-\input texinfo @c -*-texinfo-*-
+\input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
+
@settitle Music Glossary
@setfilename music-glosssary.info
+@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
@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
-@table @code
+@table @samp
@item Adrian Mariano
Italian glossary,
@item Bjoern Jacke
@ignore
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
@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
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,
flat lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
gis1 s s gisis s s ges s s geses s s g!
}
\context Lyrics \lyrics {
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 also may denote
+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}
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@lilypond[notime]
+@aref{diatonic scale} (ancient minor).
+
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
a1 b c d e f g a }
@end lilypond
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
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
\key d \major
\time 4/4
}
g8 fis16 g |
\cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
+\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
-\notes\relative c'' {
+\relative c'' {
\key as \major
\time 2/4
% \override Score.TextScript #'font-style = #'large
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment]
+ \context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
@aref{interval}.
-@aitem{autograph }
+@aitem{autograph}
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
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.
Line connecting a series of notes (shorter than a quarter note).
The number of beams determine the note value of the connected notes.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
-\notes\relative c'' {
+\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
The base counting value and the number of them per measure is indicated at
the start of the music.
-@lilypond
+@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}
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond
-\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 "|." } >>
@end lilypond
-@lilypond
+@lilypond[fragment]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
- \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+ \relative c'' \context Staff = SA { \clef treble g4 e c2 }
+ \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
@aitem{brass}
@aref{note value} twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }
@end lilypond
@aitem{C}
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
\override Score.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
+\oldaddlyrics
+\context Staff \relative c' {
\clef soprano c1 s s
\clef mezzosoprano c s s
\clef alto c s s
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.
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
<g b d>1 s s
<g bes d> s s
<g bes des> s s
A scale consisting of all 12 @aref{semitone}s.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c' { c1 cis d dis e f fis g gis a ais b c }
+\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
@aitem{chromaticism}
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[relative=1,verbatim]
+@lilypond[fragment,relative=2,verbatim]
\apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
@end lilypond
S: stegvis r@"orelse,
FI: asteittainen liike.
-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second. Opposite of @aref{disjunct movement}.
-@lilypond
+
+@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}
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[staffsize=11]
-\override Score.TimeSignature #'style =\turnOff
-\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
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond
+@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}
@lilypond
\score {
- \notes {
+ {
% \override Staff.Custos #'neutral-position = #4
\override Staff.Custos #'neutral-direction = #-1
c'1
\break < d' a' f''>1
}
- \paper {
+ \layout {
\context {
- \StaffContext
+ \Staff
\consists Custos_engraver
}
raggedright = ##t
NL: dal segno,
DK: dal segno,
S: dal segno,
-FI: dal segno, merkkiin asti.
+FI: dal segno, lähtien merkistä.
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond
+@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}
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\key g \major \time 4/4
d4 \> c b a | g1 \! \bar "|."
}
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[notime,linewidth=110\mm]
+@lilypond[fragment,notime,linewidth=110\mm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+\oldaddlyrics
+ \context Staff \relative c' {
c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+\oldaddlyrics
+ \context Staff \relative c' {
d1
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+\oldaddlyrics
+ \relative c' {
\override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+\oldaddlyrics
+ \relative c' {
f1 g a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+\oldaddlyrics
+ \relative c'' {
g1 a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+\oldaddlyrics
+ \relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+\oldaddlyrics
+ \relative c' {
c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+\oldaddlyrics
+ \relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+\oldaddlyrics
+ \relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+\oldaddlyrics
+ \relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
S: hoppande r@"orelse,
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
+@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 "||" }
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
gis1 s s as s s <des g,!> s s <cis g!> s s
}
\context Lyrics \lyrics {
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\relative c {
+\oldaddlyrics
+\relative c {
\clef varbaritone
f1
\clef bass
Prolonged note or rest of indefinite duration.
-@lilypond
+@lilypond[fragment]
\time 4/4
-\notes\relative c'' {
+\relative c'' {
a4 b c2^\fermata \bar "|."
}
@end lilypond
The methodical use of fingers in the playing of instruments.
-@aitem{flag,pennant}
+@aitemii{flag,pennant}
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
less than a quarter note. The number of flags determines the
@aref{note value}.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
g8_"1/8" s8
g16_"1/16" s8
g32_"1/32" s8
dominant (D, the chord on the fifth note). Other are considered to be
variants of the base chords.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+\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}$\\mid$" }
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
+\oldaddlyrics
+\relative c'' {
\clef french
g1 s s
\clef treble
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,
@aref{note value}.
@aitem{half rest}
-SP: ?,
+ES: ?,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
Sequence of chords that terminate a musical phrase or
section. @aref{functional harmony}.
-@lilypond
-\notes\context PianoStaff <<
+@lilypond[fragment]
+\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
< c a f > < b g d > < c g e >2
}
% %\override Score.LyricText #'font-style = #'large
- \addlyrics
+ \oldaddlyrics
\context Staff = SB \relative c {
\clef bass
\partial 4 c4 | f, g c2
Consonances:
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
<g g>1_"unisone " s
<g b>_"third " s
<g c>_"fourth " s
Dissonances:
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+\context Voice \relative c'' {
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
because they consist of three @aref{whole tone}s. The addition
of such two forms an octave.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+\oldaddlyrics
+\context Voice \relative c'' {
< g g >1 s
< g as >^"minor" s
< g a! > s
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
< g c >^"perfect" s
< g cis >^"augm" s
< g d' >^"perfect" s
- < g des' > ^"dim" s
+ < g des' > ^"dimin" s
< gis es' >^"dimin" s
< g! es' >^"minor" s
< g e'! >^"major" s
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
< gis f'! >1^"dimin" s
< g! f'! >^"minor" s
< g fis' >^"major" s
The difference between an interval and an octave.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\context Staff \notes\relative c'' {
+\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 "||"
A ledger line is an extension of the staff.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }
@end lilypond
@aitem{legato}
S: legato,
FI: legato, sitoen.
-To be performed (a) without any perceptible interruption between the notes
-unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
+To be performed (a) without any perceptible interruption between the notes,
+unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
(d) @aref{staccato}.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\addlyrics
-\context Staff \notes\relative c'' {
+\oldaddlyrics
+\context Staff \relative c'' {
c4-( d e-) \bar "||"
c4-- d-- e-- \bar "||"
c4-.-( d-. e-.-) \bar "||"
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
\override NoteHead #'style = #'mensural
g\longa
}
NL: liedtekst,
DK: .,
S: .,
-FI, sanoitus,
+FI, sanoitus.
@aitem{major interval}
ES: intervalo mayor,
@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,
@aitem{melodic cadence}
@aref{cadenza}.
-@aitem{meter, time}
+@aitemii{meter,time}
ES: comp@'as,
I: tempo, metro,
F: indication de m@'esure,
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\time 3/4
\key f \major
c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond
-@lilypond
-\notes\relative c' {
+@lilypond[fragment]
+\relative c' {
\time 6/8
\key f \major
f8 f f f a16 g a f |
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\time 5/4
\key g \major
d4 b8 g b d d c a4 |
First C below the 440 Hz A.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
-\notes\relative c' {
+\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond
-\override Score.TimeSignature #'style = \turnOff
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment]
+\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 |
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
a1
\set Score.skipBars = ##t R1*3
a1
but sometimes (mostly in pre baroque music) the double length note value
@emph{longa} is used.
-@lilypond[notime]
+@lilypond[fragment,notime]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
\override NoteHead #'style = #'mensural
g\longa_"longa" g\breve_"breve"
\revert NoteHead #'style
g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
r\longa_"longa" r\breve_"breve"
r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond
+@lilypond[fragment]
%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond
+@lilypond[fragment]
%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
\times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment]
+\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
g4 g g \bar "||"
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond
+@lilypond[fragment]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
+ \relative c'' {
c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
c2. c32 b c b c b c b | c1
c2. b32 c b c \times 4/5 { b c b c b } | c1
}
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
@emph{prall} (inverted mordent).
-@lilypond
+@lilypond[fragment]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
+ \relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
e'4_"prall" d\prall c2 \bar "||"
}
}
- \notes\relative c'' {
+ \relative c'' {
a4 c16[ b a b] c2
g4 a b16-[ a b8] a4
e'4 e32[ d e d ~ d8] c2
NL: piano,
DK: piano,
S: piano,
-FI, piano, hiljaa,
+FI, piano, hiljaa.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.
S: presto,
FI: presto, hyvin nopeasti.
-Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
+Very quick, i.e. quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
@aitem{Pythagorean comma}
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: rallentando,
DK: rallentando,
S: rallentando,
-FI. rallerdando, hidastuen,
+FI. rallerdando, hidastuen.
Abbreviation "rall.". @aref{ritardando}.
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+\relative c' {
\key es \major
es1_"e flat major" f g as bes c d es
\bar "||"
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+\relative c' {
\key es \major
c1_"c minor" d es f g a! b! c \bar "||"
}
S: repris,
FI: toisto.
-@lilypond
+@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
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\set minVerticalAlign = #8
-\addlyrics
-\context Staff \notes\relative c' {
+\oldaddlyrics
+\context Staff \relative c' {
c1 d e f g a b c
}
\context Lyrics \lyrics {
S: partitur,
FI: partituuri.
-A copy of orchestral, choral or chamber music showing what each instrument is
+A copy of orchestral, choral, or chamber music showing what each instrument is
to play, each voice to sing, having each part arranged one underneath the
other on different staves @aref{staff}.
semitone. An octave may be divided into 12@w{ }semitones.
@aref{interval}, @aref{chromatic scale}.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c'' { g1 gis s a bes s b! c }
+\relative c'' { g1 gis s a bes s b! c }
@end lilypond
@aitem{seventh}
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
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
-@lilypond
+@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,
S: notsystem,
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.
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+\relative c'' {
g2_"1/2" g' s16
g,4_"1/4" g' s16
g,8_"1/8" g' s16
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond
+@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)
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
with figures designating the chief @aref{interval}s and
@aref{chord}s to be played above the bass notes.
-@lilypond
+@lilypond[fragment]
\context GrandStaff <<
- \context Staff = lh \notes\relative c'' {
+ \context Staff = lh \relative c'' {
\time 4/4
\key es \major
\clef treble
< bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
>>
}
- \addlyrics
- \context Staff = rh \notes\relative c' {
+ \oldaddlyrics
+ \context Staff = rh \relative c' {
\clef bass
\key es \major
es8 c d bes c as bes16 as g f | es4
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[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }
@end lilypond
@aitem{time signature}
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond
+@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
+@lilypond[fragment]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[notime]
+@lilypond[fragment,notime]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+\relative c' {
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
\repeat "tremolo" 8 { e32_"b" g }
S: dubbelslag,
FI: korukuvio.
-???
+@aref{ornament}.
@aitem{unison}
ES: un@'{@dotless{i}}sono,
Initial note(s) of a melody occurring before the first bar
line. @aref{measure}, @aref{meter}.
-@lilypond
+@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 "||" }
@end lilypond
@page
-@table @strong
+@table @samp
@item DURATION NAMES, NOTES AND RESTS
@end table
@page
-@table @strong
+@table @samp
@item PITCH NAMES
@end table
@
-@table @strong
+@table @samp
@item ---------------------
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