\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,
-
-@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.
+@lilyTitlePage{Music Glossary}
-@*
-@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
-FIXME FIXME FIXME
-@c @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
[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: ?.
@node adagio
@section adagio
-ES: adagio,
+ES: adagio, lento,
I: adagio,
F: adagio, lent,
D: Adagio, Langsam,
@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,
-D: ?,
+D: Allabreve, alla breve
NL: ?,
DK: ?,
S: ?,
[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-Also called @notation{in cut-time}. The name derives from mensural
+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
@node allegro
@section allegro
-ES: allegro,
+ES: allegro, rápido,
I: allegro,
F: allegro, gaiement,
D: Allegro, Schnell, Fröhlich, Lustig,
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]
I: appoggiatura,
F: appoggiature, (port de voix),
D: Vorschlag, Vorhalt
-NL: voorslag,
+NL: (korte) voorslag,
DK: forslag,
S: förslag,
FI: appoggiatura, etuhele.
@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
@node beam
@section beam
-ES: barra
+ES: barra (de corcheas),
I: coda,
F: ligature, barre (de croches),
D: Balken,
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]
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.
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
\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 {
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]
\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 {
\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 {
@node concert pitch
@section concert pitch
-ES: en Do, afinación de concierto,
+ES: en Do, tono de concierto,
I: intonazione reale,
F: tonalité de concert, en ut,
D: ?,
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
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.
-There were different appearences for different notation styles. Nowadays,
+Custodes were frequently used in music notation until the 16th century.
+There were different appearances 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
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
-played on the white keys of a piano keybord are diatonic. These 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}).
These @emph{modes} are used in Gregorian chant and in pre-baroque early music
S: diminuendo,
FI: diminuendo, hiljentyen.
+Abbreviated @emph{dim.} It indicates a decrease in tone volume.
+
@seealso
@ref{decrescendo}.
@node diminution
@section diminution
-ES: ?,
+ES: disminución,
I: diminuzione,
F: diminution,
D: ?,
@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: ?,
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.
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,
@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,
+ES: armónicos, sonidos aflautados,
I: armonici,
F: flageolet, sons harmoniques,
D: Flageolett-Töne,
<<
\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: ?,
+ES: inversión,
I: rivolto,
F: renversement,
D: ?,
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
@section longa
@itemize
-@item US: long, longa,
+@item US: long, longa,
@item ES: longa,
@item I: longa,
@item F: longa, longue,
@node maxima
@section maxima
-ES: ?,
+ES: máxima,
I: maxima,
F: maxima, maxime,
D: ?,
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: ?,
which originally designated @notation{tempus imperfectum} and
@notation{prolatio minor} now stands for @notation{common time}; and the
slashed C, which designated the same with @notation{diminution} now stands
-for @notation{cut-time} (essentially, it has not lost its original meaning).
+for @notation{cut time} (essentially, it has not lost its original meaning).
@seealso
@ref{diminution}, @ref{proportion}, @ref{time signature}.
@item triple: 9/8
@item quadruple: 12/8
- @end itemize
+ @end itemize
@end itemize
@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,
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]
@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,
be one-third the higher note value. Composers indicated which proportions
to use with various signs—two of which survive to the present day: the
C-shaped sign for @notation{common time}, and the slashed C for
-@notation{alla breve} or @notation{cut-time}.
+@notation{alla breve} or @notation{cut time}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
@node part
@section part
-ES: parte,
+ES: parte, particella,
I: voce, parte,
F: partie,
D: Stimme,
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
-tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
+tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
@seealso
@node piano
@section piano
-ES: piano,
+ES: piano, suave,
I: piano,
F: piano,
D: piano, leise,
@item The @emph{successive} use of different meters in one or more parts.
-@end itemize
+@end itemize
@seealso
@ref{polymetric} (adj.)
@node polymetric time signature
@section polymetric time signature
-ES: compás polimétrico,
+ES: indicación de compás polimétrico,
I: tempo polimetrico,
F: ?,
D: ?,
[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
@node presto
@section presto
-ES: presto,
+ES: presto, muy rápido,
I: presto,
F: presto, très rapide, enlevé,
D: Presto, Sehr schnell,
@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: ?,
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
@node quarter tone
@section quarter tone
-ES: cuarto de tonno,
+ES: cuarto de tono,
I: quarto di tono,
F: quart de ton,
D: Viertelton,
@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 @notation{rall.}.
+[Italian] A performance indication, abbreviated @notation{rall.}
@seealso
@ref{ritardando}.
@node ritardando
@section ritardando
-ES: ritardando,
+ES: ritardando, retardando,
I: ritardando,
F: ritardando, en ralentissant,
D: ritardando, langsamer werden,
@node ritenuto
@section ritenuto
-ES: ritenuto,
+ES: ritenuto, reteniendo,
I: ritenuto,
F: ritenuto, en retenant,
D: ritenuto,
@node simile
@section simile
-ES: simile,
+ES: simile, similar,
I: simile,
F: simile,
D: ?,
@node slur
@section slur
-ES: ligadura (de expresión),
+ES: ligadura de expresión,
I: legatura (di portamento o espressiva),
F: liaison, coulé,
D: Bogen (Legatobogen, Phrasierungsbogen),
In its present-day meaning a sonata denotes an instrumental
composition for piano or for some other instrument with piano
-accompaniment, which consists of three or four independant pieces,
+accompaniment, which consists of three or four independent pieces,
called movements.
@seealso
@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: ?,
@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,
@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: ?,
+ES: grupo de valoración especial,
I: gruppi irregolari,
F: ?,
D: ?,
-NL: ?,
+NL: Antimetrische figuur,
DK: ?,
S: ?,
FI: ?.
@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 @notation{soupir}, or quarter rest.
+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.
@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
projects / lilypond.git / blobdiff