* note value::
* octavation::
* octave::
+* octave mark::
* octave marking::
* octave sign::
* ornament::
* unison::
* upbeat::
* voice::
+* volta::
* weak beat::
* whole note::
* whole rest::
F: intervalle ascendant,
D: steigendes Intervall,
NL: stijgend interval,
-DK:@w{ }stigende interval,
+DK: stigende interval,
S: stigande intervall,
FI: nouseva intervalli.
@itemize
-@item A manuscript in the composer's own hand.
+@item A manuscript written in the composer's own hand.
@item Music prepared for photoreproduction by freehand drawing, with
the aid of a straightedge ruler and T-square only, which attempts to
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
@enumerate
-@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.
-@c See
-@c @lsr{Rhythms/compound-time-signatures.ly}.
-
@item
A meter that includes a triplet subdivision within the beat: see
@ref{compound meter}.
-@end enumerate
+@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
-@ref{compound meter}
+@end enumerate
@seealso
-@ref{meter}.
-@c @lsr{Rhythms/compound-time-signatures.ly}
+@ref{compound meter}, @ref{meter}.
@node concert pitch
@item
In figured (or thorough) bass to indicate that:
- @itemize
-
- @item The extended note should be held through a change in
- harmony, when applied to one figure --OR--
-
- @item The chord thus represented should be held above a moving
- bass line, when applied to more than one figure.
+@itemize
- @item These uses were not completely standardized, and some
- composers used a single extender line to indicate the
- latter case.
+@item The extended note should be held through a change in harmony, when applied
+to one figure --OR--
+@item The chord thus represented should be held above a moving bass line, when
+applied to more than one figure.
+@item These uses were not completely standardized, and some composers used a
+single extender line to indicate the latter case.
- @end itemize
+@end itemize
@item
-In string music to indicate that all notes in the passage thus
-indicated should be played on the same string. On the violin, for
-example, a series of notes to be played on the G string would be
-indicated @samp{sul G}, another series to be played on the D string
-would be indicated @samp{sul D}, and so on.
+In string music to indicate that all notes in the passage thus indicated should
+be played on the same string. On the violin, for example, a series of notes to
+be played on the G string would be indicated @samp{sul G}, another series to be
+played on the D string would be indicated @samp{sul D}, and so on.
@item
-With an octave indication (also called @emph{octavation}, q.v.) to indicate that
-a passage is to be played higher or lower by the given number of octaves.
+With an octave mark to indicate that a passage is to be played higher or lower
+by the given number of octaves.
@end itemize
@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
+marking}.
@node F
FI: ?.
[From Italian, @q{place}]. Instruction to play the following passage at the
-written pitch. Cancels octavation (q.v.).
+written pitch. Cancels octave mark (q.v.).
@seealso
-@ref{octavation}.
+@ref{octave mark}, @ref{octave marking}.
@node long appoggiatura
S: ?,
FI: ?.
-The system of music notation that was first developed in the mid-13th
-century, and which forms the basis of modern musical notation. From its
-creation by Franco of Cologne until the 15th century,
+A system of duration notation whose principles were first established in the
+mid-13th century, and that (with various changes) remained in use until about
+1600. As such, it forms the basis of the notation of rhythms in Western musical
+notation.
+
+Franco of Cologne (ca. 1250) is credited with the first systematic explanation
+of the notation's principles, so the notation of this earliest period is called
+@q{Franconian}. Franco's system made use of three note values -- long, breve,
+and semibreve -- each of which was normally equivalent to three of the next
+lower note value.
-@c TODO: add definition (inc. info on proportional notation)
+Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
+added several note values (the minim, semiminim and fusa) and extended Franco's
+principles to govern the relationship between these values. They also put the
+duple division of note values on an equal footing with the earlier (preferred)
+triple division.
+
+TODO: continue description of French and Italian black notation, and the
+relationship betwixt them.
+
+@b{White or void mensural notation}
+
+In the 15th century, hollow (or void) notes began to substitute for the earlier
+solid black ones, which were then free to assume the function of red (or
+colored) notes in the earlier notation. ...
+
+TODO: add to definition (including summary info on proportional notation)
@seealso
S: taktart,
FI: aika-arvo.
-The basic pattern of @ref{note value}s and @ref{accent}s that remains
-unaltered throughout a composition or a section of it. Meters can be
-@emph{duple} or @emph{triple} depending on how the beat is grouped in
-the composition (or in sections thereof):
+The pattern of note values and accents in a composition or a section thereof.
+There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
+by grouping beats and by subdividing the primary beat.
+
+@b{By grouping beats}:
@itemize
-@item In duple meters, the beat recurs in groups of two.
+ @item @b{duple}: groups of two.
+ @item @b{triple}: groups of three.
+ @item @b{quadruple}: groups of four. A special case of duple meter.
+ @item @b{quintuple}: groups of five beats.
+ @item @b{sextuple} meter: groups of six. A special case of:
-@item In triple meters, the beat recurs in groups of three.
+ @itemize
-@end itemize
+ @item duple meter, subdivided in three; or
+ @item triple meter, subdivided in two.
-Other recurrence patterns are possible:
+ @end itemize
-@itemize
+ @item @b{septuple} meter: groups of seven.
+ @item and so on.
-@item Quadruple meter: groups of four. A special case of duple meter.
+@end itemize
-@item Quintuple meter: groups of five
+Other than triple meter and its subdivided variants (see below), meters that
+feature odd groupings of beats (e.g. quintuple or septuple meter) are not
+frequently used prior to the 20th Century.
-@item Sextuple meter: groups of six. A special case of:
+@b{By subdividing the primary beat}:
@itemize
-@item Duple meter, subdivided in three (less frequent); or
-@item Triple meter, subdivided in two (more frequent).
-@end itemize
-
-@item Septuple meter: groups of seven.
-@item etc.
+ @item simple: groups of two.
-@end itemize
+ @itemize
-Other than quadruple and sextuple meters, these other recurrence
-patterns were not frequently used prior to the 20th Century.
+ @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
-In addition to classification by primary beat grouping, meters can be further
-classified by how the primary beat is subdivided: if in two, the meter is
-@emph{simple}; if in three, the meter is @emph{compound}.
+ @end itemize
-@itemize
+ @item compound: groups of three.
-@item Simple meter
-
-@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
+ @itemize
-@item Compound meter
+ @item duple: 6/8
+ @item triple: 9/8
+ @item quadruple: 12/8
-@itemize
-@item duple: 6/8
-@item triple: 9/8
-@item quadruple: 12/8
-@end itemize
+ @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 has a time
-signature of 3/4.
+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:
+Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 2/4
- \key c \major
- c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+ \key g \major
+ g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
@end lilypond
Simple triple meter:
\bar "||"}
@end lilypond
+@b{@q{Monometer} vs Polymeter}
+
+TODO: add information from discussion on lilypond-user related to polymeter.
+
@seealso
-@ref{hemiola}, @ref{time signature}
+@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
@node metronome
@node octavation
@section octavation
-ES: a la octava,
-I: all'ottava,
-F: octaviation,
-D: Oktavierung,
-NL: octaveren,
-DK: oktavering,
-S: oktavering,
-FI: oktaavamerkintä.
+@seealso
+
+@ref{octave marking}.
+
-The use of a phrase or abbreviation with an extender line or bracket to indicate
-that a passage is to be played in a different octave:
+@node octave
+@section octave
+
+ES: octava,
+I: ottava,
+F: octave,
+D: Oktave,
+NL: octaaf,
+DK: oktav,
+S: oktav,
+FI: oktaavi.
+
+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octave marking.
+
+@seealso
+
+@ref{interval}, @ref{octave marking}.
+
+
+@node octave mark
+@section octave mark
+
+ES: ?,
+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{8va} (written below the passage): same as @samp{8vb}
@item @samp{15vb}: play two octaves lower
-@item @samp{15va} written below the passage: same as @samp{15vb}
+@item @samp{15va} (written below the passage): same as @samp{15vb}
@end itemize
-Another practice, which may be useful for longer passages, is to indicate the
-different octave with a phrase at the beginning (see below). When the music
-returns to the written pitch, the octavation is cancelled with the word
-@emph{loco} (q.v.).
+For longer passages, it may be more practical to mark the octave change at the
+beginning with a phrase (see the list below for examples), but without a bracket
+or extender line. Then, when the music returns to the written pitch, the octave
+change is cancelled with the word @emph{loco} (q.v.).
To parallel the list above:
@end itemize
-@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
-
-@seealso
-
-@ref{interval}, @ref{loco}, @ref{octave}.
-
-
-@node octave
-@section octave
-
-ES: octava,
-I: ottava,
-F: octave,
-D: Oktave,
-NL: octaaf,
-DK: oktav,
-S: oktav,
-FI: oktaavi.
+In the phrases above, @emph{quindicesima} is sometimes replaced with
+@emph{quindecima}, which is Latin.
-The interval of an octave, sometimes abbreviated @samp{8ve}.
-
-For uses like @emph{all'ottava} or @emph{8va} with an extender line or
-bracket, or @samp{loco} see octavation.
+Finally, the music on an entire staff can be marked to be played in a different
+octave by putting an 8 or 15 above or below the clef at the beginning. This
+octave mark can be applied to any clef, but it is most frequently used with the
+G and F clefs.
@seealso
-@ref{interval}, @ref{octavation}.
+@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{octavation}.
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
@node octave sign
@section octave sign
-ES: ?,
-I: ?,
-F: ?,
-D: ?,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-Putting 8 or 15 above or below the clef to indicate that the entire part is
-played in the indicated octave: a clef-wide octavation. An octave sign can be
-applied to any clef, though it is most frequently used with the G and F clefs.
-
@seealso
-@ref{G clef}, @ref{F clef}.
+@ref{octave mark}.
@node ornament
S: tonhöjd,
FI: sävelkorkeus.
+@enumerate
+
+@item The perceived quality of a sound that is primarily a function of its
+fundamental frequency.
+
+@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
+
+@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
+association of a particular frequency with a particular pitch name, e.g., c' =
+256 Hz.
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}.
+
@node pizzicato
@section pizzicato
S: pizzicato,
FI: pizzicato, näppäillen.
-Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
-stringed instruments.)
+A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
+the strings.
@node polymeter
S: ?,
FI: ?.
-Using two or more metric frameworks simultaneously or in regular
-alternation
+Using two or more metric frameworks simultaneously or in alternation.
@seealso
S: ?,
FI: ?.
-Time signature indicating regularly alternating polymetric time.
+A time signature that indicates regularly alternating polymetric time.
@seealso
S: ?,
FI: ?.
-[From Latin @emph{proportio}] In mensural notation, a ratio that
-expresses the relationship between the note values that follow with
-those that precede; or between the note values of a passage and an
-assumed @q{normal} relationship of note values to the metrical pulse.
+[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
+relationship between the note values that follow with those that precede; or
+between the note values of a passage and the @q{normal} relationship of note
+values to the metrical pulse.
@c TODO: add an example or two. O => 4/3, and its modern equivalent
@itemize
-@item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto},
-@ref{tenor}, @ref{baritone}, @ref{bass}.
+@item Human voices:
+
+@itemize
+
+@item @ref{soprano}
+
+@item @ref{mezzo-soprano}
+
+@item @ref{contralto}
+
+@item @ref{tenor}
+
+@item @ref{baritone}
+
+@item @ref{bass}
+
+@end itemize
@item A melodic layer or part of a polyphonic composition.
@end itemize
+@node volta
+@section volta
+
+ES: ?,
+I: volta,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{time} (instance, not duration)]. An ending, such as a first
+or second ending. LilyPond extends this idea to any number, and allows any text
+(not just a number) -- to serve as the @q{volta} text.
+
+
@node weak beat
@section weak beat
@multitable @columnfractions .12 .22 .22 .22 .22
-@headitem lang.
- @tab note name
+@headitem Lang. @tab note name
@tab rest name
@tab note name
@tab rest name
-@item @strong{US}
- @tab long
+@item @strong{US} @tab long
@tab long rest
@tab breve
@tab breve rest
-@item @strong{UK}
- @tab longa
+@item @strong{UK} @tab longa
@tab longa rest
@tab breve
@tab breve rest
-@item @strong{ES}
- @tab longa
+@item @strong{ES} @tab longa
@tab silencio de longa
@tab cuadrada
@tab silencio de cuadrada
-@item @strong{IT}
- @tab longa
+@item @strong{IT} @tab longa
@tab pausa di longa
@tab breve
@tab pausa di breve
-@item @strong{FR}
- @tab longa
+@item @strong{FR} @tab longa
@tab quadruple-pause
@tab brève
@tab double-pause
-@item @strong{DE}
- @tab Longa
+@item @strong{DE} @tab Longa
@tab longa Pause
@tab Brevis
@tab brevis Pause
-@item @strong{NL}
- @tab longa
+@item @strong{NL} @tab longa
@tab longa rust
@tab brevis
@tab brevis rust
-@item @strong{DK}
- @tab longa
+@item @strong{DK} @tab longa
@tab longanodespause
@tab brevis
@tab brevis(nodes)pause
-@item @strong{SE}
- @tab longa
+@item @strong{SE} @tab longa
@tab longapaus
@tab brevis
@tab brevispaus
-@item @strong{FI}
- @tab longa-nuotti
+@item @strong{FI} @tab longa-nuotti
@tab longa-tauko
@tab brevis-nuotti, kaksoiskokonuotti
@tab brevis-tauko, kaksoiskokotauko
@multitable @columnfractions .12 .22 .22 .22 .22
-@headitem lang.
- @tab note name
+@headitem Lang. @tab note name
@tab rest name
@tab note name
@tab rest name
-@item @strong{US}
- @tab whole note
+@item @strong{US} @tab whole note
@tab whole rest
@tab half note
@tab half rest
-@item @strong{UK}
- @tab semibreve
+@item @strong{UK} @tab semibreve
@tab semibreve rest
@tab minim
@tab minim rest
-@item @strong{ES}
- @tab redonda
+@item @strong{ES} @tab redonda
@tab silencio de redonda
@tab blanca
@tab silencio de blanca
-@item @strong{IT}
- @tab semibreve
+@item @strong{IT} @tab semibreve
@tab pause di semibreve
@tab minima
@tab pausa di minima
-@item @strong{FR}
- @tab ronde
+@item @strong{FR} @tab ronde
@tab pause
@tab blanche
@tab demi-pause
-@item @strong{DE}
- @tab ganze Note
+@item @strong{DE} @tab ganze Note
@tab ganze Pause
@tab halbe Note
@tab halbe Pause
-@item @strong{NL}
- @tab hele noot
+@item @strong{NL} @tab hele noot
@tab hele rust
@tab halve noot
@tab halve rust
-@item @strong{DK}
- @tab helnode
+@item @strong{DK} @tab helnode
@tab helnodespause
@tab halvnode
@tab halvnodespause
-@item @strong{SE}
- @tab helnot
+@item @strong{SE} @tab helnot
@tab helpaus
@tab halvnot
@tab halvpaus
-@item @strong{FI}
- @tab kokonuotti
+@item @strong{FI} @tab kokonuotti
@tab kokotauko
@tab puolinuotti
@tab puolitauko
@multitable @columnfractions .12 .22 .22 .22 .22
-@headitem lang.
- @tab note name
+@headitem Lang. @tab note name
@tab rest name
@tab note name
@tab rest name
-@item @strong{US}
- @tab quarter note
+@item @strong{US} @tab quarter note
@tab quarter rest
@tab eighth note
@tab eighth rest
-@item @strong{UK}
- @tab crotchet
+@item @strong{UK} @tab crotchet
@tab crotchet rest
@tab quaver
@tab quaver rest
-@item @strong{ES}
- @tab negra
+@item @strong{ES} @tab negra
@tab silencio de negra
@tab corchea
@tab silencio de corchea
-@item @strong{IT}
- @tab semiminima, nera
+@item @strong{IT} @tab semiminima, nera
@tab pausa di semiminima, pausa di nera
@tab croma
@tab pausa di croma
-@item @strong{FR}
- @tab noire
+@item @strong{FR} @tab noire
@tab soupir*
@tab croche*
@tab demi-soupir
-@item @strong{DE}
- @tab Viertelnote
+@item @strong{DE} @tab Viertelnote
@tab Viertelpause
@tab Achtelnote
@tab Achtelpause
-@item @strong{NL}
- @tab kwartnoot
+@item @strong{NL} @tab kwartnoot
@tab kwartrust
@tab achtste noot
@tab achtste rust
-@item @strong{DK}
- @tab fjerdedelsnode
+@item @strong{DK} @tab fjerdedelsnode
@tab fjerdedelspause
@tab ottendedelsnode
@tab ottendedelspause
-@item @strong{SE}
- @tab fjärdedelsnot
+@item @strong{SE} @tab fjärdedelsnot
@tab fjärdedelspaus
@tab åttondelsnot
@tab åttondelspaus
-@item @strong{FI}
- @tab neljäsosanuotti
+@item @strong{FI} @tab neljäsosanuotti
@tab neljäsosatauko
@tab kahdeksasosanuotti
@tab kahdeksasosatauko
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab sixteenth note
+@item @strong{US} @tab sixteenth note
@tab sixteenth rest
@tab 16th note
-@item @strong{UK}
- @tab semiquaver
+@item @strong{UK} @tab semiquaver
@tab semiquaver rest
@tab -
-@item @strong{ES}
- @tab semicorchea
+@item @strong{ES} @tab semicorchea
@tab silencio de semicorchea
@tab -
-@item @strong{IT}
- @tab semicroma
+@item @strong{IT} @tab semicroma
@tab pausa di semicroma
@tab -
-@item @strong{FR}
- @tab double croche
+@item @strong{FR} @tab double croche
@tab quart de soupir
@tab -
-@item @strong{DE}
- @tab Sechzehntelnote
+@item @strong{DE} @tab Sechzehntelnote
@tab Sechzehntelpause
@tab 16tel-Note
-@item @strong{NL}
- @tab zestiende noot
+@item @strong{NL} @tab zestiende noot
@tab zestiende rust
@tab 16e noot
-@item @strong{DK}
- @tab sekstendedelsnode
+@item @strong{DK} @tab sekstendedelsnode
@tab sekstendedelspause
@tab -
-@item @strong{SE}
- @tab sextondelsnot
+@item @strong{SE} @tab sextondelsnot
@tab sextondelspaus
@tab -
-@item @strong{FI}
- @tab kuudestoistaosanuotti
+@item @strong{FI} @tab kuudestoistaosanuotti
@tab kuudestoistaosatauko
@tab 16-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab thirty-second note
+@item @strong{US} @tab thirty-second note
@tab thirty-second rest
@tab 32nd note
-@item @strong{UK}
- @tab demisemiquaver
+@item @strong{UK} @tab demisemiquaver
@tab demisemiquaver rest
@tab -
-@item @strong{ES}
- @tab fusa
+@item @strong{ES} @tab fusa
@tab silencio de fusa
@tab -
-@item @strong{IT}
- @tab biscroma
+@item @strong{IT} @tab biscroma
@tab pausa di biscroma
@tab -
-@item @strong{FR}
- @tab triple croche
+@item @strong{FR} @tab triple croche
@tab huitième de soupir
@tab -
-@item @strong{DE}
- @tab Zweiunddreißigstelnote
+@item @strong{DE} @tab Zweiunddreißigstelnote
@tab Zweiunddreißigstelpause
@tab 32tel-Note
-@item @strong{NL}
- @tab tweeendertigste noot
+@item @strong{NL} @tab tweeendertigste noot
@tab tweeendertigste rust
@tab 32e noot
-@item @strong{DK}
- @tab toogtredivtedelsnode
+@item @strong{DK} @tab toogtredivtedelsnode
@tab toogtredivtedelspause
@tab -
-@item @strong{SE}
- @tab trettiotvåondelsnot
+@item @strong{SE} @tab trettiotvåondelsnot
@tab trettiotvåondelspaus
@tab -
-@item @strong{FI}
- @tab kolmaskymmeneskahdesosanuotti
+@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
@tab kolmaskymmeneskahdesosatauko
@tab 32-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab sixty-fourth note
+@item @strong{US} @tab sixty-fourth note
@tab sixty-fourth rest
@tab 64th note
-@item @strong{UK}
- @tab hemidemisemiquaver
+@item @strong{UK} @tab hemidemisemiquaver
@tab hemidemisemiquaver rest
@tab -
-@item @strong{ES}
- @tab semifusa
+@item @strong{ES} @tab semifusa
@tab silencio de semifusa
@tab -
-@item @strong{IT}
- @tab semibiscroma
+@item @strong{IT} @tab semibiscroma
@tab pausa di semibiscroma
@tab -
-@item @strong{FR}
- @tab quadruple croche
+@item @strong{FR} @tab quadruple croche
@tab seizième de soupir
@tab -
-@item @strong{DE}
- @tab Vierundsechzigstelnote
+@item @strong{DE} @tab Vierundsechzigstelnote
@tab Vierundsechzigstelpause
@tab 64tel-Note
-@item @strong{NL}
- @tab vierenzestigste noot
+@item @strong{NL} @tab vierenzestigste noot
@tab vierenzestigste rust
@tab 64e noot
-@item @strong{DK}
- @tab fireogtredsindstyvendedelsnode
+@item @strong{DK} @tab fireogtredsindstyvendedelsnode
@tab fireogtredsindstyvendedelspause
@tab -
-@item @strong{SE}
- @tab sextiofjärdedelsnot
+@item @strong{SE} @tab sextiofjärdedelsnot
@tab sextiofjärdedelspaus
@tab -
-@item @strong{FI}
- @tab kuudeskymmenesneljäsosanuotti
+@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
@tab kuudeskymmenesneljäsosatauko
@tab 64-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab one-hundred-twenty-eighth note
+@item @strong{US} @tab one-hundred-twenty-eighth note
@tab one-hundred-twenty-eighth rest
@tab 128th note
-@item @strong{UK}
- @tab semihemidemisemiquaver
+@item @strong{UK} @tab semihemidemisemiquaver
@tab semihemidemisemiquaver rest
@tab -
-@item @strong{ES}
- @tab garrapatea @tab silencio de garrapatea @tab -
-@item @strong{IT}
- @tab fusa
+@item @strong{ES} @tab garrapatea
+ @tab silencio de garrapatea
+ @tab -
+@item @strong{IT} @tab fusa
@tab pausa di fusa
@tab -
-@item @strong{FR}
- @tab quintuple croche
+@item @strong{FR} @tab quintuple croche
@tab trente-deuxième de soupir @tab -
-@item @strong{DE}
- @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
-@item @strong{NL}
- @tab honderdachtentwintigste noot
+@item @strong{DE} @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
+@item @strong{NL} @tab honderdachtentwintigste noot
@tab honderdachtentwintigste rust
@tab 128e noot
-@item @strong{DK}
- @tab hundredeotteogtyvendedelsnode
+@item @strong{DK} @tab hundredeotteogtyvendedelsnode
@tab hundredeotteogtyvendedelspause
@tab -
-@item @strong{SE}
- @tab hundratjugoåttondelsnot
+@item @strong{SE} @tab hundratjugoåttondelsnot
@tab hundratjugoåttondelspaus
@tab -
-@item @strong{FI}
- @tab sadaskahdeskymmeneskahdeksasosanuotti
+@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
@tab sadaskahdeskymmeneskahdeksasosatauko
@tab 128-osanuotti
@multitable @columnfractions .10 .35 .35 .20
-@headitem Lang.
- @tab Note name
+@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US}
- @tab two-hundred-fifty-sixth @tab two-hundred-fifty-sixth @tab 256th note
-@item @strong{UK}
- @tab demisemihemidemisemiquaver
+@item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note
+@item @strong{UK} @tab demisemihemidemisemiquaver
@tab demisemihemidemisemiquaver rest
@tab -
-@item @strong{ES}
- @tab semigarrapatea @tab silencio de semigarrapatea @tab -
-@item @strong{IT}
- @tab semifusa
+@item @strong{ES} @tab semigarrapatea @tab silencio de semigarrapatea @tab -
+@item @strong{IT} @tab semifusa
@tab pausa di semifusa
@tab -
-@item @strong{FR}
- @tab sextuple croche
+@item @strong{FR} @tab sextuple croche
@tab soixante-quatrième de soupir @tab -
-@item @strong{DE}
- @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
-@item @strong{NL}
- @tab tweehonderdzesenvijftigste noot
+@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
+@item @strong{NL} @tab tweehonderdzesenvijftigste noot
@tab tweehonderdzesenvijftigste rust
@tab 256e noot
-@item @strong{DK}
- @tab tohundredeseksoghalvtredsendedelsnode
+@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
@tab tohundredeseksoghalvtredsendedelspause
@tab -
-@item @strong{SE}
- @tab tvåhundrafemtiosjättedelsnot
+@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
@tab tvåhundrafemtiosjättedelspaus
@tab -
-@item @strong{FI}
- @tab kahdessadasviideskymmeneskuudesosanuotti
+@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
@tab kahdessadasviideskymmeneskuudesosatauko
@tab 256-osanuotti
@headitem EN
@tab ES @tab I @tab F @tab D
@tab NL @tab DK @tab S @tab FI
-@item @strong{c}
- @tab do @tab do @tab ut @tab C
+@item @strong{c} @tab do @tab do @tab ut @tab C
@tab c @tab c @tab c @tab c
-@item @strong{c-sharp}
- @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
@tab cis @tab cis @tab ciss @tab cis
-@item @strong{d-flat}
- @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
@tab des @tab des @tab dess @tab des
-@item @strong{d}
- @tab re @tab re @tab ré @tab D
+@item @strong{d} @tab re @tab re @tab ré @tab D
@tab d @tab d @tab d @tab d
-@item @strong{d-sharp}
- @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
@tab dis @tab dis @tab diss @tab dis
-@item @strong{e-flat}
- @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
@tab es @tab es @tab ess @tab es
-@item @strong{e}
- @tab mi @tab mi @tab mi @tab E
+@item @strong{e} @tab mi @tab mi @tab mi @tab E
@tab e @tab e @tab e @tab e
@item @strong{f-flat} = e
@tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
@tab fes @tab fes @tab fess @tab fes
-@item @strong{f}
- @tab fa @tab fa @tab fa @tab F
+@item @strong{f} @tab fa @tab fa @tab fa @tab F
@tab f @tab f @tab f @tab f
@item @strong{e-sharp} = f
@tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
@tab eis @tab eis @tab eiss @tab eis
-@item @strong{f-sharp}
- @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
@tab fis @tab fis @tab fiss @tab fis
-@item @strong{g-flat}
- @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
@tab ges @tab ges @tab gess @tab ges
-@item @strong{g}
- @tab sol @tab sol @tab sol @tab G
+@item @strong{g} @tab sol @tab sol @tab sol @tab G
@tab g @tab g @tab g @tab g
-@item @strong{g-sharp}
- @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
@tab gis @tab gis @tab giss @tab gis
-@item @strong{a-flat}
- @tab la bemol @tab la bemolle @tab la bémol @tab As
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
@tab as @tab as @tab ass @tab as
-@item @strong{a}
- @tab la @tab la @tab la @tab A
+@item @strong{a} @tab la @tab la @tab la @tab A
@tab a @tab a @tab a @tab a
-@item @strong{a-sharp}
- @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
@tab ais @tab ais @tab aiss @tab ais
-@item @strong{b-flat}
- @tab si bemol @tab si bemolle @tab si bémol @tab B
+@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
@tab bes @tab b @tab b @tab b
-@item @strong{b}
- @tab si @tab si @tab si @tab H
+@item @strong{b} @tab si @tab si @tab si @tab H
@tab b @tab h @tab h @tab h
@end multitable
projects / lilypond.git / blobdiff