\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
-@setfilename music-glosssary.info
-@settitle Music Glossary
+
+@setfilename music-glossary.info
+@settitle LilyPond Music Glossary
@documentencoding UTF-8
@documentlanguage en
+@afourpaper
-@include macros.itexi
+@macro manualIntro
+This glossary provides definitions and translations of musical
+terms used in the documentation manuals for LilyPond version
+@version{}.
+@end macro
-@afourpaper
+@c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
+@macro copyrightDeclare
+Copyright @copyright{} 1999--2010 by the authors
+@end macro
-@c see lilypond.tely for info installation note
-@dircategory LilyPond
-@direntry
-* Glossary: (music-glossary). Glossary of music terms.
-@end direntry
-
-@titlepage
-@title Music Glossary
-@author Christian Mondrup @c Original author of LilyPond glossary
-@c Danish glossary
-@author François Pinard @c Original glossary of GNU music project,
-@c French glossary
-@author Mats Bengtsson @c Swedish glossary
-@author David González @c Spanish glossary
-@author Bjoern Jacke @c German glossary
-@author Neil Jerram @c English glossary translations
-@author Heikki Junes @c Finnish glossary
-@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
-@author Adrian Mariano @c Italian glossary
-@author Han-Wen Nienhuys @c Dutch glossary
-@author Jan Nieuwenhuizen @c Dutch glossary
-
-@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
-@c Updates to the German translation by Till Rettig, 12/07
-
-Copyright @copyright{} 1999--2009 by the authors
-
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.1
- or any later version published by the Free Software Foundation,
- without Invariant Sections.
-
-@end titlepage
+@set FDL
+@include macros.itexi
@c TODO: multiple omfcreators?
@omflanguage English
@end ignore
-@ifnottex
-@node Top
-@top Music glossary
-@end ifnottex
-
-
-@ifnottex
-
-@ifhtml
-@ifclear bigpage
-This document is also available as a
-@uref{source/Documentation/music-glossary.pdf,PDF} and as
-@uref{source/Documentation/music-glossary-big-page.html,one big page}.
-@end ifclear
-@ifset bigpage
-This document is also available as a
-@uref{source/Documentation/music-glossary.pdf,PDF} and as a
-@uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
-@end ifset
-@end ifhtml
-
-This glossary was brought you by:
-
-@itemize
-
-@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
-@item @b{François Pinard}: Original glossary of GNU music project, French,
-
-@item @b{Han-Wen Nienhuys}: Dutch,
-@item @b{Jan Nieuwenhuizen}: Dutch,
-
-@item @b{Neil Jerram}: English,
-@item @b{Kurtis Kroon}: English,
-
-@item @b{Heikki Junes}: Finnish,
-
-@item @b{Bjoern Jacke}: German,
-
-@item @b{Adrian Mariano}: Italian,
-@item @b{David González}: Spanish,
+@lilyTitlePage{Music Glossary}
-@item @b{Mats Bengtsson}: Swedish,
-
-@end itemize
-
-with additional contributions: thanks to all who have contributed.
-
-@ignore
-
-The list is rather long ...
-
-@itemize
-
-@item Danish:
-@itemize
-@item Rune Zedeler, @emph{pace}
-@item Eyolf Østrem
-@end itemize
-
-@item Dutch:
-@itemize
-@item Alard de Boer
-@end itemize
-
-@item English:
-@itemize
-@item Trevor Bača
-@item Trevor Daniels
-@item Andrew Hawryluk
-@item Ian Hulin
-@item Kieren MacMillan
-@item Patrick McCarty
-@item Ralph Palmer
-@item Carl D. Sorensen
-@item Anh Hai Trinh
-@end itemize
-
-@item Finnish:
-@itemize
-@item Risto Vääräniemi
-@end itemize
-
-@item German:
-@itemize
-@item Orm Finnendahl
-@item Reinhold Kainhofer
-@item Werner Lemberg
-@item Till Rettig
-@item Thomas Scharkowski
-@end itemize
-
-@item Italian
-@itemize
-@item Andrea Valle
-@end itemize
-
-@item Spanish
-@itemize
-@item Francisco Vila
-@end itemize
-
-@item Swedish
-@itemize
-@item Simon Dahlbacka
-@end itemize
-
-@end itemize
-@end ignore
-
-@*
-Copyright 1999--2009 by the authors
-
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.1
- or any later version published by the Free Software Foundation,
- without Invariant Sections.
-
-@*
-@end ifnottex
@c @pagesizes 10.3in
@c @everyheading @| @thispage @|
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-This is the Music Glossary (MG) for GNU LilyPond version @version{}.
-For more information about how this fits with the other
-documentation, see @rlearning{About the documentation}.
-
-
@c arrowref
@macro aref{word}
@iftex
@w{@expansion{}@strong{\word\}}@c
@end iftex
+
@ifnottex
@expansion{}@ref{\word\, @strong{\word\}}@c
@end ifnottex
@end macro
+@c TOC -- non-tex
+@ifnottex
+
@menu
* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
+
+Appendices
+
+* Literature used::
+* GNU Free Documentation License:: License of this document.
@end menu
+@docMain
+@end ifnottex
+
+
+@c TOC - tex. Not desired for this manual. -gp
+@c @contents
+
@node Musical terms A-Z
@chapter Musical terms A-Z
S: ?,
FI: kahdelle.
-Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
-due} indicates that:
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
+@notation{a due} indicates that:
@enumerate
-@item A single part notated on a single staff that normally carries parts for
-two players (e.g. first and second oboes) is to be played by both players.
+@item A single part notated on a single staff that normally carries parts
+for two players (e.g. first and second oboes) is to be played by both
+players.
-@item Or conversely, that two pitches or parts notated on a staff that normally
-carries a single part (e.g. first violin) are to be played by different players,
-or groups of players (@q{desks}).
+@item Or conversely, that two pitches or parts notated on a staff that
+normally carries a single part (e.g. first violin) are to be played by
+different players, or groups of players (@q{desks}).
@end enumerate
[Italian: @q{speed up, accelerate}]
-Increase tempo
+An increase in the tempo, abbreviated @notation{accel.}
@seealso
No cross-references.
@node acciaccatura
@section acciaccatura
-ES: ?,
+ES: mordente de una nota,
I: acciaccatura,
F: acciaccatura, appoggiature brève,
-D: ?,
-NL: ?,
+D: Zusammenschlag,
+NL: samenslag,
DK: ?,
S: ?,
FI: ?.
A grace note which takes its time from the rest or note preceding the
-principal note to which it is attached. The acciaccatura is drawn as a
-small eighth note (quaver) with a line drawn through the flag and
-stem.
+principal note to which it is attached. The acciaccatura is drawn as a
+small eighth note (quaver) with a line drawn through the flag and stem.
@seealso
@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
@section accidental
ES: alteración accidental,
-I: accidento,
+I: alterazione, accidente,
F: altération accidentelle,
D: Versetzungszeichen, Akzidenz,
NL: toevallig (verplaatsings)teken,
@item Raising its pitch:
@itemize
-@item By two semitones (a whole tone)—@notation{double sharp}
+@item By two semitones—@notation{double sharp}
@item By one semitone—@notation{sharp}
@end itemize
@item Lowering its pitch:
@itemize
@item By one semitone—@notation{flat}
-@item By two semitones (a whole tone)—@notation{double flat}
+@item By two semitones—@notation{double flat}
@end itemize
@item Or canceling the effects of the key signature or previous accidentals.
@node adagio
@section adagio
-ES: adagio,
+ES: adagio, lento,
I: adagio,
F: adagio, lent,
D: Adagio, Langsam,
@itemize
-@item Slow tempo, slower -- especially in even meter -- than @notation{andante}
-and faster than @notation{largo}.
+@item Slow tempo, slower -- especially in even meter -- than
+@notation{andante} and faster than @notation{largo}.
@item A movement in slow tempo, especially the second (slow) movement
of sonatas, symphonies, etc.
@node al niente
@section al niente
-ES: ?,
+ES: al niente,
I: al niente,
F: al niente, en mourant,
D: ?,
@node alla breve
@section alla breve
-ES: ?,
+ES: alla breve,
I: ?,
-F: alla breve,à la brève,
+F: alla breve, à la brève,
D: ?,
NL: ?,
DK: ?,
[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-Also called @notation{in cut-time}. The name derives from mensural notation,
-where the @notation{tactus} (or beat) is counted on the semibreve (the modern
-whole note). Counting @q{on the breve} shifts the tactus to the next longest
-note value, which (in modern usage) effectively halves all note values.
+Also called @notation{in cut-time}. The name derives from mensural
+notation, where the @notation{tactus} (or beat) is counted on the semibreve
+(the modern whole note). Counting @q{on the breve} shifts the tactus to the
+next longest note value, which (in modern usage) effectively halves all note
+values.
-(In mensural notation, breves and semibreves can have a ternary relationship, in
-which case @notation{alla breve} means thrice (not twice) as fast. In practice,
-this complication may not have mattered, since Gaffurius's system of multiplex
-proportions makes it easy to explicitly state which proportion is needed.)
+In mensural notation, breves and semibreves can have a ternary relationship,
+in which case @notation{alla breve} means thrice (not twice) as fast. In
+practice, this complication may not have mattered, since Gaffurius's system
+of multiplex proportions makes it easy to explicitly state which proportion
+is needed.
@seealso
@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
@node allegro
@section allegro
-ES: allegro,
+ES: allegro, rápido,
I: allegro,
F: allegro, gaiement,
D: Allegro, Schnell, Fröhlich, Lustig,
S: alt,
FI: altto, matala naisääni.
-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
+A female voice of low range (@emph{contralto}). Originally the alto was a
+high male voice (hence the name), which by castration or the use of falsetto
+reached the height of the natural female voice. This type of voice is also
known as countertenor.
@seealso
I: appoggiatura,
F: appoggiature, (port de voix),
D: Vorschlag, Vorhalt
-NL: voorslag,
+NL: (korte) voorslag,
DK: forslag,
S: förslag,
FI: appoggiatura, etuhele.
@section articulation
ES: articulación,
-I: articulazione,
+I: articolazione,
F: articulation,
D: Artikulation,
NL: articulatie,
@node beam
@section beam
-ES: barra
+ES: barra (de corcheas),
I: coda,
F: ligature, barre (de croches),
D: Balken,
@section bracket
ES: corchete,
-I: ?,
+I: parentesi quadra,
F: crochet,
D: ?,
NL: ?,
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 tuba.
+orchestra are trumpet, trombone, french horn, and tuba. In marching bands,
+sousaphones and contrabass bugles are common.
@seealso
No cross-references.
}
\addlyrics {
\override Lyrics . LyricText #'self-alignment-X = #LEFT
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
}
@end lilypond
FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
viritysjärjestelmässä.
-Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
-(1/100 of an equally tempered semitone).
+Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
+an octave (1/100 of an equally tempered semitone).
@seealso
@ref{equal temperament}, @ref{semitone}.
"diminished "
"augmented "
"seventh-chord "
- ninth-chord
+ "ninth-chord"
}
>>
@end lilypond
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 1)
\override NonMusicalPaperColumn
- #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ #'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
}
\context {
}
@end lilypond
-Staves of five lines are usually used, and the clef superimposed on
-them indicates which five lines have been selected from this
-@samp{grand staff}. For example, the treble or G clef indicates that
-the top five lines have been selected:
+Staves of five lines are usually used, and the clef superimposed on them
+indicates which five lines have been selected from this @notation{grand
+staff}. For example, the treble or G clef indicates that the top five lines
+have been selected:
@lilypond[quote]
\score {
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 2 1)
\override NonMusicalPaperColumn
- #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ #'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
}
\context {
The @q{curl} of the G clef is centered on the line that represents the
pitch G.
-In the same way, the bass or F clef indicates that the bottom five
-lines have been selected from the @samp{grand staff}, and the alto or
-C clef indicates the middle five lines have been selected. This
-relationship is shown below, where the notes show an arpeggio on a C
-major chord.
+In the same way, the bass or F clef indicates that the bottom five lines
+have been selected from the @notation{grand staff}, and the alto or C clef
+indicates the middle five lines have been selected. This relationship is
+shown below, where the notes show an arpeggio on a C major chord.
@lilypond[quote]
\score {
\override SpacingSpanner #'base-shortest-duration =
#(ly:make-moment 2 1)
\override NonMusicalPaperColumn
- #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ #'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
}
\context {
@section cluster
ES: racimo,
-I: ?,
+I: cluster,
F: cluster,
D: Cluster,
NL: ?,
@section common time
ES: compasillo,
-I: ?,
+I: tempo semplice,
F: mesure à 4/4,
D: ?,
NL: ?,
@section compound meter
ES: compás compuesto, compás de subdivisión ternaria,
-I: ?,
+I: tempo composto,
F: mesure composée,
D: ?,
NL: ?,
@item
A time signature that additively combines two or more unequal meters, e.g.,
-"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
+@q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
@end enumerate
#(set-time-signature 8 8 '(3 2 3))
\override Staff.TimeSignature #'stencil =
#(compound-time "3" "2" "3" "8")
- #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
- #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
-
c8 d e f4 d8 c bes
c4 g'8 e c f4.
\bar "||"
@node concert pitch
@section concert pitch
-ES: en Do, afinación de concierto,
-I: ?,
+ES: en Do, tono de concierto,
+I: intonazione reale,
F: tonalité de concert, en ut,
D: ?,
NL: ?,
@c Let's see how easy (or hard) it is to put bulleted lists in tables.
-@multitable {alto trombone} {tenor trombone} {bass trombone}
-@headitem Woodwinds @tab Brass @tab Strings
+@multitable {bassoon} {violoncello}
+@headitem Woodwinds @tab Strings
@item
@itemize
@tab
-@itemize
-@item alto trombone
-@item tenor trombone
-@item bass trombone
-@end itemize
-
-@tab
-
@itemize
@item violin
@item viola
@end multitable
+@ignore This needs to be reworked.
The trombones are a special case: although they are said to be @q{in F} (alto or
bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
their parts' transposition. (In fact, the trombones' parts are written at
concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
instruments.
+@end ignore
Instruments that play @q{in C} but in a different octave than what is written
are, technically speaking, @emph{transposing instruments}:
@itemize
-@item piccolo (plays an octave higher)
-@item celesta (plays an octave higher)
-@item double bass (plays an octave lower)
+@item piccolo (plays an octave higher than written)
+@item celesta (plays an octave higher than written)
+@item classical guitar (plays an octave lower than written)
+@item double bass (plays an octave lower than written)
@end itemize
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-(hairpin) or the abbreviation @notation{cresc.}.
+(hairpin) or the abbreviation @notation{cresc.}
@lilypond[quote,relative=2]
\key g \major
ES: notas guía,
I: notine,
-F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
+F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
S: inprickningar,
FI: vihjenuotit.
-In a separate part notes belonging to another part with the purpose of
-hinting when to start playing. Usually printed in a smaller type.
+Notes belonging to one part printed in another to hint when to start
+playing. Usually printed in a smaller type.
@seealso
-No cross-references.
+Compare: @ref{ossia}.
@node custos
@section custos
ES: custos,
-I: ?,
+I: custos, guida,
F: guidon,
D: Notenzeiger, Custos,
NL: ?,
the player or singer to manage line breaks during performance, which
enhances the readability of a score.
-Custodes were frequently used in music notation until the 16th century.
+Custodes were frequently used in music notation until the 16th century.
There were different appearences for different notation styles. Nowadays,
they have survived only in special forms of musical notation such as the
@emph{Editio Vaticana}, dating from the beginning of the 20th century
S: da capo,
FI: da capo, alusta.
-Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
+Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
the beginning to the end or to a certain place marked @emph{fine}.
@seealso
@node dal niente
@section dal niente
-ES: ?,
+ES: dal niente, de la nada,
I: dal niente,
F: partant de rien,
D: ?,
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign
(@notation{segno}):
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal
-wedge (hairpin) or the abbreviation @notation{decresc.}.
+wedge (hairpin) or the abbreviation @notation{decresc.}
@lilypond[quote,relative=2]
\key g \major
@node diminution
@section diminution
-ES: ?,
-I: ?,
+ES: disminución,
+I: diminuzione,
F: diminution,
D: ?,
NL: ?,
@node direct
@section direct
-ES: ?,
+ES: directo,
I: ?,
F: ?,
D: Weiser, Zeiger,
@node divisio
@section divisio
-ES: ?,
+ES: división,
I: ?,
F: ?,
D: ?,
@node doit
@section doit
-ES: ?,
+ES: elevación [de tono],
I: ?,
F: saut,
D: ?,
@node double time signature
@section double time signature
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
@section dynamics
ES: dinámica, matices,
-I: ?,
+I: dinamica,
F: nuances,
D: Dynamik, Lautstärke,
NL: ?,
@c TODO: add languages
ES: sinalefa,
-I: ?,
+I: elisione,
F: élision,
D: ?,
NL: ?,
S: nottryck,
FI: painatus.
-Engraving means incising or etching a metal plate for printing.
+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.
@section extender line
ES: línea de extensión [de melisma, de bajo cifrado, etc.],
-I: ?,
+I: linea di estensione,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
D: Fülllinie,
NL: ?,
FI: F-avain.
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.
+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 the
@node fall
@section fall
-ES: ?,
+ES: caída [de tono],
I: ?,
F: chute,
D: ?,
@node feathered beam
@section feathered beam
-ES: barra punteada,
+ES: barra progresiva,
I: ?,
F: ligature en soufflet, lien de croches en soufflet,
D: gespreizter Balken,
@node flageolet
@section flageolet
-ES: ?,
+ES: armónico,
I: ?,
F: flageolet,
D: ?,
@node forte
@section forte
-ES: forte,
+ES: forte, fuerte,
I: forte,
F: forte,
D: forte, laut,
@section grand staff
ES: sistema de piano,
-I: accolatura,
+I: accollatura,
F: système [de portées], accolade,
D: Akkolade, Klaviersystem,
NL: piano systeem,
@item DK: h
@item S: h
@item FI: H, h
-@end itemize
+@end itemize
Letter name used for @notation{B natural} in German and Scandinavian
usage. In the standard usage of these countries, @notation{B} means
@node harmonics
@section harmonics
-ES: sonidos del flautín,
-I: suoni flautati,
+ES: armónicos, sonidos aflautados,
+I: armonici,
F: flageolet, sons harmoniques,
D: Flageolett-Töne,
NL: ?,
@section hemiola
ES: hemiolia,
-I: ?,
+I: emiolia, (rarely hemiola or emiola),
F: hémiole,
D: ?,
NL: ?,
FI: intervalli, kahden sävelen korkeusero.
Difference in pitch between two notes. Intervals may be diminished, minor,
-perfect, major, or augmented. The augmented fourth and the diminished fifth are
-identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
-consist of three whole tones. The addition of such two intervals forms an
-octave.
+perfect, major, or augmented. The augmented fourth and the diminished fifth
+are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
+and are called @emph{tritonus} because they consist of three whole tones.
+The addition of such two intervals forms an octave.
@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Voice \relative c'' {
% Prime or unison
- < g g >1
+ < g g >1
< g gis >^"aug"
% Second
< gis as >^"dim"
- < g! as >^"min"
+ < g! as >^"min"
< g a! >^"maj"
- < g ais >^"aug"
+ < g ais >^"aug"
% Third
- < gis bes >^"dim"
- < g! bes >^"min"
- < g b! >^"maj"
- < g bis >^"aug"
+ < gis bes >^"dim"
+ < g! bes >^"min"
+ < g b! >^"maj"
+ < g bis >^"aug"
% Fourth
- < g ces >^"dim"
- < g c! >^"per"
- < g cis >^"aug"
+ < g ces >^"dim"
+ < g c! >^"per"
+ < g cis >^"aug"
% Fifth
< g des' >^"dim"
< g d' >^"per"
< g e'! >^"maj"
< g eis' >^"aug"
% Seventh
- < gis f'! >^"dim"
- < g! f'! >^"min"
- < g fis' >^"maj"
+ < gis f'! >^"dim"
+ < g! f'! >^"min"
+ < g fis' >^"maj"
< g fisis' >^"aug"
% Octave
< g ges' >^"dim"
@node inversion
@section inversion
-ES: ?,
-I: ?,
+ES: inversión,
+I: rivolto,
F: renversement,
D: ?,
NL: ?,
@section laissez vibrer
ES: dejar vibrar,
-I: ?,
+I: laissez vibrer,
F: laissez vibrer,
D: ?,
NL: ?,
@section longa
@itemize
-@item US: long, longa,
+@item US: long, longa,
@item ES: longa,
@item I: longa,
@item F: longa, longue,
@section lyrics
ES: letra (de la canción),
-I: ?,
+I: testo,
F: paroles,
D: Liedtext, Gesangtext,
NL: liedtekst,
@node maxima
@section maxima
-ES: ?,
-I: ?,
+ES: máxima,
+I: maxima,
F: maxima, maxime,
D: ?,
NL: ?,
@section melisma
ES: melisma,
-I: ?,
+I: melisma,
F: mélisme, tenue,
D: Melisma,
NL: melisma,
@c TODO: add languages
ES: línea de melisma,
-I: ?,
+I: linea del melisma,
F: trait de mélisme, trait de tenue,
D: ?,
NL: ?,
@c TODO: add languages
ES: notación mensural,
-I: ?,
+I: notazione mensurale,
F: notation mensurale,
D: ?,
NL: ?,
of the notation's principles, so the notation of this earliest period is called
@q{Franconian}. Franco's system made use of three note values -- long, breve,
and semibreve -- each of which was normally equivalent to three of the next
-lower note value.
+lower note value.
Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
added several note values (the minim, semiminim and fusa) and extended Franco's
@c TODO: add languages
-ES: ?,
+ES: signo de mensuración,
I: ?,
F: signe de mensuration,
D: ?,
@item triple: 9/8
@item quadruple: 12/8
- @end itemize
+ @end itemize
@end itemize
\bar "||"}
@end lilypond
+@ignore
@b{@q{Monometer} vs Polymeter}
TODO: add information from discussion on lilypond-user related to polymeter.
+@end ignore
@seealso
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
@node mezzo
@section mezzo
-ES: ?,
+ES: mezzo,
I: mezzo,
F: mezzo,
D: ?,
@node multi-measure rest
@section multi-measure rest
-ES: compases de espera,
+ES: compases de espera, silencio multicompás,
I: pausa multipla,
F: pause multiple, mesure à compter,
NL: meermaats rust,
@section neighbor tones
@c TODO: add definition.
-
-ES: ?,
+
+ES: tonos vecinos,
I: ?,
F: tons voisins,
D: ?,
A head-like sign which indicates pitch by its position on a @notation{staff}
provided with a @notation{clef}, and duration by a variety of shapes such as
-hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
+hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
For percussion instruments (often having no defined pitch) the note head may
indicate the instrument.
@node note value
@section note value
-ES: valor (duración),
+ES: valor, duración,
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
@section octave mark
ES: indicación de octava,
-I: ?,
+I: segno di ottava,
F: indication d'octave,
D: ?,
NL: ?,
@end lilypond
Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
-the
-@emph{prall} (inverted mordent).
+the @emph{prall} (inverted mordent).
@lilypond[quote,line-width=13.0\cm]
<<
of the music, for example for small hands.
@seealso
-No cross-references.
+Compare: @ref{cue-notes}.
@node part
@section part
-ES: parte,
+ES: parte, particella,
I: voce, parte,
F: partie,
D: Stimme,
@node piano
@section piano
-ES: piano,
+ES: piano, suave,
I: piano,
F: piano,
D: piano, leise,
@section polymeter
ES: compás polimétrico,
-I: ?,
+I: polimetria,
F: polymétrie,
D: ?,
NL: ?,
@item The @emph{successive} use of different meters in one or more parts.
-@end itemize
+@end itemize
@seealso
@ref{polymetric} (adj.)
@section polymetric
ES: polimétrico,
-I: ?,
+I: polimetrico,
F: polymétrique,
D: ?,
NL: ?,
@node polymetric time signature
@section polymetric time signature
-ES: compás polimétrico,
-I: ?,
+ES: indicación de compás polimétrico,
+I: tempo polimetrico,
F: ?,
D: ?,
NL: ?,
@node presto
@section presto
-ES: presto,
+ES: presto, muy rápido,
I: presto,
F: presto, très rapide, enlevé,
D: Presto, Sehr schnell,
@section proportion
ES: proporción,
-I: proprozione (?),
+I: proporzione,
F: proportion,
D: ?,
NL: ?,
@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
3:1, 6:2, and 9:3.
-@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
+@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
Example: 4:1, 8:2, and 12:3
@end itemize
@node quality
@section quality
-ES: ?,
+ES: variante [de acorde o intervalo],
I: qualità (?),
F: qualité (?),
D: ?,
@node quarter tone
@section quarter tone
-ES: cuarto de tonno,
-I: ?,
+ES: cuarto de tono,
+I: quarto di tono,
F: quart de ton,
D: Viertelton,
NL: kwart toon,
@node quintuplet
@section quintuplet
-ES: cinquillo, quintillo.
+ES: cinquillo, quintillo,
I: quintina,
F: quintolet,
D: Quintole,
S: rallentando,
FI: rallerdando, hidastuen.
-[Italian] A performance indication, abbreviated "rall.".
+[Italian] A performance indication, abbreviated @notation{rall.}
@seealso
@ref{ritardando}.
@section repeat
ES: repetición,
-I: ritornello,
+I: ripetizione,
F: barre de reprise,
D: Wiederholung,
NL: herhaling,
@itemize
@item Metrical rhythm in which every time value is a multiple or
-fraction of a fixed unit of time, called @ref{beat}, and in which the
-normal @ref{accent} recurs in regular intervals, called @ref{measure}.
-The basic scheme of time values is called @ref{meter}.
+fraction of a fixed unit of time, called @emph{beat}, and in which the
+normal @emph{accent} recurs in regular intervals, called @emph{measure}.
+The basic scheme of time values is called @emph{meter}.
@item Measured rhythm which lacks regularly recurrent accent. In
modern notation such music appears as a free alternation of different
@end itemize
@seealso
-No cross-references.
+@ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
@node ritardando
@section ritardando
-ES: ritardando,
+ES: ritardando, retardando,
I: ritardando,
F: ritardando, en ralentissant,
D: ritardando, langsamer werden,
S: ritardando,
FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
+@notation{ritard}.
@seealso
No cross-references.
@node ritenuto
@section ritenuto
-ES: ritenuto,
+ES: ritenuto, reteniendo,
I: ritenuto,
F: ritenuto, en retenant,
D: ritenuto,
@section second
ES: segunda,
-I: secunda,
+I: seconda,
F: seconde,
D: Sekunde,
NL: secunde,
@node simile
@section simile
-ES: simile,
+ES: simile, similar,
I: simile,
F: simile,
D: ?,
@node slur
@section slur
-ES: ligadura (de expresión),
-I: legatura (di portamento or espressiva),
+ES: ligadura de expresión,
+I: legatura (di portamento o espressiva),
F: liaison, coulé,
D: Bogen (Legatobogen, Phrasierungsbogen),
NL: fraseringsboog, legatoboog, streekboog,
@section staff
UK: stave,
-ES: pentagrama,
+ES: pentagrama, pauta,
I: pentagramma, rigo (musicale),
F: portée,
D: Notensystem, Notenzeile,
@node stringendo
@section stringendo
-ES: ?,
+ES: stringendo, acelerando,
I: stringendo,
F: stringendo, en accélérant,
D: ?,
@section submediant
ES: submediante,
-I: sopratonica,
+I: sopradominante,
F: sous-médiante,
D: Submediante,
NL: submediant,
@section sul G
ES: sobre la cuerda de Sol,
-I: sul g,
+I: sul Sol,
F: sur la G,
D: auf G, auf der G-Saite,
NL: ?,
S: superdominant,
FI: ylidominantti.
-The sixth @ref{scale degree}.
+The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
@ref{sonata}.
-
@node syncopation
@section syncopation
@section system
ES: sistema,
-I: accollatura,
+I: sistema,
F: système,
D: Notensystem, Partitur,
NL: systeem,
@node thirty-second note
@section thirty-second note
-@itemize
+@itemize
@item UK: demisemiquaver
@item ES: fusa
@item I: biscroma
@node tie
@section tie
-ES: ligadura de prolongación, ligadura de unión,
+ES: ligadura de unión (o de prolongación),
I: legatura (di valore),
F: liaison (de tenue),
D: Haltebogen, Bindebogen,
@section transposing instrument
ES: instrumento transpositor,
-I: ?,
+I: strumento traspositore,
F: instrument transpositeur,
D: ?,
NL: ?,
Not all transposing instruments include the pitch class in their name:
@itemize
-
+@item Alto flute (in G)
@item English horn (in F)
+@item Saxophones (in B-flat or E-flat)
+@end itemize
-@item Alto flute (in G)
+@ignore Can we do better?
-@end itemize
+To make matters more complex, some instruments are transposing instruments,
+but their players play from parts written at concert pitch. This is the
+case for orchestral trombone and tuba players—whereas trombone players in
+brass bands treat their parts as if written for a true transposing
+instrument in B-flat.
+
+@end ignore
@seealso
@ref{concert pitch}.
@node transposition
@section transposition
-ES: transporte,
+ES: transporte, transposición,
I: trasposizione,
F: transposition,
D: Transposition,
@node treble clef
@section treble clef
-ES: clave de sol,
+ES: clave de sol en segunda,
I: chiave di violino,
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
@node tuning fork
@section tuning fork
-ES: diapasón, horquilla de afinación,
+ES: diapasón [de horquilla],
I: diapason, corista,
F: diapason,
D: Stimmgabel,
@node tuplet
@section tuplet
+ES: grupo de valoración especial,
+I: gruppi irregolari,
+F: ?,
+D: ?,
+NL: Antimetrische figuur,
+DK: ?,
+S: ?,
+FI: ?.
+
A non-standard subdivision of a beat or part of a beat, usually
indicated with a bracket and a number indicating the number of
subdivisions.
@end multitable
-* About the French naming system: @emph{croche} refers to the note's "hook".
-Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
-hook}, @q{trebled hook}, and so on.
+* About the French naming system: @notation{croche} refers to the note's
+@q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
+@q{doubled hook}, @q{trebled hook}, and so on.
-The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
-rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
-a @emph{soupir}, and so on.
+The rest names are based on the @notation{soupir}, or quarter rest.
+Subsequent rests are expressed as fractions thereof: half a
+@notation{soupir}, a quarter of a @notation{soupir}, and so on.
Each of the following tables contains one type of note and its matching rest,
with abbreviations that apply to both notes and rests. Just switch the part
@end itemize
-I put a dash @q{-} when I could not find a language-specific abbreviation for a
-duration name. If you know of one that I missed, please send it to me, care of
-the lilypond-user discussion list.
+Editor's note: I put a dash @q{-} when I could not find a language-specific
+abbreviation for a duration name. If you know of one that I missed, please
+send it to me, care of the lilypond-user discussion list.
@multitable @columnfractions .10 .35 .35 .20
@node Pitch names
@chapter Pitch names
-@c -is/-es endings for Danish per Rune Zedeler, pace
-@c and for Finnish per Risto Vääräniemi
-@c -iss/-ess endings for Swedish per Mats Bengtsson
-@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+@ignore
+ -is/-es endings for Danish per Rune Zedeler, pace,
+ and for Finnish per Risto Vääräniemi;
+ -iss/-ess endings for Swedish per Mats Bengtsson
+ originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+
+ NOTE: Please leave the first line as-is -- that is, do not wrap it to
+ multiple lines -- as texinfo needs it to allow enough space for the
+ table entries. (For the curious, it's a list of the widest items in
+ each column of the table. Romance pitch names are two characters,
+ except for g (sol) ... so there you go.)
+@end ignore
@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
-@headitem EN
- @tab ES @tab I @tab F @tab D
- @tab NL @tab DK @tab S @tab FI
-@item @strong{c} @tab do @tab do @tab ut @tab C
- @tab c @tab c @tab c @tab c
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
- @tab cis @tab cis @tab ciss @tab cis
+@headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
+@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
+ @tab Cis @tab cis @tab cis @tab ciss @tab cis
@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
@tab des @tab des @tab dess @tab des
-@item @strong{d} @tab re @tab re @tab ré @tab D
- @tab d @tab d @tab d @tab d
+@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
@tab dis @tab dis @tab diss @tab dis
@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
@tab es @tab es @tab ess @tab es
-@item @strong{e} @tab mi @tab mi @tab mi @tab E
- @tab e @tab e @tab e @tab e
-@item @strong{f-flat} = e
- @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
- @tab fes @tab fes @tab fess @tab fes
-@item @strong{f} @tab fa @tab fa @tab fa @tab F
- @tab f @tab f @tab f @tab f
-@item @strong{e-sharp} = f
- @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
- @tab eis @tab eis @tab eiss @tab eis
+@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
+ @tab Fes @tab fes @tab fes @tab fess @tab fes
+@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
+ @tab Eis @tab eis @tab eis @tab eiss @tab eis
@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
@tab fis @tab fis @tab fiss @tab fis
@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
@tab ges @tab ges @tab gess @tab ges
-@item @strong{g} @tab sol @tab sol @tab sol @tab G
- @tab g @tab g @tab g @tab g
-@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
- @tab gis @tab gis @tab giss @tab gis
+@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
+ @tab Gis @tab gis @tab gis @tab giss @tab gis
@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
@tab as @tab as @tab ass @tab as
-@item @strong{a} @tab la @tab la @tab la @tab A
- @tab a @tab a @tab a @tab a
+@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
@tab ais @tab ais @tab aiss @tab ais
@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
@tab bes @tab b @tab b @tab b
-@item @strong{b} @tab si @tab si @tab si @tab H
- @tab b @tab h @tab h @tab h
+@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+@item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
+ @tab ces @tab ces @tab cess @tab ces
+@item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
+ @tab His @tab bis @tab his @tab hiss @tab his
@end multitable
-@menu
-* Literature used::
-@end menu
-
@node Literature used
-@unnumberedsec Literature used
+@appendix Literature used
@itemize
@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
Cambridge: Belknap Press (Harvard University Press), 1986.
@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
-
@end itemize
+
+@include fdl.itexi
+
+
@bye