S: altklav,
FI: alttoavain.
-C clef setting central C on the middle line of the staff
+C clef setting middle C on the middle line of the staff
@aref{C clef}.
@aitem{ambitus}
S: ambitus,
FI: ambitus, @"a@"aniala, soitinala.
-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.
+The term ambitus (plural: ambituses) 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.
@aitem{ancient minor scale}
I: scala minore naturale,
S: barytonklav,
FI: baritoniavain.
-C or F clef setting central C on the upper staff line.
+C or F clef setting middle C on the upper staff line.
@aref{C clef}, @aref{F clef}.
@aitem{bass clef}
S: basklav,
FI: bassoavain.
-A clef setting with central C on the first top ledger line.
+A clef setting with middle C on the first top ledger line.
@aref{F clef}.
@aitem{bass}
S: c-klav,
FI: C-avain.
-Clef symbol indicating the position of the central C. Used on all note
+Clef symbol indicating the position of the middle C. Used on all note
lines.
@lilypond[notime]
@aref{C clef}, @aref{F clef}, @aref{G clef}.
+@aitem{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[relative=1,verbatim]
+ \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
+@end lilypond
+
+
@aitem{comma}
I: comma,
F: comma,
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[staffsize=11,noquote]
+@lilypond[staffsize=11]
\override Score.TimeSignature #'style =\turnOff
\notes\context PianoStaff <<
\context Staff = SA \relative c' {
@aitem{Copying, Music}
A music copyist did fast freehand scores and parts on preprinted staff lines
-for performance. Some of their conventions (e.g., the placement of noteheads
+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.
@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 #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #-1
- \override Staff.Custos #'style = #'hufnagel
+ \override Staff.Custos #'style = #'hufnagel
c'1
\break < d' a' f''>1
}
\paper {
- \translator {
+ \context {
\StaffContext
\consists Custos_engraver
}
A pond with lilies floating in it, also the name of a music typesetter.
+@aitem{ligature}
+
+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.
+
+
+
@aitem{line}
ES: l@'{@dotless{i}}nea,
I: linea,
FI: staccato, lyhyesti, ter@"av@"asti.
Playing the note(s) short. Staccato is indicated by a dot above or below the
-notehead.
+note head.
@lilypond
\key d \major
projects / lilypond.git / blobdiff