\input texinfo @c -*- coding: utf8; mode: texinfo; -*-
-
-@settitle Music Glossary
@setfilename music-glosssary.info
+@settitle Music Glossary
@documentencoding utf-8
@documentlanguage en
@end direntry
@ifhtml
-This document is also available in @uref{source/Documentation/user/out-www/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/out-www/music-glossary.html,one big page}.
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/music-glossary.html,one big page}.
@end ifhtml
@titlepage
@c Fixes by Jean-Pierre Coulon and `Dirk'
-Copyright @copyright{} 1999--2005 by the authors
+Copyright @copyright{} 1999--2006 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
Finnish glossary translations.
@end table
@*
-Copyright 1999--2005 by the authors
+Copyright 1999--2006 by the authors
Permission is granted to copy, distribute and/or modify this document
lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c'' {
- gis1 gisis ges geses g!
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- sharp "db. sharp" flat "db. flat" natural
-}
+<<
+ \context Staff \relative c'' {
+ gis1 gisis ges geses g!
+ }
+ \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ sharp "db. sharp" flat "db. flat" natural
+ }
+>>
@end lilypond
@node accelerando
@section accelerando
-ES: acelerando,
+ES: accelerando,
I: accelerando,
F: accelerando, en accélérant,
D: accelerando, schneller werden,
ES: alteración,
I: alterazione
F: altération
-D:
+D:
NL: verhoging of verlaging,
DK:
S:
@node ambit
@section ambit
-ES: ambitus,
+ES: ámbito,
I: ambitus,
F: ambitus,
D: ambitus,
@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,
@aref{diatonic scale}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
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.
-@lilypond[linewidth=13.0\cm]
+@lilypond[line-width=13.0\cm]
\context Voice \relative c'' {
\key d \major
\time 4/4
An appoggiatura may have more notes preceding the main note.
-@lilypond[linewidth=13.0\cm]
+@lilypond[line-width=13.0\cm]
\relative c'' {
\key as \major
\time 2/4
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
@node ascending interval
@section ascending interval
-ES: Intervalo ascendente,
+ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
@node autograph
@section autograph
+ES: manuscrito,
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
@node bar line
@section bar line
-ES: ?,
+ES: barra, lÃnea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
@node bass
@section bass
+ES: bajo,
I: basso,
F: basse,
D: Bass,
@node beam
@section beam
+ES: barra
I: coda,
F: barre,
D: Balken,
Line connecting a series of notes (shorter than a quarter note).
The number of beams determines the note value of the connected notes.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\relative c'' {
@node beat
@section beat
-ES: tiempo,
+ES: tiempo, parte (de compás)
I: tempi,
F: temps,
D: Takt, Taktschlag, Zeit (im Takt),
The base counting value and the number of them per measure is indicated at
the start of the music.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' { g4 c b a | g1 \bar "||"}
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c''\context Staff = SA { \clef treble g4 e c2 }
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
\relative c'' \context Staff = SA { \clef treble g4 e c2 }
@node breath mark
@section breath mark
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
@node breve
@section breve
-ES: breve,
+ES: cuadrada, breve,
I: breve,
F: brève,
D: Brevis,
@aref{note value}, twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
@node C clef
@section C clef
-ES: Clave de do,
+ES: clave de do,
I: chiave di do,
F: clé d'ut,
D: C-Schlüssel,
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c' {
- \clef soprano c1 s s
- \clef mezzosoprano c s s
- \clef alto c s s
- \clef tenor c s s
- \clef baritone c s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
-}
+<<
+ \context Staff \relative c' {
+ \clef soprano c1
+ \clef mezzosoprano c
+ \clef alto c
+ \clef tenor c
+ \clef baritone c
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+ }
+>>
@end lilypond
@node cadence
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
+viritysjärjestelmässä.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
of an equally tempered @aref{semitone}).
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 +
+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
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- <g b d>1 s s
- <g bes d> s s
- <g bes des> s s
- <g b dis> s s
- <g b d f> s s
- <g b d f a> s s
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
}
-\context Lyrics \lyrics{
+\lyrics{
"major "
"minor "
"diminished "
"seventh-chord "
ninth-chord
}
+>>
@end lilypond
@node chromatic scale
A scale consisting of all 12 @aref{semitone}s.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[fragment,relative=2,verbatim,raggedright]
+@lilypond[fragment,relative=2,verbatim,ragged-right]
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
@node comma
@section comma
+ES: coma, comma
I: comma,
F: comma,
D: Komma,
@node complement
@section complement
+ES: intervalo invertido
I: rivolto,
F: intervalle complémentaire,
D: Komplementärintervall,
Progressing melodically by intervals of a second. The opposite of a
@aref{disjunct movement}.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major \time 4/4
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[fragment,staffsize=12,linewidth=13.0\cm]
+@lilypond[fragment,staffsize=12,line-width=13.0\cm]
\override Score.TimeSignature #'break-visibility = #all-invisible
\context PianoStaff <<
\context Staff = SA \relative c' {
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key g \major \time 4/4
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
@node cue-notes
@section cue-notes
-ES: notas guia,
+ES: notas guÃa,
I: notine,
F: petites notes précédent l'entrée d'in instrument, réplique,
D: Stichnoten,
\score {
{
% \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #-1
+ \override Staff.Custos #'neutral-direction = #down
\override Staff.Custos #'style = #'hufnagel
c'1 \break
<d' a' f''>1
\Staff
\consists Custos_engraver
}
- raggedright = ##t
+ ragged-right = ##t
}
}
@end lilypond
-
+
@node D
@section D
-ES: Re,
+ES: re,
I: re,
F: ré,
D: D, d,
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
%\override TextScript #'font-style = #'large
\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
d1 |
g,4^\segno a b c |
b a g2_\markup{
- \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" } }
+ \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
\bar "|."
}
@end lilypond
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\relative c'' {
\key g \major \time 4/4
d4 \> c b a | g1 \! \bar "|."
The church modes are used in gregorial chant and in pre-baroque early
music but also to some extent in newer jazz music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
Ionian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
d1
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
- \context Lyrics \lyrics {
+ \lyrics {
Dorian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
\override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
- \context Lyrics \lyrics {
+ \lyrics {
Phrygian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
f1 g a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
- \context Lyrics \lyrics {
+ \lyrics {
Lydian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
g1 a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
- \context Lyrics \lyrics {
+ \lyrics {
Mixolydian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
Aeolian
}
+>>
@end lilypond
From the beginning of the 17th century the scales used in European
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Major
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
"ancient minor"
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
"Harmonic minor"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Melodic minor"
}
+>>
@end lilypond
@node diminished interval
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second.
+Progressing melodically by intervals larger than a major second.
Opposite of @aref{conjunct movement}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key a \major
\time 4/4
\relative c' {
@node dissonant interval
@section dissonant interval
-ES: intervalo disonante, disonancias,
+ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
@node dominant ninth chord
@section dominant ninth chord
+ES: acorde de novena de dominante,
I: accordo di nona di dominante,
F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
@node double bar line
@section double bar line
+ES: doble barra,
I: doppia barra,
F: double barre,
D: Doppelstrich,
@node double dotted note
@section double dotted note
-ES: nota con dos puntillos,
+ES: nota con doble puntillo,
I: nota doppiamente puntata,
F: note doublement pointée,
D: doppelt punktierte Note,
@node engraving
@section engraving
-ES: Grabar
+ES: grabar,
I: incisione,
F: gravure,
D: Notenstechen, Notendruck
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- gis1 s s as s s <des g,!> s s <cis g!> s s
+ gis1 as <des g,!> <cis g!>
}
\context Lyrics \lyrics {
\override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
+>>
@end lilypond
@node equal temperament
@section equal temperament
-ES: ?,
+ES: temperamento igual,
I: temperamento equabile,
F: tempérament égal,
D: gleichschwebende Stimmung,
@node expression mark
@section expression mark
-ES: ?,
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
@node F clef
@section F clef
-ES: Clave de Fa,
+ES: clave de fa,
I: chiave di fa,
F: clé de fa,
D: F-Schlüssel,
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
+<<
\relative c {
\clef varbaritone
f1
\clef "F_8"
f1
}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'self-alignment-X = #-1
+ \lyrics {
"baritone "
"bass "
"sub-bass "
"octaved up "
"octaved down"
}
+>>
@end lilypond
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c'' {
a4 b c2^\fermata \bar "|."
less than a quarter note. The number of flags determines the
@aref{note value}.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c'' {
dominant (D, the chord on the fifth note). Others are considered to be
variants of the base chords.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Voice \relative c'' {
<g e c >1 < a f d > < b g e >
<c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
+\context Lyrics \lyrics {
+ T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+>>
@end lilypond
@node G
@node G clef
@section G clef
-ES: Clave de sol,
+ES: clave de sol,
I: chiave di sol,
F: clé de sol,
D: G-Schlüssel, Violinschlüssel,
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[fragment,notime,linewidth=13.0\cm]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\relative c'' {
- \clef french
- g1 s s
- \clef treble
- g s s
- \clef "G^8"
- g s s
- \clef "G_8"
- g s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "french violin clef "
- "violin clef "
- "octaved up "
- "octaved down"
-}
+@lilypond[fragment,notime,ragged-right]
+<<
+ \set Score.automaticBars = ##f
+ \override Staff.Clef #'full-size-change = ##t
+
+ \relative c'' {
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \clef french
+ g1
+ \clef treble
+ g
+ \clef "G^8"
+ g
+ \clef "G_8"
+ g
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics . LyricText #'X-offset = #-5
+ "french violin clef"
+ "violin clef"
+ "octaved up"
+ "octaved down"
+ }
+>>
@end lilypond
@node glissando
@node grace notes
@section grace notes
-ES: ?,
+ES: mordente,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
@node grand staff
@section grand staff
+ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade,
@node half rest
@section half rest
-ES: ?,
+ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
A sequence of chords that terminates a musical phrase or
section. @aref{functional harmony}.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
- \oldaddlyrics
- \context Staff = SB \relative c {
- \clef bass
- \partial 4 c4 | f, g c2
- \bar "|."
- }
- \context Lyrics \lyrics {
- T S D T
- }
+ <<
+ \context Staff = SB \relative c {
+ \clef bass
+ \partial 4 c4 | f, g c2
+ \bar "|."
+ }
+ \lyrics {
+ T S D T
+ }
+ >>
>>
+
@end lilypond
@node harmony
Consonances:
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
Dissonances:
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor, major,
+Difference in pitch between two notes. Intervals may be perfect, minor,
+major,
diminished, or augmented. The augmented fourth and the diminished fifth are
identical (@aref{enharmonic}) and are called @emph{tritonus}
because they consist of three @aref{whole tone}s. The addition
of such two intervals forms an octave.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Voice \relative c'' {
- < g g >1 s
- < g as >^"minor" s
- < g a! > s
- < g ais >^"augm" s
- < gis bes >^"dimin" s
- < g! bes >^"minor" s
- < g b! >^"major" s
- < g bis >^"augm" s
+ < g g >1
+ < g as >^"minor"
+ < g a! >
+ < g ais >^"augm"
+ < gis bes >^"dimin"
+ < g! bes >^"minor"
+ < g b! >^"major"
+ < g bis >^"augm"
}
\context Lyrics \lyrics {
"unisone " "second " "second " "second "
"third " "third " "third " "third"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- < g c >1^"perfect" s
- < g cis >^"augm" s
- < g d' >^"perfect" s
- < g des' > ^"dimin" s
- < gis es' >^"dimin" s
- < g! es' >^"minor" s
- < g e'! >^"major" s
- < g eis' >^"augm" s
+ < g c >1^"perfect"
+ < g cis >^"augm"
+ < g d' >^"perfect"
+ < g des' > ^"dimin"
+ < gis es' >^"dimin"
+ < g! es' >^"minor"
+ < g e'! >^"major"
+ < g eis' >^"augm"
}
-\context Lyrics \lyrics {
+ \lyrics {
"fourth " "fourth " "fifth " "fifth "
"sixth " "sixth " "sixth " "sixth"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- < gis f'! >1^"dimin" s
- < g! f'! >^"minor" s
- < g fis' >^"major" s
- < g g' > s
- < g as' >^"minor" s
- < g a'! >^"major" s
- < g bes' >^"minor" s
- < g b'! >^"major" s
+ < gis f'! >1^"dimin"
+ < g! f'! >^"minor"
+ < g fis' >^"major"
+ < g g' >
+ < g as' >^"minor"
+ < g a'! >^"major"
+ < g bes' >^"minor"
+ < g b'! >^"major"
}
\context Lyrics \lyrics {
"seventh " "seventh " "seventh " "octave "
"none " "none " "decime " "decime"
}
+>>
@end lilypond
@node inverted interval
The difference between an interval and an octave.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Staff \relative c'' {
@node just intonation
@section just intonation
+ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
@node key signature
@section key signature
-ES: armadura de clave,
+ES: armadura (de la clave),
I: armatura di chiave,
F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
A ledger line is an extension of the staff.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { a,1 s c'' }
@end lilypond
@node legato
@section legato
-ES: ligado,
+ES: legato,
I: legato,
F: legato, lié,
D: legato,
S: legato,
FI: legato, sitoen.
-To be performed (a) without any perceptible interruption between the notes,
+To be performed (a) without any perceptible interruption between the notes,
unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
(d) @aref{staccato}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\oldaddlyrics
-\context Staff \relative c'' {
- c4-( d e-) \bar "||"
- c4-- d-- e-- \bar "||"
- c4-.-( d-. e-.-) \bar "||"
- c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'font-style = #'large
- a
- b "" ""
- c
- d
-}
+<<
+ \context Staff \relative c'' {
+ c4-( d e-) \bar "||"
+ c4-- d-- e-- \bar "||"
+ c4-.-( d-. e-.-) \bar "||"
+ c4-. d-. e-. \bar "||"
+ }
+ \lyrics {
+ a1
+ b
+ c
+ d
+ }
+>>
@end lilypond
@node legato curve
@node lilypond
@section lilypond
-ES: estanque de lilas,
+ES: estanque de nenúfares,
I: stagno del giglio,
F: étang de lis,
UK: lily pond,
@node ligature
@section ligature
+ES: ligadura
+
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
Gregorian chant notation roughly since the 9th century to denote
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' {
\override NoteHead #'style = #'mensural
@node lyrics
@section lyrics
-ES: .,
+ES: letra (de la canción),
I: .,
F: .,
D: Liedtext,
@node meantone temperament
@section meantone temperament
+ES: afinación mesotónica,
I: accordatura mesotonica,
F: tempérament mésotonique,
D: mitteltönige Stimmung,
@node melisma
@section melisma
-NL: melisma,
+ES: melisma,
+NL: melisma,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural: melismata) is a group of notes or tones sung on one
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
\key f \major
c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 5/4
\key g \major
First C below the 440 Hz A.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
\relative c' {
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\override Score.TimeSignature #'break-visibility = #all-invisible
%\override Score.TextScript #'font-style = #'large
\relative c'' {
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\relative c'' {
a1
\set Score.skipBars = ##t R1*3
@node note head
@section note head
-ES: oval,
+ES: cabeza,
I: testa, testina, capocchia,
F: t@^ete de la note,
D: Notenkopf,
@node note value
@section note value
-ES: valor,
+ES: valor (duración),
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
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},
+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.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
@emph{prall} (inverted mordent).
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
@node quintuplet
@section quintuplet
-ES: quintillo,
+ES: cinquillo,
I: quintina,
F: quintolet,
D: Quintole,
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
}
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
S: repris,
FI: toisto.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' {
@node ritardando
@section ritardando
-ES: retardando,
+ES: ritardando,
I: ritardando,
F: ritardando,
D: Ritardando, langsamer werden,
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\set minVerticalAlign = #8
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d e f g a b c
}
-\context Lyrics \lyrics {
+ \lyrics {
<< { I II III IV V VI VII I }
- { T "" "" S D } >>
+ { T "" "" S D } >>
}
+>>
@end lilypond
@aref{functional harmony}.
semitone. An octave may be divided into 12@w{ }semitones.
@aref{interval}, @aref{chromatic scale}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
@node sextuplet
@section sextuplet
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
@node sixteenth rest
@section sixteenth rest
-ES: silencia de semicorchea,
+ES: silencio de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
UK: semiquaver rest,
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencia de semifusa,
+ES: silencio de semifusa,
I: pausa di semibiscroma,
F: seizième de soupir,
UK: hemidemisemiquaver rest,
@node slur
@section slur
-ES: ligadura,
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
@node solmization
@section solmization
+ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
@node staccato
@section staccato
-ES: staccato,
+ES: picado (staccato),
I: staccato,
F: staccato, piqué, détaché,
D: Staccato,
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\key d \major
\time 4/4
\relative c'' {
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
@node submediant
@section submediant
-ES: superdominante,
+ES: submediante,
I: sopratonica,
F: sous-médiante,
D: Submediante,
@node syncopation
@section syncopation
-ES: sincopado,
+ES: sÃncopa,
I: sincope,
F: syncope,
D: Synkope,
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c' {
\partial 4
@node syntonic comma
@section syntonic comma
+ES: coma sintónica,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
+viritysjärjestelmässä.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
@node system
@section system
+ES: sistema,
I: accollatura,
F: système,
D: Notensystem,
@node tenuto
@section tenuto
-ES:
+ES: tenuto,
I: tenuto,
-F:
-D:
-NL:
-DK:
-S:
-FI:
+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.
+length, although this can vary depending on the composer and era.
@node third
@section third
with figures designating the chief @aref{interval}s and
@aref{chord}s to be played above the bass notes.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context GrandStaff <<
\context Staff = lh \relative c'' {
\time 4/4
< bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
>>
}
- \oldaddlyrics
+ <<
\context Staff = rh \relative c' {
\clef bass
\key es \major
es8 c d bes c as bes16 as g f | es4
- }
- \context Lyrics \lyrics {
- \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
- << { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >>
- }
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
>>
@end lilypond
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound (tone) equal to the combined durations.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
@node tone
@section tone
-ES: sonido,
+ES: tono,
I: suono,
F: ton,
D: Ton,
@node tonic
@section tonic
-ES: tonica,
+ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
@node tremolo
@section tremolo
-ES: tremolo,
+ES: trémolo,
I: tremolo,
F: trémolo,
D: Tremolo,
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
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).
+give the international pitch for the tone @emph{a} (440 vibrations per
+second).
@node turn
@section turn
-ES: grupo,
+ES: grupeto,
I: gruppetto,
F: grupetto,
D: Doppelschlag,
Initial note(s) of a melody occurring before the first bar
line. @aref{measure}, @aref{meter}.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key f \major
\time 4/4
\relative c' {
@item
@tab @strong{UK}
@tab @strong{I}
- @tab @strong{F}
+ @tab @strong{F (note name / rest name)}
@item
@tab @strong{D}
@tab @strong{NL}
@item
@tab @strong{S}
@tab @strong{FI}
- @tab
+ @tab @strong{ES}
@item
@item
@tab longa
@tab longa
- @tab
+ @tab longa
@item
@item @strong{breve}
@tab breve
@tab breve
- @tab brève
+ @tab brève / double-pause
@item
@tab Brevis
@tab brevis
@item
@tab brevis
@tab brevis
- @tab
+ @tab cuadrada
@item
@item @strong{whole}
@tab semi@-breve
@tab semi@-breve
- @tab ronde
+ @tab ronde / pause
@item
@tab Ganze
@tab hele
@item
@tab hel
@tab koko@-nuotti/@w{-tauko}
- @tab
+ @tab redonda
@item
@item @strong{half}
@tab minim
@tab minima
- @tab blanche
+ @tab blanche / demi-pause
@item
@tab Halbe
@tab halve
@item
@tab halv
@tab puoli@-nuotti/@w{-tauko}
- @tab
+ @tab blanca
@item
@item @strong{quarter}
@tab crotchet
@tab semiminima
- @tab noire
+ @tab noire / soupir
@item
@tab Viertel
@tab kwart
@item
@tab fjärdedel
@tab neljännesosa@-nuotti/@w{-tauko}
- @tab
+ @tab negra
@item
@item @strong{eighth}
@tab quaver
@tab croma
- @tab croche
+ @tab croche / demi-soupir
@item
@tab Achtel
@tab achtste
@item
@tab åttondel
@tab kahdeksasosa@-nuotti/@w{-tauko}
- @tab
+ @tab corchea
@item
@item @strong{sixteenth}
@tab semiquaver
@tab semicroma
- @tab double croche
+ @tab double croche / quart de soupir
@item
@tab Sechzehntel
@tab zestiende
@item
@tab sextondel
@tab kuudestoistaosa@-nuotti/@w{-tauko}
- @tab
+ @tab semicorchea
@item
@item @strong{thirty-second}
@tab demisemiquaver
@tab biscroma
- @tab triple croche
+ @tab triple croche / huitième de soupir
@item
@tab Zweiunddreissigstel
@tab tweeendertigste
@item
@tab trettiotvåondel
@tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
- @tab
+ @tab fusa
@item
@item @strong{sixty-fourth}
@tab hemidemisemiquaver
@tab semibiscroma
- @tab quadruple croche
+ @tab quadruple croche / seizième de soupir
@item
@tab Vierundsechzigstel
@tab vierenzestigste
@item
@tab sextiofjärdedel
@tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab
+ @tab semifusa
@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
@item PITCH NAMES
@end table
-@multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+@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
-@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
@item
-@item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
+@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab
+Cis @tab cis @tab
cis @tab cis @tab cis
@item
-@item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
+@item @strong{d-flat} @tab re bemolle @tab re bemolle @tab ré bémol @tab
+Des @tab des @tab
des @tab des @tab des
@item
-@item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
+@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
@item
-@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
@item
-@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
@item
-@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
+@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
+@tab g
@item
-@item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
+@tab as @tab as
@tab as @tab as
@item
-@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a
+@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
@item
-@item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
+Ais @tab ais @tab
ais @tab ais @tab ais
@item
-@item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
+@tab bes @tab b
@tab b @tab b
@item
-@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
@end multitable
projects / lilypond.git / blobdiff