Languages in this order.
@itemize
+@item UK - British English (where it differs from American English)
@item ES - Spanish
@item I - Italian
@item F - French
@item D - German
@item NL - Dutch
-@item UK - British English
@item DK - Danish
@item S - Swedish
@item FI - Finnish
@menu
* A::
+* a due::
* accent::
* accessory::
* accidental::
* beat::
* bind::
* brace::
+* bracket::
* brass::
* breath mark::
* breve::
* compound interval::
* compound meter::
* compound time::
+* concert pitch::
* conjunct movement::
* consonance::
* contralto::
* forefall::
* forte::
* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* lilypond::
* ligature::
* line::
+* loco::
* long appoggiatura::
* longa::
* lyrics::
* meter::
* metronome::
* metronomic indication::
+* metronome mark::
* mezzo-soprano::
* middle C::
* minor::
* non-legato::
* note::
* note head::
+* note names::
* note value::
+* octavation::
* octave sign::
* octave::
* ornament::
* ossia::
-* ottava::
* part::
* pause::
* pennant::
* quadruplet::
* quarter note::
* quarter rest::
+* quarter tone::
* quintuplet::
* rallentando::
* relative key::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
@ref{Pitch names}
+@node a due
+@section a due
+
+ES: ?,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}
+
+
@node accent
@section accent
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are
-used for connecting piano staves, angular brackets for connecting
-parts in an orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
@end lilypond
+@node bracket
+@section bracket
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
@node brass
@section brass
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
@ref{meter}.
+@node concert pitch
+@section concert pitch
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@itemize
+
+@item Woodwinds
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@item Brass
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@item Strings
+@itemize
+@item violin
+@item viola
+@item violincello
+@end itemize
+
+@item piano
+
+@end itemize
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double-bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+
+@ref{transposing instrument}.
+
+
@node conjunct movement
@section conjunct movement
@node eighth note
@section eighth note
+UK: quaver,
ES: corchea,
I: croma,
F: croche,
-UK: quaver,
D: Achtel, Achtelnote,
NL: achtste noot,
DK: ottendedelsnode,
@node eighth rest
@section eighth rest
+UK: quaver rest,
ES: silencio de corchea,
I: pausa di croma,
F: demi-soupir,
-UK: quaver rest,
D: Achtelpause,
NL: achtste rust,
DK: ottendedelspause,
indicated @samp{sul G}, another series to be played on the D string
would be indicated @samp{sul D}, and so on.
+@item
+With an octave indication (also called @emph{octavation}, q.v.) to indicate that
+a passage is to be played higher or lower by the given number of octaves.
+
@end itemize
@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
@node F
@ref{interval}.
+@node Frenched score
+@section Frenched score
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
+
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+
+@seealso
+
+@ref{Frenched staff}.
+
+
+@node Frenched staff
+@section Frenched staff
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
+measures or sections removed. This would be useful for producing, for example,
+an @emph{ossia} staff.
+
+@seealso
+
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The plural of @ref{Frenched staff}, @emph{q.v.}.
+
+
@node fugue
@section fugue
@node half note
@section half note
+UK: minim,
ES: blanca,
I: minima,
F: blanche,
-UK: minim,
D: Halbe, halbe Note,
NL: halve noot,
DK: halvnode,
@node half rest
@section half rest
+UK: minim rest,
ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
-UK: minim rest,
D: halbe Pause,
NL: halve, rust,
DK: halvnodespause,
@node laissez vibrer
-@section laisser vibrer
+@section laissez vibrer
ES: ?,
I: ?,
@node lilypond
@section lilypond
+UK: lily pond,
ES: estanque de nenúfares,
I: stagno del giglio,
-F: étang de lis,
-UK: lily pond,
+F: étang de nénuphars, étang de nymphéas,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
DK: liliedam,
@ref{staff}.
+@node loco
+@section loco
+
+ES: ?,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{place}]. Instruction to play the following passage at the
+written pitch. Cancels octavation (q.v.).
+
+@seealso
+
+@ref{octavation}.
+
+
@node long appoggiatura
@section long appoggiatura
@section melisma
ES: melisma,
+I: ?,
F: mélisme,
D: Melisma,
NL: melisma,
+DK: ?,
+S: ?,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural, from Greek: melismata) is a group of notes or tones
@c TODO: add languages
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
@seealso
@ref{extender line}.
@node mensural notation
@section mensural notation
-@c FIXME: add languages
+@c TODO: add languages
ES: ?,
I: ?,
@c TODO: add definition (inc. info on proportional notation)
-@c FIXME: add cross-references.
+@c TODO: add cross-references.
@node meter
Other than quadruple and sextuple meters, these other recurrence
patterns were not frequently used prior to the 20th Century.
-In addition to classification by @emph{tactus}, meters can be further
-classified by how the tactus is subdivided: in two, the meter is
-@emph{simple}; in three, the meter is @emph{compound}.
+In addition to classification by primary beat grouping, meters can be further
+classified by how the primary beat is subdivided: if in two, the meter is
+@emph{simple}; if in three, the meter is @emph{compound}.
@itemize
aes4 bes8 aes ges4 aes f8 es \bar "||"}
@end lilypond
-Compound duple meter:
+Compound duple meter (unknown):
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\relative c' {
\time 12/8
\key e \major
- b8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
e4 e8 fis( gis) a b4.~ b4 b8
\bar "||"}
@end lilypond
Device indicating the exact tempo of a piece.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a "metronome". The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+
@seealso
-@ref{metronomic indication}.
+@ref{metronome mark}.
@node metronomic indication
@section metronomic indication
+@seealso
+
+@ref{metronome mark}
+
+
+@node metronome mark
+@section metronome mark
+
ES: indicación metronómica,
I: indicazione metronomica,
F: indication métronomique,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}
@node mezzo-soprano
instrument.
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
@end lilypond
+@node octavation
+@section octavation
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The use of a phrase or abbreviation with an extender line or bracket to indicate
+that a passage is to be played in a different octave:
+
+@itemize
+
+@item @samp{15ma}: play two octaves higher
+@item @samp{8va}: play one octave higher
+@item @samp{8vb}: play one octave lower
+@item @samp{8va} written below the passage: same as @samp{8vb}
+@item @samp{15vb}: play two octaves lower
+@item @samp{15va} written below the passage: same as @samp{15vb}
+
+@end itemize
+
+Another practice, which may be useful for longer passages, is to indicate the
+different octave with a phrase at the beginning (see below). When the music
+returns to the written pitch, the octavation is cancelled with the word
+@emph{loco} (q.v.).
+
+To parallel the list above:
+
+@itemize
+
+@item @samp{15ma}: @emph{alla quindicesima (alta)}
+@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
+@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
+@item @samp{15vb}: @emph{alla quindicesima (bassa)}
+
+@end itemize
+
+@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
+
+@seealso
+
+@ref{interval}, @ref{loco}, @ref{octave}.
+
+
@node octave sign
@section octave sign
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Putting 8 or 15 above or below the clef to indicate that the entire part is
+played in the indicated octave: a clef-wide octavation. An octave sign can be
+applied to any clef, though it is most frequently used with the G and F clefs.
+
@seealso
@ref{G clef}, @ref{F clef}.
S: oktav,
FI: oktaavi.
+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octavation.
+
@seealso
-@ref{ottava}, @ref{interval}.
+@ref{interval}, @ref{octavation}.
@node ornament
of the music, for example for small hands.
-@node ottava
-@section ottava
-
-@c TODO: translations
-
-ES: ?,
-I: ottava,
-F: octave,
-DE: Oktavierung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-[From Italian] The interval of an octave, abbreviated 8va.
-
-@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
-@emph{8va} written above a passage indicates that it should be played
-an octave higher than written. @emph{Ottava bassa}, @emph{ottava
-sotto}, or @emph{8va} written below a passage indicates that it should
-be played an octave lower than written.
-
-@seealso
-
-@ref{interval}.
-
-
@node part
@section part
@node quarter note
@section quarter note
+UK: crotchet,
ES: negra,
I: semiminima, nera,
F: noire,
-UK: crotchet,
D: Viertel, Viertelnote,
NL: kwartnoot,
DK: fjerdedelsnode,
@node quarter rest
@section quarter rest
+UK: crotchet rest,
ES: silencio de negra,
I: pausa di semiminima,
F: soupir,
-UK: crotchet rest,
D: Viertelpause,
NL: kwart rust,
DK:@w{ }fjerdedelspause,
@ref{note value}.
+@node quarter tone
+@section quarter tone
+
+ES: ?,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: ?.
+
+An interval equal to half a semitone.
+
+@seealso
+
+@ref{interval}
+
+
@node quintuplet
@section quintuplet
ES: ?,
I: ?,
F: ?,
-UK: ?,
D: ?,
NL: ?,
DK: ?,
@node sixteenth note
@section sixteenth note
+UK: semiquaver,
ES: semicorchea,
I: semicroma,
F: double croche,
-UK: semiquaver,
D: Sechzehntel, Sechzehntelnote,
NL: zes@-ti@-ende noot,
DK: sekstendedelsnode,
@node sixteenth rest
@section sixteenth rest
+UK: semiquaver rest,
ES: silencio de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
-UK: semiquaver rest,
D: Sechzehntelpause,
NL: zestiende rust,
DK: sekstendedelspause,
@node sixty-fourth note
@section sixty-fourth note
+UK: hemidemisemiquaver,
ES: semifusa,
I: semibiscroma,
F: quadruple croche,
-UK: hemidemisemiquaver,
D: Vierundsechzigstel, Vierundsechzigstelnote,
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
@node sixty-fourth rest
@section sixty-fourth rest
+UK: hemidemisemiquaver rest,
ES: silencio de semifusa,
I: pausa di semibiscroma,
F: seizième de soupir,
-UK: hemidemisemiquaver rest,
D: Vierundsechzigstelpause,
NL: vierenzestigste rust,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
@node thirty-second note
@section thirty-second note
+UK: demisemiquaver,
ES: fusa,
I: biscroma,
F: triple croche,
-UK: demisemiquaver,
D: Zweiunddreissigstel, Zweiunddreissigstelnote,
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
@node thirty-second rest
@section thirty-second rest
+UK: demisemiquaver rest,
ES: silencio de fusa,
I: pausa di biscroma,
F: huitième de soupir,
-UK: demisemiquaver rest,
D: Zweiunddreissigstel@-pause,
NL: 32e rust,
DK: toogtredivtedelspause,
@ref{functional harmony}.
+@node transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+@item English horn (in F)
+@item Alto flute (in G)
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
+
+
@node transposition
@section transposition
@node whole note
@section whole note
+UK: semibreve,
ES: redonda,
I: semibreve,
F: ronde,
-UK: semibreve,
D: Ganze, ganze Note,
NL: hele noot,
DK: helnode,
@node whole rest
@section whole rest
+UK: semibreve rest,
ES: silencio de redonda,
I: pausa di semibreve,
F: pause,
-UK: semibreve rest,
D: ganze Pause, ganztaktige Pause,
NL: hele rust,
DK: helnodespause,
@node Duration names notes and rests
-@chapter Duration names, notes and rests
-
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .15 .26 .33 .26
-
-@item
- @tab @strong{UK}
- @tab @strong{I}
- @tab @strong{F (note name / rest name)}
-@item
- @tab @strong{D}
- @tab @strong{NL}
- @tab @strong{DK}
-@item
- @tab @strong{S}
- @tab @strong{FI}
- @tab @strong{ES}
+@chapter Duration names notes and rests
-@c extra @items make this table harder to read, so I removed them.
+@multitable @columnfractions .07 .23 .23 .23 .24
-@item @strong{longa}
- @tab longa
- @tab longa
- @tab longa
-@item
- @tab Longa
- @tab longa
- @tab longa
-@item
+@headitem @strong{US}
+ @tab long
+ @tab breve
+ @tab whole
+ @tab half
+@item @strong{UK}
@tab longa
+ @tab breve
+ @tab semibreve
+ @tab minim
+@item @strong{ES}
@tab longa
+ @tab cuadrada
+ @tab redonda
+ @tab blanca
+@item @strong{IT}
@tab longa
-
-@item @strong{breve}
- @tab breve
@tab breve
+ @tab semibreve
+ @tab minima
+@item @strong{FR}
+ @tab longa
@tab brève / double-pause
-@item
- @tab Brevis
- @tab brevis
- @tab brevis
-@item
- @tab brevis
- @tab brevis
- @tab cuadrada
-
-@item @strong{whole}
- @tab semi@-breve
- @tab semi@-breve
@tab ronde / pause
-@item
- @tab Ganze
- @tab hele
- @tab hel
-@item
- @tab hel
- @tab koko@-nuotti/@w{-tauko}
- @tab redonda
-
-@item @strong{half}
- @tab minim
- @tab minima
@tab blanche / demi-pause
-@item
+@item @strong{DE}
+ @tab Longa
+ @tab Brevis
+ @tab Ganze
@tab Halbe
+@item @strong{NL}
+ @tab longa
+ @tab brevis
+ @tab hele
@tab halve
+@item @strong{DK}
+ @tab longa
+ @tab brevis
+ @tab hel
@tab halv
-@item
+@item @strong{SE}
+ @tab longa
+ @tab brevis
+ @tab hel
@tab halv
+@item @strong{FI}
+ @tab longa
+ @tab brevis
+ @tab koko@-nuotti/@w{-tauko}
@tab puoli@-nuotti/@w{-tauko}
- @tab blanca
-@item @strong{quarter}
- @tab crotchet
- @tab semiminima
- @tab noire / soupir
-@item
- @tab Viertel
- @tab kwart
- @tab fjerdedel
-@item
- @tab fjärdedel
- @tab neljännesosa@-nuotti/@w{-tauko}
- @tab negra
+@end multitable
+
+@multitable @columnfractions .07 .31 .31 .31
-@item @strong{eighth}
+@headitem @strong{US}
+ @tab quarter
+ @tab eighth
+ @tab sixteenth
+@item @strong{UK}
+ @tab crotchet
@tab quaver
+ @tab semiquaver
+@item @strong{ES}
+ @tab negra
+ @tab corchea
+ @tab semicorchea
+@item @strong{IT}
+ @tab semiminima
@tab croma
+ @tab semicroma
+@item @strong{FR}
+ @tab noire / soupir
@tab croche / demi-soupir
-@item
+ @tab double* croche / quart de soupir
+@item @strong{DE}
+ @tab Viertel
@tab Achtel
- @tab achtste
- @tab ottendedel
-@item
- @tab åttondel
- @tab kahdeksasosa@-nuotti/@w{-tauko}
- @tab corchea
-
-@item @strong{sixteenth}
- @tab semiquaver
- @tab semicroma
- @tab double croche / quart de soupir
-@item
@tab Sechzehntel
+@item @strong{NL}
+ @tab kwart
+ @tab achtste
@tab zestiende
+@item @strong{DK}
+ @tab fjerdedel
+ @tab ottendedel
@tab sekstendedel
-@item
+@item @strong{SE}
+ @tab fjärdedel
+ @tab åttondel
@tab sextondel
+@item @strong{FI}
+ @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab kahdeksasosa@-nuotti/@w{-tauko}
@tab kuudestoistaosa@-nuotti/@w{-tauko}
- @tab semicorchea
-@item @strong{thirty-second}
- @tab demisemiquaver
- @tab biscroma
- @tab triple croche / huitième de soupir
-@item
- @tab Zweiunddreissigstel
- @tab tweeendertigste
- @tab toogtredivtedel
-@item
- @tab trettiotvåondel
- @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
- @tab fusa
+@end multitable
+
+* About the French naming system: the word @emph{croche} refers to the
+note's "hook". Therefore, from the eighth note on, the note names mean
+@q{hook}, @q{doubled hook}, @q{trebled hook}, and so on.
+
+The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
+rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
+a @emph{soupir}, and so on.
-@item @strong{sixty-fourth}
+@multitable @columnfractions .07 .46 .47
+
+@headitem @strong{US}
+ @tab thirty-second
+ @tab sixty-fourth
+@item @strong{UK}
+ @tab demisemiquaver
@tab hemidemisemiquaver
+@item @strong{ES}
+ @tab fusa*
+ @tab semifusa
+@item @strong{IT}
+ @tab biscroma
@tab semibiscroma
+@item @strong{FR}
+ @tab triple croche / huitième de soupir
@tab quadruple croche / seizième de soupir
-@item
+@item @strong{DE}
+ @tab Zweiunddreissigstel
@tab Vierundsechzigstel
+@item @strong{NL}
+ @tab tweeendertigste
@tab vierenzestigste
+@item @strong{DK}
+ @tab toogtredivtedel
@tab fireogtred@-sindstyvendedel
-@item
+@item @strong{SE}
+ @tab trettiotvåondel
@tab sextiofjärdedel
+@item @strong{FI}
+ @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
@tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab semifusa
@end multitable
+@multitable @columnfractions .07 .46 .47
-@node Pitch names
-@chapter Pitch names
-
-@table @code
-@item PITCH NAMES
-@end table
-
-@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
-
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
-
-@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{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
-
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
-
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
-
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
-
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
-
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
-
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
+@headitem @strong{US} @tab one-hundred-twenty-eighth
+ @tab two-hundred-fifty-sixth@item @strong{UK}
+ @tab semihemidemisemiquaver or
+ quasihemidemisemiquaver @tab demisemihemidemisemiquaver (?)
+@item @strong{IT}
+ @tab fusa*
+ @tab semifusa
+@item @strong{ES}
+ @tab garrapatea @tab semigarrapatea@item @strong{FR}
+ @tab quintuple croche / trente-deuxième de soupir @tab sextuple croche / soixante-quatrième de soupir@item @strong{DE}
+ @tab Hundertundachtundzwanzigstel @tab Zweihundertundsechsundfünfzigstel@item @strong{NL}
+ @tab ?
+ @tab ?
+@item @strong{DK}
+ @tab ?
+ @tab ?
+@item @strong{SE}
+ @tab ?
+ @tab ?
+@item @strong{FI}
+ @tab ?
+ @tab ?
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
+@end multitable
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
+* The terms @emph{fusa} and @emph{semifusa}, which derive from mensural notation
+(q.v), are used as note durations by the Italians and the Spanish, but for notes
+of different durations.
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
+@seealso
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
+@ref{mensural notation}
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
-@tab B @tab bes @tab b @tab b @tab b
-@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
-@tab h
+@node Pitch names
+@chapter Pitch names
+@c -is/-es endings for Danish per Rune Zedeler
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+
+@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
+@headitem EN
+ @tab ES @tab I @tab F @tab D
+ @tab NL @tab DK @tab S @tab FI
+@item @strong{c}
+ @tab do @tab do @tab ut @tab C
+ @tab c @tab c @tab c @tab c
+@item @strong{c-sharp}
+ @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+ @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat}
+ @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+ @tab des @tab des @tab dess @tab des
+@item @strong{d}
+ @tab re @tab re @tab ré @tab D
+ @tab d @tab d @tab d @tab d
+@item @strong{d-sharp}
+ @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+ @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat}
+ @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+ @tab es @tab es @tab ess @tab es
+@item @strong{e}
+ @tab mi @tab mi @tab mi @tab E
+ @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+ @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+ @tab fes @tab fes @tab fess @tab fes
+@item @strong{f}
+ @tab fa @tab fa @tab fa @tab F
+ @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+ @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+ @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp}
+ @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+ @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat}
+ @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+ @tab ges @tab ges @tab gess @tab ges
+@item @strong{g}
+ @tab sol @tab sol @tab sol @tab G
+ @tab g @tab g @tab g @tab g
+@item @strong{g-sharp}
+ @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+ @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat}
+ @tab la bemol @tab la bemolle @tab la bémol @tab As
+ @tab as @tab as @tab ass @tab as
+@item @strong{a}
+ @tab la @tab la @tab la @tab A
+ @tab a @tab a @tab a @tab a
+@item @strong{a-sharp}
+ @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+ @tab ais @tab ais @tab aiss @tab ais
+@item @strong{b-flat}
+ @tab si bemol @tab si bemolle @tab si bémol @tab B
+ @tab bes @tab b @tab b @tab b
+@item @strong{b}
+ @tab si @tab si @tab si @tab H
+ @tab b @tab h @tab h @tab h
@end multitable