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}.
+documentation, see
+FIXME FIXME FIXME
+@c @rlearning{About the documentation}.
@c arrowref
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
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.
@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.
ES: ?,
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},
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
@section articulation
ES: articulación,
-I: articulazione,
+I: articolazione,
F: articulation,
D: Artikulation,
NL: articulatie,
@section bracket
ES: corchete,
-I: ?,
+I: parentesi quadra,
F: crochet,
D: ?,
NL: ?,
}
\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
}
@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 {
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 {
@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 "||"
@section concert pitch
ES: en Do, afinación de concierto,
-I: ?,
+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
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: ?,
@section diminution
ES: ?,
-I: ?,
+I: diminuzione,
F: diminution,
D: ?,
NL: ?,
@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: ?,
@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: ?,
@section grand staff
ES: sistema de piano,
-I: accolatura,
+I: accollatura,
F: système [de portées], accolade,
D: Akkolade, Klaviersystem,
NL: piano systeem,
@section harmonics
ES: sonidos del flautín,
-I: suoni flautati,
+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]
<<
@section inversion
ES: ?,
-I: ?,
+I: rivolto,
F: renversement,
D: ?,
NL: ?,
@section laissez vibrer
ES: dejar vibrar,
-I: ?,
+I: laissez vibrer,
F: laissez vibrer,
D: ?,
NL: ?,
@section lyrics
ES: letra (de la canción),
-I: ?,
+I: testo,
F: paroles,
D: Liedtext, Gesangtext,
NL: liedtekst,
@section maxima
ES: ?,
-I: ?,
+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: ?,
\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}
@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 polymeter
ES: compás polimétrico,
-I: ?,
+I: polimetria,
F: polymétrie,
D: ?,
NL: ?,
@section polymetric
ES: polimétrico,
-I: ?,
+I: polimetrico,
F: polymétrique,
D: ?,
NL: ?,
@section polymetric time signature
ES: compás polimétrico,
-I: ?,
+I: tempo polimetrico,
F: ?,
D: ?,
NL: ?,
@section proportion
ES: proporción,
-I: proprozione (?),
+I: proporzione,
F: proportion,
D: ?,
NL: ?,
@section quarter tone
ES: cuarto de tonno,
-I: ?,
+I: quarto di tono,
F: quart de ton,
D: Viertelton,
NL: kwart toon,
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
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.
@section second
ES: segunda,
-I: secunda,
+I: seconda,
F: seconde,
D: Sekunde,
NL: secunde,
@section slur
ES: ligadura (de expresión),
-I: legatura (di portamento or espressiva),
+I: legatura (di portamento o espressiva),
F: liaison, coulé,
D: Bogen (Legatobogen, Phrasierungsbogen),
NL: fraseringsboog, legatoboog, streekboog,
@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,
@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 tuplet
@section tuplet
+ES: ?,
+I: gruppi irregolari,
+F: ?,
+D: ?,
+NL: ?,
+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