* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
-@ifhtml
-This document is also available in
-@uref{source/Documentation/user/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
-@end ifhtml
-
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond 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--2008 by the authors
+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
@ifnottex
+@ifhtml
+@ifclear bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as
+@uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
+@end ifclear
+@ifset bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
+@uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
+@end ifset
+@end ifhtml
+
This glossary was brought you by:
@itemize
@end ignore
@*
-Copyright 1999--2008 by the authors
+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
* accidental::
* adagio::
* al niente::
+* alla breve::
* allegro::
* alteration::
* alto::
* crescendo::
* cue-notes::
* custos::
+* cut time::
* D::
* da capo::
* dal niente::
* lyrics::
* major::
* major interval::
+* maxima::
* meantone temperament::
* measure::
* measure repeat::
* melisma line::
* melodic cadence::
* mensural notation::
+* mensuration sign::
* meter::
* metronome::
* metronome mark::
* scordatura::
* score::
* second::
+* semibreve::
* semitone::
* seventh::
* sextolet::
@end itemize
@seealso
-
@ref{Pitch names}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kahdelle.
-Abbreviated @notation{a2} or @notation{a 2}.
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
+due} indicates that:
@enumerate
-@item An indication in orchestral scores that 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,
@end enumerate
@seealso
-
-None yet.
+No cross-references.
@node accelerando
S: accelerando,
FI: accelerando, kiihdyttäen.
-[Italian: @q{speed up, accelerate}.]
+[Italian: @q{speed up, accelerate}]
Increase tempo
@seealso
-
-None yet.
+No cross-references.
@node accent
The stress of one tone over others.
@seealso
-
-None yet.
+No cross-references.
@node accessory
@section accessory
@seealso
-
@ref{ornament}.
@node acciaccatura
@section acciaccatura
+ES: ?,
+I: acciaccatura,
+F: acciaccatura, appoggiature brève,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+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.
@seealso
-
@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
@item Raising its pitch:
@itemize
-@item A @notation{double sharp}, by two semitones (a whole tone)
-@item A @notation{sharp}, by one semitone
+@item By two semitones (a whole tone)—@notation{double sharp}
+@item By one semitone—@notation{sharp}
@end itemize
@item Lowering its pitch:
@itemize
-@item A @notation{flat}, by one semitone
-@item A @notation{double flat}, by two semitones (a whole tone)
+@item By one semitone—@notation{flat}
+@item By two semitones (a whole tone)—@notation{double flat}
@end itemize
-@item Canceling the effects of the key signature or previous accidentals.
+@item Or canceling the effects of the key signature or previous accidentals.
@end itemize
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
- \context Staff \relative c'' {
- \set Staff.extraNatural = ##f
- gisis1 gis g! ges geses
+@lilypond[quote,notime]
+\score {
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ gisis1 gis g! ges geses
+ }
}
- \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "db. sharp" sharp natural flat "db. flat"
+ \addlyrics {
+ \markup {
+ \center-column { double sharp }
+ }
+ sharp
+ natural
+ flat
+ \markup {
+ \center-column { double flat }
+ }
}
->>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 32)
+ }
+ }
+}
@end lilypond
@seealso
-
@ref{alteration}, @ref{semitone}, @ref{whole tone}.
S: adagio,
FI: adagio, hitaasti.
-[Italian: @q{comfortable, easy}.]
+[Italian: @q{comfortable, easy}]
@itemize
@end itemize
@seealso
-
@ref{andante}, @ref{largo}, @ref{sonata}.
ES: ?,
I: al niente,
-F: ?,
+F: al niente, en mourant,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: häviten olemattomiin.
-[Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
+[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
that the sound should fade away to nothing.
@notation{Al niente} is indicated by circling the tip of the hairpin:
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \override Hairpin #'circled-tip = ##t
- c1\<
- c2\> c\<
- c1\!
-}
+@lilypond[quote,relative=2]
+\override Hairpin #'circled-tip = ##t
+c1\<
+c2\> c\<
+c1\!
@end lilypond
-or with the actual phrase @notation{al niente}. This may be easier with
-text markup, rather than as part of the @notation{decrescendo} text:
+or with the actual phrase @notation{al niente}:
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \dimTextDecresc
- c1~\>
- c~
- c\!-\markup { \italic "al niente" }
-}
+@lilypond[quote,relative=2]
+\dimTextDecresc
+\override DynamicTextSpanner #'(bound-details right text) =
+ \markup { \italic { al niente } }
+c1\> ~
+c1 ~
+c1\!
@end lilypond
Since one does not crescendo @emph{to} nothing, it is not correct to use
@emph{dal niente} (@notation{@b{from} nothing}).
@seealso
+@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
+
+
+@node alla breve
+@section alla breve
+
+ES: ?,
+I: ?,
+F: alla breve,à la brève,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
+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.)
+
+@seealso
+@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
+@ref{proportion}, @ref{whole note}.
@node allegro
ES: allegro,
I: allegro,
-F: allegro,
+F: allegro, gaiement,
D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
FI: allegro, nopeasti.
-[Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
-tempo, especially the first and last movements of a sonata.
+[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
+quick tempo, especially the first and last movements of a sonata.
@seealso
-
@ref{sonata}.
NL: verhoging of verlaging,
DK: ?,
S: ?,
-FI: ?.
+FI: muunnettu.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an accidental.
-@seealso
+@c TODO: add second meaning from mensural notation
+@seealso
@ref{accidental}.
known as countertenor.
@seealso
-
@ref{countertenor}.
C clef setting middle C on the middle line of the staff.
@seealso
-
@ref{C clef}.
ES: ámbito,
I: ambitus,
-F: ambitus,
+F: ambitus, tessiture,
D: Ambitus,
NL: ambitus,
DK: ambitus,
Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
@seealso
-
-None yet.
+No cross-references.
@node anacrusis
of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1]
\key f \major
\time 4/4
-\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
+\partial 4 f4
+bes4. a8 bes4 c
+bes4( a) g f
+bes4. a8 bes4 c
+f,2. \bar "||"
@end lilypond
@seealso
-
@ref{measure}, @ref{meter}.
Also called @q{natural minor scale}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c'' {
- a1 b c d e f g a }
+@lilypond[quote,notime,relative=2]
+a1 b c d e f g a
@end lilypond
-@seealso
+@seealso
@ref{diatonic scale}.
ES: andante,
I: andante,
-F: andante,
+F: andante, allant,
D: Andante, Gehend,
NL: andante,
DK: andante,
S: andante,
FI: andante, käyden.
-[Italian: present participle of @emph{andare}, @q{to walk}.]
+[Italian: present participle of @emph{andare}, @q{to walk}]
Walking tempo/character.
@seealso
-
-None yet.
+No cross-references.
@node appoggiatura
note regardless of the duration of the main note the duration of the
long appoggiatura is proportional to that of the main note.
-@lilypond[line-width=13.0\cm]
-\context Voice \relative c'' {
- \key d \major
- \time 4/4
-
-%\override Score.TextScript #'font-style = #'large
- <d a fis>4_"notation" r
- { \override Stem #'flag-style = #'()
- \grace g16
- \revert Stem #'flag-style
- }
- fis8 e16 fis
- { \override Stem #'flag-style = #'()
- \grace a16
- \revert Stem #'flag-style
- }
- g8 fis16 g |
- \cadenzaOn a4 \bar "||" \cadenzaOff
-
- <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
- \cadenzaOn a4 \bar "||" \cadenzaOff
-}
+@lilypond[quote,relative=2]
+\key d \major
+\time 4/4
+<d a fis>4_"notation" r
+\grace g16
+fis8 e16 fis
+\grace a16
+g8 fis16 g |
+a4 \bar "||"
+
+\set Score.measurePosition = #ZERO-MOMENT
+<d, a fis>4_"performance" r
+g16( fis) e fis
+a16 ( g) fis g |
+a4 \bar "||"
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond[line-width=13.0\cm]
-\relative c'' {
- \key as \major
- \time 2/4
-% \override Score.TextScript #'font-style = #'large
- \grace { bes16 } as8_"notation" as16 bes as8 g |
- \grace { as16[( bes] } < c as >4-)
- \grace { as16[( bes] } < c as >4-) \bar "||"
- \grace { bes16 } as8_"performance" as16 bes as8 g |
- << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
- \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
- \bar "||"
-}
+@lilypond[quote,relative=2]
+\key as \major
+\time 2/4
+\grace bes16 as8-"notation" as16 bes as8 g |
+\grace { as16[( bes] } <c as>4)
+\grace { as16[( bes] } <c as>4) \bar "||"
+
+\grace bes16 as8-"performance" as16 bes as8 g |
+<<
+ {
+ \voiceOne
+ as32 bes c8. as32 bes c8.
+ }
+ \new Voice {
+ \voiceTwo
+ as16 ~ as8. as16 ~ as8.
+ }
+>>
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node arpeggio
S: arpeggio,
FI: arpeggio, murtosointu.
-[Italian: @q{harp-like, played like a harp}.]
+[Italian: @q{harp-like, played like a harp}]
-@lilypond[fragment,line-width=13.0\cm]
- \context PianoStaff <<
- \context Staff = SA \relative c'' {
- \time 4/4
- \clef treble
- r8 g16 c e g, c e r8 g,16 c e g, c e |
- r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
- \context Staff = SB \relative c' {
- \clef bass
- << \context Voice = va {
- \stemUp
- r16 e8. ( e4) r16 e8. ( e4) |
- r16 d8. ( d4) r16 d8. ( d4) }
- \context Voice = vb {
- \stemDown
- c2 c | c c } >>
+@lilypond[quote,line-width=13\cm]
+\new PianoStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ \time 4/4
+ r8 g16 c e g, c e r8 g,16 c e g, c e
+ r8 a,16 d f a, d f r8 a,16 d f a, d f
+ \bar "||"
+ }
+ }
+ \context Staff = "SB" {
+ \relative c' {
+ \clef bass
+ <<
+ {
+ \voiceOne
+ r16 e8. ( e4) r16 e8. ( e4)
+ r16 d8. ( d4) r16 d8. ( d4)
+ }
+ \new Voice {
+ \voiceTwo
+ c2 c
+ c2 c
+ }
+ >>
+ }
}
>>
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node articulation
examples of articulation.
@seealso
-
-None yet.
+No cross-references.
@node ascending interval
A distance between a starting lower note and a higher ending note.
@seealso
-
-None yet.
+No cross-references.
@node augmented interval
FI: ylinouseva intervalli.
@seealso
-
@ref{interval}.
ES: ?,
I: ?,
-F: ?,
+F: augmentation,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: aika-arvojen pidentäminen.
@c TODO: add definition.
This is a placeholder for augmentation (wrt mensural notation).
@seealso
-
@ref{diminution}, @ref{mensural notation}.
@end itemize
@seealso
-
-None yet.
+No cross-references.
@node B
@end itemize
@seealso
-
@ref{H}, @ref{Pitch names}
@section backfall
@seealso
-
@ref{appoggiatura}.
@section bar
@seealso
-
@ref{measure}.
in otherwise-unmetered music).
@seealso
-
@ref{measure}.
@c F: clef de troisième ligne dropped
@seealso
-
@ref{bass}, @ref{tenor}.
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinquième ligne, clef de Fa troisième,
+F: clef d'ut cinquième ligne, clef de fa troisième,
D: Baritonschlüssel,
NL: baritonsleutel,
DK: barytonnøgle,
C or F clef setting middle C on the upper staff line.
@seealso
-
@ref{C clef}, @ref{F clef}.
@end itemize
@seealso
-
@ref{strings}.
A clef setting with middle C on the first top ledger line.
@seealso
-
@ref{F clef}.
ES: barra
I: coda,
-F: barre,
+F: ligature, barre (de croches),
D: Balken,
NL: waardestreep,
DK: bjælke,
Line connecting a series of notes (shorter than a quarter note). The
number of beams determines the note value of the connected notes.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\relative c'' {
- g8_"1/8"[ g g g] s16
- g16_"1/16"[ g g g] s16
- g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
- g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
+@lilypond[quote,notime,relative=2,line-width=13\cm]
+g8-"1/8"[ g g g] s16
+g16-"1/16"[ g g g] s
+g32-"1/32"[ s g s g s g] s16
+g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
@end lilypond
@seealso
-
@ref{feathered beam}.
The base counting value and the number of them in each measure is indicated
at the start of the music by the @notation{time signature}.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2]
\key g \major
\time 4/4
-\relative c'' { g4 c b a | g1 \bar "||"}
+g4 c b a | g1 \bar "||"
\time 3/8
-\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+g8 d' c | b c a | g4. \bar "||"
@end lilypond
@seealso
-
@ref{time signature}.
@section beat repeat
@seealso
-
@ref{percent repeat}.
@section bind
@seealso
-
@ref{tie}.
the staves of like instruments in an orchestral score when written on different
staves (e.g. first and second flutes):
-@lilypond[fragment,ragged-right]
-\context GrandStaff <<
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+@lilypond[quote]
+\new GrandStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
@end lilypond
Angular brackets for connecting parts in an orchestral or choral score:
-@lilypond[fragment,ragged-right]
-\context StaffGroup <<
-% \set StaffGroup.minVerticalAlign = #12
- \relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+@lilypond[quote]
+\new StaffGroup <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node bracket
ES: corchete,
I: ?,
-F: ?,
+F: crochet,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: sulkumerkki.
@seealso
-
@ref{brace}
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 tube.
+orchestra are trumpet, trombone, french horn, and tuba.
@seealso
-
-None yet.
+No cross-references.
@node breath mark
Indication of where to breathe in vocal and wind instrument parts.
@seealso
-
@ref{caesura}.
@section breve
@itemize
-@item US: breve, double-whole note,
-@item ES: cuadrada, breve,
-@item I: breve,
-@item F: brève,
-@item D: Brevis,
-@item NL: brevis,
-@item DK: brevis,
-@item S: brevis,
-@item FI: brevis, kaksoiskokonuotti.
+@item US: breve, double-whole note
+@item ES: cuadrada, breve
+@item I: breve
+@item F: brève
+@item D: Brevis
+@item NL: brevis
+@item DK: brevis
+@item S: brevis
+@item FI: brevis, kaksoiskokonuotti
@end itemize
-Note value twice as long as a whole note. Mainly used in pre-1650 music.
-The shortest note value generally used in white mensural notation, hence the
-name, which originally meant @q{of short duration}.
+Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
+
+Mainly used in music from before 1650. In mensural notation, it was a note
+of fairly short duration—hence the name, which is Latin for @q{short} or
+@q{of short duration}.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g\breve }
+@lilypond[quote,notime,relative=2]
+g\breve
@end lilypond
@seealso
-
-@ref{mensural notation}, @ref{note value}.
+@ref{mensural notation}, @ref{note value}, @ref{semibreve}.
@node C
@itemize
@item ES: do
@item I: do
-@item F: ut
+@item F: ut, do
@item D: C, c
@item NL: c
@item DK: c
@end itemize
@seealso
-
@ref{Pitch names}.
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\override Score.Clef #'full-size-change = ##t
-<<
- \context Staff \relative c' {
- \clef soprano c1
- \clef mezzosoprano c
- \clef alto c
- \clef tenor c
- \clef baritone c
- }
- \context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
- }
->>
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\new Staff {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef soprano c1
+ \clef mezzosoprano c1
+ \clef alto c1
+ \clef tenor c1
+ \clef baritone c1
+}
+\addlyrics {
+ \override Lyrics . LyricText #'self-alignment-X = #LEFT
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+}
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node cadence
FI: kadenssi, lopuke.
@seealso
-
@ref{harmonic cadence}, @ref{functional harmony}.
most cadenzas have been written down by the composer.
@seealso
-
-None yet.
+No cross-references.
@node caesura
ES: cesura,
I: cesura,
-F: césura,
+F: césure,
D: Zäsur,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: välimerkki.
-[Latin: from the supine of @emph{caedere} @q{to cut down}.]
+[Latin: from the supine of @emph{caedere} @q{to cut down}]
The break between two musical phrases, sometimes (but not always) marked by a
rest or a breath mark.
@seealso
-
@ref{breath mark}.
FI: kaanon, tarkka jäljittely.
@seealso
-
@ref{counterpoint}.
(1/100 of an equally tempered semitone).
@seealso
-
@ref{equal temperament}, @ref{semitone}.
@section central C
@seealso
-
@ref{middle C}.
the middle third means their quality is ambivalent -- neither major nor
minor.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c'' {
- \set Staff.extraNatural = ##f
- <g b d>1
- <g bes d>
- <g bes des>
- <g b dis>
- <g b d f>
- <g b d f a>
-}
-\lyrics{
- "major "
- "minor "
- "diminished "
- "augmented "
- "seventh-chord "
- ninth-chord
-}
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
+ }
+ }
+ \lyrics {
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
+ }
>>
@end lilypond
@seealso
-
@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
@ref{third}.
A scale consisting of all 12 semitones.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c' { c1 cis d dis e f fis g gis a ais b c }
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+c1 cis d dis e f fis g gis a ais b c
@end lilypond
@seealso
-
@ref{semitone}.
Using tones extraneous to a diatonic scale (minor, major).
@seealso
-
@ref{diatonic scale}.
ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode ecclésiastique,
+F: mode ecclésiastique, mode d'église,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
FI: moodi, kirkkosävellaji.
@seealso
-
@ref{diatonic scale}.
The clef indicates which lines of the staff correspond to which
pitches. The three clef symbols in common use are:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\markup {
- \column {
- \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
- \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
- \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
+ \left-column {
+ \line { The Treble or G clef: }
+ \strut
+ \line { The Bass or F clef: }
+ \strut
+ \line { The Alto or C clef: }
+ }
+ \hspace #0.5
+ \left-column {
+ \musicglyph #"clefs.G"
+ \strut
+ \musicglyph #"clefs.F"
+ \strut
+ \musicglyph #"clefs.C"
}
}
@end lilypond
called a @q{grand staff}, with the bottom line representing low G and
the top line high F:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- s
- }
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between treble and bass staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
- s1 s s s s s % Keep staff (ie the red line) showing
- }
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1 b, d f a
- s s s s s s s % Keep staff showing
- }
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used without exceeding 1 line
- \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s
+ e'1 g' b' d'' f''
+ s1
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ s1 s s s s s
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ s1 s s s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
Staves of five lines are usually used, and the clef superimposed on
@samp{grand staff}. For example, the treble or G clef indicates that
the top five lines have been selected:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required here
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- \stopStaff \startStaff
- \clef "C" % Dummy to force next clef to be printed
- s % Need at least one note for \clef to take effect
- \override Staff.Clef #'stencil = ##t % Clef now required
- \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
- \clef "G"
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- } % End staff G
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between the staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
-% s1 s s s s % Keep staff (ie the red line) showing
- } % End staff C
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1_" " b, d f a
-% s s s s s s % Keep staff showing
- } % End staff F
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used
-% without exceeding 1 line
- \context { \Score \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to
-% permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ s1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \once \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s s
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "G"
+ e'1 g' b' d'' f''
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
The @q{curl} of the G clef is centered on the line that represents the
relationship is shown below, where the notes show an arpeggio on a C
major chord.
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
-<<
-%-- Treble Staff --%
- \new Staff = "G" \with {
- \remove Time_signature_engraver
- }
- {
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \clef "G"
- s1 s s s s e' g' c''
- }
-%-- Alto Staff --%
- \new Staff = "C" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.StaffSymbol #'line-count = 1
- \override Staff.StaffSymbol #'stencil = ##f
- \once \override Staff.Clef #'stencil = ##f
- \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
- \override Score.BarLine #'stencil = ##f
-
- % The following two overrides are required to align the C staff to the G and F staves
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s
- \stopStaff \startStaff
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
- \revert Staff.StaffSymbol #'stencil
- \override Staff.StaffSymbol #'color = #red
- b'1 % A frig. This really shows as a middle C in the score
- s1 s s s
- \stopStaff \startStaff
- \override Staff.StaffSymbol #'line-count = 5
- \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \revert Staff.StaffSymbol #'color
- \stopStaff \startStaff
- \clef "C"
- s1 s s c e g c' e' g' c''
- }
-%-- Bass Staff --%
- \new Staff = "F" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.Clef #'Y-extent = #'(0 . 0)
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \clef "F"
- c1 e g s s s s s
- }
->>
-\layout {
- \context {
- \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
- }
- \context {
- \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ <<
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \clef "G"
+ s1 s s s
+ e'1 g' c'' s
+ }
+ %-- Alto Staff --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \once \override Staff.Clef #'stencil = ##f
+ \stopStaff
+ \clef "C"
+ s1 s s
+ \startStaff
+ \revert Staff.StaffSymbol #'stencil
+ \override Staff.StaffSymbol #'color = #red
+ c'1
+ s1 s s s s
+ \stopStaff \startStaff
+ \revert Staff.StaffSymbol #'line-count
+ \revert Staff.StaffSymbol #'color
+ \stopStaff \startStaff
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "C"
+ s1 s
+ c1 e g c' e' g' c''
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \clef "F"
+ c1 e g
+ s1 s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'base-shortest-duration =
+ #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- \context {
- \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
- }
-}
}
@end lilypond
@seealso
-
@ref{C clef}, @ref{F clef}, @ref{G clef}.
ES: racimo,
I: ?,
-F: ?,
+F: cluster,
D: Cluster,
NL: ?,
DK: ?,
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[fragment,relative=2,ragged-right]
-\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
+@lilypond[quote,relative=2]
+\makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node comma
same note derived from some other tuning method.
@seealso
-
@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
Another name for @ref{common time}.
@seealso
-
@ref{common time}, @ref{meter}.
ES: compasillo,
I: ?,
-F: ?,
+F: mesure à 4/4,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: C-merkintä.
4/4 time. The symbol, which resembles a capital letter C, comes from
mensural notation.
@seealso
-
@ref{mensural notation}, @ref{meter}.
FI: täydentävä intervalli.
@seealso
-
@ref{inverted interval}.
Intervals larger than an octave.
@seealso
-
@ref{interval}.
ES: compás compuesto, compás de subdivisión ternaria,
I: ?,
-F: ?,
+F: mesure composée,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kolmijakoinen tahtilaji.
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
@seealso
-
@ref{meter}, @ref{simple meter}.
ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
-F: ?,
+F: temps composé,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: yhdistetty tahtilajiosoitus.
@enumerate
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.
-@lilypond[fragment,line-width=13.0\cm]
-#(define (compound-time grob one two three num)
+@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)
\relative c' {
\key f \major
#(set-time-signature 8 8 '(3 2 3))
- \override Staff.TimeSignature #'stencil = #(lambda (grob)
- (compound-time grob "3" "2" "3" "8"))
+ \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)
}
@end lilypond
-@end enumerate
-
@seealso
-
@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
ES: en Do, afinación de concierto,
I: ?,
-F: ?,
+F: tonalité de concert, en ut,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: konserttikorkeus.
The pitch at which the piano and other nontransposing instruments play: such
instruments are said to be @q{in C}. The following list includes some (but not
@itemize
@item violin
@item viola
-@item violincello
+@item violoncello
@end itemize
@end multitable
@item piccolo (plays an octave higher)
@item celesta (plays an octave higher)
-@item double-bass (plays an octave lower)
+@item double bass (plays an octave lower)
@end itemize
@seealso
-
@ref{transposing instrument}.
Progressing melodically by intervals of a second, as contrasted with
@emph{disjunct movement}.
-@lilypond[fragment,line-width=13.0\cm]
-\key g \major \time 4/4
-\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
-@end lilypond
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\key g \major
+\time 4/4
+g4 g g a | b2 a | g4 b a a | g1 \bar "||"
+@end lilypond
@seealso
-
@ref{disjunct movement}.
FI: konsonanssi, sopusointi.
@seealso
-
@ref{harmony}.
FI: kontra-altto.
@seealso
-
@ref{alto}.
@c Copying music required more skill than engraving. Flagged for NPOV
@seealso
-
-None yet.
+No cross-references.
@node counterpoint
distinct melodic significance. A frequently used polyphonic technique
is imitation, in its strictest form found in the canon needing only
one part to be written down while the other parts are performed with a
-given displacement. Imitation is also the contrapunctal technique
+given displacement. Imitation is also the contrapuntal technique
used in the @emph{fugue} which, since the music of the baroque era,
has been one of the most popular polyphonic composition methods.
-@lilypond[fragment,staffsize=12,line-width=13.0\cm]
-\set Score.implicitTimeSignatureVisibility = #all-invisible
-\override Score.TimeSignature #'break-visibility = #all-invisible
-\context PianoStaff <<
+@lilypond[quote,staffsize=12,line-width=13.0\cm]
+\new PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node countertenor
FI: kontratenori.
@seealso
-
@ref{contralto}.
Increasing volume. Indicated by a rightwards opening horizontal wedge
(hairpin) or the abbreviation @notation{cresc.}.
-@lilypond[fragment,ragged-right]
-\key g \major \time 4/4
-\relative c'' { g4 \< a b c | d1\! \bar "|." }
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+g4\< a b c | d1\! \bar "|."
@end lilypond
@seealso
-
@ref{decrescendo}, @ref{hairpin}.
ES: notas guía,
I: notine,
-F: petites notes précédent l'entrée d'un instrument, réplique,
+F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
hinting when to start playing. Usually printed in a smaller type.
@seealso
-
-None yet.
+No cross-references.
@node custos
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: vihje.
A custos (plural: custodes) is a staff symbol that appears at the end of a
staff line with monophonic musical contents (i.e., with a single voice). It
they have survived only in special forms of musical notation such as the
@emph{Editio Vaticana}, dating from the beginning of the 20th century
-@lilypond
+@lilypond[quote,ragged-right]
\score {
- {
-% \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #down
+ \new Staff {
+ \override Staff.Custos #'neutral-direction = #DOWN
\override Staff.Custos #'style = #'hufnagel
c'1 \break
<d' a' f''>1
}
-
\layout {
\context {
\Staff
- \consists Custos_engraver
+ \consists "Custos_engraver"
}
- ragged-right = ##t
}
}
@end lilypond
@seealso
+No cross-references.
+
+
+@node cut time
+@section cut time
-None yet.
+@seealso
+@ref{alla breve}.
@node D
@end itemize
@seealso
-
@ref{Pitch names}
the beginning to the end or to a certain place marked @emph{fine}.
@seealso
-
-None yet.
+No cross-references.
@node dal niente
ES: ?,
I: dal niente,
-F: ?,
+F: partant de rien,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: tyhjästä ilmaantuen.
-[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
+[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
that the sound should gradually increase from nothing.
@seealso
-
@ref{al niente}.
another place frequently near the beginning marked by a sign
(@notation{segno}):
-@lilypond[fragment,ragged-right]
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
-\key g \major \time 4/4
-\relative c'' {
- d1 |
- g,4^\segno a b c |
- b a g2_\markup{
- \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
- \bar "|."
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d1
+g,4^\segno a b c
+b4 a g2-\markup {
+ \italic "D.S. "
+ \tiny \raise #1
+ \musicglyph #"scripts.segno"
}
+\bar "|."
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node decrescendo
Decreasing tone volume. Indicated by a leftwards opening horizontal
wedge (hairpin) or the abbreviation @notation{decresc.}.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
-}
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d4\> c b a | g1 \! \bar "|."
@end lilypond
@seealso
-
@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
A distance between a starting higher note and a lower ending note.
@seealso
-
-None yet.
+No cross-references.
@node diatonic scale
These @emph{modes} are used in Gregorian chant and in pre-baroque early music
but also to some extent in newer jazz music.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=1]
<<
- \context Staff \relative c' {
+ {
c1 d
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Ionian
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \context Staff \relative c' {
+ {
d1
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
- \override TextScript #'padding = #-4
+ {
e1^"~~ S" f g a b^"~~ S" c d e
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
+ {
f1 g a
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
g1 a
- \override TextScript #'padding = #-4
- b^"~~ S" c d e^"~~ S" f g }
+ b^"~~ S" c d e^"~~ S" f g
+ }
\lyrics {
Mixolydian
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
- \override TextScript #'padding = #-4
+ {
b1^"~~ S" c d e^"~~ S" f g a b
}
\lyrics {
the harmonic minor scale type an augmented second (A) occurs between
the 6th and 7th tone.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
+ {
c1 d
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Harmonic minor"
}
>>
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S" a
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=3]
<<
- \relative c'' {
- a'1
- \override TextScript #'padding = #-4
- a g! f!^"~~ S" e d c^"~~ S" b a
+ {
+ a1
+ g! f!^"~~ S" e d c^"~~ S" b a
}
\lyrics {
"Melodic minor descending"
@end lilypond
@seealso
-
@ref{semitone}, @ref{whole tone}.
@section didymic comma
@seealso
-
@ref{syntonic comma}.
FI: vähennetty intervalli.
@seealso
-
@ref{interval}.
ES: diminuendo,
I: diminuendo,
-F: diminuendo,
+F: diminuendo, en diminuant,
D: diminuendo,
NL: diminuendo,
DK: diminuendo,
FI: diminuendo, hiljentyen.
@seealso
-
@ref{decrescendo}.
ES: ?,
I: ?,
-F: ?,
+F: diminution,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: aika-arvojen tihennys.
This is a stub for diminution (@emph{wrt} mensural notation).
@seealso
-
@ref{augmentation}, @ref{mensural notation}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: suora.
@seealso
-
@ref{custos}.
Progressing melodically by intervals larger than a major second, as contrasted
with conjunct movement.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=1]
\key a \major
-\time 4/4
-\relative c' {
+\time 4/4 {
\partial 8 e8 |
a4. gis8 b a e cis |
- fis2 d4. \bar "||" }
+ fis2 d4.
+ \bar "||" }
@end lilypond
@seealso
-
@ref{conjunct movement}.
Another name for @ref{dissonant interval}.
@seealso
-
@ref{dissonant interval}, @ref{harmony}.
ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
-F: dissonance,
+F: intervalle dissonant, dissonance,
D: Dissonanz,
NL: dissonant interval, dissonant,
DK: dissonerende interval, dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
@seealso
-
@ref{harmony}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: jäsennysmerkki.
[Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
vertical stroke through part or all of the staff that serves to
TODO: musical example here?
@seealso
-
-None yet.
+No cross-references.
@node doit
ES: ?,
I: ?,
-F: ?,
+F: saut,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: nousu.
Indicator for a indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
@seealso
-
@ref{fall}, @ref{glissando}.
The fifth @emph{scale degree} in @emph{functional harmony}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}.
ES: acorde de novena de dominante,
I: accordo di nona di dominante,
-F: accord de neuvième dominante,
+F: accord de neuvième de dominante,
D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
FI: dominanttinoonisointu.
@seealso
-
@ref{chord}, @ref{functional harmony}.
ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septième dominante,
+F: accord de septième de dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
FI: dominanttiseptimisointu.
@seealso
-
@ref{chord}, @ref{functional harmony}.
FI: doorinen moodi.
@seealso
-
@ref{diatonic scale}.
FI: piste.
@seealso
-
@ref{dotted note}, @ref{note value}.
FI: pisteellinen nuotti.
@seealso
-
@ref{note value}.
FI: kaksoisappogiatura, kaksoisetuhele.
@seealso
-
@ref{appoggiatura}.
Indicates the end of a section within a movement.
@seealso
-
-None yet.
+No cross-references.
@node double dotted note
FI: kaksoispisteellinen nuotti.
@seealso
-
@ref{note value}.
FI: kaksoisalennusmerkki.
@seealso
-
@ref{accidental}.
FI: kaksoisylennysmerkki.
@seealso
-
@ref{accidental}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kaksois-aika-arvomerkintä.
@seealso
-
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
@seealso
-
-None yet.
+No cross-references.
@node duple meter
ES: tiempo binario,
I: tempo binario,
-F: temps binaire,
+F: métrique binaire,
D: in zwei, grader Takt,
NL: tweedelige maatsoort,
DK: todelt takt,
FI: kaksoistempo.
@seealso
-
@ref{meter}.
FI: duoli.
@seealso
-
@ref{note value}.
FI: kesto, aika-arvo.
@seealso
-
@ref{note value}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: äänen voimakkuusvaihtelu, dynamiikka.
The aspect of music relating to degrees of loudness, or changes from
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
@seealso
-
@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
@ref{diminuendo}.
@end itemize
@seealso
-
@ref{Pitch names}
@section ecclesiastical mode
@seealso
-
@ref{church mode}, @ref{diatonic scale}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
ES: sinalefa,
I: ?,
-F: ?,
+F: élision,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: tavujen yhdistäminen yhteen ääneen.
More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
@emph{συναλοιφην} @q{to smear together}].
tie.
@seealso
-
@ref{lyric tie}.
@section embellishment
@seealso
-
@ref{ornament}.
plate of metal. Now also the term for the art of music typesetting.
@seealso
-
-None yet.
+No cross-references.
@node enharmonic
Two notes, intervals, or scales are enharmonic if they have different
names but equal pitch.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c'' {
- gis1 as <des g,!> <cis g!>
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "g sharp " "a flat " "dim fifth " "augm fourth"
-}
+ \new Staff {
+ \relative c'' {
+ gis1 as <des g,!> <cis g!>
+ }
+ }
+ \lyrics {
+ "g sharp " "a flat " "dim fifth " "augm fourth"
+ }
>>
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node equal temperament
which is precisely equal to 100 cents).
@seealso
-
@ref{cent}, @ref{semitone}, @ref{temperament}.
@end itemize
@seealso
-
@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: pidennysviiva.
The generic term (in LilyPond) for a line (or dash) of arbitrary length that
extends text (without indicating the musical @emph{function} of that text).
@end itemize
@seealso
-
@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
@ref{octave marking}.
@end itemize
@seealso
-
@ref{Pitch names}
the clef symbol indicates playing an octave lower (for example, on the
Double Bass).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\relative c {
- \clef varbaritone
- f1
- \clef bass
- f1
- \clef subbass
- f1
- \clef "F^8"
- f1
- \clef "F_8"
- f1
-}
- \lyrics {
- "varbaritone "
- "bass "
- "sub-bass "
- "octave up "
- "octave down"
-}
+ \relative c {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef varbaritone
+ f1
+ \clef bass
+ f1
+ \clef subbass
+ f1
+ \clef "F^8"
+ f1
+ \clef "F_8"
+ f1
+ }
+ \lyrics {
+ "varbaritone "
+ "bass "
+ "sub-bass "
+ "octave up "
+ "octave down"
+ }
>>
@end lilypond
@seealso
-
@ref{baritone clef}, @ref{strings}.
ES: ?,
I: ?,
-F: ?,
+F: chute,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: lasku.
Indicator for a indeterminately falling pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
@seealso
-
@ref{doit}, @ref{glissando}.
ES: barra punteada,
I: ?,
-F: liens de croches en soufflet,
+F: ligature en soufflet, lien de croches en soufflet,
D: gespreizter Balken,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kiilapalkki.
A type of beam used to indicate that a small group of notes should be
played at an increasing or decreasing tempo -- depending on the
of the piece.
@seealso
-
Internals Reference: @ruser{Manual beams}
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=2]
\time 4/4
-\relative c'' {
- a4 b c2^\fermata \bar "|."
-}
+a4 b c2^\fermata
+\bar "|."
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node fifth
FI: kvintti.
@seealso
-
@ref{interval}.
together with figures designating the chief intervals and chords to be
played above the bass notes.
-TODO: Make the upper clef smaller, since it's usually "realized" in performance.
-
-@lilypond[fragment,line-width=13.0\cm]
-\context GrandStaff <<
- \context Staff = lh \relative c'' {
- \time 4/4
- \key es \major
+@lilypond[quote,line-width=13.0\cm]
+\new GrandStaff <<
+ \new Staff = "rh" \with {
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ } \relative c'' {
\clef treble
- << \context Voice = rha {
- \stemUp
- es4 d c bes | bes }
- \context Voice = rhb {
- \stemDown
- < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
+ \key es \major
+ \time 4/4
+ <<
+ \context Voice = "rha" {
+ \voiceOne
+ es4 d c bes
+ bes4
+ }
+ \context Voice = "rhb" {
+ \voiceTwo
+ <bes g>8 as <as f> g <g es> f <d f> es
+ <g es>4
+ }
>>
}
- <<
- \context Staff = rh \relative c' {
+ \new Staff = "lh" \relative c' {
\clef bass
\key es \major
- es8 c d bes c as bes16 as g f | es4
- }
- \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
- >>
+ es8 c d bes c as bes16 as g f
+ es4
+ }
+ \figures {
+ s8 <6> s <4 2> s <6> s16 s <6> <4 2>
+ }
>>
@end lilypond
@seealso
-
@ref{chord}, @ref{interval}.
fingers to use while playing a passage.
@seealso
-
-None yet.
+No cross-references.
@node flag
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 note value.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c'' {
- g8_"8th" s8
- g16_"16th" s8
- g32_"32nd" s8
- g64_"64th" s8
-}
+@lilypond[quote,notime,relative=2]
+g8-"8th" s8
+g16-"16th" s8
+g32-"32nd" s8
+g64-"64th" s8
@end lilypond
@seealso
-
@ref{note value}.
ES: ?,
I: ?,
-F: ?,
+F: flageolet,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: flageolet-ääni.
An articulation for string players that means the note or passage is to
be played in harmonics.
@end itemize
@seealso
-
@ref{articulation}, @ref{harmonics}.
FI: alennusmerkki.
@seealso
-
@ref{accidental}.
@section forefall
@seealso
-
@ref{appoggiatura}.
S: forte,
FI: forte, voimakkaasti.
-[Italian: @q{loud}.]
+[Italian: @q{loud}]
Abbreviated @notation{@b{f}}. Variants include:
@end itemize
@seealso
-
-None yet.
+No cross-references.
@node fourth
FI: kvartti.
@seealso
-
@ref{interval}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: partituuri francesan tapaan.
A @q{condensed} score, produced by omitting staves for instruments that are not
playing at the moment, and by moving up additional systems from following pages
you may wish to procure a copy of their style manual.
@seealso
-
@ref{Frenched staff}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: karsittu nuotinnus.
[Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
Frenched staff has unneeded measures or sections removed. This is useful
for producing, for example, an @emph{ossia} staff.
@seealso
-
@ref{ossia}.
FI: fuuga.
@seealso
-
@ref{counterpoint}.
TODO: what does the @q{p} mean in Sp, Dp, Tp?
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<<
-\context Voice \relative c'' {
- <g e c >1 < a f d > < b g e >
- <c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics {
- T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+ {
+ <g e c>1 <a f d> <b g e>
+ <c a f> <d b g> <e c a> <f d b>
+ }
+ \lyrics {
+ T Sp Dp S D Tp
+ \markup { D \translate #'(-2 . 0) | }
+ }
>>
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node G
@end itemize
@seealso
-
@ref{Pitch names}
playing or singing an octave lower (used most frequently to notate the tenor
part in modern choral scores).
-@lilypond[fragment,notime,ragged-right]
-<<
- \set Score.automaticBars = ##f
+@lilypond[quote,notime]
+\relative c'' {
\override Staff.Clef #'full-size-change = ##t
-
- \relative c'' {
\set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
\clef french
g1
\clef treble
- g
+ g1
\clef "G^8"
- g
+ g1
\clef "G_8"
- g
- }
- \context Lyrics \lyrics {
- \override Lyrics . LyricText #'X-offset = #-5
+ g1
+}
+\addlyrics {
"french violin clef"
"violin clef"
"octave up"
"octave down"
}
->>
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node glissando
Letting the pitch slide fluently from one note to the other.
@seealso
-
-None yet.
+No cross-references.
@node grace notes
ES: notas de adorno,
I: abbellimenti,
-F: fioriture,
+F: ornement, fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
counted in the rhythm of the bar.
@seealso
-
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
ES: sistema de piano,
I: accolatura,
-F: accolade,
+F: système [de portées], accolade,
D: Akkolade, Klaviersystem,
NL: piano systeem,
DK: klaversystem,
A combination of two staves with a brace. Usually used for piano music.
@seealso
-
@ref{brace}.
ES: grave,
I: grave,
-F: grave,
+F: grave, lent,
D: Grave, Langsam,
NL: grave, ernstig,
DK: grave,
[Italian] Slow, solemn.
@seealso
-
-None yet.
+No cross-references.
@node gruppetto
@section gruppetto
@seealso
-
@ref{turn}.
@notation{B flat}.
@seealso
-
@ref{Pitch names}, @ref{B}.
Graphical version of the @notation{crescendo} and @notation{decrescendo}
dynamic marks.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- c1\<
- c2\> c\<
- c1\!
-}
+@lilypond[quote,relative=2]
+c1\<
+c2\> c\<
+c1\!
@end lilypond
@seealso
-
@ref{crescendo}, @ref{decrescendo}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
A sequence of chords that terminates a musical phrase or section.
-@lilypond[fragment,ragged-right]
-\context PianoStaff <<
- \context Staff = SA \relative c'' {
- \time 4/4
+@lilypond[quote]
+\new PianoStaff <<
+ \context Staff = "SA" \relative c'' {
\clef treble
- \context Voice
- \partial 4 < c g e >4 |
- < c a f > < b g d > < c g e >2
+ \time 4/4
+ \partial 4 <c g e>4 |
+ <c a f> <b g d> <c g e>2
}
<<
- \context Staff = SB \relative c {
+ \context Staff = "SB" \relative c {
\clef bass
\partial 4 c4 | f, g c2
\bar "|."
}
>>
>>
-
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: harmoniset äänet, huiluäänet.
The general class of pitches produced by sounding the second or higher
harmonic of a tone producer: string, column of air, and so on.
artificial harmonics, which are produced on stopped strings.
@seealso
-
-None yet.
+No cross-references.
@node harmony
Consonances:
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<g g>1_"unison " s
<g b>_"third " s
<g c>_"fourth " s
<g e'>_"sixth " s
<g g'>_"octave " s
<g b'>_"tenth" s s
-}
@end lilypond
Dissonances:
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
-}
@end lilypond
For harmony that uses three or more notes, see @ref{chord}.
@seealso
-
@ref{chord}.
ES: hemiolia,
I: ?,
-F: ?,
+F: hémiole,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: 3/2 -suhde.
[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
For example, this phrase in 6/4 time
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1,line-width=13.0\cm]
\key c \major
\time 6/4
-\relative c' {
- c2. e | d2 c d | c1. \bar "||" }
+c2. e | d2 c d | c1. \bar "||"
@end lilypond
may be thought of having alternating time signatures
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1,line-width=13.0\cm]
\key c \major
\time 6/4
-\relative c' {
- c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
+c2. e
+\time 3/2
+d2 c d
+\time 6/4
+c1. \bar "||"
@end lilypond
and is therefore a polymeter (second definition) of considerable antiquity.
@seealso
-
@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
the same rhythm (more or less). In contrast to @emph{polyphony}.
@seealso
-
@ref{polyphony}.
+
@node hymn meter
@section hymn meter
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: säkeiden tavumäärät.
A group or list of numbers that indicate the number of syllables in a line
of a hymn's verse. Different hymnals have different ways of noting the hymn
@end itemize
@seealso
-
-None yet.
+No cross-references.
@node interval
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor,
-major, diminished, 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.
+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.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Voice \relative c'' {
+% Prime or unison
< g g >1
- < g as >^"minor"
- < g a! >
- < g ais >^"augm"
- < gis bes >^"dimin"
- < g! bes >^"minor"
- < g b! >^"major"
- < g bis >^"augm"
-}
-\context Lyrics \lyrics {
- "unison " "second " "second " "second "
- "third " "third " "third " "third"
-}
->>
-@end lilypond
-
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
-\context Staff \relative c'' {
- < g c >1^"perfect"
+ < g gis >^"aug"
+% Second
+ < gis as >^"dim"
+ < g! as >^"min"
+ < g a! >^"maj"
+ < g ais >^"aug"
+% Third
+ < gis bes >^"dim"
+ < g! bes >^"min"
+ < g b! >^"maj"
+ < g bis >^"aug"
+% Fourth
+ < g ces >^"dim"
+ < g c! >^"per"
< g cis >^"aug"
- < g d' >^"perfect"
- < g des' > ^"dim"
- < gis es' >^"dim"
- < g! es' >^"minor"
- < g e'! >^"major"
- < g eis' >^"aug"
-}
- \lyrics {
- "fourth " "fourth " "fifth " "fifth "
- "sixth " "sixth " "sixth " "sixth"
-}
->>
-@end lilypond
-
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
-\context Staff \relative c'' {
- < gis f'! >1^"dimin"
- < g! f'! >^"minor"
- < g fis' >^"major"
- < g g' >
- < g as' >^"minor"
- < g a'! >^"major"
- < g bes' >^"minor"
- < g b'! >^"major"
+% Fifth
+ < g des' >^"dim"
+ < g d' >^"per"
+ < g dis >^"aug"
+% Sixth
+ < gis es' >^"dim"
+ < g! es' >^"min"
+ < g e'! >^"maj"
+ < g eis' >^"aug"
+% Seventh
+ < gis f'! >^"dim"
+ < g! f'! >^"min"
+ < g fis' >^"maj"
+ < g fisis' >^"aug"
+% Octave
+ < g ges' >^"dim"
+ < g g' >^"per"
+ < g gis' >^"aug"
}
\context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "ninth " "ninth " "tenth " "tenth"
+ "unison " "unison "
+ "second " "second " "second " "second "
+ "third " "third " "third " "third "
+ "fourth " "fourth " "fourth "
+ "fifth " "fifth " "fifth "
+ "sixth " "sixth " "sixth " "sixth "
+ "seventh" "seventh" "seventh" "seventh"
+ "octave " "octave " "octave "
}
>>
@end lilypond
@seealso
-
@ref{enharmonic}, @ref{whole tone}.
ES: ?,
I: ?,
-F: inversion,
+F: renversement,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+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
@end table
@seealso
-
-None yet.
+No cross-references.
@node inverted interval
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle reversé,
+F: intervalle renversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
The difference between an interval and an octave.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Staff \relative c'' {
- < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
- < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
- < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
-}
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+<g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
+<g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
+<g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node just intonation
natural fifths and thirds.
@seealso
-
@ref{temperament}.
12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@seealso
-
@ref{chromatic scale}, @ref{key signature}.
key of the music.
@seealso
-
@ref{accidental}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: antaa väristä.
-[French: @q{Let vibrate}.] Most frequently associated with harp
+[French: @q{Let vibrate}] Most frequently associated with harp
parts. Marked @notation{l.v.} in the score.
@seealso
-
-None yet.
+No cross-references.
@node largo
ES: largo,
I: largo,
-F: largo,
+F: largo, large, ample,
D: Largo, Langsam, Breit,
NL: largo,
DK: largo,
ES: sensible,
I: sensibile,
-F: note sensible,
+F: (note) sensible,
D: Leitton,
NL: leidtoon,
DK: ledetone,
to the tonic scale degree.
@seealso
-
@ref{scale degree}, @ref{semitone}.
A ledger line is an extension of the staff.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { a,1 s c'' }
+@lilypond[quote,notime,relative=2]
+a,1
+s1
+c''1
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node legato
notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
@notation{portato}, or (d) @notation{staccato}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Staff \relative c'' {
c4-( d e-) \bar "||"
@end lilypond
@seealso
-
@ref{staccato}.
@section legato curve
@seealso
-
@ref{slur}, @ref{legato}.
@section leger line
@seealso
-
@ref{ledger line}.
patterns disappeared.
@seealso
-
@ref{mensural notation}.
Also, the name of a music typesetting program.
@seealso
-
-None yet.
+No cross-references.
@node line
FI: viiva, nuottiviiva.
@seealso
-
@ref{staff}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kirjoitetussa äänenkorkeudessa.
-[Italian: @q{place}.] Instruction to play the following passage at the
+[Italian: @q{place}] Instruction to play the following passage at the
written pitch. Cancels octave mark (q.v.).
@seealso
-
@ref{octave mark}, @ref{octave marking}.
FI: pitkä appoggiatura, pitkä etuhele.
@seealso
-
@ref{appoggiatura}.
@item US: long, longa,
@item ES: longa,
@item I: longa,
-@item F: longa,
+@item F: longa, longue,
@item D: Longa,
@item NL: longa,
@item DK: longa,
@item FI: longa.
@end itemize
-Note value: double length of @notation{breve}.
+Note value: twice the length of a @notation{breve}.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' {
- \override NoteHead #'style = #'mensural
- g\longa g\breve
-}
+@lilypond[quote,notime,relative=2]
+\override NoteHead #'style = #'mensural
+g\longa g\breve
@end lilypond
@seealso
-
@ref{breve}, @ref{note value}.
ES: ligadura de letra,
I: ?,
-F: ?,
+F: ligature de mots,
D: Textbindung,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: sidonta sanoituksessa.
@c TODO: add languages
@seealso
-
@ref{elision}.
@c Definition?
@seealso
-
-None yet.
+No cross-references.
@node major
FI: duuri.
@seealso
-
@ref{diatonic scale}.
FI: suuri intervalli.
@seealso
-
@ref{interval}.
+@node maxima
+@section maxima
+
+ES: ?,
+I: ?,
+F: maxima, maxime,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Note value: twice the length of a @notation{longa}.
+
+The maxima is the largest duration in use during the 15th and 16th centuries.
+Like the longa, the maxima can be either two or three times as long as the
+@notation{longa} (called @notation{binary} and @notation{ternary},
+respectively). By the late 15th century, most composers used the smaller
+proportion by default.
+
+@seealso
+@ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
+
+
@node meantone temperament
@section meantone temperament
keyboard instruments for performance of pre-1650 music.
@seealso
-
@ref{cent}, @ref{temperament}.
composition and are separated from each other by bar lines.
@seealso
-
@ref{bar line}, @ref{beat}, @ref{meter}.
@section measure repeat
@seealso
-
@ref{percent repeat}.
@end itemize
@seealso
-
@ref{chord}, @ref{functional harmony}, @ref{relative key}.
ES: melisma,
I: ?,
-F: mélisme,
+F: mélisme, tenue,
D: Melisma,
NL: melisma,
DK: ?,
on one syllable, especially as applied to liturgical chant.
@seealso
-
-None yet.
+No cross-references.
@node melisma line
ES: línea de melisma,
I: ?,
-F: ?,
+F: trait de mélisme, trait de tenue,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: melismaviiva.
@seealso
-
@ref{extender line}.
-@node melodic cadence
-@section melodic cadence
+@node melodic cadence
+@section melodic cadence
+
+@seealso
+@ref{cadenza}.
+
+
+@node mensural notation
+@section mensural notation
+
+@c TODO: add languages
+
+ES: notación mensural,
+I: ?,
+F: notation mensurale,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: mensuraalinuotinnus.
+
+A system of duration notation whose principles were first established in the
+mid-13th century, and that (with various changes) remained in use until about
+1600. As such, it is the basis for the notation of rhythms in Western musical
+notation.
+
+Franco of Cologne (ca. 1250) is credited with the first systematic explanation
+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.
+
+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
+principles to govern the relationship between these values. They also put the
+duple division of note values on an equal footing with the earlier (preferred)
+triple division.
+
+TODO: continue description of French and Italian black notation, and the
+relationship betwixt them.
+
+@b{White or void mensural notation}
+
+In the 15th century, hollow (or void) notes began to substitute for the earlier
+solid black ones, which were then free to assume the function of red (or
+colored) notes in the earlier notation. ...
+
+TODO: add to definition (including summary info on proportional notation)
+
+@seealso
+@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@c TODO: more cross-references?
+
+
+@node mensuration sign
+@section mensuration sign
+
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: signe de mensuration,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The ancestor of the time signature, mensuration signs were used to indicate the
+relationship between two sets of note durations—specifically, the ratio of
+breves to semibreves (called @notation{tempus}), and of semibreves to minims
+(called @notation{prolatio}).
+
+Each ratio was represented with a single single sign, and was either
+three-to-one (ternary) or two-to-one (binary), as in modern music notation.
+Unlike modern music notation, the @emph{ternary} ratio was the preferred
+one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
+represented by a complete circle; applied to the @emph{prolatio}, it was called
+@emph{major} and was represented by a dot in the middle of the sign. The binary
+ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
+represented by an incomplete circle; applied to @emph{prolatio}, it was called
+@emph{minor} and was represented by the lack of an internal dot. There are four
+possible combinations, which can be represented in modern time signatures with
+and without reduction of note values. (These signs are hard-coded in LilyPond
+with reduction.)
+
+@table @dfn
+@item perfect @emph{tempus} with major @emph{prolatio}
+Indicated by a complete circle with an internal dot. In modern time signatures,
+this equals:
+@itemize
+@item 9/4, with reduction or
+@item 9/2, without reduction
+@end itemize
+
+@item perfect @emph{tempus} and minor @emph{prolatio}
+Indicated by a complete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 3/2, with reduction or
+@item 3/1, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and major @emph{prolatio}
+Indicated by an incomplete circle with an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 6/4, with reduction or
+@item 6/2, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and minor @emph{prolatio}
+Indicated by an incomplete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 4/4, with reduction or
+@item 2/1, without reduction
+@end itemize
+@end table
+
+The last mensuration sign @emph{looks} like common-time because it @emph{is},
+with note values reduced from the original semibreve to a modern quarter note.
+Being doubly imperfect, this sign represented the (theoretically)
+least-preferred mensuration, but it was actually used fairly often.
+
+This system extended to the ratio of longer note values to each other:
-@seealso
+@itemize
-@ref{cadenza}.
+ @item maxima to longa, called:
+ @itemize
-@node mensural notation
-@section mensural notation
+ @item @notation{modus maximorum},
+ @item @notation{modus major}, or
+ @item @notation{maximodus})
-@c TODO: add languages
+ @end itemize
-ES: notación mensural,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
+ @item longa to breve, called:
-A system of duration notation whose principles were first established in the
-mid-13th century, and that (with various changes) remained in use until about
-1600. As such, it is the basis for the notation of rhythms in Western musical
-notation.
+ @itemize
-Franco of Cologne (ca. 1250) is credited with the first systematic explanation
-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.
+ @item @notation{modus longarum},
+ @item @notation{modus minor}, or
+ @item @notation{modus}
-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
-principles to govern the relationship between these values. They also put the
-duple division of note values on an equal footing with the earlier (preferred)
-triple division.
+ @end itemize
-TODO: continue description of French and Italian black notation, and the
-relationship betwixt them.
+@end itemize
-@b{White or void mensural notation}
+In the absence of any other indication, these modes were assumed to be
+binary. The mensuration signs only indicated tempus and prolatio, so
+composers needed another way to indicate these longer ratios (called modes.
+Around the middle of the 15th century started to use groups of rests at the
+beginning of the staff, preceding the mensuration sign.
-In the 15th century, hollow (or void) notes began to substitute for the earlier
-solid black ones, which were then free to assume the function of red (or
-colored) notes in the earlier notation. ...
-TODO: add to definition (including summary info on proportional notation)
+Two mensuration signs have survived to the present day: the C-shaped sign,
+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).
@seealso
-
-@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@ref{diminution}, @ref{proportion}, @ref{time signature}.
@c TODO: more cross-references?
Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 2/4
\key g \major
Simple triple meter:
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
\key c \minor
Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
\key g \major
Simple quintuple meter (B. Marcello, 1686-1739):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 5/4
\key c \major
the source, with sharps in the accompaniment where the voice has flats and
@emph{vice versa}.)
-
Compound duple meter (unknown):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
Compound triple meter (J.S. Bach, 1685-1750):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 9/8
\key g \major
Compound quadruple meter (P. Yon, 1886-1943):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 12/8
\key e \major
TODO: add information from discussion on lilypond-user related to polymeter.
@seealso
-
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
sold many of them, and people had taken to calling it a Mälzel Metronome.
@seealso
-
@ref{metronome mark}.
@emph{anglice}).
@seealso
-
@ref{metronome}
@section metronomic indication
@seealso
-
@ref{metronome mark}
ES: ?,
I: mezzo,
-F: ?,
+F: mezzo,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kohtalaisen, melko.
-[Italian: @q{medium}.]
+[Italian: @q{medium}]
Used to qualify other indications, such as:
@end itemize
@seealso
-
-None yet.
+No cross-references.
@node mezzo-soprano
The female voice between soprano and contralto.
@seealso
-
@ref{soprano}, @ref{contralto}.
ES: do central,
I: do centrale,
-F: do central,
+F: do central, do 3
D: eingestrichenes@w{ }c,
NL: centrale@w{ }c,
DK: enstreget@w{ }c,
First C below the 440 Hz A.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
\override Staff.Clef #'full-size-change = ##t
-\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
-}
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node minor
ES: menor,
I: minore,
-F: mode mineur,
+F: (mode) mineur,
D: Moll,
NL: mineur,
DK: mol,
FI: molli.
@seealso
-
@ref{diatonic scale}.
FI: pieni intervalli.
@seealso
-
@ref{interval}.
@section mixolydian mode
@seealso
-
@ref{diatonic scale}.
FI: moodi, kirkkosävelasteikko.
@seealso
-
@ref{church mode}, @ref{diatonic scale}.
key is major and to the @ref{relative key} if the key is minor.
@seealso
-
-None yet.
+No cross-references.
@node mordent
FI: mordent, korukuvio.
@seealso
-
@ref{ornament}.
@section motif
@seealso
-
@ref{motive}.
ES: motivo,
I: inciso,
-F: incise,
+F: motif, incise,
D: Motiv,
NL: motief,
DK: motiv,
The briefest intelligible and self-contained fragment of a musical
theme or subject.
-@lilypond[line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\score{
\relative c'' {
\set Score.implicitTimeSignatureVisibility = #all-invisible
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node movement
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and @ref{sonata} most often
-consist of several -- more or less -- independant pieces called
-movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
+several -- more or less -- independent pieces called movements.
@seealso
-
-None yet.
+No cross-references.
@node multi-measure rest
ES: compases de espera,
I: pausa multipla,
-F: pause multiple,
+F: pause multiple, mesure à compter,
NL: meermaats rust,
D: mehrtaktige Pause, Kirchenpause,
DK: flertaktspause,
measures) of the rest. The former style is called @q{Kirchenpausen} in
German, as a reminiscence of its use in Renaissance vocal polyphony.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- a1
- \set Score.skipBars = ##t R1*3
- a1
- \set Score.skipBars = ##t R1*122
- a1
-}
+@lilypond[quote,relative=2]
+a1
+\set Score.skipBars = ##t
+R1*3
+a1
+\set Score.skipBars = ##t
+R1*122
+a1
@end lilypond
@seealso
-
@ref{longa}, @ref{breve}.
FI: palautusmerkki.
@seealso
-
@ref{accidental}.
@node neighbor tones
@section neighbor tones
-@seealso
+@c TODO: add definition.
+
+ES: ?,
+I: ?,
+F: tons voisins,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
FI: nooni.
@seealso
-
@ref{interval}.
@section non-legato
@seealso
-
@ref{legato}.
and hears a tone.
@seealso
-
-None yet.
+No cross-references.
@node note head
ES: cabeza,
I: testa, testina, capocchia,
-F: tête de la note,
+F: tête de note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
indicate the instrument.
@seealso
-
@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
@section note names
@seealso
-
@ref{Pitch names}
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions -- normally half -- of the
-next higher note value. The longest duration in current use is the
-@emph{breve}, but sometimes (especially music from the Baroque or earlier) the
-double-length note value @emph{longa} or the quadruple-length note value
-@emph{maxima} are used.
+Note values (durations) are measured as fractions—in modern usage, one-half—of
+the next higher note value. The longest duration in current use is the
+@notation{breve} (equal to two whole notes), but sometimes (especially in music
+dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
+or @notation{maxima} (eight whole notes) may be found.
+
+As used in mensural notation, this fraction was more flexible: it could also
+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}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
-@lilypond[fragment,notime,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
\relative c'' {
\override NoteHead #'style = #'mensural
a\longa_"longa" a\breve_"breve"
@c TODO -- add maxima rest to this example
-@lilypond[fragment,notime,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
\relative c'' {
r\longa_"longa" r\breve_"breve"
r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
@end lilypond
-An augmentation dot after a note multiplies the duration by one and a
-half. Another dot adds yet a fourth of the duration.
+An augmentation dot after a note increases its duration by half; a second dot
+increases it by half of the first addition (that is, by a fourth of the original
+duration). More dots can be used to add further halved fractions of the
+original note value (1/8, 1/16, etc.), but they are not frequently encountered.
-@lilypond[fragment,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
@end lilypond
@seealso
-
-None yet.
+@ref{common time}.
@node octavation
@section octavation
@seealso
-
@ref{octave marking}.
bracket, or @notation{loco} see octave marking.
@seealso
-
@ref{interval}, @ref{octave marking}.
ES: indicación de octava,
I: ?,
-F: ?,
+F: indication d'octave,
D: ?,
NL: ?,
DK: ?,
In the phrases above, @notation{quindicesima} is sometimes replaced with
@notation{quindecima}, which is Latin.
-Finally, the music on an entire staff can be marked to be played in a
-different octave by putting a small 8 or 15 above or below the clef at the
-beginning. This octave mark can be applied to any clef, but it is most
-frequently used with the G and F clefs.
+The music on an entire staff can be marked to be played in a different octave by
+putting a small 8 or 15 above or below the clef at the beginning. This octave
+mark can be applied to any clef, but it is most frequently used with the G and F
+clefs.
@seealso
-
@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
For a list of the specific marks used, see @ref{octave mark}.
@seealso
-
@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
@section octave sign
@seealso
-
@ref{octave mark}.
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
\relative c'' {
c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
the
@emph{prall} (inverted mordent).
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
\relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
@end lilypond
@seealso
-
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
ES: ossia,
I: ossia,
-F: ossia,
+F: ossia, alternative,
D: Ossia,
NL: alternatief,
DK: ossia,
of the music, for example for small hands.
@seealso
-
-None yet.
+No cross-references.
@node part
@end itemize
@seealso
-
@ref{counterpoint}
@section pause
@seealso
-
@ref{fermata}.
@section pennant
@seealso
-
@ref{flag}.
@end itemize
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2,line-width=13.0\cm]
\time 4/4
-\relative c' {
\repeat percent 4 { c4_"Beat (or slash) repeat" }
\repeat percent 2 { c4 e g b_"Measure repeat" }
\repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
-}
@end lilypond
@seealso
-
@ref{repeat},
@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
Vermont Music Dictionary}.
and xylophone.
@seealso
-
-None yet.
+No cross-references.
@node perfect interval
FI: puhdas intervalli.
@seealso
-
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
@seealso
-
@ref{caesura}.
melody. Phrasing may be indicated by a @notation{slur}.
@seealso
-
@ref{phrase}, @ref{slur}.
@emph{mezzo piano} (@b{mp}) medium soft.
@seealso
-
-None yet.
+No cross-references.
@node pickup
FI: kohotahti.
@seealso
-
@ref{anacrusis}.
@end enumerate
@seealso
-
@ref{Pitch names}.
the strings.
@seealso
-
-None yet.
+No cross-references.
@node polymeter
ES: compás polimétrico,
I: ?,
-F: ?,
+F: polymétrie,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: monia tahtiosoituksia sisältävä.
@itemize
@end itemize
@seealso
-
@ref{polymetric} (adj.)
ES: polimétrico,
I: ?,
-F: ?,
+F: polymétrique,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
Characterized by @emph{polymeter}: using two or more metric frameworks
simultaneously or in alternation.
@seealso
-
@ref{polymeter} (noun)
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: vaihtelevan tahtiosoitusmerkintä.
A time signature that indicates regularly alternating polymetric time.
@seealso
-
@ref{polymetric}.
of a more or less pronounced individuality.
@seealso
-
@ref{counterpoint}.
@notation{cantabile} character.
@seealso
-
@ref{legato}.
ES: presto,
I: presto,
-F: presto,
+F: presto, très rapide, enlevé,
D: Presto, Sehr schnell,
NL: presto, Sehr schnell,
DK: presto,
denotes the highest possible degree of speed.
@seealso
-
-None yet.
+No cross-references.
@node proportion
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: suhde.
-[Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
+[Latin: @emph{proportio}] Described in great detail by Gaffurius, in
@emph{Practica musicae} (published in Milan in 1496). In mensural notation,
proportion is:
@itemize
@item 2:1 (or simply 2), expressed by a vertical line through the
-mensuration sign (the origin of the @q{cut-time} time signature), or by
-turning the sign backwards
+mensuration sign (the origin of the @notation{alla breve} time signature),
+or by turning the sign backwards
@item 3:1 (or simply 3)
@item 3:2 (@emph{sesquialtera})
@end itemize
@c TODO: add an example or two. O => 4/3, and its modern equivalent
@seealso
-
@ref{mensural notation}.
pitches is the Pythagorean comma.
@seealso
-
@ref{cent}, @ref{temperament}.
FI: kvartoli.
@seealso
-
@ref{note value}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: laatu.
The quality of a triad is determined by the precise arrangement of its
intervals. Tertian triads can be described as a series of three notes. The
except in jazz.
@seealso
-
@ref{chord}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
NL: kwart toon,
DK: ?,
S: kvartston,
-FI: ?.
+FI: neljännessävelaskel.
An interval equal to half a semitone.
@seealso
-
@ref{interval}
FI: kvintoli.
@seealso
-
@ref{note value}.
ES: rallentando,
I: rallentando,
-F: rallentando,
+F: rallentando, en ralentissant,
D: rallentando, langsamer werden,
NL: rallentando,
DK: rallentando,
[Italian] A performance indication, abbreviated "rall.".
@seealso
-
@ref{ritardando}.
Major and minor keys that have the same key signature.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
- \key es \major
- es1_"e flat major" f g as bes c d es
- \bar "||"
-}
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key es \major
+es1_"e flat major" f g as bes c d es
+\bar "||"
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
- \key c \minor
- c1_"c minor" d es f g a! b! c \bar "||"
-}
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key c \minor
+c1_"c minor" d es f g a! b! c
+\bar "||"
@end lilypond
@seealso
-
@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
S: repris,
FI: toisto.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2,line-width=13.0\cm]
\key g \major
\time 4/4
-\relative c'' {
- \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
+\repeat volta 2 {
+ g4 g d' d
+ e4 e d2
+ c4 c b b
+ a a g2
}
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node rest
@c specify the rest's value.
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
-None yet.
+No cross-references.
@node ritardando
ES: ritardando,
I: ritardando,
-F: ritardando,
+F: ritardando, en ralentissant,
D: ritardando, langsamer werden,
NL: ritardando,
DK: ritardando,
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
@seealso
-
-None yet.
+No cross-references.
@node ritenuto
ES: ritenuto,
I: ritenuto,
-F: ritenuto,
+F: ritenuto, en retenant,
D: ritenuto,
NL: ritenuto,
DK: ritenuto,
Immediate reduction of speed.
@seealso
-
-None yet.
+No cross-references.
@node scale
FI: asteikko, sävelasteikko.
@seealso
-
@ref{diatonic scale}.
scale as roots of chords. The most important are degrees I = tonic
(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c' {
+\new Staff \relative c' {
c1 d e f g a b c
}
\lyrics {
@end lilypond
@seealso
-
@ref{functional harmony}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: epätavallinen viritys.
-[Italian: @emph{scordare}, @q{to mistune}.] Unconventional
+[Italian: @emph{scordare}, @q{to mistune}] Unconventional
tuning of stringed instruments, particularly lutes or violins. Used
to:
the 16th Century and became commonplace in the 17th.
@seealso
-
-None yet.
+No cross-references.
@node score
ES: partitura,
I: partitura,
-F: partition,
+F: partition, conducteur (full score),
D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
one underneath the other on different staves @ref{staff}.
@seealso
-
-None yet.
+No cross-references.
@node second
S: sekund,
FI: sekunti.
-The @ref{interval} between two neigbouring tones of a scale. A
-@ref{diatonic scale} consists of alternating @ref{semitone}s and
-@ref{whole tone}s, hence the size of a se@-cond depends on the scale
-degrees in question.
+The interval between two neighboring tones of a scale. A diatonic scale
+consists of alternating semitones and whole tones, hence the size of a
+second depends on the scale degrees in question.
@seealso
+@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
+
+
+@node semibreve
+@section semibreve
-None yet.
+@itemize
+@item US: whole note,
+@item ES: redonda,
+@item I: semibreve,
+@item F: ronde,
+@item D: Ganze, ganze Note,
+@item NL: hele noot,
+@item DK: helnode,
+@item S: helnot,
+@item FI: kokonuotti.
+@end itemize
+
+Note value: called @notation{whole note} in the US.
+
+The semibreve is the basis for the @notation{tactus} in mensural notation
+(i.e. music written before ca. 1600).
+
+@seealso
+@ref{mensural notation}, @ref{note value}.
@node semitone
FI: puolisävel.
The interval of a minor second. The (usually) smallest interval in European
-composed music. The interval between two neighbouring tones on the piano
+composed music. The interval between two neighboring tones on the piano
keyboard -- including black and white keys -- is a semitone. An octave may
be divided into 12@w{ }semitones.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c'' { g1 gis s a bes s b! c }
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+g1 gis s a bes s b! c
@end lilypond
@seealso
-
@ref{interval}, @ref{chromatic scale}.
FI: septimi.
@seealso
-
@ref{interval}.
@section sextolet
@seealso
-
@ref{sextuplet}, @ref{note value}.
FI: sekstoli.
@seealso
-
@ref{note value}.
@section shake
@seealso
-
@ref{trill}.
FI: korotusmerkki.
@seealso
-
@ref{accidental}.
ES: simile,
I: simile,
-F: ?,
+F: simile,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: samoin.
-[Italian: @q{in the same manner}.] Performance direction: the music thus marked
+[Italian: @q{in the same manner}] Performance direction: the music thus marked
is to be played in the same manner (i.e. with the same articulations, dynamics,
etc.) as the music that precedes it.
@seealso
-
TODO: Where else could I refer the reader?
ES: compás simple, compás de subdivisión binaria,
I: ?,
-F: ?,
+F: mesure binaire,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kaksijakoinen tahtiosoitus.
A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
@seealso
-
@ref{compound meter}, @ref{meter}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
FI: seksti.
@seealso
-
@ref{interval}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
@section slash repeat
@seealso
-
@ref{percent repeat}.
one breath in singing.
@seealso
-
-None yet.
+No cross-references.
@node solmization
(@emph{ti})).
@seealso
-
@ref{scale}, @ref{scale degree}.
called movements.
@seealso
-
-None yet.
+No cross-references.
@node sonata form
@notation{relative key} if the tonic is @notation{minor}.
@seealso
-
@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
@ref{symphony}, @ref{tonic}.
@section song texts
@seealso
-
@ref{lyrics}.
The highest female voice.
@seealso
-
-None yet.
+No cross-references.
@node staccato
Playing the note(s) short. Staccato is indicated by a dot above or
below the note head.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=2]
\key d \major
\time 4/4
-\relative c'' {
\partial 8 a8 |
d4-\staccato cis-\staccato b-\staccato cis-\staccato |
- d2. \bar "||"
-}
+ d2.
+ \bar "||"
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node staff
@section staff
+UK: stave,
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
@ref{percussion} instruments may have fewer lines.
@seealso
-
-None yet.
+No cross-references.
@node staves
@section staves
@seealso
-
@ref{staff}.
ES: plica,
I: gamba,
-F: queue,
+F: hampe,
D: Hals, Notenhals, Stiel,
NL: stok,
DK: hals,
Vertical line above or below a @ref{note head} shorter than a
whole note.
-@ref{beam}.
-
-@lilypond[fragment,notime,line-width=13.0\cm]
+@lilypond[quote,notime,relative=2]
\set Score.autoBeaming = ##f
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c'' {
g2_"1/2" g' s16
g,4_"1/4" g' s16
g,8_"1/8" g' s16
g,16_"1/16" g' s16
-}
@end lilypond
@seealso
-
-None yet.
+@ref{beam}.
@node stringendo
ES: ?,
I: stringendo,
-F: ?,
+F: stringendo, en accélérant,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kiihdyttäen, nopeuttaen.
-[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
+[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
climax.
@seealso
-
@ref{accelerando}.
and double bass.
@seealso
-
-None yet.
+No cross-references.
@node strong beat
FI: tahdin vahva isku.
@seealso
-
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
The fourth @notation{scale degree}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}.
The sixth @notation{scale degree}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
The seventh @ref{scale degree}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: G-kielellä.
Indicates that the indicated passage (or note) should be played on the
G string.
@seealso
-
-None yet.
+No cross-references.
@node superdominant
The sixth @ref{scale degree}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
The second @ref{scale degree}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}.
A symphony may be defined as a @emph{sonata} for orchestra.
@seealso
-
@ref{sonata}.
contradiction between the underlaying (normal) pulse and the actual
(abnormal) rhythm.
-@lilypond[fragment,ragged-right]
-\time 4/4
-\relative c' {
- \partial 4
- d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | c2)
-}
+@lilypond[quote,relative=1]
+\time 2/4
+\partial 8 d16 dis
+e16 c'8 e,16 c'8 e,16 c' ~
+c4
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node syntonic comma
This comma is also known as the comma of Didymus, or didymic comma.
@seealso
-
@ref{Pythagorean comma}
down of keyboard, chamber, choral, or orchestral music.
@seealso
-
@ref{staff}.
pure intervals.
@seealso
-
@ref{meantone temperament}, @ref{equal temperament}.
@notation{presto}.
@seealso
-
@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
The highest @q{natural} male voice (apart from @notation{countertenor}).
@seealso
-
@ref{countertenor}.
FI: desimi.
@seealso
-
@ref{note value}.
length, although this can vary depending on the composer and era.
@seealso
-
-None yet.
+No cross-references.
@node third
FI: terssi.
@seealso
-
@ref{interval}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
@section thorough bass
@seealso
-
@ref{figured bass}.
ES: ligadura de prolongación, ligadura de unión,
I: legatura (di valore),
-F: liaison,
+F: liaison (de tenue),
D: Haltebogen, Bindebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
function of uniting them into a single sound (tone) equal to the
combined durations.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g2 ~ g4. }
+@lilypond[quote,notime,relative=2]
+g2 ~ g4. r8
@end lilypond
@section time
@seealso
-
@ref{meter}.
ES: indicación de compás,
I: segni di tempo,
-F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
+F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
D: Taktangabe, Angabe der Taktart,
NL: maatsoort,
DK: taktangivelse,
derived from mensural notation and proportions are also employed.
@seealso
-
-@ref{mensural notation}, @ref{meter}.
+@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
@node tone
ES: tono,
I: suono,
-F: ton,
+F: ton, son,
D: Ton,
NL: toon,
DK: tone,
@c Music from the 20th century may be based on atonal sounds. Meh, not so much
@seealso
-
-None yet.
+No cross-references.
@node tonic
The first @notation{scale degree}.
@seealso
-
@ref{functional harmony}, @ref{scale degree}.
ES: instrumento transpositor,
I: ?,
-F: ?,
+F: instrument transpositeur,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: transponoitava soitin.
Instruments whose notated pitch is different from their sounded pitch. Except
for those whose notated and sounding pitches differ by one or more octaves (to
@end itemize
@seealso
-
@ref{concert pitch}.
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
@end lilypond
@seealso
-
-None yet.
+No cross-references.
@node treble clef
FI: diskanttiavain.
@seealso
-
@ref{G clef}.
@end enumerate
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
+@lilypond[quote,notime,relative=1]
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
\repeat tremolo 8 { e32_"b" g }
-}
@end lilypond
@seealso
-
@ref{strings}
FI: kolmisointu.
@seealso
-
@ref{chord}.
FI: trilli.
@seealso
-
@ref{ornament}.
FI: kolmijakoinen.
@seealso
-
@ref{meter}.
FI: trioli.
@seealso
-
@ref{note value}.
FI: tritonus.
@seealso
-
@ref{interval}.
standard. Tuning forks for other pitches are available.
@seealso
-
@ref{middle C}.
subdivisions.
@seealso
-
@ref{triplet}, @ref{note value}.
FI: korukuvio.
@seealso
-
@ref{ornament}.
pitch or in a different octave.
@seealso
-
-None yet.
+No cross-references.
@node upbeat
FI: kohotahti.
@seealso
-
@ref{anacrusis}
@end itemize
@seealso
-
-None yet.
+No cross-references.
@node volta
ES: vez, primera y segunda vez,
I: volta,
-F: ?,
+F: volta, fois,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: yksi kertauksen maaleista.
-[Italian: @q{time} (instance, not duration).] An ending, such as a first
+[Italian: @q{time} (instance, not duration)] An ending, such as a first
or second ending. LilyPond extends this idea to any number, and allows any text
(not just a number) -- to serve as the @notation{volta} text.
@seealso
-
-None yet.
+No cross-references.
@node weak beat
FI: tahdin heikko isku.
@seealso
-
@ref{beat}, @ref{measure}, @ref{rhythm}.
@end itemize
@seealso
-
@ref{note value}.
@end itemize
@seealso
-
@ref{note value}.
black and white keys -- is a whole tone.
@seealso
-
@ref{interval}.
saxophone, and bassoon.
@seealso
-
-None yet.
+No cross-references.
@node Duration names notes and rests
@end multitable
@seealso
-
@ref{mensural notation}