-\input texinfo @c -*-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
+* Glossary: (lilypond/music-glossary). Glossary of music terms.
+@end direntry
@ifhtml
-This document is also available in @uref{music-glossary.ps.gz,gzipped
-PostScript} and @uref{music-glossary.pdf,PDF}.
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/music-glossary.html,one big page}.
@end ifhtml
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@c Danish glossary
-@author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
+@author François Pinard @c Original glossary of GNU music project,
@c French glossary
@author Han-Wen Nienhuys @c Dutch glossary
@author Jan Nieuwenhuizen @c Dutch glossary
@author Adrian Mariano @c Italian glossary
@author Heikki Junes @c Finnish glossary
-@c Fixes by Jean-Pierre Coulon and `Dirk'
-
+@c Fixes by Jean-Pierre Coulon and `Dirk'
-Copyright @copyright{} 1999--2004 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
@ifnottex
@node Top
-@top
-@chapter Music Glossary
-@menu
-@end menu
+@top Music glossary
@end ifnottex
+This glossary was brought you by
+
@ifnottex
@table @code
@item Adrian Mariano
Finnish glossary translations.
@end table
@*
-Copyright 1999--2004 by the authors
+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 ifnottex
@c @pagesizes 10.3in
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex@c
-@end iftex
-@ifhtml
-@html
-→
-@end html
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
-
-@ignore
-We do not use refs for Info:
-
- @w{@ar{}\word\}@c vs:
- @w{@ar{}@pxref{\word\}}@c
-
-they look too intrusive (says Han-Wen).
-@end ignore
-
+@include macros.itexi
@c arrowref
@macro aref{word}
@iftex
-@w{@ar{}@strong{\word\}}@c
+@w{@arrow{}@strong{\word\}}@c
@end iftex
-@ifhtml
-@ar{}@ref{\word\, @strong{\word\}}@c
-@end ifhtml
-@ifinfo
-@w{@ar{}\word\}@c
-@end ifinfo
+@ifnottex
+@arrow{}@ref{\word\, @strong{\word\}}@c
+@end ifnottex
@end macro
+@menu
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
+* Literature used::
+@end menu
-@c If we want hypelinks, we must add anchors.
-@c Hmm, we need the @achor command in the item description itself
-@c (not before or after) to get mozilla jump to the right place.
-@c anchoritem
-@macro aitem{word}
-@item \word\@anchor{\word\}
-@end macro
-@macro aitemii{one,two}
-@item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
-@end macro
-@macro aitemiii{one,two,three}
-@item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
-@end macro
-
+@node Musical terms A-Z
+@chapter Musical terms A-Z
+Languages in this order.
@itemize
@item ES - Spanish
@item I - Italian
@item FI - Finnish
@end itemize
-This is an example reference, that points you to the @aref{accent}
-entry.
-
+@menu
+* A::
+* accent::
+* accessory::
+* accidental::
+* accelerando::
+* adagio::
+* allegro::
+* alteration::
+* alto::
+* alto clef::
+* ambit::
+* ancient minor scale::
+* andante::
+* appoggiatura::
+* arpeggio::
+* ascending interval::
+* augmented interval::
+* autograph::
+* B::
+* backfall::
+* bar::
+* bar line::
+* baritone::
+* baritone clef::
+* bass clef::
+* bass::
+* beam::
+* beat::
+* bind::
+* brace::
+* brass::
+* breath mark::
+* breve::
+* C::
+* C clef::
+* cadence::
+* cadenza::
+* canon::
+* cent::
+* central C::
+* chord::
+* chromatic scale::
+* chromaticism::
+* church mode::
+* clef::
+* cluster::
+* comma::
+* common meter::
+* compound interval::
+* complement::
+* conjunct movement::
+* consonance::
+* contralto::
+* counterpoint::
+* counter tenor::
+* copying music::
+* crescendo::
+* cue-notes::
+* custos::
+* D::
+* da capo::
+* dal segno::
+* decrescendo::
+* descending interval::
+* diatonic scale::
+* diminished interval::
+* diminuendo::
+* disjunct movement::
+* dissonance::
+* dissonant interval::
+* dominant ninth chord::
+* dominant seventh chord::
+* dominant::
+* dorian mode::
+* dot (augmentation dot)::
+* dotted note::
+* double appoggiatura::
+* double bar line::
+* double dotted note::
+* double flat::
+* double sharp::
+* double trill::
+* duple meter::
+* duplet::
+* duration::
+* dydimic comma::
+* E::
+* ecclesiastical mode::
+* eighth note::
+* eighth rest::
+* embellishment::
+* engraving::
+* enharmonic::
+* equal temperament::
+* expression mark::
+* F::
+* F clef::
+* fermata::
+* fifth::
+* figured bass::
+* fingering::
+* flag::
+* flat::
+* forefall::
+* forte::
+* fourth::
+* fugue::
+* functional harmony::
+* G::
+* G clef::
+* glissando::
+* grace notes::
+* grand staff::
+* grave::
+* gruppetto::
+* half note::
+* half rest::
+* harmonic cadence::
+* harmony::
+* homophony::
+* interval::
+* inverted interval::
+* just intonation::
+* key::
+* key signature::
+* largo::
+* leading note::
+* ledger line::
+* legato::
+* legato curve::
+* leger line::
+* lilypond::
+* ligature::
+* line::
+* long appoggiatura::
+* longa::
+* lyrics::
+* major interval::
+* major::
+* meantone temperament::
+* measure::
+* mediant::
+* melisma::
+* melodic cadence::
+* meter::
+* metronome::
+* metronomic indication::
+* mezzo-soprano::
+* middle C::
+* minor::
+* minor interval::
+* mode::
+* modulation::
+* mordent::
+* motif::
+* motive::
+* movement::
+* multibar rest::
+* mixolydian mode::
+* natural sign::
+* neighbour tones::
+* ninth::
+* non-legato::
+* note::
+* note head::
+* note value::
+* octave sign::
+* octave::
+* ornament::
+* ossia::
+* part::
+* pennant::
+* percussion::
+* perfect interval::
+* phrase::
+* phrasing::
+* piano::
+* pitch::
+* pizzicato::
+* polyphony::
+* portato::
+* presto::
+* Pythagorean comma::
+* quadruplet::
+* quarter note::
+* quarter rest::
+* quintuplet::
+* rallentando::
+* relative key::
+* repeat::
+* rest::
+* rhythm::
+* ritardando::
+* ritenuto::
+* scale::
+* scale degree::
+* score::
+* second::
+* semitone::
+* seventh::
+* sextolet::
+* sextuplet::
+* shake::
+* sharp::
+* short appoggiatura::
+* sixteenth note::
+* sixteenth rest::
+* sixth::
+* sixty-fourth note::
+* sixty-fourth rest::
+* slur::
+* solmization::
+* sonata::
+* sonata form::
+* song texts::
+* soprano::
+* staccato::
+* staff::
+* staves::
+* stem::
+* strings::
+* strong beat::
+* subdominant::
+* submediant::
+* subtonic::
+* superdominant::
+* supertonic::
+* symphony::
+* syncopation::
+* syntonic comma::
+* system::
+* temperament::
+* tempo indication::
+* tenor::
+* tenth::
+* tenuto::
+* third::
+* thirty-second note::
+* thirty-second rest::
+* thorough bass::
+* tie::
+* time::
+* time signature::
+* tone::
+* tonic::
+* transposition::
+* treble clef::
+* tremolo::
+* triad::
+* trill::
+* triple meter::
+* triplet::
+* tritone::
+* tuning fork::
+* turn::
+* unison::
+* upbeat::
+* voice::
+* weak beat::
+* whole note::
+* whole rest::
+* whole tone::
+* woodwind::
+@end menu
-@table @strong
+@node A
+@section A
-@aitem{A}
ES: la,
I: la,
F: la,
S: a,
FI: A, a.
-@aitem{accent}
+@node accent
+@section accent
+
ES: acento,
I: accento,
F: accent,
The stress of one tone over others.
-@c F: how to distinguish between accidental and key-sig alteration?
+@node accessory
+@section accessory
-@aitem{accidental}
-ES: alteraci@'on,
-I: alterazione, accidente,
-F: alt@'eration
-D: Vorzeichen, Versetzungszeichen,
-NL: voorteken,
-DK: l@o{}st fortegn,
-S: tillf@"alligt f@"ortecken,
-FI: tilap@"ainen etumerkki.
-
-@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
-@c Akzidenz, NL: toevallig teken, I: accidento.
+@aref{ornament}.
-A sharp raises a tone by a @aref{semitone}, a double sharp raises it
-by a @aref{whole tone}, a flat lowers it by a semitone and a double
-flat lowers it by a whole tone. A natural cancels the effect of a previous
+@node accidental
+@section accidental
+
+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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- gis1 s s gisis s s ges s s geses s s g!
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "sharp " "db. sharp " "flat " "db. flat " natural
-}
+<<
+ \context Staff \relative c'' {
+ gis1 gisis ges geses g!
+ }
+ \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ sharp "db. sharp" flat "db. flat" natural
+ }
+>>
@end lilypond
-@aitem{accelerando}
-ES: acelerando,
+@node accelerando
+@section accelerando
+
+ES: accelerando,
I: accelerando,
-F: accelerando, en acc@'el@'erant,
+F: accelerando, en accélérant,
D: accelerando, schneller werden,
NL: accelerando,
DK: accelerando,
S: accelerando,
-FI: accelerando, kiihdytt@"aen.
+FI: accelerando, kiihdyttäen.
Increase tempo.
-@aitem{adagio}
+@node adagio
+@section adagio
+
ES: adagio,
I: adagio,
F: adagio, lent,
S: adagio,
FI: adagio, hitaasti.
-It. comfortable, easy.
-1. Slow tempo, slower -- especially in even meter -- than
+It.@: comfortable, easy.
+1.@tie{}Slow tempo, slower -- especially in even meter -- than
@aref{andante} and faster than @aref{largo}.
-2. A movement in slow tempo, especially the second (slow) movement of
+2.@tie{}A movement in slow tempo, especially the second (slow) movement of
@aref{sonata}s, symphonies, etc.
-@aitem{allegro}
+@node allegro
+@section allegro
+
ES: allegro,
I: allegro,
F: allegro,
-D: Allegro, Schnell, Fr@"ohlich, Lustig,
+D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
FI: allegro, nopeasti.
-It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
-especially the first and last movements of a @aref{sonata}.
+It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
+tempo, especially the first and last movements of a @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
-@aitem{alto}
ES: alto,
I: contralto,
-F: alto, D: Alt,
+F: alto,
D: Alt,
NL: alt,
DK: alt,
S: alt,
-FI: altto, matala nais@"a@"ani.
+FI: altto, matala naisääni.
+
+A female voice of low range (@emph{contralto}). Originally the alto was a
+high male voice (hence the name), which by the use of falsetto reached the
+height of the female voice. This type of voice is also known as
+@aref{counter tenor}.
-A female voice of low range (@emph{contralto}). Originally the alto was a high
-male voice (hence the name) which by the use of falsetto reached the height of
-the female voice. This type of voice is also known as @aref{counter
-tenor}.
+@node alto clef
+@section alto clef
-@aitem{alto clef}
ES: clave de do en tercera,
I: chiave di contralto,
-F: clef d'ut troisi@`eme ligne,
-D: Altschl@"ussel, Bratschenschl@"ussel,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,
NL: alt sleutel,
-DK: altn@o{}gle,
+DK: altnøgle,
S: altklav,
FI: alttoavain.
C clef setting middle C on the middle line of the staff
@aref{C clef}.
-@aitem{ambitus}
-ES: ambitus,
+@node ambit
+@section ambit
+
+ES: ámbito,
I: ambitus,
F: ambitus,
D: ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
-FI: ambitus, @"a@"aniala, soitinala.
+FI: ambitus, ääniala, soitinala.
+
+The term ambit (from latin: ambitus, plural: ambitus) denotes a range
+of pitches for a given voice in a part of music. It may also denote
+the pitch range that a musical instrument is capable of playing.
-The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
+@node ancient minor scale
+@section ancient minor scale
-@aitem{ancient minor scale}
+ES: escala menor antigua
I: scala minore naturale,
-F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
+F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@lilypond[notime]
+@aref{diatonic scale}.
+
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
a1 b c d e f g a }
@end lilypond
-@aitem{andante}
+@node andante
+@section andante
+
ES: andante,
I: andante,
F: andante,
NL: andante,
DK: andante,
S: andante,
-FI: andante, k@"ayden.
+FI: andante, käyden.
Walking tempo/character.
-@aitem{appoggiatura}
+@node appoggiatura
+@section appoggiatura
+
ES: apoyatura,
I: appoggiatura,
F: appogiature, (port de voix),
D: Vorschlag,
NL: voorslag,
DK: forslag,
-S: f@"orslag,
+S: förslag,
FI: appoggiatura, etuhele.
-Ornamental note, usually a second, that is melodically connected with the main
-note that follows it. In music before the 19th century a. were usually
+Ornamental note, usually a second, that is melodically connected with the
+main note following it. In music before the 19th century a.@: were usually
performed on the beat, after that mostly before the beat. While the short
-a. is performed as a short note regardless of the duration of the main note
-the duration of the long a. is proportional to that of the main note.
+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
-\context Voice \notes\relative c'' {
-\key d \major
-\time 4/4
+@lilypond[line-width=13.0\cm]
+\context Voice \relative c'' {
+ \key d \major
+ \time 4/4
-%\override Score.TextScript #'font-style = #'large
-<d a fis>4_"notation" r
-{ \override Stem #'flag-style = #'()
- \grace g16
- \revert Stem #'flag-style
- }
-fis8 e16 fis
-{ \override Stem #'flag-style = #'()
- \grace a16
- \revert Stem #'flag-style
+%\override Score.TextScript #'font-style = #'large
+ <d a fis>4_"notation" r
+ { \override Stem #'flag-style = #'()
+ \grace g16
+ \revert Stem #'flag-style
+ }
+ fis8 e16 fis
+ { \override Stem #'flag-style = #'()
+ \grace a16
+ \revert Stem #'flag-style
}
-g8 fis16 g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
-<d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
+ g8 fis16 g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+
+ <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+}
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond
-\notes\relative c'' {
+@lilypond[line-width=13.0\cm]
+\relative c'' {
\key as \major
\time 2/4
-% \override Score.TextScript #'font-style = #'large
+% \override Score.TextScript #'font-style = #'large
\grace { bes16 } as8_"notation" as16 bes as8 g |
\grace { as16[( bes] } < c as >4-)
\grace { as16[( bes] } < c as >4-) \bar "||"
}
@end lilypond
-@aitem{arpeggio}
+@node arpeggio
+@section arpeggio
+
ES: arpegio,
I: arpeggio,
-F: arp@`ege,
-D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
+F: arpège,
+D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment,line-width=13.0\cm]
+ \context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
>>
@end lilypond
-@aitem{ascending interval}
-ES: Intervalo ascendente,
+@node ascending interval
+@section ascending interval
+
+ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
A distance between a starting lower note and a higher ending note.
-@aitem{augmented interval}
+@node augmented interval
+@section augmented interval
+
ES: intervalo aumentado,
I: intervallo aumentato,
-F: intervalle augment@'e,
-D: @"uberm@"a@ss{}iges Intervall,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
NL: overmatig interval,
-DK: forst@o{}rret interval,
-S: @"overstigande intervall,
+DK: forstørret interval,
+S: överstigande intervall,
FI: ylinouseva intervalli.
@aref{interval}.
-@aitem{autograph }
+@node autograph
+@section autograph
+
+ES: manuscrito,
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
NL: manuscript,
-DK: h@aa{}ndskrift, autograf,
+DK: håndskrift, autograf,
S: handskrift,
-FI: k@"asinkirjoitettu nuotti.
+FI: käsinkirjoitettu nuotti.
-1. A manuscript in the composer's own hand.
-2. Music prepared for photoreproduction by freehand drawing,
-with only the aid of a straightedge ruler and T-square,
+1.@tie{}A manuscript in the composer's own hand.
+2.@tie{}Music prepared for photoreproduction by freehand drawing,
+with the aid of a straightedge ruler and T-square only,
which attempts to emulate engraving.
This required more skill than did engraving.
-@aitem{B}
+@node B
+@section B
+
ES: si,
I: si,
F: si,
S: h,
FI: H, h.
-@aitemii{backfall,forefall}
+@node backfall
+@section backfall
+
@aref{appoggiatura}.
-@aitem{bar line}
-ES: ?,
+@node bar
+@section bar
+
+ES: compás, @aref{measure}.
+
+@node bar line
+@section bar line
+
+ES: barra, lÃnea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
S: taktstreck,
FI: tahtiviiva.
-@aitem{bar}
-ES: comp@'as, @aref{measure}.
+@node baritone
+@section baritone
-@aitem{baritone}
-ES: bar@'{@dotless{i}}tono,
+ES: barítono,
I: baritono,
F: bariton,
D: Bariton,
NL: bariton,
DK: baryton,
S: baryton,
-FI: baritoni, keskikorkuinen mies@"a@"ani.
+FI: baritoni, keskikorkuinen miesääni.
The male voice intermediate between the @aref{bass} and the
@aref{tenor}.
-@c F: clef de troisi@`eme ligne dropped
+@c F: clef de troisième ligne dropped
+
+@node baritone clef
+@section baritone clef
-@aitem{baritone clef}
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
-D: Baritonschl@"ussel,
+F: clef d' Ut cinquième ligne, clef de Fa troisième,
+D: Baritonschlüssel,
NL: baritonsleutel,
-DK: barytonn@o{}gle,
+DK: barytonnøgle,
S: barytonklav,
FI: baritoniavain.
C or F clef setting middle C on the upper staff line.
@aref{C clef}, @aref{F clef}.
-@aitem{bass clef}
+@node bass clef
+@section bass clef
+
ES: clave de fa en cuarta,
I: chiave di basso,
-F: cl@'e de fa quatri@`eme ligne,
-D: Bassschl@"ussel,
+F: clé de fa quatrième ligne,
+D: Bassschlüssel,
NL: bassleutel,
-DK: basn@o{}gle,
+DK: basnøgle,
S: basklav,
FI: bassoavain.
A clef setting with middle C on the first top ledger line.
@aref{F clef}.
-@aitem{bass}
+@node bass
+@section bass
+
+ES: bajo,
I: basso,
F: basse,
D: Bass,
NL: bas,
DK: bas,
S: bas,
-FI: basso, matala mies@"a@"ani.
+FI: basso, matala miesääni.
-1. The lowest of men's voices.
-2. Sometimes, especially in jazz music, used as
+1.@tie{}The lowest male voice.
+2.@tie{}Sometimes, especially in jazz music, used as
an abbreviation for double bass.
@aref{strings}.
-@aitem{beam}
+@node beam
+@section beam
+
+ES: barra
I: coda,
F: barre,
D: Balken,
NL: waardestreep,
-DK: bj@ae{}lke,
+DK: bjælke,
S: balk,
FI: palkki.
Line connecting a series of notes (shorter than a quarter note).
-The number of beams determine the note value of the connected notes.
+The number of beams determines the note value of the connected notes.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override TextScript #'font-style = #'large
+\relative c'' {
g8_"1/8"[ g g g] s16
g16_"1/16"[ g g g] s16
g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
-@aitem{beat}
-ES: tiempo,
+@node beat
+@section beat
+
+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
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
-\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\relative c'' { g4 c b a | g1 \bar "||"}
\time 3/8
-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
-@aitem{bind}
+@node bind
+@section bind
+
@aref{tie}.
-@aitem{brace}
+@node brace
+@section brace
+
ES: llave, corchete,
I: graffa,
F: accolade,
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
-FI: yhdist@"av@"a sulkumerkki.
+FI: yhdistävä sulkumerkki.
Symbol at the start of a system connecting staves. Curly braces are used
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond
-\notes\context GrandStaff <<
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
+@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
+@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
- \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+ \relative c'' \context Staff = SA { \clef treble g4 e c2 }
+ \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@aitem{brass}
+@node brass
+@section brass
+
ES: metales,
I: ottoni,
-D: Blechbl@"aser,
+D: Blechbläser,
NL: koper (blazers),
F: cuivres,
-DK: messingbl@ae{}sere,
-S: brassinstrument, m@"assingsinstrument,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
-A family of blown musical instruments made of brass all using a cup formed
+A family of blown musical instruments made of brass, all using a cup formed
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn, and tube.
-@aitem{breath mark}
+@node breath mark
+@section breath mark
+
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
NL: repercussieteken,
-DK: vejrtr@ae{}kningstegn,
+DK: vejrtrækningstegn,
S: andningstecken,
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
+@node breve
+@section breve
-@aitem{breve}
-ES: breve,
+ES: cuadrada, breve,
I: breve,
-F: br@`eve,
+F: brève,
D: Brevis,
NL: brevis,
DK: brevis,
S: brevis,
FI: brevis.
-@aref{note value} twice as long as a whole note. Mainly used
+@aref{note value}, twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }
@end lilypond
-@aitem{C}
+@node C
+@section C
+
ES: do,
I: do,
F: ut,
S: c,
FI: C, c.
-@aitem{C clef}
-ES: Clave de do,
+@node C clef
+@section C clef
+
+ES: clave de do,
I: chiave di do,
-F: cl@'e d'ut,
-D: C-Schl@"ussel,
+F: clé d'ut,
+D: C-Schlüssel,
NL: C-sleutel,
-DK: c-n@o{}gle,
+DK: c-nøgle,
S: c-klav,
FI: C-avain.
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
- \clef soprano c1 s s
- \clef mezzosoprano c s s
- \clef alto c s s
- \clef tenor c s s
- \clef baritone c s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
-}
+\override Score.Clef #'full-size-change = ##t
+<<
+ \context Staff \relative c' {
+ \clef soprano c1
+ \clef mezzosoprano c
+ \clef alto c
+ \clef tenor c
+ \clef baritone c
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+ }
+>>
@end lilypond
-@aitem{cadence}
+@node cadence
+@section cadence
+
ES: cadencia,
I: cadenza,
F: cadence,
@aref{harmonic cadence}, @aref{functional harmony}.
-@aitem{cadenza}
+@node cadenza
+@section cadenza
+
ES: cadenza,
I: cadenza,
F: cadence,
FI: kadenssi, lopuke.
An extended, improvisatory style section inserted near the end of
-movement. The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise. Since
-the middle of the 19th century, however, most cadences have been written down
-by the composer.
+movement. The purpose of a cadenza is to give singers or players a chance
+to exhibit their technical skill and -- not last -- their ability to
+improvise. Since the middle of the 19th century, however, most cadences have
+been written down by the composer.
+
+@node canon
+@section canon
-@aitem{canon}
ES: canon,
I: canone,
F: canon,
NL: canon,
DK: kanon,
S: kanon,
-FI: kaanon, tarkka j@"aljittely.
+FI: kaanon, tarkka jäljittely.
@aref{counterpoint}.
-@aitem{cent}
+@node cent
+@section cent
+
ES: cent,
I: cent,
F: cent,
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
+viritysjärjestelmässä.
-Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
-equally tempered @aref{semitone}).
+Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
+of an equally tempered @aref{semitone}).
@aref{equal temperament}.
-@aitem{central C}
+@node central C
+@section central C
+
@aref{middle C}.
-@aitem{chord}
+@node chord
+@section chord
+
ES: acorde,
I: accordo,
F: accord,
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
+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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- <g b d>1 s s
- <g bes d> s s
- <g bes des> s s
- <g b dis> s s
- <g b d f> s s
- <g b d f a> s s
+%\override TextScript #'font-style = #'large
+<<
+\context Staff \relative c'' {
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
}
-\context Lyrics \lyrics{
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "major " "minor " "diminished " "augmented "
- "seventh-chord " "ninth-chord "
+\lyrics{
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
}
+>>
@end lilypond
-@aitem{chromatic scale}
-ES: escala crom@'atica,
+@node chromatic scale
+@section chromatic scale
+
+ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
-D: chromatische Tonleiter,
+D: chro@-ma@-ti@-sche Tonleiter,
NL: chromatische toonladder,
DK: kromatisk skala,
S: kromatisk skala,
A scale consisting of all 12 @aref{semitone}s.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
-@aitem{chromaticism}
+@node chromaticism
+@section chromaticism
+
ES: cromatismo,
I: cromatismo,
F: chromatisme,
Use of tones extraneous to a @aref{diatonic scale} (minor, major).
-@aitemii{church mode,ecclesiastical mode}
-ES: modo eclesi@'astico,
+@node church mode
+@section church mode
+
+ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode eccl@'esiastique,
+F: mode ecclésiastique,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
-FI: moodi, kirkkos@"avellaji.
+FI: moodi, kirkkosävellaji.
@aref{diatonic scale}.
-@aitem{clef}
+@node clef
+@section clef
+
ES: clave,
I: chiave,
-F: cl@'e, clef,
-D: Schl@"ussel, Notenschl@"ussel,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,
NL: sleutel,
-DK: n@o{}gle,
+DK: nøgle,
S: klav,
FI: avain, nuottiavain.
@aref{C clef}, @aref{F clef}, @aref{G clef}.
-@aitem{comma}
+@node cluster
+@section cluster
+
+A @emph{cluster} is a range of simultaneously sounding pitches that
+may change over time. The set of available pitches to apply usually
+depends on the acoustic source. Thus, in piano music, a cluster
+typically consists of a continuous range of the semitones as provided
+by the piano's fixed set of a chromatic scale. In choral music, each
+singer of the choir typically may sing an arbitrary pitch within the
+cluster's range that is not bound to any diatonic, chromatic or other
+scale. In electronic music, a cluster (theoretically) may even cover
+a continuous range of pitches, thus resulting in colored noise, such
+as pink noise.
+
+Clusters can be denoted in the context of ordinary staff notation by
+engraving simple geometrical shapes that replace ordinary notation of
+notes. Ordinary notes as musical events specify starting time and
+duration of pitches; however, the duration of a note is expressed by
+the shape of the note head rather than by the horizontal graphical
+extent of the note symbol. In contrast, the shape of a cluster
+geometrically describes the development of a range of pitches
+(vertical extent) over time (horizontal extent). Still, the
+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,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 @"a@"anenkorkeudessa.
+FI: komma, korvinkuultava ero äänenkorkeudessa.
Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @aref{temperament}.
-@aitem{common meter}
+@node common meter
+@section common meter
+
@aref{meter}.
-@aitem{compound interval}
+@node compound interval
+@section compound interval
+
ES: intervalo compuesto,
I: intervallo composto,
-F: intervalle compos@'e,
+F: intervalle composé,
D: weites Intervall,
NL: samengesteld interval,
DK: sammensat interval,
@aref{interval}.
-@aitem{complement}
+@node complement
+@section complement
+
+ES: intervalo invertido
I: rivolto,
-F: intervalle compl@'ementaire,
-D: Komplement@"arintervall,
+F: intervalle complémentaire,
+D: Komplementärintervall,
NL: complementair interval,
-DK: komplement@ae{}rinterval,
-S: komplement@"arintervall (?),
-FI: t@"aydent@"av@"a intervalli.
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
@aref{inverted interval}.
-@aitem{conjunct movement}
+@node conjunct movement
+@section conjunct movement
+
ES: movimiento conjunto,
I: moto congiunto,
F: mouvement conjoint,
-D: schrittweise, stufenweise Bewegung,
+D: schritt@-weise, stufenweise Bewegung,
NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bev@ae{}gelse,
-S: stegvis r@"orelse,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
FI: asteittainen liike.
-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second. The opposite of a
+@aref{disjunct movement}.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\key g \major \time 4/4
-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
-@aitem{consonance}
+@node consonance
+@section consonance
+
ES: consonancia,
I: consonanza,
F: consonance,
@aref{harmony}.
-@aitem{contralto}
+@node contralto
+@section contralto
+
ES: contralto,
I: contralto,
F: contralto,
@aref{alto}.
-@aitem{counterpoint}
+@node counterpoint
+@section counterpoint
+
ES: contrapunto,
I: contrappunto,
F: contrepoint,
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
-FI: kontrapunkti, @"a@"ani @"a@"ant@"a 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[staffsize=11,noquote]
-\override Score.TimeSignature #'style =\turnOff
-\notes\context PianoStaff <<
+@lilypond[fragment,staffsize=12,line-width=13.0\cm]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
>>
@end lilypond
-@aitem{counter tenor}
+@node counter tenor
+@section counter tenor
+
ES: contratenor,
I: controtenore,
F: contre-tenor,
-D: Countertenor,
+D: Countertenor, Kontratenor,
NL: contratenor,
DK: kontratenor,
S: kontratenor, counter tenor,
@aref{contralto}.
-@aitem{Copying, Music}
+@node copying music
+@section copying music
+
A music copyist did fast freehand scores and parts on preprinted staff lines
for performance. Some of their conventions (e.g., the placement of note heads
on stems) varied slightly from those of engravers. Some of their working
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.
-@aitem{crescendo}
+@node crescendo
+@section crescendo
+
ES: crescendo,
I: crescendo,
F: crescendo,
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond
+@lilypond[fragment,ragged-right]
\key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c | d1\! \bar "|." }
+\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
-@aitem{cue-notes}
-ES: notas guia,
+@node cue-notes
+@section cue-notes
+
+ES: notas guÃa,
I: notine,
-F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
+F: petites notes précédent l'entrée d'in instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
-@aitem{custos}
+@node custos
+@section custos
A custos is a staff symbol that appears at the end of a staff line
-with monophonic musical contents (i.e. with a single voice). It
+with monophonic musical contents (i.e., with a single voice). It
anticipates the pitch of the first note of the following line and thus
helps the player or singer to manage line breaks during performance,
thus enhancing readability of a score.
@lilypond
\score {
- \notes {
- \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #-1
- \override Staff.Custos #'adjust-if-on-staffline = ##t
-
- \override Staff.Custos #'style = #'hufnagel
- c'1
- \break < d' a' f''>1
- }
- \paper {
- \translator {
- \StaffContext
- \consists Custos_engraver
- }
- raggedright = ##t
+ {
+% \override Staff.Custos #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #down
+ \override Staff.Custos #'style = #'hufnagel
+ c'1 \break
+ <d' a' f''>1
+ }
+
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
}
+ ragged-right = ##t
+ }
}
@end lilypond
-
-@aitem{D}
-ES: Re,
+
+@node D
+@section D
+
+ES: re,
I: re,
-F: r@'e,
+F: ré,
D: D, d,
NL: d,
DK: d,
S: d,
FI: D, d.
-@aitem{da capo}
+@node da capo
+@section da capo
+
ES: da capo,
I: da capo,
F: da capo, depuis le commencement,
S: da capo,
FI: da capo, alusta.
-The term indicates repetition of the piece from the beginning to the end or to
-a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
+The term indicates repetition of the piece from the beginning to the end or
+to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
+
+@node dal segno
+@section dal segno
-@aitem{dal segno}
ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
-D: dal segno,
+D: dal segno, ab dem Zeichen,
NL: dal segno,
DK: dal segno,
S: dal segno,
-FI: dal segno, merkkiin asti.
+FI: dal segno, lähtien merkistä.
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
+@lilypond[fragment,ragged-right]
+%\override TextScript #'font-style = #'large
+\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
+\relative c'' {
+ d1 |
+ g,4^\segno a b c |
+ b a g2_\markup{
+ \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
+ \bar "|."
+}
@end lilypond
-@aitem{decrescendo}
+@node decrescendo
+@section decrescendo
+
ES: decrescendo,
I: decrescendo,
D: Decrescendo, leiser werden,
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,ragged-right]
+\relative c'' {
\key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
+ d4 \> c b a | g1 \! \bar "|."
}
@end lilypond
-@aitem{descending interval}
+@node descending interval
+@section descending interval
+
ES: intervalo descendente,
I: intervallo discendente,
F: intervalle descendant,
A distance between a starting higher note and a lower ending note.
-@aitem{diatonic scale}
-ES: escala diat@'onica,
+@node diatonic scale
+@section diatonic scale
+
+ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
D: diatonische Tonleiter,
2@w{ }@aref{semitone}s (S). Scales played on the white keys
of a piano keybord are diatonic.
-The church modes are used in gregorial chant and pre baroque early music but
-also to some extent in newer jazz music.
+The church modes are used in gregorial chant and in pre-baroque early
+music but also to some extent in newer jazz music.
-@lilypond[notime,linewidth=110\mm]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \context Staff \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
Ionian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+<<
+ \context Staff \relative c' {
d1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
- \context Lyrics \lyrics {
+ \lyrics {
Dorian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
- \override TextScript #'padding = #-4
+<<
+ \relative c' {
+ \override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
- \context Lyrics \lyrics {
+ \lyrics {
Phrygian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+<<
+ \relative c' {
f1 g a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
- \context Lyrics \lyrics {
+ \lyrics {
Lydian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+<<
+ \relative c'' {
g1 a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
- \context Lyrics \lyrics {
+ \lyrics {
Mixolydian
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
Aeolian
}
+>>
@end lilypond
From the beginning of the 17th century the scales used in European
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+<<
+ \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Major
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
"ancient minor"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
\context Lyrics \lyrics {
"Harmonic minor"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Melodic minor"
}
+>>
@end lilypond
-@aitem{diminished interval}
-ES: intervalo disminu@'{@dotless{i}}do,
+@node diminished interval
+@section diminished interval
+
+ES: intervalo disminuído,
I: intervallo diminuito,
-F: intervalle diminu@'e,
+F: intervalle diminué,
D: vermindertes Intervall,
NL: verminderd interval,
DK: formindsket interval,
-S: f@"orminskat intervall,
-FI: v@"ahennetty intervalli.
+S: förminskat intervall,
+FI: vähennetty intervalli.
@aref{interval}.
-@aitem{diminuendo}
+@node diminuendo
+@section diminuendo
+
ES: diminuendo,
I: diminuendo,
F: diminuendo,
@aref{decrescendo}.
-@aitem{disjunct movement}
+@node disjunct movement
+@section disjunct movement
+
ES: movimiendo disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
NL: sprongsgewijze beweging,
-DK: springende bev@ae{}gelse,
-S: hoppande r@"orelse,
-FI: melodian hyppiv@"a liike.
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä liike.
-Melody moving in steps greater than those of the
-scale. Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second.
+Opposite of @aref{conjunct movement}.
-@lilypond
+@lilypond[fragment,ragged-right]
\key a \major
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 8 e8 |
a4. gis8 b a e cis |
fis2 d4. \bar "||" }
@end lilypond
-@aitemii{dissonant interval,dissonance}
-ES: intervalo disonante, disonancias,
+@node dissonance
+@section dissonance
+
+@ref{dissonant interval}.
+
+@node dissonant interval
+@section dissonant interval
+
+ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
@aref{harmony}.
-@aitem{dominant ninth chord}
+@node dominant ninth chord
+@section dominant ninth chord
+
+ES: acorde de novena de dominante,
I: accordo di nona di dominante,
-F: accord de neuvi@`eme dominante,
-D: Dominantnoneakkord,
+F: accord de neuvième dominante,
+D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant seventh chord}
-ES: acorde de s@'eptima de dominante,
+@node dominant seventh chord
+@section dominant seventh chord
+
+ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septi@`eme dominante,
+F: accord de septième dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant}
+@node dominant
+@section dominant
+
ES: dominante,
I: dominante,
F: dominante,
The fifth @aref{scale degree},
@aref{functional harmony}.
-@aitem{dorian mode}
-ES: modo d@'orico,
+@node dorian mode
+@section dorian mode
+
+ES: modo dórico,
I: modo dorico,
F: mode dorien,
D: dorisch, dorischer Kirchenton,
@aref{diatonic scale}.
-@aitem{dot (augmentation dot)}
+@node dot (augmentation dot)
+@section dot (augmentation dot)
+
ES: puntillo,
I: punto (di valore),
F: point,
-D: Punkt (Verl@"angerungspunkt),
+D: Punkt (Verlängerungspunkt),
NL: punt,
DK: punkt,
S: punkt,
@aref{dotted note}.
-@aitem{dotted note}
+@node dotted note
+@section dotted note
+
ES: nota con puntillo,
I: nota puntata,
-F: note point@'ee,
+F: note pointée,
D: punktierte Note,
NL: gepuncteerde noot,
DK: punkteret node,
@aref{note value}.
-@aitem{double appoggiatura}
+@node double appoggiatura
+@section double appoggiatura
+
ES: apoyatura doble,
I: appoggiatura doppia,
F: appoggiature double,
@aref{appoggiatura}.
-@aitem{double bar line}
+@node double bar line
+@section double bar line
+
+ES: doble barra,
I: doppia barra,
F: double barre,
D: Doppelstrich,
Indicates the end of a section within a movement.
-@aitem{double dotted note}
-ES: nota con dos puntillos,
+@node double dotted note
+@section double dotted note
+
+ES: nota con doble puntillo,
I: nota doppiamente puntata,
-F: note doublement point@'ee,
+F: note doublement pointée,
D: doppelt punktierte Note,
NL: dubbelgepuncteerde noot,
DK: dob@-belt@-punk@-te@-ret node,
@aref{note value}.
-@aitem{double flat}
+@node double flat
+@section double flat
+
ES: doble bemol,
I: doppio bemolle,
-F: double b@'emol,
+F: double bémol,
D: Doppel-B,
NL: dubbelmol,
DK: dob@-belt-b,
@aref{accidental}.
-@aitem{double sharp}
+@node double sharp
+@section double sharp
+
ES: doble sostenido,
I: doppio diesis,
-F: double di@`ese,
+F: double dièse,
D: Doppelkreuz,
NL: dubbelkruis,
DK: dob@-belt@-kryds,
@aref{accidental}.
-@aitem{double trill}
+@node double trill
+@section double trill
+
ES: trino doble,
I: doppio trillo,
F: trille double,
A simultaneous trill on two notes, usually in the distance of a third.
-@aitem{duple meter}
+@node duple meter
+@section duple meter
+
ES: tiempo binario,
I: tempo binario,
F: temps binaire,
D: in zwei,
NL: tweedelige maatsoort,
DK: todelt takt,
-S: tv@aa{}takt,
+S: tvåtakt,
FI: kaksoistempo.
@aref{meter}.
-@aitem{duplet}
+@node duplet
+@section duplet
+
ES: dosillo,
I: duina,
F: duolet,
@aref{note value}.
-@aitem{duration}
-ES: duraci@'on,
+@node duration
+@section duration
+
+ES: duración,
I: durata,
-F: dur@'ee,
-D: Dauer, L@"ange,
+F: durée,
+D: Dauer, Länge,
NL: duur, lengte,
DK: varighed,
-S: tonl@"angd,
+S: tonlängd,
FI: kesto, aika-arvo.
@aref{note value}.
-@aitem{dydimic comma}
+@node dydimic comma
+@section dydimic comma
+
@aref{syntonic comma}.
-@aitem{E}
+@node E
+@section E
+
ES: mi,
I: mi,
F: mi,
S: e,
FI: E, e.
-@aitem{eighth note}
+@node ecclesiastical mode
+@section ecclesiastical mode
+
+@aref{church mode}.
+
+@node eighth note
+@section eighth note
+
ES: corchea,
I: croma,
F: croche,
D: Achtel, Achtelnote,
NL: achtste noot,
DK: ottendedelsnode,
-S: @aa{}ttondelsnot,
+S: åttondelsnot,
FI: kahdeksasosanuotti.
@aref{note value}.
-@aitem{eighth rest}
+@node eighth rest
+@section eighth rest
+
ES: silencio de corchea,
I: pausa di croma,
F: demi-soupir,
D: Achtelpause,
NL: achtste rust,
DK: ottendedelspause,
-S: @aa{}ttonddelspaus,
+S: åttonddelspaus,
FI: kahdeksasosatauko.
@aref{note value}.
-@aitem{engraving}
-ES: Grabar
+@node embellishment
+@section embellishment
+
+
+@aref{ornament}.
+
+@node engraving
+@section engraving
+
+ES: grabar,
I: incisione,
F: gravure,
D: Notenstechen, Notendruck
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
-@aitem{enharmonic}
-ES: enharm@'onico,
+@node enharmonic
+@section enharmonic
+
+ES: enharmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- gis1 s s as s s <des g,!> s s <cis g!> s s
+<<
+\context Staff \relative c'' {
+ gis1 as <des g,!> <cis g!>
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
+>>
@end lilypond
-@aitem{equal temperament}
-ES: ?,
+@node equal temperament
+@section equal temperament
+
+ES: temperamento igual,
I: temperamento equabile,
-F: temp@'erament @'egal,
+F: tempérament égal,
D: gleichschwebende Stimmung,
NL: ge@-lijk@-zwe@-ven@-de temperatuur,
-DK: ligesv@ae{}vende temperatur,
-S: liksv@"avande temperatur,
+DK: ligesvævende temperatur,
+S: liksvävande temperatur,
FI: tasavireinen.
Tuning system dividing the octave into 12 equal @aref{semitone}s
(precisely 100 @aref{cent}s). @aref{temperament}.
-@aitem{expression mark}
-ES: ?,
+@node expression mark
+@section expression mark
+
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
NL: voordrachtsteken,
DK: foredragsbetegnelse,
-S: f@"oredragsbeteckning,
+S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
@aref{forte}, @aref{crescendo}), 2. tempo (for example
@aref{andante}, @aref{allegro}).
-@aitem{F}
+@node F
+@section F
+
ES: fa,
I: fa,
F: fa,
S: f,
FI: F, f.
-@aitem{F clef}
-ES: Clave de Fa,
+@node F clef
+@section F clef
+
+ES: clave de fa,
I: chiave di fa,
-F: cl@'e de fa,
-D: F-Schl@"ussel,
+F: clé de fa,
+D: F-Schlüssel,
NL: F-sleutel,
-DK: F-n@o{}gle,
+DK: F-nøgle,
S: f-klav,
FI: F-avain.
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\relative c {
+\override Staff.Clef #'full-size-change = ##t
+<<
+\relative c {
\clef varbaritone
f1
\clef bass
\clef "F_8"
f1
}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \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.
-@aitem{fermata}
-ES: Calder@'on,
+@node fermata
+@section fermata
+
+ES: Calderón,
I: corona,
F: point d'orgue, point d'arr@^et,
D: Fermate,
NL: fermate,
DK: fermat,
S: fermat,
-FI: fermaatti, pid@"ake.
+FI: fermaatti, pidäke.
Prolonged note or rest of indefinite duration.
-@lilypond
+@lilypond[fragment,ragged-right]
\time 4/4
-\notes\relative c'' {
+\relative c'' {
a4 b c2^\fermata \bar "|."
}
@end lilypond
-@aitem{fifth}
+@node fifth
+@section fifth
+
ES: quinta,
I: quinta,
F: quinte,
@aref{interval}.
-@aitem{figured bass}
+@node figured bass
+@section figured bass
+
ES: bajo cifrado, @aref{thorough bass}.
-@aitem{fingering}
-ES: digitaci@'on,
+@node fingering
+@section fingering
+
+ES: digitación,
I: diteggiatura,
-F: doigt@'e,
+F: doigté,
D: Fingersatz,
NL: vingerzetting,
-DK: fingers@ae{}tning,
-S: fingers@"attning,
+DK: fingersætning,
+S: fingersättning,
FI: sormitus.
The methodical use of fingers in the playing of instruments.
-@aitem{flag,pennant}
+@node flag
+@section flag
+
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
-D: Fahne, F@"ahnchen,
+D: Fahne, Fähnchen,
NL: vlaggetje,
DK: fane,
S: flagga,
less than a quarter note. The number of flags determines the
@aref{note value}.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
g8_"1/8" s8
g16_"1/16" s8
g32_"1/32" s8
}
@end lilypond
-@aitem{flat}
+@node flat
+@section flat
+
ES: bemol,
I: bemolle,
-F: b@'emol,
+F: bémol,
D: B, b,
NL: mol,
DK: b,
-S: bef@"ortecken,
+S: beförtecken,
FI: alennusmerkki.
@aref{accidental}.
-@aitemii{forefall,backfall}
+@node forefall
+@section forefall
+
@aref{appoggiatura}.
-@aitem{forte}
+@node forte
+@section forte
+
ES: forte,
I: forte,
F: forte,
Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.
-@aitem{fourth}
+@node fourth
+@section fourth
+
ES: cuarta,
I: quarta,
F: quarte,
@aref{interval}.
-@aitem{fugue}
+@node fugue
+@section fugue
+
ES: fuga,
I: fuga,
F: fugue,
@aref{counterpoint}.
-@aitem{functional harmony}
-ES: armon@'{@dotless{i}}a funcional,
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
I: armonia funzionale,
-F: @'etude des functions,
+F: étude des functions,
D: Funktionslehre,
NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
-S: funktionsl@"ara,
-FI: harmoniaj@"arjestelm@"a.
+S: funktionslära,
+FI: harmoniajärjestelmä.
A system of harmonic analysis. It is based on the idea that, in a given key,
there are only three functionally different chords: tonic (T, the chord on the
first note of the scale), subdominant (S, the chord on the fourth note), and
-dominant (D, the chord on the fifth note). Other are considered to be
+dominant (D, the chord on the fifth note). Others are considered to be
variants of the base chords.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+<<
+\context Voice \relative c'' {
<g e c >1 < a f d > < b g e >
<c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
+\context Lyrics \lyrics {
+ T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+>>
@end lilypond
-@aitem{G}
+@node G
+@section G
+
ES: sol,
I: sol,
F: sol,
S: g,
FI: G, g.
-@aitem{G clef}
-ES: Clave de sol,
+@node G clef
+@section G clef
+
+ES: clave de sol,
I: chiave di sol,
-F: cl@'e de sol,
-D: G-Schl@"ussel, Violinschl@"ussel,
+F: clé de sol,
+D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
-DK: g-n@o{}gle,
+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[notime]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
- \clef french
- g1 s s
- \clef treble
- g s s
- \clef "G^8"
- g s s
- \clef "G_8"
- g s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "french violin clef "
- "violin clef "
- "octaved up "
- "octaved down"
-}
+@lilypond[fragment,notime,ragged-right]
+<<
+ \set Score.automaticBars = ##f
+ \override Staff.Clef #'full-size-change = ##t
+
+ \relative c'' {
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \clef french
+ g1
+ \clef treble
+ g
+ \clef "G^8"
+ g
+ \clef "G_8"
+ g
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics . LyricText #'X-offset = #-5
+ "french violin clef"
+ "violin clef"
+ "octaved up"
+ "octaved down"
+ }
+>>
@end lilypond
-@aitem{glissando}
+@node glissando
+@section glissando
+
ES: glissando,
I: glissando,
F: glissando,
Letting the pitch slide fluently from one note to the other.
-@aitem{grace notes}
-SP: ?,
+@node grace notes
+@section grace notes
+
+ES: mordente,
I: abbellimenti,
F: fioriture,
-D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
S: ornament,
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @aref{appoggiatura}.
-@aitem{grand staff}
+@node grand staff
+@section grand staff
+
+ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade,
NL: piano systeem,
DK: klaversystem,
-S: ackolad, b@"ojd klammer,
+S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
@aref{brace}.
A combination of two staves with a brace. Usually used for piano music.
-@aitem{grave}
+@node grave
+@section grave
+
ES: grave,
I: grave,
F: grave,
Slow, solemn.
-@aitem{half note}
+@node gruppetto
+@section gruppetto
+
+@aref{turn}.
+
+@node half note
+@section half note
+
ES: blanca,
I: minima,
F: blanche,
@aref{note value}.
-@aitem{half rest}
-SP: ?,
+@node half rest
+@section half rest
+
+ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
@aref{note value}.
-@aitem{harmonic cadence}
-ES: cadencia (arm@'onica),
+@node harmonic cadence
+@section harmonic cadence
+
+ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
D: Schlusskadenz,
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-Sequence of chords that terminate a musical phrase or
+A sequence of chords that terminates a musical phrase or
section. @aref{functional harmony}.
-@lilypond
-\notes\context PianoStaff <<
+@lilypond[fragment,ragged-right]
+\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
- \addlyrics
- \context Staff = SB \relative c {
- \clef bass
- \partial 4 c4 | f, g c2
- \bar "|."
- }
- \context Lyrics \lyrics {
- T S D T
- }
+ <<
+ \context Staff = SB \relative c {
+ \clef bass
+ \partial 4 c4 | f, g c2
+ \bar "|."
+ }
+ \lyrics {
+ T S D T
+ }
+ >>
>>
+
@end lilypond
-@aitem{harmony}
-ES: armon@'{@dotless{i}}a,
+@node harmony
+@section harmony
+
+ES: armonía,
I: armonia,
F: harmonie,
D: Harmonie, Zusammenklang,
Consonances:
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
<g g>1_"unisone " s
<g b>_"third " s
<g c>_"fourth " s
Dissonances:
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
Three note harmony @aref{chord}.
-@aitem{homophony}
-ES: homofon@'{@dotless{i}}a,
+@node homophony
+@section homophony
+
+ES: homofonía,
I: omofonia,
F: homophonie,
D: Homophonie,
NL: homofonie,
DK: homofoni,
S: homofoni,
-FI: homofonia, yksi@"a@"anisyys.
+FI: homofonia, yksiäänisyys.
Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @aref{polyphony}.
-@aitem{interval}
+@node interval
+@section interval
+
ES: intervalo,
I: intervallo,
F: intervalle,
NL: interval,
DK: interval,
S: intervall,
-FI: intervalli, kahden s@"avelen korkeusero.
+FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor, major,
+Difference in pitch between two notes. Intervals may be perfect, minor,
+major,
diminished, or augmented. The augmented fourth and the diminished fifth are
identical (@aref{enharmonic}) and are called @emph{tritonus}
because they consist of three @aref{whole tone}s. The addition
-of such two forms an octave.
+of such two intervals forms an octave.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
- < g g >1 s
- < g as >^"minor" s
- < g a! > s
- < g ais >^"augm" s
- < gis bes >^"dimin" s
- < g! bes >^"minor" s
- < g b! >^"major" s
- < g bis >^"augm" s
+<<
+\context Voice \relative c'' {
+ < g g >1
+ < g as >^"minor"
+ < g a! >
+ < g ais >^"augm"
+ < gis bes >^"dimin"
+ < g! bes >^"minor"
+ < g b! >^"major"
+ < g bis >^"augm"
}
\context Lyrics \lyrics {
- "unisone " "second " "second " "second "
- "third " "third " "third " "third "
+ "unisone " "second " "second " "second "
+ "third " "third " "third " "third"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- < g c >^"perfect" s
- < g cis >^"augm" s
- < g d' >^"perfect" s
- < g des' > ^"dim" s
- < gis es' >^"dimin" s
- < g! es' >^"minor" s
- < g e'! >^"major" s
- < g eis' >^"augm" s
+<<
+\context Staff \relative c'' {
+ < g c >1^"perfect"
+ < g cis >^"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 "
+ "sixth " "sixth " "sixth " "sixth"
}
+>>
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- < gis f'! >1^"dimin" s
- < g! f'! >^"minor" s
- < g fis' >^"major" s
- < g g' > s
- < g as' >^"minor" s
- < g a'! >^"major" s
- < g bes' >^"minor" s
- < g b'! >^"major" s
+<<
+\context Staff \relative c'' {
+ < gis f'! >1^"dimin"
+ < g! f'! >^"minor"
+ < g fis' >^"major"
+ < g g' >
+ < g as' >^"minor"
+ < g a'! >^"major"
+ < g bes' >^"minor"
+ < g b'! >^"major"
}
\context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "none " "none " "decime " "decime "
+ "seventh " "seventh " "seventh " "octave "
+ "none " "none " "decime " "decime"
}
+>>
@end lilypond
-@aitem{inverted interval}
+@node inverted interval
+@section inverted interval
+
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle revers@'e,
+F: intervalle reversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
-S: intervallets omv@"andning,
-FI: k@"a@"anteisintervalli.
+S: intervallets omvändning,
+FI: käänteisintervalli.
The difference between an interval and an octave.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Staff \notes\relative c'' {
- < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
+%\override Score.TextScript #'font-style = #'large
+\context Staff \relative c'' {
+ < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
< g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
< g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
}
@end lilypond
-@aitem{just intonation}
+@node just intonation
+@section just intonation
+
+ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
NL: reine stemming,
DK: ren stemning,
-S: ren st@"amning,
+S: ren stämning,
FI: puhdas viritys.
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds. @aref{temperament}.
-@aitem{key}
+@node key
+@section key
+
ES: tonalidad,
-I: tonalit@`a,
-F: tonalit@'e,
+I: tonalità,
+F: tonalité,
D: Tonart,
NL: toonsoort,
DK: toneart,
there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@aref{key signature}.
-@aitem{key signature}
-ES: armadura de clave,
+@node key signature
+@section key signature
+
+ES: armadura (de la clave),
I: armatura di chiave,
-F: armure, armature [de la cl@'e],
+F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
NL: toon@-soort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
-FI: s@"avellajiosoitus.
+FI: sävellajiosoitus.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @aref{accidental}.
-@aitem{largo}
+@node largo
+@section largo
+
ES: largo,
I: largo,
F: largo,
NL: largo,
DK: largo,
S: largo,
-FI: largo, hitaasti, leve@"asti.
+FI: largo, hitaasti, leveästi.
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
-@aitem{leading note}
+@node leading note
+@section leading note
+
ES: sensible,
I: sensibile,
F: note sensible,
NL: leidtoon,
DK: ledetone,
S: ledton,
-FI: johtos@"avel.
+FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
upwards) to the tonic scale degree.
-@aitemii{ledger line,leger line}
-ES: l@'{@dotless{i}}neas adicionales,
+@node ledger line
+@section ledger line
+
+ES: líneas adicionales,
I: tagli addizionali,
-F: ligne suppl@'ementaire,
+F: ligne supplémentaire,
D: Hilfslinie,
NL: hulplijntje,
-DK: hj@ae{}lpelinie,
-S: hj@"alplinje,
+DK: hjælpelinie,
+S: hjälplinje,
FI: apuviiva.
A ledger line is an extension of the staff.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }
@end lilypond
-@aitem{legato}
-ES: ligado,
+@node legato
+@section legato
+
+ES: legato,
I: legato,
-F: legato, li@'e,
+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
-unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
+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[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\addlyrics
-\context Staff \notes\relative c'' {
- c4-( d e-) \bar "||"
- c4-- d-- e-- \bar "||"
- c4-.-( d-. e-.-) \bar "||"
- c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'font-style = #'large
- a
- b "" ""
- c
- d
-}
+<<
+ \context Staff \relative c'' {
+ c4-( d e-) \bar "||"
+ c4-- d-- e-- \bar "||"
+ c4-.-( d-. e-.-) \bar "||"
+ c4-. d-. e-. \bar "||"
+ }
+ \lyrics {
+ a1
+ b
+ c
+ d
+ }
+>>
@end lilypond
-@aitem{legato curve}
+@node legato curve
+@section legato curve
+
@aref{slur}, @aref{legato}.
-@aitem{lilypond}
-ES: estanque de lilas,
+@node leger line
+@section leger line
+
+@aref{ledger line}.
+
+@node lilypond
+@section lilypond
+
+ES: estanque de nenúfares,
I: stagno del giglio,
-F: @'etang de lis,
+F: étang de lis,
UK: lily pond,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
A pond with lilies floating in it, also the name of a music typesetter.
-@aitem{line}
-ES: l@'{@dotless{i}}nea,
+@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
+ascending or descending sequences of notes. In early notation,
+ligatures were used for monophonic tunes (Gregorian chant) and very
+soon denoted also the way of performance in the sense of articulation.
+With the invention of the metric system of the white mensural
+notation, the need for ligatures to denote such patterns disappeared.
+
+@node line
+@section line
+
+ES: línea,
I: linea,
F: ligne,
D: Linie, Notenlinie,
@aref{staff}.
-@aitem{long appoggiatura}
+@node long appoggiatura
+@section long appoggiatura
+
ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
D: langer Vorschlag,
NL: Lange voorslag,
DK: langt forslag,
-S: l@aa{}ngt f@"orslag,
-FI: pitk@"a appoggiatura, pitk@"a etuhele.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.
@aref{appoggiatura}.
-@aitem{longa}
+@node longa
+@section longa
+
ES: longa,
I: longa,
F: longa,
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' {
- \override NoteHead #'style = #'mensural
+\relative c'' {
+ \override NoteHead #'style = #'mensural
g\longa
}
@end lilypond
-@aitemii{lyrics,song texts}
-ES: .,
+@node lyrics
+@section lyrics
+
+ES: letra (de la canción),
I: .,
F: .,
-D: .,
+D: Liedtext,
NL: liedtekst,
DK: .,
S: .,
-FI, sanoitus,
+FI, sanoitus.
+
+@node major interval
+@section major interval
-@aitem{major interval}
ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
-D: gro@ss{}es Intervall,
+D: großes Intervall,
NL: groot interval,
DK: stort interval,
S: stort intervall,
@aref{interval}.
-@aitem{major}
+@node major
+@section major
+
ES: mayor,
I: maggiore,
F: [mode] majeur,
@aref{diatonic scale}.
-@aitem{meantone temperament}
+@node meantone temperament
+@section meantone temperament
+
+ES: afinación mesotónica,
I: accordatura mesotonica,
-F: temp@'erament m@'esotonique,
-D: mittelt@"onige Stimmung,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
-FI: keskis@"avelviritys.
+FI: keskisävelviritys.
Temperament yielding acoustically pure thirds by decreasing the natural fifth
by 16@w{ }@aref{cent}s. Due to the non-circular character of this
@aref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
-@aitem{measure, bar}
-ES: comp@'as,
+@node measure
+@section measure
+
+ES: compás,
I: misura, battuta,
F: mesure,
D: Takt,
throughout the composition and are marked from each other by
bar-lines. @aref{meter}.
-@aitem{mediant}
+@node mediant
+@section mediant
+
ES: mediante,
I: mediante, modale,
-F: m@'ediante,
+F: médiante,
NL: mediant,
D: Mediante,
DK: mediant,
S: mediant,
-FI: keskis@"avel.
+FI: keskisävel.
-1. The third @b{scale degree}.
-2. A @aref{chord} having its base tone
+1.@tie{}The third @b{scale degree}.
+2.@tie{}A @aref{chord} having its base tone
a third from that of another chord. For example, the tonic chord may be
replaced by its lower mediant (variant tonic). @aref{functional
harmony}, @aref{relative key}.
-@aitem{melisma}
+@node melisma
+@section melisma
-NL: melisma,
-FI: melisma, laulettavan tavun s@"avelkuvio.
+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
-@aitem{melodic cadence}
+@node melodic cadence
+@section melodic cadence
+
@aref{cadenza}.
-@aitem{meter, time}
-ES: comp@'as,
+@node meter
+@section meter
+
+ES: compás,
I: tempo, metro,
-F: indication de m@'esure,
+F: indication de mésure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
or a section of it. For instance, 3/4 meter means that the basic
@aref{note value}s are quarter notes and that a
@aref{measure} consists of three of those. According to
-whether there are two, three or four units to the measure,
+whether there are two, three, or four units to the measure,
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
-@lilypond
-\notes\relative c'' {
+@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
-\notes\relative c' {
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
\time 6/8
\key f \major
f8 f f f a16 g a f |
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
\time 5/4
\key g \major
d4 b8 g b d d c a4 |
g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
@end lilypond
-@aitem{metronome}
-ES: metr@'onomo,
+@node metronome
+@section metronome
+
+ES: metrónomo,
I: metronomo,
-F: m@'etronome,
+F: métronome,
D: Metronom,
NL: metronoom,
DK: me@-tro@-nom,
Device indicating the exact tempo of a piece. @aref{metronomic
indication}.
-@aitem{metronomic indication}
-ES: indicaci@'on metron@'omica,
+@node metronomic indication
+@section metronomic indication
+
+ES: indicación metronómica,
I: indicazione metronomica,
-F: indication m@'etronomique,
+F: indication métronomique,
D: Metronomangabe,
NL: metronoom aanduiding,
DK: metronomtal,
FI: metronomiosoitus.
Exact tempo indication (in beats per minute). Also denoted by
-M.M. (M@"alzels Metronom).
+M.M.@: (Mälzels Metronom).
+
+@node mezzo-soprano
+@section mezzo-soprano
-@aitem{mezzo-soprano}
ES: mezzo soprano,
I: mezzo-soprano,
F: mezzo-soprano,
The female voice between @aref{soprano} and
@aref{contralto}.
-@aitem{middle C}
+@node middle C
+@section middle C
+
ES: do central,
I: do centrale,
F: do central,
First C below the 440 Hz A.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-\notes\relative c' {
+\override Staff.Clef #'full-size-change = ##t
+\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
}
@end lilypond
-@aitem{minor}
+@node minor
+@section minor
+
ES: menor,
I: minore,
F: mode mineur,
@aref{diatonic scale}.
-@aitem{minor interval}
+@node minor interval
+@section minor interval
+
ES: intervalo mayor,
I: intervallo minore,
F: intervalle mineur,
@aref{interval}.
-@aitem{mode}
+@node mode
+@section mode
+
ES: modo,
I: modo,
F: mode,
NL: modus,
DK: skala,
S: modus, skala,
-FI: moodi, kirkkos@"avelasteikko.
+FI: moodi, kirkkosävelasteikko.
@aref{church mode}, @aref{diatonic scale}.
-@aitem{modulation}
-ES: modulaci@'on,
+@node modulation
+@section modulation
+
+ES: modulación,
I: modulazione,
F: modulation,
D: Modulation,
NL: modulatie,
DK: modulation,
S: modulering,
-FI: modulaatio, s@"avellajin vaihdos.
+FI: modulaatio, sävellajin vaihdos.
Moving from one @aref{key} to another. For example, the second
subject of a @aref{sonata form} movement modulates to the dominant
key if the key is major and to the @aref{relative key} if the key
is minor.
-@aitem{mordent}
+@node mordent
+@section mordent
+
I: mordente,
F: mordant,
D: Mordent,
@aref{ornament}.
-@aitemii{motive,motif}
+@node motif
+@section motif
+
+@aref{motive}.
+
+@node motive
+@section motive
+
ES: tema,
I: inciso,
F: incise,
NL: motief,
DK: motiv,
S: motiv,
-FI: teema, s@"avelaihe.
+FI: teema, sävelaihe.
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond
-\override Score.TimeSignature #'style = \turnOff
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
\key g \major
\partial 8 g16_"------" fis |
}
@end lilypond
-@aitem{movement}
+@node movement
+@section movement
+
ES: movimiento,
I: movimento,
F: mouvement,
@aref{sonata} most often consist of several -- more or less --
independant pieces called movements.
-@aitem{multibar rest}
+@node multibar rest
+@section multibar rest
+
ES: compases de espera,
I: pausa multipla,
F: pause multiple,
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,ragged-right]
+\relative c'' {
a1
\set Score.skipBars = ##t R1*3
a1
}
@end lilypond
-@aitem{mixolydian mode}
+@node mixolydian mode
+@section mixolydian mode
+
@aref{diatonic scale}.
-@aitem{natural sign}
+@node natural sign
+@section natural sign
+
ES: becuadro,
I: bequadro,
-F: b@'ecarre,
-D: Aufl@"osungszeichen,
+F: bécarre,
+D: Auflösungszeichen,
NL: herstellingsteken,
-DK: op@-l@o{}sningstegn,
-S: @aa{}terst@"allningstecken,
+DK: op@-løsningstegn,
+S: återställningstecken,
FI: palautusmerkki.
@aref{accidental}.
-@aitem{neighbour tones}
+@node neighbour tones
+@section neighbour tones
+
@aref{appoggiatura}.
-@aitem{ninth}
+@node ninth
+@section ninth
+
ES: novena,
I: nona,
-F: neuvi@`eme,
+F: neuvième,
D: None,
NL: noon,
DK: none,
@aref{interval}.
-@aitem{non-legato}
+@node non-legato
+@section non-legato
+
@aref{legato}.
-@aitem{note}
+@node note
+@section note
+
ES: nota,
I: nota,
F: note,
and @aref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-@aitem{note head}
-ES: oval,
+@node note head
+@section note head
+
+ES: cabeza,
I: testa, testina, capocchia,
F: t@^ete de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
-FI: nuotin p@"a@"a.
+FI: nuotin pää.
-A head like sign which indicates pitch by its position on a
+A head-like sign which indicates pitch by its position on a
@aref{staff} provided with a @aref{clef}, and duration
by a variety of shapes such as hollow or black heads with or without
@aref{stem}s, @aref{flag}s, etc. For percussion
instruments (often having no defined pitch) the note head may indicate the
instrument.
-@aitem{note value}
-ES: valor,
+@node note value
+@section note value
+
+ES: valor (duración),
I: valore, durata,
-F: dur@'ee, valeur (d'une note),
+F: durée, valeur (d'une note),
D: Notenwert,
NL: nootwaarde,
-DK nodev@ae{}rdi,
-S: notv@"arde,
+DK nodeværdi,
+S: notvärde,
FI: nuotin aika-arvo.
Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value. The longest duration normally used is called @emph{brevis},
-but sometimes (mostly in pre baroque music) the double length note value
+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[notime]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[fragment,notime,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
-\notes\relative c'' {
- \override NoteHead #'style = #'mensural
- g\longa_"longa" g\breve_"breve"
+\relative c'' {
+ \override NoteHead #'style = #'mensural
+ a\longa_"longa" a\breve_"breve"
\revert NoteHead #'style
- g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
- g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
+ a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
+ a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[notime]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[fragment,notime,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
r\longa_"longa" r\breve_"breve"
r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
\times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
g4 g g \bar "||"
}
@end lilypond
-@aitem{octave sign}
+@node octave sign
+@section octave sign
+
@aref{G clef}, @aref{F clef}.
-@aitem{octave}
+@node octave
+@section octave
+
ES: octava,
I: ottava,
F: octave,
@aref{interval}.
-@aitemiii{ornament,embellishment,accessory}
+@node ornament
+@section ornament
+
ES: adorno,
I: abbellimento, fioriture,
-F: agr@'ement, 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
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
- c2._"pre-1850" b4\trill | c1 \bar "||"
+% \override Score.TextScript #'font-style = #'large
+ \relative c'' {
+ c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
c2. c32 b c b c b c b | c1
c2. b32 c b c \times 4/5 { b c b c b } | c1
}
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
@emph{prall} (inverted mordent).
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
+% \override Score.TextScript #'font-style = #'large
+ \relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
e'4_"prall" d\prall c2 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
a4 c16[ b a b] c2
- g4 a b16-[ a b8] a4
+ g4 a b16-[ a b8] a4
e'4 e32[ d e d ~ d8] c2
}
>>
@aref{appoggiatura}.
-@aitem{ossia}
+@node ossia
+@section ossia
+
ES: ossia,
I: ossia,
F: ossia,
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@aitem{part}
+@node part
+@section part
+
ES: parte,
I: voce, parte,
F: partie,
D: Stimme,
NL: partij,
DK: stemme,
-S: st@"amma,
+S: stämma,
FI: stemma, instrumenttiosuus.
-1. In instrumental or choral music the music for the single instrument
-or voice. 2. in contrapuntal music @aref{counterpoint} the single
+1.@tie{}In instrumental or choral music the music for the single instrument
+or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
melodic line of the contrapunctal web.
-@aitem{percussion}
-ES: percusi@'on,
+@node pennant
+@section pennant
+
+@aref{flag}.
+
+@node percussion
+@section percussion
+
+ES: percusión,
I: percussioni,
F: percussion,
D: Schlagzeug, Schlagwerk,
NL: slagwerk,
-DK: slagt@o{}j,
+DK: slagtøj,
S: slagverk,
-FI: ly@"om@"asoittimet.
+FI: lyömäsoittimet.
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@aitem{perfect interval}
+@node perfect interval
+@section perfect interval
+
ES: intervalo justo,
I: intervallo giusto,
F: intervalle juste,
@aref{interval}.
-@aitem{phrase}
+@node phrase
+@section phrase
+
ES: frase,
I: frase,
F: phrase,
A natural division of the melodic line, comparable to a sentence of speech.
-@aitem{phrasing}
+@node phrasing
+@section phrasing
+
ES: fraseo,
I: fraseggio,
-F: phras@'e,
+F: phrasé,
D: Phrasierung,
NL: frasering,
DK: frasering,
S: fra@-se@-ring,
-FI: fraseeraus, j@"asent@"aminen.
+FI: fraseeraus, jäsentäminen.
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
-@aitem{piano}
+@node piano
+@section piano
+
ES: piano,
I: piano,
F: piano,
NL: piano,
DK: piano,
S: piano,
-FI, piano, hiljaa,
+FI, piano, hiljaa.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.
-@aitem{pitch}
+@node pitch
+@section pitch
+
ES: altura,
I: altezza,
F: hauteur,
-D: Tonh@"ohe,
+D: Tonhöhe,
NL: toonhoogte,
-DK: toneh@o{}jde,
-S: tonh@"ojd,
-FI: s@"avelkorkeus.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
+
+@node pizzicato
+@section pizzicato
-@aitem{pizzicato}
ES: pizzicato,
I: pizzicato,
F: pizzicato,
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
-FI: pizzicato, n@"app@"aillen.
+FI: pizzicato, näppäillen.
Play by plucking the strings.
-@aitem{polyphony}
-ES: polifon@'{@dotless{i}}a,
+@node polyphony
+@section polyphony
+
+ES: polifonía,
I: polifonia,
F: polyphonie,
-D: Polyphonie,
+D: Polyphonie, Mehrstimmigkeit,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
-FI: polyfonia, moni@"a@"anisyys.
+FI: polyfonia, moniäänisyys.
Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @aref{counterpoint}.
-@aitem{portato}
+@node portato
+@section portato
+
@aref{legato}.
-@aitem{presto}
+@node presto
+@section presto
+
ES: presto,
I: presto,
F: presto,
S: presto,
FI: presto, hyvin nopeasti.
-Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
+Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-@aitem{Pythagorean comma}
-ES: coma pitag@'orico,
+@node Pythagorean comma
+@section Pythagorean comma
+
+ES: coma pitagórico,
I: comma pitagorico,
F: comma pythagoricien,
-D: Pythagor@"aisches Komma,
+D: Pythagoräisches Komma,
NL: komma van Pythagoras,
-DK: pythagor@ae{}isk komma,
+DK: pythagoræisk komma,
S: pytagoreiskt komma,
FI: pytagorinen komma.
A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
+24 @aref{cent}s higher than the@w{ }C obtained by adding
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
-@aitem{quadruplet}
+@node quadruplet
+@section quadruplet
+
ES: cuatrillo,
I: quartina,
F: quartolet,
@aref{note value}.
-@aitem{quarter note}
+@node quarter note
+@section quarter note
+
ES: negra,
I: semiminima, nera,
F: noire,
D: Viertel, Viertelnote,
NL: kwartnoot,
DK: fjerdedelsnode,
-S: fj@"ardedelsnot,
-FI: nelj@"annesosanuotti.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.
@aref{note value}.
-@aitem{quarter rest}
+@node quarter rest
+@section quarter rest
+
ES: silencio de negra,
I: pausa di semiminima,
F: soupir,
D: Viertelpause,
NL: kwart rust,
DK:@w{ }fjerdedelspause,
-S: fj@"ardedelspaus,
-FI: nelj@"annesosatauko.
+S: fjärdedelspaus,
+FI: neljännesosatauko.
@aref{note value}.
-@aitem{quintuplet}
-ES: quintillo,
+@node quintuplet
+@section quintuplet
+
+ES: cinquillo,
I: quintina,
F: quintolet,
D: Quintole,
@aref{note value}.
-@aitem{rallentando}
+@node rallentando
+@section rallentando
+
ES: rallentando,
I: rallentando,
F: rallentando,
NL: rallentando,
DK: rallentando,
S: rallentando,
-FI. rallerdando, hidastuen,
+FI: rallerdando, hidastuen.
Abbreviation "rall.". @aref{ritardando}.
-@aitem{relative key}
+@node relative key
+@section relative key
+
ES: relativa,
-I: tonalit@`a relativa,
-F: tonalit@'e relative,
+I: tonalità relativa,
+F: tonalité relative,
D: Paralleltonart,
NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
-FI: rinnakkaiss@"avellaji.
+FI: rinnakkaissävellaji.
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
\key es \major
es1_"e flat major" f g as bes c d es
\bar "||"
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
\key es \major
c1_"c minor" d es f g a! b! c \bar "||"
}
@end lilypond
-@aitem{repeat}
-ES: barra de repetici@'on,
+@node repeat
+@section repeat
+
+ES: barra de repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
S: repris,
FI: toisto.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\key g \major
\time 4/4
-\notes\relative c'' {
+\relative c'' {
\repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
}
@end lilypond
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-@aitem{rest}
+@node rest
+@section rest
+
ES: silencio,
I: pausa,
F: silence,
@aref{note value}.
-@aitem{rhythm}
+@node rhythm
+@section rhythm
+
ES: ritmo,
I: ritmo,
F: rythme,
(a) Metrical rhythm in which every time value is a multiple or fraction of a
fixed unit of time, called @aref{beat}, and in which the normal
@aref{accent} recurs in regular intervals, called
-@aref{measure}. The basic scheme scheme of time values is called
+@aref{measure}. The basic scheme of time values is called
@aref{meter}. (b) Measured rhythm which lacks regularly recurrent
accent. In modern notation such music appears as a free alternation of
different measures. (c) Free rhythm, i.e., the use of temporal values having
no common metrical unit (beat).
-@aitem{ritardando}
-ES: retardando,
+@node ritardando
+@section ritardando
+
+ES: ritardando,
I: ritardando,
F: ritardando,
D: Ritardando, langsamer werden,
NL: ritardando,
DK: ritardando,
S: ritardando,
-FI. ritardando, hidastuen,
+FI: ritardando, hidastuen,
+
+Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
+@node ritenuto
+@section ritenuto
-@aitem{ritenuto}
ES: ritenuto,
I: ritenuto,
F: ritenuto,
Immediate reduction of speed.
-@aitem{scale}
+@node scale
+@section scale
+
ES: escala,
I: scala,
F: gamme,
NL: toonladder,
DK: Skala,
S: skala,
-FI: asteikko, s@"avelasteikko.
+FI: asteikko, sävelasteikko.
@aref{diatonic scale}.
-@aitem{scale degree}
+@node scale degree
+@section scale degree
+
ES: grados de la escala,
I: grado della scala,
-F: degr@'e [de la gamme],
+F: degré [de la gamme],
D: Tonleiterstufe,
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
-FI: s@"avelaste, asteikon s@"avel.
+FI: sävelaste, asteikon sävel.
Names and symbols used in harmonic analysis to denote tones of the scale as
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\set minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+<<
+\context Staff \relative c' {
c1 d e f g a b c
}
-\context Lyrics \lyrics {
+ \lyrics {
<< { I II III IV V VI VII I }
- { T "" "" S D } >>
+ { T "" "" S D } >>
}
+>>
@end lilypond
@aref{functional harmony}.
-@aitem{score}
+@node score
+@section score
+
ES: partitura,
I: partitura,
F: partition,
S: partitur,
FI: partituuri.
-A copy of orchestral, choral or chamber music showing what each instrument is
+A copy of orchestral, choral, or chamber music showing what each instrument is
to play, each voice to sing, having each part arranged one underneath the
other on different staves @aref{staff}.
-@aitem{second}
+@node second
+@section second
+
ES: segunda,
I: secunda,
F: seconde,
-D: Sekund,
+D: Sekund(a),
NL: secunde,
DK: sekund,
S: sekund,
@aref{semitone}s and @aref{whole tone}s, hence the size
of a se@-cond depends on the scale degrees in question.
-@aitem{semitone}
+@node semitone
+@section semitone
+
ES: semitono,
I: semitono,
F: demi-ton,
NL: halve toon,
DK: halvtone,
S: halvton,
-FI: puolis@"avel.
+FI: puolisävel.
The @aref{interval} of a minor second. The (usually) smallest
interval in European composed music. The interval between two neighbouring
semitone. An octave may be divided into 12@w{ }semitones.
@aref{interval}, @aref{chromatic scale}.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c'' { g1 gis s a bes s b! c }
+\relative c'' { g1 gis s a bes s b! c }
@end lilypond
-@aitem{seventh}
-ES: s@'eptima,
+@node seventh
+@section seventh
+
+ES: séptima,
I: settima,
-F: septi@`eme,
+F: septième,
D: Septime,
NL: septiem,
DK: septim,
@aref{interval}.
-@aitem{sextuplet, sextolet}
+@node sextolet
+@section sextolet
+
+@aref{sextuplet}
+
+@node sextuplet
+@section sextuplet
+
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
@aref{note value}.
-@aitem{sharp}
+@node shake
+@section shake
+
+@aref{trill}.
+
+@node sharp
+@section sharp
+
ES: sostenido,
I: diesis,
-F: di@`ese,
+F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
-S: korsf@"ortecken,
+S: kors@-förtecken,
FI: korotusmerkki.
@aref{accidental}.
-@aitem{short appoggiatura}
+@node short appoggiatura
+@section short appoggiatura
+
@aref{appoggiatura}.
-@aitem{sixteenth note}
+@node sixteenth note
+@section sixteenth note
+
ES: semicorchea,
I: semicroma,
F: double croche,
@aref{note value}.
-@aitem{sixteenth rest}
-ES: silencia de semicorchea,
+@node sixteenth rest
+@section sixteenth rest
+
+ES: silencio de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
UK: semiquaver rest,
@aref{note value}.
-@aitem{sixth}
+@node sixth
+@section sixth
+
ES: sexta,
I: sesta,
F: sixte,
@aref{interval}.
-@aitem{sixty-fourth note}
+@node sixty-fourth note
+@section sixty-fourth note
+
ES: semifusa,
I: semibiscroma,
F: quadruple croche,
D: Vierundsechzigstel, Vierundsechzigstelnote,
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofj@"ardedelsnot,
-FI: kuudeskymmenesnelj@"asosanuotti.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.
@aref{note value}.
-@aitem{sixty-fourth rest}
-ES: silencia de semifusa,
+@node sixty-fourth rest
+@section sixty-fourth rest
+
+ES: silencio de semifusa,
I: pausa di semibiscroma,
-F: seizi@`eme de soupir,
+F: seizième de soupir,
UK: hemidemisemiquaver rest,
D: Vierundsechzigstelpause,
NL: vierenzestigste rust,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofj@"ardedelspaus,
-FI: kuudeskymmenesnelj@"asosatauko.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.
@aref{note value}.
-@aitem{slur}
-ES: ligadura,
+@node slur
+@section slur
+
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
-F: liaison, coul@'e,
+F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
-S: b@aa{}ge,
+S: båge,
FI: kaari.
A slur above or below a group of notes indicates that they are to be played
@aref{legato}, e.g., with one stroke of the violin bow or with one
breath in singing.
-@aitem{solmization}
+@node solmization
+@section solmization
+
+ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})). @aref{scale degree}.
-@aitem{sonata}
+@node sonata
+@section sonata
+
ES: sonata,
I: sonata,
F: sonate,
piano or for some other instrument with piano accompaniment, which consists of
three or four independant pieces, called movements.
-@aitem{sonata form}
+@node sonata form
+@section sonata form
+
ES: forma sonata,
I: forma sonata,
F: [en] forme de sonate,
A form used frequently for single movements of the @aref{sonata},
@aref{symphony}, quartet, etc. A movement written in sonata form
falls into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however. The exposition contains a number of themes
-which fall into two groups, often called first and second subject. Other
-melodies occurring in each group are considered as continuations of these
-two. The second theme is in another key, normally in the key of the
-@aref{dominant} if the @aref{tonic} is
-@aref{major}, and in the @aref{relative key} if the
-tonic is @aref{minor}.
-
-@aitem{soprano}
+@emph{recapitulation}. In the exposition the composer introduces some musical
+ideas, consisting of a number of themes; in the development section the
+composer `develops' this material, and in the recapitulation the composer
+repeats the exposition, with certain modifications. The exposition contains a
+number of themes that fall into two groups, often called first and second
+subject. Other melodies occurring in each group are considered as
+continuations of these two. The second theme is in another key, normally in
+the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
+@aref{relative key} if the tonic is @aref{minor}.
+
+@node song texts
+@section song texts
+
+@aref{lyrics}.
+
+@node soprano
+@section soprano
+
ES: soprano,
I: soprano,
F: soprano,
NL: sopraan,
DK: sopran,
S: sopran,
-FI: sopraano, korkea nais@"a@"ani.
+FI: sopraano, korkea naisääni.
The highest female voice.
-@aitem{staccato}
-ES: staccato,
+@node staccato
+@section staccato
+
+ES: picado (staccato),
I: staccato,
-F: staccato, piqu@'e, d@'etach@'e,
-D: staccato,
+F: staccato, piqué, détaché,
+D: Staccato,
NL: staccato,
DK: staccato,
S: staccato,
-FI: staccato, lyhyesti, ter@"av@"asti.
+FI: staccato, lyhyesti, terävästi.
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
-@lilypond
+@lilypond[fragment,ragged-right]
\key d \major
\time 4/4
-\notes\relative c'' {
+\relative c'' {
\partial 8 a8 |
d4-\staccato cis-\staccato b-\staccato cis-\staccato |
d2. \bar "||"
}
@end lilypond
-@aitem{staff}
+@node staff
+@section staff
+
ES: pentagrama,
I: pentagramma, rigo (musicale),
-F: port@'ee,
+F: portée,
D: Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
S: notsystem,
FI: nuottiviivasto.
-pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
-which the musical notes are written, thus indicating (in connection
-with a @aref{clef}) their pitch. Staves for
+A staff (pl. staves) is a series of (normally five) horizontal lines
+upon and between which the musical notes are written, thus indicating
+(in connection with a @aref{clef}) their pitch. Staves for
@aref{percussion} instruments may have fewer lines.
-@aitem{stem}
+@node staves
+@section staves
+
+@aref{staff}.
+
+@node stem
+@section stem
+
ES: plica,
I: gamba,
F: queue,
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[notime]
+@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
g2_"1/2" g' s16
g,4_"1/4" g' s16
g,8_"1/8" g' s16
}
@end lilypond
-@aitem{strings}
+@node strings
+@section strings
+
ES: arcos, cuerdas,
I: archi,
F: cordes,
D: Streicher,
NL: strijkers,
DK: strygere,
-S: str@aa{}kar,
+S: stråkar,
FI: jouset.
A family of stringed musical instruments played with a bow. Strings commonly
used in a symphony orchestra are violin, viola, violoncello, and double bass.
-@aitem{strong beat}
+@node strong beat
+@section strong beat
+
ES: tiempo fuerte,
I: tempo forte,
F: temps fort,
@aref{beat}, @aref{accent}, @aref{measure},
@aref{rhythm}.
-@aitem{subdominant}
+@node subdominant
+@section subdominant
+
ES: subdominante,
I: sottodominante,
F: sous-dominante,
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @aref{scale degree}. @aref{functional
-harmony}.
+The fourth @aref{scale degree}. @aref{functional harmony}.
-@aitem{submediant}
-ES: superdominante,
+@node submediant
+@section submediant
+
+ES: submediante,
I: sopratonica,
-F: sous-m@'ediante,
+F: sous-médiante,
D: Submediante,
NL: submediant,
DK: Submediant,
S: submediant,
-FI: alikeskis@"avel.
+FI: alikeskisävel.
The sixth @aref{scale degree}.
-@aitem{subtonic}
+@node subtonic
+@section subtonic
+
ES: sensible,
I: sottotonica,
F: sous-tonique,
The seventh @aref{scale degree}.
-@aitem{superdominant}
+@node superdominant
+@section superdominant
+
ES: superdominante,
I: sopradominante,
F: sus-dominante,
The sixth @aref{scale degree}.
-@aitem{supertonic}
-ES: supert@'onica,
+@node supertonic
+@section supertonic
+
+ES: supertónica,
I: sopratonica,
F: sus-tonique,
D: Supertonika,
The second @aref{scale degree}.
-@aitem{symphony}
-ES: sinfon@'{@dotless{i}}a,
+@node symphony
+@section symphony
+
+ES: sinfonía,
I: sinfonia,
F: symphonie,
D: Sinfonie, Symphonie,
A symphony may be defined as a @aref{sonata} for orchestra.
-@aitem{syncopation}
-ES: sincopado,
+@node syncopation
+@section syncopation
+
+ES: sÃncopa,
I: sincope,
F: syncope,
D: Synkope,
FI: synkooppi.
Any deliberate upsetting of the normal pulse of @aref{meter},
-@aref{accent} and @aref{rhythm}. Our system of musical
+@aref{accent}, and @aref{rhythm}. The occidental system of musical
rhythm rests upon the grouping of equal beats into groups of two or three,
with a regularly recurrent accent on the first beat of each group. Any
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond
+@lilypond[fragment,ragged-right]
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 4
d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | c2)
+ e c'4 e,8 c'4 e,8 c' ( | c2)
}
@end lilypond
-@aitemii{syntonic comma,dydimic comma}
+@node syntonic comma
+@section syntonic comma
+
+ES: coma sintónica,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
+viritysjärjestelmässä.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
-@aitem{system}
+@node system
+@section system
+
+ES: sistema,
I: accollatura,
-F: syst@`eme,
+F: système,
D: Notensystem,
NL: systeem,
DK: system,
S: system,
-FI: nuottij@"arjestelm@"a.
+FI: nuottijärjestelmä.
The collection of staves @aref{staff}, two or more, as used for
writing down of keyboard, chamber, choral, or orchestral music.
-@aitem{temperament}
+@node temperament
+@section temperament
+
ES: temperamento,
I: temperamento,
-F: temp@'erament,
-D: Stimmung, Temperatur,
+F: tempérament,
+D: Stimmung, Tem@-pe@-ra@-tur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
-FI: viritysj@"arjestelm@"a.
+FI: viritysjärjestelmä.
Systems of tuning in which the intervals deviate from the acoustically pure
-intervals. @aref{meantone temperament}, @aref{equal
-temperament}.
+intervals. @aref{meantone temperament}, @aref{equal temperament}.
+
+@node tempo indication
+@section tempo indication
-@aitem{tempo indication}
-ES: indicaci@'on de tempo,
+ES: indicación de tempo,
I: indicazione di tempo,
F: indication de temps,
-D: Zeitma@ss{}, Tempobezeichnung,
+D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
-FI: tempomerkint@"a.
+FI: tempomerkintä.
The rate of speed of a composition or a section thereof, ranging from the
slowest to the quickest, as is indicated by tempo marks as
@aref{largo}, @aref{adagio}, @aref{andante},
@aref{allegro}, and @aref{presto}.
-@aitem{tenor}
+@node tenor
+@section tenor
+
ES: tenor,
I: tenore,
-F: t@'enor,
+F: ténor,
D: Tenor,
NL: tenor,
DK: tenor,
S: tenor,
-FI: tenori, korkea mies@"a@"ani.
+FI: tenori, korkea miesääni.
+
+The highest male voice (apart from @aref{counter tenor}).
-The highest voice of men (apart from @aref{counter tenor}).
+@node tenth
+@section tenth
-@aitem{tenth}
-ES: d@'ecima,
+ES: décima,
I: decima,
-F: dixi@`eme,
+F: dixième,
D: Dezime,
NL: deciem,
DK: decim,
@aref{note value}.
-@aitem{third}
+@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
+
ES: tercera,
I: terza,
F: tierce,
@aref{interval}.
-@aitem{thirty-second note}
+@node thirty-second note
+@section thirty-second note
+
ES: fusa,
I: biscroma,
F: triple croche,
D: Zweiunddreissigstel, Zweiunddreissigstelnote,
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
-S: trettiotv@aa{}ondelsnot,
+S: trettiotvåondelsnot,
FI: kolmanneskymmeneskahdesosanuotti.
@aref{note value}.
-@aitem{thirty-second rest}
+@node thirty-second rest
+@section thirty-second rest
+
ES: silencio de fusa,
I: pausa di biscroma,
-F: huiti@`eme de soupir,
+F: huitième de soupir,
UK: demisemiquaver rest,
D: Zweiunddreissigstel@-pause,
NL: 32e rust,
DK: toogtredivtedelspause,
-S: trettiotv@aa{}ondelspaus,
+S: trettiotvåondelspaus,
FI: kolmanneskymmeneskahdesosatauko.
@aref{note value}.
-@aitemii{thorough bass,figured bass}
+@node thorough bass
+@section thorough bass
+
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffr@'ee,
+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
+@lilypond[fragment,line-width=13.0\cm]
\context GrandStaff <<
- \context Staff = lh \notes\relative c'' {
+ \context Staff = lh \relative c'' {
\time 4/4
\key es \major
\clef treble
< bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
>>
}
- \addlyrics
- \context Staff = rh \notes\relative c' {
+ <<
+ \context Staff = rh \relative c' {
\clef bass
\key es \major
es8 c d bes c as bes16 as g f | es4
- }
- \context Lyrics \lyrics {
- \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
- << { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >>
- }
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
>>
@end lilypond
-@aitemii{tie,bind}
-ES: ligadura de prolongaci@'on,
+@node tie
+@section tie
+
+ES: ligadura de prolongación,
I: legatura (di valore),
F: liaison,
D: Haltebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
-S: bindeb@aa{}ge, @"overbindning,
+S: bindebåge, överbindning,
FI: sitominen.
A curved line, identical in appearance with the @aref{slur}, which
connects two succesive notes of the same pitch, and which has the function of
-uniting them into a single sound equal to the combined durations.
+uniting them into a single sound (tone) equal to the combined durations.
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }
@end lilypond
-@aitem{time signature}
-ES: cifra indicadora de comp@'as,
+@node time
+@section time
+
+@aref{meter}.
+
+@node time signature
+@section time signature
+
+ES: cifra indicadora de compás,
I: segni di tempo,
F: chiffrage (chiffres indicateurs), signe de valeur,
D: Taktangabe, Angabe der Taktart,
@aref{meter}.
-@aitem{tone}
-ES: sonido,
+@node tone
+@section tone
+
+ES: tono,
I: suono,
F: ton,
D: Ton,
NL: toon,
DK: tone,
S: ton,
-FI: @"a@"ani.
+FI: ääni.
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
-Music from the 20th century may be based on non tone related sounds.
+Music from the 20th century may be based on atonal sounds.
-@aitem{tonic}
-ES: tonica,
+@node tonic
+@section tonic
+
+ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
The first @aref{scale degree}.
@aref{functional harmony}.
-@aitem{transposition}
-ES: transposici@'on,
+@node transposition
+@section transposition
+
+ES: transposición,
I: trasposizione,
F: transposition,
D: Transposition,
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
- \notes\relative c'' {
+ \relative c'' {
\key g \major
d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
}
}
@end lilypond
-@lilypond
+@lilypond[fragment,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
}
@end lilypond
-@aitem{treble clef}
+@node treble clef
+@section treble clef
+
ES: clave de sol,
I: chiave di violino,
-F: cl@'e de sol,
-D: Violinschl@"ussel, Sopranschl@"ussel,
+F: clé de sol,
+D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantn@o{}gle,
+DK:@w{ }diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
@aref{G clef}.
-@aitem{tremolo}
-ES: tremolo,
+@node tremolo
+@section tremolo
+
+ES: trémolo,
I: tremolo,
-F: tr@'emolo,
+F: trémolo,
D: Tremolo,
NL: tremolo,
DK: tremolo,
FI: tremolo.
On stringed instruments (@aref{strings}) the quick reiteration of
-the same tone, produced by a rapid up-and-down movement movement of the bow
+the same tone, produced by a rapid up-and-down movement of the bow
(a). The term is also used for the rapid alternation (b) between two notes of
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[notime]
+@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
\repeat "tremolo" 8 { e32_"b" g }
}
@end lilypond
-@aitem{triad}
-ES: tr@'{@dotless{i}}ada,
+@node triad
+@section triad
+
+ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
-D: Dreiklang,
+D: Drei@-klang,
NL: drieklank,
DK: treklang,
S: treklang,
@aref{chord}.
-@aitemii{trill,shake}
+@node trill
+@section trill
+
ES: trino,
I: trillo,
F: trille, tremblement, battement (cadence),
@aref{ornament}.
-@aitem{triple meter}
-ES: comp@'as compuesto,
+@node triple meter
+@section triple meter
+
+ES: compás compuesto,
I: tempo ternario,
F: mesure ternaire,
D: in drei,
@aref{meter}.
-@aitem{triplet}
+@node triplet
+@section triplet
+
ES: tresillo,
I: terzina,
F: triolet,
@aref{note value}.
-@aitem{tritone}
-ES: tr@'{@dotless{i}}tono,
+@node tritone
+@section tritone
+
+ES: trítono,
I: tritono,
F: triton,
D: Tritonus,
@aref{interval}.
-@aitem{tuning fork}
-ES: diapas@'on,
+@node tuning fork
+@section tuning fork
+
+ES: diapasón,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
-S: st@"amgaffel,
+S: stämgaffel,
FI: viritysavain.
A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per second.)
+give the international pitch for the tone @emph{a} (440 vibrations per
+second).
-@aitemii{turn,gruppetto}
-ES: grupo,
+@node turn
+@section turn
+
+ES: grupeto,
I: gruppetto,
F: grupetto,
D: Doppelschlag,
S: dubbelslag,
FI: korukuvio.
-???
+@aref{ornament}.
+
+@node unison
+@section unison
-@aitem{unison}
-ES: un@'{@dotless{i}}sono,
+ES: unísono,
I: unisono,
F: unisson,
D: unisono,
NL: unisono,
DK: unison,
S: unison,
-FI: unisono, yksi@"a@"anisesti.
+FI: unisono, yksiäänisesti.
Playing of the same notes or the same melody by various instruments (voices)
or by the whole orchestra (choir), either at exactly the same pitch or in a
different octave.
-@aitem{upbeat}
-ES: entrada anacr@'usica,
+@node upbeat
+@section upbeat
+
+ES: entrada anacrúsica,
I: anacrusi,
-F: anacrouse, lev@'ee,
+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
+@lilypond[fragment,line-width=13.0\cm]
\key f \major
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 4 f4 | bes4. a8 bes4 c |
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
-@aitem{voice}
+@node voice
+@section voice
+
ES: voz,
I: voce,
F: voix,
D: Stimme,
NL: stem,
DK: stemme,
-S: st@"amma,
-FI: @"a@"ani, laulu@"a@"ani.
+S: stämma,
+FI: ääni, lauluääni.
-1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
-@aref{contralto}, @aref{tenor},
-@aref{baritone}, @aref{bass}.
-2. A melodic layer or part of a polyphonic composition.
+1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
+@aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
+2.@tie{}A melodic layer or part of a polyphonic composition.
-@aitem{weak beat}
-ES: tiempo d@'ebil,
+@node weak beat
+@section weak beat
+
+ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
D: unbetonter Taktteil oder Taktschlag,
@aref{beat}, @aref{measure}, @aref{rhythm}.
-@aitem{whole note}
+@node whole note
+@section whole note
+
ES: redonda,
I: semibreve,
F: ronde,
@aref{note value}.
-@aitem{whole rest}
+@node whole rest
+@section whole rest
+
ES: silencio de redonda,
I: pausa di semibreve,
F: pause,
@aref{note value}.
-@aitem{whole tone}
+@node whole tone
+@section whole tone
+
ES: tono,
I: tono intero,
F: ton entier,
tones on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-@aitem{woodwind}
+@node woodwind
+@section woodwind
+
ES: maderas,
I: legni,
F: les bois,
-D: Holzbl@"aser,
+D: Holzbläser,
NL: houtblazers,
-DK tr@ae{}bl@ae{}sere,
-S: tr@"abl@aa{}sare,
+DK træblæsere,
+S: träblåsare,
FI: puupuhaltimet.
A family of blown wooden musical instruments. Today some of these instruments
are actually made from metal. The woodwind instruments commonly used in a
symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
-@end table
-
-@page
+@node Duration names notes and rests
+@chapter Duration names, notes and rests
-@table @strong
+@table @code
@item DURATION NAMES, NOTES AND RESTS
@end table
-@multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
+@multitable @columnfractions .15 .26 .33 .26
-@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+@item
+ @tab @strong{UK}
+ @tab @strong{I}
+ @tab @strong{F (note name / rest name)}
+@item
+ @tab @strong{D}
+ @tab @strong{NL}
+ @tab @strong{DK}
+@item
+ @tab @strong{S}
+ @tab @strong{FI}
+ @tab @strong{ES}
@item
-@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
-@tab longa @tab longa @tab longa
+@item @strong{longa}
+ @tab longa
+ @tab longa
+ @tab longa
+@item
+ @tab Longa
+ @tab longa
+ @tab longa
+@item
+ @tab longa
+ @tab longa
+ @tab longa
@item
-@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis
+@item @strong{breve}
+ @tab breve
+ @tab breve
+ @tab brève / double-pause
+@item
+ @tab Brevis
+ @tab brevis
+ @tab brevis
+@item
+ @tab brevis
+ @tab brevis
+ @tab cuadrada
@item
-@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
+@item @strong{whole}
+ @tab semi@-breve
+ @tab semi@-breve
+ @tab ronde / pause
+@item
+ @tab Ganze
+ @tab hele
+ @tab hel
+@item
+ @tab hel
+ @tab koko@-nuotti/@w{-tauko}
+ @tab redonda
@item
-@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab puoli- @tab
+@item @strong{half}
+ @tab minim
+ @tab minima
+ @tab blanche / demi-pause
+@item
+ @tab Halbe
+ @tab halve
+ @tab halv
+@item
+ @tab halv
+ @tab puoli@-nuotti/@w{-tauko}
+ @tab blanca
@item
-@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
+@item @strong{quarter}
+ @tab crotchet
+ @tab semiminima
+ @tab noire / soupir
+@item
+ @tab Viertel
+ @tab kwart
+ @tab fjerdedel
+@item
+ @tab fjärdedel
+ @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab negra
@item
-@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
+@item @strong{eighth}
+ @tab quaver
+ @tab croma
+ @tab croche / demi-soupir
+@item
+ @tab Achtel
+ @tab achtste
+ @tab ottendedel
+@item
+ @tab åttondel
+ @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab corchea
@item
-@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
-@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
-@tab kuudestoistaosa- @tab
+@item @strong{sixteenth}
+ @tab semiquaver
+ @tab semicroma
+ @tab double croche / quart de soupir
+@item
+ @tab Sechzehntel
+ @tab zestiende
+ @tab sekstendedel
+@item
+ @tab sextondel
+ @tab kuudestoistaosa@-nuotti/@w{-tauko}
+ @tab semicorchea
@item
-@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
-triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
-@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
+@item @strong{thirty-second}
+ @tab demisemiquaver
+ @tab biscroma
+ @tab triple croche / huitième de soupir
+@item
+ @tab Zweiunddreissigstel
+ @tab tweeendertigste
+ @tab toogtredivtedel
+@item
+ @tab trettiotvåondel
+ @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
+ @tab fusa
@item
-@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
-semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
-vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
-sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
+@item @strong{sixty-fourth}
+ @tab hemidemisemiquaver
+ @tab semibiscroma
+ @tab quadruple croche / seizième de soupir
+@item
+ @tab Vierundsechzigstel
+ @tab vierenzestigste
+ @tab fireogtred@-sindstyvendedel
+@item
+ @tab sextiofjärdedel
+ @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+ @tab semifusa
@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
-@page
+@node Pitch names
+@chapter Pitch names
-@table @strong
+@table @code
@item PITCH NAMES
@end table
-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
+@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 di@`ese @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 r@'e b@'emol @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 r@'e @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 b@'emol @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 di@`ese @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 b@'emol @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
-@
-
-@table @strong
-@item ---------------------
+@node Literature used
+@unnumbered Literature used
-@
+@itemize
+@item The Harvard Dictionary of Music, London 1944. Many more or less
+literal quotes from its articles have been included into the item
+explanation texts.
-@item Literature used
-The Harvard Dictionary of Music, London 1944. Many more or less literal
-quotes from its articles have been included into the item explanation texts.
+@item Hugo Riemanns Musiklexicon, Berlin 1929.
-Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
-Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
+1974.
-@end table
+@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@end itemize
@bye
projects / lilypond.git / blobdiff