\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename music-glosssary.info
@settitle Music Glossary
-
@documentencoding UTF-8
@documentlanguage en
+@include macros.itexi
+
@afourpaper
@c see lilypond.tely for info installation note
* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
-@ifhtml
-This document is also available in
-@uref{source/Documentation/user/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
-@end ifhtml
-
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
@c Updates to the German translation by Till Rettig, 12/07
-Copyright @copyright{} 1999--2007 by the authors
+Copyright @copyright{} 1999--2009 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
@c TODO: multiple omfcreators?
@ignore
-@omfcreator Christian Mondrup
+@omfcreator Christian Mondrup, Kurt Kroon
@omfdescription Glossary of musical terms with translations
-@omftype user's guide
+@omftype glossary
@omfcategory Applications|Publishing
@omflanguage English
@end ignore
@ifnottex
-This glossary was brought you by
-
-@table @code
-@item Adrian Mariano
-Italian glossary,
-@item Bjoern Jacke
-German glossary,
-@item Christian Mondrup
-Original author of LilyPond glossary, Danish glossary,
-@item David González
-Spanish glossary,
-@item François Pinard
-Original glossary of GNU music project, French glossary,
-@item Han-Wen Nienhuys
-Dutch glossary,
-@item Heikki Junes
-Finnish glossary translations,
-@item Jan Nieuwenhuizen
-Dutch glossary,
-@item Kurtis Kroon
-English glossary,
-@item Mats Bengtsson
-Swedish glossary,
-@item Neil Jerram
-English glossary translations.
-@end table
+@ifhtml
+@ifclear bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as
+@uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
+@end ifclear
+@ifset bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
+@uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
+@end ifset
+@end ifhtml
+
+This glossary was brought you by:
+
+@itemize
+
+@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
+@item @b{François Pinard}: Original glossary of GNU music project, French,
+
+@item @b{Han-Wen Nienhuys}: Dutch,
+@item @b{Jan Nieuwenhuizen}: Dutch,
+
+@item @b{Neil Jerram}: English,
+@item @b{Kurtis Kroon}: English,
+
+@item @b{Heikki Junes}: Finnish,
+
+@item @b{Bjoern Jacke}: German,
+
+@item @b{Adrian Mariano}: Italian,
+
+@item @b{David González}: Spanish,
+
+@item @b{Mats Bengtsson}: Swedish,
+
+@end itemize
+
+with additional contributions: thanks to all who have contributed.
+
+@ignore
+
+The list is rather long ...
+
+@itemize
+
+@item Danish:
+@itemize
+@item Rune Zedeler, @emph{pace}
+@item Eyolf Østrem
+@end itemize
+
+@item Dutch:
+@itemize
+@item Alard de Boer
+@end itemize
+
+@item English:
+@itemize
+@item Trevor Bača
+@item Trevor Daniels
+@item Andrew Hawryluk
+@item Ian Hulin
+@item Kieren MacMillan
+@item Patrick McCarty
+@item Ralph Palmer
+@item Carl D. Sorensen
+@item Anh Hai Trinh
+@end itemize
+
+@item Finnish:
+@itemize
+@item Risto Vääräniemi
+@end itemize
+
+@item German:
+@itemize
+@item Orm Finnendahl
+@item Reinhold Kainhofer
+@item Werner Lemberg
+@item Till Rettig
+@item Thomas Scharkowski
+@end itemize
+
+@item Italian
+@itemize
+@item Andrea Valle
+@end itemize
+
+@item Spanish
+@itemize
+@item Francisco Vila
+@end itemize
+
+@item Swedish
+@itemize
+@item Simon Dahlbacka
+@end itemize
+
+@end itemize
+@end ignore
+
@*
-Copyright 1999--2007 by the authors
+Copyright 1999--2009 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
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@include macros.itexi
+This is the Music Glossary (MG) for GNU LilyPond version @version{}.
+For more information about how this fits with the other
+documentation, see @rlearning{About the documentation}.
+
@c arrowref
@macro aref{word}
@end macro
@menu
-* Musical terms A-Z::
-* Duration names notes and rests::
-* Pitch names::
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
@end menu
+
@node Musical terms A-Z
@chapter Musical terms A-Z
Languages in this order.
@itemize
+@item UK - British English (where it differs from American English)
@item ES - Spanish
@item I - Italian
@item F - French
@item D - German
@item NL - Dutch
-@item UK - British English
@item DK - Danish
@item S - Swedish
@item FI - Finnish
@end itemize
+
@menu
-* A::
-* accent::
-* accessory::
-* accidental::
-* accelerando::
-* acciaccatura::
-* adagio::
-* allegro::
-* alteration::
-* alto::
-* alto clef::
-* ambitus::
-* anacrusis::
-* ancient minor scale::
-* andante::
-* appoggiatura::
-* arpeggio::
-* articulation::
-* 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::
-* direct::
-* 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 time signature::
-* double trill::
-* duple meter::
-* duplet::
-* duration::
-* dydimic comma::
-* dynamics::
-* E::
-* ecclesiastical mode::
-* eighth note::
-* eighth rest::
-* elision::
-* embellishment::
-* engraving::
-* enharmonic::
-* equal temperament::
-* expression mark::
-* extender line::
-* F::
-* F clef::
-* feathered beam::
-* fermata::
-* fifth::
-* figured bass::
-* fingering::
-* flag::
-* flat::
-* forefall::
-* forte::
-* fourth::
-* fugue::
-* functional harmony::
-* G::
-* G clef::
-* glissando::
-* grace notes::
-* grand staff::
-* grave::
-* gruppetto::
-* H::
-* half note::
-* half rest::
-* harmonic cadence::
-* harmony::
-* homophony::
-* interval::
-* inverted interval::
-* just intonation::
-* key::
-* key signature::
-* laissez vibrer::
-* largo::
-* leading note::
-* ledger line::
-* legato::
-* legato curve::
-* leger line::
-* lilypond::
-* ligature::
-* line::
-* long appoggiatura::
-* longa::
-* lyrics::
-* lyric tie::
-* major interval::
-* major::
-* meantone temperament::
-* measure::
-* mediant::
-* melisma::
-* melisma line::
-* melodic cadence::
-* mensural notation::
-* meter::
-* metronome::
-* metronomic indication::
-* mezzo-soprano::
-* middle C::
-* minor::
-* minor interval::
-* mode::
-* modulation::
-* mordent::
-* motif::
-* motive::
-* movement::
-* multi-measure rest::
-* mixolydian mode::
-* natural sign::
-* neighbour tones::
-* ninth::
-* non-legato::
-* note::
-* note head::
-* note value::
-* octave sign::
-* octave::
-* ornament::
-* ossia::
-* ottava::
-* part::
-* pause::
-* pennant::
-* percussion::
-* perfect interval::
-* phrase::
-* phrasing::
-* pickup::
-* piano::
-* pitch::
-* pizzicato::
-* polymeter::
-* polymetric::
-* polymetric time signature::
-* polyphony::
-* portato::
-* presto::
-* Pythagorean comma::
-* quadruplet::
-* quarter note::
-* quarter rest::
-* quintuplet::
-* rallentando::
-* relative key::
-* repeat::
-* rest::
-* rhythm::
-* ritardando::
-* ritenuto::
-* scale::
-* scale degree::
-* scordatura::
-* score::
-* second::
-* semitone::
-* seventh::
-* sextolet::
-* sextuplet::
-* shake::
-* sharp::
-* 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::
-* sul G::
-* 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::
-* tuplet::
-* turn::
-* unison::
-* upbeat::
-* voice::
-* weak beat::
-* whole note::
-* whole rest::
-* whole tone::
-* woodwind::
+* A::
+* a due::
+* accelerando::
+* accent::
+* accessory::
+* acciaccatura::
+* accidental::
+* adagio::
+* al niente::
+* alla breve::
+* allegro::
+* alteration::
+* alto::
+* alto clef::
+* ambitus::
+* anacrusis::
+* ancient minor scale::
+* andante::
+* appoggiatura::
+* arpeggio::
+* articulation::
+* ascending interval::
+* augmentation::
+* augmented interval::
+* autograph::
+* B::
+* backfall::
+* bar::
+* bar line::
+* baritone::
+* baritone clef::
+* bass::
+* bass clef::
+* beam::
+* beat::
+* beat repeat::
+* bind::
+* brace::
+* bracket::
+* brass::
+* breath mark::
+* breve::
+* C::
+* C clef::
+* cadence::
+* cadenza::
+* caesura::
+* canon::
+* cent::
+* central C::
+* chord::
+* chromatic scale::
+* chromaticism::
+* church mode::
+* clef::
+* cluster::
+* comma::
+* common meter::
+* common time::
+* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
+* conjunct movement::
+* consonance::
+* contralto::
+* copying music::
+* counterpoint::
+* countertenor::
+* crescendo::
+* cue-notes::
+* custos::
+* cut time::
+* D::
+* da capo::
+* dal niente::
+* dal segno::
+* decrescendo::
+* descending interval::
+* diatonic scale::
+* didymic comma::
+* diminished interval::
+* diminuendo::
+* diminution::
+* direct::
+* disjunct movement::
+* dissonance::
+* dissonant interval::
+* divisio::
+* doit::
+* dominant::
+* dominant ninth chord::
+* dominant seventh chord::
+* dorian mode::
+* dot (augmentation dot)::
+* dotted note::
+* double appoggiatura::
+* double bar line::
+* double dotted note::
+* double flat::
+* double sharp::
+* double time signature::
+* double trill::
+* duple meter::
+* duplet::
+* duration::
+* dynamics::
+* E::
+* ecclesiastical mode::
+* eighth note::
+* eighth rest::
+* elision::
+* embellishment::
+* engraving::
+* enharmonic::
+* equal temperament::
+* expression mark::
+* extender line::
+* F::
+* F clef::
+* fall::
+* feathered beam::
+* fermata::
+* fifth::
+* figured bass::
+* fingering::
+* flag::
+* flageolet::
+* flat::
+* forefall::
+* forte::
+* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
+* fugue::
+* functional harmony::
+* G::
+* G clef::
+* glissando::
+* grace notes::
+* grand staff::
+* grave::
+* gruppetto::
+* H::
+* hairpin::
+* half note::
+* half rest::
+* harmonic cadence::
+* harmonics::
+* harmony::
+* hemiola::
+* homophony::
+* hymn meter::
+* interval::
+* inversion::
+* inverted interval::
+* just intonation::
+* key::
+* key signature::
+* laissez vibrer::
+* largo::
+* leading note::
+* ledger line::
+* legato::
+* legato curve::
+* leger line::
+* ligature::
+* lilypond::
+* line::
+* loco::
+* long appoggiatura::
+* longa::
+* lyric tie::
+* lyrics::
+* major::
+* major interval::
+* maxima::
+* meantone temperament::
+* measure::
+* measure repeat::
+* mediant::
+* melisma::
+* melisma line::
+* melodic cadence::
+* mensural notation::
+* mensuration sign::
+* meter::
+* metronome::
+* metronome mark::
+* metronomic indication::
+* mezzo::
+* mezzo-soprano::
+* middle C::
+* minor::
+* minor interval::
+* mixolydian mode::
+* mode::
+* modulation::
+* mordent::
+* motif::
+* motive::
+* movement::
+* multi-measure rest::
+* natural::
+* neighbor tones::
+* ninth::
+* non-legato::
+* note::
+* note head::
+* note names::
+* note value::
+* octavation::
+* octave::
+* octave mark::
+* octave marking::
+* octave sign::
+* ornament::
+* ossia::
+* part::
+* pause::
+* pennant::
+* percent repeat::
+* percussion::
+* perfect interval::
+* phrase::
+* phrasing::
+* piano::
+* pickup::
+* pitch::
+* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
+* polyphony::
+* portato::
+* presto::
+* proportion::
+* Pythagorean comma::
+* quadruplet::
+* quality::
+* quarter note::
+* quarter rest::
+* quarter tone::
+* quintuplet::
+* rallentando::
+* relative key::
+* repeat::
+* rest::
+* rhythm::
+* ritardando::
+* ritenuto::
+* scale::
+* scale degree::
+* scordatura::
+* score::
+* second::
+* semibreve::
+* semitone::
+* seventh::
+* sextolet::
+* sextuplet::
+* shake::
+* sharp::
+* simile::
+* simple meter::
+* sixteenth note::
+* sixteenth rest::
+* sixth::
+* sixty-fourth note::
+* sixty-fourth rest::
+* slash repeat::
+* slur::
+* solmization::
+* sonata::
+* sonata form::
+* song texts::
+* soprano::
+* staccato::
+* staff::
+* staves::
+* stem::
+* stringendo::
+* strings::
+* strong beat::
+* subdominant::
+* submediant::
+* subtonic::
+* sul G::
+* 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::
+* transposing instrument::
+* transposition::
+* treble clef::
+* tremolo::
+* triad::
+* trill::
+* triple meter::
+* triplet::
+* tritone::
+* tuning fork::
+* tuplet::
+* turn::
+* unison::
+* upbeat::
+* voice::
+* volta::
+* weak beat::
+* whole note::
+* whole rest::
+* whole tone::
+* woodwind::
@end menu
@node A
@section A
-ES: la,
-I: la,
-F: la,
-D: A, a,
-NL: a,
-DK: a,
-S: a,
-FI: A, a.
+@itemize
+@item ES: la
+@item I: la
+@item F: la
+@item D: A, a
+@item NL: a
+@item DK: a
+@item S: a
+@item FI: A, a
+@end itemize
@seealso
+@ref{Pitch names}.
-@ref{Pitch names}
+
+@node a due
+@section a due
+
+ES: a dos,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kahdelle.
+
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
+due} indicates that:
+
+@enumerate
+
+@item A single part notated on a single staff that normally carries parts for
+two players (e.g. first and second oboes) is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
+
+@seealso
+No cross-references.
+
+
+@node accelerando
+@section accelerando
+
+ES: accelerando,
+I: accelerando,
+F: accelerando, en accélérant,
+D: accelerando, schneller werden,
+NL: accelerando,
+DK: accelerando,
+S: accelerando,
+FI: accelerando, kiihdyttäen.
+
+[Italian: @q{speed up, accelerate}]
+
+Increase tempo
+
+@seealso
+No cross-references.
@node accent
The stress of one tone over others.
+@seealso
+No cross-references.
+
@node accessory
@section accessory
@seealso
-
@ref{ornament}.
+@node acciaccatura
+@section acciaccatura
+
+ES: ?,
+I: acciaccatura,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A grace note which takes its time from the rest or note preceding the
+principal note to which it is attached. The acciaccatura is drawn as a
+small eighth note (quaver) with a line drawn through the flag and
+stem.
+
+@seealso
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+
@node accidental
@section accidental
S: tillfälligt förtecken,
FI: tilapäinen etumerkki.
-An accidental has the effect of an @ref{alteration} of a note. A
-sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
-@ref{whole tone}, a flat lowers it by a semitone and a double flat
-lowers it by a whole tone. A natural cancels the effect of a previous
-accidental.
-
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
- \context Staff \relative c'' {
- \set Staff.extraNatural = ##f
- gisis1 gis g! ges geses
- }
- \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "db. sharp" sharp natural flat "db. flat"
- }
->>
-@end lilypond
-
+An accidental alters a note by:
-@node accelerando
-@section accelerando
-
-ES: accelerando,
-I: accelerando,
-F: accelerando, en accélérant,
-D: accelerando, schneller werden,
-NL: accelerando,
-DK: accelerando,
-S: accelerando,
-FI: accelerando, kiihdyttäen.
+@itemize
-Increase tempo.
+@item Raising its pitch:
+@itemize
+@item By two semitones (a whole tone)—@notation{double sharp}
+@item By one semitone—@notation{sharp}
+@end itemize
+@item Lowering its pitch:
+@itemize
+@item By one semitone—@notation{flat}
+@item By two semitones (a whole tone)—@notation{double flat}
+@end itemize
-@node acciaccatura
-@section acciaccatura
+@item Or canceling the effects of the key signature or previous accidentals.
+@end itemize
-A grace note which takes its time from the rest or note preceding the
-principal note to which it is attached. The acciaccatura is drawn as a
-small eighth note (quaver) with a line drawn through the flag and
-stem.
+@lilypond[quote,notime]
+\score {
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ gisis1 gis g! ges geses
+ }
+ }
+ \addlyrics {
+ \markup {
+ \center-column { double sharp }
+ }
+ sharp
+ natural
+ flat
+ \markup {
+ \center-column { double flat }
+ }
+ }
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 32)
+ }
+ }
+}
+@end lilypond
@seealso
-
-@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+@ref{alteration}, @ref{semitone}, @ref{whole tone}.
@node adagio
S: adagio,
FI: adagio, hitaasti.
-It.@: comfortable, easy.
+[Italian: @q{comfortable, easy}]
+
+@itemize
+
+@item Slow tempo, slower -- especially in even meter -- than @notation{andante}
+and faster than @notation{largo}.
+
+@item A movement in slow tempo, especially the second (slow) movement
+of sonatas, symphonies, etc.
+
+@end itemize
+
+@seealso
+@ref{andante}, @ref{largo}, @ref{sonata}.
+
+
+@node al niente
+@section al niente
+
+ES: ?,
+I: al niente,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: häviten olemattomiin.
+
+[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
+that the sound should fade away to nothing.
+
+@notation{Al niente} is indicated by circling the tip of the hairpin:
+
+@lilypond[quote,relative=2]
+\override Hairpin #'circled-tip = ##t
+c1\<
+c2\> c\<
+c1\!
+@end lilypond
+
+or with the actual phrase @notation{al niente}:
+
+@lilypond[quote,relative=2]
+\dimTextDecresc
+\override DynamicTextSpanner #'(bound-details right text) =
+ \markup { \italic { al niente } }
+c1\> ~
+c1 ~
+c1\!
+@end lilypond
+
+Since one does not crescendo @emph{to} nothing, it is not correct to use
+@notation{al niente} with @notation{crescendo}. Instead, one should use
+@emph{dal niente} (@notation{@b{from} nothing}).
+
+@seealso
+@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
+
+
+@node alla breve
+@section alla breve
+
+ES: ?,
+I: ?,
+F: alla breve,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-1.@tie{}Slow tempo, slower -- especially in
-even meter -- than @ref{andante} and faster than @ref{largo}.
-2.@tie{}A movement in slow tempo, especially the second (slow)
-movement of @ref{sonata}s, symphonies, etc.
+Also called @notation{in cut-time}. The name derives from mensural notation,
+where the @notation{tactus} (or beat) is counted on the semibreve (the modern
+whole note). Counting @q{on the breve} shifts the tactus to the next longest
+note value, which (in modern usage) effectively halves all note values.
+
+(In mensural notation, breves and semibreves can have a ternary relationship, in
+which case @notation{alla breve} means thrice (not twice) as fast. In practice,
+this complication may not have mattered, since Gaffurius's system of multiplex
+proportions makes it easy to explicitly state which proportion is needed.)
+
+@seealso
+@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
+@ref{proportion}, @ref{whole note}.
@node 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 @ref{sonata}.
+[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
+quick tempo, especially the first and last movements of a sonata.
+
+@seealso
+@ref{sonata}.
@node alteration
NL: verhoging of verlaging,
DK: ?,
S: ?,
-FI: ?.
+FI: muunnettu.
An alteration is the modification, raising or lowering, of a note's
-pitch. It is established by an @ref{accidental}.
+pitch. It is established by an accidental.
+
+@c TODO: add second meaning from mensural notation
+
+@seealso
+@ref{accidental}.
@node alto
A female voice of low range (@emph{contralto}). Originally the alto
was a high male voice (hence the name), which by the use of falsetto
reached the height of the female voice. This type of voice is also
-known as @ref{counter tenor}.
+known as countertenor.
+
+@seealso
+@ref{countertenor}.
@node alto clef
C clef setting middle C on the middle line of the staff.
@seealso
-
@ref{C clef}.
S: ambitus,
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.
+[Latin: past participle of @emph{ambire}, @q{to go around}; 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.
+Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
+
+@seealso
+No cross-references.
@node anacrusis
of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
-@seealso
-
-@ref{measure}, @ref{meter}.
-
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1]
\key f \major
\time 4/4
-\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
+\partial 4 f4
+bes4. a8 bes4 c
+bes4( a) g f
+bes4. a8 bes4 c
+f,2. \bar "||"
@end lilypond
+@seealso
+@ref{measure}, @ref{meter}.
+
@node ancient minor scale
@section ancient minor scale
-ES: escala menor antigua,
+ES: escala menor natural,
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique,
D: reines Moll, natürliches Moll,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@seealso
-
-@ref{diatonic scale}.
+Also called @q{natural minor scale}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c'' {
-a1 b c d e f g a }
+@lilypond[quote,notime,relative=2]
+a1 b c d e f g a
@end lilypond
+@seealso
+@ref{diatonic scale}.
+
+
@node andante
@section andante
S: andante,
FI: andante, käyden.
+[Italian: present participle of @emph{andare}, @q{to walk}]
+
Walking tempo/character.
+@seealso
+No cross-references.
+
@node appoggiatura
@section appoggiatura
note regardless of the duration of the main note the duration of the
long appoggiatura is proportional to that of the main note.
-@lilypond[line-width=13.0\cm]
-\context Voice \relative c'' {
- \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
- }
- 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
-}
+@lilypond[quote,relative=2]
+\key d \major
+\time 4/4
+<d a fis>4_"notation" r
+\grace g16
+fis8 e16 fis
+\grace a16
+g8 fis16 g |
+a4 \bar "||"
+
+\set Score.measurePosition = #ZERO-MOMENT
+<d, a fis>4_"performance" r
+g16( fis) e fis
+a16 ( g) fis g |
+a4 \bar "||"
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond[line-width=13.0\cm]
-\relative c'' {
- \key as \major
- \time 2/4
-% \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 "||"
- \grace { bes16 } as8_"performance" as16 bes as8 g |
- << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
- \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
- \bar "||"
-}
+@lilypond[quote,relative=2]
+\key as \major
+\time 2/4
+\grace bes16 as8-"notation" as16 bes as8 g |
+\grace { as16[( bes] } <c as>4)
+\grace { as16[( bes] } <c as>4) \bar "||"
+
+\grace bes16 as8-"performance" as16 bes as8 g |
+<<
+ {
+ \voiceOne
+ as32 bes c8. as32 bes c8.
+ }
+ \new Voice {
+ \voiceTwo
+ as16 ~ as8. as16 ~ as8.
+ }
+>>
@end lilypond
+@seealso
+No cross-references.
+
@node arpeggio
@section arpeggio
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond[fragment,line-width=13.0\cm]
- \context PianoStaff <<
- \context Staff = SA \relative c'' {
- \time 4/4
- \clef treble
- r8 g16 c e g, c e r8 g,16 c e g, c e |
- r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
- \context Staff = SB \relative c' {
- \clef bass
- << \context Voice = va {
- \stemUp
- r16 e8. ( e4) r16 e8. ( e4) |
- r16 d8. ( d4) r16 d8. ( d4) }
- \context Voice = vb {
- \stemDown
- c2 c | c c } >>
+[Italian: @q{harp-like, played like a harp}]
+
+@lilypond[quote,line-width=13\cm]
+\new PianoStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ \time 4/4
+ r8 g16 c e g, c e r8 g,16 c e g, c e
+ r8 a,16 d f a, d f r8 a,16 d f a, d f
+ \bar "||"
+ }
+ }
+ \context Staff = "SB" {
+ \relative c' {
+ \clef bass
+ <<
+ {
+ \voiceOne
+ r16 e8. ( e4) r16 e8. ( e4)
+ r16 d8. ( d4) r16 d8. ( d4)
+ }
+ \new Voice {
+ \voiceTwo
+ c2 c
+ c2 c
+ }
+ >>
+ }
}
>>
@end lilypond
+@seealso
+No cross-references.
+
@node articulation
@section articulation
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
+@seealso
+No cross-references.
+
@node ascending interval
@section ascending interval
F: intervalle ascendant,
D: steigendes Intervall,
NL: stijgend interval,
-DK:@w{ }stigende interval,
+DK: stigende interval,
S: stigande intervall,
FI: nouseva intervalli.
A distance between a starting lower note and a higher ending note.
+@seealso
+No cross-references.
+
@node augmented interval
@section augmented interval
FI: ylinouseva intervalli.
@seealso
-
@ref{interval}.
+@node augmentation
+@section augmentation
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: aika-arvojen pidentäminen.
+
+@c TODO: add definition.
+
+This is a placeholder for augmentation (wrt mensural notation).
+
+@seealso
+@ref{diminution}, @ref{mensural notation}.
+
+
@node autograph
@section autograph
S: handskrift,
FI: käsinkirjoitettu nuotti.
-1.@tie{}A manuscript in the composer's own hand.
-2.@tie{}Music prepared for photoreproduction by freehand drawing, with
+@itemize
+
+@item A manuscript written in the composer's own hand.
+
+@item Music prepared for photoreproduction by freehand drawing, with
the aid of a straightedge ruler and T-square only, which attempts to
emulate engraving. This required more skill than did engraving.
+@end itemize
+
+@seealso
+No cross-references.
+
@node B
@section B
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
@seealso
-
-@ref{Pitch names}
+@ref{H}, @ref{Pitch names}
@node backfall
@section backfall
@seealso
-
@ref{appoggiatura}.
@section bar
@seealso
-
@ref{measure}.
S: taktstreck,
FI: tahtiviiva.
+A vertical line through the staff (or through multiple staves) that
+separates measures. Used very infrequently during the Renaissance (mostly
+in secular music, or in sacred music to indicate congruences between parts
+in otherwise-unmetered music).
+
+@seealso
+@ref{measure}.
+
@node baritone
@section baritone
S: baryton,
FI: baritoni, keskikorkuinen miesääni.
-The male voice intermediate between the @ref{bass} and the
-@ref{tenor}.
+The male voice intermediate in pitch between the bass and the tenor.
@c F: clef de troisième ligne dropped
+@seealso
+@ref{bass}, @ref{tenor}.
+
@node baritone clef
@section baritone clef
C or F clef setting middle C on the upper staff line.
@seealso
-
@ref{C clef}, @ref{F clef}.
+@node bass
+@section bass
+
+ES: bajo,
+I: basso,
+F: basse,
+D: Bass,
+NL: bas,
+DK: bas,
+S: bas,
+FI: basso, matala miesääni.
+
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize
+
+@seealso
+@ref{strings}.
+
+
@node bass clef
@section bass clef
A clef setting with middle C on the first top ledger line.
@seealso
-
@ref{F clef}.
-@node bass
-@section bass
-
-ES: bajo,
-I: basso,
-F: basse,
-D: Bass,
-NL: bas,
-DK: bas,
-S: bas,
-FI: basso, matala miesääni.
-
-1.@tie{}The lowest male voice.
-2.@tie{}Sometimes, especially in jazz music, used as an abbreviation
-for double bass.
-
-@seealso
-
-@ref{strings}.
-
-
@node beam
@section beam
Line connecting a series of notes (shorter than a quarter note). The
number of beams determines the note value of the connected notes.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\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 }
+@lilypond[quote,notime,relative=2,line-width=13\cm]
+g8-"1/8"[ g g g] s16
+g16-"1/16"[ g g g] s
+g32-"1/32"[ s g s g s g] s16
+g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
@end lilypond
@seealso
-
@ref{feathered beam}.
S: taktslag,
FI: aika-arvo.
-Note value used for counting, most often half-, fourth-, and eighth
-notes. The base counting value and the number of them per measure is
-indicated at the start of the music.
+Note value used for counting, most often half-, fourth-, and eighth notes.
+The base counting value and the number of them in each measure is indicated
+at the start of the music by the @notation{time signature}.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2]
\key g \major
\time 4/4
-\relative c'' { g4 c b a | g1 \bar "||"}
+g4 c b a | g1 \bar "||"
\time 3/8
-\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+g8 d' c | b c a | g4. \bar "||"
@end lilypond
+@seealso
+@ref{time signature}.
+
+
+@node beat repeat
+@section beat repeat
+
+@seealso
+@ref{percent repeat}.
+
@node bind
@section bind
@seealso
-
@ref{tie}.
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are
-used for connecting piano staves, angular brackets for connecting
-parts in an orchestral or choral score.
+Symbol at the start of a system connecting staves.
-@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 "|." } >>
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
+
+@lilypond[quote]
+\new GrandStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
@end lilypond
-@lilypond[fragment,ragged-right]
-\context StaffGroup <<
-% \set StaffGroup.minVerticalAlign = #12
- \relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+Angular brackets for connecting parts in an orchestral or choral score:
+
+@lilypond[quote]
+\new StaffGroup <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
@end lilypond
+@seealso
+No cross-references.
+
+
+@node bracket
+@section bracket
+
+ES: corchete,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: sulkumerkki.
+
+@seealso
+@ref{brace}
+
@node brass
@section brass
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.
+orchestra are trumpet, trombone, french horn, and tuba.
+
+@seealso
+No cross-references.
@node breath mark
Indication of where to breathe in vocal and wind instrument parts.
+@seealso
+@ref{caesura}.
+
+
@node breve
@section breve
-ES: cuadrada, breve,
-I: breve,
-F: brève,
-D: Brevis,
-NL: brevis,
-DK: brevis,
-S: brevis,
-FI: brevis.
-
-@ref{note value}, twice as long as a whole note. Mainly used in
-pre-1650 music. The shortest note value generally used in white
-mensural notation, hence the name, which originally meant "of short
-duration".
-
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g\breve }
+@itemize
+@item US: breve, double-whole note
+@item ES: cuadrada, breve
+@item I: breve
+@item F: brève
+@item D: Brevis
+@item NL: brevis
+@item DK: brevis
+@item S: brevis
+@item FI: brevis, kaksoiskokonuotti
+@end itemize
+
+Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
+
+Mainly used in music from before 1650. In mensural notation, it was a note
+of fairly short duration—hence the name, which is Latin for @q{short} or
+@q{of short duration}.
+
+@lilypond[quote,notime,relative=2]
+g\breve
@end lilypond
+@seealso
+@ref{mensural notation}, @ref{note value}, @ref{semibreve}.
+
@node C
@section C
-ES: do,
-I: do,
-F: ut,
-D: C, c,
-NL: c,
-DK: c,
-S: c,
-FI: C, c.
+@itemize
+@item ES: do
+@item I: do
+@item F: ut
+@item D: C, c
+@item NL: c
+@item DK: c
+@item S: c
+@item FI: C, c
+@end itemize
@seealso
-
-@ref{Pitch names}
+@ref{Pitch names}.
@node C clef
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\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
- }
->>
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\new Staff {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef soprano c1
+ \clef mezzosoprano c1
+ \clef alto c1
+ \clef tenor c1
+ \clef baritone c1
+}
+\addlyrics {
+ \override Lyrics . LyricText #'self-alignment-X = #LEFT
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+}
@end lilypond
+@seealso
+No cross-references.
+
@node cadence
@section cadence
FI: kadenssi, lopuke.
@seealso
-
@ref{harmonic cadence}, @ref{functional harmony}.
ability to improvise. Since the middle of the 19th century, however,
most cadenzas have been written down by the composer.
+@seealso
+No cross-references.
+
+
+@node caesura
+@section caesura
+
+ES: cesura,
+I: cesura,
+F: césura,
+D: Zäsur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: välimerkki.
+
+[Latin: from the supine of @emph{caedere} @q{to cut down}]
+
+The break between two musical phrases, sometimes (but not always) marked by a
+rest or a breath mark.
+
+@seealso
+@ref{breath mark}.
+
@node canon
@section canon
FI: kaanon, tarkka jäljittely.
@seealso
-
@ref{counterpoint}.
viritysjärjestelmässä.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
-(1/100 of an equally tempered @ref{semitone}).
+(1/100 of an equally tempered semitone).
@seealso
-
-@ref{equal temperament}.
+@ref{equal temperament}, @ref{semitone}.
@node central C
@section central C
@seealso
-
@ref{middle C}.
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European
-music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
-@emph{Major} (major + minor @ref{third}) as well as @emph{minor}
-(minor + major third) chords may be extended with more thirds.
-Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
-chords are most often used as dominants (@ref{functional harmony}). A
-special case is chords having no third above the lower notes to define
-their quality as major or minor. Such chords are denoted open chords
-
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
+Three or more tones sounding simultaneously. In traditional European music
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+(major + minor 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
+(functional harmony). Chords having no third above the lower notes to
+define their mood are a special case called @q{open chords}. The lack of
+the middle third means their quality is ambivalent -- neither major nor
+minor.
+
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c'' {
- \set Staff.extraNatural = ##f
- <g b d>1
- <g bes d>
- <g bes des>
- <g b dis>
- <g b d f>
- <g b d f a>
-}
-\lyrics{
- "major "
- "minor "
- "diminished "
- "augmented "
- "seventh-chord "
- ninth-chord
-}
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
+ }
+ }
+ \lyrics {
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
+ }
>>
@end lilypond
+@seealso
+@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
+@ref{third}.
+
@node chromatic scale
@section chromatic scale
S: kromatisk skala,
FI: kromaattinen asteikko.
-A scale consisting of all 12 @ref{semitone}s.
+A scale consisting of all 12 semitones.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c' { c1 cis d dis e f fis g gis a ais b c }
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+c1 cis d dis e f fis g gis a ais b c
@end lilypond
+@seealso
+@ref{semitone}.
+
@node chromaticism
@section chromaticism
S: kromatik,
FI: kromatiikka.
-Use of tones extraneous to a @ref{diatonic scale} (minor, major).
+Using tones extraneous to a diatonic scale (minor, major).
+
+@seealso
+@ref{diatonic scale}.
@node church mode
FI: moodi, kirkkosävellaji.
@seealso
-
@ref{diatonic scale}.
S: klav,
FI: avain, nuottiavain.
-@seealso
-
-@ref{C clef}, @ref{F clef}, @ref{G clef}.
-
The clef indicates which lines of the staff correspond to which
pitches. The three clef symbols in common use are:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\markup {
- \column {
- \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
- \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
- \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
+ \left-column {
+ \line { The Treble or G clef: }
+ \strut
+ \line { The Bass or F clef: }
+ \strut
+ \line { The Alto or C clef: }
+ }
+ \hspace #0.5
+ \left-column {
+ \musicglyph #"clefs.G"
+ \strut
+ \musicglyph #"clefs.F"
+ \strut
+ \musicglyph #"clefs.C"
}
}
@end lilypond
called a @q{grand staff}, with the bottom line representing low G and
the top line high F:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- s
- }
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between treble and bass staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
- s1 s s s s s % Keep staff (ie the red line) showing
- }
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1 b, d f a
- s s s s s s s % Keep staff showing
- }
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used without exceeding 1 line
- \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s
+ e'1 g' b' d'' f''
+ s1
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ s1 s s s s s
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ s1 s s s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
Staves of five lines are usually used, and the clef superimposed on
@samp{grand staff}. For example, the treble or G clef indicates that
the top five lines have been selected:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required here
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- \stopStaff \startStaff
- \clef "C" % Dummy to force next clef to be printed
- s % Need at least one note for \clef to take effect
- \override Staff.Clef #'stencil = ##t % Clef now required
- \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
- \clef "G"
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- } % End staff G
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between the staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
-% s1 s s s s % Keep staff (ie the red line) showing
- } % End staff C
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1_" " b, d f a
-% s s s s s s % Keep staff showing
- } % End staff F
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used
-% without exceeding 1 line
- \context { \Score \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to
-% permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ s1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \once \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s s
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "G"
+ e'1 g' b' d'' f''
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
-The @q{curl} of the G clef in centered on the line that represents the
+The @q{curl} of the G clef is centered on the line that represents the
pitch G.
In the same way, the bass or F clef indicates that the bottom five
relationship is shown below, where the notes show an arpeggio on a C
major chord.
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
-<<
-%-- Treble Staff --%
- \new Staff = "G" \with {
- \remove Time_signature_engraver
- }
- {
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \clef "G"
- s1 s s s s e' g' c''
- }
-%-- Alto Staff --%
- \new Staff = "C" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.StaffSymbol #'line-count = 1
- \override Staff.StaffSymbol #'stencil = ##f
- \once \override Staff.Clef #'stencil = ##f
- \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
- \override Score.BarLine #'stencil = ##f
-
- % The following two overrides are required to align the C staff to the G and F staves
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s
- \stopStaff \startStaff
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
- \revert Staff.StaffSymbol #'stencil
- \override Staff.StaffSymbol #'color = #red
- b'1 % A frig. This really shows as a middle C in the score
- s1 s s s
- \stopStaff \startStaff
- \override Staff.StaffSymbol #'line-count = 5
- \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \revert Staff.StaffSymbol #'color
- \stopStaff \startStaff
- \clef "C"
- s1 s s c e g c' e' g' c''
- }
-%-- Bass Staff --%
- \new Staff = "F" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.Clef #'Y-extent = #'(0 . 0)
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \clef "F"
- c1 e g s s s s s
- }
->>
-\layout {
- \context {
- \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
- }
- \context {
- \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ <<
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \clef "G"
+ s1 s s s
+ e'1 g' c'' s
+ }
+ %-- Alto Staff --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \once \override Staff.Clef #'stencil = ##f
+ \stopStaff
+ \clef "C"
+ s1 s s
+ \startStaff
+ \revert Staff.StaffSymbol #'stencil
+ \override Staff.StaffSymbol #'color = #red
+ c'1
+ s1 s s s s
+ \stopStaff \startStaff
+ \revert Staff.StaffSymbol #'line-count
+ \revert Staff.StaffSymbol #'color
+ \stopStaff \startStaff
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "C"
+ s1 s
+ c1 e g c' e' g' c''
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \clef "F"
+ c1 e g
+ s1 s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'base-shortest-duration =
+ #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- \context {
- \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
- }
-}
}
@end lilypond
+@seealso
+@ref{C clef}, @ref{F clef}, @ref{G clef}.
+
@node cluster
@section cluster
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,ragged-right]
-\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
+@lilypond[quote,relative=2]
+\makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
@end lilypond
+@seealso
+No cross-references.
+
@node comma
@section comma
same note derived from some other tuning method.
@seealso
-
+@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
@node common meter
@section common meter
+Another name for @ref{common time}.
+
@seealso
+@ref{common time}, @ref{meter}.
-@ref{meter}.
+
+@node common time
+@section common time
+
+ES: compasillo,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: C-merkintä.
+
+4/4 time. The symbol, which resembles a capital letter C, comes from
+mensural notation.
+
+@seealso
+@ref{mensural notation}, @ref{meter}.
+
+
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+@ref{inverted interval}.
@node compound interval
Intervals larger than an octave.
@seealso
-
@ref{interval}.
-@node complement
-@section complement
+@node compound meter
+@section compound meter
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+ES: compás compuesto, compás de subdivisión ternaria,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kolmijakoinen tahtilaji.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
@seealso
+@ref{meter}, @ref{simple meter}.
-@ref{inverted interval}.
+
+@node compound time
+@section compound time
+
+ES: compás compuesto, compás de amalgama (def. 2),
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: yhdistetty tahtilajiosoitus.
+
+@enumerate
+
+@item
+A meter that includes a triplet subdivision within the beat: see
+@ref{compound meter}.
+
+@item
+A time signature that additively combines two or more unequal meters, e.g.,
+"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
+
+@end enumerate
+
+@lilypond[quote,line-width=13.0\cm]
+#(define ((compound-time one two three num) grob)
+ (grob-interpret-markup grob
+ (markup
+ #:override '(baseline-skip . 0)
+ #:number
+ #:line (
+ #:left-column (one num)
+ #:vcenter "+"
+ #:left-column (two num)
+ #:vcenter "+"
+ #:left-column (three num)))))
+
+\relative c' {
+ \key f \major
+ #(set-time-signature 8 8 '(3 2 3))
+ \override Staff.TimeSignature #'stencil =
+ #(compound-time "3" "2" "3" "8")
+ #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
+ #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
+
+ c8 d e f4 d8 c bes
+ c4 g'8 e c f4.
+ \bar "||"
+}
+@end lilypond
+
+@seealso
+@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: en Do, afinación de concierto,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: konserttikorkeus.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@c Let's see how easy (or hard) it is to put bulleted lists in tables.
+
+@multitable {alto trombone} {tenor trombone} {bass trombone}
+@headitem Woodwinds @tab Brass @tab Strings
+
+@item
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@tab
+
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@tab
+
+@itemize
+@item violin
+@item viola
+@item violoncello
+@end itemize
+
+@end multitable
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+@ref{transposing instrument}.
@node conjunct movement
S: stegvis rörelse,
FI: asteittainen liike.
-Progressing melodically by intervals of a second. The opposite of a
-@ref{disjunct movement}.
+Progressing melodically by intervals of a second, as contrasted with
+@emph{disjunct movement}.
-@lilypond[fragment,line-width=13.0\cm]
-\key g \major \time 4/4
-\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\key g \major
+\time 4/4
+g4 g g a | b2 a | g4 b a a | g1 \bar "||"
@end lilypond
+@seealso
+@ref{disjunct movement}.
+
@node consonance
@section consonance
FI: konsonanssi, sopusointi.
@seealso
-
@ref{harmony}.
FI: kontra-altto.
@seealso
-
@ref{alto}.
+@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.
+
+@c Copying music required more skill than engraving. Flagged for NPOV
+
+@seealso
+No cross-references.
+
+
@node counterpoint
@section counterpoint
distinct melodic significance. A frequently used polyphonic technique
is imitation, in its strictest form found in the canon needing only
one part to be written down while the other parts are performed with a
-given displacement. Imitation is also the contrapunctal technique
+given displacement. Imitation is also the contrapuntal technique
used in the @emph{fugue} which, since the music of the baroque era,
has been one of the most popular polyphonic composition methods.
-@lilypond[fragment,staffsize=12,line-width=13.0\cm]
-\set Score.implicitTimeSignatureVisibility = #all-invisible
-\override Score.TimeSignature #'break-visibility = #all-invisible
-\context PianoStaff <<
+@lilypond[quote,staffsize=12,line-width=13.0\cm]
+\new PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
>>
@end lilypond
+@seealso
+No cross-references.
+
-@node counter tenor
-@section counter tenor
+@node countertenor
+@section countertenor
ES: contratenor,
I: controtenore,
FI: kontratenori.
@seealso
-
@ref{contralto}.
-@node copying music
-@section copying music
-
-A music copyist did fast freehand scores and parts on preprinted staff
-lines for performance. Some of their conventions (e.g., the placement
-of note heads on stems) varied slightly from those of engravers. Some
-of their working methods were superior and could well be adopted by
-music typesetters. Copying music required more skill than engraving.
-
-
@node crescendo
@section crescendo
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-or the abbreviation @samp{cresc.}.
+(hairpin) or the abbreviation @notation{cresc.}.
-@lilypond[fragment,ragged-right]
-\key g \major \time 4/4
-\relative c'' { g4 \< a b c | d1\! \bar "|." }
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+g4\< a b c | d1\! \bar "|."
@end lilypond
+@seealso
+@ref{decrescendo}, @ref{hairpin}.
+
@node cue-notes
@section cue-notes
In a separate part notes belonging to another part with the purpose of
hinting when to start playing. Usually printed in a smaller type.
+@seealso
+No cross-references.
+
@node custos
@section custos
-ES: ?,
+ES: custos,
I: ?,
F: guidon,
D: Notenzeiger, Custos,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: vihje.
-A custos (plural: custodes) is a staff symbol that appears at the end
-of a staff line with monophonic musical contents (i.e., with a single
-voice). It anticipates the pitch of the first note of the following
-line and thus helps the player or singer to manage line breaks during
-performance, thus enhancing readability of a score.
+A custos (plural: custodes) is a staff symbol that appears at the end of a
+staff line with monophonic musical contents (i.e., with a single voice). It
+anticipates the pitch of the first note of the following line and thus helps
+the player or singer to manage line breaks during performance, which
+enhances the readability of a score.
-Custodes were frequently used in music notation until the 16th
-century. There were different appearences for different notation
-styles. Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
-of the 20th century
+Custodes were frequently used in music notation until the 16th century.
+There were different appearences for different notation styles. Nowadays,
+they have survived only in special forms of musical notation such as the
+@emph{Editio Vaticana}, dating from the beginning of the 20th century
-@lilypond
+@lilypond[quote,ragged-right]
\score {
- {
-% \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #down
+ \new Staff {
+ \override Staff.Custos #'neutral-direction = #DOWN
\override Staff.Custos #'style = #'hufnagel
c'1 \break
<d' a' f''>1
}
-
\layout {
\context {
\Staff
- \consists Custos_engraver
+ \consists "Custos_engraver"
}
- ragged-right = ##t
}
}
@end lilypond
+@seealso
+No cross-references.
+
+
+@node cut time
+@section cut time
+
+@seealso
+@ref{alla breve}.
+
@node D
@section D
-ES: re,
-I: re,
-F: ré,
-D: D, d,
-NL: d,
-DK: d,
-S: d,
-FI: D, d.
+@itemize
+@item ES: re
+@item I: re
+@item F: ré
+@item D: D, d
+@item NL: d
+@item DK: d
+@item S: d
+@item FI: D, d
+@end itemize
@seealso
-
@ref{Pitch names}
S: da capo,
FI: da capo, alusta.
-The term indicates repetition of the piece from the beginning to the
-end or to a certain place marked @emph{fine}. Mostly abbreviated as
-@samp{D.C.}.
+Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
+the beginning to the end or to a certain place marked @emph{fine}.
+
+@seealso
+No cross-references.
+
+
+@node dal niente
+@section dal niente
+
+ES: ?,
+I: dal niente,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: tyhjästä ilmaantuen.
+
+[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
+that the sound should gradually increase from nothing.
+
+@seealso
+@ref{al niente}.
@node dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
-another place frequently near the beginning marked by a sign:
+Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+another place frequently near the beginning marked by a sign
+(@notation{segno}):
-@lilypond[fragment,ragged-right]
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
-\key g \major \time 4/4
-\relative c'' {
- d1 |
- g,4^\segno a b c |
- b a g2_\markup{
- \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
- \bar "|."
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d1
+g,4^\segno a b c
+b4 a g2-\markup {
+ \italic "D.S. "
+ \tiny \raise #1
+ \musicglyph #"scripts.segno"
}
+\bar "|."
@end lilypond
+@seealso
+No cross-references.
+
@node decrescendo
@section decrescendo
S: decrescendo,
FI: decresendo, hiljentyen.
-Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation @samp{decresc.}.
+Decreasing tone volume. Indicated by a leftwards opening horizontal
+wedge (hairpin) or the abbreviation @notation{decresc.}.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
-}
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d4\> c b a | g1 \! \bar "|."
@end lilypond
+@seealso
+@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
+
@node descending interval
@section descending interval
A distance between a starting higher note and a lower ending note.
+@seealso
+No cross-references.
+
@node diatonic scale
@section diatonic scale
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
-}@ref{semitone}s (S). Scales played on the white keys of a piano
-keybord are diatonic.
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+played on the white keys of a piano keybord are diatonic. These scales
+are sometimes called, somewhat inaccurately, @q{church modes}).
-The church modes are used in gregorian chant and in pre-baroque early
-music but also to some extent in newer jazz music.
+These @emph{modes} are used in Gregorian chant and in pre-baroque early music
+but also to some extent in newer jazz music.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=1]
<<
- \context Staff \relative c' {
+ {
c1 d
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Ionian
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \context Staff \relative c' {
+ {
d1
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
- \override TextScript #'padding = #-4
+ {
e1^"~~ S" f g a b^"~~ S" c d e
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
+ {
f1 g a
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
g1 a
- \override TextScript #'padding = #-4
- b^"~~ S" c d e^"~~ S" f g }
+ b^"~~ S" c d e^"~~ S" f g
+ }
\lyrics {
Mixolydian
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
>>
@end lilypond
+@lilypond[quote,notime,relative=2]
+<<
+ {
+ b1^"~~ S" c d e^"~~ S" f g a b
+ }
+ \lyrics {
+ Locrian
+ }
+>>
+@end lilypond
+
From the beginning of the 17th century the scales used in European
compositional music are primarily the major and the minor scales. In
the harmonic minor scale type an augmented second (A) occurs between
the 6th and 7th tone.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
+ {
c1 d
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
- "ancient minor"
+ "Ancient (or Natural) minor"
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Harmonic minor"
}
>>
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
+ a1
+ b^"~~ S" c d e fis gis^"~~ S" a
+ }
+ \lyrics {
+ "Melodic minor ascending"
+ }
+>>
+@end lilypond
+
+@lilypond[quote,notime,relative=3]
+<<
+ {
a1
- \override TextScript #'padding = #-4
- b^"~~ S" c d e fis gis^"~~ S"
- a g! f!^"~~ S" e d c^"~~ S" b a
+ g! f!^"~~ S" e d c^"~~ S" b a
}
\lyrics {
- "Melodic minor"
+ "Melodic minor descending"
}
>>
@end lilypond
+@seealso
+@ref{semitone}, @ref{whole tone}.
+
+
+@node didymic comma
+@section didymic comma
+
+@seealso
+@ref{syntonic comma}.
+
@node diminished interval
@section diminished interval
FI: vähennetty intervalli.
@seealso
-
@ref{interval}.
FI: diminuendo, hiljentyen.
@seealso
-
@ref{decrescendo}.
+@node diminution
+@section diminution
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: aika-arvojen tihennys.
+
+This is a stub for diminution (@emph{wrt} mensural notation).
+
+@seealso
+@ref{augmentation}, @ref{mensural notation}.
+
+
@node direct
@section direct
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: suora.
@seealso
-
@ref{custos}.
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second, as
-opposed to @ref{conjunct movement}.
+Progressing melodically by intervals larger than a major second, as contrasted
+with conjunct movement.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=1]
\key a \major
-\time 4/4
-\relative c' {
+\time 4/4 {
\partial 8 e8 |
a4. gis8 b a e cis |
- fis2 d4. \bar "||" }
+ fis2 d4.
+ \bar "||" }
@end lilypond
+@seealso
+@ref{conjunct movement}.
+
@node dissonance
@section dissonance
-@ref{dissonant interval}.
+Another name for @ref{dissonant interval}.
+
+@seealso
+@ref{dissonant interval}, @ref{harmony}.
@node dissonant interval
FI: dissonanssi, dissonoiva intervalli, riitasointi.
@seealso
-
@ref{harmony}.
-@node dominant ninth chord
-@section dominant ninth chord
+@node divisio
+@section divisio
-ES: acorde de novena de dominante,
-I: accordo di nona di dominante,
-F: accord de neuvième dominante,
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: jäsennysmerkki.
+
+[Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
+vertical stroke through part or all of the staff that serves to
+structure a chant into phrases and sections. There are four types:
+
+@itemize
+
+@item @emph{divisio minima}, a short pause
+
+@item @emph{divisio maior}, a medium pause
+
+@item @emph{divisio maxima}, a long pause
+
+@item @emph{finalis}, to indicate the end of a chant, or the end of a
+section in a long antiphonal or responsorial chant.
+
+@end itemize
+
+TODO: musical example here?
+
+@seealso
+No cross-references.
+
+
+@node doit
+@section doit
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: nousu.
+
+Indicator for a indeterminately rising pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+@ref{fall}, @ref{glissando}.
+
+
+@node dominant
+@section dominant
+
+ES: dominante,
+I: dominante,
+F: dominante,
+D: Dominante,
+NL: dominant,
+DK: dominant,
+S: dominant,
+FI: dominantti, huippusointu.
+
+The fifth @emph{scale degree} in @emph{functional harmony}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
+
+@node dominant ninth chord
+@section dominant ninth chord
+
+ES: acorde de novena de dominante,
+I: accordo di nona di dominante,
+F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
FI: dominanttinoonisointu.
@seealso
-
@ref{chord}, @ref{functional harmony}.
FI: dominanttiseptimisointu.
@seealso
-
@ref{chord}, @ref{functional harmony}.
-@node dominant
-@section dominant
-
-ES: dominante,
-I: dominante,
-F: dominante,
-D: Dominante,
-NL: dominant,
-DK: dominant,
-S: dominant,
-FI: dominantti, huippusointu.
-
-The fifth @ref{scale degree} in @ref{functional harmony}.
-
-
@node dorian mode
@section dorian mode
FI: doorinen moodi.
@seealso
-
@ref{diatonic scale}.
FI: piste.
@seealso
-
@ref{dotted note}, @ref{note value}.
FI: pisteellinen nuotti.
@seealso
-
@ref{note value}.
FI: kaksoisappogiatura, kaksoisetuhele.
@seealso
-
@ref{appoggiatura}.
Indicates the end of a section within a movement.
+@seealso
+No cross-references.
+
@node double dotted note
@section double dotted note
FI: kaksoispisteellinen nuotti.
@seealso
-
@ref{note value}.
FI: kaksoisalennusmerkki.
@seealso
-
@ref{accidental}.
FI: kaksoisylennysmerkki.
@seealso
-
@ref{accidental}.
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kaksois-aika-arvomerkintä.
@seealso
-
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
+@seealso
+No cross-references.
+
@node duple meter
@section duple meter
FI: kaksoistempo.
@seealso
-
@ref{meter}.
FI: duoli.
@seealso
-
@ref{note value}.
FI: kesto, aika-arvo.
@seealso
-
@ref{note value}.
-@node dydimic comma
-@section dydimic comma
-
-@seealso
-
-@ref{syntonic comma}.
-
-
@node dynamics
@section dynamics
-ES: ?,
+ES: dinámica, matices,
I: ?,
F: nuances,
D: Dynamik, Lautstärke,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: äänen voimakkuusvaihtelu, dynamiikka.
The aspect of music relating to degrees of loudness, or changes from
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
@seealso
-
-@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
+@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
+@ref{diminuendo}.
@node E
@section E
-ES: mi,
-I: mi,
-F: mi,
-D: E, e,
-NL: e,
-DK: e,
-S: e,
-FI: E, e.
+@itemize
+@item ES: mi
+@item I: mi
+@item F: mi
+@item D: E, e
+@item NL: e
+@item DK: e
+@item S: e
+@item FI: E, e
+@end itemize
@seealso
-
@ref{Pitch names}
@section ecclesiastical mode
@seealso
-
-@ref{church mode}.
+@ref{church mode}, @ref{diatonic scale}.
@node eighth note
@section eighth note
-ES: corchea,
-I: croma,
-F: croche,
-UK: quaver,
-D: Achtel, Achtelnote,
-NL: achtste noot,
-DK: ottendedelsnode,
-S: åttondelsnot,
-FI: kahdeksasosanuotti.
+@itemize
+@item UK: quaver
+@item ES: corchea
+@item I: croma
+@item F: croche
+@item D: Achtel, Achtelnote
+@item NL: achtste noot
+@item DK: ottendedelsnode
+@item S: åttondelsnot
+@item FI: kahdeksasosanuotti
+@end itemize
@seealso
-
@ref{note value}.
@node eighth rest
@section eighth rest
-ES: silencio de corchea,
-I: pausa di croma,
-F: demi-soupir,
-UK: quaver rest,
-D: Achtelpause,
-NL: achtste rust,
-DK: ottendedelspause,
-S: åttonddelspaus,
-FI: kahdeksasosatauko.
+@itemize
+@item UK: quaver rest
+@item ES: silencio de corchea
+@item I: pausa di croma
+@item F: demi-soupir
+@item D: Achtelpause
+@item NL: achtste rust
+@item DK: ottendedelspause
+@item S: åttonddelspaus
+@item FI: kahdeksasosatauko
+@end itemize
@seealso
-
@ref{note value}.
@c TODO: add languages
-ES: ?,
+ES: sinalefa,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: tavujen yhdistäminen yhteen ääneen.
+
+More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
+@emph{συναλοιφην} @q{to smear together}].
+
+The singing of several syllables on a single note. Elision may be indicated
+by a lyric tie, which looks like (and serves the same function) as a musical
+tie.
-@c TODO definition -- referenced from lyric tie
+@seealso
+@ref{lyric tie}.
@node embellishment
@section embellishment
@seealso
-
@ref{ornament}.
@node engraving
@section engraving
-ES: grabar,
+ES: grabado,
I: incisione,
F: gravure,
D: Notenstich, 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.
+@seealso
+No cross-references.
+
@node enharmonic
@section enharmonic
Two notes, intervals, or scales are enharmonic if they have different
names but equal pitch.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c'' {
- gis1 as <des g,!> <cis g!>
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "g sharp " "a flat " "dim fifth " "augm fourth"
-}
+ \new Staff {
+ \relative c'' {
+ gis1 as <des g,!> <cis g!>
+ }
+ }
+ \lyrics {
+ "g sharp " "a flat " "dim fifth " "augm fourth"
+ }
>>
@end lilypond
+@seealso
+No cross-references.
+
@node equal temperament
@section equal temperament
S: liksvävande temperatur,
FI: tasavireinen.
-Tuning system dividing the octave into 12 equal @ref{semitone}s
-(precisely 100 @ref{cent}s).
+A tuning system that divides the octave into 12 equal semitones (each of
+which is precisely equal to 100 cents).
@seealso
-
-@ref{temperament}.
+@ref{cent}, @ref{semitone}, @ref{temperament}.
@node expression mark
S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
-Performance indications concerning 1. volume, dynamics (for example
-@ref{forte}, @ref{crescendo}), 2. tempo (for example @ref{andante},
-@ref{allegro}).
+Performance indications concerning:
+
+@itemize
+
+@item volume, dynamics (for example, @notation{forte},
+@notation{crescendo}),
+
+@item tempo (for example, @notation{andante}, @notation{allegro}).
+
+@end itemize
+
+@seealso
+@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
@node extender line
@section extender line
-ES: línea de extención [de melisma, de bajo cifrado, etc.],
+ES: línea de extensión [de melisma, de bajo cifrado, etc.],
I: ?,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
D: Fülllinie,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: pidennysviiva.
-The generic term for a line (or dash) of arbitrary length that extends
-text (without indicating the musical @emph{function} of that text).
+The generic term (in LilyPond) for a line (or dash) of arbitrary length that
+extends text (without indicating the musical @emph{function} of that text).
Used in many contexts, for example:
@itemize
-@item
-In vocal music to indicate the syllable for a melisma. Called
+
+@item In vocal music to indicate the syllable for a melisma. Called
@q{extension} in the
-@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
+Dictionary}.
@item
-In figured (or thorough) bass to indicate that:
-
- @itemize
+In figured bass to indicate that:
- @item The extended note should be held through a change in
- harmony, when applied to one figure --OR--
+@itemize
- @item The chord thus represented should be held above a moving
- bass line, when applied to more than one figure.
+@item The extended note should be held through a change in harmony, when applied
+to one figure --OR--
+@item The chord thus represented should be held above a moving bass line, when
+applied to more than one figure.
+@item These uses were not completely standardized, and some composers used a
+single extender line to indicate the latter case.
- @item These uses were not completely standardized, and some
- composers used a single extender line to indicate the
- latter case.
+@end itemize
- @end itemize
+@item
+In string music to indicate that all notes in the passage thus indicated should
+be played on the same string. On the violin, for example, a series of notes to
+be played on the G string would be indicated @notation{sul G}, another series to be
+played on the D string would be indicated @notation{sul D}, and so on.
@item
-In string music to indicate that all notes in the passage thus
-indicated should be played on the same string. On the violin, for
-example, a series of notes to be played on the G string would be
-indicated @samp{sul G}, another series to be played on the D string
-would be indicated @samp{sul D}, and so on.
+With an octave mark to indicate that a passage is to be played higher or lower
+by the given number of octaves.
@end itemize
@seealso
-
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
+@ref{octave marking}.
@node F
@section F
-ES: fa,
-I: fa,
-F: fa,
-D: F, f,
-NL: f,
-DK: f,
-S: f,
-FI: F, f.
+@itemize
+@item ES: fa
+@item I: fa
+@item F: fa
+@item D: F, f
+@item NL: f
+@item DK: f
+@item S: f
+@item FI: F, f
+@end itemize
@seealso
-
@ref{Pitch names}
below central@w{ }C. Used on the third, fourth and fifth note line.
A digit@w{ }8 above the clef symbol indicates that the notes must be
played an octave higher (for example, bass recorder) while 8@w{ }below
-the clef symbol indicates playing an octave lower (for example, on
-double bass @ref{strings}).
+the clef symbol indicates playing an octave lower (for example, on the
+Double Bass).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\relative c {
- \clef varbaritone
- f1
- \clef bass
- f1
- \clef subbass
- f1
- \clef "F^8"
- f1
- \clef "F_8"
- f1
-}
- \lyrics {
- "varbaritone "
- "bass "
- "sub-bass "
- "octave up "
- "octave down"
-}
+ \relative c {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef varbaritone
+ f1
+ \clef bass
+ f1
+ \clef subbass
+ f1
+ \clef "F^8"
+ f1
+ \clef "F_8"
+ f1
+ }
+ \lyrics {
+ "varbaritone "
+ "bass "
+ "sub-bass "
+ "octave up "
+ "octave down"
+ }
>>
@end lilypond
@seealso
+@ref{baritone clef}, @ref{strings}.
-@ref{baritone clef}
-@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+@node fall
+@section fall
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: lasku.
+
+Indicator for a indeterminately falling pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+@ref{doit}, @ref{glissando}.
@node feathered beam
@section feathered beam
-ES: ?,
+ES: barra punteada,
I: ?,
F: liens de croches en soufflet,
D: gespreizter Balken,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kiilapalkki.
A type of beam used to indicate that a small group of notes should be
played at an increasing or decreasing tempo -- depending on the
of the piece.
@seealso
-
Internals Reference: @ruser{Manual beams}
@node fermata
@section fermata
+@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
ES: calderón,
I: corona,
F: point d'orgue, point d'arrêt,
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=2]
\time 4/4
-\relative c'' {
- a4 b c2^\fermata \bar "|."
-}
+a4 b c2^\fermata
+\bar "|."
@end lilypond
+@seealso
+No cross-references.
+
@node fifth
@section fifth
FI: kvintti.
@seealso
-
@ref{interval}.
@node figured bass
@section figured bass
-@seealso
+ES: bajo cifrado,
+I: basso continuo, basso numerato,
+F: basse chiffrée, basse continue,
+D: Generalbass, bezifferter Bass,
+NL: basso continuo, becijferde bas
+DK: generalbas,
+S: generalbas,
+FI: kenraalibasso, numeroitu basso.
+
+Also called @q{thorough bass}.
+
+A method of indicating an accompaniment part by the bass notes only,
+together with figures designating the chief intervals and chords to be
+played above the bass notes.
+
+@lilypond[quote,line-width=13.0\cm]
+\new GrandStaff <<
+ \new Staff = "rh" \with {
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ } \relative c'' {
+ \clef treble
+ \key es \major
+ \time 4/4
+ <<
+ \context Voice = "rha" {
+ \voiceOne
+ es4 d c bes
+ bes4
+ }
+ \context Voice = "rhb" {
+ \voiceTwo
+ <bes g>8 as <as f> g <g es> f <d f> es
+ <g es>4
+ }
+ >>
+ }
+ \new Staff = "lh" \relative c' {
+ \clef bass
+ \key es \major
+ es8 c d bes c as bes16 as g f
+ es4
+ }
+ \figures {
+ s8 <6> s <4 2> s <6> s16 s <6> <4 2>
+ }
+>>
+@end lilypond
-@ref{thorough bass}.
+@seealso
+@ref{chord}, @ref{interval}.
@node fingering
S: fingersättning,
FI: sormitus.
-The methodical use of fingers in the playing of instruments.
+Figures to the side or above the note that methodically indicate which
+fingers to use while playing a passage.
+
+@seealso
+No cross-references.
@node flag
S: flagga,
FI: lippu, viiri.
-Ornament at the end of the stem of a note used for notes with values
-less than a quarter note. The number of flags determines the
-@ref{note value}.
+Ornament at the end of the stem of a note used for notes with values less
+than a quarter note. The number of flags determines the note value.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c'' {
- g8_"1/8" s8
- g16_"1/16" s8
- g32_"1/32" s8
- g64_"1/64" s8
-}
+@lilypond[quote,notime,relative=2]
+g8-"8th" s8
+g16-"16th" s8
+g32-"32nd" s8
+g64-"64th" s8
@end lilypond
+@seealso
+@ref{note value}.
+
+
+@node flageolet
+@section flageolet
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: flageolet-ääni.
+
+An articulation for string players that means the note or passage is to
+be played in harmonics.
+
+Also:
+
+@itemize
+
+@item A duct flute similar to the recorder.
+
+@item An organ stop of flute scale at 1' or 2' pitch.
+
+@end itemize
+
+@seealso
+@ref{articulation}, @ref{harmonics}.
+
@node flat
@section flat
FI: alennusmerkki.
@seealso
-
@ref{accidental}.
@section forefall
@seealso
-
@ref{appoggiatura}.
S: forte,
FI: forte, voimakkaasti.
-Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
-@emph{mezzo forte} (@samp{@b{mf}}) medium loud.
+[Italian: @q{loud}]
+
+Abbreviated @notation{@b{f}}. Variants include:
+
+@itemize
+@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
+@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
+@end itemize
+
+@seealso
+No cross-references.
@node fourth
FI: kvartti.
@seealso
-
@ref{interval}.
-@node fugue
-@section fugue
-
-ES: fuga,
-I: fuga,
-F: fugue,
-D: Fuge,
-NL: fuga,
-DK: fuga,
-S: fuga,
-FI: fuuga.
-
-@seealso
-
-@ref{counterpoint}.
+@node Frenched score
+@section Frenched score
+
+ES: partitura a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: partituuri francesan tapaan.
+
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
+
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+
+@seealso
+@ref{Frenched staff}.
+
+
+@node Frenched staff
+@section Frenched staff
+
+ES: pentagrama a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: karsittu nuotinnus.
+
+[Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
+Frenched staff has unneeded measures or sections removed. This is useful
+for producing, for example, an @emph{ossia} staff.
+
+@seealso
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+Plural of @ref{Frenched staff}.
+
+
+@node fugue
+@section fugue
+
+ES: fuga,
+I: fuga,
+F: fugue,
+D: Fuge,
+NL: fuga,
+DK: fuga,
+S: fuga,
+FI: fuuga.
+
+@seealso
+@ref{counterpoint}.
@node functional harmony
S: funktionslära,
FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a
-given key, there are only three functionally different chords: tonic
-(T, the chord on the first note of the scale), subdominant (S, the
-chord on the fourth note), and dominant (D, the chord on the fifth
-note). Others are considered to be variants of the base chords.
+A system of harmonic analysis.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+It is based on the idea that, in a given key, there are only three
+functionally different chords: tonic (T, the chord on the first note of the
+scale), subdominant (S, the chord on the fourth note), and dominant (D, the
+chord on the fifth note). Others are considered to be variants of the base
+chords.
+
+TODO: what does the @q{p} mean in Sp, Dp, Tp?
+
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<<
-\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 \markup{ D\translate #(cons -2 0) {"|"} } }
+ {
+ <g e c>1 <a f d> <b g e>
+ <c a f> <d b g> <e c a> <f d b>
+ }
+ \lyrics {
+ T Sp Dp S D Tp
+ \markup { D \translate #'(-2 . 0) | }
+ }
>>
@end lilypond
+@seealso
+No cross-references.
+
@node G
@section G
-ES: sol,
-I: sol,
-F: sol,
-D: G, g,
-NL: g,
-DK: g,
-S: g,
-FI: G, g.
+@itemize
+@item ES: sol
+@item I: sol
+@item F: sol
+@item D: G, g
+@item NL: g
+@item DK: g
+@item S: g
+@item FI: G, g
+@end itemize
@seealso
-
@ref{Pitch names}
S: g-klav,
FI: G-avain.
-A clef symbol indicating the G above middle@w{ }C. Used on the first
-and second note lines. A digit 8 above the clef symbol indicates that
-the notes must be played an octave higher while 8 below the clef
-symbol indicates playing or singing an octave lower (most tenor parts
-in choral scores are notated like that).
+A clef symbol that indicates G above middle@w{ }C. Used on the first and
+second note lines. A digit 8 above the clef symbol indicates that the notes
+must be played an octave higher while 8 below the clef symbol indicates
+playing or singing an octave lower (used most frequently to notate the tenor
+part in modern choral scores).
-@lilypond[fragment,notime,ragged-right]
-<<
- \set Score.automaticBars = ##f
+@lilypond[quote,notime]
+\relative c'' {
\override Staff.Clef #'full-size-change = ##t
-
- \relative c'' {
\set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
\clef french
g1
\clef treble
- g
+ g1
\clef "G^8"
- g
+ g1
\clef "G_8"
- g
- }
- \context Lyrics \lyrics {
- \override Lyrics . LyricText #'X-offset = #-5
+ g1
+}
+\addlyrics {
"french violin clef"
"violin clef"
"octave up"
"octave down"
}
->>
@end lilypond
+@seealso
+No cross-references.
+
@node glissando
@section glissando
Letting the pitch slide fluently from one note to the other.
+@seealso
+No cross-references.
+
@node grace notes
@section grace notes
counted in the rhythm of the bar.
@seealso
-
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
@node grand staff
A combination of two staves with a brace. Usually used for piano music.
@seealso
-
@ref{brace}.
S: grave,
FI: grave, raskaasti.
-Slow, solemn.
+[Italian] Slow, solemn.
+
+@seealso
+No cross-references.
@node gruppetto
@section gruppetto
@seealso
-
@ref{turn}.
@node H
@section H
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
-Letter name used for @samp{B natural} in German and Scandinavian
-usage. In the standard usage of these countries, @samp{B} means
-@samp{B flat}.
+Letter name used for @notation{B natural} in German and Scandinavian
+usage. In the standard usage of these countries, @notation{B} means
+@notation{B flat}.
@seealso
+@ref{Pitch names}, @ref{B}.
+
+
+@node hairpin
+@section hairpin
+
+Graphical version of the @notation{crescendo} and @notation{decrescendo}
+dynamic marks.
+
+@lilypond[quote,relative=2]
+c1\<
+c2\> c\<
+c1\!
+@end lilypond
-@ref{Pitch names}, @ref{B}
+@seealso
+@ref{crescendo}, @ref{decrescendo}.
@node half note
@section half note
-ES: blanca,
-I: minima,
-F: blanche,
-UK: minim,
-D: Halbe, halbe Note,
-NL: halve noot,
-DK: halvnode,
-S: halvnot,
-FI: puolinuotti.
+@itemize
+@item UK: minim,
+@item ES: blanca,
+@item I: minima,
+@item F: blanche,
+@item D: Halbe, halbe Note,
+@item NL: halve noot,
+@item DK: halvnode,
+@item S: halvnot,
+@item FI: puolinuotti.
+@end itemize
@seealso
-
@ref{note value}.
@node half rest
@section half rest
-ES: silencio de blanca,
-I: pausa di minima,
-F: demi-pause,
-UK: minim rest,
-D: halbe Pause,
-NL: halve, rust,
-DK: halvnodespause,
-S: halvpaus,
-FI: puolitauko.
+@itemize
+@item UK: minim rest,
+@item ES: silencio de blanca,
+@item I: pausa di minima,
+@item F: demi-pause,
+@item D: halbe Pause,
+@item NL: halve, rust,
+@item DK: halvnodespause,
+@item S: halvpaus,
+@item FI: puolitauko.
+@end itemize
@seealso
-
@ref{note value}.
A sequence of chords that terminates a musical phrase or section.
-@ref{functional harmony}.
-
-@lilypond[fragment,ragged-right]
-\context PianoStaff <<
- \context Staff = SA \relative c'' {
- \time 4/4
+@lilypond[quote]
+\new PianoStaff <<
+ \context Staff = "SA" \relative c'' {
\clef treble
- \context Voice
- \partial 4 < c g e >4 |
- < c a f > < b g d > < c g e >2
+ \time 4/4
+ \partial 4 <c g e>4 |
+ <c a f> <b g d> <c g e>2
}
<<
- \context Staff = SB \relative c {
+ \context Staff = "SB" \relative c {
\clef bass
\partial 4 c4 | f, g c2
\bar "|."
}
>>
>>
-
@end lilypond
+@seealso
+@ref{functional harmony}.
+
+
+@node harmonics
+@section harmonics
+
+ES: sonidos del flautín,
+I: suoni flautati,
+F: flageolet, sons harmoniques,
+D: Flageolett-Töne,
+NL: ?,
+DK: ?,
+S: ?,
+FI: harmoniset äänet, huiluäänet.
+
+The general class of pitches produced by sounding the second or higher
+harmonic of a tone producer: string, column of air, and so on.
+
+On stringed instruments, these pitches sound rather flute-like; hence,
+their name in languages other than English. They are produced by
+lightly touching the string at a node for the desired mode of vibration
+while it is being bowed or plucked.
+
+For instruments of the violin family, there are two types of harmonics:
+natural harmonics, which are those played on the open string; and
+artificial harmonics, which are produced on stopped strings.
+
+@seealso
+No cross-references.
+
+
@node harmony
@section harmony
Consonances:
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<g g>1_"unison " s
<g b>_"third " s
<g c>_"fourth " s
<g e'>_"sixth " s
<g g'>_"octave " s
<g b'>_"tenth" s s
-}
@end lilypond
Dissonances:
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
-}
@end lilypond
-Three note harmony @ref{chord}.
+For harmony that uses three or more notes, see @ref{chord}.
+
+@seealso
+@ref{chord}.
+
+
+@node hemiola
+@section hemiola
+
+ES: hemiolia,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: 3/2 -suhde.
+
+[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
+
+Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
+time normally occupied by two. The resulting rhythm can be expressed in modern
+terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
+bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
+as a special effect (or @emph{affect}) at cadences.
+
+For example, this phrase in 6/4 time
+
+@lilypond[quote,relative=1,line-width=13.0\cm]
+\key c \major
+\time 6/4
+c2. e | d2 c d | c1. \bar "||"
+@end lilypond
+
+may be thought of having alternating time signatures
+
+@lilypond[quote,relative=1,line-width=13.0\cm]
+\key c \major
+\time 6/4
+c2. e
+\time 3/2
+d2 c d
+\time 6/4
+c1. \bar "||"
+@end lilypond
+
+and is therefore a polymeter (second definition) of considerable antiquity.
+
+@seealso
+@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
@node homophony
S: homofoni,
FI: homofonia, yksiäänisyys.
-Music in which one voice leads melodically followed by the other
-voices more or less in the same rhythm. In contrast to
+Music in which one voice leads melodically supported by the other voices in
+the same rhythm (more or less). In contrast to @emph{polyphony}.
+
+@seealso
@ref{polyphony}.
+@node hymn meter
+@section hymn meter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: säkeiden tavumäärät.
+
+A group or list of numbers that indicate the number of syllables in a line
+of a hymn's verse. Different hymnals have different ways of noting the hymn
+meter: for example, consider a hymn that has four lines in two couplets
+alternating regularly between eight and seven syllables. The @emph{English
+Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
+or 8@w{ }7@w{ }8@w{ }7.
+
+Some frequently-used hymn meters have traditional names:
+
+@itemize
+@item 66.86 is called Short Meter (abbreviated SM or S.M.)
+@item 86.86 is called Common Meter (CM or C.M.)
+@item 88.88 is called Long Meter (LM or L.M.)
+@end itemize
+
+Some hymns and their tunes are doubled versions of a simpler meter: for
+easier reading, a hymn with a meter of 87.87.87.87 is usually written
+87.87D. The traditional names above also have doubled versions:
+
+@itemize
+@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
+@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
+@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
+@end itemize
+
+@seealso
+No cross-references.
+
+
@node interval
@section interval
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect,
-minor, major, diminished, or augmented. The augmented fourth and the
-diminished fifth are identical (@ref{enharmonic}) and are called
-@emph{tritonus} because they consist of three @ref{whole tone}s. The
-addition of such two intervals forms an octave.
+Difference in pitch between two notes. Intervals may be diminished, minor,
+perfect, major, or augmented. The augmented fourth and the diminished fifth are
+identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
+consist of three whole tones. The addition of such two intervals forms an
+octave.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Voice \relative c'' {
+% Prime or unison
< g g >1
- < g as >^"minor"
- < g a! >
- < g ais >^"augm"
- < gis bes >^"dimin"
- < g! bes >^"minor"
- < g b! >^"major"
- < g bis >^"augm"
+ < g gis >^"aug"
+% Second
+ < gis as >^"dim"
+ < g! as >^"min"
+ < g a! >^"maj"
+ < g ais >^"aug"
+% Third
+ < gis bes >^"dim"
+ < g! bes >^"min"
+ < g b! >^"maj"
+ < g bis >^"aug"
+% Fourth
+ < g ces >^"dim"
+ < g c! >^"per"
+ < g cis >^"aug"
+% Fifth
+ < g des' >^"dim"
+ < g d' >^"per"
+ < g dis >^"aug"
+% Sixth
+ < gis es' >^"dim"
+ < g! es' >^"min"
+ < g e'! >^"maj"
+ < g eis' >^"aug"
+% Seventh
+ < gis f'! >^"dim"
+ < g! f'! >^"min"
+ < g fis' >^"maj"
+ < g fisis' >^"aug"
+% Octave
+ < g ges' >^"dim"
+ < g g' >^"per"
+ < g gis' >^"aug"
}
\context Lyrics \lyrics {
- "unison " "second " "second " "second "
- "third " "third " "third " "third"
+ "unison " "unison "
+ "second " "second " "second " "second "
+ "third " "third " "third " "third "
+ "fourth " "fourth " "fourth "
+ "fifth " "fifth " "fifth "
+ "sixth " "sixth " "sixth " "sixth "
+ "seventh" "seventh" "seventh" "seventh"
+ "octave " "octave " "octave "
}
>>
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
-\context Staff \relative c'' {
- < g c >1^"perfect"
- < g cis >^"aug"
- < g d' >^"perfect"
- < g des' > ^"dim"
- < gis es' >^"dim"
- < g! es' >^"minor"
- < g e'! >^"major"
- < g eis' >^"aug"
-}
- \lyrics {
- "fourth " "fourth " "fifth " "fifth "
- "sixth " "sixth " "sixth " "sixth"
-}
->>
-@end lilypond
+@seealso
+@ref{enharmonic}, @ref{whole tone}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
-\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 "
- "ninth " "ninth " "tenth " "tenth"
-}
->>
-@end lilypond
+
+@node inversion
+@section inversion
+
+ES: ?,
+I: ?,
+F: inversion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: käännös.
+
+When a chord sounds with a bass note that differs from the root of the
+chord, it is said to be @emph{inverted}. The number of inversions that a
+chord can have is one fewer than the number of constituent notes. For
+example, triads (which have three constituent notes) can have three
+positions, two of which are inversions:
+
+@table @dfn
+@item Root position
+The root note is in the bass, and above that are the third and the fifth. A
+triad built on the first scale degree, for example, is marked @notation{I}.
+
+@item First inversion
+The third is in the bass, and above it are the fifth and the root. This
+creates an interval of a sixth and a third above the bass note, and so is
+marked in figured Roman notation as @notation{6/3}. This is commonly
+abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
+characteristic interval of the inversion, and so always implies
+@notation{6/3}.
+
+@item Second inversion
+The fifth is in the bass, and above it are the root and the third. This
+creates an interval of a sixth and a fourth above the bass note, and so is
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+unstable chord position.
+@end table
+
+@seealso
+No cross-references.
@node inverted interval
The difference between an interval and an octave.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\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 "||"
-}
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+<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
+@seealso
+No cross-references.
+
@node just intonation
@section just intonation
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
+@seealso
@ref{temperament}.
S: tonart,
FI: tonaliteetti.
-According to the 12@w{ }tones of the @ref{chromatic scale}
-there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
+According to the 12@w{ }tones of the @emph{chromatic scale} there are
+12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@seealso
-
-@ref{key signature}.
+@ref{chromatic scale}, @ref{key signature}.
@node key signature
The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
+@seealso
@ref{accidental}.
@node laissez vibrer
-@section laisser vibrer
+@section laissez vibrer
-ES: ?,
+ES: dejar vibrar,
I: ?,
F: laissez vibrer,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: antaa väristä.
-[From French] "Let vibrate". Most frequently associated with harp
-parts. Marked @samp{l.v.} in the score.
+[French: @q{Let vibrate}] Most frequently associated with harp
+parts. Marked @notation{l.v.} in the score.
+
+@seealso
+No cross-references.
@node largo
S: largo,
FI: largo, hitaasti, leveästi.
-Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+[Italian: @q{wide}.] Very slow in tempo, usually combined with great
+expressiveness. @emph{Larghetto} is less slow than largo.
@node leading note
S: ledton,
FI: johtosävel.
-The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
+The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
called because of its strong tendency to @q{lead up} (resolve upwards)
to the tonic scale degree.
+@seealso
+@ref{scale degree}, @ref{semitone}.
+
@node ledger line
@section ledger line
A ledger line is an extension of the staff.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { a,1 s c'' }
+@lilypond[quote,notime,relative=2]
+a,1
+s1
+c''1
@end lilypond
+@seealso
+No cross-references.
+
@node legato
@section legato
FI: legato, sitoen.
To be performed (a) without any perceptible interruption between the
-notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
-@emph{portato}, and (d) @ref{staccato}.
+notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
+@notation{portato}, or (d) @notation{staccato}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Staff \relative c'' {
c4-( d e-) \bar "||"
>>
@end lilypond
+@seealso
+@ref{staccato}.
+
@node legato curve
@section legato curve
@seealso
-
@ref{slur}, @ref{legato}.
@section leger line
@seealso
-
@ref{ledger line}.
-@node lilypond
-@section lilypond
-
-ES: estanque de nenúfares,
-I: stagno del giglio,
-F: étang de lis,
-UK: lily pond,
-D: Seerosenteich,
-NL: le@-lie@-vij@-ver,
-DK: liliedam,
-S: liljedamm,
-FI: liljalampi.
-
-A pond with lilies floating in it, also the name of a music typesetter.
-
-
@node ligature
@section 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.
+Gregorian chant notation around 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.
+
+@seealso
+@ref{mensural notation}.
+
+
+@node lilypond
+@section lilypond
+
+UK: lily pond,
+ES: estanque de nenúfares,
+I: stagno del giglio,
+F: étang de nénuphars, étang de nymphéas,
+D: Seerosenteich,
+NL: le@-lie@-vij@-ver,
+DK: liliedam,
+S: liljedamm,
+FI: liljalampi.
+
+A pond with lilies floating in it.
+
+Also, the name of a music typesetting program.
+
+@seealso
+No cross-references.
@node line
FI: viiva, nuottiviiva.
@seealso
-
@ref{staff}.
+@node loco
+@section loco
+
+ES: en su lugar,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kirjoitetussa äänenkorkeudessa.
+
+[Italian: @q{place}] Instruction to play the following passage at the
+written pitch. Cancels octave mark (q.v.).
+
+@seealso
+@ref{octave mark}, @ref{octave marking}.
+
+
@node long appoggiatura
@section long appoggiatura
FI: pitkä appoggiatura, pitkä etuhele.
@seealso
-
@ref{appoggiatura}.
@node longa
@section longa
-ES: longa,
-I: longa,
-F: longa,
-D: Longa,
-NL: longa,
-DK: longa,
-S: longa,
-FI: longa.
+@itemize
+@item US: long, longa,
+@item ES: longa,
+@item I: longa,
+@item F: longa,
+@item D: Longa,
+@item NL: longa,
+@item DK: longa,
+@item S: longa,
+@item FI: longa.
+@end itemize
-Note value: double length of @ref{breve}.
+Note value: twice the length of a @notation{breve}.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' {
- \override NoteHead #'style = #'mensural
- g\longa
-}
+@lilypond[quote,notime,relative=2]
+\override NoteHead #'style = #'mensural
+g\longa g\breve
@end lilypond
@seealso
+@ref{breve}, @ref{note value}.
-@ref{note value}.
+
+@node lyric tie
+@section lyric tie
+
+ES: ligadura de letra,
+I: ?,
+F: ?,
+D: Textbindung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: sidonta sanoituksessa.
+
+@c TODO: add languages
+
+@seealso
+@ref{elision}.
@node lyrics
S: ?,
FI: sanoitus.
+@c Definition?
-@node lyric tie
-@section lyric tie
+@seealso
+No cross-references.
-ES: ?,
-I: ?,
-F: ?,
-D: Textbindung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-@c TODO: add languages
+@node major
+@section major
-@seealso
+ES: mayor,
+I: maggiore,
+F: [mode] majeur,
+D: Dur,
+NL: majeur,
+DK: dur,
+S: dur,
+FI: duuri.
-@ref{elision}.
+@seealso
+@ref{diatonic scale}.
@node major interval
FI: suuri intervalli.
@seealso
-
@ref{interval}.
-@node major
-@section major
+@node maxima
+@section maxima
-ES: mayor,
-I: maggiore,
-F: [mode] majeur,
-D: Dur,
-NL: majeur,
-DK: dur,
-S: dur,
-FI: duuri.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Note value: twice the length of a @notation{longa}.
+
+The maxima is the largest duration in use during the 15th and 16th centuries.
+Like the longa, the maxima can be either two or three times as long as the
+@notation{longa} (called @notation{binary} and @notation{ternary},
+respectively). By the late 15th century, most composers used the smaller
+proportion by default.
+
+@seealso
+@ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
+
+
+@node meantone temperament
+@section meantone temperament
+
+ES: afinación mesotónica,
+I: accordatura mesotonica,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
+NL: middenstemming, middentoonstemming,
+DK: middeltonetemperatur,
+S: medeltonstemperatur,
+FI: keskisävelviritys.
+
+Temperament yielding acoustically pure thirds by decreasing the natural
+fifth by 16@w{ }cents. Due to the non-circular character of this
+temperament only a limited set of keys are playable. Used for tuning
+keyboard instruments for performance of pre-1650 music.
+
+@seealso
+@ref{cent}, @ref{temperament}.
+
+
+@node measure
+@section measure
+
+ES: compás,
+I: misura, battuta,
+F: mesure,
+D: Takt,
+NL: maat,
+DK: takt,
+S: takt,
+FI: tahti.
+
+A group of beats (units of musical time) the first of which bears an accent.
+Such groups in numbers of two or more recur consistently throughout the
+composition and are separated from each other by bar lines.
+
+@seealso
+@ref{bar line}, @ref{beat}, @ref{meter}.
+
+
+@node measure repeat
+@section measure repeat
+
+@seealso
+@ref{percent repeat}.
+
+
+@node mediant
+@section mediant
+
+ES: mediante,
+I: mediante, modale,
+F: médiante,
+NL: mediant,
+D: Mediante,
+DK: mediant,
+S: mediant,
+FI: keskisävel.
+
+@itemize
+
+@item The third @b{scale degree}.
+
+@item A @emph{chord} having its base tone a third from that of another
+chord. For example, the tonic chord may be replaced by its lower
+mediant (variant tonic).
+
+@end itemize
+
+@seealso
+@ref{chord}, @ref{functional harmony}, @ref{relative key}.
+
+
+@node melisma
+@section melisma
+
+ES: melisma,
+I: ?,
+F: mélisme,
+D: Melisma,
+NL: melisma,
+DK: ?,
+S: ?,
+FI: melisma, laulettavan tavun sävelkuvio.
+
+A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
+on one syllable, especially as applied to liturgical chant.
+
+@seealso
+No cross-references.
+
+
+@node melisma line
+@section melisma line
+
+@c TODO: add languages
+
+ES: línea de melisma,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: melismaviiva.
+
+@seealso
+@ref{extender line}.
+
+
+@node melodic cadence
+@section melodic cadence
+
+@seealso
+@ref{cadenza}.
+
+
+@node mensural notation
+@section mensural notation
+
+@c TODO: add languages
+
+ES: notación mensural,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: mensuraalinuotinnus.
+
+A system of duration notation whose principles were first established in the
+mid-13th century, and that (with various changes) remained in use until about
+1600. As such, it is the basis for the notation of rhythms in Western musical
+notation.
+
+Franco of Cologne (ca. 1250) is credited with the first systematic explanation
+of the notation's principles, so the notation of this earliest period is called
+@q{Franconian}. Franco's system made use of three note values -- long, breve,
+and semibreve -- each of which was normally equivalent to three of the next
+lower note value.
+
+Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
+added several note values (the minim, semiminim and fusa) and extended Franco's
+principles to govern the relationship between these values. They also put the
+duple division of note values on an equal footing with the earlier (preferred)
+triple division.
+
+TODO: continue description of French and Italian black notation, and the
+relationship betwixt them.
+
+@b{White or void mensural notation}
+
+In the 15th century, hollow (or void) notes began to substitute for the earlier
+solid black ones, which were then free to assume the function of red (or
+colored) notes in the earlier notation. ...
+
+TODO: add to definition (including summary info on proportional notation)
+
+@seealso
+@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@c TODO: more cross-references?
+
+
+@node mensuration sign
+@section mensuration sign
+
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The ancestor of the time signature, mensuration signs were used to indicate the
+relationship between two sets of note durations—specifically, the ratio of
+breves to semibreves (called @notation{tempus}), and of semibreves to minims
+(called @notation{prolatio}).
+
+Each ratio was represented with a single single sign, and was either
+three-to-one (ternary) or two-to-one (binary), as in modern music notation.
+Unlike modern music notation, the @emph{ternary} ratio was the preferred
+one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
+represented by a complete circle; applied to the @emph{prolatio}, it was called
+@emph{major} and was represented by a dot in the middle of the sign. The binary
+ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
+represented by an incomplete circle; applied to @emph{prolatio}, it was called
+@emph{minor} and was represented by the lack of an internal dot. There are four
+possible combinations, which can be represented in modern time signatures with
+and without reduction of note values. (These signs are hard-coded in LilyPond
+with reduction.)
+
+@table @dfn
+@item perfect @emph{tempus} with major @emph{prolatio}
+Indicated by a complete circle with an internal dot. In modern time signatures,
+this equals:
+@itemize
+@item 9/4, with reduction or
+@item 9/2, without reduction
+@end itemize
+
+@item perfect @emph{tempus} and minor @emph{prolatio}
+Indicated by a complete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 3/2, with reduction or
+@item 3/1, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and major @emph{prolatio}
+Indicated by an incomplete circle with an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 6/4, with reduction or
+@item 6/2, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and minor @emph{prolatio}
+Indicated by an incomplete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 4/4, with reduction or
+@item 2/1, without reduction
+@end itemize
+@end table
+
+The last mensuration sign @emph{looks} like common-time because it @emph{is},
+with note values reduced from the original semibreve to a modern quarter note.
+Being doubly imperfect, this sign represented the (theoretically)
+least-preferred mensuration, but it was actually used fairly often.
+
+This system extended to the ratio of longer note values to each other:
+
+@itemize
-@seealso
+ @item maxima to longa, called:
-@ref{diatonic scale}.
+ @itemize
+ @item @notation{modus maximorum},
+ @item @notation{modus major}, or
+ @item @notation{maximodus})
-@node meantone temperament
-@section meantone temperament
+ @end itemize
-ES: afinación mesotónica,
-I: accordatura mesotonica,
-F: tempérament mésotonique,
-D: mitteltönige Stimmung,
-NL: middenstemming, middentoonstemming,
-DK: middeltonetemperatur,
-S: medeltonstemperatur,
-FI: keskisävelviritys.
+ @item longa to breve, called:
-Temperament yielding acoustically pure thirds by decreasing the
-natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
-character of this @ref{temperament} only a limited set of keys are
-playable. Used for tuning keyboard instruments for performance of
-pre-1650 music.
+ @itemize
+ @item @notation{modus longarum},
+ @item @notation{modus minor}, or
+ @item @notation{modus}
-@node measure
-@section measure
+ @end itemize
-ES: compás,
-I: misura, battuta,
-F: mesure,
-D: Takt,
-NL: maat,
-DK: takt,
-S: takt,
-FI: tahti.
+@end itemize
-A group of @ref{beat}s (units of musical time) the first of which
-bears an accent. Such groups in numbers of two or more recur
-consistently throughout the composition and are marked from each other
-by bar-lines.
+In the absence of any other indication, these modes were assumed to be
+binary. The mensuration signs only indicated tempus and prolatio, so
+composers needed another way to indicate these longer ratios (called modes.
+Around the middle of the 15th century started to use groups of rests at the
+beginning of the staff, preceding the mensuration sign.
-@ref{meter}.
+Two mensuration signs have survived to the present day: the C-shaped sign,
+which originally designated @notation{tempus imperfectum} and
+@notation{prolatio minor} now stands for @notation{common time}; and the
+slashed C, which designated the same with @notation{diminution} now stands
+for @notation{cut-time} (essentially, it has not lost its original meaning).
-@node mediant
-@section mediant
+@seealso
+@ref{diminution}, @ref{proportion}, @ref{time signature}.
+@c TODO: more cross-references?
-ES: mediante,
-I: mediante, modale,
-F: médiante,
-NL: mediant,
-D: Mediante,
-DK: mediant,
-S: mediant,
-FI: keskisävel.
-1.@tie{}The third @b{scale degree}.
-2.@tie{}A @ref{chord} having its base tone a third from that of
-another chord. For example, the tonic chord may be replaced by its
-lower mediant (variant tonic).
+@node meter
+@section meter
-@ref{functional
-harmony}, @ref{relative key}.
+ES: tiempo, compás,
+I: tempo, misura,
+F: indication de mesure, mesure,
+D: Taktart, Metrum,
+NL: maatsoort,
+DK: taktart,
+S: taktart,
+FI: aika-arvo.
+The pattern of note values and accents in a composition or a section thereof.
+There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
+by grouping beats and by subdividing the primary beat.
-@node melisma
-@section melisma
+@b{By grouping beats}:
-ES: melisma,
-F: mélisme,
-D: Melisma,
-NL: melisma,
-FI: melisma, laulettavan tavun sävelkuvio.
+@itemize
-A melisma (plural, from Greek: melismata) is a group of notes or tones
-sung on one syllable, especially as applied to liturgical chant.
+ @item @b{duple}: groups of two.
+ @item @b{triple}: groups of three.
+ @item @b{quadruple}: groups of four. A special case of duple meter.
+ @item @b{quintuple}: groups of five beats.
+ @item @b{sextuple} meter: groups of six. A special case of:
+ @itemize
-@node melisma line
-@section melisma line
+ @item duple meter, subdivided in three; or
+ @item triple meter, subdivided in two.
-@c TODO: add languages
+ @end itemize
-@seealso
+ @item @b{septuple} meter: groups of seven.
+ @item and so on.
-@ref{extender line}.
+@end itemize
+Other than triple meter and its subdivided variants (see below), meters that
+feature odd groupings of beats (e.g. quintuple or septuple meter) are not
+frequently used prior to the 20th Century.
-@node melodic cadence
-@section melodic cadence
+@b{By subdividing the primary beat}:
-@seealso
+@itemize
-@ref{cadenza}.
+ @item simple: subdivided in groups of two.
+ @itemize
-@node mensural notation
-@section mensural notation
+ @item duple: 2/2, 2/4, 2/8
+ @item triple: 3/2, 3/4, 3/8
+ @item quadruple: 4/2, 4/4 (also called common time), 4/8
-@c TODO: add languages, definition, references
+ @end itemize
+ @item compound: subdivided in groups of three.
-@node meter
-@section meter
+ @itemize
-ES: compás,
-I: tempo, metro,
-F: indication de mesure, mesure,
-D: Taktart, Metrum,
-NL: maatsoort,
-DK: taktart,
-S: taktart,
-FI: aika-arvo.
+ @item duple: 6/8
+ @item triple: 9/8
+ @item quadruple: 12/8
+
+ @end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or section) to
+indicate the meter. For instance, a piece written in simple triple meter with a
+beat on each quarter note is conventionally written with a time signature of
+3/4. Here are some combinations of the two classifications above:
+
+Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 2/4
+ \key g \major
+ g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
+@end lilypond
-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it. For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those. According to whether
-there are two, three, or four units to the measure, one speaks of
-@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
-meter.
+Simple triple meter:
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \key f \major
- c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
+@end lilypond
+
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
+@end lilypond
+
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+(Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
+the source, with sharps in the accompaniment where the voice has flats and
+@emph{vice versa}.)
+
+Compound duple meter (unknown):
+
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
-\relative c'' {
- \time 5/4
+Compound triple meter (J.S. Bach, 1685-1750):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c' {
+ \time 9/8
\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 "||"}
+ r8 g'( a) b( d c) c( e d) |
+ d( g fis) g( d b) g( a b)
+ \bar "||"}
+@end lilypond
+
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[quote,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
@end lilypond
+@b{@q{Monometer} vs Polymeter}
+
+TODO: add information from discussion on lilypond-user related to polymeter.
+
+@seealso
+@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
+
@node metronome
@section metronome
S: me@-tro@-nom,
FI: metronomi.
-Device indicating the exact tempo of a piece.
+Device used to indicate the exact tempo of a piece.
-@ref{metronomic indication}.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+@seealso
+@ref{metronome mark}.
-@node metronomic indication
-@section metronomic indication
+
+@node metronome mark
+@section metronome mark
ES: indicación metronómica,
I: indicazione metronomica,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
+@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+@ref{metronome}
+
+
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+@ref{metronome mark}
+
+
+@node mezzo
+@section mezzo
+
+ES: ?,
+I: mezzo,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kohtalaisen, melko.
+
+[Italian: @q{medium}]
+
+Used to qualify other indications, such as:
+
+@itemize
+
+@item Dynamics
+ @itemize
+ @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
+ @notation{piano})
+ @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
+ @notation{forte})
+ @end itemize
+
+@item Voice
+ @itemize
+ @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
+ sopranos
+ @end itemize
+
+@end itemize
+
+@seealso
+No cross-references.
@node mezzo-soprano
S: mezzosopran,
FI: mezzosopraano.
-The female voice between @ref{soprano} and @ref{contralto}.
+The female voice between soprano and contralto.
+
+@seealso
+@ref{soprano}, @ref{contralto}.
@node middle C
First C below the 440 Hz A.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
\override Staff.Clef #'full-size-change = ##t
-\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
-}
@end lilypond
+@seealso
+No cross-references.
+
@node minor
@section minor
FI: molli.
@seealso
-
@ref{diatonic scale}.
FI: pieni intervalli.
@seealso
-
@ref{interval}.
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+@ref{diatonic scale}.
+
+
@node mode
@section mode
FI: moodi, kirkkosävelasteikko.
@seealso
-
@ref{church mode}, @ref{diatonic scale}.
of a @ref{sonata form} movement modulates to the dominant key if the
key is major and to the @ref{relative key} if the key is minor.
+@seealso
+No cross-references.
+
@node mordent
@section mordent
FI: mordent, korukuvio.
@seealso
-
@ref{ornament}.
@section motif
@seealso
-
@ref{motive}.
The briefest intelligible and self-contained fragment of a musical
theme or subject.
-@lilypond[line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\score{
\relative c'' {
\set Score.implicitTimeSignatureVisibility = #all-invisible
}
@end lilypond
+@seealso
+No cross-references.
+
@node movement
@section movement
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and @ref{sonata} most often
-consist of several -- more or less -- independant pieces called
-movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
+several -- more or less -- independent pieces called movements.
+
+@seealso
+No cross-references.
@node multi-measure rest
measures) of the rest. The former style is called @q{Kirchenpausen} in
German, as a reminiscence of its use in Renaissance vocal polyphony.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- a1
- \set Score.skipBars = ##t R1*3
- a1
- \set Score.skipBars = ##t R1*122
- a1
-}
+@lilypond[quote,relative=2]
+a1
+\set Score.skipBars = ##t
+R1*3
+a1
+\set Score.skipBars = ##t
+R1*122
+a1
@end lilypond
@seealso
-
@ref{longa}, @ref{breve}.
-@node mixolydian mode
-@section mixolydian mode
-
-@seealso
-
-@ref{diatonic scale}.
-
-
-@node natural sign
-@section natural sign
+@node natural
+@section natural
ES: becuadro,
I: bequadro,
FI: palautusmerkki.
@seealso
-
@ref{accidental}.
-@node neighbour tones
-@section neighbour tones
+@node neighbor tones
+@section neighbor tones
@seealso
-
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
FI: nooni.
@seealso
-
@ref{interval}.
@section non-legato
@seealso
-
@ref{legato}.
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
+@seealso
+No cross-references.
+
@node note head
@section note head
S: nothuvud,
FI: nuotin pää.
-A head-like sign which indicates pitch by its position on a
-@ref{staff} provided with a @ref{clef}, and duration
-by a variety of shapes such as hollow or black heads with or without
-@ref{stem}s, @ref{flag}s, etc. For percussion
-instruments (often having no defined pitch) the note head may indicate the
-instrument.
+A head-like sign which indicates pitch by its position on a @notation{staff}
+provided with a @notation{clef}, and duration by a variety of shapes such as
+hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
+For percussion instruments (often having no defined pitch) the note head may
+indicate the instrument.
+
+@seealso
+@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
+
+
+@node note names
+@section note names
+
+@seealso
+@ref{Pitch names}
@node note value
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions, normally 1/2, of
-the next higher note value. The longest duration normally used is
-called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
-double-length note value @emph{longa} or the quadruple-length note
-value @emph{maxima} are used.
+Note values (durations) are measured as fractions—in modern usage, one-half—of
+the next higher note value. The longest duration in current use is the
+@notation{breve} (equal to two whole notes), but sometimes (especially in music
+dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
+or @notation{maxima} (eight whole notes) may be found.
+
+As used in mensural notation, this fraction was more flexible: it could also
+be one-third the higher note value. Composers indicated which proportions
+to use with various signs—two of which survive to the present day: the
+C-shaped sign for @notation{common time}, and the slashed C for
+@notation{alla breve} or @notation{cut-time}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
-@lilypond[fragment,notime,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
\relative c'' {
\override NoteHead #'style = #'mensural
a\longa_"longa" a\breve_"breve"
@c TODO -- add maxima rest to this example
-@lilypond[fragment,notime,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
\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 }
@end lilypond
-An augmentation dot after a note multiplies the duration by one and a
-half. Another dot adds yet a fourth of the duration.
+An augmentation dot after a note increases its duration by half; a second dot
+increases it by half of the first addition (that is, by a fourth of the original
+duration). More dots can be used to add further halved fractions of the
+original note value (1/8, 1/16, etc.), but they are not frequently encountered.
-@lilypond[fragment,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
}
@end lilypond
+@seealso
+@ref{common time}.
-@node octave sign
-@section octave sign
-@seealso
+@node octavation
+@section octavation
-@ref{G clef}, @ref{F clef}.
+@seealso
+@ref{octave marking}.
@node octave
S: oktav,
FI: oktaavi.
+The interval of an octave, sometimes abbreviated @notation{8ve}.
+
+For uses like @notation{all'ottava} or @notation{8va} with an extender line or
+bracket, or @notation{loco} see octave marking.
+
@seealso
+@ref{interval}, @ref{octave marking}.
-@ref{interval}.
+
+@node octave mark
+@section octave mark
+
+ES: indicación de octava,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: oktaavamerkki.
+
+The phrase, abbreviation, or other mark used (with or without an extender line
+or bracket) to indicate that the music is to be played in a different octave:
+
+@itemize
+
+@item @notation{15ma}: play two octaves higher
+@item @notation{8va}: play one octave higher
+@item @notation{8vb}: play one octave lower
+@item @notation{8va} (written below the passage): unusual, same as
+@notation{8vb}
+@item @notation{15vb}: play two octaves lower
+@item @notation{15va} (written below the passage): unusual, same as
+@notation{15vb}
+
+@end itemize
+
+For longer passages, it may be more practical to mark the octave change at the
+beginning with a phrase (see the list below for examples), but without a bracket
+or extender line. Then, when the music returns to the written pitch, the octave
+change is cancelled with the word @notation{loco} (q.v.).
+
+To parallel the list above:
+
+@itemize
+
+@item @notation{15ma}: @notation{alla quindicesima (alta)}
+@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
+@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
+@item @notation{15vb}: @notation{alla quindicesima (bassa)}
+
+@end itemize
+
+In the phrases above, @notation{quindicesima} is sometimes replaced with
+@notation{quindecima}, which is Latin.
+
+The music on an entire staff can be marked to be played in a different octave by
+putting a small 8 or 15 above or below the clef at the beginning. This octave
+mark can be applied to any clef, but it is most frequently used with the G and F
+clefs.
+
+@seealso
+@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
+
+
+@node octave marking
+@section octave marking
+
+ES: a la octava,
+I: all'ottava,
+F: octaviation,
+D: Oktavierung,
+NL: octaveren,
+DK: oktavering,
+S: oktavering,
+FI: oktaavamerkintä.
+
+The practice of marking music -- an entire staff, a passage, etc. -- to indicate
+that it is to be played in a different octave. If applied to the clef at the
+beginning of the staff, all music on that staff is to played at the indicated
+octave.
+
+For a list of the specific marks used, see @ref{octave mark}.
+
+@seealso
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
+
+
+@node octave sign
+@section octave sign
+
+@seealso
+@ref{octave mark}.
@node ornament
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
\relative c'' {
c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
the
@emph{prall} (inverted mordent).
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
\relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
@end lilypond
@seealso
-
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
I: ossia,
F: ossia,
D: Ossia,
-NL: alternatief,
-DK: ossia,
-S: ossia,
-FI: ossia, vaihtoehtoinen esitystapa.
-
-Ossia (otherwise) marks an alternative. It is an added staff or piano
-score, usually only a few measures long, which presents another version
-of the music, for example for small hands.
-
-
-@node ottava
-@section ottava
-
-@c TODO
-
-ES: ?,
-I: ottava,
-F: octave,
-DE: Oktavierung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-[From Italian] The interval of an octave, abbreviated 8va.
+NL: alternatief,
+DK: ossia,
+S: ossia,
+FI: ossia, vaihtoehtoinen esitystapa.
-@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
-@emph{8va} written above a passage indicates that it should be played
-an octave higher than written. @emph{Ottava bassa}, @emph{ottava
-sotto}, or @emph{8va} written below a passage indicates that it should
-be played an octave lower than written.
+Ossia (otherwise) marks an alternative. It is an added staff or piano
+score, usually only a few measures long, which presents another version
+of the music, for example for small hands.
@seealso
-
-@ref{interval}.
+No cross-references.
@node part
S: stämma,
FI: stemma, instrumenttiosuus.
-1.@tie{}In instrumental or choral music the music for the single instrument
-or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
-melodic line of the contrapunctal web.
+@itemize
+
+@item In instrumental or choral music, the music for a single
+instrument or voice.
+
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
+
+@end itemize
+
+@seealso
+@ref{counterpoint}
@node pause
@section pause
@seealso
-
@ref{fermata}.
@section pennant
@seealso
-
@ref{flag}.
+@node percent repeat
+@section percent repeat
+
+LilyPond-specific term to indicate the repetition of a musical expression on a
+single staff, as opposed to the more usual definition of repeat, which affects
+all parts. The musical expression can be anything from a single note or note
+pattern to one or more measures. There are other names for this symbol:
+
+@itemize
+
+@item simile mark
+@item slash mark, or slash repeat
+@item beat repeat
+@item measure (or multi-measure) repeat
+
+@end itemize
+
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\time 4/4
+ \repeat percent 4 { c4_"Beat (or slash) repeat" }
+ \repeat percent 2 { c4 e g b_"Measure repeat" }
+ \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
+@end lilypond
+
+@seealso
+@ref{repeat},
+@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
+Vermont Music Dictionary}.
+
+
@node percussion
@section percussion
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
+@seealso
+No cross-references.
+
@node perfect interval
@section perfect interval
FI: puhdas intervalli.
@seealso
-
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
+@seealso
+@ref{caesura}.
+
@node phrasing
@section phrasing
S: fra@-se@-ring,
FI: fraseeraus, jäsentäminen.
-The clear rendering in musical performance of the @ref{phrase}s of
-the melody. Phrasing may be indicated by a @ref{slur}.
-
-
-@node pickup
-@section pickup
-
-ES: anacrusa,
-I: anacrusi,
-F: anacrouse, levée,
-D: Auftakt,
-NL: opmaat,
-DK: optakt,
-S: upptakt,
-FI: kohotahti.
+The clear rendering in musical performance of the @notation{phrases} of the
+melody. Phrasing may be indicated by a @notation{slur}.
@seealso
-
-@ref{anacrusis}.
+@ref{phrase}, @ref{slur}.
@node piano
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
+@seealso
+No cross-references.
+
+
+@node pickup
+@section pickup
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+@seealso
+@ref{anacrusis}.
+
@node pitch
@section pitch
S: tonhöjd,
FI: sävelkorkeus.
+@enumerate
+
+@item The perceived quality of a sound that is primarily a function of its
+fundamental frequency.
+
+@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
+
+@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
+association of a particular frequency with a particular pitch name, e.g., c' =
+256 Hz.
+
+@end enumerate
+
+@seealso
+@ref{Pitch names}.
+
@node pizzicato
@section pizzicato
S: pizzicato,
FI: pizzicato, näppäillen.
-Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
-stringed instruments.)
+A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
+the strings.
+
+@seealso
+No cross-references.
@node polymeter
@section polymeter
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: monia tahtiosoituksia sisältävä.
-The simultaneous use of two or more meters. The term is sometimes
-applied to the @emph{successive} use of different meters in one or
-more parts.
+@itemize
-@seealso
+@item The @emph{simultaneous} use of two or more meters, in two or more
+parts.
+
+@item The @emph{successive} use of different meters in one or more parts.
+
+@end itemize
+@seealso
@ref{polymetric} (adj.)
@node polymetric
@section polymetric
-ES: ?,
+ES: polimétrico,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
-Using two or more metric frameworks simultaneously or in regular
-alternation
+Characterized by @emph{polymeter}: using two or more metric frameworks
+simultaneously or in alternation.
@seealso
-
@ref{polymeter} (noun)
@node polymetric time signature
@section polymetric time signature
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: vaihtelevan tahtiosoitusmerkintä.
-Time signature indicating regularly alternating polymetric time.
+A time signature that indicates regularly alternating polymetric time.
@seealso
-
@ref{polymetric}.
Music written in a combination of several simultaneous voices (parts)
of a more or less pronounced individuality.
+@seealso
@ref{counterpoint}.
@node portato
@section portato
-@seealso
+[Italian: past participle of @emph{portare}, @q{to carry}]
+
+A stroke in which each of several notes is separated slightly within a slur,
+without changing the bow's direction. It is used for passages of a
+@notation{cantabile} character.
+@seealso
@ref{legato}.
S: presto,
FI: presto, hyvin nopeasti.
+[Italian]
+
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
+@seealso
+No cross-references.
+
+
+@node proportion
+@section proportion
+
+ES: proporción,
+I: proprozione (?),
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: suhde.
+
+[Latin: @emph{proportio}] Described in great detail by Gaffurius, in
+@emph{Practica musicae} (published in Milan in 1496). In mensural notation,
+proportion is:
+
+@enumerate
+
+@item A ratio that expresses the relationship between the note values that
+follow with those that precede;
+
+@item A ratio between the note values of a passage and the @q{normal}
+relationship of note values to the metrical pulse. (A special case of the
+first definition.)
+
+@end enumerate
+
+The most common proportions are:
+
+@itemize
+@item 2:1 (or simply 2), expressed by a vertical line through the
+mensuration sign (the origin of the @notation{alla breve} time signature),
+or by turning the sign backwards
+@item 3:1 (or simply 3)
+@item 3:2 (@emph{sesquialtera})
+@end itemize
+
+To @q{cancel} any of these, the inverse proportion is applied. Thus:
+
+@itemize
+@item 1:2 cancels 2:1
+@item 1:3 cancels 3:1
+@item 2:3 cancels 3:2
+@item and so on.
+@end itemize
+
+Gaffurius enumerates five basic types of major:minor proportions and their
+inverses:
+
+@enumerate
+@item Multiplex, if the major number is an exact multiple of the minor (2:1,
+3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
+
+@item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
+if the major number is one more than the minor (3:2, 4:3, 5:4); and its
+inverse, Subsuperparticular (2:3, 3:4, 4:5)
+
+@item Superpartiens, if the major number is one less than twice the minor
+(5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
+
+@item Multiplexsuperparticular, if the major number is one more than twice the
+minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
+4:9)
+
+@item Multiplexsuperpartiens, if the major number is one less than some other
+multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
+inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
+
+@end enumerate
+
+He then continues to subdivide each type in various ways. For the multiplex
+proportions, for example, he indicates how many times greater the major number
+is than the minor:
+
+@itemize
+
+@item If two times greater, the proportion is @emph{dupla}. If inverted, it's
+called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
+
+@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
+3:1, 6:2, and 9:3.
+
+@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
+Example: 4:1, 8:2, and 12:3
+
+@end itemize
+
+Other proportions were possible, but whether they were frequently used is
+another question:
+
+@itemize
+
+@item 33:9, @emph{triplasuperbipartientetertias}
+@item 51:15, @emph{triplasuperbipartientequintas}
+
+@end itemize
+
+@c TODO: add an example or two. O => 4/3, and its modern equivalent
+
+@seealso
+@ref{mensural notation}.
+
@node Pythagorean comma
@section Pythagorean comma
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 @ref{cent}s higher than the@w{ }C obtained by adding
-7@w{ }octaves. The difference between those two pitches is called the
-Pythagorean comma.
+Originally, the interval by which the sum of six whole tones exceeds the octave
+-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
+
+Modern acoustical theory defines it as the interval by which twelve fifths
+exceed seven octaves. To put it another way: A sequence of fifths that starts
+on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
+than the C obtained by adding 7 octaves. The difference between those two
+pitches is the Pythagorean comma.
+
+@seealso
+@ref{cent}, @ref{temperament}.
@node quadruplet
FI: kvartoli.
@seealso
-
@ref{note value}.
+@node quality
+@section quality
+
+ES: ?,
+I: qualità (?),
+F: qualité (?),
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: laatu.
+
+The quality of a triad is determined by the precise arrangement of its
+intervals. Tertian triads can be described as a series of three notes. The
+first element is the root note (or simply @q{root}) of the chord, the second
+note is the @q{third} of the chord, and the last note is the @q{fifth} of
+the chord. These are described below:
+
+@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
+@headitem Chord name
+ @tab Component intervals
+ @tab Example
+ @tab Symbol
+@item major triad @tab major third/perfect fifth
+ @tab C-E-G
+ @tab C, CM, Cma, Cmaj, CΔ
+@item minor triad @tab minor third/perfect fifth
+ @tab C-E♭-G
+ @tab Cm, Cmi, Cmin, C-
+@item augmented triad @tab major third/augmented fifth
+ @tab C-E-G♯
+ @tab C+, C^+, Caug
+@item diminished triad @tab minor third/diminished fifth
+ @tab C-E♭-G♭
+ @tab Cm(♭5), Cº, Cdim
+@end multitable
+
+There are various types of seventh chords depending on the quality of the
+original chord and the quality of the seventh added.
+
+Five common types of seventh chords have standard symbols. The chord quality
+indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
+and D^m7 are all identical). The last three chords are not commonly used
+except in jazz.
+
+@seealso
+@ref{chord}.
+
+
@node quarter note
@section quarter note
-ES: negra,
-I: semiminima, nera,
-F: noire,
-UK: crotchet,
-D: Viertel, Viertelnote,
-NL: kwartnoot,
-DK: fjerdedelsnode,
-S: fjärdedelsnot,
-FI: neljännesosanuotti.
+@itemize
+@item UK: crotchet
+@item ES: negra
+@item I: semiminima, nera
+@item F: noire
+@item D: Viertel, Viertelnote
+@item NL: kwartnoot
+@item DK: fjerdedelsnode
+@item S: fjärdedelsnot
+@item FI: neljäsosanuotti
+@end itemize
@seealso
-
@ref{note value}.
@node quarter rest
@section quarter rest
-ES: silencio de negra,
-I: pausa di semiminima,
-F: soupir,
-UK: crotchet rest,
-D: Viertelpause,
-NL: kwart rust,
-DK:@w{ }fjerdedelspause,
-S: fjärdedelspaus,
-FI: neljännesosatauko.
+@itemize
+@item UK: crotchet rest
+@item ES: silencio de negra
+@item I: pausa di semiminima
+@item F: soupir
+@item D: Viertelpause
+@item NL: kwartrust
+@item DK: fjerdedelspause
+@item S: fjärdedelspaus
+@item FI: neljäsosatauko
+@end itemize
@seealso
-
@ref{note value}.
+@node quarter tone
+@section quarter tone
+
+ES: cuarto de tonno,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: neljännessävelaskel.
+
+An interval equal to half a semitone.
+
+@seealso
+@ref{interval}
+
+
@node quintuplet
@section quintuplet
FI: kvintoli.
@seealso
-
@ref{note value}.
S: rallentando,
FI: rallerdando, hidastuen.
-Abbreviation "rall.".
+[Italian] A performance indication, abbreviated "rall.".
+@seealso
@ref{ritardando}.
@node relative key
@section relative key
-ES: relativo,
+ES: tono relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
S: parallelltonart,
FI: rinnakkaissävellaji.
-@ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
+Major and minor keys that have the same key signature.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
- \key es \major
- es1_"e flat major" f g as bes c d es
- \bar "||"
-}
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key es \major
+es1_"e flat major" f g as bes c d es
+\bar "||"
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
- \key es \major
- c1_"c minor" d es f g a! b! c \bar "||"
-}
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key c \minor
+c1_"c minor" d es f g a! b! c
+\bar "||"
@end lilypond
+@seealso
+@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
+
@node repeat
@section repeat
S: repris,
FI: toisto.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2,line-width=13.0\cm]
\key g \major
\time 4/4
-\relative c'' {
- \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
+\repeat volta 2 {
+ g4 g d' d
+ e4 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.
+@seealso
+No cross-references.
@node rest
S: paus,
FI: tauko.
-@seealso
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+@seealso
@ref{note value}.
@end itemize
+@seealso
+No cross-references.
@node ritardando
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+@seealso
+No cross-references.
+
@node ritenuto
@section ritenuto
Immediate reduction of speed.
+@seealso
+No cross-references.
+
@node scale
@section scale
FI: asteikko, sävelasteikko.
@seealso
-
@ref{diatonic scale}.
scale as roots of chords. The most important are degrees I = tonic
(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c' {
+\new Staff \relative c' {
c1 d e f g a b c
}
\lyrics {
@end lilypond
@seealso
-
@ref{functional harmony}.
@node scordatura
@section scordatura
-ES: ?,
+ES: encordado,
I: scordatura,
F: à cordes ravallées,
D: Skordatur,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: epätavallinen viritys.
-[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
+[Italian: @emph{scordare}, @q{to mistune}] Unconventional
tuning of stringed instruments, particularly lutes or violins. Used
to:
or impossible
@item alter the characteristic timbre of the instrument, for example,
-to increase brilliance)
+to increase brilliance
@item reinforce certain sonorities or tonalities by making them
available on open strings
Tunings that could be called @var{scordatura} first appeared early in
the 16th Century and became commonplace in the 17th.
+@seealso
+No cross-references.
+
@node score
@section score
instrument is to play, each voice to sing, having each part arranged
one underneath the other on different staves @ref{staff}.
+@seealso
+No cross-references.
+
@node second
@section second
S: sekund,
FI: sekunti.
-The @ref{interval} between two neigbouring tones of a scale. A
-@ref{diatonic scale} consists of alternating @ref{semitone}s and
-@ref{whole tone}s, hence the size of a se@-cond depends on the scale
-degrees in question.
+The interval between two neighboring tones of a scale. A diatonic scale
+consists of alternating semitones and whole tones, hence the size of a
+second depends on the scale degrees in question.
+
+@seealso
+@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
+
+
+@node semibreve
+@section semibreve
+
+@itemize
+@item US: whole note,
+@item ES: redonda,
+@item I: semibreve,
+@item F: ronde,
+@item D: Ganze, ganze Note,
+@item NL: hele noot,
+@item DK: helnode,
+@item S: helnot,
+@item FI: kokonuotti.
+@end itemize
+
+Note value: called @notation{whole note} in the US.
+
+The semibreve is the basis for the @notation{tactus} in mensural notation
+(i.e. music written before ca. 1600).
+
+@seealso
+@ref{mensural notation}, @ref{note value}.
@node semitone
S: halvton,
FI: puolisävel.
-The @ref{interval} of a minor second. The (usually) smallest interval
-in European composed music. The interval between two neighbouring
-tones on the piano keyboard -- including black and white keys -- is a
-semitone. An octave may be divided into 12@w{ }semitones.
-@ref{interval}, @ref{chromatic scale}.
+The interval of a minor second. The (usually) smallest interval in European
+composed music. The interval between two neighboring tones on the piano
+keyboard -- including black and white keys -- is a semitone. An octave may
+be divided into 12@w{ }semitones.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c'' { g1 gis s a bes s b! c }
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+g1 gis s a bes s b! c
@end lilypond
+@seealso
+@ref{interval}, @ref{chromatic scale}.
+
@node seventh
@section seventh
FI: septimi.
@seealso
-
@ref{interval}.
@section sextolet
@seealso
-
-@ref{sextuplet}
+@ref{sextuplet}, @ref{note value}.
@node sextuplet
FI: sekstoli.
@seealso
-
@ref{note value}.
@section shake
@seealso
-
@ref{trill}.
FI: korotusmerkki.
@seealso
-
@ref{accidental}.
+@node simile
+@section simile
+
+ES: simile,
+I: simile,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: samoin.
+
+[Italian: @q{in the same manner}] Performance direction: the music thus marked
+is to be played in the same manner (i.e. with the same articulations, dynamics,
+etc.) as the music that precedes it.
+
+@seealso
+TODO: Where else could I refer the reader?
+
+
+@node simple meter
+@section simple meter
+
+ES: compás simple, compás de subdivisión binaria,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kaksijakoinen tahtiosoitus.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+@ref{compound meter}, @ref{meter}.
+
+
@node sixteenth note
@section sixteenth note
-ES: semicorchea,
-I: semicroma,
-F: double croche,
-UK: semiquaver,
-D: Sechzehntel, Sechzehntelnote,
-NL: zes@-ti@-ende noot,
-DK: sekstendedelsnode,
-S: sextondelsnot,
-FI: kuudestoistaosanuotti.
+@itemize
+@item UK: semiquaver
+@item ES: semicorchea
+@item I: semicroma
+@item F: double croche
+@item D: Sechzehntel, Sechzehntelnote
+@item NL: zestiende noot
+@item DK: sekstendedelsnode
+@item S: sextondelsnot
+@item FI: kuudestoistaosanuotti
+@end itemize
@seealso
-
@ref{note value}.
@node sixteenth rest
@section sixteenth rest
-ES: silencio de semicorchea,
-I: pausa di semicroma,
-F: quart de soupir,
-UK: semiquaver rest,
-D: Sechzehntelpause,
-NL: zestiende rust,
-DK: sekstendedelspause,
-S: sextondelspaus,
-FI: kuudesosatauko.
+@itemize
+@item UK: semiquaver rest
+@item ES: silencio de semicorchea
+@item I: pausa di semicroma
+@item F: quart de soupir
+@item D: Sechzehntelpause
+@item NL: zestiende rust
+@item DK: sekstendedelspause
+@item S: sextondelspaus
+@item FI: kuudestoistaosatauko
+@end itemize
@seealso
-
@ref{note value}.
FI: seksti.
@seealso
-
@ref{interval}.
@node sixty-fourth note
@section sixty-fourth note
-ES: semifusa,
-I: semibiscroma,
-F: quadruple croche,
-UK: hemidemisemiquaver,
-D: Vierundsechzigstel, Vierundsechzigstelnote,
-NL: vierenzestigste noot,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofjärdedelsnot,
-FI: kuudeskymmenesneljäsosanuotti.
+@itemize
+@item UK: hemidemisemiquaver
+@item ES: semifusa
+@item I: semibiscroma
+@item F: quadruple croche
+@item D: Vierundsechzigstel, Vierundsechzigstelnote
+@item NL: vierenzestigste noot
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
+@item S: sextiofjärdedelsnot
+@item FI: kuudeskymmenesneljäsosanuotti
+@end itemize
@seealso
-
@ref{note value}.
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencio de semifusa,
-I: pausa di semibiscroma,
-F: seizième de soupir,
-UK: hemidemisemiquaver rest,
-D: Vierundsechzigstelpause,
-NL: vierenzestigste rust,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofjärdedelspaus,
-FI: kuudeskymmenesneljäsosatauko.
+@itemize
+@item UK: hemidemisemiquaver rest
+@item ES: silencio de semifusa
+@item I: pausa di semibiscroma
+@item F: seizième de soupir
+@item D: Vierundsechzigstelpause
+@item NL: vierenzestigste rust
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
+@item S: sextiofjärdedelspaus
+@item FI: kuudeskymmenesneljäsosatauko
+@end itemize
@seealso
-
@ref{note value}.
+@node slash repeat
+@section slash repeat
+
+@seealso
+@ref{percent repeat}.
+
@node slur
@section slur
played @ref{legato}, e.g., with one stroke of the violin bow or with
one breath in singing.
+@seealso
+No cross-references.
@node solmization
FI: suhteelliset laulunimet.
General term for systems of designating the degrees of the
-@ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
+@notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
-@ref{scale degree}.
-
+@seealso
+@ref{scale}, @ref{scale degree}.
@node sonata
accompaniment, which consists of three or four independant pieces,
called movements.
+@seealso
+No cross-references.
+
@node sonata form
@section sonata form
S: sonatform,
FI: sonaattimuoto.
-A form used frequently for single movements of the @ref{sonata},
-@ref{symphony}, quartet, etc. A movement written in sonata form falls
-into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces some
-musical ideas, consisting of a number of themes; in the development
-section the composer @q{develops} this material, and in the
-recapitulation the composer repeats the exposition, with certain
-modifications. The exposition contains a number of themes that fall
-into two groups, often called first and second subject. Other
-melodies occurring in each group are considered as continuations of
-these two. The second theme is in another key, normally in the key of
-the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
-@ref{relative key} if the tonic is @ref{minor}.
+A form used frequently for single movements of the @emph{sonata},
+@emph{symphony}, quartet, etc. A movement written in sonata form falls into
+three sections called @notation{exposition}, @notation{development} and
+@notation{recapitulation}. In the exposition the composer introduces some
+musical ideas, consisting of a number of themes; in the development section the
+composer @emph{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
+@notation{dominant} if the @notation{tonic} is @notation{major}, and in the
+@notation{relative key} if the tonic is @notation{minor}.
+
+@seealso
+@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
+@ref{symphony}, @ref{tonic}.
@node song texts
@section song texts
@seealso
-
@ref{lyrics}.
The highest female voice.
+@seealso
+No cross-references.
+
@node staccato
@section staccato
Playing the note(s) short. Staccato is indicated by a dot above or
below the note head.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=2]
\key d \major
\time 4/4
-\relative c'' {
\partial 8 a8 |
d4-\staccato cis-\staccato b-\staccato cis-\staccato |
- d2. \bar "||"
-}
+ d2.
+ \bar "||"
@end lilypond
+@seealso
+No cross-references.
+
@node staff
@section staff
+UK: stave,
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
+@seealso
+No cross-references.
+
@node staves
@section staves
@seealso
-
@ref{staff}.
Vertical line above or below a @ref{note head} shorter than a
whole note.
-@ref{beam}.
-
-@lilypond[fragment,notime,line-width=13.0\cm]
+@lilypond[quote,notime,relative=2]
\set Score.autoBeaming = ##f
-\set Score.automaticBars = ##f
-%\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
g,16_"1/16" g' s16
-}
@end lilypond
+@seealso
+@ref{beam}.
+
+
+@node stringendo
+@section stringendo
+
+ES: ?,
+I: stringendo,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: kiihdyttäen, nopeuttaen.
+
+[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
+climax.
+
+@seealso
+@ref{accelerando}.
+
@node strings
@section strings
commonly used in a symphony orchestra are violin, viola, violoncello,
and double bass.
+@seealso
+No cross-references.
+
@node strong beat
@section strong beat
FI: tahdin vahva isku.
@seealso
-
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @ref{scale degree}.
+The fourth @notation{scale degree}.
-@ref{functional harmony}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
@node submediant
S: submediant,
FI: alikeskisävel.
-The sixth @ref{scale degree}.
+The sixth @notation{scale degree}.
+
+@seealso
+@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
@node subtonic
The seventh @ref{scale degree}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
@node sul G
@section sul G
-ES: sobre la G,
+ES: sobre la cuerda de Sol,
I: sul g,
F: sur la G,
D: auf G, auf der G-Saite,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: G-kielellä.
Indicates that the indicated passage (or note) should be played on the
G string.
+@seealso
+No cross-references.
+
@node superdominant
@section superdominant
The sixth @ref{scale degree}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
+
@node supertonic
@section supertonic
The second @ref{scale degree}.
+@seealso
+@ref{functional harmony}, @ref{scale degree}.
+
@node symphony
@section symphony
S: symfoni,
FI: sinfonia.
-A symphony may be defined as a @ref{sonata} for orchestra.
+A symphony may be defined as a @emph{sonata} for orchestra.
+
+@seealso
+@ref{sonata}.
+
@node syncopation
contradiction between the underlaying (normal) pulse and the actual
(abnormal) rhythm.
-@lilypond[fragment,ragged-right]
-\time 4/4
-\relative c' {
- \partial 4
- d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | c2)
-}
+@lilypond[quote,relative=1]
+\time 2/4
+\partial 8 d16 dis
+e16 c'8 e,16 c'8 e,16 c' ~
+c4
@end lilypond
+@seealso
+No cross-references.
@node syntonic comma
@section syntonic comma
-ES: coma sintónica,
+ES: coma sintónica, coma de Dídimo,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
FI: syntoninen komma, terssien taajuusero luonnollisessa ja
Pytagorisessa viritysjärjestelmässä.
-Difference between the natural third and the third obtained by
-Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
+Named after Ptolemy's syntonic diatonic genus. Originally, the difference
+by which the ditone exceeds the pure major third obtained by Pythagorean
+tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
+Modern acoustical theory defines it as the interval by which four fifths exceed
+the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
+
+This comma is also known as the comma of Didymus, or didymic comma.
+
+@seealso
+@ref{Pythagorean comma}
@node system
S: system,
FI: nuottijärjestelmä.
-The collection of staves (@ref{staff}), two or more, as used for writing
+The collection of staves (@notation{staff}), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
+@seealso
+@ref{staff}.
+
@node temperament
@section temperament
Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
+@seealso
@ref{meantone temperament}, @ref{equal temperament}.
S: tempobeteckning,
FI: tempomerkintä.
-The rate of speed of a composition or a section thereof, ranging from
-the slowest to the quickest, as is indicated by tempo marks as
-@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
-@ref{presto}.
+The rate of speed of a composition or a section thereof, ranging from the
+slowest to the quickest, as is indicated by tempo marks as @notation{largo},
+@notation{adagio}, @notation{andante}, @notation{allegro}, and
+@notation{presto}.
+
+@seealso
+@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
+
@node tenor
S: tenor,
FI: tenori, korkea miesääni.
-The highest male voice (apart from @ref{counter tenor}).
+The highest @q{natural} male voice (apart from @notation{countertenor}).
+
+@seealso
+@ref{countertenor}.
@node tenth
FI: desimi.
@seealso
-
@ref{note value}.
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
+@seealso
+No cross-references.
+
@node third
@section third
FI: terssi.
@seealso
-
@ref{interval}.
@node thirty-second note
@section thirty-second note
-ES: fusa,
-I: biscroma,
-F: triple croche,
-UK: demisemiquaver,
-D: Zweiunddreissigstel, Zweiunddreissigstelnote,
-NL: twee-endertig@-ste noot,
-DK: toogtredivtedelsnode,
-S: trettiotvåondelsnot,
-FI: kolmanneskymmeneskahdesosanuotti.
+@itemize
+@item UK: demisemiquaver
+@item ES: fusa
+@item I: biscroma
+@item F: triple croche
+@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
+@item NL: twee@-endertig@-ste (32e) noot
+@item DK: toogtredivtedelsnode
+@item S: trettiotvåondelsnot
+@item FI: kolmaskymmeneskahdesosanuotti
+@end itemize
@seealso
-
@ref{note value}.
@node thirty-second rest
@section thirty-second rest
-ES: silencio de fusa,
-I: pausa di biscroma,
-F: huitième de soupir,
-UK: demisemiquaver rest,
-D: Zweiunddreissigstel@-pause,
-NL: 32e rust,
-DK: toogtredivtedelspause,
-S: trettiotvåondelspaus,
-FI: kolmanneskymmeneskahdesosatauko.
+@itemize
+@item UK: demisemiquaver rest
+@item ES: silencio de fusa
+@item I: pausa di biscroma
+@item F: huitième de soupir
+@item D: Zweiunddreissigstel@-pause
+@item NL: twee@-endertig@-ste (32e) rust
+@item DK: toogtredivtedelspause
+@item S: trettiotvåondelspaus
+@item FI: kolmaskymmeneskahdesosatauko
+@end itemize
@seealso
-
@ref{note value}.
@node thorough bass
@section thorough bass
-ES: bajo cifrado,
-I: basso continuo, basso numerato,
-F: basse chiffrée, basse continue,
-D: Generalbass, bezifferter Bass,
-NL: basso continuo, becijferde bas
-DK: generalbas,
-S: generalbas,
-FI: kenraalibasso, numeroitu basso.
-
-A method of indicating an accompaniment part by the bass notes only,
-together with figures designating the chief @ref{interval}s and
-@ref{chord}s to be played above the bass notes.
-
-@lilypond[fragment,line-width=13.0\cm]
-\context GrandStaff <<
- \context Staff = lh \relative c'' {
- \time 4/4
- \key es \major
- \clef treble
- << \context Voice = rha {
- \stemUp
- es4 d c bes | bes }
- \context Voice = rhb {
- \stemDown
- < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
- >>
- }
- <<
- \context Staff = rh \relative c' {
- \clef bass
- \key es \major
- es8 c d bes c as bes16 as g f | es4
- }
- \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
- >>
->>
-@end lilypond
+@seealso
+@ref{figured bass}.
@node tie
@section tie
-ES: ligadura de prolongación,
+ES: ligadura de prolongación, ligadura de unión,
I: legatura (di valore),
F: liaison,
D: Haltebogen, Bindebogen,
function of uniting them into a single sound (tone) equal to the
combined durations.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g2 ~ g4. }
+@lilypond[quote,notime,relative=2]
+g2 ~ g4. r8
@end lilypond
@section time
@seealso
-
@ref{meter}.
S: taktartssignatur,
FI: tahtiosoitus.
-@seealso
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
-@ref{meter}.
+@seealso
+@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
@node tone
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
-Music from the 20th century may be based on atonal sounds.
+@c Music from the 20th century may be based on atonal sounds. Meh, not so much
+
+@seealso
+No cross-references.
@node tonic
S: tonika,
FI: toonika.
-The first @ref{scale degree}.
+The first @notation{scale degree}.
@seealso
+@ref{functional harmony}, @ref{scale degree}.
-@ref{functional harmony}.
+
+@node transposing instrument
+@section transposing instrument
+
+ES: instrumento transpositor,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: transponoitava soitin.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+
+@item English horn (in F)
+
+@item Alto flute (in G)
+
+@end itemize
+
+@seealso
+@ref{concert pitch}.
@node transposition
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
}
@end lilypond
+@seealso
+No cross-references.
+
@node treble clef
@section treble clef
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantnøgle,
+DK: diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
@seealso
-
@ref{G clef}.
S: tremolo,
FI: tremolo.
-On stringed instruments (@ref{strings}) the quick reiteration of the
-same tone, produced by a rapid up-and-down movement of the bow (a).
-The term is also used for the rapid alternation (b) between two notes
-of a @ref{chord}, usually in the distance of a third (@ref{interval}).
+On stringed instruments:
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
+@enumerate
+
+@item The quick reiteration of the same tone, produced by a rapid
+up-and-down movement of the bow.
+
+@item Or, the rapid alternation between two notes of a @ref{chord}, usually
+in the distance of a third (@ref{interval}).
+
+@end enumerate
+
+@lilypond[quote,notime,relative=1]
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
\repeat tremolo 8 { e32_"b" g }
-}
@end lilypond
+@seealso
+@ref{strings}
+
@node triad
@section triad
FI: kolmisointu.
@seealso
-
@ref{chord}.
FI: trilli.
@seealso
-
@ref{ornament}.
FI: kolmijakoinen.
@seealso
-
@ref{meter}.
FI: trioli.
@seealso
-
@ref{note value}.
FI: tritonus.
@seealso
-
@ref{interval}.
@node tuning fork
@section tuning fork
-ES: diapasón,
+ES: diapasón, horquilla de afinación,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
S: stämgaffel,
FI: viritysavain.
-A two-pronged piece of steel used to indicate absolute pitch. Tuning
-forks give the international pitch for the tone @emph{a} (440
-vibrations per second).
+A two-pronged piece of steel used to indicate an absolute pitch, usually for
+@emph{A} above middle C (440 cps/Hz), which is the international tuning
+standard. Tuning forks for other pitches are available.
+
+@seealso
+@ref{middle C}.
@node tuplet
subdivisions.
@seealso
-
@ref{triplet}, @ref{note value}.
@node turn
@section turn
-ES: grupeto,
+ES: grupeto (circular),
I: gruppetto,
F: grupetto,
D: Doppelschlag,
FI: korukuvio.
@seealso
-
@ref{ornament}.
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
+@seealso
+No cross-references.
+
@node upbeat
@section upbeat
FI: kohotahti.
@seealso
-
@ref{anacrusis}
S: stämma,
FI: ääni, lauluääni.
-1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
-@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
-2.@tie{}A melodic layer or part of a polyphonic composition.
+@itemize
+
+ @item Human voices:
+
+ @itemize
+ @item @ref{soprano}
+ @item @ref{mezzo-soprano}
+ @item @ref{contralto}
+ @item @ref{tenor}
+ @item @ref{baritone}
+ @item @ref{bass}
+ @end itemize
+
+ @item A melodic layer or part of a polyphonic composition.
+
+@end itemize
+
+@seealso
+No cross-references.
+
+
+@node volta
+@section volta
+
+ES: vez, primera y segunda vez,
+I: volta,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: yksi kertauksen maaleista.
+
+[Italian: @q{time} (instance, not duration)] An ending, such as a first
+or second ending. LilyPond extends this idea to any number, and allows any text
+(not just a number) -- to serve as the @notation{volta} text.
+
+@seealso
+No cross-references.
@node weak beat
FI: tahdin heikko isku.
@seealso
-
@ref{beat}, @ref{measure}, @ref{rhythm}.
@node whole note
@section whole note
-ES: redonda,
-I: semibreve,
-F: ronde,
-UK: semibreve,
-D: Ganze, ganze Note,
-NL: hele noot,
-DK: helnode,
-S: helnot,
-FI: kokonuotti.
+@itemize
+@item UK: semibreve
+@item ES: redonda
+@item I: semibreve
+@item F: ronde
+@item D: Ganze, ganze Note
+@item NL: hele noot
+@item DK: helnode
+@item S: helnot
+@item FI: kokonuotti
+@end itemize
@seealso
-
@ref{note value}.
@node whole rest
@section whole rest
-ES: silencio de redonda,
-I: pausa di semibreve,
-F: pause,
-UK: semibreve rest,
-D: ganze Pause, ganztaktige Pause,
-NL: hele rust,
-DK: helnodespause,
-S: helpaus,
-FI: kokotauko.
+@itemize
+@item UK: semibreve rest
+@item ES: silencio de redonda
+@item I: pausa di semibreve
+@item F: pause
+@item D: ganze Pause, ganztaktige Pause
+@item NL: hele rust
+@item DK: helnodespause
+@item S: helpaus
+@item FI: kokotauko
+@end itemize
@seealso
-
@ref{note value}.
-
@node whole tone
@section whole tone
S: helton,
FI: kokoaskel.
-The @ref{interval} of a major second. The interval between two tones
+The interval of a major second. The interval between two tones
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-
+@seealso
+@ref{interval}.
@node woodwind
commonly used in a symphony orchestra are flute, oboe, clarinet,
saxophone, and bassoon.
+@seealso
+No cross-references.
-@node Duration names notes and rests
-@chapter Duration names, notes and rests
-
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .15 .26 .33 .26
-
-@item
- @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}
-@c extra @items make this table harder to read, so I removed them.
+@node Duration names notes and rests
+@chapter Duration names notes and rests
-@item @strong{longa}
- @tab longa
- @tab longa
- @tab longa
-@item
- @tab Longa
- @tab longa
- @tab longa
-@item
- @tab longa
- @tab longa
- @tab longa
+@multitable @columnfractions .12 .22 .22 .22 .22
-@item @strong{breve}
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab long
+ @tab long rest
@tab breve
+ @tab breve rest
+@item @strong{UK} @tab longa
+ @tab longa rest
@tab breve
- @tab brève / double-pause
-@item
+ @tab breve rest
+@item @strong{ES} @tab longa
+ @tab silencio de longa
+ @tab cuadrada
+ @tab silencio de cuadrada
+@item @strong{IT} @tab longa
+ @tab pausa di longa
+ @tab breve
+ @tab pausa di breve
+@item @strong{FR} @tab longa
+ @tab quadruple-pause
+ @tab brève
+ @tab double-pause
+@item @strong{DE} @tab Longa
+ @tab longa Pause
@tab Brevis
+ @tab brevis Pause
+@item @strong{NL} @tab longa
+ @tab longa rust
@tab brevis
+ @tab brevis rust
+@item @strong{DK} @tab longa
+ @tab longanodespause
@tab brevis
-@item
- @tab brevis
+ @tab brevis(nodes)pause
+@item @strong{SE} @tab longa
+ @tab longapaus
@tab brevis
- @tab cuadrada
+ @tab brevispaus
+@item @strong{FI} @tab longa-nuotti
+ @tab longa-tauko
+ @tab brevis-nuotti, kaksoiskoko@-nuotti
+ @tab brevis-tauko, kaksoiskoko@-tauko
-@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
+@end multitable
-@item @strong{half}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab whole note
+ @tab whole rest
+ @tab half note
+ @tab half rest
+@item @strong{UK} @tab semibreve
+ @tab semibreve rest
@tab minim
- @tab minima
- @tab blanche / demi-pause
-@item
- @tab Halbe
- @tab halve
- @tab halv
-@item
- @tab halv
- @tab puoli@-nuotti/@w{-tauko}
+ @tab minim rest
+@item @strong{ES} @tab redonda
+ @tab silencio de redonda
@tab blanca
+ @tab silencio de blanca
+@item @strong{IT} @tab semibreve
+ @tab pause di semibreve
+ @tab minima
+ @tab pausa di minima
+@item @strong{FR} @tab ronde
+ @tab pause
+ @tab blanche
+ @tab demi-pause
+@item @strong{DE} @tab ganze Note
+ @tab ganze Pause
+ @tab halbe Note
+ @tab halbe Pause
+@item @strong{NL} @tab hele noot
+ @tab hele rust
+ @tab halve noot
+ @tab halve rust
+@item @strong{DK} @tab helnode
+ @tab helnodespause
+ @tab halvnode
+ @tab halvnodespause
+@item @strong{SE} @tab helnot
+ @tab helpaus
+ @tab halvnot
+ @tab halvpaus
+@item @strong{FI} @tab kokonuotti
+ @tab kokotauko
+ @tab puolinuotti
+ @tab puolitauko
-@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
+@end multitable
-@item @strong{eighth}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab quarter note
+ @tab quarter rest
+ @tab eighth note
+ @tab eighth rest
+@item @strong{UK} @tab crotchet
+ @tab crotchet rest
@tab quaver
- @tab croma
- @tab croche / demi-soupir
-@item
- @tab Achtel
- @tab achtste
- @tab ottendedel
-@item
- @tab åttondel
- @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab quaver rest
+@item @strong{ES} @tab negra
+ @tab silencio de negra
@tab corchea
-
-@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 @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 @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
+ @tab silencio de corchea
+@item @strong{IT} @tab semiminima, nera
+ @tab pausa di semiminima, pausa di nera
+ @tab croma
+ @tab pausa di croma
+@item @strong{FR} @tab noire
+ @tab soupir*
+ @tab croche*
+ @tab demi-soupir
+@item @strong{DE} @tab Viertelnote
+ @tab Viertelpause
+ @tab Achtelnote
+ @tab Achtelpause
+@item @strong{NL} @tab kwartnoot
+ @tab kwartrust
+ @tab achtste noot
+ @tab achtste rust
+@item @strong{DK} @tab fjerdedelsnode
+ @tab fjerdedelspause
+ @tab ottendedelsnode
+ @tab ottendedelspause
+@item @strong{SE} @tab fjärdedelsnot
+ @tab fjärdedelspaus
+ @tab åttondelsnot
+ @tab åttondelspaus
+@item @strong{FI} @tab neljäsosa@-nuotti
+ @tab neljäsosa@-tauko
+ @tab kahdeksasosa@-nuotti
+ @tab kahdeksasosa@-tauko
@end multitable
+* About the French naming system: @emph{croche} refers to the note's "hook".
+Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
+hook}, @q{trebled hook}, and so on.
+The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
+rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
+a @emph{soupir}, and so on.
+Each of the following tables contains one type of note and its matching rest,
+with abbreviations that apply to both notes and rests. Just switch the part
+that means @q{note} with the part that means @q{rest}, for example:
-@node Pitch names
-@chapter Pitch names
-
-@table @code
-@item PITCH NAMES
-@end table
-
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
-
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
+@itemize
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
+@item English: 16th @strong{note}, 16th @strong{rest}
+@item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
+@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
-@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}
+@end itemize
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
+I put a dash @q{-} when I could not find a language-specific abbreviation for a
+duration name. If you know of one that I missed, please send it to me, care of
+the lilypond-user discussion list.
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixteenth note
+ @tab sixteenth rest
+ @tab 16th note
+@item @strong{UK} @tab semiquaver
+ @tab semiquaver rest
+ @tab -
+@item @strong{ES} @tab semicorchea
+ @tab silencio de semicorchea
+ @tab -
+@item @strong{IT} @tab semicroma
+ @tab pausa di semicroma
+ @tab -
+@item @strong{FR} @tab double croche
+ @tab quart de soupir
+ @tab -
+@item @strong{DE} @tab Sechzehntelnote
+ @tab Sechzehntelpause
+ @tab 16tel-Note
+@item @strong{NL} @tab zes@-ti@-ende noot
+ @tab zes@-ti@-ende rust
+ @tab 16e noot
+@item @strong{DK} @tab sekstendedelsnode
+ @tab sekstendedelspause
+ @tab -
+@item @strong{SE} @tab sextondelsnot
+ @tab sextondelspaus
+ @tab -
+@item @strong{FI} @tab kuudes@-toistaosa@-nuotti
+ @tab kuudes@-toistaosa@-tauko
+ @tab 16-osanuotti
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
+@end multitable
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab thirty-second note
+ @tab thirty-second rest
+ @tab 32nd note
+@item @strong{UK} @tab demisemiquaver
+ @tab demisemiquaver rest
+ @tab -
+@item @strong{ES} @tab fusa
+ @tab silencio de fusa
+ @tab -
+@item @strong{IT} @tab biscroma
+ @tab pausa di biscroma
+ @tab -
+@item @strong{FR} @tab triple croche
+ @tab huitième de soupir
+ @tab -
+@item @strong{DE} @tab Zweiunddreißig@-stelnote
+ @tab Zweiunddreißig@-stelpause
+ @tab 32tel-Note
+@item @strong{NL} @tab twee@-endertigste noot
+ @tab twee@-endertigste rust
+ @tab 32e noot
+@item @strong{DK} @tab toogtredivtedelsnode
+ @tab toogtredivtedelspause
+ @tab -
+@item @strong{SE} @tab trettio@-tvåondelsnot
+ @tab trettio@-tvåondelspaus
+ @tab -
+@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
+ @tab kolmas@-kymmenes@-kahdesosa@-tauko
+ @tab 32-osanuotti
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
+@end multitable
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixty-fourth note
+ @tab sixty-fourth rest
+ @tab 64th note
+@item @strong{UK} @tab hemidemisemiquaver
+ @tab hemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semifusa
+ @tab silencio de semifusa
+ @tab -
+@item @strong{IT} @tab semibiscroma
+ @tab pausa di semibiscroma
+ @tab -
+@item @strong{FR} @tab quadruple croche
+ @tab seizième de soupir
+ @tab -
+@item @strong{DE} @tab Vierundsechzigstelnote
+ @tab Vierundsechzigstelpause
+ @tab 64tel-Note
+@item @strong{NL} @tab vierenzestigste noot
+ @tab vierenzestigste rust
+ @tab 64e noot
+@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
+ @tab fireog@-tredsindstyven@-dedelspause
+ @tab -
+@item @strong{SE} @tab sextiofjärdedelsnot
+ @tab sextiofjärdedelspaus
+ @tab -
+@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
+ @tab kuudes@-kymmenes@-neljäsosa@-tauko
+ @tab 64-osanuotti
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
+@end multitable
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab one-hundred-twenty-eighth note
+ @tab one-hundred-twenty-eighth rest
+ @tab 128th note
+@item @strong{UK} @tab semihemidemisemiquaver
+ @tab semihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab garrapatea
+ @tab silencio de garrapatea
+ @tab -
+@item @strong{IT} @tab fusa
+ @tab pausa di fusa
+ @tab -
+@item @strong{FR} @tab quintuple croche
+ @tab trente-deuxième de soupir @tab -
+@item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
+ @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
+@item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
+ @tab honderd@-acht@-en@-twintigste rust
+ @tab 128e noot
+@item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
+ @tab hundrede@-otte@-og@-tyvendedels@-pause
+ @tab -
+@item @strong{SE} @tab hundratjugoåttondelsnot
+ @tab hundratjugoåttondelspaus
+ @tab -
+@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
+ @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
+ @tab 128-osanuotti
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
+@end multitable
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab two-hundred-fifty-sixth note
+ @tab two-hundred-fifty-sixth rest
+ @tab 256th note
+@item @strong{UK} @tab demisemihemidemisemiquaver
+ @tab demisemihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semigarrapatea
+ @tab silencio de semigarrapatea @tab -
+@item @strong{IT} @tab semifusa
+ @tab pausa di semifusa
+ @tab -
+@item @strong{FR} @tab sextuple croche
+ @tab soixante-quatrième de soupir @tab -
+@item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
+ @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
+@item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
+ @tab tweehonderd@-zesenvijftigste rust
+ @tab 256e noot
+@item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
+ @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
+ @tab -
+@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
+ @tab tvåhundra@-femtiosjättedelspaus
+ @tab -
+@item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
+ @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
+ @tab 256-osanuotti
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
+@end multitable
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
+@seealso
+@ref{mensural notation}
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
-@tab B @tab bes @tab b @tab b @tab b
-@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
-@tab h
+@node Pitch names
+@chapter Pitch names
+@c -is/-es endings for Danish per Rune Zedeler, pace
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+
+@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
+@headitem EN
+ @tab ES @tab I @tab F @tab D
+ @tab NL @tab DK @tab S @tab FI
+@item @strong{c} @tab do @tab do @tab ut @tab C
+ @tab c @tab c @tab c @tab c
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+ @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+ @tab des @tab des @tab dess @tab des
+@item @strong{d} @tab re @tab re @tab ré @tab D
+ @tab d @tab d @tab d @tab d
+@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+ @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+ @tab es @tab es @tab ess @tab es
+@item @strong{e} @tab mi @tab mi @tab mi @tab E
+ @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+ @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+ @tab fes @tab fes @tab fess @tab fes
+@item @strong{f} @tab fa @tab fa @tab fa @tab F
+ @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+ @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+ @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+ @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+ @tab ges @tab ges @tab gess @tab ges
+@item @strong{g} @tab sol @tab sol @tab sol @tab G
+ @tab g @tab g @tab g @tab g
+@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+ @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
+ @tab as @tab as @tab ass @tab as
+@item @strong{a} @tab la @tab la @tab la @tab A
+ @tab a @tab a @tab a @tab a
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+ @tab ais @tab ais @tab aiss @tab ais
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
+ @tab bes @tab b @tab b @tab b
+@item @strong{b} @tab si @tab si @tab si @tab H
+ @tab b @tab h @tab h @tab h
@end multitable
-
-
-
@menu
-* Literature used::
+* Literature used::
@end menu
@node Literature used
@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many
-more or less literal quotes from its articles have been included into
-the item explanation texts.
+@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1944.
+
+@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
+WSOY, 1976.
-@item Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
+Terminologie}. Kassel, 1980.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
-1980.
+@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
+Current English}, 3rd ed. London: Oxford University Press, 1974.
-@item Oxford Advanced Learner's Dictionary of Current English, Third
-Edition 1974.
+@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
+Springfield, Massachusetts: G. & C. Merriam Company, 1913.
-@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1986.
-@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
+@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
@end itemize
projects / lilypond.git / blobdiff