resolve conflicts. Lots of updates, hope all is well.
* cygwin/lilypond.hint (requires): Add ghostscript.
* scm: Update some (c).
+2002-10-05 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * Actually merge changes since 1.6.4 besides ChangeLog, and
+ resolve conflicts. Lots of updates, hope all is well.
+
+ * cygwin/lilypond.hint (requires): Add ghostscript.
+
+ * scm: Update some (c).
+
2002-10-07 Han-Wen Nienhuys <hanwen@cs.uu.nl>
* input/test/{various}.ly: add \header fields and texidoc strings.
-2002-10-06 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+2002-10-05 Werner Lemberg <wl@gnu.org>
+
+ * scripts/lilypond-book.py (output_dict) <latex>: `output_tex'
+ renamed to `output_latex_quoted'.
+ Added `output_latex_noquote'.
+ (schedule_lilypond_block): Implement `noquote' option for LaTeX
+ mode.
+
+2002-10-04 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * scm/grob-description.scm (minimum-beam-collision-distance): 0.75
+ staff-space. Previous 1.5 was probably meant as half-spaces.
+ (cautionary-style): parentheses (was: smaller). This is what doco
+ says, and it seems more logical.
+
+ * Documentation/user/refman.itely (Chromatic alterations): Bugfix
+ for 2nd sentence.
+
+2002-10-04 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * make/lilypond.redhat.spec.in: various fixes for RedHat 8.0
+
+2002-10-03 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * lily/beam.cc (rest_collision_callback): Fixed: partial rewrite.
+
+2002-09-30 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * VERSION: 1.6.5 released
+
+ * scripts/lilypond-book.py (make_pixmap): don't produce empty pages.
+
+2002-09-28 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * scm/translator-property-description.scm (voltaOnThisStaff): add
+ property.
+
+2002-09-28 Werner Lemberg <wl@gnu.org>
+
+ * scm/tex.scm (header-end): Suppress page numbering.
+
+ * scripts/lilypond-book.py (output_dict) <output-texi-quoted>:
+ Fix quotation for HTML output.
+
+2002-09-28 Graham Percival <gperciva@sfu.ca>
+
+ * Documentation/user/refman.itely: grammar and phrasing
+ fixes to "Note Entry" section. Also adds a few new examples.
+
+2002-09-27 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * flower/include/string-data.icc: include string.h
+
+2002-09-25 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * scm/chord-name.scm (chord::inner-name-banter): remove space.
+
+2002-09-27 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * Documentation/user/GNUmakefile (extra-local-help): Add.
+
+ * stepmake/stepmake/www-targets.make (local-help): Add.
+
+2002-09-26 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * Documentation/topdocs/INSTALL.texi (Top): recommend binary
+ packages.
+
+ * Documentation/topdocs/README.texi (Top): building documentation
+ (not website.)
+
+2002-09-26 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * Documentation/user/refman.itely:
+ * Documentation/user/tutorial.itely:
+ * Documentation/user/music-glossary.tely: Merge changes.
+
+ * Documentation/user/glossary.html.in:
+ * Documentation/index.texi:
+ * Documentation/header.html.in: Accomodate renaming of glossary.
+
+ * Documentation/user/tutorial.itely: Add some glossary references.
+
+ * Documentation/user/refman.itely: Minor fixes.
+
+ * Documentation/user/lilypond.tely: Add glossary do direntry.
+
+ * Documentation/user/music-glossary.tely: Rename (previously:
+ glossary.tely). Fix anchor placement.
+
+ * Documentation/user/GNUmakefile: Make music-glossary.info too.
+
+2002-09-23 Werner Lemberg <wl@gnu.org>
+
+ * scripts/lilypond-book.py (output_dict): Fix handling of
+ various environments by avoid extraneous newlines.
+ Rename `output-all' regexp for html to `output-html'.
+ Replace `output-all' regexp for texi with `output-texi-quote'
+ and `output-texi-noquote'.
+ (compose_full_body): Don't override `linewidth' user option
+ for `singleline'.
+ (schedule_lilypond_block): Don't indent text specified with
+ `intertext' option.
+ Add new option `noquote'.
+ (compile_all_files): Use latex instead of tex to compile ly
+ files directly.
+
+ * Documentation/user/lilypond-book.itely: Updated and revised.
+ Improve layout.
+
+ * Documentation/user/glossary.tely,
+ Documentation/user/introduction.itely,
+ Documentation/user/tutorial.itely,
+ Documentation/user/refman.itely,
+ Documentation/user/appendices.itely: Fix overfull LilyPond
+ boxes caused by the new lilypond-book code. Other minor
+ fixes.
+
+ * Documentation/user/macros.itexi (@texiflat): Don't emit
+ trailing space.
+
+ * scm/tex.scm (end-output, header-end): Add preamble and
+ postamble to make lilypond output directly compilable with
+ latex.
+
+
+2002-09-23 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * Documentation/topdocs/INSTALL.texi (Top): bugfix for RH RPM
+ instructions.
+
+2002-09-25 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * Documentation/user/glossary.tely: Add titling and hyperlinks.
+
+2002-09-24 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * lily/beam.cc (connect_beams): don't crash if there are quarter
+ notes in beams.
+
+2002-09-24 Juergen Reuter <reuter@ipd.uka.de>
+
+ * Documentation/user/refman.itely: corrected ancient clef
+ docu; added docu on ligatures
+
+2002-09-21 Juergen Reuter <reuter@ipd.uka.de>
+
+ * Documentation/user/glossary.tely,
+ Documentation/user/refman.itely, input/les-nereides.ly,
+ input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly,
+ input/test/bagpipe.ly, lily/stem.cc, ly/grace-init.ly,
+ scm/grob-property-description.scm, scripts/convert-ly.py: renamed
+ Stem properties: flag-style -> stroke-style, style -> flag-style.
+
+
+2002-09-22 Werner Lemberg <wl@gnu.org>
+
+ * scripts/lilypond-book.py: Add option `notime' to suppress
+ printing of a time signature. Specify default indentation of 0pt
+ if single line fragment. Don't emit redundant `\paper{ }'.
+
+ * Documentation/user/lilypond-book.itely: Updated.
+
+ * Documentation/user/glossary.tely: Completely reformatting.
+
+2002-09-23 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+
+ * GNUmakefile.in (top-web): generate (possibly empty) examples.html
+
+2002-09-22 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * Documentation/user/tutorial.itely: Fix links.
+
+ * Documentation/topdocs/index.tely:
+ * Documentation/index.texi:
+ * Documentation/header.html.in: Small website fixes and updates.
+
+ * debian/: Debian patch by Anthony Fok.
+
+2002-09-21 Jan Nieuwenhuizen <janneke@gnu.org>
+
+ * Documentation/footer.html.in: How time flies: It's already 2002!
+
+ * Documentation/topdocs/index.tely: Stable/development fix. Use
+ more descriptive link names than 'here'.
+
+2002-09-21 Han-Wen Nienhuys <hanwen@cs.uu.nl>
* VERSION: 1.7.2 released
+ * VERSION: 1.6.4 released
+
+ * scm/tex.scm (header-end): enclose lily output in begingroup/endgroup.
* scripts/convert-ly.py (FatalConversionError.conv): add rule for
(ly-make-music "Foo_bar") -> (make-music-by-name 'FooBarEvent).
* lily/stem.cc (flag): new flag-style: no-flag.
* input/test/stem-cross-staff.ly: new file
+
+ * Documentation/user/internals.itely: Improved formatting, fixing
+ typos. Added a section `Output details' to describe how the TeX
+ code looks like.
* lily/include/midi-stream.hh: use stdio.h iso. iostream.h
<tr><td><font size="-1">
<a href="@TOP@Documentation/user/out-www/lilypond/Tutorial.html">Tutorial</a><br>
<a href="@TOP@Documentation/user/out-www/lilypond/lilypond.html">Manual</a><br>
- <a href="@TOP@Documentation/user/out-www/glossary.html">Glossary</a><br>
+ <a href="@TOP@Documentation/user/out-www/music-glossary.html">Glossary</a><br>
<a href="@TOP@Documentation/out-www/index.html">Index</a><br>
<br>
</font></td></tr>
for easy searching, or look it up in the
@uref{../user/out-www/lilypond/Index.html,index}.
-@c glossary maybe for new users?
@item
- A @uref{../user/out-www/glossary.html,glossary} of musical
+ A @uref{../user/out-www/music-glossary.html,glossary} of musical
terms, including translations. (also in
-@uref{../user/out-www/glossary.ps.gz,PostScript} and
-@uref{../user/out-www/glossary.pdf,PDF}). Read this if you're not
+@uref{../user/out-www/music-glossary.ps.gz,PostScript} and
+@uref{../user/out-www/music-glossary.pdf,PDF}). Read this if you're not
familiar with English terms for notation.
@item Documentation of
Windows installer
@end itemize
-These pages were entirely created from a @strong{development snapshot}
+These pages were entirely created from a @strong{development version}
of the LilyPond package. The version of this webpage is printed at the
bottom.
(1.5), whose webpages are on @uref{http://www.lilypond.org/,the lilypond
site}.
+Building LilyPond is an involved process. We advise to use binary
+packages if these are available for your platform.
+
@subsection Source code
-If you want to compile LilyPond from source, download here:
+ If you want to compile LilyPond from source, download here:
@itemize @bullet
@item Download development releases from
@c Hmm, these won't show up in lilypond.org/stats
For Red Hat Linux and SuSE Linux, @file{.spec} files are included in the
tarball; see instructions below.
-
-
Of course, if your platform supports LilyPond, such as Debian GNU/Linux,
FreeBSD, OpenBSD or NetBSD, you're encouraged to use the native build
from source drill.
released.
@itemize @bullet
-@item @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/binaries/RedHat/RPMS/, Red Hat i386}
+@item @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/binaries/RedHat-7.x/, Red Hat i386}
@item @uref{ftp://ftp.lilypond.org/pub/LilyPond/binaries/SuSE, SuSE}
@item @uref{ftp://ftp.lilypond.org/pub/LilyPond/binaries/linuxppc/,
LinuxPPC}
LilyPond is a big and slow program. A fast CPU and plenty of RAM is
recommended for comfortable use.
-@subsection Building website
+@subsection Building documentation
-The documentation comes in the form of a website. You can view this
-website on the internet, but you can also build it locally. This process
-requires a successful compile of lilypond. The website is built
-by issuing
+You can view the documentation online at
+@uref{http://www.lilypond.org/stable/Documentation/out-www/}, but you
+can also build it locally. This process requires a successful compile of
+lilypond. The documentation is built by issuing
@example
make web-doc
with the sources. You can make the rpm by issuing
@example
+ cp lilypond-x.y.z.tar.gz /usr/src/redhat/SOURCES/
tar xfz lilypond-x.y.z.tar.gz
rpm -bb lilypond-x.y.z/make/out/lilypond.redhat.spec
rpm -i /usr/src/redhat/RPMS/i386/lilypond-x.y.z
@uref{http://www.lilypond.org/Documentation/out-www/index.html}.
You can also build it locally: follow the instructions under `Building
-website' in the installation instructions.
+documentation in the installation instructions.
@section Comments
PS_GZ_FILES= $(addsuffix .gz, $(PS_FILES))
-INFO_FILES = $(addprefix $(outdir)/, lilypond.info lilypond-internals.info)
+INFO_DOCS = lilypond lilypond-internals music-glossary
+INFO_FILES = $(INFO_DOCS:%=$(outdir)/%.info)
STEPMAKE_TEMPLATES=tex texinfo documentation
LOCALSTEPMAKE_TEMPLATES=lilypond ly
LILYPOND_BOOK_FLAGS=--extra-options '-e "(ly-set-option (quote internal-type-checking) \#t)"'
-# Hmm, what about?
-# local-dist: check-info
-
-info: # check-info # -> reinstate when actively hacking doco.
-
include $(depth)/make/stepmake.make
# Ugh,ugh.
ps: $(PS_FILES)
+# Cancel the default info generation rule. We want to generate info
+# from `.nexi', making sure we don't run LilyPond for inline pictures,
+# when just generating info:
-# Cancel default info generation rule. We want to generate info from
-# `.nexi', making sure we don't run LilyPond for inline pictures, when
-# generating info.
$(outdir)/%.info: $(outdir)/%.texi
default:
# We must build them by default, otherwise they get built during make install
info: $(INFO_FILES)
+local-help: extra-local-help
+
+extra-local-help:
+ @echo -e "\
+ dvi update dvi documents\n\
+ info update info pages\n\
+ ps update PostScript documents\n\
+"
# Generic rule using % twice not possible?
# $(outdir)/%/%.html: $(outdir)/%.texi
@section American Chords
-@quotation
-@lilypond[verbatim]
+@lilypond[verbatim, noquote, noindent, notime]
\include "english.ly"
scheme = \chords {
\context Staff \transpose c'' \scheme
>
\paper {
+ linewidth = 5.7\in
\translator {
\ChordNamesContext
ChordName \override #'word-space = #1
}
}
@end lilypond
-@end quotation
@node Jazz chords
@section Jazz chords
Similarly, Jazz style chord names are implemented as a variation on
American style names:
-@quotation
-@lilypond[verbatim]
+
+@lilypond[verbatim, noquote, noindent, notime]
scheme = \chords {
% major chords
c
\context Staff \transpose c'' \scheme
>
\paper {
+ linewidth = 5.7\in
\translator {
\ChordNamesContext
ChordName \override #'word-space = #1
}
}
@end lilypond
-@end quotation
@c [barnumbers look silly, fixme.]
accessed directly using text markup such as
@code{g^#'(music "scripts-segno")}, see @ref{Text markup}.
-@lilypondfile{feta16list.ly}
+@lilypondfile[noquote,noindent]{feta16list.ly}
@c parmesan is too big. Apparently pythons re's choke on this.
@c @lil ypondfile{parmesan16list.ly}
--- /dev/null
+<!meta http-equiv=refresh content="0; url='music-glossary.html'">
+
+<!--- @WEB-TITLE@=Music Glossary moved --->
+
+<h2>Music glossary has moved</h2>
+
+The new location is: <a href='music-glossary.html'>music-glossary.html</a>.
+
+<p>Please update your links. Sorry for the inconvenience.
\ No newline at end of file
+++ /dev/null
-\input texinfo
-@setfilename glossary.info
-
-@html
-<!--- @@WEB-TITLE@@=Glossary --->
-@end html
-
-
-@c @pagesizes 10.3in
-
-@c @everyheading @| @thispage @|
-@c @evenheading @thispage @| @|
-@c @oddheading @| @| @thispage @|
-
-@ignore
- glossary by Christian Mondrup
-
- spanish by David Gonz@'alez <dgonzal@quanta.net.py>
-
-@end ignore
-
-
-@itemize
-@item ES - Spanish
-@item I - Italian
-@item F - French
-@item D - German
-@item NL - Nederlands
-@item UK - British English
-@item DK - Danish
-@item S - Swedish
-@item N - Norwegian
-@end itemize
-
-@
-
-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex
-@end iftex
-@ifhtml
--->
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
-
-A reference is indicated by @ar{} followed by the term in @strong{boldface}.
-
-@table @strong
-
-@item A
-ES: la
-: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a.
-
-@item accent
-ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N:
-
-The stress of one tone over others.
-
-@c F: how to distinguish between accidental and key-sig alteration?
-
-@item accidental
-ES: alteraci@'on, I: alterazione, accidente, F: alt@'eration D: Vorzeichen,
-Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
-f@"ortecken, N:
-
-@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
-@c Akzidenz, NL: toevallig teken, I: accidento.
-
-A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it
-by a @ar{}@strong{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.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- gis1_"sharp" s s2
- gisis1_"db. sharp" s s2
- ges1_"flat" s s2
- geses1_"db. flat" s s2
- g!1_"natural" s2
-}
-@end lilypond
-@item accelerando
-ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
-NL: accelerando, DK: accelerando, S: accelerando, N:
-
-Still faster tempo.
-
-
-@item adagio
-ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
-adagio, N: adagio.
-
-It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
-@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
-movement in slow tempo, esepecially the scond (slow) movement of
-@w{@ar{}@strong{sonata}s}, symphonies etc.
-
-@item allegro
-ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
-DK: allegro, S: allegro, N: allegro.
-
-It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
-especially the first and last movements of a @w{@ar{}@strong{sonata}}.
-
-@item alto
-ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
-
-A female voice of low range (@emph{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 @w{@ar{}@strong{counter
-tenor}}.
-
-@item alto clef
-ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
-Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
-
-C clef setting central C on the middle line of the staff
-@w{@ar{}@strong{C clef}}
-
-@item ancient minor scale
-I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode,
-mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: .
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
-a1 b c d e f g a }
-@end lilypond
-
-@item andante
-ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante,
-N: andante.
-
-walking tempo/character
-
-@item appoggiatura
-ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix),
-D: Vorschlag, NL: voorslag, DK: forslag, S: f@"orslag, N:
-
-Ornamental note, usually a second, that is melodically connected with the main
-note that follows it. In music before the 19'th century a. were usually
-performed on the beat, after that mostly before the beat. While the short
-a. is performed as a short note regardless of the duration of the main note
-the duration of the long a. is proportionate to that of the main note.
-
-@
-
-@lilypond[13pt,eps]
-\context Voice\notes\relative c'' {
-\key d \major
-\time 4/4
-
-\property Score.TextScript \set #'font-style = #'large
-<d4_"notation" a fis> r
-{ \property Voice.Stem \override #'stroke-style = #""
- \grace g16
- \property Voice.Stem \revert #'stroke-style
- }
-fis8 e16 fis
-{ \property Voice.Stem \override #'stroke-style = #""
- \grace a16
- \property Voice.Stem \revert #'stroke-style
- }
-g8 fis16 g | a4 \bar "||" }
-\notes\relative c'' {
-<d4_"performance" a fis> r g16 () fis e fis a () g fis g | a4 \bar "||" }
-@end lilypond
-
-An appoggiatura may have more notes preceding the main note.
-
-@
-
-@lilypond[13pt,eps]
-\notes\relative c'' {
- \key as \major
- \time 2/4
- \property Score.TextScript \set #'font-style = #'large
- \grace { bes16 } as8_"notation" as16 bes as8 g |
- \grace { [as16 ( bes] } < ) c4 as >
- \grace { [as16 ( bes] } < ) c4 as > \bar "||"
- \grace { bes16 } as8_"performance" as16 bes as8 g |
- < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
- \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
- \bar "||"
-}
-@end lilypond
-
-@item arpeggio
-ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
-Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
-
-@
-
-@lilypond[13pt,eps]
- \notes \context PianoStaff <
- \context Staff = SA \relative c'' {
- \time 4/4
- \clef treble
- r8 g16 c e g, c e r8 g,16 c e g, c e |
- r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
- \context Staff = SB \relative c' {
- \clef bass
- < \context Voice = va {
- \stemUp
- r16 e8. () e4 r16 e8. () e4 |
- r16 d8. () d4 r16 d8. () d4 }
- \context Voice = vb {
- \stemDown
- c2 c | c c } >
- }
->
-@end lilypond
-
-@item ascending interval
-ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall,
-NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N:
-
-A distance between a starting lower note and a higher ending note.
-
-@item augmented interval
-ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges
-Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S:
-@"overstigande intervall, N:
-
-@w{@ar{}@strong{interval}}
-
-@item autograph
-I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
-h@aa{}ndskrift, autograf, S: handskrift, N: .
-
-1. A manuscript in the composer's own hand. 2. Music prepared for
-photoreproduction by freehand drawing, with only the aid of a
-straightedge ruler and T-square, which attempts to emulate
-engraving. This required more skill than did engraving.
-
-@item B
-ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h.
-
-@item backfall; forefall
-@w{@ar{}@strong{appoggiatura}}
-
-@item bar line
-ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL:
-maatstreep, DK: taktstreg, S: taktstreck, N:
-
-@item bar
-ES: comp@'as, @w{@ar{}@strong{measure}}
-
-@item baritone
-ES: bar@'{@dotless{i}}tono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N:
-baryton.
-
-The male voice intermediate between the @w{@ar{}@strong{bass}} and the
-@w{@ar{}@strong{tenor}}.
-
-@c F: clef de troisi@`eme ligne dropped
-
-@item baritone clef
-ES: clave de fa en tercera
-I: chiave di baritono, F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
-barytonklav, N: .
-
-C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
-@w{@ar{}@strong{f clef}}
-
-@item bass clef
-ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
-bassleutel, DK: basn@o{}gle, S: basklav, N:
-
-A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
-clef}}
-
-@item bass
-I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas.
-
-1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as
-an abbreviation for double bass @w{@ar{}@strong{strings}}.
-
-@item beam
-I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N:
-
-Line connecting a series of notes (shorter than a quarter note). The number of
-beams determine the note value of the connected notes.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- [g8_"1/8" g g g] s16
- [g16_"1/16" g g g] s16
- [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
- [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
-@end lilypond
-
-@item beat
-ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S:
-taktslag, N:
-
-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.
-
-@
-
-@lilypond[13pt,eps]
-\key g \major
-\time 4/4
-\notes\relative c'' { g4 c b a | g1 \bar "||"}
-\time 3/8
-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
-@end lilypond
-
-@item bind
-@w{@ar{}@strong{tie}}
-
-@item brace
-ES: llave, corchete
-I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL:
-accolade, teksthaak, DK: klamme, S: klammer, N:
-
-Symbol at the start of a system connecting staves. Curly braces are used
-for connecting piano staves, angular brackets for connecting parts in an
-orchestral or choral score.
-
-@lilypond[13pt,eps]
-\notes\context GrandStaff <
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
-@end lilypond
-
-@lilypond[13pt,eps]
-\context StaffGroup <
-% \property StaffGroup.minVerticalAlign = #12
- \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
-@end lilypond
-
-@item brass
-ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres,
-DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N:
-
-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.
-
-@item breath mark
-I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL:
-repercussieteken, DK:
-vejrtr@ae{}kningstegn, S: andningstecken, N: .
-
-Indication of where to breathe in vocal and wind instrument parts.
-
-@item breve
-ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N:
-
-@w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used
-in pre-1650 music.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { g\breve }
-@end lilypond
-
-@item C
-ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c
-
-@item C clef
-ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK:
-c-n@o{}gle, S: c-klav, N:
-
-Clef symbol indicating the position of the central C. Used on all note
-lines.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.Clef \override #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
- \clef soprano c1
- \clef mezzosoprano c
- \clef alto c
- \clef tenor c
- \clef baritone c
-}
-\context Lyrics \lyrics {
- Soprano Mezzosoprano Alto Tenor Baritone
-}
-@end lilypond
-
-@item cadence
-ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
-
-@w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}}
-
-@item cadenza
-ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: .
-
-An extended, improvisatory style section inserted near the end of
-movement. The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise. Since
-the middle of the 19'th century, however, most cadences have been written down
-by the composer.
-
-@item canon
-ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
-
-@w{@ar{}@strong{counterpoint}}
-
-@item cent
-ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
-
-Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
-equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
-
-@item central C
-@w{@ar{}@strong{middle C}}
-
-@item chord
-ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: .
-
-Three or more tones sounding simultaneously. In traditional European music the
-base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major +
-minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third)
-chords may be extended with more thirds. Four- @emph{seventh chords} and five
-tone @emph{ninth} major chords are most often used as dominants
-(@w{@ar{}@strong{functional harmony}}). A special case is chords having no
-third above the lower notes to define their quality as major or minor. Such
-chords are denoted open chords
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
-\time 4/4
-\notes\relative c'' {
- <g1_"major" b d>
- <g_"minor" bes d>
- <g_"dimished" bes des>
- <g_"augmented~" b dis>
- <g_"seventh-chord~" b d f>
- <g_"ninth-chord" b d f a> s s2
-}
-@end lilypond
-
-@item chromatic scale
-ES: escala crom@'atica, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL:
-chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: .
-
-A scale consisting of all 11 @w{@ar{}@strong{semitone}}s.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
-@end lilypond
-
-@item chromaticism
-ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
-kromatik, N:
-
-Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
-
-@item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo
-ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL:
-kerktoonladder, DK: kirketoneart, S: kyrkotonart, N:
-
-@w{@ar{}@strong{diatonic scale}}
-
-@item clef
-ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL:
-sleutel, DK: n@o{}gle, S: klav, N:
-
-@w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}}
-
-@item comma
-I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N:
-
-Difference in pitch between a note derived from pure tuning and the same note
-derived from some other tuning method. @w{@ar{}@strong{temperament}}
-
-@item common meter
-@w{@ar{}@strong{meter}}
-
-@item compound interval
-ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL:
-samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: .
-
-Intervals larger than an octave
-
-@w{@ar{}@strong{interval}}
-
-@item complement
-I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
-complementair interval, DK: komplement@ae{}rinterval, S:
-komplement@"arintervall (?), N:
-
-@w{@ar{}@strong{inverted interval}}
-
-@item conjunct movement
-ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
-Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
-
-Melody moving in the narrow steps of the scale;
-
-@
-
-@lilypond[13pt,eps]
-\key g \major \time 4/4
-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
-@end lilypond
-
-@item consonance
-ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S:
-konsonans, N:
-
-@w{@ar{}@strong{harmony}}
-
-@item contralto
-ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N:
-
-@w{@ar{}@strong{alto}}
-
-@item counterpoint
-ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK:
-kontrapunkt, S: kontrapunkt, N: .
-
-From latin @emph{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 contrapuntal technique used in the @emph{fugue} which, since the
-music of the baroque era, has been one of the most popular polyphonic
-composition methods.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.TimeSignature \override #'style = #'C2/2
-\notes\context PianoStaff <
- \context Staff = SA \relative c' {
- \key bes \major
- \time 4/4
- \clef treble
- < \context Voice = rha {
- \stemUp
- r1 | r2 r8 g'8 bes d, |
- cis4 d r8 e!16 f g8 f16 e |
- f8 g16 a bes8 a16 g a8
- }
- \context Voice = rhb {
- \stemDown
- r1 | r | r | r2 s8
- }
- >
- }
- \context Staff = SB \relative c' {
- \clef bass
- \key bes \major
- < \context Voice = lha {
- \stemUp
- r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
- r8 a16 g f8 g16 a bes8 g e! cis' |
- d4. e!8 f
- }
- \context Voice = lhb {
- \stemDown
- r1 | r | r | r2 s8
- } >
- }
->
-@end lilypond
-
-@item counter tenor
-ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK:
-kontratenor, S: kontratenor, counter tenor, N: kontratenor
-
-@w{@ar{}@strong{contralto}}
-
-@item 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 noteheads
-on stems) varied slightly from those of engravers. Some of their working
-methods were superior and could well be adopted by music typesetters. This
-required more skill than engraving.
-
-@item crescendo
-ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK:
-crescendo, S: crescendo, N:@w{ }crescendo.
-
-Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation "cresc.".
-
-@
-
-@lilypond[13pt,eps]
-\key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
-@end lilypond
-
-@item cue-notes
-ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
-r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
-
-In a separate part notes belonging to another part with the purpose of hinting
-when to start playing. Usually printed in a smaller type.
-
-@item D
-ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
-
-@item 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, N: .
-
-The term indicates repetition of the piece from the beginning to the end or to
-a certain place marked @emph{fine}. Mostly abbreviated D.C.
-
-@item dal segno
-ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
-dal segno, S: dal segno, N: .
-
-abbreviated d.s. Repetition, not from the beginning, but from another place
-frequently near the beginning marked by a sign:
-
-@
-
-@lilypond[13pt,eps]
-\property Voice.TextScript \set #'font-style = #'large
-\key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
-@end lilypond
-
-@item decrescendo
-ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S:
-decrescendo, N: decrescendo
-
-Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation "decresc.".
-
-@
-
-@lilypond[13pt,eps]
-\context Staff \notes\relative c'' {\key g \major \time 4/4
- d4 \> c b a | \! g1 \bar "|." }
-@end lilypond
-
-@item descending interval
-ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall,
-absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S:
-fallande intervall, N:
-
-An distance between a starting higher note and a lower ending note.
-
-@item diatonic scale
-ES: escala diat@'onica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL:
-diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N:
-
-A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2
-@w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano
-keybord are diatonic.
-
-The church modes are used in gregorial chant and pre baroque early music but
-also to some extent in newer jazz music.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
- c1 d
- \property Voice.TextScript \set #'padding = #-10
- e^"~~ S" f g a
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c }
- \context Lyrics \lyrics { Ionian }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c' {
- d1
- \property Voice.TextScript \set #'padding = #-10
- e^"~~ S"
- f g a
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d }
- \context Lyrics \lyrics { Dorian }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c' {
- \property Voice.TextScript \set #'padding = #-10
- e1^"~~ S"
- f g a
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d e }
- \context Lyrics \lyrics { Phrygian }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c' {
- f1 g a
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d
- \property Voice.TextScript \set #'padding = #0
- e^"~~ S" f }
- \context Lyrics \lyrics { Lydian }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- g1 a
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d
- \property Voice.TextScript \set #'padding = #0
- e^"~~ S" f g }
- \context Lyrics \lyrics { Mixolydian }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- a1
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d
- \property Voice.TextScript \set #'padding = #0
- e^"~~ S" f g a }
- \context Lyrics \lyrics { Aeolian }
-@end lilypond
-
-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.
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c' {
- c1 d
- \property Voice.TextScript \set #'padding = #-10
- e^"~~ S" f g a
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c }
- \context Lyrics \lyrics { Major }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- a1
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d
- \property Voice.TextScript \set #'padding = #0
- e^"~~ S" f g a }
- \context Lyrics \lyrics { "ancient minor" }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- a1
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d
- \property Voice.TextScript \set #'padding = #0
- e^"~~ S"
- \property Voice.TextScript \set #'padding = #1
- f!^"~~ A"
- gis^"~~ S"
- a }
- \context Lyrics \lyrics { "Harmonic minor" }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- a1
- \property Voice.TextScript \set #'padding = #-4
- b^"~~ S" c d e fis
- \property Voice.TextScript \set #'padding = #0
- gis^"~~ S" a g!
- \property Voice.TextScript \set #'padding = #-1
- f!^"~~ S" e d
- \property Voice.TextScript \set #'padding = #-4
- c^"~~ S" b a
-}
- \context Lyrics \lyrics { "Melodic minor" }
-@end lilypond
-
-@item diminished interval
-ES: intervalo disminu@'{@dotless{i}}do, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall,
-NL: verminderd interval, DK: formindsket interval, S: f@"orminskat
-intervall, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item diminuendo
-ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo,
-S:@w{ }diminuendo, N:@w{ }diminuendo.
-
-@w{@ar{}@strong{decrescendo}}
-
-@item disjunct movement
-ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D:
-sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
-r@"orelse, N:
-
-Melody moving in steps greater than those of the
-scale. Opposite of @ar{}@strong{conjunct movement}.
-
-@
-
-@lilypond[13pt,eps]
-\key a \major
-\time 4/4
-\notes\relative c' {
- \partial 8 e8 | a4. gis8 b a e cis |
- fis2 d4. \bar "||" }
-@end lilypond
-
-@item dissonant interval; dissonance
-ES: intervalo disonante, disonancias,
-I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL:
-dissonant interval; dissonant, DK: dissonerende interval, dissonans, S:
-dissonans, N: .
-
-@w{@ar{}@strong{harmony}}
-
-@item dominant ninth chord
-I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D:
-Dominantnoneakkord, NL: dominant noon akkoord, DK:
-dominantnoneakkord, S: dominantnonackord, N: .
-
-@w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}}
-
-@item dominant seventh chord
-ES: acorde de s@'eptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D:
-Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S:
-dominantseptimackord, N:
-
-@w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}}
-
-@item dominant
-ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S:
-dominant, N: .
-
-The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}}
-
-@item dorian mode
-ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
-toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
-
-@w{@ar{}@strong{diatonic scale}}
-
-@item dot (augmentation dot)
-ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK:
-punkt, S: punkt, N:
-
-@w{@ar{}@strong{dotted note}}
-
-@item dotted note
-ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot,
-DK: punkteret node, S: punkterad not, N:
-
-@w{@ar{}@strong{note value}}
-
-@item double appoggiatura
-ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL:
-dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N:
-
-@w{@ar{}@strong{appoggiatura}}
-
-@item double bar line
-I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK:
-dobbeltstreg, S: dubbelstreck, N: .
-
-Indicates the end of a section within a movement.
-
-@item double dotted note
-ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D:
-doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK:
-dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item double flat
-ES: doble bemol,
-I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol,
-DK:@w{ }dob@-belt-b, S: dubbelbe, N: .
-
-@w{@ar{}@strong{accidental}}
-
-@item double sharp
-ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis,
-DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: .
-
-@w{@ar{}@strong{accidental}}
-
-@item double trill
-ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK:
-dobbelttrille, S: dubbeldrill, N: .
-
-A simultaneous trill on two notes, usually in the distance of a third.
-
-@item duple meter
-ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige
-maatsoort, DK: todelt takt, S: tv@aa{}takt, N: .
-
-@w{@ar{}@strong{meter}}
-
-@item duplet
-ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item duration
-ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S:
-tonl@"angd, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item dydimic comma
-@w{@ar{}@strong{syntonic comma}}
-
-@item E
-ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e.
-
-@item eighth note
-ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK:
-ottendedelsnode, S: @aa{}ttondelsnot, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item eighth rest
-ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL:
-achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item engraving
-ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S:
-nottryck, N: .
-
-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.
-
-@item enharmonic
-ES: enharm@'onico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK:
-enharmonisk, S: enharmonisk, N: .
-
-Two notes, intervals, or scales are enharmonic if they have different names
-but equal pitch.
-
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- gis1_"g sharp" s as1_"a flat" s s
- < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s
-}
-@end lilypond
-
-@item equal temperament
-I: temperamento equabile, F: temp@'erament @'egal, D: gleichschwebende
-Stimmung, NL: ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende
-temperatur, S: liksv@"avande temperatur, N: .
-
-Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}}
-(precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}}
-
-@item expression mark
-I: segno d'espressione, F: signe d'expression, indication de nuance, D:
-Vortragszeichen, NL: voordrachtsteken, DK: foredragsbetegnelse, S:
-f@"oredragsbeteckning, N: .
-
-Performance indications concerning 1. volume, dynamics (for example
-@w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example
-@w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}})
-
-@item F
-ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f.
-
-@item F clef
-ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK:
-F-n@o{}gle, S: f-klav, N: .
-
-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 @w{@ar{}@strong{strings}}).
-
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Staff.Clef \override #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\notes\relative c {
-% \clef "F3"
- \clef varbaritone
- f1
- \clef bass
- f1
- \clef subbass
- f1
- \clef "F^8"
- f1
- \clef "F_8"
- f1
-}
-\context Lyrics \lyrics {
- baritone
- bass
- "sub-bass"
- "octaved up"
- "octaved down"
-}
-@end lilypond
-
-@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
-
-@item fermata
-ES: Calder@'on, I: corona, F: F: point d'orgue, point d'arr@^et,
-D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
-
-Prolonged note or rest of indefinite duration.
-
-
-@lilypond[13pt,eps]
-\time 4/4
-\notes\relative c'' {
-a4 b c2^\fermata \bar "|." }
-@end lilypond
-
-@item fifth
-ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
-kvint.
-
-@w{@ar{}@strong{interval}}
-
-@item figured bass
-ES: bajo cifrado, @w{@ar{}@strong{thorough bass}}
-
-@item fingering
-ES: digitaci@'on, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK:
-fingers@ae{}tning, S: fingers@"attning, N: .
-
-The methodical use of fingers in the playing of instruments.
-
-@item flag; pennant
-ES: corchete,
-I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje,
-DK: fane, S: flagga, N: .
-
-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
-@w{@ar{}@strong{note value}}.
-
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- g8_"1/8" s8
- g16_"1/16" s8
- g32_"1/32" s8
- g64_"1/64" s8 }
-@end lilypond
-
-@item flat
-ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: .
-
-@w{@ar{}@strong{accidental}}
-
-@item forefall; backfall
-@w{@ar{}@strong{appoggiatura}}
-
-@item forte
-ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: .
-
-Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
-@emph{mezzoforte} (@b{mf}) medium loud.
-
-@item fourth
-ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item fugue
-ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: .
-
-@w{@ar{}@strong{counterpoint}}
-
-@item functional harmony
-ES: armon@'{@dotless{i}}a funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
-funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
-
-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). Other are considered to be variants
-of the base chords.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
- < g1 e c > < a f d > < b g e >
- < c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
-@end lilypond
-
-@item G
-ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g.
-
-@item G clef
-ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL:
-G-sleutel, DK: g-n@o{}gle, S: g-klav, N: .
-
-A clef symbol indicating the G above central 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).
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Staff.Clef \set #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- \clef french
- g1
- \clef treble
- g
- \clef "G^8"
- g
- \clef "G_8"
- g
-}
-\context Lyrics \lyrics {
- "french violin clef"
- "violin clef"
- "octaved up"
- "octaved down"
-}
-@end lilypond
-
-@item glissando
-ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S:
-glissando, N: glissando.
-
-Letting the pitch slide fluently from one note to the other
-
-@item grace notes
-I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
-NL: versieringen, DK: forsiringer, S: ornament, N: .
-
-Notes printed in small types to indicate that their time values are not
-counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
-
-@item grand staff
-I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem,
-S: ackolad, b@"ojd klammer, N: .
-
-@w{@ar{}@strong{brace}}
-
-A combination of two staves with a brace. Usually used for piano music.
-
-@item grave
-ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
-.
-
-Slow, solemn.
-
-@item half note
-ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK:
-halvnode, S: halvnot, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item half rest
-I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
-rust, DK: halvnodespause, S: halvpaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item harmonic cadence
-ES: cadencia (arm@'onica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL:
-harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: .
-
-Sequence of chords that terminate a musical phrase or
-section. @ar{}@w{}@strong{functional harmony}
-
-@
-
-@lilypond[13pt,eps]
-\notes\context PianoStaff <
- \context Staff = SA \relative c'' {
- \time 4/4
- \clef treble
- \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > }
- \property Score.LyricText \set #'font-style = #'large
- \addlyrics
- \context Staff = SB \relative c {
- \clef bass
- \partial 4 c4 | f, g c2
- \bar "|." }
- \context Lyrics \lyrics { T S D T } >
-@end lilypond
-
-@item harmony
-ES: armon@'{@dotless{i}}a , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK:
-samklang, S: samklang, N:
-
-Tones sounding simultaneously. Two note harmonies fall into the cathegories
-@emph{consonances} and @emph{dissonances}.
-
-Consonances:
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\context Voice \notes\relative c'' {
- <g1_"unisone" g> s
- <g1_"third" b> s
- <g1_"fourth" c> s
- <g1_"fifth" d'> s
- <g1_"sixth" e'> s
- <g1_"octave" g'> s
- <g1_"decime" b'> s s
-}
-@end lilypond
-
-Dissonances:
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\context Voice \notes\relative c'' {
- <g1_"second" a> s
- <g1_"seventh" f'> s
- <g1_"ninth" a'> s s
-}
-@end lilypond
-
-Three note harmony @w{@ar{}@strong{chord}}
-
-@item homophony
-ES: homofon@'{@dotless{i}}a, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S:
-homofoni, N: .
-
-Music in which one voice leads melodically followed by the other voices more
-or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}.
-
-@item interval
-ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S:
-intervall, N: .
-
-Difference in pitch between two notes. Intervals may be perfect, minor, major,
-diminished or augmented. The augmented fourth and the diminished fifth are
-identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because
-it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two
-forms an octave.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
- < g1 g > s
- < g^"minor" as > s
- < g^"major" a! > s
- < g^"augm" ais > s
- < gis^"dimin" bes > s
- < g!^"minor" bes > s
- < g^"major" b! > s
- < g^"augm" bis > s
-}
-\context Lyrics \lyrics {
- unisone second second second third third third third }
-@end lilypond
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- < g1^"perfect" c > s
- < g^"augm" cis > s
- < g^"perfect" d' > s
- < g^"dim" des' > s
- < gis^"dimin" es' > s
- < g!^"minor" es' > s
- < g^"major" e'! > s
- < g^"augm" eis' > s
-}
-\context Lyrics \lyrics {
- fourth fourth fifth fifth sixth sixth sixth sixth }
-@end lilypond
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- < gis1^"dimin" f'! > s
- < g!^"minor" f'! > s
- < g^"major" fis' > s
- < g g' > s
- < g^"minor" as' > s
- < g^"major" a'! > s
- < g^"minor" bes' > s
- < g^"major" b'! > s
-}
-\context Lyrics \lyrics {
- seventh seventh seventh octave none none decime decime }
-@end lilypond
-
-@item inverted interval
-ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL:
-interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: .
-
-The difference between an interval and an octave.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\context Staff \notes\relative c'' {
- < g1_"second" a > s < g'_"seventh" a, > s \bar "||"
- < g,_"third" b > s < g'_"sixth" b, > s \bar "||"
- < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"
-}
-@end lilypond
-
-@item just intonation
-I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
-stemming, DK: ren stemning, S: ren st@"amning, N: .
-
-Tuning system in which the notes are obtained by adding and subtracting
-@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
-
-@item key
-ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S:
-tonart, N: .
-
-According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12
-keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}}
-
-@item key signature
-ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
-Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
-S: tonartssignatur, N: .
-
-The sharps or flats appearing at the beginning of each staff indicating the
-key of the music. @w{@ar{}@strong{accidental}}
-
-@item largo
-ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo,
-N: largo
-
-Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} less slow than largo.
-
-@item leading note
-ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S:
-ledton, N: .
-
-The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
-upwards) to the tonic scale degree.
-
-@item ledger line; leger line
-
-ES: l@'{@dotless{i}}neas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
-hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
-
-A ledger line is an extension of the staff.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { a,1 s c'' }
-@end lilypond
-
-@item legato
-ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N:
-.
-
-To be performed without any perceptible interruption between the notes (a)
-unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
-@w{@ar{}@strong{staccato}} (d)
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\addlyrics
-\context Staff \notes\relative c'' {
- c4( d )e \bar "||"
- c4-- d-- e-- \bar "||"
- c4-.( d-. )e-. \bar "||"
- c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
- \property Lyrics . LyricText \set #'font-style = #'large
- a "" "" b "" "" c "" "" d }
-@end lilypond
-
-@item legato curve
-@w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}}
-
-@item lilypond
-ES: estanque de lilas,
-I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL:
-le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: .
-
-A pond with lilies floating in it, also the name of a music typesetter.
-
-@item line
-ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S:
-notlinje, N: .
-
-@w{@ar{}@strong{staff}}
-
-@item long appoggiatura
-ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt
-forslag, S: l@aa{}ngt f@"orslag, N: .
-
-@w{@ar{}@strong{appoggiatura}}
-
-@item longa
-ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa
-
-note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}}
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
- \property Voice.NoteHead \set #'style = #'mensural
- g\longa
-}
-@end lilypond
-
-@item major interval
-ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL:
-groot interval, DK: stort interval, S: stort intervall, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item major
-ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur.
-
-@w{@ar{}@strong{diatonic scale}}
-
-@item meantone temperament
-I: accordatura mesotonica, F: temp@'erament m@'esotonique, D:
-Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: .
-
-Temperament yielding acoustically pure thirds by decreasing the natural fifth
-by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this
-@w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for
-tuning keyboard instruments for performance of pre-1650 music.
-
-@item measure, bar
-ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt.
-
-A group of @w{@ar{}@strong{beat}}s (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. @w{@ar{}@strong{meter}}
-
-@item mediant
-ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S:
-mediant, N: .
-
-1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone
-a third from that of another chord. For example the tonic chord may be
-replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional
-harmony}} @w{@ar{}@strong{relative key}}.
-
-@item melodic cadence
-
-@w{@ar{}@strong{cadenza}}
-
-@item meter, time
-ES: comp@'as, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart,
-S: taktart, N: .
-
-The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s
-which remains unaltered throughout a composition or a section of it. For
-instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are
-quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of
-those. According to whether there are two, three or four units to the measure,
-one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
-
-@
-
-@lilypond[13pt,eps]
-\notes\relative c'' {
- \time 3/4
- \key f \major
- c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
-@end lilypond
-
-@lilypond[13pt,eps]
-\notes\relative c' {
- \time 6/8
- \key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
-@end lilypond
-
-@lilypond[13pt,eps]
-\notes\relative c'' {
- \time 5/4
- \key g \major
- d4 b8 g b d d c a4 |
- g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
-@end lilypond
-
-@item metronome
-ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom,
-DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom.
-
-Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic
-indication}}
-
-@item metronomic indication
-ES: indicaci@'on metron@'omica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe,
-NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: .
-
-Exact tempo indication (in beats per minute). Also denoted by
-M.M. (M@"alzel's Metronom)
-
-@item mezzo-soprano
-ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK:
-mezzosopran, S: mezzosopran, N: mezzosopran.
-
-The female voice between @w{@ar{}@strong{soprano}} and
-@w{@ar{}@strong{contralto}}.
-
-@item middle C
-ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK:
-enstreget c, S: ettstruket c, N:
-
-First C below the 440 Hz A.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Staff.Clef \set #'full-size-change = ##t
-\notes\relative c' {
- \clef bass c1 s
- \clef alto c s
- \clef treble c s
-}
-@end lilypond
-
-@item minor interval
-ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein
-interval, DK: lille interval, S: litet intervall, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item minor
-ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: .
-
-@w{@ar{}@strong{diatonic scale}}
-
-@item mode
-ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: .
-
-@w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}}
-
-@item modulation
-ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation,
-S: modulering, N: .
-
-Moving from one @w{@ar{}@strong{key}} to another. For example the second
-subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant
-key if the key is major and to the @w{@ar{}@strong{relative key}} if the key
-is minor.
-
-@item mordent
-I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N:
-.
-
-@w{@ar{}@strong{ornament}}
-
-@item motive; motif
-ES: tema,
-I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: .
-
-The briefest intelligible and self-contained fragment of a musical theme or
-subject.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.TimeSignature \override #'style = #'C2/2
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- \time 4/4
- \key g \major
- \partial 8 g16_"------" fis |
- g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
- g8 g,16 a b8 cis d16 s
-}
-@end lilypond
-
-@item movement
-ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: .
-
-Greater musical works like @w{@ar{}@strong{symphony}} and
-@w{@ar{}@strong{sonata}} most often consist of several - more or less -
-independant pieces called movements.
-
-@item multibar rest
-ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D:
-mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: .
-
-@
-
-@lilypond[13pt,eps]
-\notes\relative c'' {
-a1
-\property Score.skipBars=##t R1*3
-a1 }
-@end lilypond
-
-@item mixolydian mode
-@w{@ar{}@strong{diatonic scale}}
-
-@item natural sign
-ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken,
-DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: .
-
-@w{@ar{}@strong{accidental}}
-
-@item neighbour tones
-@w{@ar{}@strong{appoggiatura}}
-
-@item ninth
- ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item non-legato
-@w{@ar{}@strong{legato}}
-
-@item note
-ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
-
-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 @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
-and hears a tone.
-
-@item note head
-ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
-nootballetje, DK: nodehovede, S: nothuvud, N: .
-
-A head like sign which indicates pitch by its position on a
-@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
-by a variety of shapes such as hollow or black heads with or without
-@w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion
-instruments (often having no defined pitch) the note head may indicate the
-instrument.
-
-@item note value
-ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL:
-nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: .
-
-Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value. The longest duration normally used is called @emph{brevis},
-but sometimes (mostly in pre baroque music) the double length note value
-@emph{longa} is used.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.TextScript \set #'font-style = #'large
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
- \property Voice.NoteHead \override #'style = #'mensural
- g\longa_"longa" g\breve_"breve"
- \property Voice.NoteHead \revert #'style
- g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
- g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
-@end lilypond
-
-@lilypond[13pt,eps]
-\property Score.TextScript \set #'font-style = #'large
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
- r\longa_"longa" r\breve_"breve"
- r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
- r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
-@end lilypond
-
-An augmentation dot after a note multiplies the duration by one and a
-half. Another dot adds yet a fourth of the duration.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- \time 4/4
- g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
- g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
-@end lilypond
-
-Alternatively note values may be subdivided by other ratios. Most common is
-subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by
-2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also
-frequently used.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- \time 4/4
- \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
- \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
- \time 3/4
- \times 3/2 {g4_"duplets" g} |
- g4 g g \bar "||"
- \times 6/4 {g8_"quadruplets" g g g} |
- g8 g g g g4 \bar "||"}
-@end lilypond
-
-@
-
-
-@item octave sign
-@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
-
-@item octave
-ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item ornament; embellishment; accessory
-ES: adorno,
-I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament,
-NL: versiering, DK: forsiring, S: ornament, N: .
-
-Most commonly used is the @emph{trill}, the rapid alternation of a given note
-with the diatonic @w{@ar{}@strong{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.
-
-@lilypond[13pt,eps]
-<
- \context Staff = sa {
- \property Score.TextScript \set #'font-style = #'large
- \notes\relative c'' {
- c2._"pre-1850" b4\trill | c1 \bar "||"
- c2._"post-1850" b4\trill | c1 \bar "||"
- }
- }
- \notes\relative c'' {
- c2. c32 b c b c b c b | c1
- c2. b32 c b c \times 4/5 { b c b c b } | c1
- }
->
-@end lilypond
-
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
-@emph{prall} (inverted mordent).
-
-@
-
-@lilypond[13pt,eps]
-<
- \context Staff = sa {
- \property Score.TextScript \set #'font-style = #'large
- \notes\relative c'' {
- a4_"turn" b\turn c2 \bar "||"
- g4_"mordent" a b\mordent a \bar "||"
- e'4_"prall" d\prall c2 \bar "||"
- }
- }
- \notes\relative c'' {
- a4 [c16 b a b] c2
- g4 a [b16 a b8] a4
- e'4 [e8 ~ e32 d e d] c2
- }
->
-@end lilypond
-
-@w{@ar{}@strong{appoggiatura}}
-
-@item ossia
-ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: .
-
-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.
-
-@item part
-ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: .
-
-1. In instrumental or choral music the music for the single instrument
-or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single
-melodic line of the contrapuntal web.
-
-@item percussion
-ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S:
-slagverk, N: .
-
-A family of musical instruments which are played on by striking or
-shaking. Percussion instruments commonly used in a symphony orchestra are
-kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
-tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel
-and xylophone.
-
-@item perfect interval
-ES: intervalo justo,
-I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein
-interval, DK: rent interval, S: rent intervall, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item phrase
-ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: .
-
-A natural division of the melodic line, comparable to a sentence of speech.
-
-@item phrasing
-ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S:
-fra@-se@-ring, N: .
-
-The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of
-the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}.
-
-@item piano
-ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: .
-
-@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
-@emph{mezzopiano} (@b{mp}) medium soft.
-
-@item pitch
-ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S:
-tonh@"ojd, N: .
-
-@item pizzicato
-ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK:
-pizzicato, S: pizzicato.
-
-Play by plucking the strings.
-
-@item polyphony
-ES: polifon@'{@dotless{i}}a, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S:
-polyfoni, N: .
-
-Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality. @w{@ar{}@strong{counterpoint}}
-
-@item portato
-@w{@ar{}@strong{legato}}
-
-@item presto
-ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK:
-presto, S: presto, N: .
-
-Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo}
-denotes the highest possible degree of speed.
-
-@item Pythagorean comma
-ES: coma pitag@'orico,
-I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL:
-komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: .
-
-A sequence of fifths starting on C eventually circles back to C, but this C,
-obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C
-obtained by adding 7 octaves. The difference between those two pitches is
-called the Pythagorean comma.
-
-@item quadruplet
-ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol,
-N: .
-
-@w{@ar{}@strong{note value}}
-
-@item quarter note
-ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL:
-kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N:
-
-@w{@ar{}@strong{note value}}
-
-@item quarter rest
-ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL:
-kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item quintuplet
-ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S:
-kvintol, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item rallentando
-ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK:
-rallentando, S: rallentando, N: rallentando.
-
-Abbreviation "rall.". @w{@ar{}@strong{ritardando}}
-
-@item relative key
-ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK:
-paralleltoneart, S: parallelltonart, N: .
-
-@w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with
-the same @w{@ar{}@strong{signature}}.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
- \key es \major
- es1_"e flat major" f g as bes c d es
- \bar "||" s16
- \key es \major
- c,1_"c minor" d es f g a! b! c \bar "||"
-}
-@end lilypond
-
-@item repeat
-ES: barra de repetici@'on, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK:
-gen@-ta@-gel@-se, S: repris, N: .
-
-@
-
-@lilypond[13pt,eps]
-\key g \major
-\time 4/4
-\notes\relative c'' {
- \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
-}
-@end lilypond
-
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
-@item rest
-ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item rhythm
-ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: .
-
-(a) metrical rhythm in which every time value is a multiple or fraction of a
-fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal
-@w{@ar{}@strong{accent}} recurs in regular intervals, called
-@w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called
-@w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent
-accent. In modern notation such music appears as a free alternation of
-different measures. (c) Free rhythm, i.e. the use of temporal values having no
-common metrical unit (beat).
-
-@item ritardando
-ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK:
-ritardando, S: ritardando, N: .
-
-Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
-
-@item ritenuto
-ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S:
-ritenuto, N: .
-
-Immediate reduction of speed.
-
-@item scale
-ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: .
-
-@w{@ar{}@strong{diatonic scale}}
-
-@item scale degree
-ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
-[van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
-
-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 =
-sub@-do@-mi@-nant (S) and V = dominant (D).
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-%\property Lyrics.minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
- c1 d e f g a b c }
-\context Lyrics \lyrics {
- < { I II III IV V VI VII I }
- { T "" "" S D } >
-}
-@end lilypond
-
-@w{@ar{}@strong{functional harmony}}
-
-@item score
-ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S:
-partitur, N: .
-
-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 @w{@ar{}@strong{stave}}s.
-
-@item second
-ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: .
-
-The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A
-@w{@ar{}@strong{diatonic scale}} consists of alternating
-@w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size
-of a se@-cond depends on the scale degrees in question.
-
-@item semitone
-ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S:
-halvton, N: .
-
-The @w{@ar{}@strong{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. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}}
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { g1 gis s a bes s b c }
-@end lilypond
-
-@item seventh
-ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item sextuplet, sextolet
-I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N:
-.
-
-@w{@ar{}@strong{note value}}
-
-@item sharp
-ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: .
-
-@w{@ar{}@strong{accidental}}
-
-@item short appoggiatura
-@w{@ar{}@strong{appoggiatura}}
-
-@item sixteenth note
-ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel,
-Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S:
-sextondelsnot, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item sixteenth rest
-ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D:
-Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S:
-sextondelspaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item sixth
-ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item sixty-fourth note
-ES: semifusa,
-I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D:
-Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK:
-fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S:
-sextiofj@"ardedelsnot, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item sixty-fourth rest
-ES: silencia de semifusa,
-I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver
-rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK:
-fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S:
-sextiofj@"ardedelspaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item slur
-ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen,
-Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog,
-DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: .
-
-A slur above or below a group of notes indicates that they are to be played
-@w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one
-breath in singing.
-
-@item solmization
-I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
-solmisation, S: solmisation, N: .
-
-General term for systems of designating the degrees of the
-@w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
-(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
-(@emph{ti})). @w{@ar{}@strong{scale degree}}.
-
-@item sonata
-ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: .
-
-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.
-
-@item sonata form
-ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm,
-sonatevorm, DK: sonateform, S: sonatform, N: .
-
-A form used frequently for single movements of the @w{@ar{}@strong{sonata}},
-@w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form
-falls in three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications however. The exposition contains a number of themes
-which 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
-@w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is
-@w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the
-tonic is @w{@ar{}@strong{minor}}.
-
-@item soprano
-ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: .
-
-The highest female voice.
-
-@item staccato
-ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK:
-staccato, S: staccato, N:
-
-Playing the note(s) short. Staccato is indicated by a dot above or below the
-notehead.
-
-@
-
-@lilypond[13pt,eps]
-\key d \major
-\time 4/4
-\notes\relative c'' {
- \partial 8 a8 |
- d4-\staccato cis-\staccato b-\staccato cis-\staccato |
- d2. \bar "||" }
-@end lilypond
-
-@item staff
-ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk;
-partij, DK: nodesystem, S: notsystem, N: .
-
-pl. staves. A series of (normally 5) horizontal lines upon and between
-which the musical notes are written, thus indicating (in connection
-with a @w{@ar{}@strong{clef}}) their pitch. Staves for
-@w{@ar{}@strong{percussion}} instruments may have fewer lines.
-
-@item stem
-ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft,
-N: .
-
-Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole
-note. @w{@ar{}@strong{beam}}
-
-@
-
-@lilypond[13pt,eps]
-\property Score.autoBeaming = ##f
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
- g2_"1/2" g' s16
- g,4_"1/4" g' s16
- g,8_"1/8" g' s16
- g,16_"1/16" g' s16
-}
-@end lilypond
-
-@item strings
-ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S:
-str@aa{}kar, N: .
-
-A family of stringed musical instruments played with a bow. Strings commonly
-used in a symphony orchestra are violin, viola, violoncello and double bass.
-
-@item strong beat
-ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis,
-D: betonet taktslag, S: betonat taktslag, N: .
-
-@w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}}
-@w{@ar{}@strong{rhythm}}
-
-@item subdominant
-ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK:
-subdominant, S: subdominant, N: .
-
-The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional
-harmony}}
-
-@item submediant
-ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
-Submediant, S: submediant, N: .
-
-The sixth @w{@ar{}@strong{scale degree}}.
-
-@item subtonic
-ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S:
-subtonika, N: .
-
-The seventh @w{@ar{}@strong{scale degree}}
-
-@item superdominant
-ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK:
-superdominant, S: superdominant, N: .
-
-The sixth @w{@ar{}@strong{scale degree}}
-
-@item supertonic
-ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK:
-supertonika, S: supertonika, N: .
-
-The second @w{@ar{}@strong{scale degree}}.
-
-@item symphony
-ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni,
-N: .
-
-A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra.
-
-@item syncopation
-ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: .
-
-Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}},
-@w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our 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.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.TextScript \set #'font-style = #'large
-\time 4/4
-\notes\relative c' {
- \partial 4
- d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | ) c2
-}
-@end lilypond
-
-@item syntonic comma; dydimic comma
-
-I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma,
-NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: .
-
-Difference between the natural third and the third obtained by Pythagorean
-tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents.
-
-@item system
-I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S:
-system, N: .
-
-The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the
-writing down of keyboard, chamber, choral or orchestral music.
-
-@item temperament
-ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament,
-DK: temperatur, S: temperatur, N: .
-
-Systems of tuning in which the intervals deviate from the accoustically pure
-intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal
-temperament}}
-
-@item tempo indication
-ES: indicaci@'on de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{},
-Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S:
-tempobeteckning, N: .
-
-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
-@w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}},
-@w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}.
-
-@item tenor
-ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: .
-
-The highest voice of men (apart from @w{@ar{}@strong{counter tenor}})
-
-@item tenth
-ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item third
-ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: .
-
-@w{@ar{}@strong{interval}}
-
-@item thirty-second note
-ES: fusa,
-I: biscroma, F: triple croche, UK: demisemiquaver, D:
-Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
-noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item thirty-second rest
-ES: silencio de fusa,
-I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D:
-Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S:
-trettiotv@aa{}ondelspaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item thorough bass; figured bass
-ES: bajo cifrado,
-I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass,
-bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: .
-
-A method of indicating an accompaniment part by the bass notes only, together
-with figures designating the chief @w{@ar{}@strong{interval}}s and
-@w{@ar{}@strong{chord}}s to be played above the bass notes.
-
-@
-
-@lilypond[13pt,eps]
-\context GrandStaff <
- \context Staff = lh \notes\relative c'' {
- \time 4/4
- \key es \major
- \clef treble
- < \context Voice = rha {
- \stemUp
- es4 d c bes | bes }
- \context Voice = rhb {
- \stemDown
- < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
- >
- }
- \addlyrics
- \context Staff = rh \notes\relative c' {
- \clef bass
- \key es \major
- es8 c () c bes () bes as () as g16 f | es4
- }
- \context Lyrics \lyrics {
- \property Lyrics . LyricText \set #'font-style = #'Large
- \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
- < { "" "6" "4" "6" "4" "6" "4" "6" }
- { "" "" "2" "" "2" "" "2" "" } >
- }
->
-@end lilypond
-
-@item tie; bind
-ES: ligadura de prolongaci@'on,
-I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK:
-bindebue, S: bindeb@aa{}ge, @"overbindning, N: .
-
-A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which
-connects two succesive notes of the same pitch, and which has the function of
-uniting them into a single sound equal to the combined durations.
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { g2 ~ g4. }
-@end lilypond
-
-@item time signature
-
-ES: cifra indicadora de comp@'as,
-I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D:
-Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S:
-taktartssignatur, N: .
-
-@w{@ar{}@strong{meter}}
-
-@item tone
-ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: .
-
-A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is
-a primary building material of music. Music from the 20th century may be based
-on non tone related sounds.
-
-@item tonic
-ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: .
-
-The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}}
-
-@item transposition
-ES: transposici@'on, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK:
-transposition, S: transponering, N: .
-
-Shifting a melody up or down in pitch, while keeping the same relative pitches.
-
-@
-
-@lilypond[13pt,eps]
-\context Staff {
- \time 3/4
- \notes\relative c'' {
- \key g \major
- d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
- \transpose bes\relative c'' {
- \key g \major
- d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." }
-}
-@end lilypond
-
-@item treble clef
-ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel,
-Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav,
-N: .
-
-@w{@ar{}@strong{G clef}}
-
-@item tremolo
-ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N:
-.
-
-On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of
-the same tone, produced by a rapid up-and-down movement movement of the bow
-(a). The term is also used for the rapid alternation (b) between two notes of
-a @w{@ar{}@strong{chord}}, usually in the distance of a third
-(@w{@ar{}@strong{interval}}).
-
-@
-
-@lilypond[13pt,eps]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
- % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
- % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
- e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
-}
-@end lilypond
-
-@item triad
-ES: tr@'{@dotless{i}}ada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
-drieklank, DK: treklang, S: treklang, N:
-
-@w{@ar{}@strong{chord}}
-
-@item trill; shake
-ES: trino,
-I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL:
-triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }.
-
-@w{@ar{}@strong{ornament}}
-
-@item triple meter
-ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige
-maatsoort, DK: tredelt takt, S: tretakt, N: .
-
-@w{@ar{}@strong{meter}}
-
-@item triplet
-ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item tritone
-ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N:
-.
-
-@w{@ar{}@strong{interval}}
-
-@item tuning fork
-ES: diapas@'on, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK:
-stemmegaffel, S: st@"amgaffel, N: .
-
-A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per second.)
-
-@item turn; gruppetto
-ES: grupo,
-I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag,
-S: dubbelslag, N: .
-
-@item unison
-ES: un@'{@dotless{i}}sono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S:
-unison, N: .
-
-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.
-
-@item upbeat
-ES: entrada anacr@'usica, I: anacrusi, F: anacrouse, lev@'ee, D: Auftakt, NL: opmaat, DK: optakt, S:
-upptakt, N:
-
-Initial note(s) of a melody occurring before the first bar
-line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}}
-
-@
-
-@lilypond[13pt,eps]
-\key f \major
-\time 4/4
-\notes\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
-@end lilypond
-
-@item voice
-ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: ,
-
-1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}},
-@w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}},
-@w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part
-of a polyphonic composition.
-
-@item weak beat
-ES: tiempo d@'ebil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag,
-NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: .
-
-@w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}}
-
-@item whole note
-ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot,
-DK: helnode, S: helnot, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item whole rest
-ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
-rust, DK: helnodespause, S: helpaus, N: .
-
-@w{@ar{}@strong{note value}}
-
-@item whole tone
-ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S:
-helton, N: .
-
-The @w{@ar{}@strong{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.
-
-@item woodwind
-ES: maderas, I: legni, F: les bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
-S: tr@"abl@aa{}sare, N: .
-
-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.
-
-@end table
-
-@page
-
-@table @strong
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
-
-@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
-
-@item
-
-@item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
-@tab longa @tab longa @tab longa
-
-@item
-
-@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis
-
-@item
-
-@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab
-
-@item
-
-@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab
-
-@item
-
-@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
-
-@item
-
-@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab @aa{}tton@-del @tab
-
-@item
-
-@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
-@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
-@tab
-
-@item
-
-@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
-triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
-@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
-
-@item
-
-@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
-semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
-vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
-sextio@-fj@"arde@-del @tab
-
-@end multitable
-@c @item @tab @tab @tab @tab @tab @tab @tab @tab
-
-@page
-
-@table @strong
-@item PITCH NAMES
-@end table
-
-@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
-
-@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
-
-@item
-
-@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
-
-@item
-
-@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
-cis @tab cis @tab cis
-
-@item
-
-@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
-des @tab des @tab des
-
-@item
-
-@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
-
-@item
-
-@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
-
-@item
-
-@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
-
-@item
-
-@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
-
-@item
-
-@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
-@tab as @tab as
-
-@item
-
-@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
-
-@item
-
-@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
-ais @tab ais @tab ais
-
-@item
-
-@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
-@tab b @tab b
-
-@item
-
-@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
-
-@end multitable
-@
-
-@table @strong
-
-@item ---------------------
-
-@
-
-@item Literature used
-The Harvard Dictionary of Music, London 1944. Many more or less litteral
-quotes from its articles have been included into the item explanation texts.
-
-Hugo Riemans Musiklexicon, Berlin 1929
-
-
-Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
-
-@end table
-
-@bye
-
@node Introduction
@chapter Introduction
-
-LilyPond is a program to print sheet music. If you have used notation
+LilyPond is a program to print sheet music. If you have used notation
programs before, then the way to use this program might be surprising
-at first sight. To print music with lilypond, you have to enter
-musical codes in a file. Then you run LilyPond on the file, and the
-music is produced without any further intervention. For example,
+at first sight. To print music with lilypond, you have to enter
+musical codes in a file. Then you run LilyPond on the file, and the
+music is produced without any further intervention. For example,
something like this:
@lilypond[fragment,verbatim, relative 1, intertext="produces this"]
-\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
+\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
@end lilypond
@cindex encoding music
design, and how this approach affects you as a user.
@menu
-* Batch processing::
-* Music engraving::
-* Music representation::
-* About this manual::
+* Batch processing::
+* Music engraving::
+* Music representation::
+* About this manual::
@end menu
@node Batch processing
@cindex GUI
@cindex Batch
-@cindex UNIX
+@cindex UNIX
When we started developing LilyPond, we were still studying at the
university. We were interested in music notation, not as publishers
admired at first.
-@lilypond
+@lilypond[noindent]
#(define magfact 3.0)
\score { \notes { as'2 r4 }
- \paper {
- linewidth = -1.
- \translator {
- \ScoreContext
- AccidentalPlacement \override #'right-padding = #3.0
- StaffSymbol \override #'transparent = ##t
- Clef \override #'transparent = ##t
- TimeSignature \override #'transparent = ##t
- Accidental \override #'font-magnification = #magfact
- Rest \override #'font-magnification = #magfact
- NoteHead \override #'font-magnification = #magfact
- Stem \override #'transparent = ##t
- } } }
+ \paper {
+ linewidth = -1.
+ \translator {
+ \ScoreContext
+ AccidentalPlacement \override #'right-padding = #3.0
+ StaffSymbol \override #'transparent = ##t
+ Clef \override #'transparent = ##t
+ TimeSignature \override #'transparent = ##t
+ Accidental \override #'font-magnification = #magfact
+ Rest \override #'font-magnification = #magfact
+ NoteHead \override #'font-magnification = #magfact
+ Stem \override #'transparent = ##t
+ } } }
@end lilypond
@cindex musical symbols
@c I can only see the motive printed two times!!! /Mats
@cindex optical spacing
-@lilypond
+@lilypond[noindent]
\score { \notes {
\property Staff.NoteSpacing \set #'stem-spacing-correction
= #0.6
\property Staff.StaffSpacing \override #'stem-spacing-correction
= #0.0
c'4 e''4 e'4 b'4 |
- \stemDown b'4 e''4 a'4 e''4|
+ \stemDown b'4 e''4 a'4 e''4|
}
\paper { linewidth = -1. } }
@end lilypond
@cindex variables
@cindex properties
@cindex lilypond-internals
-@cindex internal documentation
+@cindex internal documentation
For those who really want to get their hands dirty: it is even
possible to add your own functionality, by extending LilyPond in the
@code{html} source.
@command{lilypond-book} provides you with a way to automate this
-process: this program extracts snippets of music from your document,
-runs lilypond on them, and substitutes the resulting pictures back.
-The line width and font size definitions for the music are adjusted so
-they match the layout of your document.
+process: This program extracts snippets of music from your document,
+runs LilyPond on them, and substitutes the resulting pictures back.
+The line width and font size definitions for the music are adjusted
+to match the layout of your document.
It can work on La@TeX{}, @code{html} or texinfo documents. A tutorial
on using lilypond-book is in @ref{Integrating text and music}.
@menu
-* Integrating Texinfo and music::
-* Integrating La@TeX{} and music::
-* Integrating HTML and music::
-* Music fragment options::
-* Invoking lilypond-book::
+* Integrating Texinfo and music::
+* Integrating La@TeX{} and music::
+* Integrating HTML and music::
+* Music fragment options::
+* Invoking lilypond-book::
@end menu
@section Integrating Texinfo and music
You specify the LilyPond code like this:
+
@example
@@lilypond[options, go, here]
YOUR LILYPOND CODE
@@end lilypond
-@@lilypond[option, go, here]@{ YOUR LILYPOND CODE @}
-@@lilypondfile[options, go,here]@{@var{filename}@}
+@@lilypond[options, go, here]@{ YOUR LILYPOND CODE @}
+@@lilypondfile[options, go, here]@{@var{filename}@}
@end example
-We show two simple examples here. First a complete block:
+We show two simple examples here. First a complete block:
+
@example
@@lilypond[26pt]
-c' d' e' f' g'2 g'
+ c' d' e' f' g'2 g'
@@end lilypond
@end example
+@noindent
produces this music:
+
@lilypond
-c' d' e' f' g'2 g'
+ c' d' e' f' g'2 g'
@end lilypond
Then the short version:
+
@example
@@lilypond[11pt]@{<c' e' g'>@}
@end example
+@noindent
and its music:
@lilypond[11pt]{<c' e' g'>}
-@command{lilypond-book} knows the default margins, and a few paper
-sizes. One of these commands should be in the beginning of the document:
+@command{lilypond-book} knows the default margins and a few paper
+sizes. One of these commands should be in the beginning of the document:
+
@itemize @bullet
@item @code{@@afourpaper}
@item @code{@@afourlatex}
@item @code{@@afourwide}
@item @code{@@smallbook}
@end itemize
+
+@noindent
@code{@@pagesizes} are not yet supported.
When producing texinfo, lilypond-book also generates bitmaps of the
music, so you can make a HTML document with embedded music.
+
@node Integrating La@TeX{} and music
@section Integrating La@TeX{} and music
-You specify the LilyPond code like this:
+You specify LilyPond code like this:
+
@example
-\begin[option, go, here]@{lilypond@}
- YOUR LILYPOND CODE
+\begin[options, go, here]@{lilypond@}
+ YOUR LILYPOND CODE
\end@{lilypond@}
@end example
@example
\lilypondfile[options, go,here]@{@var{filename}@}
@end example
-or
+
+@noindent
+or
+
@example
\lilypond@{ YOUR LILYPOND CODE @}
@end example
@example
\begin[26pt]@{lilypond@}
-c' d' e' f' g'2 g'2
+ c' d' e' f' g'2 g'2
\end@{lilypond@}
@end example
+@noindent
produces this music:
@lilypond[26pt]
-c' d' e' f' g'2 g'2
+ c' d' e' f' g'2 g'2
@end lilypond
Then the short version:
+
@example
\lilypond[11pt]@{<c' e' g'>@}
@end example
+@noindent
and its music:
@lilypond[11pt]{<c' e' g'>}
-
You can use whatever commands you like in the document preamble,
-that is the part of the document before @code{\begin@{document@}}.
+the part of the document before @code{\begin@{document@}}.
@command{lilypond-book} will send it to La@TeX{} to find out how wide
the text is and adjust the linewidth variable in the paper definition of
-you music according to that.
+your music according to that.
After @code{\begin@{document@}} you must be a little more careful
when you use commands that change the width of the text and how
-many columns there are. @command{lilypond-book} know about the
+many columns there are. @command{lilypond-book} knows about the
@code{\onecolumn} and @code{\twocolumn} commands and the @code{multicols}
environment from the multicol package.
The music will be surrounded by @code{\preLilypondExample} and
-@code{\postLilypondExample}. The variables are
+@code{\postLilypondExample}. The variables are
defined to nothing by default, and the user can redefine them
to whatever he wants.
@node Integrating HTML and music
@section Integrating HTML and music
-You specify the LilyPond code like this:
+You specify LilyPond code like this:
-@quotation
@example
<lilypond relative1 verbatim>
\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
-</lilypond>
+</lilypond>
@end example
-@end quotation
+@noindent
produces
-@quotation
@example
<lilypond relative1 verbatim>
\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
-</lilypond>
+</lilypond>
@end example
+
@lilypond[relative1]
\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4
@end lilypond
-@end quotation
Inline picture:
-@quotation
@example
Some music in <lilypond a b c/> a line of text.
@end example
-@end quotation
+
@node Music fragment options
@section Music fragment options
-The commands for lilypond-book have room to specify options. These are
+The commands for lilypond-book have room to specify options. These are
all of the options:
@table @code
@item eps
This will create the music as eps graphics and include it into the
-document with the @code{\includegraphics} command. It works in
+document with the @code{\includegraphics} command. It works in
La@TeX{} only.
This enables you to place music examples in the running text (and not in
-a separate paragraph). To avoid that La@TeX{} places the music on a line
+a separate paragraph). To avoid that La@TeX{} places the music on a line
of its own, there should be no empty lines between the normal text and
the LilyPond environment. For inline music, you probably also need a
-smaller music font size (eg. 11 pt or 13 pt)
-
+smaller music font size (e.g.@: 11@dmn{pt} or 13@dmn{pt})
@item verbatim
- CONTENTS is copied into the source enclosed in a verbatim block,
- followed by any text given with the @code{intertext} option, then
- the actual music is displayed. This option does not work with
- the short version of the LilyPond blocks:
+CONTENTS is copied into the source enclosed in a verbatim block,
+followed by any text given with the @code{intertext} option, then
+the actual music is displayed. This option does not work with
+the short version of the LilyPond blocks:
- @code{ @@lilypond@{ CONTENTS @} } and @code{ \lilypond@{ CONTENTS @} }
+@code{ @@lilypond@{ CONTENTS @} } and @code{ \lilypond@{ CONTENTS @} }
@item smallverbatim
- like @code{verbatim}, but in a smaller font.
+Like @code{verbatim}, but in a smaller font.
@item intertext="@var{text}"
- Used in conjunction with @code{verbatim} option: this puts
-@var{text} between the code and the music.
+Used in conjunction with @code{verbatim} option: This puts
+@var{text} between the code and the music (without indentation).
+
@item filename="@var{filename}"
- Save the LilyPond code to @var{filename}. By default, a hash value
+Save the LilyPond code to @var{filename}. By default, a hash value
of the code is used.
-@item @code{11pt}
+@item 11pt
@lilypond[11pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
+\relative c' {
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+}
@end lilypond
-@item @code{13pt}
+
+@item 13pt
@lilypond[13pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
+\relative c' {
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+}
@end lilypond
-@item @code{16pt}
+
+@item 16pt
@lilypond[16pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
+\relative c' {
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+}
@end lilypond
-@item @code{20pt}
+
+@item 20pt
@lilypond[20pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- [d16 g, a b][c a b g][d'8 g f-\prall g]
- }
+\relative c' {
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+}
@end lilypond
-@item @code{26pt}
+
+@item 26pt
@lilypond[26pt, eps]
- \relative c'{
- r16 [c d e][f d e c] [g'8 c][b-\prall c] |
- }
+\relative c' {
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+}
@end lilypond
@item singleline
- Produce a single naturally spaced, unjustified line. (i.e.: linewidth = -1).
+Produce a single, naturally spaced, unjustified line
+(i.e., linewidth = @minus{}1).
+
@item multiline
- The opposite of @code{singleline}: justify and break lines.
+The opposite of @code{singleline}: Justify and break lines.
+
@item linewidth=@var{size}@var{unit}
- Set linewidth to @var{size}, where @var{unit} = cm, mm, in or pt.
+Set linewidth to @var{size}, where @var{unit} = cm, mm, in, or pt.
+This option affects LilyPond output, not the text layout.
+
+@item notime
+Don't print time signature.
+
@item fragment
-@item nofragment
- Override @command{lilypond-book} auto detection of what type of code is in the
- LilyPond block, voice contents or complete code.
+@itemx nofragment
+Override @command{lilypond-book} auto detection of what type of code is
+in the LilyPond block, voice contents or complete code.
+
@item indent=@var{size}@var{unit}
- Set first line indent to @var{size}, where @var{unit} = cm, mm, in or pt.
+Set indentation of the first music system to @var{size},
+where @var{unit} = cm, mm, in, or pt. This option affects LilyPond,
+not the text layout. For single-line fragments the default is to
+use no indentation.
+
@item noindent
- Set first line indent to zero.
+Set indentation of the first music system to zero. This option
+affects LilyPond, not the text layout.
+
+@item noquote
+By default, @command{lilypond-book} puts both La@TeX{} and texinfo output
+into a quotation block. Using this option prevents this; no indentation
+will be used.
+
@item printfilename
- Prints the file name before the music example. Useful in conjunction
+Prints the file name before the music example. Useful in conjunction
with @code{\lilypondfile}.
+
@item relative, relative @var{N}
- Use relative octave mode. By default, notes are specified relative
- central C. The optional integer argument specifies how many octaves
- higher (positive number) or lower (negative number) to place the
- starting note.
+Use relative octave mode. By default, notes are specified relative
+central C. The optional integer argument specifies how many octaves
+higher (positive number) or lower (negative number) to place the
+starting note.
@end table
+
@node Invoking lilypond-book
@section Invoking lilypond-book
When you run @command{lilypond-book} it will generate lots of small
-files that LilyPond will process. So to avoid all the garbage in
+files that LilyPond will process. To avoid all the garbage in
your source directory, you should either change to a temporary
-directory, or use the @code{--outdir} command line options:
+directory, or use the @option{--outdir} command line options:
@code{cd out && lilypond-book ../yourfile.tex}
@code{lilypond-book --outdir=out yourfile.tex}
-
-For latex input, the file to give to latex has extension @file{.latex}.
+For La@TeX{} input, the file to give to La@TeX{} has extension @file{.latex}.
Texinfo input will be written to a file with extension @file{.texi}.
-If you use @code{--outdir}, you should also @code{cd} to that directory
-before running LaTeX or makeinfo. This may seem a little kludgey, but
-both Latex and makeinfo expect picture files (the music) to be in the
-current working directory. Moreover, if you do this, LaTeX will not
-clutter you normal working directory with output files.
+If you use @option{--outdir}, you should also @code{cd} to that directory
+before running La@TeX{} or @command{makeinfo}. This may seem a little
+kludgy, but both La@TeX{} and @command{makeinfo} expect picture files
+(the music) to be in the current working directory. Moreover, if you do
+this, La@TeX{} will not clutter your normal working directory with output
+files.
@cindex titling and lilypond-book
@cindex lilypond-book and titling
-@cindex \header in LaTeX documents
+@cindex @code{\header} in La@TeX{} documents
If you want to add titling from the @code{\header} section of the
-files, you should add the following to the top of your LaTeX
+files, you should add the following to the top of your La@TeX{} file:
+
@example
\input titledefs.tex
\def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@}
@end example
-lilypond-book accepts the following command-line options:
+@command{lilypond-book} accepts the following command line options:
+
@table @code
-@item @option{-f}, @option{--format=}
- Specify the document type to process: @code{html}, @code{latex} or
-@code{texi} (default). @command{lilypond-book} usually figures this
+@item @option{-f @var{format}}, @option{--format=@var{format}}
+Specify the document type to process: @code{html}, @code{latex} or
+@code{texi} (the default). @command{lilypond-book} usually figures this
out automatically.
-@item --default-music-fontsize=@var{sz}pt
- Set the fontsize to use for LilyPond if no fontsize is given
- as option.
-@item --force-music-fontsize=@var{sz}pt
- Force all LilyPond to use this fontsize, overriding options
- given to @code{\begin@{lilypond@}}
-@item -I @var{DIR}, --include=@var{DIR}
- Add @var{DIR} to the include path.
-@item -M, --dependencies
- Write dependencies to @file{filename.dep}
-@item --dep-prefix=@code{PREF}
- prepend @code{PREF} before each @code{-M} dependency
-@item -n, --no-lily
- don't run LilyPond, but do generate the @code{.ly} files
-@item --no-music
- strip all LilyPond blocks from the file.
-@item --no-pictures
- don't generate pictures when processing Texinfo.
-@item --read-lys
- don't write ly files. This way you can do
+@item @option{--default-music-fontsize=@var{sz}pt}
+Set the fontsize to use for LilyPond if no fontsize is given
+as option.
+
+@item @option{--force-music-fontsize=@var{sz}pt}
+Force all LilyPond code to use this fontsize, overriding options
+given to @code{\begin@{lilypond@}}.
+
+@item @option{-I @var{dir}}, @option{--include=@var{dir}}
+Add @var{DIR} to the include path.
+
+@item @option{-M}, @option{--dependencies}
+Write dependencies to @file{filename.dep}.
+
+@item @option{--dep-prefix=@var{pref}}
+Prepend @var{pref} before each @option{-M} dependency.
+
+@item @option{-n}, @option{--no-lily}
+Don't run LilyPond, but do generate the @code{.ly} files.
+
+@item @option{--no-music}
+Strip all LilyPond blocks from the file.
+
+@item @option{--no-pictures}
+Don't generate pictures when processing Texinfo.
+
+@item @option{--read-lys}
+Don't write ly files. This way you can do
+
@example
- lilypond-book file.tely
- convert-ly
- lilypond-book --read-lys
+lilypond-book file.tely
+convert-ly
+lilypond-book --read-lys
@end example
-@item --outname=@var{FILE}
- The name of La@TeX{} file to output. If this option is not given,
- the output name is derived from the input name.
-@item --outdir=@var{DIR}
- place generated files in @var{DIR}.
-@item --version
- print version information
-@item --help
- Print a short help message
+@item @option{--outname=@var{file}}
+The name of La@TeX{} file to output. If this option is not given,
+the output name is derived from the input name.
+
+@item @option{--outdir=@var{dir}}
+Place generated files in @var{dir}.
+
+@item @option{--version}
+Print version information.
+
+@item @option{--help}
+Print a short help message.
@end table
@section Bugs
-
-The La@TeX{} \includeonly@{...@} command is ignored.
+
+The La@TeX{} @code{\includeonly@{...@}} command is ignored.
The Texinfo command @code{pagesize} is on the TODO list for LilyPond
-1.6, but changing the linewidth in other ways will not give you a
+1.8, but changing the linewidth in other ways will not give you a
straight right margin.
Almost all La@TeX{} commands that change margins and line widths are
ignored.
-There is no way to automatically apply convert-ly only to fragments
+There is no way to automatically apply @command{convert-ly} only to fragments
inside a lilypond-book file.
-@file{lilypond-book} processes all music fragments in one big run. The
+@command{lilypond-book} processes all music fragments in one big run. The
state of the GUILE interpreter is not reset between fragments; this
-means that global GUILE definitions, eg. done with @code{#(define
-.. )} and @code{#(set! .. )} can leak from one fragment into a next
-fragment.
+means that global GUILE definitions, e.g., done with @code{#(define @dots{})}
+and @code{#(set! @dots{})} can leak from one fragment into the next fragment.
@c ;; prepend GNU for dir, must be unique
* GNU LilyPond: (lilypond). The GNU music typesetter.
* ly2dvi: (lilypond)Invoking ly2dvi:: Titling LilyPond scores.
-* convert-ly: (lilypond)Invoking convert-ly::
- Older LilyPond versions.
+* Glossary: (music-glossary). Glossary of music terms.
+* convert-ly: (lilypond)Invoking convert-ly:: Older LilyPond versions.
* midi2ly: (lilypond)Invoking midi2ly:: Importing MIDI.
* etf2ly: (lilypond)Invoking etf2ly:: Importing Finale.
* abc2ly: (lilypond)Invoking abc2ly:: Importing ABC.
@end direntry
+@ifhtml
+This document is also available in @uref{../lilypond.ps.gz,gzipped
+PostScript} and @uref{../lilypond.pdf,PDF}.
+@end ifhtml
+
+
@titlepage
@title GNU LilyPond
@subtitle The music typesetter
@end titlepage
-@ifinfo
+@c Han-Wen Nienhuys, Jan Nieuwenhuizen, Adrian Mariano, Tom Cato Amundsen.
+
+@ifnottex
This file documents GNU LilyPond.
-Copyright 1999 Han-Wen Nienhuys, Jan Nieuwenhuizen, Adrian Mariano
-Tom Cato Amundsen.
+Copyright 1999-2002 by the authors
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
A copy of the license is included in the section entitled ``GNU
Free Documentation License''.
-@end ifinfo
+@end ifnottex
@ifnottex
@node Top
@top
-@ifhtml
-This document is also available as a @uref{../lilypond.ps.gz,gzipped
-postscript file} and @uref{../lilypond.pdf,PDF}.
-@end ifhtml
-
@chapter GNU LilyPond --- The music typesetter
This is the user manual for GNU LilyPond 1.6.0.
+@c -*-texinfo-*-
+
+@c Only reference in HTML.
+@macro htmlref {NAME}
+@ifhtml
+@ref{\NAME\}@c
+@end ifhtml
+@ifnothtml
+\NAME\@c
+@end ifnothtml
+@end macro
+
+
+@c Reference ENGraver description
@ifnottex
@macro reng {word}
@ref{ (lilypond-internals)\word\, \word\ }
@end iftex
+@c Reference GROB description
@ifnottex
@macro rgrob {word}
@ref{ (lilypond-internals)\word\, \word\ }
@end iftex
+@c Reference INTernals document
@ifnottex
@macro rint {word}
@ref{ (lilypond-internals)\word\, \word\ }
@end macro
@end iftex
+
+@c Reference GLOSsary
+@macro rglos {NAME}
+@ifhtml
+@c ugh: @ref assumes that external refs are split documents too
+@uref{../music-glossary.html#\NAME\,\NAME\}@c
+@end ifhtml
+@ifnothtml
+\NAME\@c
+@end ifnothtml
+@end macro
+
+
@ifnottex
@macro texisharp {word}
#
@iftex
@macro texiflat {word}
@tex
-$\\flat$
+$\\flat$%
@end tex
@end macro
@end iftex
@end macro
@end ifhtml
-@ignore
-
-@c Huh, do outline mode and texinfo really fight eachother?
-@c Outline can only use spaces to indent topic headers
-@c (or bullets, but then topics can't start with `@c').
-@c Texinfo can't have spaces in macro names.
-
-@macro c_ {word}
-\word\
-@node \word\
-@section \word\
-@end macro
-
-@macro c__ {word}
-\word\
-@menu
-* \word\::
-@end menu
-
-@node \word\
-@subsection \word\
-@end macro
-
-@macro c___ {word}
-\word\
-@node \word\
-@unnumberedsubsubsection \word\
-@end macro
-
-@macro c_ {word}
-@end macro
-
-@end ignore
-
+@c dup?
@ifhtml
@macro internalsref{NAME}
@uref{../lilypond-internals/\NAME\.html,\NAME\}
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@settitle Music Glossary
+@setfilename music-glosssary.info
+
+@html
+<!--- @@WEB-TITLE@@=Music Glossary --->
+@end html
+
+@ifhtml
+This document is also available in @uref{glossary.ps.gz,gzipped
+PostScript} and @uref{glossary.pdf,PDF}.
+@end ifhtml
+
+@titlepage
+@title Music Glossary
+@author Christian Mondrup
+@author spanish by David Gonz@'alez
+@c License PD, BSD-ish, GNU GPL, GNU FDL?
+
+Copyright @copyright{} 1999--2002 by the authors
+@end titlepage
+
+@ifnottex
+@node Top
+@top
+@chapter Music Glossary
+@menu
+@end menu
+@end ifnottex
+
+@ifnottex
+Christian Mondrup
+@*
+spanish by Davi Gonz@'alez
+@*
+Copyright 1999-2002 by the authors
+
+@c License PD, BSD-ish, GNU GPL, GNU FDL?
+
+@*
+
+@*
+
+@end ifnottex
+
+@c @pagesizes 10.3in
+@c @everyheading @| @thispage @|
+@c @evenheading @thispage @| @|
+@c @oddheading @| @| @thispage @|
+
+@macro ar{}
+@iftex
+@tex $\\Rightarrow$ @end tex@c
+@end iftex
+@ifhtml
+-->
+@end ifhtml
+@ifinfo
+-->
+@end ifinfo
+@end macro
+
+@ignore
+We don't use refs for Info:
+
+ @w{@ar{}\word\}@c vs:
+ @w{@ar{}@pxref{\word\}}@c
+
+they look too intrusive (says Han-Wen).
+@end ignore
+
+@c arrowref
+@macro aref{word}
+@iftex
+@w{@ar{}@strong{\word\}}@c
+@end iftex
+@ifhtml
+@ar{}@ref{\word\, @strong{\word\}}@c
+@end ifhtml
+@ifinfo
+@w{@ar{}\word\}@c
+@end ifinfo
+@end macro
+
+
+@c If we want hypelinks, we must add anchors.
+@c Hmm, we need the @achor command in the item description itself
+@c (not before or after) to get mozilla jump to the right place.
+@c anchoritem
+@macro aitem{word}
+@item \word\@anchor{\word\}
+@end macro
+@macro aitemii{one,two}
+@item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
+@end macro
+@macro aitemiii{one,two,three}
+@item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
+@end macro
+
+
+@itemize
+@item ES - Spanish
+@item I - Italian
+@item F - French
+@item D - German
+@item NL - Dutch
+@item UK - British English
+@item DK - Danish
+@item S - Swedish
+@item N - Norwegian
+@end itemize
+
+This is an example reference, that points you to the @aref{accent}
+entry.
+
+
+@table @strong
+
+@aitem{A}
+ES: la,
+I: la,
+F: la,
+D: A, a,
+NL: a,
+DK: a,
+S: a,
+N: a.
+
+@aitem{accent}
+ES: acento,
+I: accento,
+F: accent,
+D: Akzent,
+NL: accent,
+DK: accent,
+S: accent,
+N: ?.
+
+The stress of one tone over others.
+
+@c F: how to distinguish between accidental and key-sig alteration?
+
+@aitem{accidental}
+ES: alteraci@'on,
+I: alterazione, accidente,
+F: alt@'eration
+D: Vorzeichen, Versetzungszeichen,
+NL: voorteken,
+DK: l@o{}st fortegn,
+S: tillf@"alligt f@"ortecken,
+N: ?.
+
+@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
+@c Akzidenz, NL: toevallig teken, I: accidento.
+
+A sharp raises a tone by a @aref{semitone}, a double sharp raises it
+by a @aref{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.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Voice.TextScript \set #'font-style = #'large
+\addlyrics
+\context Staff \notes\relative c'' {
+ gis1 s s gisis s s ges s s geses s s g!
+}
+\context Lyrics \lyrics {
+ \property Lyrics . LyricText \override #'alignment = #-1
+ "sharp " "db. sharp " "flat " "db. flat " natural
+}
+@end lilypond
+
+@aitem{accelerando}
+ES: acelerando,
+I: accelerando,
+F: accelerando, en acc@'el@'erant,
+D: accelerando, schneller werden,
+NL: accelerando,
+DK: accelerando,
+S: accelerando,
+N: ?.
+
+Increase tempo.
+
+@aitem{adagio}
+ES: adagio,
+I: adagio,
+F: adagio, lent,
+D: Adagio, Langsam,
+NL: adagio,
+DK: adagio,
+S: adagio,
+N: adagio.
+
+It. comfortable, easy.
+1. Slow tempo, slower -- especially in even meter -- than
+@aref{andante} and faster than @aref{largo}.
+2. A movement in slow tempo, especially the second (slow) movement of
+@aref{sonata}s, symphonies, etc.
+
+@aitem{allegro}
+ES: allegro,
+I: allegro,
+F: allegro,
+D: Allegro, Schnell, Fr@"ohlich, Lustig,
+NL: allegro,
+DK: allegro,
+S: allegro,
+N: allegro.
+
+It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
+especially the first and last movements of a @aref{sonata}.
+
+@aitem{alto}
+ES: alto,
+I: contralto,
+F: alto, D: Alt,
+D: Alt,
+NL: alt,
+DK: alt,
+S: alt,
+N: alt.
+
+A female voice of low range (@emph{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 @aref{counter
+tenor}.
+
+@aitem{alto clef}
+ES: clave de do en tercera,
+I: chiave di contralto,
+F: clef d'ut troisi@`eme ligne,
+D: Altschl@"ussel, Bratschenschl@"ussel,
+NL: alt sleutel,
+DK: altn@o{}gle,
+S: altklav,
+N: ?.
+
+C clef setting central C on the middle line of the staff
+@aref{C clef}.
+
+@aitem{ancient minor scale}
+I: scala minore naturale,
+F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
+D: reines Moll,
+NL: ?,
+DK: ren mol,
+S: ren mollskala,
+N: ?.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c'' {
+a1 b c d e f g a }
+@end lilypond
+
+@aitem{andante}
+ES: andante,
+I: andante,
+F: andante,
+D: Andante, Gehend,
+NL: andante,
+DK: andante,
+S: andante,
+N: andante.
+
+Walking tempo/character.
+
+@aitem{appoggiatura}
+ES: apoyatura,
+I: appoggiatura,
+F: appogiature, (port de voix),
+D: Vorschlag,
+NL: voorslag,
+DK: forslag,
+S: f@"orslag,
+N: ?.
+
+Ornamental note, usually a second, that is melodically connected with the main
+note that follows it. In music before the 19th century a. were usually
+performed on the beat, after that mostly before the beat. While the short
+a. is performed as a short note regardless of the duration of the main note
+the duration of the long a. is proportional to that of the main note.
+
+@lilypond[13pt]
+\context Voice \notes\relative c'' {
+\key d \major
+\time 4/4
+
+\property Score.TextScript \set #'font-style = #'large
+<d4_"notation" a fis> r
+{ \property Voice.Stem \override #'flag-style = #""
+ \grace g16
+ \property Voice.Stem \revert #'flag-style
+ }
+fis8 e16 fis
+{ \property Voice.Stem \override #'flag-style = #""
+ \grace a16
+ \property Voice.Stem \revert #'flag-style
+ }
+g8 fis16 g |
+\cadenzaOn a4 \bar "||" \cadenzaOff }
+\notes\relative c'' {
+<d4_"performance" a fis> r g16 () fis e fis a () g fis g |
+\cadenzaOn a4 \bar "||" \cadenzaOff }
+@end lilypond
+
+An appoggiatura may have more notes preceding the main note.
+
+@lilypond[13pt]
+\notes\relative c'' {
+ \key as \major
+ \time 2/4
+ \property Score.TextScript \set #'font-style = #'large
+ \grace { bes16 } as8_"notation" as16 bes as8 g |
+ \grace { [as16 ( bes] } < ) c4 as >
+ \grace { [as16 ( bes] } < ) c4 as > \bar "||"
+ \grace { bes16 } as8_"performance" as16 bes as8 g |
+ < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
+ \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >
+ \bar "||"
+}
+@end lilypond
+
+@aitem{arpeggio}
+ES: arpegio,
+I: arpeggio,
+F: arp@`ege,
+D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
+NL: gebroken akoord,
+DK: arpeggio, akkordbrydning,
+S: arpeggio,
+N: ?.
+
+@lilypond[13pt]
+\notes \context PianoStaff <
+ \context Staff = SA \relative c'' {
+ \time 4/4
+ \clef treble
+ r8 g16 c e g, c e r8 g,16 c e g, c e |
+ r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
+ \context Staff = SB \relative c' {
+ \clef bass
+ < \context Voice = va {
+ \stemUp
+ r16 e8. () e4 r16 e8. () e4 |
+ r16 d8. () d4 r16 d8. () d4 }
+ \context Voice = vb {
+ \stemDown
+ c2 c | c c } >
+ }
+>
+@end lilypond
+
+@aitem{ascending interval}
+ES: Intervalo ascendente,
+I: intervallo ascendente,
+F: intervalle ascendant,
+D: steigendes Intervall,
+NL: stijgend interval,
+DK:@w{ }stigende interval,
+S: stigande intervall,
+N: ?.
+
+A distance between a starting lower note and a higher ending note.
+
+@aitem{augmented interval}
+ES: intervalo aumentado,
+I: intervallo aumentato,
+F: intervalle augment@'e,
+D: @"uberm@"a@ss{}iges Intervall,
+NL: overmatig interval,
+DK: forst@o{}rret interval,
+S: @"overstigande intervall,
+N: ?.
+
+@aref{interval}.
+
+@aitem{autograph }
+I: autografo,
+F: manuscrit,
+D: Autograph, Handschrift,
+NL: manuscript,
+DK: h@aa{}ndskrift, autograf,
+S: handskrift,
+N: ?.
+
+1. A manuscript in the composer's own hand.
+2. Music prepared for photoreproduction by freehand drawing,
+with only the aid of a straightedge ruler and T-square,
+which attempts to emulate engraving.
+This required more skill than did engraving.
+
+@aitem{B}
+ES: si,
+I: si,
+F: si,
+D: H, h,
+NL: b,
+DK: h,
+S: h,
+N: h.
+
+@aitemii{backfall,forefall}
+@aref{appoggiatura}.
+
+@aitem{bar line}
+ES: ?,
+I: stanghetta, barra (di divisione),
+F: barre (de mesure),
+D: Taktstrich,
+NL: maatstreep,
+DK: taktstreg,
+S: taktstreck,
+N: ?.
+
+@aitem{bar}
+ES: comp@'as, @aref{measure}.
+
+@aitem{baritone}
+ES: bar@'{@dotless{i}}tono,
+I: baritono,
+F: bariton,
+D: Bariton,
+NL: bariton,
+DK: baryton,
+S: baryton,
+N: baryton.
+
+The male voice intermediate between the @aref{bass} and the
+@aref{tenor}.
+
+@c F: clef de troisi@`eme ligne dropped
+
+@aitem{baritone clef}
+ES: clave de fa en tercera,
+I: chiave di baritono,
+F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
+D: Baritonschl@"ussel,
+NL: baritonsleutel,
+DK: barytonn@o{}gle,
+S: barytonklav,
+N: ?.
+
+C or F clef setting central C on the upper staff line.
+@aref{C clef}, @aref{F clef}.
+
+@aitem{bass clef}
+ES: clave de fa en cuarta,
+I: chiave di basso,
+F: cl@'e de fa quatri@`eme ligne,
+D: Bassschl@"ussel,
+NL: bassleutel,
+DK: basn@o{}gle,
+S: basklav,
+N: ?.
+
+A clef setting with central C on the first top ledger line.
+@aref{F clef}.
+
+@aitem{bass}
+I: basso,
+F: basse,
+D: Bass,
+NL: bas,
+DK: bas,
+S: bas,
+N: bas.
+
+1. The lowest of men's voices.
+2. Sometimes, especially in jazz music, used as
+an abbreviation for double bass.
+@aref{strings}.
+
+@aitem{beam}
+I: coda,
+F: barre,
+D: Balken,
+NL: waardestreep,
+DK: bj@ae{}lke,
+S: balk,
+N: ?.
+
+Line connecting a series of notes (shorter than a quarter note).
+The number of beams determine the note value of the connected notes.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Voice.TextScript \set #'font-style = #'large
+\notes\relative c'' {
+ [g8_"1/8" g g g] s16
+ [g16_"1/16" g g g] s16
+ [g32_"1/32" s32 g32 s32 g32 s32 g32] s16
+ [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 }
+@end lilypond
+
+@aitem{beat}
+ES: tiempo,
+I: tempi,
+F: temps,
+D: Takt, Taktschlag, Zeit (im Takt),
+NL: tel,
+DK: (takt)slag,
+S: taktslag,
+N: ?.
+
+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.
+
+@lilypond[13pt]
+\key g \major
+\time 4/4
+\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\time 3/8
+\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+@end lilypond
+
+@aitem{bind}
+@aref{tie}.
+
+@aitem{brace}
+ES: llave, corchete,
+I: graffa,
+F: accolade,
+D: Klammer, Akkolade,
+NL: accolade, teksthaak,
+DK: klamme,
+S: klammer,
+N: ?.
+
+Symbol at the start of a system connecting staves. Curly braces are used
+for connecting piano staves, angular brackets for connecting parts in an
+orchestral or choral score.
+
+@lilypond[13pt]
+\notes\context GrandStaff <
+ \relative c''\context Staff = SA { \clef treble g4 e c2 }
+ \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
+@end lilypond
+
+@lilypond[13pt]
+\context StaffGroup <
+% \property StaffGroup.minVerticalAlign = #12
+ \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
+ \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
+@end lilypond
+
+@aitem{brass}
+ES: metales,
+I: ottoni,
+D: Blechbl@"aser,
+NL: koper (blazers),
+F: cuivres,
+DK: messingbl@ae{}sere,
+S: brassinstrument, m@"assingsinstrument,
+N: ?.
+
+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.
+
+@aitem{breath mark}
+I: respiro,
+F: respiration,
+D: Atemzeichen, Trennungszeichen,
+NL: repercussieteken,
+DK: vejrtr@ae{}kningstegn,
+S: andningstecken,
+N: ?.
+
+Indication of where to breathe in vocal and wind instrument parts.
+
+@aitem{breve}
+ES: breve,
+I: breve,
+F: br@`eve,
+D: Brevis,
+NL: brevis,
+DK: brevis,
+S: brevis,
+N: ?.
+
+@aref{note value} twice as long as a whole note. Mainly used
+in pre-1650 music.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c'' { g\breve }
+@end lilypond
+
+@aitem{C}
+ES: do,
+I: do,
+F: ut,
+D: C, c,
+NL: c,
+DK: c,
+S: c,
+N: c.
+
+@aitem{C clef}
+ES: Clave de do,
+I: chiave di do,
+F: cl@'e d'ut,
+D: C-Schl@"ussel,
+NL: C-sleutel,
+DK: c-n@o{}gle,
+S: c-klav,
+N: ?.
+
+Clef symbol indicating the position of the central C. Used on all note
+lines.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.Clef \override #'full-size-change = ##t
+\property Score.LyricText \set #'font-style = #'large
+\addlyrics
+\context Staff \notes\relative c' {
+ \clef soprano c1 s s
+ \clef mezzosoprano c s s
+ \clef alto c s s
+ \clef tenor c s s
+ \clef baritone c s s
+}
+\context Lyrics \lyrics {
+ \property Lyrics . LyricText \override #'alignment = #-1
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+}
+@end lilypond
+
+@aitem{cadence}
+ES: cadencia,
+I: cadenza,
+F: cadence,
+D: Kadenz,
+NL: cadens,
+DK: kadence,
+S: kadens,
+N: ?.
+
+@aref{harmonic cadence}, @aref{functional harmony}.
+
+@aitem{cadenza}
+ES: cadenza,
+I: cadenza,
+F: cadence,
+D: Kadenz,
+NL: cadens,
+DK: kadence,
+S: kadens,
+N: ?.
+
+An extended, improvisatory style section inserted near the end of
+movement. The purpose of a cadenza is to give the singer or player a chance to
+exhibit her technichal skill and not the least her ability to improvise. Since
+the middle of the 19th century, however, most cadences have been written down
+by the composer.
+
+@aitem{canon}
+ES: canon,
+I: canone,
+F: canon,
+D: Kanon,
+NL: canon,
+DK: kanon,
+S: kanon,
+N: ?.
+
+@aref{counterpoint}.
+
+@aitem{cent}
+ES: cent,
+I: cent,
+F: cent,
+D: Cent,
+NL: cent,
+DK: cent,
+S: cent,
+N: ?.
+
+Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
+equally tempered @aref{semitone}).
+@aref{equal temperament}.
+
+@aitem{central C}
+@aref{middle C}.
+
+@aitem{chord}
+ES: acorde,
+I: accordo,
+F: accord,
+D: Akkord,
+NL: akkoord,
+DK: akkord,
+S: ackord,
+N: ?.
+
+Three or more tones sounding simultaneously. In traditional European music the
+base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
+minor @aref{third}) as well as @emph{minor} (minor + major third)
+chords may be extended with more thirds. Four-tone @emph{seventh chords}
+and five-tone @emph{ninth} major chords are most often used as dominants
+(@aref{functional harmony}). A special case is chords having no
+third above the lower notes to define their quality as major or minor. Such
+chords are denoted open chords
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Voice.TextScript \set #'font-style = #'large
+\addlyrics
+\context Staff \notes\relative c'' {
+ <g1 b d> s s
+ <g bes d> s s
+ <g bes des> s s
+ <g b dis> s s
+ <g b d f> s s
+ <g b d f a> s s
+}
+\context Lyrics \lyrics{
+ \property Lyrics . LyricText \override #'alignment = #-1
+ "major " "minor " "diminished " "augmented "
+ "seventh-chord " "ninth-chord "
+}
+@end lilypond
+
+@aitem{chromatic scale}
+ES: escala crom@'atica,
+I: scala cromatica,
+F: gamme chromatique,
+D: chromatische Tonleiter,
+NL: chromatische toonladder,
+DK: kromatisk skala,
+S: kromatisk skala,
+N: ?.
+
+A scale consisting of all 11 @aref{semitone}s.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+@end lilypond
+
+@aitem{chromaticism}
+ES: cromatismo,
+I: cromatismo,
+F: chromatisme,
+D: Chromatik,
+NL: chromatiek,
+DK: kromatik,
+S: kromatik,
+N: ?.
+
+Use of tones extraneous to a @aref{diatonic scale} (minor, major).
+
+@aitemii{church mode,ecclesiastical mode}
+ES: modo eclesi@'astico,
+I: modo ecclesiastico,
+F: mode eccl@'esiastique,
+D: Kirchentonart,
+NL: kerktoonladder,
+DK: kirketoneart,
+S: kyrkotonart,
+N: ?.
+
+@aref{diatonic scale}.
+
+@aitem{clef}
+ES: clave,
+I: chiave,
+F: cl@'e, clef,
+D: Schl@"ussel, Notenschl@"ussel,
+NL: sleutel,
+DK: n@o{}gle,
+S: klav,
+N: ?.
+
+@aref{C clef}, @aref{F clef}, @aref{G clef}.
+
+@aitem{comma}
+I: comma,
+F: comma,
+D: Komma,
+NL: komma,
+DK: komma,
+S: komma,
+N: ?.
+
+Difference in pitch between a note derived from pure tuning and the same note
+derived from some other tuning method. @aref{temperament}.
+
+@aitem{common meter}
+@aref{meter}.
+
+@aitem{compound interval}
+ES: intervalo compuesto,
+I: intervallo composto,
+F: intervalle compos@'e,
+D: weites Intervall,
+NL: samengesteld interval,
+DK: sammensat interval,
+S: sammansatt intervall,
+N: ?.
+
+Intervals larger than an octave.
+
+@aref{interval}.
+
+@aitem{complement}
+I: rivolto,
+F: intervalle compl@'ementaire,
+D: Komplement@"arintervall,
+NL: complementair interval,
+DK: komplement@ae{}rinterval,
+S: komplement@"arintervall (?),
+N: ?.
+
+@aref{inverted interval}.
+
+@aitem{conjunct movement}
+ES: movimiento conjunto,
+I: moto congiunto,
+F: mouvement conjoint,
+D: schrittweise, stufenweise Bewegung,
+NL: ?,
+DK: trinvis bev@ae{}gelse,
+S: stegvis r@"orelse,
+N: ?.
+
+Melody moving in the narrow steps of the scale.
+
+@lilypond[13pt]
+\key g \major \time 4/4
+\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+@end lilypond
+
+@aitem{consonance}
+ES: consonancia,
+I: consonanza,
+F: consonance,
+D: Konsonanz,
+NL: consonant,
+DK: konsonans,
+S: konsonans,
+N: ?.
+
+@aref{harmony}.
+
+@aitem{contralto}
+ES: contralto,
+I: contralto,
+F: contralto,
+D: Alt,
+NL: contralto,
+DK: alt,
+S: alt,
+N: ?.
+
+@aref{alto}.
+
+@aitem{counterpoint}
+ES: contrapunto,
+I: contrappunto,
+F: contrepoint,
+D: Kontrapunkt,
+NL: contrapunt,
+DK: kontrapunkt,
+S: kontrapunkt,
+N: ?.
+
+From latin @emph{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 @emph{fugue} which, since the
+music of the baroque era, has been one of the most popular polyphonic
+composition methods.
+
+@lilypond[11pt,noquote]
+\property Score.TimeSignature \override #'style = #'()
+\notes\context PianoStaff <
+ \context Staff = SA \relative c' {
+ \key bes \major
+ \time 4/4
+ \clef treble
+ < \context Voice = rha {
+ \stemUp
+ r1 | r2 r8 g'8 bes d, |
+ cis4 d r8 e!16 f g8 f16 e |
+ f8 g16 a bes8 a16 g a8
+ }
+ \context Voice = rhb {
+ \stemDown
+ r1 | r | r | r2 s8
+ }
+ >
+ }
+ \context Staff = SB \relative c' {
+ \clef bass
+ \key bes \major
+ < \context Voice = lha {
+ \stemUp
+ r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
+ r8 a16 g f8 g16 a bes8 g e! cis' |
+ d4. e!8 f
+ }
+ \context Voice = lhb {
+ \stemDown
+ r1 | r | r | r2 s8
+ } >
+ }
+>
+@end lilypond
+
+@aitem{counter tenor}
+ES: contratenor,
+I: controtenore,
+F: contre-tenor,
+D: Countertenor,
+NL: contratenor,
+DK: kontratenor,
+S: kontratenor, counter tenor,
+N: kontratenor.
+
+@aref{contralto}.
+
+@aitem{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 noteheads
+on stems) varied slightly from those of engravers. Some of their working
+methods were superior and could well be adopted by music typesetters. This
+required more skill than engraving.
+
+@aitem{crescendo}
+ES: crescendo,
+I: crescendo,
+F: crescendo,
+D: Crescendo, lauter werden,
+NL: crescendo,
+DK: crescendo,
+S: crescendo,
+N: crescendo.
+
+Increasing volume. Indicated by a rightwards opening horizontal wedge or the
+abbreviation ``cresc.''.
+
+@lilypond[13pt]
+\key g \major \time 4/4
+\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
+@end lilypond
+
+@aitem{cue-notes}
+ES: notas guia,
+I: notine,
+F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
+D: Stichnoten,
+NL: stichnoten,
+DK: stiknoder,
+S: inprickningar,
+N: ?.
+
+In a separate part notes belonging to another part with the purpose of hinting
+when to start playing. Usually printed in a smaller type.
+
+@aitem{D}
+ES: Re,
+I: re,
+F: r@'e,
+D: D, d,
+NL: d,
+DK: d,
+S: d,
+N: d.
+
+@aitem{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,
+N: ?.
+
+The term indicates repetition of the piece from the beginning to the end or to
+a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
+
+@aitem{dal segno}
+ES: dal segno,
+I: dal segno,
+F: dal segno, depuis le signe,
+D: dal segno,
+NL: dal segno,
+DK: dal segno,
+S: dal segno,
+N: ?.
+
+Abbreviated ``d.s.''. Repetition, not from the beginning, but from
+another place frequently near the beginning marked by a sign:
+
+@lilypond[13pt]
+\property Voice.TextScript \set #'font-style = #'large
+\property Voice.TextScript \set #'font-shape = #'italic
+\key g \major \time 4/4
+\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
+@end lilypond
+
+@aitem{decrescendo}
+ES: decrescendo,
+I: decrescendo,
+D: Decrescendo, leiser werden,
+NL: decrescendo,
+DK: decrescendo,
+S: decrescendo,
+N: decrescendo.
+
+Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
+or the abbreviation ``decresc.''.
+
+@lilypond[13pt]
+\notes\relative c'' {
+ \key g \major \time 4/4
+ d4 \> c b a | \! g1 \bar "|."
+}
+@end lilypond
+
+@aitem{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,
+N: ?.
+
+A distance between a starting higher note and a lower ending note.
+
+@aitem{diatonic scale}
+ES: escala diat@'onica,
+I: scala diatonica,
+F: gamme diatonique,
+D: diatonische Tonleiter,
+NL: diatonische toonladder,
+DK: diatonisk skala,
+S: diatonisk skala,
+N: ?.
+
+A scale consisting of 5@w{ }@aref{whole tone}s and
+2@w{ }@aref{semitone}s (S). Scales played on the white keys
+of a piano keybord are diatonic.
+
+The church modes are used in gregorial chant and pre baroque early music but
+also to some extent in newer jazz music.
+
+@lilypond[13pt,notime,linewidth=110mm]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \context Staff \notes\relative c' {
+ c1 d
+ \property Voice.TextScript \set #'padding = #-4
+ e^"~~ S" f g a b^"~~ S" c
+ }
+ \context Lyrics \lyrics {
+ Ionian
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \context Staff \notes\relative c' {
+ d1
+ \property Voice.TextScript \set #'padding = #-4
+ e^"~~ S" f g a b^"~~ S" c d
+ }
+ \context Lyrics \lyrics {
+ Dorian
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c' {
+ \property Voice.TextScript \set #'padding = #-4
+ e1^"~~ S" f g a b^"~~ S" c d e
+ }
+ \context Lyrics \lyrics {
+ Phrygian
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c' {
+ f1 g a
+ \property Voice.TextScript \set #'padding = #-4
+ b^"~~ S" c d e^"~~ S" f
+ }
+ \context Lyrics \lyrics {
+ Lydian
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c'' {
+ g1 a
+ \property Voice.TextScript \set #'padding = #-4
+ b^"~~ S" c d e^"~~ S" f g }
+ \context Lyrics \lyrics {
+ Mixolydian
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c'' {
+ a1
+ \property Voice.TextScript \set #'padding = #-4
+ b^"~~ S" c d e^"~~ S" f g a
+ }
+ \context Lyrics \lyrics {
+ Aeolian
+ }
+@end lilypond
+
+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.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c' {
+ c1 d
+ \property Voice.TextScript \set #'padding = #-4
+ e^"~~ S" f g a b^"~~ S" c
+ }
+ \context Lyrics \lyrics {
+ Major
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c'' {
+ a1
+ \property Voice.TextScript \set #'padding = #-4
+ b^"~~ S" c d e^"~~ S" f g a
+ }
+ \context Lyrics \lyrics {
+ "ancient minor"
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c'' {
+ a1
+ \property Voice.TextScript \set #'padding = #-4
+ b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
+ }
+ \context Lyrics \lyrics {
+ "Harmonic minor"
+ }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+ \notes\relative c'' {
+ a1
+ \property Voice.TextScript \set #'padding = #-4
+ b^"~~ S" c d e fis gis^"~~ S"
+ a g! f!^"~~ S" e d c^"~~ S" b a
+ }
+ \context Lyrics \lyrics {
+ "Melodic minor"
+ }
+@end lilypond
+
+@aitem{diminished interval}
+ES: intervalo disminu@'{@dotless{i}}do,
+I: intervallo diminuito,
+F: intervalle diminu@'e,
+D: vermindertes Intervall,
+NL: verminderd interval,
+DK: formindsket interval,
+S: f@"orminskat intervall,
+N: ?.
+
+@aref{interval}.
+
+@aitem{diminuendo}
+ES: diminuendo,
+I: diminuendo,
+F: diminuendo,
+D: Diminuendo,
+NL: diminuendo,
+DK: diminuendo,
+S: diminuendo,
+N: diminuendo.
+
+@aref{decrescendo}.
+
+@aitem{disjunct movement}
+ES: movimiendo disjunto,
+I: moto disgiunto,
+F: mouvement disjoint,
+D: sprunghafte Bewegung,
+NL: ?,
+DK: springende bev@ae{}gelse,
+S: hoppande r@"orelse,
+N: ?.
+
+Melody moving in steps greater than those of the
+scale. Opposite of @aref{conjunct movement}.
+
+@lilypond[13pt]
+\key a \major
+\time 4/4
+\notes\relative c' {
+ \partial 8 e8 |
+ a4. gis8 b a e cis |
+ fis2 d4. \bar "||" }
+@end lilypond
+
+@aitemii{dissonant interval,dissonance}
+ES: intervalo disonante, disonancias,
+I: intervallo dissonante, dissonanza,
+F: dissonance,
+D: Dissonanz,
+NL: dissonant interval; dissonant,
+DK: dissonerende interval, dissonans,
+S: dissonans,
+N: ?.
+
+@aref{harmony}.
+
+@aitem{dominant ninth chord}
+I: accordo di nona di dominante,
+F: accord de neuvi@`eme dominante,
+D: Dominantnoneakkord,
+NL: dominant noon akkoord,
+DK: dominantnoneakkord,
+S: dominantnonackord,
+N: ?.
+
+@aref{chord}, @aref{functional harmony}.
+
+@aitem{dominant seventh chord}
+ES: acorde de s@'eptima de dominante,
+I: accordo di settima di dominante,
+F: accord de septi@`eme dominante,
+D: Dominantseptakkord,
+NL: dominant septiem akkoord,
+DK: dominantseptimakkord,
+S: dominantseptimackord,
+N: ?
+
+@aref{chord}, @aref{functional harmony}.
+
+@aitem{dominant}
+ES: dominante,
+I: dominante,
+F: dominante,
+D: Dominante,
+NL: dominant,
+DK: dominant,
+S: dominant,
+N: ?.
+
+The fifth @aref{scale degree},
+@aref{functional harmony}.
+
+@aitem{dorian mode}
+ES: modo d@'orico,
+I: modo dorico,
+F: mode dorien,
+D: dorisch, dorischer Kirchenton,
+NL: dorische toonladder,
+DK: dorisk skala,
+S: dorisk tonart,
+N: ?.
+
+@aref{diatonic scale}.
+
+@aitem{dot (augmentation dot)}
+ES: puntillo,
+I: punto (di valore),
+F: point,
+D: Punkt (Verl@"angerungspunkt),
+NL: punt,
+DK: punkt,
+S: punkt,
+N: ?.
+
+@aref{dotted note}.
+
+@aitem{dotted note}
+ES: nota con puntillo,
+I: nota puntata,
+F: note point@'ee,
+D: punktierte Note,
+NL: gepuncteerde noot,
+DK: punkteret node,
+S: punkterad not,
+N: ?.
+
+@aref{note value}.
+
+@aitem{double appoggiatura}
+ES: apoyatura doble,
+I: appoggiatura doppia,
+F: appoggiature double,
+D: doppelter Vorschlag,
+NL: dubbele voorslag,
+DK: dobbelt forslag,
+S: dubbelslag,
+N: ?.
+
+@aref{appoggiatura}.
+
+@aitem{double bar line}
+I: doppia barra,
+F: double barre,
+D: Doppelstrich,
+NL: dubbele maatstreep,
+DK: dobbeltstreg,
+S: dubbelstreck,
+N: ?.
+
+Indicates the end of a section within a movement.
+
+@aitem{double dotted note}
+ES: nota con dos puntillos,
+I: nota doppiamente puntata,
+F: note doublement point@'ee,
+D: doppelt punktierte Note,
+NL: dubbelgepuncteerde noot,
+DK: dob@-belt@-punk@-te@-ret node,
+S: dub@-bel@-punk@-te@-rad not,
+N: ?.
+
+@aref{note value}.
+
+@aitem{double flat}
+ES: doble bemol,
+I: doppio bemolle,
+F: double b@'emol,
+D: Doppel-B,
+NL: dubbelmol,
+DK: dob@-belt-b,
+S: dubbelbe,
+N: ?.
+
+@aref{accidental}.
+
+@aitem{double sharp}
+ES: doble sostenido,
+I: doppio diesis,
+F: double di@`ese,
+D: Doppelkreuz,
+NL: dubbelkruis,
+DK: dob@-belt@-kryds,
+S: dubbelkors,
+N: ?.
+
+@aref{accidental}.
+
+@aitem{double trill}
+ES: trino doble,
+I: doppio trillo,
+F: trille double,
+D: Doppeltriller,
+NL: dubbele triller,
+DK: dobbelttrille,
+S: dubbeldrill,
+N: ?.
+
+A simultaneous trill on two notes, usually in the distance of a third.
+
+@aitem{duple meter}
+ES: tiempo binario,
+I: tempo binario,
+F: temps binaire,
+D: in zwei,
+NL: tweedelige maatsoort,
+DK: todelt takt,
+S: tv@aa{}takt,
+N: ?.
+
+@aref{meter}.
+
+@aitem{duplet}
+ES: dosillo,
+I: duina,
+F: duolet,
+D: Duole,
+NL: duool,
+DK: duol,
+S: duol,
+N: ?.
+
+@aref{note value}.
+
+@aitem{duration}
+ES: duraci@'on,
+I: durata,
+F: dur@'ee,
+D: Dauer, L@"ange,
+NL: duur, lengte,
+DK: varighed,
+S: tonl@"angd,
+N: ?.
+
+@aref{note value}.
+
+@aitem{dydimic comma}
+@aref{syntonic comma}.
+
+@aitem{E}
+ES: mi,
+I: mi,
+F: mi,
+D: E, e,
+NL: e,
+DK: e,
+S: e,
+N: e.
+
+@aitem{eighth note}
+ES: corchea,
+I: croma,
+F: croche,
+UK: quaver,
+D: Achtel, Achtelnote,
+NL: achtste noot,
+DK: ottendedelsnode,
+S: @aa{}ttondelsnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{eighth rest}
+ES: silencio de corchea,
+I: pausa di croma,
+F: demi-soupir,
+UK: quaver rest,
+D: Achtelpause,
+NL: achtste rust,
+DK: ottendedelspause,
+S: @aa{}ttonddelspaus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{engraving}
+ES: Grabar
+I: incisione,
+F: gravure,
+D: Notenstechen, Notendruck
+NL: steken,
+DK: nodestik,
+S: nottryck,
+N: ?.
+
+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.
+
+@aitem{enharmonic}
+ES: enharm@'onico,
+I: enarmonico,
+F: enharmonique,
+D: enharmonisch,
+NL: enharmonisch,
+DK: enharmonisk,
+S: enharmonisk,
+N: ?.
+
+Two notes, intervals, or scales are enharmonic if they have different names
+but equal pitch.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+\context Staff \notes\relative c'' {
+ gis1 s s as s s <des g,!> s s <cis g!> s s
+}
+\context Lyrics \lyrics {
+ \property Lyrics . LyricText \override #'alignment = #-1
+ "g sharp " "a flat " "dim fifth " "augm fourth"
+}
+@end lilypond
+
+@aitem{equal temperament}
+ES: ?,
+I: temperamento equabile,
+F: temp@'erament @'egal,
+D: gleichschwebende Stimmung,
+NL: ge@-lijk@-zwe@-ven@-de temperatuur,
+DK: ligesv@ae{}vende temperatur,
+S: liksv@"avande temperatur,
+N: ?.
+
+Tuning system dividing the octave into 12 equal @aref{semitone}s
+(precisely 100 @aref{cent}s). @aref{temperament}.
+
+@aitem{expression mark}
+ES: ?,
+I: segno d'espressione,
+F: signe d'expression, indication de nuance,
+D: Vortragszeichen,
+NL: voordrachtsteken,
+DK: foredragsbetegnelse,
+S: f@"oredragsbeteckning,
+N: ?.
+
+Performance indications concerning 1. volume, dynamics (for example
+@aref{forte}, @aref{crescendo}), 2. tempo (for example
+@aref{andante}, @aref{allegro}).
+
+@aitem{F}
+ES: fa,
+I: fa,
+F: fa,
+D: F, f,
+NL: f,
+DK: f,
+S: f,
+N: f.
+
+@aitem{F clef}
+ES: Clave de Fa,
+I: chiave di fa,
+F: cl@'e de fa,
+D: F-Schl@"ussel,
+NL: F-sleutel,
+DK: F-n@o{}gle,
+S: f-klav,
+N: ?.
+
+The position between the dots of the key symbol is the line of the F below
+central@w{ }C. Used on the third, fourth and fifth note line. A
+digit@w{ }8 above the clef symbol indicates that the notes must be played
+an octave higher (for example bass recorder) while 8@w{ }below the clef
+symbol indicates playing an octave lower (for example on double bass
+@aref{strings}).
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Staff.Clef \override #'full-size-change = ##t
+\property Score.LyricText \set #'font-style = #'large
+\addlyrics
+\notes\relative c {
+ \clef varbaritone
+ f1
+ \clef bass
+ f1
+ \clef subbass
+ f1
+ \clef "F^8"
+ f1
+ \clef "F_8"
+ f1
+}
+\context Lyrics \lyrics {
+ \property Lyrics . LyricText \override #'alignment = #-1
+ "baritone "
+ "bass "
+ "sub-bass "
+ "octaved up "
+ "octaved down"
+}
+@end lilypond
+
+@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
+@aitem{fermata}
+ES: Calder@'on,
+I: corona,
+F: point d'orgue, point d'arr@^et,
+D: Fermate,
+NL: fermate,
+DK: fermat,
+S: fermat,
+N: ?.
+
+Prolonged note or rest of indefinite duration.
+
+@lilypond[13pt]
+\time 4/4
+\notes\relative c'' {
+ a4 b c2^\fermata \bar "|."
+}
+@end lilypond
+
+@aitem{fifth}
+ES: quinta,
+I: quinta,
+F: quinte,
+D: Quinte,
+NL: kwint,
+DK: kvint,
+S: kvint,
+N: kvint.
+
+@aref{interval}.
+
+@aitem{figured bass}
+ES: bajo cifrado, @aref{thorough bass}.
+
+@aitem{fingering}
+ES: digitaci@'on,
+I: diteggiatura,
+F: doigt@'e,
+D: Fingersatz,
+NL: vingerzetting,
+DK: fingers@ae{}tning,
+S: fingers@"attning,
+N: ?.
+
+The methodical use of fingers in the playing of instruments.
+
+@aitem{flag,pennant}
+ES: corchete,
+I: coda (uncinata), bandiera,
+F: crochet,
+D: Fahne, F@"ahnchen,
+NL: vlaggetje,
+DK: fane,
+S: flagga,
+N: ?.
+
+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
+@aref{note value}.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c'' {
+ g8_"1/8" s8
+ g16_"1/16" s8
+ g32_"1/32" s8
+ g64_"1/64" s8
+}
+@end lilypond
+
+@aitem{flat}
+ES: bemol,
+I: bemolle,
+F: b@'emol,
+D: B, b,
+NL: mol,
+DK: b,
+S: bef@"ortecken,
+N: ?.
+
+@aref{accidental}.
+
+@aitemii{forefall,backfall}
+@aref{appoggiatura}.
+
+@aitem{forte}
+ES: forte,
+I: forte,
+F: forte,
+D: forte, laut,
+NL: forte,
+DK: forte,
+S: forte,
+N: ?.
+
+Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
+@emph{mezzoforte} (@b{mf}) medium loud.
+
+@aitem{fourth}
+ES: cuarta,
+I: quarta,
+F: quarte,
+D: Quarte,
+NL: kwart,
+DK: kvart,
+S: kvart,
+N: ?.
+
+@aref{interval}.
+
+@aitem{fugue}
+ES: fuga,
+I: fuga,
+F: fugue,
+D: Fuge,
+NL: fuga,
+DK: fuga,
+S: fuga,
+N: ?.
+
+@aref{counterpoint}.
+
+@aitem{functional harmony}
+ES: armon@'{@dotless{i}}a funcional,
+I: armonia funzionale,
+F: @'etude des functions,
+D: Funktionslehre,
+NL: ?,
+DK: funktionsanalyse, funktionsharmonik,
+S: funktionsl@"ara,
+N: ?.
+
+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). Other are considered to be
+variants of the base chords.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+\context Voice \notes\relative c'' {
+ < g1 e c > < a f d > < b g e >
+ < c a f > < d b g > < e c a > < f d b > }
+\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
+@end lilypond
+
+@aitem{G}
+ES: sol,
+I: sol,
+F: sol,
+D: G, g,
+NL: g,
+DK: g,
+S: g,
+N: g.
+
+@aitem{G clef}
+ES: Clave de sol,
+I: chiave di sol,
+F: cl@'e de sol,
+D: G-Schl@"ussel, Violinschl@"ussel,
+NL: G-sleutel,
+DK: g-n@o{}gle,
+S: g-klav,
+N: ?.
+
+A clef symbol indicating the G above central@w{ }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).
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Staff.Clef \set #'full-size-change = ##t
+\property Score.LyricText \set #'font-style = #'large
+\addlyrics
+\notes\relative c'' {
+ \clef french
+ g1 s s
+ \clef treble
+ g s s
+ \clef "G^8"
+ g s s
+ \clef "G_8"
+ g s s
+}
+\context Lyrics \lyrics {
+ \property Lyrics . LyricText \override #'alignment = #-1
+ "french violin clef "
+ "violin clef "
+ "octaved up "
+ "octaved down"
+}
+@end lilypond
+
+@aitem{glissando}
+ES: glissando,
+I: glissando,
+F: glissando,
+D: Glissando,
+NL: glissando,
+DK: glissando,
+S: glissando,
+N: glissando.
+
+Letting the pitch slide fluently from one note to the other.
+
+@aitem{grace notes}
+SP: ?,
+I: abbellimenti,
+F: fioriture,
+D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
+NL: versieringen,
+DK: forsiringer,
+S: ornament,
+N: ?.
+
+Notes printed in small types to indicate that their time values are not
+counted in the rhythm of the bar. @aref{appoggiatura}.
+
+@aitem{grand staff}
+I: accolatura,
+F: accolade,
+D: Akkolade,
+NL: piano systeem,
+DK: klaversystem,
+S: ackolad, b@"ojd klammer,
+N: ?.
+
+@aref{brace}.
+
+A combination of two staves with a brace. Usually used for piano music.
+
+@aitem{grave}
+ES: grave,
+I: grave,
+F: grave,
+D: grave, langsam,
+NL: grave, ernstig,
+DK: grave,
+S: grave,
+N: ?.
+
+Slow, solemn.
+
+@aitem{half note}
+ES: blanca,
+I: minima,
+F: blanche,
+UK: minim,
+D: Halbe, halbe Note,
+NL: halve noot,
+DK: halvnode,
+S: halvnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{half rest}
+SP: ?,
+I: pausa di minima,
+F: demi-pause,
+UK: minim rest,
+D: halbe Pause,
+NL: halve, rust,
+DK: halvnodespause,
+S: halvpaus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{harmonic cadence}
+ES: cadencia (arm@'onica),
+I: cadenza (armonica),
+F: cadence harmonique,
+D: Schlusskadenz,
+NL: harmonische cadens,
+DK: harmonisk kadence,
+S: (harmonisk) kadens,
+N: ?.
+
+Sequence of chords that terminate a musical phrase or
+section. @aref{functional harmony}.
+
+@lilypond[13pt]
+\notes\context PianoStaff <
+ \context Staff = SA \relative c'' {
+ \time 4/4
+ \clef treble
+ \context Voice
+ \partial 4 < c4 g e > |
+ < c a f > < b g d > < c2 g e >
+ }
+ \property Score.LyricText \set #'font-style = #'large
+ \addlyrics
+ \context Staff = SB \relative c {
+ \clef bass
+ \partial 4 c4 | f, g c2
+ \bar "|."
+ }
+ \context Lyrics \lyrics {
+ T S D T
+ }
+>
+@end lilypond
+
+@aitem{harmony}
+ES: armon@'{@dotless{i}}a,
+I: armonia,
+F: harmonie,
+D: Harmonie, Zusammenklang,
+NL: harmonie,
+DK: samklang,
+S: samklang,
+N: ?.
+
+Tones sounding simultaneously. Two note harmonies fall into the categories
+@emph{consonances} and @emph{dissonances}.
+
+Consonances:
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\context Voice \notes\relative c'' {
+ <g1_"unisone " g> s
+ <g1_"third " b> s
+ <g1_"fourth " c> s
+ <g1_"fifth " d'> s
+ <g1_"sixth " e'> s
+ <g1_"octave " g'> s
+ <g1_"decime" b'> s s
+}
+@end lilypond
+
+Dissonances:
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\context Voice \notes\relative c'' {
+ <g1_"second " a> s s
+ <g1_"seventh " f'> s s
+ <g1_"ninth" a'> s s
+}
+@end lilypond
+
+Three note harmony @aref{chord}.
+
+@aitem{homophony}
+ES: homofon@'{@dotless{i}}a,
+I: omofonia,
+F: homophonie,
+D: Homophonie,
+NL: homofonie,
+DK: homofoni,
+S: homofoni,
+N: ?.
+
+Music in which one voice leads melodically followed by the other voices more
+or less in the same rhythm. In contrast to @aref{polyphony}.
+
+@aitem{interval}
+ES: intervalo,
+I: intervallo,
+F: intervalle,
+D: Intervall,
+NL: interval,
+DK: interval,
+S: intervall,
+N: ?.
+
+Difference in pitch between two notes. Intervals may be perfect, minor, major,
+diminished, or augmented. The augmented fourth and the diminished fifth are
+identical (@aref{enharmonic}) and are called @emph{tritonus}
+because they consist of three @aref{whole tone}s. The addition
+of such two forms an octave.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+\context Voice \notes\relative c'' {
+ < g1 g > s
+ < g^"minor" as > s
+ < g^"major" a! > s
+ < g^"augm" ais > s
+ < gis^"dimin" bes > s
+ < g!^"minor" bes > s
+ < g^"major" b! > s
+ < g^"augm" bis > s
+}
+\context Lyrics \lyrics {
+ "unisone " "second " "second " "second "
+ "third " "third " "third " "third "
+}
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+\context Staff \notes\relative c'' {
+ < g1^"perfect" c > s
+ < g^"augm" cis > s
+ < g^"perfect" d' > s
+ < g^"dim" des' > s
+ < gis^"dimin" es' > s
+ < g!^"minor" es' > s
+ < g^"major" e'! > s
+ < g^"augm" eis' > s
+}
+\context Lyrics \lyrics {
+ "fourth " "fourth " "fifth " "fifth "
+ "sixth " "sixth " "sixth " "sixth "
+}
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+\property Score.TextScript \set #'font-style = #'large
+\addlyrics
+\context Staff \notes\relative c'' {
+ < gis1^"dimin" f'! > s
+ < g!^"minor" f'! > s
+ < g^"major" fis' > s
+ < g g' > s
+ < g^"minor" as' > s
+ < g^"major" a'! > s
+ < g^"minor" bes' > s
+ < g^"major" b'! > s
+}
+\context Lyrics \lyrics {
+ "seventh " "seventh " "seventh " "octave "
+ "none " "none " "decime " "decime "
+}
+@end lilypond
+
+@aitem{inverted interval}
+ES: intervalo invertido,
+I: intervallo rivolto,
+F: intervalle revers@'e,
+D: umgekehrtes Intervall,
+NL: interval inversie,
+DK: omvendingsinterval,
+S: intervallets omv@"andning,
+N: ?.
+
+The difference between an interval and an octave.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\context Staff \notes\relative c'' {
+ < g1_"second " a > s s < g'_"seventh " a, > s s \bar "||"
+ < g,_"third " b > s s < g'_"sixth " b, > s s \bar "||"
+ < g,_"fourth " c > s s < g'_"fifth " c, > s s \bar "||"
+}
+@end lilypond
+
+@aitem{just intonation}
+I: intonazione giusta,
+F: intonation juste,
+D: reine Stimmung,
+NL: reine stemming,
+DK: ren stemning,
+S: ren st@"amning,
+N: ?.
+
+Tuning system in which the notes are obtained by adding and subtracting
+natural fifths and thirds. @aref{temperament}.
+
+@aitem{key}
+ES: tonalidad,
+I: tonalit@`a,
+F: tonalit@'e,
+D: Tonart,
+NL: toonsoort,
+DK: toneart,
+S: tonart,
+N: ?.
+
+According to the 12@w{ }tones of the @aref{chromatic scale}
+there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
+@aref{key signature}.
+
+@aitem{key signature}
+ES: armadura de clave,
+I: armatura di chiave,
+F: armure, armature [de la cl@'e],
+D: Vorzeichen, Tonart,
+NL: toon@-soort (voortekens),
+DK: faste fortegn,
+S: tonartssignatur,
+N: ?.
+
+The sharps or flats appearing at the beginning of each staff indicating the
+key of the music. @aref{accidental}.
+
+@aitem{largo}
+ES: largo,
+I: largo,
+F: largo,
+D: Largo, Langsam, Breit,
+NL: largo,
+DK: largo,
+S: largo,
+N: largo.
+
+Very slow in tempo, usually combined with great
+expressiveness. @emph{Larghetto} is less slow than largo.
+
+@aitem{leading note}
+ES: sensible,
+I: sensibile,
+F: note sensible,
+D: Leitton,
+NL: leidtoon,
+DK: ledetone,
+S: ledton,
+N: ?.
+
+The seventh @aref{scale degree}, a @aref{semitone} below
+the tonic; so called because of its strong tendency to ``lead up'' (resolve
+upwards) to the tonic scale degree.
+
+@aitemii{ledger line,leger line}
+ES: l@'{@dotless{i}}neas adicionales,
+I: tagli addizionali,
+F: ligne suppl@'ementaire,
+D: Hilfslinie,
+NL: hulplijntje,
+DK: hj@ae{}lpelinie,
+S: hj@"alplinje,
+N: ?.
+
+A ledger line is an extension of the staff.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c'' { a,1 s c'' }
+@end lilypond
+
+@aitem{legato}
+ES: ligado,
+I: legato,
+F: legato, li@'e,
+D: legato,
+NL: legato,
+DK: legato,
+S: legato,
+N: ?.
+
+To be performed without any perceptible interruption between the notes (a)
+unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
+@aref{staccato} (d).
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\addlyrics
+\context Staff \notes\relative c'' {
+ c4( d )e \bar "||"
+ c4-- d-- e-- \bar "||"
+ c4-.( d-. )e-. \bar "||"
+ c4-. d-. e-. \bar "||"
+}
+\context Lyrics \lyrics {
+ \property Lyrics . LyricText \set #'font-style = #'large
+ a
+ b "" ""
+ c
+ d
+}
+@end lilypond
+
+@aitem{legato curve}
+@aref{slur}, @aref{legato}.
+
+@aitem{lilypond}
+ES: estanque de lilas,
+I: stagno del giglio,
+F: @'etang de lis,
+UK: lily pond,
+D: Seerosenteich,
+NL: le@-lie@-vij@-ver,
+DK: liliedam,
+S: liljedamm,
+N: ?.
+
+A pond with lilies floating in it, also the name of a music typesetter.
+
+@aitem{line}
+ES: l@'{@dotless{i}}nea,
+I: linea,
+F: ligne,
+D: Linie, Notenlinie,
+NL: lijn,
+DK: nodelinie,
+S: notlinje,
+N: ?.
+
+@aref{staff}.
+
+@aitem{long appoggiatura}
+ES: apoyatura larga,
+I: appoggiatura lunga,
+F: appoggiature longue,
+D: langer Vorschlag,
+DK: langt forslag,
+S: l@aa{}ngt f@"orslag,
+N: ?.
+
+@aref{appoggiatura}.
+
+@aitem{longa}
+ES: longa,
+I: longa,
+F: longa,
+D: Longa,
+NL: longa,
+DK: longa,
+S: longa,
+N: longa.
+
+Note value: double length of @aref{breve}.
+@aref{note value}.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c'' {
+ \property Voice.NoteHead \set #'style = #'mensural
+ g\longa
+}
+@end lilypond
+
+@aitemii{lyrics,song texts}
+ES: .,
+I: .,
+F: .,
+D: .,
+NL: liedtekst,
+DK: .,
+S: .,
+N: ..
+
+@aitem{major interval}
+ES: intervalo mayor,
+I: intervallo maggiore,
+F: intervalle majeur,
+D: gro@ss{}es Intervall,
+NL: groot interval,
+DK: stort interval,
+S: stort intervall,
+N: ?.
+
+@aref{interval}.
+
+@aitem{major}
+ES: mayor,
+I: maggiore,
+F: [mode] majeur,
+D: Dur,
+NL: majeur,
+DK: dur,
+S: dur,
+N: dur.
+
+@aref{diatonic scale}.
+
+@aitem{meantone temperament}
+I: accordatura mesotonica,
+F: temp@'erament m@'esotonique,
+D: mittelt@"onige Stimmung,
+NL: ?,
+DK: middeltonetemperatur,
+S: medeltonstemperatur,
+N: ?.
+
+Temperament yielding acoustically pure thirds by decreasing the natural fifth
+by 16@w{ }@aref{cent}s. Due to the non-circular character of this
+@aref{temperament} only a limited set of keys are playable.
+Used for tuning keyboard instruments for performance of pre-1650 music.
+
+@aitem{measure, bar}
+ES: comp@'as,
+I: misura, battuta,
+F: mesure,
+D: Takt,
+NL: maat,
+DK: takt,
+S: takt,
+N: takt.
+
+A group of @aref{beat}s (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. @aref{meter}.
+
+@aitem{mediant}
+ES: mediante,
+I: mediante, modale,
+F: m@'ediante,
+NL: mediant,
+D: Mediante,
+DK: mediant,
+S: mediant,
+N: ?.
+
+1. The third @b{scale degree}.
+2. A @aref{chord} having its base tone
+a third from that of another chord. For example, the tonic chord may be
+replaced by its lower mediant (variant tonic). @aref{functional
+harmony}, @aref{relative key}.
+
+@aitem{melodic cadence}
+@aref{cadenza}.
+
+@aitem{meter, time}
+ES: comp@'as,
+I: tempo, metro,
+F: indication de m@'esure,
+D: Taktart, Metrum,
+NL: maatsoort,
+DK: taktart,
+S: taktart,
+N: ?.
+
+The basic scheme of @aref{note value}s and
+@aref{accent}s which remains unaltered throughout a composition
+or a section of it. For instance, 3/4 meter means that the basic
+@aref{note value}s are quarter notes and that a
+@aref{measure} consists of three of those. According to
+whether there are two, three or four units to the measure,
+one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
+@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
+
+@lilypond[13pt]
+\notes\relative c'' {
+ \time 3/4
+ \key f \major
+ c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+@end lilypond
+
+@lilypond[13pt]
+\notes\relative c' {
+ \time 6/8
+ \key f \major
+ f8 f f f a16 g a f |
+ c'8 c c c e16 d e c \bar "||"}
+@end lilypond
+
+@lilypond[13pt]
+\notes\relative c'' {
+ \time 5/4
+ \key g \major
+ d4 b8 g b d d c a4 |
+ g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+@end lilypond
+
+@aitem{metronome}
+ES: metr@'onomo,
+I: metronomo,
+F: m@'etronome,
+D: Metronom,
+NL: metronoom,
+DK: me@-tro@-nom,
+S: me@-tro@-nom,
+N: metronom.
+
+Device indicating the exact tempo of a piece. @aref{metronomic
+indication}.
+
+@aitem{metronomic indication}
+ES: indicaci@'on metron@'omica,
+I: indicazione metronomica,
+F: indication m@'etronomique,
+D: Metronomangabe,
+NL: metronoom aanduiding,
+DK: metronomtal,
+S: metronomangivelse,
+N: ?.
+
+Exact tempo indication (in beats per minute). Also denoted by
+M.M. (M@"alzels Metronom).
+
+@aitem{mezzo-soprano}
+ES: mezzo soprano,
+I: mezzo-soprano,
+F: mezzo-soprano,
+D: Mezzosopran,
+NL: mezzosopraan,
+DK: mezzosopran,
+S: mezzosopran,
+N: mezzosopran.
+
+The female voice between @aref{soprano} and
+@aref{contralto}.
+
+@aitem{middle C}
+ES: do central,
+I: do centrale,
+F: do central,
+D: eingestrichenes@w{ }c,
+NL: centrale@w{ }c,
+DK: enstreget@w{ }c,
+S: ettstruket@w{ }c,
+N: ?.
+
+First C below the 440 Hz A.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Staff.Clef \set #'full-size-change = ##t
+\notes\relative c' {
+ \clef bass c1 s
+ \clef alto c s
+ \clef treble c s
+}
+@end lilypond
+
+@aitem{minor}
+ES: menor,
+I: minore,
+F: mode mineur,
+D: Moll,
+NL: mineur,
+DK: mol,
+S: moll,
+N: ?.
+
+@aref{diatonic scale}.
+
+@aitem{minor interval}
+ES: intervalo mayor,
+I: intervallo minore,
+F: intervalle mineur,
+D: kleines Intervall,
+NL: klein interval,
+DK: lille interval,
+S: litet intervall,
+N: ?.
+
+@aref{interval}.
+
+@aitem{mode}
+ES: modo,
+I: modo,
+F: mode,
+D: Modus,
+NL: modus,
+DK: skala,
+S: modus, skala,
+N: ?.
+
+@aref{church mode}, @aref{diatonic scale}.
+
+@aitem{modulation}
+ES: modulaci@'on,
+I: modulazione,
+F: modulation,
+D: Modulation,
+NL: modulatie,
+DK: modulation,
+S: modulering,
+N: ?.
+
+Moving from one @aref{key} to another. For example, the second
+subject of a @aref{sonata form} movement modulates to the dominant
+key if the key is major and to the @aref{relative key} if the key
+is minor.
+
+@aitem{mordent}
+I: mordente,
+F: mordant,
+D: Mordent,
+NL: mordent,
+DK: mordent,
+S: mordent,
+N: ?.
+
+@aref{ornament}.
+
+@aitemii{motive,motif}
+ES: tema,
+I: inciso,
+F: incise,
+D: Motiv,
+NL: motief,
+DK: motiv,
+S: motiv,
+N: ?.
+
+The briefest intelligible and self-contained fragment of a musical theme or
+subject.
+
+@lilypond[13pt]
+\property Score.TimeSignature \override #'style = #'()
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c'' {
+ \time 4/4
+ \key g \major
+ \partial 8 g16_"------" fis |
+ g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
+ g8 g,16 a b8 cis d16 s
+}
+@end lilypond
+
+@aitem{movement}
+ES: movimiento,
+I: movimento,
+F: mouvement,
+D: Satz,
+NL: deel,
+DK: sats,
+S: sats,
+N: ?.
+
+Greater musical works like @aref{symphony} and
+@aref{sonata} most often consist of several -- more or less --
+independant pieces called movements.
+
+@aitem{multibar rest}
+ES: compases de espera,
+I: pausa multipla,
+F: pause multiple,
+NL: meermaats rust,
+D: mehrtaktige Pause,
+DK: flertaktspause,
+S: flertaktspaus,
+N: ?.
+
+@lilypond[13pt]
+\notes\relative c'' {
+ a1
+ \property Score.skipBars=##t R1*3
+ a1
+}
+@end lilypond
+
+@aitem{mixolydian mode}
+@aref{diatonic scale}.
+
+@aitem{natural sign}
+ES: becuadro,
+I: bequadro,
+F: b@'ecarre,
+D: Aufl@"osungszeichen,
+NL: herstellingsteken,
+DK: op@-l@o{}sningstegn,
+S: @aa{}terst@"allningstecken,
+N: ?.
+
+@aref{accidental}.
+
+@aitem{neighbour tones}
+@aref{appoggiatura}.
+
+@aitem{ninth}
+ES: novena,
+I: nona,
+F: neuvi@`eme,
+D: None,
+NL: noon,
+DK: none,
+S: nona,
+N: ?.
+
+@aref{interval}.
+
+@aitem{non-legato}
+@aref{legato}.
+
+@aitem{note}
+ES: nota,
+I: nota,
+F: note,
+D: Note,
+NL: noot,
+DK: node,
+S: not,
+N: ?,
+
+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 @aref{note} is strongly recommended. Briefly, one sees a note,
+and hears a tone.
+
+@aitem{note head}
+ES: oval,
+I: testa, testina, capocchia,
+F: t@^ete de la note,
+D: Notenkopf,
+NL: nootballetje,
+DK: nodehovede,
+S: nothuvud,
+N: ?.
+
+A head like sign which indicates pitch by its position on a
+@aref{staff} provided with a @aref{clef}, and duration
+by a variety of shapes such as hollow or black heads with or without
+@aref{stem}s, @aref{flag}s, etc. For percussion
+instruments (often having no defined pitch) the note head may indicate the
+instrument.
+
+@aitem{note value}
+ES: valor,
+I: valore, durata,
+F: dur@'ee, valeur (d'une note),
+D: Notenwert,
+NL: nootwaarde,
+DK nodev@ae{}rdi,
+S: notv@"arde,
+N: ?.
+
+Note values (durations) are measured as fractions, normally 1/2, of the next
+higher note value. The longest duration normally used is called @emph{brevis},
+but sometimes (mostly in pre baroque music) the double length note value
+@emph{longa} is used.
+
+@lilypond[13pt,notime]
+\property Score.TextScript \set #'font-style = #'large
+\property Score.barNonAuto = ##t
+\notes\relative c'' {
+ \property Voice.NoteHead \override #'style = #'mensural
+ g\longa_"longa" g\breve_"breve"
+ \property Voice.NoteHead \revert #'style
+ g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
+ g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.TextScript \set #'font-style = #'large
+\property Score.barNonAuto = ##t
+\notes\relative c'' {
+ r\longa_"longa" r\breve_"breve"
+ r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
+ r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
+@end lilypond
+
+An augmentation dot after a note multiplies the duration by one and a
+half. Another dot adds yet a fourth of the duration.
+
+@lilypond[13pt]
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c'' {
+ \time 4/4
+ g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
+ g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
+@end lilypond
+
+Alternatively note values may be subdivided by other ratios. Most common is
+subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
+Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
+dotted notes are also frequently used.
+
+@lilypond[13pt]
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c'' {
+ \time 4/4
+ \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
+ \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
+}
+@end lilypond
+
+@lilypond[13pt]
+\notes\relative c'' {
+ \time 3/4
+ \times 3/2 {g4_"duplets" g} |
+ g4 g g \bar "||"
+ \times 6/4 {g8_"quadruplets" g g g} |
+ g8 g g g g4 \bar "||"
+}
+@end lilypond
+
+@aitem{octave sign}
+@aref{G clef}, @aref{F clef}.
+
+@aitem{octave}
+ES: octava,
+I: ottava,
+F: octave,
+D: Oktave,
+NL: octaaf,
+DK: oktav,
+S: oktav,
+N: ?.
+
+@aref{interval}.
+
+@aitemiii{ornament,embellishment,accessory}
+ES: adorno,
+I: abbellimento, fioriture,
+F: agr@'ement, ornement,
+D: Verzierung, Ornament,
+NL: versiering,
+DK: forsiring,
+S: ornament,
+N: ?.
+
+Most commonly used is the @emph{trill}, the rapid alternation of a given note
+with the diatonic @aref{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.
+
+@lilypond[13pt]
+<
+ \context Staff = sa {
+ \property Score.TextScript \set #'font-style = #'large
+ \notes\relative c'' {
+ c2._"pre-1850" b4\trill | c1 \bar "||"
+ c2._"post-1850" b4\trill | c1 \bar "||"
+ }
+ }
+ \notes\relative c'' {
+ c2. c32 b c b c b c b | c1
+ c2. b32 c b c \times 4/5 { b c b c b } | c1
+ }
+>
+@end lilypond
+
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+@emph{prall} (inverted mordent).
+
+@lilypond[13pt]
+<
+ \context Staff = sa {
+ \property Score.TextScript \set #'font-style = #'large
+ \notes\relative c'' {
+ a4_"turn" b\turn c2 \bar "||"
+ g4_"mordent" a b\mordent a \bar "||"
+ e'4_"prall" d\prall c2 \bar "||"
+ }
+ }
+ \notes\relative c'' {
+ a4 [c16 b a b] c2
+ g4 a [b16 a b8] a4
+ e'4 [e32 d e d ~ d8] c2
+ }
+>
+@end lilypond
+
+@aref{appoggiatura}.
+
+@aitem{ossia}
+ES: ossia,
+I: ossia,
+F: ossia,
+D: Ossia,
+NL: alternatief,
+DK: ossia,
+S: ossia,
+N: ?.
+
+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.
+
+@aitem{part}
+ES: parte,
+I: voce, parte,
+F: partie,
+D: Stimme,
+NL: partij,
+DK: stemme,
+S: st@"amma,
+N: ?.
+
+1. In instrumental or choral music the music for the single instrument
+or voice. 2. in contrapuntal music @aref{counterpoint} the single
+melodic line of the contrapunctal web.
+
+@aitem{percussion}
+ES: percusi@'on,
+I: percussioni,
+F: percussion,
+D: Schlagzeug, Schlagwerk,
+NL: slagwerk,
+DK: slagt@o{}j,
+S: slagverk,
+N: ?.
+
+A family of musical instruments which are played on by striking or
+shaking. Percussion instruments commonly used in a symphony orchestra are
+kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
+tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
+and xylophone.
+
+@aitem{perfect interval}
+ES: intervalo justo,
+I: intervallo giusto,
+F: intervalle juste,
+D: reines Intervall,
+NL: rein interval,
+DK: rent interval,
+S: rent intervall,
+N: ?.
+
+@aref{interval}.
+
+@aitem{phrase}
+ES: frase,
+I: frase,
+F: phrase,
+D: Phrase,
+NL: frase, zin,
+DK: frase,
+S: fras,
+N: ?.
+
+A natural division of the melodic line, comparable to a sentence of speech.
+
+@aitem{phrasing}
+ES: fraseo,
+I: fraseggio,
+F: phras@'e,
+D: Phrasierung,
+NL: frasering,
+DK: frasering,
+S: fra@-se@-ring,
+N: ?.
+
+The clear rendering in musical performance of the @aref{phrase}s of
+the melody. Phrasing may be indicated by a @aref{slur}.
+
+@aitem{piano}
+ES: piano,
+I: piano,
+F: piano,
+D: piano, leise,
+NL: piano,
+DK: piano,
+S: piano,
+N: ?.
+
+@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
+@emph{mezzopiano} (@b{mp}) medium soft.
+
+@aitem{pitch}
+ES: altura,
+I: altezza,
+F: hauteur,
+D: Tonh@"ohe,
+NL: toonhoogte,
+DK: toneh@o{}jde,
+S: tonh@"ojd,
+N: ?.
+
+@aitem{pizzicato}
+ES: pizzicato,
+I: pizzicato,
+F: pizzicato,
+D: pizzicato,
+NL: pizzicato, getokkeld,
+DK: pizzicato,
+S: pizzicato,
+N: ?.
+
+Play by plucking the strings.
+
+@aitem{polyphony}
+ES: polifon@'{@dotless{i}}a,
+I: polifonia,
+F: polyphonie,
+D: Polyphonie,
+NL: polyfonie,
+DK: polyfoni,
+S: polyfoni,
+N: ?.
+
+Music written in a combination of several simultaneous voices (parts) of a
+more or less pronounced individuality. @aref{counterpoint}.
+
+@aitem{portato}
+@aref{legato}.
+
+@aitem{presto}
+ES: presto,
+I: presto,
+F: presto,
+D: Presto, Sehr schnell,
+NL: presto, Sehr schnell,
+DK: presto,
+S: presto,
+N: ?.
+
+Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
+denotes the highest possible degree of speed.
+
+@aitem{Pythagorean comma}
+ES: coma pitag@'orico,
+I: comma pitagorico,
+F: comma pythagoricien,
+D: Pythagor@"aisches Komma,
+NL: komma van Pythagoras,
+DK: pythagor@ae{}isk komma,
+S: pytagoreiskt komma,
+N: ?.
+
+A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
+but this@w{ }C, obtained by adding 12@w{ }fifths, is
+24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
+7@w{ }octaves. The difference between those two pitches is called the
+Pythagorean comma.
+
+@aitem{quadruplet}
+ES: cuatrillo,
+I: quartina,
+F: quartolet,
+D: Quartole,
+NL: kwartool,
+DK: kvartol,
+S: kvartol,
+N: ?.
+
+@aref{note value}.
+
+@aitem{quarter note}
+ES: negra,
+I: semiminima, nera,
+F: noire,
+UK: crotchet,
+D: Viertel, Viertelnote,
+NL: kwartnoot,
+DK: fjerdedelsnode,
+S: fj@"ardedelsnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{quarter rest}
+ES: silencio de negra,
+I: pausa di semiminima,
+F: soupir,
+UK: crotchet rest,
+D: Viertelpause,
+NL: kwart rust,
+DK:@w{ }fjerdedelspause,
+S: fj@"ardedelspaus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{quintuplet}
+ES: quintillo,
+I: quintina,
+F: quintolet,
+D: Quintole,
+NL: kwintool,
+DK: kvintol,
+S: kvintol,
+N: ?.
+
+@aref{note value}.
+
+@aitem{rallentando}
+ES: rallentando,
+I: rallentando,
+F: rallentando,
+D: rallentando, langsamer werden,
+NL: rallentando,
+DK: rallentando,
+S: rallentando,
+N: rallentando.
+
+Abbreviation "rall.". @aref{ritardando}.
+
+@aitem{relative key}
+ES: relativa,
+I: tonalit@`a relativa,
+F: tonalit@'e relative,
+D: Paralleltonart,
+DK: paralleltoneart,
+S: parallelltonart,
+N: ?.
+
+@aref{major} and @aref{minor} @aref{key}
+with the same @aref{key signature}.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c' {
+ \key es \major
+ es1_"e flat major" f g as bes c d es
+ \bar "||"
+}
+@end lilypond
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c' {
+ \key es \major
+ c1_"c minor" d es f g a! b! c \bar "||"
+}
+@end lilypond
+
+@aitem{repeat}
+ES: barra de repetici@'on,
+I: ritornello,
+F: barre de reprise,
+D: Wiederholung,
+NL: herhaling,
+DK: gen@-ta@-gel@-se,
+S: repris,
+N: ?.
+
+@lilypond[13pt]
+\key g \major
+\time 4/4
+\notes\relative c'' {
+ \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
+}
+@end lilypond
+
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
+@aitem{rest}
+ES: silencio,
+I: pausa,
+F: silence,
+D: Pause,
+NL: rust,
+DK: pause,
+S: paus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{rhythm}
+ES: ritmo,
+I: ritmo,
+F: rythme,
+D: Rhythmus,
+NL: ritme,
+DK: rytme,
+S: rytm,
+N: ?.
+
+(a) Metrical rhythm in which every time value is a multiple or fraction of a
+fixed unit of time, called @aref{beat}, and in which the normal
+@aref{accent} recurs in regular intervals, called
+@aref{measure}. The basic scheme scheme of time values is called
+@aref{meter}. (b) Measured rhythm which lacks regularly recurrent
+accent. In modern notation such music appears as a free alternation of
+different measures. (c) Free rhythm, i.e., the use of temporal values having
+no common metrical unit (beat).
+
+@aitem{ritardando}
+ES: retardando,
+I: ritardando,
+F: ritardando,
+D: Ritardando, langsamer werden,
+NL: ritardando,
+DK: ritardando,
+S: ritardando,
+N: ?.
+
+Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
+
+@aitem{ritenuto}
+ES: ritenuto,
+I: ritenuto,
+F: ritenuto,
+D: Ritenuto,
+NL: ritenuto,
+DK: ritenuto,
+S: ritenuto,
+N: ?.
+
+Immediate reduction of speed.
+
+@aitem{scale}
+ES: escala,
+I: scala,
+F: gamme,
+D: Tonleiter,
+NL: toonladder,
+DK: Skala,
+S: skala,
+N: ?.
+
+@aref{diatonic scale}.
+
+@aitem{scale degree}
+ES: grados de la escala,
+I: grado della scala,
+F: degr@'e [de la gamme],
+D: Tonleiterstufe,
+NL: trap [van de toonladder],
+DK: skalatrin,
+S: skalsteg (?),
+N: ?.
+
+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 =
+sub@-do@-mi@-nant (S) and V = dominant (D).
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.LyricText \set #'font-style = #'large
+%\property Lyrics.minVerticalAlign = #8
+\addlyrics
+\context Staff \notes\relative c' {
+ c1 d e f g a b c
+}
+\context Lyrics \lyrics {
+ < { I II III IV V VI VII I }
+ { T "" "" S D } >
+}
+@end lilypond
+
+@aref{functional harmony}.
+
+@aitem{score}
+ES: partitura,
+I: partitura,
+F: partition,
+D: Partitur (full score), Klavierauszug (vocal score)
+NL: partituur,
+DK: partitur,
+S: partitur,
+N: ?.
+
+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 @aref{staff}.
+
+@aitem{second}
+ES: segunda,
+I: secunda,
+F: seconde,
+D: Sekund,
+NL: secunde,
+DK: sekund,
+S: sekund,
+N: ?.
+
+The @aref{interval} between two neigbouring tones of a scale. A
+@aref{diatonic scale} consists of alternating
+@aref{semitone}s and @aref{whole tone}s, hence the size
+of a se@-cond depends on the scale degrees in question.
+
+@aitem{semitone}
+ES: semitono,
+I: semitono,
+F: demi-ton,
+D: Halbton,
+NL: halve toon,
+DK: halvtone,
+S: halvton,
+N: ?.
+
+The @aref{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@w{ }semitones.
+@aref{interval}, @aref{chromatic scale}.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c'' { g1 gis s a bes s b! c }
+@end lilypond
+
+@aitem{seventh}
+ES: s@'eptima,
+I: settima,
+F: septi@`eme,
+D: Septime,
+NL: septiem,
+DK: septim,
+S: septim,
+N: ?.
+
+@aref{interval}.
+
+@aitem{sextuplet, sextolet}
+I: sestina,
+F: sextolet,
+D: Sextole,
+NL: sextool,
+DK: sekstol,
+S: sextol,
+N: ?.
+
+@aref{note value}.
+
+@aitem{sharp}
+ES: sostenido,
+I: diesis,
+F: di@`ese,
+D: Kreuz,
+NL: kruis,
+DK: kryds,
+S: korsf@"ortecken,
+N: ?.
+
+@aref{accidental}.
+
+@aitem{short appoggiatura}
+@aref{appoggiatura}.
+
+@aitem{sixteenth note}
+ES: semicorchea,
+I: semicroma,
+F: double croche,
+UK: semiquaver,
+D: Sechzehntel, Sechzehntelnote,
+NL: zes@-ti@-ende noot,
+DK: sekstendedelsnode,
+S: sextondelsnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{sixteenth rest}
+ES: silencia de semicorchea,
+I: pausa di semicroma,
+F: quart de soupir,
+UK: semiquaver rest,
+D: Sechzehntelpause,
+NL: zestiende rust,
+DK: sekstendedelspause,
+S: sextondelspaus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{sixth}
+ES: sexta,
+I: sesta,
+F: sixte,
+D: Sexte,
+NL: sext,
+DK: sekst,
+S: sext,
+N: ?.
+
+@aref{interval}.
+
+@aitem{sixty-fourth note}
+ES: semifusa,
+I: semibiscroma,
+F: quadruple croche,
+UK: hemidemisemiquaver,
+D: Vierundsechzigstel, Vierundsechzigstelnote,
+NL: vierenzestigste noot,
+DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
+S: sextiofj@"ardedelsnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{sixty-fourth rest}
+ES: silencia de semifusa,
+I: pausa di semibiscroma,
+F: seizi@`eme de soupir,
+UK: hemidemisemiquaver rest,
+D: Vierundsechzigstelpause,
+NL: vierenzestigste rust,
+DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
+S: sextiofj@"ardedelspaus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{slur}
+ES: ligadura,
+I: legatura (di portamento or espressiva),
+F: liaison, coul@'e,
+D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen,
+NL: binding, bindingsboog,
+DK: legatobue, fraseringsbue,
+S: b@aa{}ge,
+N: ?.
+
+A slur above or below a group of notes indicates that they are to be played
+@aref{legato}, e.g., with one stroke of the violin bow or with one
+breath in singing.
+
+@aitem{solmization}
+I: solmisazione,
+F: solmisation,
+D: Solmisation,
+NL: solmizatie,
+DK: solmisation,
+S: solmisation,
+N: ?.
+
+General term for systems of designating the degrees of the
+@aref{scale}, not by letters, but by syllables (@emph{do}
+(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
+(@emph{ti})). @aref{scale degree}.
+
+@aitem{sonata}
+ES: sonata,
+I: sonata,
+F: sonate,
+D: Sonate,
+NL: sonate,
+DK: sonate,
+S: sonat,
+N: ?.
+
+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.
+
+@aitem{sonata form}
+ES: forma sonata,
+I: forma sonata,
+F: [en] forme de sonate,
+D: Sonatenform,
+NL: hoofdvorm, sonatevorm,
+DK: sonateform,
+S: sonatform,
+N: ?.
+
+A form used frequently for single movements of the @aref{sonata},
+@aref{symphony}, quartet, etc. A movement written in sonata form
+falls into three sections called @emph{exposition}, @emph{development} and
+@emph{recapitulation}. In the exposition the composer introduces his musical
+ideas, consisting of a number of themes; in the development section he
+"develops" this material, and in the recapitulation he repeats the exposition,
+with certain modifications, however. The exposition contains a number of themes
+which 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
+@aref{dominant} if the @aref{tonic} is
+@aref{major}, and in the @aref{relative key} if the
+tonic is @aref{minor}.
+
+@aitem{soprano}
+ES: soprano,
+I: soprano,
+F: soprano,
+D: Sopran,
+NL: sopraan,
+DK: sopran,
+S: sopran,
+N: ?.
+
+The highest female voice.
+
+@aitem{staccato}
+ES: staccato,
+I: staccato,
+F: staccato, piqu@'e, d@'etach@'e,
+D: staccato,
+NL: staccato,
+DK: staccato,
+S: staccato,
+N: ?.
+
+Playing the note(s) short. Staccato is indicated by a dot above or below the
+notehead.
+
+@lilypond[13pt]
+\key d \major
+\time 4/4
+\notes\relative c'' {
+ \partial 8 a8 |
+ d4-\staccato cis-\staccato b-\staccato cis-\staccato |
+ d2. \bar "||"
+}
+@end lilypond
+
+@aitem{staff}
+ES: pentagrama,
+I: pentagramma, rigo (musicale),
+F: port@'ee,
+D: Notenzeile,
+NL: (noten)balk, partij,
+DK: nodesystem,
+S: notsystem,
+N: ?.
+
+pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
+which the musical notes are written, thus indicating (in connection
+with a @aref{clef}) their pitch. Staves for
+@aref{percussion} instruments may have fewer lines.
+
+@aitem{stem}
+ES: plica,
+I: gamba,
+F: queue,
+D: Hals, Notenhals, Stiel,
+NL: stok,
+DK: hals,
+S: skaft,
+N: ?.
+
+Vertical line above or below a @aref{note head} shorter than a
+whole note. @aref{beam}.
+
+@lilypond[13pt,notime]
+\property Score.autoBeaming = ##f
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c'' {
+ g2_"1/2" g' s16
+ g,4_"1/4" g' s16
+ g,8_"1/8" g' s16
+ g,16_"1/16" g' s16
+}
+@end lilypond
+
+@aitem{strings}
+ES: arcos, cuerdas,
+I: archi,
+F: cordes,
+D: Streicher,
+NL: strijkers,
+DK: strygere,
+S: str@aa{}kar,
+N: ?.
+
+A family of stringed musical instruments played with a bow. Strings commonly
+used in a symphony orchestra are violin, viola, violoncello, and double bass.
+
+@aitem{strong beat}
+ES: tiempo fuerte,
+I: tempo forte,
+F: temps fort,
+D: betonter Taktteil oder Taktschlag,
+NL: thesis,
+D: betonet taktslag,
+S: betonat taktslag,
+N: ?.
+
+@aref{beat}, @aref{accent}, @aref{measure},
+@aref{rhythm}.
+
+@aitem{subdominant}
+ES: subdominante,
+I: sottodominante,
+F: sous-dominante,
+D: Subdominante,
+NL: subdominant,
+DK: subdominant,
+S: subdominant,
+N: ?.
+
+The fourth @aref{scale degree}. @aref{functional
+harmony}.
+
+@aitem{submediant}
+ES: superdominante,
+I: sopratonica,
+F: sous-m@'ediante,
+D: Submediante,
+NL: submediant,
+DK: Submediant,
+S: submediant,
+N: ?.
+
+The sixth @aref{scale degree}.
+
+@aitem{subtonic}
+ES: sensible,
+I: sottotonica,
+F: sous-tonique,
+D: Subtonika,
+NL: subtonica,
+DK: Subtonika,
+S: subtonika,
+N: ?.
+
+The seventh @aref{scale degree}.
+
+@aitem{superdominant}
+ES: superdominante,
+I: sopradominante,
+F: sus-dominante,
+D: Superdominante,
+NL: superdominant,
+DK: superdominant,
+S: superdominant,
+N: ?.
+
+The sixth @aref{scale degree}.
+
+@aitem{supertonic}
+ES: supert@'onica,
+I: sopratonica,
+F: sus-tonique,
+D: Supertonika,
+NL: supertonica,
+DK: supertonika,
+S: supertonika,
+N: ?.
+
+The second @aref{scale degree}.
+
+@aitem{symphony}
+ES: sinfon@'{@dotless{i}}a,
+I: sinfonia,
+F: symphonie,
+D: Sinfonie, Symphonie,
+NL: symfonie,
+DK: symfoni,
+S: symfoni,
+N: ?.
+
+A symphony may be defined as a @aref{sonata} for orchestra.
+
+@aitem{syncopation}
+ES: sincopado,
+I: sincope,
+F: syncope,
+D: Synkope,
+NL: syncope,
+DK: synkope,
+S: synkop,
+N: ?.
+
+Any deliberate upsetting of the normal pulse of @aref{meter},
+@aref{accent} and @aref{rhythm}. Our 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.
+
+@lilypond[13pt]
+\time 4/4
+\notes\relative c' {
+ \partial 4
+ d8 dis |
+ e c'4 e,8 c'4 e,8 c' ( | ) c2
+}
+@end lilypond
+
+@aitemii{syntonic comma,dydimic comma}
+I: comma sintonico (o didimico),
+F: comma syntonique,
+D: syntonisches Komma,
+NL: syntonische komma,
+DK: syntonisk komma,
+S: syntoniskt komma,
+N: ?.
+
+Difference between the natural third and the third obtained by Pythagorean
+tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
+
+@aitem{system}
+I: accollatura,
+F: syst@`eme,
+D: Notensystem,
+NL: systeem,
+DK: system,
+S: system,
+N: ?.
+
+The collection of staves @aref{staff}, two or more, as used for
+writing down of keyboard, chamber, choral, or orchestral music.
+
+@aitem{temperament}
+ES: temperamento,
+I: temperamento,
+F: temp@'erament,
+D: Stimmung, Temperatur,
+NL: temperament,
+DK: temperatur,
+S: temperatur,
+N: ?.
+
+Systems of tuning in which the intervals deviate from the acoustically pure
+intervals. @aref{meantone temperament}, @aref{equal
+temperament}.
+
+@aitem{tempo indication}
+ES: indicaci@'on de tempo,
+I: indicazione di tempo,
+F: indication de temps,
+D: Zeitma@ss{}, Tempobezeichnung,
+NL: tempo aanduiding,
+DK: tempobetegelse,
+S: tempobeteckning,
+N: ?.
+
+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
+@aref{largo}, @aref{adagio}, @aref{andante},
+@aref{allegro}, and @aref{presto}.
+
+@aitem{tenor}
+ES: tenor,
+I: tenore,
+F: t@'enor,
+D: Tenor,
+NL: tenor,
+DK: tenor,
+S: tenor,
+N: ?.
+
+The highest voice of men (apart from @aref{counter tenor}).
+
+@aitem{tenth}
+ES: d@'ecima,
+I: decima,
+F: dixi@`eme,
+D: Dezime,
+NL: deciem,
+DK: decim,
+S: decima,
+N: ?.
+
+@aref{note value}.
+
+@aitem{third}
+ES: tercera,
+I: terza,
+F: tierce,
+D: Terz,
+NL: terts,
+DK: terts,
+S: ters,
+N: ?.
+
+@aref{interval}.
+
+@aitem{thirty-second note}
+ES: fusa,
+I: biscroma,
+F: triple croche,
+UK: demisemiquaver,
+D: Zweiunddreissigstel, Zweiunddreissigstelnote,
+NL: twee-endertig@-ste noot,
+DK: toogtredivtedelsnode,
+S: trettiotv@aa{}ondelsnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{thirty-second rest}
+ES: silencio de fusa,
+I: pausa di biscroma,
+F: huiti@`eme de soupir,
+UK: demisemiquaver rest,
+D: Zweiunddreissigstel@-pause,
+NL: 32e rust,
+DK: toogtredivtedelspause,
+S: trettiotv@aa{}ondelspaus,
+N: ?.
+
+@aref{note value}.
+
+@aitemii{thorough bass,figured bass}
+ES: bajo cifrado,
+I: basso continuo, basso numerato,
+F: basse chiffr@'ee,
+D: Generalbass, bezifferter Bass,
+NL: basso continuo,
+DK: generalbas,
+S: generalbas,
+N: ?.
+
+A method of indicating an accompaniment part by the bass notes only, together
+with figures designating the chief @aref{interval}s and
+@aref{chord}s to be played above the bass notes.
+
+@lilypond[13pt]
+\context GrandStaff <
+ \context Staff = lh \notes\relative c'' {
+ \time 4/4
+ \key es \major
+ \clef treble
+ < \context Voice = rha {
+ \stemUp
+ es4 d c bes | bes }
+ \context Voice = rhb {
+ \stemDown
+ < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > }
+ >
+ }
+ \addlyrics
+ \context Staff = rh \notes\relative c' {
+ \clef bass
+ \key es \major
+ es8 c d bes c as bes16 as g f | es4
+ }
+ \context Lyrics \lyrics {
+ \property Lyrics . LyricText \set #'font-style = #'Large
+ \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
+ < { "" "6" "" "4" "" "6" "" "" "6" "4" }
+ { "" "" "" "2" "" "" "" "" "" "2" } >
+ }
+>
+@end lilypond
+
+@aitemii{tie,bind}
+ES: ligadura de prolongaci@'on,
+I: legatura (di valore),
+F: liaison,
+D: Haltebogen,
+NL: overbinding,
+DK: bindebue,
+S: bindeb@aa{}ge, @"overbindning,
+N: ?.
+
+A curved line, identical in appearance with the @aref{slur}, which
+connects two succesive notes of the same pitch, and which has the function of
+uniting them into a single sound equal to the combined durations.
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\notes\relative c'' { g2 ~ g4. }
+@end lilypond
+
+@aitem{time signature}
+ES: cifra indicadora de comp@'as,
+I: segni di tempo,
+F: chiffrage (chiffres indicateurs), signe de valeur,
+D: Taktangabe, Angabe der Taktart,
+NL: maatsoort,
+DK: taktangivelse,
+S: taktartssignatur,
+N: ?.
+
+@aref{meter}.
+
+@aitem{tone}
+ES: sonido,
+I: suono,
+F: ton,
+D: Ton,
+NL: toon,
+DK: tone,
+S: ton,
+N: ?.
+
+A sound of definite pitch and duration, as distinct from @emph{noise}.
+Tone is a primary building material of music.
+Music from the 20th century may be based on non tone related sounds.
+
+@aitem{tonic}
+ES: tonica,
+I: tonica,
+F: tonique,
+D: Tonika,
+NL: tonica,
+DK: tonika,
+S: tonika,
+N: ?.
+
+The first @aref{scale degree}.
+@aref{functional harmony}.
+
+@aitem{transposition}
+ES: transposici@'on,
+I: trasposizione,
+F: transposition,
+D: Transposition,
+NL: transpositie,
+DK: transposition,
+S: transponering,
+N: ?.
+
+Shifting a melody up or down in pitch, while keeping the same
+relative pitches.
+
+@lilypond[13pt]
+\context Staff {
+ \time 3/4
+ \notes\relative c'' {
+ \key g \major
+ d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
+ }
+}
+@end lilypond
+
+@lilypond[13pt]
+\context Staff {
+ \time 3/4
+ \transpose bes\relative c'' {
+ \key g \major
+ d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
+ }
+}
+@end lilypond
+
+@aitem{treble clef}
+ES: clave de sol,
+I: chiave di violino,
+F: cl@'e de sol,
+D: Violinschl@"ussel, Sopranschl@"ussel,
+NL: viool sleutel,
+DK:@w{ }diskantn@o{}gle,
+S: diskantklav,
+N: ?.
+
+@aref{G clef}.
+
+@aitem{tremolo}
+ES: tremolo,
+I: tremolo,
+F: tr@'emolo,
+D: Tremolo,
+NL: tremolo,
+DK: tremolo,
+S: tremolo,
+N: ?.
+
+On stringed instruments (@aref{strings}) the quick reiteration of
+the same tone, produced by a rapid up-and-down movement movement of the bow
+(a). The term is also used for the rapid alternation (b) between two notes of
+a @aref{chord}, usually in the distance of a third
+(@aref{interval}).
+
+@lilypond[13pt,notime]
+\property Score.barNonAuto = ##t
+\property Score.TextScript \set #'font-style = #'large
+\notes\relative c' {
+ e2:32_"a"
+ f:32 [ e8:16 f:16 g:16 a:16 ] s4
+ \repeat "tremolo" 8 { e32_"b" g }
+}
+@end lilypond
+
+@aitem{triad}
+ES: tr@'{@dotless{i}}ada,
+I: triade,
+F: triade, accord parfait, accord de trois sons,
+D: Dreiklang,
+NL: drieklank,
+DK: treklang,
+S: treklang,
+N: ?.
+
+@aref{chord}.
+
+@aitemii{trill,shake}
+ES: trino,
+I: trillo,
+F: trille, tremblement, battement (cadence),
+D: Triller,
+NL: triller,
+DK: trille,
+S: drill,
+N: ?.
+
+@aref{ornament}.
+
+@aitem{triple meter}
+ES: comp@'as compuesto,
+I: tempo ternario,
+F: mesure ternaire,
+D: in drei,
+NL: driedelige maatsoort,
+DK: tredelt takt,
+S: tretakt,
+N: ?.
+
+@aref{meter}.
+
+@aitem{triplet}
+ES: tresillo,
+I: terzina,
+F: triolet,
+D: Triole,
+NL: triool,
+DK: triol,
+S: triol,
+N: ?.
+
+@aref{note value}.
+
+@aitem{tritone}
+ES: tr@'{@dotless{i}}tono,
+I: tritono,
+F: triton,
+D: Tritonus,
+NL: tritoon,
+DK: tritonus,
+S: tritonus,
+N: ?.
+
+@aref{interval}.
+
+@aitem{tuning fork}
+ES: diapas@'on,
+I: diapason, corista,
+F: diapason,
+D: Stimmgabel,
+NL: stemvork,
+DK: stemmegaffel,
+S: st@"amgaffel,
+N: ?.
+
+A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
+give the international pitch for the tone @emph{a} (440 vibrations per second.)
+
+@aitemii{turn,gruppetto}
+ES: grupo,
+I: gruppetto,
+F: grupetto,
+D: Doppelschlag,
+NL: dubbelslag,
+DK: dobbeltslag,
+S: dubbelslag,
+N: ?.
+
+???
+
+@aitem{unison}
+ES: un@'{@dotless{i}}sono,
+I: unisono,
+F: unisson,
+D: unisono,
+NL: unisono,
+DK: unison,
+S: unison,
+N: ?.
+
+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.
+
+@aitem{upbeat}
+ES: entrada anacr@'usica,
+I: anacrusi,
+F: anacrouse, lev@'ee,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+N: ?.
+
+Initial note(s) of a melody occurring before the first bar
+line. @aref{measure}, @aref{meter}.
+
+@lilypond[13pt]
+\key f \major
+\time 4/4
+\notes\relative c' {
+ \partial 4 f4 | bes4. a8 bes4 c |
+ bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
+@end lilypond
+
+@aitem{voice}
+ES: voz,
+I: voce,
+F: voix,
+D: Stimme,
+NL: stem,
+DK: stemme,
+S: st@"amma,
+N: ?,
+
+1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
+@aref{contralto}, @aref{tenor},
+@aref{baritone}, @aref{bass}.
+2. A melodic layer or part of a polyphonic composition.
+
+@aitem{weak beat}
+ES: tiempo d@'ebil,
+I: tempo debole, arsi,
+F: temps faible,
+D: unbetonter Taktteil oder Taktschlag,
+NL: arsis,
+DK: ubetonet taktslag,
+S: obetonat taktslag,
+N: ?.
+
+@aref{beat}, @aref{measure}, @aref{rhythm}.
+
+@aitem{whole note}
+ES: redonda,
+I: semibreve,
+F: ronde,
+UK: semibreve,
+D: Ganze, ganze Note,
+NL: hele noot,
+DK: helnode,
+S: helnot,
+N: ?.
+
+@aref{note value}.
+
+@aitem{whole rest}
+ES: silencio de redonda,
+I: pausa di semibreve,
+F: pause,
+UK: semibreve rest,
+D: ganze Pause, ganztaktige Pause,
+NL: hele rust,
+DK: helnodespause,
+S: helpaus,
+N: ?.
+
+@aref{note value}.
+
+@aitem{whole tone}
+ES: tono,
+I: tono intero,
+F: ton entier,
+D: Ganzton,
+NL: hele toon,
+DK: heltone,
+S: helton,
+N: ?.
+
+The @aref{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.
+
+@aitem{woodwind}
+ES: maderas,
+I: legni,
+F: les bois,
+D: Holzbl@"aser,
+NL: houtblazers,
+DK tr@ae{}bl@ae{}sere,
+S: tr@"abl@aa{}sare,
+N: ?.
+
+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.
+
+@end table
+
+@page
+
+@table @strong
+@item DURATION NAMES, NOTES AND RESTS
+@end table
+
+@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
+
+@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
+@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
+
+@item
+
+@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
+@tab longa @tab longa @tab longa
+
+@item
+
+@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
+brevis @tab brevis @tab brevis @tab brevis
+
+@item
+
+@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
+Ganze @tab hele @tab hel @tab hel @tab
+
+@item
+
+@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
+halve @tab halv @tab halv @tab
+
+@item
+
+@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
+Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
+
+@item
+
+@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
+achtste @tab ottende@-del @tab @aa{}tton@-del @tab
+
+@item
+
+@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
+@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
+@tab
+
+@item
+
+@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
+triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
+@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
+
+@item
+
+@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
+semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
+vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
+sextio@-fj@"arde@-del @tab
+
+@end multitable
+@c @item @tab @tab @tab @tab @tab @tab @tab @tab
+
+@page
+
+@table @strong
+@item PITCH NAMES
+@end table
+
+@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
+
+@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
+@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
+
+@item
+
+@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+
+@item
+
+@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
+cis @tab cis @tab cis
+
+@item
+
+@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
+des @tab des @tab des
+
+@item
+
+@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
+
+@item
+
+@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+
+@item
+
+@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+
+@item
+
+@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+
+@item
+
+@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
+@tab as @tab as
+
+@item
+
+@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
+
+@item
+
+@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
+ais @tab ais @tab ais
+
+@item
+
+@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
+@tab b @tab b
+
+@item
+
+@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+
+@end multitable
+
+@
+
+@table @strong
+
+@item ---------------------
+
+@
+
+@item Literature used
+The Harvard Dictionary of Music, London 1944. Many more or less literal
+quotes from its articles have been included into the item explanation texts.
+
+Hugo Riemanns Musiklexicon, Berlin 1929
+
+Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
+Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+
+@end table
+
+@bye
@end html
This document describes GNU LilyPond and its input format. The last
-revision of this document was made for LilyPond 1.4.1. It supposes a
-passing familiarity with how LilyPond input works. New users are
-encouraged to study the tutorial first.
+revision of this document was made for LilyPond 1.6.2. It assumes
+that you already know a little bit about LilyPond input (how to
+make an input file, how to create sheet music from that input file,
+etc). New users are encouraged to study the tutorial before reading
+this manual.
@menu
@section Note entry
@cindex Note entry
-Notes constitute the most basic form of music, but they do not form
-valid input on their own. Yet for the sake of brevity and simplicity,
-we'll generally omit @code{\score} blocks and @code{\paper} declarations.
+Notes constitute the most basic elements of LilyPond input, but they do
+not form valid input on their own without a @code{\score} block. However,
+for the sake of brevity and simplicity we will generally omit
+@code{\score} blocks and @code{\paper} declarations in this manual.
@menu
@subsection Notes
-A note is printed by specifying its pitch, and then its duration.
+A note is printed by specifying its pitch and then its duration.
@lilypond[fragment,verbatim]
cis'4 d'8 e'16 c'16
@end lilypond
\pitch @var{scmpitch}
@end example
-@var{scmpitch} is a pitch scheme object.
+where @var{scmpitch} is a pitch scheme object.
In Note and Chord mode, pitches may be designated by names. The default
names are the Dutch note names. The notes are specified by the letters
-@code{a} through @code{g} (where the octave is formed by notes ranging
-from @code{c} to @code{b}). The pitch @code{c} is an octave below
-middle C and the letters span the octave above that C.
+@code{a} through @code{g}, while the octave is formed with notes ranging
+from @code{c} to @code{b}. The pitch @code{c} is an octave below
+middle C and the letters span the octave above that C. Here's an example
+which should make things more clear:
+
+@lilypond[fragment,verbatim]
+\clef bass
+ a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c''
+@end lilypond
@cindex note names, Dutch
In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch
-name and a flat is formed by adding @code{-es}. Double sharps and double
+name and a flat is formed by adding @code{-es}. Double sharps and double
flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes}
and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but
both forms are accepted.
example: @code{\include "english.ly"}. The available language files and
the note names they define are:
+@anchor{note name}
+@anchor{note names}
@example
Note Names sharp flat
nederlands.ly c d e f g a bes b -is -es
@node Chromatic alterations
@subsection Chromatic alterations
-Normally, accidentals are automatically printed, but you may force
-them in the following ways: a reminder accidental
+Normally accidentals are printed automatically, but you may also
+print them manually. A reminder accidental
@cindex reminder accidental
@cindex @code{?}
-can be forced by adding an exclamation mark @code{!} after the pitch. A
-cautionary accidental,
+can be forced by adding an exclamation mark @code{!}
+after the pitch. A cautionary accidental
@cindex cautionary accidental
@cindex parenthesized accidental
-i.e., an accidental within parentheses can be obtained by adding the
+(an accidental within parentheses) can be obtained by adding the
question mark `@code{?}' after the pitch.
+@lilypond[fragment,verbatim]
+ cis' cis' cis'! cis'?
+@end lilypond
+
+
The automatic production of accidentals can be tuned in many
ways. For more information, refer to @ref{Accidentals}.
@subsection Rests
@cindex Rests
-Rests are entered like notes, with an `@code{r}' note name:
+Rests are entered like notes, with a ``note name'' of `@code{r}':
@lilypond[singleline,verbatim]
r1 r2 r4 r8
@end lilypond
-Whole bar rests, centered in the bar, are specified using @code{R}, see
-@ref{Multi measure rests}. See also @seeinternals{Rest}.
+Whole bar rests, centered in middle of the bar, are specified using
+@code{R} (capital R); see @ref{Multi measure rests}. See also
+@seeinternals{Rest}.
-For polyphonic music, it can be convenient to explicitly specify the rest's
-vertical position. This can be achieved by entering a note, with the @code{\rest}
+For some music, you may wish to explicitly specify the rest's vertical
+position. This can be achieved by entering a note with the @code{\rest}
keyword appended. Rest collision testing will leave these rests alone.
@lilypond[singleline,verbatim]
@cindex Invisible rest
@cindex Space note
-An invisible rest, or skip, can be entered like a note with note name
-@code{s}, or with @code{\skip @var{duration}}:
+An invisible rest (also called a `skip') can be entered like a note
+with note name `@code{s}' or with @code{\skip @var{duration}}:
@lilypond[singleline,verbatim]
a2 s4 a4 \skip 1 a4
>
@end lilypond
-Note that the @code{s} syntax is only available in Note mode and Chord
-mode. In other situations, you should use the @code{\skip} command, which
-also works outside of those two modes:
+Note that the @code{s} syntax is only available in Note mode and Chord
+mode. In other situations, you should use the @code{\skip} command,
+which will work outside of those two modes:
@lilypond[singleline,verbatim]
\score {
}
@end lilypond
-The skip command is merely an empty musical placeholder. It doesn't
+The skip command is merely an empty musical placeholder. It doesn't
produce any output, not even transparent output.
In Note, Chord, and Lyrics mode, durations are designated by numbers
-and dots: durations are entered as their reciprocal values. For notes
+and dots: durations are entered as their reciprocal values. For example,
+a quarter note is entered using a @code{4} (since it's a 1/4 note), while
+a half note is entered using a @code{2} (since it's a 1/2 note). For notes
longer than a whole you must use identifiers.
+@c FIXME: what's an identifier? I don't think it's been introduced yet.
+@c and if it has, I obviously skipped that part. - Graham
@example
- c'\breve
+c'\breve
c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64
r\longa r\breve
r1 r2 r4 r8 r16 r32 r64 r64
@end example
-
-@lilypond[]
+@lilypond[noindent,noquote]
\score {
\notes \relative c'' {
a\breve \autoBeamOff
@cindex @code{.}
@lilypond[fragment,verbatim,center]
- a'4. b'4.. c'8.
+ a' b' c''8 b' a'4 a'4. b'4.. c'8.
@end lilypond
@cindex @code{r}
@cindex @code{s}
appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This
won't affect the appearance of the notes or rests produced.
+@lilypond[fragment,verbatim]
+ a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4
+@end lilypond
+
Durations can also be produced through GUILE extension mechanism.
@lilypond[verbatim,fragment]
- c\duration #(make-duration 2 1)
+ c'\duration #(make-duration 2 1)
@end lilypond
@cindex @code{~}
A tie connects two adjacent note heads of the same pitch. The tie in
-effect extends the length of a note. Ties should not be confused with
-slurs, which indicate articulation, and phrasing slurs, which indicate
-musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
+effect extends the length of a note. Ties should not be confused with
+slurs, which indicate articulation, or phrasing slurs, which indicate
+musical phrasing. A tie is entered using the tilde symbol `@code{~}'.
@lilypond[fragment,verbatim,center]
e' ~ e' <c' e' g'> ~ <c' e' g'>
@end lilypond
-When a tie is applied to a chord, all note heads, whose pitches match, are
+When a tie is applied to a chord, all note heads (whose pitches match) are
connected. If you try to tie together chords that have no common pitches,
no ties will be created.
@lilypond[fragment, singleline]
\time 3/4 c'2. c'2 ~ c'4
@end lilypond
-And if you need to tie notes over bars, it may be easier to use
+If you need to tie notes over bars, it may be easier to use
@ref{Automatic note splitting}.
-See also @seeinternals{Tie}.
+See also @seeinternals{Tie}.
@refbugs
@subsection Automatic note splitting
@c FIXME: This subsection doesn't belong in @ref{Note entry}.
-There is a facility for automatically converting long notes to tied
-notes. This is done by replacing the @code{Note_heads_engraver} by the
+LilyPond can automatically converting long notes to tied notes. This
+is done by replacing the @code{Note_heads_engraver} by the
@code{Completion_heads_engraver}.
-@lilypond[verbatim,center]
+@lilypond[verbatim,noindent,noquote]
\score{
\notes\relative c'{ \time 2/4
c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2
@end lilypond
This engraver splits all running notes at the bar line, and inserts
-ties. One of its uses is to debug complex scores: if the measures are
+ties. One of its uses is to debug complex scores: if the measures are
not entirely filled, then the ties exactly show how much each measure
is off.
@end example
The duration of @var{musicexpr} will be multiplied by the fraction.
-In print, the fraction's denominator will be printed over the notes,
-optionally with a bracket. The most common tuplet is the triplet in
-which 3 notes have the length of 2, so the notes are 2/3 of
-their written length:
+In the sheet music, the fraction's denominator will be printed over
+the notes, optionally with a bracket. The most common tuplet is the
+triplet in which 3 notes have the length of 2, so the notes are 2/3
+of their written length:
@lilypond[fragment,verbatim,center]
g'4 \times 2/3 {c'4 c' c'} d'4 d'4
The property @code{tupletSpannerDuration} specifies how long each bracket
should last. With this, you can make lots of tuplets while typing
-@code{\times} only once, thus saving typing work.
+@code{\times} only once, saving you lots of typing.
@lilypond[fragment, relative, singleline, verbatim]
\property Voice.tupletSpannerDuration = #(make-moment 1 4)
@end lilypond
The format of the number is determined by the property
-@code{tupletNumberFormatFunction}. The default prints only the
+@code{tupletNumberFormatFunction}. The default prints only the
denominator, but if you set it to the Scheme function
@code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den}
instead.
@refbugs
-Nested tuplets are not formatted automatically. In this case, outer
+Nested tuplets are not formatted automatically. In this case, outer
tuplet brackets should be moved automatically.
@node Easy Notation note heads
A entirely different type of note head is the "easyplay" note head: a
note head that includes a note name. It is used in some publications by
-Hal-Leonard Inc. music publishers.
+Hal-Leonard Inc. music publishers.
@lilypond[singleline,verbatim,26pt]
\score {
@end lilypond
Note that @code{EasyNotation} overrides a @internalsref{Score} context. You
-probably will want to print it with magnification or a large font size to make it more
-readable.
+probably will want to print it with magnification or a large font size to
+make it more readable. To print with magnification, you must create a dvi
+(with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x
+2000 file.dvi}. See @file{man dvips} for details. To print with a larger
+font, see @ref{Font Size}.
@cindex Xdvi
\property Score.beatLength = #(make-moment 1 8)
[c32 c c c c c c c c c c c c c c c]
@end example
-@lilypond[]
+@lilypond[noindent,noquote]
\score {
\notes \relative c' {
[c16 c c c c c c c]
}
>
\paper {
- linewidth = 5.875\in
- indent = 0.0
+ linewidth = 5.1\in
+ indent = 0.0\mm
}
}
@end lilypond
Currently the following lists are defined in @file{scm/drums.scm}:
@table @code
@item 'drums
-To typeset a typical drum kit on a five line staff.
-@lilypond[]
+To typeset a typical drum kit on a five-line staff.
+
+@lilypond[noindent]
\include "drumpitch-init.ly"
nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc
bd sn ss tomh tommh tomml toml tomfh tomfl }
\context Lyrics \nam
>
\paper {
+ linewidth = 100.0\mm
\translator {
\StaffContext
\remove Bar_engraver
}
}
@end lilypond
+
Notice that the scheme supports six different toms.
If you are using fewer toms then you simply select the toms that produce
the desired result - i.e. to get toms on the three middle lines you
\property TabStaff.minimumFret = #8
e8 fis gis a b cis' dis' e'
@end example
-@lilypond
+@lilypond[noindent,noquote]
frag = \notes {
\key e \major
e8 fis gis a b cis' dis' e'
@c too long?
@c maybe just junk verbatim option?
-@lilypond[verbatim,singleline]
+@lilypond[verbatim,singleline,noquote]
scheme = \chords {
c1 c:5^3 c:4^3 c:5+
c:m7+ c:m5-.7
#(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule)
\property Score.BarNumber \override #'font-relative-size = #0
@end example
-@lilypond
+@lilypond[noindent,noquote]
\score {
\context Staff \notes \transpose c''' {
\property Score.BarNumber \override #'break-visibility = #end-of-line-invisible
thus helps the player or singer to manage line breaks during
performance, thus enhancing readability of a score.
-@lilypond[verbatim]
+@lilypond[verbatim,noquote]
\score {
\notes { c'1 \break
\property Staff.Custos \set #'style = #'mensural
-@c -*-texinfo-*-
+ @c -*-texinfo-*-
-@c TODO: LilyPond LilyPond LilyPond
+@c TODO:
+@c * LilyPond Lilypond lilypond (sometimes: the program)
+@c * more details about running lilypond; error messages,
+@c compiling/viewing (emacs?)
+@c * where to go from First steps+More basics?
@node Tutorial
@chapter Tutorial
* End of tutorial:: The end
@end menu
-Operating lilypond is done through text files: to print a piece of
+Operating lilypond is done through text files: To print a piece of
music, you enter the music in a file. When you run lilypond (normally
using the program @code{ly2dvi}) on that file, the program produces
another file which contains sheet music that you can print or view.
This tutorial starts with a small introduction to the LilyPond music
language. After this first contact, we will show you how to run
LilyPond to produce printed output; you should then be able to create
-your first sheets of music. The tutorial continues with more and more
+your first sheets of music. The tutorial continues with more and more
complex examples.
+
@node First steps
@section First steps
-We start off by showing how very simple music is entered in
-LilyPond: you get a note simply by typing its note name, from
-@code{a} through @code{g}. So if you enter
-@quotation
+We start off by showing how very simple music is entered in LilyPond:
+you get a note simply by typing its @htmlref{note name}, from @samp{a}
+through @samp{g}. So if you enter
+
@example
c d e f g a b
@end example
-@end quotation
+
+@noindent
then the result looks like this:
-@quotation
-@lilypond[fragment]
+
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\transpose c'' { c d e f g a b }
@end lilypond
-@end quotation
-@separate
-We will continue with this format: first we show a snippet of input,
+We will continue with this format: First we show a snippet of input,
then the resulting output.
-The length of a note is specified by adding a number, ``@code{1}'' for a
-whole note, ``@code{2}'' for a half note, and so on:
+The length of a note is specified by adding a number, @samp{1} for a
+@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on:
-@quotation
@example
a1 a2 a4 a16 a32
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
-%\property Staff.Clef = \turnOff
-\transpose c'' { a1 a2 a4 a16 a32 }
-s16_" "
+\transpose c'' { a1 a2 a4 a16 a32 s16_" " }
@end lilypond
-@end quotation
-@separate
-If you don't specify a duration, the previous one is used:
-@quotation
+If you don't specify a @rglos{duration}, the previous one is used:
+
@example
a4 a a2 a
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-%\property Staff.Clef = \turnOff
-\transpose c'' { a a a2 a }
-s16_" "
+\transpose c'' { a a a2 a s16_" " }
@end lilypond
-@end quotation
-@separate
-A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat
-(@texiflat{}) by adding ``@code{es}''. As you would expect, a
-double-sharp or double-flat is made by adding ``@code{isis}'' or
-``@code{eses}'':
+A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a
+@rglos{flat} (@texiflat{}) by adding @samp{es}. As you would expect,
+a @rglos{double sharp} or @rglos{double flat} is made by adding
+@samp{isis} or @samp{eses}:
-@quotation
@example
cis1 ees fisis aeses
@end example
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
-\transpose c'' { cis1 ees fisis aeses }
-s16_" "
+\transpose c'' { cis1 ees fisis aeses s16_" " }
@end lilypond
-@end quotation
-@separate
-Add a dot ``@code{.}'' after the duration to get a dotted note:
-@quotation
+Add a dot @samp{.} after the duration to get a @rglos{dotted note}:
+
@example
a2. a4 a8. a16
@end example
-@c missing clef seems to raise more questions than actual pitch of notes,
-@c as these are snippets anyway
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature \set #'transparent = ##t
-%\property Staff.Clef = \turnOff
-\transpose c'' { a2. a4 a8. a16 }
-s16_" "
+\transpose c'' { a2. a4 a8. a16 s16_" " }
@end lilypond
-@end quotation
-@separate
-The meter (or time signature) can be set with the @code{\time} command:
+The @rglos{meter} (or @rglos{time signature}) can be set with the
+@code{\time} command:
-@quotation
@example
\time 3/4
\time 6/8
@end example
@c a clef here may lead to confusion
-@lilypond[fragment]
+@lilypond
\property Staff.Clef \set #'transparent = ##t
\time 3/4
s4_" "
\time 4/4
s16_" "
@end lilypond
-@end quotation
-@separate
-The clef can be set using the ``@code{\clef}'' command:
+The @rglos{clef} can be set using the @code{\clef} command:
@c what is more common name treble or violin?
@c in Dutch, its violin.
@c in English its definitely treble.
-@quotation
@example
\clef treble
\clef bass
\clef tenor
@end example
-@lilypond[fragment]
+@lilypond[notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\clef violin
s4_" "
\clef bass
\clef tenor
s16_" "
@end lilypond
-@end quotation
-@separate
-@c From these commands and notes, a piece of music can be formed. A piece
-@c of music is made by enclosing it in ``@code{\notes @{ ... @}}''.
-@c rephrased:
When you enter these commands in a file, you must to enclose them in
-``@code{\notes @{ .. @}}''. This lets LilyPond know that music (and
-not lyrics, for example) follows:
+@code{\notes @{@dots{}@}}. This lets LilyPond know that music (and
+not @rglos{lyrics}, for example) follows:
-@quotation
@example
\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
@end example
-@end quotation
-@separate
Now the piece of music is almost ready to be printed. The final step is to
combine the music with a printing command.
-The printing command is the so-called ``@code{\paper}'' block. Later on
+The printing command is the so-called @code{\paper} block. Later on
you will see that the @code{\paper} block is used to customize
printing specifics. The music and the @code{\paper} block are combined by
-enclosing them in ``@code{\score @{ ... @}}''. This is what a full
+enclosing them in @code{\score @{ ... @}}. This is what a full
LilyPond source file looks like:
-@quotation
@example
\score @{
\notes @{
- \time 3/4
- \clef bass
- c2 e4 g2.
- f4 e d c2.
+ \time 3/4
+ \clef bass
+ c2 e4 g2.
+ f4 e d c2.
@}
\paper @{ @}
@}
@end example
-@lilypond
+@lilypond[noindent]
\score {
\notes {
\time 3/4
c2 e4 g2.
f4 e d c2.
}
- \paper { linewidth = 60 * \staffspace }
+ \paper {
+ linewidth = 55 * \staffspace
+ }
}
@end lilypond
-@end quotation
-@separate
@node Running LilyPond
@item @code{1 2 8 16}
@tab durations
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c1 c2 c8 c16
@item @code{. ..}
@tab augmentation dots
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.Clef = \turnOff
c4. c4..
@end lilypond
@item @code{c d e f g a b }
@tab scale
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.Clef = \turnOff
c d e f g a b
@end lilypond
@item @code{\clef treble \clef bass }
@tab clefs
@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[noquote, notime]
\clef treble
s4_" "
\clef bass
@item @code{\time 3/4 \time 4/4 }
@tab time signature
@tab
-@lilypond[fragment]
+@lilypond[noquote]
\property Staff.Clef \set #'transparent = ##t
\time 3/4
s4_" "
@item @code{r4 r8}
@tab rest
@tab
-@lilypond[fragment, relative 1]
-\property Staff.TimeSignature = \turnOff
+@lilypond[relative 1, noquote, notime]
\property Staff.Clef = \turnOff
r4 r8
@end lilypond
-
@item @code{~}
@tab tie
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, noquote, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
d ~ d
@end lilypond
-
@item @code{\key es \major }
@tab key signature
@tab
-@lilypond[fragment]
-\property Staff.TimeSignature \set #'transparent = ##t
+@lilypond[noquote, notime]
\clef treble
\key es \major
s4
@item @var{note}@code{'}
@tab raise octave
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, noquote, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
a a'
@item @var{note}@code{,}
@tab lower octave
@tab
-@lilypond[fragment, relative 1]
+@lilypond[relative 1, noquote, notime]
\property Score.timing = ##f
-\property Staff.TimeSignature = \turnOff
\property Staff.autoBeaming = ##f
\property Staff.Clef = \turnOff
c c,
Battista Sammartini, composed around 1740. It's in the source
package under the name @file{input/tutorial/sammartini.ly}.
-@lilypondfile[smallverbatim]{sammartini.ly}
+@lilypondfile[smallverbatim,noquote]{sammartini.ly}
As you can see, this example features multiple voices on one staff. To
make room for those voices, their notes should be stemmed in opposite
@cindex @code{\translator}
@example
- \translator Staff = down
- \stemUp
- c8
- \translator Staff = up
- \stemDown
- c'8 @}
+\translator Staff = down
+\stemUp
+c8
+\translator Staff = up
+\stemDown
+c'8 @}
@end example
Voices can switch between staves. Here you see two staff switching
commands. The first one moves to the lower staff, the second one to
it a little to the left, and 1.8 staff space downwards.
@example
\property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8)
-@end example
+@end example
The @code{extra-offset} is a low-level feature: it moves around
objects in the printout; the formatting engine is completely oblivious
to these offsets. The unit of these offsets are staff-spaces. The
going down), there should be more space. This space is controlled by
@code{padding}, so we increase it.
@example
- \property Voice.DynamicLineSpanner \override #'padding = #5.0
+\property Voice.DynamicLineSpanner \override #'padding = #5.0
@end example
This command is almost like the command for setting slur attachments,
snippet of code.
@example
- \property Voice.Stem \set #'transparent = ##t
- d'
+\property Voice.Stem \set #'transparent = ##t
+d'
@end example
Blanking the stem should be done for only one object. One of the ways
to achieve that, is by setting the property before a note. Reverting
>
\context StaffGroup = brass <
\context Staff = trombe <
- \property Staff.midiInstrument = #"trumpet"
+ \property Staff.midiInstrument = #"trumpet"
\property Staff.instrument = #`(lines "2 Trombe" "(C)")
\property Staff.instr = #`(lines "Tbe." "(C)")
\Key
>
\paper @{
indent = 15 * \staffspace
- linewidth = 60 * \staffspace
+ linewidth = 55 * \staffspace
textheight = 90 * \staffspace
\translator@{
\HaraKiriStaffContext
@separate
@example
- \property Staff.instrument = #`(lines "Corno"
- (columns "(E" ,text-flat ")"))
+\property Staff.instrument = #`(lines "Corno"
+ (columns "(E" ,text-flat ")"))
@end example
The french horn (``Corno'') has the most complex scheme markup name, made
up of two lines of text. The second line has three elements (columns) --
@separate
@example
indent = 15 * \staffspace
- linewidth = 60 * \staffspace
+ linewidth = 55 * \staffspace
@end example
We specify a big indent for the first line and a small linewidth for this
tutorial.
In a lilypond-book document, you can freely mix music and text. For
example:
@lilypond
- \score { \notes \relative c' {
- c2 g'2 \times 2/3 { f8 e d } c'2 g4
- } }
+\score {
+ \notes \relative c' {
+ c2 g'2 \times 2/3 { f8 e d } c'2 g4
+ }
+ \paper {
+ linewidth = -1
+ }
+}
@end lilypond
Notice that the music line length matches the margin settings of the
document.
If you include large examples into the text, it may be more convenient
to put the example in a separate file:
-@lilypondfile[printfilename]{sammartini.ly}
+@lilypondfile[printfilename,noquote]{sammartini.ly}
The @code{printfilename} option adds the file name to the output.
@node End of tutorial
@ifnothtml
templates, examples and feature tests.
@end ifnothtml
-If you want to see real action lilypond then head over to
+If you want to see real action LilyPond, head over to
@uref{http://www.mutopiaproject.org}, which has many examples of
classical music typeset with LilyPond.
-
cd $(builddir) && find Documentation input \
$(web-ext:%=-path '*/out-www/*.%' -or) -false \
> $(outdir)/weblist
+ $(PYTHON) $(buildscript-dir)/mutopia-index.py -o $(builddir)/$@.html input/
cd $(builddir) && ls *.png *.html >> $(outdir)/weblist
cat $(outdir)/weblist | (cd $(builddir); GZIP=-9v tar -czf $(outdir)/web.tar.gz -T -)
BUG HUNTERS
+Erik Sandberg
+Hans Kieserman
+Jeremie Lumbroso
Karl-Johan Karlsson
Karl Berry
Werner Lemberg
-Jeremie Lumbroso
-Erik Sandberg
list.write ('<ul>\n')
def list_item(filename, desc, type, l = list):
if file_exist_b(filename):
+
l.write ('<li><a href="%s">%s</a>' % (filename, desc))
+
+ # todo: include warning if it uses \include
+ # files.
+
size=os.stat(filename)[stat.ST_SIZE]
kB=(size + 512) / 1024
if kB:
sdesc: "A program for printing sheet music"
category: Publishing
-requires: bash libguile12 libiconv2 libintl2 libkpathsea3 python tetex-bin tetex-tiny
+requires: bash libguile12 libiconv2 libintl2 libkpathsea3 ghostscript python tetex-bin tetex-tiny
#requires: tetex-bin, tetex-tiny | tetex-base
#suggests: emacs gsview lilypond-doc rxvt tetex-x11 XFree86-serv
ldesc: "A program for printing sheet music.
#include <assert.h>
#include <memory.h>
+#include <string.h>
#include "string-data.hh"
const int INITIALMAX=8;
-\version "1.6.5"
+\version "1.6.4"
\header {
composer = "ARTHUR GRAY"
endlonggrace = \property Voice.Stem \revert #'stroke-style
ritenuto = \textscript #'(italic "rit.")
-\version "1.6.5"
+\version "1.6.4"
#(define italic-bf '((font-shape . italic) (font-series . bold)))
-\version "1.6.5"
+\version "1.6.4"
% bagpipe music.
--- /dev/null
+\header{
+ texidoc = "Additional tricks for dynamics. Pi`u forte dynamic script"
+}
+
+piuf = #'(columns (italic "pi\\`u") " " (dynamic "f"))
+
+\score{
+ \notes\relative c''{
+ c4-#'(italic "pi\\`u")-\f
+ c-#'(columns (italic "pi\\`u") " " (dynamic "f"))
+ c-\piuf
+ c
+ c2\< \! c2
+
+ c2\< \! c2
+ }
+ }
\ No newline at end of file
/* TODO: maybe property stroke-style should take different values,
e.g. "" (i.e. no stroke), "single" and "double" (currently, it's
'() or "grace"). */
-
String flag_style;
SCM flag_style_scm = me->get_grob_property ("flag-style");
void
Volta_engraver::process_music ()
{
- if (unsmob_grob (staff_))
+ if (unsmob_grob (staff_)
+ && !to_boolean (get_property ("voltaOnThisStaff")))
{
/*
TODO: this does weird things when you open a piece with a
/* descr */ "Make volta brackets",
/* creats*/ "VoltaBracket",
/* accepts */ "",
-/* acks */ "bar-line-interface staff-symbol-interface note-column-interface",
+/* acks */ "bar-line-interface staff-symbol-interface note-column-interface",
/* reads */ "repeatCommands voltaSpannerDuration stavesFound",
/* write */ "");
-# -*- rpm-spec-mode -*-
+# -*-rpm-spec-mode-*-
%define info yes
Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-@TOPLEVEL_VERSION@.tar.gz
Summary: Create and print music notation
URL: http://www.lilypond.org/
-BuildRoot: /tmp/lilypond-install
+BuildRoot: %{_tmppath}/%{name}-%{version}-root
+
Buildrequires: t1utils bison flex mftrace texinfo
Requires: tetex tetex-latex libstdc++ python
beautiful sheet music from a high-level description file.
%package documentation
-Summary: Prebuilt website containing all LilyPond documentation.
+Summary: All LilyPond documentation, in HTML
Group: Applications/Publishing
# BuildArchitectures: noarch
%description documentation
-
-The documentation and example files of LilyPond.
+Documentation and example files of LilyPond. An index is available at
+%{_docdir}/web/Documentation/out-www/index.html
%prep
%setup
%build
# DO NOT use % { configure } , it hardcodes all paths, runs libtool,
-# so we can't do make prefix=/tmp/ install.
+# so we can't do make prefixix=/tmp/ install.
# In fact, do not take out the spaces between % and { in the above comment,
# because RPM will gladly do a substitution anyway.
mkdir -p $RPM_BUILD_ROOT/tmp/lilypond-rpm-doc
strip lily/out/lilypond
-make prefix="$RPM_BUILD_ROOT%{_prefix}" MAKE_PFA_FILES=1 install
+make prefix="$RPM_BUILD_ROOT%{_prefix}" infodir="$RPM_BUILD_ROOT%{_infodir}" MAKE_PFA_FILES=1 mandir="$RPM_BUILD_ROOT%{_mandir}" install
-%if info=="yes"
-gzip -9fn $RPM_BUILD_ROOT%{_prefix}/info/*
+%if %{info}
+rm -f $RPM_BUILD_ROOT/%{_infodir}/dir
+gzip -9fn $RPM_BUILD_ROOT%{_infodir}/*
%endif
-mkdir -p $RPM_BUILD_ROOT/usr/share/emacs/site-lisp/site-start.d
-install -m 644 lilypond-mode.el lilypond-font-lock.el lilypond-indent.el $RPM_BUILD_ROOT/usr/share/emacs/site-lisp/
-install -m 644 lilypond-init.el $RPM_BUILD_ROOT/usr/share/emacs/site-lisp/site-start.d
+mkdir -p $RPM_BUILD_ROOT%{_datadir}/emacs/site-lisp/site-start.d
+install -m 644 lilypond-mode.el lilypond-font-lock.el lilypond-indent.el $RPM_BUILD_ROOT/%{_datadir}/emacs/site-lisp/
+install -m 644 lilypond-init.el $RPM_BUILD_ROOT/%{_datadir}/emacs/site-lisp/site-start.d
-gzip -9fn $RPM_BUILD_ROOT%{_prefix}/man/man1/*
+gzip -9fn $RPM_BUILD_ROOT%{_mandir}/man1/*
-mkdir -p $RPM_BUILD_ROOT%{_prefix}/../etc/profile.d
-cp buildscripts/out/lilypond-profile $RPM_BUILD_ROOT%{_prefix}/../etc/profile.d/lilypond.sh
-cp buildscripts/out/lilypond-login $RPM_BUILD_ROOT%{_prefix}/../etc/profile.d/lilypond.csh
+mkdir -p $RPM_BUILD_ROOT/etc/profile.d
+cp buildscripts/out/lilypond-profile $RPM_BUILD_ROOT/etc/profile.d/lilypond.sh
+cp buildscripts/out/lilypond-login $RPM_BUILD_ROOT/etc/profile.d/lilypond.csh
# again, make sure that main package installs even if doco fails
touch /tmp/.lilypond-install
rm `find /var/lib/texmf -name 'feta*pk' -or -name 'feta*tfm' -or -name 'parmesan*pk' -or -name 'parmesan*tfm' -print` /tmp/.lilypond-install
-%if info=="yes"
-/sbin/install-info %{_prefix}/info/lilypond.info.gz %{_prefix}/info/dir
+%if %{info}
+/sbin/install-info %{_infodir}/lilypond.info.gz %{_infodir}/dir
%endif
-
-/usr/X11R6/bin/mkfontdir /usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/
-chkfontpath --add=/usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/
+/usr/X11R6/bin/mkfontdir %{_datadir}/lilypond/@TOPLEVEL_VERSION@/fonts/type1/
+chkfontpath --add=%{_datadir}/lilypond/@TOPLEVEL_VERSION@/fonts/type1/
echo 'Please logout first before using LilyPond.'
%preun
-%if info=="yes"
+%if %{info}
if [ $1 = 0 ]; then
- /sbin/install-info --delete %{_prefix}/info/lilypond.info.gz %{_prefix}/info/dir
+ /sbin/install-info --delete %{_infodir}/lilypond.info.gz %{_infodir}/dir
fi
%endif
-rm -f /usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/fonts.dir
-chkfontpath --remove=/usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/
+rm -f %{_datadir}/lilypond/@TOPLEVEL_VERSION@/fonts/type1/fonts.dir
+chkfontpath --remove=%{_datadir}/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/
%files
%defattr(-, root, root)
%{_datadir}/emacs/site-lisp/lilypond-*
%{_datadir}/emacs/site-lisp/site-start.d/lilypond-*
-%{_prefix}/bin/abc2ly
-%{_prefix}/bin/as2text
-%{_prefix}/bin/convert-ly
-%{_prefix}/bin/etf2ly
-%{_prefix}/bin/lilypond
-%{_prefix}/bin/ly2dvi
-%{_prefix}/bin/midi2ly
-%{_prefix}/bin/lilypond-book
-%{_prefix}/bin/mup2ly
-%{_prefix}/bin/musedata2ly
-%{_prefix}/bin/pmx2ly
-
-%if info=="yes"
-%{_prefix}/info/lilypond.info.gz
-%{_prefix}/info/lilypond-internals.info.gz
+%{_bindir}/abc2ly
+%{_bindir}/as2text
+%{_bindir}/convert-ly
+%{_bindir}/etf2ly
+%{_bindir}/lilypond
+%{_bindir}/ly2dvi
+%{_bindir}/midi2ly
+%{_bindir}/lilypond-book
+%{_bindir}/mup2ly
+%{_bindir}/musedata2ly
+%{_bindir}/pmx2ly
+
+%if %{info}
+%{_infodir}/*
%endif
-%{_prefix}/man/man1/abc2ly.1.gz
-%{_prefix}/man/man1/as2text.1.gz
-%{_prefix}/man/man1/convert-ly.1.gz
-%{_prefix}/man/man1/etf2ly.1.gz
-%{_prefix}/man/man1/lilypond.1.gz
-%{_prefix}/man/man1/ly2dvi.1.gz
-%{_prefix}/man/man1/midi2ly.1.gz
-%{_prefix}/man/man1/lilypond-book.1.gz
-%{_prefix}/man/man1/musedata2ly.1.gz
-%{_prefix}/man/man1/mup2ly.1.gz
-%{_prefix}/man/man1/pmx2ly.1.gz
-
-%{_prefix}/share/lilypond/@TOPLEVEL_VERSION@/
-%{_prefix}/share/locale/*/LC_MESSAGES/lilypond.mo
-%{_prefix}/../etc/profile.d/lilypond.*
+%{_mandir}/man1/abc2ly.1.gz
+%{_mandir}/man1/as2text.1.gz
+%{_mandir}/man1/convert-ly.1.gz
+%{_mandir}/man1/etf2ly.1.gz
+%{_mandir}/man1/lilypond.1.gz
+%{_mandir}/man1/ly2dvi.1.gz
+%{_mandir}/man1/midi2ly.1.gz
+%{_mandir}/man1/lilypond-book.1.gz
+%{_mandir}/man1/musedata2ly.1.gz
+%{_mandir}/man1/mup2ly.1.gz
+%{_mandir}/man1/pmx2ly.1.gz
+
+%{_datadir}/lilypond/@TOPLEVEL_VERSION@/
+%{_datadir}/locale/*/LC_MESSAGES/lilypond.mo
+/etc/profile.d/lilypond.*
%files documentation
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 2000--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;
;;; specify generic beam begin and end times
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;; (c) 2000--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 2000--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;;; (c) 2000--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;;
;;
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Note: this file can't be used without LilyPond executable
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 2000--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;; (c) 2000--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Jan Nieuwenhuizen <janneke@gnu.org>
(use-modules (oop goops))
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;; (c) 2000--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 2000--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;
(define style-to-font-alist
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;; (c) 2000--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;; File entry point for generated documentation
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--20.301 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;;; (c) 1998--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;;; distances are given in stafflinethickness (thicknesses) and
. (
(molecule-callback . ,Accidental_interface::brew_molecule)
(font-family . music)
- (cautionary-style . smaller)
+ (cautionary-style . parentheses)
(after-line-breaking-callback . ,Accidental_interface::after_line_breaking) (meta . ((interfaces . (item-interface accidental-interface font-interface))))
))
(AccidentalPlacement
(Y-extent-callback . ,Rest::extent_callback)
(molecule-callback . ,Rest::brew_molecule)
(Y-offset-callbacks . (,Staff_symbol_referencer::callback))
- (minimum-beam-collision-distance . 1.5)
+ (minimum-beam-collision-distance . 0.75)
(meta . (
(interfaces . (font-interface
rhythmic-head-interface
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;;; (c) 1998--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;;; (c) 1998--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Library functions
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 2000--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 2000--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;; define factor of total volume per dynamic marking
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Han-Wen Nienhuys <hanwen@cs.uu.nl>
+;;;; (c) 1998--2002 Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;; Jan Nieuwenhuizen <janneke@gnu.org>
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
; Tablature functions, by Jiba (jiba@tuxfamily.org)
;;; source file of the GNU LilyPond music typesetter
;;; modified from the existing tex.scm
;;;
-;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;; Stephen Peters <portnoy@portnoy.org>
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 2000--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;;; (c) 2000--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;;
(define (attached-to-stem slur dir)
;;;;
;;;; source file of the GNU LilyPond music typesetter
;;;;
-;;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
(define standalone (not (defined? 'ly-gulp-file)))
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
-;;; (c) 1998--2001 Jan Nieuwenhuizen <janneke@gnu.org>
+;;; (c) 1998--2002 Jan Nieuwenhuizen <janneke@gnu.org>
;;; Han-Wen Nienhuys <hanwen@cs.uu.nl>
(begin
; uncomment for some stats about lily memory
; (display (gc-stats))
- (string-append "%\n\\endgroup\\EndLilyPondOutput\n"
+ (string-append
+ "%\n"
+ "\\EndLilyPondOutput\n"
+ "\\begingroup\n"
+ "\\ifx\\LilyPondDocument\\undefined\n"
+ " \\def\\x{\\endgroup}%\n"
+ "\\else\n"
+ " \\def\\x{%\n"
+ " \\endgroup\n"
+ " \\enddocument\n"
+ " }\n"
+ "\\fi\n"
+ "\\x\n"
; Put GC stats here.
)))
"\\special{\\string! "
;; URG: ly-gulp-file: now we can't use scm output without Lily
- (regexp-substitute/global #f "\n"
- (ly-gulp-file "music-drawing-routines.ps") 'pre " %\n" 'post)
- "}"
+ (regexp-substitute/global
+ #f "\n"
+ (ly-gulp-file "music-drawing-routines.ps") 'pre " %\n" 'post)
+ ;; (if (defined? 'ps-testing) "/testing true def%\n" "")
+ "}%\n"
+ "\\begingroup\n"
+ "\\catcode `\\@=11\n"
+ "\\expandafter\\ifx\\csname @nodocument\\endcsname \\relax\n"
+ " \\def\\x{\\endgroup}%\n"
+ "\\else\n"
+ " \\def\\x{%\n"
+ " \\endgroup\n"
+ " \\def\\LilyPondDocument{}\n"
+ " \\documentclass{article}\n"
+ " \\pagestyle{empty}\n"
+ ;; argh, we can't say \begin{document} because \begin is defined as
+ ;; \outer in texinfo
+ " \\begingroup\n"
+ " \\document\n"
+ " \\ifdim\\lilypondpaperlinewidth\\lilypondpaperunit > 0pt\n"
+ " \\hsize\\lilypondpaperlinewidth\\lilypondpaperunit\n"
+ " \\fi\n"
+ " \\parindent 0pt\n"
+ " }\n"
+ "\\fi\n"
+ "\\x\n"
"\\input lilyponddefs\n"
"\\outputscale=\\lilypondpaperoutputscale \\lilypondpaperunit\n"
- "\\turnOnPostScript\\begingroup\\parindent0pt\n"))
+ "\\turnOnPostScript\n"))
;; Note: this string must match the string in ly2dvi.py!!!
(define (header creator generate)
procedure? "what callback to add to children of a vertical alignment.
It determines what alignment procedure is used on the alignment
itself. .")
+(translator-property-description
+ 'voltaOnThisStaff boolean?
+ "Normally, volta brackets are put only on the topmost staff. Setting this variable to true, will force a bracket to be on this staff as well.")
(translator-property-description 'voltaSpannerDuration moment? "maximum duration of the volta bracket.
Set to a duration to control the size of the brackets printed by
#!@PYTHON@
# vim: set noexpandtab:
# TODO:
-# * junk --outdir for --output
+# * junk --outdir for --output
# * Figure out clean set of options.
-# *
+# *
# * EndLilyPondOutput is def'd as vfil. Causes large white gaps.
# * texinfo: add support for @pagesize
# fix it.)
#
-# TODO: magnification support should also work for texinfo -> html: eg. add as option to dvips.
-#
+# TODO: magnification support should also work for texinfo -> html: eg. add as option to dvips.
+#
# This is was the idea for handling of comments:
# Multiline comments, @ignore .. @end ignore is scanned for
## python 2.2 has another bug, see Sf.net bugtracker
##
## https://sourceforge.net/tracker/?func=detail&aid=604803&group_id=5470&atid=105470
-##
+##
+
+
+##
+##
+##
+
+
-if float (sys.version[0:3]) <= 2.1:
+
+if float (sys.version[0:3]) <= 2.1:
+## or sys.version[0:5] == '2.2.1':
+## still broken on python 2.2.1 / RH8.
+
try:
import pre
re = pre
program_version = '1.6.0'
# if set, LILYPONDPREFIX must take prevalence
-# if datadir is not set, we're doing a build and LILYPONDPREFIX
+# if datadir is not set, we're doing a build and LILYPONDPREFIX
datadir = '@local_lilypond_datadir@'
if os.environ.has_key ('LILYPONDPREFIX') :
# $TEXMF is special, previous value is already taken care of
if os.environ.has_key ('TEXMF'):
del os.environ['TEXMF']
-
+
for key in environment.keys ():
val = environment[key]
if os.environ.has_key (key):
self.m_document_preamble = []
self.m_num_cols = 1
self.m_multicols = 1
-
+
def find_latex_dims(self):
if g_outdir:
fname = os.path.join(g_outdir, "lily-tmp.tex")
if countdown == 0:
break
-
+
if countdown > 0:
countdown = countdown -1
sys.stderr.write (" ... (further messages elided)...\n")
sys.exit (1)
-
+
lns = open ('lily-tmp.log').readlines()
for ln in lns:
ln = string.strip(ln)
if m:
if m.groups()[0] in ('textwidth', 'columnsep'):
self.__dict__['m_%s' % m.groups()[0]] = float(m.groups()[1])
-
+
try:
os.remove (fname)
os.remove (os.path.splitext(fname)[0]+".aux")
if not self.__dict__.has_key ('m_textwidth'):
raise 'foo!'
-
+
def get_linewidth(self):
if self.m_num_cols == 1:
w = self.m_textwidth
unit = m.group (2)
num = string.atof(m.group (1))
conv = dimension_conversion_dict[m.group(2)]
-
+
value = conv(num)
-
+
elif re.match ("^[0-9.]+$",value):
value = float(value)
('EXT', 'f', 'format', 'use output format EXT (texi [default], latex, html)'),
('DIM', '', 'default-music-fontsize', 'default fontsize for music. DIM is assumed to be in points'),
('DIM', '', 'default-lilypond-fontsize', 'deprecated, use --default-music-fontsize'),
- ('OPT', '', 'extra-options' , 'Pass OPT quoted to the lilypond command line'),
+ ('OPT', '', 'extra-options' , 'pass OPT quoted to the lilypond command line'),
('DIM', '', 'force-music-fontsize', 'force fontsize for all inline lilypond. DIM is assumed be to in points'),
('DIM', '', 'force-lilypond-fontsize', 'deprecated, use --force-music-fontsize'),
('', 'h', 'help', 'this help'),
('PREF', '', 'dep-prefix', 'prepend PREF before each -M dependency'),
('', 'n', 'no-lily', 'don\'t run lilypond'),
('', '', 'no-pictures', "don\'t generate pictures"),
- ('', '', 'no-music', "strip all lilypond blocks from output"),
+ ('', '', 'no-music', "strip all lilypond blocks from output"),
('', '', 'read-lys', "don't write ly files."),
('FILE', 'o', 'outname', 'filename main output file'),
('FILE', '', 'outdir', "where to place generated files"),
# format specific strings, ie. regex-es for input, and % strings for output
output_dict= {
- 'html' : {'output-lilypond': '''<lilypond%s>
+
+
+ 'html' : {
+
+ 'output-lilypond': '''<lilypond%s>
%s
</lilypond>''',
'output-filename' : r'''
<!-- %s >
<a href="%s">
-<pre>%s</pre></a>:''',
- 'output-lilypond-fragment': '''<lilypond%s>
+<pre>%s</pre></a>:''',
+ 'output-lilypond-fragment': '''<lilypond%s>
\context Staff\context Voice{ %s }
</lilypond>''',
- 'output-noinline': r'''
+ 'output-noinline': r'''
<!-- generated: %(fn)s.png !-->
''',
- ## maybe <hr> ?
- 'pagebreak': None,
- 'output-verbatim': r'''<pre>
-%s
-</pre>''',
- 'output-small-verbatim': r'''<font size=-1><pre>
-%s
-</pre></font>''',
-
- ## Ugh we need to differentiate on origin:
- ## lilypond-block origin wants an extra <p>, but
- ## inline music doesn't.
- ## possibly other center options?
- 'output-all': r'''
+ ## maybe <hr> ?
+ 'pagebreak': None,
+ # Verbatim text is always finished with \n. FIXME: For HTML,
+ # this newline should be removed.
+ 'output-verbatim': r'''<pre>
+%s</pre>''',
+ # Verbatim text is always finished with \n. FIXME: For HTML,
+ # this newline should be removed.
+ 'output-small-verbatim': r'''<font size=-1><pre>
+%s</pre></font>''',
+ ## Ugh we need to differentiate on origin:
+ ## lilypond-block origin wants an extra <p>, but
+ ## inline music doesn't.
+ ## possibly other center options?
+ 'output-html': r'''
<a href="%(fn)s.png">
<img align="center" valign="center" border="0" src="%(fn)s.png" alt="[picture of music]"></a>
''',
- },
+ },
+
+
'latex': {
+
'output-lilypond-fragment' : r'''\begin[eps,singleline,%s]{lilypond}
\context Staff <
\context Voice{
}
>
\end{lilypond}''',
- 'output-filename' : r'''
-\verb+%s+:
+ 'output-filename' : r'''\verb+%s+:\\
%% %s
%% %s
''',
%s
\end{lilypond}
''',
- 'output-verbatim': r'''\begin{verbatim}%s\end{verbatim}%%
+ # verbatim text is always finished with \n
+ 'output-verbatim': r'''\begin{verbatim}
+%s\end{verbatim}
+''',
+ # verbatim text is always finished with \n
+ 'output-small-verbatim': r'''{\small\begin{verbatim}
+%s\end{verbatim}}
''',
- 'output-small-verbatim': r'''{\small\begin{verbatim}%s\end{verbatim}}%%''',
'output-default-post': "\\def\postLilypondExample{}\n",
'output-default-pre': "\\def\preLilypondExample{}\n",
'usepackage-graphics': '\\usepackage{graphics}\n',
'output-noinline': r'''
%% generated: %(fn)s.eps
''',
- 'output-tex': '{\\preLilypondExample \\input %(fn)s.tex \\postLilypondExample\n}',
+ 'output-latex-quoted': r'''{\preLilypondExample
+\input %(fn)s.tex
+\postLilypondExample}''',
+ 'output-latex-noquote': r'''{\parindent 0pt
+\preLilypondExample
+\input %(fn)s.tex
+\postLilypondExample}''',
'pagebreak': r'\pagebreak',
},
-
- 'texi' : {'output-lilypond': '''@lilypond[%s]
+
+
+ 'texi' : {
+
+ 'output-lilypond': '''@lilypond[%s]
%s
-@end lilypond
+@end lilypond
''',
- 'output-filename' : r'''
-@ifnothtml
-@file{%s}:
+ 'output-filename' : r'''@ifnothtml
+@file{%s}:@*
@end ifnothtml
@ifhtml
@uref{%s,@file{%s}}
@end ifhtml
-''',
- 'output-lilypond-fragment': '''@lilypond[%s]
+''',
+ 'output-lilypond-fragment': '''@lilypond[%s]
\context Staff\context Voice{ %s }
@end lilypond ''',
- 'output-noinline': r'''
-@c generated: %(fn)s.png
+ 'output-noinline': r'''
+@c generated: %(fn)s.png
''',
- 'pagebreak': None,
- 'output-small-verbatim': r'''@smallexample
-%s
-@end smallexample
+ 'pagebreak': None,
+ # verbatim text is always finished with \n
+ 'output-small-verbatim': r'''@smallexample
+%s@end smallexample
''',
- 'output-verbatim': r'''@example
-%s
-@end example
+ # verbatim text is always finished with \n
+ 'output-verbatim': r'''@example
+%s@end example
''',
-
-# do some tweaking: @ is needed in some ps stuff.
-# override EndLilyPondOutput, since @tex is done
-# in a sandbox, you can't do \input lilyponddefs at the
-# top of the document.
-
-# should also support fragment in
-
-# ugh, the <p> below breaks inline images...
-
- 'output-all': r'''
+ # do some tweaking: @ is needed in some ps stuff.
+ # override EndLilyPondOutput, since @tex is done
+ # in a sandbox, you can't do \input lilyponddefs at the
+ # top of the document.
+ #
+ # ugh, the <p> below breaks inline images...
+ 'output-texi-noquote': r'''@tex
+\catcode`\@=12
+\parindent 0pt
+\input lilyponddefs
+\def\EndLilyPondOutput{}
+\input %(fn)s.tex
+\catcode`\@=0
+@end tex
+@html
+<p><a href="%(fn)s.png">
+<img border=0 src="%(fn)s.png" alt="[picture of music]">
+</a><p>
+@end html
+''',
+ 'output-texi-quoted': r'''@quotation
@tex
\catcode`\@=12
\input lilyponddefs
\catcode`\@=0
@end tex
@html
-<p>
<a href="%(fn)s.png">
<img border=0 src="%(fn)s.png" alt="[picture of music]">
-</a><p>
+</a>
@end html
+@end quotation
''',
}
-
+
}
def output_verbatim (body, small):
body = re.sub ('>', '>', body)
body = re.sub ('<', '<', body)
elif __main__.format == 'texi':
-
# clumsy workaround for python 2.2 pre bug.
body = re.sub ('@', '@@', body)
body = re.sub ('{', '@{', body)
return get_output (key) % body
-#warning: this uses extended regular expressions. Tread with care.
-
+# Warning: This uses extended regular expressions. Treat with care.
+#
# legenda
-
-# (?P -- name parameter
+#
+# (?P<name>regex) -- assign result of REGEX to NAME
# *? -- match non-greedily.
-# (?m) -- ?
+# (?m) -- multiline regex: make ^ and $ match at each line
+# (?s) -- make the dot match all characters including newline
re_dict = {
'html': {
- 'include': no_match,
- 'input': no_match,
- 'header': no_match,
- 'preamble-end': no_match,
- 'landscape': no_match,
- 'verbatim': r'''(?s)(?P<code><pre>\s.*?</pre>\s)''',
- 'verb': r'''(?P<code><pre>.*?</pre>)''',
- 'lilypond-file': r'(?m)(?P<match><lilypondfile(?P<options>[^>]+)?>\s*(?P<filename>[^<]+)\s*</lilypondfile>)',
- 'lilypond' : '(?m)(?P<match><lilypond((?P<options>[^:]*):)(?P<code>.*?)/>)',
- 'lilypond-block': r'''(?ms)(?P<match><lilypond(?P<options>[^>]+)?>(?P<code>.*?)</lilypond>)''',
- 'option-sep' : '\s*',
- 'intertext': r',?\s*intertext=\".*?\"',
- 'multiline-comment': r"(?sm)\s*(?!@c\s+)(?P<code><!--\s.*?!-->)\s",
- 'singleline-comment': no_match,
- 'numcols': no_match,
- 'multicols': no_match,
- },
-
- 'latex': {'input': r'(?m)^[^%\n]*?(?P<match>\\mbinput{?([^}\t \n}]*))',
- 'include': r'(?m)^[^%\n]*?(?P<match>\\mbinclude{(?P<filename>[^}]+)})',
- 'option-sep' : ',\s*',
- 'header': r"\n*\\documentclass\s*(\[.*?\])?",
- 'preamble-end': r'(?P<code>\\begin\s*{document})',
- 'verbatim': r"(?s)(?P<code>\\begin\s*{verbatim}.*?\\end{verbatim})",
- 'verb': r"(?P<code>\\verb(?P<del>.).*?(?P=del))",
- 'lilypond-file': r'(?m)^[^%\n]*?(?P<match>\\lilypondfile\s*(\[(?P<options>.*?)\])?\s*\{(?P<filename>.+)})',
- 'lilypond' : r'(?m)^[^%\n]*?(?P<match>\\lilypond\s*(\[(?P<options>.*?)\])?\s*{(?P<code>.*?)})',
- 'lilypond-block': r"(?sm)^[^%\n]*?(?P<match>\\begin\s*(\[(?P<options>.*?)\])?\s*{lilypond}(?P<code>.*?)\\end{lilypond})",
- 'def-post-re': r"\\def\\postLilypondExample",
- 'def-pre-re': r"\\def\\preLilypondExample",
- 'usepackage-graphics': r"\usepackage\s*{graphics}",
- 'intertext': r',?\s*intertext=\".*?\"',
- 'multiline-comment': no_match,
- 'singleline-comment': r"(?m)^.*?(?P<match>(?P<code>^%.*$\n+))",
- 'numcols': r"(?P<code>\\(?P<num>one|two)column)",
- 'multicols': r"(?P<code>\\(?P<be>begin|end)\s*{multicols}({(?P<num>\d+)?})?)",
- },
+ 'include': no_match,
+ 'input': no_match,
+ 'header': no_match,
+ 'preamble-end': no_match,
+ 'landscape': no_match,
+ 'verbatim': r'''(?s)(?P<code><pre>\s.*?</pre>\s)''',
+ 'verb': r'''(?P<code><pre>.*?</pre>)''',
+ 'lilypond-file': r'(?m)(?P<match><lilypondfile(?P<options>[^>]+)?>\s*(?P<filename>[^<]+)\s*</lilypondfile>)',
+ 'lilypond' : '(?m)(?P<match><lilypond((?P<options>[^:]*):)(?P<code>.*?)/>)',
+ 'lilypond-block': r'''(?ms)(?P<match><lilypond(?P<options>[^>]+)?>(?P<code>.*?)</lilypond>)''',
+ 'option-sep' : '\s*',
+ 'intertext': r',?\s*intertext=\".*?\"',
+ 'multiline-comment': r"(?sm)\s*(?!@c\s+)(?P<code><!--\s.*?!-->)\s",
+ 'singleline-comment': no_match,
+ 'numcols': no_match,
+ 'multicols': no_match,
+ },
+ 'latex': {
+ 'input': r'(?m)^[^%\n]*?(?P<match>\\mbinput{?([^}\t \n}]*))',
+ 'include': r'(?m)^[^%\n]*?(?P<match>\\mbinclude{(?P<filename>[^}]+)})',
+ 'option-sep' : ',\s*',
+ 'header': r"\n*\\documentclass\s*(\[.*?\])?",
+ 'preamble-end': r'(?P<code>\\begin\s*{document})',
+ 'verbatim': r"(?s)(?P<code>\\begin\s*{verbatim}.*?\\end{verbatim})",
+ 'verb': r"(?P<code>\\verb(?P<del>.).*?(?P=del))",
+ 'lilypond-file': r'(?m)^[^%\n]*?(?P<match>\\lilypondfile\s*(\[(?P<options>.*?)\])?\s*\{(?P<filename>.+)})',
+ 'lilypond' : r'(?m)^[^%\n]*?(?P<match>\\lilypond\s*(\[(?P<options>.*?)\])?\s*{(?P<code>.*?)})',
+ 'lilypond-block': r"(?sm)^[^%\n]*?(?P<match>\\begin\s*(\[(?P<options>.*?)\])?\s*{lilypond}(?P<code>.*?)\\end{lilypond})",
+ 'def-post-re': r"\\def\\postLilypondExample",
+ 'def-pre-re': r"\\def\\preLilypondExample",
+ 'usepackage-graphics': r"\usepackage\s*{graphics}",
+ 'intertext': r',?\s*intertext=\".*?\"',
+ 'multiline-comment': no_match,
+ 'singleline-comment': r"(?m)^.*?(?P<match>(?P<code>^%.*$\n+))",
+ 'numcols': r"(?P<code>\\(?P<num>one|two)column)",
+ 'multicols': r"(?P<code>\\(?P<be>begin|end)\s*{multicols}({(?P<num>\d+)?})?)",
+ },
# why do we have distinction between @mbinclude and @include?
-
'texi': {
- 'include': '(?m)^[^%\n]*?(?P<match>@mbinclude[ \n\t]+(?P<filename>[^\t \n]*))',
- 'input': no_match,
- 'header': no_match,
- 'preamble-end': no_match,
- 'landscape': no_match,
- 'verbatim': r'''(?s)(?P<code>@example\s.*?@end example\s)''',
- 'verb': r'''(?P<code>@code{.*?})''',
- 'lilypond-file': '(?m)^(?P<match>@lilypondfile(\[(?P<options>[^]]*)\])?{(?P<filename>[^}]+)})',
- 'lilypond' : '(?m)^(?P<match>@lilypond(\[(?P<options>[^]]*)\])?{(?P<code>.*?)})',
- 'lilypond-block': r'''(?ms)^(?P<match>@lilypond(\[(?P<options>[^]]*)\])?\s(?P<code>.*?)@end +lilypond)\s''',
- 'option-sep' : ',\s*',
- 'intertext': r',?\s*intertext=\".*?\"',
- 'multiline-comment': r"(?sm)^\s*(?!@c\s+)(?P<code>@ignore\s.*?@end ignore)\s",
- 'singleline-comment': r"(?m)^.*?(?P<match>(?P<code>@c.*$\n+))",
- 'numcols': no_match,
- 'multicols': no_match,
- }
+ 'include': '(?m)^[^%\n]*?(?P<match>@mbinclude[ \n\t]+(?P<filename>[^\t \n]*))',
+ 'input': no_match,
+ 'header': no_match,
+ 'preamble-end': no_match,
+ 'landscape': no_match,
+ 'verbatim': r'''(?s)(?P<code>@example\s.*?@end example\s)''',
+ 'verb': r'''(?P<code>@code{.*?})''',
+ 'lilypond-file': '(?m)^(?P<match>@lilypondfile(\[(?P<options>[^]]*)\])?{(?P<filename>[^}]+)})',
+ 'lilypond' : '(?m)^(?P<match>@lilypond(\[(?P<options>[^]]*)\])?{(?P<code>.*?)})',
+ 'lilypond-block': r'''(?ms)^(?P<match>@lilypond(\[(?P<options>[^]]*)\])?\s(?P<code>.*?)@end +lilypond)\s''',
+ 'option-sep' : ',\s*',
+ 'intertext': r',?\s*intertext=\".*?\"',
+ 'multiline-comment': r"(?sm)^\s*(?!@c\s+)(?P<code>@ignore\s.*?@end ignore)\s",
+ 'singleline-comment': r"(?m)^.*?(?P<match>(?P<code>@c.*$\n+))",
+ 'numcols': no_match,
+ 'multicols': no_match,
+ }
}
raise "Invalid re"
re_dict[r] = newdict
-
+
def uniq (list):
list.sort ()
s = list
if x not in list:
list.append (x)
return list
-
+
def get_output (name):
return output_dict[format][name]
str = fd.read ()
s = re.search('%%BoundingBox: ([0-9]+) ([0-9]+) ([0-9]+) ([0-9]+)', str)
if s:
-
+
gs = map (lambda x: string.atoi (x), s.groups ())
return (int (gs[2] - gs[0] + 0.5),
int (gs[3] - gs[1] + 0.5))
music_size = g_force_music_fontsize
indent = ''
linewidth = ''
+ notime = ''
for o in opts:
if not g_force_music_fontsize:
m = re.match ('([0-9]+)pt', o)
if m:
f = float (m.group (1))
indent = 'indent = %f\\%s' % (f, m.group (2))
-
+
m = re.match ('linewidth=([-.0-9]+)(cm|in|mm|pt)', o)
if m:
f = float (m.group (1))
if is_fragment and not 'multiline' in opts:
opts.append('singleline')
-
+
if 'singleline' in opts:
- linewidth = 'linewidth = -1.0'
+ if not linewidth:
+ linewidth = 'linewidth = -1.0'
+ if not indent:
+ indent = 'indent = 0.0\mm'
elif not linewidth:
l = __main__.paperguru.get_linewidth ()
linewidth = 'linewidth = %f\pt' % l
if 'noindent' in opts:
indent = 'indent = 0.0\mm'
+ if 'notime' in opts:
+ notime = r'''
+\translator {
+ \StaffContext
+ \remove Time_signature_engraver
+}
+'''
+
for o in opts:
m= re.search ('relative(.*)', o)
v = 0
pitch = pitch + '\'' * v
body = '\\relative %s { %s }' %(pitch, body)
-
+
if is_fragment:
- body = r'''\score {
- \notes { %s }
- \paper { }
-}''' % body
+ body = r'''
+\score {
+ \notes {
+%s
+ }
+}
+''' % body
opts = uniq (opts)
optstring = string.join (opts, ' ')
optstring = re.sub ('\n', ' ', optstring)
body = r'''
%% Generated automatically by: lilypond-book.py
-%% options are %s
+%% options are %s
\include "paper%d.ly"
\paper {
%s
%s
-}
-''' % (optstring, music_size, linewidth, indent) + body
+ %s
+}
+''' % (optstring, music_size, linewidth, indent, notime) + body
# ughUGH not original options
return body
break
- # Then we add everythin before \begin{document} to
+ # Then we add everything before \begin{document} to
# paperguru.m_document_preamble so that we can later write this header
# to a temporary file in find_latex_dims() to find textwidth.
while idx < len(chunks) and chunks[idx][0] != 'preamble-end':
if len(chunks) == idx:
error ("Didn't find end of preamble (\\begin{document})")
-
+
paperguru.find_latex_dims()
def scan_texi_preamble (chunks):
scan_latex_preamble (chunks)
elif __main__.format == 'texi':
scan_texi_preamble (chunks)
-
+
def completize_preamble (chunks):
if __main__.format != 'latex':
m = get_re('def-post-re').search(chunk[1])
if m:
post_b = 1
-
+
if chunk[0] == 'input':
m = get_re('usepackage-graphics').search(chunk[1])
if m:
if x == len(chunks):
return chunks
-
+
if not pre_b:
chunks.insert(x, ('input', get_output ('output-default-pre')))
if not post_b:
"m: MatchObject"
return [('input', get_output ('pagebreak'))] \
+ read_doc_file(m.group('filename')) \
- + [('input', get_output ('pagebreak'))]
+ + [('input', get_output ('pagebreak'))]
def do_input_file(m):
return read_doc_file(m.group('filename'))
options = m.group('options')
else:
options = ''
- return [('input', get_output('output-lilypond-fragment') %
+ return [('input', get_output('output-lilypond-fragment') %
(options, m.group('code')))]
def make_lilypond_file(m):
Find @lilypondfile{bla.ly} occurences and substitute bla.ly
into a @lilypond .. @end lilypond block.
-
+
'''
-
+
if m.group('options'):
options = m.group('options')
else:
def make_lilypond_block(m):
if not g_do_music:
return []
-
+
if m.group('options'):
options = get_re('option-sep').split (m.group('options'))
else:
- options = []
+ options = []
options = filter(lambda s: s != '', options)
return [('lilypond', m.group('code'), options)]
def determine_format (str):
if __main__.format == '':
-
+
html = re.search ('(?i)<[dh]tml', str[:200])
latex = re.search (r'''\\document''', str[:200])
texi = re.search ('@node|@setfilename', str[:200])
f = ''
g = None
-
+
if html and not latex and not texi:
f = 'html'
elif latex and not html and not texi:
g = LatexPaper ()
elif __main__.format == 'texi':
g = TexiPaper ()
-
+
__main__.paperguru = g
'''
(str, path) = find_file(filename)
determine_format (str)
-
+
chunks = [('input', str)]
-
+
# we have to check for verbatim before doing include,
# because we don't want to include files that are mentioned
# inside a verbatim environment
chunks = chop_chunks(chunks, 'verbatim', make_verbatim)
-
chunks = chop_chunks(chunks, 'verb', make_verb)
chunks = chop_chunks(chunks, 'multiline-comment', do_ignore)
#ugh fix input
Return: a chunk (TYPE_STR, MAIN_STR, OPTIONS, TODO, BASE)
TODO has format [basename, extension, extension, ... ]
-
'''
(type, body, opts) = chunk
assert type == 'lilypond'
if m:
newbody = newbody + get_output ("output-filename") % (m.group(1), basename + '.ly', m.group(1))
break
-
+
if 'smallverbatim' in opts:
newbody = newbody + output_verbatim (body, 1)
for o in opts:
m = re.search ('intertext="(.*?)"', o)
if m:
- newbody = newbody + m.group (1) + "\n\n"
-
+ newbody = newbody + "\n"
+ if format == 'texi':
+ newbody = newbody + "@noindent\n"
+ elif format == 'latex':
+ newbody = newbody + "\\noindent\n"
+ newbody = newbody + m.group (1) + "\n"
+
if 'noinline' in opts:
s = 'output-noinline'
elif format == 'latex':
if 'eps' in opts:
s = 'output-eps'
else:
- s = 'output-tex'
- else: # format == 'html' or format == 'texi':
- s = 'output-all'
+ if 'noquote' in opts:
+ s = 'output-latex-noquote'
+ else:
+ s = 'output-latex-quoted'
+ elif format == 'texi':
+ if 'noquote' in opts:
+ s = 'output-texi-noquote'
+ else:
+ s = 'output-texi-quoted'
+ else: # format == 'html'
+ s = 'output-html'
newbody = newbody + get_output (s) % {'fn': basename }
return ('lilypond', newbody, opts, todo, basename)
gr = []
if m:
gr = map (string.atoi, m.groups ())
-
+
return gr
def make_pixmap (name):
bbox = get_bbox (name + '.eps')
+
+
margin = 0
fo = open (name + '.trans.eps' , 'w')
fo.write ('%d %d translate\n' % (-bbox[0]+margin, -bbox[1]+margin))
fo.close ()
-
+
res = 90
x = (2* margin + bbox[2] - bbox[0]) * res / 72.
y = (2* margin + bbox[3] - bbox[1]) * res / 72.
+ if x == 0:
+ x = 1
+ if y == 0:
+ y = 1
cmd = r'''gs -g%dx%d -sDEVICE=pnggray -dTextAlphaBits=4 -dGraphicsAlphaBits=4 -q -sOutputFile=%s -r%d -dNOPAUSE %s %s -c quit '''
-
+
cmd = cmd % (x, y, name + '.png', res, name + '.trans.eps', name + '.eps')
status = 0
try:
f.close ()
for e in eps:
- cmd = r"echo $TEXMF; tex '\nonstopmode \input %s'" % e
- quiet_system (cmd, 'TeX')
-
+ cmd = r"echo $TEXMF; latex '\nonstopmode \input %s'" % e
+ quiet_system (cmd, 'LaTeX')
+
cmd = r"dvips -E -o %s %s" % (e + '.eps', e)
quiet_system (cmd, 'dvips')
-
+
for g in png:
make_pixmap (g)
-
+
os.chdir (d)
f = open (name , 'w')
f.write (body)
f.close ()
-
+
return not same
def option_help_str (o):
"Transform one option description (4-tuple ) into neatly formatted string"
- sh = ' '
+ sh = ' '
if o[1]:
sh = '-%s' % o[1]
sep = ' '
if o[1] and o[2]:
sep = ','
-
+
long = ''
if o[2]:
long= '--%s' % o[2]
arg = arg + o[0]
return ' ' + sh + sep + long + arg
-
def options_help_str (opts):
"Convert a list of options into a neatly formatted string"
w = 0
def help():
sys.stdout.write('''Usage: lilypond-book [options] FILE\n
-Generate hybrid LaTeX input from Latex + lilypond
+Generate hybrid LaTeX input from latex + lilypond.\n
Options:
''')
sys.stdout.write (options_help_str (option_definitions))
- sys.stdout.write (r'''Warning all output is written in the CURRENT directory
-
+ sys.stdout.write (r'''
+Warning: All output is written in the CURRENT directory.
Report bugs to bug-lilypond@gnu.org.
dims = bounding_box_dimensions (filename)
return '%fpt' % (dims[0] *lmag)
-
+
body = re.sub (r'''\\lilypondepswidth{(.*?)}''', replace_eps_dim, c[1])
newchunks.append(('lilypond', body, c[2], c[3], c[4]))
-
+
return newchunks
##docme: why global?
foutn=""
-def do_file(input_filename):
+def do_file(input_filename):
chunks = read_doc_file(input_filename)
chunks = chop_chunks(chunks, 'lilypond', make_lilypond, 1)
chunks = chop_chunks(chunks, 'lilypond-file', make_lilypond_file, 1)
x = 0
chunks = completize_preamble (chunks)
-
global foutn
if outname:
my_outname = '-'
else:
my_outname = os.path.basename (os.path.splitext(input_filename)[0]) + '.' + format
- my_depname = my_outname + '.dep'
-
+ my_depname = my_outname + '.dep'
+
if my_outname == '-' or my_outname == '/dev/stdout':
fout = sys.stdout
foutn = "<stdout>"
sys.exit(1)
do_deps = 0
-for opt in options:
+for opt in options:
o = opt[0]
a = opt[1]
setup_environment ()
for input_filename in files:
do_file(input_filename)
-
+
#
# Petr, ik zou willen dat ik iets zinvoller deed,
# maar wat ik kan ik doen, het verandert toch niets?
web-clean:
$(MAKE) out=www WWW-clean
+local-help: www-targets-help
+www-targets-help:
+ @echo -e "\
+ web update website in out-www\n\
+ web-clean clean out-www\n\
+"
projects / lilypond.git / commitdiff