@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::
* homophony::
* hook::
* hymn meter::
+* incomplete dominant seventh chord::
* interval::
* inversion::
* inverted interval::
* just intonation::
* key::
* key signature::
+* kievan notation::
* laissez vibrer::
* largo::
* leading note::
* 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
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 32)
+ #'base-shortest-duration = #(ly:make-moment 1/32)
}
}
}
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
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
+ #'base-shortest-duration = #(ly:make-moment 1/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 2 1)
+ #'base-shortest-duration = #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
\context {
\Score
\override SpacingSpanner #'base-shortest-duration =
- #(ly:make-moment 2 1)
+ #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
@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
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
@lilypond[quote,notime]
\relative c'' {
\override Staff.Clef #'full-size-change = ##t
- \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
\clef french
g1
\clef treble
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
@lilypond[quote,line-width=13.0\cm]
\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 "||"
+ \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
+ \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \times 3/2 {g4_"duplets" g} |
+ \tuplet 2/3 {g4_"duplets" g} |
g4 g g \bar "||"
- \times 6/4 {g8_"quadruplets" g g g} |
+ \tuplet 4/6 {g8_"quadruplets" g g g} |
g8 g g g g4 \bar "||"
}
@end lilypond
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:
}
\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
+ c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
}
>>
@end lilypond
@end lilypond
@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{mordent}.
@node ossia
@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
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
@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