\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
Copyright @copyright{} 1999--2007 by the authors
-
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
or any later version published by the Free Software Foundation,
@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
@*
Copyright 1999--2007 by the authors
-
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
or any later version published by the Free Software Foundation,
@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
Languages in this order.
@itemize
+@item UK - British English (where it differs from American English)
@item ES - Spanish
@item I - Italian
@item F - French
@item D - German
@item NL - Dutch
-@item UK - British English
@item DK - Danish
@item S - Swedish
@item FI - Finnish
@menu
* A::
+* a due::
+* accelerando::
* accent::
* accessory::
-* accidental::
-* accelerando::
* acciaccatura::
+* accidental::
* adagio::
* allegro::
* alteration::
* arpeggio::
* articulation::
* ascending interval::
+* augmentation::
* augmented interval::
* autograph::
* B::
* bar line::
* baritone::
* baritone clef::
-* bass clef::
* bass::
+* bass clef::
* beam::
* beat::
+* beat repeat::
* bind::
* brace::
+* bracket::
* brass::
* breath mark::
* breve::
* cluster::
* comma::
* common meter::
-* compound interval::
+* common time::
* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
* conjunct movement::
* consonance::
* contralto::
-* counterpoint::
-* counter tenor::
* copying music::
+* counterpoint::
+* countertenor::
* crescendo::
* cue-notes::
* custos::
* decrescendo::
* descending interval::
* diatonic scale::
+* didymic comma::
* diminished interval::
* diminuendo::
+* diminution::
* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
+* dominant::
* dominant ninth chord::
* dominant seventh chord::
-* dominant::
* dorian mode::
* dot (augmentation dot)::
* dotted note::
* double dotted note::
* double flat::
* double sharp::
+* double time signature::
* double trill::
* duple meter::
* duplet::
* duration::
-* dydimic comma::
* dynamics::
* E::
* ecclesiastical mode::
* forefall::
* forte::
* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* half rest::
* harmonic cadence::
* harmony::
+* hemiola::
* homophony::
* interval::
* inverted interval::
* just intonation::
* key::
* key signature::
+* laissez vibrer::
* largo::
* leading note::
* ledger line::
* 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::
* melodic cadence::
+* mensural notation::
* meter::
* metronome::
+* metronome mark::
* metronomic indication::
* mezzo-soprano::
* middle C::
* minor::
* minor interval::
+* mixolydian mode::
* mode::
* modulation::
* mordent::
* motive::
* movement::
* multi-measure rest::
-* mixolydian mode::
-* natural sign::
+* natural::
* neighbour tones::
* ninth::
* non-legato::
* note::
* note head::
+* note names::
* note value::
-* octave sign::
+* octavation::
* octave::
+* octave mark::
+* octave marking::
+* octave sign::
* ornament::
* ossia::
-* ottava::
* part::
* pause::
* pennant::
+* percent repeat::
* percussion::
* perfect interval::
* phrase::
* phrasing::
-* pickup::
* piano::
+* pickup::
* pitch::
* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
* polyphony::
* portato::
* presto::
-* Pythagorean comma::
+* proportion::
+* Pythagorean comma::
* quadruplet::
* quarter note::
* quarter rest::
+* quarter tone::
* quintuplet::
* rallentando::
* relative key::
* sextuplet::
* shake::
* sharp::
+* simile::
+* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* sixty-fourth note::
* sixty-fourth rest::
+* slash repeat::
* slur::
* solmization::
* sonata::
* supertonic::
* symphony::
* syncopation::
-* syntonic comma::
+* syntonic comma::
* system::
* temperament::
* tempo indication::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
* unison::
* upbeat::
* voice::
+* volta::
* weak beat::
* whole note::
* whole rest::
@node A
@section A
-ES: la,
-I: la,
-F: la,
-D: A, a,
-NL: a,
-DK: a,
-S: a,
-FI: A, a.
+@itemize
+@item ES: la
+@item I: la
+@item F: la
+@item D: A, a
+@item NL: a
+@item DK: a
+@item S: a
+@item FI: A, a
+@end itemize
+
+@seealso
+
+@ref{Pitch names}
+
+
+@node a due
+@section a due
+
+ES: a dos,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
@seealso
@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
FI: tilapäinen etumerkki.
An accidental has the effect of an @ref{alteration} of a note. A
-sharp raises a tone by a @ref{semitone}, a double sharp raises it by
-a @ref{whole tone}, a flat lowers it by a semitone and a double flat
+sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
+@ref{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
-accidental.
+accidental, or a sharp or flat in the key signature.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@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
FI: adagio, hitaasti.
It.@: comfortable, easy.
-1.@tie{}Slow tempo, slower -- especially in even meter -- than
+
+@itemize
+
+@item Slow tempo, slower -- especially in even meter -- than
@ref{andante} and faster than @ref{largo}.
-2.@tie{}A movement in slow tempo, especially the second (slow) movement of
-@ref{sonata}s, symphonies, etc.
+
+@item A movement in slow tempo, especially the second (slow) movement
+of @ref{sonata}s, symphonies, etc.
+
+@end itemize
@node allegro
F: altération,
D: Alteration,
NL: verhoging of verlaging,
-DK:
-S:
-FI:
+DK: ?,
+S: ?,
+FI: ?.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an @ref{accidental}.
S: alt,
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
-@ref{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 @ref{countertenor}.
@node alto clef
S: ambitus,
FI: ambitus, ääniala, soitinala.
-The term ambit (from latin: ambitus, plural: ambitus) denotes a range
-of pitches for a given voice in a part of music. It may also denote
-the pitch range that a musical instrument is capable of playing.
+[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
+Denotes a range of pitches for a given voice in a part of music. It may
+also denote the pitch range that a musical instrument is capable of playing.
+Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
@node anacrusis
FI: kohotahti.
An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial note(s)
-of a melody occurring in that incomplete measure.
+of music before a section of music. It also refers to the initial
+note(s) of a melody occurring in that incomplete measure.
@seealso
@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,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@seealso
-
-@ref{diatonic scale}.
-
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
@end lilypond
+@seealso
+
+@ref{diatonic scale}.
+
@node andante
@section andante
S: förslag,
FI: appoggiatura, etuhele.
-Ornamental note, usually a second, that is melodically connected with the
-main note following it. In music before the 19th century appoggiature were
-usually performed on the beat, after that mostly before the beat. While the
-short appoggiatura is performed as a short note regardless of the duration of
-the main note the duration of the long appoggiatura is proportional to that of
-the main note.
+Ornamental note, usually a second, that is melodically connected with
+the main note following it. In music before the 19th century
+appoggiature were usually performed on the beat, after that mostly
+before the beat. While the short appoggiatura is performed as a short
+note regardless of the duration of the main note the duration of the
+long appoggiatura is proportional to that of the main note.
@lilypond[line-width=13.0\cm]
\context Voice \relative c'' {
S: ?,
FI: artikulaatio, ilmaisu.
-Articulation refers to notation which indicates how a note or notes should
-be played. Slurs, accents, staccato, and legato are all examples of
-articulartion.
+Articulation refers to notation which indicates how a note or notes
+should be played. Slurs, accents, staccato, and legato are all
+examples of articulation.
@node ascending interval
F: intervalle ascendant,
D: steigendes Intervall,
NL: stijgend interval,
-DK:@w{ }stigende interval,
+DK: stigende interval,
S: stigande intervall,
FI: nouseva intervalli.
@ref{interval}.
+@node augmentation
+@section augmentation
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition.
+
+This is a placeholder for augmentation (wrt mensural notation).
+
+@seealso
+
+@ref{diminution}, @ref{mensural notation}.
+
+
@node autograph
@section autograph
S: handskrift,
FI: käsinkirjoitettu nuotti.
-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.
+@itemize
+
+@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
+emulate engraving. This required more skill than did engraving.
+
+@end itemize
@node B
@section B
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
@seealso
@ref{C clef}, @ref{F clef}.
+@node bass
+@section bass
+
+ES: bajo,
+I: basso,
+F: basse,
+D: Bass,
+NL: bas,
+DK: bas,
+S: bas,
+FI: basso, matala miesääni.
+
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize
+
+@seealso
+
+@ref{strings}.
+
+
@node bass clef
@section bass clef
@ref{F clef}.
-@node bass
-@section bass
-
-ES: bajo,
-I: basso,
-F: basse,
-D: Bass,
-NL: bas,
-DK: bas,
-S: bas,
-FI: basso, matala miesääni.
-
-1.@tie{}The lowest male voice.
-2.@tie{}Sometimes, especially in jazz music, used as
-an abbreviation for double bass.
-
-@seealso
-
-@ref{strings}.
-
-
@node beam
@section beam
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note).
-The number of beams determines the note value of the connected notes.
+Line connecting a series of notes (shorter than a quarter note). The
+number of beams determines the note value of the connected notes.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
S: taktslag,
FI: aika-arvo.
-Note value used for counting, most often half-, fourth-, and eighth notes.
-The base counting value and the number of them per measure is indicated at
-the start of the music.
+Note value used for counting, most often half-, fourth-, and eighth
+notes. The base counting value and the number of them per measure is
+indicated at the start of the music.
@lilypond[fragment,line-width=13.0\cm]
\key g \major
@end lilypond
+@node beat repeat
+@section beat repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node bind
@section bind
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are used
-for connecting piano staves, angular brackets for connecting parts in an
-orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
@end lilypond
+@node bracket
+@section bracket
+
+ES: corchete,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
@node brass
@section brass
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.
+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.
@node breath mark
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
NL: brevis,
DK: brevis,
S: brevis,
-FI: brevis.
+FI: brevis, kaksoiskokonuotti.
-@ref{note value}, twice as long as a whole note. Mainly used
-in pre-1650 music.
+Note value twice as long as a whole note. Mainly used in pre-1650 music.
+The shortest note value generally used in white mensural notation, hence the
+name, which originally meant @q{of short duration}.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
+@seealso
+
+@ref{mensural notation}, @ref{note value}.
+
@node C
@section C
-ES: do,
-I: do,
-F: ut,
-D: C, c,
-NL: c,
-DK: c,
-S: c,
-FI: C, c.
+@itemize
+@item ES: do
+@item I: do
+@item F: ut
+@item D: C, c
+@item NL: c
+@item DK: c
+@item S: c
+@item FI: C, c
+@end itemize
@seealso
FI: kadenssi, lopuke.
An extended, improvisatory style section inserted near the end of
-movement. The purpose of a cadenza is to give singers or players a chance
-to exhibit their technical skill and -- not last -- their 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 last -- their
+ability to improvise. Since the middle of the 19th century, however,
+most cadenzas have been written down by the composer.
@node canon
FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
viritysjärjestelmässä.
-Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
-of an equally tempered @ref{semitone}).
+Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
+(1/100 of an equally tempered @ref{semitone}).
@seealso
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
@end lilypond
Imagine a large staff of 11 lines centered on middle C, sometimes
-called a @q{grand staff}, with the bottom line representing low G
-and the top line high F:
+called a @q{grand staff}, with the bottom line representing low G and
+the top line high F:
@lilypond[ragged-right,quote]
\score {
} % End score
@end lilypond
-Staves of five lines are usually used, and the clef superimposed on them
-indicates which five lines have been selected from this @samp{grand staff}.
-For example, the treble or G clef indicates that the top five
-lines have been selected:
+Staves of five lines are usually used, and the clef superimposed on
+them indicates which five lines have been selected from this
+@samp{grand staff}. For example, the treble or G clef indicates that
+the top five lines have been selected:
@lilypond[ragged-right,quote]
\score {
} % End score
@end lilypond
-The @q{curl} of the G clef in centered on the line that represents the pitch G.
+The @q{curl} of the G clef is centered on the line that represents the
+pitch G.
-In the same way, the bass or F clef indicates that the bottom five lines
-have been selected from the @samp{grand staff}, and the alto or C clef
-indicates the middle five lines have been selected. This relationship is
-shown below, where the notes show an arpeggio on a C major chord.
+In the same way, the bass or F clef indicates that the bottom five
+lines have been selected from the @samp{grand staff}, and the alto or
+C clef indicates the middle five lines have been selected. This
+relationship is shown below, where the notes show an arpeggio on a C
+major chord.
@lilypond[ragged-right,quote]
\score {
@end lilypond
-
@node cluster
@section cluster
ES: racimo,
-DE: Cluster,
+I: ?,
+F: ?,
+D: Cluster,
+NL: ?,
+DK: ?,
+S: ?,
FI: klusteri, cluster.
A @emph{cluster} is a range of simultaneously sounding pitches that
S: komma,
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.
+Difference in pitch between a note derived from pure tuning and the
+same note derived from some other tuning method.
@seealso
+@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
@node common meter
@section common meter
+@ref{common time}
+
@seealso
@ref{meter}.
-@node compound interval
-@section compound interval
+@node common time
+@section common time
-ES: intervalo compuesto,
-I: intervallo composto,
-F: intervalle composé,
-D: weites Intervall,
-NL: samengesteld interval,
-DK: sammensat interval,
-S: sammansatt intervall,
-FI: oktaavia laajempi intervalli.
+ES: compasillo,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-Intervals larger than an octave.
+4/4 time. The symbol, which resembles a capital letter C, derives from
+mensural notation.
@seealso
-@ref{interval}.
+@ref{mensural notation}, @ref{meter}.
@node complement
@ref{inverted interval}.
-@node conjunct movement
-@section conjunct movement
-
-ES: movimiento conjunto,
-I: moto congiunto,
-F: mouvement conjoint,
-D: schritt@-weise, stufenweise Bewegung,
-NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bevægelse,
-S: stegvis rörelse,
-FI: asteittainen liike.
-
-Progressing melodically by intervals of a second. The opposite of a
-@ref{disjunct movement}.
+@node compound interval
+@section compound interval
-@lilypond[fragment,line-width=13.0\cm]
-\key g \major \time 4/4
+ES: intervalo compuesto,
+I: intervallo composto,
+F: intervalle composé,
+D: weites Intervall,
+NL: samengesteld interval,
+DK: sammensat interval,
+S: sammansatt intervall,
+FI: oktaavia laajempi intervalli.
+
+Intervals larger than an octave.
+
+@seealso
+
+@ref{interval}.
+
+
+@node compound meter
+@section compound meter
+
+ES: compás compuesto, compás de subdivisión ternaria,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
+
+@seealso
+
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: compás compuesto, compás de amalgama (def. 2),
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@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{compound meter}, @ref{meter}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: en Do, afinación de concierto,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@itemize
+
+@item Woodwinds
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@item Brass
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@item Strings
+@itemize
+@item violin
+@item viola
+@item violincello
+@end itemize
+
+@item piano
+
+@end itemize
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double-bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+
+@ref{transposing instrument}.
+
+
+@node conjunct movement
+@section conjunct movement
+
+ES: movimiento conjunto,
+I: moto congiunto,
+F: mouvement conjoint,
+D: schritt@-weise, stufenweise Bewegung,
+NL: stapsgewijze, trapsgewijze beweging,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
+FI: asteittainen liike.
+
+Progressing melodically by intervals of a second. The opposite of a
+@ref{disjunct movement}.
+
+@lilypond[fragment,line-width=13.0\cm]
+\key g \major \time 4/4
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
@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
S: kontrapunkt,
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
-significance. A frequently used polyphonic technique is imitation, in its
-strictest form found in the canon needing only one part to be written down
-while the other parts are performed with a given displacement. Imitation is
-also the contrapunctal technique used in the @emph{fugue} which, since the
-music of the baroque era, has been one of the most popular polyphonic
-composition methods.
+From Latin @emph{punctus contra punctum}, note against note. The
+combination into a single musical fabric of lines or parts which have
+distinct melodic significance. A frequently used polyphonic technique
+is imitation, in its strictest form found in the canon needing only
+one part to be written down while the other parts are performed with a
+given displacement. Imitation is also the contrapunctal technique
+used in the @emph{fugue} which, since the music of the baroque era,
+has been one of the most popular polyphonic composition methods.
@lilypond[fragment,staffsize=12,line-width=13.0\cm]
\set Score.implicitTimeSignatureVisibility = #all-invisible
@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. This
-required more skill than engraving.
-
-
@node crescendo
@section crescendo
S: crescendo,
FI: cresendo, voimistuen.
-Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation @samp{cresc.}.
+Increasing volume. Indicated by a rightwards opening horizontal wedge
+or the abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
S: inprickningar,
FI: vihjenuotit.
-In a separate part notes belonging to another part with the purpose of hinting
-when to start playing. Usually printed in a smaller type.
+In a separate part notes belonging to another part with the purpose of
+hinting when to start playing. Usually printed in a smaller type.
@node custos
@section custos
+ES: custos,
+I: ?,
F: guidon,
-D: Notenzeiger, Custos.
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-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
-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.
+A custos (plural: custodes) is a staff symbol that appears at the end
+of a staff line 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.
Custodes were frequently used in music notation until the 16th
century. There were different appearences for different notation
styles. Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning
of the 20th century
@lilypond
@node D
@section D
-ES: re,
-I: re,
-F: ré,
-D: D, d,
-NL: d,
-DK: d,
-S: d,
-FI: D, d.
+@itemize
+@item ES: re
+@item I: re
+@item F: ré
+@item D: D, d
+@item NL: d
+@item DK: d
+@item S: d
+@item FI: D, d
+@end itemize
@seealso
S: da capo,
FI: da capo, alusta.
-The term indicates repetition of the piece from the beginning to the end or
-to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
+Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
+the beginning to the end or to a certain place marked @emph{fine}.
@node dal segno
d1 |
g,4^\segno a b c |
b a g2_\markup{
- \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
+ \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
\bar "|."
}
@end lilypond
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and
-2@w{ }@ref{semitone}s (S). Scales played on the white keys
-of a piano keybord are diatonic.
+A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
+Scales played on the white keys of a piano keybord are diatonic; and these
+scales are sometimes called, somewhat inaccurately, @q{church modes}).
-The church modes are used in gregorial chant and in pre-baroque early
-music but also to some extent in newer jazz music.
+These @q{modes} are used in gregorian chant and in pre-baroque early music
+but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
>>
@end lilypond
+@lilypond[fragment,notime,ragged-right]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
+ \override TextScript #'padding = #-4
+ b1^"~~ S" c d e^"~~ S" f g a b
+ }
+ \lyrics {
+ Locrian
+ }
+>>
+@end lilypond
+
From the beginning of the 17th century the scales used in European
-compositional music are primarily the major and the minor scales. In the
-harmonic minor scale type an augmented second (A) occurs between the 6th and
-7th tone.
+compositional music are primarily the major and the minor scales. In
+the harmonic minor scale type an augmented second (A) occurs between
+the 6th and 7th tone.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
- "ancient minor"
+ "Ancient minor"
}
>>
@end lilypond
\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{decrescendo}.
+
+@node diminution
+@section diminution
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition
+
+This is a placeholder for diminution (wrt mensural notation).
+
+@seealso
+
+@ref{augmentation}, @ref{mensural notation}.
+
+
@node direct
@section direct
@ref{custos}.
+
@node disjunct movement
@section disjunct movement
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second.
-Opposite of @ref{conjunct movement}.
+Progressing melodically by intervals larger than a major second, as
+opposed to @ref{conjunct movement}.
@lilypond[fragment,ragged-right]
\key a \major
@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
S: punkt,
FI: piste.
-@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
-
@seealso
-@ref{dotted note}.
+@ref{dotted note}, @ref{note value}.
@node dotted note
@ref{accidental}.
+@node double time signature
+@section double time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{polymetric time signature}.
+
+
@node double trill
@section double trill
@ref{note value}.
-@node dydimic comma
-@section dydimic comma
-
-@seealso
-
-@ref{syntonic comma}.
-
-
@node dynamics
@section dynamics
-ES: ?,
+ES: dinámica, matices,
I: ?,
F: nuances,
D: Dynamik, Lautstärke,
S: ?,
FI: ?.
-The aspect of music relating to degrees of loudness, or changes from one
-degree to another. The terms, abbreviations, and symbols used to indicate
-this information are called dynamic marks.
+The aspect of music relating to degrees of loudness, or changes from
+one degree to another. The terms, abbreviations, and symbols used to
+indicate this information are called dynamic marks.
@seealso
-@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
+@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
+@ref{diminuendo}.
@node E
@section E
-ES: mi,
-I: mi,
-F: mi,
-D: E, e,
-NL: e,
-DK: e,
-S: e,
-FI: E, e.
+@itemize
+@item ES: mi
+@item I: mi
+@item F: mi
+@item D: E, e
+@item NL: e
+@item DK: e
+@item S: e
+@item FI: E, e
+@end itemize
@seealso
@node eighth note
@section eighth note
-ES: corchea,
-I: croma,
-F: croche,
-UK: quaver,
-D: Achtel, Achtelnote,
-NL: achtste noot,
-DK: ottendedelsnode,
-S: åttondelsnot,
-FI: kahdeksasosanuotti.
+@itemize
+@item UK: quaver
+@item ES: corchea
+@item I: croma
+@item F: croche
+@item D: Achtel, Achtelnote
+@item NL: achtste noot
+@item DK: ottendedelsnode
+@item S: åttondelsnot
+@item FI: kahdeksasosanuotti
+@end itemize
@seealso
@node eighth rest
@section eighth rest
-ES: silencio de corchea,
-I: pausa di croma,
-F: demi-soupir,
-UK: quaver rest,
-D: Achtelpause,
-NL: achtste rust,
-DK: ottendedelspause,
-S: åttonddelspaus,
-FI: kahdeksasosatauko.
+@itemize
+@item UK: quaver rest
+@item ES: silencio de corchea
+@item I: pausa di croma
+@item F: demi-soupir
+@item D: Achtelpause
+@item NL: achtste rust
+@item DK: ottendedelspause
+@item S: åttonddelspaus
+@item FI: kahdeksasosatauko
+@end itemize
@seealso
@node elision
@section elision
-TODO: languages, definition
+@c TODO: add languages
+
+ES: sinalefa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+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.
+
+@seealso
+
+@ref{lyric tie}.
@node embellishment
@node engraving
@section engraving
-ES: grabar,
+ES: grabado,
I: incisione,
F: gravure,
D: Notenstich, Notendruck
S: nottryck,
FI: painatus.
-Engraving means incising or etching a metal plate for
-printing. Photoengraving means drawing music with ink in a manner
-similar to drafting or engineering drawing, using similar tools.
+Engraving means incising or etching a metal plate for printing.
+Photoengraving means drawing music with ink in a manner similar to
+drafting or engineering drawing, using similar tools.
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.
S: enharmonisk,
FI: enharmoninen.
-Two notes, intervals, or scales are enharmonic if they have different names
-but equal pitch.
+Two notes, intervals, or scales are enharmonic if they have different
+names but equal pitch.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
-Performance indications concerning 1. volume, dynamics (for example
-@ref{forte}, @ref{crescendo}), 2. tempo (for example
-@ref{andante}, @ref{allegro}).
+Performance indications concerning:
+
+@itemize
+
+@item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
+
+@item tempo (for example @ref{andante}, @ref{allegro}).
+
+@end itemize
@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,
S: ?,
FI: ?.
-The generic term for a line (or dash) of arbitrary length that
-extends text (without indicating the musical @emph{function} of
-that text).
+The generic term for a line (or dash) of arbitrary length that extends
+text (without indicating the musical @emph{function} of that text).
Used in many contexts, for example:
@itemize
-@item
-In vocal music to indicate the syllable for a melisma. Called @q{extension}
-in the
-@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
+
+@item In vocal music to indicate the syllable for a melisma. Called
+@q{extension} in the
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
+Dictionary}.
@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--
+@itemize
- @item The chord thus represented should be held above a moving
- bass line, when applied to more than one figure.
+@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.
- @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.
@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.
+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{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
+marking}.
@node F
@section F
-ES: fa,
-I: fa,
-F: fa,
-D: F, f,
-NL: f,
-DK: f,
-S: f,
-FI: F, f.
+@itemize
+@item ES: fa
+@item I: fa
+@item F: fa
+@item D: F, f
+@item NL: f
+@item DK: f
+@item S: f
+@item FI: F, f
+@end itemize
@seealso
S: f-klav,
FI: F-avain.
-The position between the dots of the key symbol is the line of the F below
-central@w{ }C. Used on the third, fourth and fifth note line. A
-digit@w{ }8 above the clef symbol indicates that the notes must be played
-an octave higher (for example, bass recorder) while 8@w{ }below the clef
-symbol indicates playing an octave lower (for example, on double bass
-@ref{strings}).
+The position between the dots of the key symbol is the line of the F
+below central@w{ }C. Used on the third, fourth and fifth note line.
+A digit@w{ }8 above the clef symbol indicates that the notes must be
+played an octave higher (for example, bass recorder) while 8@w{ }below
+the clef symbol indicates playing an octave lower (for example, on
+double bass @ref{strings}).
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@node feathered beam
@section feathered beam
-ES: ?,
+ES: barra punteada,
I: ?,
F: liens de croches en soufflet,
D: gespreizter Balken,
@ref{interval}.
-@node fugue
+@node Frenched score
+@section Frenched score
+
+ES: partitura a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
+
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+
+@seealso
+
+@ref{Frenched staff}.
+
+
+@node Frenched staff
+@section Frenched staff
+
+ES: pentagrama a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
+measures or sections removed. This would be useful for producing, for example,
+an @emph{ossia} staff.
+
+@seealso
+
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+ES: pentagramas a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The plural of @ref{Frenched staff}, @emph{q.v.}.
+
+
+@node fugue
@section fugue
ES: fuga,
S: funktionslära,
FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a given key,
-there are only three functionally different chords: tonic (T, the chord on the
-first note of the scale), subdominant (S, the chord on the fourth note), and
-dominant (D, the chord on the fifth note). Others are considered to be
-variants of the base chords.
+A system of harmonic analysis. It is based on the idea that, in a
+given key, there are only three functionally different chords: tonic
+(T, the chord on the first note of the scale), subdominant (S, the
+chord on the fourth note), and dominant (D, the chord on the fifth
+note). Others are considered to be variants of the base chords.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@node G
@section G
-ES: sol,
-I: sol,
-F: sol,
-D: G, g,
-NL: g,
-DK: g,
-S: g,
-FI: G, g.
+@itemize
+@item ES: sol
+@item I: sol
+@item F: sol
+@item D: G, g
+@item NL: g
+@item DK: g
+@item S: g
+@item FI: G, g
+@end itemize
@seealso
S: g-klav,
FI: G-avain.
-A clef symbol indicating the G above central@w{ }C. Used on the first
+A clef symbol indicating the G above middle@w{ }C. Used on the first
and second note lines. A digit 8 above the clef symbol indicates that
-the notes must be played an octave higher while 8 below the clef symbol
-indicates playing or singing an octave lower (most tenor parts in choral
-scores are notated like that).
+the notes must be played an octave higher while 8 below the clef
+symbol indicates playing or singing an octave lower (most tenor parts
+in choral scores are notated like that).
@lilypond[fragment,notime,ragged-right]
<<
@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
@node grand staff
@node H
@section H
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
-Letter name used for @samp{B natural} in German and Scandinavian usage. In the
-standard usage of these countries, @samp{B} means @samp{B flat}.
+Letter name used for @samp{B natural} in German and Scandinavian
+usage. In the standard usage of these countries, @samp{B} means
+@samp{B flat}.
@seealso
@node half note
@section half note
+UK: minim,
ES: blanca,
I: minima,
F: blanche,
-UK: minim,
D: Halbe, halbe Note,
NL: halve noot,
DK: halvnode,
@node half rest
@section half rest
+UK: minim rest,
ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
-UK: minim rest,
D: halbe Pause,
NL: halve, rust,
DK: halvnodespause,
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-A sequence of chords that terminates a musical phrase or
-section.
+A sequence of chords that terminates a musical phrase or section.
@ref{functional harmony}.
S: samklang,
FI: harmonia, yhteissointi.
-Tones sounding simultaneously. Two note harmonies fall into the categories
-@emph{consonances} and @emph{dissonances}.
+Tones sounding simultaneously. Two note harmonies fall into the
+categories @emph{consonances} and @emph{dissonances}.
Consonances:
Three note harmony @ref{chord}.
+@node hemiola
+@section hemiola
+
+ES: hemiolia,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value. The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
+
+For example, this phrase in 6/4 time
+
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | d2 c d | c1. \bar "||" }
+@end lilypond
+
+may be thought of having alternating time signatures
+
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
+@end lilypond
+
+and is therefore a polymeter (second definition) of considerable antiquity.
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}, @ref{polymeter}.
+
+
@node homophony
@section homophony
S: homofoni,
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 @ref{polyphony}.
+Music in which one voice leads melodically followed by the other
+voices more or less in the same rhythm. In contrast to
+@ref{polyphony}.
@node interval
S: intervall,
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 identical (@ref{enharmonic}) and are called @emph{tritonus} because they
-consist of three @ref{whole tone}s. The addition of such two intervals forms an
-octave.
+Difference in pitch between two notes. Intervals may be perfect,
+minor, major, diminished, or augmented. The augmented fourth and the
+diminished fifth are identical (@ref{enharmonic}) and are called
+@emph{tritonus} because they consist of three @ref{whole tone}s. The
+addition of such two intervals forms an octave.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
S: tonart,
FI: tonaliteetti.
-According to the 12@w{ }tones of the @ref{chromatic scale}
-there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
+According to the 12@w{ }tones of the @ref{chromatic scale} there are
+12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@seealso
@ref{accidental}.
+@node laissez vibrer
+@section laissez vibrer
+
+ES: dejar vibrar,
+I: ?,
+F: laissez vibrer,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From French, @q{Let vibrate}]. Most frequently associated with harp
+parts. Marked @samp{l.v.} in the score.
+
+
@node largo
@section largo
S: largo,
FI: largo, hitaasti, leveästi.
-Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+Very slow in tempo, usually combined with great expressiveness.
+@emph{Larghetto} is less slow than largo.
@node leading note
S: ledton,
FI: johtosävel.
-The seventh @ref{scale degree}, a @ref{semitone} below
-the tonic; so called because of its strong tendency to @q{lead up} (resolve
-upwards) to the tonic scale degree.
+The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
+called because of its strong tendency to @q{lead up} (resolve upwards)
+to the tonic scale degree.
@node ledger line
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
-(d) @ref{staccato}.
+To be performed (a) without any perceptible interruption between the
+notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
+@emph{portato}, and (d) @ref{staccato}.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@ref{ledger line}.
+@node ligature
+@section ligature
+
+ES: ligadura,
+I: ?,
+F: ligature,
+DE: Ligatur,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ligatuura.
+
+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.
+
+@seealso
+
+@ref{mensural notation}.
+
+
@node lilypond
@section lilypond
+UK: lily pond,
ES: estanque de nenúfares,
I: stagno del giglio,
-F: étang de lis,
-UK: lily pond,
+F: étang de nénuphars, étang de nymphéas,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
DK: liliedam,
S: liljedamm,
FI: liljalampi.
-A pond with lilies floating in it, also the name of a music typesetter.
-
-
-@node ligature
-@section ligature
-
-ES: ligadura,
-DE: Ligatur,
-FI: ligatuura.
-
-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.
+A pond with lilies floating in it.
+Also, the name of a music typesetting program.
@node line
@ref{staff}.
+@node loco
+@section loco
+
+ES: en su lugar,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{place}]. Instruction to play the following passage at the
+written pitch. Cancels octave mark (q.v.).
+
+@seealso
+
+@ref{octave mark}, @ref{octave marking}.
+
+
@node long appoggiatura
@section 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,
S: ?,
FI: ?.
-TODO: add languages
+@c TODO: add languages
@seealso
@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
S: medeltonstemperatur,
FI: keskisävelviritys.
-Temperament yielding acoustically pure thirds by decreasing the natural fifth
-by 16@w{ }@ref{cent}s. Due to the non-circular character of this
-@ref{temperament} only a limited set of keys are playable.
-Used for tuning keyboard instruments for performance of pre-1650 music.
+Temperament yielding acoustically pure thirds by decreasing the
+natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
+character of this @ref{temperament} only a limited set of keys are
+playable. Used for tuning keyboard instruments for performance of
+pre-1650 music.
@node measure
FI: tahti.
A group of @ref{beat}s (units of musical time) the first of which
-bears an accent. Such groups in numbers of two or more recur consistently
-throughout the composition and are marked from each other by
-bar-lines.
+bears an accent. Such groups in numbers of two or more recur
+consistently throughout the composition and are marked from each other
+by bar-lines.
@ref{meter}.
+@node measure repeat
+@section measure repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node mediant
@section mediant
S: mediant,
FI: keskisävel.
-1.@tie{}The third @b{scale degree}.
-2.@tie{}A @ref{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).
+@itemize
-@ref{functional
-harmony}, @ref{relative key}.
+@item The third @b{scale degree}.
+
+@item A @ref{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).
+
+@end itemize
+
+@seealso
+@ref{functional harmony}, @ref{relative key}.
@node melisma
@section melisma
ES: melisma,
+I: ?,
F: mélisme,
D: Melisma,
NL: melisma,
+DK: ?,
+S: ?,
FI: melisma, laulettavan tavun sävelkuvio.
-A melisma (plural: melismata) is a group of notes or tones sung on one
-syllable in plainsong
+A melisma (plural, from Greek: melismata) is a group of notes or tones
+sung on one syllable, especially as applied to liturgical chant.
@node melisma line
@section melisma line
-TODO: add languages
+@c TODO: add languages
+
+ES: línea de melisma,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
@seealso
@ref{cadenza}.
+@node mensural notation
+@section mensural notation
+
+@c TODO: add languages
+
+ES: notación mensural,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+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.
+
+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
+
+@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@c TODO: more cross-references?
+
+
@node meter
@section meter
-ES: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,
F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
S: taktart,
FI: aika-arvo.
-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it. For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those. According to whether
-there are two, three, or four units to the measure, one speaks of
-@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
-meter.
+The 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 @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:
+
+ @itemize
+
+ @item duple meter, subdivided in three; or
+ @item triple meter, subdivided in two.
+
+ @end itemize
+
+ @item @b{septuple} meter: groups of seven.
+ @item and so on.
+
+@end itemize
+
+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.
+
+@b{By subdividing the primary beat}:
+
+@itemize
+
+ @item simple: groups of two.
+
+ @itemize
+
+ @item duple: 2/2, 2/4, 2/8
+ @item triple: 3/2, 3/4, 3/8
+ @item quadruple: 4/2, 4/4 (also called common time), 4/8
+
+ @end itemize
+
+ @item compound: groups of three.
+
+ @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:
+
+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 g \major
+ g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
+@end lilypond
+
+Simple triple meter:
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \key f \major
- c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
@end lilypond
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
+@end lilypond
+
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter (unknown):
+
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
@end lilypond
+Compound triple meter (J.S. Bach, 1685-1750):
+
@lilypond[fragment,line-width=13.0\cm]
-\relative c'' {
- \time 5/4
+\relative c' {
+ \time 9/8
\key g \major
- d4 b8 g b d d c a4 |
- g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+ r8 g'( a) b( d c) c( e d) |
+ d( g fis) g( d b) g( a b)
+ \bar "||"}
@end lilypond
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
+@end lilypond
+
+@b{@q{Monometer} vs Polymeter}
+
+TODO: add information from discussion on lilypond-user related to polymeter.
+
+@seealso
+
+@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
+
@node metronome
@section metronome
Device indicating the exact tempo of a piece.
-@ref{metronomic
-indication}.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a "metronome". The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+@seealso
+
+@ref{metronome mark}.
-@node metronomic indication
-@section metronomic indication
+
+@node metronome mark
+@section metronome mark
ES: indicación metronómica,
I: indicazione metronomica,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}
+
+
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+
+@ref{metronome mark}
@node mezzo-soprano
@ref{interval}.
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+
+@ref{diatonic scale}.
+
+
@node mode
@section mode
S: modulering,
FI: modulaatio, sävellajin vaihdos.
-Moving from one @ref{key} to another. For example, the second
-subject of a @ref{sonata form} movement modulates to the dominant
-key if the key is major and to the @ref{relative key} if the key
-is minor.
+Moving from one @ref{key} to another. For example, the second subject
+of a @ref{sonata form} movement modulates to the dominant key if the
+key is major and to the @ref{relative key} if the key is minor.
@node mordent
S: motiv,
FI: teema, sävelaihe.
-The briefest intelligible and self-contained fragment of a musical theme or
-subject.
+The briefest intelligible and self-contained fragment of a musical
+theme or subject.
@lilypond[line-width=13.0\cm]
\score{
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and
-@ref{sonata} most often consist of several -- more or less --
-independant pieces called movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often
+consist of several -- more or less -- independant pieces called
+movements.
@node multi-measure rest
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-Multi-measure rests are conventionally typeset with a combination of longa,
-breve and whole rests for shorter and a long horizontal bar for longer
-spans of rest, with a number above to indicate the duration (in measures)
-of the rest. The former style is called @q{Kirchenpausen} in German, as a
-reminiscence of its use in Renaissance vocal polyphony.
+Multi-measure rests are conventionally typeset with a combination of
+longa, breve and whole rests for shorter and a long horizontal bar for
+longer spans of rest, with a number above to indicate the duration (in
+measures) of the rest. The former style is called @q{Kirchenpausen} in
+German, as a reminiscence of its use in Renaissance vocal polyphony.
@lilypond[fragment,ragged-right]
\relative c'' {
}
@end lilypond
-
-
-@node mixolydian mode
-@section mixolydian mode
-
@seealso
-@ref{diatonic scale}.
+@ref{longa}, @ref{breve}.
-@node natural sign
-@section natural sign
+@node natural
+@section natural
ES: becuadro,
I: bequadro,
instrument.
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
double-length note value @emph{longa} or the quadruple-length note
value @emph{maxima} are used.
-@c TODO -- add maxima to this example
+@c TODO -- add maxima to this example, in a way that doesn't break it.
@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
@end lilypond
-@node octave sign
-@section octave sign
+@node octavation
+@section octavation
@seealso
-@ref{G clef}, @ref{F clef}.
+@ref{octave marking}.
@node octave
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{interval}, @ref{octave marking}.
+
+
+@node octave mark
+@section octave mark
+
+ES: indicación de octava,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: oktaavamerkki.
+
+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{15vb}: play two octaves lower
+@item @samp{15va} (written below the passage): same as @samp{15vb}
+
+@end itemize
+
+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:
+
+@itemize
+
+@item @samp{15ma}: @emph{alla quindicesima (alta)}
+@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
+@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
+@item @samp{15vb}: @emph{alla quindicesima (bassa)}
+
+@end itemize
+
+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{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
+
+
+@node octave marking
+@section octave marking
+
+ES: a la octava,
+I: all'ottava,
+F: octaviation,
+D: Oktavierung,
+NL: octaveren,
+DK: oktavering,
+S: oktavering,
+FI: oktaavamerkintä.
+
+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}.
+
+@seealso
+
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
+
+
+@node octave sign
+@section octave sign
+
+@seealso
+
+@ref{octave mark}.
@node ornament
of the music, for example for small hands.
-@node ottava
-@section ottava
-
-TODO
-
-DE: Oktavierung.
-
-
@node part
@section part
S: stämma,
FI: stemma, instrumenttiosuus.
-1.@tie{}In instrumental or choral music the music for the single instrument
-or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
-melodic line of the contrapunctal web.
+@itemize
+
+@item In instrumental or choral music, the music for a single
+instrument or voice.
+
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
+
+@end itemize
+
+@seealso
+
+@ref{counterpoint}
@node pause
@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
+@node pitch
+@section pitch
+
+ES: altura,
+I: altezza,
+F: hauteur,
+D: Tonhöhe,
+NL: toonhoogte,
+DK: tonehøjde,
+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
+
+ES: pizzicato,
+I: pizzicato,
+F: pizzicato,
+D: pizzicato,
+NL: pizzicato, getokkeld,
+DK: pizzicato,
+S: pizzicato,
+FI: pizzicato, näppäillen.
+
+A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
+the strings.
+
+
+@node polymeter
+@section polymeter
+
+ES: compás polimétrico,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@itemize
+
+@item The simultaneous use of two or more meters, in two or more parts.
+
+@item The @emph{successive} use of different meters in one or more parts.
+
+@end itemize
+
+@seealso
+
+@ref{polymetric} (adj.)
+
+
+@node polymetric
+@section polymetric
+
+ES: polimétrico,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-ES: piano,
-I: piano,
-F: piano,
-D: piano, leise,
-NL: piano,
-DK: piano,
-S: piano,
-FI, piano, hiljaa.
+Using two or more metric frameworks simultaneously or in alternation.
-@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
-@emph{mezzo piano} (@b{mp}) medium soft.
+@seealso
+@ref{polymeter} (noun)
-@node pitch
-@section pitch
-ES: altura,
-I: altezza,
-F: hauteur,
-D: Tonhöhe,
-NL: toonhoogte,
-DK: tonehøjde,
-S: tonhöjd,
-FI: sävelkorkeus.
+@node polymetric time signature
+@section polymetric time signature
+ES: compás polimétrico,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-@node pizzicato
-@section pizzicato
+A time signature that indicates regularly alternating polymetric time.
-ES: pizzicato,
-I: pizzicato,
-F: pizzicato,
-D: pizzicato,
-NL: pizzicato, getokkeld,
-DK: pizzicato,
-S: pizzicato,
-FI: pizzicato, näppäillen.
+@seealso
-Play by plucking the strings.
+@ref{polymetric}.
@node polyphony
S: polyfoni,
FI: polyfonia, moniäänisyys.
-Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality.
+Music written in a combination of several simultaneous voices (parts)
+of a more or less pronounced individuality.
@ref{counterpoint}.
denotes the highest possible degree of speed.
+@node proportion
+@section proportion
+
+ES: proporción,
+I: proprozione (?),
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
+relationship between the note values that follow with those that precede; or
+between the note values of a passage and 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
+
+@seealso
+
+@ref{mensural notation}
+
+
@node Pythagorean comma
@section Pythagorean comma
S: pytagoreiskt komma,
FI: pytagorinen komma.
-A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
-but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24 @ref{cent}s higher than the@w{ }C obtained by adding
-7@w{ }octaves. The difference between those two pitches is called the
-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
@node quarter note
@section quarter note
-ES: negra,
-I: semiminima, nera,
-F: noire,
-UK: crotchet,
-D: Viertel, Viertelnote,
-NL: kwartnoot,
-DK: fjerdedelsnode,
-S: fjärdedelsnot,
-FI: neljännesosanuotti.
+@itemize
+@item UK: crotchet
+@item ES: negra
+@item I: semiminima, nera
+@item F: noire
+@item D: Viertel, Viertelnote
+@item NL: kwartnoot
+@item DK: fjerdedelsnode
+@item S: fjärdedelsnot
+@item FI: neljäsosanuotti
+@end itemize
@seealso
@node quarter rest
@section quarter rest
-ES: silencio de negra,
-I: pausa di semiminima,
-F: soupir,
-UK: crotchet rest,
-D: Viertelpause,
-NL: kwart rust,
-DK:@w{ }fjerdedelspause,
-S: fjärdedelspaus,
-FI: neljännesosatauko.
+@itemize
+@item UK: crotchet rest
+@item ES: silencio de negra
+@item I: pausa di semiminima
+@item F: soupir
+@item D: Viertelpause
+@item NL: kwartrust
+@item DK: fjerdedelspause
+@item S: fjärdedelspaus
+@item FI: neljäsosatauko
+@end itemize
@seealso
@ref{note value}.
+@node quarter tone
+@section quarter tone
+
+ES: cuarto de tonno,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: ?.
+
+An interval equal to half a semitone.
+
+@seealso
+
+@ref{interval}
+
+
@node quintuplet
@section quintuplet
@node relative key
@section relative key
-ES: relativo,
+ES: tono relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
}
@end lilypond
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
-
@node rest
@section rest
S: paus,
FI: tauko.
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
@seealso
@ref{note value}.
@end itemize
-
@node ritardando
@section ritardando
@node scordatura
@section scordatura
-ES: ?,
+ES: encordado,
I: scordatura,
F: à cordes ravallées,
D: Skordatur,
S: halvton,
FI: puolisävel.
-The @ref{interval} of a minor second. The (usually) smallest interval
-in European composed music. The interval between two neighbouring
-tones on the piano keyboard -- including black and white keys -- is a
-semitone. An octave may be divided into 12@w{ }semitones.
-@ref{interval}, @ref{chromatic scale}.
+The interval of a minor second. The (usually) smallest interval in European
+composed music. The interval between two neighbouring tones on the piano
+keyboard -- including black and white keys -- is a semitone. An octave may
+be divided into 12@w{ }semitones.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
+@seealso
+
+@ref{interval}, @ref{chromatic scale}.
+
@node seventh
@section seventh
@seealso
-@ref{sextuplet}
+@ref{sextuplet}, @ref{note value}.
@node sextuplet
@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: compás simple, compás de subdivisión binaria,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+
+@ref{compound meter}, @ref{meter}.
+
+
@node sixteenth note
@section sixteenth note
-ES: semicorchea,
-I: semicroma,
-F: double croche,
-UK: semiquaver,
-D: Sechzehntel, Sechzehntelnote,
-NL: zes@-ti@-ende noot,
-DK: sekstendedelsnode,
-S: sextondelsnot,
-FI: kuudestoistaosanuotti.
+@itemize
+@item UK: semiquaver
+@item ES: semicorchea
+@item I: semicroma
+@item F: double croche
+@item D: Sechzehntel, Sechzehntelnote
+@item NL: zes@-ti@-ende noot
+@item DK: sekstendedelsnode
+@item S: sextondelsnot
+@item FI: kuudestoistaosanuotti
+@end itemize
@seealso
@node sixteenth rest
@section sixteenth rest
-ES: silencio de semicorchea,
-I: pausa di semicroma,
-F: quart de soupir,
-UK: semiquaver rest,
-D: Sechzehntelpause,
-NL: zestiende rust,
-DK: sekstendedelspause,
-S: sextondelspaus,
-FI: kuudesosatauko.
+@itemize
+@item UK: semiquaver rest
+@item ES: silencio de semicorchea
+@item I: pausa di semicroma
+@item F: quart de soupir
+@item D: Sechzehntelpause
+@item NL: zestiende rust
+@item DK: sekstendedelspause
+@item S: sextondelspaus
+@item FI: kuudestoistaosatauko
+@end itemize
@seealso
@node sixty-fourth note
@section sixty-fourth note
-ES: semifusa,
-I: semibiscroma,
-F: quadruple croche,
-UK: hemidemisemiquaver,
-D: Vierundsechzigstel, Vierundsechzigstelnote,
-NL: vierenzestigste noot,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofjärdedelsnot,
-FI: kuudeskymmenesneljäsosanuotti.
+@itemize
+@item UK: hemidemisemiquaver
+@item ES: semifusa
+@item I: semibiscroma
+@item F: quadruple croche
+@item D: Vierundsechzigstel, Vierundsechzigstelnote
+@item NL: vierenzestigste noot
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
+@item S: sextiofjärdedelsnot
+@item FI: kuudeskymmenesneljäsosanuotti
+@end itemize
@seealso
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencio de semifusa,
-I: pausa di semibiscroma,
-F: seizième de soupir,
-UK: hemidemisemiquaver rest,
-D: Vierundsechzigstelpause,
-NL: vierenzestigste rust,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofjärdedelspaus,
-FI: kuudeskymmenesneljäsosatauko.
+@itemize
+@item UK: hemidemisemiquaver rest
+@item ES: silencio de semifusa
+@item I: pausa di semibiscroma
+@item F: seizième de soupir
+@item D: Vierundsechzigstelpause
+@item NL: vierenzestigste rust
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
+@item S: sextiofjärdedelspaus
+@item FI: kuudeskymmenesneljäsosatauko
+@end itemize
@seealso
@ref{note value}.
+@node slash repeat
+@section slash repeat
+
+@seealso
+
+@ref{percent repeat}.
+
@node slur
@section slur
one breath in singing.
-
@node solmization
@section solmization
@ref{scale degree}.
-
@node sonata
@section sonata
S: notsystem,
FI: nuottiviivasto.
-A staff (pl. staves) is a series of (normally five) horizontal lines
-upon and between which the musical notes are written, thus indicating
-(in connection with a @ref{clef}) their pitch. Staves for
+A staff (plural: staves) is a series of (normally five) horizontal
+lines upon and between which the musical notes are written, thus
+indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
@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,
@end lilypond
-
@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
down of keyboard, chamber, choral, or orchestral music.
-
@node temperament
@section temperament
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
@node thirty-second note
@section thirty-second note
-ES: fusa,
-I: biscroma,
-F: triple croche,
-UK: demisemiquaver,
-D: Zweiunddreissigstel, Zweiunddreissigstelnote,
-NL: twee-endertig@-ste noot,
-DK: toogtredivtedelsnode,
-S: trettiotvåondelsnot,
-FI: kolmanneskymmeneskahdesosanuotti.
+@itemize
+@item UK: demisemiquaver
+@item ES: fusa
+@item I: biscroma
+@item F: triple croche
+@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
+@item NL: twee-endertig@-ste (32e) noot
+@item DK: toogtredivtedelsnode
+@item S: trettiotvåondelsnot
+@item FI: kolmaskymmeneskahdesosanuotti
+@end itemize
@seealso
@node thirty-second rest
@section thirty-second rest
-ES: silencio de fusa,
-I: pausa di biscroma,
-F: huitième de soupir,
-UK: demisemiquaver rest,
-D: Zweiunddreissigstel@-pause,
-NL: 32e rust,
-DK: toogtredivtedelspause,
-S: trettiotvåondelspaus,
-FI: kolmanneskymmeneskahdesosatauko.
+@itemize
+@item UK: demisemiquaver rest
+@item ES: silencio de fusa
+@item I: pausa di biscroma
+@item F: huitième de soupir
+@item D: Zweiunddreissigstel@-pause
+@item NL: twee-endertig@-ste (32e) rust
+@item DK: toogtredivtedelspause
+@item S: trettiotvåondelspaus
+@item FI: kolmaskymmeneskahdesosatauko
+@end itemize
@seealso
S: 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,
S: taktartssignatur,
FI: tahtiosoitus.
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+
@seealso
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
@node tone
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
@ref{functional harmony}.
+@node transposing instrument
+@section transposing instrument
+
+ES: instrumento transpositor,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+
+@item English horn (in F)
+
+@item Alto flute (in G)
+
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
+
+
@node transposition
@section transposition
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantnøgle,
+DK: diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
S: tremolo,
FI: tremolo.
-On stringed instruments (@ref{strings}) the quick reiteration of the
-same tone, produced by a rapid up-and-down movement of the bow (a).
-The term is also used for the rapid alternation (b) between two notes
-of a @ref{chord}, usually in the distance of a third (@ref{interval}).
+On stringed instruments:
+
+@enumerate
+
+@item The quick reiteration of the same tone, produced by a rapid
+up-and-down movement of the bow.
+
+@item Or, the rapid alternation between two notes of a @ref{chord}, usually
+in the distance of a third (@ref{interval}).
+
+@end enumerate
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
}
@end lilypond
+@seealso
+
+@ref{strings}
+
@node triad
@section triad
@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,
S: stämma,
FI: ääni, lauluääni.
-1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
-@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
-2.@tie{}A melodic layer or part of a polyphonic composition.
+@itemize
+
+@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
@node whole note
@section whole note
-ES: redonda,
-I: semibreve,
-F: ronde,
-UK: semibreve,
-D: Ganze, ganze Note,
-NL: hele noot,
-DK: helnode,
-S: helnot,
-FI: kokonuotti.
+@itemize
+@item UK: semibreve
+@item ES: redonda
+@item I: semibreve
+@item F: ronde
+@item D: Ganze, ganze Note
+@item NL: hele noot
+@item DK: helnode
+@item S: helnot
+@item FI: kokonuotti
+@end itemize
@seealso
@node whole rest
@section whole rest
-ES: silencio de redonda,
-I: pausa di semibreve,
-F: pause,
-UK: semibreve rest,
-D: ganze Pause, ganztaktige Pause,
-NL: hele rust,
-DK: helnodespause,
-S: helpaus,
-FI: kokotauko.
+@itemize
+@item UK: semibreve rest
+@item ES: silencio de redonda
+@item I: pausa di semibreve
+@item F: pause
+@item D: ganze Pause, ganztaktige Pause
+@item NL: hele rust
+@item DK: helnodespause
+@item S: helpaus
+@item FI: kokotauko
+@end itemize
@seealso
@ref{note value}.
-
@node whole tone
@section whole tone
S: helton,
FI: kokoaskel.
-The @ref{interval} of a major second. The interval between two tones
+The interval of a major second. The interval between two tones
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
+@seealso
+@ref{interval}.
@node woodwind
saxophone, and bassoon.
-
-
@node Duration names notes and rests
-@chapter Duration names, notes and rests
-
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .15 .26 .33 .26
-
-@item
- @tab @strong{UK}
- @tab @strong{I}
- @tab @strong{F (note name / rest name)}
-@item
- @tab @strong{D}
- @tab @strong{NL}
- @tab @strong{DK}
-@item
- @tab @strong{S}
- @tab @strong{FI}
- @tab @strong{ES}
-
-@c extra @items make this table harder to read, so I removed them.
+@chapter Duration names notes and rests
-@item @strong{longa}
- @tab longa
- @tab longa
- @tab longa
-@item
- @tab Longa
- @tab longa
- @tab longa
-@item
- @tab longa
- @tab longa
- @tab longa
+@multitable @columnfractions .12 .22 .22 .22 .22
-@item @strong{breve}
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab long
+ @tab long rest
@tab breve
+ @tab breve rest
+@item @strong{UK} @tab longa
+ @tab longa rest
@tab breve
- @tab brève / double-pause
-@item
+ @tab breve rest
+@item @strong{ES} @tab longa
+ @tab silencio de longa
+ @tab cuadrada
+ @tab silencio de cuadrada
+@item @strong{IT} @tab longa
+ @tab pausa di longa
+ @tab breve
+ @tab pausa di breve
+@item @strong{FR} @tab longa
+ @tab quadruple-pause
+ @tab brève
+ @tab double-pause
+@item @strong{DE} @tab Longa
+ @tab longa Pause
@tab Brevis
+ @tab brevis Pause
+@item @strong{NL} @tab longa
+ @tab longa rust
@tab brevis
+ @tab brevis rust
+@item @strong{DK} @tab longa
+ @tab longanodespause
@tab brevis
-@item
- @tab brevis
+ @tab brevis(nodes)pause
+@item @strong{SE} @tab longa
+ @tab longapaus
@tab brevis
- @tab cuadrada
+ @tab brevispaus
+@item @strong{FI} @tab longa-nuotti
+ @tab longa-tauko
+ @tab brevis-nuotti, kaksoiskokonuotti
+ @tab brevis-tauko, kaksoiskokotauko
-@item @strong{whole}
- @tab semi@-breve
- @tab semi@-breve
- @tab ronde / pause
-@item
- @tab Ganze
- @tab hele
- @tab hel
-@item
- @tab hel
- @tab koko@-nuotti/@w{-tauko}
- @tab redonda
+@end multitable
-@item @strong{half}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab whole note
+ @tab whole rest
+ @tab half note
+ @tab half rest
+@item @strong{UK} @tab semibreve
+ @tab semibreve rest
@tab minim
- @tab minima
- @tab blanche / demi-pause
-@item
- @tab Halbe
- @tab halve
- @tab halv
-@item
- @tab halv
- @tab puoli@-nuotti/@w{-tauko}
+ @tab minim rest
+@item @strong{ES} @tab redonda
+ @tab silencio de redonda
@tab blanca
+ @tab silencio de blanca
+@item @strong{IT} @tab semibreve
+ @tab pause di semibreve
+ @tab minima
+ @tab pausa di minima
+@item @strong{FR} @tab ronde
+ @tab pause
+ @tab blanche
+ @tab demi-pause
+@item @strong{DE} @tab ganze Note
+ @tab ganze Pause
+ @tab halbe Note
+ @tab halbe Pause
+@item @strong{NL} @tab hele noot
+ @tab hele rust
+ @tab halve noot
+ @tab halve rust
+@item @strong{DK} @tab helnode
+ @tab helnodespause
+ @tab halvnode
+ @tab halvnodespause
+@item @strong{SE} @tab helnot
+ @tab helpaus
+ @tab halvnot
+ @tab halvpaus
+@item @strong{FI} @tab kokonuotti
+ @tab kokotauko
+ @tab puolinuotti
+ @tab puolitauko
-@item @strong{quarter}
- @tab crotchet
- @tab semiminima
- @tab noire / soupir
-@item
- @tab Viertel
- @tab kwart
- @tab fjerdedel
-@item
- @tab fjärdedel
- @tab neljännesosa@-nuotti/@w{-tauko}
- @tab negra
+@end multitable
-@item @strong{eighth}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab quarter note
+ @tab quarter rest
+ @tab eighth note
+ @tab eighth rest
+@item @strong{UK} @tab crotchet
+ @tab crotchet rest
@tab quaver
- @tab croma
- @tab croche / demi-soupir
-@item
- @tab Achtel
- @tab achtste
- @tab ottendedel
-@item
- @tab åttondel
- @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab quaver rest
+@item @strong{ES} @tab negra
+ @tab silencio de negra
@tab corchea
-
-@item @strong{sixteenth}
- @tab semiquaver
- @tab semicroma
- @tab double croche / quart de soupir
-@item
- @tab Sechzehntel
- @tab zestiende
- @tab sekstendedel
-@item
- @tab sextondel
- @tab kuudestoistaosa@-nuotti/@w{-tauko}
- @tab semicorchea
-
-@item @strong{thirty-second}
- @tab demisemiquaver
- @tab biscroma
- @tab triple croche / huitième de soupir
-@item
- @tab Zweiunddreissigstel
- @tab tweeendertigste
- @tab toogtredivtedel
-@item
- @tab trettiotvåondel
- @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
- @tab fusa
-
-@item @strong{sixty-fourth}
- @tab hemidemisemiquaver
- @tab semibiscroma
- @tab quadruple croche / seizième de soupir
-@item
- @tab Vierundsechzigstel
- @tab vierenzestigste
- @tab fireogtred@-sindstyvendedel
-@item
- @tab sextiofjärdedel
- @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab semifusa
+ @tab silencio de corchea
+@item @strong{IT} @tab semiminima, nera
+ @tab pausa di semiminima, pausa di nera
+ @tab croma
+ @tab pausa di croma
+@item @strong{FR} @tab noire
+ @tab soupir*
+ @tab croche*
+ @tab demi-soupir
+@item @strong{DE} @tab Viertelnote
+ @tab Viertelpause
+ @tab Achtelnote
+ @tab Achtelpause
+@item @strong{NL} @tab kwartnoot
+ @tab kwartrust
+ @tab achtste noot
+ @tab achtste rust
+@item @strong{DK} @tab fjerdedelsnode
+ @tab fjerdedelspause
+ @tab ottendedelsnode
+ @tab ottendedelspause
+@item @strong{SE} @tab fjärdedelsnot
+ @tab fjärdedelspaus
+ @tab åttondelsnot
+ @tab åttondelspaus
+@item @strong{FI} @tab neljäsosanuotti
+ @tab neljäsosatauko
+ @tab kahdeksasosanuotti
+ @tab kahdeksasosatauko
@end multitable
+* About the French naming system: @emph{croche} refers to the note's "hook".
+Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
+hook}, @q{trebled hook}, and so on.
+The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
+rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
+a @emph{soupir}, and so on.
+Each of the following tables contains one type of note and its matching rest,
+with abbreviations that apply to both notes and rests. Just switch the part
+that means @q{note} with the part that means @q{rest}, for example:
-@node Pitch names
-@chapter Pitch names
-
-@table @code
-@item PITCH NAMES
-@end table
-
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
+@itemize
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
+@item English: 16th @strong{note}, 16th @strong{rest}
+@item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
+@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
+@end itemize
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+I put a dash @q{-} when I could not find a language-specific abbreviation for a
+duration name. If you know of one that I missed, please send it to me, care of
+the lilypond-user discussion list.
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixteenth note
+ @tab sixteenth rest
+ @tab 16th note
+@item @strong{UK} @tab semiquaver
+ @tab semiquaver rest
+ @tab -
+@item @strong{ES} @tab semicorchea
+ @tab silencio de semicorchea
+ @tab -
+@item @strong{IT} @tab semicroma
+ @tab pausa di semicroma
+ @tab -
+@item @strong{FR} @tab double croche
+ @tab quart de soupir
+ @tab -
+@item @strong{DE} @tab Sechzehntelnote
+ @tab Sechzehntelpause
+ @tab 16tel-Note
+@item @strong{NL} @tab zestiende noot
+ @tab zestiende rust
+ @tab 16e noot
+@item @strong{DK} @tab sekstendedelsnode
+ @tab sekstendedelspause
+ @tab -
+@item @strong{SE} @tab sextondelsnot
+ @tab sextondelspaus
+ @tab -
+@item @strong{FI} @tab kuudestoistaosanuotti
+ @tab kuudestoistaosatauko
+ @tab 16-osanuotti
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
+@end multitable
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab thirty-second note
+ @tab thirty-second rest
+ @tab 32nd note
+@item @strong{UK} @tab demisemiquaver
+ @tab demisemiquaver rest
+ @tab -
+@item @strong{ES} @tab fusa
+ @tab silencio de fusa
+ @tab -
+@item @strong{IT} @tab biscroma
+ @tab pausa di biscroma
+ @tab -
+@item @strong{FR} @tab triple croche
+ @tab huitième de soupir
+ @tab -
+@item @strong{DE} @tab Zweiunddreißigstelnote
+ @tab Zweiunddreißigstelpause
+ @tab 32tel-Note
+@item @strong{NL} @tab tweeendertigste noot
+ @tab tweeendertigste rust
+ @tab 32e noot
+@item @strong{DK} @tab toogtredivtedelsnode
+ @tab toogtredivtedelspause
+ @tab -
+@item @strong{SE} @tab trettiotvåondelsnot
+ @tab trettiotvåondelspaus
+ @tab -
+@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
+ @tab kolmaskymmeneskahdesosatauko
+ @tab 32-osanuotti
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
+@end multitable
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixty-fourth note
+ @tab sixty-fourth rest
+ @tab 64th note
+@item @strong{UK} @tab hemidemisemiquaver
+ @tab hemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semifusa
+ @tab silencio de semifusa
+ @tab -
+@item @strong{IT} @tab semibiscroma
+ @tab pausa di semibiscroma
+ @tab -
+@item @strong{FR} @tab quadruple croche
+ @tab seizième de soupir
+ @tab -
+@item @strong{DE} @tab Vierundsechzigstelnote
+ @tab Vierundsechzigstelpause
+ @tab 64tel-Note
+@item @strong{NL} @tab vierenzestigste noot
+ @tab vierenzestigste rust
+ @tab 64e noot
+@item @strong{DK} @tab fireogtredsindstyvendedelsnode
+ @tab fireogtredsindstyvendedelspause
+ @tab -
+@item @strong{SE} @tab sextiofjärdedelsnot
+ @tab sextiofjärdedelspaus
+ @tab -
+@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
+ @tab kuudeskymmenesneljäsosatauko
+ @tab 64-osanuotti
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
+@end multitable
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab one-hundred-twenty-eighth note
+ @tab one-hundred-twenty-eighth rest
+ @tab 128th note
+@item @strong{UK} @tab semihemidemisemiquaver
+ @tab semihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab garrapatea
+ @tab silencio de garrapatea
+ @tab -
+@item @strong{IT} @tab fusa
+ @tab pausa di fusa
+ @tab -
+@item @strong{FR} @tab quintuple croche
+ @tab trente-deuxième de soupir @tab -
+@item @strong{DE} @tab Hundertundachtundzwanzigstel
+ @tab Hundertundachtundzwanzigstel @tab 128tel-Note
+@item @strong{NL} @tab honderdachtentwintigste noot
+ @tab honderdachtentwintigste rust
+ @tab 128e noot
+@item @strong{DK} @tab hundredeotteogtyvendedelsnode
+ @tab hundredeotteogtyvendedelspause
+ @tab -
+@item @strong{SE} @tab hundratjugoåttondelsnot
+ @tab hundratjugoåttondelspaus
+ @tab -
+@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
+ @tab sadaskahdeskymmeneskahdeksasosatauko
+ @tab 128-osanuotti
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
+@end multitable
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab two-hundred-fifty-sixth 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
+ @tab pausa di semifusa
+ @tab -
+@item @strong{FR} @tab sextuple croche
+ @tab soixante-quatrième de soupir @tab -
+@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
+ @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
+@item @strong{NL} @tab tweehonderdzesenvijftigste noot
+ @tab tweehonderdzesenvijftigste rust
+ @tab 256e noot
+@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
+ @tab tohundredeseksoghalvtredsendedelspause
+ @tab -
+@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
+ @tab tvåhundrafemtiosjättedelspaus
+ @tab -
+@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
+ @tab kahdessadasviideskymmeneskuudesosatauko
+ @tab 256-osanuotti
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
+@end multitable
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
+@seealso
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
+@ref{mensural notation}
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
-@tab B @tab bes @tab b @tab b @tab b
-@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
-@tab h
+@node Pitch names
+@chapter Pitch names
+@c -is/-es endings for Danish per Rune Zedeler
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+
+@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
+@headitem EN
+ @tab ES @tab I @tab F @tab D
+ @tab NL @tab DK @tab S @tab FI
+@item @strong{c} @tab do @tab do @tab ut @tab C
+ @tab c @tab c @tab c @tab c
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+ @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+ @tab des @tab des @tab dess @tab des
+@item @strong{d} @tab re @tab re @tab ré @tab D
+ @tab d @tab d @tab d @tab d
+@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+ @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+ @tab es @tab es @tab ess @tab es
+@item @strong{e} @tab mi @tab mi @tab mi @tab E
+ @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+ @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+ @tab fes @tab fes @tab fess @tab fes
+@item @strong{f} @tab fa @tab fa @tab fa @tab F
+ @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+ @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+ @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+ @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+ @tab ges @tab ges @tab gess @tab ges
+@item @strong{g} @tab sol @tab sol @tab sol @tab G
+ @tab g @tab g @tab g @tab g
+@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+ @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
+ @tab as @tab as @tab ass @tab as
+@item @strong{a} @tab la @tab la @tab la @tab A
+ @tab a @tab a @tab a @tab a
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+ @tab ais @tab ais @tab aiss @tab ais
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
+ @tab bes @tab b @tab b @tab b
+@item @strong{b} @tab si @tab si @tab si @tab H
+ @tab b @tab h @tab h @tab h
@end multitable
-
-
-
@menu
* Literature used::
@end menu
@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many
-more or less literal quotes from its articles have been included into
-the item explanation texts.
+@item The Harvard Dictionary of Music, London 1944. Many more or less
+literal quotes from its articles have been included into the item
+explanation texts.
@item Hugo Riemanns Musiklexicon, Berlin 1929.
projects / lilypond.git / blobdiff