@c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
@macro copyrightDeclare
-Copyright @copyright{} 1999--2011 by the authors
+Copyright @copyright{} 1999--2012 by the authors
@end macro
@set FDL
* homophony::
* hook::
* hymn meter::
+* incomplete dominant seventh chord::
* interval::
* inversion::
* inverted interval::
* just intonation::
* key::
* key signature::
+* kievan notation::
* laissez vibrer::
* largo::
* leading note::
small eighth note (quaver) with a line drawn through the flag and stem.
@seealso
-@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+@ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
@node accidental
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music
+Two 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
the middle third means their quality is ambivalent -- neither major nor
minor.
-@lilypond[quote,notime,line-width=13.0\cm]
+@lilypond[quote,notime]
<<
\new Staff {
\relative c'' {
"minor "
"diminished "
"augmented "
- "seventh-chord "
- "ninth-chord"
+ "seventh "
+ "ninth"
}
>>
@end lilypond
ES: ?,
I: ?,
F: ?,
-D: ?,
+D: Kunstmusik,
NL: ?,
DK: ?,
S: ?,
scale), subdominant (S, the chord on the fourth note), and dominant (D, the
chord on the fifth note). Others are considered to be variants of the base
chords.
-
-TODO: what does the @q{p} mean in Sp, Dp, Tp?
+A few examples among many others are the tonic, subdominant or dominant of
+the parallel minor scale, or the incomplete dominant seventh chord.
@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+#(define-markup-command (diagonal-stroke layout props arg)
+ (markup?)
+ #:category font
+ #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
+ (let*
+ ((thick (* (magstep font-size)
+ (ly:output-def-lookup layout 'line-thickness)))
+ (underline-thick (* thickness thick))
+ (markup (interpret-markup layout props arg))
+ (x1 (car (ly:stencil-extent markup X)))
+ (x2 (cdr (ly:stencil-extent markup X)))
+ (y1 (car (ly:stencil-extent markup Y)))
+ (y2 (cdr (ly:stencil-extent markup Y)))
+ (dx (* extension (- x2 x1)))
+ (dy (* extension (- y2 y1)))
+ (line (make-line-stencil underline-thick
+ (- x1 dx) (- y1 dy)
+ (+ x2 dx) (+ y2 dy))))
+ (ly:stencil-add markup line)))
<<
{
<g e c>1 <a f d> <b g e>
}
\lyrics {
T Sp Dp S D Tp
- \markup { D \translate #'(-2 . 0) | }
+ \markup { \concat { \diagonal-stroke D \super "7" } }
}
>>
@end lilypond
@seealso
-No cross-references.
+@ref{dominant}, @ref{incomplete dominant seventh chord},
+@ref{subdominant}, @ref{tonic}.
@node G
counted in the rhythm of the bar.
@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
@node grand staff
No cross-references.
+@node incomplete dominant seventh chord
+@section incomplete dominant seventh chord
+
+ES: ?,
+I: ?,
+F: ?,
+D: verkürzter Dominantseptakkord,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A dominant seventh chord where the root tone is removed.
+The remaining three tones build a diminished triad.
+
+@seealso
+@ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
+
+
@node interval
@section interval
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]
+@lilypond[quote]
<<
\context Voice \relative c'' {
% Prime or unison
@seealso
@ref{accidental}.
+@node kievan notation
+@section kievan notation
+
+A form of medieval music notation used predominantly in the chantbooks
+of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
+jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
+characterized by the square shape of its noteheads.
+
@node laissez vibrer
@section laissez vibrer
FI: mordent, korukuvio.
@seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
+@ref{mordent}, @ref{ornament}.
@node ninth
For longer passages, it may be more practical to mark the octave change at the
beginning with a phrase (see the list below for examples), but without a bracket
or extender line. Then, when the music returns to the written pitch, the octave
-change is cancelled with the word @notation{loco} (q.v.).
+change is canceled with the word @notation{loco} (q.v.).
To parallel the list above:
@end lilypond
@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{mordent}.
@node ossia
S: rallentando,
FI: rallerdando, hidastuen.
-[Italian] A performance indication, abbreviated @notation{rall.}
+[Italian: @q{slowing down}]
+
+Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
+to @notation{rall.}
@seealso
@ref{ritardando}.
S: ritardando,
FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
-@notation{ritard}.
+[Italian: @q{lagging}]
+
+Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
+abbreviated to @notation{rit.} or @notation{ritard}.
@seealso
-No cross-references.
+@ref{rallentando}.
@node ritenuto
\new Staff \relative c' {
c1 d e f g a b c
}
- \lyrics {
- << { I II III IV V VI VII I }
- { T "" "" S D } >>
-}
+ \lyrics { I II III IV V VI VII I }
+ \lyrics { T "" "" S D }
>>
@end lilypond