@author Jan Nieuwenhuizen @c Dutch glossary
@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
+@c Updates to the German translation by Till Rettig, 12/07
Copyright @copyright{} 1999--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,
@end titlepage
-@c FIXME: multiple omfcreators?
+@c TODO: multiple omfcreators?
@ignore
@omfcreator Christian Mondrup
@omfdescription Glossary of musical terms with translations
@*
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,
* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
-* Literature used::
@end menu
@node Musical terms A-Z
@menu
* A::
+* a due::
* accent::
* accessory::
* accidental::
* accelerando::
+* acciaccatura::
* adagio::
* allegro::
* alteration::
* alto::
* alto clef::
-* ambit::
+* ambitus::
* anacrusis::
* ancient minor scale::
* andante::
* beat::
* bind::
* brace::
+* bracket::
* brass::
* breath mark::
* breve::
* cluster::
* comma::
* common meter::
-* compound interval::
+* common time::
* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
* conjunct movement::
* consonance::
* contralto::
* double dotted note::
* double flat::
* double sharp::
+* double time signature::
* double trill::
* duple meter::
* duplet::
* extender line::
* F::
* F clef::
+* feathered beam::
* fermata::
* fifth::
* figured bass::
* forefall::
* forte::
* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* half rest::
* harmonic cadence::
* harmony::
+* hemiola::
* homophony::
* interval::
* inverted interval::
* just intonation::
* key::
* key signature::
+* laissez vibrer::
* largo::
* leading note::
* ledger line::
* melisma::
* melisma line::
* melodic cadence::
+* mensural notation::
* meter::
* metronome::
* metronomic indication::
+* metronome mark::
* mezzo-soprano::
* middle C::
* minor::
* motif::
* motive::
* movement::
-* multibar rest::
+* multi-measure rest::
* mixolydian mode::
-* natural sign::
+* natural::
* neighbour tones::
* ninth::
* non-legato::
* note::
* note head::
+* note names::
* note value::
* octave sign::
* octave::
* ornament::
* ossia::
+* ottava::
* part::
* pause::
* pennant::
* piano::
* pitch::
* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
* polyphony::
* portato::
* presto::
+* proportion::
* Pythagorean comma::
* quadruplet::
* quarter note::
* sextuplet::
* shake::
* sharp::
-* short appoggiatura::
+* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
* triplet::
* tritone::
* tuning fork::
+* tuplet::
* turn::
* unison::
* upbeat::
* woodwind::
@end menu
+
@node A
@section A
@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
The stress of one tone over others.
+
@node accessory
@section accessory
@ref{ornament}.
+
@node accidental
@section accidental
ES: alteración accidental,
I: accidento,
F: altération accidentelle,
-D: Vorzeichen, Versetzungszeichen, Akzidenz,
+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
+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.
+accidental, or a sharp or flat in the key signature.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node accelerando
@section accelerando
Increase tempo.
+
+@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
FI: adagio, hitaasti.
It.@: comfortable, easy.
-1.@tie{}Slow tempo, slower -- especially in even meter -- than
+
+@itemize
+
+@item Slow tempo, slower -- especially in even meter -- than
@ref{andante} and faster than @ref{largo}.
-2.@tie{}A movement in slow tempo, especially the second (slow) movement of
-@ref{sonata}s, symphonies, etc.
+
+@item A movement in slow tempo, especially the second (slow) movement
+of @ref{sonata}s, symphonies, etc.
+
+@end itemize
+
@node allegro
@section allegro
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:
+I: alterazione,
+F: altération,
+D: Alteration,
NL: verhoging of verlaging,
-DK:
-S:
-FI:
+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
S: alt,
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
-@ref{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
@ref{C clef}.
-@node ambit
-@section ambit
+
+@node ambitus
+@section ambitus
ES: ámbito,
I: ambitus,
F: ambitus,
-D: ambitus,
+D: Ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
FI: ambitus, ääniala, soitinala.
-The term ambit (from latin: ambitus, plural: ambitus) denotes a range
+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.
+
@node anacrusis
@section anacrusis
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.
+of music before a section of music. It also refers to the initial
+note(s) of a melody occurring in that incomplete measure.
@seealso
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
+
@node ancient minor scale
@section ancient minor scale
ES: escala menor antigua,
I: scala minore naturale,
-F: forme du mode mineur ancien, troisème mode, mode hellénique
-D: reines Moll,
+F: forme du mode mineur ancien, troisème mode, mode hellénique,
+D: reines Moll, natürliches Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
a1 b c d e f g a }
@end lilypond
+
@node andante
@section andante
Walking tempo/character.
+
@node appoggiatura
@section appoggiatura
ES: apoyatura,
I: appoggiatura,
F: appoggiature, (port de voix),
-D: Vorschlag,
+D: Vorschlag, Vorhalt
NL: voorslag,
DK: forslag,
S: förslag,
FI: appoggiatura, etuhele.
-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.
+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[line-width=13.0\cm]
\context Voice \relative c'' {
}
@end lilypond
+
@node arpeggio
@section arpeggio
>>
@end lilypond
+
@node articulation
@section articulation
NL: articulatie,
DK: ?,
S: ?,
-FI: ?.
+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.
-Articulation refers to notation which indicates how a note or notes should
-be played. Slurs, accents, staccato, and legato are all examples of
-articulartion.
@node ascending interval
@section ascending interval
A distance between a starting lower note and a higher ending note.
+
@node augmented interval
@section augmented interval
@ref{interval}.
+
@node autograph
@section autograph
S: handskrift,
FI: käsinkirjoitettu nuotti.
-1.@tie{}A manuscript in the composer's own hand.
-2.@tie{}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.
+@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
+
@node B
@section B
@ref{Pitch names}
+
@node backfall
@section backfall
@ref{appoggiatura}.
+
@node bar
@section bar
@ref{measure}.
+
@node bar line
@section bar line
S: taktstreck,
FI: tahtiviiva.
+
@node baritone
@section baritone
@c F: clef de troisième ligne dropped
+
@node baritone clef
@section baritone clef
@ref{C clef}, @ref{F clef}.
+
@node bass clef
@section bass clef
@ref{F clef}.
+
@node bass
@section bass
S: bas,
FI: basso, matala miesääni.
-1.@tie{}The lowest male voice.
-2.@tie{}Sometimes, especially in jazz music, used as
-an abbreviation for double bass.
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize
@seealso
@ref{strings}.
+
@node beam
@section beam
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note).
-The number of beams determines 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[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
+@seealso
+
+@ref{feathered beam}.
+
+
@node beat
@section beat
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[fragment,line-width=13.0\cm]
\key g \major
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
+
@node bind
@section bind
@ref{tie}.
+
@node brace
@section brace
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are used
-for connecting piano staves, angular brackets for connecting parts in an
-orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+
+@node bracket
+@section bracket
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
@node brass
@section brass
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
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
S: brevis,
FI: brevis.
-@ref{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[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
+
@node C
@section C
@ref{Pitch names}
+
@node C clef
@section C clef
>>
@end lilypond
+
@node cadence
@section cadence
@ref{harmonic cadence}, @ref{functional harmony}.
+
@node cadenza
@section cadenza
FI: kadenssi, lopuke.
An extended, improvisatory style section inserted near the end of
-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 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
@ref{counterpoint}.
+
@node cent
@section cent
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}).
+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}.
+
@node central C
@section central C
@ref{middle C}.
+
@node chord
@section chord
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music
-the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
-+
-minor @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
+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[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node chromatic scale
@section chromatic scale
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
+
@node chromaticism
@section chromaticism
Use of tones extraneous to a @ref{diatonic scale} (minor, major).
+
@node church mode
@section church mode
@ref{diatonic scale}.
+
@node clef
@section clef
@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:
+called a @q{grand staff}, with the bottom line representing low G and
+the top line high F:
@lilypond[ragged-right,quote]
\score {
} % 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:
+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 {
} % End score
@end lilypond
-The @q{curl} of the G clef in centered on the line that represents the pitch G.
+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.
+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 {
@node cluster
@section cluster
-ES: racimo.
+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
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
+
@node comma
@section comma
S: komma,
FI: komma, korvinkuultava ero äänenkorkeudessa.
-Difference in pitch between a note derived from pure tuning and the same note
-derived from some other tuning method.
+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}.
+
+
+@node common time
+@section common time
+
+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
@ref{interval}.
-@node complement
-@section complement
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+@node compound meter
+@section compound meter
+
+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{inverted interval}.
+@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
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
+
@node consonance
@section consonance
@ref{harmony}.
+
@node contralto
@section contralto
@ref{alto}.
+
@node counterpoint
@section counterpoint
S: kontrapunkt,
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.
+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
>>
@end lilypond
+
@node counter tenor
@section counter tenor
@ref{contralto}.
+
@node copying music
@section 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
S: crescendo,
FI: cresendo, voimistuen.
-Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation @samp{cresc.}.
+Increasing volume. Indicated by a rightwards opening horizontal wedge
+or the abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
+
@node cue-notes
@section cue-notes
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.
+
@node custos
@section custos
+ES: ?,
+I: ?,
F: guidon,
-D: Notenzeiger.
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-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.
+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
}
@end lilypond
+
@node D
@section D
@ref{Pitch names}
+
@node da capo
@section da capo
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 @samp{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
}
@end lilypond
+
@node decrescendo
@section decrescendo
}
@end lilypond
+
@node descending interval
@section descending interval
A distance between a starting higher note and a lower ending note.
+
@node diatonic scale
@section diatonic scale
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and
-2@w{ }@ref{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 in pre-baroque early
+The church modes are used in gregorian chant and in pre-baroque early
music but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
@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[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node diminished interval
@section diminished interval
@ref{interval}.
+
@node diminuendo
@section diminuendo
ES: diminuendo,
I: diminuendo,
F: diminuendo,
-D: Diminuendo,
+D: diminuendo,
NL: diminuendo,
DK: diminuendo,
S: diminuendo,
@ref{decrescendo}.
+
@node direct
@section direct
ES: ?,
I: ?,
F: ?,
-D: ?,
+D: Weiser, Zeiger,
NL: ?,
DK: ?,
S: ?,
@ref{custos}.
+
@node disjunct movement
@section disjunct movement
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second.
-Opposite of @ref{conjunct movement}.
+Progressing melodically by intervals larger than a major second, as
+opposed to @ref{conjunct movement}.
@lilypond[fragment,ragged-right]
\key a \major
fis2 d4. \bar "||" }
@end lilypond
+
@node dissonance
@section dissonance
@ref{dissonant interval}.
+
@node dissonant interval
@section dissonant interval
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.
@ref{harmony}.
+
@node dominant ninth chord
@section dominant ninth chord
@ref{chord}, @ref{functional harmony}.
+
@node dominant seventh chord
@section dominant seventh chord
@ref{chord}, @ref{functional harmony}.
+
@node dominant
@section dominant
The fifth @ref{scale degree} in @ref{functional harmony}.
+
@node dorian mode
@section dorian mode
@ref{diatonic scale}.
+
@node dot (augmentation dot)
@section dot (augmentation dot)
S: punkt,
FI: piste.
-@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
-
@seealso
-@ref{dotted note}.
+@ref{dotted note}, @ref{note value}.
+
@node dotted note
@section dotted note
@ref{note value}.
+
@node double appoggiatura
@section double appoggiatura
@ref{appoggiatura}.
+
@node double bar line
@section double bar line
Indicates the end of a section within a movement.
+
@node double dotted note
@section double dotted note
@ref{note value}.
+
@node double flat
@section double flat
@ref{accidental}.
+
@node double sharp
@section double sharp
@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
A simultaneous trill on two notes, usually in the distance of a third.
+
@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: tvåtakt,
@ref{meter}.
+
@node duplet
@section duplet
@ref{note value}.
+
@node duration
@section duration
@ref{note value}.
+
@node dydimic comma
@section dydimic comma
@ref{syntonic comma}.
+
@node dynamics
@section dynamics
ES: ?,
I: ?,
-F: ?,
-D: ?,
+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.
+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}.
+@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
+@ref{diminuendo}.
+
@node E
@section E
@ref{Pitch names}
+
@node ecclesiastical mode
@section ecclesiastical mode
@ref{church mode}.
+
@node eighth note
@section eighth note
@ref{note value}.
+
@node eighth rest
@section eighth rest
@ref{note value}.
+
@node elision
@section elision
-FIXME: languages, definition
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO definition -- referenced from lyric tie
+
@node embellishment
@section embellishment
@ref{ornament}.
+
@node engraving
@section engraving
ES: grabar,
I: incisione,
F: gravure,
-D: Notenstechen, Notendruck
+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.
+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
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[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node equal temperament
@section equal temperament
@ref{temperament}.
+
@node expression mark
@section expression mark
S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
-Performance indications concerning 1. volume, dynamics (for example
-@ref{forte}, @ref{crescendo}), 2. tempo (for example
-@ref{andante}, @ref{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
-FIXME: add languages
-
ES: línea de extención [de melisma, de bajo cifrado, etc.],
I: ?,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
-D: ?,
+D: Fülllinie,
NL: ?,
DK: ?,
S: ?,
-FI: .
+FI: ?.
-The generic term for a line (or dash) of arbitrary length that
-extends text (without indicating the musical @emph{function} of
-that text).
+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 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:
@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.
+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
@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+
@node F
@section F
@ref{Pitch names}
+
@node F clef
@section F clef
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
-@ref{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[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
+@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
}
@end lilypond
+
@node fifth
@section fifth
@ref{interval}.
+
@node figured bass
@section figured bass
@ref{thorough bass}.
+
@node fingering
@section fingering
The methodical use of fingers in the playing of instruments.
+
@node flag
@section flag
}
@end lilypond
+
@node flat
@section flat
ES: bemol,
I: bemolle,
F: bémol,
-D: B, b,
+D: B,
NL: mol,
DK: b,
S: beförtecken,
@ref{accidental}.
+
@node forefall
@section forefall
@ref{appoggiatura}.
+
@node forte
@section forte
Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
@emph{mezzo forte} (@samp{@b{mf}}) medium loud.
+
@node fourth
@section fourth
@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
@ref{counterpoint}.
+
@node functional harmony
@section functional harmony
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). Others 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[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node G
@section G
@ref{Pitch names}
+
@node G clef
@section G clef
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[fragment,notime,ragged-right]
<<
>>
@end lilypond
+
@node glissando
@section glissando
Letting the pitch slide fluently from one note to the other.
+
@node grace notes
@section grace notes
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
-@ref{appoggiatura}.
+@seealso
+
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
+
@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, böjd klammer,
@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.
+
@node gruppetto
@section gruppetto
@ref{turn}.
+
@node H
@section 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}.
+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
@ref{note value}.
+
@node half rest
@section half rest
@ref{note value}.
+
@node harmonic cadence
@section harmonic cadence
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-A sequence of chords that terminates a musical phrase or
-section.
+A sequence of chords that terminates a musical phrase or section.
@ref{functional harmony}.
@end lilypond
+
@node harmony
@section harmony
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:
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.
+
+@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
S: homofoni,
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
+@ref{polyphony}.
+
@node interval
@section interval
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor,
-major, diminished, or augmented. The augmented fourth and the diminished fifth
-are identical (@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.
+Difference in pitch between two notes. Intervals may be perfect,
+minor, major, diminished, or augmented. The augmented fourth and the
+diminished fifth are identical (@ref{enharmonic}) and are called
+@emph{tritonus} because they consist of three @ref{whole tone}s. The
+addition of such two intervals forms an octave.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node inverted interval
@section inverted interval
}
@end lilypond
+
@node just intonation
@section just intonation
@ref{temperament}.
+
@node key
@section key
@ref{key signature}.
+
@node key signature
@section key signature
@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
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
+
@node leading note
@section leading note
S: ledton,
FI: johtosävel.
-The seventh @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.
+The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
+called because of its strong tendency to @q{lead up} (resolve upwards)
+to the tonic scale degree.
+
@node ledger line
@section ledger line
\relative c'' { a,1 s c'' }
@end lilypond
+
@node legato
@section legato
ES: legato,
I: legato,
F: legato, lié,
-D: legato,
+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) @ref{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[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+
@node legato curve
@section legato curve
@ref{slur}, @ref{legato}.
+
@node leger line
@section leger line
@ref{ledger line}.
+
@node lilypond
@section lilypond
A pond with lilies floating in it, also the name of a music typesetter.
+
@node ligature
@section ligature
-ES: ligadura
+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
With the invention of the metric system of the white mensural
notation, the need for ligatures to denote such patterns disappeared.
+
@node line
@section line
@ref{staff}.
+
@node long appoggiatura
@section long appoggiatura
ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
-D: langer Vorschlag,
+D: Vorhalt,
NL: Lange voorslag,
DK: langt forslag,
S: långt förslag,
@ref{appoggiatura}.
+
@node longa
@section longa
@ref{note value}.
+
@node lyrics
@section lyrics
ES: letra (de la canción),
-I: .,
+I: ?,
F: paroles,
-D: Liedtext,
+D: Liedtext, Gesangtext,
NL: liedtekst,
-DK: .,
-S: .,
-FI, sanoitus.
+DK: ?,
+S: ?,
+FI: sanoitus.
+
@node lyric tie
@section lyric tie
-FIXME: add languages
+ES: ?,
+I: ?,
+F: ?,
+D: Textbindung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add languages
@seealso
@ref{elision}.
+
@node major interval
@section major interval
@ref{interval}.
+
@node major
@section major
@ref{diatonic scale}.
+
@node meantone temperament
@section meantone temperament
S: medeltonstemperatur,
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{ }@ref{cent}s. Due to the non-circular
+character of this @ref{temperament} only a limited set of keys are
+playable. Used for tuning keyboard instruments for performance of
+pre-1650 music.
+
@node measure
@section measure
FI: tahti.
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.
+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
S: mediant,
FI: keskisävel.
-1.@tie{}The third @b{scale degree}.
-2.@tie{}A @ref{chord} having its base tone
-a third from that of another chord. For example, the tonic chord may be
-replaced by its lower mediant (variant tonic).
+@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}.
-@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: melismata) is a group of notes or tones sung on one
-syllable in plainsong
+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
-FIXME: add languages
+@c TODO: add languages
@seealso
@ref{extender line}.
+
@node melodic cadence
@section melodic cadence
@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: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,
F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
S: taktart,
FI: aika-arvo.
-The basic scheme of @ref{note value}s and
-@ref{accent}s which remains unaltered throughout a composition
-or a section of it. For instance, 3/4 meter means that the basic
-@ref{note value}s are quarter notes and that a
-@ref{measure} consists of three of those. According to
-whether there are two, three, or four units to the measure,
-one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
+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):
+
+@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
+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
+Compound triple meter (J.S. Bach, 1685-1750):
+
@lilypond[fragment,line-width=13.0\cm]
-\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 "||"}
+\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
+
+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
Device indicating the exact tempo of a piece.
-@ref{metronomic
-indication}.
+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}.
+
@node metronomic indication
@section metronomic indication
+@seealso
+
+@ref{metronome mark}
+
+
+@node metronome mark
+@section metronome mark
+
ES: indicación metronómica,
I: indicazione metronomica,
F: indication métronomique,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}
+
@node mezzo-soprano
@section mezzo-soprano
The female voice between @ref{soprano} and @ref{contralto}.
+
@node middle C
@section middle C
}
@end lilypond
+
@node minor
@section minor
@ref{diatonic scale}.
+
@node minor interval
@section minor interval
@ref{interval}.
+
@node mode
@section mode
ES: modo,
I: modo,
F: mode,
-D: Modus,
+D: Kirchentonart, Modus,
NL: modus,
DK: skala,
S: modus, skala,
@ref{church mode}, @ref{diatonic scale}.
+
@node modulation
@section modulation
S: modulering,
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 @ref{key} to another. For example, the second subject
+of a @ref{sonata form} movement modulates to the dominant key if the
+key is major and to the @ref{relative key} if the key is minor.
+
@node mordent
@section mordent
@ref{ornament}.
+
@node motif
@section motif
@ref{motive}.
+
@node motive
@section motive
S: motiv,
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[line-width=13.0\cm]
\score{
}
@end lilypond
+
@node movement
@section movement
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and
-@ref{sonata} most often consist of several -- more or less --
-independant pieces called movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often
+consist of several -- more or less -- independant pieces called
+movements.
+
-@node multibar rest
-@section multibar rest
+@node multi-measure rest
+@section multi-measure rest
ES: compases de espera,
I: pausa multipla,
F: pause multiple,
NL: meermaats rust,
-D: mehrtaktige Pause,
+D: mehrtaktige Pause, Kirchenpause,
DK: flertaktspause,
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
+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
+@seealso
+
+@ref{longa}, @ref{breve}.
+
+
@node mixolydian mode
@section mixolydian mode
@ref{diatonic scale}.
-@node natural sign
-@section natural sign
+
+@node natural
+@section natural
ES: becuadro,
I: bequadro,
@ref{accidental}.
+
@node neighbour tones
@section neighbour tones
@seealso
-@ref{appoggiatura}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
+
@node ninth
@section ninth
@ref{interval}.
+
@node non-legato
@section non-legato
@ref{legato}.
+
@node note
@section note
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
+
@node note head
@section note head
instruments (often having no defined pitch) the note head may indicate the
instrument.
+
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value. The longest duration normally used is called
-@emph{brevis},
-but sometimes (mostly in pre-baroque music) the double length note value
-@emph{longa} is used.
+Note values (durations) are measured as fractions, normally 1/2, of
+the next higher note value. The longest duration normally used is
+called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
+double-length note value @emph{longa} or the quadruple-length note
+value @emph{maxima} are used.
+
+@c TODO -- add maxima to this example, in a way that doesn't break it.
@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
+@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
}
@end lilypond
+
@node octave sign
@section octave sign
@ref{G clef}, @ref{F clef}.
+
@node octave
@section octave
@seealso
-@ref{interval}.
+@ref{ottava}, @ref{interval}.
+
@node ornament
@section ornament
@seealso
-@ref{appoggiatura}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+
@node ossia
@section ossia
S: ossia,
FI: ossia, vaihtoehtoinen esitystapa.
-Ossia (otherwise) marks an alternative. It is an added staff or piano
-score, usually only a few measures long, which presents another version
-of the music, for example for small hands.
+Ossia (otherwise) marks an alternative. It is an added staff or piano
+score, usually only a few measures long, which presents another version
+of the music, for example for small hands.
+
+
+@node ottava
+@section ottava
+
+@c TODO: translations
+
+ES: ?,
+I: ottava,
+F: octave,
+DE: Oktavierung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian] The interval of an octave, abbreviated 8va.
+
+@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
+@emph{8va} written above a passage indicates that it should be played
+an octave higher than written. @emph{Ottava bassa}, @emph{ottava
+sotto}, or @emph{8va} written below a passage indicates that it should
+be played an octave lower than written.
+
+@seealso
+
+@ref{interval}.
+
@node part
@section part
S: stämma,
FI: stemma, instrumenttiosuus.
-1.@tie{}In instrumental or choral music the music for the single instrument
-or voice. 2.@tie{}in contrapuntal music @ref{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
@ref{fermata}.
+
@node pennant
@section pennant
@ref{flag}.
+
@node percussion
@section percussion
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
+
@node perfect interval
@section perfect interval
@ref{interval}.
+
@node phrase
@section phrase
A natural division of the melodic line, comparable to a sentence of speech.
+
@node phrasing
@section phrasing
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
@ref{anacrusis}.
+
@node piano
@section piano
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
+
@node pitch
@section pitch
S: tonhöjd,
FI: sävelkorkeus.
+
@node pizzicato
@section pizzicato
S: pizzicato,
FI: pizzicato, näppäillen.
-Play by plucking the strings.
+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.
+
+@seealso
+
+@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
S: polyfoni,
FI: polyfonia, moniäänisyys.
-Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality.
+Music written in a combination of several simultaneous voices (parts)
+of a more or less pronounced individuality.
@ref{counterpoint}.
+
@node portato
@section portato
@ref{legato}.
+
@node presto
@section presto
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
+
+@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
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
+
@node quadruplet
@section quadruplet
@ref{note value}.
+
@node quarter note
@section quarter note
@ref{note value}.
+
@node quarter rest
@section quarter rest
@ref{note value}.
+
@node quintuplet
@section quintuplet
@ref{note value}.
+
@node rallentando
@section rallentando
@ref{ritardando}.
+
@node relative key
@section relative key
}
@end lilypond
+
@node repeat
@section repeat
}
@end lilypond
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
@node rest
@section rest
S: paus,
FI: tauko.
+@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
S: rytm,
FI: rytmi.
-(a) 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}. (b) Measured rhythm which lacks regularly recurrent
-accent. In modern notation such music appears as a free alternation of
-different measures. (c) Free rhythm, i.e., the use of temporal values having
-no common metrical unit (beat).
+@itemize
+
+@item Metrical rhythm in which every time value is a multiple or
+fraction of a fixed unit of time, called @ref{beat}, and in which the
+normal @ref{accent} recurs in regular intervals, called @ref{measure}.
+The basic scheme of time values is called @ref{meter}.
+
+@item Measured rhythm which lacks regularly recurrent accent. In
+modern notation such music appears as a free alternation of different
+measures.
+
+@item Free rhythm, i.e., the use of temporal values having no common
+metrical unit (beat).
+
+@end itemize
+
@node ritardando
@section ritardando
ES: ritardando,
I: ritardando,
F: ritardando,
-D: Ritardando, langsamer werden,
+D: ritardando, langsamer werden,
NL: ritardando,
DK: ritardando,
S: ritardando,
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+
@node ritenuto
@section ritenuto
ES: ritenuto,
I: ritenuto,
F: ritenuto,
-D: Ritenuto,
+D: ritenuto,
NL: ritenuto,
DK: ritenuto,
S: ritenuto,
Immediate reduction of speed.
+
@node scale
@section scale
@ref{diatonic scale}.
+
@node scale degree
@section scale degree
S: skalsteg (?),
FI: sävelaste, asteikon sävel.
-Names and symbols used in harmonic analysis to denote tones of the scale as
-roots of chords. The most important are degrees I = tonic (T), IV =
-sub@-do@-mi@-nant (S) and V = dominant (D).
+Names and symbols used in harmonic analysis to denote tones of the
+scale as roots of chords. The most important are degrees I = tonic
+(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@ref{functional harmony}.
+
@node scordatura
@section scordatura
ES: ?,
I: scordatura,
F: à cordes ravallées,
-D: ?,
+D: Skordatur,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of
-stringed instruments, particularly lutes or violins. Used to:
+[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 facilitate pitch combinations that would otherwise be difficult
+or impossible
-@item
-alter the characteristic timbre of the instrument, for example, to increase
-brilliance)
+@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 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.
+Tunings that could be called @var{scordatura} first appeared early in
+the 16th Century and became commonplace in the 17th.
+
@node score
@section score
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 @ref{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
ES: segunda,
I: secunda,
F: seconde,
-D: Sekund(a),
+D: Sekunde,
NL: secunde,
DK: sekund,
S: sekund,
FI: sekunti.
The @ref{interval} between two neigbouring tones of a scale. A
-@ref{diatonic scale} consists of alternating
-@ref{semitone}s and @ref{whole tone}s, hence the size
-of a se@-cond depends on the scale degrees in question.
+@ref{diatonic scale} consists of alternating @ref{semitone}s and
+@ref{whole tone}s, hence the size of a se@-cond depends on the scale
+degrees in question.
+
@node semitone
@section semitone
S: halvton,
FI: puolisävel.
-The @ref{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.
@ref{interval}, @ref{chromatic scale}.
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
+
@node seventh
@section seventh
@ref{interval}.
+
@node sextolet
@section sextolet
@seealso
-@ref{sextuplet}
+@ref{sextuplet}, @ref{note value}.
+
@node sextuplet
@section sextuplet
@ref{note value}.
+
@node shake
@section shake
@ref{trill}.
+
@node sharp
@section sharp
@ref{accidental}.
-@node short appoggiatura
-@section short appoggiatura
+
+@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{appoggiatura}.
+@ref{compound meter}, @ref{meter}.
+
@node sixteenth note
@section sixteenth note
@ref{note value}.
+
@node sixteenth rest
@section sixteenth rest
@ref{note value}.
+
@node sixth
@section sixth
@ref{interval}.
+
@node sixty-fourth note
@section sixty-fourth note
@ref{note value}.
+
@node sixty-fourth rest
@section sixty-fourth rest
@ref{note value}.
+
@node slur
@section slur
ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
F: liaison, coulé,
-D: Bogen, Legatobogen, Phrasierungsbogen,
+D: Bogen (Legatobogen, Phrasierungsbogen),
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
S: båge,
FI: kaari.
-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.
+A slur above or below a group of notes indicates that they are to be
+played @ref{legato}, e.g., with one stroke of the violin bow or with
+one breath in singing.
+
@node solmization
@section solmization
FI: suhteelliset laulunimet.
General term for systems of designating the degrees of the
-@ref{scale}, not by letters, but by syllables (@emph{do}
-(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
+@ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
+@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
@ref{scale degree}.
+
@node sonata
@section sonata
S: sonat,
FI: sonaatti.
-In its present-day meaning a sonata denotes an instrumental composition for
-piano or for some other instrument with piano accompaniment, which consists of
-three or four independant pieces, called movements.
+In its present-day meaning a sonata denotes an instrumental
+composition for piano or for some other instrument with piano
+accompaniment, which consists of three or four independant pieces,
+called movements.
+
@node sonata form
@section sonata form
FI: sonaattimuoto.
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{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
@ref{lyrics}.
+
@node soprano
@section soprano
The highest female voice.
+
@node staccato
@section staccato
ES: picado,
I: staccato,
F: staccato, piqué, détaché,
-D: Staccato,
+D: staccato,
NL: staccato,
DK: staccato,
S: staccato,
FI: staccato, lyhyesti, terävästi.
-Playing the note(s) short. Staccato is indicated by a dot above or below the
-note head.
+Playing the note(s) short. Staccato is indicated by a dot above or
+below the note head.
@lilypond[fragment,ragged-right]
\key d \major
}
@end lilypond
+
@node staff
@section staff
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
-D: Notenzeile,
+D: Notensystem, Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
S: notsystem,
FI: nuottiviivasto.
-A staff (pl. staves) is a series of (normally five) horizontal lines
-upon and between which the musical notes are written, thus indicating
-(in connection with a @ref{clef}) their pitch. Staves for
+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
@ref{staff}.
+
@node stem
@section stem
}
@end lilypond
+
@node strings
@section strings
S: stråkar,
FI: jouset.
-A family of stringed musical instruments played with a bow. Strings commonly
-used in a symphony orchestra are violin, viola, violoncello, and double bass.
+A family of stringed musical instruments played with a bow. Strings
+commonly used in a symphony orchestra are violin, viola, violoncello,
+and double bass.
+
@node strong beat
@section strong beat
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
+
@node subdominant
@section subdominant
@ref{functional harmony}.
+
@node submediant
@section submediant
The sixth @ref{scale degree}.
+
@node subtonic
@section subtonic
The seventh @ref{scale degree}.
+
@node sul G
@section sul G
ES: sobre la G,
I: sul g,
F: sur la G,
-D: ?,
+D: auf G, auf der G-Saite,
NL: ?,
DK: ?,
S: ?,
Indicates that the indicated passage (or note) should be played on the
G string.
+
@node superdominant
@section superdominant
The sixth @ref{scale degree}.
+
@node supertonic
@section supertonic
The second @ref{scale degree}.
+
@node symphony
@section symphony
A symphony may be defined as a @ref{sonata} for orchestra.
+
@node syncopation
@section syncopation
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.
+rhythm rests upon the grouping of equal beats into groups of two or
+three, with a regularly recurrent accent on the first beat of each
+group. Any deviation from this scheme is felt as a disturbance or
+contradiction between the underlaying (normal) pulse and the actual
+(abnormal) rhythm.
@lilypond[fragment,ragged-right]
\time 4/4
}
@end lilypond
+
@node syntonic comma
@section syntonic comma
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
-viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja
+Pytagorisessa viritysjärjestelmässä.
+
+Difference between the natural third and the third obtained by
+Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
-Difference between the natural third and the third obtained by Pythagorean
-tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
@node system
@section system
ES: sistema,
I: accollatura,
F: système,
-D: Notensystem,
+D: Notensystem, Partitur,
NL: systeem,
DK: system,
S: system,
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 (@ref{staff}), two or more, as used for writing
+down of keyboard, chamber, choral, or orchestral music.
+
@node temperament
@section temperament
S: temperatur,
FI: viritysjärjestelmä.
-Systems of tuning in which the intervals deviate from the acoustically pure
-intervals.
+Systems of tuning in which the intervals deviate from the acoustically
+pure intervals.
@ref{meantone temperament}, @ref{equal temperament}.
+
@node tempo indication
@section tempo indication
S: tempobeteckning,
FI: tempomerkintä.
-The rate of speed of a composition or a section thereof, ranging from the
-slowest to the quickest, as is indicated by tempo marks as
-@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
+@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
+@ref{presto}.
+
@node tenor
@section tenor
The highest male voice (apart from @ref{counter tenor}).
+
@node tenth
@section tenth
@ref{note value}.
+
@node tenuto
@section 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
@ref{interval}.
+
@node thirty-second note
@section thirty-second note
@ref{note value}.
+
@node thirty-second rest
@section thirty-second rest
@ref{note value}.
+
@node thorough bass
@section thorough bass
S: generalbas,
FI: kenraalibasso, numeroitu basso.
-A method of indicating an accompaniment part by the bass notes only, together
-with figures designating the chief @ref{interval}s and
+A method of indicating an accompaniment part by the bass notes only,
+together with figures designating the chief @ref{interval}s and
@ref{chord}s to be played above the bass notes.
@lilypond[fragment,line-width=13.0\cm]
>>
@end lilypond
+
@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: bindebåge, överbindning,
FI: sitominen.
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.
+connects two succesive notes of the same pitch, and which has the
+function of uniting them into a single sound (tone) equal to the
+combined durations.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
+
@node time
@section time
@ref{meter}.
+
@node time signature
@section time signature
S: taktartssignatur,
FI: tahtiosoitus.
+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.
+
@seealso
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
+
@node tone
@section tone
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
+
Music from the 20th century may be based on atonal sounds.
+
@node tonic
@section tonic
@ref{functional harmony}.
+
+@node transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+FIXME: this is a placeholder
+
+
@node transposition
@section transposition
}
@end lilypond
+
@node treble clef
@section treble clef
@ref{G clef}.
+
@node tremolo
@section tremolo
S: tremolo,
FI: tremolo.
-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}).
+On stringed instruments (@ref{strings}) the quick reiteration of the
+same tone, produced by a rapid up-and-down movement of the bow (a).
+The term is also used for the rapid alternation (b) between two notes
+of a @ref{chord}, usually in the distance of a third (@ref{interval}).
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
}
@end lilypond
+
@node triad
@section triad
@ref{chord}.
+
@node trill
@section trill
@ref{ornament}.
+
@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,
@ref{meter}.
+
@node triplet
@section triplet
@ref{note value}.
+
@node tritone
@section tritone
@ref{interval}.
+
@node tuning fork
@section tuning fork
S: stämgaffel,
FI: viritysavain.
-A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per
-second).
+A two-pronged piece of steel used to indicate absolute pitch. Tuning
+forks give the international pitch for the tone @emph{a} (440
+vibrations per second).
+
+
+@node 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}.
+
@node turn
@section turn
@ref{ornament}.
+
@node unison
@section unison
S: unison,
FI: unisono, yksiäänisesti.
-Playing of the same notes or the same melody by various instruments (voices)
-or by the whole orchestra (choir), either at exactly the same pitch or in a
-different octave.
+Playing of the same notes or the same melody by various instruments
+(voices) or by the whole orchestra (choir), either at exactly the same
+pitch or in a different octave.
+
@node upbeat
@section upbeat
@ref{anacrusis}
+
@node voice
@section voice
S: stämma,
FI: ääni, lauluääni.
-1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
+@itemize
+
+@item Human voices: @ref{soprano}, @ref{mezzo-soprano},
@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
-2.@tie{}A melodic layer or part of a polyphonic composition.
+
+@item A melodic layer or part of a polyphonic composition.
+
+@end itemize
+
@node weak beat
@section weak beat
@ref{beat}, @ref{measure}, @ref{rhythm}.
+
@node whole note
@section whole note
@ref{note value}.
+
@node whole rest
@section whole rest
@ref{note value}.
+
@node whole tone
@section whole tone
S: helton,
FI: kokoaskel.
-The @ref{interval} of a major second. The interval between two
-tones on the piano keyboard with exactly one key between them -- including
+The @ref{interval} of a major second. The interval between two tones
+on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
+
@node woodwind
@section woodwind
S: träblåsare,
FI: puupuhaltimet.
-A family of blown wooden musical instruments. Today some of these instruments
-are actually made from metal. The woodwind instruments commonly used in a
-symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
+A family of blown wooden musical instruments. Today some of these
+instruments are actually made from metal. The woodwind instruments
+commonly used in a symphony orchestra are flute, oboe, clarinet,
+saxophone, and bassoon.
+
@node Duration names notes and rests
@chapter Duration names, notes and rests
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
@multitable @columnfractions .15 .26 .33 .26
-@item
+@headitem @strong{US}
@tab @strong{UK}
@tab @strong{I}
@tab @strong{F (note name / rest name)}
-@item
+@headitem
@tab @strong{D}
@tab @strong{NL}
@tab @strong{DK}
-@item
+@headitem
@tab @strong{S}
@tab @strong{FI}
@tab @strong{ES}
-@c extra @items make this table harder to read, so I removed them.
-
@item @strong{longa}
@tab longa
@tab longa
@end multitable
+
@node Pitch names
@chapter Pitch names
-@table @code
-@item PITCH NAMES
-@end table
-
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
-
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
-
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
-
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
-@tab Cis @tab cis @tab cis @tab cis @tab cis
-
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
-@tab des @tab des @tab des @tab des
-
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
-
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
-@tab es @tab es @tab es @tab es
-
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
-
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
-
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
-@tab g
-
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
-@tab as @tab as @tab as @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 ais @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
-
+@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
+@menu
+* Literature used::
+@end menu
+
@node Literature used
-@unnumbered Literature used
+@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many more or less
-literal quotes from its articles have been included into the item
-explanation texts.
+@item The Harvard Dictionary of Music, London 1944. Many
+more or less literal quotes from its articles have been included into
+the item explanation texts.
@item Hugo Riemanns Musiklexicon, Berlin 1929.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
+1980.
-@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
-1974.
+@item Oxford Advanced Learner's Dictionary of Current English, Third
+Edition 1974.
@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+
+@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
+
@end itemize
@bye
projects / lilypond.git / blobdiff