@c TODO: multiple omfcreators?
@ignore
-@omfcreator Christian Mondrup
+@omfcreator Christian Mondrup, Kurt Kroon
@omfdescription Glossary of musical terms with translations
-@omftype user's guide
+@omftype glossary
@omfcategory Applications|Publishing
@omflanguage English
@end ignore
Languages in this order.
@itemize
+@item UK - British English (where it differs from American English)
@item ES - Spanish
@item I - Italian
@item F - French
@item D - German
@item NL - Dutch
-@item UK - British English
@item DK - Danish
@item S - Swedish
@item FI - Finnish
@menu
* A::
+* a due::
* accent::
* accessory::
* accidental::
* arpeggio::
* articulation::
* ascending interval::
+* augmentation::
* augmented interval::
* autograph::
* B::
* beat::
* bind::
* brace::
+* bracket::
* brass::
* breath mark::
* breve::
* cluster::
* comma::
* common meter::
-* compound interval::
+* common time::
* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
* conjunct movement::
* consonance::
* contralto::
* diatonic scale::
* diminished interval::
* diminuendo::
+* diminution::
* direct::
* disjunct movement::
* dissonance::
* duple meter::
* duplet::
* duration::
-* dydimic comma::
+* didymic comma::
* dynamics::
* E::
* ecclesiastical mode::
* forefall::
* forte::
* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* half rest::
* harmonic cadence::
* harmony::
+* hemiola::
* homophony::
* interval::
* inverted interval::
* lilypond::
* ligature::
* line::
+* loco::
* long appoggiatura::
* longa::
* lyrics::
* meter::
* metronome::
* metronomic indication::
+* metronome mark::
* mezzo-soprano::
* middle C::
* minor::
* non-legato::
* note::
* note head::
+* note names::
* note value::
+* octavation::
* octave sign::
* octave::
* ornament::
* ossia::
-* ottava::
* part::
* pause::
* pennant::
* polyphony::
* portato::
* presto::
-* Pythagorean comma::
+* proportion::
+* Pythagorean comma::
* quadruplet::
* quarter note::
* quarter rest::
+* quarter tone::
* quintuplet::
* rallentando::
* relative key::
* sextuplet::
* shake::
* sharp::
+* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* supertonic::
* symphony::
* syncopation::
-* syntonic comma::
+* syntonic comma::
* system::
* temperament::
* tempo indication::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
@node A
@section A
-ES: la,
-I: la,
-F: la,
-D: A, a,
-NL: a,
-DK: a,
-S: a,
-FI: A, a.
+@itemize
+@item ES: la
+@item I: la
+@item F: la
+@item D: A, a
+@item NL: a
+@item DK: a
+@item S: a
+@item FI: A, a
+@end itemize
+
+@seealso
+
+@ref{Pitch names}
+
+
+@node a due
+@section a due
+
+ES: ?,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
@seealso
S: ambitus,
FI: ambitus, ääniala, soitinala.
-The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
-of pitches for a given voice in a part of music. It may also denote
-the pitch range that a musical instrument is capable of playing.
+[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
+Denotes a range of pitches for a given voice in a part of music. It may
+also denote the pitch range that a musical instrument is capable of playing.
+Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
@node anacrusis
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@seealso
-
-@ref{diatonic scale}.
-
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
@end lilypond
+@seealso
+
+@ref{diatonic scale}.
+
@node andante
@section andante
@ref{interval}.
+@node augmentation
+@section augmentation
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition.
+
+This is a placeholder for augmentation (wrt mensural notation).
+
+@seealso
+
+@ref{diminution}, @ref{mensural notation}.
+
+
@node autograph
@section autograph
@node B
@section B
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
@seealso
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are
-used for connecting piano staves, angular brackets for connecting
-parts in an orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
@end lilypond
+@node bracket
+@section bracket
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
@node brass
@section brass
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
S: brevis,
FI: brevis.
-@ref{note value}, twice as long as a whole note. Mainly used in
-pre-1650 music. The shortest note value generally used in white
-mensural notation, hence the name, which originally meant "of short
-duration".
+Note value twice as long as a whole note. Mainly used in pre-1650 music.
+The shortest note value generally used in white mensural notation, hence the
+name, which originally meant @q{of short duration}.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
+@seealso
+
+@ref{mensural notation}, @ref{note value}.
+
@node C
@section C
-ES: do,
-I: do,
-F: ut,
-D: C, c,
-NL: c,
-DK: c,
-S: c,
-FI: C, c.
+@itemize
+@item ES: do
+@item I: do
+@item F: ut
+@item D: C, c
+@item NL: c
+@item DK: c
+@item S: c
+@item FI: C, c
+@end itemize
@seealso
} % End score
@end lilypond
-The @q{curl} of the G clef in centered on the line that represents the
+The @q{curl} of the G clef is centered on the line that represents the
pitch G.
In the same way, the bass or F clef indicates that the bottom five
@seealso
+@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
@node common meter
@section common meter
+@ref{common time}
+
@seealso
@ref{meter}.
+@node common time
+@section common time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+4/4 time. The symbol, which resembles a capital letter C, derives from
+mensural notation.
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}.
+
+
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+
@node compound interval
@section compound interval
@ref{interval}.
-@node complement
-@section complement
+@node compound meter
+@section compound meter
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
@seealso
-@ref{inverted interval}.
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@ref{compound meter}
+
+@seealso
+
+@ref{meter}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@itemize
+
+@item Woodwinds
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@item Brass
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@item Strings
+@itemize
+@item violin
+@item viola
+@item violincello
+@end itemize
+
+@item piano
+
+@end itemize
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double-bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+
+@ref{transposing instrument}.
@node conjunct movement
lines for performance. Some of their conventions (e.g., the placement
of note heads on stems) varied slightly from those of engravers. Some
of their working methods were superior and could well be adopted by
-music typesetters. Copying music required more skill than engraving.
+music typesetters.
+
+@c Copying music required more skill than engraving. Flagged for NPOV
@node crescendo
Custodes were frequently used in music notation until the 16th
century. There were different appearences for different notation
styles. Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning
of the 20th century
@lilypond
@node D
@section D
-ES: re,
-I: re,
-F: ré,
-D: D, d,
-NL: d,
-DK: d,
-S: d,
-FI: D, d.
+@itemize
+@item ES: re
+@item I: re
+@item F: ré
+@item D: D, d
+@item NL: d
+@item DK: d
+@item S: d
+@item FI: D, d
+@end itemize
@seealso
S: da capo,
FI: da capo, alusta.
-The term indicates repetition of the piece from the beginning to the
-end or to a certain place marked @emph{fine}. Mostly abbreviated as
-@samp{D.C.}.
+Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
+the beginning to the end or to a certain place marked @emph{fine}.
@node dal segno
d1 |
g,4^\segno a b c |
b a g2_\markup{
- \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
+ \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
\bar "|."
}
@end lilypond
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
-}@ref{semitone}s (S). Scales played on the white keys of a piano
-keybord are diatonic.
+A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
+Scales played on the white keys of a piano keybord are diatonic; and these
+scales are sometimes called, somewhat inaccurately, @q{church modes}).
-The church modes are used in gregorian chant and in pre-baroque early
-music but also to some extent in newer jazz music.
+These @q{modes} are used in gregorian chant and in pre-baroque early music
+but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
>>
@end lilypond
+@lilypond[fragment,notime,ragged-right]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
+ \override TextScript #'padding = #-4
+ b^"~~ S" c d e^"~~ S" f g a b
+ }
+ \lyrics {
+ Locrian
+ }
+>>
+@end lilypond
+
From the beginning of the 17th century the scales used in European
compositional music are primarily the major and the minor scales. In
the harmonic minor scale type an augmented second (A) occurs between
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
- "ancient minor"
+ "Ancient minor"
}
>>
@end lilypond
@ref{decrescendo}.
+@node diminution
+@section diminution
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition
+
+This is a placeholder for diminution (wrt mensural notation).
+
+@seealso
+
+@ref{augmentation}, @ref{mensural notation}.
+
+
@node direct
@section direct
@ref{note value}.
-@node dydimic comma
-@section dydimic comma
+@node didymic comma
+@section didymic comma
@seealso
@node E
@section E
-ES: mi,
-I: mi,
-F: mi,
-D: E, e,
-NL: e,
-DK: e,
-S: e,
-FI: E, e.
+@itemize
+@item ES: mi
+@item I: mi
+@item F: mi
+@item D: E, e
+@item NL: e
+@item DK: e
+@item S: e
+@item FI: E, e
+@end itemize
@seealso
@node eighth note
@section eighth note
-ES: corchea,
-I: croma,
-F: croche,
-UK: quaver,
-D: Achtel, Achtelnote,
-NL: achtste noot,
-DK: ottendedelsnode,
-S: åttondelsnot,
-FI: kahdeksasosanuotti.
+@itemize
+@item UK: quaver
+@item ES: corchea
+@item I: croma
+@item F: croche
+@item D: Achtel, Achtelnote
+@item NL: achtste noot
+@item DK: ottendedelsnode
+@item S: åttondelsnot
+@item FI: kahdeksasosanuotti
+@end itemize
@seealso
@node eighth rest
@section eighth rest
-ES: silencio de corchea,
-I: pausa di croma,
-F: demi-soupir,
-UK: quaver rest,
-D: Achtelpause,
-NL: achtste rust,
-DK: ottendedelspause,
-S: åttonddelspaus,
-FI: kahdeksasosatauko.
+@itemize
+@item UK: quaver rest
+@item ES: silencio de corchea
+@item I: pausa di croma
+@item F: demi-soupir
+@item D: Achtelpause
+@item NL: achtste rust
+@item DK: ottendedelspause
+@item S: åttonddelspaus
+@item FI: kahdeksasosatauko
+@end itemize
@seealso
S: ?,
FI: ?.
-@c TODO definition -- referenced from lyric tie
+The singing of several syllables on a single note. Elision may be indicated
+by a lyric tie, which is looks like (and serves the same function) as a
+musical tie.
+
+@seealso
+
+@ref{lyric tie}.
@node embellishment
indicated @samp{sul G}, another series to be played on the D string
would be indicated @samp{sul D}, and so on.
+@item
+With an octave indication (also called @emph{octavation}, q.v.) to indicate that
+a passage is to be played higher or lower by the given number of octaves.
+
@end itemize
@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
@node F
@section F
-ES: fa,
-I: fa,
-F: fa,
-D: F, f,
-NL: f,
-DK: f,
-S: f,
-FI: F, f.
+@itemize
+@item ES: fa
+@item I: fa
+@item F: fa
+@item D: F, f
+@item NL: f
+@item DK: f
+@item S: f
+@item FI: F, f
+@end itemize
@seealso
@ref{interval}.
-@node fugue
-@section fugue
+@node Frenched score
+@section Frenched score
-ES: fuga,
-I: fuga,
-F: fugue,
-D: Fuge,
-NL: fuga,
-DK: fuga,
-S: fuga,
-FI: fuuga.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-@seealso
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
-@ref{counterpoint}.
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+@seealso
-@node functional harmony
-@section functional harmony
+@ref{Frenched staff}.
-ES: armonía funcional,
-I: armonia funzionale,
-F: étude des functions,
-D: Funktionslehre,
-NL: functionele harmonie,
-DK: funktionsanalyse, funktionsharmonik,
-S: funktionslära,
-FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a
-given key, there are only three functionally different chords: tonic
-(T, the chord on the first note of the scale), subdominant (S, the
-chord on the fourth note), and dominant (D, the chord on the fifth
-note). Others are considered to be variants of the base chords.
+@node Frenched staff
+@section Frenched staff
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
+measures or sections removed. This would be useful for producing, for example,
+an @emph{ossia} staff.
+
+@seealso
+
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The plural of @ref{Frenched staff}, @emph{q.v.}.
+
+
+@node fugue
+@section fugue
+
+ES: fuga,
+I: fuga,
+F: fugue,
+D: Fuge,
+NL: fuga,
+DK: fuga,
+S: fuga,
+FI: fuuga.
+
+@seealso
+
+@ref{counterpoint}.
+
+
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
+I: armonia funzionale,
+F: étude des functions,
+D: Funktionslehre,
+NL: functionele harmonie,
+DK: funktionsanalyse, funktionsharmonik,
+S: funktionslära,
+FI: harmoniajärjestelmä.
+
+A system of harmonic analysis. It is based on the idea that, in a
+given key, there are only three functionally different chords: tonic
+(T, the chord on the first note of the scale), subdominant (S, the
+chord on the fourth note), and dominant (D, the chord on the fifth
+note). Others are considered to be variants of the base chords.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@node G
@section G
-ES: sol,
-I: sol,
-F: sol,
-D: G, g,
-NL: g,
-DK: g,
-S: g,
-FI: G, g.
+@itemize
+@item ES: sol
+@item I: sol
+@item F: sol
+@item D: G, g
+@item NL: g
+@item DK: g
+@item S: g
+@item FI: G, g
+@end itemize
@seealso
@node H
@section H
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
Letter name used for @samp{B natural} in German and Scandinavian
usage. In the standard usage of these countries, @samp{B} means
@node half note
@section half note
+UK: minim,
ES: blanca,
I: minima,
F: blanche,
-UK: minim,
D: Halbe, halbe Note,
NL: halve noot,
DK: halvnode,
@node half rest
@section half rest
+UK: minim rest,
ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
-UK: minim rest,
D: halbe Pause,
NL: halve, rust,
DK: halvnodespause,
Three note harmony @ref{chord}.
+@node hemiola
+@section hemiola
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value. The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
+
+For example, this phrase in 6/4 time
+
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | d2 c d | c1. \bar "||" }
+@end lilypond
+
+may be thought of having alternating time signatures
+
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
+@end lilypond
+
+and is therefore a polymeter (second definition) of considerable antiquity.
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}, @ref{polymeter}.
+
+
@node homophony
@section homophony
S: tonart,
FI: tonaliteetti.
-According to the 12@w{ }tones of the @ref{chromatic scale}
-there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
+According to the 12@w{ }tones of the @ref{chromatic scale} there are
+12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@seealso
@node laissez vibrer
-@section laisser vibrer
+@section laissez vibrer
ES: ?,
I: ?,
S: ?,
FI: ?.
-[From French] "Let vibrate". Most frequently associated with harp
+[From French, @q{Let vibrate}]. Most frequently associated with harp
parts. Marked @samp{l.v.} in the score.
S: largo,
FI: largo, hitaasti, leveästi.
-Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+Very slow in tempo, usually combined with great expressiveness.
+@emph{Larghetto} is less slow than largo.
@node leading note
@node lilypond
@section lilypond
+UK: lily pond,
ES: estanque de nenúfares,
I: stagno del giglio,
-F: étang de lis,
-UK: lily pond,
+F: étang de nénuphars, étang de nymphéas,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
DK: liliedam,
S: liljedamm,
FI: liljalampi.
-A pond with lilies floating in it, also the name of a music typesetter.
+A pond with lilies floating in it.
+Also, the name of a music typesetting program.
@node ligature
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
-Gregorian chant notation roughly since the 9th century to denote
-ascending or descending sequences of notes. In early notation,
-ligatures were used for monophonic tunes (Gregorian chant) and very
-soon denoted also the way of performance in the sense of articulation.
-With the invention of the metric system of the white mensural
-notation, the need for ligatures to denote such patterns disappeared.
+Gregorian chant notation 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.
+
+@seealso
+
+@ref{mensural notation}.
@node line
@ref{staff}.
+@node loco
+@section loco
+
+ES: ?,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{place}]. Instruction to play the following passage at the
+written pitch. Cancels octavation (q.v.).
+
+@seealso
+
+@ref{octavation}.
+
+
@node long appoggiatura
@section long appoggiatura
@section melisma
ES: melisma,
+I: ?,
F: mélisme,
D: Melisma,
NL: melisma,
+DK: ?,
+S: ?,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural, from Greek: melismata) is a group of notes or tones
@c TODO: add languages
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
@seealso
@ref{extender line}.
@node mensural notation
@section mensural notation
-@c TODO: add languages, definition, references
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The system of music notation that was first developed in the mid-13th
+century, and which forms the basis of modern musical notation. From its
+creation by Franco of Cologne until the 15th century,
+
+@c TODO: add definition (inc. info on proportional notation)
+
+@seealso
+
+@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@c TODO: more cross-references?
@node meter
@section meter
-ES: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,
F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
S: taktart,
FI: aika-arvo.
-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it. For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those. According to whether
-there are two, three, or four units to the measure, one speaks of
-@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
-meter.
+The basic pattern of @ref{note value}s and @ref{accent}s that remains
+unaltered throughout a composition or a section of it. Meters can be
+@emph{duple} or @emph{triple} depending on how the beat is grouped in
+the composition (or in sections thereof):
+
+@itemize
+
+@item In duple meters, the beat recurs in groups of two.
+
+@item In triple meters, the beat recurs in groups of three.
+
+@end itemize
+
+Other recurrence patterns are possible:
+
+@itemize
+
+@item Quadruple meter: groups of four. A special case of duple meter.
+
+@item Quintuple meter: groups of five
+
+@item Sextuple meter: groups of six. A special case of:
+
+@itemize
+@item Duple meter, subdivided in three (less frequent); or
+@item Triple meter, subdivided in two (more frequent).
+@end itemize
+
+@item Septuple meter: groups of seven.
+
+@item etc.
+
+@end itemize
+
+Other than quadruple and sextuple meters, these other recurrence
+patterns were not frequently used prior to the 20th Century.
+
+In addition to classification by primary beat grouping, meters can be further
+classified by how the primary beat is subdivided: if in two, the meter is
+@emph{simple}; if in three, the meter is @emph{compound}.
+
+@itemize
+
+@item Simple meter
+
+@itemize
+@item duple: 2/2, 2/4, 2/8
+@item triple: 3/2, 3/4, 3/8
+@item quadruple: 4/2, 4/4 (also called common time), 4/8
+@end itemize
+
+@item Compound meter
+
+@itemize
+@item duple: 6/8
+@item triple: 9/8
+@item quadruple: 12/8
+@end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or
+section) to indicate the meter. For instance, a piece written in
+simple triple meter with a beat on each quarter note has a time
+signature of 3/4.
+
+Simple duple meter:
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 2/4
+ \key c \major
+ c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+@end lilypond
+
+Simple triple meter:
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \key f \major
- c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
+@end lilypond
+
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
@end lilypond
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter (unknown):
+
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
@end lilypond
+Compound triple meter (J.S. Bach, 1685-1750):
+
@lilypond[fragment,line-width=13.0\cm]
-\relative c'' {
- \time 5/4
+\relative c' {
+ \time 9/8
\key g \major
- d4 b8 g b d d c a4 |
- g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+ r8 g'( a) b( d c) c( e d) |
+ d( g fis) g( d b) g( a b)
+ \bar "||"}
@end lilypond
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
+@end lilypond
+
+@seealso
+
+@ref{hemiola}, @ref{time signature}
+
@node metronome
@section metronome
Device indicating the exact tempo of a piece.
-@ref{metronomic indication}.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a "metronome". The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+
+@seealso
+
+@ref{metronome mark}.
@node metronomic indication
@section metronomic indication
+@seealso
+
+@ref{metronome mark}
+
+
+@node metronome mark
+@section metronome mark
+
ES: indicación metronómica,
I: indicazione metronomica,
F: indication métronomique,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}
@node mezzo-soprano
instrument.
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
@end lilypond
+@node octavation
+@section octavation
+
+ES: a la octava,
+I: all'ottava,
+F: octaviation,
+D: Oktavierung,
+NL: octaveren,
+DK: ?,
+S: ?,
+FI: ?.
+
+The use of a phrase or abbreviation with an extender line or bracket to indicate
+that a passage is to be played in a different octave:
+
+@itemize
+
+@item @samp{15ma}: play two octaves higher
+@item @samp{8va}: play one octave higher
+@item @samp{8vb}: play one octave lower
+@item @samp{8va} written below the passage: same as @samp{8vb}
+@item @samp{15vb}: play two octaves lower
+@item @samp{15va} written below the passage: same as @samp{15vb}
+
+@end itemize
+
+Another practice, which may be useful for longer passages, is to indicate the
+different octave with a phrase at the beginning (see below). When the music
+returns to the written pitch, the octavation is cancelled with the word
+@emph{loco} (q.v.).
+
+To parallel the list above:
+
+@itemize
+
+@item @samp{15ma}: @emph{alla quindicesima (alta)}
+@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
+@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
+@item @samp{15vb}: @emph{alla quindicesima (bassa)}
+
+@end itemize
+
+@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
+
+@seealso
+
+@ref{interval}, @ref{loco}, @ref{octave}.
+
+
@node octave sign
@section octave sign
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Putting 8 or 15 above or below the clef to indicate that the entire part is
+played in the indicated octave: a clef-wide octavation. An octave sign can be
+applied to any clef, though it is most frequently used with the G and F clefs.
+
@seealso
@ref{G clef}, @ref{F clef}.
S: oktav,
FI: oktaavi.
+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octavation.
+
@seealso
-@ref{interval}.
+@ref{interval}, @ref{octavation}.
@node ornament
of the music, for example for small hands.
-@node ottava
-@section ottava
-
-@c TODO
-
-ES: ?,
-I: ottava,
-F: octave,
-DE: Oktavierung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-[From Italian] The interval of an octave, abbreviated 8va.
-
-@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
-@emph{8va} written above a passage indicates that it should be played
-an octave higher than written. @emph{Ottava bassa}, @emph{ottava
-sotto}, or @emph{8va} written below a passage indicates that it should
-be played an octave lower than written.
-
-@seealso
-
-@ref{interval}.
-
-
@node part
@section part
@itemize
-@item In instrumental or choral music the music for the single instrument
-or voice.
+@item In instrumental or choral music, the music for a single
+instrument or voice.
-@item in contrapuntal music @ref{counterpoint} the single melodic line
-of the contrapunctal web.
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
@end itemize
+@seealso
+
+@ref{counterpoint}
+
@node pause
@section pause
S: ?,
FI: ?.
-The simultaneous use of two or more meters. The term is sometimes
-applied to the @emph{successive} use of different meters in one or
-more parts.
+@itemize
+
+@item The simultaneous use of two or more meters, in two or more parts.
+
+@item The @emph{successive} use of different meters in one or more parts.
+
+@end itemize
@seealso
denotes the highest possible degree of speed.
+@node proportion
+@section proportion
+
+ES: proporción,
+I: proprozione (?),
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}] In mensural notation, a ratio that
+expresses the relationship between the note values that follow with
+those that precede; or between the note values of a passage and an
+assumed @q{normal} relationship of note values to the metrical pulse.
+
+@c TODO: add an example or two. O => 4/3, and its modern equivalent
+
+@seealso
+
+@ref{mensural notation}
+
+
@node Pythagorean comma
@section Pythagorean comma
S: pytagoreiskt komma,
FI: pytagorinen komma.
-A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
-but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24 @ref{cent}s higher than the@w{ }C obtained by adding
-7@w{ }octaves. The difference between those two pitches is called the
+A sequence of fifths starting on C eventually circles back to C, but this C,
+obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
+by adding 7 octaves. The difference between those two pitches is called the
Pythagorean comma.
+@seealso
+
+@ref{cent}, @ref{temperament}.
@node quadruplet
@section quadruplet
@node quarter note
@section quarter note
-ES: negra,
-I: semiminima, nera,
-F: noire,
-UK: crotchet,
-D: Viertel, Viertelnote,
-NL: kwartnoot,
-DK: fjerdedelsnode,
-S: fjärdedelsnot,
-FI: neljännesosanuotti.
+@itemize
+@item UK: crotchet
+@item ES: negra
+@item I: semiminima, nera
+@item F: noire
+@item D: Viertel, Viertelnote
+@item NL: kwartnoot
+@item DK: fjerdedelsnode
+@item S: fjärdedelsnot
+@item FI: neljäsosanuotti
+@end itemize
@seealso
@node quarter rest
@section quarter rest
-ES: silencio de negra,
-I: pausa di semiminima,
-F: soupir,
-UK: crotchet rest,
-D: Viertelpause,
-NL: kwart rust,
-DK:@w{ }fjerdedelspause,
-S: fjärdedelspaus,
-FI: neljännesosatauko.
+@itemize
+@item UK: crotchet rest
+@item ES: silencio de negra
+@item I: pausa di semiminima
+@item F: soupir
+@item D: Viertelpause
+@item NL: kwartrust
+@item DK: fjerdedelspause
+@item S: fjärdedelspaus
+@item FI: neljäsosatauko
+@end itemize
@seealso
@ref{note value}.
+@node quarter tone
+@section quarter tone
+
+ES: ?,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: ?.
+
+An interval equal to half a semitone.
+
+@seealso
+
+@ref{interval}
+
+
@node quintuplet
@section quintuplet
}
@end lilypond
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
-
@node rest
@section rest
S: paus,
FI: tauko.
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
@seealso
@ref{note value}.
S: halvton,
FI: puolisävel.
-The @ref{interval} of a minor second. The (usually) smallest interval
-in European composed music. The interval between two neighbouring
-tones on the piano keyboard -- including black and white keys -- is a
-semitone. An octave may be divided into 12@w{ }semitones.
-@ref{interval}, @ref{chromatic scale}.
+The interval of a minor second. The (usually) smallest interval in European
+composed music. The interval between two neighbouring tones on the piano
+keyboard -- including black and white keys -- is a semitone. An octave may
+be divided into 12@w{ }semitones.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
+@seealso
+
+@ref{interval}, @ref{chromatic scale}.
+
@node seventh
@section seventh
@ref{accidental}.
+@node simple meter
+@section simple meter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+
+@ref{compound meter}, @ref{meter}.
+
+
@node sixteenth note
@section sixteenth note
-ES: semicorchea,
-I: semicroma,
-F: double croche,
-UK: semiquaver,
-D: Sechzehntel, Sechzehntelnote,
-NL: zes@-ti@-ende noot,
-DK: sekstendedelsnode,
-S: sextondelsnot,
-FI: kuudestoistaosanuotti.
+@itemize
+@item UK: semiquaver
+@item ES: semicorchea
+@item I: semicroma
+@item F: double croche
+@item D: Sechzehntel, Sechzehntelnote
+@item NL: zes@-ti@-ende noot
+@item DK: sekstendedelsnode
+@item S: sextondelsnot
+@item FI: kuudestoistaosanuotti
+@end itemize
@seealso
@node sixteenth rest
@section sixteenth rest
-ES: silencio de semicorchea,
-I: pausa di semicroma,
-F: quart de soupir,
-UK: semiquaver rest,
-D: Sechzehntelpause,
-NL: zestiende rust,
-DK: sekstendedelspause,
-S: sextondelspaus,
-FI: kuudesosatauko.
+@itemize
+@item UK: semiquaver rest
+@item ES: silencio de semicorchea
+@item I: pausa di semicroma
+@item F: quart de soupir
+@item D: Sechzehntelpause
+@item NL: zestiende rust
+@item DK: sekstendedelspause
+@item S: sextondelspaus
+@item FI: kuudestoistaosatauko
+@end itemize
@seealso
@node sixty-fourth note
@section sixty-fourth note
-ES: semifusa,
-I: semibiscroma,
-F: quadruple croche,
-UK: hemidemisemiquaver,
-D: Vierundsechzigstel, Vierundsechzigstelnote,
-NL: vierenzestigste noot,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofjärdedelsnot,
-FI: kuudeskymmenesneljäsosanuotti.
+@itemize
+@item UK: hemidemisemiquaver
+@item ES: semifusa
+@item I: semibiscroma
+@item F: quadruple croche
+@item D: Vierundsechzigstel, Vierundsechzigstelnote
+@item NL: vierenzestigste noot
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
+@item S: sextiofjärdedelsnot
+@item FI: kuudeskymmenesneljäsosanuotti
+@end itemize
@seealso
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencio de semifusa,
-I: pausa di semibiscroma,
-F: seizième de soupir,
-UK: hemidemisemiquaver rest,
-D: Vierundsechzigstelpause,
-NL: vierenzestigste rust,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofjärdedelspaus,
-FI: kuudeskymmenesneljäsosatauko.
+@itemize
+@item UK: hemidemisemiquaver rest
+@item ES: silencio de semifusa
+@item I: pausa di semibiscroma
+@item F: seizième de soupir
+@item D: Vierundsechzigstelpause
+@item NL: vierenzestigste rust
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
+@item S: sextiofjärdedelspaus
+@item FI: kuudeskymmenesneljäsosatauko
+@end itemize
@seealso
@node thirty-second note
@section thirty-second note
-ES: fusa,
-I: biscroma,
-F: triple croche,
-UK: demisemiquaver,
-D: Zweiunddreissigstel, Zweiunddreissigstelnote,
-NL: twee-endertig@-ste noot,
-DK: toogtredivtedelsnode,
-S: trettiotvåondelsnot,
-FI: kolmanneskymmeneskahdesosanuotti.
+@itemize
+@item UK: demisemiquaver
+@item ES: fusa
+@item I: biscroma
+@item F: triple croche
+@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
+@item NL: twee-endertig@-ste (32e) noot
+@item DK: toogtredivtedelsnode
+@item S: trettiotvåondelsnot
+@item FI: kolmaskymmeneskahdesosanuotti
+@end itemize
@seealso
@node thirty-second rest
@section thirty-second rest
-ES: silencio de fusa,
-I: pausa di biscroma,
-F: huitième de soupir,
-UK: demisemiquaver rest,
-D: Zweiunddreissigstel@-pause,
-NL: 32e rust,
-DK: toogtredivtedelspause,
-S: trettiotvåondelspaus,
-FI: kolmanneskymmeneskahdesosatauko.
+@itemize
+@item UK: demisemiquaver rest
+@item ES: silencio de fusa
+@item I: pausa di biscroma
+@item F: huitième de soupir
+@item D: Zweiunddreissigstel@-pause
+@item NL: twee-endertig@-ste (32e) rust
+@item DK: toogtredivtedelspause
+@item S: trettiotvåondelspaus
+@item FI: kolmaskymmeneskahdesosatauko
+@end itemize
@seealso
S: taktartssignatur,
FI: tahtiosoitus.
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+
@seealso
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
@node tone
@ref{functional harmony}.
+@node transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+
+@item English horn (in F)
+
+@item Alto flute (in G)
+
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
+
+
@node transposition
@section transposition
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantnøgle,
+DK: diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
S: tremolo,
FI: tremolo.
-On stringed instruments (@ref{strings}) the quick reiteration of the
-same tone, produced by a rapid up-and-down movement of the bow (a).
-The term is also used for the rapid alternation (b) between two notes
-of a @ref{chord}, usually in the distance of a third (@ref{interval}).
+On stringed instruments:
+
+@enumerate
+
+@item The quick reiteration of the same tone, produced by a rapid
+up-and-down movement of the bow.
+
+@item Or, the rapid alternation between two notes of a @ref{chord}, usually
+in the distance of a third (@ref{interval}).
+
+@end enumerate
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
}
@end lilypond
+@seealso
+
+@ref{strings}
+
@node triad
@section triad
S: stämgaffel,
FI: viritysavain.
-A two-pronged piece of steel used to indicate absolute pitch. Tuning
-forks give the international pitch for the tone @emph{a} (440
-vibrations per second).
+A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
+give the international pitch for the tone @emph{a} (440 vibrations per
+second).
@node tuplet
@itemize
-@item Human voices: @ref{soprano}, @ref{mezzo-soprano},
-@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
+@item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto},
+@ref{tenor}, @ref{baritone}, @ref{bass}.
@item A melodic layer or part of a polyphonic composition.
@node whole note
@section whole note
-ES: redonda,
-I: semibreve,
-F: ronde,
-UK: semibreve,
-D: Ganze, ganze Note,
-NL: hele noot,
-DK: helnode,
-S: helnot,
-FI: kokonuotti.
+@itemize
+@item UK: semibreve
+@item ES: redonda
+@item I: semibreve
+@item F: ronde
+@item D: Ganze, ganze Note
+@item NL: hele noot
+@item DK: helnode
+@item S: helnot
+@item FI: kokonuotti
+@end itemize
@seealso
@node whole rest
@section whole rest
-ES: silencio de redonda,
-I: pausa di semibreve,
-F: pause,
-UK: semibreve rest,
-D: ganze Pause, ganztaktige Pause,
-NL: hele rust,
-DK: helnodespause,
-S: helpaus,
-FI: kokotauko.
+@itemize
+@item UK: semibreve rest
+@item ES: silencio de redonda
+@item I: pausa di semibreve
+@item F: pause
+@item D: ganze Pause, ganztaktige Pause
+@item NL: hele rust
+@item DK: helnodespause
+@item S: helpaus
+@item FI: kokotauko
+@end itemize
@seealso
S: helton,
FI: kokoaskel.
-The @ref{interval} of a major second. The interval between two tones
+The interval of a major second. The interval between two tones
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
+@seealso
+
+@ref{interval}.
+
@node woodwind
@section woodwind
@node Duration names notes and rests
-@chapter Duration names, notes and rests
-
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .15 .26 .33 .26
-
-@item
- @tab @strong{UK}
- @tab @strong{I}
- @tab @strong{F (note name / rest name)}
-@item
- @tab @strong{D}
- @tab @strong{NL}
- @tab @strong{DK}
-@item
- @tab @strong{S}
- @tab @strong{FI}
- @tab @strong{ES}
-
-@c extra @items make this table harder to read, so I removed them.
-
-@item @strong{longa}
+@chapter Duration names notes and rests
+
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem lang.
+ @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US}
+ @tab long
+ @tab long rest
+ @tab breve
+ @tab breve rest
+@item @strong{UK}
@tab longa
+ @tab longa rest
+ @tab breve
+ @tab breve rest
+@item @strong{ES}
@tab longa
+ @tab silencio de longa
+ @tab cuadrada
+ @tab silencio de cuadrada
+@item @strong{IT}
@tab longa
-@item
+ @tab pausa di longa
+ @tab breve
+ @tab pausa di breve
+@item @strong{FR}
+ @tab longa
+ @tab quadruple-pause
+ @tab brève
+ @tab double-pause
+@item @strong{DE}
@tab Longa
+ @tab longa Pause
+ @tab Brevis
+ @tab brevis Pause
+@item @strong{NL}
@tab longa
+ @tab longa rust
+ @tab brevis
+ @tab brevis rust
+@item @strong{DK}
@tab longa
-@item
+ @tab longanodespause
+ @tab brevis
+ @tab brevis(nodes)pause
+@item @strong{SE}
@tab longa
+ @tab longapaus
+ @tab brevis
+ @tab brevis(paus)
+@item @strong{FI}
@tab longa
@tab longa
-
-@item @strong{breve}
- @tab breve
- @tab breve
- @tab brève / double-pause
-@item
- @tab Brevis
@tab brevis
@tab brevis
-@item
- @tab brevis
- @tab brevis
- @tab cuadrada
-@item @strong{whole}
- @tab semi@-breve
- @tab semi@-breve
- @tab ronde / pause
-@item
- @tab Ganze
- @tab hele
- @tab hel
-@item
- @tab hel
- @tab koko@-nuotti/@w{-tauko}
- @tab redonda
+@end multitable
-@item @strong{half}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem lang.
+ @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US}
+ @tab whole note
+ @tab whole rest
+ @tab half note
+ @tab half rest
+@item @strong{UK}
+ @tab semibreve
+ @tab semibreve rest
@tab minim
- @tab minima
- @tab blanche / demi-pause
-@item
- @tab Halbe
- @tab halve
- @tab halv
-@item
- @tab halv
- @tab puoli@-nuotti/@w{-tauko}
+ @tab minim rest
+@item @strong{ES}
+ @tab redonda
+ @tab silencio de redonda
@tab blanca
+ @tab silencio de blanca
+@item @strong{IT}
+ @tab semibreve
+ @tab pause di semibreve
+ @tab minima
+ @tab pausa di minima
+@item @strong{FR}
+ @tab ronde
+ @tab pause
+ @tab blanche
+ @tab demi-pause
+@item @strong{DE}
+ @tab ganze Note
+ @tab ganze Pause
+ @tab halbe Note
+ @tab halbe Pause
+@item @strong{NL}
+ @tab hele noot
+ @tab hele rust
+ @tab halve noot
+ @tab halve rust
+@item @strong{DK}
+ @tab helnode
+ @tab helnodespause
+ @tab halvnode
+ @tab halvnodespause
+@item @strong{SE}
+ @tab helnot
+ @tab helpaus
+ @tab halvnot
+ @tab halvpaus
+@item @strong{FI}
+ @tab kokonuotti
+ @tab kokotauko
+ @tab puolinuotti
+ @tab puolitauko
-@item @strong{quarter}
- @tab crotchet
- @tab semiminima
- @tab noire / soupir
-@item
- @tab Viertel
- @tab kwart
- @tab fjerdedel
-@item
- @tab fjärdedel
- @tab neljännesosa@-nuotti/@w{-tauko}
- @tab negra
+@end multitable
-@item @strong{eighth}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem lang.
+ @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US}
+ @tab quarter note
+ @tab quarter rest
+ @tab eighth note
+ @tab eighth rest
+@item @strong{UK}
+ @tab crotchet
+ @tab crotchet rest
@tab quaver
- @tab croma
- @tab croche / demi-soupir
-@item
- @tab Achtel
- @tab achtste
- @tab ottendedel
-@item
- @tab åttondel
- @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab quaver rest
+@item @strong{ES}
+ @tab negra
+ @tab silencio de negra
@tab corchea
-
-@item @strong{sixteenth}
- @tab semiquaver
- @tab semicroma
- @tab double croche / quart de soupir
-@item
- @tab Sechzehntel
- @tab zestiende
- @tab sekstendedel
-@item
- @tab sextondel
- @tab kuudestoistaosa@-nuotti/@w{-tauko}
- @tab semicorchea
-
-@item @strong{thirty-second}
- @tab demisemiquaver
- @tab biscroma
- @tab triple croche / huitième de soupir
-@item
- @tab Zweiunddreissigstel
- @tab tweeendertigste
- @tab toogtredivtedel
-@item
- @tab trettiotvåondel
- @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
- @tab fusa
-
-@item @strong{sixty-fourth}
- @tab hemidemisemiquaver
- @tab semibiscroma
- @tab quadruple croche / seizième de soupir
-@item
- @tab Vierundsechzigstel
- @tab vierenzestigste
- @tab fireogtred@-sindstyvendedel
-@item
- @tab sextiofjärdedel
- @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab semifusa
+ @tab silencio de corchea
+@item @strong{IT}
+ @tab semiminima, nera
+ @tab pausa di semiminima, pausa di nera
+ @tab croma
+ @tab pausa di croma
+@item @strong{FR}
+ @tab noire
+ @tab soupir*
+ @tab croche*
+ @tab demi-soupir
+@item @strong{DE}
+ @tab Viertelnote
+ @tab Viertelpause
+ @tab Achtelnote
+ @tab Achtelpause
+@item @strong{NL}
+ @tab kwartnoot
+ @tab kwartrust
+ @tab achtste noot
+ @tab achtste rust
+@item @strong{DK}
+ @tab fjerdedelsnode
+ @tab fjerdedelspause
+ @tab ottendedelsnode
+ @tab ottendedelspause
+@item @strong{SE}
+ @tab fjärdedelsnot
+ @tab fjärdedelspaus
+ @tab åttondelsnot
+ @tab åttondelspaus
+@item @strong{FI}
+ @tab neljäsosanuotti
+ @tab neljäsosatauko
+ @tab kahdeksasosanuotti
+ @tab kahdeksasosatauko
@end multitable
+* About the French naming system: @emph{croche} refers to the note's "hook".
+Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
+hook}, @q{trebled hook}, and so on.
-@node Pitch names
-@chapter Pitch names
+The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
+rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
+a @emph{soupir}, and so on.
-@table @code
-@item PITCH NAMES
-@end table
+Each of the following tables contains one type of note and its matching rest,
+with abbreviations that apply to both notes and rests. Just switch the part
+that means @q{note} with the part that means @q{rest}, for example:
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
+@itemize
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
+@item English: 16th @strong{note}, 16th @strong{rest}
+@item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
+@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
+@end itemize
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+I put a dash @q{-} when I could not find a language-specific abbreviation for a
+duration name. If you know of one that I missed, please send it to me, care of
+the lilypond-user discussion list.
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang.
+ @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US}
+ @tab sixteenth note
+ @tab sixteenth rest
+ @tab 16th note
+@item @strong{UK}
+ @tab semiquaver
+ @tab semiquaver rest
+ @tab -
+@item @strong{ES}
+ @tab semicorchea
+ @tab silencio de semicorchea
+ @tab -
+@item @strong{IT}
+ @tab semicroma
+ @tab pausa di semicroma
+ @tab -
+@item @strong{FR}
+ @tab double croche
+ @tab quart de soupir
+ @tab -
+@item @strong{DE}
+ @tab Sechzehntelnote
+ @tab Sechzehntelpause
+ @tab 16tel-Note
+@item @strong{NL}
+ @tab zestiende noot
+ @tab zestiende rust
+ @tab 16e noot
+@item @strong{DK}
+ @tab sekstendedelsnode
+ @tab sekstendedelspause
+ @tab -
+@item @strong{SE}
+ @tab sextondelsnot
+ @tab sextondelspaus
+ @tab -
+@item @strong{FI}
+ @tab kuudestoistaosanuotti
+ @tab kuudestoistaosatauko
+ @tab 16-osanuotti
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
+@end multitable
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang.
+ @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US}
+ @tab thirty-second note
+ @tab thirty-second rest
+ @tab 32nd note
+@item @strong{UK}
+ @tab demisemiquaver
+ @tab demisemiquaver rest
+ @tab -
+@item @strong{ES}
+ @tab fusa
+ @tab silencio de fusa
+ @tab -
+@item @strong{IT}
+ @tab biscroma
+ @tab pausa di biscroma
+ @tab -
+@item @strong{FR}
+ @tab triple croche
+ @tab huitième de soupir
+ @tab -
+@item @strong{DE}
+ @tab Zweiunddreißigstelnote
+ @tab Zweiunddreißigstelpause
+ @tab 32tel-Note
+@item @strong{NL}
+ @tab tweeendertigste noot
+ @tab tweeendertigste rust
+ @tab 32e noot
+@item @strong{DK}
+ @tab toogtredivtedelsnode
+ @tab toogtredivtedelspause
+ @tab -
+@item @strong{SE}
+ @tab trettiotvåondelsnot
+ @tab trettiotvåondelspaus
+ @tab -
+@item @strong{FI}
+ @tab kolmaskymmeneskahdesosanuotti
+ @tab kolmaskymmeneskahdesosatauko
+ @tab 32-osanuotti
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
+@end multitable
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang.
+ @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US}
+ @tab sixty-fourth note
+ @tab sixty-fourth rest
+ @tab 64th note
+@item @strong{UK}
+ @tab hemidemisemiquaver
+ @tab hemidemisemiquaver rest
+ @tab -
+@item @strong{ES}
+ @tab semifusa
+ @tab silencio de semifusa
+ @tab -
+@item @strong{IT}
+ @tab semibiscroma
+ @tab pausa di semibiscroma
+ @tab -
+@item @strong{FR}
+ @tab quadruple croche
+ @tab seizième de soupir
+ @tab -
+@item @strong{DE}
+ @tab Vierundsechzigstelnote
+ @tab Vierundsechzigstelpause
+ @tab 64tel-Note
+@item @strong{NL}
+ @tab vierenzestigste noot
+ @tab vierenzestigste rust
+ @tab 64e noot
+@item @strong{DK}
+ @tab fireogtredsindstyvendedelsnode
+ @tab fireogtredsindstyvendedelspause
+ @tab -
+@item @strong{SE}
+ @tab sextiofjärdedelsnot
+ @tab sextiofjärdedelspaus
+ @tab -
+@item @strong{FI}
+ @tab kuudeskymmenesneljäsosanuotti
+ @tab kuudeskymmenesneljäsosatauko
+ @tab 64-osanuotti
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
+@end multitable
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang.
+ @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US}
+ @tab one-hundred-twenty-eighth note
+ @tab one-hundred-twenty-eighth rest
+ @tab 128th note
+@item @strong{UK}
+ @tab semihemidemisemiquaver
+ @tab semihemidemisemiquaver rest
+ @tab -
+@item @strong{ES}
+ @tab garrapatea @tab silencio de garrapatea @tab -
+@item @strong{IT}
+ @tab fusa
+ @tab pausa di fusa
+ @tab -
+@item @strong{FR}
+ @tab quintuple croche
+ @tab trente-deuxième de soupir @tab -
+@item @strong{DE}
+ @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
+@item @strong{NL}
+ @tab honderdachtentwintigste noot
+ @tab honderdachtentwintigste rust
+ @tab 128e noot
+@item @strong{DK}
+ @tab ?
+ @tab ?
+ @tab -
+@item @strong{SE}
+ @tab hundratjugoåttondelsnot
+ @tab hundratjugoåttondelspaus
+ @tab -
+@item @strong{FI}
+ @tab sadaskahdeskymmeneskahdeksasosanuotti
+ @tab sadaskahdeskymmeneskahdeksasosatauko
+ @tab 128-osanuotti
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
+@end multitable
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang.
+ @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US}
+ @tab two-hundred-fifty-sixth @tab two-hundred-fifty-sixth @tab 256th note
+@item @strong{UK}
+ @tab demisemihemidemisemiquaver
+ @tab demisemihemidemisemiquaver rest
+ @tab -
+@item @strong{ES}
+ @tab semigarrapatea @tab silencio de semigarrapatea @tab -
+@item @strong{IT}
+ @tab semifusa
+ @tab pausa di semifusa
+ @tab -
+@item @strong{FR}
+ @tab sextuple croche
+ @tab soixante-quatrième de soupir @tab -
+@item @strong{DE}
+ @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
+@item @strong{NL}
+ @tab tweehonderdzesenvijftigste noot
+ @tab tweehonderdzesenvijftigste rust
+ @tab 256e noot
+@item @strong{DK}
+ @tab ?
+ @tab ?
+ @tab -
+@item @strong{SE}
+ @tab tvåhundrafemtiosjättedelsnot
+ @tab tvåhundrafemtiosjättedelspaus
+ @tab -
+@item @strong{FI}
+ @tab kahdessadasviideskymmeneskuudesosanuotti
+ @tab kahdessadasviideskymmeneskuudesosatauko
+ @tab 256-osanuotti
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
+@end multitable
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
+@seealso
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
+@ref{mensural notation}
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
-@tab B @tab bes @tab b @tab b @tab b
-@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
-@tab h
+@node Pitch names
+@chapter Pitch names
+@c -is/-es endings for Danish per Rune Zedeler
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+
+@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
+@headitem EN
+ @tab ES @tab I @tab F @tab D
+ @tab NL @tab DK @tab S @tab FI
+@item @strong{c}
+ @tab do @tab do @tab ut @tab C
+ @tab c @tab c @tab c @tab c
+@item @strong{c-sharp}
+ @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+ @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat}
+ @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+ @tab des @tab des @tab dess @tab des
+@item @strong{d}
+ @tab re @tab re @tab ré @tab D
+ @tab d @tab d @tab d @tab d
+@item @strong{d-sharp}
+ @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+ @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat}
+ @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+ @tab es @tab es @tab ess @tab es
+@item @strong{e}
+ @tab mi @tab mi @tab mi @tab E
+ @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+ @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+ @tab fes @tab fes @tab fess @tab fes
+@item @strong{f}
+ @tab fa @tab fa @tab fa @tab F
+ @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+ @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+ @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp}
+ @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+ @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat}
+ @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+ @tab ges @tab ges @tab gess @tab ges
+@item @strong{g}
+ @tab sol @tab sol @tab sol @tab G
+ @tab g @tab g @tab g @tab g
+@item @strong{g-sharp}
+ @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+ @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat}
+ @tab la bemol @tab la bemolle @tab la bémol @tab As
+ @tab as @tab as @tab ass @tab as
+@item @strong{a}
+ @tab la @tab la @tab la @tab A
+ @tab a @tab a @tab a @tab a
+@item @strong{a-sharp}
+ @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+ @tab ais @tab ais @tab aiss @tab ais
+@item @strong{b-flat}
+ @tab si bemol @tab si bemolle @tab si bémol @tab B
+ @tab bes @tab b @tab b @tab b
+@item @strong{b}
+ @tab si @tab si @tab si @tab H
+ @tab b @tab h @tab h @tab h
@end multitable
@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many
-more or less literal quotes from its articles have been included into
-the item explanation texts.
+@item The Harvard Dictionary of Music, London 1944. Many more or less
+literal quotes from its articles have been included into the item
+explanation texts.
@item Hugo Riemanns Musiklexicon, Berlin 1929.
projects / lilypond.git / blobdiff