@c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
@macro copyrightDeclare
-Copyright @copyright{} 1999--2010 by the authors
+Copyright @copyright{} 1999--2012 by the authors
@end macro
@set FDL
* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
+* Non-Western terms A-Z::
Appendices
* cluster::
* comma::
* common meter::
+* Common Practice Period::
* common time::
* complement::
* compound interval::
* polymetric time signature::
* polyphony::
* portato::
+* power chord::
* presto::
* proportion::
* Pythagorean comma::
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
FI: kohotahti.
An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial
+of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
@lilypond[quote,relative=1]
No cross-references.
-@node augmented interval
-@section augmented interval
-
-ES: intervalo aumentado,
-I: intervallo aumentato,
-F: intervalle augmenté,
-D: übermäßiges Intervall,
-NL: overmatig interval,
-DK: forstørret interval,
-S: överstigande intervall,
-FI: ylinouseva intervalli.
-
-@seealso
-@ref{interval}.
-
-
@node augmentation
@section augmentation
@ref{diminution}, @ref{mensural notation}.
+@node augmented interval
+@section augmented interval
+
+ES: intervalo aumentado,
+I: intervallo aumentato,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
+NL: overmatig interval,
+DK: forstørret interval,
+S: överstigande intervall,
+FI: ylinouseva intervalli.
+
+@seealso
+@ref{interval}.
+
+
@node autograph
@section autograph
@item Music prepared for photoreproduction by freehand drawing, with
the aid of a straightedge ruler and T-square only, which attempts to
-emulate engraving. This required more skill than did engraving.
+emulate engraving. This required more skill than did engraving.
@end itemize
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note). The
+Line connecting a series of notes (shorter than a quarter note). The
number of beams determines the note value of the connected notes.
@lilypond[quote,notime,relative=2,line-width=13\cm]
FI: sointu.
Three or more tones sounding simultaneously. In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+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
+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
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
+staff}. For example, the treble or G clef indicates that the top five lines
have been selected:
@lilypond[quote]
@ref{common time}, @ref{meter}.
+@node Common Practice Period
+@section Common Practice Period
+
+ES: ?,
+I: ?,
+F: ?,
+D: Kunstmusik,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO:
+This is a stub for Common Practice Period (CPP).
+
+@seealso
+@ruser{Note names in other languages}.
+
+
@node common time
@section common time
@ref{compound meter}.
@item
-A time signature that additively combines two or more unequal meters, e.g.,
-@q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
+A time signature that additively combines two or more unequal meters,
+e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
+signatures.
@end enumerate
-@lilypond[quote,line-width=13.0\cm]
-#(define ((compound-time one two three num) grob)
- (grob-interpret-markup grob
- (markup
- #:override '(baseline-skip . 0)
- #:number
- #:line (
- #:left-column (one num)
- #:vcenter "+"
- #:left-column (two num)
- #:vcenter "+"
- #:left-column (three num)))))
-
+@lilypond[quote,verbatim]
\relative c' {
\key f \major
- #(set-time-signature 8 8 '(3 2 3))
- \override Staff.TimeSignature #'stencil =
- #(compound-time "3" "2" "3" "8")
+ \compoundMeter #'((3 8) (2 8) (3 8))
c8 d e f4 d8 c bes
c4 g'8 e c f4.
\bar "||"
@end lilypond
@seealso
-@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
+@ref{compound meter},
+@ref{meter},
+@ref{polymetric time signature}.
@node concert pitch
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
played on the white keys of a piano keyboard are diatonic. These scales
are sometimes called, somewhat inaccurately, @q{church modes}).
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
FI: käännös.
When a chord sounds with a bass note that differs from the root of the
-chord, it is said to be @emph{inverted}. The number of inversions that a
+chord, it is said to be @emph{inverted}. The number of inversions that a
chord can have is one fewer than the number of constituent notes. For
example, triads (which have three constituent notes) can have three
positions, two of which are inversions:
@table @dfn
@item Root position
-The root note is in the bass, and above that are the third and the fifth. A
+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
+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
+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
+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
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
unstable chord position.
@end table
FI: antaa väristä.
[French: @q{Let vibrate}] Most frequently associated with harp
-parts. Marked @notation{l.v.} in the score.
+parts. Marked @notation{l.v.} in the score.
@seealso
No cross-references.
FI: largo, hitaasti, leveästi.
[Italian: @q{wide}.] Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+expressiveness. @emph{Larghetto} is less slow than largo.
@node leading note
FI: mordent, korukuvio.
@seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
Multi-measure rests are conventionally typeset with a combination of
longa, breve and whole rests for shorter and a long horizontal bar for
longer spans of rest, with a number above to indicate the duration (in
-measures) of the rest. The former style is called @q{Kirchenpausen} in
+measures) of the rest. The former style is called @q{Kirchenpausen} in
German, as a reminiscence of its use in Renaissance vocal polyphony.
@lilypond[quote,relative=2]
@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
[Italian: past participle of @emph{portare}, @q{to carry}]
A stroke in which each of several notes is separated slightly within a slur,
-without changing the bow's direction. It is used for passages of a
+without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
@seealso
@ref{legato}.
+@node power chord
+@section power chord
+
+A chord containing only the root and the fifth (possibly in multiple
+octaves). Commonly used in guitar music, particularly with electric
+guitar and high distortion.
+
+@seealso
+@ref{chord}.
@node presto
@section presto
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:
+the chord. These are described below:
@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
@headitem Chord name
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
+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 commonly used
+and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
@seealso
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
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
+@lilypond[quote,relative=1]
+c4 e g c
+@end lilypond
+
@seealso
-No cross-references.
+@ref{system}.
@node staves
S: system,
FI: nuottiviivasto.
-The collection of staves (@notation{staff}), two or more, as used for writing
-down of keyboard, chamber, choral, or orchestral music.
+The collection of staves (@notation{staff}), two or more, as used
+for writing down keyboard, chamber, choral, or orchestral music;
+a section of the score spanning the width of a single page.
@seealso
@ref{staff}.
@end multitable
+@node Non-Western terms A-Z
+@chapter Non-Western terms A-Z
+
+@menu
+* bayati::
+* iraq::
+* kurd::
+* makam::
+* makamlar::
+* maqam::
+* rast::
+* semai::
+* sikah::
+* taqasim::
+@end menu
+
+
+@node bayati
+@section bayati
+
+@c TODO
+This is a stub for @code{bayati}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node iraq
+@section iraq
+
+@c TODO
+This is a stub for @code{iraq}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node kurd
+@section kurd
+
+@c TODO
+This is a stub for @code{kurd}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node makam
+@section makam
+
+@c TODO
+This is a stub for @code{makam}.
+
+@seealso
+Notation Reference:
+@ruser{Turkish classical music}.
+
+
+@node makamlar
+@section makamlar
+
+@c TODO
+This is a stub for @code{makamlar}.
+
+@seealso
+Notation Reference:
+@ruser{Turkish classical music}.
+
+
+@node maqam
+@section maqam
+
+@c TODO
+This is a stub for @code{maqam}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic music},
+@ruser{Arabic key signatures}.
+
+
+@node rast
+@section rast
+
+@c TODO
+This is a stub for @code{rast}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node semai
+@section semai
+
+@c TODO
+This is a stub for @code{semai}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node sikah
+@section sikah
+
+@c TODO
+This is a stub for @code{sikah}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node taqasim
+@section taqasim
+
+@c TODO
+This is a stub for @code{taqasim}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
@node Literature used
@appendix Literature used
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