima, a long pause
finalis, to indicate the end of a chant, or the end of a section in a long antiphonal or responsorial chant.

TODO: musical example here?

1.89 doit

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

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

1.90 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.

1.91 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.

1.92 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.

1.93 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.

1.94 dot (augmentation dot)

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

1.95 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.

1.96 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.

1.97 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.

1.98 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.

1.99 double flat

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

1.100 double sharp

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

1.101 double time signature

ES: ?, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: kaksois-aika-arvomerkintä.

1.102 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.

1.103 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.

1.104 duplet

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

1.105 duration

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

1.106 dynamics

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

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.

1.107 E

ES: mi
I: mi
F: mi
D: E, e
NL: e
DK: e
S: e
FI: E, e

1.108 ecclesiastical mode

1.109 eighth note

UK: quaver
ES: corchea
I: croma
F: croche
D: Achtel, Achtelnote
NL: achtste noot
DK: ottendedelsnode
S: åttondelsnot
FI: kahdeksasosanuotti

1.110 eighth rest

UK: quaver rest
ES: silencio de corchea
I: pausa di croma
F: demi-soupir
D: Achtelpause
NL: achtste rust
DK: ottendedelspause
S: åttonddelspaus
FI: kahdeksasosatauko

1.111 elision

ES: sinalefa, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: tavujen yhdistäminen yhteen ääneen.

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 looks like (and serves the same function) as a musical tie.

1.112 embellishment

1.113 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.

1.114 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.

1.115 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.

A tuning system that divides the octave into 12 equal semitones (each of which is precisely equal to 100 cents).

1.116 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:

volume, dynamics (for example, forte, crescendo),
tempo (for example, andante, allegro).

1.117 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: pidennysviiva.

The generic term (in LilyPond) 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:

In vocal music to indicate the syllable for a melisma. Called ‘extension’ in the Dolmetsch Online Music Dictionary.
In figured bass to indicate that:
- The extended note should be held through a change in harmony, when applied to one figure –OR–
- The chord thus represented should be held above a moving bass line, when applied to more than one figure.
- These uses were not completely standardized, and some composers used a single extender line to indicate the latter case.
In string music to indicate that all notes in the passage thus indicated should be played on the same string. On the violin, for example, a series of notes to be played on the G string would be indicated sul G, another series to be played on the D string would be indicated sul D, and so on.
With an octave mark to indicate that a passage is to be played higher or lower by the given number of octaves.

1.118 F

ES: fa
I: fa
F: fa
D: F, f
NL: f
DK: f
S: f
FI: F, f

1.119 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 the Double Bass).

1.120 fall

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

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

1.121 feathered beam

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

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.

1.122 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.

1.123 fifth

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

1.124 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.

TODO: Make the upper clef smaller, since it’s usually "realized" in performance.

1.125 fingering

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

Figures to the side or above the note that methodically indicate which fingers to use while playing a passage.

1.126 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.

1.127 flageolet

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

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

Also:

A duct flute similar to the recorder.
An organ stop of flute scale at 1’ or 2’ pitch.

1.128 flat

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

1.129 forefall

1.130 forte

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

[Italian: ‘loud’.]

Abbreviated f. Variants include:

mezzo forte, medium loud (notated mf),
fortissimo, very loud (notated ff).

1.131 fourth

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

1.132 Frenched score

ES: partitura a la francesa, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: partituuri francesan tapaan.

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.

1.133 Frenched staff

ES: pentagrama a la francesa, I: ?, F: ?, D: ?, NL: ?, DK: ?, S: ?, FI: karsittu nuotinnus.

[Pl. Frenched staves] Analogous to Frenched scores (q.v), a Frenched staff has unneeded measures or sections removed. This is useful for producing, for example, an ossia staff.

1.134 Frenched staves

Plural of Frenched staff.

1.135 fugue

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

1.136 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.

TODO: what does the ‘p’ mean in Sp, Dp, Tp?

1.137 G

ES: sol
I: sol
F: sol
D: G, g
NL: g
DK: g
S: g
FI: G, g

1.138 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 that indicates 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 (used most frequently to notate the tenor part in modern choral scores).

1.139 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. Musical terms A-Z
2. Duration names notes and rests
3. Pitch names

Music glossary

1. Musical terms A-Z

1.1 A

See also

1.2 a due

See also

1.3 accelerando

See also

1.4 accent

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1.5 accessory

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1.6 acciaccatura

See also

1.7 accidental

See also

1.8 adagio

See also

1.9 al niente

See also

1.10 allegro

See also

1.11 alteration

See also

1.12 alto

See also

1.13 alto clef

See also

1.14 ambitus

See also

1.15 anacrusis

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1.16 ancient minor scale

See also

1.17 andante

See also

1.18 appoggiatura

See also

1.19 arpeggio

See also

1.20 articulation

See also

1.21 ascending interval

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1.22 augmented interval

See also

1.23 augmentation

See also

1.24 autograph

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1.25 B

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1.26 backfall

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1.27 bar

See also

1.28 bar line

See also

1.29 baritone

See also

1.30 baritone clef

See also

1.31 bass

See also

1.32 bass clef

See also

1.33 beam

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1.34 beat

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1.35 beat repeat

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1.36 bind

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1.37 brace

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1.38 bracket

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1.39 brass

See also