-\input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
-
-@settitle Music Glossary
+\input texinfo @c -*- coding: utf8; mode: texinfo; -*-
@setfilename music-glosssary.info
+@settitle Music Glossary
+
+@documentencoding utf-8
+@documentlanguage en
@dircategory GNU music project
@direntry
@end direntry
@ifhtml
-This document is also available in @uref{music-glossary.pdf,PDF}
-and as @uref{../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
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@c Danish glossary
-@author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
+@author François Pinard @c Original glossary of GNU music project,
@c French glossary
@author Han-Wen Nienhuys @c Dutch glossary
@author Jan Nieuwenhuizen @c Dutch glossary
@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
* accelerando::
* adagio::
* allegro::
+* alteration::
* alto::
* alto clef::
* ambit::
* tempo indication::
* tenor::
* tenth::
+* tenuto::
* third::
* thirty-second note::
* thirty-second rest::
@aref{ornament}.
-@c F: how to distinguish between accidental and key-sig alteration?
-
@node accidental
@section accidental
-ES: alteración,
-I: alterazione, accidente,
-F: altération
-D: Vorzeichen, Versetzungszeichen,
-NL: voorteken,
-DK: løst fortegn,
-S: tillfälligt förtecken,
-FI: tilapäinen etumerkki.
-
-@c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
-@c Akzidenz, NL: toevallig teken, I: accidento.
-
-A sharp raises a tone by a @aref{semitone}, a double sharp raises it
-by a @aref{whole tone}, a flat lowers it by a semitone and a double
-flat lowers it by a whole tone. A natural cancels the effect of a previous
+ES: alteración accidentelle,
+I: accidento,
+F: altération accidentelle,
+D: Vorzeichen, Versetzungszeichen, Akzidenz,
+NL: toevallig (verplaatsings)teken,
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.
+
+An accidental has the effect of an @aref{alteration} of a note. A
+sharp raises a tone by a @aref{semitone}, a double sharp raises it by
+a @aref{whole tone}, a flat lowers it by a semitone and a double flat
+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,
+F: accelerando, en accélérant,
D: accelerando, schneller werden,
NL: accelerando,
DK: accelerando,
S: accelerando,
-FI: accelerando, kiihdyttäen.
+FI: accelerando, kiihdyttäen.
Increase tempo.
ES: allegro,
I: allegro,
F: allegro,
-D: Allegro, Schnell, Fröhlich, Lustig,
+D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a @aref{sonata}.
+@node alteration
+@section alteration
+
+ES: alteración,
+I: alterazione
+F: altération
+D:
+NL: verhoging of verlaging,
+DK:
+S:
+FI:
+
+An alteration is the modification, raising or lowering, of a note's
+pitch. It is established by an @aref{accidental}.
+
@node alto
@section alto
NL: alt,
DK: alt,
S: alt,
-FI: altto, matala naisääni.
+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
ES: clave de do en tercera,
I: chiave di contralto,
-F: clef d'ut troisième ligne,
-D: Altschlüssel, Bratschenschlüssel,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,
NL: alt sleutel,
-DK: altnøgle,
+DK: altnøgle,
S: altklav,
FI: alttoavain.
@node ambit
@section ambit
-ES: ambitus,
+ES: ámbito,
I: ambitus,
F: ambitus,
D: ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
-FI: ambitus, ääniala, soitinala.
+FI: ambitus, ääniala, soitinala.
The term ambit (from latin: ambitus, plural: ambitus) denotes a range
of pitches for a given voice in a part of music. It may also denote
@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
+F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
@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 }
NL: andante,
DK: andante,
S: andante,
-FI: andante, käyden.
+FI: andante, käyden.
Walking tempo/character.
D: Vorschlag,
NL: voorslag,
DK: forslag,
-S: förslag,
+S: förslag,
FI: appoggiatura, etuhele.
Ornamental note, usually a second, that is melodically connected with the
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
ES: arpegio,
I: arpeggio,
-F: arpège,
+F: arpège,
D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
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,
ES: intervalo aumentado,
I: intervallo aumentato,
-F: intervalle augmenté,
-D: übermäßiges Intervall,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
NL: overmatig interval,
-DK: forstørret interval,
-S: överstigande intervall,
+DK: forstørret interval,
+S: överstigande intervall,
FI: ylinouseva intervalli.
@aref{interval}.
@node autograph
@section autograph
+ES: manuscrito,
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
NL: manuscript,
-DK: håndskrift, autograf,
+DK: håndskrift, autograf,
S: handskrift,
-FI: käsinkirjoitettu nuotti.
+FI: käsinkirjoitettu nuotti.
1.@tie{}A manuscript in the composer's own hand.
2.@tie{}Music prepared for photoreproduction by freehand drawing,
@node bar
@section bar
-ES: compás, @aref{measure}.
+ES: compás, @aref{measure}.
@node bar line
@section bar line
-ES: ?,
+ES: barra, lÃnea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
@node baritone
@section baritone
-ES: barítono,
+ES: barítono,
I: baritono,
F: bariton,
D: Bariton,
NL: bariton,
DK: baryton,
S: baryton,
-FI: baritoni, keskikorkuinen miesääni.
+FI: baritoni, keskikorkuinen miesääni.
The male voice intermediate between the @aref{bass} and the
@aref{tenor}.
-@c F: clef de troisième ligne dropped
+@c F: clef de troisième ligne dropped
@node baritone clef
@section baritone clef
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinquième ligne, clef de Fa troisième,
-D: Baritonschlüssel,
+F: clef d' Ut cinquième ligne, clef de Fa troisième,
+D: Baritonschlüssel,
NL: baritonsleutel,
-DK: barytonnøgle,
+DK: barytonnøgle,
S: barytonklav,
FI: baritoniavain.
ES: clave de fa en cuarta,
I: chiave di basso,
-F: clé de fa quatrième ligne,
-D: Bassschlüssel,
+F: clé de fa quatrième ligne,
+D: Bassschlüssel,
NL: bassleutel,
-DK: basnøgle,
+DK: basnøgle,
S: basklav,
FI: bassoavain.
@node bass
@section bass
+ES: bajo,
I: basso,
F: basse,
D: Bass,
NL: bas,
DK: bas,
S: bas,
-FI: basso, matala miesääni.
+FI: basso, matala miesääni.
1.@tie{}The lowest male voice.
2.@tie{}Sometimes, especially in jazz music, used as
@node beam
@section beam
+ES: barra
I: coda,
F: barre,
D: Balken,
NL: waardestreep,
-DK: bjælke,
+DK: bjælke,
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.
-@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 "||"}
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
-FI: yhdistävä sulkumerkki.
+FI: yhdistävä sulkumerkki.
Symbol at the start of a system connecting staves. Curly braces are used
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@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 }
ES: metales,
I: ottoni,
-D: Blechbläser,
+D: Blechbläser,
NL: koper (blazers),
F: cuivres,
-DK: messingblæsere,
-S: brassinstrument, mässingsinstrument,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
A family of blown musical instruments made of brass, all using a cup formed
@node breath mark
@section breath mark
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
NL: repercussieteken,
-DK: vejrtrækningstegn,
+DK: vejrtrækningstegn,
S: andningstecken,
FI: hengitysmerkki.
@node breve
@section breve
-ES: breve,
+ES: cuadrada, breve,
I: breve,
-F: brève,
+F: brève,
D: Brevis,
NL: brevis,
DK: 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,
+F: clé d'ut,
+D: C-Schlüssel,
NL: C-sleutel,
-DK: c-nøgle,
+DK: c-nøgle,
S: c-klav,
FI: C-avain.
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: canon,
DK: kanon,
S: kanon,
-FI: kaanon, tarkka jäljittely.
+FI: kaanon, tarkka jäljittely.
@aref{counterpoint}.
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
@section chromatic scale
-ES: escala cromática,
+ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
D: chro@-ma@-ti@-sche Tonleiter,
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
@node church mode
@section church mode
-ES: modo eclesiástico,
+ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode ecclésiastique,
+F: mode ecclésiastique,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
-FI: moodi, kirkkosävellaji.
+FI: moodi, kirkkosävellaji.
@aref{diatonic scale}.
ES: clave,
I: chiave,
-F: clé, clef,
-D: Schlüssel, Notenschlüssel,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,
NL: sleutel,
-DK: nøgle,
+DK: nøgle,
S: klav,
FI: avain, nuottiavain.
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,
NL: komma,
DK: komma,
S: komma,
-FI: komma, korvinkuultava ero äänenkorkeudessa.
+FI: komma, korvinkuultava ero äänenkorkeudessa.
Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @aref{temperament}.
ES: intervalo compuesto,
I: intervallo composto,
-F: intervalle composé,
+F: intervalle composé,
D: weites Intervall,
NL: samengesteld interval,
DK: sammensat interval,
@node complement
@section complement
+ES: intervalo invertido
I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
+F: intervalle complémentaire,
+D: Komplementärintervall,
NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
@aref{inverted interval}.
F: mouvement conjoint,
D: schritt@-weise, stufenweise Bewegung,
NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bevægelse,
-S: stegvis rörelse,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
FI: asteittainen liike.
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
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
-FI: kontrapunkti, ääni ääntä vastaan.
+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
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,
+F: petites notes précédent l'entrée d'in instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
\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,
+F: ré,
D: D, d,
NL: d,
DK: d,
NL: dal segno,
DK: dal segno,
S: dal segno,
-FI: dal segno, lähtien merkistä.
+FI: dal segno, lähtien merkistä.
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 "|."
@node diatonic scale
@section diatonic scale
-ES: escala diatónica,
+ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
D: diatonische Tonleiter,
The church modes are used in gregorial chant and in pre-baroque early
music but also to some extent in newer jazz music.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
Ionian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
d1
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
- \context Lyrics \lyrics {
+ \lyrics {
Dorian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
\override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
- \context Lyrics \lyrics {
+ \lyrics {
Phrygian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
f1 g a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
- \context Lyrics \lyrics {
+ \lyrics {
Lydian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
g1 a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
- \context Lyrics \lyrics {
+ \lyrics {
Mixolydian
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
Aeolian
}
+>>
@end lilypond
From the beginning of the 17th century the scales used in European
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Major
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
"ancient minor"
}
+>>
@end lilypond
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
"Harmonic minor"
}
+>>
@end lilypond
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Melodic minor"
}
+>>
@end lilypond
@node diminished interval
@section diminished interval
-ES: intervalo disminuído,
+ES: intervalo disminuído,
I: intervallo diminuito,
-F: intervalle diminué,
+F: intervalle diminué,
D: vermindertes Intervall,
NL: verminderd interval,
DK: formindsket interval,
-S: förminskat intervall,
-FI: vähennetty intervalli.
+S: förminskat intervall,
+FI: vähennetty intervalli.
@aref{interval}.
F: mouvement disjoint,
D: sprunghafte Bewegung,
NL: sprongsgewijze beweging,
-DK: springende bevægelse,
-S: hoppande rörelse,
-FI: melodian hyppivä liike.
+DK: springende bevægelse,
+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,
+F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
@node dominant seventh chord
@section dominant seventh chord
-ES: acorde de séptima de dominante,
+ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septième dominante,
+F: accord de septième dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
@node dorian mode
@section dorian mode
-ES: modo dórico,
+ES: modo dórico,
I: modo dorico,
F: mode dorien,
D: dorisch, dorischer Kirchenton,
ES: puntillo,
I: punto (di valore),
F: point,
-D: Punkt (Verlängerungspunkt),
+D: Punkt (Verlängerungspunkt),
NL: punt,
DK: punkt,
S: punkt,
ES: nota con puntillo,
I: nota puntata,
-F: note pointée,
+F: note pointée,
D: punktierte Note,
NL: gepuncteerde noot,
DK: punkteret node,
@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,
+F: note doublement pointée,
D: doppelt punktierte Note,
NL: dubbelgepuncteerde noot,
DK: dob@-belt@-punk@-te@-ret node,
ES: doble bemol,
I: doppio bemolle,
-F: double bémol,
+F: double bémol,
D: Doppel-B,
NL: dubbelmol,
DK: dob@-belt-b,
ES: doble sostenido,
I: doppio diesis,
-F: double dièse,
+F: double dièse,
D: Doppelkreuz,
NL: dubbelkruis,
DK: dob@-belt@-kryds,
D: in zwei,
NL: tweedelige maatsoort,
DK: todelt takt,
-S: tvåtakt,
+S: tvåtakt,
FI: kaksoistempo.
@aref{meter}.
@node duration
@section duration
-ES: duración,
+ES: duración,
I: durata,
-F: durée,
-D: Dauer, Länge,
+F: durée,
+D: Dauer, Länge,
NL: duur, lengte,
DK: varighed,
-S: tonlängd,
+S: tonlängd,
FI: kesto, aika-arvo.
@aref{note value}.
D: Achtel, Achtelnote,
NL: achtste noot,
DK: ottendedelsnode,
-S: åttondelsnot,
+S: åttondelsnot,
FI: kahdeksasosanuotti.
@aref{note value}.
D: Achtelpause,
NL: achtste rust,
DK: ottendedelspause,
-S: åttonddelspaus,
+S: åttonddelspaus,
FI: kahdeksasosatauko.
@aref{note value}.
@node engraving
@section engraving
-ES: Grabar
+ES: grabar,
I: incisione,
F: gravure,
D: Notenstechen, Notendruck
@node enharmonic
@section enharmonic
-ES: enharmónico,
+ES: enharmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[fragment,notime,linewidth=13.0\cm]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- gis1 s s as s s <des g,!> s s <cis g!> s s
+ gis1 as <des g,!> <cis g!>
}
\context Lyrics \lyrics {
\override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
+>>
@end lilypond
@node equal temperament
@section equal temperament
-ES: ?,
+ES: temperamento igual,
I: temperamento equabile,
-F: tempérament égal,
+F: tempérament égal,
D: gleichschwebende Stimmung,
NL: ge@-lijk@-zwe@-ven@-de temperatuur,
-DK: ligesvævende temperatur,
-S: liksvävande temperatur,
+DK: ligesvævende temperatur,
+S: liksvävande temperatur,
FI: tasavireinen.
Tuning system dividing the octave into 12 equal @aref{semitone}s
@node expression mark
@section expression mark
-ES: ?,
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
NL: voordrachtsteken,
DK: foredragsbetegnelse,
-S: föredragsbeteckning,
+S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
@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,
+F: clé de fa,
+D: F-Schlüssel,
NL: F-sleutel,
-DK: F-nøgle,
+DK: F-nøgle,
S: f-klav,
FI: F-avain.
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.
@node fermata
@section fermata
-ES: Calderón,
+ES: Calderón,
I: corona,
F: point d'orgue, point d'arr@^et,
D: Fermate,
NL: fermate,
DK: fermat,
S: fermat,
-FI: fermaatti, pidäke.
+FI: fermaatti, pidäke.
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,raggedright]
+@lilypond[fragment,ragged-right]
\time 4/4
\relative c'' {
a4 b c2^\fermata \bar "|."
@node fingering
@section fingering
-ES: digitación,
+ES: digitación,
I: diteggiatura,
-F: doigté,
+F: doigté,
D: Fingersatz,
NL: vingerzetting,
-DK: fingersætning,
-S: fingersättning,
+DK: fingersætning,
+S: fingersättning,
FI: sormitus.
The methodical use of fingers in the playing of instruments.
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
-D: Fahne, Fähnchen,
+D: Fahne, Fähnchen,
NL: vlaggetje,
DK: fane,
S: flagga,
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'' {
ES: bemol,
I: bemolle,
-F: bémol,
+F: bémol,
D: B, b,
NL: mol,
DK: b,
-S: beförtecken,
+S: beförtecken,
FI: alennusmerkki.
@aref{accidental}.
@node functional harmony
@section functional harmony
-ES: armonía funcional,
+ES: armonía funcional,
I: armonia funzionale,
-F: étude des functions,
+F: étude des functions,
D: Funktionslehre,
NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
-S: funktionslära,
-FI: harmoniajärjestelmä.
+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
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,
+F: clé de sol,
+D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
-DK: g-nøgle,
+DK: g-nøgle,
S: g-klav,
FI: G-avain.
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,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
S: ornament,
@node grand staff
@section grand staff
+ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade,
NL: piano systeem,
DK: klaversystem,
-S: ackolad, böjd klammer,
+S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
@aref{brace}.
@node half rest
@section half rest
-ES: ?,
+ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
@node harmonic cadence
@section harmonic cadence
-ES: cadencia (armónica),
+ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
D: Schlusskadenz,
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
@section harmony
-ES: armonía,
+ES: armonía,
I: armonia,
F: harmonie,
D: Harmonie, Zusammenklang,
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'' {
@node homophony
@section homophony
-ES: homofonía,
+ES: homofonía,
I: omofonia,
F: homophonie,
D: Homophonie,
NL: homofonie,
DK: homofoni,
S: homofoni,
-FI: homofonia, yksiäänisyys.
+FI: homofonia, yksiäänisyys.
Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @aref{polyphony}.
NL: interval,
DK: interval,
S: intervall,
-FI: intervalli, kahden sävelen korkeusero.
+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
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle reversé,
+F: intervalle reversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
-S: intervallets omvändning,
-FI: käänteisintervalli.
+S: intervallets omvändning,
+FI: käänteisintervalli.
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,
NL: reine stemming,
DK: ren stemning,
-S: ren stämning,
+S: ren stämning,
FI: puhdas viritys.
Tuning system in which the notes are obtained by adding and subtracting
@section key
ES: tonalidad,
-I: tonalità,
-F: tonalité,
+I: tonalità,
+F: tonalité,
D: Tonart,
NL: toonsoort,
DK: toneart,
@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],
+F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
NL: toon@-soort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
-FI: sävellajiosoitus.
+FI: sävellajiosoitus.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @aref{accidental}.
NL: largo,
DK: largo,
S: largo,
-FI: largo, hitaasti, leveästi.
+FI: largo, hitaasti, leveästi.
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
NL: leidtoon,
DK: ledetone,
S: ledton,
-FI: johtosävel.
+FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
@node ledger line
@section ledger line
-ES: líneas adicionales,
+ES: líneas adicionales,
I: tagli addizionali,
-F: ligne supplémentaire,
+F: ligne supplémentaire,
D: Hilfslinie,
NL: hulplijntje,
-DK: hjælpelinie,
-S: hjälplinje,
+DK: hjælpelinie,
+S: hjälplinje,
FI: apuviiva.
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,
+F: legato, lié,
D: legato,
NL: legato,
DK: 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,
+F: étang de lis,
UK: lily pond,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
@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
@node line
@section line
-ES: línea,
+ES: línea,
I: linea,
F: ligne,
D: Linie, Notenlinie,
D: langer Vorschlag,
NL: Lange voorslag,
DK: langt forslag,
-S: långt förslag,
-FI: pitkä appoggiatura, pitkä etuhele.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.
@aref{appoggiatura}.
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,
ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
-D: großes Intervall,
+D: großes Intervall,
NL: groot interval,
DK: stort interval,
S: stort intervall,
@node meantone temperament
@section meantone temperament
+ES: afinación mesotónica,
I: accordatura mesotonica,
-F: tempérament mésotonique,
-D: mitteltönige Stimmung,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
-FI: keskisävelviritys.
+FI: keskisävelviritys.
Temperament yielding acoustically pure thirds by decreasing the natural fifth
by 16@w{ }@aref{cent}s. Due to the non-circular character of this
@node measure
@section measure
-ES: compás,
+ES: compás,
I: misura, battuta,
F: mesure,
D: Takt,
ES: mediante,
I: mediante, modale,
-F: médiante,
+F: médiante,
NL: mediant,
D: Mediante,
DK: mediant,
S: mediant,
-FI: keskisävel.
+FI: keskisävel.
1.@tie{}The third @b{scale degree}.
2.@tie{}A @aref{chord} having its base tone
@node melisma
@section melisma
-NL: melisma,
-FI: melisma, laulettavan tavun sävelkuvio.
+ES: 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
@node meter
@section meter
-ES: compás,
+ES: compás,
I: tempo, metro,
-F: indication de mésure,
+F: indication de mésure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
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
@node metronome
@section metronome
-ES: metrónomo,
+ES: metrónomo,
I: metronomo,
-F: métronome,
+F: métronome,
D: Metronom,
NL: metronoom,
DK: me@-tro@-nom,
@node metronomic indication
@section metronomic indication
-ES: indicación metronómica,
+ES: indicación metronómica,
I: indicazione metronomica,
-F: indication métronomique,
+F: indication métronomique,
D: Metronomangabe,
NL: metronoom aanduiding,
DK: metronomtal,
FI: metronomiosoitus.
Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+M.M.@: (Mälzels Metronom).
@node mezzo-soprano
@section mezzo-soprano
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' {
NL: modus,
DK: skala,
S: modus, skala,
-FI: moodi, kirkkosävelasteikko.
+FI: moodi, kirkkosävelasteikko.
@aref{church mode}, @aref{diatonic scale}.
@node modulation
@section modulation
-ES: modulación,
+ES: modulación,
I: modulazione,
F: modulation,
D: Modulation,
NL: modulatie,
DK: modulation,
S: modulering,
-FI: modulaatio, sävellajin vaihdos.
+FI: modulaatio, sävellajin vaihdos.
Moving from one @aref{key} to another. For example, the second
subject of a @aref{sonata form} movement modulates to the dominant
NL: motief,
DK: motiv,
S: motiv,
-FI: teema, sävelaihe.
+FI: teema, sävelaihe.
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
ES: becuadro,
I: bequadro,
-F: bécarre,
-D: Auflösungszeichen,
+F: bécarre,
+D: Auflösungszeichen,
NL: herstellingsteken,
-DK: op@-løsningstegn,
-S: återställningstecken,
+DK: op@-løsningstegn,
+S: återställningstecken,
FI: palautusmerkki.
@aref{accidental}.
ES: novena,
I: nona,
-F: neuvième,
+F: neuvième,
D: None,
NL: noon,
DK: none,
@node note head
@section note head
-ES: oval,
+ES: cabeza,
I: testa, testina, capocchia,
F: t@^ete de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
-FI: nuotin pää.
+FI: nuotin pää.
A head-like sign which indicates pitch by its position on a
@aref{staff} provided with a @aref{clef}, and duration
@node note value
@section note value
-ES: valor,
+ES: valor (duración),
I: valore, durata,
-F: durée, valeur (d'une note),
+F: durée, valeur (d'une note),
D: Notenwert,
NL: nootwaarde,
-DK nodeværdi,
-S: notvärde,
+DK nodeværdi,
+S: notvärde,
FI: nuotin aika-arvo.
Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value. The longest duration normally used is called @emph{brevis},
+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} |
ES: adorno,
I: abbellimento, fioriture,
-F: agrément, ornement,
+F: agrément, ornement,
D: Verzierung, Ornament,
NL: versiering,
DK: forsiring,
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
D: Stimme,
NL: partij,
DK: stemme,
-S: stämma,
+S: stämma,
FI: stemma, instrumenttiosuus.
1.@tie{}In instrumental or choral music the music for the single instrument
@node percussion
@section percussion
-ES: percusión,
+ES: percusión,
I: percussioni,
F: percussion,
D: Schlagzeug, Schlagwerk,
NL: slagwerk,
-DK: slagtøj,
+DK: slagtøj,
S: slagverk,
-FI: lyömäsoittimet.
+FI: lyömäsoittimet.
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
ES: fraseo,
I: fraseggio,
-F: phrasé,
+F: phrasé,
D: Phrasierung,
NL: frasering,
DK: frasering,
S: fra@-se@-ring,
-FI: fraseeraus, jäsentäminen.
+FI: fraseeraus, jäsentäminen.
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
ES: altura,
I: altezza,
F: hauteur,
-D: Tonhöhe,
+D: Tonhöhe,
NL: toonhoogte,
-DK: tonehøjde,
-S: tonhöjd,
-FI: sävelkorkeus.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
@node pizzicato
@section pizzicato
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
-FI: pizzicato, näppäillen.
+FI: pizzicato, näppäillen.
Play by plucking the strings.
@node polyphony
@section polyphony
-ES: polifonía,
+ES: polifonía,
I: polifonia,
F: polyphonie,
D: Polyphonie, Mehrstimmigkeit,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
-FI: polyfonia, moniäänisyys.
+FI: polyfonia, moniäänisyys.
Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @aref{counterpoint}.
@node Pythagorean comma
@section Pythagorean comma
-ES: coma pitagórico,
+ES: coma pitagórico,
I: comma pitagorico,
F: comma pythagoricien,
-D: Pythagoräisches Komma,
+D: Pythagoräisches Komma,
NL: komma van Pythagoras,
-DK: pythagoræisk komma,
+DK: pythagoræisk komma,
S: pytagoreiskt komma,
FI: pytagorinen komma.
D: Viertel, Viertelnote,
NL: kwartnoot,
DK: fjerdedelsnode,
-S: fjärdedelsnot,
-FI: neljännesosanuotti.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.
@aref{note value}.
D: Viertelpause,
NL: kwart rust,
DK:@w{ }fjerdedelspause,
-S: fjärdedelspaus,
-FI: neljännesosatauko.
+S: fjärdedelspaus,
+FI: neljännesosatauko.
@aref{note value}.
@node quintuplet
@section quintuplet
-ES: quintillo,
+ES: cinquillo,
I: quintina,
F: quintolet,
D: Quintole,
@section relative key
ES: relativa,
-I: tonalità relativa,
-F: tonalité relative,
+I: tonalità relativa,
+F: tonalité relative,
D: Paralleltonart,
NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
-FI: rinnakkaissävellaji.
+FI: rinnakkaissävellaji.
@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' {
@node repeat
@section repeat
-ES: barra de repetición,
+ES: barra de repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
S: repris,
FI: toisto.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
\relative c'' {
@node ritardando
@section ritardando
-ES: retardando,
+ES: ritardando,
I: ritardando,
F: ritardando,
D: Ritardando, langsamer werden,
NL: toonladder,
DK: Skala,
S: skala,
-FI: asteikko, sävelasteikko.
+FI: asteikko, sävelasteikko.
@aref{diatonic scale}.
ES: grados de la escala,
I: grado della scala,
-F: degré [de la gamme],
+F: degré [de la gamme],
D: Tonleiterstufe,
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
-FI: sävelaste, asteikon sävel.
+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).
-@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}.
NL: halve toon,
DK: halvtone,
S: halvton,
-FI: puolisävel.
+FI: puolisävel.
The @aref{interval} of a minor second. The (usually) smallest
interval in European composed music. The interval between two neighbouring
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 seventh
@section seventh
-ES: séptima,
+ES: séptima,
I: settima,
-F: septième,
+F: septième,
D: Septime,
NL: septiem,
DK: septim,
@node sextuplet
@section sextuplet
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
ES: sostenido,
I: diesis,
-F: dièse,
+F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
-S: kors@-förtecken,
+S: kors@-förtecken,
FI: korotusmerkki.
@aref{accidental}.
@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,
D: Vierundsechzigstel, Vierundsechzigstelnote,
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofjärdedelsnot,
-FI: kuudeskymmenesneljäsosanuotti.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.
@aref{note value}.
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencia de semifusa,
+ES: silencio de semifusa,
I: pausa di semibiscroma,
-F: seizième de soupir,
+F: seizième de soupir,
UK: hemidemisemiquaver rest,
D: Vierundsechzigstelpause,
NL: vierenzestigste rust,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofjärdedelspaus,
-FI: kuudeskymmenesneljäsosatauko.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.
@aref{note value}.
@node slur
@section slur
-ES: ligadura,
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
-F: liaison, coulé,
+F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
-S: båge,
+S: båge,
FI: kaari.
A slur above or below a group of notes indicates that they are to be played
@node solmization
@section solmization
+ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
NL: sopraan,
DK: sopran,
S: sopran,
-FI: sopraano, korkea naisääni.
+FI: sopraano, korkea naisääni.
The highest female voice.
@node staccato
@section staccato
-ES: staccato,
+ES: picado (staccato),
I: staccato,
-F: staccato, piqué, détaché,
+F: staccato, piqué, détaché,
D: Staccato,
NL: staccato,
DK: staccato,
S: staccato,
-FI: staccato, lyhyesti, terävästi.
+FI: staccato, lyhyesti, terävästi.
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'' {
ES: pentagrama,
I: pentagramma, rigo (musicale),
-F: portée,
+F: portée,
D: Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
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
D: Streicher,
NL: strijkers,
DK: strygere,
-S: stråkar,
+S: stråkar,
FI: jouset.
A family of stringed musical instruments played with a bow. Strings commonly
@node submediant
@section submediant
-ES: superdominante,
+ES: submediante,
I: sopratonica,
-F: sous-médiante,
+F: sous-médiante,
D: Submediante,
NL: submediant,
DK: Submediant,
S: submediant,
-FI: alikeskisävel.
+FI: alikeskisävel.
The sixth @aref{scale degree}.
@node supertonic
@section supertonic
-ES: supertónica,
+ES: supertónica,
I: sopratonica,
F: sus-tonique,
D: Supertonika,
@node symphony
@section symphony
-ES: sinfonía,
+ES: sinfonía,
I: sinfonia,
F: symphonie,
D: Sinfonie, Symphonie,
@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,
+F: système,
D: Notensystem,
NL: systeem,
DK: system,
S: system,
-FI: nuottijärjestelmä.
+FI: nuottijärjestelmä.
The collection of staves @aref{staff}, two or more, as used for
writing down of keyboard, chamber, choral, or orchestral music.
ES: temperamento,
I: temperamento,
-F: tempérament,
+F: tempérament,
D: Stimmung, Tem@-pe@-ra@-tur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
-FI: viritysjärjestelmä.
+FI: viritysjärjestelmä.
Systems of tuning in which the intervals deviate from the acoustically pure
intervals. @aref{meantone temperament}, @aref{equal temperament}.
@node tempo indication
@section tempo indication
-ES: indicación de tempo,
+ES: indicación de tempo,
I: indicazione di tempo,
F: indication de temps,
-D: Zeitmaß, Tempobezeichnung,
+D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
-FI: tempomerkintä.
+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
ES: tenor,
I: tenore,
-F: ténor,
+F: ténor,
D: Tenor,
NL: tenor,
DK: tenor,
S: tenor,
-FI: tenori, korkea miesääni.
+FI: tenori, korkea miesääni.
The highest male voice (apart from @aref{counter tenor}).
@node tenth
@section tenth
-ES: décima,
+ES: décima,
I: decima,
-F: dixième,
+F: dixième,
D: Dezime,
NL: deciem,
DK: decim,
@aref{note value}.
+@node tenuto
+@section tenuto
+
+ES: tenuto,
+I: tenuto,
+F: tenue, tenuto,
+D: gehalten, tenuo,
+NL: tenuto,
+DK: tenuto,
+S: tenuto,
+FI: viiva, tenuto.
+
+An indication that a particular note should be held for the whole
+length, although this can vary depending on the composer and era.
+
@node third
@section third
D: Zweiunddreissigstel, Zweiunddreissigstelnote,
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
-S: trettiotvåondelsnot,
+S: trettiotvåondelsnot,
FI: kolmanneskymmeneskahdesosanuotti.
@aref{note value}.
ES: silencio de fusa,
I: pausa di biscroma,
-F: huitième de soupir,
+F: huitième de soupir,
UK: demisemiquaver rest,
D: Zweiunddreissigstel@-pause,
NL: 32e rust,
DK: toogtredivtedelspause,
-S: trettiotvåondelspaus,
+S: trettiotvåondelspaus,
FI: kolmanneskymmeneskahdesosatauko.
@aref{note value}.
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffrée,
+F: basse chiffrée,
D: Generalbass, bezifferter Bass,
NL: basso continuo, becijferde bas
DK: generalbas,
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
@node tie
@section tie
-ES: ligadura de prolongación,
+ES: ligadura de prolongación,
I: legatura (di valore),
F: liaison,
D: Haltebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
-S: bindebåge, överbindning,
+S: bindebåge, överbindning,
FI: sitominen.
A curved line, identical in appearance with the @aref{slur}, which
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound (tone) equal to the combined durations.
-@lilypond[fragment,notime,raggedright]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
@node time signature
@section time signature
-ES: cifra indicadora de compás,
+ES: cifra indicadora de compás,
I: segni di tempo,
F: chiffrage (chiffres indicateurs), signe de valeur,
D: Taktangabe, Angabe der Taktart,
@node tone
@section tone
-ES: sonido,
+ES: tono,
I: suono,
F: ton,
D: Ton,
NL: toon,
DK: tone,
S: ton,
-FI: ääni.
+FI: ääni.
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
@node tonic
@section tonic
-ES: tonica,
+ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
@node transposition
@section transposition
-ES: transposición,
+ES: transposición,
I: trasposizione,
F: transposition,
D: Transposition,
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,linewidth=13.0\cm]
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
ES: clave de sol,
I: chiave di violino,
-F: clé de sol,
-D: Violinschlüssel, Sopranschlüssel,
+F: clé de sol,
+D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantnøgle,
+DK:@w{ }diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
@node tremolo
@section tremolo
-ES: tremolo,
+ES: trémolo,
I: tremolo,
-F: trémolo,
+F: trémolo,
D: Tremolo,
NL: tremolo,
DK: 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' {
@node triad
@section triad
-ES: tríada,
+ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
D: Drei@-klang,
@node triple meter
@section triple meter
-ES: compás compuesto,
+ES: compás compuesto,
I: tempo ternario,
F: mesure ternaire,
D: in drei,
@node tritone
@section tritone
-ES: trítono,
+ES: trítono,
I: tritono,
F: triton,
D: Tritonus,
@node tuning fork
@section tuning fork
-ES: diapasón,
+ES: diapasón,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
-S: stämgaffel,
+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).
+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,
@node unison
@section unison
-ES: unísono,
+ES: unísono,
I: unisono,
F: unisson,
D: unisono,
NL: unisono,
DK: unison,
S: unison,
-FI: unisono, yksiäänisesti.
+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
@node upbeat
@section upbeat
-ES: entrada anacrúsica,
+ES: entrada anacrúsica,
I: anacrusi,
-F: anacrouse, levée,
+F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
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' {
D: Stimme,
NL: stem,
DK: stemme,
-S: stämma,
-FI: ääni, lauluääni.
+S: stämma,
+FI: ääni, lauluääni.
1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
@aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
@node weak beat
@section weak beat
-ES: tiempo débil,
+ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
D: unbetonter Taktteil oder Taktschlag,
ES: maderas,
I: legni,
F: les bois,
-D: Holzbläser,
+D: Holzbläser,
NL: houtblazers,
-DK træblæsere,
-S: träblåsare,
+DK træblæsere,
+S: träblåsare,
FI: puupuhaltimet.
A family of blown wooden musical instruments. Today some of these instruments
@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
@tab fjerdedel
@item
- @tab fjärdedel
- @tab neljännesosa@-nuotti/@w{-tauko}
- @tab
+ @tab fjärdedel
+ @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab negra
@item
@item @strong{eighth}
@tab quaver
@tab croma
- @tab croche
+ @tab croche / demi-soupir
@item
@tab Achtel
@tab achtste
@tab ottendedel
@item
- @tab åttondel
+ @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
@tab toogtredivtedel
@item
- @tab trettiotvåondel
+ @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
@tab fireogtred@-sindstyvendedel
@item
- @tab sextiofjärdedel
- @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab
+ @tab sextiofjärdedel
+ @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+ @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
@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.
projects / lilypond.git / blobdiff