-\input texinfo @c -*-texinfo-*-
+\input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
+
@settitle Music Glossary
@setfilename music-glosssary.info
-@html
-<!--- @@WEB-TITLE@@=Music Glossary --->
-@end html
+@dircategory GNU music project
+@direntry
+* Glossary: (lilypond/music-glossary). Glossary of music terms.
+@end direntry
@ifhtml
This document is also available in @uref{music-glossary.ps.gz,gzipped
@titlepage
@title Music Glossary
-@author Christian Mondrup
-@author spanish by David Gonz@'alez
-@c License PD, BSD-ish, GNU GPL, GNU FDL?
+@author Christian Mondrup @c Original author of LilyPond glossary
+@c Danish glossary
+@author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
+@c French glossary
+@author Han-Wen Nienhuys @c Dutch glossary
+@author Jan Nieuwenhuizen @c Dutch glossary
+@author Dadiv Gonzalez @c Spanish glossary
+@author Bjoern Jacke @c German glossary
+@author Neil Jerram @c English glossary translations
+@author Mats Bengtsson @c Swedish glossary
+@author Adrian Mariano @c Italian glossary
+@author Heikki Junes @c Finnish glossary
+
+@c Fixes by Jean-Pierre Coulon and `Dirk'
+
-Copyright @copyright{} 1999--2002 by the authors
+Copyright @copyright{} 1999--2004 by the authors
+
+
+ Permission is granted to copy, distribute and/or modify this document
+ under the terms of the GNU Free Documentation License, Version 1.1
+ or any later version published by the Free Software Foundation,
+ without Invariant Sections.
+
@end titlepage
+
+@c FIXME: multiple omfcreators?
+@ignore
+@omfcreator Christian Mondrup
+@omfdescription Glossary of musical terms with translations
+@omftype user's guide
+@omfcategory Applications|Publishing
+@omflanguage English
+@end ignore
+
@ifnottex
@node Top
-@top
-@chapter Music Glossary
+@top Music Glossary
+@c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
@menu
@end menu
@end ifnottex
@ifnottex
-Christian Mondrup
-@*
-spanish by Davi Gonz@'alez
+@table @samp
+@item Adrian Mariano
+Italian glossary,
+@item Bjoern Jacke
+German glossary,
+@item Christian Mondrup
+Original author of LilyPond glossary, Danish glossary,
+@item Dadiv Gonzalez
+Spanish glossary,
+@item Fran@,{c}ois Pinard
+Original glossary of GNU music project, French glossary,
+@item Han-Wen Nienhuys
+Dutch glossary,
+@item Jan Nieuwenhuizen
+Dutch glossary,
+@item Mats Bengtsson
+Swedish glossary,
+@item Neil Jerram
+English glossary translations,
+@item Heikki Junes
+Finnish glossary translations.
+@end table
@*
-Copyright 1999-2002 by the authors
+Copyright 1999--2004 by the authors
+
-@c License PD, BSD-ish, GNU GPL, GNU FDL?
+ Permission is granted to copy, distribute and/or modify this document
+ under the terms of the GNU Free Documentation License, Version 1.1
+ or any later version published by the Free Software Foundation,
+ without Invariant Sections.
+
@*
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex@c
-@end iftex
-@ifhtml
--->
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
+@include macros.itexi
+
@ignore
-We don't use refs for Info:
+We do not use refs for Info:
- @w{@ar{}\word\}@c vs:
- @w{@ar{}@pxref{\word\}}@c
+ @w{@arrow{}\word\}@c vs:
+ @w{@arrow{}@pxref{\word\}}@c
they look too intrusive (says Han-Wen).
@end ignore
+
@c arrowref
@macro aref{word}
@iftex
-@w{@ar{}@strong{\word\}}@c
+@w{@arrow{}@strong{\word\}}@c
@end iftex
@ifhtml
-@ar{}@ref{\word\, @strong{\word\}}@c
+@arrow{}@ref{\word\, @strong{\word\}}@c
@end ifhtml
@ifinfo
-@w{@ar{}\word\}@c
+@w{@arrow{}\word\}@c
@end ifinfo
@end macro
@item UK - British English
@item DK - Danish
@item S - Swedish
-@item N - Norwegian
+@item FI - Finnish
@end itemize
This is an example reference, that points you to the @aref{accent}
entry.
-
-@table @strong
+@c All `@table @strong' replaced by `@table @samp'
+@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
+@table @samp
@aitem{A}
ES: la,
NL: a,
DK: a,
S: a,
-N: a.
+FI: A, a.
@aitem{accent}
ES: acento,
NL: accent,
DK: accent,
S: accent,
-N: ?.
+FI: aksentti, korostus.
The stress of one tone over others.
NL: voorteken,
DK: l@o{}st fortegn,
S: tillf@"alligt f@"ortecken,
-N: ?.
+FI: tilap@"ainen etumerkki.
@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
@c Akzidenz, NL: toevallig teken, I: accidento.
flat lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
gis1 s s gisis s s ges s s geses s s g!
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \override #'alignment = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"sharp " "db. sharp " "flat " "db. flat " natural
}
@end lilypond
NL: accelerando,
DK: accelerando,
S: accelerando,
-N: ?.
+FI: accelerando, kiihdytt@"aen.
Increase tempo.
NL: adagio,
DK: adagio,
S: adagio,
-N: adagio.
+FI: adagio, hitaasti.
It. comfortable, easy.
1. Slow tempo, slower -- especially in even meter -- than
NL: allegro,
DK: allegro,
S: allegro,
-N: allegro.
+FI: allegro, nopeasti.
It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
especially the first and last movements of a @aref{sonata}.
NL: alt,
DK: alt,
S: alt,
-N: alt.
+FI: altto, matala nais@"a@"ani.
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
NL: alt sleutel,
DK: altn@o{}gle,
S: altklav,
-N: ?.
+FI: alttoavain.
-C clef setting central C on the middle line of the staff
+C clef setting middle C on the middle line of the staff
@aref{C clef}.
+@aitem{ambit}
+ES: ambitus,
+I: ambitus,
+F: ambitus,
+D: ambitus,
+NL: ambitus,
+DK: ambitus,
+S: ambitus,
+FI: ambitus, @"a@"aniala, 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.
+
@aitem{ancient minor scale}
I: scala minore naturale,
F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
D: reines Moll,
-NL: ?,
+NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
-N: ?.
+FI: luonnollinen molliasteikko.
+
+@aref{diatonic scale} (ancient minor).
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c'' {
a1 b c d e f g a }
@end lilypond
NL: andante,
DK: andante,
S: andante,
-N: andante.
+FI: andante, k@"ayden.
Walking tempo/character.
NL: voorslag,
DK: forslag,
S: f@"orslag,
-N: ?.
+FI: appoggiatura, etuhele.
Ornamental note, usually a second, that is melodically connected with the main
-note that follows it. In music before the 19th century a. were usually
+note following it. In music before the 19th century a. were usually
performed on the beat, after that mostly before the beat. While the short
a. is performed as a short note regardless of the duration of the main note
the duration of the long a. is proportional to that of the main note.
-@lilypond[13pt]
-\context Voice \notes\relative c'' {
+@lilypond
+\context Voice \relative c'' {
\key d \major
\time 4/4
-\property Score.TextScript \set #'font-style = #'large
-<<d a fis>>4_"notation" r
-{ \property Voice.Stem \override #'flag-style = #""
+%\override Score.TextScript #'font-style = #'large
+<d a fis>4_"notation" r
+{ \override Stem #'flag-style = #'()
\grace g16
- \property Voice.Stem \revert #'flag-style
+ \revert Stem #'flag-style
}
fis8 e16 fis
-{ \property Voice.Stem \override #'flag-style = #""
+{ \override Stem #'flag-style = #'()
\grace a16
- \property Voice.Stem \revert #'flag-style
+ \revert Stem #'flag-style
}
g8 fis16 g |
\cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
-<<d a fis>>4_"performance" r g16 () fis e fis a () g fis g |
+\relative c'' {
+<d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
\cadenzaOn a4 \bar "||" \cadenzaOff }
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond[13pt]
-\notes\relative c'' {
+@lilypond
+\relative c'' {
\key as \major
\time 2/4
- \property Score.TextScript \set #'font-style = #'large
+% \override Score.TextScript #'font-style = #'large
\grace { bes16 } as8_"notation" as16 bes as8 g |
- \grace { [as16-( bes] } << c as >>4-)
- \grace { [as16-( bes] } << c as >>4-) \bar "||"
+ \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. } >
+ << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
+ \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
\bar "||"
}
@end lilypond
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
S: arpeggio,
-N: ?.
+FI: arpeggio, murtosointu.
-@lilypond[13pt]
-\notes \context PianoStaff <
+@lilypond[fragment]
+ \context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
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 {
+ << \context Voice = va {
\stemUp
- r16 e8. () e4 r16 e8. () e4 |
- r16 d8. () d4 r16 d8. () d4 }
+ r16 e8. ( e4) r16 e8. ( e4) |
+ r16 d8. ( d4) r16 d8. ( d4) }
\context Voice = vb {
\stemDown
- c2 c | c c } >
+ c2 c | c c } >>
}
->
+>>
@end lilypond
@aitem{ascending interval}
NL: stijgend interval,
DK:@w{ }stigende interval,
S: stigande intervall,
-N: ?.
+FI: nouseva intervalli.
A distance between a starting lower note and a higher ending note.
NL: overmatig interval,
DK: forst@o{}rret interval,
S: @"overstigande intervall,
-N: ?.
+FI: ylinouseva intervalli.
@aref{interval}.
-@aitem{autograph }
+@aitem{autograph}
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
NL: manuscript,
DK: h@aa{}ndskrift, autograf,
S: handskrift,
-N: ?.
+FI: k@"asinkirjoitettu nuotti.
1. A manuscript in the composer's own hand.
2. Music prepared for photoreproduction by freehand drawing,
-with only the aid of a straightedge ruler and T-square,
+with the aid of a straightedge ruler and T-square only,
which attempts to emulate engraving.
This required more skill than did engraving.
NL: b,
DK: h,
S: h,
-N: h.
+FI: H, h.
@aitemii{backfall,forefall}
@aref{appoggiatura}.
NL: maatstreep,
DK: taktstreg,
S: taktstreck,
-N: ?.
+FI: tahtiviiva.
@aitem{bar}
ES: comp@'as, @aref{measure}.
NL: bariton,
DK: baryton,
S: baryton,
-N: baryton.
+FI: baritoni, keskikorkuinen mies@"a@"ani.
The male voice intermediate between the @aref{bass} and the
@aref{tenor}.
NL: baritonsleutel,
DK: barytonn@o{}gle,
S: barytonklav,
-N: ?.
+FI: baritoniavain.
-C or F clef setting central C on the upper staff line.
+C or F clef setting middle C on the upper staff line.
@aref{C clef}, @aref{F clef}.
@aitem{bass clef}
NL: bassleutel,
DK: basn@o{}gle,
S: basklav,
-N: ?.
+FI: bassoavain.
-A clef setting with central C on the first top ledger line.
+A clef setting with middle C on the first top ledger line.
@aref{F clef}.
@aitem{bass}
NL: bas,
DK: bas,
S: bas,
-N: bas.
+FI: basso, matala mies@"a@"ani.
1. The lowest of men's voices.
2. Sometimes, especially in jazz music, used as
NL: waardestreep,
DK: bj@ae{}lke,
S: balk,
-N: ?.
+FI: palkki.
Line connecting a series of notes (shorter than a quarter note).
The number of beams determine the note value of the connected notes.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
-\notes\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[fragment,notime]
+\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 }
@end lilypond
@aitem{beat}
NL: tel,
DK: (takt)slag,
S: taktslag,
-N: ?.
+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.
-@lilypond[13pt]
+@lilypond[fragment]
\key g \major
\time 4/4
-\notes\relative c'' { g4 c b a | g1 \bar "||"}
+\relative c'' { g4 c b a | g1 \bar "||"}
\time 3/8
-\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
@aitem{bind}
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
-N: ?.
+FI: yhdist@"av@"a sulkumerkki.
Symbol at the start of a system connecting staves. Curly braces are used
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond[13pt]
-\notes\context GrandStaff <
+@lilypond[fragment]
+\context GrandStaff <<
\relative c''\context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >
+ \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@lilypond[13pt]
-\context StaffGroup <
-% \property StaffGroup.minVerticalAlign = #12
- \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >
+@lilypond[fragment]
+\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 "|." } >>
@end lilypond
@aitem{brass}
F: cuivres,
DK: messingbl@ae{}sere,
S: brassinstrument, m@"assingsinstrument,
-N: ?.
+FI: vaskisoitin.
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
NL: repercussieteken,
DK: vejrtr@ae{}kningstegn,
S: andningstecken,
-N: ?.
+FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
NL: brevis,
DK: brevis,
S: brevis,
-N: ?.
+FI: brevis.
@aref{note value} twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { g\breve }
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c'' { g\breve }
@end lilypond
@aitem{C}
NL: c,
DK: c,
S: c,
-N: c.
+FI: C, c.
@aitem{C clef}
ES: Clave de do,
NL: C-sleutel,
DK: c-n@o{}gle,
S: c-klav,
-N: ?.
+FI: C-avain.
-Clef symbol indicating the position of the central C. Used on all note
+Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.Clef \override #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\override Score.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c' {
\clef soprano c1 s s
\clef mezzosoprano c s s
\clef alto c s s
\clef baritone c s s
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \override #'alignment = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
}
@end lilypond
NL: cadens,
DK: kadence,
S: kadens,
-N: ?.
+FI: kadenssi, lopuke.
@aref{harmonic cadence}, @aref{functional harmony}.
NL: cadens,
DK: kadence,
S: kadens,
-N: ?.
+FI: kadenssi, lopuke.
An extended, improvisatory style section inserted near the end of
-movement. The purpose of a cadenza is to give the singer or player a chance to
-exhibit her technichal skill and not the least her ability to improvise. Since
+movement. The purpose of a cadenza is to give singers or players a chance to
+exhibit their technical skill and not the least their ability to improvise. Since
the middle of the 19th century, however, most cadences have been written down
by the composer.
NL: canon,
DK: kanon,
S: kanon,
-N: ?.
+FI: kaanon, tarkka j@"aljittely.
@aref{counterpoint}.
NL: cent,
DK: cent,
S: cent,
-N: ?.
+FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
equally tempered @aref{semitone}).
NL: akkoord,
DK: akkord,
S: ackord,
-N: ?.
+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 +
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Voice.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- <<g b d>>1 s s
- <<g bes d>> s s
- <<g bes des>> s s
- <<g b dis>> s s
- <<g b d f>> s s
- <<g b d f a>> s s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+ <g b d>1 s s
+ <g bes d> s s
+ <g bes des> s s
+ <g b dis> s s
+ <g b d f> s s
+ <g b d f a> s s
}
\context Lyrics \lyrics{
- \property Lyrics . LyricText \override #'alignment = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"major " "minor " "diminished " "augmented "
"seventh-chord " "ninth-chord "
}
NL: chromatische toonladder,
DK: kromatisk skala,
S: kromatisk skala,
-N: ?.
+FI: kromaattinen asteikko.
-A scale consisting of all 11 @aref{semitone}s.
+A scale consisting of all 12 @aref{semitone}s.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
@aitem{chromaticism}
NL: chromatiek,
DK: kromatik,
S: kromatik,
-N: ?.
+FI: kromatiikka.
Use of tones extraneous to a @aref{diatonic scale} (minor, major).
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
-N: ?.
+FI: moodi, kirkkos@"avellaji.
@aref{diatonic scale}.
NL: sleutel,
DK: n@o{}gle,
S: klav,
-N: ?.
+FI: avain, nuottiavain.
@aref{C clef}, @aref{F clef}, @aref{G clef}.
+@aitem{cluster}
+
+A @emph{cluster} is a range of simultaneously sounding pitches that
+may change over time. The set of available pitches to apply usually
+depends on the acoustic source. Thus, in piano music, a cluster
+typically consists of a continuous range of the semitones as provided
+by the piano's fixed set of a chromatic scale. In choral music, each
+singer of the choir typically may sing an arbitrary pitch within the
+cluster's range that is not bound to any diatonic, chromatic or other
+scale. In electronic music, a cluster (theoretically) may even cover
+a continuous range of pitches, thus resulting in colored noise, such
+as pink noise.
+
+Clusters can be denoted in the context of ordinary staff notation by
+engraving simple geometrical shapes that replace ordinary notation of
+notes. Ordinary notes as musical events specify starting time and
+duration of pitches; however, the duration of a note is expressed by
+the shape of the note head rather than by the horizontal graphical
+extent of the note symbol. In contrast, the shape of a cluster
+geometrically describes the development of a range of pitches
+(vertical extent) over time (horizontal extent). Still, the
+geometrical shape of a cluster covers the area in which any single
+pitch contained in the cluster would be notated as an ordinary note.
+
+@lilypond[fragment,relative=2,verbatim]
+ \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
+@end lilypond
+
+
@aitem{comma}
I: comma,
F: comma,
NL: komma,
DK: komma,
S: komma,
-N: ?.
+FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @aref{temperament}.
NL: samengesteld interval,
DK: sammensat interval,
S: sammansatt intervall,
-N: ?.
+FI: oktaavia laajempi intervalli.
Intervals larger than an octave.
NL: complementair interval,
DK: komplement@ae{}rinterval,
S: komplement@"arintervall (?),
-N: ?.
+FI: t@"aydent@"av@"a intervalli.
@aref{inverted interval}.
I: moto congiunto,
F: mouvement conjoint,
D: schrittweise, stufenweise Bewegung,
-NL: ?,
+NL: stapsgewijze, trapsgewijze beweging,
DK: trinvis bev@ae{}gelse,
S: stegvis r@"orelse,
-N: ?.
+FI: asteittainen liike.
+
+Progressing melodically by intervals of a second. Opposite of @aref{disjunct movement}.
-Melody moving in the narrow steps of the scale.
-@lilypond[13pt]
+@lilypond[fragment]
\key g \major \time 4/4
-\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
@aitem{consonance}
NL: consonant,
DK: konsonans,
S: konsonans,
-N: ?.
+FI: konsonanssi, sopusointi.
@aref{harmony}.
NL: contralto,
DK: alt,
S: alt,
-N: ?.
+FI: kontra-altto.
@aref{alto}.
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
-N: ?.
+FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
From latin @emph{punctus contra punctum}, note against note. The combination
into a single musical fabric of lines or parts which have distinct melodic
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[11pt,noquote]
-\property Score.TimeSignature \override #'style = #'()
-\notes\context PianoStaff <
+@lilypond[fragment,staffsize=11]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
\clef treble
- < \context Voice = rha {
+ << \context Voice = rha {
\stemUp
r1 | r2 r8 g'8 bes d, |
cis4 d r8 e!16 f g8 f16 e |
\stemDown
r1 | r | r | r2 s8
}
- >
+ >>
}
\context Staff = SB \relative c' {
\clef bass
\key bes \major
- < \context Voice = lha {
+ << \context Voice = lha {
\stemUp
r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
r8 a16 g f8 g16 a bes8 g e! cis' |
\context Voice = lhb {
\stemDown
r1 | r | r | r2 s8
- } >
+ } >>
}
->
+>>
@end lilypond
@aitem{counter tenor}
NL: contratenor,
DK: kontratenor,
S: kontratenor, counter tenor,
-N: kontratenor.
+FI: kontratenori.
@aref{contralto}.
@aitem{Copying, Music}
A music copyist did fast freehand scores and parts on preprinted staff lines
-for performance. Some of their conventions (e.g., the placement of noteheads
+for performance. Some of their conventions (e.g., the placement of note heads
on stems) varied slightly from those of engravers. Some of their working
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.
NL: crescendo,
DK: crescendo,
S: crescendo,
-N: crescendo.
+FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond[13pt]
+@lilypond[fragment]
\key g \major \time 4/4
-\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." }
+\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
@aitem{cue-notes}
NL: stichnoten,
DK: stiknoder,
S: inprickningar,
-N: ?.
+FI: vihjenuotit.
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
notation such as via the editio vaticana dating back to the beginning
of the 20th century
-@lilypond[13pt]
+@lilypond
\score {
- \notes {
- \property Staff.Custos \set #'neutral-position = #4
- \property Staff.Custos \set #'neutral-direction = #-1
- \property Staff.Custos \set #'adjust-if-on-staffline = ##t
-
- \property Staff.Custos \set #'style = #'hufnagel
- c'1^"Custos style = \#'hufnagel"
- \break << d' a' f''>>1
+ {
+% \override Staff.Custos #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #-1
+
+ \override Staff.Custos #'style = #'hufnagel
+ c'1
+ \break < d' a' f''>1
}
- \paper {
- \translator {
- \StaffContext
+ \layout {
+ \context {
+ \Staff
\consists Custos_engraver
}
+ raggedright = ##t
}
}
@end lilypond
NL: d,
DK: d,
S: d,
-N: d.
+FI: D, d.
@aitem{da capo}
ES: da capo,
NL: da capo,
DK: da capo,
S: da capo,
-N: ?.
+FI: da capo, alusta.
The term indicates repetition of the piece from the beginning to the end or to
a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
NL: dal segno,
DK: dal segno,
S: dal segno,
-N: ?.
+FI: dal segno, lähtien merkistä.
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond[13pt]
-\property Voice.TextScript \set #'font-style = #'large
-\property Voice.TextScript \set #'font-shape = #'italic
+@lilypond[fragment]
+%\override TextScript #'font-style = #'large
+\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
+\relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
@end lilypond
@aitem{decrescendo}
NL: decrescendo,
DK: decrescendo,
S: decrescendo,
-N: decrescendo.
+FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond[13pt]
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\key g \major \time 4/4
- d4 \> c b a | \! g1 \bar "|."
+ d4 \> c b a | g1 \! \bar "|."
}
@end lilypond
NL: dalend interval,
DK: faldende interval,
S: fallande intervall,
-N: ?.
+FI: laskeva intervalli.
A distance between a starting higher note and a lower ending note.
NL: diatonische toonladder,
DK: diatonisk skala,
S: diatonisk skala,
-N: ?.
+FI: diatoninen asteikko.
A scale consisting of 5@w{ }@aref{whole tone}s and
2@w{ }@aref{semitone}s (S). Scales played on the white keys
of a piano keybord are diatonic.
-The church modes are used in gregorial chant and pre baroque early music but
+The church modes are used in gregorial chant and in pre baroque early music but
also to some extent in newer jazz music.
-@lilypond[13pt,notime,linewidth=110mm]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+@lilypond[fragment,notime,linewidth=110\mm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \context Staff \relative c' {
c1 d
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \context Staff \relative c' {
d1
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c' {
- \property Voice.TextScript \set #'padding = #-4
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c' {
+ \override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c' {
f1 g a
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
g1 a
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
\context Lyrics \lyrics {
Mixolydian
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\context Lyrics \lyrics {
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c' {
c1 d
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \property Voice.TextScript \set #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
NL: verminderd interval,
DK: formindsket interval,
S: f@"orminskat intervall,
-N: ?.
+FI: v@"ahennetty intervalli.
@aref{interval}.
NL: diminuendo,
DK: diminuendo,
S: diminuendo,
-N: diminuendo.
+FI: diminuendo, hiljentyen.
@aref{decrescendo}.
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
-NL: ?,
+NL: sprongsgewijze beweging,
DK: springende bev@ae{}gelse,
S: hoppande r@"orelse,
-N: ?.
+FI: melodian hyppiv@"a liike.
-Melody moving in steps greater than those of the
-scale. Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second.
+Opposite of @aref{conjunct movement}.
-@lilypond[13pt]
+@lilypond[fragment]
\key a \major
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 8 e8 |
a4. gis8 b a e cis |
fis2 d4. \bar "||" }
NL: dissonant interval; dissonant,
DK: dissonerende interval, dissonans,
S: dissonans,
-N: ?.
+FI: dissonanssi, dissonoiva intervalli, riitasointi.
@aref{harmony}.
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
-N: ?.
+FI: dominanttinoonisointu.
@aref{chord}, @aref{functional harmony}.
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
S: dominantseptimackord,
-N: ?
+FI: dominanttiseptimisointu.
@aref{chord}, @aref{functional harmony}.
NL: dominant,
DK: dominant,
S: dominant,
-N: ?.
+FI: dominantti, huippusointu.
The fifth @aref{scale degree},
@aref{functional harmony}.
NL: dorische toonladder,
DK: dorisk skala,
S: dorisk tonart,
-N: ?.
+FI: doorinen moodi.
@aref{diatonic scale}.
NL: punt,
DK: punkt,
S: punkt,
-N: ?.
+FI: piste.
@aref{dotted note}.
NL: gepuncteerde noot,
DK: punkteret node,
S: punkterad not,
-N: ?.
+FI: pisteellinen nuotti.
@aref{note value}.
NL: dubbele voorslag,
DK: dobbelt forslag,
S: dubbelslag,
-N: ?.
+FI: kaksoisappogiatura, kaksoisetuhele.
@aref{appoggiatura}.
NL: dubbele maatstreep,
DK: dobbeltstreg,
S: dubbelstreck,
-N: ?.
+FI: kaksoistahtiviiva.
Indicates the end of a section within a movement.
NL: dubbelgepuncteerde noot,
DK: dob@-belt@-punk@-te@-ret node,
S: dub@-bel@-punk@-te@-rad not,
-N: ?.
+FI: kaksoispisteellinen nuotti.
@aref{note value}.
NL: dubbelmol,
DK: dob@-belt-b,
S: dubbelbe,
-N: ?.
+FI: kaksoisalennusmerkki.
@aref{accidental}.
NL: dubbelkruis,
DK: dob@-belt@-kryds,
S: dubbelkors,
-N: ?.
+FI: kaksoisylennysmerkki.
@aref{accidental}.
NL: dubbele triller,
DK: dobbelttrille,
S: dubbeldrill,
-N: ?.
+FI: kaksoistrilli.
A simultaneous trill on two notes, usually in the distance of a third.
NL: tweedelige maatsoort,
DK: todelt takt,
S: tv@aa{}takt,
-N: ?.
+FI: kaksoistempo.
@aref{meter}.
NL: duool,
DK: duol,
S: duol,
-N: ?.
+FI: duoli.
@aref{note value}.
NL: duur, lengte,
DK: varighed,
S: tonl@"angd,
-N: ?.
+FI: kesto, aika-arvo.
@aref{note value}.
NL: e,
DK: e,
S: e,
-N: e.
+FI: E, e.
@aitem{eighth note}
ES: corchea,
NL: achtste noot,
DK: ottendedelsnode,
S: @aa{}ttondelsnot,
-N: ?.
+FI: kahdeksasosanuotti.
@aref{note value}.
NL: achtste rust,
DK: ottendedelspause,
S: @aa{}ttonddelspaus,
-N: ?.
+FI: kahdeksasosatauko.
@aref{note value}.
NL: steken,
DK: nodestik,
S: nottryck,
-N: ?.
+FI: painatus.
Engraving means incising or etching a metal plate for
printing. Photoengraving means drawing music with ink in a manner
NL: enharmonisch,
DK: enharmonisk,
S: enharmonisk,
-N: ?.
+FI: enharmoninen.
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- gis1 s s as s s <<des g,!>> s s <<cis g!>> s s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+ gis1 s s as s s <des g,!> s s <cis g!> s s
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \override #'alignment = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
@end lilypond
NL: ge@-lijk@-zwe@-ven@-de temperatuur,
DK: ligesv@ae{}vende temperatur,
S: liksv@"avande temperatur,
-N: ?.
+FI: tasavireinen.
Tuning system dividing the octave into 12 equal @aref{semitone}s
(precisely 100 @aref{cent}s). @aref{temperament}.
NL: voordrachtsteken,
DK: foredragsbetegnelse,
S: f@"oredragsbeteckning,
-N: ?.
+FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
@aref{forte}, @aref{crescendo}), 2. tempo (for example
NL: f,
DK: f,
S: f,
-N: f.
+FI: F, f.
@aitem{F clef}
ES: Clave de Fa,
NL: F-sleutel,
DK: F-n@o{}gle,
S: f-klav,
-N: ?.
+FI: F-avain.
The position between the dots of the key symbol is the line of the F below
central@w{ }C. Used on the third, fourth and fifth note line. A
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Staff.Clef \override #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\notes\relative c {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\override Staff.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
+\oldaddlyrics
+\relative c {
\clef varbaritone
f1
\clef bass
f1
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \override #'alignment = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"baritone "
"bass "
"sub-bass "
NL: fermate,
DK: fermat,
S: fermat,
-N: ?.
+FI: fermaatti, pid@"ake.
Prolonged note or rest of indefinite duration.
-@lilypond[13pt]
+@lilypond[fragment]
\time 4/4
-\notes\relative c'' {
+\relative c'' {
a4 b c2^\fermata \bar "|."
}
@end lilypond
NL: kwint,
DK: kvint,
S: kvint,
-N: kvint.
+FI: kvintti.
@aref{interval}.
NL: vingerzetting,
DK: fingers@ae{}tning,
S: fingers@"attning,
-N: ?.
+FI: sormitus.
The methodical use of fingers in the playing of instruments.
-@aitem{flag,pennant}
+@aitemii{flag,pennant}
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
NL: vlaggetje,
DK: fane,
S: flagga,
-N: ?.
+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
@aref{note value}.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
g8_"1/8" s8
g16_"1/16" s8
g32_"1/32" s8
NL: mol,
DK: b,
S: bef@"ortecken,
-N: ?.
+FI: alennusmerkki.
@aref{accidental}.
NL: forte,
DK: forte,
S: forte,
-N: ?.
+FI: forte, voimakkaasti.
Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.
NL: kwart,
DK: kvart,
S: kvart,
-N: ?.
+FI: kvartti.
@aref{interval}.
NL: fuga,
DK: fuga,
S: fuga,
-N: ?.
+FI: fuuga.
@aref{counterpoint}.
I: armonia funzionale,
F: @'etude des functions,
D: Funktionslehre,
-NL: ?,
+NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
S: funktionsl@"ara,
-N: ?.
+FI: harmoniaj@"arjestelm@"a.
A system of harmonic analysis. It is based on the idea that, in a given key,
there are only three functionally different chords: tonic (T, the chord on the
dominant (D, the chord on the fifth note). Other are considered to be
variants of the base chords.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
- <<g e c >>1 << a f d >> << b g e >>
- <<c a f >> << d b g >> << e c a >> << f d b >> }
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Voice \relative c'' {
+ <g e c >1 < a f d > < b g e >
+ <c a f > < d b g > < e c a > < f d b > }
\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
@end lilypond
NL: g,
DK: g,
S: g,
-N: g.
+FI: G, g.
@aitem{G clef}
ES: Clave de sol,
NL: G-sleutel,
DK: g-n@o{}gle,
S: g-klav,
-N: ?.
+FI: G-avain.
A clef symbol indicating the G above central@w{ }C. Used on the first
and second note lines. A digit 8 above the clef symbol indicates that
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Staff.Clef \set #'full-size-change = ##t
-\property Score.LyricText \set #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\override Staff.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
+\oldaddlyrics
+\relative c'' {
\clef french
g1 s s
\clef treble
g s s
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \override #'alignment = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"french violin clef "
"violin clef "
"octaved up "
NL: glissando,
DK: glissando,
S: glissando,
-N: glissando.
+FI: glissando, liukuen.
Letting the pitch slide fluently from one note to the other.
@aitem{grace notes}
-SP: ?,
+ES: ?,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
NL: versieringen,
DK: forsiringer,
S: ornament,
-N: ?.
+FI: korunuotit.
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @aref{appoggiatura}.
NL: piano systeem,
DK: klaversystem,
S: ackolad, b@"ojd klammer,
-N: ?.
+FI: kaksoisnuottiviivasto.
@aref{brace}.
NL: grave, ernstig,
DK: grave,
S: grave,
-N: ?.
+FI: grave, raskaasti.
Slow, solemn.
NL: halve noot,
DK: halvnode,
S: halvnot,
-N: ?.
+FI: puolinuotti.
@aref{note value}.
@aitem{half rest}
-SP: ?,
+ES: ?,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
NL: halve, rust,
DK: halvnodespause,
S: halvpaus,
-N: ?.
+FI: puolitauko.
@aref{note value}.
NL: harmonische cadens,
DK: harmonisk kadence,
S: (harmonisk) kadens,
-N: ?.
+FI: harmoninen kadenssi.
Sequence of chords that terminate a musical phrase or
section. @aref{functional harmony}.
-@lilypond[13pt]
-\notes\context PianoStaff <
+@lilypond[fragment]
+\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
\context Voice
- \partial 4 << c g e >>4 |
- << c a f >> << b g d >> << c g e >>2
+ \partial 4 < c g e >4 |
+ < c a f > < b g d > < c g e >2
}
- \property Score.LyricText \set #'font-style = #'large
- \addlyrics
+% %\override Score.LyricText #'font-style = #'large
+ \oldaddlyrics
\context Staff = SB \relative c {
\clef bass
\partial 4 c4 | f, g c2
\context Lyrics \lyrics {
T S D T
}
->
+>>
@end lilypond
@aitem{harmony}
NL: harmonie,
DK: samklang,
S: samklang,
-N: ?.
+FI: harmonia, yhteissointi.
Tones sounding simultaneously. Two note harmonies fall into the categories
@emph{consonances} and @emph{dissonances}.
Consonances:
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\context Voice \notes\relative c'' {
- <<g g>>1_"unisone " s
- <<g b>>_"third " s
- <<g c>>_"fourth " s
- <<g d'>>_"fifth " s
- <<g e'>>_"sixth " s
- <<g g'>>_"octave " s
- <<g b'>>_"decime" s s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
+ <g g>1_"unisone " s
+ <g b>_"third " s
+ <g c>_"fourth " s
+ <g d'>_"fifth " s
+ <g e'>_"sixth " s
+ <g g'>_"octave " s
+ <g b'>_"decime" s s
}
@end lilypond
Dissonances:
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\context Voice \notes\relative c'' {
- <<g a>>1_"second " s s
- <<g f'>>_"seventh " s s
- <<g a'>>_"ninth" s s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
+ <g a>1_"second " s s
+ <g f'>_"seventh " s s
+ <g a'>_"ninth" s s
}
@end lilypond
NL: homofonie,
DK: homofoni,
S: homofoni,
-N: ?.
+FI: homofonia, yksi@"a@"anisyys.
Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @aref{polyphony}.
NL: interval,
DK: interval,
S: intervall,
-N: ?.
+FI: intervalli, kahden s@"avelen korkeusero.
Difference in pitch between two notes. Intervals may be perfect, minor, major,
diminished, or augmented. The augmented fourth and the diminished fifth are
because they consist of three @aref{whole tone}s. The addition
of such two forms an octave.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
- << g g >>1 s
- << g as >>^"minor" s
- << g a! >> s
- << g ais >>^"augm" s
- << gis bes >>^"dimin" s
- << g! bes >>^"minor" s
- << g b! >>^"major" s
- << g bis >>^"augm" s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Voice \relative c'' {
+ < g g >1 s
+ < g as >^"minor" s
+ < g a! > s
+ < g ais >^"augm" s
+ < gis bes >^"dimin" s
+ < g! bes >^"minor" s
+ < g b! >^"major" s
+ < g bis >^"augm" s
}
\context Lyrics \lyrics {
"unisone " "second " "second " "second "
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- << g c >>^"perfect" s
- << g cis >>^"augm" s
- << g d' >>^"perfect" s
- << g des' >> ^"dim" s
- << gis es' >>^"dimin" s
- << g! es' >>^"minor" s
- << g e'! >>^"major" s
- << g eis' >>^"augm" s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+ < g c >^"perfect" s
+ < g cis >^"augm" s
+ < g d' >^"perfect" s
+ < g des' > ^"dimin" s
+ < gis es' >^"dimin" s
+ < g! es' >^"minor" s
+ < g e'! >^"major" s
+ < g eis' >^"augm" s
}
\context Lyrics \lyrics {
"fourth " "fourth " "fifth " "fifth "
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-\property Score.TextScript \set #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- << gis f'! >>1^"dimin" s
- << g! f'! >>^"minor" s
- << g fis' >>^"major" s
- << g g' >> s
- << g as' >>^"minor" s
- << g a'! >>^"major" s
- << g bes' >>^"minor" s
- << g b'! >>^"major" s
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+ < gis f'! >1^"dimin" s
+ < g! f'! >^"minor" s
+ < g fis' >^"major" s
+ < g g' > s
+ < g as' >^"minor" s
+ < g a'! >^"major" s
+ < g bes' >^"minor" s
+ < g b'! >^"major" s
}
\context Lyrics \lyrics {
"seventh " "seventh " "seventh " "octave "
NL: interval inversie,
DK: omvendingsinterval,
S: intervallets omv@"andning,
-N: ?.
+FI: k@"a@"anteisintervalli.
The difference between an interval and an octave.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\context Staff \notes\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[fragment,notime]
+\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 "||"
}
@end lilypond
NL: reine stemming,
DK: ren stemning,
S: ren st@"amning,
-N: ?.
+FI: puhdas viritys.
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds. @aref{temperament}.
NL: toonsoort,
DK: toneart,
S: tonart,
-N: ?.
+FI: tonaliteetti.
According to the 12@w{ }tones of the @aref{chromatic scale}
there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
NL: toon@-soort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
-N: ?.
+FI: s@"avellajiosoitus.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @aref{accidental}.
NL: largo,
DK: largo,
S: largo,
-N: largo.
+FI: largo, hitaasti, leve@"asti.
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
NL: leidtoon,
DK: ledetone,
S: ledton,
-N: ?.
+FI: johtos@"avel.
The seventh @aref{scale degree}, a @aref{semitone} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
NL: hulplijntje,
DK: hj@ae{}lpelinie,
S: hj@"alplinje,
-N: ?.
+FI: apuviiva.
A ledger line is an extension of the staff.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { a,1 s c'' }
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c'' { a,1 s c'' }
@end lilypond
@aitem{legato}
NL: legato,
DK: legato,
S: legato,
-N: ?.
+FI: legato, sitoen.
-To be performed without any perceptible interruption between the notes (a)
-unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and
-@aref{staccato} (d).
+To be performed (a) without any perceptible interruption between the notes,
+unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
+(d) @aref{staccato}.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\addlyrics
-\context Staff \notes\relative c'' {
- c4( d )e \bar "||"
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\oldaddlyrics
+\context Staff \relative c'' {
+ c4-( d e-) \bar "||"
c4-- d-- e-- \bar "||"
- c4-.( d-. )e-. \bar "||"
+ c4-.-( d-. e-.-) \bar "||"
c4-. d-. e-. \bar "||"
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \set #'font-style = #'large
+% \override Lyrics .LyricText #'font-style = #'large
a
b "" ""
c
NL: le@-lie@-vij@-ver,
DK: liliedam,
S: liljedamm,
-N: ?.
+FI: liljalampi.
A pond with lilies floating in it, also the name of a music typesetter.
+@aitem{ligature}
+
+A ligature is a coherent graphical symbol that represents at least two
+distinct notes. Ligatures originally appeared in the manuscripts of
+Gregorian chant notation roughly since the 9th century to denote
+ascending or descending sequences of notes. In early notation,
+ligatures were used for monophonic tunes (Gregorian chant) and very
+soon denoted also the way of performance in the sense of articulation.
+With the invention of the metric system of the white mensural
+notation, the need for ligatures to denote such patterns disappeared.
+
+
+
@aitem{line}
ES: l@'{@dotless{i}}nea,
I: linea,
NL: lijn,
DK: nodelinie,
S: notlinje,
-N: ?.
+FI: viiva, nuottiviiva.
@aref{staff}.
I: appoggiatura lunga,
F: appoggiature longue,
D: langer Vorschlag,
+NL: Lange voorslag,
DK: langt forslag,
S: l@aa{}ngt f@"orslag,
-N: ?.
+FI: pitk@"a appoggiatura, pitk@"a etuhele.
@aref{appoggiatura}.
NL: longa,
DK: longa,
S: longa,
-N: longa.
+FI: longa.
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
- \property Voice.NoteHead \set #'style = #'mensural
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c'' {
+ \override NoteHead #'style = #'mensural
g\longa
}
@end lilypond
NL: liedtekst,
DK: .,
S: .,
-N: ..
+FI, sanoitus.
@aitem{major interval}
ES: intervalo mayor,
NL: groot interval,
DK: stort interval,
S: stort intervall,
-N: ?.
+FI: suuri intervalli.
@aref{interval}.
NL: majeur,
DK: dur,
S: dur,
-N: dur.
+FI: duuri.
@aref{diatonic scale}.
I: accordatura mesotonica,
F: temp@'erament m@'esotonique,
D: mittelt@"onige Stimmung,
-NL: ?,
+NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
-N: ?.
+FI: keskis@"avelviritys.
Temperament yielding acoustically pure thirds by decreasing the natural fifth
by 16@w{ }@aref{cent}s. Due to the non-circular character of this
@aref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
-@aitem{measure, bar}
+@aitemii{measure,bar}
ES: comp@'as,
I: misura, battuta,
F: mesure,
NL: maat,
DK: takt,
S: takt,
-N: takt.
+FI: tahti.
A group of @aref{beat}s (units of musical time) the first of which
bears an accent. Such groups in numbers of two or more recur consistently
D: Mediante,
DK: mediant,
S: mediant,
-N: ?.
+FI: keskis@"avel.
1. The third @b{scale degree}.
2. A @aref{chord} having its base tone
replaced by its lower mediant (variant tonic). @aref{functional
harmony}, @aref{relative key}.
+@aitem{melisma}
+
+NL: melisma,
+FI: melisma, laulettavan tavun s@"avelkuvio.
+
+A melisma (plural: melismata) is a group of notes or tones sung on one
+syllable in plainsong
+
@aitem{melodic cadence}
@aref{cadenza}.
-@aitem{meter, time}
+@aitemii{meter,time}
ES: comp@'as,
I: tempo, metro,
F: indication de m@'esure,
NL: maatsoort,
DK: taktart,
S: taktart,
-N: ?.
+FI: aika-arvo.
The basic scheme of @aref{note value}s and
@aref{accent}s which remains unaltered throughout a composition
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
-@lilypond[13pt]
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\time 3/4
\key f \major
c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond
-@lilypond[13pt]
-\notes\relative c' {
+@lilypond[fragment]
+\relative c' {
\time 6/8
\key f \major
f8 f f f a16 g a f |
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond[13pt]
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\time 5/4
\key g \major
d4 b8 g b d d c a4 |
NL: metronoom,
DK: me@-tro@-nom,
S: me@-tro@-nom,
-N: metronom.
+FI: metronomi.
Device indicating the exact tempo of a piece. @aref{metronomic
indication}.
NL: metronoom aanduiding,
DK: metronomtal,
S: metronomangivelse,
-N: ?.
+FI: metronomiosoitus.
Exact tempo indication (in beats per minute). Also denoted by
M.M. (M@"alzels Metronom).
NL: mezzosopraan,
DK: mezzosopran,
S: mezzosopran,
-N: mezzosopran.
+FI: mezzosopraano.
The female voice between @aref{soprano} and
@aref{contralto}.
NL: centrale@w{ }c,
DK: enstreget@w{ }c,
S: ettstruket@w{ }c,
-N: ?.
+FI: keski-C.
First C below the 440 Hz A.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Staff.Clef \set #'full-size-change = ##t
-\notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\override Staff.Clef #'full-size-change = ##t
+\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
NL: mineur,
DK: mol,
S: moll,
-N: ?.
+FI: molli.
@aref{diatonic scale}.
NL: klein interval,
DK: lille interval,
S: litet intervall,
-N: ?.
+FI: pieni intervalli.
@aref{interval}.
NL: modus,
DK: skala,
S: modus, skala,
-N: ?.
+FI: moodi, kirkkos@"avelasteikko.
@aref{church mode}, @aref{diatonic scale}.
NL: modulatie,
DK: modulation,
S: modulering,
-N: ?.
+FI: modulaatio, s@"avellajin vaihdos.
Moving from one @aref{key} to another. For example, the second
subject of a @aref{sonata form} movement modulates to the dominant
NL: mordent,
DK: mordent,
S: mordent,
-N: ?.
+FI: mordent, korukuvio.
@aref{ornament}.
NL: motief,
DK: motiv,
S: motiv,
-N: ?.
+FI: teema, s@"avelaihe.
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond[13pt]
-\property Score.TimeSignature \override #'style = #'()
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
\key g \major
\partial 8 g16_"------" fis |
NL: deel,
DK: sats,
S: sats,
-N: ?.
+FI: osa.
Greater musical works like @aref{symphony} and
@aref{sonata} most often consist of several -- more or less --
D: mehrtaktige Pause,
DK: flertaktspause,
S: flertaktspaus,
-N: ?.
+FI: usean tahdin mittainen tauko.
-@lilypond[13pt]
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
a1
- \property Score.skipBars=##t R1*3
+ \set Score.skipBars = ##t R1*3
a1
}
@end lilypond
NL: herstellingsteken,
DK: op@-l@o{}sningstegn,
S: @aa{}terst@"allningstecken,
-N: ?.
+FI: palautusmerkki.
@aref{accidental}.
NL: noon,
DK: none,
S: nona,
-N: ?.
+FI: nooni.
@aref{interval}.
NL: noot,
DK: node,
S: not,
-N: ?,
+FI: nuotti.
Notes are signs by means of which music is fixed in writing. The term is also
used for the sound indicated by a note, and even for the key of the piano
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
-N: ?.
+FI: nuotin p@"a@"a.
A head like sign which indicates pitch by its position on a
@aref{staff} provided with a @aref{clef}, and duration
NL: nootwaarde,
DK nodev@ae{}rdi,
S: notv@"arde,
-N: ?.
+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} is used.
-@lilypond[13pt,notime]
-\property Score.TextScript \set #'font-style = #'large
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
- \property Voice.NoteHead \override #'style = #'mensural
+@lilypond[fragment,notime]
+%\override Score.TextScript #'font-style = #'large
+\set Score.automaticBars = ##f
+\relative c'' {
+ \override NoteHead #'style = #'mensural
g\longa_"longa" g\breve_"breve"
- \property Voice.NoteHead \revert #'style
+ \revert NoteHead #'style
g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
@end lilypond
-@lilypond[13pt,notime]
-\property Score.TextScript \set #'font-style = #'large
-\property Score.barNonAuto = ##t
-\notes\relative c'' {
+@lilypond[fragment,notime]
+%\override Score.TextScript #'font-style = #'large
+\set Score.automaticBars = ##f
+\relative c'' {
r\longa_"longa" r\breve_"breve"
r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond[13pt]
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
- g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"
- g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" }
+ g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
+ g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
@end lilypond
Alternatively note values may be subdivided by other ratios. Most common is
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[13pt]
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment]
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
\times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond[13pt]
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
g4 g g \bar "||"
NL: octaaf,
DK: oktav,
S: oktav,
-N: ?.
+FI: oktaavi.
@aref{interval}.
NL: versiering,
DK: forsiring,
S: ornament,
-N: ?.
+FI: koru, hele.
Most commonly used is the @emph{trill}, the rapid alternation of a given note
with the diatonic @aref{second} above it. In the music from the
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[13pt]
-<
+@lilypond[fragment]
+<<
\context Staff = sa {
- \property Score.TextScript \set #'font-style = #'large
- \notes\relative c'' {
+% \override Score.TextScript #'font-style = #'large
+ \relative c'' {
c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
c2. c32 b c b c b c b | c1
c2. b32 c b c \times 4/5 { b c b c b } | c1
}
->
+>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
@emph{prall} (inverted mordent).
-@lilypond[13pt]
-<
+@lilypond[fragment]
+<<
\context Staff = sa {
- \property Score.TextScript \set #'font-style = #'large
- \notes\relative c'' {
+% \override Score.TextScript #'font-style = #'large
+ \relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
e'4_"prall" d\prall c2 \bar "||"
}
}
- \notes\relative c'' {
- a4 [c16 b a b] c2
- g4 a [b16 a b8] a4
- e'4 [e32 d e d ~ d8] c2
+ \relative c'' {
+ a4 c16[ b a b] c2
+ g4 a b16-[ a b8] a4
+ e'4 e32[ d e d ~ d8] c2
}
->
+>>
@end lilypond
@aref{appoggiatura}.
NL: alternatief,
DK: ossia,
S: ossia,
-N: ?.
+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
NL: partij,
DK: stemme,
S: st@"amma,
-N: ?.
+FI: stemma, instrumenttiosuus.
1. In instrumental or choral music the music for the single instrument
or voice. 2. in contrapuntal music @aref{counterpoint} the single
NL: slagwerk,
DK: slagt@o{}j,
S: slagverk,
-N: ?.
+FI: ly@"om@"asoittimet.
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
NL: rein interval,
DK: rent interval,
S: rent intervall,
-N: ?.
+FI: puhdas intervalli.
@aref{interval}.
NL: frase, zin,
DK: frase,
S: fras,
-N: ?.
+FI: fraasi, lause.
A natural division of the melodic line, comparable to a sentence of speech.
NL: frasering,
DK: frasering,
S: fra@-se@-ring,
-N: ?.
+FI: fraseeraus, j@"asent@"aminen.
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
NL: piano,
DK: piano,
S: piano,
-N: ?.
+FI, piano, hiljaa.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.
NL: toonhoogte,
DK: toneh@o{}jde,
S: tonh@"ojd,
-N: ?.
+FI: s@"avelkorkeus.
@aitem{pizzicato}
ES: pizzicato,
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
-N: ?.
+FI: pizzicato, n@"app@"aillen.
Play by plucking the strings.
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
-N: ?.
+FI: polyfonia, moni@"a@"anisyys.
Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @aref{counterpoint}.
NL: presto, Sehr schnell,
DK: presto,
S: presto,
-N: ?.
+FI: presto, hyvin nopeasti.
-Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
+Very quick, i.e. quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
@aitem{Pythagorean comma}
NL: komma van Pythagoras,
DK: pythagor@ae{}isk komma,
S: pytagoreiskt komma,
-N: ?.
+FI: pytagorinen komma.
A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
+24 @aref{cent}s higher than the@w{ }C obtained by adding
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
NL: kwartool,
DK: kvartol,
S: kvartol,
-N: ?.
+FI: kvartoli.
@aref{note value}.
NL: kwartnoot,
DK: fjerdedelsnode,
S: fj@"ardedelsnot,
-N: ?.
+FI: nelj@"annesosanuotti.
@aref{note value}.
NL: kwart rust,
DK:@w{ }fjerdedelspause,
S: fj@"ardedelspaus,
-N: ?.
+FI: nelj@"annesosatauko.
@aref{note value}.
NL: kwintool,
DK: kvintol,
S: kvintol,
-N: ?.
+FI: kvintoli.
@aref{note value}.
NL: rallentando,
DK: rallentando,
S: rallentando,
-N: rallentando.
+FI. rallerdando, hidastuen.
Abbreviation "rall.". @aref{ritardando}.
I: tonalit@`a relativa,
F: tonalit@'e relative,
D: Paralleltonart,
+NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
-N: ?.
+FI: rinnakkaiss@"avellaji.
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
+@lilypond[fragment,notime]
+\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 "||"
}
@end lilypond
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
+@lilypond[fragment,notime]
+\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 "||"
}
NL: herhaling,
DK: gen@-ta@-gel@-se,
S: repris,
-N: ?.
+FI: toisto.
-@lilypond[13pt]
+@lilypond[fragment]
\key g \major
\time 4/4
-\notes\relative c'' {
+\relative c'' {
\repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
}
@end lilypond
NL: rust,
DK: pause,
S: paus,
-N: ?.
+FI: tauko.
@aref{note value}.
NL: ritme,
DK: rytme,
S: rytm,
-N: ?.
+FI: rytmi.
(a) Metrical rhythm in which every time value is a multiple or fraction of a
fixed unit of time, called @aref{beat}, and in which the normal
NL: ritardando,
DK: ritardando,
S: ritardando,
-N: ?.
+FI. ritardando, hidastuen,
Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
NL: ritenuto,
DK: ritenuto,
S: ritenuto,
-N: ?.
+FI: ritenuto, hidastaen.
Immediate reduction of speed.
NL: toonladder,
DK: Skala,
S: skala,
-N: ?.
+FI: asteikko, s@"avelasteikko.
@aref{diatonic scale}.
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
-N: ?.
+FI: s@"avelaste, asteikon s@"avel.
Names and symbols used in harmonic analysis to denote tones of the scale as
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.LyricText \set #'font-style = #'large
-%\property Lyrics.minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\set minVerticalAlign = #8
+\oldaddlyrics
+\context Staff \relative c' {
c1 d e f g a b c
}
\context Lyrics \lyrics {
- < { I II III IV V VI VII I }
- { T "" "" S D } >
+ << { I II III IV V VI VII I }
+ { T "" "" S D } >>
}
@end lilypond
NL: partituur,
DK: partitur,
S: partitur,
-N: ?.
+FI: partituuri.
-A copy of orchestral, choral or chamber music showing what each instrument is
+A copy of orchestral, choral, or chamber music showing what each instrument is
to play, each voice to sing, having each part arranged one underneath the
other on different staves @aref{staff}.
NL: secunde,
DK: sekund,
S: sekund,
-N: ?.
+FI: sekunti.
The @aref{interval} between two neigbouring tones of a scale. A
@aref{diatonic scale} consists of alternating
NL: halve toon,
DK: halvtone,
S: halvton,
-N: ?.
+FI: puolis@"avel.
The @aref{interval} of a minor second. The (usually) smallest
interval in European composed music. The interval between two neighbouring
semitone. An octave may be divided into 12@w{ }semitones.
@aref{interval}, @aref{chromatic scale}.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { g1 gis s a bes s b! c }
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c'' { g1 gis s a bes s b! c }
@end lilypond
@aitem{seventh}
NL: septiem,
DK: septim,
S: septim,
-N: ?.
+FI: septimi.
@aref{interval}.
NL: sextool,
DK: sekstol,
S: sextol,
-N: ?.
+FI: sekstoli.
@aref{note value}.
NL: kruis,
DK: kryds,
S: korsf@"ortecken,
-N: ?.
+FI: korotusmerkki.
@aref{accidental}.
NL: zes@-ti@-ende noot,
DK: sekstendedelsnode,
S: sextondelsnot,
-N: ?.
+FI: kuudestoistaosanuotti.
@aref{note value}.
NL: zestiende rust,
DK: sekstendedelspause,
S: sextondelspaus,
-N: ?.
+FI: kuudesosatauko.
@aref{note value}.
NL: sext,
DK: sekst,
S: sext,
-N: ?.
+FI: seksti.
@aref{interval}.
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
S: sextiofj@"ardedelsnot,
-N: ?.
+FI: kuudeskymmenesnelj@"asosanuotti.
@aref{note value}.
NL: vierenzestigste rust,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
S: sextiofj@"ardedelspaus,
-N: ?.
+FI: kuudeskymmenesnelj@"asosatauko.
@aref{note value}.
ES: ligadura,
I: legatura (di portamento or espressiva),
F: liaison, coul@'e,
-D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen,
-NL: binding, bindingsboog,
+D: Bogen, Legatobogen, Phrasierungsbogen,
+NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
S: b@aa{}ge,
-N: ?.
+FI: kaari.
A slur above or below a group of notes indicates that they are to be played
@aref{legato}, e.g., with one stroke of the violin bow or with one
NL: solmizatie,
DK: solmisation,
S: solmisation,
-N: ?.
+FI: suhteelliset laulunimet.
General term for systems of designating the degrees of the
@aref{scale}, not by letters, but by syllables (@emph{do}
NL: sonate,
DK: sonate,
S: sonat,
-N: ?.
+FI: sonaatti.
In its present-day meaning a sonata denotes an instrumental composition for
piano or for some other instrument with piano accompaniment, which consists of
NL: hoofdvorm, sonatevorm,
DK: sonateform,
S: sonatform,
-N: ?.
+FI: sonaattimuoto.
A form used frequently for single movements of the @aref{sonata},
@aref{symphony}, quartet, etc. A movement written in sonata form
falls into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces his musical
-ideas, consisting of a number of themes; in the development section he
-"develops" this material, and in the recapitulation he repeats the exposition,
-with certain modifications, however. The exposition contains a number of themes
+@emph{recapitulation}. In the exposition the composer introduces some musical
+ideas, consisting of a number of themes; in the development section the composer
+"develops" this material, and in the recapitulation the composer repeats the exposition,
+with certain modificationsr. The exposition contains a number of themes
which fall into two groups, often called first and second subject. Other
melodies occurring in each group are considered as continuations of these
two. The second theme is in another key, normally in the key of the
NL: sopraan,
DK: sopran,
S: sopran,
-N: ?.
+FI: sopraano, korkea nais@"a@"ani.
The highest female voice.
NL: staccato,
DK: staccato,
S: staccato,
-N: ?.
+FI: staccato, lyhyesti, ter@"av@"asti.
Playing the note(s) short. Staccato is indicated by a dot above or below the
-notehead.
+note head.
-@lilypond[13pt]
+@lilypond[fragment]
\key d \major
\time 4/4
-\notes\relative c'' {
+\relative c'' {
\partial 8 a8 |
d4-\staccato cis-\staccato b-\staccato cis-\staccato |
d2. \bar "||"
}
@end lilypond
-@aitem{staff}
+@aitemii{staff,pl. staves}
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: port@'ee,
NL: (noten)balk, partij,
DK: nodesystem,
S: notsystem,
-N: ?.
+FI: nuottiviivasto.
-pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
+A series of (normally@w{ }5) horizontal lines upon and between
which the musical notes are written, thus indicating (in connection
with a @aref{clef}) their pitch. Staves for
@aref{percussion} instruments may have fewer lines.
NL: stok,
DK: hals,
S: skaft,
-N: ?.
+FI: nuottipalkki.
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[13pt,notime]
-\property Score.autoBeaming = ##f
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,notime]
+\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
NL: strijkers,
DK: strygere,
S: str@aa{}kar,
-N: ?.
+FI: jouset.
A family of stringed musical instruments played with a bow. Strings commonly
used in a symphony orchestra are violin, viola, violoncello, and double bass.
NL: thesis,
D: betonet taktslag,
S: betonat taktslag,
-N: ?.
+FI: tahdin vahva isku.
@aref{beat}, @aref{accent}, @aref{measure},
@aref{rhythm}.
NL: subdominant,
DK: subdominant,
S: subdominant,
-N: ?.
+FI: subdominantti, alidominantti.
The fourth @aref{scale degree}. @aref{functional
harmony}.
NL: submediant,
DK: Submediant,
S: submediant,
-N: ?.
+FI: alikeskis@"avel.
The sixth @aref{scale degree}.
NL: subtonica,
DK: Subtonika,
S: subtonika,
-N: ?.
+FI: subtoonika, alitoonika.
The seventh @aref{scale degree}.
NL: superdominant,
DK: superdominant,
S: superdominant,
-N: ?.
+FI: ylidominantti.
The sixth @aref{scale degree}.
NL: supertonica,
DK: supertonika,
S: supertonika,
-N: ?.
+FI: ylitoonika.
The second @aref{scale degree}.
NL: symfonie,
DK: symfoni,
S: symfoni,
-N: ?.
+FI: sinfonia.
A symphony may be defined as a @aref{sonata} for orchestra.
NL: syncope,
DK: synkope,
S: synkop,
-N: ?.
+FI: synkooppi.
Any deliberate upsetting of the normal pulse of @aref{meter},
@aref{accent} and @aref{rhythm}. Our system of musical
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond[13pt]
+@lilypond[fragment]
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 4
d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | ) c2
+ e c'4 e,8 c'4 e,8 c' ( | c2)
}
@end lilypond
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-N: ?.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
NL: systeem,
DK: system,
S: system,
-N: ?.
+FI: nuottij@"arjestelm@"a.
The collection of staves @aref{staff}, two or more, as used for
writing down of keyboard, chamber, choral, or orchestral music.
I: temperamento,
F: temp@'erament,
D: Stimmung, Temperatur,
-NL: temperament,
+NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
-N: ?.
+FI: viritysj@"arjestelm@"a.
Systems of tuning in which the intervals deviate from the acoustically pure
intervals. @aref{meantone temperament}, @aref{equal
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
-N: ?.
+FI: tempomerkint@"a.
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
NL: tenor,
DK: tenor,
S: tenor,
-N: ?.
+FI: tenori, korkea mies@"a@"ani.
The highest voice of men (apart from @aref{counter tenor}).
NL: deciem,
DK: decim,
S: decima,
-N: ?.
+FI: desimi.
@aref{note value}.
NL: terts,
DK: terts,
S: ters,
-N: ?.
+FI: terssi.
@aref{interval}.
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
S: trettiotv@aa{}ondelsnot,
-N: ?.
+FI: kolmanneskymmeneskahdesosanuotti.
@aref{note value}.
NL: 32e rust,
DK: toogtredivtedelspause,
S: trettiotv@aa{}ondelspaus,
-N: ?.
+FI: kolmanneskymmeneskahdesosatauko.
@aref{note value}.
I: basso continuo, basso numerato,
F: basse chiffr@'ee,
D: Generalbass, bezifferter Bass,
-NL: basso continuo,
+NL: basso continuo, becijferde bas
DK: generalbas,
S: generalbas,
-N: ?.
+FI: kenraalibasso, numeroitu basso.
A method of indicating an accompaniment part by the bass notes only, together
with figures designating the chief @aref{interval}s and
@aref{chord}s to be played above the bass notes.
-@lilypond[13pt]
-\context GrandStaff <
- \context Staff = lh \notes\relative c'' {
+@lilypond[fragment]
+\context GrandStaff <<
+ \context Staff = lh \relative c'' {
\time 4/4
\key es \major
\clef treble
- < \context Voice = rha {
+ << \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 }
- >
+ < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
+ >>
}
- \addlyrics
- \context Staff = rh \notes\relative c' {
+ \oldaddlyrics
+ \context Staff = rh \relative c' {
\clef bass
\key es \major
es8 c d bes c as bes16 as g f | es4
}
\context Lyrics \lyrics {
- \property Lyrics . LyricText \set #'font-style = #'Large
- \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12)
- < { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >
+ \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
+ << { "" "6" "" "4" "" "6" "" "" "6" "4" }
+ { "" "" "" "2" "" "" "" "" "" "2" } >>
}
->
+>>
@end lilypond
@aitemii{tie,bind}
I: legatura (di valore),
F: liaison,
D: Haltebogen,
-NL: overbinding,
+NL: overbinding, bindingsboog,
DK: bindebue,
S: bindeb@aa{}ge, @"overbindning,
-N: ?.
+FI: sitominen.
A curved line, identical in appearance with the @aref{slur}, which
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound equal to the combined durations.
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\notes\relative c'' { g2 ~ g4. }
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+\relative c'' { g2 ~ g4. }
@end lilypond
@aitem{time signature}
NL: maatsoort,
DK: taktangivelse,
S: taktartssignatur,
-N: ?.
+FI: tahtiosoitus.
@aref{meter}.
NL: toon,
DK: tone,
S: ton,
-N: ?.
+FI: @"a@"ani.
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
NL: tonica,
DK: tonika,
S: tonika,
-N: ?.
+FI: toonika.
The first @aref{scale degree}.
@aref{functional harmony}.
NL: transpositie,
DK: transposition,
S: transponering,
-N: ?.
+FI: transponointi.
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[13pt]
+@lilypond[fragment]
\context Staff {
\time 3/4
- \notes\relative c'' {
+ \relative c'' {
\key g \major
d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
}
}
@end lilypond
-@lilypond[13pt]
+@lilypond[fragment]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
NL: viool sleutel,
DK:@w{ }diskantn@o{}gle,
S: diskantklav,
-N: ?.
+FI: diskanttiavain.
@aref{G clef}.
NL: tremolo,
DK: tremolo,
S: tremolo,
-N: ?.
+FI: tremolo.
On stringed instruments (@aref{strings}) the quick reiteration of
the same tone, produced by a rapid up-and-down movement movement of the bow
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[13pt,notime]
-\property Score.barNonAuto = ##t
-\property Score.TextScript \set #'font-style = #'large
-\notes\relative c' {
+@lilypond[fragment,notime]
+\set Score.automaticBars = ##f
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
\repeat "tremolo" 8 { e32_"b" g }
NL: drieklank,
DK: treklang,
S: treklang,
-N: ?.
+FI: kolmisointu.
@aref{chord}.
NL: triller,
DK: trille,
S: drill,
-N: ?.
+FI: trilli.
@aref{ornament}.
NL: driedelige maatsoort,
DK: tredelt takt,
S: tretakt,
-N: ?.
+FI: kolmijakoinen.
@aref{meter}.
NL: triool,
DK: triol,
S: triol,
-N: ?.
+FI: trioli.
@aref{note value}.
NL: tritoon,
DK: tritonus,
S: tritonus,
-N: ?.
+FI: tritonus.
@aref{interval}.
NL: stemvork,
DK: stemmegaffel,
S: st@"amgaffel,
-N: ?.
+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.)
NL: dubbelslag,
DK: dobbeltslag,
S: dubbelslag,
-N: ?.
+FI: korukuvio.
-???
+@aref{ornament}.
@aitem{unison}
ES: un@'{@dotless{i}}sono,
NL: unisono,
DK: unison,
S: unison,
-N: ?.
+FI: unisono, yksi@"a@"anisesti.
Playing of the same notes or the same melody by various instruments (voices)
or by the whole orchestra (choir), either at exactly the same pitch or in a
NL: opmaat,
DK: optakt,
S: upptakt,
-N: ?.
+FI: kohotahti.
Initial note(s) of a melody occurring before the first bar
line. @aref{measure}, @aref{meter}.
-@lilypond[13pt]
+@lilypond[fragment]
\key f \major
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 4 f4 | bes4. a8 bes4 c |
- bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" }
+ bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
@aitem{voice}
NL: stem,
DK: stemme,
S: st@"amma,
-N: ?,
+FI: @"a@"ani, laulu@"a@"ani.
1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
@aref{contralto}, @aref{tenor},
NL: arsis,
DK: ubetonet taktslag,
S: obetonat taktslag,
-N: ?.
+FI: tahdin heikko isku.
@aref{beat}, @aref{measure}, @aref{rhythm}.
NL: hele noot,
DK: helnode,
S: helnot,
-N: ?.
+FI: kokonuotti.
@aref{note value}.
NL: hele rust,
DK: helnodespause,
S: helpaus,
-N: ?.
+FI: kokotauko.
@aref{note value}.
NL: hele toon,
DK: heltone,
S: helton,
-N: ?.
+FI: kokoaskel.
The @aref{interval} of a major second. The interval between two
tones on the piano keyboard with exactly one key between them -- including
NL: houtblazers,
DK tr@ae{}bl@ae{}sere,
S: tr@"abl@aa{}sare,
-N: ?.
+FI: puupuhaltimet.
A family of blown wooden musical instruments. Today some of these instruments
are actually made from metal. The woodwind instruments commonly used in a
@page
-@table @strong
+@table @samp
@item DURATION NAMES, NOTES AND RESTS
@end table
-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
+@multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
+@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
@item
@item
@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab
+Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
@item
@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab
+halve @tab halv @tab halv @tab puoli- @tab
@item
@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab
+Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
@item
@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab @aa{}tton@-del @tab
+achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
@item
@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
-@tab
+@tab kuudestoistaosa- @tab
@item
@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste
-@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab
+@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab kolmaskymmeneskahdesosa- @tab
@item
@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
-sextio@-fj@"arde@-del @tab
+sextio@-fj@"arde@-del @tab kuudeskymmenesnelj@"asosa- @tab
@end multitable
-@c @item @tab @tab @tab @tab @tab @tab @tab @tab
+@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
@page
-@table @strong
+@table @samp
@item PITCH NAMES
@end table
-@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125
+@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N}
+@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
@item
@
-@table @strong
+@table @samp
@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.
-Hugo Riemanns Musiklexicon, Berlin 1929
+Hugo Riemanns Musiklexicon, Berlin 1929.
Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+Webster's Revised Unabridged Dictionary, Springfield 1913.
+
@end table
@bye
projects / lilypond.git / blobdiff