-\input texinfo @c -*-texinfo-*-
-@settitle Music Glossary
+\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename music-glosssary.info
+@settitle Music Glossary
+
+@documentencoding UTF-8
+@documentlanguage en
+
+@afourpaper
-@dircategory GNU music project
+@c see lilypond.tely for info installation note
+@dircategory LilyPond
@direntry
-* Glossary: (lilypond/music-glossary). Glossary of music terms.
+* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
@ifhtml
-This document is also available in @uref{music-glossary.ps.gz,gzipped
-PostScript} and @uref{music-glossary.pdf,PDF}.
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
@end ifhtml
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@c Danish glossary
-@author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
+@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'
-
-
-Copyright @copyright{} 1999--2004 by the authors
+@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
+@c Updates to the German translation by Till Rettig, 12/07
+Copyright @copyright{} 1999--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
-@c FIXME: multiple omfcreators?
+@c TODO: multiple omfcreators?
@ignore
@omfcreator Christian Mondrup
@omfdescription Glossary of musical terms with translations
@ifnottex
@node Top
-@top
-@chapter Music Glossary
-@menu
-@end menu
+@top Music glossary
@end ifnottex
+
@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--2004 by the authors
-
+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 ifnottex
@c @pagesizes 10.3in
@include macros.itexi
-
-@ignore
-We do not use refs for Info:
-
- @w{@arrow{}\word\}@c vs:
- @w{@arrow{}@pxref{\word\}}@c
-
-they look too intrusive (says Han-Wen).
-@end ignore
-
-
@c arrowref
@macro aref{word}
@iftex
-@w{@arrow{}@strong{\word\}}@c
+@w{@expansion{}@strong{\word\}}@c
@end iftex
-@ifhtml
-@arrow{}@ref{\word\, @strong{\word\}}@c
-@end ifhtml
-@ifinfo
-@w{@arrow{}\word\}@c
-@end ifinfo
+@ifnottex
+@expansion{}@ref{\word\, @strong{\word\}}@c
+@end ifnottex
@end macro
+@menu
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
+@end menu
-@c If we want hypelinks, we must add anchors.
-@c Hmm, we need the @achor command in the item description itself
-@c (not before or after) to get mozilla jump to the right place.
-@c anchoritem
-@macro aitem{word}
-@item \word\@anchor{\word\}
-@end macro
-@macro aitemii{one,two}
-@item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
-@end macro
-@macro aitemiii{one,two,three}
-@item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
-@end macro
-
+@node Musical terms A-Z
+@chapter Musical terms A-Z
+Languages in this order.
@itemize
@item ES - Spanish
@item I - Italian
@item FI - Finnish
@end itemize
-This is an example reference, that points you to the @aref{accent}
-entry.
+@menu
+* A::
+* a due::
+* accent::
+* accessory::
+* accidental::
+* accelerando::
+* acciaccatura::
+* adagio::
+* allegro::
+* alteration::
+* alto::
+* alto clef::
+* ambitus::
+* anacrusis::
+* ancient minor scale::
+* andante::
+* appoggiatura::
+* arpeggio::
+* articulation::
+* ascending interval::
+* augmented interval::
+* autograph::
+* B::
+* backfall::
+* bar::
+* bar line::
+* baritone::
+* baritone clef::
+* bass clef::
+* bass::
+* beam::
+* beat::
+* bind::
+* brace::
+* bracket::
+* brass::
+* breath mark::
+* breve::
+* C::
+* C clef::
+* cadence::
+* cadenza::
+* canon::
+* cent::
+* central C::
+* chord::
+* chromatic scale::
+* chromaticism::
+* church mode::
+* clef::
+* cluster::
+* comma::
+* common meter::
+* common time::
+* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
+* conjunct movement::
+* consonance::
+* contralto::
+* counterpoint::
+* counter tenor::
+* copying music::
+* crescendo::
+* cue-notes::
+* custos::
+* D::
+* da capo::
+* dal segno::
+* decrescendo::
+* descending interval::
+* diatonic scale::
+* diminished interval::
+* diminuendo::
+* direct::
+* disjunct movement::
+* dissonance::
+* dissonant interval::
+* dominant ninth chord::
+* dominant seventh chord::
+* dominant::
+* dorian mode::
+* dot (augmentation dot)::
+* dotted note::
+* double appoggiatura::
+* double bar line::
+* double dotted note::
+* double flat::
+* double sharp::
+* double time signature::
+* double trill::
+* duple meter::
+* 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::
+* fingering::
+* flag::
+* flat::
+* forefall::
+* forte::
+* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
+* fugue::
+* functional harmony::
+* G::
+* G clef::
+* glissando::
+* grace notes::
+* grand staff::
+* grave::
+* gruppetto::
+* H::
+* half note::
+* half rest::
+* harmonic cadence::
+* harmony::
+* hemiola::
+* homophony::
+* interval::
+* inverted interval::
+* just intonation::
+* key::
+* key signature::
+* laissez vibrer::
+* largo::
+* leading note::
+* ledger line::
+* legato::
+* legato curve::
+* leger line::
+* lilypond::
+* ligature::
+* line::
+* long appoggiatura::
+* longa::
+* lyrics::
+* lyric tie::
+* major interval::
+* major::
+* meantone temperament::
+* measure::
+* mediant::
+* melisma::
+* melisma line::
+* melodic cadence::
+* mensural notation::
+* meter::
+* metronome::
+* metronomic indication::
+* metronome mark::
+* mezzo-soprano::
+* middle C::
+* minor::
+* minor interval::
+* mode::
+* modulation::
+* mordent::
+* motif::
+* motive::
+* movement::
+* multi-measure rest::
+* mixolydian mode::
+* natural::
+* neighbour tones::
+* ninth::
+* non-legato::
+* note::
+* note head::
+* note names::
+* note value::
+* octave sign::
+* octave::
+* ornament::
+* ossia::
+* ottava::
+* part::
+* pause::
+* pennant::
+* percussion::
+* perfect interval::
+* phrase::
+* phrasing::
+* pickup::
+* piano::
+* pitch::
+* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
+* polyphony::
+* portato::
+* presto::
+* proportion::
+* Pythagorean comma::
+* quadruplet::
+* quarter note::
+* quarter rest::
+* quintuplet::
+* rallentando::
+* relative key::
+* repeat::
+* rest::
+* rhythm::
+* ritardando::
+* ritenuto::
+* scale::
+* scale degree::
+* scordatura::
+* score::
+* second::
+* semitone::
+* seventh::
+* sextolet::
+* sextuplet::
+* shake::
+* sharp::
+* simple meter::
+* sixteenth note::
+* sixteenth rest::
+* sixth::
+* sixty-fourth note::
+* sixty-fourth rest::
+* slur::
+* solmization::
+* sonata::
+* sonata form::
+* song texts::
+* soprano::
+* staccato::
+* staff::
+* staves::
+* stem::
+* strings::
+* strong beat::
+* subdominant::
+* submediant::
+* subtonic::
+* sul G::
+* superdominant::
+* supertonic::
+* symphony::
+* syncopation::
+* syntonic comma::
+* system::
+* temperament::
+* tempo indication::
+* tenor::
+* tenth::
+* tenuto::
+* third::
+* thirty-second note::
+* thirty-second rest::
+* thorough bass::
+* tie::
+* time::
+* time signature::
+* tone::
+* tonic::
+* transposing instrument::
+* transposition::
+* treble clef::
+* tremolo::
+* triad::
+* trill::
+* triple meter::
+* triplet::
+* tritone::
+* tuning fork::
+* tuplet::
+* turn::
+* unison::
+* upbeat::
+* voice::
+* weak beat::
+* whole note::
+* whole rest::
+* whole tone::
+* woodwind::
+@end menu
-@table @strong
+@node A
+@section A
-@aitem{A}
ES: la,
I: la,
F: la,
S: a,
FI: A, a.
-@aitem{accent}
+@seealso
+
+@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
+
ES: acento,
I: accento,
F: accent,
The stress of one tone over others.
-@c F: how to distinguish between accidental and key-sig alteration?
-@aitem{accidental}
-ES: alteraci@'on,
-I: alterazione, accidente,
-F: alt@'eration
-D: Vorzeichen, Versetzungszeichen,
-NL: voorteken,
-DK: l@o{}st fortegn,
-S: tillf@"alligt f@"ortecken,
-FI: tilap@"ainen etumerkki.
+@node accessory
+@section accessory
+
+@seealso
-@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
-@c Akzidenz, NL: toevallig teken, I: accidento.
+@ref{ornament}.
-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 lowers it by a whole tone. A natural cancels the effect of a previous
-accidental.
-@lilypond[notime]
+@node accidental
+@section accidental
+
+ES: alteración accidental,
+I: accidento,
+F: altération accidentelle,
+D: Versetzungszeichen, Akzidenz,
+NL: toevallig (verplaatsings)teken,
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.
+
+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, or a sharp or flat in the key signature.
+
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- gis1 s s gisis s s ges s s geses s s 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
-@aitem{accelerando}
-ES: acelerando,
+
+@node accelerando
+@section accelerando
+
+ES: accelerando,
I: accelerando,
-F: accelerando, en acc@'el@'erant,
+F: accelerando, en accélérant,
D: accelerando, schneller werden,
NL: accelerando,
DK: accelerando,
S: accelerando,
-FI: accelerando, kiihdytt@"aen.
+FI: accelerando, kiihdyttäen.
Increase tempo.
-@aitem{adagio}
+
+@node acciaccatura
+@section acciaccatura
+
+A grace note which takes its time from the rest or note preceding the
+principal note to which it is attached. The acciaccatura is drawn as a
+small eighth note (quaver) with a line drawn through the flag and
+stem.
+
+@seealso
+
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+
+@node adagio
+@section adagio
+
ES: adagio,
I: adagio,
F: adagio, lent,
S: adagio,
FI: adagio, hitaasti.
-It. comfortable, easy.
-1. Slow tempo, slower -- especially in even meter -- than
-@aref{andante} and faster than @aref{largo}.
-2. A movement in slow tempo, especially the second (slow) movement of
-@aref{sonata}s, symphonies, etc.
+It.@: comfortable, easy.
+
+@itemize
+
+@item Slow tempo, slower -- especially in even meter -- than
+@ref{andante} and faster than @ref{largo}.
+
+@item A movement in slow tempo, especially the second (slow) movement
+of @ref{sonata}s, symphonies, etc.
+
+@end itemize
+
+
+@node allegro
+@section allegro
-@aitem{allegro}
ES: allegro,
I: allegro,
F: allegro,
-D: Allegro, Schnell, Fr@"ohlich, Lustig,
+D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: 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}.
+It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
+tempo, especially the first and last movements of a @ref{sonata}.
+
+
+@node alteration
+@section alteration
+
+ES: alteración,
+I: alterazione,
+F: altération,
+D: Alteration,
+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 @ref{accidental}.
+
+
+@node alto
+@section alto
-@aitem{alto}
ES: alto,
I: contralto,
-F: alto, D: Alt,
+F: alto,
D: Alt,
NL: alt,
DK: alt,
S: alt,
-FI: altto, matala nais@"a@"ani.
+FI: altto, matala naisääni.
-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}.
+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 @ref{counter tenor}.
+
+
+@node alto clef
+@section alto clef
-@aitem{alto clef}
ES: clave de do en tercera,
I: chiave di contralto,
-F: clef d'ut troisi@`eme ligne,
-D: Altschl@"ussel, Bratschenschl@"ussel,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,
NL: alt sleutel,
-DK: altn@o{}gle,
+DK: altnøgle,
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}.
-@aitem{ambit}
-ES: ambitus,
+
+@node ambitus
+@section ambitus
+
+ES: ámbito,
I: ambitus,
F: ambitus,
-D: ambitus,
+D: Ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
-FI: ambitus, @"a@"aniala, soitinala.
+FI: ambitus, ääniala, soitinala.
-The term ambit (from latin: ambitus, plural: ambitus) denotes a range
-of pitches for a given voice in a part of music. It also may denote
+The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
+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.
-@aitem{ancient minor scale}
+
+@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, trois@`eme mode, mode hell@'enique
-D: reines Moll,
+F: forme du mode mineur ancien, troisème mode, mode hellénique,
+D: reines Moll, natürliches Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@lilypond[notime]
+@seealso
+
+@ref{diatonic scale}.
+
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
a1 b c d e f g a }
@end lilypond
-@aitem{andante}
+
+@node andante
+@section andante
+
ES: andante,
I: andante,
F: andante,
NL: andante,
DK: andante,
S: andante,
-FI: andante, k@"ayden.
+FI: andante, käyden.
Walking tempo/character.
-@aitem{appoggiatura}
+
+@node appoggiatura
+@section appoggiatura
+
ES: apoyatura,
I: appoggiatura,
-F: appogiature, (port de voix),
-D: Vorschlag,
+F: appoggiature, (port de voix),
+D: Vorschlag, Vorhalt
NL: voorslag,
DK: forslag,
-S: f@"orslag,
+S: förslag,
FI: appoggiatura, etuhele.
-Ornamental note, usually a second, that is melodically connected with the main
-note that follows 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.
+Ornamental note, usually a second, that is melodically connected with
+the 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
-\context Voice \notes\relative c'' {
-\key d \major
-\time 4/4
+@lilypond[line-width=13.0\cm]
+\context Voice \relative c'' {
+ \key d \major
+ \time 4/4
-%\override Score.TextScript #'font-style = #'large
-<d a fis>4_"notation" r
-{ \override Stem #'flag-style = #'()
- \grace g16
- \revert Stem #'flag-style
- }
-fis8 e16 fis
-{ \override Stem #'flag-style = #'()
- \grace a16
- \revert Stem #'flag-style
+%\override Score.TextScript #'font-style = #'large
+ <d a fis>4_"notation" r
+ { \override Stem #'flag-style = #'()
+ \grace g16
+ \revert Stem #'flag-style
+ }
+ fis8 e16 fis
+ { \override Stem #'flag-style = #'()
+ \grace a16
+ \revert Stem #'flag-style
}
-g8 fis16 g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
-<d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
+ g8 fis16 g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+
+ <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+}
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond
-\notes\relative c'' {
+@lilypond[line-width=13.0\cm]
+\relative c'' {
\key as \major
\time 2/4
-% \override Score.TextScript #'font-style = #'large
+% \override Score.TextScript #'font-style = #'large
\grace { bes16 } as8_"notation" as16 bes as8 g |
\grace { as16[( bes] } < c as >4-)
\grace { as16[( bes] } < c as >4-) \bar "||"
}
@end lilypond
-@aitem{arpeggio}
+
+@node arpeggio
+@section arpeggio
+
ES: arpegio,
I: arpeggio,
-F: arp@`ege,
-D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
+F: arpège,
+D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment,line-width=13.0\cm]
+ \context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
>>
@end lilypond
-@aitem{ascending interval}
-ES: Intervalo ascendente,
+
+@node articulation
+@section articulation
+
+ES: articulación,
+I: articulazione,
+F: articulation,
+D: Artikulation,
+NL: articulatie,
+DK: ?,
+S: ?,
+FI: artikulaatio, ilmaisu.
+
+Articulation refers to notation which indicates how a note or notes
+should be played. Slurs, accents, staccato, and legato are all
+examples of articulation.
+
+
+@node ascending interval
+@section ascending interval
+
+ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
A distance between a starting lower note and a higher ending note.
-@aitem{augmented interval}
+
+@node augmented interval
+@section augmented interval
+
ES: intervalo aumentado,
I: intervallo aumentato,
-F: intervalle augment@'e,
-D: @"uberm@"a@ss{}iges Intervall,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
NL: overmatig interval,
-DK: forst@o{}rret interval,
-S: @"overstigande intervall,
+DK: forstørret interval,
+S: överstigande intervall,
FI: ylinouseva intervalli.
-@aref{interval}.
+@seealso
-@aitem{autograph }
+@ref{interval}.
+
+
+@node autograph
+@section autograph
+
+ES: manuscrito,
I: autografo,
-F: manuscrit,
+F: manuscrit, autographe
D: Autograph, Handschrift,
NL: manuscript,
-DK: h@aa{}ndskrift, autograf,
+DK: håndskrift, autograf,
S: handskrift,
-FI: k@"asinkirjoitettu nuotti.
+FI: käsinkirjoitettu nuotti.
+
+@itemize
+
+@item A manuscript in the composer's own hand.
+
+@item Music prepared for photoreproduction by freehand drawing, with
+the aid of a straightedge ruler and T-square only, which attempts to
+emulate engraving. This required more skill than did engraving.
+
+@end itemize
+
-1. A manuscript in the composer's own hand.
-2. Music prepared for photoreproduction by freehand drawing,
-with only the aid of a straightedge ruler and T-square,
-which attempts to emulate engraving.
-This required more skill than did engraving.
+@node B
+@section B
-@aitem{B}
ES: si,
I: si,
F: si,
S: h,
FI: H, h.
-@aitemii{backfall,forefall}
-@aref{appoggiatura}.
+@seealso
-@aitem{bar line}
-ES: ?,
+@ref{Pitch names}
+
+
+@node backfall
+@section backfall
+
+@seealso
+
+@ref{appoggiatura}.
+
+
+@node bar
+@section bar
+
+@seealso
+
+@ref{measure}.
+
+
+@node bar line
+@section bar line
+
+ES: barra, línea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
S: taktstreck,
FI: tahtiviiva.
-@aitem{bar}
-ES: comp@'as, @aref{measure}.
-@aitem{baritone}
-ES: bar@'{@dotless{i}}tono,
+@node baritone
+@section baritone
+
+ES: barítono,
I: baritono,
F: bariton,
D: Bariton,
NL: bariton,
DK: baryton,
S: baryton,
-FI: baritoni, keskikorkuinen mies@"a@"ani.
+FI: baritoni, keskikorkuinen miesääni.
+
+The male voice intermediate between the @ref{bass} and the
+@ref{tenor}.
-The male voice intermediate between the @aref{bass} and the
-@aref{tenor}.
+@c F: clef de troisième ligne dropped
-@c F: clef de troisi@`eme ligne dropped
-@aitem{baritone clef}
+@node baritone clef
+@section baritone clef
+
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
-D: Baritonschl@"ussel,
+F: clef d' Ut cinquième ligne, clef de Fa troisième,
+D: Baritonschlüssel,
NL: baritonsleutel,
-DK: barytonn@o{}gle,
+DK: barytonnøgle,
S: barytonklav,
FI: baritoniavain.
C or F clef setting middle C on the upper staff line.
-@aref{C clef}, @aref{F clef}.
-@aitem{bass 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: cl@'e de fa quatri@`eme ligne,
-D: Bassschl@"ussel,
+F: clef de fa quatrième ligne,
+D: Bassschlüssel,
NL: bassleutel,
-DK: basn@o{}gle,
+DK: basnøgle,
S: basklav,
FI: bassoavain.
A clef setting with middle C on the first top ledger line.
-@aref{F clef}.
-@aitem{bass}
+@seealso
+
+@ref{F clef}.
+
+
+@node bass
+@section bass
+
+ES: bajo,
I: basso,
F: basse,
D: Bass,
NL: bas,
DK: bas,
S: bas,
-FI: basso, matala mies@"a@"ani.
+FI: basso, matala miesääni.
+
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize
+
+@seealso
-1. The lowest of men's voices.
-2. Sometimes, especially in jazz music, used as
-an abbreviation for double bass.
-@aref{strings}.
+@ref{strings}.
-@aitem{beam}
+
+@node beam
+@section beam
+
+ES: barra
I: coda,
F: barre,
D: Balken,
NL: waardestreep,
-DK: bj@ae{}lke,
+DK: bjælke,
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note).
-The number of beams determine the note value of the connected notes.
+Line connecting a series of notes (shorter than a quarter note). The
+number of beams determines the note value of the connected notes.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override TextScript #'font-style = #'large
+\relative c'' {
g8_"1/8"[ g g g] s16
g16_"1/16"[ g g g] s16
g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
-@aitem{beat}
-ES: tiempo,
+@seealso
+
+@ref{feathered beam}.
+
+
+@node beat
+@section beat
+
+ES: tiempo, parte (de compás)
I: tempi,
F: temps,
D: Takt, Taktschlag, Zeit (im Takt),
S: taktslag,
FI: aika-arvo.
-Note value used for counting, most often half-, fourth-, and eighth notes.
-The base counting value and the number of them per measure is indicated at
-the start of the music.
+Note value used for counting, most often half-, fourth-, and eighth
+notes. The base counting value and the number of them per measure is
+indicated at the start of the music.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
-\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\relative c'' { g4 c b a | g1 \bar "||"}
\time 3/8
-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
-@aitem{bind}
-@aref{tie}.
-@aitem{brace}
+@node bind
+@section bind
+
+@seealso
+
+@ref{tie}.
+
+
+@node brace
+@section brace
+
ES: llave, corchete,
I: graffa,
F: accolade,
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
-FI: yhdist@"av@"a sulkumerkki.
+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.
-@lilypond
-\notes\context GrandStaff <<
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
+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 = SA { \clef treble g4 e c2 }
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
+@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
- \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+ \relative c'' \context Staff = SA { \clef treble g4 e c2 }
+ \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@aitem{brass}
+
+@node bracket
+@section bracket
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
+@node brass
+@section brass
+
ES: metales,
I: ottoni,
-D: Blechbl@"aser,
+D: Blechbläser,
NL: koper (blazers),
F: cuivres,
-DK: messingbl@ae{}sere,
-S: brassinstrument, m@"assingsinstrument,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
-A family of blown musical instruments made of brass all using a cup formed
-mouth piece. The brass instruments commonly used in a symphony orchestra are
-trumpet, trombone, french horn, and tube.
+A family of blown musical instruments made of brass, all using a cup
+formed mouth piece. The brass instruments commonly used in a symphony
+orchestra are trumpet, trombone, french horn, and tube.
+
+
+@node breath mark
+@section breath mark
-@aitem{breath mark}
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
NL: repercussieteken,
-DK: vejrtr@ae{}kningstegn,
+DK: vejrtrækningstegn,
S: andningstecken,
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
-@aitem{breve}
-ES: breve,
+@node breve
+@section breve
+
+ES: cuadrada, breve,
I: breve,
-F: br@`eve,
+F: brève,
D: Brevis,
NL: brevis,
DK: brevis,
S: brevis,
FI: brevis.
-@aref{note value} twice as long as a whole note. Mainly used
-in pre-1650 music.
+@ref{note value}, twice as long as a whole note. Mainly used in
+pre-1650 music. The shortest note value generally used in white
+mensural notation, hence the name, which originally meant "of short
+duration".
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }
@end lilypond
-@aitem{C}
+
+@node C
+@section C
+
ES: do,
I: do,
F: ut,
S: c,
FI: C, c.
-@aitem{C clef}
-ES: Clave de do,
+@seealso
+
+@ref{Pitch names}
+
+
+@node C clef
+@section C clef
+
+ES: clave de do,
I: chiave di do,
-F: cl@'e d'ut,
-D: C-Schl@"ussel,
+F: clef d'ut,
+D: C-Schlüssel,
NL: C-sleutel,
-DK: c-n@o{}gle,
+DK: c-nøgle,
S: c-klav,
FI: C-avain.
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[notime]
+@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
-\addlyrics
-\context Staff \notes\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
-}
+\override Score.Clef #'full-size-change = ##t
+<<
+ \context Staff \relative c' {
+ \clef soprano c1
+ \clef mezzosoprano c
+ \clef alto c
+ \clef tenor c
+ \clef baritone c
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+ }
+>>
@end lilypond
-@aitem{cadence}
+
+@node cadence
+@section cadence
+
ES: cadencia,
I: cadenza,
F: cadence,
S: kadens,
FI: kadenssi, lopuke.
-@aref{harmonic cadence}, @aref{functional harmony}.
+@seealso
+
+@ref{harmonic cadence}, @ref{functional harmony}.
+
+
+@node cadenza
+@section cadenza
-@aitem{cadenza}
ES: cadenza,
I: cadenza,
F: cadence,
FI: kadenssi, lopuke.
An extended, improvisatory style section inserted near the end of
-movement. The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise. Since
-the middle of the 19th century, however, most cadences have been written down
-by the composer.
+movement. The purpose of a cadenza is to give singers or players a
+chance to exhibit their technical skill and -- not last -- their
+ability to improvise. Since the middle of the 19th century, however,
+most cadenzas have been written down by the composer.
+
+
+@node canon
+@section canon
-@aitem{canon}
ES: canon,
I: canone,
F: canon,
NL: canon,
DK: kanon,
S: kanon,
-FI: kaanon, tarkka j@"aljittely.
+FI: kaanon, tarkka jäljittely.
+
+@seealso
+
+@ref{counterpoint}.
-@aref{counterpoint}.
-@aitem{cent}
+@node cent
+@section cent
+
ES: cent,
I: cent,
F: cent,
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
+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 @ref{semitone}).
+
+@seealso
+
+@ref{equal temperament}.
-Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
-equally tempered @aref{semitone}).
-@aref{equal temperament}.
-@aitem{central C}
-@aref{middle C}.
+@node central C
+@section central C
+
+@seealso
+
+@ref{middle C}.
+
+
+@node chord
+@section chord
-@aitem{chord}
ES: acorde,
I: accordo,
F: accord,
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)
-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
-third above the lower notes to define their quality as major or minor. Such
-chords are denoted open chords
+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 (@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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\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
+%\override TextScript #'font-style = #'large
+<<
+\context Staff \relative c'' {
+ \set Staff.extraNatural = ##f
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
}
-\context Lyrics \lyrics{
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "major " "minor " "diminished " "augmented "
- "seventh-chord " "ninth-chord "
+\lyrics{
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
}
+>>
@end lilypond
-@aitem{chromatic scale}
-ES: escala crom@'atica,
+
+@node chromatic scale
+@section chromatic scale
+
+ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
-D: chromatische Tonleiter,
+D: chro@-ma@-ti@-sche Tonleiter,
NL: chromatische toonladder,
DK: kromatisk skala,
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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
-@aitem{chromaticism}
+
+@node chromaticism
+@section chromaticism
+
ES: cromatismo,
I: cromatismo,
F: chromatisme,
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
-@aitemii{church mode,ecclesiastical mode}
-ES: modo eclesi@'astico,
+ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode eccl@'esiastique,
+F: mode ecclésiastique,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
-FI: moodi, kirkkos@"avellaji.
+FI: moodi, kirkkosävellaji.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
+
+@node clef
+@section clef
-@aitem{clef}
ES: clave,
I: chiave,
-F: cl@'e, clef,
-D: Schl@"ussel, Notenschl@"ussel,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,
NL: sleutel,
-DK: n@o{}gle,
+DK: nøgle,
S: klav,
FI: avain, nuottiavain.
-@aref{C clef}, @aref{F clef}, @aref{G clef}.
+@seealso
-@aitem{cluster}
+@ref{C clef}, @ref{F clef}, @ref{G clef}.
-A @emph{cluster} is a range of simultaneously sounding pitches that
+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,
+I: ?,
+F: ?,
+D: Cluster,
+NL: ?,
+DK: ?,
+S: ?,
+FI: klusteri, cluster.
+
+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
typically consists of a continuous range of the semitones as provided
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[relative=1,verbatim]
- \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
+@lilypond[fragment,relative=2,ragged-right]
+\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
-@aitem{comma}
+@node comma
+@section comma
+
+ES: coma, comma,
I: comma,
F: comma,
D: Komma,
NL: komma,
DK: komma,
S: komma,
-FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
+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.
+
+@seealso
+
+@ref{temperament}.
+
+
+@node common meter
+@section common meter
+
+@ref{common time}
+
+@seealso
+
+@ref{meter}.
+
-Difference in pitch between a note derived from pure tuning and the same note
-derived from some other tuning method. @aref{temperament}.
+@node common time
+@section common time
-@aitem{common meter}
-@aref{meter}.
+4/4 time. The symbol, which resembles a capital letter C derives from
+mensural notation (q.v.).
+
+@seealso
+
+@ref{meter}.
+
+
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+
+@node compound interval
+@section compound interval
-@aitem{compound interval}
ES: intervalo compuesto,
I: intervallo composto,
-F: intervalle compos@'e,
+F: intervalle composé,
D: weites Intervall,
NL: samengesteld interval,
DK: sammensat interval,
Intervals larger than an octave.
-@aref{interval}.
+@seealso
-@aitem{complement}
-I: rivolto,
-F: intervalle compl@'ementaire,
-D: Komplement@"arintervall,
-NL: complementair interval,
-DK: komplement@ae{}rinterval,
-S: komplement@"arintervall (?),
-FI: t@"aydent@"av@"a intervalli.
+@ref{interval}.
+
+
+@node compound meter
+@section compound meter
-@aref{inverted interval}.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
+
+@seealso
+
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@ref{compound meter}
+
+@seealso
+
+@ref{meter}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+FIXME: this is a placeholder
+
+
+@node conjunct movement
+@section conjunct movement
-@aitem{conjunct movement}
ES: movimiento conjunto,
I: moto congiunto,
F: mouvement conjoint,
-D: schrittweise, stufenweise Bewegung,
+D: schritt@-weise, stufenweise Bewegung,
NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bev@ae{}gelse,
-S: stegvis r@"orelse,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
FI: asteittainen liike.
-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second. The opposite of a
+@ref{disjunct movement}.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\key g \major \time 4/4
-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
-@aitem{consonance}
+
+@node consonance
+@section consonance
+
ES: consonancia,
I: consonanza,
F: consonance,
S: konsonans,
FI: konsonanssi, sopusointi.
-@aref{harmony}.
+@seealso
+
+@ref{harmony}.
+
+
+@node contralto
+@section contralto
-@aitem{contralto}
ES: contralto,
I: contralto,
F: contralto,
S: alt,
FI: kontra-altto.
-@aref{alto}.
+@seealso
+
+@ref{alto}.
+
+
+@node counterpoint
+@section counterpoint
-@aitem{counterpoint}
ES: contrapunto,
I: contrappunto,
F: contrepoint,
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
-FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
-
-From latin @emph{punctus contra punctum}, note against note. The combination
-into a single musical fabric of lines or parts which have distinct melodic
-significance. A frequently used polyphonic technique is imitation, in its
-strictest form found in the canon needing only one part to be written down
-while the other parts are performed with a given displacement. Imitation is
-also the contrapunctal technique used in the @emph{fugue} which, since the
-music of the baroque era, has been one of the most popular polyphonic
-composition methods.
-
-@lilypond[staffsize=11]
-\set Score.TimeSignature =\turnOff
-\notes\context PianoStaff <<
+FI: kontrapunkti, ääni ääntä vastaan.
+
+From Latin @emph{punctus contra punctum}, note against note. The
+combination into a single musical fabric of lines or parts which have
+distinct melodic significance. A frequently used polyphonic technique
+is imitation, in its strictest form found in the canon needing only
+one part to be written down while the other parts are performed with a
+given displacement. Imitation is also the contrapunctal technique
+used in the @emph{fugue} which, since the music of the baroque era,
+has been one of the most popular polyphonic composition methods.
+
+@lilypond[fragment,staffsize=12,line-width=13.0\cm]
+\set Score.implicitTimeSignatureVisibility = #all-invisible
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
>>
@end lilypond
-@aitem{counter tenor}
+
+@node counter tenor
+@section counter tenor
+
ES: contratenor,
I: controtenore,
F: contre-tenor,
-D: Countertenor,
+D: Countertenor, Kontratenor,
NL: contratenor,
DK: kontratenor,
S: kontratenor, counter tenor,
FI: kontratenori.
-@aref{contralto}.
+@seealso
+
+@ref{contralto}.
+
+
+@node copying music
+@section copying music
-@aitem{Copying, Music}
-A music copyist did fast freehand scores and parts on preprinted staff lines
-for performance. Some of their conventions (e.g., the placement of note heads
-on stems) varied slightly from those of engravers. Some of their working
-methods were superior and could well be adopted by music typesetters. This
-required more skill than engraving.
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance. Some of their conventions (e.g., the placement
+of note heads on stems) varied slightly from those of engravers. Some
+of their working methods were superior and could well be adopted by
+music typesetters. Copying music required more skill than engraving.
+
+
+@node crescendo
+@section crescendo
-@aitem{crescendo}
ES: crescendo,
I: crescendo,
F: crescendo,
S: crescendo,
FI: cresendo, voimistuen.
-Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation ``cresc.''.
+Increasing volume. Indicated by a rightwards opening horizontal wedge
+or the abbreviation @samp{cresc.}.
-@lilypond
+@lilypond[fragment,ragged-right]
\key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
+\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
-@aitem{cue-notes}
-ES: notas guia,
+
+@node cue-notes
+@section cue-notes
+
+ES: notas guía,
I: notine,
-F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
+F: petites notes précédent l'entrée d'un instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
S: inprickningar,
FI: vihjenuotit.
-In a separate part notes belonging to another part with the purpose of hinting
-when to start playing. Usually printed in a smaller type.
+In a separate part notes belonging to another part with the purpose of
+hinting when to start playing. Usually printed in a smaller type.
+
-@aitem{custos}
+@node custos
+@section custos
-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
-helps the player or singer to manage line breaks during performance,
-thus enhancing readability of a score.
+ES: ?,
+I: ?,
+F: guidon,
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A custos (plural: custodes) is a staff symbol that appears at the end
+of a staff line with monophonic musical contents (i.e., with a single
+voice). It anticipates the pitch of the first note of the following
+line and thus helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.
Custodes were frequently used in music notation until the 16th
century. There were different appearences for different notation
styles. Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning
of the 20th century
@lilypond
\score {
- \notes {
-% \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #-1
+ {
+% \override Staff.Custos #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #down
+ \override Staff.Custos #'style = #'hufnagel
+ c'1 \break
+ <d' a' f''>1
+ }
- \override Staff.Custos #'style = #'hufnagel
- c'1
- \break < d' a' f''>1
- }
- \paper {
- \context {
- \StaffContext
- \consists Custos_engraver
- }
- raggedright = ##t
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
}
+ ragged-right = ##t
+ }
}
@end lilypond
-
-@aitem{D}
-ES: Re,
+
+
+@node D
+@section D
+
+ES: re,
I: re,
-F: r@'e,
+F: ré,
D: D, d,
NL: d,
DK: d,
S: d,
FI: D, d.
-@aitem{da capo}
+@seealso
+
+@ref{Pitch names}
+
+
+@node da capo
+@section da capo
+
ES: da capo,
I: da capo,
F: da capo, depuis le commencement,
S: 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.''.
+The term indicates repetition of the piece from the beginning to the
+end or to a certain place marked @emph{fine}. Usually abbreviated as
+@samp{D.C.}.
+
+
+@node dal segno
+@section dal segno
-@aitem{dal segno}
ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
-D: dal segno,
+D: dal segno, ab dem Zeichen,
NL: dal segno,
DK: dal segno,
S: dal segno,
-FI: dal segno, merkkiin asti.
+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
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
+@lilypond[fragment,ragged-right]
+%\override TextScript #'font-style = #'large
+\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
+\relative c'' {
+ d1 |
+ g,4^\segno a b c |
+ b a g2_\markup{
+ \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
+ \bar "|."
+}
@end lilypond
-@aitem{decrescendo}
+
+@node decrescendo
+@section decrescendo
+
ES: decrescendo,
I: decrescendo,
D: Decrescendo, leiser werden,
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation ``decresc.''.
+or the abbreviation @samp{decresc.}.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,ragged-right]
+\relative c'' {
\key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
+ d4 \> c b a | g1 \! \bar "|."
}
@end lilypond
-@aitem{descending interval}
+
+@node descending interval
+@section descending interval
+
ES: intervalo descendente,
I: intervallo discendente,
F: intervalle descendant,
A distance between a starting higher note and a lower ending note.
-@aitem{diatonic scale}
-ES: escala diat@'onica,
+
+@node diatonic scale
+@section diatonic scale
+
+ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
D: diatonische Tonleiter,
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
-of a piano keybord are diatonic.
+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 pre baroque early music but
-also to some extent in newer jazz music.
+The church modes are used in gregorian chant and in pre-baroque early
+music but also to some extent in newer jazz music.
-@lilypond[notime,linewidth=110\mm]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \context Staff \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
Ionian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+<<
+ \context Staff \relative c' {
d1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
- \context Lyrics \lyrics {
+ \lyrics {
Dorian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
- \override TextScript #'padding = #-4
+<<
+ \relative c' {
+ \override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
- \context Lyrics \lyrics {
+ \lyrics {
Phrygian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+<<
+ \relative c' {
f1 g a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
- \context Lyrics \lyrics {
+ \lyrics {
Lydian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+<<
+ \relative c'' {
g1 a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
- \context Lyrics \lyrics {
+ \lyrics {
Mixolydian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \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
-compositional music are primarily the major and the minor scales. In the
-harmonic minor scale type an augmented second (A) occurs between the 6th and
-7th tone.
+compositional music are primarily the major and the minor scales. In
+the harmonic minor scale type an augmented second (A) occurs between
+the 6th and 7th tone.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+<<
+ \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Major
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
"ancient minor"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
\context Lyrics \lyrics {
"Harmonic minor"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \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
-@aitem{diminished interval}
-ES: intervalo disminu@'{@dotless{i}}do,
+
+@node diminished interval
+@section diminished interval
+
+ES: intervalo disminuido,
I: intervallo diminuito,
-F: intervalle diminu@'e,
+F: intervalle diminué,
D: vermindertes Intervall,
NL: verminderd interval,
DK: formindsket interval,
-S: f@"orminskat intervall,
-FI: v@"ahennetty intervalli.
+S: förminskat intervall,
+FI: vähennetty intervalli.
+
+@seealso
+
+@ref{interval}.
-@aref{interval}.
-@aitem{diminuendo}
+@node diminuendo
+@section diminuendo
+
ES: diminuendo,
I: diminuendo,
F: diminuendo,
-D: Diminuendo,
+D: diminuendo,
NL: diminuendo,
DK: diminuendo,
S: diminuendo,
FI: diminuendo, hiljentyen.
-@aref{decrescendo}.
+@seealso
+
+@ref{decrescendo}.
+
+
+@node direct
+@section direct
+
+ES: ?,
+I: ?,
+F: ?,
+D: Weiser, Zeiger,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{custos}.
-@aitem{disjunct movement}
-ES: movimiendo disjunto,
+
+@node disjunct movement
+@section disjunct movement
+
+ES: movimiento disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
NL: sprongsgewijze beweging,
-DK: springende bev@ae{}gelse,
-S: hoppande r@"orelse,
-FI: melodian hyppiv@"a liike.
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä liike.
-Melody moving in steps greater than those of the
-scale. Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second, as
+opposed to @ref{conjunct movement}.
-@lilypond
+@lilypond[fragment,ragged-right]
\key a \major
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 8 e8 |
a4. gis8 b a e cis |
fis2 d4. \bar "||" }
@end lilypond
-@aitemii{dissonant interval,dissonance}
-ES: intervalo disonante, disonancias,
+
+@node dissonance
+@section dissonance
+
+@ref{dissonant interval}.
+
+
+@node dissonant interval
+@section dissonant interval
+
+ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
-NL: dissonant interval; dissonant,
+NL: dissonant interval, dissonant,
DK: dissonerende interval, dissonans,
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
-@aref{harmony}.
+@seealso
-@aitem{dominant ninth chord}
+@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 neuvi@`eme dominante,
-D: Dominantnoneakkord,
+F: accord de neuvième dominante,
+D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
FI: dominanttinoonisointu.
-@aref{chord}, @aref{functional harmony}.
+@seealso
+
+@ref{chord}, @ref{functional harmony}.
-@aitem{dominant seventh chord}
-ES: acorde de s@'eptima de dominante,
+
+@node dominant seventh chord
+@section dominant seventh chord
+
+ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septi@`eme dominante,
+F: accord de septième dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
S: dominantseptimackord,
FI: dominanttiseptimisointu.
-@aref{chord}, @aref{functional harmony}.
+@seealso
+
+@ref{chord}, @ref{functional harmony}.
+
+
+@node dominant
+@section dominant
-@aitem{dominant}
ES: dominante,
I: dominante,
F: dominante,
S: dominant,
FI: dominantti, huippusointu.
-The fifth @aref{scale degree},
-@aref{functional harmony}.
+The fifth @ref{scale degree} in @ref{functional harmony}.
+
-@aitem{dorian mode}
-ES: modo d@'orico,
+@node dorian mode
+@section dorian mode
+
+ES: modo dórico,
I: modo dorico,
F: mode dorien,
D: dorisch, dorischer Kirchenton,
S: dorisk tonart,
FI: doorinen moodi.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
+
+
+@node dot (augmentation dot)
+@section dot (augmentation dot)
-@aitem{dot (augmentation dot)}
ES: puntillo,
I: punto (di valore),
F: point,
-D: Punkt (Verl@"angerungspunkt),
+D: Punkt (Verlängerungspunkt),
NL: punt,
DK: punkt,
S: punkt,
FI: piste.
-@aref{dotted note}.
+@seealso
+
+@ref{dotted note}, @ref{note value}.
+
+
+@node dotted note
+@section dotted note
-@aitem{dotted note}
ES: nota con puntillo,
I: nota puntata,
-F: note point@'ee,
+F: note pointée,
D: punktierte Note,
NL: gepuncteerde noot,
DK: punkteret node,
S: punkterad not,
FI: pisteellinen nuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node double appoggiatura
+@section double appoggiatura
-@aitem{double appoggiatura}
ES: apoyatura doble,
I: appoggiatura doppia,
F: appoggiature double,
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
-@aref{appoggiatura}.
+@seealso
-@aitem{double bar line}
+@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.
-@aitem{double dotted note}
-ES: nota con dos puntillos,
+
+@node double dotted note
+@section double dotted note
+
+ES: nota con doble puntillo,
I: nota doppiamente puntata,
-F: note doublement point@'ee,
+F: note doublement pointée,
D: doppelt punktierte Note,
NL: dubbelgepuncteerde noot,
DK: dob@-belt@-punk@-te@-ret node,
S: dub@-bel@-punk@-te@-rad not,
FI: kaksoispisteellinen nuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node double flat
+@section double flat
-@aitem{double flat}
ES: doble bemol,
I: doppio bemolle,
-F: double b@'emol,
+F: double bémol,
D: Doppel-B,
NL: dubbelmol,
DK: dob@-belt-b,
S: dubbelbe,
FI: kaksoisalennusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
+
+@node double sharp
+@section double sharp
-@aitem{double sharp}
ES: doble sostenido,
I: doppio diesis,
-F: double di@`ese,
+F: double dièse,
D: Doppelkreuz,
NL: dubbelkruis,
DK: dob@-belt@-kryds,
S: dubbelkors,
FI: kaksoisylennysmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
+
+@node double time signature
+@section double time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{polymetric time signature}.
+
+
+@node double trill
+@section double trill
-@aitem{double trill}
ES: trino doble,
I: doppio trillo,
F: trille double,
A simultaneous trill on two notes, usually in the distance of a third.
-@aitem{duple meter}
+
+@node duple meter
+@section duple meter
+
ES: tiempo binario,
I: tempo binario,
F: temps binaire,
-D: in zwei,
+D: in zwei, grader Takt,
NL: tweedelige maatsoort,
DK: todelt takt,
-S: tv@aa{}takt,
+S: tvåtakt,
FI: kaksoistempo.
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
+
+@node duplet
+@section duplet
-@aitem{duplet}
ES: dosillo,
I: duina,
F: duolet,
S: duol,
FI: duoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node duration
+@section duration
-@aitem{duration}
-ES: duraci@'on,
+ES: duración,
I: durata,
-F: dur@'ee,
-D: Dauer, L@"ange,
+F: durée,
+D: Dauer, Länge,
NL: duur, lengte,
DK: varighed,
-S: tonl@"angd,
+S: tonlängd,
FI: kesto, aika-arvo.
-@aref{note value}.
+@seealso
-@aitem{dydimic comma}
-@aref{syntonic comma}.
+@ref{note value}.
+
+
+@node dydimic comma
+@section dydimic comma
+
+@seealso
+
+@ref{syntonic comma}.
+
+
+@node dynamics
+@section dynamics
+
+ES: ?,
+I: ?,
+F: nuances,
+D: Dynamik, Lautstärke,
+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
-@aitem{E}
ES: mi,
I: mi,
F: mi,
S: e,
FI: E, e.
-@aitem{eighth note}
+@seealso
+
+@ref{Pitch names}
+
+
+@node ecclesiastical mode
+@section ecclesiastical mode
+
+@seealso
+
+@ref{church mode}.
+
+
+@node eighth note
+@section eighth note
+
ES: corchea,
I: croma,
F: croche,
D: Achtel, Achtelnote,
NL: achtste noot,
DK: ottendedelsnode,
-S: @aa{}ttondelsnot,
+S: åttondelsnot,
FI: kahdeksasosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node eighth rest
+@section eighth rest
-@aitem{eighth rest}
ES: silencio de corchea,
I: pausa di croma,
F: demi-soupir,
D: Achtelpause,
NL: achtste rust,
DK: ottendedelspause,
-S: @aa{}ttonddelspaus,
+S: åttonddelspaus,
FI: kahdeksasosatauko.
-@aref{note value}.
+@seealso
-@aitem{engraving}
-ES: Grabar
-I: incisione,
-F: gravure,
-D: Notenstechen, Notendruck
-NL: steken,
-DK: nodestik,
-S: nottryck,
-FI: painatus.
+@ref{note value}.
-Engraving means incising or etching a metal plate for
-printing. Photoengraving means drawing music with ink in a manner
-similar to drafting or engineering drawing, using similar tools.
-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 elision
+@section elision
-@aitem{enharmonic}
-ES: enharm@'onico,
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO definition -- referenced from lyric tie
+
+
+@node embellishment
+@section embellishment
+
+@seealso
+
+@ref{ornament}.
+
+
+@node engraving
+@section engraving
+
+ES: grabar,
+I: incisione,
+F: gravure,
+D: Notenstich, Notendruck
+NL: steken,
+DK: nodestik,
+S: nottryck,
+FI: painatus.
+
+Engraving means incising or etching a metal plate for printing.
+Photoengraving means drawing music with ink in a manner similar to
+drafting or engineering drawing, using similar tools.
+
+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: enarmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
S: enharmonisk,
FI: enharmoninen.
-Two notes, intervals, or scales are enharmonic if they have different names
-but equal pitch.
+Two notes, intervals, or scales are enharmonic if they have different
+names but equal pitch.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- gis1 s s as s s <des g,!> s s <cis g!> s s
+<<
+\context Staff \relative c'' {
+ gis1 as <des g,!> <cis g!>
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
+>>
@end lilypond
-@aitem{equal temperament}
-ES: ?,
+
+@node equal temperament
+@section equal temperament
+
+ES: temperamento igual,
I: temperamento equabile,
-F: temp@'erament @'egal,
+F: tempérament égal,
D: gleichschwebende Stimmung,
NL: ge@-lijk@-zwe@-ven@-de temperatuur,
-DK: ligesv@ae{}vende temperatur,
-S: liksv@"avande temperatur,
+DK: ligesvævende temperatur,
+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).
-@aitem{expression mark}
-ES: ?,
+@seealso
+
+@ref{temperament}.
+
+
+@node expression mark
+@section expression mark
+
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
NL: voordrachtsteken,
DK: foredragsbetegnelse,
-S: f@"oredragsbeteckning,
+S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
-Performance indications concerning 1. volume, dynamics (for example
-@aref{forte}, @aref{crescendo}), 2. tempo (for example
-@aref{andante}, @aref{allegro}).
+Performance indications concerning:
+
+@itemize
+
+@item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
+
+@item tempo (for example @ref{andante}, @ref{allegro}).
+
+@end itemize
+
+
+@node extender line
+@section extender line
+
+ES: línea de extención [de melisma, de bajo cifrado, etc.],
+I: ?,
+F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
+D: Fülllinie,
+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
-@aitem{F}
ES: fa,
I: fa,
F: fa,
S: f,
FI: F, f.
-@aitem{F clef}
-ES: Clave de Fa,
+@seealso
+
+@ref{Pitch names}
+
+
+@node F clef
+@section F clef
+
+ES: clave de fa,
I: chiave di fa,
-F: cl@'e de fa,
-D: F-Schl@"ussel,
+F: clef de fa,
+D: F-Schlüssel,
NL: F-sleutel,
-DK: F-n@o{}gle,
+DK: F-nøgle,
S: f-klav,
FI: F-avain.
-The position between the dots of the key symbol is the line of the F below
-central@w{ }C. Used on the third, fourth and fifth note line. 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}).
+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 @ref{strings}).
-@lilypond[notime]
+@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
-\addlyrics
-\notes\relative c {
+\override Staff.Clef #'full-size-change = ##t
+<<
+\relative c {
\clef varbaritone
f1
\clef bass
\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.
-@aitem{fermata}
-ES: Calder@'on,
+
+@node feathered beam
+@section feathered beam
+
+ES: ?,
+I: ?,
+F: liens de croches en soufflet,
+D: gespreizter Balken,
+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,
I: corona,
-F: point d'orgue, point d'arr@^et,
+F: point d'orgue, point d'arrêt,
D: Fermate,
NL: fermate,
DK: fermat,
S: fermat,
-FI: fermaatti, pid@"ake.
+FI: fermaatti, pidäke.
Prolonged note or rest of indefinite duration.
-@lilypond
+@lilypond[fragment,ragged-right]
\time 4/4
-\notes\relative c'' {
+\relative c'' {
a4 b c2^\fermata \bar "|."
}
@end lilypond
-@aitem{fifth}
+
+@node fifth
+@section fifth
+
ES: quinta,
I: quinta,
F: quinte,
S: kvint,
FI: kvintti.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
-@aitem{figured bass}
-ES: bajo cifrado, @aref{thorough bass}.
+@node figured bass
+@section figured bass
-@aitem{fingering}
-ES: digitaci@'on,
+@seealso
+
+@ref{thorough bass}.
+
+
+@node fingering
+@section fingering
+
+ES: digitación,
I: diteggiatura,
-F: doigt@'e,
+F: doigté,
D: Fingersatz,
NL: vingerzetting,
-DK: fingers@ae{}tning,
-S: fingers@"attning,
+DK: fingersætning,
+S: fingersättning,
FI: sormitus.
The methodical use of fingers in the playing of instruments.
-@aitem{flag,pennant}
+
+@node flag
+@section flag
+
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
-D: Fahne, F@"ahnchen,
+D: Fahne, Fähnchen,
NL: vlaggetje,
DK: fane,
S: flagga,
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[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
g8_"1/8" s8
g16_"1/16" s8
g32_"1/32" s8
}
@end lilypond
-@aitem{flat}
+
+@node flat
+@section flat
+
ES: bemol,
I: bemolle,
-F: b@'emol,
-D: B, b,
+F: bémol,
+D: B,
NL: mol,
DK: b,
-S: bef@"ortecken,
+S: beförtecken,
FI: alennusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
+
+@node forefall
+@section forefall
-@aitemii{forefall,backfall}
-@aref{appoggiatura}.
+@seealso
+
+@ref{appoggiatura}.
+
+
+@node forte
+@section forte
-@aitem{forte}
ES: forte,
I: forte,
F: 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
-@aitem{fourth}
ES: cuarta,
I: quarta,
F: quarte,
S: kvart,
FI: kvartti.
-@aref{interval}.
+@seealso
+
+@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
-@aitem{fugue}
ES: fuga,
I: fuga,
F: fugue,
S: fuga,
FI: fuuga.
-@aref{counterpoint}.
+@seealso
+
+@ref{counterpoint}.
-@aitem{functional harmony}
-ES: armon@'{@dotless{i}}a funcional,
+
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
I: armonia funzionale,
-F: @'etude des functions,
+F: étude des functions,
D: Funktionslehre,
NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
-S: funktionsl@"ara,
-FI: harmoniaj@"arjestelm@"a.
+S: funktionslära,
+FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a given key,
-there are only three functionally different chords: tonic (T, the chord on the
-first note of the scale), subdominant (S, the chord on the fourth note), and
-dominant (D, the chord on the fifth note). Other are considered to be
-variants of the base chords.
+A system of harmonic analysis. It is based on the idea that, in a
+given key, there are only three functionally different chords: tonic
+(T, the chord on the first note of the scale), subdominant (S, the
+chord on the fourth note), and dominant (D, the chord on the fifth
+note). Others are considered to be variants of the base chords.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+<<
+\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
-@aitem{G}
+
+@node G
+@section G
+
ES: sol,
I: sol,
F: sol,
S: g,
FI: G, g.
-@aitem{G clef}
-ES: Clave de sol,
+@seealso
+
+@ref{Pitch names}
+
+
+@node G clef
+@section G clef
+
+ES: clave de sol,
I: chiave di sol,
-F: cl@'e de sol,
-D: G-Schl@"ussel, Violinschl@"ussel,
+F: clef de sol,
+D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
-DK: g-n@o{}gle,
+DK: g-nøgle,
S: g-klav,
FI: G-avain.
-A clef symbol indicating the G above central@w{ }C. Used on the first
+A clef symbol indicating the G above middle@w{ }C. Used on the first
and second note lines. A digit 8 above the clef symbol indicates that
-the notes must be played an octave higher while 8 below the clef symbol
-indicates playing or singing an octave lower (most tenor parts in choral
-scores are notated like that).
+the notes must be played an octave higher while 8 below the clef
+symbol indicates playing or singing an octave lower (most tenor parts
+in choral scores are notated like that).
-@lilypond[notime]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\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
-@aitem{glissando}
+
+@node glissando
+@section glissando
+
ES: glissando,
I: glissando,
F: glissando,
Letting the pitch slide fluently from one note to the other.
-@aitem{grace notes}
-SP: ?,
+
+@node grace notes
+@section grace notes
+
+ES: notas de adorno,
I: abbellimenti,
F: fioriture,
-D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
S: ornament,
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.
+
+@seealso
+
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
-@aitem{grand staff}
+
+@node grand staff
+@section grand staff
+
+ES: sistema de piano,
I: accolatura,
F: accolade,
-D: Akkolade,
+D: Akkolade, Klaviersystem,
NL: piano systeem,
DK: klaversystem,
-S: ackolad, b@"ojd klammer,
+S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
-@aref{brace}.
-
A combination of two staves with a brace. Usually used for piano music.
-@aitem{grave}
+@seealso
+
+@ref{brace}.
+
+
+@node grave
+@section grave
+
ES: grave,
I: grave,
F: grave,
-D: grave, langsam,
+D: Grave, Langsam,
NL: grave, ernstig,
DK: grave,
S: grave,
Slow, solemn.
-@aitem{half note}
+
+@node gruppetto
+@section gruppetto
+
+@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
+
ES: blanca,
I: minima,
F: blanche,
S: halvnot,
FI: puolinuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node half rest
+@section half rest
-@aitem{half rest}
-SP: ?,
+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
-@aitem{harmonic cadence}
-ES: cadencia (arm@'onica),
+ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
D: Schlusskadenz,
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-Sequence of chords that terminate a musical phrase or
-section. @aref{functional harmony}.
+A sequence of chords that terminates a musical phrase or section.
-@lilypond
-\notes\context PianoStaff <<
+@ref{functional harmony}.
+
+@lilypond[fragment,ragged-right]
+\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
- \addlyrics
- \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
-@aitem{harmony}
-ES: armon@'{@dotless{i}}a,
+
+@node harmony
+@section harmony
+
+ES: armonía,
I: armonia,
F: harmonie,
D: Harmonie, Zusammenklang,
S: samklang,
FI: harmonia, yhteissointi.
-Tones sounding simultaneously. Two note harmonies fall into the categories
-@emph{consonances} and @emph{dissonances}.
+Tones sounding simultaneously. Two note harmonies fall into the
+categories @emph{consonances} and @emph{dissonances}.
Consonances:
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
- <g g>1_"unisone " s
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
+ <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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
}
@end lilypond
-Three note harmony @aref{chord}.
+Three note harmony @ref{chord}.
+
+
+@node hemiola
+@section hemiola
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value. The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
-@aitem{homophony}
-ES: homofon@'{@dotless{i}}a,
+@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
+@c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}
+
+
+@node homophony
+@section homophony
+
+ES: homofonía,
I: omofonia,
F: homophonie,
D: Homophonie,
NL: homofonie,
DK: homofoni,
S: homofoni,
-FI: homofonia, yksi@"a@"anisyys.
+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
+@ref{polyphony}.
+
-Music in which one voice leads melodically followed by the other voices more
-or less in the same rhythm. In contrast to @aref{polyphony}.
+@node interval
+@section interval
-@aitem{interval}
ES: intervalo,
I: intervallo,
F: intervalle,
NL: interval,
DK: interval,
S: intervall,
-FI: intervalli, kahden s@"avelen korkeusero.
+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 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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\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
+<<
+\context Voice \relative c'' {
+ < 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 "
- "third " "third " "third " "third "
+ "unison " "second " "second " "second "
+ "third " "third " "third " "third"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- < g c >^"perfect" s
- < g cis >^"augm" s
- < g d' >^"perfect" s
- < g des' > ^"dim" s
- < gis es' >^"dimin" s
- < g! es' >^"minor" s
- < g e'! >^"major" s
- < g eis' >^"augm" s
+<<
+\context Staff \relative c'' {
+ < 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 "
+ "sixth " "sixth " "sixth " "sixth"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\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
+<<
+\context Staff \relative c'' {
+ < gis f'! >1^"dimin"
+ < g! f'! >^"minor"
+ < g fis' >^"major"
+ < g g' >
+ < g as' >^"minor"
+ < g a'! >^"major"
+ < g bes' >^"minor"
+ < g b'! >^"major"
}
\context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "none " "none " "decime " "decime "
+ "seventh " "seventh " "seventh " "octave "
+ "ninth " "ninth " "tenth " "tenth"
}
+>>
@end lilypond
-@aitem{inverted interval}
+
+@node inverted interval
+@section inverted interval
+
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle revers@'e,
+F: intervalle reversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
-S: intervallets omv@"andning,
-FI: k@"a@"anteisintervalli.
+S: intervallets omvändning,
+FI: käänteisintervalli.
The difference between an interval and an octave.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Staff \notes\relative c'' {
- < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
+%\override Score.TextScript #'font-style = #'large
+\context Staff \relative c'' {
+ < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
< g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
< g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
}
@end lilypond
-@aitem{just intonation}
+
+@node just intonation
+@section just intonation
+
+ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
NL: reine stemming,
DK: ren stemning,
-S: ren st@"amning,
+S: ren stämning,
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
-@aitem{key}
ES: tonalidad,
-I: tonalit@`a,
-F: tonalit@'e,
+I: tonalità,
+F: tonalité,
D: Tonart,
NL: toonsoort,
DK: toneart,
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}.
-@aitem{key signature}
-ES: armadura de clave,
+@seealso
+
+@ref{key signature}.
+
+
+@node key signature
+@section key signature
+
+ES: armadura (de la clave),
I: armatura di chiave,
-F: armure, armature [de la cl@'e],
+F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
NL: toon@-soort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
-FI: s@"avellajiosoitus.
+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 laissez vibrer
+@section laissez vibrer
+
+ES: ?,
+I: ?,
+F: laissez vibrer,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From French] "Let vibrate". Most frequently associated with harp
+parts. Marked @samp{l.v.} in the score.
+
+
+@node largo
+@section largo
-@aitem{largo}
ES: largo,
I: largo,
F: largo,
NL: largo,
DK: largo,
S: largo,
-FI: largo, hitaasti, leve@"asti.
+FI: largo, hitaasti, leveästi.
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
-@aitem{leading note}
+
+@node leading note
+@section leading note
+
ES: sensible,
I: sensibile,
F: note sensible,
NL: leidtoon,
DK: ledetone,
S: ledton,
-FI: johtos@"avel.
+FI: johtosävel.
-The seventh @aref{scale degree}, a @aref{semitone} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
-upwards) to the tonic scale degree.
+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.
-@aitemii{ledger line,leger line}
-ES: l@'{@dotless{i}}neas adicionales,
+
+@node ledger line
+@section ledger line
+
+ES: línea adicional,
I: tagli addizionali,
-F: ligne suppl@'ementaire,
+F: ligne supplémentaire,
D: Hilfslinie,
NL: hulplijntje,
-DK: hj@ae{}lpelinie,
-S: hj@"alplinje,
+DK: hjælpelinie,
+S: hjälplinje,
FI: apuviiva.
A ledger line is an extension of the staff.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }
@end lilypond
-@aitem{legato}
-ES: ligado,
+
+@node legato
+@section legato
+
+ES: legato,
I: legato,
-F: legato, li@'e,
-D: legato,
+F: legato, lié,
+D: legato, gebunden,
NL: legato,
DK: legato,
S: legato,
FI: legato, sitoen.
-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}.
+To be performed (a) without any perceptible interruption between the
+notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
+@emph{portato}, and (d) @ref{staccato}.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\addlyrics
-\context Staff \notes\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
-@aitem{legato curve}
-@aref{slur}, @aref{legato}.
-@aitem{lilypond}
-ES: estanque de lilas,
+@node legato curve
+@section legato curve
+
+@seealso
+
+@ref{slur}, @ref{legato}.
+
+
+@node leger line
+@section leger line
+
+@seealso
+
+@ref{ledger line}.
+
+
+@node lilypond
+@section lilypond
+
+ES: estanque de nenúfares,
I: stagno del giglio,
-F: @'etang de lis,
+F: étang de lis,
UK: lily pond,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
A pond with lilies floating in it, also the name of a music typesetter.
-@aitem{ligature}
+
+@node ligature
+@section ligature
+
+ES: ligadura,
+I: ?,
+F: ligature,
+DE: Ligatur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ligatuura.
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
notation, the need for ligatures to denote such patterns disappeared.
+@node line
+@section line
-@aitem{line}
-ES: l@'{@dotless{i}}nea,
+ES: línea,
I: linea,
F: ligne,
D: Linie, Notenlinie,
S: notlinje,
FI: viiva, nuottiviiva.
-@aref{staff}.
+@seealso
+
+@ref{staff}.
+
+
+@node long appoggiatura
+@section long appoggiatura
-@aitem{long appoggiatura}
ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
-D: langer Vorschlag,
+D: Vorhalt,
NL: Lange voorslag,
DK: langt forslag,
-S: l@aa{}ngt f@"orslag,
-FI: pitk@"a appoggiatura, pitk@"a etuhele.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.
+
+@seealso
+
+@ref{appoggiatura}.
+
-@aref{appoggiatura}.
+@node longa
+@section longa
-@aitem{longa}
ES: longa,
I: longa,
F: longa,
S: longa,
FI: longa.
-Note value: double length of @aref{breve}.
-@aref{note value}.
+Note value: double length of @ref{breve}.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' {
- \override NoteHead #'style = #'mensural
+\relative c'' {
+ \override NoteHead #'style = #'mensural
g\longa
}
@end lilypond
-@aitemii{lyrics,song texts}
-ES: .,
-I: .,
-F: .,
-D: .,
+@seealso
+
+@ref{note value}.
+
+
+@node lyrics
+@section lyrics
+
+ES: letra (de la canción),
+I: ?,
+F: paroles,
+D: Liedtext, Gesangtext,
NL: liedtekst,
-DK: .,
-S: .,
-FI, sanoitus,
+DK: ?,
+S: ?,
+FI: sanoitus.
+
+
+@node lyric tie
+@section lyric tie
+
+ES: ?,
+I: ?,
+F: ?,
+D: Textbindung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add languages
+
+@seealso
+
+@ref{elision}.
+
+
+@node major interval
+@section major interval
-@aitem{major interval}
ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
-D: gro@ss{}es Intervall,
+D: großes Intervall,
NL: groot interval,
DK: stort interval,
S: stort intervall,
FI: suuri intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
+
+@node major
+@section major
-@aitem{major}
ES: mayor,
I: maggiore,
F: [mode] majeur,
S: dur,
FI: duuri.
-@aref{diatonic scale}.
+@seealso
+
+@ref{diatonic scale}.
-@aitem{meantone temperament}
+
+@node meantone temperament
+@section meantone temperament
+
+ES: afinación mesotónica,
I: accordatura mesotonica,
-F: temp@'erament m@'esotonique,
-D: mittelt@"onige Stimmung,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
-FI: keskis@"avelviritys.
+FI: keskisävelviritys.
+
+Temperament yielding acoustically pure thirds by decreasing the
+natural fifth 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.
-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.
-Used for tuning keyboard instruments for performance of pre-1650 music.
-@aitem{measure, bar}
-ES: comp@'as,
+@node measure
+@section measure
+
+ES: compás,
I: misura, battuta,
F: mesure,
D: Takt,
S: takt,
FI: tahti.
-A group of @aref{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}.
+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.
+
+@ref{meter}.
+
+
+@node mediant
+@section mediant
-@aitem{mediant}
ES: mediante,
I: mediante, modale,
-F: m@'ediante,
+F: médiante,
NL: mediant,
D: Mediante,
DK: mediant,
S: mediant,
-FI: keskis@"avel.
+FI: keskisävel.
+
+@itemize
+
+@item The third @b{scale degree}.
+
+@item 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).
+
+@end itemize
+
+@seealso
+@ref{functional harmony}, @ref{relative key}.
+
+
+@node melisma
+@section melisma
+
+ES: melisma,
+F: mélisme,
+D: Melisma,
+NL: melisma,
+FI: melisma, laulettavan tavun sävelkuvio.
+
+A melisma (plural, from Greek: melismata) is a group of notes or tones
+sung on one syllable, especially as applied to liturgical chant.
+
+
+@node melisma line
+@section melisma line
+
+@c TODO: add languages
-1. The third @b{scale degree}.
-2. A @aref{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}.
+@seealso
-@aitem{melisma}
+@ref{extender line}.
-NL: melisma,
-FI: melisma, laulettavan tavun s@"avelkuvio.
-A melisma (plural: melismata) is a group of notes or tones sung on one
-syllable in plainsong
+@node melodic cadence
+@section melodic cadence
-@aitem{melodic cadence}
-@aref{cadenza}.
+@seealso
-@aitem{meter, time}
-ES: comp@'as,
-I: tempo, metro,
-F: indication de m@'esure,
+@ref{cadenza}.
+
+
+@node mensural notation
+@section mensural notation
+
+@c FIXME: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition (inc. info on proportional notation)
+
+@c FIXME: add cross-references.
+
+
+@node meter
+@section meter
+
+ES: tiempo, compás,
+I: tempo, misura,
+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 pattern of @ref{note value}s and @ref{accent}s that remains
+unaltered throughout a composition or a section of it. Meters can be
+@emph{duple} or @emph{triple} depending on how the beat is grouped in
+the composition (or in sections thereof):
-@lilypond
-\notes\relative c'' {
+@itemize
+
+@item In duple meters, the beat recurs in groups of two.
+
+@item In triple meters, the beat recurs in groups of three.
+
+@end itemize
+
+Other recurrence patterns are possible:
+
+@itemize
+
+@item Quadruple meter: groups of four. A special case of duple meter.
+
+@item Quintuple meter: groups of five
+
+@item Sextuple meter: groups of six. A special case of:
+
+@itemize
+@item Duple meter, subdivided in three (less frequent); or
+@item Triple meter, subdivided in two (more frequent).
+@end itemize
+
+@item Septuple meter: groups of seven.
+
+@item etc.
+
+@end itemize
+
+Other than quadruple and sextuple meters, these other recurrence
+patterns were not frequently used prior to the 20th Century.
+
+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
+
+@item Simple meter
+
+@itemize
+@item duple: 2/2, 2/4, 2/8
+@item triple: 3/2, 3/4, 3/8
+@item quadruple: 4/2, 4/4 (also called common time), 4/8
+@end itemize
+
+@item Compound meter
+
+@itemize
+@item duple: 6/8
+@item triple: 9/8
+@item quadruple: 12/8
+@end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or
+section) to indicate the meter. For instance, a piece written in
+simple triple meter with a beat on each quarter note has a time
+signature of 3/4.
+
+Simple duple meter:
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 2/4
+ \key c \major
+ c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+@end lilypond
+
+Simple triple meter:
+
+@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 "||"}
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
@end lilypond
-@lilypond
-\notes\relative c' {
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
+@end lilypond
+
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter (unknown):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
\time 6/8
\key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
@end lilypond
-@lilypond
-\notes\relative c'' {
- \time 5/4
- \key g \major
- d4 b8 g b d d c a4 |
- g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+Compound triple meter (J.S. Bach, 1685-1750):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+ \time 9/8
+ \key f \major
+ r8 g( a) b( d c) c( e d) |
+ d( c fis) g( d b) g( a b)
+ \bar "||"}
@end lilypond
-@aitem{metronome}
-ES: metr@'onomo,
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
+@end lilypond
+
+@seealso
+
+@ref{hemiola}, @ref{time signature}
+
+
+@node metronome
+@section metronome
+
+ES: metrónomo,
I: metronomo,
-F: m@'etronome,
+F: métronome,
D: Metronom,
NL: metronoom,
DK: me@-tro@-nom,
S: me@-tro@-nom,
FI: metronomi.
-Device indicating the exact tempo of a piece. @aref{metronomic
-indication}.
+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{metronome mark}.
-@aitem{metronomic indication}
-ES: indicaci@'on metron@'omica,
+
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+
+@ref{metronome mark}
+
+
+@node metronome mark
+@section metronome mark
+
+ES: indicación metronómica,
I: indicazione metronomica,
-F: indication m@'etronomique,
+F: indication métronomique,
D: Metronomangabe,
NL: metronoom aanduiding,
DK: metronomtal,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M. (M@"alzels 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
-@aitem{mezzo-soprano}
-ES: mezzo soprano,
+@ref{metronome}
+
+
+@node mezzo-soprano
+@section 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
-@aitem{middle C}
ES: do central,
I: do centrale,
F: do central,
First C below the 440 Hz A.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-\notes\relative c' {
+\override Staff.Clef #'full-size-change = ##t
+\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
}
@end lilypond
-@aitem{minor}
+
+@node minor
+@section minor
+
ES: menor,
I: minore,
F: mode mineur,
S: moll,
FI: molli.
-@aref{diatonic scale}.
+@seealso
-@aitem{minor interval}
-ES: intervalo mayor,
+@ref{diatonic scale}.
+
+
+@node minor interval
+@section minor interval
+
+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
-@aitem{mode}
ES: modo,
I: modo,
F: mode,
-D: Modus,
+D: Kirchentonart, Modus,
NL: modus,
DK: skala,
S: modus, skala,
-FI: moodi, kirkkos@"avelasteikko.
+FI: moodi, kirkkosävelasteikko.
+
+@seealso
-@aref{church mode}, @aref{diatonic scale}.
+@ref{church mode}, @ref{diatonic scale}.
-@aitem{modulation}
-ES: modulaci@'on,
+
+@node modulation
+@section modulation
+
+ES: modulación,
I: modulazione,
F: modulation,
D: Modulation,
NL: modulatie,
DK: modulation,
S: modulering,
-FI: modulaatio, s@"avellajin vaihdos.
+FI: modulaatio, sävellajin vaihdos.
+
+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.
-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
-is minor.
-@aitem{mordent}
+@node mordent
+@section mordent
+
I: mordente,
F: mordant,
D: Mordent,
S: mordent,
FI: mordent, korukuvio.
-@aref{ornament}.
+@seealso
+
+@ref{ornament}.
+
+
+@node motif
+@section motif
+
+@seealso
+
+@ref{motive}.
+
+
+@node motive
+@section motive
-@aitemii{motive,motif}
-ES: tema,
+ES: motivo,
I: inciso,
F: incise,
D: Motiv,
NL: motief,
DK: motiv,
S: motiv,
-FI: teema, s@"avelaihe.
+FI: teema, sävelaihe.
-The briefest intelligible and self-contained fragment of a musical theme or
-subject.
+The briefest intelligible and self-contained fragment of a musical
+theme or subject.
-@lilypond
-\set Score.TimeSignature = \turnOff
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@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
-@aitem{movement}
+
+@node movement
+@section movement
+
ES: movimiento,
I: movimento,
F: mouvement,
S: sats,
FI: osa.
-Greater musical works like @aref{symphony} and
-@aref{sonata} most often consist of several -- more or less --
-independant pieces called movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often
+consist of several -- more or less -- independant pieces called
+movements.
+
+
+@node multi-measure rest
+@section multi-measure rest
-@aitem{multibar 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
-\notes\relative c'' {
+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
-@aitem{mixolydian mode}
-@aref{diatonic scale}.
+@seealso
+
+@ref{longa}, @ref{breve}.
+
+
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+
+@ref{diatonic scale}.
+
+
+@node natural
+@section natural
-@aitem{natural sign}
ES: becuadro,
I: bequadro,
-F: b@'ecarre,
-D: Aufl@"osungszeichen,
+F: bécarre,
+D: Auflösungszeichen,
NL: herstellingsteken,
-DK: op@-l@o{}sningstegn,
-S: @aa{}terst@"allningstecken,
+DK: op@-løsningstegn,
+S: återställningstecken,
FI: palautusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
+
+@node neighbour tones
+@section neighbour tones
+
+@seealso
+
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
+
-@aitem{neighbour tones}
-@aref{appoggiatura}.
+@node ninth
+@section ninth
-@aitem{ninth}
ES: novena,
I: nona,
-F: neuvi@`eme,
+F: neuvième,
D: None,
NL: noon,
DK: none,
S: nona,
FI: nooni.
-@aref{interval}.
+@seealso
-@aitem{non-legato}
-@aref{legato}.
+@ref{interval}.
+
+
+@node non-legato
+@section non-legato
+
+@seealso
+
+@ref{legato}.
+
+
+@node note
+@section note
-@aitem{note}
ES: nota,
I: nota,
F: 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.
-@aitem{note head}
-ES: oval,
+
+@node note head
+@section note head
+
+ES: cabeza,
I: testa, testina, capocchia,
-F: t@^ete de la note,
+F: tête de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
-FI: nuotin p@"a@"a.
+FI: nuotin pää.
-A head like sign which indicates pitch by its position on a
-@aref{staff} provided with a @aref{clef}, and duration
+A head-like sign which indicates pitch by its position on a
+@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.
-@aitem{note value}
-ES: valor,
+
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
+@node note value
+@section note value
+
+ES: valor (duración),
I: valore, durata,
-F: dur@'ee, valeur (d'une note),
+F: durée, valeur (d'une note),
D: Notenwert,
NL: nootwaarde,
-DK nodev@ae{}rdi,
-S: notv@"arde,
+DK nodeværdi,
+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.
-@lilypond[notime]
-%\override Score.TextScript #'font-style = #'large
+@c TODO -- add maxima to this example, in a way that doesn't break it.
+
+@lilypond[fragment,notime,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
-\notes\relative c'' {
- \override NoteHead #'style = #'mensural
- g\longa_"longa" g\breve_"breve"
+\relative c'' {
+ \override NoteHead #'style = #'mensural
+ a\longa_"longa" a\breve_"breve"
\revert NoteHead #'style
- g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
- g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
+ a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
+ a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[notime]
-%\override Score.TextScript #'font-style = #'large
+@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
-\notes\relative c'' {
+\relative c'' {
r\longa_"longa" r\breve_"breve"
r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
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
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
\times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
g4 g g \bar "||"
}
@end lilypond
-@aitem{octave sign}
-@aref{G clef}, @aref{F clef}.
-@aitem{octave}
+@node octave sign
+@section octave sign
+
+@seealso
+
+@ref{G clef}, @ref{F clef}.
+
+
+@node octave
+@section octave
+
ES: octava,
I: ottava,
F: octave,
S: oktav,
FI: oktaavi.
-@aref{interval}.
+@seealso
+
+@ref{ottava}, @ref{interval}.
+
+
+@node ornament
+@section ornament
-@aitemiii{ornament,embellishment,accessory}
ES: adorno,
I: abbellimento, fioriture,
-F: agr@'ement, ornement,
+F: agrément, ornement,
D: Verzierung, Ornament,
NL: versiering,
DK: forsiring,
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
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
- c2._"pre-1850" b4\trill | c1 \bar "||"
+% \override Score.TextScript #'font-style = #'large
+ \relative c'' {
+ c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
c2. c32 b c b c b c b | c1
c2. b32 c b c \times 4/5 { b c b c b } | c1
}
>>
@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
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
+% \override Score.TextScript #'font-style = #'large
+ \relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
e'4_"prall" d\prall c2 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
a4 c16[ b a b] c2
- g4 a b16-[ a b8] a4
+ g4 a b16-[ a b8] a4
e'4 e32[ d e d ~ d8] c2
}
>>
@end lilypond
-@aref{appoggiatura}.
+@seealso
+
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+
+
+@node ossia
+@section ossia
-@aitem{ossia}
ES: ossia,
I: ossia,
F: ossia,
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@aitem{part}
+
+@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
+
ES: parte,
I: voce, parte,
F: partie,
D: Stimme,
NL: partij,
DK: stemme,
-S: st@"amma,
+S: stämma,
FI: stemma, instrumenttiosuus.
-1. In instrumental or choral music the music for the single instrument
-or voice. 2. in contrapuntal music @aref{counterpoint} the single
-melodic line of the contrapunctal web.
+@itemize
+
+@item In instrumental or choral music, the music for a single
+instrument or voice.
+
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
+
+@end itemize
+
+@seealso
+
+@ref{counterpoint}
+
+
+@node pause
+@section pause
+
+@seealso
+
+@ref{fermata}.
+
+
+@node pennant
+@section pennant
+
+@seealso
+
+@ref{flag}.
-@aitem{percussion}
-ES: percusi@'on,
+
+@node percussion
+@section percussion
+
+ES: percusión,
I: percussioni,
F: percussion,
D: Schlagzeug, Schlagwerk,
NL: slagwerk,
-DK: slagt@o{}j,
+DK: slagtøj,
S: slagverk,
-FI: ly@"om@"asoittimet.
+FI: lyömäsoittimet.
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@aitem{perfect interval}
+
+@node perfect interval
+@section perfect interval
+
ES: intervalo justo,
I: intervallo giusto,
F: intervalle juste,
S: rent intervall,
FI: puhdas intervalli.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
+
+@node phrase
+@section phrase
-@aitem{phrase}
ES: frase,
I: frase,
F: phrase,
A natural division of the melodic line, comparable to a sentence of speech.
-@aitem{phrasing}
+
+@node phrasing
+@section phrasing
+
ES: fraseo,
I: fraseggio,
-F: phras@'e,
+F: phrasé,
D: Phrasierung,
NL: frasering,
DK: frasering,
S: fra@-se@-ring,
-FI: fraseeraus, j@"asent@"aminen.
+FI: fraseeraus, jäsentäminen.
+
+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
-The clear rendering in musical performance of the @aref{phrase}s of
-the melody. Phrasing may be indicated by a @aref{slur}.
+@ref{anacrusis}.
+
+
+@node piano
+@section piano
-@aitem{piano}
ES: piano,
I: piano,
F: piano,
NL: piano,
DK: piano,
S: piano,
-FI, piano, hiljaa,
+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
-@aitem{pitch}
ES: altura,
I: altezza,
F: hauteur,
-D: Tonh@"ohe,
+D: Tonhöhe,
NL: toonhoogte,
-DK: toneh@o{}jde,
-S: tonh@"ojd,
-FI: s@"avelkorkeus.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
+
+
+@node pizzicato
+@section pizzicato
-@aitem{pizzicato}
ES: pizzicato,
I: pizzicato,
F: pizzicato,
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
-FI: pizzicato, n@"app@"aillen.
+FI: pizzicato, näppäillen.
+
+Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
+stringed instruments.)
+
+
+@node polymeter
+@section polymeter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The simultaneous use of two or more meters. The term is sometimes
+applied to the @emph{successive} use of different meters in one or
+more parts.
-Play by plucking the strings.
+@seealso
-@aitem{polyphony}
-ES: polifon@'{@dotless{i}}a,
+@ref{polymetric} (adj.)
+
+
+@node polymetric
+@section polymetric
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Using two or more metric frameworks simultaneously or in regular
+alternation
+
+@seealso
+
+@ref{polymeter} (noun)
+
+
+@node polymetric time signature
+@section polymetric time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Time signature indicating regularly alternating polymetric time.
+
+@seealso
+
+@ref{polymetric}.
+
+
+@node polyphony
+@section polyphony
+
+ES: polifonía,
I: polifonia,
F: polyphonie,
-D: Polyphonie,
+D: Polyphonie, Mehrstimmigkeit,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
-FI: polyfonia, moni@"a@"anisyys.
+FI: polyfonia, moniäänisyys.
+
+Music written in a combination of several simultaneous voices (parts)
+of a more or less pronounced individuality.
+
+@ref{counterpoint}.
+
-Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality. @aref{counterpoint}.
+@node portato
+@section portato
-@aitem{portato}
-@aref{legato}.
+@seealso
+
+@ref{legato}.
+
+
+@node presto
+@section presto
-@aitem{presto}
ES: presto,
I: presto,
F: 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.
-@aitem{Pythagorean comma}
-ES: coma pitag@'orico,
+
+@node proportion
+@section proportion
+
+ES: proporción,
+I: ?,
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}] In mensural notation, a ratio that
+expresses the relationship between the note values that follow with
+those that precede; or between the note values of a passage and an
+assumed @q{normal} relationship of note values to the metrical pulse.
+
+@c TODO: add an example or two. O => 4/3, and its modern equivalent
+
+@seealso
+
+@ref{mensural notation}
+
+
+@node Pythagorean comma
+@section Pythagorean comma
+
+ES: coma pitagórica,
I: comma pitagorico,
F: comma pythagoricien,
-D: Pythagor@"aisches Komma,
+D: Pythagoräisches Komma,
NL: komma van Pythagoras,
-DK: pythagor@ae{}isk komma,
+DK: pythagoræisk komma,
S: pytagoreiskt komma,
FI: pytagorinen 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@c{ }@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.
-@aitem{quadruplet}
+
+@node quadruplet
+@section quadruplet
+
ES: cuatrillo,
I: quartina,
F: quartolet,
S: kvartol,
FI: kvartoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node quarter note
+@section quarter note
-@aitem{quarter note}
ES: negra,
I: semiminima, nera,
F: noire,
D: Viertel, Viertelnote,
NL: kwartnoot,
DK: fjerdedelsnode,
-S: fj@"ardedelsnot,
-FI: nelj@"annesosanuotti.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.
+
+@seealso
+
+@ref{note value}.
+
-@aref{note value}.
+@node quarter rest
+@section quarter rest
-@aitem{quarter rest}
ES: silencio de negra,
I: pausa di semiminima,
F: soupir,
D: Viertelpause,
NL: kwart rust,
DK:@w{ }fjerdedelspause,
-S: fj@"ardedelspaus,
-FI: nelj@"annesosatauko.
+S: fjärdedelspaus,
+FI: neljännesosatauko.
-@aref{note value}.
+@seealso
-@aitem{quintuplet}
-ES: quintillo,
+@ref{note value}.
+
+
+@node quintuplet
+@section quintuplet
+
+ES: cinquillo, quintillo.
I: quintina,
F: quintolet,
D: Quintole,
S: kvintol,
FI: kvintoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node rallentando
+@section rallentando
-@aitem{rallentando}
ES: rallentando,
I: rallentando,
F: rallentando,
NL: rallentando,
DK: rallentando,
S: rallentando,
-FI. rallerdando, hidastuen,
+FI: rallerdando, hidastuen.
+
+Abbreviation "rall.".
+
+@ref{ritardando}.
-Abbreviation "rall.". @aref{ritardando}.
-@aitem{relative key}
-ES: relativa,
-I: tonalit@`a relativa,
-F: tonalit@'e relative,
+@node relative key
+@section relative key
+
+ES: relativo,
+I: tonalità relativa,
+F: tonalité relative,
D: Paralleltonart,
NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
-FI: rinnakkaiss@"avellaji.
+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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
\key es \major
es1_"e flat major" f g as bes c d es
\bar "||"
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
\key es \major
c1_"c minor" d es f g a! b! c \bar "||"
}
@end lilypond
-@aitem{repeat}
-ES: barra de repetici@'on,
+
+@node repeat
+@section repeat
+
+ES: repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
S: repris,
FI: toisto.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
-\notes\relative c'' {
+\relative c'' {
\repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
}
@end lilypond
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
-@aitem{rest}
+@node rest
+@section rest
+
ES: silencio,
I: pausa,
F: silence,
S: paus,
FI: tauko.
-@aref{note value}.
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
+@seealso
+
+@ref{note value}.
+
+
+@node rhythm
+@section rhythm
-@aitem{rhythm}
ES: ritmo,
I: ritmo,
F: rythme,
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 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).
-
-@aitem{ritardando}
-ES: retardando,
+@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: ritardando,
I: ritardando,
F: ritardando,
-D: Ritardando, langsamer werden,
+D: ritardando, langsamer werden,
NL: ritardando,
DK: ritardando,
S: ritardando,
-FI. ritardando, hidastuen,
+FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
+Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+
+
+@node ritenuto
+@section ritenuto
-@aitem{ritenuto}
ES: ritenuto,
I: ritenuto,
F: ritenuto,
-D: Ritenuto,
+D: ritenuto,
NL: ritenuto,
DK: ritenuto,
S: ritenuto,
Immediate reduction of speed.
-@aitem{scale}
+
+@node scale
+@section scale
+
ES: escala,
I: scala,
F: gamme,
NL: toonladder,
DK: Skala,
S: skala,
-FI: asteikko, s@"avelasteikko.
+FI: asteikko, sävelasteikko.
-@aref{diatonic scale}.
+@seealso
-@aitem{scale degree}
-ES: grados de la escala,
+@ref{diatonic scale}.
+
+
+@node scale degree
+@section scale degree
+
+ES: grado (de la escala),
I: grado della scala,
-F: degr@'e [de la gamme],
+F: degré [de la gamme],
D: Tonleiterstufe,
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
-FI: s@"avelaste, asteikon s@"avel.
+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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\set minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+<<
+\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: Skordatur,
+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
-@aitem{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
-@aitem{second}
ES: segunda,
I: secunda,
F: seconde,
-D: Sekund,
+D: Sekunde,
NL: secunde,
DK: sekund,
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
-@aitem{semitone}
ES: semitono,
I: semitono,
F: demi-ton,
NL: halve toon,
DK: halvtone,
S: halvton,
-FI: puolis@"avel.
+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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c'' { g1 gis s a bes s b! c }
+\relative c'' { g1 gis s a bes s b! c }
@end lilypond
-@aitem{seventh}
-ES: s@'eptima,
+
+@node seventh
+@section seventh
+
+ES: séptima,
I: settima,
-F: septi@`eme,
+F: septième,
D: Septime,
NL: septiem,
DK: septim,
S: septim,
FI: septimi.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
+
+@node sextolet
+@section sextolet
+
+@seealso
+
+@ref{sextuplet}, @ref{note value}.
+
+
+@node sextuplet
+@section sextuplet
-@aitem{sextuplet, sextolet}
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
S: sextol,
FI: sekstoli.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node shake
+@section shake
+
+@seealso
+
+@ref{trill}.
+
+
+@node sharp
+@section sharp
-@aitem{sharp}
ES: sostenido,
I: diesis,
-F: di@`ese,
+F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
-S: korsf@"ortecken,
+S: kors@-förtecken,
FI: korotusmerkki.
-@aref{accidental}.
+@seealso
+
+@ref{accidental}.
+
+
+@node simple meter
+@section simple meter
+
+ES: ?,
+I: ?,
+F: ?,
+UK: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+
+@ref{compound meter}, @ref{meter}.
+
-@aitem{short appoggiatura}
-@aref{appoggiatura}.
+@node sixteenth note
+@section sixteenth note
-@aitem{sixteenth note}
ES: semicorchea,
I: semicroma,
F: double croche,
S: sextondelsnot,
FI: kuudestoistaosanuotti.
-@aref{note value}.
+@seealso
-@aitem{sixteenth rest}
-ES: silencia de semicorchea,
+@ref{note value}.
+
+
+@node sixteenth rest
+@section sixteenth rest
+
+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
-@aitem{sixth}
ES: sexta,
I: sesta,
F: sixte,
S: sext,
FI: seksti.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
+
+@node sixty-fourth note
+@section sixty-fourth note
-@aitem{sixty-fourth note}
ES: semifusa,
I: semibiscroma,
F: quadruple croche,
D: Vierundsechzigstel, Vierundsechzigstelnote,
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofj@"ardedelsnot,
-FI: kuudeskymmenesnelj@"asosanuotti.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.
+
+@seealso
+
+@ref{note value}.
+
-@aref{note value}.
+@node sixty-fourth rest
+@section sixty-fourth rest
-@aitem{sixty-fourth rest}
-ES: silencia de semifusa,
+ES: silencio de semifusa,
I: pausa di semibiscroma,
-F: seizi@`eme de soupir,
+F: seizième de soupir,
UK: hemidemisemiquaver rest,
D: Vierundsechzigstelpause,
NL: vierenzestigste rust,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofj@"ardedelspaus,
-FI: kuudeskymmenesnelj@"asosatauko.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.
-@aref{note value}.
+@seealso
-@aitem{slur}
-ES: ligadura,
+@ref{note value}.
+
+
+@node slur
+@section slur
+
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
-F: liaison, coul@'e,
-D: Bogen, Legatobogen, Phrasierungsbogen,
+F: liaison, coulé,
+D: Bogen (Legatobogen, Phrasierungsbogen),
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
-S: b@aa{}ge,
+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.
-@aitem{solmization}
+
+@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
-@aitem{sonata}
ES: sonata,
I: sonata,
F: sonate,
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
-@aitem{sonata form}
ES: forma sonata,
I: forma sonata,
F: [en] forme de sonate,
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 his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however. The exposition contains a number of themes
-which 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}.
-
-@aitem{soprano}
+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
+
+@seealso
+
+@ref{lyrics}.
+
+
+@node soprano
+@section soprano
+
ES: soprano,
I: soprano,
F: soprano,
NL: sopraan,
DK: sopran,
S: sopran,
-FI: sopraano, korkea nais@"a@"ani.
+FI: sopraano, korkea naisääni.
The highest female voice.
-@aitem{staccato}
-ES: staccato,
+
+@node staccato
+@section staccato
+
+ES: picado,
I: staccato,
-F: staccato, piqu@'e, d@'etach@'e,
+F: staccato, piqué, détaché,
D: staccato,
NL: staccato,
DK: staccato,
S: staccato,
-FI: staccato, lyhyesti, ter@"av@"asti.
+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
+@lilypond[fragment,ragged-right]
\key d \major
\time 4/4
-\notes\relative c'' {
+\relative c'' {
\partial 8 a8 |
d4-\staccato cis-\staccato b-\staccato cis-\staccato |
d2. \bar "||"
}
@end lilypond
-@aitem{staff}
+
+@node staff
+@section staff
+
ES: pentagrama,
I: pentagramma, rigo (musicale),
-F: port@'ee,
-D: Notenzeile,
+F: portée,
+D: Notensystem, Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
S: notsystem,
FI: nuottiviivasto.
-pl. staves. A series of (normally@w{ }5) 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.
+A staff (plural: staves) is a series of (normally five) horizontal
+lines upon and between which the musical notes are written, thus
+indicating (in connection with a @ref{clef}) their pitch. Staves for
+@ref{percussion} instruments may have fewer lines.
+
+
+@node staves
+@section staves
+
+@seealso
+
+@ref{staff}.
+
+
+@node stem
+@section stem
-@aitem{stem}
ES: plica,
I: gamba,
F: queue,
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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
g2_"1/2" g' s16
g,4_"1/4" g' s16
g,8_"1/8" g' s16
}
@end lilypond
-@aitem{strings}
+
+@node strings
+@section strings
+
ES: arcos, cuerdas,
I: archi,
F: cordes,
D: Streicher,
NL: strijkers,
DK: strygere,
-S: str@aa{}kar,
+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
-@aitem{strong beat}
ES: tiempo fuerte,
I: tempo forte,
F: temps fort,
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
-@aitem{subdominant}
ES: subdominante,
I: sottodominante,
F: sous-dominante,
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @aref{scale degree}. @aref{functional
-harmony}.
+The fourth @ref{scale degree}.
-@aitem{submediant}
-ES: superdominante,
+@ref{functional harmony}.
+
+
+@node submediant
+@section submediant
+
+ES: submediante,
I: sopratonica,
-F: sous-m@'ediante,
+F: sous-médiante,
D: Submediante,
NL: submediant,
DK: Submediant,
S: submediant,
-FI: alikeskis@"avel.
+FI: alikeskisävel.
-The sixth @aref{scale degree}.
+The sixth @ref{scale degree}.
-@aitem{subtonic}
-ES: sensible,
+
+@node subtonic
+@section subtonic
+
+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: auf G, auf der G-Saite,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicates that the indicated passage (or note) should be played on the
+G string.
+
+
+@node superdominant
+@section superdominant
-@aitem{superdominant}
ES: superdominante,
I: sopradominante,
F: sus-dominante,
S: superdominant,
FI: ylidominantti.
-The sixth @aref{scale degree}.
+The sixth @ref{scale degree}.
+
-@aitem{supertonic}
-ES: supert@'onica,
+@node supertonic
+@section supertonic
+
+ES: supertónica,
I: sopratonica,
F: sus-tonique,
D: Supertonika,
S: supertonika,
FI: ylitoonika.
-The second @aref{scale degree}.
+The second @ref{scale degree}.
+
-@aitem{symphony}
-ES: sinfon@'{@dotless{i}}a,
+@node symphony
+@section symphony
+
+ES: sinfonía,
I: sinfonia,
F: symphonie,
D: Sinfonie, Symphonie,
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.
+
-@aitem{syncopation}
-ES: sincopado,
+@node syncopation
+@section syncopation
+
+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}. Our 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
+@lilypond[fragment,ragged-right]
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 4
d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | c2)
+ e c'4 e,8 c'4 e,8 c' ( | c2)
}
@end lilypond
-@aitemii{syntonic comma,dydimic comma}
+
+@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, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja
+Pytagorisessa viritysjärjestelmässä.
-Difference between the natural third and the third obtained by Pythagorean
-tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
+Difference between the natural third and the third obtained by
+Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
-@aitem{system}
+
+@node system
+@section system
+
+ES: sistema,
I: accollatura,
-F: syst@`eme,
-D: Notensystem,
+F: système,
+D: Notensystem, Partitur,
NL: systeem,
DK: system,
S: system,
-FI: nuottij@"arjestelm@"a.
+FI: nuottijärjestelmä.
+
+The collection of staves (@ref{staff}), two or more, as used for writing
+down of keyboard, chamber, choral, or orchestral music.
+
-The collection of staves @aref{staff}, two or more, as used for
-writing down of keyboard, chamber, choral, or orchestral music.
+@node temperament
+@section temperament
-@aitem{temperament}
ES: temperamento,
I: temperamento,
-F: temp@'erament,
-D: Stimmung, Temperatur,
+F: tempérament,
+D: Stimmung, Tem@-pe@-ra@-tur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
-FI: viritysj@"arjestelm@"a.
+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.
-@aitem{tempo indication}
-ES: indicaci@'on de tempo,
+@ref{meantone temperament}, @ref{equal temperament}.
+
+
+@node tempo indication
+@section tempo indication
+
+ES: indicación de tempo,
I: indicazione di tempo,
-F: indication de temps,
-D: Zeitma@ss{}, Tempobezeichnung,
+F: indication de tempo,
+D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
-FI: tempomerkint@"a.
+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
+@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
+@ref{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
-@aref{largo}, @aref{adagio}, @aref{andante},
-@aref{allegro}, and @aref{presto}.
-@aitem{tenor}
+@node tenor
+@section tenor
+
ES: tenor,
I: tenore,
-F: t@'enor,
+F: ténor,
D: Tenor,
NL: tenor,
DK: tenor,
S: tenor,
-FI: tenori, korkea mies@"a@"ani.
+FI: tenori, korkea miesääni.
+
+The highest male voice (apart from @ref{counter tenor}).
-The highest voice of men (apart from @aref{counter tenor}).
-@aitem{tenth}
-ES: d@'ecima,
+@node tenth
+@section tenth
+
+ES: décima,
I: decima,
-F: dixi@`eme,
+F: dixième,
D: Dezime,
NL: deciem,
DK: decim,
S: decima,
FI: desimi.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node tenuto
+@section tenuto
+
+ES: subrayado (tenuto),
+I: tenuto,
+F: tenue, tenuto,
+D: gehalten, tenuo,
+NL: tenuto,
+DK: tenuto,
+S: tenuto,
+FI: viiva, tenuto.
+
+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
-@aitem{third}
ES: tercera,
I: terza,
F: tierce,
S: ters,
FI: terssi.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
+
+
+@node thirty-second note
+@section thirty-second note
-@aitem{thirty-second note}
ES: fusa,
I: biscroma,
F: triple croche,
D: Zweiunddreissigstel, Zweiunddreissigstelnote,
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
-S: trettiotv@aa{}ondelsnot,
+S: trettiotvåondelsnot,
FI: kolmanneskymmeneskahdesosanuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node thirty-second rest
+@section thirty-second rest
-@aitem{thirty-second rest}
ES: silencio de fusa,
I: pausa di biscroma,
-F: huiti@`eme de soupir,
+F: huitième de soupir,
UK: demisemiquaver rest,
D: Zweiunddreissigstel@-pause,
NL: 32e rust,
DK: toogtredivtedelspause,
-S: trettiotv@aa{}ondelspaus,
+S: trettiotvåondelspaus,
FI: kolmanneskymmeneskahdesosatauko.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node thorough bass
+@section thorough bass
-@aitemii{thorough bass,figured bass}
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffr@'ee,
+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
+@lilypond[fragment,line-width=13.0\cm]
\context GrandStaff <<
- \context Staff = lh \notes\relative c'' {
+ \context Staff = lh \relative c'' {
\time 4/4
\key es \major
\clef treble
< bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
>>
}
- \addlyrics
- \context Staff = rh \notes\relative c' {
+ <<
+ \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
-@aitemii{tie,bind}
-ES: ligadura de prolongaci@'on,
+
+@node tie
+@section tie
+
+ES: ligadura de prolongación,
I: legatura (di valore),
F: liaison,
-D: Haltebogen,
+D: Haltebogen, Bindebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
-S: bindeb@aa{}ge, @"overbindning,
+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 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[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }
@end lilypond
-@aitem{time signature}
-ES: cifra indicadora de comp@'as,
+
+@node time
+@section time
+
+@seealso
+
+@ref{meter}.
+
+
+@node time signature
+@section time signature
+
+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}.
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
-@aitem{tone}
-ES: sonido,
+@seealso
+
+@ref{mensural notation}, @ref{meter}.
+
+
+@node tone
+@section tone
+
+ES: tono,
I: suono,
F: ton,
D: Ton,
NL: toon,
DK: tone,
S: ton,
-FI: @"a@"ani.
+FI: ääni.
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 non tone related sounds.
-@aitem{tonic}
-ES: tonica,
+Music from the 20th century may be based on atonal sounds.
+
+
+@node tonic
+@section tonic
+
+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 transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+FIXME: this is a placeholder
+
-@aitem{transposition}
-ES: transposici@'on,
+@node transposition
+@section transposition
+
+ES: transporte,
I: trasposizione,
F: transposition,
D: Transposition,
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
- \notes\relative c'' {
+ \relative c'' {
\key g \major
d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
}
}
@end lilypond
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
}
@end lilypond
-@aitem{treble clef}
+
+@node treble clef
+@section treble clef
+
ES: clave de sol,
I: chiave di violino,
-F: cl@'e de sol,
-D: Violinschl@"ussel, Sopranschl@"ussel,
+F: clef de sol,
+D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantn@o{}gle,
+DK:@w{ }diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
-@aref{G clef}.
+@seealso
+
+@ref{G clef}.
+
+
+@node tremolo
+@section tremolo
-@aitem{tremolo}
-ES: tremolo,
+ES: trémolo,
I: tremolo,
-F: tr@'emolo,
+F: trémolo,
D: Tremolo,
NL: tremolo,
DK: 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 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[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\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
-@aitem{triad}
-ES: tr@'{@dotless{i}}ada,
+
+@node triad
+@section triad
+
+ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
-D: Dreiklang,
+D: Drei@-klang,
NL: drieklank,
DK: treklang,
S: treklang,
FI: kolmisointu.
-@aref{chord}.
+@seealso
+
+@ref{chord}.
+
+
+@node trill
+@section trill
-@aitemii{trill,shake}
ES: trino,
I: trillo,
F: trille, tremblement, battement (cadence),
S: drill,
FI: trilli.
-@aref{ornament}.
+@seealso
+
+@ref{ornament}.
+
-@aitem{triple meter}
-ES: comp@'as compuesto,
+@node triple meter
+@section triple meter
+
+ES: compás ternario,
I: tempo ternario,
F: mesure ternaire,
-D: in drei,
+D: in drei, ungerader Takt,
NL: driedelige maatsoort,
DK: tredelt takt,
S: tretakt,
FI: kolmijakoinen.
-@aref{meter}.
+@seealso
+
+@ref{meter}.
+
+
+@node triplet
+@section triplet
-@aitem{triplet}
ES: tresillo,
I: terzina,
F: triolet,
S: triol,
FI: trioli.
-@aref{note value}.
+@seealso
-@aitem{tritone}
-ES: tr@'{@dotless{i}}tono,
+@ref{note value}.
+
+
+@node tritone
+@section tritone
+
+ES: tritono,
I: tritono,
F: triton,
D: Tritonus,
S: tritonus,
FI: tritonus.
-@aref{interval}.
+@seealso
+
+@ref{interval}.
-@aitem{tuning fork}
-ES: diapas@'on,
+
+@node tuning fork
+@section tuning fork
+
+ES: diapasón,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
-S: st@"amgaffel,
+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 tuplet
+@section tuplet
+
+A non-standard subdivision of a beat or part of a beat, usually
+indicated with a bracket and a number indicating the number of
+subdivisions.
+
+@seealso
+
+@ref{triplet}, @ref{note value}.
+
-@aitemii{turn,gruppetto}
-ES: grupo,
+@node turn
+@section turn
+
+ES: grupeto,
I: gruppetto,
F: grupetto,
D: Doppelschlag,
S: dubbelslag,
FI: korukuvio.
-???
+@seealso
+
+@ref{ornament}.
+
+
+@node unison
+@section unison
-@aitem{unison}
-ES: un@'{@dotless{i}}sono,
+ES: unísono,
I: unisono,
F: unisson,
D: unisono,
NL: unisono,
DK: unison,
S: unison,
-FI: unisono, yksi@"a@"anisesti.
+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.
-@aitem{upbeat}
-ES: entrada anacr@'usica,
+
+@node upbeat
+@section upbeat
+
+ES: anacrusa,
I: anacrusi,
-F: anacrouse, lev@'ee,
+F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
S: upptakt,
FI: kohotahti.
-Initial note(s) of a melody occurring before the first bar
-line. @aref{measure}, @aref{meter}.
+@seealso
-@lilypond
-\key f \major
-\time 4/4
-\notes\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
-@end lilypond
+@ref{anacrusis}
+
+
+@node voice
+@section voice
-@aitem{voice}
ES: voz,
I: voce,
F: voix,
D: Stimme,
NL: stem,
DK: stemme,
-S: st@"amma,
-FI: @"a@"ani, laulu@"a@"ani.
+S: stämma,
+FI: ääni, lauluääni.
+
+@itemize
-1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
-@aref{contralto}, @aref{tenor},
-@aref{baritone}, @aref{bass}.
-2. A melodic layer or part of a polyphonic composition.
+@item Human voices: @ref{soprano}, @ref{mezzo-soprano},
+@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
-@aitem{weak beat}
-ES: tiempo d@'ebil,
+@item A melodic layer or part of a polyphonic composition.
+
+@end itemize
+
+
+@node weak beat
+@section weak beat
+
+ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
D: unbetonter Taktteil oder Taktschlag,
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
-@aitem{whole note}
ES: redonda,
I: semibreve,
F: ronde,
S: helnot,
FI: kokonuotti.
-@aref{note value}.
+@seealso
+
+@ref{note value}.
+
+
+@node whole rest
+@section whole rest
-@aitem{whole rest}
ES: silencio de redonda,
I: pausa di semibreve,
F: pause,
S: helpaus,
FI: kokotauko.
-@aref{note value}.
+@seealso
-@aitem{whole tone}
-ES: tono,
+@ref{note value}.
+
+
+@node whole tone
+@section whole tone
+
+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.
-@aitem{woodwind}
+
+@node woodwind
+@section woodwind
+
ES: maderas,
I: legni,
F: les bois,
-D: Holzbl@"aser,
+D: Holzbläser,
NL: houtblazers,
-DK tr@ae{}bl@ae{}sere,
-S: tr@"abl@aa{}sare,
+DK træblæsere,
+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.
-
-@end table
-
-@page
-
-@table @strong
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
-
-@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
-@item
-
-@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
-@tab longa @tab longa @tab longa
-
+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
+
+@multitable @columnfractions .15 .26 .33 .26
+
+@headitem @strong{US}
+ @tab @strong{UK}
+ @tab @strong{I}
+ @tab @strong{F (note name / rest name)}
+@headitem
+ @tab @strong{D}
+ @tab @strong{NL}
+ @tab @strong{DK}
+@headitem
+ @tab @strong{S}
+ @tab @strong{FI}
+ @tab @strong{ES}
+
+@item @strong{longa}
+ @tab longa
+ @tab longa
+ @tab longa
@item
-
-@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis
-
+ @tab Longa
+ @tab longa
+ @tab longa
@item
-
-@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
-
+ @tab longa
+ @tab longa
+ @tab longa
+
+@item @strong{breve}
+ @tab breve
+ @tab breve
+ @tab brève / double-pause
@item
-
-@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab puoli- @tab
-
+ @tab Brevis
+ @tab brevis
+ @tab brevis
@item
-
-@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
-
+ @tab brevis
+ @tab brevis
+ @tab cuadrada
+
+@item @strong{whole}
+ @tab semi@-breve
+ @tab semi@-breve
+ @tab ronde / pause
@item
-
-@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
-
+ @tab Ganze
+ @tab hele
+ @tab hel
@item
-
-@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
-@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
-@tab kuudestoistaosa- @tab
-
+ @tab hel
+ @tab koko@-nuotti/@w{-tauko}
+ @tab redonda
+
+@item @strong{half}
+ @tab minim
+ @tab minima
+ @tab blanche / demi-pause
@item
-
-@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
-triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
-@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
-
+ @tab Halbe
+ @tab halve
+ @tab halv
@item
-
-@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
-semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
-vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
-sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
-
-@end multitable
-@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
-
-@page
-
-@table @strong
-@item PITCH NAMES
-@end table
-
-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
-
-@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
+ @tab halv
+ @tab puoli@-nuotti/@w{-tauko}
+ @tab blanca
+
+@item @strong{quarter}
+ @tab crotchet
+ @tab semiminima
+ @tab noire / soupir
@item
-
-@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
-
+ @tab Viertel
+ @tab kwart
+ @tab fjerdedel
@item
-
-@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
-cis @tab cis @tab cis
-
+ @tab fjärdedel
+ @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab negra
+
+@item @strong{eighth}
+ @tab quaver
+ @tab croma
+ @tab croche / demi-soupir
@item
-
-@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
-des @tab des @tab des
-
+ @tab Achtel
+ @tab achtste
+ @tab ottendedel
@item
-
-@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
-
+ @tab åttondel
+ @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab corchea
+
+@item @strong{sixteenth}
+ @tab semiquaver
+ @tab semicroma
+ @tab double croche / quart de soupir
@item
-
-@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
-
+ @tab Sechzehntel
+ @tab zestiende
+ @tab sekstendedel
@item
-
-@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
-
+ @tab sextondel
+ @tab kuudestoistaosa@-nuotti/@w{-tauko}
+ @tab semicorchea
+
+@item @strong{thirty-second}
+ @tab demisemiquaver
+ @tab biscroma
+ @tab triple croche / huitième de soupir
@item
-
-@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
-
+ @tab Zweiunddreissigstel
+ @tab tweeendertigste
+ @tab toogtredivtedel
@item
-
-@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
-@tab as @tab as
-
+ @tab trettiotvåondel
+ @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
+ @tab fusa
+
+@item @strong{sixty-fourth}
+ @tab hemidemisemiquaver
+ @tab semibiscroma
+ @tab quadruple croche / seizième de soupir
@item
-
-@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
-
+ @tab Vierundsechzigstel
+ @tab vierenzestigste
+ @tab fireogtred@-sindstyvendedel
@item
+ @tab sextiofjärdedel
+ @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+ @tab semifusa
-@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
-ais @tab ais @tab ais
-
-@item
+@end multitable
-@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
-@tab b @tab b
-@item
+@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
-@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
+@unnumberedsec Literature used
-@table @strong
+@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 ---------------------
+@item Hugo Riemanns Musiklexicon, Berlin 1929.
-@
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
+1980.
-@item Literature used
-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 Oxford Advanced Learner's Dictionary of Current English, Third
+Edition 1974.
-Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Webster's Revised Unabridged Dictionary, Springfield 1913.
-Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
-@end table
+@end itemize
@bye
projects / lilypond.git / blobdiff