From b132f68ab6633f43631a067160a6116155b1273e Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Mon, 7 Jul 2008 23:20:20 -0700 Subject: [PATCH] Update from Kurt. --- Documentation/user/music-glossary.tely | 194 +++++++++++++++++++------ 1 file changed, 146 insertions(+), 48 deletions(-) diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 27d55cbe81..82ee97a15c 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -290,6 +290,7 @@ Languages in this order. * hemiola:: * homophony:: * interval:: +* inversion:: * inverted interval:: * just intonation:: * key:: @@ -371,6 +372,7 @@ Languages in this order. * proportion:: * Pythagorean comma:: * quadruplet:: +* quality:: * quarter note:: * quarter rest:: * quarter tone:: @@ -1418,13 +1420,14 @@ DK: akkord, S: ackord, FI: sointu. -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 @ref{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 (@ref{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 called @q{open chords}. +Three or more tones sounding simultaneously. In traditional European music +the base chord is a @emph{triad} consisting of two thirds. @emph{Major} +(major + minor 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 +(functional harmony). Chords having no third above the lower notes to +define their mood are a special case called @q{open chords}. The lack of +the middle third means their quality is ambivalent: neither major nor minor. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1450,6 +1453,11 @@ define their quality as major or minor: such chords are called @q{open chords}. >> @end lilypond +@seealso + +@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, +@ref{third}. + @node chromatic scale @section chromatic scale @@ -3197,7 +3205,7 @@ Used in many contexts, for example: Dictionary}. @item -In figured (or thorough) bass to indicate that: +In figured bass to indicate that: @itemize @@ -3363,9 +3371,47 @@ FI: kvintti. @node figured bass @section figured bass -@seealso +ES: bajo cifrado, +I: basso continuo, basso numerato, +F: basse chiffrée, basse continue, +D: Generalbass, bezifferter Bass, +NL: basso continuo, becijferde bas +DK: generalbas, +S: generalbas, +FI: kenraalibasso, numeroitu basso. + +Also called @q{thorough bass}. + +A method of indicating an accompaniment part by the bass notes only, together +with figures designating the chief @ref{interval}s and @ref{chord}s to be played +above the bass notes. + +@lilypond[fragment,line-width=13.0\cm] +\context GrandStaff << + \context Staff = lh \relative c'' { + \time 4/4 + \key es \major + \clef treble + << \context Voice = rha { + \stemUp + es4 d c bes | bes } + \context Voice = rhb { + \stemDown + < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } + >> + } + << + \context Staff = rh \relative c' { + \clef bass + \key es \major + es8 c d bes c as bes16 as g f | es4 + } + \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> } + >> +>> +@end lilypond + -@ref{thorough bass}. @node fingering @@ -4006,6 +4052,44 @@ addition of such two intervals forms an octave. @end lilypond +@node inversion +@section inversion + +ES: ?, +I: ?, +F: inversion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +When the bass is not the same as the root, the chord is inverted. The number +of inversions that a chord can have is one fewer than the number of +constituent notes. Triads, for example, (having three constituent notes) can +have three positions, two of which are inversions: + +@table @strong +@item Root position +The root note is in the bass, and above that are the third and the fifth. A +triad built on the first scale degree, for example, is marked @notation{I}. + +@item First inversion +The third is in the bass, and above it are the fifth and the root. This +creates an interval of a sixth and a third above the bass note, and so is +marked in figured Roman notation as @notation{6/3}. This is commonly +abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the +characteristic interval of the inversion, and so always implies +@notation{6/3}. + +@item Second inversion +The fifth is in the bass, and above it are the root and the third. This +creates an interval of a sixth and a fourth above the bass note, and so is +marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most +unstable chord position. +@end table + + @node inverted interval @section inverted interval @@ -5756,6 +5840,56 @@ FI: kvartoli. @ref{note value}. +@node quality +@section quality + +ES: ?, +I: qualità (?), +F: qualité (?), +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The quality of a triad is determined by the precise arrangement of its +intervals. Tertian triads can be described as a series of three notes. The +first element is the root note (or simply @q{root}) of the chord, the second +note is the @q{third} of the chord, and the last note is the @q{fifth} of +the chord. These are described below: + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Chord name @tab Component intervals + @tab Example + @tab Symbol +@item major triad @tab major third/perfect fifth + @tab C-E-G + @tab C, CM, Cma, Cmaj, CΔ +@item minor triad @tab minor third/perfect fifth + @tab C-E♭-G + @tab Cm, Cmi, Cmin, C- +@item augmented triad @tab major third/augmented fifth + @tab C-E-G♯ + @tab C+, C^+, Caug +@item diminished triad @tab minor third/diminished fifth + @tab C-E♭-G♭ + @tab Cm(♭5), Cº, Cdim +@end multitable + +There are various types of seventh chords depending on the quality of the +original chord and the quality of the seventh added. + +Five common types of seventh chords have standard symbols. The chord quality +indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7, +and D^m7 are all identical). The last three chords are not used commonly +except in jazz. + +@seealso + +@ref{chord}. + + @node quarter note @section quarter note @@ -6892,45 +7026,9 @@ FI: terssi. @node thorough bass @section thorough bass -ES: bajo cifrado, -I: basso continuo, basso numerato, -F: basse chiffrée, basse continue, -D: Generalbass, bezifferter Bass, -NL: basso continuo, becijferde bas -DK: generalbas, -S: generalbas, -FI: kenraalibasso, numeroitu basso. - -Also called @q{figured bass}. - -A method of indicating an accompaniment part by the bass notes only, together -with figures designating the chief @ref{interval}s and @ref{chord}s to be played -above the bass notes. +@seealso -@lilypond[fragment,line-width=13.0\cm] -\context GrandStaff << - \context Staff = lh \relative c'' { - \time 4/4 - \key es \major - \clef treble - << \context Voice = rha { - \stemUp - es4 d c bes | bes } - \context Voice = rhb { - \stemDown - < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } - >> - } - << - \context Staff = rh \relative c' { - \clef bass - \key es \major - es8 c d bes c as bes16 as g f | es4 - } - \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> } - >> ->> -@end lilypond +@ref{figured bass}. @node tie -- 2.39.2