* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
-@ifhtml
-This document is also available in
-@uref{source/Documentation/user/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
-@end ifhtml
-
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@ifnottex
+@ifhtml
+@ifclear bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as
+@uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
+@end ifclear
+@ifset bigpage
+This document is also available as a
+@uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
+@uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
+@end ifset
+@end ifhtml
+
This glossary was brought you by:
@itemize
@item FI: A, a
@end itemize
-@seealso
+@seealso
@ref{Pitch names}.
@end enumerate
-@seealso
+@seealso
None yet.
Increase tempo
-@seealso
+@seealso
None yet.
The stress of one tone over others.
-@seealso
+@seealso
None yet.
@section accessory
@seealso
-
@ref{ornament}.
small eighth note (quaver) with a line drawn through the flag and
stem.
-@seealso
+@seealso
@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
>>
@end lilypond
-@seealso
+@seealso
@ref{alteration}, @ref{semitone}, @ref{whole tone}.
@end itemize
-@seealso
+@seealso
@ref{andante}, @ref{largo}, @ref{sonata}.
@notation{al niente} with @notation{crescendo}. Instead, one should use
@emph{dal niente} (@notation{@b{from} nothing}).
-@seealso
+@seealso
@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
[Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a sonata.
-@seealso
+@seealso
@ref{sonata}.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an accidental.
-@seealso
+@seealso
@ref{accidental}.
reached the height of the female voice. This type of voice is also
known as countertenor.
-@seealso
+@seealso
@ref{countertenor}.
C clef setting middle C on the middle line of the staff.
-@seealso
+@seealso
@ref{C clef}.
also denote the pitch range that a musical instrument is capable of playing.
Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
-@seealso
+@seealso
None yet.
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
-@seealso
+@seealso
@ref{measure}, @ref{meter}.
a1 b c d e f g a }
@end lilypond
-@seealso
+@seealso
@ref{diatonic scale}.
Walking tempo/character.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
None yet.
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
-@seealso
+@seealso
None yet.
A distance between a starting lower note and a higher ending note.
-@seealso
+@seealso
None yet.
S: överstigande intervall,
FI: ylinouseva intervalli.
-@seealso
+@seealso
@ref{interval}.
This is a placeholder for augmentation (wrt mensural notation).
-@seealso
+@seealso
@ref{diminution}, @ref{mensural notation}.
@end itemize
-@seealso
+@seealso
None yet.
@item FI: H, h
@end itemize
-@seealso
+@seealso
@ref{H}, @ref{Pitch names}
@node backfall
@section backfall
-@seealso
+@seealso
@ref{appoggiatura}.
@node bar
@section bar
-@seealso
+@seealso
@ref{measure}.
in secular music, or in sacred music to indicate congruences between parts
in otherwise-unmetered music).
-@seealso
+@seealso
@ref{measure}.
@c F: clef de troisième ligne dropped
-@seealso
+@seealso
@ref{bass}, @ref{tenor}.
C or F clef setting middle C on the upper staff line.
-@seealso
+@seealso
@ref{C clef}, @ref{F clef}.
@end itemize
-@seealso
+@seealso
@ref{strings}.
A clef setting with middle C on the first top ledger line.
-@seealso
+@seealso
@ref{F clef}.
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
-@seealso
+@seealso
@ref{feathered beam}.
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
-@seealso
+@seealso
@ref{time signature}.
@node beat repeat
@section beat repeat
-@seealso
+@seealso
@ref{percent repeat}.
@node bind
@section bind
-@seealso
+@seealso
@ref{tie}.
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@seealso
+@seealso
None yet.
S: ?,
FI: sulkumerkki.
-@seealso
+@seealso
@ref{brace}
formed mouth piece. The brass instruments commonly used in a symphony
orchestra are trumpet, trombone, french horn, and tube.
-@seealso
+@seealso
None yet.
Indication of where to breathe in vocal and wind instrument parts.
-@seealso
+@seealso
@ref{caesura}.
\relative c'' { g\breve }
@end lilypond
-@seealso
+@seealso
@ref{mensural notation}, @ref{note value}.
@item FI: C, c
@end itemize
-@seealso
+@seealso
@ref{Pitch names}.
>>
@end lilypond
-@seealso
+@seealso
None yet.
S: kadens,
FI: kadenssi, lopuke.
-@seealso
+@seealso
@ref{harmonic cadence}, @ref{functional harmony}.
ability to improvise. Since the middle of the 19th century, however,
most cadenzas have been written down by the composer.
-@seealso
+@seealso
None yet.
The break between two musical phrases, sometimes (but not always) marked by a
rest or a breath mark.
-@seealso
+@seealso
@ref{breath mark}.
S: kanon,
FI: kaanon, tarkka jäljittely.
-@seealso
+@seealso
@ref{counterpoint}.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
(1/100 of an equally tempered semitone).
-@seealso
+@seealso
@ref{equal temperament}, @ref{semitone}.
@node central C
@section central C
-@seealso
+@seealso
@ref{middle C}.
>>
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
@ref{third}.
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
-@seealso
+@seealso
@ref{semitone}.
Using tones extraneous to a diatonic scale (minor, major).
-@seealso
+@seealso
@ref{diatonic scale}.
S: kyrkotonart,
FI: moodi, kirkkosävellaji.
-@seealso
+@seealso
@ref{diatonic scale}.
The clef indicates which lines of the staff correspond to which
pitches. The three clef symbols in common use are:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\markup {
- \column {
- \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
- \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
- \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
- }
+ \left-column {
+ \line { The Treble or G clef: }
+ \strut
+ \line { The Bass or F clef: }
+ \strut
+ \line { The Alto or C clef: }
+ }
+ \hspace #0.5
+ \left-column {
+ \musicglyph #"clefs.G"
+ \strut
+ \musicglyph #"clefs.F"
+ \strut
+ \musicglyph #"clefs.C"
+ }
}
@end lilypond
called a @q{grand staff}, with the bottom line representing low G and
the top line high F:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- s
- }
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between treble and bass staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
- s1 s s s s s % Keep staff (ie the red line) showing
- }
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1 b, d f a
- s s s s s s s % Keep staff showing
- }
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used without exceeding 1 line
- \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s
+ e'1 g' b' d'' f''
+ s1
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ s1 s s s s s
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ s1 s s s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
Staves of five lines are usually used, and the clef superimposed on
@samp{grand staff}. For example, the treble or G clef indicates that
the top five lines have been selected:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required here
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- \stopStaff \startStaff
- \clef "C" % Dummy to force next clef to be printed
- s % Need at least one note for \clef to take effect
- \override Staff.Clef #'stencil = ##t % Clef now required
- \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
- \clef "G"
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- } % End staff G
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between the staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
-% s1 s s s s % Keep staff (ie the red line) showing
- } % End staff C
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1_" " b, d f a
-% s s s s s s % Keep staff showing
- } % End staff F
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used
-% without exceeding 1 line
- \context { \Score \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to
-% permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ s1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \once \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s s
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "G"
+ e'1 g' b' d'' f''
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
The @q{curl} of the G clef is centered on the line that represents the
relationship is shown below, where the notes show an arpeggio on a C
major chord.
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
-<<
-%-- Treble Staff --%
- \new Staff = "G" \with {
- \remove Time_signature_engraver
- }
- {
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \clef "G"
- s1 s s s s e' g' c''
- }
-%-- Alto Staff --%
- \new Staff = "C" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.StaffSymbol #'line-count = 1
- \override Staff.StaffSymbol #'stencil = ##f
- \once \override Staff.Clef #'stencil = ##f
- \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
- \override Score.BarLine #'stencil = ##f
-
- % The following two overrides are required to align the C staff to the G and F staves
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s
- \stopStaff \startStaff
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
- \revert Staff.StaffSymbol #'stencil
- \override Staff.StaffSymbol #'color = #red
- b'1 % A frig. This really shows as a middle C in the score
- s1 s s s
- \stopStaff \startStaff
- \override Staff.StaffSymbol #'line-count = 5
- \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \revert Staff.StaffSymbol #'color
- \stopStaff \startStaff
- \clef "C"
- s1 s s c e g c' e' g' c''
- }
-%-- Bass Staff --%
- \new Staff = "F" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.Clef #'Y-extent = #'(0 . 0)
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \clef "F"
- c1 e g s s s s s
- }
->>
-\layout {
- \context {
- \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
- }
- \context {
- \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ <<
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \clef "G"
+ s1 s s s
+ e'1 g' c'' s
+ }
+ %-- Alto Staff --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \once \override Staff.Clef #'stencil = ##f
+ \stopStaff
+ \clef "C"
+ s1 s s
+ \startStaff
+ \revert Staff.StaffSymbol #'stencil
+ \override Staff.StaffSymbol #'color = #red
+ c'1
+ s1 s s s s
+ \stopStaff \startStaff
+ \revert Staff.StaffSymbol #'line-count
+ \revert Staff.StaffSymbol #'color
+ \stopStaff \startStaff
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "C"
+ s1 s
+ c1 e g c' e' g' c''
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \clef "F"
+ c1 e g
+ s1 s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'base-shortest-duration =
+ #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- \context {
- \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
- }
-}
}
@end lilypond
-@seealso
+@seealso
@ref{C clef}, @ref{F clef}, @ref{G clef}.
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
-@seealso
+@seealso
None yet.
Difference in pitch between a note derived from pure tuning and the
same note derived from some other tuning method.
-@seealso
+@seealso
@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
Another name for @ref{common time}.
@seealso
-
@ref{common time}, @ref{meter}.
4/4 time. The symbol, which resembles a capital letter C, comes from
mensural notation.
-@seealso
+@seealso
@ref{mensural notation}, @ref{meter}.
S: komplementärintervall (?),
FI: täydentävä intervalli.
-@seealso
+@seealso
@ref{inverted interval}.
Intervals larger than an octave.
-@seealso
+@seealso
@ref{interval}.
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
-@seealso
+@seealso
@ref{meter}, @ref{simple meter}.
@end enumerate
-@seealso
+@seealso
@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
@end itemize
-@seealso
+@seealso
@ref{transposing instrument}.
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
-@seealso
+@seealso
@ref{disjunct movement}.
S: konsonans,
FI: konsonanssi, sopusointi.
-@seealso
+@seealso
@ref{harmony}.
S: alt,
FI: kontra-altto.
-@seealso
+@seealso
@ref{alto}.
@c Copying music required more skill than engraving. Flagged for NPOV
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
None yet.
S: kontratenor, counter tenor,
FI: kontratenori.
-@seealso
+@seealso
@ref{contralto}.
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
-@seealso
+@seealso
@ref{decrescendo}, @ref{hairpin}.
In a separate part notes belonging to another part with the purpose of
hinting when to start playing. Usually printed in a smaller type.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
@item FI: D, d
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
the beginning to the end or to a certain place marked @emph{fine}.
-@seealso
+@seealso
None yet.
[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
that the sound should gradually increase from nothing.
-@seealso
+@seealso
@ref{al niente}.
}
@end lilypond
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
A distance between a starting higher note and a lower ending note.
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
@ref{semitone}, @ref{whole tone}.
@node didymic comma
@section didymic comma
-@seealso
+@seealso
@ref{syntonic comma}.
S: förminskat intervall,
FI: vähennetty intervalli.
-@seealso
+@seealso
@ref{interval}.
S: diminuendo,
FI: diminuendo, hiljentyen.
-@seealso
+@seealso
@ref{decrescendo}.
This is a stub for diminution (@emph{wrt} mensural notation).
-@seealso
+@seealso
@ref{augmentation}, @ref{mensural notation}.
S: ?,
FI: suora.
-@seealso
+@seealso
@ref{custos}.
fis2 d4. \bar "||" }
@end lilypond
-@seealso
+@seealso
@ref{conjunct movement}.
Another name for @ref{dissonant interval}.
-@seealso
+@seealso
@ref{dissonant interval}, @ref{harmony}.
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
-@seealso
+@seealso
@ref{harmony}.
TODO: musical example here?
-@seealso
+@seealso
None yet.
Indicator for a indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-@seealso
+@seealso
@ref{fall}, @ref{glissando}.
The fifth @emph{scale degree} in @emph{functional harmony}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
S: dominantnonackord,
FI: dominanttinoonisointu.
-@seealso
+@seealso
@ref{chord}, @ref{functional harmony}.
S: dominantseptimackord,
FI: dominanttiseptimisointu.
-@seealso
+@seealso
@ref{chord}, @ref{functional harmony}.
S: dorisk tonart,
FI: doorinen moodi.
-@seealso
+@seealso
@ref{diatonic scale}.
S: punkt,
FI: piste.
-@seealso
+@seealso
@ref{dotted note}, @ref{note value}.
S: punkterad not,
FI: pisteellinen nuotti.
-@seealso
+@seealso
@ref{note value}.
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
-@seealso
+@seealso
@ref{appoggiatura}.
Indicates the end of a section within a movement.
-@seealso
+@seealso
None yet.
S: dub@-bel@-punk@-te@-rad not,
FI: kaksoispisteellinen nuotti.
-@seealso
+@seealso
@ref{note value}.
S: dubbelbe,
FI: kaksoisalennusmerkki.
-@seealso
+@seealso
@ref{accidental}.
S: dubbelkors,
FI: kaksoisylennysmerkki.
-@seealso
+@seealso
@ref{accidental}.
S: ?,
FI: kaksois-aika-arvomerkintä.
-@seealso
+@seealso
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
-@seealso
+@seealso
None yet.
S: tvåtakt,
FI: kaksoistempo.
-@seealso
+@seealso
@ref{meter}.
S: duol,
FI: duoli.
-@seealso
+@seealso
@ref{note value}.
S: tonlängd,
FI: kesto, aika-arvo.
-@seealso
+@seealso
@ref{note value}.
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
-@seealso
+@seealso
@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
@ref{diminuendo}.
@item FI: E, e
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
@node ecclesiastical mode
@section ecclesiastical mode
-@seealso
+@seealso
@ref{church mode}, @ref{diatonic scale}.
@item FI: kahdeksasosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kahdeksasosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
by a lyric tie, which looks like (and serves the same function) as a musical
tie.
-@seealso
+@seealso
@ref{lyric tie}.
@node embellishment
@section embellishment
-@seealso
+@seealso
@ref{ornament}.
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.
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
None yet.
A tuning system that divides the octave into 12 equal semitones (each of
which is precisely equal to 100 cents).
-@seealso
+@seealso
@ref{cent}, @ref{semitone}, @ref{temperament}.
@end itemize
-@seealso
+@seealso
@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
@end itemize
-@seealso
+@seealso
@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
@ref{octave marking}.
@item FI: F, f
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
>>
@end lilypond
-@seealso
+@seealso
@ref{baritone clef}, @ref{strings}.
Indicator for a indeterminately falling pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-@seealso
+@seealso
@ref{doit}, @ref{glissando}.
direction of @q{feathering} -- but without changing the overall tempo
of the piece.
-@seealso
+@seealso
Internals Reference: @ruser{Manual beams}
}
@end lilypond
-@seealso
+@seealso
None yet.
S: kvint,
FI: kvintti.
-@seealso
+@seealso
@ref{interval}.
>>
@end lilypond
-@seealso
+@seealso
@ref{chord}, @ref{interval}.
Figures to the side or above the note that methodically indicate which
fingers to use while playing a passage.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
@ref{note value}.
@end itemize
-@seealso
+@seealso
@ref{articulation}, @ref{harmonics}.
S: beförtecken,
FI: alennusmerkki.
-@seealso
+@seealso
@ref{accidental}.
@node forefall
@section forefall
-@seealso
+@seealso
@ref{appoggiatura}.
@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
@end itemize
-@seealso
+@seealso
None yet.
S: kvart,
FI: kvartti.
-@seealso
+@seealso
@ref{interval}.
If you are producing scores for eventual publication by a commercial publisher,
you may wish to procure a copy of their style manual.
-@seealso
+@seealso
@ref{Frenched staff}.
Frenched staff has unneeded measures or sections removed. This is useful
for producing, for example, an @emph{ossia} staff.
-@seealso
+@seealso
@ref{ossia}.
S: fuga,
FI: fuuga.
-@seealso
+@seealso
@ref{counterpoint}.
>>
@end lilypond
-@seealso
+@seealso
None yet.
@item FI: G, g
@end itemize
-@seealso
+@seealso
@ref{Pitch names}
>>
@end lilypond
-@seealso
+@seealso
None yet.
Letting the pitch slide fluently from one note to the other.
-@seealso
+@seealso
None yet.
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
-@seealso
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
A combination of two staves with a brace. Usually used for piano music.
-@seealso
+@seealso
@ref{brace}.
[Italian] Slow, solemn.
-@seealso
+@seealso
None yet.
@node gruppetto
@section gruppetto
-@seealso
+@seealso
@ref{turn}.
usage. In the standard usage of these countries, @notation{B} means
@notation{B flat}.
-@seealso
+@seealso
@ref{Pitch names}, @ref{B}.
}
@end lilypond
-@seealso
+@seealso
@ref{crescendo}, @ref{decrescendo}.
@item FI: puolinuotti.
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: puolitauko.
@end itemize
-@seealso
+@seealso
@ref{note value}.
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}.
natural harmonics, which are those played on the open string; and
artificial harmonics, which are produced on stopped strings.
-@seealso
+@seealso
None yet.
For harmony that uses three or more notes, see @ref{chord}.
-@seealso
+@seealso
@ref{chord}.
and is therefore a polymeter (second definition) of considerable antiquity.
-@seealso
+@seealso
@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
Music in which one voice leads melodically supported by the other voices in
the same rhythm (more or less). In contrast to @emph{polyphony}.
-@seealso
+@seealso
@ref{polyphony}.
@node hymn meter
@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
@end itemize
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
@ref{enharmonic}, @ref{whole tone}.
unstable chord position.
@end table
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
-@seealso
+@seealso
@ref{temperament}.
According to the 12@w{ }tones of the @emph{chromatic scale} there are
12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
-@seealso
+@seealso
@ref{chromatic scale}, @ref{key signature}.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
-@seealso
+@seealso
@ref{accidental}.
[French: @q{Let vibrate}.] Most frequently associated with harp
parts. Marked @notation{l.v.} in the score.
-@seealso
+@seealso
None yet.
called because of its strong tendency to @q{lead up} (resolve upwards)
to the tonic scale degree.
-@seealso
+@seealso
@ref{scale degree}, @ref{semitone}.
\relative c'' { a,1 s c'' }
@end lilypond
-@seealso
+@seealso
None yet.
>>
@end lilypond
-@seealso
+@seealso
@ref{staccato}.
@node legato curve
@section legato curve
-@seealso
+@seealso
@ref{slur}, @ref{legato}.
@node leger line
@section leger line
-@seealso
+@seealso
@ref{ledger line}.
system of the white mensural notation, the need for ligatures to denote such
patterns disappeared.
-@seealso
+@seealso
@ref{mensural notation}.
Also, the name of a music typesetting program.
-@seealso
+@seealso
None yet.
S: notlinje,
FI: viiva, nuottiviiva.
-@seealso
+@seealso
@ref{staff}.
[Italian: @q{place}.] Instruction to play the following passage at the
written pitch. Cancels octave mark (q.v.).
-@seealso
+@seealso
@ref{octave mark}, @ref{octave marking}.
S: långt förslag,
FI: pitkä appoggiatura, pitkä etuhele.
-@seealso
+@seealso
@ref{appoggiatura}.
}
@end lilypond
-@seealso
+@seealso
@ref{breve}, @ref{note value}.
@c TODO: add languages
-@seealso
+@seealso
@ref{elision}.
@c Definition?
-@seealso
+@seealso
None yet.
S: dur,
FI: duuri.
-@seealso
+@seealso
@ref{diatonic scale}.
S: stort intervall,
FI: suuri intervalli.
-@seealso
+@seealso
@ref{interval}.
temperament only a limited set of keys are playable. Used for tuning
keyboard instruments for performance of pre-1650 music.
-@seealso
+@seealso
@ref{cent}, @ref{temperament}.
Such groups in numbers of two or more recur consistently throughout the
composition and are separated from each other by bar lines.
-@seealso
+@seealso
@ref{bar line}, @ref{beat}, @ref{meter}.
@node measure repeat
@section measure repeat
-@seealso
+@seealso
@ref{percent repeat}.
@end itemize
-@seealso
+@seealso
@ref{chord}, @ref{functional harmony}, @ref{relative key}.
A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
on one syllable, especially as applied to liturgical chant.
-@seealso
+@seealso
None yet.
S: ?,
FI: melismaviiva.
-@seealso
+@seealso
@ref{extender line}.
@node melodic cadence
@section melodic cadence
-@seealso
+@seealso
@ref{cadenza}.
TODO: add to definition (including summary info on proportional notation)
-@seealso
+@seealso
@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
@c TODO: more cross-references?
TODO: add information from discussion on lilypond-user related to polymeter.
-@seealso
+@seealso
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
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
+@seealso
@ref{metronome mark}.
@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
@emph{anglice}).
-@seealso
+@seealso
@ref{metronome}
@node metronomic indication
@section metronomic indication
-@seealso
+@seealso
@ref{metronome mark}
@end itemize
-@seealso
+@seealso
None yet.
The female voice between soprano and contralto.
-@seealso
+@seealso
@ref{soprano}, @ref{contralto}.
}
@end lilypond
-@seealso
+@seealso
None yet.
S: moll,
FI: molli.
-@seealso
+@seealso
@ref{diatonic scale}.
S: litet intervall,
FI: pieni intervalli.
-@seealso
+@seealso
@ref{interval}.
@node mixolydian mode
@section mixolydian mode
-@seealso
+@seealso
@ref{diatonic scale}.
S: modus, skala,
FI: moodi, kirkkosävelasteikko.
-@seealso
+@seealso
@ref{church mode}, @ref{diatonic scale}.
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.
-@seealso
+@seealso
None yet.
S: mordent,
FI: mordent, korukuvio.
-@seealso
+@seealso
@ref{ornament}.
@node motif
@section motif
-@seealso
+@seealso
@ref{motive}.
}
@end lilypond
-@seealso
+@seealso
None yet.
consist of several -- more or less -- independant pieces called
movements.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
@ref{longa}, @ref{breve}.
S: återställningstecken,
FI: palautusmerkki.
-@seealso
+@seealso
@ref{accidental}.
@node neighbor tones
@section neighbor tones
-@seealso
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
S: nona,
FI: nooni.
-@seealso
+@seealso
@ref{interval}.
@node non-legato
@section non-legato
-@seealso
+@seealso
@ref{legato}.
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-@seealso
+@seealso
None yet.
For percussion instruments (often having no defined pitch) the note head may
indicate the instrument.
-@seealso
+@seealso
@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
@node note names
@section note names
-@seealso
+@seealso
@ref{Pitch names}
}
@end lilypond
-@seealso
+@seealso
None yet.
@node octavation
@section octavation
-@seealso
+@seealso
@ref{octave marking}.
For uses like @notation{all'ottava} or @notation{8va} with an extender line or
bracket, or @notation{loco} see octave marking.
-@seealso
+@seealso
@ref{interval}, @ref{octave marking}.
beginning. This octave mark can be applied to any clef, but it is most
frequently used with the G and F clefs.
-@seealso
+@seealso
@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
For a list of the specific marks used, see @ref{octave mark}.
-@seealso
+@seealso
@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
@node octave sign
@section octave sign
-@seealso
+@seealso
@ref{octave mark}.
>>
@end lilypond
-@seealso
+@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@seealso
+@seealso
None yet.
@end itemize
-@seealso
+@seealso
@ref{counterpoint}
@node pause
@section pause
-@seealso
+@seealso
@ref{fermata}.
@node pennant
@section pennant
-@seealso
+@seealso
@ref{flag}.
}
@end lilypond
-@seealso
+@seealso
@ref{repeat},
@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
Vermont Music Dictionary}.
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@seealso
+@seealso
None yet.
S: rent intervall,
FI: puhdas intervalli.
-@seealso
+@seealso
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
-@seealso
+@seealso
@ref{caesura}.
The clear rendering in musical performance of the @notation{phrases} of the
melody. Phrasing may be indicated by a @notation{slur}.
-@seealso
+@seealso
@ref{phrase}, @ref{slur}.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
-@seealso
+@seealso
None yet.
S: upptakt,
FI: kohotahti.
-@seealso
+@seealso
@ref{anacrusis}.
@end enumerate
-@seealso
+@seealso
@ref{Pitch names}.
A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
the strings.
-@seealso
+@seealso
None yet.
@end itemize
-@seealso
+@seealso
@ref{polymetric} (adj.)
Characterized by @emph{polymeter}: using two or more metric frameworks
simultaneously or in alternation.
-@seealso
+@seealso
@ref{polymeter} (noun)
A time signature that indicates regularly alternating polymetric time.
-@seealso
+@seealso
@ref{polymetric}.
Music written in a combination of several simultaneous voices (parts)
of a more or less pronounced individuality.
-@seealso
+@seealso
@ref{counterpoint}.
without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
-@seealso
+@seealso
@ref{legato}.
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-@seealso
+@seealso
None yet.
@c TODO: add an example or two. O => 4/3, and its modern equivalent
-@seealso
+@seealso
@ref{mensural notation}.
than the C obtained by adding 7 octaves. The difference between those two
pitches is the Pythagorean comma.
-@seealso
+@seealso
@ref{cent}, @ref{temperament}.
S: kvartol,
FI: kvartoli.
-@seealso
+@seealso
@ref{note value}.
and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
-@seealso
+@seealso
@ref{chord}.
@item FI: neljäsosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: neljäsosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
An interval equal to half a semitone.
-@seealso
+@seealso
@ref{interval}
S: kvintol,
FI: kvintoli.
-@seealso
+@seealso
@ref{note value}.
[Italian] A performance indication, abbreviated "rall.".
-@seealso
+@seealso
@ref{ritardando}.
}
@end lilypond
-@seealso
+@seealso
@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
}
@end lilypond
-@seealso
+@seealso
None yet.
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-@seealso
+@seealso
@ref{note value}.
@end itemize
-@seealso
+@seealso
None yet.
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-@seealso
+@seealso
None yet.
Immediate reduction of speed.
-@seealso
+@seealso
None yet.
S: skala,
FI: asteikko, sävelasteikko.
-@seealso
+@seealso
@ref{diatonic scale}.
>>
@end lilypond
-@seealso
+@seealso
@ref{functional harmony}.
Tunings that could be called @var{scordatura} first appeared early in
the 16th Century and became commonplace in the 17th.
-@seealso
+@seealso
None yet.
instrument is to play, each voice to sing, having each part arranged
one underneath the other on different staves @ref{staff}.
-@seealso
+@seealso
None yet.
@ref{whole tone}s, hence the size of a se@-cond depends on the scale
degrees in question.
-@seealso
+@seealso
None yet.
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
-@seealso
+@seealso
@ref{interval}, @ref{chromatic scale}.
S: septim,
FI: septimi.
-@seealso
+@seealso
@ref{interval}.
@node sextolet
@section sextolet
-@seealso
+@seealso
@ref{sextuplet}, @ref{note value}.
S: sextol,
FI: sekstoli.
-@seealso
+@seealso
@ref{note value}.
@node shake
@section shake
-@seealso
+@seealso
@ref{trill}.
S: kors@-förtecken,
FI: korotusmerkki.
-@seealso
+@seealso
@ref{accidental}.
is to be played in the same manner (i.e. with the same articulations, dynamics,
etc.) as the music that precedes it.
-@seealso
+@seealso
TODO: Where else could I refer the reader?
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
+@seealso
@ref{compound meter}, @ref{meter}.
@item FI: kuudestoistaosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kuudestoistaosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
S: sext,
FI: seksti.
-@seealso
+@seealso
@ref{interval}.
@item FI: kuudeskymmenesneljäsosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kuudeskymmenesneljäsosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
@node slash repeat
@section slash repeat
-@seealso
+@seealso
@ref{percent repeat}.
played @ref{legato}, e.g., with one stroke of the violin bow or with
one breath in singing.
-@seealso
+@seealso
None yet.
@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
-@seealso
+@seealso
@ref{scale}, @ref{scale degree}.
accompaniment, which consists of three or four independant pieces,
called movements.
-@seealso
+@seealso
None yet.
@notation{dominant} if the @notation{tonic} is @notation{major}, and in the
@notation{relative key} if the tonic is @notation{minor}.
-@seealso
+@seealso
@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
@ref{symphony}, @ref{tonic}.
@node song texts
@section song texts
-@seealso
+@seealso
@ref{lyrics}.
The highest female voice.
-@seealso
+@seealso
None yet.
}
@end lilypond
-@seealso
+@seealso
None yet.
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
-@seealso
+@seealso
None yet.
@node staves
@section staves
-@seealso
+@seealso
@ref{staff}.
}
@end lilypond
-@seealso
+@seealso
None yet.
[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
climax.
-@seealso
+@seealso
@ref{accelerando}.
commonly used in a symphony orchestra are violin, viola, violoncello,
and double bass.
-@seealso
+@seealso
None yet.
S: betonat taktslag,
FI: tahdin vahva isku.
-@seealso
+@seealso
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
The fourth @notation{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
The sixth @notation{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
The seventh @ref{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
Indicates that the indicated passage (or note) should be played on the
G string.
-@seealso
+@seealso
None yet.
The sixth @ref{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
The second @ref{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
A symphony may be defined as a @emph{sonata} for orchestra.
-@seealso
+@seealso
@ref{sonata}.
}
@end lilypond
-@seealso
+@seealso
None yet.
This comma is also known as the comma of Didymus, or didymic comma.
-@seealso
+@seealso
@ref{Pythagorean comma}
The collection of staves (@notation{staff}), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
-@seealso
+@seealso
@ref{staff}.
Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
-@seealso
+@seealso
@ref{meantone temperament}, @ref{equal temperament}.
@notation{adagio}, @notation{andante}, @notation{allegro}, and
@notation{presto}.
-@seealso
+@seealso
@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
The highest @q{natural} male voice (apart from @notation{countertenor}).
-@seealso
+@seealso
@ref{countertenor}.
S: decima,
FI: desimi.
-@seealso
+@seealso
@ref{note value}.
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
-@seealso
+@seealso
None yet.
S: ters,
FI: terssi.
-@seealso
+@seealso
@ref{interval}.
@item FI: kolmaskymmeneskahdesosanuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kolmaskymmeneskahdesosatauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
@node thorough bass
@section thorough bass
-@seealso
+@seealso
@ref{figured bass}.
@node time
@section time
-@seealso
+@seealso
@ref{meter}.
meter. It most often takes the form of a fraction, but a few signs
derived from mensural notation and proportions are also employed.
-@seealso
+@seealso
@ref{mensural notation}, @ref{meter}.
@c Music from the 20th century may be based on atonal sounds. Meh, not so much
-@seealso
+@seealso
None yet.
The first @notation{scale degree}.
-@seealso
+@seealso
@ref{functional harmony}, @ref{scale degree}.
@end itemize
-@seealso
+@seealso
@ref{concert pitch}.
}
@end lilypond
-@seealso
+@seealso
None yet.
S: diskantklav,
FI: diskanttiavain.
-@seealso
+@seealso
@ref{G clef}.
}
@end lilypond
-@seealso
+@seealso
@ref{strings}
S: treklang,
FI: kolmisointu.
-@seealso
+@seealso
@ref{chord}.
S: drill,
FI: trilli.
-@seealso
+@seealso
@ref{ornament}.
S: tretakt,
FI: kolmijakoinen.
-@seealso
+@seealso
@ref{meter}.
S: triol,
FI: trioli.
-@seealso
+@seealso
@ref{note value}.
S: tritonus,
FI: tritonus.
-@seealso
+@seealso
@ref{interval}.
@emph{A} above middle C (440 cps/Hz), which is the international tuning
standard. Tuning forks for other pitches are available.
-@seealso
+@seealso
@ref{middle C}.
indicated with a bracket and a number indicating the number of
subdivisions.
-@seealso
+@seealso
@ref{triplet}, @ref{note value}.
S: dubbelslag,
FI: korukuvio.
-@seealso
+@seealso
@ref{ornament}.
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
-@seealso
+@seealso
None yet.
S: upptakt,
FI: kohotahti.
-@seealso
+@seealso
@ref{anacrusis}
@end itemize
-@seealso
+@seealso
None yet.
or second ending. LilyPond extends this idea to any number, and allows any text
(not just a number) -- to serve as the @notation{volta} text.
-@seealso
+@seealso
None yet.
S: obetonat taktslag,
FI: tahdin heikko isku.
-@seealso
+@seealso
@ref{beat}, @ref{measure}, @ref{rhythm}.
@item FI: kokonuotti
@end itemize
-@seealso
+@seealso
@ref{note value}.
@item FI: kokotauko
@end itemize
-@seealso
+@seealso
@ref{note value}.
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-@seealso
+@seealso
@ref{interval}.
commonly used in a symphony orchestra are flute, oboe, clarinet,
saxophone, and bassoon.
-@seealso
+@seealso
None yet.
@end multitable
-@seealso
+@seealso
@ref{mensural notation}