\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename music-glosssary.info
@settitle Music Glossary
-
@documentencoding UTF-8
@documentlanguage en
+@include macros.itexi
+
@afourpaper
@c see lilypond.tely for info installation note
@c TODO: multiple omfcreators?
@ignore
-@omfcreator Christian Mondrup
+@omfcreator Christian Mondrup, Kurt Kroon
@omfdescription Glossary of musical terms with translations
-@omftype user's guide
+@omftype glossary
@omfcategory Applications|Publishing
@omflanguage English
@end ignore
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@include macros.itexi
+This is the Music Glossary (MG) for GNU LilyPond version @version{}.
+For more information about how this fits with the other
+documentation, see @rlearning{About the documentation}.
+
@c arrowref
@macro aref{word}
* Pitch names::
@end menu
+@contents
+
+
@node Musical terms A-Z
@chapter Musical terms A-Z
@menu
* A::
* a due::
+* accelerando::
* accent::
* accessory::
-* accidental::
-* accelerando::
* acciaccatura::
+* accidental::
* adagio::
* allegro::
* alteration::
* bar line::
* baritone::
* baritone clef::
-* bass clef::
* bass::
+* bass clef::
* beam::
* beat::
+* beat repeat::
* bind::
* brace::
* bracket::
* conjunct movement::
* consonance::
* contralto::
-* counterpoint::
-* counter tenor::
* copying music::
+* counterpoint::
+* countertenor::
* crescendo::
* cue-notes::
* custos::
* decrescendo::
* descending interval::
* diatonic scale::
+* didymic comma::
* diminished interval::
* diminuendo::
* diminution::
* disjunct movement::
* dissonance::
* dissonant interval::
+* dominant::
* dominant ninth chord::
* dominant seventh chord::
-* dominant::
* dorian mode::
* dot (augmentation dot)::
* dotted note::
* duple meter::
* duplet::
* duration::
-* didymic comma::
* dynamics::
* E::
* ecclesiastical mode::
* legato::
* legato curve::
* leger line::
-* lilypond::
* ligature::
+* lilypond::
* line::
* loco::
* long appoggiatura::
* longa::
-* lyrics::
* lyric tie::
-* major interval::
+* lyrics::
* major::
+* major interval::
* meantone temperament::
* measure::
+* measure repeat::
* mediant::
* melisma::
* melisma line::
* mensural notation::
* meter::
* metronome::
-* metronomic indication::
* metronome mark::
+* metronomic indication::
* mezzo-soprano::
* middle C::
* minor::
* minor interval::
+* mixolydian mode::
* mode::
* modulation::
* mordent::
* motive::
* movement::
* multi-measure rest::
-* mixolydian mode::
* natural::
* neighbour tones::
* ninth::
* note names::
* note value::
* octavation::
-* octave sign::
* octave::
+* octave mark::
+* octave marking::
+* octave sign::
* ornament::
* ossia::
* part::
* pause::
* pennant::
+* percent repeat::
* percussion::
* perfect interval::
* phrase::
* phrasing::
-* pickup::
* piano::
+* pickup::
* pitch::
* pizzicato::
* polymeter::
* sextuplet::
* shake::
* sharp::
+* simile::
* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* sixty-fourth note::
* sixty-fourth rest::
+* slash repeat::
* slur::
* solmization::
* sonata::
* unison::
* upbeat::
* voice::
+* volta::
* weak beat::
* whole note::
* whole rest::
@node a due
@section a due
-ES: ?,
+ES: a dos,
I: a due,
F: à deux,
D: ?,
@ref{Pitch names}
+@node accelerando
+@section accelerando
+
+ES: accelerando,
+I: accelerando,
+F: accelerando, en accélérant,
+D: accelerando, schneller werden,
+NL: accelerando,
+DK: accelerando,
+S: accelerando,
+FI: accelerando, kiihdyttäen.
+
+Increase tempo.
+
+
@node accent
@section accent
@ref{ornament}.
+@node acciaccatura
+@section acciaccatura
+
+A grace note which takes its time from the rest or note preceding the
+principal note to which it is attached. The acciaccatura is drawn as a
+small eighth note (quaver) with a line drawn through the flag and
+stem.
+
+@seealso
+
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+
@node accidental
@section accidental
@end lilypond
-@node accelerando
-@section accelerando
-
-ES: accelerando,
-I: accelerando,
-F: accelerando, en accélérant,
-D: accelerando, schneller werden,
-NL: accelerando,
-DK: accelerando,
-S: accelerando,
-FI: accelerando, kiihdyttäen.
-
-Increase tempo.
-
-
-@node acciaccatura
-@section acciaccatura
-
-A grace note which takes its time from the rest or note preceding the
-principal note to which it is attached. The acciaccatura is drawn as a
-small eighth note (quaver) with a line drawn through the flag and
-stem.
-
-@seealso
-
-@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
-
-
@node adagio
@section adagio
A female voice of low range (@emph{contralto}). Originally the alto
was a high male voice (hence the name), which by the use of falsetto
reached the height of the female voice. This type of voice is also
-known as @ref{counter tenor}.
+known as @ref{countertenor}.
@node alto clef
@node ancient minor scale
@section ancient minor scale
-ES: escala menor antigua,
+ES: escala menor natural,
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique,
D: reines Moll, natürliches Moll,
F: intervalle ascendant,
D: steigendes Intervall,
NL: stijgend interval,
-DK:@w{ }stigende interval,
+DK: stigende interval,
S: stigande intervall,
FI: nouseva intervalli.
@itemize
-@item A manuscript in the composer's own hand.
+@item A manuscript written in the composer's own hand.
@item Music prepared for photoreproduction by freehand drawing, with
the aid of a straightedge ruler and T-square only, which attempts to
@ref{C clef}, @ref{F clef}.
-@node bass clef
-@section bass clef
-
-ES: clave de fa en cuarta,
-I: chiave di basso,
-F: clef de fa quatrième ligne,
-D: Bassschlüssel,
-NL: bassleutel,
-DK: basnøgle,
-S: basklav,
-FI: bassoavain.
-
-A clef setting with middle C on the first top ledger line.
-
-@seealso
-
-@ref{F clef}.
-
-
@node bass
@section bass
@ref{strings}.
+@node bass clef
+@section bass clef
+
+ES: clave de fa en cuarta,
+I: chiave di basso,
+F: clef de fa quatrième ligne,
+D: Bassschlüssel,
+NL: bassleutel,
+DK: basnøgle,
+S: basklav,
+FI: bassoavain.
+
+A clef setting with middle C on the first top ledger line.
+
+@seealso
+
+@ref{F clef}.
+
+
@node beam
@section beam
@end lilypond
+@node beat repeat
+@section beat repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node bind
@section bind
@node bracket
@section bracket
-ES: ?,
+ES: corchete,
I: ?,
F: ?,
D: ?,
NL: brevis,
DK: brevis,
S: brevis,
-FI: brevis.
+FI: brevis, kaksoiskokonuotti.
Note value twice as long as a whole note. Mainly used in pre-1650 music.
The shortest note value generally used in white mensural notation, hence the
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European
-music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
-@emph{Major} (major + minor @ref{third}) as well as @emph{minor}
-(minor + major third) chords may be extended with more thirds.
-Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
-chords are most often used as dominants (@ref{functional harmony}). A
-special case is chords having no third above the lower notes to define
-their quality as major or minor. Such chords are denoted open chords
+Three or more tones sounding simultaneously. In traditional European music the
+base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
+minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
+extended with more thirds. Four-tone @emph{seventh chords} and five-tone
+@emph{ninth} major chords are most often used as dominants (@ref{functional
+harmony}). A special case is chords having no third above the lower notes to
+define their quality as major or minor: such chords are called @q{open chords}.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@node common time
@section common time
-ES: ?,
+ES: compasillo,
I: ?,
F: ?,
D: ?,
@node compound meter
@section compound meter
-ES: ?,
+ES: compás compuesto, compás de subdivisión ternaria,
I: ?,
F: ?,
D: ?,
@node compound time
@section compound time
-ES: ?,
+ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
-@ref{compound meter}
+@enumerate
+
+@item
+A meter that includes a triplet subdivision within the beat: see
+@ref{compound meter}.
+
+@item
+A time signature that additively combines two or more unequal meters, e.g.
+"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
+
+@lilypond[fragment,line-width=13.0\cm]
+#(define (compound-time grob one two three num)
+ (interpret-markup
+ (ly:grob-layout grob)
+ '(((baseline-skip . 2)
+ (word-space . 1.5)
+ (font-family . number)))
+ (markup
+ #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
+
+ \relative c' {
+ \key f \major
+ #(set-time-signature 8 8 '(3 2 3))
+ \override Staff.TimeSignature #'stencil
+ = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
+ #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
+ #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
+ \set Staff.beatGrouping = #'(3 2 3)
+
+ c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
+ }
+@end lilypond
+
+@end enumerate
@seealso
-@ref{meter}.
+@ref{compound meter}, @ref{meter}.
@node concert pitch
@section concert pitch
-ES: ?,
+ES: en Do, afinación de concierto,
I: ?,
F: ?,
D: ?,
@ref{alto}.
+@node copying music
+@section copying music
+
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance. Some of their conventions (e.g., the placement
+of note heads on stems) varied slightly from those of engravers. Some
+of their working methods were superior and could well be adopted by
+music typesetters.
+
+@c Copying music required more skill than engraving. Flagged for NPOV
+
+
@node counterpoint
@section counterpoint
@end lilypond
-@node counter tenor
-@section counter tenor
+@node countertenor
+@section countertenor
ES: contratenor,
I: controtenore,
@ref{contralto}.
-@node copying music
-@section copying music
-
-A music copyist did fast freehand scores and parts on preprinted staff
-lines for performance. Some of their conventions (e.g., the placement
-of note heads on stems) varied slightly from those of engravers. Some
-of their working methods were superior and could well be adopted by
-music typesetters.
-
-@c Copying music required more skill than engraving. Flagged for NPOV
-
-
@node crescendo
@section crescendo
@node custos
@section custos
-ES: ?,
+ES: custos,
I: ?,
F: guidon,
D: Notenzeiger, Custos,
<<
\relative c'' {
\override TextScript #'padding = #-4
- b^"~~ S" c d e^"~~ S" f g a b
+ b1^"~~ S" c d e^"~~ S" f g a b
}
\lyrics {
Locrian
\relative c'' {
a1
\override TextScript #'padding = #-4
- b^"~~ S" c d e fis gis^"~~ S"
+ b^"~~ S" c d e fis gis^"~~ S" a
+ }
+ \lyrics {
+ "Melodic minor ascending"
+ }
+>>
+@end lilypond
+
+@lilypond[fragment,notime,line-width=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
+ a'1
+ \override TextScript #'padding = #-4
a g! f!^"~~ S" e d c^"~~ S" b a
}
\lyrics {
- "Melodic minor"
+ "Melodic minor descending"
}
>>
@end lilypond
+@node didymic comma
+@section didymic comma
+
+@seealso
+
+@ref{syntonic comma}.
+
+
@node diminished interval
@section diminished interval
@ref{harmony}.
+@node dominant
+@section dominant
+
+ES: dominante,
+I: dominante,
+F: dominante,
+D: Dominante,
+NL: dominant,
+DK: dominant,
+S: dominant,
+FI: dominantti, huippusointu.
+
+The fifth @ref{scale degree} in @ref{functional harmony}.
+
+
@node dominant ninth chord
@section dominant ninth chord
@ref{chord}, @ref{functional harmony}.
-@node dominant
-@section dominant
-
-ES: dominante,
-I: dominante,
-F: dominante,
-D: Dominante,
-NL: dominant,
-DK: dominant,
-S: dominant,
-FI: dominantti, huippusointu.
-
-The fifth @ref{scale degree} in @ref{functional harmony}.
-
-
@node dorian mode
@section dorian mode
@ref{note value}.
-@node didymic comma
-@section didymic comma
-
-@seealso
-
-@ref{syntonic comma}.
-
-
@node dynamics
@section dynamics
-ES: ?,
+ES: dinámica, matices,
I: ?,
F: nuances,
D: Dynamik, Lautstärke,
@c TODO: add languages
-ES: ?,
+ES: sinalefa,
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
+More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
+smear together}].
+
The singing of several syllables on a single note. Elision may be indicated
by a lyric tie, which is looks like (and serves the same function) as a
musical tie.
@node engraving
@section engraving
-ES: grabar,
+ES: grabado,
I: incisione,
F: gravure,
D: Notenstich, Notendruck
@node extender line
@section extender line
-ES: línea de extención [de melisma, de bajo cifrado, etc.],
+ES: línea de extensión [de melisma, de bajo cifrado, etc.],
I: ?,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
D: Fülllinie,
@item
In figured (or thorough) bass to indicate that:
- @itemize
-
- @item The extended note should be held through a change in
- harmony, when applied to one figure --OR--
-
- @item The chord thus represented should be held above a moving
- bass line, when applied to more than one figure.
+@itemize
- @item These uses were not completely standardized, and some
- composers used a single extender line to indicate the
- latter case.
+@item The extended note should be held through a change in harmony, when applied
+to one figure --OR--
+@item The chord thus represented should be held above a moving bass line, when
+applied to more than one figure.
+@item These uses were not completely standardized, and some composers used a
+single extender line to indicate the latter case.
- @end itemize
+@end itemize
@item
-In string music to indicate that all notes in the passage thus
-indicated should be played on the same string. On the violin, for
-example, a series of notes to be played on the G string would be
-indicated @samp{sul G}, another series to be played on the D string
-would be indicated @samp{sul D}, and so on.
+In string music to indicate that all notes in the passage thus indicated should
+be played on the same string. On the violin, for example, a series of notes to
+be played on the G string would be indicated @samp{sul G}, another series to be
+played on the D string would be indicated @samp{sul D}, and so on.
@item
-With an octave indication (also called @emph{octavation}, q.v.) to indicate that
-a passage is to be played higher or lower by the given number of octaves.
+With an octave mark to indicate that a passage is to be played higher or lower
+by the given number of octaves.
@end itemize
@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
+marking}.
@node F
@node feathered beam
@section feathered beam
-ES: ?,
+ES: barra punteada,
I: ?,
F: liens de croches en soufflet,
D: gespreizter Balken,
@node Frenched score
@section Frenched score
-ES: ?,
+ES: partitura a la francesa,
I: ?,
F: ?,
D: ?,
@node Frenched staff
@section Frenched staff
-ES: ?,
+ES: pentagrama a la francesa,
I: ?,
F: ?,
D: ?,
@node Frenched staves
@section Frenched staves
-ES: ?,
+ES: pentagramas a la francesa,
I: ?,
F: ?,
D: ?,
@node hemiola
@section hemiola
-ES: ?,
+ES: hemiolia,
I: ?,
F: ?,
D: ?,
@node laissez vibrer
@section laissez vibrer
-ES: ?,
+ES: dejar vibrar,
I: ?,
F: laissez vibrer,
D: ?,
@ref{ledger line}.
-@node lilypond
-@section lilypond
-
-UK: lily pond,
-ES: estanque de nenúfares,
-I: stagno del giglio,
-F: étang de nénuphars, étang de nymphéas,
-D: Seerosenteich,
-NL: le@-lie@-vij@-ver,
-DK: liliedam,
-S: liljedamm,
-FI: liljalampi.
-
-A pond with lilies floating in it.
-Also, the name of a music typesetting program.
-
-
-@node ligature
-@section ligature
+@node ligature
+@section ligature
ES: ligadura,
I: ?,
@ref{mensural notation}.
+@node lilypond
+@section lilypond
+
+UK: lily pond,
+ES: estanque de nenúfares,
+I: stagno del giglio,
+F: étang de nénuphars, étang de nymphéas,
+D: Seerosenteich,
+NL: le@-lie@-vij@-ver,
+DK: liliedam,
+S: liljedamm,
+FI: liljalampi.
+
+A pond with lilies floating in it.
+Also, the name of a music typesetting program.
+
+
@node line
@section line
@node loco
@section loco
-ES: ?,
+ES: en su lugar,
I: loco,
F: ?,
D: ?,
FI: ?.
[From Italian, @q{place}]. Instruction to play the following passage at the
-written pitch. Cancels octavation (q.v.).
+written pitch. Cancels octave mark (q.v.).
@seealso
-@ref{octavation}.
+@ref{octave mark}, @ref{octave marking}.
@node long appoggiatura
@ref{note value}.
-@node lyrics
-@section lyrics
-
-ES: letra (de la canción),
-I: ?,
-F: paroles,
-D: Liedtext, Gesangtext,
-NL: liedtekst,
-DK: ?,
-S: ?,
-FI: sanoitus.
-
-
@node lyric tie
@section lyric tie
-ES: ?,
+ES: ligadura de letra,
I: ?,
F: ?,
D: Textbindung,
@ref{elision}.
-@node major interval
-@section major interval
-
-ES: intervalo mayor,
-I: intervallo maggiore,
-F: intervalle majeur,
-D: großes Intervall,
-NL: groot interval,
-DK: stort interval,
-S: stort intervall,
-FI: suuri intervalli.
-
-@seealso
+@node lyrics
+@section lyrics
-@ref{interval}.
+ES: letra (de la canción),
+I: ?,
+F: paroles,
+D: Liedtext, Gesangtext,
+NL: liedtekst,
+DK: ?,
+S: ?,
+FI: sanoitus.
@node major
@ref{diatonic scale}.
+@node major interval
+@section major interval
+
+ES: intervalo mayor,
+I: intervallo maggiore,
+F: intervalle majeur,
+D: großes Intervall,
+NL: groot interval,
+DK: stort interval,
+S: stort intervall,
+FI: suuri intervalli.
+
+@seealso
+
+@ref{interval}.
+
+
@node meantone temperament
@section meantone temperament
@ref{meter}.
+@node measure repeat
+@section measure repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node mediant
@section mediant
@c TODO: add languages
-ES: ?,
+ES: línea de melisma,
I: ?,
F: ?,
D: ?,
@c TODO: add languages
-ES: ?,
+ES: notación mensural,
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
-The system of music notation that was first developed in the mid-13th
-century, and which forms the basis of modern musical notation. From its
-creation by Franco of Cologne until the 15th century,
+A system of duration notation whose principles were first established in the
+mid-13th century, and that (with various changes) remained in use until about
+1600. As such, it is the basis for the notation of rhythms in Western musical
+notation.
+
+Franco of Cologne (ca. 1250) is credited with the first systematic explanation
+of the notation's principles, so the notation of this earliest period is called
+@q{Franconian}. Franco's system made use of three note values -- long, breve,
+and semibreve -- each of which was normally equivalent to three of the next
+lower note value.
-@c TODO: add definition (inc. info on proportional notation)
+Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
+added several note values (the minim, semiminim and fusa) and extended Franco's
+principles to govern the relationship between these values. They also put the
+duple division of note values on an equal footing with the earlier (preferred)
+triple division.
+
+TODO: continue description of French and Italian black notation, and the
+relationship betwixt them.
+
+@b{White or void mensural notation}
+
+In the 15th century, hollow (or void) notes began to substitute for the earlier
+solid black ones, which were then free to assume the function of red (or
+colored) notes in the earlier notation. ...
+
+TODO: add to definition (including summary info on proportional notation)
@seealso
S: taktart,
FI: aika-arvo.
-The basic pattern of @ref{note value}s and @ref{accent}s that remains
-unaltered throughout a composition or a section of it. Meters can be
-@emph{duple} or @emph{triple} depending on how the beat is grouped in
-the composition (or in sections thereof):
+The pattern of note values and accents in a composition or a section thereof.
+There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
+by grouping beats and by subdividing the primary beat.
+
+@b{By grouping beats}:
@itemize
-@item In duple meters, the beat recurs in groups of two.
+ @item @b{duple}: groups of two.
+ @item @b{triple}: groups of three.
+ @item @b{quadruple}: groups of four. A special case of duple meter.
+ @item @b{quintuple}: groups of five beats.
+ @item @b{sextuple} meter: groups of six. A special case of:
-@item In triple meters, the beat recurs in groups of three.
+ @itemize
-@end itemize
+ @item duple meter, subdivided in three; or
+ @item triple meter, subdivided in two.
-Other recurrence patterns are possible:
+ @end itemize
-@itemize
+ @item @b{septuple} meter: groups of seven.
+ @item and so on.
-@item Quadruple meter: groups of four. A special case of duple meter.
+@end itemize
-@item Quintuple meter: groups of five
+Other than triple meter and its subdivided variants (see below), meters that
+feature odd groupings of beats (e.g. quintuple or septuple meter) are not
+frequently used prior to the 20th Century.
-@item Sextuple meter: groups of six. A special case of:
+@b{By subdividing the primary beat}:
@itemize
-@item Duple meter, subdivided in three (less frequent); or
-@item Triple meter, subdivided in two (more frequent).
-@end itemize
-@item Septuple meter: groups of seven.
+ @item simple: groups of two.
-@item etc.
+ @itemize
-@end itemize
+ @item duple: 2/2, 2/4, 2/8
+ @item triple: 3/2, 3/4, 3/8
+ @item quadruple: 4/2, 4/4 (also called common time), 4/8
-Other than quadruple and sextuple meters, these other recurrence
-patterns were not frequently used prior to the 20th Century.
+ @end itemize
-In addition to classification by primary beat grouping, meters can be further
-classified by how the primary beat is subdivided: if in two, the meter is
-@emph{simple}; if in three, the meter is @emph{compound}.
+ @item compound: groups of three.
-@itemize
-
-@item Simple meter
+ @itemize
-@itemize
-@item duple: 2/2, 2/4, 2/8
-@item triple: 3/2, 3/4, 3/8
-@item quadruple: 4/2, 4/4 (also called common time), 4/8
-@end itemize
+ @item duple: 6/8
+ @item triple: 9/8
+ @item quadruple: 12/8
-@item Compound meter
+ @end itemize
-@itemize
-@item duple: 6/8
-@item triple: 9/8
-@item quadruple: 12/8
@end itemize
-@end itemize
+Time signatures are placed at the beginning of a composition (or section) to
+indicate the meter. For instance, a piece written in simple triple meter with a
+beat on each quarter note is conventionally written with a time signature of
+3/4. Here are some combinations of the two classifications above:
-Time signatures are placed at the beginning of a composition (or
-section) to indicate the meter. For instance, a piece written in
-simple triple meter with a beat on each quarter note has a time
-signature of 3/4.
-
-Simple duple meter:
+Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 2/4
- \key c \major
- c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+ \key g \major
+ g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
@end lilypond
Simple triple meter:
\bar "||"}
@end lilypond
+@b{@q{Monometer} vs Polymeter}
+
+TODO: add information from discussion on lilypond-user related to polymeter.
+
@seealso
-@ref{hemiola}, @ref{time signature}
+@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
@node metronome
@ref{metronome mark}.
-@node metronomic indication
-@section metronomic indication
-
-@seealso
-
-@ref{metronome mark}
-
-
@node metronome mark
@section metronome mark
@ref{metronome}
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+
+@ref{metronome mark}
+
+
@node mezzo-soprano
@section mezzo-soprano
@ref{interval}.
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+
+@ref{diatonic scale}.
+
+
@node mode
@section mode
@ref{longa}, @ref{breve}.
-@node mixolydian mode
-@section mixolydian mode
-
-@seealso
-
-@ref{diatonic scale}.
-
-
@node natural
@section natural
@node octavation
@section octavation
-ES: a la octava,
-I: all'ottava,
-F: octaviation,
-D: Oktavierung,
-NL: octaveren,
+@seealso
+
+@ref{octave marking}.
+
+
+@node octave
+@section octave
+
+ES: octava,
+I: ottava,
+F: octave,
+D: Oktave,
+NL: octaaf,
+DK: oktav,
+S: oktav,
+FI: oktaavi.
+
+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octave marking.
+
+@seealso
+
+@ref{interval}, @ref{octave marking}.
+
+
+@node octave mark
+@section octave mark
+
+ES: indicación de octava,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: oktaavamerkki.
-The use of a phrase or abbreviation with an extender line or bracket to indicate
-that a passage is to be played in a different octave:
+The phrase, abbreviation, or other mark used (with or without an extender line
+or bracket) to indicate that the music is to be played in a different octave:
@itemize
@item @samp{15ma}: play two octaves higher
@item @samp{8va}: play one octave higher
@item @samp{8vb}: play one octave lower
-@item @samp{8va} written below the passage: same as @samp{8vb}
+@item @samp{8va} (written below the passage): same as @samp{8vb}
@item @samp{15vb}: play two octaves lower
-@item @samp{15va} written below the passage: same as @samp{15vb}
+@item @samp{15va} (written below the passage): same as @samp{15vb}
@end itemize
-Another practice, which may be useful for longer passages, is to indicate the
-different octave with a phrase at the beginning (see below). When the music
-returns to the written pitch, the octavation is cancelled with the word
-@emph{loco} (q.v.).
+For longer passages, it may be more practical to mark the octave change at the
+beginning with a phrase (see the list below for examples), but without a bracket
+or extender line. Then, when the music returns to the written pitch, the octave
+change is cancelled with the word @emph{loco} (q.v.).
To parallel the list above:
@end itemize
-@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
+In the phrases above, @emph{quindicesima} is sometimes replaced with
+@emph{quindecima}, which is Latin.
+
+Finally, the music on an entire staff can be marked to be played in a different
+octave by putting an 8 or 15 above or below the clef at the beginning. This
+octave mark can be applied to any clef, but it is most frequently used with the
+G and F clefs.
@seealso
-@ref{interval}, @ref{loco}, @ref{octave}.
+@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
-@node octave sign
-@section octave sign
+@node octave marking
+@section octave marking
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-Putting 8 or 15 above or below the clef to indicate that the entire part is
-played in the indicated octave: a clef-wide octavation. An octave sign can be
-applied to any clef, though it is most frequently used with the G and F clefs.
-
-@seealso
+ES: a la octava,
+I: all'ottava,
+F: octaviation,
+D: Oktavierung,
+NL: octaveren,
+DK: oktavering,
+S: oktavering,
+FI: oktaavamerkintä.
-@ref{G clef}, @ref{F clef}.
+The practice of marking music -- an entire staff, a passage, etc. -- to indicate
+that it is to be played in a different octave. If applied to the clef at the
+beginning of the staff, all music on that staff is to played at the indicated
+octave.
+For a list of the specific marks used, see @ref{octave mark}.
-@node octave
-@section octave
+@seealso
-ES: octava,
-I: ottava,
-F: octave,
-D: Oktave,
-NL: octaaf,
-DK: oktav,
-S: oktav,
-FI: oktaavi.
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
-The interval of an octave, sometimes abbreviated @samp{8ve}.
-For uses like @emph{all'ottava} or @emph{8va} with an extender line or
-bracket, or @samp{loco} see octavation.
+@node octave sign
+@section octave sign
@seealso
-@ref{interval}, @ref{octavation}.
+@ref{octave mark}.
@node ornament
@ref{flag}.
+@node percent repeat
+@section percent repeat
+
+LilyPond-specific term to indicate the repetition of a musical expression on a
+single staff, as opposed to the more usual definition of repeat, which affects
+all parts. The musical expression can be anything from a single note or note
+pattern to one or more measures. There are other names for this symbol:
+
+@itemize
+
+@item simile mark
+@item slash mark, or slash repeat
+@item beat repeat
+@item measure (or multi-measure) repeat
+
+@end itemize
+
+@lilypond[fragment,line-width=13.0\cm]
+\time 4/4
+\relative c' {
+ \repeat percent 4 { c4_"Beat (or slash) repeat" }
+ \repeat percent 2 { c4 e g b_"Measure repeat" }
+ \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
+}
+@end lilypond
+
+@seealso
+
+@ref{repeat},
+@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
+Vermont Music Dictionary}.
+
+
@node percussion
@section percussion
the melody. Phrasing may be indicated by a @ref{slur}.
+@node piano
+@section piano
+
+ES: piano,
+I: piano,
+F: piano,
+D: piano, leise,
+NL: piano,
+DK: piano,
+S: piano,
+FI, piano, hiljaa.
+
+@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
+@emph{mezzo piano} (@b{mp}) medium soft.
+
+
@node pickup
@section pickup
@ref{anacrusis}.
-@node piano
-@section piano
-
-ES: piano,
-I: piano,
-F: piano,
-D: piano, leise,
-NL: piano,
-DK: piano,
-S: piano,
-FI, piano, hiljaa.
-
-@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
-@emph{mezzo piano} (@b{mp}) medium soft.
-
-
@node pitch
@section pitch
S: tonhöjd,
FI: sävelkorkeus.
+@enumerate
+
+@item The perceived quality of a sound that is primarily a function of its
+fundamental frequency.
+
+@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
+
+@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
+association of a particular frequency with a particular pitch name, e.g., c' =
+256 Hz.
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}.
+
@node pizzicato
@section pizzicato
S: pizzicato,
FI: pizzicato, näppäillen.
-Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
-stringed instruments.)
+A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
+the strings.
@node polymeter
@section polymeter
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
@node polymetric
@section polymetric
-ES: ?,
+ES: polimétrico,
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
-Using two or more metric frameworks simultaneously or in regular
-alternation
+Using two or more metric frameworks simultaneously or in alternation.
@seealso
@node polymetric time signature
@section polymetric time signature
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
-Time signature indicating regularly alternating polymetric time.
+A time signature that indicates regularly alternating polymetric time.
@seealso
S: ?,
FI: ?.
-[From Latin @emph{proportio}] In mensural notation, a ratio that
-expresses the relationship between the note values that follow with
-those that precede; or between the note values of a passage and an
-assumed @q{normal} relationship of note values to the metrical pulse.
+[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
+relationship between the note values that follow with those that precede; or
+between the note values of a passage and the @q{normal} relationship of note
+values to the metrical pulse.
@c TODO: add an example or two. O => 4/3, and its modern equivalent
S: pytagoreiskt komma,
FI: pytagorinen komma.
-A sequence of fifths starting on C eventually circles back to C, but this C,
-obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
-by adding 7 octaves. The difference between those two pitches is called the
-Pythagorean comma.
+Originally, the interval by which the sum of six whole tones exceeds the octave
+-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
+
+Modern acoustical theory defines it as the interval by which twelve fifths
+exceed seven octaves. To put it another way: A sequence of fifths that starts
+on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
+than the C obtained by adding 7 octaves. The difference between those two
+pitches is the Pythagorean comma.
@seealso
@ref{cent}, @ref{temperament}.
+
@node quadruplet
@section quadruplet
@node quarter tone
@section quarter tone
-ES: ?,
+ES: cuarto de tonno,
I: ?,
F: quart de ton,
D: Viertelton,
@node relative key
@section relative key
-ES: relativo,
+ES: tono relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
@node scordatura
@section scordatura
-ES: ?,
+ES: encordado,
I: scordatura,
F: à cordes ravallées,
D: Skordatur,
@ref{accidental}.
+@node simile
+@section simile
+
+ES: simile,
+I: simile,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From It, @q{in the same manner}] Performance direction: the music thus marked
+is to be played in the same manner (i.e. with the same articulations, dynamics,
+etc.) as the music that precedes it.
+
+@seealso
+
+TODO: Where else could I refer the reader?
+
+
@node simple meter
@section simple meter
-ES: ?,
+ES: compás simple, compás de subdivisión binaria,
I: ?,
F: ?,
D: ?,
@ref{note value}.
+@node slash repeat
+@section slash repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node slur
@section slur
@node sul G
@section sul G
-ES: sobre la G,
+ES: sobre la cuerda de Sol,
I: sul g,
F: sur la G,
D: auf G, auf der G-Saite,
@node syntonic comma
@section syntonic comma
-ES: coma sintónica,
+ES: coma sintónica, coma de Dídimo,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
FI: syntoninen komma, terssien taajuusero luonnollisessa ja
Pytagorisessa viritysjärjestelmässä.
-Difference between the natural third and the third obtained by
-Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
+Named after Ptolemy's syntonic diatonic genus. Originally, the difference
+by which the ditone exceeds the pure major third obtained by Pythagorean
+tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
+
+Modern acoustical theory defines it as the interval by which four fifths exceed
+the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
+
+This comma is also known as the comma of Didymus, or didymic comma.
+
+@seealso
+
+@ref{Pythagorean comma}
@node system
S: tenor,
FI: tenori, korkea miesääni.
-The highest male voice (apart from @ref{counter tenor}).
+The highest male voice (apart from @ref{countertenor}).
@node tenth
S: generalbas,
FI: kenraalibasso, numeroitu basso.
-A method of indicating an accompaniment part by the bass notes only,
-together with figures designating the chief @ref{interval}s and
-@ref{chord}s to be played above the bass notes.
+Also called @q{figured bass}.
+
+A method of indicating an accompaniment part by the bass notes only, together
+with figures designating the chief @ref{interval}s and @ref{chord}s to be played
+above the bass notes.
@lilypond[fragment,line-width=13.0\cm]
\context GrandStaff <<
@node tie
@section tie
-ES: ligadura de prolongación,
+ES: ligadura de prolongación, ligadura de unión,
I: legatura (di valore),
F: liaison,
D: Haltebogen, Bindebogen,
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
-Music from the 20th century may be based on atonal sounds.
+@c Music from the 20th century may be based on atonal sounds. Meh, not so much
@node tonic
@node transposing instrument
@section transposing instrument
-ES: ?,
+ES: instrumento transpositor,
I: ?,
F: ?,
D: ?,
@node tuning fork
@section tuning fork
-ES: diapasón,
+ES: diapasón, horquilla de afinación,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
S: stämgaffel,
FI: viritysavain.
-A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
-give the international pitch for the tone @emph{a} (440 vibrations per
-second).
+A two-pronged piece of steel used to indicate an absolute pitch, usually for
+@emph{A} above middle C (440 cps/Hz), which is the international tuning
+standard. Tuning forks for other pitches are available.
+
+@seealso
+
+@ref{middle C}.
@node tuplet
@node turn
@section turn
-ES: grupeto,
+ES: grupeto (circular),
I: gruppetto,
F: grupetto,
D: Doppelschlag,
@itemize
-@item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto},
-@ref{tenor}, @ref{baritone}, @ref{bass}.
+@item Human voices:
+
+@itemize
+
+@item @ref{soprano}
+
+@item @ref{mezzo-soprano}
+
+@item @ref{contralto}
+
+@item @ref{tenor}
+
+@item @ref{baritone}
+
+@item @ref{bass}
+
+@end itemize
@item A melodic layer or part of a polyphonic composition.
@end itemize
+@node volta
+@section volta
+
+ES: vez, primera y segunda vez,
+I: volta,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{time} (instance, not duration)]. An ending, such as a first
+or second ending. LilyPond extends this idea to any number, and allows any text
+(not just a number) -- to serve as the @q{volta} text.
+
+
@node weak beat
@section weak beat
@multitable @columnfractions .12 .22 .22 .22 .22
-@headitem lang.
- @tab note name
+@headitem Lang. @tab note name
@tab rest name
@tab note name
@tab rest name
-@item @strong{US}
- @tab long
+@item @strong{US} @tab long
@tab long rest
@tab breve
@tab breve rest
-@item @strong{UK}
- @tab longa
+@item @strong{UK} @tab longa
@tab longa rest
@tab breve
@tab breve rest
-@item @strong{ES}
- @tab longa
+@item @strong{ES} @tab longa
@tab silencio de longa
@tab cuadrada
@tab silencio de cuadrada
-@item @strong{IT}
- @tab longa
+@item @strong{IT} @tab longa
@tab pausa di longa
@tab breve
@tab pausa di breve
-@item @strong{FR}
- @tab longa
+@item @strong{FR} @tab longa
@tab quadruple-pause
@tab brève
@tab double-pause
-@item @strong{DE}
- @tab Longa
+@item @strong{DE} @tab Longa
@tab longa Pause
@tab Brevis
@tab brevis Pause
-@item @strong{NL}
- @tab longa
+@item @strong{NL} @tab longa
@tab longa rust
@tab brevis
@tab brevis rust
-@item @strong{DK}
- @tab longa
+@item @strong{DK} @tab longa
@tab longanodespause
@tab brevis
@tab brevis(nodes)pause
-@item @strong{SE}
- @tab longa
+@item @strong{SE} @tab longa
@tab longapaus
@tab brevis
- @tab brevis(paus)
-@item @strong{FI}
- @tab longa
- @tab longa
- @tab brevis
- @tab brevis
+ @tab brevispaus
+@item @strong{FI} @tab longa-nuotti
+ @tab longa-tauko
+ @tab brevis-nuotti, kaksoiskokonuotti
+ @tab brevis-tauko, kaksoiskokotauko
@end multitable
@multitable @columnfractions .12 .22 .22 .22 .22
-@headitem lang.
- @tab note name
+@headitem Lang. @tab note name
@tab rest name
@tab note name
@tab rest name
-@item @strong{US}
- @tab whole note
+@item @strong{US} @tab whole note
@tab whole rest
@tab half note
@tab half rest
-@item @strong{UK}
- @tab semibreve
+@item @strong{UK} @tab semibreve
@tab semibreve rest
@tab minim
@tab minim rest
-@item @strong{ES}
- @tab redonda
+@item @strong{ES} @tab redonda
@tab silencio de redonda
@tab blanca
@tab silencio de blanca
-@item @strong{IT}
- @tab semibreve
+@item @strong{IT} @tab semibreve
@tab pause di semibreve
@tab minima
@tab pausa di minima
-@item @strong{FR}
- @tab ronde
+@item @strong{FR} @tab ronde
@tab pause
@tab blanche
@tab demi-pause
-@item @strong{DE}
- @tab ganze Note
+@item @strong{DE} @tab ganze Note
@tab ganze Pause
@tab halbe Note
@tab halbe Pause
-@item @strong{NL}
- @tab hele noot
+@item @strong{NL} @tab hele noot
@tab hele rust
@tab halve noot
@tab halve rust
-@item @strong{DK}
- @tab helnode
+@item @strong{DK} @tab helnode
@tab helnodespause
@tab halvnode
@tab halvnodespause
-@item @strong{SE}
- @tab helnot
+@item @strong{SE} @tab helnot
@tab helpaus
@tab halvnot
@tab halvpaus
-@item @strong{FI}
- @tab kokonuotti
+@item @strong{FI} @tab kokonuotti
@tab kokotauko
@tab puolinuotti
@tab puolitauko
@multitable @columnfractions .12 .22 .22 .22 .22
-@headitem lang.
- @tab note name
+@headitem Lang. @tab note name
@tab rest name
@tab note name
@tab rest name
-@item @strong{US}
- @tab quarter note
+@item @strong{US} @tab quarter note
@tab quarter rest
@tab eighth note
@tab eighth rest
-@item @strong{UK}
- @tab crotchet
+@item @strong{UK} @tab crotchet
@tab crotchet rest
@tab quaver
@tab quaver rest
-@item @strong{ES}
- @tab negra
+@item @strong{ES} @tab negra
@tab silencio de negra
@tab corchea
@tab silencio de corchea
-@item @strong{IT}
- @tab semiminima, nera
+@item @strong{IT} @tab semiminima, nera
@tab pausa di semiminima, pausa di nera
@tab croma
@tab pausa di croma
-@item @strong{FR}
- @tab noire
+@item @strong{FR} @tab noire
@tab soupir*
@tab croche*
@tab demi-soupir
-@item @strong{DE}
- @tab Viertelnote
+@item @strong{DE} @tab Viertelnote
@tab Viertelpause
@tab Achtelnote
@tab Achtelpause
-@item @strong{NL}
- @tab kwartnoot
+@item @strong{NL} @tab kwartnoot
@tab kwartrust
@tab achtste noot
@tab achtste rust
-@item @strong{DK}
- @tab fjerdedelsnode
+@item @strong{DK} @tab fjerdedelsnode
@tab fjerdedelspause
@tab ottendedelsnode
@tab ottendedelspause
-@item @strong{SE}
- @tab fjärdedelsnot
+@item @strong{SE} @tab fjärdedelsnot
@tab fjärdedelspaus
@tab åttondelsnot
@tab åttondelspaus
-@item @strong{FI}
- @tab neljäsosanuotti
+@item @strong{FI} @tab neljäsosanuotti
@tab neljäsosatauko
@tab kahdeksasosanuotti
@tab kahdeksasosatauko
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab sixteenth note
+@item @strong{US} @tab sixteenth note
@tab sixteenth rest
@tab 16th note
-@item @strong{UK}
- @tab semiquaver
+@item @strong{UK} @tab semiquaver
@tab semiquaver rest
@tab -
-@item @strong{ES}
- @tab semicorchea
+@item @strong{ES} @tab semicorchea
@tab silencio de semicorchea
@tab -
-@item @strong{IT}
- @tab semicroma
+@item @strong{IT} @tab semicroma
@tab pausa di semicroma
@tab -
-@item @strong{FR}
- @tab double croche
+@item @strong{FR} @tab double croche
@tab quart de soupir
@tab -
-@item @strong{DE}
- @tab Sechzehntelnote
+@item @strong{DE} @tab Sechzehntelnote
@tab Sechzehntelpause
@tab 16tel-Note
-@item @strong{NL}
- @tab zestiende noot
+@item @strong{NL} @tab zestiende noot
@tab zestiende rust
@tab 16e noot
-@item @strong{DK}
- @tab sekstendedelsnode
+@item @strong{DK} @tab sekstendedelsnode
@tab sekstendedelspause
@tab -
-@item @strong{SE}
- @tab sextondelsnot
+@item @strong{SE} @tab sextondelsnot
@tab sextondelspaus
@tab -
-@item @strong{FI}
- @tab kuudestoistaosanuotti
+@item @strong{FI} @tab kuudestoistaosanuotti
@tab kuudestoistaosatauko
@tab 16-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab thirty-second note
+@item @strong{US} @tab thirty-second note
@tab thirty-second rest
@tab 32nd note
-@item @strong{UK}
- @tab demisemiquaver
+@item @strong{UK} @tab demisemiquaver
@tab demisemiquaver rest
@tab -
-@item @strong{ES}
- @tab fusa
+@item @strong{ES} @tab fusa
@tab silencio de fusa
@tab -
-@item @strong{IT}
- @tab biscroma
+@item @strong{IT} @tab biscroma
@tab pausa di biscroma
@tab -
-@item @strong{FR}
- @tab triple croche
+@item @strong{FR} @tab triple croche
@tab huitième de soupir
@tab -
-@item @strong{DE}
- @tab Zweiunddreißigstelnote
+@item @strong{DE} @tab Zweiunddreißigstelnote
@tab Zweiunddreißigstelpause
@tab 32tel-Note
-@item @strong{NL}
- @tab tweeendertigste noot
+@item @strong{NL} @tab tweeendertigste noot
@tab tweeendertigste rust
@tab 32e noot
-@item @strong{DK}
- @tab toogtredivtedelsnode
+@item @strong{DK} @tab toogtredivtedelsnode
@tab toogtredivtedelspause
@tab -
-@item @strong{SE}
- @tab trettiotvåondelsnot
+@item @strong{SE} @tab trettiotvåondelsnot
@tab trettiotvåondelspaus
@tab -
-@item @strong{FI}
- @tab kolmaskymmeneskahdesosanuotti
+@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
@tab kolmaskymmeneskahdesosatauko
@tab 32-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab sixty-fourth note
+@item @strong{US} @tab sixty-fourth note
@tab sixty-fourth rest
@tab 64th note
-@item @strong{UK}
- @tab hemidemisemiquaver
+@item @strong{UK} @tab hemidemisemiquaver
@tab hemidemisemiquaver rest
@tab -
-@item @strong{ES}
- @tab semifusa
+@item @strong{ES} @tab semifusa
@tab silencio de semifusa
@tab -
-@item @strong{IT}
- @tab semibiscroma
+@item @strong{IT} @tab semibiscroma
@tab pausa di semibiscroma
@tab -
-@item @strong{FR}
- @tab quadruple croche
+@item @strong{FR} @tab quadruple croche
@tab seizième de soupir
@tab -
-@item @strong{DE}
- @tab Vierundsechzigstelnote
+@item @strong{DE} @tab Vierundsechzigstelnote
@tab Vierundsechzigstelpause
@tab 64tel-Note
-@item @strong{NL}
- @tab vierenzestigste noot
+@item @strong{NL} @tab vierenzestigste noot
@tab vierenzestigste rust
@tab 64e noot
-@item @strong{DK}
- @tab fireogtredsindstyvendedelsnode
+@item @strong{DK} @tab fireogtredsindstyvendedelsnode
@tab fireogtredsindstyvendedelspause
@tab -
-@item @strong{SE}
- @tab sextiofjärdedelsnot
+@item @strong{SE} @tab sextiofjärdedelsnot
@tab sextiofjärdedelspaus
@tab -
-@item @strong{FI}
- @tab kuudeskymmenesneljäsosanuotti
+@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
@tab kuudeskymmenesneljäsosatauko
@tab 64-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab one-hundred-twenty-eighth note
+@item @strong{US} @tab one-hundred-twenty-eighth note
@tab one-hundred-twenty-eighth rest
@tab 128th note
-@item @strong{UK}
- @tab semihemidemisemiquaver
+@item @strong{UK} @tab semihemidemisemiquaver
@tab semihemidemisemiquaver rest
@tab -
-@item @strong{ES}
- @tab garrapatea @tab silencio de garrapatea @tab -
-@item @strong{IT}
- @tab fusa
+@item @strong{ES} @tab garrapatea
+ @tab silencio de garrapatea
+ @tab -
+@item @strong{IT} @tab fusa
@tab pausa di fusa
@tab -
-@item @strong{FR}
- @tab quintuple croche
+@item @strong{FR} @tab quintuple croche
@tab trente-deuxième de soupir @tab -
-@item @strong{DE}
- @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
-@item @strong{NL}
- @tab honderdachtentwintigste noot
+@item @strong{DE} @tab Hundertundachtundzwanzigstel
+ @tab Hundertundachtundzwanzigstel @tab 128tel-Note
+@item @strong{NL} @tab honderdachtentwintigste noot
@tab honderdachtentwintigste rust
@tab 128e noot
-@item @strong{DK}
- @tab ?
- @tab ?
+@item @strong{DK} @tab hundredeotteogtyvendedelsnode
+ @tab hundredeotteogtyvendedelspause
@tab -
-@item @strong{SE}
- @tab hundratjugoåttondelsnot
+@item @strong{SE} @tab hundratjugoåttondelsnot
@tab hundratjugoåttondelspaus
@tab -
-@item @strong{FI}
- @tab sadaskahdeskymmeneskahdeksasosanuotti
+@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
@tab sadaskahdeskymmeneskahdeksasosatauko
@tab 128-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab two-hundred-fifty-sixth @tab two-hundred-fifty-sixth @tab 256th note
-@item @strong{UK}
- @tab demisemihemidemisemiquaver
+@item @strong{US} @tab two-hundred-fifty-sixth note
+ @tab two-hundred-fifty-sixth rest
+ @tab 256th note
+@item @strong{UK} @tab demisemihemidemisemiquaver
@tab demisemihemidemisemiquaver rest
@tab -
-@item @strong{ES}
- @tab semigarrapatea @tab silencio de semigarrapatea @tab -
-@item @strong{IT}
- @tab semifusa
+@item @strong{ES} @tab semigarrapatea
+ @tab silencio de semigarrapatea @tab -
+@item @strong{IT} @tab semifusa
@tab pausa di semifusa
@tab -
-@item @strong{FR}
- @tab sextuple croche
+@item @strong{FR} @tab sextuple croche
@tab soixante-quatrième de soupir @tab -
-@item @strong{DE}
- @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
-@item @strong{NL}
- @tab tweehonderdzesenvijftigste noot
+@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
+ @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
+@item @strong{NL} @tab tweehonderdzesenvijftigste noot
@tab tweehonderdzesenvijftigste rust
@tab 256e noot
-@item @strong{DK}
- @tab ?
- @tab ?
+@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
+ @tab tohundredeseksoghalvtredsendedelspause
@tab -
-@item @strong{SE}
- @tab tvåhundrafemtiosjättedelsnot
+@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
@tab tvåhundrafemtiosjättedelspaus
@tab -
-@item @strong{FI}
- @tab kahdessadasviideskymmeneskuudesosanuotti
+@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
@tab kahdessadasviideskymmeneskuudesosatauko
@tab 256-osanuotti
@headitem EN
@tab ES @tab I @tab F @tab D
@tab NL @tab DK @tab S @tab FI
-@item @strong{c}
- @tab do @tab do @tab ut @tab C
+@item @strong{c} @tab do @tab do @tab ut @tab C
@tab c @tab c @tab c @tab c
-@item @strong{c-sharp}
- @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
@tab cis @tab cis @tab ciss @tab cis
-@item @strong{d-flat}
- @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
@tab des @tab des @tab dess @tab des
-@item @strong{d}
- @tab re @tab re @tab ré @tab D
+@item @strong{d} @tab re @tab re @tab ré @tab D
@tab d @tab d @tab d @tab d
-@item @strong{d-sharp}
- @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
@tab dis @tab dis @tab diss @tab dis
-@item @strong{e-flat}
- @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
@tab es @tab es @tab ess @tab es
-@item @strong{e}
- @tab mi @tab mi @tab mi @tab E
+@item @strong{e} @tab mi @tab mi @tab mi @tab E
@tab e @tab e @tab e @tab e
@item @strong{f-flat} = e
@tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
@tab fes @tab fes @tab fess @tab fes
-@item @strong{f}
- @tab fa @tab fa @tab fa @tab F
+@item @strong{f} @tab fa @tab fa @tab fa @tab F
@tab f @tab f @tab f @tab f
@item @strong{e-sharp} = f
@tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
@tab eis @tab eis @tab eiss @tab eis
-@item @strong{f-sharp}
- @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
@tab fis @tab fis @tab fiss @tab fis
-@item @strong{g-flat}
- @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
@tab ges @tab ges @tab gess @tab ges
-@item @strong{g}
- @tab sol @tab sol @tab sol @tab G
+@item @strong{g} @tab sol @tab sol @tab sol @tab G
@tab g @tab g @tab g @tab g
-@item @strong{g-sharp}
- @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
@tab gis @tab gis @tab giss @tab gis
-@item @strong{a-flat}
- @tab la bemol @tab la bemolle @tab la bémol @tab As
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
@tab as @tab as @tab ass @tab as
-@item @strong{a}
- @tab la @tab la @tab la @tab A
+@item @strong{a} @tab la @tab la @tab la @tab A
@tab a @tab a @tab a @tab a
-@item @strong{a-sharp}
- @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
@tab ais @tab ais @tab aiss @tab ais
-@item @strong{b-flat}
- @tab si bemol @tab si bemolle @tab si bémol @tab B
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
@tab bes @tab b @tab b @tab b
-@item @strong{b}
- @tab si @tab si @tab si @tab H
+@item @strong{b} @tab si @tab si @tab si @tab H
@tab b @tab h @tab h @tab h
@end multitable
projects / lilypond.git / blobdiff