* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
+@ifnottex
+@node Top
+@top Music Glossary
+@end ifnottex
+
+
@ifhtml
This document is also available in
@uref{source/Documentation/user/music-glossary.pdf,PDF}
@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
@c Updates to the German translation by Till Rettig, 12/07
-Copyright @copyright{} 1999--2007 by the authors
+Copyright @copyright{} 1999--2008 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
@omflanguage English
@end ignore
-@ifnottex
-@node Top
-@top Music glossary
-@end ifnottex
-
@ifnottex
This glossary was brought you by
-@table @code
-@item Adrian Mariano
-Italian glossary,
-@item Bjoern Jacke
-German glossary,
-@item Christian Mondrup
-Original author of LilyPond glossary, Danish glossary,
-@item David González
-Spanish glossary,
-@item François Pinard
-Original glossary of GNU music project, French glossary,
-@item Han-Wen Nienhuys
-Dutch glossary,
-@item Heikki Junes
-Finnish glossary translations,
-@item Jan Nieuwenhuizen
-Dutch glossary,
-@item Kurtis Kroon
-English glossary,
-@item Mats Bengtsson
-Swedish glossary,
-@item Neil Jerram
-English glossary translations.
-@end table
+@multitable {Jan Nieuwenhuizen} {Original glossary of GNU music project, French glossary,}
+@item Adrian Mariano @tab Italian glossary,
+@item Bjoern Jacke @tab German glossary,
+@item Christian Mondrup @tab Original author of LilyPond glossary, Danish glossary,
+@item David González @tab Spanish glossary,
+@item François Pinard @tab Original glossary of GNU music project, French glossary,
+@item Han-Wen Nienhuys @tab Dutch glossary,
+@item Heikki Junes @tab Finnish glossary translations,
+@item Jan Nieuwenhuizen @tab Dutch glossary,
+@item Kurtis Kroon @tab English glossary,
+@item Mats Bengtsson @tab Swedish glossary,
+@item Neil Jerram @tab English glossary translations.
+@end multitable
@*
-Copyright 1999--2007 by the authors
+Copyright 1999--2008 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
For more information about how this fits with the other
documentation, see @rlearning{About the documentation}.
+@shortcontents
@c arrowref
@macro aref{word}
@end macro
@menu
-* Musical terms A-Z::
-* Duration names notes and rests::
-* Pitch names::
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
@end menu
@node Musical terms A-Z
@end itemize
@menu
-* A::
-* a due::
-* accelerando::
-* accent::
-* accessory::
-* acciaccatura::
-* accidental::
-* adagio::
-* allegro::
-* alteration::
-* alto::
-* alto clef::
-* ambitus::
-* anacrusis::
-* ancient minor scale::
-* andante::
-* appoggiatura::
-* arpeggio::
-* articulation::
-* ascending interval::
-* augmentation::
-* augmented interval::
-* autograph::
-* B::
-* backfall::
-* bar::
-* bar line::
-* baritone::
-* baritone clef::
-* bass::
-* bass clef::
-* beam::
-* beat::
-* beat repeat::
-* bind::
-* brace::
-* bracket::
-* brass::
-* breath mark::
-* breve::
-* C::
-* C clef::
-* cadence::
-* cadenza::
-* canon::
-* cent::
-* central C::
-* chord::
-* chromatic scale::
-* chromaticism::
-* church mode::
-* clef::
-* cluster::
-* comma::
-* common meter::
-* common time::
-* complement::
-* compound interval::
-* compound meter::
-* compound time::
-* concert pitch::
-* conjunct movement::
-* consonance::
-* contralto::
-* copying music::
-* counterpoint::
-* countertenor::
-* crescendo::
-* cue-notes::
-* custos::
-* D::
-* da capo::
-* dal segno::
-* decrescendo::
-* descending interval::
-* diatonic scale::
-* didymic comma::
-* diminished interval::
-* diminuendo::
-* diminution::
-* direct::
-* disjunct movement::
-* dissonance::
-* dissonant interval::
-* dominant::
-* dominant ninth chord::
-* dominant seventh chord::
-* dorian mode::
-* dot (augmentation dot)::
-* dotted note::
-* double appoggiatura::
-* double bar line::
-* double dotted note::
-* double flat::
-* double sharp::
-* double time signature::
-* double trill::
-* duple meter::
-* duplet::
-* duration::
-* dynamics::
-* E::
-* ecclesiastical mode::
-* eighth note::
-* eighth rest::
-* elision::
-* embellishment::
-* engraving::
-* enharmonic::
-* equal temperament::
-* expression mark::
-* extender line::
-* F::
-* F clef::
-* feathered beam::
-* fermata::
-* fifth::
-* figured bass::
-* fingering::
-* flag::
-* flat::
-* forefall::
-* forte::
-* fourth::
-* Frenched score::
-* Frenched staff::
-* Frenched staves::
-* fugue::
-* functional harmony::
-* G::
-* G clef::
-* glissando::
-* grace notes::
-* grand staff::
-* grave::
-* gruppetto::
-* H::
-* half note::
-* 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::
-* ligature::
-* lilypond::
-* line::
-* loco::
-* long appoggiatura::
-* longa::
-* lyric tie::
-* 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::
-* motif::
-* motive::
-* movement::
-* multi-measure rest::
-* natural::
-* neighbour tones::
-* ninth::
-* non-legato::
-* note::
-* note head::
-* note names::
-* note value::
-* octavation::
-* octave::
-* octave mark::
-* octave marking::
-* octave sign::
-* ornament::
-* ossia::
-* part::
-* pause::
-* pennant::
-* percent repeat::
-* percussion::
-* perfect interval::
-* phrase::
-* phrasing::
-* piano::
-* pickup::
-* pitch::
-* pizzicato::
-* polymeter::
-* polymetric::
-* polymetric time signature::
-* polyphony::
-* portato::
-* presto::
-* proportion::
-* Pythagorean comma::
-* quadruplet::
-* quarter note::
-* quarter rest::
-* quarter tone::
-* quintuplet::
-* rallentando::
-* relative key::
-* repeat::
-* rest::
-* rhythm::
-* ritardando::
-* ritenuto::
-* scale::
-* scale degree::
-* scordatura::
-* score::
-* second::
-* semitone::
-* seventh::
-* sextolet::
-* sextuplet::
-* shake::
-* sharp::
-* simile::
-* simple meter::
-* sixteenth note::
-* sixteenth rest::
-* sixth::
-* sixty-fourth note::
-* sixty-fourth rest::
-* slash repeat::
-* slur::
-* solmization::
-* sonata::
-* sonata form::
-* song texts::
-* soprano::
-* staccato::
-* staff::
-* staves::
-* stem::
-* strings::
-* strong beat::
-* subdominant::
-* submediant::
-* subtonic::
-* sul G::
-* superdominant::
-* supertonic::
-* symphony::
-* syncopation::
-* syntonic comma::
-* system::
-* temperament::
-* tempo indication::
-* tenor::
-* tenth::
-* tenuto::
-* third::
-* thirty-second note::
-* thirty-second rest::
-* thorough bass::
-* tie::
-* time::
-* time signature::
-* tone::
-* tonic::
-* transposing instrument::
-* transposition::
-* treble clef::
-* tremolo::
-* triad::
-* trill::
-* triple meter::
-* triplet::
-* tritone::
-* tuning fork::
-* tuplet::
-* turn::
-* unison::
-* upbeat::
-* voice::
-* volta::
-* weak beat::
-* whole note::
-* whole rest::
-* whole tone::
-* woodwind::
+* A::
+* a due::
+* accelerando::
+* accent::
+* accessory::
+* acciaccatura::
+* accidental::
+* adagio::
+* al niente::
+* allegro::
+* alteration::
+* alto::
+* alto clef::
+* ambitus::
+* anacrusis::
+* ancient minor scale::
+* andante::
+* appoggiatura::
+* arpeggio::
+* articulation::
+* ascending interval::
+* augmentation::
+* augmented interval::
+* autograph::
+* B::
+* backfall::
+* bar::
+* bar line::
+* baritone::
+* baritone clef::
+* bass::
+* bass clef::
+* beam::
+* beat::
+* beat repeat::
+* bind::
+* brace::
+* bracket::
+* brass::
+* breath mark::
+* breve::
+* C::
+* C clef::
+* cadence::
+* cadenza::
+* canon::
+* cent::
+* central C::
+* chord::
+* chromatic scale::
+* chromaticism::
+* church mode::
+* clef::
+* cluster::
+* comma::
+* common meter::
+* common time::
+* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
+* conjunct movement::
+* consonance::
+* contralto::
+* copying music::
+* counterpoint::
+* countertenor::
+* crescendo::
+* cue-notes::
+* custos::
+* D::
+* da capo::
+* dal niente::
+* dal segno::
+* decrescendo::
+* descending interval::
+* diatonic scale::
+* didymic comma::
+* diminished interval::
+* diminuendo::
+* diminution::
+* direct::
+* disjunct movement::
+* dissonance::
+* dissonant interval::
+* divisio::
+* doit::
+* dominant::
+* dominant ninth chord::
+* dominant seventh chord::
+* dorian mode::
+* dot (augmentation dot)::
+* dotted note::
+* double appoggiatura::
+* double bar line::
+* double dotted note::
+* double flat::
+* double sharp::
+* double time signature::
+* double trill::
+* duple meter::
+* duplet::
+* duration::
+* dynamics::
+* E::
+* ecclesiastical mode::
+* eighth note::
+* eighth rest::
+* elision::
+* embellishment::
+* engraving::
+* enharmonic::
+* equal temperament::
+* expression mark::
+* extender line::
+* F::
+* F clef::
+* fall::
+* feathered beam::
+* fermata::
+* fifth::
+* figured bass::
+* fingering::
+* flag::
+* flageolet::
+* flat::
+* forefall::
+* forte::
+* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
+* fugue::
+* functional harmony::
+* G::
+* G clef::
+* glissando::
+* grace notes::
+* grand staff::
+* grave::
+* gruppetto::
+* H::
+* hairpin::
+* half note::
+* half rest::
+* harmonic cadence::
+* harmonics::
+* harmony::
+* hemiola::
+* homophony::
+* hymn meter::
+* interval::
+* inversion::
+* inverted interval::
+* just intonation::
+* key::
+* key signature::
+* laissez vibrer::
+* largo::
+* leading note::
+* ledger line::
+* legato::
+* legato curve::
+* leger line::
+* ligature::
+* lilypond::
+* line::
+* loco::
+* long appoggiatura::
+* longa::
+* lyric tie::
+* lyrics::
+* major::
+* major interval::
+* meantone temperament::
+* measure::
+* measure repeat::
+* mediant::
+* melisma::
+* melisma line::
+* melodic cadence::
+* mensural notation::
+* meter::
+* metronome::
+* metronome mark::
+* metronomic indication::
+* mezzo::
+* mezzo-soprano::
+* middle C::
+* minor::
+* minor interval::
+* mixolydian mode::
+* mode::
+* modulation::
+* mordent::
+* motif::
+* motive::
+* movement::
+* multi-measure rest::
+* natural::
+* neighbour tones::
+* ninth::
+* non-legato::
+* note::
+* note head::
+* note names::
+* note value::
+* octavation::
+* octave::
+* octave mark::
+* octave marking::
+* octave sign::
+* ornament::
+* ossia::
+* part::
+* pause::
+* pennant::
+* percent repeat::
+* percussion::
+* perfect interval::
+* phrase::
+* phrasing::
+* piano::
+* pickup::
+* pitch::
+* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
+* polyphony::
+* portato::
+* presto::
+* proportion::
+* Pythagorean comma::
+* quadruplet::
+* quality::
+* quarter note::
+* quarter rest::
+* quarter tone::
+* quintuplet::
+* rallentando::
+* relative key::
+* repeat::
+* rest::
+* rhythm::
+* ritardando::
+* ritenuto::
+* scale::
+* scale degree::
+* scordatura::
+* score::
+* second::
+* semitone::
+* seventh::
+* sextolet::
+* sextuplet::
+* shake::
+* sharp::
+* simile::
+* simple meter::
+* sixteenth note::
+* sixteenth rest::
+* sixth::
+* sixty-fourth note::
+* sixty-fourth rest::
+* slash repeat::
+* slur::
+* solmization::
+* sonata::
+* sonata form::
+* song texts::
+* soprano::
+* staccato::
+* staff::
+* staves::
+* stem::
+* stringendo::
+* strings::
+* strong beat::
+* subdominant::
+* submediant::
+* subtonic::
+* sul G::
+* superdominant::
+* supertonic::
+* symphony::
+* syncopation::
+* syntonic comma::
+* system::
+* temperament::
+* tempo indication::
+* tenor::
+* tenth::
+* tenuto::
+* third::
+* thirty-second note::
+* thirty-second rest::
+* thorough bass::
+* tie::
+* time::
+* time signature::
+* tone::
+* tonic::
+* transposing instrument::
+* transposition::
+* treble clef::
+* tremolo::
+* triad::
+* trill::
+* triple meter::
+* triplet::
+* tritone::
+* tuning fork::
+* tuplet::
+* turn::
+* unison::
+* upbeat::
+* voice::
+* volta::
+* weak beat::
+* whole note::
+* whole rest::
+* whole tone::
+* woodwind::
@end menu
S: ?,
FI: ?.
-Abbreviated @samp{a2} or @samp{a 2}.
+Abbreviated @notation{a2} or @notation{a 2}.
@enumerate
S: accelerando,
FI: accelerando, kiihdyttäen.
-Increase tempo.
+[Italian: @q{speed up, accelerate}.]
+
+Increase tempo
@node accent
S: adagio,
FI: adagio, hitaasti.
-It.@: comfortable, easy.
+[Italian: @q{comfortable, easy}.]
@itemize
@end itemize
+@node al niente
+@section al niente
+
+ES: ?,
+I: al niente,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
+that the sound should fade away to nothing.
+
+@notation{Al niente} is indicated by circling the tip of the hairpin:
+
+@lilypond[fragment,ragged-right]
+\relative c'' {
+ \override Hairpin #'circled-tip = ##t
+ c1\<
+ c2\> c\<
+ c1\!
+}
+@end lilypond
+
+or with the actual phrase @notation{al niente}. This may be easier with
+text markup, rather than as part of the @notation{decrescendo} text:
+
+@lilypond[fragment,ragged-right]
+\relative c'' {
+ \dimTextDecresc
+ c1~\>
+ c~
+ c\!-\markup { \italic "al niente" }
+}
+@end lilypond
+
+Since one does not crescendo @emph{to} nothing, it is not correct to use
+@notation{al niente} with the word @notation{crescendo}. Instead, one
+should use @emph{dal niente} (@notation{@b{from} nothing}).
+
+@seealso
+
+@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
+
+
@node allegro
@section allegro
S: allegro,
FI: allegro, nopeasti.
-It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
+[Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a @ref{sonata}.
S: ren mollskala,
FI: luonnollinen molliasteikko.
+Also called @q{natural minor scale}.
+
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
@seealso
-@ref{Pitch names}
+@ref{H}, @ref{Pitch names}
@node backfall
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 called @q{open chords}.
+Three or more tones sounding simultaneously. In traditional European music
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+(major + minor 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
+(functional harmony). Chords having no third above the lower notes to
+define their mood are a special case called @q{open chords}. The lack of
+the middle third means their quality is ambivalent: neither major nor minor.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+@seealso
+
+@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
+@ref{third}.
+
@node chromatic scale
@section chromatic scale
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-or the abbreviation @samp{cresc.}.
+(hairpin) or the abbreviation @notation{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
S: da capo,
FI: da capo, alusta.
-Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
+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}.
+@node dal niente
+@section dal niente
+
+ES: ?,
+I: dal niente,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
+that the sound should gradually increase from nothing.
+
+@seealso
+
+@ref{al niente}.
+
+
@node dal segno
@section dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
-another place frequently near the beginning marked by a sign:
+Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+another place frequently near the beginning marked by a sign
+(@notation{segno}):
@lilypond[fragment,ragged-right]
%\override TextScript #'font-style = #'large
S: decrescendo,
FI: decresendo, hiljentyen.
-Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation @samp{decresc.}.
+Decreasing tone volume. Indicated by a leftwards opening horizontal
+wedge (hairpin) or the abbreviation @notation{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
Scales played on the white keys of a piano keybord are diatonic; and these
scales are sometimes called, somewhat inaccurately, @q{church modes}).
-These @q{modes} are used in gregorian chant and in pre-baroque early 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]
@ref{harmony}.
+@node divisio
+@section divisio
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
+vertical stroke through part or all of the staff that serves to
+structure a chant into phrases and sections. There are four types:
+
+@itemize
+
+@item @emph{divisio minima}, a short pause
+
+@item @emph{divisio maior}, a medium pause
+
+@item @emph{divisio maxima}, a long pause
+
+@item @emph{finalis}, to indicate the end of a chant, or the end of a
+section in a long antiphonal or responsorial chant.
+
+@end itemize
+
+TODO: musical example here?
+
+@seealso
+
+None yet.
+
+
+@node doit
+@section doit
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicator for a indeterminately rising pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+
+@ref{fall}, @ref{glissando}.
+
+
@node dominant
@section dominant
Dictionary}.
@item
-In figured (or thorough) bass to indicate that:
+In figured bass to indicate that:
@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.
+be played on the G string would be indicated @notation{sul G}, another series to be
+played on the D string would be indicated @notation{sul D}, and so on.
@item
With an octave mark to indicate that a passage is to be played higher or lower
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+@node fall
+@section fall
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicator for a indeterminately falling pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+
+@ref{doit}, @ref{glissando}.
+
+
@node feathered beam
@section feathered beam
@node figured bass
@section figured bass
-@seealso
+ES: bajo cifrado,
+I: basso continuo, basso numerato,
+F: basse chiffrée, basse continue,
+D: Generalbass, bezifferter Bass,
+NL: basso continuo, becijferde bas
+DK: generalbas,
+S: generalbas,
+FI: kenraalibasso, numeroitu basso.
-@ref{thorough bass}.
+Also called @q{thorough 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 <<
+ \context Staff = lh \relative c'' {
+ \time 4/4
+ \key es \major
+ \clef treble
+ << \context Voice = rha {
+ \stemUp
+ es4 d c bes | bes }
+ \context Voice = rhb {
+ \stemDown
+ < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
+ >>
+ }
+ <<
+ \context Staff = rh \relative c' {
+ \clef bass
+ \key es \major
+ es8 c d bes c as bes16 as g f | es4
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
+>>
+@end lilypond
@node fingering
@end lilypond
+@node flageolet
+@section flageolet
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+An articulation for string players that means the note or passage is to
+be played in harmonics.
+
+Also:
+
+@itemize
+
+@item A duct flute similar to the recorder.
+
+@item An organ stop of flute scale at 1' or 2' pitch.
+
+@end itemize
+
+@seealso
+
+@ref{articulation}, @ref{harmonics}.
+
+
@node flat
@section flat
S: forte,
FI: forte, voimakkaasti.
-Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
-@emph{mezzo forte} (@samp{@b{mf}}) medium loud.
+[Italian: @q{loud}.]
+Abbreviated @notation{@b{f}}. Variants include:
+
+@itemize
+@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
+@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
+@end itemize
@node fourth
@section fourth
@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 @notation{B natural} in German and Scandinavian
+usage. In the standard usage of these countries, @notation{B} means
+@notation{B flat}.
@seealso
-@ref{Pitch names}, @ref{B}
+@ref{Pitch names}, @ref{B}.
+
+
+@node hairpin
+@section hairpin
+
+Graphical version of the @notation{crescendo} and @notation{decrescendo}
+dynamic marks.
+
+@lilypond[fragment,ragged-right]
+\relative c'' {
+ c1\<
+ c2\> c\<
+ c1\!
+}
+@end lilypond
+
+@seealso
+
+@ref{crescendo}, @ref{decrescendo}.
@node half note
@end lilypond
+@node harmonics
+@section harmonics
+
+ES: sonidos del flautín,
+I: suoni flautati,
+F: flageolet, sons harmoniques,
+D: Flageolett-Töne,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The general class of pitches produced by sounding the second or higher
+harmonic of a tone producer: string, column of air, and so on.
+
+On stringed instruments, these pitches sound rather flute-like; hence,
+their name in languages other than English. They are produced by
+lightly touching the string at a node for the desired mode of vibration
+while it is being bowed or plucked.
+
+For instruments of the violin family, there are two types of harmonics:
+natural harmonics, which are those played on the open string; and
+artificial harmonics, which are produced on stopped strings.
+
+
@node harmony
@section harmony
@ref{polyphony}.
+@node hymn meter
+@section hymn meter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A group or list of numbers that indicate the number of syllables in a
+line of a hymn's verse. Different hymnals have different ways of noting
+the hymn meter -- consider a hymn having four lines in two couplets that
+alternate between eight and seven syllables. The @emph{English Hymnal}
+notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
+8@w{ }7@w{ }8@w{ }7.
+
+Some frequently-used hymn meters have traditional names:
+
+@itemize
+
+@item 66.86 is called Short Meter (abbreviated SM or S.M.)
+
+@item 86.86 is called Common Meter (CM or C.M.)
+
+@item 88.88 is called Long Meter (LM or L.M.)
+
+@end itemize
+
+Some hymns and their tunes are doubled versions of a simpler meter: for
+easier reading, a hymn with a meter of 87.87.87.87 is usually written
+87.87D. The traditional names above also have doubled versions:
+
+@itemize
+
+@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
+
+@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
+
+@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
+
+@end itemize
+
+
+
@node interval
@section interval
@end lilypond
+@node inversion
+@section inversion
+
+ES: ?,
+I: ?,
+F: inversion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+When the bass is not the same as the root, the chord is inverted. The number
+of inversions that a chord can have is one fewer than the number of
+constituent notes. Triads, for example, (having three constituent notes) can
+have three positions, two of which are inversions:
+
+@table @code
+@item Root position
+The root note is in the bass, and above that are the third and the fifth. A
+triad built on the first scale degree, for example, is marked @notation{I}.
+
+@item First inversion
+The third is in the bass, and above it are the fifth and the root. This
+creates an interval of a sixth and a third above the bass note, and so is
+marked in figured Roman notation as @notation{6/3}. This is commonly
+abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
+characteristic interval of the inversion, and so always implies
+@notation{6/3}.
+
+@item Second inversion
+The fifth is in the bass, and above it are the root and the third. This
+creates an interval of a sixth and a fourth above the bass note, and so is
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+unstable chord position.
+@end table
+
+
@node inverted interval
@section inverted interval
FI: ?.
[From French, @q{Let vibrate}]. Most frequently associated with harp
-parts. Marked @samp{l.v.} in the score.
+parts. Marked @notation{l.v.} in the score.
@node largo
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
-@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
+@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
@emph{anglice}).
@seealso
@ref{metronome mark}
+@node mezzo
+@section mezzo
+
+ES: ?,
+I: mezzo,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{medium}.]
+
+Used to qualify other indications, such as:
+
+@itemize
+
+@item Dynamics
+ @itemize
+ @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
+ @notation{piano})
+ @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
+ @notation{forte})
+ @end itemize
+
+@item Voice
+ @itemize
+ @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
+ sopranos
+ @end itemize
+
+@end itemize
+
+
@node mezzo-soprano
@section mezzo-soprano
S: mezzosopran,
FI: mezzosopraano.
-The female voice between @ref{soprano} and @ref{contralto}.
+The female voice between soprano and contralto.
+
+@seealso
+
+@ref{soprano}, @ref{contralto}.
@node middle C
S: oktav,
FI: oktaavi.
-The interval of an octave, sometimes abbreviated @samp{8ve}.
+The interval of an octave, sometimes abbreviated @notation{8ve}.
-For uses like @emph{all'ottava} or @emph{8va} with an extender line or
-bracket, or @samp{loco} see octave marking.
+For uses like @notation{all'ottava} or @notation{8va} with an extender line or
+bracket, or @notation{loco} see octave marking.
@seealso
@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}
+@item @notation{15ma}: play two octaves higher
+@item @notation{8va}: play one octave higher
+@item @notation{8vb}: play one octave lower
+@item @notation{8va} (written below the passage): unusual, same as
+@notation{8vb}
+@item @notation{15vb}: play two octaves lower
+@item @notation{15va} (written below the passage): unusual, same as
+@notation{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.).
+change is cancelled with the word @notation{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)}
+@item @notation{15ma}: @notation{alla quindicesima (alta)}
+@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
+@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
+@item @notation{15vb}: @notation{alla quindicesima (bassa)}
@end itemize
-In the phrases above, @emph{quindicesima} is sometimes replaced with
-@emph{quindecima}, which is Latin.
+In the phrases above, @notation{quindicesima} is sometimes replaced with
+@notation{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.
+Finally, the music on an entire staff can be marked to be played in a
+different octave by putting a small 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{note value}.
+@node quality
+@section quality
+
+ES: ?,
+I: qualità (?),
+F: qualité (?),
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The quality of a triad is determined by the precise arrangement of its
+intervals. Tertian triads can be described as a series of three notes. The
+first element is the root note (or simply @q{root}) of the chord, the second
+note is the @q{third} of the chord, and the last note is the @q{fifth} of
+the chord. These are described below:
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Chord name @tab Component intervals
+ @tab Example
+ @tab Symbol
+@item major triad @tab major third/perfect fifth
+ @tab C-E-G
+ @tab C, CM, Cma, Cmaj, CΔ
+@item minor triad @tab minor third/perfect fifth
+ @tab C-E♭-G
+ @tab Cm, Cmi, Cmin, C-
+@item augmented triad @tab major third/augmented fifth
+ @tab C-E-G♯
+ @tab C+, C^+, Caug
+@item diminished triad @tab minor third/diminished fifth
+ @tab C-E♭-G♭
+ @tab Cm(♭5), Cº, Cdim
+@end multitable
+
+There are various types of seventh chords depending on the quality of the
+original chord and the quality of the seventh added.
+
+Five common types of seventh chords have standard symbols. The chord quality
+indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
+and D^m7 are all identical). The last three chords are not commonly used
+except in jazz.
+
+@seealso
+
+@ref{chord}.
+
+
@node quarter note
@section quarter note
or impossible
@item alter the characteristic timbre of the instrument, for example,
-to increase brilliance)
+to increase brilliance
@item reinforce certain sonorities or tonalities by making them
available on open strings
@end lilypond
+@node stringendo
+@section stringendo
+
+ES: ?,
+I: stringendo,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
+climax.
+
+@seealso
+
+@ref{accelerando}.
+
+
@node strings
@section strings
@node thorough bass
@section thorough bass
-ES: bajo cifrado,
-I: basso continuo, basso numerato,
-F: basse chiffrée, basse continue,
-D: Generalbass, bezifferter Bass,
-NL: basso continuo, becijferde bas
-DK: generalbas,
-S: generalbas,
-FI: kenraalibasso, numeroitu basso.
+@seealso
-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 <<
- \context Staff = lh \relative c'' {
- \time 4/4
- \key es \major
- \clef treble
- << \context Voice = rha {
- \stemUp
- es4 d c bes | bes }
- \context Voice = rhb {
- \stemDown
- < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
- >>
- }
- <<
- \context Staff = rh \relative c' {
- \clef bass
- \key es \major
- es8 c d bes c as bes16 as g f | es4
- }
- \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
- >>
->>
-@end lilypond
+@ref{figured bass}.
@node tie
@node Pitch names
@chapter Pitch names
-@c -is/-es endings for Danish per Rune Zedeler
-@c and for Finnish per Risto Vääräniemi
+@c -is/-es endings for Danish per Rune Zedeler, pace
+@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}
+@multitable {@strong{e-sharp} = f} {sol sostenido} {sol bemolle} {sol bémol} {Gis} {gis} {gis} {giss} {gis}
@headitem EN
@tab ES @tab I @tab F @tab D
@tab NL @tab DK @tab S @tab FI
@menu
-* Literature used::
+* Literature used::
@end menu
@node Literature used
@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 Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1944.
+
+@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
+WSOY, 1976.
-@item Hugo Riemanns Musiklexicon, Berlin 1929.
+@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
+Terminologie}. Kassel, 1980.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
-1980.
+@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
+Cambridge: Belknap Press (Harvard University Press), 1986.
-@item Oxford Advanced Learner's Dictionary of Current English, Third
-Edition 1974.
+@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
-@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
+Current English}, 3rd ed. London: Oxford University Press, 1974.
-@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
+@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
+Springfield, Massachusetts: G. & C. Merriam Company, 1913.
@end itemize
projects / lilypond.git / blobdiff