-\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
@author Adrian Mariano @c Italian glossary
@author Heikki Junes @c Finnish glossary
-@c Fixes by Jean-Pierre Coulon and `Dirk'
+@c Fixes by Jean-Pierre Coulon and `Dirk'
Copyright @copyright{} 1999--2004 by the authors
@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
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex@c
-@end iftex
-@ifhtml
-@html
-→
-@end html
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
+@include macros.itexi
+
@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
@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
-@c If we want hypelinks, we must add anchors.
-@c Hmm, we need the @achor command in the item description itself
+@c If we want hyperlinks, we must add anchors.
+@c We need the @anchor command in the item description itself
@c (not before or after) to get mozilla jump to the right place.
-@c anchoritem
+@c
+@c Note that the @aitem macro and friends should always be finished
+@c with `@c' to avoid spurious spaces:
+@c
+@c @aitem{foo}@c
+@c blablabla
+@c
@macro aitem{word}
@item \word\@anchor{\word\}
@end macro
This is an example reference, that points you to the @aref{accent}
entry.
+@c All `@table @strong' replaced by `@table @code'
+@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
-@table @strong
+@table @code
-@aitem{A}
+@aitem{A}@c
ES: la,
I: la,
F: la,
S: a,
FI: A, a.
-@aitem{accent}
+@aitem{accent}@c
ES: acento,
I: accento,
F: accent,
@c F: how to distinguish between accidental and key-sig alteration?
-@aitem{accidental}
-ES: alteraci@'on,
+@aitem{accidental}@c
+ES: alteración,
I: alterazione, accidente,
-F: alt@'eration
+F: altération
D: Vorzeichen, Versetzungszeichen,
NL: voorteken,
-DK: l@o{}st fortegn,
-S: tillf@"alligt f@"ortecken,
-FI: tilap@"ainen etumerkki.
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.
-@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen,
+@c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
@c Akzidenz, NL: toevallig teken, I: accidento.
A sharp raises a tone by a @aref{semitone}, a double sharp raises it
by a @aref{whole tone}, a flat lowers it by a semitone and a double
-flat lowers it by a whole tone. A natural cancels the effect of a previous
+flat lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- gis1 s s gisis s s ges s s geses s s g!
+%\override TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+ gis1 gisis ges geses g!
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "sharp " "db. sharp " "flat " "db. flat " natural
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ sharp "db. sharp" flat "db. flat" natural
}
@end lilypond
-@aitem{accelerando}
+@aitem{accelerando}@c
ES: acelerando,
I: accelerando,
-F: accelerando, en acc@'el@'erant,
+F: accelerando, en accélérant,
D: accelerando, schneller werden,
NL: accelerando,
DK: accelerando,
S: accelerando,
-FI: accelerando, kiihdytt@"aen.
+FI: accelerando, kiihdyttäen.
Increase tempo.
-@aitem{adagio}
+@aitem{adagio}@c
ES: adagio,
I: adagio,
F: adagio, lent,
S: adagio,
FI: adagio, hitaasti.
-It. comfortable, easy.
-1. Slow tempo, slower -- especially in even meter -- than
+It.@: comfortable, easy.
+1.@tie{}Slow tempo, slower -- especially in even meter -- than
@aref{andante} and faster than @aref{largo}.
-2. A movement in slow tempo, especially the second (slow) movement of
+2.@tie{}A movement in slow tempo, especially the second (slow) movement of
@aref{sonata}s, symphonies, etc.
-@aitem{allegro}
+@aitem{allegro}@c
ES: allegro,
I: allegro,
F: allegro,
-D: Allegro, Schnell, Fr@"ohlich, Lustig,
+D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
FI: allegro, nopeasti.
-It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
-especially the first and last movements of a @aref{sonata}.
+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}.
-@aitem{alto}
+@aitem{alto}@c
ES: alto,
I: contralto,
-F: alto, D: Alt,
+F: alto,
D: Alt,
NL: alt,
DK: alt,
S: alt,
-FI: altto, matala nais@"a@"ani.
+FI: altto, matala naisääni.
-A female voice of low range (@emph{contralto}). Originally the alto was a high
-male voice (hence the name) which by the use of falsetto reached the height of
-the female voice. This type of voice is also known as @aref{counter
-tenor}.
+A female voice of low range (@emph{contralto}). Originally the alto was a
+high male voice (hence the name) which by the use of falsetto reached the
+height of the female voice. This type of voice is also known as
+@aref{counter tenor}.
-@aitem{alto clef}
+@aitem{alto clef}@c
ES: clave de do en tercera,
I: chiave di contralto,
-F: clef d'ut troisi@`eme ligne,
-D: Altschl@"ussel, Bratschenschl@"ussel,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,
NL: alt sleutel,
-DK: altn@o{}gle,
+DK: altnøgle,
S: altklav,
FI: alttoavain.
C clef setting middle C on the middle line of the staff
@aref{C clef}.
-@aitem{ambitus}
+@aitem{ambit}@c
ES: ambitus,
I: ambitus,
F: ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
-FI: ambitus, @"a@"aniala, soitinala.
+FI: ambitus, ääniala, soitinala.
-The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
+The term 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}
+@aitem{ancient minor scale}@c
I: scala minore naturale,
-F: forme du mode mineur ancien, trois@`eme mode, mode hell@'enique
+F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@lilypond[notime]
+@aref{diatonic scale} (ancient minor).
+
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\notes\relative c'' {
+\relative c'' {
a1 b c d e f g a }
@end lilypond
-@aitem{andante}
+@aitem{andante}@c
ES: andante,
I: andante,
F: andante,
NL: andante,
DK: andante,
S: andante,
-FI: andante, k@"ayden.
+FI: andante, käyden.
Walking tempo/character.
-@aitem{appoggiatura}
+@aitem{appoggiatura}@c
ES: apoyatura,
I: appoggiatura,
F: appogiature, (port de voix),
D: Vorschlag,
NL: voorslag,
DK: forslag,
-S: f@"orslag,
+S: förslag,
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
+Ornamental note, usually a second, that is melodically connected with the
+main 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.
+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'' {
-\key d \major
-\time 4/4
+@lilypond[linewidth=13.0\cm]
+\context Voice \relative c'' {
+ \key d \major
+ \time 4/4
-%\override Score.TextScript #'font-style = #'large
-<d a fis>4_"notation" r
-{ \override Stem #'flag-style = #'()
- \grace g16
- \revert Stem #'flag-style
- }
-fis8 e16 fis
-{ \override Stem #'flag-style = #'()
- \grace a16
- \revert Stem #'flag-style
+%\override Score.TextScript #'font-style = #'large
+ <d a fis>4_"notation" r
+ { \override Stem #'flag-style = #'()
+ \grace g16
+ \revert Stem #'flag-style
+ }
+ fis8 e16 fis
+ { \override Stem #'flag-style = #'()
+ \grace a16
+ \revert Stem #'flag-style
}
-g8 fis16 g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
-\notes\relative c'' {
-<d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
+ g8 fis16 g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+
+ <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+}
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond
-\notes\relative c'' {
+@lilypond[linewidth=13.0\cm]
+\relative c'' {
\key as \major
\time 2/4
-% \override Score.TextScript #'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 "||"
}
@end lilypond
-@aitem{arpeggio}
+@aitem{arpeggio}@c
ES: arpegio,
I: arpeggio,
-F: arp@`ege,
-D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
+F: arpège,
+D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond
-\notes \context PianoStaff <<
+@lilypond[fragment,linewidth=13.0\cm]
+ \context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
>>
@end lilypond
-@aitem{ascending interval}
+@aitem{ascending interval}@c
ES: Intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
A distance between a starting lower note and a higher ending note.
-@aitem{augmented interval}
+@aitem{augmented interval}@c
ES: intervalo aumentado,
I: intervallo aumentato,
-F: intervalle augment@'e,
-D: @"uberm@"a@ss{}iges Intervall,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
NL: overmatig interval,
-DK: forst@o{}rret interval,
-S: @"overstigande intervall,
+DK: forstørret interval,
+S: överstigande intervall,
FI: ylinouseva intervalli.
@aref{interval}.
-@aitem{autograph }
+@aitem{autograph}@c
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
NL: manuscript,
-DK: h@aa{}ndskrift, autograf,
+DK: håndskrift, autograf,
S: handskrift,
-FI: k@"asinkirjoitettu nuotti.
+FI: käsinkirjoitettu 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,
+1.@tie{}A manuscript in the composer's own hand.
+2.@tie{} Music prepared for photoreproduction by freehand drawing,
+with the aid of a straightedge ruler and T-square only,
which attempts to emulate engraving.
This required more skill than did engraving.
-@aitem{B}
+@aitem{B}@c
ES: si,
I: si,
F: si,
S: h,
FI: H, h.
-@aitemii{backfall,forefall}
+@aitemii{backfall,forefall}@c
@aref{appoggiatura}.
-@aitem{bar line}
+@aitem{bar line}@c
ES: ?,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
S: taktstreck,
FI: tahtiviiva.
-@aitem{bar}
-ES: comp@'as, @aref{measure}.
+@aitem{bar}@c
+ES: compás, @aref{measure}.
-@aitem{baritone}
-ES: bar@'{@dotless{i}}tono,
+@aitem{baritone}@c
+ES: barítono,
I: baritono,
F: bariton,
D: Bariton,
NL: bariton,
DK: baryton,
S: baryton,
-FI: baritoni, keskikorkuinen mies@"a@"ani.
+FI: baritoni, keskikorkuinen miesääni.
The male voice intermediate between the @aref{bass} and the
@aref{tenor}.
-@c F: clef de troisi@`eme ligne dropped
+@c F: clef de troisième ligne dropped
-@aitem{baritone clef}
+@aitem{baritone clef}@c
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme,
-D: Baritonschl@"ussel,
+F: clef d' Ut cinquième ligne, clef de Fa troisième,
+D: Baritonschlüssel,
NL: baritonsleutel,
-DK: barytonn@o{}gle,
+DK: barytonnøgle,
S: barytonklav,
FI: baritoniavain.
C or F clef setting middle C on the upper staff line.
@aref{C clef}, @aref{F clef}.
-@aitem{bass clef}
+@aitem{bass clef}@c
ES: clave de fa en cuarta,
I: chiave di basso,
-F: cl@'e de fa quatri@`eme ligne,
-D: Bassschl@"ussel,
+F: clé de fa quatrième ligne,
+D: Bassschlüssel,
NL: bassleutel,
-DK: basn@o{}gle,
+DK: basnøgle,
S: basklav,
FI: bassoavain.
A clef setting with middle C on the first top ledger line.
@aref{F clef}.
-@aitem{bass}
+@aitem{bass}@c
I: basso,
F: basse,
D: Bass,
NL: bas,
DK: bas,
S: bas,
-FI: basso, matala mies@"a@"ani.
+FI: basso, matala miesääni.
-1. The lowest of men's voices.
-2. Sometimes, especially in jazz music, used as
+1.@tie{}The lowest of men's voices.
+2.@tie{}Sometimes, especially in jazz music, used as
an abbreviation for double bass.
@aref{strings}.
-@aitem{beam}
+@aitem{beam}@c
I: coda,
F: barre,
D: Balken,
NL: waardestreep,
-DK: bj@ae{}lke,
+DK: bjælke,
S: balk,
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[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\notes\relative c'' {
+%\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}
+@aitem{beat}@c
ES: tiempo,
I: tempi,
F: temps,
The base counting value and the number of them per measure is indicated at
the start of the music.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
\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}
+@aitem{bind}@c
@aref{tie}.
-@aitem{brace}
+@aitem{brace}@c
ES: llave, corchete,
I: graffa,
F: accolade,
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
-FI: yhdist@"av@"a sulkumerkki.
+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.
-@lilypond
-\notes\context GrandStaff <<
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
+@lilypond[fragment,raggedright]
+\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,raggedright]
\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}
+@aitem{brass}@c
ES: metales,
I: ottoni,
-D: Blechbl@"aser,
+D: Blechbläser,
NL: koper (blazers),
F: cuivres,
-DK: messingbl@ae{}sere,
-S: brassinstrument, m@"assingsinstrument,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
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
trumpet, trombone, french horn, and tube.
-@aitem{breath mark}
+@aitem{breath mark}@c
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
NL: repercussieteken,
-DK: vejrtr@ae{}kningstegn,
+DK: vejrtrækningstegn,
S: andningstecken,
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
-@aitem{breve}
+@aitem{breve}@c
ES: breve,
I: breve,
-F: br@`eve,
+F: brève,
D: Brevis,
NL: brevis,
DK: brevis,
@aref{note value} twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-\notes\relative c'' { g\breve }
+\relative c'' { g\breve }
@end lilypond
-@aitem{C}
+@aitem{C}@c
ES: do,
I: do,
F: ut,
S: c,
FI: C, c.
-@aitem{C clef}
+@aitem{C clef}@c
ES: Clave de do,
I: chiave di do,
-F: cl@'e d'ut,
-D: C-Schl@"ussel,
+F: clé d'ut,
+D: C-Schlüssel,
NL: C-sleutel,
-DK: c-n@o{}gle,
+DK: c-nøgle,
S: c-klav,
FI: C-avain.
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c' {
+\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 {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
}
@end lilypond
-@aitem{cadence}
+@aitem{cadence}@c
ES: cadencia,
I: cadenza,
F: cadence,
@aref{harmonic cadence}, @aref{functional harmony}.
-@aitem{cadenza}
+@aitem{cadenza}@c
ES: cadenza,
I: cadenza,
F: cadence,
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
-the middle of the 19th century, however, most cadences have been written down
-by the composer.
+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.
-@aitem{canon}
+@aitem{canon}@c
ES: canon,
I: canone,
F: canon,
NL: canon,
DK: kanon,
S: kanon,
-FI: kaanon, tarkka j@"aljittely.
+FI: kaanon, tarkka jäljittely.
@aref{counterpoint}.
-@aitem{cent}
+@aitem{cent}@c
ES: cent,
I: cent,
F: cent,
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolis@"avelaskeleen sadasosa tasavireisess@"a viritysj@"arjestelm@"ass@"a.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
-Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
-equally tempered @aref{semitone}).
+Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
+of an equally tempered @aref{semitone}).
@aref{equal temperament}.
-@aitem{central C}
+@aitem{central C}@c
@aref{middle C}.
-@aitem{chord}
+@aitem{chord}@c
ES: acorde,
I: accordo,
F: accord,
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+%\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 d f a> s s
}
\context Lyrics \lyrics{
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "major " "minor " "diminished " "augmented "
- "seventh-chord " "ninth-chord "
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
}
@end lilypond
-@aitem{chromatic scale}
-ES: escala crom@'atica,
+@aitem{chromatic scale}@c
+ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
-D: chromatische Tonleiter,
+D: chro@-ma@-ti@-sche Tonleiter,
NL: chromatische toonladder,
DK: kromatisk skala,
S: kromatisk skala,
A scale consisting of all 12 @aref{semitone}s.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\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}
+@aitem{chromaticism}@c
ES: cromatismo,
I: cromatismo,
F: chromatisme,
Use of tones extraneous to a @aref{diatonic scale} (minor, major).
-@aitemii{church mode,ecclesiastical mode}
-ES: modo eclesi@'astico,
+@aitemii{church mode,ecclesiastical mode}@c
+ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode eccl@'esiastique,
+F: mode ecclésiastique,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
-FI: moodi, kirkkos@"avellaji.
+FI: moodi, kirkkosävellaji.
@aref{diatonic scale}.
-@aitem{clef}
+@aitem{clef}@c
ES: clave,
I: chiave,
-F: cl@'e, clef,
-D: Schl@"ussel, Notenschl@"ussel,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,
NL: sleutel,
-DK: n@o{}gle,
+DK: nøgle,
S: klav,
FI: avain, nuottiavain.
@aref{C clef}, @aref{F clef}, @aref{G clef}.
-@aitem{comma}
+@aitem{cluster}@c
+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,raggedright]
+\makeClusters { <c e > <b f'> <b g'> <c g> <f e> }
+@end lilypond
+
+@aitem{comma}@c
I: comma,
F: comma,
D: Komma,
NL: komma,
DK: komma,
S: komma,
-FI: komma, korvinkuultava ero @"a@"anenkorkeudessa.
+FI: komma, korvinkuultava ero äänenkorkeudessa.
Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @aref{temperament}.
-@aitem{common meter}
+@aitem{common meter}@c
@aref{meter}.
-@aitem{compound interval}
+@aitem{compound interval}@c
ES: intervalo compuesto,
I: intervallo composto,
-F: intervalle compos@'e,
+F: intervalle composé,
D: weites Intervall,
NL: samengesteld interval,
DK: sammensat interval,
@aref{interval}.
-@aitem{complement}
+@aitem{complement}@c
I: rivolto,
-F: intervalle compl@'ementaire,
-D: Komplement@"arintervall,
+F: intervalle complémentaire,
+D: Komplementärintervall,
NL: complementair interval,
-DK: komplement@ae{}rinterval,
-S: komplement@"arintervall (?),
-FI: t@"aydent@"av@"a intervalli.
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
@aref{inverted interval}.
-@aitem{conjunct movement}
+@aitem{conjunct movement}@c
ES: movimiento conjunto,
I: moto congiunto,
F: mouvement conjoint,
-D: schrittweise, stufenweise Bewegung,
+D: schritt@-weise, stufenweise Bewegung,
NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bev@ae{}gelse,
-S: stegvis r@"orelse,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
FI: asteittainen liike.
-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second. The opposite of a
+@aref{disjunct movement}.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
\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}
+@aitem{consonance}@c
ES: consonancia,
I: consonanza,
F: consonance,
@aref{harmony}.
-@aitem{contralto}
+@aitem{contralto}@c
ES: contralto,
I: contralto,
F: contralto,
@aref{alto}.
-@aitem{counterpoint}
+@aitem{counterpoint}@c
ES: contrapunto,
I: contrappunto,
F: contrepoint,
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
-FI: kontrapunkti, @"a@"ani @"a@"ant@"a vastaan.
+FI: kontrapunkti, ääni ääntä 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[staffsize=11]
-\override Score.TimeSignature #'style =\turnOff
-\notes\context PianoStaff <<
+@lilypond[fragment,staffsize=12,linewidth=13.0\cm]
+\override Score.TimeSignature #'break-visibility = #all-invisible
+\context PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
>>
@end lilypond
-@aitem{counter tenor}
+@aitem{counter tenor}@c
ES: contratenor,
I: controtenore,
F: contre-tenor,
@aref{contralto}.
-@aitem{Copying, Music}
+@aitem{copying, music}@c
A music copyist did fast freehand scores and parts on preprinted staff lines
for performance. Some of their conventions (e.g., the placement of note heads
on stems) varied slightly from those of engravers. Some of their working
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.
-@aitem{crescendo}
+@aitem{crescendo}@c
ES: crescendo,
I: crescendo,
F: crescendo,
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond
+@lilypond[fragment,raggedright]
\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}
+@aitem{cue-notes}@c
ES: notas guia,
I: notine,
-F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique,
+F: petites notes précédent l'entrée d'in instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
-@aitem{custos}
-
+@aitem{custos}@c
A custos is a staff symbol that appears at the end of a staff line
-with monophonic musical contents (i.e. with a single voice). It
+with monophonic musical contents (i.e., with a single voice). It
anticipates the pitch of the first note of the following line and thus
helps the player or singer to manage line breaks during performance,
thus enhancing readability of a score.
@lilypond
\score {
- \notes {
- \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #-1
- \override Staff.Custos #'adjust-if-on-staffline = ##t
-
- \override Staff.Custos #'style = #'hufnagel
- c'1
- \break < d' a' f''>1
- }
- \paper {
- \translator {
- \StaffContext
- \consists Custos_engraver
- }
- raggedright = ##t
+ {
+% \override Staff.Custos #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #-1
+ \override Staff.Custos #'style = #'hufnagel
+ c'1 \break
+ <d' a' f''>1
+ }
+
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
}
+ raggedright = ##t
+ }
}
@end lilypond
-@aitem{D}
+@aitem{D}@c
ES: Re,
I: re,
-F: r@'e,
+F: ré,
D: D, d,
NL: d,
DK: d,
S: d,
FI: D, d.
-@aitem{da capo}
+@aitem{da capo}@c
ES: da capo,
I: da capo,
F: da capo, depuis le commencement,
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 ``D.C.''.
+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.''.
-@aitem{dal segno}
+@aitem{dal segno}@c
ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
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
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
+@lilypond[fragment,raggedright]
+%\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. " \tiny \raise #1 \musicglyph #"scripts-segno" > }
+ \bar "|."
+}
@end lilypond
-@aitem{decrescendo}
+@aitem{decrescendo}@c
ES: decrescendo,
I: decrescendo,
D: Decrescendo, leiser werden,
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,raggedright]
+\relative c'' {
\key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
+ d4 \> c b a | g1 \! \bar "|."
}
@end lilypond
-@aitem{descending interval}
+@aitem{descending interval}@c
ES: intervalo descendente,
I: intervallo discendente,
F: intervalle descendant,
A distance between a starting higher note and a lower ending note.
-@aitem{diatonic scale}
-ES: escala diat@'onica,
+@aitem{diatonic scale}@c
+ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
D: diatonische Tonleiter,
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
-also to some extent in newer jazz music.
+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,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \context Staff \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \context Staff \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \context Staff \relative c' {
d1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
- \override TextScript #'padding = #-4
+%\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[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c' {
f1 g a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
g1 a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
\context Lyrics \lyrics {
Mixolydian
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \override TextScript #'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[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
\context Lyrics \lyrics {
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
- \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+ \relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
}
@end lilypond
-@aitem{diminished interval}
-ES: intervalo disminu@'{@dotless{i}}do,
+@aitem{diminished interval}@c
+ES: intervalo disminuído,
I: intervallo diminuito,
-F: intervalle diminu@'e,
+F: intervalle diminué,
D: vermindertes Intervall,
NL: verminderd interval,
DK: formindsket interval,
-S: f@"orminskat intervall,
-FI: v@"ahennetty intervalli.
+S: förminskat intervall,
+FI: vähennetty intervalli.
@aref{interval}.
-@aitem{diminuendo}
+@aitem{diminuendo}@c
ES: diminuendo,
I: diminuendo,
F: diminuendo,
@aref{decrescendo}.
-@aitem{disjunct movement}
+@aitem{disjunct movement}@c
ES: movimiendo disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
NL: sprongsgewijze beweging,
-DK: springende bev@ae{}gelse,
-S: hoppande r@"orelse,
-FI: melodian hyppiv@"a liike.
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä 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,raggedright]
\key a \major
\time 4/4
-\notes\relative c' {
+\relative c' {
\partial 8 e8 |
a4. gis8 b a e cis |
fis2 d4. \bar "||" }
@end lilypond
-@aitemii{dissonant interval,dissonance}
+@aitemii{dissonant interval,dissonance}@c
ES: intervalo disonante, disonancias,
I: intervallo dissonante, dissonanza,
F: dissonance,
@aref{harmony}.
-@aitem{dominant ninth chord}
+@aitem{dominant ninth chord}@c
I: accordo di nona di dominante,
-F: accord de neuvi@`eme dominante,
-D: Dominantnoneakkord,
+F: accord de neuvième dominante,
+D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant seventh chord}
-ES: acorde de s@'eptima de dominante,
+@aitem{dominant seventh chord}@c
+ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septi@`eme dominante,
+F: accord de septième dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant}
+@aitem{dominant}@c
ES: dominante,
I: dominante,
F: dominante,
The fifth @aref{scale degree},
@aref{functional harmony}.
-@aitem{dorian mode}
-ES: modo d@'orico,
+@aitem{dorian mode}@c
+ES: modo dórico,
I: modo dorico,
F: mode dorien,
D: dorisch, dorischer Kirchenton,
@aref{diatonic scale}.
-@aitem{dot (augmentation dot)}
+@aitem{dot (augmentation dot)}@c
ES: puntillo,
I: punto (di valore),
F: point,
-D: Punkt (Verl@"angerungspunkt),
+D: Punkt (Verlängerungspunkt),
NL: punt,
DK: punkt,
S: punkt,
@aref{dotted note}.
-@aitem{dotted note}
+@aitem{dotted note}@c
ES: nota con puntillo,
I: nota puntata,
-F: note point@'ee,
+F: note pointée,
D: punktierte Note,
NL: gepuncteerde noot,
DK: punkteret node,
@aref{note value}.
-@aitem{double appoggiatura}
+@aitem{double appoggiatura}@c
ES: apoyatura doble,
I: appoggiatura doppia,
F: appoggiature double,
@aref{appoggiatura}.
-@aitem{double bar line}
+@aitem{double bar line}@c
I: doppia barra,
F: double barre,
D: Doppelstrich,
Indicates the end of a section within a movement.
-@aitem{double dotted note}
+@aitem{double dotted note}@c
ES: nota con dos puntillos,
I: nota doppiamente puntata,
-F: note doublement point@'ee,
+F: note doublement pointée,
D: doppelt punktierte Note,
NL: dubbelgepuncteerde noot,
DK: dob@-belt@-punk@-te@-ret node,
@aref{note value}.
-@aitem{double flat}
+@aitem{double flat}@c
ES: doble bemol,
I: doppio bemolle,
-F: double b@'emol,
+F: double bémol,
D: Doppel-B,
NL: dubbelmol,
DK: dob@-belt-b,
@aref{accidental}.
-@aitem{double sharp}
+@aitem{double sharp}@c
ES: doble sostenido,
I: doppio diesis,
-F: double di@`ese,
+F: double dièse,
D: Doppelkreuz,
NL: dubbelkruis,
DK: dob@-belt@-kryds,
@aref{accidental}.
-@aitem{double trill}
+@aitem{double trill}@c
ES: trino doble,
I: doppio trillo,
F: trille double,
A simultaneous trill on two notes, usually in the distance of a third.
-@aitem{duple meter}
+@aitem{duple meter}@c
ES: tiempo binario,
I: tempo binario,
F: temps binaire,
D: in zwei,
NL: tweedelige maatsoort,
DK: todelt takt,
-S: tv@aa{}takt,
+S: tvåtakt,
FI: kaksoistempo.
@aref{meter}.
-@aitem{duplet}
+@aitem{duplet}@c
ES: dosillo,
I: duina,
F: duolet,
@aref{note value}.
-@aitem{duration}
-ES: duraci@'on,
+@aitem{duration}@c
+ES: duración,
I: durata,
-F: dur@'ee,
-D: Dauer, L@"ange,
+F: durée,
+D: Dauer, Länge,
NL: duur, lengte,
DK: varighed,
-S: tonl@"angd,
+S: tonlängd,
FI: kesto, aika-arvo.
@aref{note value}.
-@aitem{dydimic comma}
+@aitem{dydimic comma}@c
@aref{syntonic comma}.
-@aitem{E}
+@aitem{E}@c
ES: mi,
I: mi,
F: mi,
S: e,
FI: E, e.
-@aitem{eighth note}
+@aitem{eighth note}@c
ES: corchea,
I: croma,
F: croche,
D: Achtel, Achtelnote,
NL: achtste noot,
DK: ottendedelsnode,
-S: @aa{}ttondelsnot,
+S: åttondelsnot,
FI: kahdeksasosanuotti.
@aref{note value}.
-@aitem{eighth rest}
+@aitem{eighth rest}@c
ES: silencio de corchea,
I: pausa di croma,
F: demi-soupir,
D: Achtelpause,
NL: achtste rust,
DK: ottendedelspause,
-S: @aa{}ttonddelspaus,
+S: åttonddelspaus,
FI: kahdeksasosatauko.
@aref{note value}.
-@aitem{engraving}
+@aitem{engraving}@c
ES: Grabar
I: incisione,
F: gravure,
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
-@aitem{enharmonic}
-ES: enharm@'onico,
+@aitem{enharmonic}@c
+ES: enharmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
+%\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 {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
@end lilypond
-@aitem{equal temperament}
+@aitem{equal temperament}@c
ES: ?,
I: temperamento equabile,
-F: temp@'erament @'egal,
+F: tempérament égal,
D: gleichschwebende Stimmung,
NL: ge@-lijk@-zwe@-ven@-de temperatuur,
-DK: ligesv@ae{}vende temperatur,
-S: liksv@"avande temperatur,
+DK: ligesvævende temperatur,
+S: liksvävande temperatur,
FI: tasavireinen.
Tuning system dividing the octave into 12 equal @aref{semitone}s
(precisely 100 @aref{cent}s). @aref{temperament}.
-@aitem{expression mark}
+@aitem{expression mark}@c
ES: ?,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
NL: voordrachtsteken,
DK: foredragsbetegnelse,
-S: f@"oredragsbeteckning,
+S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
@aref{forte}, @aref{crescendo}), 2. tempo (for example
@aref{andante}, @aref{allegro}).
-@aitem{F}
+@aitem{F}@c
ES: fa,
I: fa,
F: fa,
S: f,
FI: F, f.
-@aitem{F clef}
+@aitem{F clef}@c
ES: Clave de Fa,
I: chiave di fa,
-F: cl@'e de fa,
-D: F-Schl@"ussel,
+F: clé de fa,
+D: F-Schlüssel,
NL: F-sleutel,
-DK: F-n@o{}gle,
+DK: F-nøgle,
S: f-klav,
FI: F-avain.
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\relative c {
+\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 {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+% \override Lyrics .LyricText #'self-alignment-X = #-1
"baritone "
"bass "
"sub-bass "
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
-@aitem{fermata}
-ES: Calder@'on,
+@aitem{fermata}@c
+ES: Calderón,
I: corona,
F: point d'orgue, point d'arr@^et,
D: Fermate,
NL: fermate,
DK: fermat,
S: fermat,
-FI: fermaatti, pid@"ake.
+FI: fermaatti, pidäke.
Prolonged note or rest of indefinite duration.
-@lilypond
+@lilypond[fragment,raggedright]
\time 4/4
-\notes\relative c'' {
+\relative c'' {
a4 b c2^\fermata \bar "|."
}
@end lilypond
-@aitem{fifth}
+@aitem{fifth}@c
ES: quinta,
I: quinta,
F: quinte,
@aref{interval}.
-@aitem{figured bass}
+@aitem{figured bass}@c
ES: bajo cifrado, @aref{thorough bass}.
-@aitem{fingering}
-ES: digitaci@'on,
+@aitem{fingering}@c
+ES: digitación,
I: diteggiatura,
-F: doigt@'e,
+F: doigté,
D: Fingersatz,
NL: vingerzetting,
-DK: fingers@ae{}tning,
-S: fingers@"attning,
+DK: fingersætning,
+S: fingersättning,
FI: sormitus.
The methodical use of fingers in the playing of instruments.
-@aitem{flag,pennant}
+@aitemii{flag,pennant}@c
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
-D: Fahne, F@"ahnchen,
+D: Fahne, Fähnchen,
NL: vlaggetje,
DK: fane,
S: flagga,
less than a quarter note. The number of flags determines the
@aref{note value}.
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\relative c'' {
g8_"1/8" s8
g16_"1/16" s8
g32_"1/32" s8
}
@end lilypond
-@aitem{flat}
+@aitem{flat}@c
ES: bemol,
I: bemolle,
-F: b@'emol,
+F: bémol,
D: B, b,
NL: mol,
DK: b,
-S: bef@"ortecken,
+S: beförtecken,
FI: alennusmerkki.
@aref{accidental}.
-@aitemii{forefall,backfall}
+@aitemii{forefall,backfall}@c
@aref{appoggiatura}.
-@aitem{forte}
+@aitem{forte}@c
ES: forte,
I: forte,
F: forte,
Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.
-@aitem{fourth}
+@aitem{fourth}@c
ES: cuarta,
I: quarta,
F: quarte,
@aref{interval}.
-@aitem{fugue}
+@aitem{fugue}@c
ES: fuga,
I: fuga,
F: fugue,
@aref{counterpoint}.
-@aitem{functional harmony}
-ES: armon@'{@dotless{i}}a funcional,
+@aitem{functional harmony}@c
+ES: armonía funcional,
I: armonia funzionale,
-F: @'etude des functions,
+F: étude des functions,
D: Funktionslehre,
NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
-S: funktionsl@"ara,
-FI: harmoniaj@"arjestelm@"a.
+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
dominant (D, the chord on the fifth note). Other are considered to be
variants of the base chords.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\encoding "TeX"
+\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}$\\mid$" }
+\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
@end lilypond
-@aitem{G}
+@aitem{G}@c
ES: sol,
I: sol,
F: sol,
S: g,
FI: G, g.
-@aitem{G clef}
+@aitem{G clef}@c
ES: Clave de sol,
I: chiave di sol,
-F: cl@'e de sol,
-D: G-Schl@"ussel, Violinschl@"ussel,
+F: clé de sol,
+D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
-DK: g-n@o{}gle,
+DK: g-nøgle,
S: g-klav,
FI: G-avain.
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\addlyrics
-\notes\relative c'' {
+\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 {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"french violin clef "
"violin clef "
"octaved up "
}
@end lilypond
-@aitem{glissando}
+@aitem{glissando}@c
ES: glissando,
I: glissando,
F: glissando,
Letting the pitch slide fluently from one note to the other.
-@aitem{grace notes}
-SP: ?,
+@aitem{grace notes}@c
+ES: ?,
I: abbellimenti,
F: fioriture,
-D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
S: ornament,
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @aref{appoggiatura}.
-@aitem{grand staff}
+@aitem{grand staff}@c
I: accolatura,
F: accolade,
D: Akkolade,
NL: piano systeem,
DK: klaversystem,
-S: ackolad, b@"ojd klammer,
+S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
@aref{brace}.
A combination of two staves with a brace. Usually used for piano music.
-@aitem{grave}
+@aitem{grave}@c
ES: grave,
I: grave,
F: grave,
Slow, solemn.
-@aitem{half note}
+@aitem{half note}@c
ES: blanca,
I: minima,
F: blanche,
@aref{note value}.
-@aitem{half rest}
-SP: ?,
+@aitem{half rest}@c
+ES: ?,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
@aref{note value}.
-@aitem{harmonic cadence}
-ES: cadencia (arm@'onica),
+@aitem{harmonic cadence}@c
+ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
D: Schlusskadenz,
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-Sequence of chords that terminate a musical phrase or
+A sequence of chords that terminates a musical phrase or
section. @aref{functional harmony}.
-@lilypond
-\notes\context PianoStaff <<
+@lilypond[fragment,raggedright]
+\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
\clef treble
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
- \addlyrics
+% %\override Score.LyricText #'font-style = #'large
+ \oldaddlyrics
\context Staff = SB \relative c {
\clef bass
\partial 4 c4 | f, g c2
>>
@end lilypond
-@aitem{harmony}
-ES: armon@'{@dotless{i}}a,
+@aitem{harmony}@c
+ES: armonía,
I: armonia,
F: harmonie,
D: Harmonie, Zusammenklang,
Consonances:
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
<g g>1_"unisone " s
<g b>_"third " s
<g c>_"fourth " s
Dissonances:
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \notes\relative c'' {
+%\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
Three note harmony @aref{chord}.
-@aitem{homophony}
-ES: homofon@'{@dotless{i}}a,
+@aitem{homophony}@c
+ES: homofonía,
I: omofonia,
F: homophonie,
D: Homophonie,
NL: homofonie,
DK: homofoni,
S: homofoni,
-FI: homofonia, yksi@"a@"anisyys.
+FI: homofonia, yksiäänisyys.
Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @aref{polyphony}.
-@aitem{interval}
+@aitem{interval}@c
ES: intervalo,
I: intervallo,
F: intervalle,
NL: interval,
DK: interval,
S: intervall,
-FI: intervalli, kahden s@"avelen korkeusero.
+FI: intervalli, kahden sävelen korkeusero.
Difference in pitch between two notes. Intervals may be perfect, minor, major,
diminished, or augmented. The augmented fourth and the diminished fifth are
because they consist of three @aref{whole tone}s. The addition
of such two forms an octave.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Voice \notes\relative c'' {
+%\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 bis >^"augm" s
}
\context Lyrics \lyrics {
- "unisone " "second " "second " "second "
- "third " "third " "third " "third "
+ "unisone " "second " "second " "second "
+ "third " "third " "third " "third"
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'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
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+\oldaddlyrics
+\context Staff \relative c'' {
+ < g c >1^"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 "
- "sixth " "sixth " "sixth " "sixth "
+ "sixth " "sixth " "sixth " "sixth"
}
@end lilypond
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\addlyrics
-\context Staff \notes\relative c'' {
- < gis f'! >1^"dimin" s
- < g! f'! >^"minor" s
- < g fis' >^"major" s
+%\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
+ < g as' >^"minor" s
+ < g a'! >^"major" s
+ < g bes' >^"minor" s
+ < g b'! >^"major" s
}
\context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "none " "none " "decime " "decime "
+ "seventh " "seventh " "seventh " "octave "
+ "none " "none " "decime " "decime"
}
@end lilypond
-@aitem{inverted interval}
+@aitem{inverted interval}@c
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle revers@'e,
+F: intervalle reversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
-S: intervallets omv@"andning,
-FI: k@"a@"anteisintervalli.
+S: intervallets omvändning,
+FI: käänteisintervalli.
The difference between an interval and an octave.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Staff \notes\relative c'' {
- < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
+%\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
-@aitem{just intonation}
+@aitem{just intonation}@c
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
NL: reine stemming,
DK: ren stemning,
-S: ren st@"amning,
+S: ren stämning,
FI: puhdas viritys.
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds. @aref{temperament}.
-@aitem{key}
+@aitem{key}@c
ES: tonalidad,
-I: tonalit@`a,
-F: tonalit@'e,
+I: tonalità,
+F: tonalité,
D: Tonart,
NL: toonsoort,
DK: toneart,
there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@aref{key signature}.
-@aitem{key signature}
+@aitem{key signature}@c
ES: armadura de clave,
I: armatura di chiave,
-F: armure, armature [de la cl@'e],
+F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
NL: toon@-soort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
-FI: s@"avellajiosoitus.
+FI: sävellajiosoitus.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @aref{accidental}.
-@aitem{largo}
+@aitem{largo}@c
ES: largo,
I: largo,
F: largo,
NL: largo,
DK: largo,
S: largo,
-FI: largo, hitaasti, leve@"asti.
+FI: largo, hitaasti, leveästi.
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
-@aitem{leading note}
+@aitem{leading note}@c
ES: sensible,
I: sensibile,
F: note sensible,
NL: leidtoon,
DK: ledetone,
S: ledton,
-FI: johtos@"avel.
+FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
upwards) to the tonic scale degree.
-@aitemii{ledger line,leger line}
-ES: l@'{@dotless{i}}neas adicionales,
+@aitemii{ledger line,leger line}@c
+ES: líneas adicionales,
I: tagli addizionali,
-F: ligne suppl@'ementaire,
+F: ligne supplémentaire,
D: Hilfslinie,
NL: hulplijntje,
-DK: hj@ae{}lpelinie,
-S: hj@"alplinje,
+DK: hjælpelinie,
+S: hjälplinje,
FI: apuviiva.
A ledger line is an extension of the staff.
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-\notes\relative c'' { a,1 s c'' }
+\relative c'' { a,1 s c'' }
@end lilypond
-@aitem{legato}
+@aitem{legato}@c
ES: ligado,
I: legato,
-F: legato, li@'e,
+F: legato, lié,
D: legato,
NL: legato,
DK: 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,linewidth=13.0\cm]
\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 "||"
c4-. d-. e-. \bar "||"
}
\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'font-style = #'large
+% \override Lyrics .LyricText #'font-style = #'large
a
b "" ""
c
}
@end lilypond
-@aitem{legato curve}
+@aitem{legato curve}@c
@aref{slur}, @aref{legato}.
-@aitem{lilypond}
+@aitem{lilypond}@c
ES: estanque de lilas,
I: stagno del giglio,
-F: @'etang de lis,
+F: étang de lis,
UK: lily pond,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
A pond with lilies floating in it, also the name of a music typesetter.
-@aitem{line}
-ES: l@'{@dotless{i}}nea,
+@aitem{ligature}@c
+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}@c
+ES: línea,
I: linea,
F: ligne,
D: Linie, Notenlinie,
@aref{staff}.
-@aitem{long appoggiatura}
+@aitem{long appoggiatura}@c
ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
D: langer Vorschlag,
NL: Lange voorslag,
DK: langt forslag,
-S: l@aa{}ngt f@"orslag,
-FI: pitk@"a appoggiatura, pitk@"a etuhele.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.
@aref{appoggiatura}.
-@aitem{longa}
+@aitem{longa}@c
ES: longa,
I: longa,
F: longa,
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-\notes\relative c'' {
- \override NoteHead #'style = #'mensural
+\relative c'' {
+ \override NoteHead #'style = #'mensural
g\longa
}
@end lilypond
-@aitemii{lyrics,song texts}
+@aitemii{lyrics,song texts}@c
ES: .,
I: .,
F: .,
NL: liedtekst,
DK: .,
S: .,
-FI, sanoitus,
+FI, sanoitus.
-@aitem{major interval}
+@aitem{major interval}@c
ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
-D: gro@ss{}es Intervall,
+D: großes Intervall,
NL: groot interval,
DK: stort interval,
S: stort intervall,
@aref{interval}.
-@aitem{major}
+@aitem{major}@c
ES: mayor,
I: maggiore,
F: [mode] majeur,
@aref{diatonic scale}.
-@aitem{meantone temperament}
+@aitem{meantone temperament}@c
I: accordatura mesotonica,
-F: temp@'erament m@'esotonique,
-D: mittelt@"onige Stimmung,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
-FI: keskis@"avelviritys.
+FI: keskisävelviritys.
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}
-ES: comp@'as,
+@aitemii{measure,bar}@c
+ES: compás,
I: misura, battuta,
F: mesure,
D: Takt,
throughout the composition and are marked from each other by
bar-lines. @aref{meter}.
-@aitem{mediant}
+@aitem{mediant}@c
ES: mediante,
I: mediante, modale,
-F: m@'ediante,
+F: médiante,
NL: mediant,
D: Mediante,
DK: mediant,
S: mediant,
-FI: keskis@"avel.
+FI: keskisävel.
-1. The third @b{scale degree}.
-2. A @aref{chord} having its base tone
+1.@tie{}The third @b{scale degree}.
+2.@tie{}A @aref{chord} having its base tone
a third from that of another chord. For example, the tonic chord may be
replaced by its lower mediant (variant tonic). @aref{functional
harmony}, @aref{relative key}.
-@aitem{melisma}
-
+@aitem{melisma}@c
NL: melisma,
-FI: melisma, laulettavan tavun s@"avelkuvio.
+FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural: melismata) is a group of notes or tones sung on one
syllable in plainsong
-@aitem{melodic cadence}
+@aitem{melodic cadence}@c
@aref{cadenza}.
-@aitem{meter, time}
-ES: comp@'as,
+@aitemii{meter,time}@c
+ES: compás,
I: tempo, metro,
-F: indication de m@'esure,
+F: indication de mésure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
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,linewidth=13.0\cm]
+\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,linewidth=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 "||"}
@end lilypond
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+\relative c'' {
\time 5/4
\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 "||"}
@end lilypond
-@aitem{metronome}
-ES: metr@'onomo,
+@aitem{metronome}@c
+ES: metrónomo,
I: metronomo,
-F: m@'etronome,
+F: métronome,
D: Metronom,
NL: metronoom,
DK: me@-tro@-nom,
Device indicating the exact tempo of a piece. @aref{metronomic
indication}.
-@aitem{metronomic indication}
-ES: indicaci@'on metron@'omica,
+@aitem{metronomic indication}@c
+ES: indicación metronómica,
I: indicazione metronomica,
-F: indication m@'etronomique,
+F: indication métronomique,
D: Metronomangabe,
NL: metronoom aanduiding,
DK: metronomtal,
FI: metronomiosoitus.
Exact tempo indication (in beats per minute). Also denoted by
-M.M. (M@"alzels Metronom).
+M.M.@: (Mälzels Metronom).
-@aitem{mezzo-soprano}
+@aitem{mezzo-soprano}@c
ES: mezzo soprano,
I: mezzo-soprano,
F: mezzo-soprano,
The female voice between @aref{soprano} and
@aref{contralto}.
-@aitem{middle C}
+@aitem{middle C}@c
ES: do central,
I: do centrale,
F: do central,
First C below the 440 Hz A.
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-\notes\relative c' {
+\override Staff.Clef #'full-size-change = ##t
+\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
}
@end lilypond
-@aitem{minor}
+@aitem{minor}@c
ES: menor,
I: minore,
F: mode mineur,
@aref{diatonic scale}.
-@aitem{minor interval}
+@aitem{minor interval}@c
ES: intervalo mayor,
I: intervallo minore,
F: intervalle mineur,
@aref{interval}.
-@aitem{mode}
+@aitem{mode}@c
ES: modo,
I: modo,
F: mode,
NL: modus,
DK: skala,
S: modus, skala,
-FI: moodi, kirkkos@"avelasteikko.
+FI: moodi, kirkkosävelasteikko.
@aref{church mode}, @aref{diatonic scale}.
-@aitem{modulation}
-ES: modulaci@'on,
+@aitem{modulation}@c
+ES: modulación,
I: modulazione,
F: modulation,
D: Modulation,
NL: modulatie,
DK: modulation,
S: modulering,
-FI: modulaatio, s@"avellajin vaihdos.
+FI: modulaatio, sävellajin vaihdos.
Moving from one @aref{key} to another. For example, the second
subject of a @aref{sonata form} movement modulates to the dominant
key if the key is major and to the @aref{relative key} if the key
is minor.
-@aitem{mordent}
+@aitem{mordent}@c
I: mordente,
F: mordant,
D: Mordent,
@aref{ornament}.
-@aitemii{motive,motif}
+@aitemii{motive,motif}@c
ES: tema,
I: inciso,
F: incise,
NL: motief,
DK: motiv,
S: motiv,
-FI: teema, s@"avelaihe.
+FI: teema, sävelaihe.
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,linewidth=13.0\cm]
+\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 |
}
@end lilypond
-@aitem{movement}
+@aitem{movement}@c
ES: movimiento,
I: movimento,
F: mouvement,
@aref{sonata} most often consist of several -- more or less --
independant pieces called movements.
-@aitem{multibar rest}
+@aitem{multibar rest}@c
ES: compases de espera,
I: pausa multipla,
F: pause multiple,
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond
-\notes\relative c'' {
+@lilypond[fragment,raggedright]
+\relative c'' {
a1
\set Score.skipBars = ##t R1*3
a1
}
@end lilypond
-@aitem{mixolydian mode}
+@aitem{mixolydian mode}@c
@aref{diatonic scale}.
-@aitem{natural sign}
+@aitem{natural sign}@c
ES: becuadro,
I: bequadro,
-F: b@'ecarre,
-D: Aufl@"osungszeichen,
+F: bécarre,
+D: Auflösungszeichen,
NL: herstellingsteken,
-DK: op@-l@o{}sningstegn,
-S: @aa{}terst@"allningstecken,
+DK: op@-løsningstegn,
+S: återställningstecken,
FI: palautusmerkki.
@aref{accidental}.
-@aitem{neighbour tones}
+@aitem{neighbour tones}@c
@aref{appoggiatura}.
-@aitem{ninth}
+@aitem{ninth}@c
ES: novena,
I: nona,
-F: neuvi@`eme,
+F: neuvième,
D: None,
NL: noon,
DK: none,
@aref{interval}.
-@aitem{non-legato}
+@aitem{non-legato}@c
@aref{legato}.
-@aitem{note}
+@aitem{note}@c
ES: nota,
I: nota,
F: note,
and @aref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-@aitem{note head}
+@aitem{note head}@c
ES: oval,
I: testa, testina, capocchia,
F: t@^ete de la note,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
-FI: nuotin p@"a@"a.
+FI: nuotin pää.
A head like sign which indicates pitch by its position on a
@aref{staff} provided with a @aref{clef}, and duration
instruments (often having no defined pitch) the note head may indicate the
instrument.
-@aitem{note value}
+@aitem{note value}@c
ES: valor,
I: valore, durata,
-F: dur@'ee, valeur (d'une note),
+F: durée, valeur (d'une note),
D: Notenwert,
NL: nootwaarde,
-DK nodev@ae{}rdi,
-S: notv@"arde,
+DK nodeværdi,
+S: notvärde,
FI: nuotin aika-arvo.
Note values (durations) are measured as fractions, normally 1/2, of the next
but sometimes (mostly in pre baroque music) the double length note value
@emph{longa} is used.
-@lilypond[notime]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[fragment,notime,linewidth=13.0\cm]
+%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
-\notes\relative c'' {
- \override NoteHead #'style = #'mensural
- g\longa_"longa" g\breve_"breve"
+\relative c'' {
+ \override NoteHead #'style = #'mensural
+ a\longa_"longa" a\breve_"breve"
\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 }
+ a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
+ a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[notime]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[fragment,notime,linewidth=13.0\cm]
+%\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
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+%\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 "||" }
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+%\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
-\notes\relative c'' {
+@lilypond[fragment,linewidth=13.0\cm]
+\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
g4 g g \bar "||"
}
@end lilypond
-@aitem{octave sign}
+@aitem{octave sign}@c
@aref{G clef}, @aref{F clef}.
-@aitem{octave}
+@aitem{octave}@c
ES: octava,
I: ottava,
F: octave,
@aref{interval}.
-@aitemiii{ornament,embellishment,accessory}
+@aitemiii{ornament,embellishment,accessory}@c
ES: adorno,
I: abbellimento, fioriture,
-F: agr@'ement, ornement,
+F: agrément, ornement,
D: Verzierung, Ornament,
NL: versiering,
DK: forsiring,
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
- \notes\relative c'' {
- c2._"pre-1850" b4\trill | c1 \bar "||"
+% \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
+@lilypond[fragment,linewidth=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'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'' {
+ \relative c'' {
a4 c16[ b a b] c2
- g4 a b16-[ a b8] a4
+ g4 a b16-[ a b8] a4
e'4 e32[ d e d ~ d8] c2
}
>>
@aref{appoggiatura}.
-@aitem{ossia}
+@aitem{ossia}@c
ES: ossia,
I: ossia,
F: ossia,
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@aitem{part}
+@aitem{part}@c
ES: parte,
I: voce, parte,
F: partie,
D: Stimme,
NL: partij,
DK: stemme,
-S: st@"amma,
+S: stämma,
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
+1.@tie{}In instrumental or choral music the music for the single instrument
+or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
melodic line of the contrapunctal web.
-@aitem{percussion}
-ES: percusi@'on,
+@aitem{percussion}@c
+ES: percusión,
I: percussioni,
F: percussion,
D: Schlagzeug, Schlagwerk,
NL: slagwerk,
-DK: slagt@o{}j,
+DK: slagtøj,
S: slagverk,
-FI: ly@"om@"asoittimet.
+FI: lyömäsoittimet.
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@aitem{perfect interval}
+@aitem{perfect interval}@c
ES: intervalo justo,
I: intervallo giusto,
F: intervalle juste,
@aref{interval}.
-@aitem{phrase}
+@aitem{phrase}@c
ES: frase,
I: frase,
F: phrase,
A natural division of the melodic line, comparable to a sentence of speech.
-@aitem{phrasing}
+@aitem{phrasing}@c
ES: fraseo,
I: fraseggio,
-F: phras@'e,
+F: phrasé,
D: Phrasierung,
NL: frasering,
DK: frasering,
S: fra@-se@-ring,
-FI: fraseeraus, j@"asent@"aminen.
+FI: fraseeraus, jäsentäminen.
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
-@aitem{piano}
+@aitem{piano}@c
ES: piano,
I: piano,
F: piano,
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.
-@aitem{pitch}
+@aitem{pitch}@c
ES: altura,
I: altezza,
F: hauteur,
-D: Tonh@"ohe,
+D: Tonhöhe,
NL: toonhoogte,
-DK: toneh@o{}jde,
-S: tonh@"ojd,
-FI: s@"avelkorkeus.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
-@aitem{pizzicato}
+@aitem{pizzicato}@c
ES: pizzicato,
I: pizzicato,
F: pizzicato,
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
-FI: pizzicato, n@"app@"aillen.
+FI: pizzicato, näppäillen.
Play by plucking the strings.
-@aitem{polyphony}
-ES: polifon@'{@dotless{i}}a,
+@aitem{polyphony}@c
+ES: polifonía,
I: polifonia,
F: polyphonie,
D: Polyphonie,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
-FI: polyfonia, moni@"a@"anisyys.
+FI: polyfonia, moniäänisyys.
Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @aref{counterpoint}.
-@aitem{portato}
+@aitem{portato}@c
@aref{legato}.
-@aitem{presto}
+@aitem{presto}@c
ES: presto,
I: presto,
F: presto,
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}
-ES: coma pitag@'orico,
+@aitem{Pythagorean comma}@c
+ES: coma pitagórico,
I: comma pitagorico,
F: comma pythagoricien,
-D: Pythagor@"aisches Komma,
+D: Pythagoräisches Komma,
NL: komma van Pythagoras,
-DK: pythagor@ae{}isk komma,
+DK: pythagoræisk komma,
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@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.
-@aitem{quadruplet}
+@aitem{quadruplet}@c
ES: cuatrillo,
I: quartina,
F: quartolet,
@aref{note value}.
-@aitem{quarter note}
+@aitem{quarter note}@c
ES: negra,
I: semiminima, nera,
F: noire,
D: Viertel, Viertelnote,
NL: kwartnoot,
DK: fjerdedelsnode,
-S: fj@"ardedelsnot,
-FI: nelj@"annesosanuotti.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.
@aref{note value}.
-@aitem{quarter rest}
+@aitem{quarter rest}@c
ES: silencio de negra,
I: pausa di semiminima,
F: soupir,
D: Viertelpause,
NL: kwart rust,
DK:@w{ }fjerdedelspause,
-S: fj@"ardedelspaus,
-FI: nelj@"annesosatauko.
+S: fjärdedelspaus,
+FI: neljännesosatauko.
@aref{note value}.
-@aitem{quintuplet}
+@aitem{quintuplet}@c
ES: quintillo,
I: quintina,
F: quintolet,
@aref{note value}.
-@aitem{rallentando}
+@aitem{rallentando}@c
ES: rallentando,
I: rallentando,
F: rallentando,
NL: rallentando,
DK: rallentando,
S: rallentando,
-FI. rallerdando, hidastuen,
+FI: rallerdando, hidastuen.
Abbreviation "rall.". @aref{ritardando}.
-@aitem{relative key}
+@aitem{relative key}@c
ES: relativa,
-I: tonalit@`a relativa,
-F: tonalit@'e relative,
+I: tonalità relativa,
+F: tonalité relative,
D: Paralleltonart,
NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
-FI: rinnakkaiss@"avellaji.
+FI: rinnakkaissävellaji.
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\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[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\override Score.TextScript #'font-style = #'large
+\relative c' {
\key es \major
c1_"c minor" d es f g a! b! c \bar "||"
}
@end lilypond
-@aitem{repeat}
-ES: barra de repetici@'on,
+@aitem{repeat}@c
+ES: barra de repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
S: repris,
FI: toisto.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
\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
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-@aitem{rest}
+@aitem{rest}@c
ES: silencio,
I: pausa,
F: silence,
@aref{note value}.
-@aitem{rhythm}
+@aitem{rhythm}@c
ES: ritmo,
I: ritmo,
F: rythme,
different measures. (c) Free rhythm, i.e., the use of temporal values having
no common metrical unit (beat).
-@aitem{ritardando}
+@aitem{ritardando}@c
ES: retardando,
I: ritardando,
F: ritardando,
NL: ritardando,
DK: ritardando,
S: ritardando,
-FI. ritardando, hidastuen,
+FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
+Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-@aitem{ritenuto}
+@aitem{ritenuto}@c
ES: ritenuto,
I: ritenuto,
F: ritenuto,
Immediate reduction of speed.
-@aitem{scale}
+@aitem{scale}@c
ES: escala,
I: scala,
F: gamme,
NL: toonladder,
DK: Skala,
S: skala,
-FI: asteikko, s@"avelasteikko.
+FI: asteikko, sävelasteikko.
@aref{diatonic scale}.
-@aitem{scale degree}
+@aitem{scale degree}@c
ES: grados de la escala,
I: grado della scala,
-F: degr@'e [de la gamme],
+F: degré [de la gamme],
D: Tonleiterstufe,
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
-FI: s@"avelaste, asteikon s@"avel.
+FI: sävelaste, asteikon sävel.
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[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
+%\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 {
<< { I II III IV V VI VII I }
- { T "" "" S D } >>
+ { T "" "" S D } >>
}
@end lilypond
@aref{functional harmony}.
-@aitem{score}
+@aitem{score}@c
ES: partitura,
I: partitura,
F: partition,
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}.
-@aitem{second}
+@aitem{second}@c
ES: segunda,
I: secunda,
F: seconde,
@aref{semitone}s and @aref{whole tone}s, hence the size
of a se@-cond depends on the scale degrees in question.
-@aitem{semitone}
+@aitem{semitone}@c
ES: semitono,
I: semitono,
F: demi-ton,
NL: halve toon,
DK: halvtone,
S: halvton,
-FI: puolis@"avel.
+FI: puolisävel.
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[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\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}
-ES: s@'eptima,
+@aitem{seventh}@c
+ES: séptima,
I: settima,
-F: septi@`eme,
+F: septième,
D: Septime,
NL: septiem,
DK: septim,
@aref{interval}.
-@aitem{sextuplet, sextolet}
+@aitem{sextuplet, sextolet}@c
I: sestina,
F: sextolet,
D: Sextole,
@aref{note value}.
-@aitem{sharp}
+@aitem{sharp}@c
ES: sostenido,
I: diesis,
-F: di@`ese,
+F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
-S: korsf@"ortecken,
+S: kors@-förtecken,
FI: korotusmerkki.
@aref{accidental}.
-@aitem{short appoggiatura}
+@aitem{short appoggiatura}@c
@aref{appoggiatura}.
-@aitem{sixteenth note}
+@aitem{sixteenth note}@c
ES: semicorchea,
I: semicroma,
F: double croche,
@aref{note value}.
-@aitem{sixteenth rest}
+@aitem{sixteenth rest}@c
ES: silencia de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
@aref{note value}.
-@aitem{sixth}
+@aitem{sixth}@c
ES: sexta,
I: sesta,
F: sixte,
@aref{interval}.
-@aitem{sixty-fourth note}
+@aitem{sixty-fourth note}@c
ES: semifusa,
I: semibiscroma,
F: quadruple croche,
D: Vierundsechzigstel, Vierundsechzigstelnote,
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofj@"ardedelsnot,
-FI: kuudeskymmenesnelj@"asosanuotti.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.
@aref{note value}.
-@aitem{sixty-fourth rest}
+@aitem{sixty-fourth rest}@c
ES: silencia de semifusa,
I: pausa di semibiscroma,
-F: seizi@`eme de soupir,
+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: sextiofj@"ardedelspaus,
-FI: kuudeskymmenesnelj@"asosatauko.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.
@aref{note value}.
-@aitem{slur}
+@aitem{slur}@c
ES: ligadura,
I: legatura (di portamento or espressiva),
-F: liaison, coul@'e,
+F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
-S: b@aa{}ge,
+S: båge,
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
breath in singing.
-@aitem{solmization}
+@aitem{solmization}@c
I: solmisazione,
F: solmisation,
D: Solmisation,
(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})). @aref{scale degree}.
-@aitem{sonata}
+@aitem{sonata}@c
ES: sonata,
I: sonata,
F: sonate,
piano or for some other instrument with piano accompaniment, which consists of
three or four independant pieces, called movements.
-@aitem{sonata form}
+@aitem{sonata form}@c
ES: forma sonata,
I: forma sonata,
F: [en] forme de sonate,
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
@aref{major}, and in the @aref{relative key} if the
tonic is @aref{minor}.
-@aitem{soprano}
+@aitem{soprano}@c
ES: soprano,
I: soprano,
F: soprano,
NL: sopraan,
DK: sopran,
S: sopran,
-FI: sopraano, korkea nais@"a@"ani.
+FI: sopraano, korkea naisääni.
The highest female voice.
-@aitem{staccato}
+@aitem{staccato}@c
ES: staccato,
I: staccato,
-F: staccato, piqu@'e, d@'etach@'e,
+F: staccato, piqué, détaché,
D: staccato,
NL: staccato,
DK: staccato,
S: staccato,
-FI: staccato, lyhyesti, ter@"av@"asti.
+FI: staccato, lyhyesti, terävästi.
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
-@lilypond
+@lilypond[fragment,raggedright]
\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}@c
ES: pentagrama,
I: pentagramma, rigo (musicale),
-F: port@'ee,
+F: portée,
D: Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
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.
-@aitem{stem}
+@aitem{stem}@c
ES: plica,
I: gamba,
F: queue,
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c'' {
+%\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
}
@end lilypond
-@aitem{strings}
+@aitem{strings}@c
ES: arcos, cuerdas,
I: archi,
F: cordes,
D: Streicher,
NL: strijkers,
DK: strygere,
-S: str@aa{}kar,
+S: stråkar,
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.
-@aitem{strong beat}
+@aitem{strong beat}@c
ES: tiempo fuerte,
I: tempo forte,
F: temps fort,
@aref{beat}, @aref{accent}, @aref{measure},
@aref{rhythm}.
-@aitem{subdominant}
+@aitem{subdominant}@c
ES: subdominante,
I: sottodominante,
F: sous-dominante,
The fourth @aref{scale degree}. @aref{functional
harmony}.
-@aitem{submediant}
+@aitem{submediant}@c
ES: superdominante,
I: sopratonica,
-F: sous-m@'ediante,
+F: sous-médiante,
D: Submediante,
NL: submediant,
DK: Submediant,
S: submediant,
-FI: alikeskis@"avel.
+FI: alikeskisävel.
The sixth @aref{scale degree}.
-@aitem{subtonic}
+@aitem{subtonic}@c
ES: sensible,
I: sottotonica,
F: sous-tonique,
The seventh @aref{scale degree}.
-@aitem{superdominant}
+@aitem{superdominant}@c
ES: superdominante,
I: sopradominante,
F: sus-dominante,
The sixth @aref{scale degree}.
-@aitem{supertonic}
-ES: supert@'onica,
+@aitem{supertonic}@c
+ES: supertónica,
I: sopratonica,
F: sus-tonique,
D: Supertonika,
The second @aref{scale degree}.
-@aitem{symphony}
-ES: sinfon@'{@dotless{i}}a,
+@aitem{symphony}@c
+ES: sinfonía,
I: sinfonia,
F: symphonie,
D: Sinfonie, Symphonie,
A symphony may be defined as a @aref{sonata} for orchestra.
-@aitem{syncopation}
+@aitem{syncopation}@c
ES: sincopado,
I: sincope,
F: syncope,
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond
+@lilypond[fragment,raggedright]
\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
-@aitemii{syntonic comma,dydimic comma}
+@aitemii{syntonic comma,dydimic comma}@c
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
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 viritysjärjestelmässä.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
-@aitem{system}
+@aitem{system}@c
I: accollatura,
-F: syst@`eme,
+F: système,
D: Notensystem,
NL: systeem,
DK: system,
S: system,
-FI: nuottij@"arjestelm@"a.
+FI: nuottijärjestelmä.
The collection of staves @aref{staff}, two or more, as used for
writing down of keyboard, chamber, choral, or orchestral music.
-@aitem{temperament}
+@aitem{temperament}@c
ES: temperamento,
I: temperamento,
-F: temp@'erament,
-D: Stimmung, Temperatur,
+F: tempérament,
+D: Stimmung, Tem@-pe@-ra@-tur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
-FI: viritysj@"arjestelm@"a.
+FI: viritysjärjestelmä.
Systems of tuning in which the intervals deviate from the acoustically pure
intervals. @aref{meantone temperament}, @aref{equal
temperament}.
-@aitem{tempo indication}
-ES: indicaci@'on de tempo,
+@aitem{tempo indication}@c
+ES: indicación de tempo,
I: indicazione di tempo,
F: indication de temps,
-D: Zeitma@ss{}, Tempobezeichnung,
+D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
-FI: tempomerkint@"a.
+FI: tempomerkintä.
The rate of speed of a composition or a section thereof, ranging from the
slowest to the quickest, as is indicated by tempo marks as
@aref{largo}, @aref{adagio}, @aref{andante},
@aref{allegro}, and @aref{presto}.
-@aitem{tenor}
+@aitem{tenor}@c
ES: tenor,
I: tenore,
-F: t@'enor,
+F: ténor,
D: Tenor,
NL: tenor,
DK: tenor,
S: tenor,
-FI: tenori, korkea mies@"a@"ani.
+FI: tenori, korkea miesääni.
The highest voice of men (apart from @aref{counter tenor}).
-@aitem{tenth}
-ES: d@'ecima,
+@aitem{tenth}@c
+ES: décima,
I: decima,
-F: dixi@`eme,
+F: dixième,
D: Dezime,
NL: deciem,
DK: decim,
@aref{note value}.
-@aitem{third}
+@aitem{third}@c
ES: tercera,
I: terza,
F: tierce,
@aref{interval}.
-@aitem{thirty-second note}
+@aitem{thirty-second note}@c
ES: fusa,
I: biscroma,
F: triple croche,
D: Zweiunddreissigstel, Zweiunddreissigstelnote,
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
-S: trettiotv@aa{}ondelsnot,
+S: trettiotvåondelsnot,
FI: kolmanneskymmeneskahdesosanuotti.
@aref{note value}.
-@aitem{thirty-second rest}
+@aitem{thirty-second rest}@c
ES: silencio de fusa,
I: pausa di biscroma,
-F: huiti@`eme de soupir,
+F: huitième de soupir,
UK: demisemiquaver rest,
D: Zweiunddreissigstel@-pause,
NL: 32e rust,
DK: toogtredivtedelspause,
-S: trettiotv@aa{}ondelspaus,
+S: trettiotvåondelspaus,
FI: kolmanneskymmeneskahdesosatauko.
@aref{note value}.
-@aitemii{thorough bass,figured bass}
+@aitemii{thorough bass,figured bass}@c
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffr@'ee,
+F: basse chiffrée,
D: Generalbass, bezifferter Bass,
NL: basso continuo, becijferde bas
DK: generalbas,
with figures designating the chief @aref{interval}s and
@aref{chord}s to be played above the bass notes.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
\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
}
\context Lyrics \lyrics {
- \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
+ \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
<< { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >>
+ { "" "" "" "2" "" "" "" "" "" "2" } >>
}
>>
@end lilypond
-@aitemii{tie,bind}
-ES: ligadura de prolongaci@'on,
+@aitemii{tie,bind}@c
+ES: ligadura de prolongación,
I: legatura (di valore),
F: liaison,
D: Haltebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
-S: bindeb@aa{}ge, @"overbindning,
+S: bindebåge, överbindning,
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[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-\notes\relative c'' { g2 ~ g4. }
+\relative c'' { g2 ~ g4. }
@end lilypond
-@aitem{time signature}
-ES: cifra indicadora de comp@'as,
+@aitem{time signature}@c
+ES: cifra indicadora de compás,
I: segni di tempo,
F: chiffrage (chiffres indicateurs), signe de valeur,
D: Taktangabe, Angabe der Taktart,
@aref{meter}.
-@aitem{tone}
+@aitem{tone}@c
ES: sonido,
I: suono,
F: ton,
NL: toon,
DK: tone,
S: ton,
-FI: @"a@"ani.
+FI: ääni.
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
Music from the 20th century may be based on non tone related sounds.
-@aitem{tonic}
+@aitem{tonic}@c
ES: tonica,
I: tonica,
F: tonique,
The first @aref{scale degree}.
@aref{functional harmony}.
-@aitem{transposition}
-ES: transposici@'on,
+@aitem{transposition}@c
+ES: transposición,
I: trasposizione,
F: transposition,
D: Transposition,
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
\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,linewidth=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
}
@end lilypond
-@aitem{treble clef}
+@aitem{treble clef}@c
ES: clave de sol,
I: chiave di violino,
-F: cl@'e de sol,
-D: Violinschl@"ussel, Sopranschl@"ussel,
+F: clé de sol,
+D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantn@o{}gle,
+DK:@w{ }diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
@aref{G clef}.
-@aitem{tremolo}
+@aitem{tremolo}@c
ES: tremolo,
I: tremolo,
-F: tr@'emolo,
+F: trémolo,
D: Tremolo,
NL: tremolo,
DK: tremolo,
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\notes\relative c' {
+%\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 }
}
@end lilypond
-@aitem{triad}
-ES: tr@'{@dotless{i}}ada,
+@aitem{triad}@c
+ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
-D: Dreiklang,
+D: Drei@-klang,
NL: drieklank,
DK: treklang,
S: treklang,
@aref{chord}.
-@aitemii{trill,shake}
+@aitemii{trill,shake}@c
ES: trino,
I: trillo,
F: trille, tremblement, battement (cadence),
@aref{ornament}.
-@aitem{triple meter}
-ES: comp@'as compuesto,
+@aitem{triple meter}@c
+ES: compás compuesto,
I: tempo ternario,
F: mesure ternaire,
D: in drei,
@aref{meter}.
-@aitem{triplet}
+@aitem{triplet}@c
ES: tresillo,
I: terzina,
F: triolet,
@aref{note value}.
-@aitem{tritone}
-ES: tr@'{@dotless{i}}tono,
+@aitem{tritone}@c
+ES: trítono,
I: tritono,
F: triton,
D: Tritonus,
@aref{interval}.
-@aitem{tuning fork}
-ES: diapas@'on,
+@aitem{tuning fork}@c
+ES: diapasón,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
-S: st@"amgaffel,
+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.)
-@aitemii{turn,gruppetto}
+@aitemii{turn,gruppetto}@c
ES: grupo,
I: gruppetto,
F: grupetto,
S: dubbelslag,
FI: korukuvio.
-???
+@aref{ornament}.
-@aitem{unison}
-ES: un@'{@dotless{i}}sono,
+@aitem{unison}@c
+ES: unísono,
I: unisono,
F: unisson,
D: unisono,
NL: unisono,
DK: unison,
S: unison,
-FI: unisono, yksi@"a@"anisesti.
+FI: unisono, yksiäänisesti.
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
different octave.
-@aitem{upbeat}
-ES: entrada anacr@'usica,
+@aitem{upbeat}@c
+ES: entrada anacrúsica,
I: anacrusi,
-F: anacrouse, lev@'ee,
+F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
Initial note(s) of a melody occurring before the first bar
line. @aref{measure}, @aref{meter}.
-@lilypond
+@lilypond[fragment,linewidth=13.0\cm]
\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
-@aitem{voice}
+@aitem{voice}@c
ES: voz,
I: voce,
F: voix,
D: Stimme,
NL: stem,
DK: stemme,
-S: st@"amma,
-FI: @"a@"ani, laulu@"a@"ani.
+S: stämma,
+FI: ääni, lauluääni.
-1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
+1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
@aref{contralto}, @aref{tenor},
@aref{baritone}, @aref{bass}.
-2. A melodic layer or part of a polyphonic composition.
+2.@tie{}A melodic layer or part of a polyphonic composition.
-@aitem{weak beat}
-ES: tiempo d@'ebil,
+@aitem{weak beat}@c
+ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
D: unbetonter Taktteil oder Taktschlag,
@aref{beat}, @aref{measure}, @aref{rhythm}.
-@aitem{whole note}
+@aitem{whole note}@c
ES: redonda,
I: semibreve,
F: ronde,
@aref{note value}.
-@aitem{whole rest}
+@aitem{whole rest}@c
ES: silencio de redonda,
I: pausa di semibreve,
F: pause,
@aref{note value}.
-@aitem{whole tone}
+@aitem{whole tone}@c
ES: tono,
I: tono intero,
F: ton entier,
tones on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-@aitem{woodwind}
+@aitem{woodwind}@c
ES: maderas,
I: legni,
F: les bois,
-D: Holzbl@"aser,
+D: Holzbläser,
NL: houtblazers,
-DK tr@ae{}bl@ae{}sere,
-S: tr@"abl@aa{}sare,
+DK træblæsere,
+S: träblåsare,
FI: puupuhaltimet.
A family of blown wooden musical instruments. Today some of these instruments
@page
-@table @strong
+@table @code
@item DURATION NAMES, NOTES AND RESTS
@end table
-@multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
+@multitable @columnfractions .15 .26 .33 .26
-@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+@item
+ @tab @strong{UK}
+ @tab @strong{I}
+ @tab @strong{F}
+@item
+ @tab @strong{D}
+ @tab @strong{NL}
+ @tab @strong{DK}
+@item
+ @tab @strong{S}
+ @tab @strong{FI}
+ @tab
@item
-@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
-@tab longa @tab longa @tab longa
+@item @strong{longa}
+ @tab longa
+ @tab longa
+ @tab longa
+@item
+ @tab Longa
+ @tab longa
+ @tab longa
+@item
+ @tab longa
+ @tab longa
+ @tab
@item
-@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis
+@item @strong{breve}
+ @tab breve
+ @tab breve
+ @tab brève
+@item
+ @tab Brevis
+ @tab brevis
+ @tab brevis
+@item
+ @tab brevis
+ @tab brevis
+ @tab
@item
-@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
+@item @strong{whole}
+ @tab semi@-breve
+ @tab semi@-breve
+ @tab ronde
+@item
+ @tab Ganze
+ @tab hele
+ @tab hel
+@item
+ @tab hel
+ @tab koko@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab puoli- @tab
+@item @strong{half}
+ @tab minim
+ @tab minima
+ @tab blanche
+@item
+ @tab Halbe
+ @tab halve
+ @tab halv
+@item
+ @tab halv
+ @tab puoli@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab nelj@"annes- @tab
+@item @strong{quarter}
+ @tab crotchet
+ @tab semiminima
+ @tab noire
+@item
+ @tab Viertel
+ @tab kwart
+ @tab fjerdedel
+@item
+ @tab fjärdedel
+ @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab @aa{}tton@-del @tab kahdeksasosa- @tab
+@item @strong{eighth}
+ @tab quaver
+ @tab croma
+ @tab croche
+@item
+ @tab Achtel
+ @tab achtste
+ @tab ottendedel
+@item
+ @tab åttondel
+ @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @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 kuudestoistaosa- @tab
+@item @strong{sixteenth}
+ @tab semiquaver
+ @tab semicroma
+ @tab double croche
+@item
+ @tab Sechzehntel
+ @tab zestiende
+ @tab sekstendedel
+@item
+ @tab sextondel
+ @tab kuudestoistaosa@-nuotti/@w{-tauko}
+ @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 kolmaskymmeneskahdesosa- @tab
+@item @strong{thirty-second}
+ @tab demisemiquaver
+ @tab biscroma
+ @tab triple croche
+@item
+ @tab Zweiunddreissigstel
+ @tab tweeendertigste
+ @tab toogtredivtedel
+@item
+ @tab trettiotvåondel
+ @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
+ @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 kuudeskymmenesnelj@"asosa- @tab
+@item @strong{sixty-fourth}
+ @tab hemidemisemiquaver
+ @tab semibiscroma
+ @tab quadruple croche
+@item
+ @tab Vierundsechzigstel
+ @tab vierenzestigste
+ @tab fireogtred@-sindstyvendedel
+@item
+ @tab sextiofjärdedel
+ @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+ @tab
@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
@page
-@table @strong
+@table @code
@item PITCH NAMES
@end table
-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
+@multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
@item
-@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab
+@item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
cis @tab cis @tab cis
@item
-@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab
+@item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
des @tab des @tab des
@item
-@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d
+@item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
@item
@item
-@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as
+@item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
@tab as @tab as
@item
@item
-@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab
+@item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
ais @tab ais @tab ais
@item
-@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b
+@item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
@tab b @tab b
@item
@end multitable
-@
-
-@table @strong
-@item ---------------------
+@unnumbered 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 Literature used
-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.
-Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
-Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
+1974.
-@end table
+@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@end itemize
@bye
projects / lilypond.git / blobdiff