-\input texinfo @c -*- coding: utf8; mode: texinfo; -*-
-
-@settitle Music Glossary
+\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename music-glosssary.info
+@settitle Music Glossary
-@documentencoding utf-8
+@documentencoding UTF-8
@documentlanguage en
-@dircategory GNU music project
+@afourpaper
+
+@c see lilypond.tely for info installation note
+@dircategory LilyPond
@direntry
* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
@ifhtml
-This document is also available in @uref{source/Documentation/user/out-www/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/out-www/music-glossary.html,one big page}.
+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
@c Danish glossary
@author François Pinard @c Original glossary of GNU music project,
@c French glossary
-@author Han-Wen Nienhuys @c Dutch glossary
-@author Jan Nieuwenhuizen @c Dutch glossary
-@author Dadiv Gonzalez @c Spanish glossary
+@author Mats Bengtsson @c Swedish glossary
+@author David González @c Spanish glossary
@author Bjoern Jacke @c German glossary
@author Neil Jerram @c English glossary translations
-@author Mats Bengtsson @c Swedish glossary
-@author Adrian Mariano @c Italian glossary
@author Heikki Junes @c Finnish glossary
+@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
+@author Adrian Mariano @c Italian glossary
+@author Han-Wen Nienhuys @c Dutch glossary
+@author Jan Nieuwenhuizen @c Dutch glossary
-@c Fixes by Jean-Pierre Coulon and `Dirk'
+@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
-Copyright @copyright{} 1999--2005 by the authors
+Copyright @copyright{} 1999--2007 by the authors
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
or any later version published by the Free Software Foundation,
without Invariant Sections.
-
+
@end titlepage
@top Music glossary
@end ifnottex
-This glossary was brought you by
@ifnottex
+
+This glossary was brought you by
+
@table @code
@item Adrian Mariano
Italian glossary,
German glossary,
@item Christian Mondrup
Original author of LilyPond glossary, Danish glossary,
-@item Dadiv Gonzalez
+@item David González
Spanish glossary,
-@item Fran@,{c}ois Pinard
+@item François Pinard
Original glossary of GNU music project, French glossary,
@item Han-Wen Nienhuys
Dutch glossary,
+@item Heikki Junes
+Finnish glossary translations,
@item Jan Nieuwenhuizen
Dutch glossary,
+@item Kurtis Kroon
+English glossary,
@item Mats Bengtsson
Swedish glossary,
@item Neil Jerram
-English glossary translations,
-@item Heikki Junes
-Finnish glossary translations.
+English glossary translations.
@end table
@*
-Copyright 1999--2005 by the authors
+Copyright 1999--2007 by the authors
Permission is granted to copy, distribute and/or modify this document
@c arrowref
@macro aref{word}
@iftex
-@w{@arrow{}@strong{\word\}}@c
+@w{@expansion{}@strong{\word\}}@c
@end iftex
@ifnottex
-@arrow{}@ref{\word\, @strong{\word\}}@c
+@expansion{}@ref{\word\, @strong{\word\}}@c
@end ifnottex
@end macro
* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
-* Literature used::
@end menu
@node Musical terms A-Z
* alteration::
* alto::
* alto clef::
-* ambit::
+* ambitus::
+* anacrusis::
* ancient minor scale::
* andante::
* appoggiatura::
* arpeggio::
+* articulation::
* ascending interval::
* augmented interval::
* autograph::
* diatonic scale::
* diminished interval::
* diminuendo::
+* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
* duplet::
* duration::
* dydimic comma::
+* dynamics::
* E::
* ecclesiastical mode::
* eighth note::
* eighth rest::
+* elision::
* embellishment::
* engraving::
* enharmonic::
* equal temperament::
* expression mark::
+* extender line::
* F::
* F clef::
+* feathered beam::
* fermata::
* fifth::
* figured bass::
* grand staff::
* grave::
* gruppetto::
+* H::
* half note::
* half rest::
* harmonic cadence::
* long appoggiatura::
* longa::
* lyrics::
+* lyric tie::
* major interval::
* major::
* meantone temperament::
* measure::
* mediant::
* melisma::
+* melisma line::
* melodic cadence::
* meter::
* metronome::
* motif::
* motive::
* movement::
-* multibar rest::
+* multi-measure rest::
* mixolydian mode::
* natural sign::
* neighbour tones::
* ornament::
* ossia::
* part::
+* pause::
* pennant::
* percussion::
* perfect interval::
* phrase::
* phrasing::
+* pickup::
* piano::
* pitch::
* pizzicato::
* ritenuto::
* scale::
* scale degree::
+* scordatura::
* score::
* second::
* semitone::
* subdominant::
* submediant::
* subtonic::
+* sul G::
* superdominant::
* supertonic::
* symphony::
* woodwind::
@end menu
+
@node A
@section A
S: a,
FI: A, a.
+@seealso
+
+@ref{Pitch names}
+
+
@node accent
@section accent
The stress of one tone over others.
+
@node accessory
@section accessory
-@aref{ornament}.
+@seealso
+
+@ref{ornament}.
+
@node accidental
@section accidental
-ES: alteración accidentelle,
+ES: alteración accidental,
I: accidento,
F: altération accidentelle,
D: Vorzeichen, Versetzungszeichen, Akzidenz,
S: tillfälligt förtecken,
FI: tilapäinen etumerkki.
-An accidental has the effect of an @aref{alteration} of a note. A
-sharp raises a tone by a @aref{semitone}, a double sharp raises it by
-a @aref{whole tone}, a flat lowers it by a semitone and a double flat
+An accidental has the effect of an @ref{alteration} of a note. A
+sharp raises a tone by a @ref{semitone}, a double sharp raises it by
+a @ref{whole tone}, a flat lowers it by a semitone and a double flat
lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c'' {
- gis1 gisis ges geses g!
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- sharp "db. sharp" flat "db. flat" natural
-}
+<<
+ \context 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"
+ }
+>>
@end lilypond
+
@node accelerando
@section accelerando
-ES: acelerando,
+ES: accelerando,
I: accelerando,
F: accelerando, en accélérant,
D: accelerando, schneller werden,
Increase tempo.
+
@node adagio
@section adagio
It.@: comfortable, easy.
1.@tie{}Slow tempo, slower -- especially in even meter -- than
-@aref{andante} and faster than @aref{largo}.
+@ref{andante} and faster than @ref{largo}.
2.@tie{}A movement in slow tempo, especially the second (slow) movement of
-@aref{sonata}s, symphonies, etc.
+@ref{sonata}s, symphonies, etc.
+
@node allegro
@section allegro
FI: allegro, nopeasti.
It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
-tempo, especially the first and last movements of a @aref{sonata}.
+tempo, especially the first and last movements of a @ref{sonata}.
+
@node alteration
@section alteration
ES: alteración,
I: alterazione
F: altération
-D:
+D:
NL: verhoging of verlaging,
DK:
S:
FI:
An alteration is the modification, raising or lowering, of a note's
-pitch. It is established by an @aref{accidental}.
+pitch. It is established by an @ref{accidental}.
+
@node alto
@section alto
A female voice of low range (@emph{contralto}). Originally the alto was a
high male voice (hence the name), which by the use of falsetto reached the
height of the female voice. This type of voice is also known as
-@aref{counter tenor}.
+@ref{counter tenor}.
+
@node alto clef
@section alto clef
S: altklav,
FI: alttoavain.
-C clef setting middle C on the middle line of the staff
-@aref{C clef}.
+C clef setting middle C on the middle line of the staff.
+
+@seealso
+
+@ref{C clef}.
-@node ambit
-@section ambit
-ES: ambitus,
+@node ambitus
+@section ambitus
+
+ES: ámbito,
I: ambitus,
F: ambitus,
D: ambitus,
of pitches for a given voice in a part of music. It may also denote
the pitch range that a musical instrument is capable of playing.
+
+@node anacrusis
+@section anacrusis
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+An anacrusis (also known as pickup or upbeat) is an incomplete measure
+of music before a section of music. It also refers to the initial note(s)
+of a melody occurring in that incomplete measure.
+
+@seealso
+
+@ref{measure}, @ref{meter}.
+
+@lilypond[fragment,line-width=13.0\cm]
+\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 "||" }
+@end lilypond
+
+
@node ancient minor scale
@section ancient minor scale
+ES: escala menor antigua,
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@aref{diatonic scale}.
+@seealso
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@ref{diatonic scale}.
+
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
@end lilypond
+
@node andante
@section andante
Walking tempo/character.
+
@node appoggiatura
@section appoggiatura
ES: apoyatura,
I: appoggiatura,
-F: appogiature, (port de voix),
+F: appoggiature, (port de voix),
D: Vorschlag,
NL: voorslag,
DK: forslag,
FI: appoggiatura, etuhele.
Ornamental note, usually a second, that is melodically connected with the
-main note following it. In music before the 19th century a.@: were usually
-performed on the beat, after that mostly before the beat. While the short
-a.@: is performed as a short note regardless of the duration of the main note
-the duration of the long a.@: is proportional to that of the main note.
+main note following it. In music before the 19th century appoggiature were
+usually performed on the beat, after that mostly before the beat. While the
+short appoggiatura is performed as a short note regardless of the duration of
+the main note the duration of the long appoggiatura is proportional to that of
+the main note.
-@lilypond[linewidth=13.0\cm]
+@lilypond[line-width=13.0\cm]
\context Voice \relative c'' {
\key d \major
\time 4/4
An appoggiatura may have more notes preceding the main note.
-@lilypond[linewidth=13.0\cm]
+@lilypond[line-width=13.0\cm]
\relative c'' {
\key as \major
\time 2/4
}
@end lilypond
+
@node arpeggio
@section arpeggio
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
>>
@end lilypond
+
+@node articulation
+@section articulation
+
+ES: articulación,
+I: articulazione,
+F: articulation,
+D: Artikulation,
+NL: articulatie,
+DK: ?,
+S: ?,
+FI: ?.
+
+Articulation refers to notation which indicates how a note or notes should
+be played. Slurs, accents, staccato, and legato are all examples of
+articulartion.
+
+
@node ascending interval
@section ascending interval
-ES: Intervalo ascendente,
+ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
A distance between a starting lower note and a higher ending note.
+
@node augmented interval
@section augmented interval
S: överstigande intervall,
FI: ylinouseva intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node autograph
@section autograph
+ES: manuscrito,
I: autografo,
-F: manuscrit,
+F: manuscrit, autographe
D: Autograph, Handschrift,
NL: manuscript,
DK: håndskrift, autograf,
which attempts to emulate engraving.
This required more skill than did engraving.
+
@node B
@section B
S: h,
FI: H, h.
+@seealso
+
+@ref{Pitch names}
+
+
@node backfall
@section backfall
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node bar
@section bar
-ES: compás, @aref{measure}.
+@seealso
+
+@ref{measure}.
+
@node bar line
@section bar line
-ES: ?,
+ES: barra, línea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
S: taktstreck,
FI: tahtiviiva.
+
@node baritone
@section baritone
S: baryton,
FI: baritoni, keskikorkuinen miesääni.
-The male voice intermediate between the @aref{bass} and the
-@aref{tenor}.
+The male voice intermediate between the @ref{bass} and the
+@ref{tenor}.
@c F: clef de troisième ligne dropped
+
@node baritone clef
@section baritone clef
FI: baritoniavain.
C or F clef setting middle C on the upper staff line.
-@aref{C clef}, @aref{F clef}.
+
+@seealso
+
+@ref{C clef}, @ref{F clef}.
+
@node bass clef
@section bass clef
ES: clave de fa en cuarta,
I: chiave di basso,
-F: clé de fa quatrième ligne,
+F: clef de fa quatrième ligne,
D: Bassschlüssel,
NL: bassleutel,
DK: basnøgle,
FI: bassoavain.
A clef setting with middle C on the first top ledger line.
-@aref{F clef}.
+
+@seealso
+
+@ref{F clef}.
+
@node bass
@section bass
+ES: bajo,
I: basso,
F: basse,
D: Bass,
1.@tie{}The lowest male voice.
2.@tie{}Sometimes, especially in jazz music, used as
an abbreviation for double bass.
-@aref{strings}.
+
+@seealso
+
+@ref{strings}.
+
@node beam
@section beam
+ES: barra
I: coda,
F: barre,
D: Balken,
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,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\relative c'' {
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
+@seealso
+
+@ref{feathered beam}.
+
+
@node beat
@section beat
-ES: tiempo,
+ES: tiempo, parte (de compás)
I: tempi,
F: temps,
D: Takt, Taktschlag, Zeit (im Takt),
The base counting value and the number of them per measure is indicated at
the start of the music.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' { g4 c b a | g1 \bar "||"}
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
+
@node bind
@section bind
-@aref{tie}.
+@seealso
+
+@ref{tie}.
+
@node brace
@section brace
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond[fragment,raggedright]
+@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 "|." } >>
@end lilypond
-@lilypond[fragment,raggedright]
+@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 "|." } >>
@end lilypond
+
@node brass
@section brass
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn, and tube.
+
@node breath mark
@section breath mark
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
-ES: breve,
+ES: cuadrada, breve,
I: breve,
F: brève,
D: Brevis,
S: brevis,
FI: brevis.
-@aref{note value}, twice as long as a whole note. Mainly used
+@ref{note value}, twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
+
@node C
@section C
S: c,
FI: C, c.
+@seealso
+
+@ref{Pitch names}
+
+
@node C clef
@section C clef
-ES: Clave de do,
+ES: clave de do,
I: chiave di do,
-F: clé d'ut,
+F: clef d'ut,
D: C-Schlüssel,
NL: C-sleutel,
DK: c-nøgle,
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c' {
- \clef soprano c1 s s
- \clef mezzosoprano c s s
- \clef alto c s s
- \clef tenor c s s
- \clef baritone c s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
-}
+<<
+ \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
+ }
+>>
@end lilypond
+
@node cadence
@section cadence
S: kadens,
FI: kadenssi, lopuke.
-@aref{harmonic cadence}, @aref{functional harmony}.
+@seealso
+
+@ref{harmonic cadence}, @ref{functional harmony}.
+
@node cadenza
@section cadenza
improvise. Since the middle of the 19th century, however, most cadences have
been written down by the composer.
+
@node canon
@section canon
S: kanon,
FI: kaanon, tarkka jäljittely.
-@aref{counterpoint}.
+@seealso
+
+@ref{counterpoint}.
+
@node cent
@section cent
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
+viritysjärjestelmässä.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
-of an equally tempered @aref{semitone}).
-@aref{equal temperament}.
+of an equally tempered @ref{semitone}).
+
+@seealso
+
+@ref{equal temperament}.
+
@node central C
@section central C
-@aref{middle C}.
+@seealso
+
+@ref{middle C}.
+
@node chord
@section chord
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
-minor @aref{third}) as well as @emph{minor} (minor + major third)
+Three or more tones sounding simultaneously. In traditional European music
+the
+base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
++
+minor @ref{third}) as well as @emph{minor} (minor + major third)
chords may be extended with more thirds. Four-tone @emph{seventh chords}
and five-tone @emph{ninth} major chords are most often used as dominants
-(@aref{functional harmony}). A special case is chords having no
+(@ref{functional harmony}). A special case is chords having no
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- <g b d>1 s s
- <g bes d> s s
- <g bes des> s s
- <g b dis> s s
- <g b d f> s s
- <g b d f a> s s
+ \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>
}
-\context Lyrics \lyrics{
+\lyrics{
"major "
"minor "
"diminished "
"seventh-chord "
ninth-chord
}
+>>
@end lilypond
+
@node chromatic scale
@section chromatic scale
S: kromatisk skala,
FI: kromaattinen asteikko.
-A scale consisting of all 12 @aref{semitone}s.
+A scale consisting of all 12 @ref{semitone}s.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@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 }
@end lilypond
+
@node chromaticism
@section chromaticism
S: kromatik,
FI: kromatiikka.
-Use of tones extraneous to a @aref{diatonic scale} (minor, major).
+Use of tones extraneous to a @ref{diatonic scale} (minor, major).
+
@node church mode
@section church mode
S: kyrkotonart,
FI: moodi, kirkkosävellaji.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
@node clef
@section clef
S: klav,
FI: avain, nuottiavain.
-@aref{C clef}, @aref{F clef}, @aref{G clef}.
+@seealso
+
+@ref{C clef}, @ref{F clef}, @ref{G clef}.
+
+The clef indicates which lines of the staff correspond to which
+pitches. The three clef symbols in common use are:
+
+@lilypond[ragged-right,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" }
+ }
+}
+@end lilypond
+
+Imagine a large staff of 11 lines centered on middle C, sometimes
+called a @q{grand staff}, with the bottom line representing low G
+and the top line high F:
+
+@lilypond[ragged-right,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
+ }
+ } % End layout
+} % End score
+@end lilypond
+
+Staves of five lines are usually used, and the clef superimposed on them
+indicates which five lines have been selected from this @samp{grand staff}.
+For example, the treble or G clef indicates that the top five
+lines have been selected:
+
+@lilypond[ragged-right,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
+ }
+ } % End layout
+} % End score
+@end lilypond
+
+The @q{curl} of the G clef in centered on the line that represents the pitch G.
+
+In the same way, the bass or F clef indicates that the bottom five lines
+have been selected from the @samp{grand staff}, and the alto or C clef
+indicates the middle five lines have been selected. This relationship is
+shown below, where the notes show an arpeggio on a C major chord.
+
+@lilypond[ragged-right,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)
+ }
+ \context {
+ \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
+ }
+}
+}
+@end lilypond
+
+
@node cluster
@section cluster
+ES: racimo.
+
A @emph{cluster} is a range of simultaneously sounding pitches that
may change over time. The set of available pitches to apply usually
depends on the acoustic source. Thus, in piano music, a cluster
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,verbatim,raggedright]
+@lilypond[fragment,relative=2,ragged-right]
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
+
@node comma
@section comma
+ES: coma, comma,
I: comma,
F: comma,
D: Komma,
FI: komma, korvinkuultava ero äänenkorkeudessa.
Difference in pitch between a note derived from pure tuning and the same note
-derived from some other tuning method. @aref{temperament}.
+derived from some other tuning method.
+
+@seealso
+
+@ref{temperament}.
+
@node common meter
@section common meter
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
@node compound interval
@section compound interval
Intervals larger than an octave.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node complement
@section complement
+ES: intervalo invertido,
I: rivolto,
F: intervalle complémentaire,
D: Komplementärintervall,
S: komplementärintervall (?),
FI: täydentävä intervalli.
-@aref{inverted interval}.
+@seealso
+
+@ref{inverted interval}.
+
@node conjunct movement
@section conjunct movement
FI: asteittainen liike.
Progressing melodically by intervals of a second. The opposite of a
-@aref{disjunct movement}.
+@ref{disjunct movement}.
-@lilypond[fragment,linewidth=13.0\cm]
+@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
+
@node consonance
@section consonance
S: konsonans,
FI: konsonanssi, sopusointi.
-@aref{harmony}.
+@seealso
+
+@ref{harmony}.
+
@node contralto
@section contralto
S: alt,
FI: kontra-altto.
-@aref{alto}.
+@seealso
+
+@ref{alto}.
+
@node counterpoint
@section counterpoint
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[fragment,staffsize=12,linewidth=13.0\cm]
+@lilypond[fragment,staffsize=12,line-width=13.0\cm]
+\set Score.implicitTimeSignatureVisibility = #all-invisible
\override Score.TimeSignature #'break-visibility = #all-invisible
\context PianoStaff <<
\context Staff = SA \relative c' {
>>
@end lilypond
+
@node counter tenor
@section counter tenor
S: kontratenor, counter tenor,
FI: kontratenori.
-@aref{contralto}.
+@seealso
+
+@ref{contralto}.
+
@node copying music
@section copying music
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.
+
@node crescendo
@section crescendo
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation ``cresc.''.
+abbreviation @samp{cresc.}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key g \major \time 4/4
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
+
@node cue-notes
@section cue-notes
-ES: notas guia,
+ES: notas guía,
I: notine,
-F: petites notes précédent l'entrée d'in instrument, réplique,
+F: petites notes précédent l'entrée d'un instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
+
@node custos
@section custos
+F: guidon,
+D: Notenzeiger.
+
A custos is a staff symbol that appears at the end of a staff line
with monophonic musical contents (i.e., with a single voice). It
anticipates the pitch of the first note of the following line and thus
\Staff
\consists Custos_engraver
}
- raggedright = ##t
+ ragged-right = ##t
}
}
@end lilypond
-
+
+
@node D
@section D
-ES: Re,
+ES: re,
I: re,
F: ré,
D: D, d,
S: d,
FI: D, d.
+@seealso
+
+@ref{Pitch names}
+
+
@node da capo
@section da capo
FI: da capo, alusta.
The term indicates repetition of the piece from the beginning to the end or
-to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
+to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
+
@node dal segno
@section dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated ``d.s.''. Repetition, not from the beginning, but from
+Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
%\override TextScript #'font-style = #'large
\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
}
@end lilypond
+
@node decrescendo
@section decrescendo
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation ``decresc.''.
+or the abbreviation @samp{decresc.}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\relative c'' {
\key g \major \time 4/4
d4 \> c b a | g1 \! \bar "|."
}
@end lilypond
+
@node descending interval
@section descending interval
A distance between a starting higher note and a lower ending note.
+
@node diatonic scale
@section diatonic scale
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@aref{whole tone}s and
-2@w{ }@aref{semitone}s (S). Scales played on the white keys
+A scale consisting of 5@w{ }@ref{whole tone}s and
+2@w{ }@ref{semitone}s (S). Scales played on the white keys
of a piano keybord are diatonic.
The church modes are used in gregorial chant and in pre-baroque early
music but also to some extent in newer jazz music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
Ionian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
d1
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
- \context Lyrics \lyrics {
+ \lyrics {
Dorian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
\override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
- \context Lyrics \lyrics {
+ \lyrics {
Phrygian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
f1 g a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
- \context Lyrics \lyrics {
+ \lyrics {
Lydian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
g1 a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
- \context Lyrics \lyrics {
+ \lyrics {
Mixolydian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
Aeolian
}
+>>
@end lilypond
From the beginning of the 17th century the scales used in European
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Major
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
"ancient minor"
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
"Harmonic minor"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Melodic minor"
}
+>>
@end lilypond
+
@node diminished interval
@section diminished interval
-ES: intervalo disminuído,
+ES: intervalo disminuido,
I: intervallo diminuito,
F: intervalle diminué,
D: vermindertes Intervall,
S: förminskat intervall,
FI: vähennetty intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node diminuendo
@section diminuendo
S: diminuendo,
FI: diminuendo, hiljentyen.
-@aref{decrescendo}.
+@seealso
+
+@ref{decrescendo}.
+
+
+@node direct
+@section direct
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{custos}.
+
@node disjunct movement
@section disjunct movement
-ES: movimiendo disjunto,
+ES: movimiento disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second.
-Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second.
+Opposite of @ref{conjunct movement}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key a \major
\time 4/4
\relative c' {
fis2 d4. \bar "||" }
@end lilypond
+
@node dissonance
@section dissonance
@ref{dissonant interval}.
+
@node dissonant interval
@section dissonant interval
-ES: intervalo disonante, disonancias,
+ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
-@aref{harmony}.
+@seealso
+
+@ref{harmony}.
+
@node dominant ninth chord
@section dominant ninth chord
+ES: acorde de novena de dominante,
I: accordo di nona di dominante,
F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
S: dominantnonackord,
FI: dominanttinoonisointu.
-@aref{chord}, @aref{functional harmony}.
+@seealso
+
+@ref{chord}, @ref{functional harmony}.
+
@node dominant seventh chord
@section dominant seventh chord
S: dominantseptimackord,
FI: dominanttiseptimisointu.
-@aref{chord}, @aref{functional harmony}.
+@seealso
+
+@ref{chord}, @ref{functional harmony}.
+
@node dominant
@section dominant
S: dominant,
FI: dominantti, huippusointu.
-The fifth @aref{scale degree},
-@aref{functional harmony}.
+The fifth @ref{scale degree} in @ref{functional harmony}.
+
@node dorian mode
@section dorian mode
S: dorisk tonart,
FI: doorinen moodi.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
@node dot (augmentation dot)
@section dot (augmentation dot)
S: punkt,
FI: piste.
-@aref{dotted note}.
+@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
+
+@seealso
+
+@ref{dotted note}.
+
@node dotted note
@section dotted note
S: punkterad not,
FI: pisteellinen nuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node double appoggiatura
@section double appoggiatura
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node double bar line
@section double bar line
+ES: doble barra,
I: doppia barra,
F: double barre,
D: Doppelstrich,
Indicates the end of a section within a movement.
+
@node double dotted note
@section double dotted note
-ES: nota con dos puntillos,
+ES: nota con doble puntillo,
I: nota doppiamente puntata,
F: note doublement pointée,
D: doppelt punktierte Note,
S: dub@-bel@-punk@-te@-rad not,
FI: kaksoispisteellinen nuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node double flat
@section double flat
S: dubbelbe,
FI: kaksoisalennusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
@node double sharp
@section double sharp
S: dubbelkors,
FI: kaksoisylennysmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
@node double trill
@section double trill
A simultaneous trill on two notes, usually in the distance of a third.
+
@node duple meter
@section duple meter
S: tvåtakt,
FI: kaksoistempo.
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
@node duplet
@section duplet
S: duol,
FI: duoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node duration
@section duration
S: tonlängd,
FI: kesto, aika-arvo.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node dydimic comma
@section dydimic comma
-@aref{syntonic comma}.
+@seealso
+
+@ref{syntonic comma}.
+
+
+@node dynamics
+@section dynamics
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+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}.
+
@node E
@section E
S: e,
FI: E, e.
+@seealso
+
+@ref{Pitch names}
+
+
@node ecclesiastical mode
@section ecclesiastical mode
-@aref{church mode}.
+@seealso
+
+@ref{church mode}.
+
@node eighth note
@section eighth note
S: åttondelsnot,
FI: kahdeksasosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node eighth rest
@section eighth rest
S: åttonddelspaus,
FI: kahdeksasosatauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node elision
+@section elision
+
+FIXME: languages, definition
+
@node embellishment
@section embellishment
+@seealso
+
+@ref{ornament}.
-@aref{ornament}.
@node engraving
@section engraving
-ES: Grabar
+ES: grabar,
I: incisione,
F: gravure,
D: Notenstechen, Notendruck
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
+
@node enharmonic
@section enharmonic
-ES: enharmónico,
+ES: enarmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- gis1 s s as s s <des g,!> s s <cis g!> s s
+ gis1 as <des g,!> <cis g!>
}
\context Lyrics \lyrics {
\override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
+>>
@end lilypond
+
@node equal temperament
@section equal temperament
-ES: ?,
+ES: temperamento igual,
I: temperamento equabile,
F: tempérament égal,
D: gleichschwebende Stimmung,
S: liksvävande temperatur,
FI: tasavireinen.
-Tuning system dividing the octave into 12 equal @aref{semitone}s
-(precisely 100 @aref{cent}s). @aref{temperament}.
+Tuning system dividing the octave into 12 equal @ref{semitone}s
+(precisely 100 @ref{cent}s).
+
+@seealso
+
+@ref{temperament}.
+
@node expression mark
@section expression mark
-ES: ?,
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
-@aref{forte}, @aref{crescendo}), 2. tempo (for example
-@aref{andante}, @aref{allegro}).
+@ref{forte}, @ref{crescendo}), 2. tempo (for example
+@ref{andante}, @ref{allegro}).
+
+
+@node extender line
+@section extender line
+
+FIXME: add languages
+
+ES: línea de extención [de melisma, de bajo cifrado, etc.],
+I: ?,
+F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: .
+
+The generic term for a line (or dash) of arbitrary length that
+extends text (without indicating the musical @emph{function} of
+that text).
+
+Used in many contexts, for example:
+
+@itemize
+@item
+In vocal music to indicate the syllable for a melisma. Called @q{extension}
+in the
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
+
+@item
+In figured (or thorough) bass to indicate that:
+
+ @itemize
+
+ @item The extended note should be held through a change in
+ harmony, when applied to one figure --OR--
+
+ @item The chord thus represented should be held above a moving
+ bass line, when applied to more than one figure.
+
+ @item These uses were not completely standardized, and some
+ composers used a single extender line to indicate the
+ latter case.
+
+ @end itemize
+
+@item
+In string music to indicate that all notes in the passage thus indicated
+should be played on the same string. On the violin, for example, a series
+of notes to be played on the G string would be indicated @samp{sul G},
+another series to be played on the D string would be indicated @samp{sul D},
+and so on.
+
+@end itemize
+
+@seealso
+
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+
@node F
@section F
S: f,
FI: F, f.
+@seealso
+
+@ref{Pitch names}
+
+
@node F clef
@section F clef
-ES: Clave de Fa,
+ES: clave de fa,
I: chiave di fa,
-F: clé de fa,
+F: clef de fa,
D: F-Schlüssel,
NL: F-sleutel,
DK: F-nøgle,
The position between the dots of the key symbol is the line of the F below
central@w{ }C. Used on the third, fourth and fifth note line. A
digit@w{ }8 above the clef symbol indicates that the notes must be played
-an octave higher (for example bass recorder) while 8@w{ }below the clef
-symbol indicates playing an octave lower (for example on double bass
-@aref{strings}).
+an octave higher (for example, bass recorder) while 8@w{ }below the clef
+symbol indicates playing an octave lower (for example, on double bass
+@ref{strings}).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
+<<
\relative c {
\clef varbaritone
f1
\clef "F_8"
f1
}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'self-alignment-X = #-1
- "baritone "
+ \lyrics {
+ "varbaritone "
"bass "
"sub-bass "
- "octaved up "
- "octaved down"
+ "octave up "
+ "octave down"
}
+>>
@end lilypond
+@seealso
+
+@ref{baritone clef}
+
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
+@node feathered beam
+@section feathered beam
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+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
+direction of @q{feathering} -- but without changing the overall tempo
+of the piece.
+
+@seealso
+
+Internals Reference: @ruser{Manual beams}
+
+
@node fermata
@section fermata
-ES: Calderón,
+ES: calderón,
I: corona,
-F: point d'orgue, point d'arr@^et,
+F: point d'orgue, point d'arrêt,
D: Fermate,
NL: fermate,
DK: fermat,
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c'' {
a4 b c2^\fermata \bar "|."
}
@end lilypond
+
@node fifth
@section fifth
S: kvint,
FI: kvintti.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node figured bass
@section figured bass
-ES: bajo cifrado, @aref{thorough bass}.
+@seealso
+
+@ref{thorough bass}.
+
@node fingering
@section fingering
The methodical use of fingers in the playing of instruments.
+
@node flag
@section 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
-@aref{note value}.
+@ref{note value}.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c'' {
}
@end lilypond
+
@node flat
@section flat
S: beförtecken,
FI: alennusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
@node forefall
@section forefall
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node forte
@section forte
S: forte,
FI: forte, voimakkaasti.
-Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
-@emph{mezzoforte} (@b{mf}) medium loud.
+Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
+@emph{mezzo forte} (@samp{@b{mf}}) medium loud.
+
@node fourth
@section fourth
S: kvart,
FI: kvartti.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node fugue
@section fugue
S: fuga,
FI: fuuga.
-@aref{counterpoint}.
+@seealso
+
+@ref{counterpoint}.
+
@node functional harmony
@section functional harmony
dominant (D, the chord on the fifth note). Others are considered to be
variants of the base chords.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\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 "\ \ D{\\kern-5pt}$\\mid$" }
+\context Lyrics \lyrics {
+ T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+>>
@end lilypond
+
@node G
@section G
S: g,
FI: G, g.
+@seealso
+
+@ref{Pitch names}
+
+
@node G clef
@section G clef
-ES: Clave de sol,
+ES: clave de sol,
I: chiave di sol,
-F: clé de sol,
+F: clef de sol,
D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
DK: g-nøgle,
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[fragment,notime,linewidth=13.0\cm]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\relative c'' {
- \clef french
- g1 s s
- \clef treble
- g s s
- \clef "G^8"
- g s s
- \clef "G_8"
- g s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "french violin clef "
- "violin clef "
- "octaved up "
- "octaved down"
-}
+@lilypond[fragment,notime,ragged-right]
+<<
+ \set Score.automaticBars = ##f
+ \override Staff.Clef #'full-size-change = ##t
+
+ \relative c'' {
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \clef french
+ g1
+ \clef treble
+ g
+ \clef "G^8"
+ g
+ \clef "G_8"
+ g
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics . LyricText #'X-offset = #-5
+ "french violin clef"
+ "violin clef"
+ "octave up"
+ "octave down"
+ }
+>>
@end lilypond
+
@node glissando
@section glissando
Letting the pitch slide fluently from one note to the other.
+
@node grace notes
@section grace notes
-ES: ?,
+ES: notas de adorno,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
FI: korunuotit.
Notes printed in small types to indicate that their time values are not
-counted in the rhythm of the bar. @aref{appoggiatura}.
+counted in the rhythm of the bar.
+
+@ref{appoggiatura}.
+
@node grand staff
@section grand staff
+ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade,
S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
-@aref{brace}.
-
A combination of two staves with a brace. Usually used for piano music.
+@seealso
+
+@ref{brace}.
+
+
@node grave
@section grave
Slow, solemn.
+
@node gruppetto
@section gruppetto
-@aref{turn}.
+@seealso
+
+@ref{turn}.
+
+
+@node H
+@section H
+
+ES: si,
+I: si,
+F: si,
+D: H, h,
+NL: b,
+DK: h,
+S: h,
+FI: H, h.
+
+Letter name used for @samp{B natural} in German and Scandinavian usage. In the
+standard usage of these countries, @samp{B} means @samp{B flat}.
+
+@seealso
+
+@ref{Pitch names}, @ref{B}
+
@node half note
@section half note
S: halvnot,
FI: puolinuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node half rest
@section half rest
-ES: ?,
+ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
S: halvpaus,
FI: puolitauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node harmonic cadence
@section harmonic cadence
FI: harmoninen kadenssi.
A sequence of chords that terminates a musical phrase or
-section. @aref{functional harmony}.
+section.
+
+@ref{functional harmony}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
- \oldaddlyrics
- \context Staff = SB \relative c {
- \clef bass
- \partial 4 c4 | f, g c2
- \bar "|."
- }
- \context Lyrics \lyrics {
- T S D T
- }
+ <<
+ \context Staff = SB \relative c {
+ \clef bass
+ \partial 4 c4 | f, g c2
+ \bar "|."
+ }
+ \lyrics {
+ T4 S D T
+ }
+ >>
>>
+
@end lilypond
+
@node harmony
@section harmony
Consonances:
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
- <g g>1_"unisone " s
+ <g g>1_"unison " s
<g b>_"third " s
<g c>_"fourth " s
<g d'>_"fifth " s
<g e'>_"sixth " s
<g g'>_"octave " s
- <g b'>_"decime" s s
+ <g b'>_"tenth" s s
}
@end lilypond
Dissonances:
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
}
@end lilypond
-Three note harmony @aref{chord}.
+Three note harmony @ref{chord}.
+
@node homophony
@section homophony
FI: homofonia, yksiäänisyys.
Music in which one voice leads melodically followed by the other voices more
-or less in the same rhythm. In contrast to @aref{polyphony}.
+or less in the same rhythm. In contrast to @ref{polyphony}.
+
@node interval
@section 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 (@aref{enharmonic}) and are called @emph{tritonus}
-because they consist of three @aref{whole tone}s. The addition
-of such two intervals forms an octave.
+Difference in pitch between two notes. Intervals may be perfect, minor,
+major, diminished, or augmented. The augmented fourth and the diminished fifth
+are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
+consist of three @ref{whole tone}s. The addition of such two intervals forms an
+octave.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Voice \relative c'' {
- < g g >1 s
- < g as >^"minor" s
- < g a! > s
- < g ais >^"augm" s
- < gis bes >^"dimin" s
- < g! bes >^"minor" s
- < g b! >^"major" s
- < g bis >^"augm" s
+ < 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 {
- "unisone " "second " "second " "second "
+ "unison " "second " "second " "second "
"third " "third " "third " "third"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- < g c >1^"perfect" s
- < g cis >^"augm" s
- < g d' >^"perfect" s
- < g des' > ^"dimin" s
- < gis es' >^"dimin" s
- < g! es' >^"minor" s
- < g e'! >^"major" s
- < g eis' >^"augm" s
+ < g c >1^"perfect"
+ < g cis >^"aug"
+ < g d' >^"perfect"
+ < g des' > ^"dim"
+ < gis es' >^"dim"
+ < g! es' >^"minor"
+ < g e'! >^"major"
+ < g eis' >^"aug"
}
-\context Lyrics \lyrics {
+ \lyrics {
"fourth " "fourth " "fifth " "fifth "
"sixth " "sixth " "sixth " "sixth"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- < gis f'! >1^"dimin" s
- < g! f'! >^"minor" s
- < g fis' >^"major" s
- < g g' > s
- < g as' >^"minor" s
- < g a'! >^"major" s
- < g bes' >^"minor" s
- < g b'! >^"major" s
+ < gis f'! >1^"dimin"
+ < g! f'! >^"minor"
+ < g fis' >^"major"
+ < g g' >
+ < g as' >^"minor"
+ < g a'! >^"major"
+ < g bes' >^"minor"
+ < g b'! >^"major"
}
\context Lyrics \lyrics {
"seventh " "seventh " "seventh " "octave "
- "none " "none " "decime " "decime"
+ "ninth " "ninth " "tenth " "tenth"
}
+>>
@end lilypond
+
@node inverted interval
@section inverted interval
The difference between an interval and an octave.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Staff \relative c'' {
}
@end lilypond
+
@node just intonation
@section just intonation
+ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
FI: puhdas viritys.
Tuning system in which the notes are obtained by adding and subtracting
-natural fifths and thirds. @aref{temperament}.
+natural fifths and thirds.
+
+@ref{temperament}.
+
@node key
@section key
S: tonart,
FI: tonaliteetti.
-According to the 12@w{ }tones of the @aref{chromatic scale}
+According to the 12@w{ }tones of the @ref{chromatic scale}
there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
-@aref{key signature}.
+
+@seealso
+
+@ref{key signature}.
+
@node key signature
@section key signature
-ES: armadura de clave,
+ES: armadura (de la clave),
I: armatura di chiave,
F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
FI: sävellajiosoitus.
The sharps or flats appearing at the beginning of each staff indicating the
-key of the music. @aref{accidental}.
+key of the music.
+
+@ref{accidental}.
+
@node largo
@section largo
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
+
@node leading note
@section leading note
S: ledton,
FI: johtosävel.
-The seventh @aref{scale degree}, a @aref{semitone} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
+The seventh @ref{scale degree}, a @ref{semitone} below
+the tonic; so called because of its strong tendency to @q{lead up} (resolve
upwards) to the tonic scale degree.
+
@node ledger line
@section ledger line
-ES: líneas adicionales,
+ES: línea adicional,
I: tagli addizionali,
F: ligne supplémentaire,
D: Hilfslinie,
A ledger line is an extension of the staff.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { a,1 s c'' }
@end lilypond
+
@node legato
@section legato
-ES: ligado,
+ES: legato,
I: legato,
F: legato, lié,
D: legato,
S: legato,
FI: legato, sitoen.
-To be performed (a) without any perceptible interruption between the notes,
+To be performed (a) without any perceptible interruption between the notes,
unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
-(d) @aref{staccato}.
+(d) @ref{staccato}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\oldaddlyrics
-\context Staff \relative c'' {
- c4-( d e-) \bar "||"
- c4-- d-- e-- \bar "||"
- c4-.-( d-. e-.-) \bar "||"
- c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'font-style = #'large
- a
- b "" ""
- c
- d
-}
+<<
+ \context Staff \relative c'' {
+ c4-( d e-) \bar "||"
+ c4-- d-- e-- \bar "||"
+ c4-.-( d-. e-.-) \bar "||"
+ c4-. d-. e-. \bar "||"
+ }
+ \lyrics {
+ a2.
+ b
+ c
+ d
+ }
+>>
@end lilypond
+
@node legato curve
@section legato curve
-@aref{slur}, @aref{legato}.
+@seealso
+
+@ref{slur}, @ref{legato}.
+
@node leger line
@section leger line
-@aref{ledger line}.
+@seealso
+
+@ref{ledger line}.
+
@node lilypond
@section lilypond
-ES: estanque de lilas,
+ES: estanque de nenúfares,
I: stagno del giglio,
F: étang de lis,
UK: lily pond,
A pond with lilies floating in it, also the name of a music typesetter.
+
@node ligature
@section ligature
+ES: ligadura
+
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
Gregorian chant notation roughly since the 9th century to denote
With the invention of the metric system of the white mensural
notation, the need for ligatures to denote such patterns disappeared.
+
@node line
@section line
S: notlinje,
FI: viiva, nuottiviiva.
-@aref{staff}.
+@seealso
+
+@ref{staff}.
+
@node long appoggiatura
@section long appoggiatura
S: långt förslag,
FI: pitkä appoggiatura, pitkä etuhele.
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node longa
@section longa
S: longa,
FI: longa.
-Note value: double length of @aref{breve}.
-@aref{note value}.
+Note value: double length of @ref{breve}.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' {
\override NoteHead #'style = #'mensural
}
@end lilypond
+@seealso
+
+@ref{note value}.
+
+
@node lyrics
@section lyrics
-ES: .,
+ES: letra (de la canción),
I: .,
-F: .,
+F: paroles,
D: Liedtext,
NL: liedtekst,
DK: .,
S: .,
FI, sanoitus.
+
+@node lyric tie
+@section lyric tie
+
+FIXME: add languages
+
+@seealso
+
+@ref{elision}.
+
+
@node major interval
@section major interval
S: stort intervall,
FI: suuri intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node major
@section major
S: dur,
FI: duuri.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
@node meantone temperament
@section meantone temperament
+ES: afinación mesotónica,
I: accordatura mesotonica,
F: tempérament mésotonique,
D: mitteltönige Stimmung,
FI: keskisävelviritys.
Temperament yielding acoustically pure thirds by decreasing the natural fifth
-by 16@w{ }@aref{cent}s. Due to the non-circular character of this
-@aref{temperament} only a limited set of keys are playable.
+by 16@w{ }@ref{cent}s. Due to the non-circular character of this
+@ref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
+
@node measure
@section measure
S: takt,
FI: tahti.
-A group of @aref{beat}s (units of musical time) the first of which
+A group of @ref{beat}s (units of musical time) the first of which
bears an accent. Such groups in numbers of two or more recur consistently
throughout the composition and are marked from each other by
-bar-lines. @aref{meter}.
+bar-lines.
+
+@ref{meter}.
+
@node mediant
@section mediant
FI: keskisävel.
1.@tie{}The third @b{scale degree}.
-2.@tie{}A @aref{chord} having its base tone
+2.@tie{}A @ref{chord} having its base tone
a third from that of another chord. For example, the tonic chord may be
-replaced by its lower mediant (variant tonic). @aref{functional
-harmony}, @aref{relative key}.
+replaced by its lower mediant (variant tonic).
+
+@ref{functional
+harmony}, @ref{relative key}.
+
@node melisma
@section melisma
-NL: melisma,
+ES: melisma,
+F: mélisme,
+NL: melisma,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural: melismata) is a group of notes or tones sung on one
syllable in plainsong
+
+@node melisma line
+@section melisma line
+
+FIXME: add languages
+
+@seealso
+
+@ref{extender line}.
+
+
@node melodic cadence
@section melodic cadence
-@aref{cadenza}.
+@seealso
+
+@ref{cadenza}.
+
@node meter
@section meter
ES: compás,
I: tempo, metro,
-F: indication de mésure,
+F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
S: taktart,
FI: aika-arvo.
-The basic scheme of @aref{note value}s and
-@aref{accent}s which remains unaltered throughout a composition
-or a section of it. For instance, 3/4 meter means that the basic
-@aref{note value}s are quarter notes and that a
-@aref{measure} consists of three of those. According to
-whether there are two, three, or four units to the measure,
-one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
+The basic scheme of @ref{note value}s and @ref{accent}s which remains
+unaltered throughout a composition or a section of it. For instance,
+3/4 meter means that the basic @ref{note value}s are quarter notes and
+that a @ref{measure} consists of three of those. According to whether
+there are two, three, or four units to the measure, one speaks of
+@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
+@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
+meter.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
\key f \major
c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 5/4
\key g \major
g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
@end lilypond
+
@node metronome
@section metronome
S: me@-tro@-nom,
FI: metronomi.
-Device indicating the exact tempo of a piece. @aref{metronomic
+Device indicating the exact tempo of a piece.
+
+@ref{metronomic
indication}.
+
@node metronomic indication
@section metronomic indication
Exact tempo indication (in beats per minute). Also denoted by
M.M.@: (Mälzels Metronom).
+
@node mezzo-soprano
@section mezzo-soprano
-ES: mezzo soprano,
+ES: mezzosoprano,
I: mezzo-soprano,
F: mezzo-soprano,
D: Mezzosopran,
S: mezzosopran,
FI: mezzosopraano.
-The female voice between @aref{soprano} and
-@aref{contralto}.
+The female voice between @ref{soprano} and @ref{contralto}.
+
@node middle C
@section middle C
First C below the 440 Hz A.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
\relative c' {
}
@end lilypond
+
@node minor
@section minor
S: moll,
FI: molli.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
@node minor interval
@section minor interval
-ES: intervalo mayor,
+ES: intervalo menor,
I: intervallo minore,
F: intervalle mineur,
D: kleines Intervall,
S: litet intervall,
FI: pieni intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node mode
@section mode
S: modus, skala,
FI: moodi, kirkkosävelasteikko.
-@aref{church mode}, @aref{diatonic scale}.
+@seealso
+
+@ref{church mode}, @ref{diatonic scale}.
+
@node modulation
@section modulation
S: modulering,
FI: modulaatio, sävellajin vaihdos.
-Moving from one @aref{key} to another. For example, the second
-subject of a @aref{sonata form} movement modulates to the dominant
-key if the key is major and to the @aref{relative key} if the key
+Moving from one @ref{key} to another. For example, the second
+subject of a @ref{sonata form} movement modulates to the dominant
+key if the key is major and to the @ref{relative key} if the key
is minor.
+
@node mordent
@section mordent
S: mordent,
FI: mordent, korukuvio.
-@aref{ornament}.
+@seealso
+
+@ref{ornament}.
+
@node motif
@section motif
-@aref{motive}.
+@seealso
+
+@ref{motive}.
+
@node motive
@section motive
-ES: tema,
+ES: motivo,
I: inciso,
F: incise,
D: Motiv,
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond[fragment,linewidth=13.0\cm]
-\override Score.TimeSignature #'break-visibility = #all-invisible
-%\override Score.TextScript #'font-style = #'large
+@lilypond[line-width=13.0\cm]
+\score{
\relative c'' {
+ \set Score.implicitTimeSignatureVisibility = #all-invisible
+ \override Score.TimeSignature #'break-visibility = #all-invisible
\time 4/4
\key g \major
- \partial 8 g16_"------" fis |
- g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
+ \partial 8 g16\startGroup fis |
+ g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
g8 g,16 a b8 cis d16 s
}
+\layout {
+ \context {
+ \Staff \consists "Horizontal_bracket_engraver"
+}}
+}
@end lilypond
+
@node movement
@section movement
S: sats,
FI: osa.
-Greater musical works like @aref{symphony} and
-@aref{sonata} most often consist of several -- more or less --
+Greater musical works like @ref{symphony} and
+@ref{sonata} most often consist of several -- more or less --
independant pieces called movements.
-@node multibar rest
-@section multibar rest
+
+@node multi-measure rest
+@section multi-measure rest
ES: compases de espera,
I: pausa multipla,
F: pause multiple,
NL: meermaats rust,
-D: mehrtaktige Pause,
+D: mehrtaktige Pause, Kirchenpause,
DK: flertaktspause,
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond[fragment,raggedright]
+Multi-measure rests are conventionally typeset with a combination of longa,
+breve and whole rests for shorter and a long horizontal bar for longer
+spans of rest, with a number above to indicate the duration (in measures)
+of the rest. The former style is called @q{Kirchenpausen} in 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
}
@end lilypond
+
+
@node mixolydian mode
@section mixolydian mode
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
@node natural sign
@section natural sign
S: återställningstecken,
FI: palautusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
@node neighbour tones
@section neighbour tones
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node ninth
@section ninth
S: nona,
FI: nooni.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node non-legato
@section non-legato
-@aref{legato}.
+@seealso
+
+@ref{legato}.
+
@node note
@section note
Notes are signs by means of which music is fixed in writing. The term is also
used for the sound indicated by a note, and even for the key of the piano
which produces the sound. However, a clear distinction between the terms tone
-and @aref{note} is strongly recommended. Briefly, one sees a note,
+and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
+
@node note head
@section note head
-ES: oval,
+ES: cabeza,
I: testa, testina, capocchia,
-F: t@^ete de la note,
+F: tête de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
FI: nuotin pää.
A head-like sign which indicates pitch by its position on a
-@aref{staff} provided with a @aref{clef}, and duration
+@ref{staff} provided with a @ref{clef}, and duration
by a variety of shapes such as hollow or black heads with or without
-@aref{stem}s, @aref{flag}s, etc. For percussion
+@ref{stem}s, @ref{flag}s, etc. For percussion
instruments (often having no defined pitch) the note head may indicate the
instrument.
+
@node note value
@section note value
-ES: valor,
+ES: valor (duración),
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value. The longest duration normally used is called @emph{brevis},
-but sometimes (mostly in pre-baroque music) the double length note value
-@emph{longa} is used.
+Note values (durations) are measured as fractions, normally 1/2, of
+the next higher note value. The longest duration normally used is
+called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
+double-length note value @emph{longa} or the quadruple-length note
+value @emph{maxima} are used.
+
+@c TODO -- add maxima to this example
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@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
\relative c'' {
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
Alternatively note values may be subdivided by other ratios. Most common is
subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
-Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
+Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
}
@end lilypond
+
@node octave sign
@section octave sign
-@aref{G clef}, @aref{F clef}.
+@seealso
+
+@ref{G clef}, @ref{F clef}.
+
@node octave
@section octave
S: oktav,
FI: oktaavi.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node ornament
@section ornament
FI: koru, hele.
Most commonly used is the @emph{trill}, the rapid alternation of a given note
-with the diatonic @aref{second} above it. In the music from the
+with the diatonic @ref{second} above it. In the music from the
middle of the 19th century and onwards the trill is performed with the main
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
@emph{prall} (inverted mordent).
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
>>
@end lilypond
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node ossia
@section ossia
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
+
@node part
@section part
FI: stemma, instrumenttiosuus.
1.@tie{}In instrumental or choral music the music for the single instrument
-or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
+or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
melodic line of the contrapunctal web.
+
+@node pause
+@section pause
+
+@seealso
+
+@ref{fermata}.
+
+
@node pennant
@section pennant
-@aref{flag}.
+@seealso
+
+@ref{flag}.
+
@node percussion
@section percussion
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
+
@node perfect interval
@section perfect interval
S: rent intervall,
FI: puhdas intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node phrase
@section phrase
A natural division of the melodic line, comparable to a sentence of speech.
+
@node phrasing
@section phrasing
S: fra@-se@-ring,
FI: fraseeraus, jäsentäminen.
-The clear rendering in musical performance of the @aref{phrase}s of
-the melody. Phrasing may be indicated by a @aref{slur}.
+The clear rendering in musical performance of the @ref{phrase}s of
+the melody. Phrasing may be indicated by a @ref{slur}.
+
+
+@node pickup
+@section pickup
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+@seealso
+
+@ref{anacrusis}.
+
@node piano
@section piano
FI, piano, hiljaa.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
-@emph{mezzopiano} (@b{mp}) medium soft.
+@emph{mezzo piano} (@b{mp}) medium soft.
+
@node pitch
@section pitch
S: tonhöjd,
FI: sävelkorkeus.
+
@node pizzicato
@section pizzicato
Play by plucking the strings.
+
@node polyphony
@section polyphony
FI: polyfonia, moniäänisyys.
Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality. @aref{counterpoint}.
+more or less pronounced individuality.
+
+@ref{counterpoint}.
+
@node portato
@section portato
-@aref{legato}.
+@seealso
+
+@ref{legato}.
+
@node presto
@section presto
S: presto,
FI: presto, hyvin nopeasti.
-Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
+Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
+
@node Pythagorean comma
@section Pythagorean comma
-ES: coma pitagórico,
+ES: coma pitagórica,
I: comma pitagorico,
F: comma pythagoricien,
D: Pythagoräisches Komma,
A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24 @aref{cent}s higher than the@w{ }C obtained by adding
+24 @ref{cent}s higher than the@w{ }C obtained by adding
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
+
@node quadruplet
@section quadruplet
S: kvartol,
FI: kvartoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node quarter note
@section quarter note
S: fjärdedelsnot,
FI: neljännesosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node quarter rest
@section quarter rest
S: fjärdedelspaus,
FI: neljännesosatauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node quintuplet
@section quintuplet
-ES: quintillo,
+ES: cinquillo, quintillo.
I: quintina,
F: quintolet,
D: Quintole,
S: kvintol,
FI: kvintoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node rallentando
@section rallentando
S: rallentando,
FI: rallerdando, hidastuen.
-Abbreviation "rall.". @aref{ritardando}.
+Abbreviation "rall.".
+
+@ref{ritardando}.
+
@node relative key
@section relative key
-ES: relativa,
+ES: relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
S: parallelltonart,
FI: rinnakkaissävellaji.
-@aref{major} and @aref{minor} @aref{key}
-with the same @aref{key signature}.
+@ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
}
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
}
@end lilypond
+
@node repeat
@section repeat
-ES: barra de repetición,
+ES: repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
S: repris,
FI: toisto.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' {
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
+
@node rest
@section rest
S: paus,
FI: tauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node rhythm
@section rhythm
S: rytm,
FI: rytmi.
-(a) Metrical rhythm in which every time value is a multiple or fraction of a
-fixed unit of time, called @aref{beat}, and in which the normal
-@aref{accent} recurs in regular intervals, called
-@aref{measure}. The basic scheme of time values is called
-@aref{meter}. (b) Measured rhythm which lacks regularly recurrent
-accent. In modern notation such music appears as a free alternation of
-different measures. (c) Free rhythm, i.e., the use of temporal values having
-no common metrical unit (beat).
+@itemize
+
+@item Metrical rhythm in which every time value is a multiple or
+fraction of a fixed unit of time, called @ref{beat}, and in which the
+normal @ref{accent} recurs in regular intervals, called @ref{measure}.
+The basic scheme of time values is called @ref{meter}.
+
+@item Measured rhythm which lacks regularly recurrent accent. In
+modern notation such music appears as a free alternation of different
+measures.
+
+@item Free rhythm, i.e., the use of temporal values having no common
+metrical unit (beat).
+
+@end itemize
+
+
@node ritardando
@section ritardando
-ES: retardando,
+ES: ritardando,
I: ritardando,
F: ritardando,
D: Ritardando, langsamer werden,
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+
@node ritenuto
@section ritenuto
Immediate reduction of speed.
+
@node scale
@section scale
S: skala,
FI: asteikko, sävelasteikko.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
@node scale degree
@section scale degree
-ES: grados de la escala,
+ES: grado (de la escala),
I: grado della scala,
F: degré [de la gamme],
D: Tonleiterstufe,
S: skalsteg (?),
FI: sävelaste, asteikon sävel.
-Names and symbols used in harmonic analysis to denote tones of the scale as
-roots of chords. The most important are degrees I = tonic (T), IV =
-sub@-do@-mi@-nant (S) and V = dominant (D).
+Names and symbols used in harmonic analysis to denote tones of the
+scale as roots of chords. The most important are degrees I = tonic
+(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\set minVerticalAlign = #8
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d e f g a b c
}
-\context Lyrics \lyrics {
+ \lyrics {
<< { I II III IV V VI VII I }
- { T "" "" S D } >>
+ { T "" "" S D } >>
}
+>>
@end lilypond
-@aref{functional harmony}.
+@seealso
+
+@ref{functional harmony}.
+
+
+@node scordatura
+@section scordatura
+
+ES: ?,
+I: scordatura,
+F: à cordes ravallées,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
+tuning of stringed instruments, particularly lutes or violins. Used
+to:
+
+@itemize
+
+@item facilitate pitch combinations that would otherwise be difficult
+or impossible
+
+@item alter the characteristic timbre of the instrument, for example,
+to increase brilliance)
+
+@item reinforce certain sonorities or tonalities by making them
+available on open strings
+
+@item imitate other instruments
+
+@item etc.
+
+@end itemize
+
+Tunings that could be called @var{scordatura} first appeared early in
+the 16th Century and became commonplace in the 17th.
+
@node score
@section score
ES: partitura,
I: partitura,
F: partition,
-D: Partitur (full score), Klavierauszug (vocal score)
+D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
S: partitur,
FI: partituuri.
-A copy of orchestral, choral, or chamber music showing what each instrument is
-to play, each voice to sing, having each part arranged one underneath the
-other on different staves @aref{staff}.
+A copy of orchestral, choral, or chamber music showing what each
+instrument is to play, each voice to sing, having each part arranged
+one underneath the other on different staves @ref{staff}.
+
@node second
@section second
S: sekund,
FI: sekunti.
-The @aref{interval} between two neigbouring tones of a scale. A
-@aref{diatonic scale} consists of alternating
-@aref{semitone}s and @aref{whole tone}s, hence the size
-of a se@-cond depends on the scale degrees in question.
+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.
+
@node semitone
@section semitone
S: halvton,
FI: puolisävel.
-The @aref{interval} of a minor second. The (usually) smallest
-interval in European composed music. The interval between two neighbouring
+The @ref{interval} of a minor second. The (usually) smallest interval
+in European composed music. The interval between two neighbouring
tones on the piano keyboard -- including black and white keys -- is a
semitone. An octave may be divided into 12@w{ }semitones.
-@aref{interval}, @aref{chromatic scale}.
+@ref{interval}, @ref{chromatic scale}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
+
@node seventh
@section seventh
S: septim,
FI: septimi.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node sextolet
@section sextolet
-@aref{sextuplet}
+@seealso
+
+@ref{sextuplet}
+
@node sextuplet
@section sextuplet
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
S: sextol,
FI: sekstoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node shake
@section shake
-@aref{trill}.
+@seealso
+
+@ref{trill}.
+
@node sharp
@section sharp
S: kors@-förtecken,
FI: korotusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
@node short appoggiatura
@section short appoggiatura
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
@node sixteenth note
@section sixteenth note
S: sextondelsnot,
FI: kuudestoistaosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node sixteenth rest
@section sixteenth rest
-ES: silencia de semicorchea,
+ES: silencio de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
UK: semiquaver rest,
S: sextondelspaus,
FI: kuudesosatauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node sixth
@section sixth
S: sext,
FI: seksti.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node sixty-fourth note
@section sixty-fourth note
S: sextiofjärdedelsnot,
FI: kuudeskymmenesneljäsosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencia de semifusa,
+ES: silencio de semifusa,
I: pausa di semibiscroma,
F: seizième de soupir,
UK: hemidemisemiquaver rest,
S: sextiofjärdedelspaus,
FI: kuudeskymmenesneljäsosatauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
@node slur
@section slur
-ES: ligadura,
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
S: båge,
FI: kaari.
-A slur above or below a group of notes indicates that they are to be played
-@aref{legato}, e.g., with one stroke of the violin bow or with one
-breath in singing.
+A slur above or below a group of notes indicates that they are to be
+played @ref{legato}, e.g., with one stroke of the violin bow or with
+one breath in singing.
+
+
@node solmization
@section solmization
+ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
FI: suhteelliset laulunimet.
General term for systems of designating the degrees of the
-@aref{scale}, not by letters, but by syllables (@emph{do}
-(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
-(@emph{ti})). @aref{scale degree}.
+@ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
+@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
+(@emph{ti})).
+
+@ref{scale degree}.
+
+
@node sonata
@section sonata
S: sonat,
FI: sonaatti.
-In its present-day meaning a sonata denotes an instrumental composition for
-piano or for some other instrument with piano accompaniment, which consists of
-three or four independant pieces, called movements.
+In its present-day meaning a sonata denotes an instrumental
+composition for piano or for some other instrument with piano
+accompaniment, which consists of three or four independant pieces,
+called movements.
+
@node sonata form
@section sonata form
S: sonatform,
FI: sonaattimuoto.
-A form used frequently for single movements of the @aref{sonata},
-@aref{symphony}, quartet, etc. A movement written in sonata form
-falls into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces some musical
-ideas, consisting of a number of themes; in the development section the
-composer `develops' this material, and in the recapitulation the composer
-repeats the exposition, with certain modifications. The exposition contains a
-number of themes that fall into two groups, often called first and second
-subject. Other melodies occurring in each group are considered as
-continuations of these two. The second theme is in another key, normally in
-the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
-@aref{relative key} if the tonic is @aref{minor}.
+A form used frequently for single movements of the @ref{sonata},
+@ref{symphony}, quartet, etc. A movement written in sonata form falls
+into three sections called @emph{exposition}, @emph{development} and
+@emph{recapitulation}. In the exposition the composer introduces some
+musical ideas, consisting of a number of themes; in the development
+section the composer @q{develops} this material, and in the
+recapitulation the composer repeats the exposition, with certain
+modifications. The exposition contains a number of themes that fall
+into two groups, often called first and second subject. Other
+melodies occurring in each group are considered as continuations of
+these two. The second theme is in another key, normally in the key of
+the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
+@ref{relative key} if the tonic is @ref{minor}.
+
@node song texts
@section song texts
-@aref{lyrics}.
+@seealso
+
+@ref{lyrics}.
+
@node soprano
@section soprano
The highest female voice.
+
@node staccato
@section staccato
-ES: staccato,
+ES: picado,
I: staccato,
F: staccato, piqué, détaché,
D: Staccato,
S: staccato,
FI: staccato, lyhyesti, terävästi.
-Playing the note(s) short. Staccato is indicated by a dot above or below the
-note head.
+Playing the note(s) short. Staccato is indicated by a dot above or
+below the note head.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key d \major
\time 4/4
\relative c'' {
}
@end lilypond
+
@node staff
@section staff
A staff (pl. staves) is a series of (normally five) horizontal lines
upon and between which the musical notes are written, thus indicating
-(in connection with a @aref{clef}) their pitch. Staves for
-@aref{percussion} instruments may have fewer lines.
+(in connection with a @ref{clef}) their pitch. Staves for
+@ref{percussion} instruments may have fewer lines.
+
@node staves
@section staves
-@aref{staff}.
+@seealso
+
+@ref{staff}.
+
@node stem
@section stem
S: skaft,
FI: nuottipalkki.
-Vertical line above or below a @aref{note head} shorter than a
-whole note. @aref{beam}.
+Vertical line above or below a @ref{note head} shorter than a
+whole note.
+
+@ref{beam}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
+
@node strings
@section strings
S: stråkar,
FI: jouset.
-A family of stringed musical instruments played with a bow. Strings commonly
-used in a symphony orchestra are violin, viola, violoncello, and double bass.
+A family of stringed musical instruments played with a bow. Strings
+commonly used in a symphony orchestra are violin, viola, violoncello,
+and double bass.
+
@node strong beat
@section strong beat
S: betonat taktslag,
FI: tahdin vahva isku.
-@aref{beat}, @aref{accent}, @aref{measure},
-@aref{rhythm}.
+@seealso
+
+@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
+
@node subdominant
@section subdominant
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @aref{scale degree}. @aref{functional harmony}.
+The fourth @ref{scale degree}.
+
+@ref{functional harmony}.
+
@node submediant
@section submediant
-ES: superdominante,
+ES: submediante,
I: sopratonica,
F: sous-médiante,
D: Submediante,
S: submediant,
FI: alikeskisävel.
-The sixth @aref{scale degree}.
+The sixth @ref{scale degree}.
+
@node subtonic
@section subtonic
-ES: sensible,
+ES: subtónica,
I: sottotonica,
F: sous-tonique,
D: Subtonika,
S: subtonika,
FI: subtoonika, alitoonika.
-The seventh @aref{scale degree}.
+The seventh @ref{scale degree}.
+
+
+@node sul G
+@section sul G
+
+ES: sobre la G,
+I: sul g,
+F: sur la G,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicates that the indicated passage (or note) should be played on the
+G string.
+
@node superdominant
@section superdominant
S: superdominant,
FI: ylidominantti.
-The sixth @aref{scale degree}.
+The sixth @ref{scale degree}.
+
@node supertonic
@section supertonic
S: supertonika,
FI: ylitoonika.
-The second @aref{scale degree}.
+The second @ref{scale degree}.
+
@node symphony
@section symphony
S: symfoni,
FI: sinfonia.
-A symphony may be defined as a @aref{sonata} for orchestra.
+A symphony may be defined as a @ref{sonata} for orchestra.
+
@node syncopation
@section syncopation
-ES: sincopado,
+ES: síncopa,
I: sincope,
F: syncope,
D: Synkope,
S: synkop,
FI: synkooppi.
-Any deliberate upsetting of the normal pulse of @aref{meter},
-@aref{accent}, and @aref{rhythm}. The occidental system of musical
-rhythm rests upon the grouping of equal beats into groups of two or three,
-with a regularly recurrent accent on the first beat of each group. Any
-deviation from this scheme is felt as a disturbance or contradiction between
-the underlaying (normal) pulse and the actual (abnormal) rhythm.
+Any deliberate upsetting of the normal pulse of @ref{meter},
+@ref{accent}, and @ref{rhythm}. The occidental system of musical
+rhythm rests upon the grouping of equal beats into groups of two or
+three, with a regularly recurrent accent on the first beat of each
+group. Any deviation from this scheme is felt as a disturbance or
+contradiction between the underlaying (normal) pulse and the actual
+(abnormal) rhythm.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c' {
\partial 4
}
@end lilypond
+
+
@node syntonic comma
@section syntonic comma
+ES: coma sintónica,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja
+Pytagorisessa viritysjärjestelmässä.
+
+Difference between the natural third and the third obtained by
+Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
+
-Difference between the natural third and the third obtained by Pythagorean
-tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
@node system
@section system
+ES: sistema,
I: accollatura,
F: système,
D: Notensystem,
S: system,
FI: nuottijärjestelmä.
-The collection of staves @aref{staff}, two or more, as used for
-writing down of keyboard, chamber, choral, or orchestral music.
+The collection of staves (@ref{staff}), two or more, as used for writing
+down of keyboard, chamber, choral, or orchestral music.
+
+
@node temperament
@section temperament
S: temperatur,
FI: viritysjärjestelmä.
-Systems of tuning in which the intervals deviate from the acoustically pure
-intervals. @aref{meantone temperament}, @aref{equal temperament}.
+Systems of tuning in which the intervals deviate from the acoustically
+pure intervals.
+
+@ref{meantone temperament}, @ref{equal temperament}.
+
@node tempo indication
@section tempo indication
ES: indicación de tempo,
I: indicazione di tempo,
-F: indication de temps,
+F: indication de tempo,
D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
FI: tempomerkintä.
-The rate of speed of a composition or a section thereof, ranging from the
-slowest to the quickest, as is indicated by tempo marks as
-@aref{largo}, @aref{adagio}, @aref{andante},
-@aref{allegro}, and @aref{presto}.
+The rate of speed of a composition or a section thereof, ranging from
+the slowest to the quickest, as is indicated by tempo marks as
+@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
+@ref{presto}.
+
@node tenor
@section tenor
S: tenor,
FI: tenori, korkea miesääni.
-The highest male voice (apart from @aref{counter tenor}).
+The highest male voice (apart from @ref{counter tenor}).
+
@node tenth
@section tenth
S: decima,
FI: desimi.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node tenuto
@section tenuto
-ES: tenuto,
+ES: subrayado (tenuto),
I: tenuto,
F: tenue, tenuto,
D: gehalten, tenuo,
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
+
@node third
@section third
S: ters,
FI: terssi.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node thirty-second note
@section thirty-second note
S: trettiotvåondelsnot,
FI: kolmanneskymmeneskahdesosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node thirty-second rest
@section thirty-second rest
S: trettiotvåondelspaus,
FI: kolmanneskymmeneskahdesosatauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node thorough bass
@section thorough bass
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffrée,
+F: basse chiffrée, basse continue,
D: Generalbass, bezifferter Bass,
NL: basso continuo, becijferde bas
DK: generalbas,
S: generalbas,
FI: kenraalibasso, numeroitu basso.
-A method of indicating an accompaniment part by the bass notes only, together
-with figures designating the chief @aref{interval}s and
-@aref{chord}s to be played above the bass notes.
+A method of indicating an accompaniment part by the bass notes only,
+together with figures designating the chief @ref{interval}s and
+@ref{chord}s to be played above the bass notes.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context GrandStaff <<
\context Staff = lh \relative c'' {
\time 4/4
< bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
>>
}
- \oldaddlyrics
+ <<
\context Staff = rh \relative c' {
\clef bass
\key es \major
es8 c d bes c as bes16 as g f | es4
- }
- \context Lyrics \lyrics {
- \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
- << { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >>
- }
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
>>
@end lilypond
+
@node tie
@section tie
S: bindebåge, överbindning,
FI: sitominen.
-A curved line, identical in appearance with the @aref{slur}, which
-connects two succesive notes of the same pitch, and which has the function of
-uniting them into a single sound (tone) equal to the combined durations.
+A curved line, identical in appearance with the @ref{slur}, which
+connects two succesive notes of the same pitch, and which has the
+function of uniting them into a single sound (tone) equal to the
+combined durations.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
+
@node time
@section time
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
@node time signature
@section time signature
-ES: cifra indicadora de compás,
+ES: indicación de compás,
I: segni di tempo,
-F: chiffrage (chiffres indicateurs), signe de valeur,
+F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
D: Taktangabe, Angabe der Taktart,
NL: maatsoort,
DK: taktangivelse,
S: taktartssignatur,
FI: tahtiosoitus.
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
@node tone
@section tone
-ES: sonido,
+ES: tono,
I: suono,
F: ton,
D: Ton,
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
+
Music from the 20th century may be based on atonal sounds.
+
@node tonic
@section tonic
-ES: tonica,
+ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
S: tonika,
FI: toonika.
-The first @aref{scale degree}.
-@aref{functional harmony}.
+The first @ref{scale degree}.
+
+@seealso
+
+@ref{functional harmony}.
+
@node transposition
@section transposition
-ES: transposición,
+ES: transporte,
I: trasposizione,
F: transposition,
D: Transposition,
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
}
@end lilypond
+
@node treble clef
@section treble clef
ES: clave de sol,
I: chiave di violino,
-F: clé de sol,
+F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
DK:@w{ }diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
-@aref{G clef}.
+@seealso
+
+@ref{G clef}.
+
@node tremolo
@section tremolo
-ES: tremolo,
+ES: trémolo,
I: tremolo,
F: trémolo,
D: Tremolo,
S: tremolo,
FI: tremolo.
-On stringed instruments (@aref{strings}) the quick reiteration of
-the same tone, produced by a rapid up-and-down movement of the bow
-(a). The term is also used for the rapid alternation (b) between two notes of
-a @aref{chord}, usually in the distance of a third
-(@aref{interval}).
+On stringed instruments (@ref{strings}) the quick reiteration of the
+same tone, produced by a rapid up-and-down movement of the bow (a).
+The term is also used for the rapid alternation (b) between two notes
+of a @ref{chord}, usually in the distance of a third (@ref{interval}).
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
- \repeat "tremolo" 8 { e32_"b" g }
+ \repeat tremolo 8 { e32_"b" g }
}
@end lilypond
+
@node triad
@section triad
S: treklang,
FI: kolmisointu.
-@aref{chord}.
+@seealso
+
+@ref{chord}.
+
@node trill
@section trill
S: drill,
FI: trilli.
-@aref{ornament}.
+@seealso
+
+@ref{ornament}.
+
@node triple meter
@section triple meter
-ES: compás compuesto,
+ES: compás ternario,
I: tempo ternario,
F: mesure ternaire,
D: in drei,
S: tretakt,
FI: kolmijakoinen.
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
@node triplet
@section triplet
S: triol,
FI: trioli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node tritone
@section tritone
-ES: trítono,
+ES: tritono,
I: tritono,
F: triton,
D: Tritonus,
S: tritonus,
FI: tritonus.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
@node tuning fork
@section tuning fork
S: stämgaffel,
FI: viritysavain.
-A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per second).
+A two-pronged piece of steel used to indicate absolute pitch. Tuning
+forks give the international pitch for the tone @emph{a} (440
+vibrations per second).
+
@node turn
@section turn
-ES: grupo,
+ES: grupeto,
I: gruppetto,
F: grupetto,
D: Doppelschlag,
S: dubbelslag,
FI: korukuvio.
-@aref{ornament}.
+@seealso
+
+@ref{ornament}.
+
@node unison
@section unison
S: unison,
FI: unisono, yksiäänisesti.
-Playing of the same notes or the same melody by various instruments (voices)
-or by the whole orchestra (choir), either at exactly the same pitch or in a
-different octave.
+Playing of the same notes or the same melody by various instruments
+(voices) or by the whole orchestra (choir), either at exactly the same
+pitch or in a different octave.
+
@node upbeat
@section upbeat
-ES: entrada anacrúsica,
+ES: anacrusa,
I: anacrusi,
F: anacrouse, levée,
D: Auftakt,
S: upptakt,
FI: kohotahti.
-Initial note(s) of a melody occurring before the first bar
-line. @aref{measure}, @aref{meter}.
+@seealso
+
+@ref{anacrusis}
-@lilypond[fragment,linewidth=13.0\cm]
-\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 "||" }
-@end lilypond
@node voice
@section voice
S: stämma,
FI: ääni, lauluääni.
-1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
-@aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
+1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
+@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
2.@tie{}A melodic layer or part of a polyphonic composition.
+
@node weak beat
@section weak beat
S: obetonat taktslag,
FI: tahdin heikko isku.
-@aref{beat}, @aref{measure}, @aref{rhythm}.
+@seealso
+
+@ref{beat}, @ref{measure}, @ref{rhythm}.
+
@node whole note
@section whole note
S: helnot,
FI: kokonuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
@node whole rest
@section whole rest
S: helpaus,
FI: kokotauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
@node whole tone
@section whole tone
-ES: tono,
+ES: tono (entero),
I: tono intero,
F: ton entier,
D: Ganzton,
S: helton,
FI: kokoaskel.
-The @aref{interval} of a major second. The interval between two
-tones on the piano keyboard with exactly one key between them -- including
+The @ref{interval} of a major second. The interval between two tones
+on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
+
+
+
@node woodwind
@section woodwind
S: träblåsare,
FI: puupuhaltimet.
-A family of blown wooden musical instruments. Today some of these instruments
-are actually made from metal. The woodwind instruments commonly used in a
-symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
+A family of blown wooden musical instruments. Today some of these
+instruments are actually made from metal. The woodwind instruments
+commonly used in a symphony orchestra are flute, oboe, clarinet,
+saxophone, and bassoon.
+
+
+
@node Duration names notes and rests
@chapter Duration names, notes and rests
@item
@tab @strong{UK}
@tab @strong{I}
- @tab @strong{F}
+ @tab @strong{F (note name / rest name)}
@item
@tab @strong{D}
@tab @strong{NL}
@item
@tab @strong{S}
@tab @strong{FI}
- @tab
+ @tab @strong{ES}
-@item
+@c extra @items make this table harder to read, so I removed them.
@item @strong{longa}
@tab longa
@item
@tab longa
@tab longa
- @tab
-
-@item
+ @tab longa
@item @strong{breve}
@tab breve
@tab breve
- @tab brève
+ @tab brève / double-pause
@item
@tab Brevis
@tab brevis
@item
@tab brevis
@tab brevis
- @tab
-
-@item
+ @tab cuadrada
@item @strong{whole}
@tab semi@-breve
@tab semi@-breve
- @tab ronde
+ @tab ronde / pause
@item
@tab Ganze
@tab hele
@item
@tab hel
@tab koko@-nuotti/@w{-tauko}
- @tab
-
-@item
+ @tab redonda
@item @strong{half}
@tab minim
@tab minima
- @tab blanche
+ @tab blanche / demi-pause
@item
@tab Halbe
@tab halve
@item
@tab halv
@tab puoli@-nuotti/@w{-tauko}
- @tab
-
-@item
+ @tab blanca
@item @strong{quarter}
@tab crotchet
@tab semiminima
- @tab noire
+ @tab noire / soupir
@item
@tab Viertel
@tab kwart
@item
@tab fjärdedel
@tab neljännesosa@-nuotti/@w{-tauko}
- @tab
-
-@item
+ @tab negra
@item @strong{eighth}
@tab quaver
@tab croma
- @tab croche
+ @tab croche / demi-soupir
@item
@tab Achtel
@tab achtste
@item
@tab åttondel
@tab kahdeksasosa@-nuotti/@w{-tauko}
- @tab
-
-@item
+ @tab corchea
@item @strong{sixteenth}
@tab semiquaver
@tab semicroma
- @tab double croche
+ @tab double croche / quart de soupir
@item
@tab Sechzehntel
@tab zestiende
@item
@tab sextondel
@tab kuudestoistaosa@-nuotti/@w{-tauko}
- @tab
-
-@item
+ @tab semicorchea
@item @strong{thirty-second}
@tab demisemiquaver
@tab biscroma
- @tab triple croche
+ @tab triple croche / huitième de soupir
@item
@tab Zweiunddreissigstel
@tab tweeendertigste
@item
@tab trettiotvåondel
@tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
- @tab
-
-@item
+ @tab fusa
@item @strong{sixty-fourth}
@tab hemidemisemiquaver
@tab semibiscroma
- @tab quadruple croche
+ @tab quadruple croche / seizième de soupir
@item
@tab Vierundsechzigstel
@tab vierenzestigste
@item
@tab sextiofjärdedel
@tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab
+ @tab semifusa
@end multitable
-@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
+
+
+
@node Pitch names
@chapter Pitch names
@item PITCH NAMES
@end table
-@multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-
-@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
-@item
-
-@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
-
-@item
-
-@item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
-cis @tab cis @tab cis
+@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+@c the extra @item's between each row makes the table hard to read ... so I removed them
-@item
+@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-@item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
-des @tab des @tab des
+@c TODO -- figure out how to make _real_ table headers in TeXinfo
-@item
+@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
+@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-@item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
+@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
+@tab c
-@item
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
+dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
-@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
+@tab Des @tab des @tab des @tab des @tab des
-@item
+@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
+@tab d @tab d
-@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
+@tab Es @tab es @tab es @tab es @tab es
-@item
+@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
+@tab e
-@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
+@tab f
-@item
+@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
+@tab g @tab g
-@item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
-@tab as @tab as
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
+@tab As @tab as @tab as @tab as @tab as
-@item
+@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
+@tab a
-@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
+dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
-@item
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
+@tab B @tab bes @tab b @tab b @tab b
-@item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
-ais @tab ais @tab ais
+@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
+@tab h
-@item
+@end multitable
-@item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
-@tab b @tab b
-@item
-@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
-@end multitable
+@menu
+* Literature used::
+@end menu
@node Literature used
-@unnumbered Literature used
+@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many more or less
-literal quotes from its articles have been included into the item
-explanation texts.
+@item The Harvard Dictionary of Music, London 1944. Many
+more or less literal quotes from its articles have been included into
+the item explanation texts.
@item Hugo Riemanns Musiklexicon, Berlin 1929.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
+1980.
-@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
-1974.
+@item Oxford Advanced Learner's Dictionary of Current English, Third
+Edition 1974.
@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+
@end itemize
@bye
projects / lilypond.git / blobdiff