-
\input texinfo
@setfilename glossary.info
@item accidental
I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen,
-Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: f@"ortecken, N:
+Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt
+f@"ortecken, N:
@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
@c Akzidenz, NL: toevallig teken, I: accidento.
gis1_"sharp" s s2
gisis1_"db. sharp" s s2
ges1_"flat" s s2
- geses1_"db. flat" s s2
- g!1_"natural"
+ geses1_"db. flat" s s2
+ g!1_"natural" s2
}
@end mudela
+@item accelerando
+I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller,
+NL: accelerando, DK: accelerando, S: accelerando, N:
+
+Still faster tempo.
+
@item adagio
-I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N:
-adagio.
+I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S:
+adagio, N: adagio.
It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than
@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A
movement in slow tempo, esepecially the scond (slow) movement of
@w{@ar{}@strong{sonata}s}, symphonies etc.
-@item accelerando
-I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK:
-accelerando, S: accelerando, N:
-
-Still faster tempo.
-
@item allegro
-I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK:
-allegro, S: allegro, N: allegro.
+I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro,
+DK: allegro, S: allegro, N: allegro.
It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
especially the first and last movements of a @w{@ar{}@strong{sonata}}.
@item alto
-I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
+I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt.
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
tenor}}.
@item alto clef
-I: chiave di contralto, F: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt
-sleutel, DK: altn@o{}gle, S: altklav, N:
+I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel,
+Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N:
C clef setting central C on the middle line of the staff
@w{@ar{}@strong{C clef}}
@
@mudela[13pt,eps]
-\property Voice.textEmptyDimension = ##t
-
+\emptyText
+%\property Voice.textEmptyDimension = ##t
\property Voice.textStyle = "large"
\notes\relative c'' {
-\key d;
+\key d \major;
\time 4/4;
<d4_"notation" a fis> r
-{ \property Grace.stemStyle = ""
+{ \property Grace.flagStyle = ""
\grace g16 }
fis8 e16 fis
-{ \property Grace.stemStyle = ""
+{ \property Grace.flagStyle = ""
\grace a16 }
g8 fis16 g | a4 \bar "||"; }
\notes\relative c'' {
\emptyText
\property Voice.textStyle = "large"
\notes\relative c'' {
- \key as;
+ \key as \major;
\time 2/4;
\grace { bes16 } as8_"notation" as16 bes as8 g |
\grace { [as16 ( bes] } < ) c4 as >
@end mudela
@item arpeggio
-I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
-NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
+I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener
+Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N:
@
@w{@ar{}@strong{interval}}
@item autograph
-I: autografo, F: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift,
-autograf, S: handskrift, N: .
+I: autografo, F: manuscrit, D: Autograph, Handschrift, NL: manuscript, DK:
+h@aa{}ndskrift, autograf, S: handskrift, N: .
1. A manuscript in the composer's own hand. 2. Music prepared for
photoreproduction by freehand drawing, with only the aid of a
@w{@ar{}@strong{tenor}}.
@item baritone clef
-I: chiave di baritono, F: , D: Barytonschl@"ussel, NL: baritonsleutel, DK:
-barytonn@o{}gle, S: barytonklav, N: .
+I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme
+ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S:
+barytonklav, N: .
C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}}
@w{@ar{}@strong{f clef}}
@item bass clef
-I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK:
-basn@o{}gle, S: basklav, N:
+I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL:
+bassleutel, DK: basn@o{}gle, S: basklav, N:
A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f
clef}}
@
@mudela[13pt,eps]
-\key g;
+\key g \major;
\time 4/4;
\notes\relative c'' { g4 c b a | g1 \bar "||";}
\time 3/8;
@
@mudela[13pt,eps]
-\context StaffGroup <
+%\context StaffGroup <
+\context ChoirStaff <
\property StaffGroup.minVerticalAlign = 12
\notes\relative c'' { \clef treble; g4 e c2 }
\notes\relative c { \clef bass; c1 \bar "|."; } >
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
-\property Lyrics.textStyle = "large"
-\property Voice.clefStyle = "fullSizeChanges"
+\property Staff.clefStyle = #"fullSizeChanges"
+\property Staff.textStyle = #"large"
+\property Lyrics.textStyle = #"large"
\addlyrics
\notes\relative c' {
- \clef "C1"; c1 s s
- \clef "C2"; c s s
- \clef "C3"; c s s
- \clef "C4"; c s s
- \clef "C5"; c s
+ \clef soprano; c1 s s
+ \clef mezzosoprano; c s s
+ \clef alto; c s s
+ \clef tenor; c s s
+ \clef baritone; c s
+}
+\context Lyrics \lyrics {
+ Soprano Mezzosoprano Alto Tenor Baritone
}
-\context Lyrics \lyrics { Soprano Mezzosoprano Alto Tenor Baritone }
@end mudela
@item cadence
by the composer.
@item canon
-I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
+I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: .
@w{@ar{}@strong{counterpoint}}
@item cent
-I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: .
+I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: .
Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}}
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
+\property Voice.textNonEmpty = ##t
\property Voice.textStyle = "large"
\time 4/4;
\notes\relative c'' {
<g_"dimished" bes des>
<g_"augmented~" b dis>
<g_"seventh-chord~" b d f>
- <g_"ninth-chord" b d f a>
+ <g_"ninth-chord" b d f a> s s2
}
@end mudela
@end mudela
@item chromaticism
-I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik,
-N:
+I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S:
+kromatik, N:
Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major).
@w{@ar{}@strong{interval}}
@item complement
-I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK:
-komplement@ae{}rinterval, S: komplement@"arintervall (?), N:
+I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL:
+complementair interval, DK: komplement@ae{}rinterval, S:
+komplement@"arintervall (?), N:
@w{@ar{}@strong{inverted interval}}
@item conjunct movement
-I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis
-bev@ae{}gelse, S: stegvis r@"orelse, N:
+I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise
+Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N:
Melody moving in the narrow steps of the scale;
@
@mudela[13pt,eps]
-\key g; \time 4/4;
+\key g \major; \time 4/4;
\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; }
@end mudela
\property Score.timeSignatureStyle = "C2/2"
\context GrandStaff <
\notes\relative c' {
- \key bes;
+ \key bes \major;
\time 4/4;
\clef treble;
< \context Voice = rha {
}
\notes\relative c' {
\clef bass;
- \key bes;
+ \key bes \major;
< \context Voice = lha {
\stemup
r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
@
@mudela[13pt,eps]
-\key g; \time 4/4;
+\key g \major; \time 4/4;
\notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; }
@end mudela
@item cue-notes
-I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S:
-inprickningar, N:
+I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument,
+r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N:
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
@item D
I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d
-@item da capo
-I: da capo, F: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo,
-N: .
+@item da capo
+I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da
+capo, DK: da capo, S: da capo, N: .
The term indicates repetition of the piece from the beginning to the end or to
a certain place marked @emph{fine}. Mostly abbreviated D.C.
@item dal segno
-I: dal segno, F: , D: dal segno, NL: dal segno, DK: dal segno, S: dal
-segno, N: .
+I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK:
+dal segno, S: dal segno, N: .
abbreviated d.s. Repetition, not from the beginning, but from another place
frequently near the beginning marked by a sign:
@mudela[13pt,eps]
\property Voice.textStyle = "large"
-\key g; \time 4/4;
+\key g \major; \time 4/4;
\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; }
@end mudela
@
@mudela[13pt,eps]
-\key g; \time 4/4;
+\key g \major; \time 4/4;
\notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; }
@end mudela
\addlyrics
\notes\relative c' {
d1
- \property Voice.textScriptPadding = #-10
+ \property Voice.textScriptPadding = #-10
e^"~~ S"
f g a
\property Voice.textScriptPadding = #-4
b^"~~ S" c d e fis
\property Voice.textScriptPadding = #0
gis^"~~ S" a g!
- \property Voice.textScriptPadding = "-1"
+ \property Voice.textScriptPadding = #-1
f!^"~~ S" e d
\property Voice.textScriptPadding = #-4
c^"~~ S" b a
@w{@ar{}@strong{decrescendo}}
@item disjunct movement
-I: moto disgiunto, F: mouvement disjoint, D: , NL: , DK: springende
-bev@ae{}gelse, S: hoppande r@"orelse, N:
+I: moto disgiunto, F: mouvement disjoint, D:
+sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande
+r@"orelse, N:
Melody moving in steps greater than those of the
scale. Opposite of @ar{}@strong{conjunct movement}.
@
@mudela[13pt,eps]
-\key a;
+\key a \major;
\time 4/4;
\notes\relative c' {
\partial 8; e8 | a4. gis8 b a e cis |
@item dorian mode
I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische
-toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N:
+toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N:
@w{@ar{}@strong{diatonic scale}}
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
example bass recorder) while 8 below the clef symbol indicates playing an
octave lower (for example on double bass @w{@ar{}@strong{strings}}).
-@
-@ignore
-@mud ela[13pt,eps]
+@mudela[13pt,eps]
\property Score.barNonAuto = ##t
-\property Voice.clefStyle = "fullSizeChanges"
+\property Staff.clefStyle = #"fullSizeChanges"
\property Lyrics.textStyle = "large"
\addlyrics
\notes\relative c {
- \clef "F3";
+% \clef "F3";
+ \clef varbaritone;
f1 s
- \clef "F4";
+% \clef "F4";
+ \clef bass;
f1 s
- \clef "F5";
+% \clef "F5";
+ \clef subbass;
f1 s
\clef "F^8";
f'1 s s
"octaved down"
}
@end mudela
-@end ignore
@item fermata
I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: .
Prolonged note or rest of indefinite duration.
-@
@mudela[13pt,eps]
\time 4/4;
@end mudela
@item fifth
-I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint.
+I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N:
+kvint.
@w{@ar{}@strong{interval}}
Ornament at the end of the stem of a note used for notes with values less than
a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}.
-@
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
@w{@ar{}@strong{counterpoint}}
@item functional harmony
-I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse,
-funktionsharmonik, S: funktionsl@"ara, N:
+I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK:
+funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N:
A system of harmonic analysis. It is based on the idea that, in a given key,
there are only three functionally different chords: tonic (T, the chord on the
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
+\property Staff.clefStyle = #"fullSizeChanges"
\property Lyrics.textStyle = "large"
-\property Voice.clefStyle = "fullSizeChanges"
\addlyrics
\notes\relative c'' {
- \clef "G1"; g1 s s s s
- \clef "G2"; g s s s
- \clef "G^8"; g' s s s
- \clef "G_8"; g,, s s
+ \clef french;
+ g1 s s s s
+ \clef treble;
+ g s s s
+ \clef "G^8";
+ g' s s s
+ \clef "G_8";
+ g,, s s
}
\context Lyrics \lyrics {
"french violin clef"
Letting the pitch slide fluently from one note to the other
@item grace notes
-I: abbellimenti, F: fioriture, petite[s] note[s], D: Verzierungen,
-Vorschl@"age, Vorschlagsnoten, NL: versieringen, DK: forsiringer, S: ornament,
-N: .
+I: abbellimenti, F: fioriture, D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
+NL: versieringen, DK: forsiringer, S: ornament, N: .
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}}
A combination of two staffs with a brace. Usually used for piano music.
@item grave
-I: grave, F: grave, D: grave, langsam, traurig, NL: , DK: grave, S: grave, N:
+I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N:
.
Slow, solemn.
@item half rest
I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve
-rust, DK: halvnodespause, S: halvnotspaus, N: .
+rust, DK: halvnodespause, S: halvpaus, N: .
@w{@ar{}@strong{note value}}
@end mudela
@item just intonation
-I: intonazione giusta, F: , D: reine Stimmung, NL: reine stemming, DK: ren
-stemning, S: ren st@"amning, N: .
+I: intonazione giusta, F: intonation juste, D: reine Stimmung, NL: reine
+stemming, DK: ren stemning, S: ren st@"amning, N: .
Tuning system in which the notes are obtained by adding and subtracting
@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}}
@item key signature
I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen,
-Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: largo, N: .
+Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn,
+S: tonartssignatur, N: .
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @w{@ar{}@strong{accidental}}
@item ledger line; leger line
I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL:
-hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: .
+hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: .
A ledger line is an extension of the staff.
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
-\notes\relative c'' { g\longa }
+\notes\relative c'' {
+ \property Voice.noteHeadStyle = #'mensural
+ g\longa
+}
@end mudela
@item major interval
@mudela[13pt,eps]
\notes\relative c'' {
\time 3/4;
- \key f;
+ \key f \major;
c es d | c bes8 a bes4 | c es d | c2 \bar "||";}
@end mudela
@mudela[13pt,eps]
\notes\relative c' {
\time 6/8;
- \key f;
+ \key f \major;
f8 f f f a16 g a f |
c'8 c c c e16 d e c \bar "||";}
@end mudela
@mudela[13pt,eps]
\notes\relative c'' {
\time 5/4;
- \key g;
+ \key g \major;
d4 b8 g b d d c a4 |
g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";}
@end mudela
@mudela[13pt,eps]
\property Score.barNonAuto = ##t
-\property Voice.clefStyle = "fullSizeChanges"
+\property Staff.clefStyle = #"fullSizeChanges"
\notes\relative c' {
- \clef "F"; c1 s
- \clef "C3"; c s
- \clef "G2"; c s
+ \clef bass; c1 s
+ \clef alto; c s
+ \clef treble; c s
}
@end mudela
\property Voice.textStyle = "large"
\notes\relative c'' {
\time 4/4;
- \key g;
+ \key g \major;
\partial 8; g16_"------" fis |
g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
g8 g,16 a b8 cis d16 s
@item note
I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: ,
-Notes are signs by means of which music is fixed in writing. The term is, also
+Notes are signs by means of which music is fixed in writing. The term is also
used for the sound indicated by a note, and even for the key of the piano
which produces the sound. However, a clear distinction between the terms tone
and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note,
and hears a tone.
@item note head
-I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N:
-.
+I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL:
+nootballetje, DK: nodehovede, S: nothuvud, N: .
A head like sign which indicates pitch by its position on a
@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration
\property Voice.textStyle = "large"
\property Score.barNonAuto = ##t
\notes\relative c'' {
+ \property Voice.noteHeadStyle = #'mensural
g\longa_"longa" g\breve_"breve"
+ \property Voice.noteHeadStyle = ##f
g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
@end mudela
g8 g g g g4 \bar "||";}
@end mudela
+@
+
+
@item octave sign
@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}}
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@
-
@mudela[13pt,eps]
<
\context Staff = sa {
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c' {
- \key es;
+ \key es \major;
es1_"e flat major" f g as bes c d es
\bar "||"; s16
- \key es;
+ \key es \major;
c,1_"c minor" d es f g a! b! c \bar "||";
}
@end mudela
@
@mudela[13pt,eps]
-\key g;
+\key g \major;
\time 4/4;
\notes\relative c'' {
\repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
@item scale degree
I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap
-[van de toonladder], DK: skalatrin, S: skalatrin (?), N: .
+[van de toonladder], DK: skalatrin, S: skalsteg (?), N: .
Names and symbols used in harmonic analysis to denote tones of the scale as
roots of chords. The most important are degrees I = tonic (T), IV =
breath in singing.
@item solmization
-I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S:
-solmisation, N: .
+I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK:
+solmisation, S: solmisation, N: .
General term for systems of designating the degrees of the
@w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do}
@
@mudela[13pt,eps]
-\key d;
+\key d \major;
\time 4/4;
\notes\relative c'' {
\partial 8; a8 |
harmony}}
@item submediant
-I: sopratonica, F: , D: Submediant, NL: submediant, DK: Submediant, S:
-submediant, N: .
+I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK:
+Submediant, S: submediant, N: .
The sixth @w{@ar{}@strong{scale degree}}.
@item thirty-second note
I: biscroma, F: triple croche, UK: demisemiquaver, D:
-Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: 32e noot, DK:
-toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
+Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste
+noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: .
@w{@ar{}@strong{note value}}
\context GrandStaff <
\notes\relative c'' {
\time 4/4;
- \key es;
+ \key es \major;
\clef treble;
< \context Voice = rha {
\stemup
\addlyrics
\notes\relative c' {
\clef bass;
- \key es;
+ \key es \major;
es8 c () c bes () bes as () as g16 f | es4
}
\context Lyrics \lyrics {
\context Staff {
\time 3/4;
\notes\relative c'' {
- \key g;
+ \key g \major;
d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
\transpose bes\relative c'' {
- \key g;
+ \key g \major;
d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; }
}
@end mudela
\property Score.barNonAuto = ##t
\property Voice.textStyle = "large"
\notes\relative c' {
- e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
+ % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g]
+ % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g }
+ e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g }
}
@end mudela
@item triad
-I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N:
+I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL:
+drieklank, DK: treklang, S: treklang, N:
@w{@ar{}@strong{chord}}
different octave.
@item upbeat
-I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, I: , DK: optakt, S:
+I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S:
upptakt, N:
Initial note(s) of a melody occurring before the first bar
@
@mudela[13pt,eps]
-\key f;
+\key f \major;
\time 4/4;
\notes\relative c' {
\partial 4; f4 | bes4. a8 bes4 c |
@item whole rest
I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele
-rust, DK: helnodespause, S: helnotspaus, N: .
+rust, DK: helnodespause, S: helpaus, N: .
@w{@ar{}@strong{note value}}
black and white keys - is a whole tone.
@item woodwind
-I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S:
-tr@"abl@aa{}sare, N: .
+I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere,
+S: tr@"abl@aa{}sare, N: .
A family of blown wooden musical instruments. Today some of these instruments
are actually made from metal. The woodwind instruments commonly used in a
symphony orchestra are flute, oboe, clarinet, saxophone and bassoon.
+@end table
+
+@page
+
+@table @strong
+@item DURATION NAMES, NOTES AND RESTS
+@end table
+
+@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
+
+@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
+@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
+
+@item
+
+@item @strong{longa} @tab longa @tab longa @tab Longa @tab longa @tab longa
+@tab longa @tab longa @tab longa
+
+@item
+
+@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
+brevis @tab brevis @tab brevis @tab brevis
+
+@item
+
+@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
+Ganze @tab hele @tab hel @tab hel @tab
+
+@item
+
+@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
+halve @tab halv @tab halv @tab
+
+@item
+
+@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
+Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
+
+@item
+
+@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
+achtste @tab ottende@-del @tab @aa{}tton@-del @tab
+
+@item
+
+@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
+@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
+@tab
+
+@item
+
+@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
+triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
+@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
+
+@item
+
+@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
+semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
+vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
+sextio@-fj@"arde@-del @tab
+
+@end multitable
+@c @item @tab @tab @tab @tab @tab @tab @tab @tab
+
+@page
+
+@table @strong
+@item PITCH NAMES
+@end table
+
+@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
+
+@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
+@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
+
+@item
+
+@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+
+@item
+
+@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
+cis @tab cis @tab cis
+
+@item
+
+@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
+des @tab des @tab des
+
+@item
+
+@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
+
+@item
+
+@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+
+@item
+
+@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+
+@item
+
+@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+
+@item
+
+@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
+@tab as @tab as
+
+@item
+
+@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
+
+@item
+
+@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
+ais @tab ais @tab ais
+
+@item
+
+@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
+@tab b @tab b
+
+@item
+
+@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+
+@end multitable
@
+@table @strong
+
@item ---------------------
@
Hugo Riemans Musiklexicon, Berlin 1929
+
+Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980
Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
@end table
projects / lilypond.git / blobdiff