\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename music-glosssary.info
@settitle Music Glossary
-
@documentencoding UTF-8
@documentlanguage en
+@include macros.itexi
+
@afourpaper
@c see lilypond.tely for info installation note
@author Jan Nieuwenhuizen @c Dutch glossary
@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
+@c Updates to the German translation by Till Rettig, 2007-2008
Copyright @copyright{} 1999--2007 by the authors
@c TODO: multiple omfcreators?
@ignore
-@omfcreator Christian Mondrup
+@omfcreator Christian Mondrup, Kurt Kroon
@omfdescription Glossary of musical terms with translations
-@omftype user's guide
+@omftype glossary
@omfcategory Applications|Publishing
@omflanguage English
@end ignore
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@include macros.itexi
+This is the Music Glossary (MG) for GNU LilyPond version @version{}.
+For more information about how this fits with the other
+documentation, see @rlearning{About the documentation}.
+
@c arrowref
@macro aref{word}
* Pitch names::
@end menu
+@contents
+
+
@node Musical terms A-Z
@chapter Musical terms A-Z
Languages in this order.
@itemize
+@item UK - British English (where it differs from American English)
@item ES - Spanish
@item I - Italian
@item F - French
@item D - German
@item NL - Dutch
-@item UK - British English
@item DK - Danish
@item S - Swedish
@item FI - Finnish
@menu
* A::
* a due::
+* accelerando::
* accent::
* accessory::
-* accidental::
-* accelerando::
* acciaccatura::
+* accidental::
* adagio::
* allegro::
* alteration::
* articulation::
* ascending interval::
* augmented interval::
+* augmentation::
* autograph::
* B::
* backfall::
* bar line::
* baritone::
* baritone clef::
-* bass clef::
* bass::
+* bass clef::
* beam::
* beat::
+* beat repeat::
* bind::
* brace::
-* bracket::
+* bracket::
* brass::
* breath mark::
* breve::
* conjunct movement::
* consonance::
* contralto::
-* counterpoint::
-* counter tenor::
* copying music::
+* counterpoint::
+* countertenor::
* crescendo::
* cue-notes::
* custos::
* decrescendo::
* descending interval::
* diatonic scale::
+* didymic comma::
* diminished interval::
* diminuendo::
+* diminution::
* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
+* divisio::
+* doit::
+* dominant::
* dominant ninth chord::
* dominant seventh chord::
-* dominant::
* dorian mode::
* dot (augmentation dot)::
* dotted note::
* duple meter::
* duplet::
* duration::
-* dydimic comma::
* dynamics::
* E::
* ecclesiastical mode::
* 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::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* grave::
* gruppetto::
* H::
+* hairpin::
* half note::
* half rest::
* harmonic cadence::
+* harmonics::
* harmony::
* hemiola::
* homophony::
+* hymn meter::
* interval::
+* inversion::
* inverted interval::
* just intonation::
* key::
* legato::
* legato curve::
* leger line::
-* lilypond::
* ligature::
+* lilypond::
* line::
+* loco::
* long appoggiatura::
* longa::
-* lyrics::
* lyric tie::
-* major interval::
+* lyrics::
* major::
+* major interval::
* meantone temperament::
* measure::
+* measure repeat::
* mediant::
* melisma::
* melisma line::
* mensural notation::
* meter::
* metronome::
+* metronome mark::
* metronomic indication::
* mezzo-soprano::
* middle C::
* minor::
* minor interval::
+* mixolydian mode::
* mode::
* modulation::
* mordent::
* motive::
* movement::
* multi-measure rest::
-* mixolydian mode::
* natural::
* neighbour tones::
* ninth::
* note head::
* note names::
* note value::
-* octave sign::
+* octavation::
* octave::
+* octave mark::
+* octave marking::
+* octave sign::
* ornament::
* ossia::
-* ottava::
* part::
* pause::
* pennant::
+* percent repeat::
* percussion::
* perfect interval::
* phrase::
* phrasing::
-* pickup::
* piano::
+* pickup::
* pitch::
* pizzicato::
* polymeter::
* proportion::
* Pythagorean comma::
* quadruplet::
+* quality::
* quarter note::
* quarter rest::
+* quarter tone::
* quintuplet::
* rallentando::
* relative key::
* sextuplet::
* shake::
* sharp::
+* simile::
* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* sixty-fourth note::
* sixty-fourth rest::
+* slash repeat::
* slur::
* solmization::
* sonata::
* staff::
* staves::
* stem::
+* stringendo::
* strings::
* strong beat::
* subdominant::
* unison::
* upbeat::
* voice::
+* volta::
* weak beat::
* whole note::
* whole rest::
@node A
@section A
-ES: la,
-I: la,
-F: la,
-D: A, a,
-NL: a,
-DK: a,
-S: a,
-FI: A, a.
+@itemize
+@item ES: la
+@item I: la
+@item F: la
+@item D: A, a
+@item NL: a
+@item DK: a
+@item S: a
+@item FI: A, a
+@end itemize
@seealso
@node a due
@section a due
-ES: ?,
+ES: a dos,
I: a due,
F: à deux,
-D: ?,
+D: a due, zu zweit
NL: ?,
DK: ?,
S: ?,
@ref{Pitch names}
+@node accelerando
+@section accelerando
+
+ES: accelerando,
+I: accelerando,
+F: accelerando, en accélérant,
+D: accelerando, schneller werden,
+NL: accelerando,
+DK: accelerando,
+S: accelerando,
+FI: accelerando, kiihdyttäen.
+
+Increase tempo.
+
+
@node accent
@section accent
@ref{ornament}.
+@node acciaccatura
+@section acciaccatura
+
+A grace note which takes its time from the rest or note preceding the
+principal note to which it is attached. The acciaccatura is drawn as a
+small eighth note (quaver) with a line drawn through the flag and
+stem.
+
+@seealso
+
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+
@node accidental
@section accidental
@end lilypond
-@node accelerando
-@section accelerando
-
-ES: accelerando,
-I: accelerando,
-F: accelerando, en accélérant,
-D: accelerando, schneller werden,
-NL: accelerando,
-DK: accelerando,
-S: accelerando,
-FI: accelerando, kiihdyttäen.
-
-Increase tempo.
-
-
-@node acciaccatura
-@section acciaccatura
-
-A grace note which takes its time from the rest or note preceding the
-principal note to which it is attached. The acciaccatura is drawn as a
-small eighth note (quaver) with a line drawn through the flag and
-stem.
-
-@seealso
-
-@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
-
-
@node adagio
@section adagio
NL: verhoging of verlaging,
DK: ?,
S: ?,
-FI: ?.
+FI: kromaattinen merkki, muunnemerkki.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an @ref{accidental}.
A female voice of low range (@emph{contralto}). Originally the alto
was a high male voice (hence the name), which by the use of falsetto
reached the height of the female voice. This type of voice is also
-known as @ref{counter tenor}.
+known as @ref{countertenor}.
@node alto clef
S: ambitus,
FI: ambitus, ääniala, soitinala.
-The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
-of pitches for a given voice in a part of music. It may also denote
-the pitch range that a musical instrument is capable of playing.
+[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
+Denotes a range of pitches for a given voice in a part of music. It may
+also denote the pitch range that a musical instrument is capable of playing.
+Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
@node anacrusis
@node ancient minor scale
@section ancient minor scale
-ES: escala menor antigua,
+ES: escala menor natural,
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique,
D: reines Moll, natürliches Moll,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@seealso
-
-@ref{diatonic scale}.
-
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
@end lilypond
+@seealso
+
+@ref{diatonic scale}.
+
@node andante
@section andante
F: intervalle ascendant,
D: steigendes Intervall,
NL: stijgend interval,
-DK:@w{ }stigende interval,
+DK: stigende interval,
S: stigande intervall,
FI: nouseva intervalli.
@ref{interval}.
+@node augmentation
+@section augmentation
+
+ES: ?,
+I: ?,
+F: ?,
+D: Augmentation,
+NL: ?,
+DK: ?,
+S: ?,
+FI: augmentaatio, harvennus.
+
+@c TODO: add definition.
+
+This is a placeholder for augmentation (wrt mensural notation).
+
+@seealso
+
+@ref{diminution}, @ref{mensural notation}.
+
+
@node autograph
@section autograph
@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
@node B
@section B
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
@seealso
@ref{C clef}, @ref{F clef}.
-@node bass clef
-@section bass clef
-
-ES: clave de fa en cuarta,
-I: chiave di basso,
-F: clef de fa quatrième ligne,
-D: Bassschlüssel,
-NL: bassleutel,
-DK: basnøgle,
-S: basklav,
-FI: bassoavain.
-
-A clef setting with middle C on the first top ledger line.
-
-@seealso
-
-@ref{F clef}.
-
-
@node bass
@section bass
@ref{strings}.
+@node bass clef
+@section bass clef
+
+ES: clave de fa en cuarta,
+I: chiave di basso,
+F: clef de fa quatrième ligne,
+D: Bassschlüssel,
+NL: bassleutel,
+DK: basnøgle,
+S: basklav,
+FI: bassoavain.
+
+A clef setting with middle C on the first top ledger line.
+
+@seealso
+
+@ref{F clef}.
+
+
@node beam
@section beam
@end lilypond
+@node beat repeat
+@section beat repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node bind
@section bind
@node bracket
@section bracket
-ES: ?,
+ES: corchete,
I: ?,
F: ?,
-D: ?,
+D: Klammer,
NL: ?,
DK: ?,
S: ?,
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
NL: brevis,
DK: brevis,
S: brevis,
-FI: brevis.
+FI: brevis, kaksoiskokonuotti.
-@ref{note value}, twice as long as a whole note. Mainly used in
-pre-1650 music. The shortest note value generally used in white
-mensural notation, hence the name, which originally meant "of short
-duration".
+Note value twice as long as a whole note. Mainly used in pre-1650 music.
+The shortest note value generally used in white mensural notation, hence the
+name, which originally meant @q{of short duration}.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
+@seealso
+
+@ref{mensural notation}, @ref{note value}.
+
@node C
@section C
-ES: do,
-I: do,
-F: ut,
-D: C, c,
-NL: c,
-DK: c,
-S: c,
-FI: C, c.
+@itemize
+@item ES: do
+@item I: do
+@item F: ut
+@item D: C, c
+@item NL: c
+@item DK: c
+@item S: c
+@item FI: C, c
+@end itemize
@seealso
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 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
} % End score
@end lilypond
-The @q{curl} of the G clef in centered on the line that represents the
+The @q{curl} of the G clef is centered on the line that represents the
pitch G.
In the same way, the bass or F clef indicates that the bottom five
@seealso
+@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
@node common time
@section common time
-4/4 time. The symbol, which resembles a capital letter C derives from
-mensural notation (q.v.).
+ES: compasillo,
+I: ?,
+F: ?,
+D: Vier-Viertel-Takt,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+4/4 time. The symbol, which resembles a capital letter C, derives from
+mensural notation.
@seealso
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
@node complement
@node compound meter
@section compound meter
-ES: ?,
+ES: compás compuesto, compás de subdivisión ternaria,
I: ?,
F: ?,
-D: ?,
+D: Dreiertakt,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: kolmijakoinen rytmi.
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
@node compound time
@section compound time
-ES: ?,
+ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
F: ?,
-D: ?,
+D: Dreiertakt, Wechseltakt,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-@ref{compound meter}
+@enumerate
+
+@item
+A meter that includes a triplet subdivision within the beat: see
+@ref{compound meter}.
+
+@item
+A time signature that additively combines two or more unequal meters, e.g.
+"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
+
+@lilypond[fragment,line-width=13.0\cm]
+#(define (compound-time grob one two three num)
+ (interpret-markup
+ (ly:grob-layout grob)
+ '(((baseline-skip . 2)
+ (word-space . 1.5)
+ (font-family . number)))
+ (markup
+ #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
+
+ \relative c' {
+ \key f \major
+ #(set-time-signature 8 8 '(3 2 3))
+ \override Staff.TimeSignature #'stencil
+ = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
+ #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
+ #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
+ \set Staff.beatGrouping = #'(3 2 3)
+
+ c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
+ }
+@end lilypond
+
+@end enumerate
@seealso
-@ref{meter}.
+@ref{compound meter}, @ref{meter}.
@node concert pitch
@section concert pitch
-ES: ?,
+ES: en Do, afinación de concierto,
I: ?,
F: ?,
-D: ?,
+D: Kammerton,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-FIXME: this is a placeholder
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@itemize
+
+@item Woodwinds
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@item Brass
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@item Strings
+@itemize
+@item violin
+@item viola
+@item violincello
+@end itemize
+
+@item piano
+
+@end itemize
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double-bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+
+@ref{transposing instrument}.
@node conjunct movement
@ref{alto}.
+@node copying music
+@section copying music
+
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance. Some of their conventions (e.g., the placement
+of note heads on stems) varied slightly from those of engravers. Some
+of their working methods were superior and could well be adopted by
+music typesetters.
+
+@c Copying music required more skill than engraving. Flagged for NPOV
+
+
@node counterpoint
@section counterpoint
@end lilypond
-@node counter tenor
-@section counter tenor
+@node countertenor
+@section countertenor
ES: contratenor,
I: controtenore,
@ref{contralto}.
-@node copying music
-@section copying music
-
-A music copyist did fast freehand scores and parts on preprinted staff
-lines for performance. Some of their conventions (e.g., the placement
-of note heads on stems) varied slightly from those of engravers. Some
-of their working methods were superior and could well be adopted by
-music typesetters. Copying music required more skill than engraving.
-
-
@node crescendo
@section crescendo
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-or the abbreviation @samp{cresc.}.
+(hairpin) or the abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
@node custos
@section custos
-ES: ?,
+ES: custos,
I: ?,
F: guidon,
D: Notenzeiger, Custos,
@node D
@section D
-ES: re,
-I: re,
-F: ré,
-D: D, d,
-NL: d,
-DK: d,
-S: d,
-FI: D, d.
+@itemize
+@item ES: re
+@item I: re
+@item F: ré
+@item D: D, d
+@item NL: d
+@item DK: d
+@item S: d
+@item FI: D, d
+@end itemize
@seealso
S: da capo,
FI: da capo, alusta.
-The term indicates repetition of the piece from the beginning to the
-end or to a certain place marked @emph{fine}. Usually abbreviated as
-@samp{D.C.}.
+Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
+the beginning to the end or to a certain place marked @emph{fine}.
@node dal segno
d1 |
g,4^\segno a b c |
b a g2_\markup{
- \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
+ \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
\bar "|."
}
@end lilypond
S: 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 @samp{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
-}@ref{semitone}s (S). Scales played on the white keys of a piano
-keybord are diatonic.
+A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
+Scales played on the white keys of a piano keybord are diatonic; and these
+scales are sometimes called, somewhat inaccurately, @q{church modes}).
-The church modes are used in gregorian chant and in pre-baroque early
-music but also to some extent in newer jazz music.
+These @q{modes} are used in Gregorian chant and in pre-baroque early music
+but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
>>
@end lilypond
-From the beginning of the 17th century the scales used in European
-compositional music are primarily the major and the minor scales. In
-the harmonic minor scale type an augmented second (A) occurs between
-the 6th and 7th tone.
-
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
<<
- \relative c' {
- c1 d
+ \relative c'' {
+ \override TextScript #'padding = #-4
+ b1^"~~ S" c d e^"~~ S" f g a b
+ }
+ \lyrics {
+ Locrian
+ }
+>>
+@end lilypond
+
+From the beginning of the 17th century the scales used in European
+compositional music are primarily the major and the minor scales. In
+the harmonic minor scale type an augmented second (A) occurs between
+the 6th and 7th tone.
+
+@lilypond[fragment,notime,ragged-right]
+\set Score.automaticBars = ##f
+<<
+ \relative c' {
+ c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
- "ancient minor"
+ "Ancient minor"
}
>>
@end lilypond
\relative c'' {
a1
\override TextScript #'padding = #-4
- b^"~~ S" c d e fis gis^"~~ S"
+ b^"~~ S" c d e fis gis^"~~ S" a
+ }
+ \lyrics {
+ "Melodic minor ascending"
+ }
+>>
+@end lilypond
+
+@lilypond[fragment,notime,line-width=13.0\cm]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \relative c'' {
+ a'1
+ \override TextScript #'padding = #-4
a g! f!^"~~ S" e d c^"~~ S" b a
}
\lyrics {
- "Melodic minor"
+ "Melodic minor descending"
}
>>
@end lilypond
+@node didymic comma
+@section didymic comma
+
+@seealso
+
+@ref{syntonic comma}.
+
+
@node diminished interval
@section diminished interval
@ref{decrescendo}.
+@node diminution
+@section diminution
+
+ES: ?,
+I: ?,
+F: ?,
+D: Diminution, Verkleinerung,
+NL: ?,
+DK: ?,
+S: ?,
+FI: diminuutio, tihennys.
+
+@c TODO: add definition
+
+This is a placeholder for diminution (wrt mensural notation).
+
+@seealso
+
+@ref{augmentation}, @ref{mensural notation}.
+
+
@node direct
@section direct
@ref{harmony}.
+@node divisio
+@section divisio
+
+ES: ?,
+I: ?,
+F: ?,
+D: Divisio,
+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
+
+ES: dominante,
+I: dominante,
+F: dominante,
+D: Dominante,
+NL: dominant,
+DK: dominant,
+S: dominant,
+FI: dominantti, huippusointu.
+
+The fifth @ref{scale degree} in @ref{functional harmony}.
+
+
@node dominant ninth chord
@section dominant ninth chord
@ref{chord}, @ref{functional harmony}.
-@node dominant
-@section dominant
-
-ES: dominante,
-I: dominante,
-F: dominante,
-D: Dominante,
-NL: dominant,
-DK: dominant,
-S: dominant,
-FI: dominantti, huippusointu.
-
-The fifth @ref{scale degree} in @ref{functional harmony}.
-
-
@node dorian mode
@section dorian mode
ES: ?,
I: ?,
F: ?,
-D: ?,
+D: Doppeltakt, Wechseltakt,
NL: ?,
DK: ?,
S: ?,
@ref{note value}.
-@node dydimic comma
-@section dydimic comma
-
-@seealso
-
-@ref{syntonic comma}.
-
-
@node dynamics
@section dynamics
-ES: ?,
+ES: dinámica, matices,
I: ?,
F: nuances,
D: Dynamik, Lautstärke,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: dynamiikka, voimakkuusvaihtelut.
The aspect of music relating to degrees of loudness, or changes from
one degree to another. The terms, abbreviations, and symbols used to
@node E
@section E
-ES: mi,
-I: mi,
-F: mi,
-D: E, e,
-NL: e,
-DK: e,
-S: e,
-FI: E, e.
+@itemize
+@item ES: mi
+@item I: mi
+@item F: mi
+@item D: E, e
+@item NL: e
+@item DK: e
+@item S: e
+@item FI: E, e
+@end itemize
@seealso
@node eighth note
@section eighth note
-ES: corchea,
-I: croma,
-F: croche,
-UK: quaver,
-D: Achtel, Achtelnote,
-NL: achtste noot,
-DK: ottendedelsnode,
-S: åttondelsnot,
-FI: kahdeksasosanuotti.
+@itemize
+@item UK: quaver
+@item ES: corchea
+@item I: croma
+@item F: croche
+@item D: Achtel, Achtelnote
+@item NL: achtste noot
+@item DK: ottendedelsnode
+@item S: åttondelsnot
+@item FI: kahdeksasosanuotti
+@end itemize
@seealso
@node eighth rest
@section eighth rest
-ES: silencio de corchea,
-I: pausa di croma,
-F: demi-soupir,
-UK: quaver rest,
-D: Achtelpause,
-NL: achtste rust,
-DK: ottendedelspause,
-S: åttonddelspaus,
-FI: kahdeksasosatauko.
+@itemize
+@item UK: quaver rest
+@item ES: silencio de corchea
+@item I: pausa di croma
+@item F: demi-soupir
+@item D: Achtelpause
+@item NL: achtste rust
+@item DK: ottendedelspause
+@item S: åttonddelspaus
+@item FI: kahdeksasosatauko
+@end itemize
@seealso
@c TODO: add languages
-ES: ?,
+ES: sinalefa,
I: ?,
F: ?,
-D: ?,
+D: Elision, Auslassung,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-@c TODO definition -- referenced from lyric tie
+More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
+smear together}].
+
+The singing of several syllables on a single note. Elision may be indicated
+by a lyric tie, which is looks like (and serves the same function) as a
+musical tie.
+
+@seealso
+
+@ref{lyric tie}.
@node embellishment
@node engraving
@section engraving
-ES: grabar,
+ES: grabado,
I: incisione,
F: gravure,
D: Notenstich, Notendruck
@node extender line
@section extender line
-ES: línea de extención [de melisma, de bajo cifrado, etc.],
+ES: línea de extensión [de melisma, de bajo cifrado, etc.],
I: ?,
F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
D: Fülllinie,
Dictionary}.
@item
-In figured (or thorough) bass to indicate that:
-
- @itemize
+In figured bass to indicate that:
- @item The extended note should be held through a change in
- harmony, when applied to one figure --OR--
+@itemize
- @item The chord thus represented should be held above a moving
- bass line, when applied to more than one figure.
+@item The extended note should be held through a change in harmony, when applied
+to one figure --OR--
+@item The chord thus represented should be held above a moving bass line, when
+applied to more than one figure.
+@item These uses were not completely standardized, and some composers used a
+single extender line to indicate the latter case.
- @item These uses were not completely standardized, and some
- composers used a single extender line to indicate the
- latter case.
+@end itemize
- @end itemize
+@item
+In string music to indicate that all notes in the passage thus indicated should
+be played on the same string. On the violin, for example, a series of notes to
+be played on the G string would be indicated @samp{sul G}, another series to be
+played on the D string would be indicated @samp{sul D}, and so on.
@item
-In string music to indicate that all notes in the passage thus
-indicated should be played on the same string. On the violin, for
-example, a series of notes to be played on the G string would be
-indicated @samp{sul G}, another series to be played on the D string
-would be indicated @samp{sul D}, and so on.
+With an octave mark to indicate that a passage is to be played higher or lower
+by the given number of octaves.
@end itemize
@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
+marking}.
@node F
@section F
-ES: fa,
-I: fa,
-F: fa,
-D: F, f,
-NL: f,
-DK: f,
-S: f,
-FI: F, f.
+@itemize
+@item ES: fa
+@item I: fa
+@item F: fa
+@item D: F, f
+@item NL: f
+@item DK: f
+@item S: f
+@item FI: F, f
+@end itemize
@seealso
@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
-ES: ?,
+ES: barra punteada,
I: ?,
F: liens de croches en soufflet,
D: gespreizter Balken,
@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.
+
+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.
-@ref{thorough bass}.
+@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: Flageolett,
+NL: ?,
+DK: ?,
+S: ?,
+FI: flageoletti.
+
+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
@node Frenched score
@section Frenched score
-ES: ?,
+ES: partitura a la francesa,
I: ?,
F: ?,
-D: ?,
+D: Partitur (ohne leere Takte),
NL: ?,
DK: ?,
S: ?,
@node Frenched staff
@section Frenched staff
-ES: ?,
+ES: pentagrama a la francesa,
I: ?,
F: ?,
-D: ?,
+D: Notensystem (ohne leere Takte),
NL: ?,
DK: ?,
S: ?,
@node Frenched staves
@section Frenched staves
-ES: ?,
+ES: pentagramas a la francesa,
I: ?,
F: ?,
-D: ?,
+D: Notensysteme (ohne leere Takte),
NL: ?,
DK: ?,
S: ?,
@node G
@section G
-ES: sol,
-I: sol,
-F: sol,
-D: G, g,
-NL: g,
-DK: g,
-S: g,
-FI: G, g.
+@itemize
+@item ES: sol
+@item I: sol
+@item F: sol
+@item D: G, g
+@item NL: g
+@item DK: g
+@item S: g
+@item FI: G, g
+@end itemize
@seealso
@node H
@section H
-ES: si,
-I: si,
-F: si,
-D: H, h,
-NL: b,
-DK: h,
-S: h,
-FI: H, h.
+@itemize
+@item ES: si
+@item I: si
+@item F: si
+@item D: H, h
+@item NL: b
+@item DK: h
+@item S: h
+@item FI: H, h
+@end itemize
Letter name used for @samp{B natural} in German and Scandinavian
usage. In the standard usage of these countries, @samp{B} means
@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.
+
+@seealso
+
+@ref{crescendo}, @ref{decrescendo}.
@node half note
@section half note
+UK: minim,
ES: blanca,
I: minima,
F: blanche,
-UK: minim,
D: Halbe, halbe Note,
NL: halve noot,
DK: halvnode,
@node half rest
@section half rest
+UK: minim rest,
ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
-UK: minim rest,
D: halbe Pause,
NL: halve, rust,
DK: halvnodespause,
@end lilypond
+@node harmonics
+@section harmonics
+
+ES: sonidos del flautín,
+I: suoni flautati,
+F: flageolet, sons harmoniques,
+D: Flageolett-Töne,
+NL: ?,
+DK: ?,
+S: ?,
+FI: yläsävelsarjan flageoletti-ääni.
+
+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
@node hemiola
@section hemiola
-ES: ?,
+ES: hemiolia,
I: ?,
F: ?,
-D: ?,
+D: Hemiole,
NL: ?,
DK: ?,
-S: ?,
+S: hemiol,
FI: ?.
[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
hemiola is most frequently as a special effect (or @emph{affect}) at
cadences.
-@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
-@c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
+For example, this phrase in 6/4 time
-@seealso
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | d2 c d | c1. \bar "||" }
+@end lilypond
-@ref{mensural notation}, @ref{meter}
+may be thought of having alternating time signatures
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
+@end lilypond
-@node homophony
-@section homophony
+and is therefore a polymeter (second definition) of considerable antiquity.
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}, @ref{polymeter}.
+
+
+@node homophony
+@section homophony
ES: homofonía,
I: omofonia,
@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: Umkehrung (Akkord),
+NL: ?,
+DK: ?,
+S: ?,
+FI: (kolmisoinnun) käännös.
+
+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 @strong
+@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
S: tonart,
FI: tonaliteetti.
-According to the 12@w{ }tones of the @ref{chromatic scale}
-there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
+According to the 12@w{ }tones of the @ref{chromatic scale} there are
+12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@seealso
@node laissez vibrer
@section laissez vibrer
-ES: ?,
+ES: dejar vibrar,
I: ?,
F: laissez vibrer,
-D: ?,
+D: Laissez vibrer, klingen lassen,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-[From French] "Let vibrate". Most frequently associated with harp
+[From French, @q{Let vibrate}]. Most frequently associated with harp
parts. Marked @samp{l.v.} in the score.
S: largo,
FI: largo, hitaasti, leveästi.
-Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+Very slow in tempo, usually combined with great expressiveness.
+@emph{Larghetto} is less slow than largo.
@node leading note
@ref{ledger line}.
-@node lilypond
-@section lilypond
-
-ES: estanque de nenúfares,
-I: stagno del giglio,
-F: étang de lis,
-UK: lily pond,
-D: Seerosenteich,
-NL: le@-lie@-vij@-ver,
-DK: liliedam,
-S: liljedamm,
-FI: liljalampi.
-
-A pond with lilies floating in it, also the name of a music typesetter.
-
-
@node ligature
@section ligature
A ligature is a coherent graphical symbol that represents at least two
distinct notes. Ligatures originally appeared in the manuscripts of
-Gregorian chant notation roughly since the 9th century to denote
-ascending or descending sequences of notes. In early notation,
-ligatures were used for monophonic tunes (Gregorian chant) and very
-soon denoted also the way of performance in the sense of articulation.
-With the invention of the metric system of the white mensural
-notation, the need for ligatures to denote such patterns disappeared.
+Gregorian chant notation roughly since the 9th century to denote ascending
+or descending sequences of notes. In early notation, ligatures were used
+for monophonic tunes (Gregorian chant) and very soon denoted also the way of
+performance in the sense of articulation. With the invention of the metric
+system of the white mensural notation, the need for ligatures to denote such
+patterns disappeared.
+
+@seealso
+
+@ref{mensural notation}.
+
+
+@node lilypond
+@section lilypond
+
+UK: lily pond,
+ES: estanque de nenúfares,
+I: stagno del giglio,
+F: étang de nénuphars, étang de nymphéas,
+D: Seerosenteich,
+NL: le@-lie@-vij@-ver,
+DK: liliedam,
+S: liljedamm,
+FI: liljalampi.
+
+A pond with lilies floating in it.
+Also, the name of a music typesetting program.
@node line
@ref{staff}.
+@node loco
+@section loco
+
+ES: en su lugar,
+I: loco,
+F: ?,
+D: loco,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{place}]. Instruction to play the following passage at the
+written pitch. Cancels octave mark (q.v.).
+
+@seealso
+
+@ref{octave mark}, @ref{octave marking}.
+
+
@node long appoggiatura
@section long appoggiatura
@ref{note value}.
-@node lyrics
-@section lyrics
-
-ES: letra (de la canción),
-I: ?,
-F: paroles,
-D: Liedtext, Gesangtext,
-NL: liedtekst,
-DK: ?,
-S: ?,
-FI: sanoitus.
-
-
@node lyric tie
@section lyric tie
-ES: ?,
+ES: ligadura de letra,
I: ?,
F: ?,
-D: Textbindung,
+D: Bindestrich,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-@c TODO: add languages
@seealso
@ref{elision}.
-@node major interval
-@section major interval
-
-ES: intervalo mayor,
-I: intervallo maggiore,
-F: intervalle majeur,
-D: großes Intervall,
-NL: groot interval,
-DK: stort interval,
-S: stort intervall,
-FI: suuri intervalli.
-
-@seealso
+@node lyrics
+@section lyrics
-@ref{interval}.
+ES: letra (de la canción),
+I: ?,
+F: paroles,
+D: Liedtext, Gesangtext,
+NL: liedtekst,
+DK: ?,
+S: ?,
+FI: sanoitus.
@node major
@ref{diatonic scale}.
+@node major interval
+@section major interval
+
+ES: intervalo mayor,
+I: intervallo maggiore,
+F: intervalle majeur,
+D: großes Intervall,
+NL: groot interval,
+DK: stort interval,
+S: stort intervall,
+FI: suuri intervalli.
+
+@seealso
+
+@ref{interval}.
+
+
@node meantone temperament
@section meantone temperament
@ref{meter}.
+@node measure repeat
+@section measure repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node mediant
@section mediant
@section melisma
ES: melisma,
+I: ?,
F: mélisme,
D: Melisma,
NL: melisma,
+DK: ?,
+S: ?,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural, from Greek: melismata) is a group of notes or tones
@node melisma line
@section melisma line
-@c TODO: add languages
+ES: línea de melisma,
+I: ?,
+F: ?,
+D: Melismastrich,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
@seealso
@node mensural notation
@section mensural notation
-@c FIXME: add languages
-
-ES: ?,
+ES: notación mensural,
I: ?,
F: ?,
-D: ?,
+D: Mensuralnotation,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: mensuraalinuottikirjoitus.
+
+A system of duration notation whose principles were first established in the
+mid-13th century, and that (with various changes) remained in use until about
+1600. As such, it is the basis for the notation of rhythms in Western musical
+notation.
-@c TODO: add definition (inc. info on proportional 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 FIXME: add cross-references.
+Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
+added several note values (the minim, semiminim and fusa) and extended Franco's
+principles to govern the relationship between these values. They also put the
+duple division of note values on an equal footing with the earlier (preferred)
+triple division.
+
+TODO: continue description of French and Italian black notation, and the
+relationship betwixt them.
+
+@b{White or void mensural notation}
+
+In the 15th century, hollow (or void) notes began to substitute for the earlier
+solid black ones, which were then free to assume the function of red (or
+colored) notes in the earlier notation. ...
+
+TODO: add to definition (including summary info on proportional notation)
+
+@seealso
+
+@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
+@c TODO: more cross-references?
@node meter
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.
-
-@end itemize
+ @item simple: groups of two.
-Other than quadruple and sextuple meters, these other recurrence
-patterns were not frequently used prior to the 20th Century.
+ @itemize
-In addition to classification by @emph{tactus}, meters can be further
-classified by how the tactus is subdivided: in two, the meter is
-@emph{simple}; in three, the meter is @emph{compound}.
+ @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
-@itemize
+ @end itemize
-@item Simple meter
+ @item compound: groups of three.
-@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:
aes4 bes8 aes ges4 aes f8 es \bar "||"}
@end lilypond
-Compound duple meter:
+Compound duple meter (unknown):
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 9/8
- \key f \major
- r8 g( a) b( d c) c( e d) |
- d( c fis) g( d b) g( a b)
+ \key g \major
+ r8 g'( a) b( d c) c( e d) |
+ d( g fis) g( d b) g( a b)
\bar "||"}
@end lilypond
\relative c' {
\time 12/8
\key e \major
- b8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
e4 e8 fis( gis) a b4.~ b4 b8
\bar "||"}
@end lilypond
+@b{@q{Monometer} vs Polymeter}
+
+TODO: add information from discussion on lilypond-user related to polymeter.
+
@seealso
-@ref{hemiola}, @ref{time signature}
+@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
@node metronome
Device indicating the exact tempo of a piece.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a "metronome". The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+
@seealso
-@ref{metronomic indication}.
+@ref{metronome mark}.
-@node metronomic indication
-@section metronomic indication
+@node metronome mark
+@section metronome mark
ES: indicación metronómica,
I: indicazione metronomica,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}
+
+
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+
+@ref{metronome mark}
@node mezzo-soprano
@ref{interval}.
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+
+@ref{diatonic scale}.
+
+
@node mode
@section mode
@ref{longa}, @ref{breve}.
-@node mixolydian mode
-@section mixolydian mode
-
-@seealso
-
-@ref{diatonic scale}.
-
-
@node natural
@section natural
@end lilypond
-@node octave sign
-@section octave sign
+@node octavation
+@section octavation
@seealso
-@ref{G clef}, @ref{F clef}.
+@ref{octave marking}.
@node octave
S: oktav,
FI: oktaavi.
+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octave marking.
+
+@seealso
+
+@ref{interval}, @ref{octave marking}.
+
+
+@node octave mark
+@section octave mark
+
+ES: indicación de octava,
+I: ?,
+F: ?,
+D: Oktavierungszeichen,
+NL: ?,
+DK: ?,
+S: ?,
+FI: oktaavamerkki.
+
+The phrase, abbreviation, or other mark used (with or without an extender line
+or bracket) to indicate that the music is to be played in a different octave:
+
+@itemize
+
+@item @samp{15ma}: play two octaves higher
+@item @samp{8va}: play one octave higher
+@item @samp{8vb}: play one octave lower
+@item @samp{8va} (written below the passage): same as @samp{8vb}
+@item @samp{15vb}: play two octaves lower
+@item @samp{15va} (written below the passage): same as @samp{15vb}
+
+@end itemize
+
+For longer passages, it may be more practical to mark the octave change at the
+beginning with a phrase (see the list below for examples), but without a bracket
+or extender line. Then, when the music returns to the written pitch, the octave
+change is cancelled with the word @emph{loco} (q.v.).
+
+To parallel the list above:
+
+@itemize
+
+@item @samp{15ma}: @emph{alla quindicesima (alta)}
+@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
+@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
+@item @samp{15vb}: @emph{alla quindicesima (bassa)}
+
+@end itemize
+
+In the phrases above, @emph{quindicesima} is sometimes replaced with
+@emph{quindecima}, which is Latin.
+
+Finally, the music on an entire staff can be marked to be played in a different
+octave by putting an 8 or 15 above or below the clef at the beginning. This
+octave mark can be applied to any clef, but it is most frequently used with the
+G and F clefs.
+
+@seealso
+
+@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
+
+
+@node octave marking
+@section octave marking
+
+ES: a la octava,
+I: all'ottava,
+F: octaviation,
+D: Oktavierung,
+NL: octaveren,
+DK: oktavering,
+S: oktavering,
+FI: oktaavamerkintä.
+
+The practice of marking music -- an entire staff, a passage, etc. -- to indicate
+that it is to be played in a different octave. If applied to the clef at the
+beginning of the staff, all music on that staff is to played at the indicated
+octave.
+
+For a list of the specific marks used, see @ref{octave mark}.
+
+@seealso
+
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
+
+
+@node octave sign
+@section octave sign
+
@seealso
-@ref{ottava}, @ref{interval}.
+@ref{octave mark}.
@node ornament
of the music, for example for small hands.
-@node ottava
-@section ottava
-
-@c TODO: translations
-
-ES: ?,
-I: ottava,
-F: octave,
-DE: Oktavierung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
-
-[From Italian] The interval of an octave, abbreviated 8va.
-
-@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
-@emph{8va} written above a passage indicates that it should be played
-an octave higher than written. @emph{Ottava bassa}, @emph{ottava
-sotto}, or @emph{8va} written below a passage indicates that it should
-be played an octave lower than written.
-
-@seealso
-
-@ref{interval}.
-
-
@node part
@section part
@ref{flag}.
+@node percent repeat
+@section percent repeat
+
+LilyPond-specific term to indicate the repetition of a musical expression on a
+single staff, as opposed to the more usual definition of repeat, which affects
+all parts. The musical expression can be anything from a single note or note
+pattern to one or more measures. There are other names for this symbol:
+
+@itemize
+
+@item simile mark
+@item slash mark, or slash repeat
+@item beat repeat
+@item measure (or multi-measure) repeat
+
+@end itemize
+
+@lilypond[fragment,line-width=13.0\cm]
+\time 4/4
+\relative c' {
+ \repeat percent 4 { c4_"Beat (or slash) repeat" }
+ \repeat percent 2 { c4 e g b_"Measure repeat" }
+ \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
+}
+@end lilypond
+
+@seealso
+
+@ref{repeat},
+@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
+Vermont Music Dictionary}.
+
+
@node percussion
@section percussion
the melody. Phrasing may be indicated by a @ref{slur}.
+@node piano
+@section piano
+
+ES: piano,
+I: piano,
+F: piano,
+D: piano, leise,
+NL: piano,
+DK: piano,
+S: piano,
+FI, piano, hiljaa.
+
+@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
+@emph{mezzo piano} (@b{mp}) medium soft.
+
+
@node pickup
@section pickup
@ref{anacrusis}.
-@node piano
-@section piano
-
-ES: piano,
-I: piano,
-F: piano,
-D: piano, leise,
-NL: piano,
-DK: piano,
-S: piano,
-FI, piano, hiljaa.
-
-@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
-@emph{mezzo piano} (@b{mp}) medium soft.
-
-
@node pitch
@section pitch
S: tonhöjd,
FI: sävelkorkeus.
+@enumerate
+
+@item The perceived quality of a sound that is primarily a function of its
+fundamental frequency.
+
+@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
+
+@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
+association of a particular frequency with a particular pitch name, e.g., c' =
+256 Hz.
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}.
+
@node pizzicato
@section pizzicato
S: pizzicato,
FI: pizzicato, näppäillen.
-Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
-stringed instruments.)
+A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
+the strings.
@node polymeter
@section polymeter
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
-D: ?,
+D: Polymetrik,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: polymetriikka.
+
+@itemize
+
+@item The simultaneous use of two or more meters, in two or more parts.
-The simultaneous use of two or more meters. The term is sometimes
-applied to the @emph{successive} use of different meters in one or
-more parts.
+@item The @emph{successive} use of different meters in one or more parts.
+
+@end itemize
@seealso
@node polymetric
@section polymetric
-ES: ?,
+ES: polimétrico,
I: ?,
F: ?,
-D: ?,
+D: polymetrisch,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: polymetrinen.
-Using two or more metric frameworks simultaneously or in regular
-alternation
+Using two or more metric frameworks simultaneously or in alternation.
@seealso
@node polymetric time signature
@section polymetric time signature
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
-D: ?,
+D: polymetrische Taktart,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: polymetrinen tahtiosoitus.
-Time signature indicating regularly alternating polymetric time.
+A time signature that indicates regularly alternating polymetric time.
@seealso
@section proportion
ES: proporción,
-I: ?,
+I: proprozione (?),
F: proportion,
-D: ?,
+D: Proportion, proportio,
NL: ?,
DK: ?,
S: ?,
FI: ?.
-[From Latin @emph{proportio}] In mensural notation, a ratio that
-expresses the relationship between the note values that follow with
-those that precede; or between the note values of a passage and an
-assumed @q{normal} relationship of note values to the metrical pulse.
+[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
+relationship between the note values that follow with those that precede; or
+between the note values of a passage and the @q{normal} relationship of note
+values to the metrical pulse.
@c TODO: add an example or two. O => 4/3, and its modern equivalent
S: pytagoreiskt komma,
FI: pytagorinen komma.
-A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
-but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24 @ref{cent}s higher than the@w{ }C obtained by adding
-7@w{ }octaves. The difference between those two pitches is called the
-Pythagorean comma.
+Originally, the interval by which the sum of six whole tones exceeds the octave
+-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
+
+Modern acoustical theory defines it as the interval by which twelve fifths
+exceed seven octaves. To put it another way: A sequence of fifths that starts
+on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
+than the C obtained by adding 7 octaves. The difference between those two
+pitches is the Pythagorean comma.
+
+@seealso
+
+@ref{cent}, @ref{temperament}.
@node quadruplet
@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
-ES: negra,
-I: semiminima, nera,
-F: noire,
-UK: crotchet,
-D: Viertel, Viertelnote,
-NL: kwartnoot,
-DK: fjerdedelsnode,
-S: fjärdedelsnot,
-FI: neljännesosanuotti.
+@itemize
+@item UK: crotchet
+@item ES: negra
+@item I: semiminima, nera
+@item F: noire
+@item D: Viertel, Viertelnote
+@item NL: kwartnoot
+@item DK: fjerdedelsnode
+@item S: fjärdedelsnot
+@item FI: neljäsosanuotti
+@end itemize
@seealso
@node quarter rest
@section quarter rest
-ES: silencio de negra,
-I: pausa di semiminima,
-F: soupir,
-UK: crotchet rest,
-D: Viertelpause,
-NL: kwart rust,
-DK:@w{ }fjerdedelspause,
-S: fjärdedelspaus,
-FI: neljännesosatauko.
+@itemize
+@item UK: crotchet rest
+@item ES: silencio de negra
+@item I: pausa di semiminima
+@item F: soupir
+@item D: Viertelpause
+@item NL: kwartrust
+@item DK: fjerdedelspause
+@item S: fjärdedelspaus
+@item FI: neljäsosatauko
+@end itemize
@seealso
@ref{note value}.
+@node quarter tone
+@section quarter tone
+
+ES: cuarto de tonno,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: neljännes sävelaskel.
+
+An interval equal to half a semitone.
+
+@seealso
+
+@ref{interval}
+
+
@node quintuplet
@section quintuplet
@node relative key
@section relative key
-ES: relativo,
+ES: tono relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
@node scordatura
@section scordatura
-ES: ?,
+ES: encordado,
I: scordatura,
F: à cordes ravallées,
D: Skordatur,
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
S: halvton,
FI: puolisävel.
-The @ref{interval} of a minor second. The (usually) smallest interval
-in European composed music. The interval between two neighbouring
-tones on the piano keyboard -- including black and white keys -- is a
-semitone. An octave may be divided into 12@w{ }semitones.
-@ref{interval}, @ref{chromatic scale}.
+The interval of a minor second. The (usually) smallest interval in European
+composed music. The interval between two neighbouring tones on the piano
+keyboard -- including black and white keys -- is a semitone. An octave may
+be divided into 12@w{ }semitones.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
+@seealso
+
+@ref{interval}, @ref{chromatic scale}.
+
@node seventh
@section seventh
@ref{accidental}.
+@node simile
+@section simile
+
+ES: simile,
+I: simile,
+F: ?,
+D: simile, gleichartig,
+NL: ?,
+DK: ?,
+S: ?,
+FI: samaan tapaan.
+
+[From It, @q{in the same manner}] Performance direction: the music thus marked
+is to be played in the same manner (i.e. with the same articulations, dynamics,
+etc.) as the music that precedes it.
+
+@seealso
+
+TODO: Where else could I refer the reader?
+
+
@node simple meter
@section simple meter
-ES: ?,
+ES: compás simple, compás de subdivisión binaria,
I: ?,
F: ?,
-UK: ?,
-D: ?,
+D: Zweiertakt,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: tasajakoinen rytmi.
A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
@node sixteenth note
@section sixteenth note
-ES: semicorchea,
-I: semicroma,
-F: double croche,
-UK: semiquaver,
-D: Sechzehntel, Sechzehntelnote,
-NL: zes@-ti@-ende noot,
-DK: sekstendedelsnode,
-S: sextondelsnot,
-FI: kuudestoistaosanuotti.
+@itemize
+@item UK: semiquaver
+@item ES: semicorchea
+@item I: semicroma
+@item F: double croche
+@item D: Sechzehntel, Sechzehntelnote
+@item NL: zes@-ti@-ende noot
+@item DK: sekstendedelsnode
+@item S: sextondelsnot
+@item FI: kuudestoistaosanuotti
+@end itemize
@seealso
@node sixteenth rest
@section sixteenth rest
-ES: silencio de semicorchea,
-I: pausa di semicroma,
-F: quart de soupir,
-UK: semiquaver rest,
-D: Sechzehntelpause,
-NL: zestiende rust,
-DK: sekstendedelspause,
-S: sextondelspaus,
-FI: kuudesosatauko.
+@itemize
+@item UK: semiquaver rest
+@item ES: silencio de semicorchea
+@item I: pausa di semicroma
+@item F: quart de soupir
+@item D: Sechzehntelpause
+@item NL: zestiende rust
+@item DK: sekstendedelspause
+@item S: sextondelspaus
+@item FI: kuudestoistaosatauko
+@end itemize
@seealso
@node sixty-fourth note
@section sixty-fourth note
-ES: semifusa,
-I: semibiscroma,
-F: quadruple croche,
-UK: hemidemisemiquaver,
-D: Vierundsechzigstel, Vierundsechzigstelnote,
-NL: vierenzestigste noot,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofjärdedelsnot,
-FI: kuudeskymmenesneljäsosanuotti.
+@itemize
+@item UK: hemidemisemiquaver
+@item ES: semifusa
+@item I: semibiscroma
+@item F: quadruple croche
+@item D: Vierundsechzigstel, Vierundsechzigstelnote
+@item NL: vierenzestigste noot
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
+@item S: sextiofjärdedelsnot
+@item FI: kuudeskymmenesneljäsosanuotti
+@end itemize
@seealso
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencio de semifusa,
-I: pausa di semibiscroma,
-F: seizième de soupir,
-UK: hemidemisemiquaver rest,
-D: Vierundsechzigstelpause,
-NL: vierenzestigste rust,
-DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
-S: sextiofjärdedelspaus,
-FI: kuudeskymmenesneljäsosatauko.
+@itemize
+@item UK: hemidemisemiquaver rest
+@item ES: silencio de semifusa
+@item I: pausa di semibiscroma
+@item F: seizième de soupir
+@item D: Vierundsechzigstelpause
+@item NL: vierenzestigste rust
+@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
+@item S: sextiofjärdedelspaus
+@item FI: kuudeskymmenesneljäsosatauko
+@end itemize
@seealso
@ref{note value}.
+@node slash repeat
+@section slash repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node slur
@section slur
@end lilypond
+@node stringendo
+@section stringendo
+
+ES: ?,
+I: stringendo,
+F: ?,
+D: Stringendo, steigernd,
+NL: ?,
+DK: ?,
+S: ?,
+FI: stringendo, kiihtyen.
+
+[It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
+climax.
+
+@seealso
+
+@ref{accelerando}.
+
+
@node strings
@section strings
@node sul G
@section sul G
-ES: sobre la G,
+ES: sobre la cuerda de Sol,
I: sul g,
F: sur la G,
D: auf G, auf der G-Saite,
@node syntonic comma
@section syntonic comma
-ES: coma sintónica,
+ES: coma sintónica, coma de Dídimo,
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
FI: syntoninen komma, terssien taajuusero luonnollisessa ja
Pytagorisessa viritysjärjestelmässä.
-Difference between the natural third and the third obtained by
-Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
+Named after Ptolemy's syntonic diatonic genus. Originally, the difference
+by which the ditone exceeds the pure major third obtained by Pythagorean
+tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
+
+Modern acoustical theory defines it as the interval by which four fifths exceed
+the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
+
+This comma is also known as the comma of Didymus, or didymic comma.
+
+@seealso
+
+@ref{Pythagorean comma}
@node system
S: tenor,
FI: tenori, korkea miesääni.
-The highest male voice (apart from @ref{counter tenor}).
+The highest male voice (apart from @ref{countertenor}).
@node tenth
@node thirty-second note
@section thirty-second note
-ES: fusa,
-I: biscroma,
-F: triple croche,
-UK: demisemiquaver,
-D: Zweiunddreissigstel, Zweiunddreissigstelnote,
-NL: twee-endertig@-ste noot,
-DK: toogtredivtedelsnode,
-S: trettiotvåondelsnot,
-FI: kolmanneskymmeneskahdesosanuotti.
+@itemize
+@item UK: demisemiquaver
+@item ES: fusa
+@item I: biscroma
+@item F: triple croche
+@item D: Zweiunddreißigstel, Zweiunddreißigstelnote
+@item NL: twee-endertig@-ste (32e) noot
+@item DK: toogtredivtedelsnode
+@item S: trettiotvåondelsnot
+@item FI: kolmaskymmeneskahdesosanuotti
+@end itemize
@seealso
@node thirty-second rest
@section thirty-second rest
-ES: silencio de fusa,
-I: pausa di biscroma,
-F: huitième de soupir,
-UK: demisemiquaver rest,
-D: Zweiunddreissigstel@-pause,
-NL: 32e rust,
-DK: toogtredivtedelspause,
-S: trettiotvåondelspaus,
-FI: kolmanneskymmeneskahdesosatauko.
+@itemize
+@item UK: demisemiquaver rest
+@item ES: silencio de fusa
+@item I: pausa di biscroma
+@item F: huitième de soupir
+@item D: Zweiunddreissigstel@-pause
+@item NL: twee-endertig@-ste (32e) rust
+@item DK: toogtredivtedelspause
+@item S: trettiotvåondelspaus
+@item FI: kolmaskymmeneskahdesosatauko
+@end itemize
@seealso
@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.
-
-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.
+@seealso
-@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
@section tie
-ES: ligadura de prolongación,
+ES: ligadura de prolongación, ligadura de unión,
I: legatura (di valore),
F: liaison,
D: Haltebogen, Bindebogen,
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
-Music from the 20th century may be based on atonal sounds.
+@c Music from the 20th century may be based on atonal sounds. Meh, not so much
@node tonic
@node transposing instrument
@section transposing instrument
-ES: ?,
+ES: instrumento transpositor,
I: ?,
F: ?,
-D: ?,
+D: transponierende Instrumente,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: transponoivat soitimet.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
-FIXME: this is a placeholder
+@itemize
+
+@item English horn (in F)
+
+@item Alto flute (in G)
+
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
@node transposition
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantnøgle,
+DK: diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
S: tremolo,
FI: tremolo.
-On stringed instruments (@ref{strings}) the quick reiteration of the
-same tone, produced by a rapid up-and-down movement of the bow (a).
-The term is also used for the rapid alternation (b) between two notes
-of a @ref{chord}, usually in the distance of a third (@ref{interval}).
+On stringed instruments:
+
+@enumerate
+
+@item The quick reiteration of the same tone, produced by a rapid
+up-and-down movement of the bow.
+
+@item Or, the rapid alternation between two notes of a @ref{chord}, usually
+in the distance of a third (@ref{interval}).
+
+@end enumerate
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
}
@end lilypond
+@seealso
+
+@ref{strings}
+
@node triad
@section triad
@node tuning fork
@section tuning fork
-ES: diapasón,
+ES: diapasón, horquilla de afinación,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
S: stämgaffel,
FI: viritysavain.
-A two-pronged piece of steel used to indicate absolute pitch. Tuning
-forks give the international pitch for the tone @emph{a} (440
-vibrations per second).
+A two-pronged piece of steel used to indicate an absolute pitch, usually for
+@emph{A} above middle C (440 cps/Hz), which is the international tuning
+standard. Tuning forks for other pitches are available.
+
+@seealso
+
+@ref{middle C}.
@node tuplet
@node turn
@section turn
-ES: grupeto,
+ES: grupeto (circular),
I: gruppetto,
F: grupetto,
D: Doppelschlag,
@itemize
-@item Human voices: @ref{soprano}, @ref{mezzo-soprano},
-@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
+@item Human voices:
+
+@itemize
+
+@item @ref{soprano}
+
+@item @ref{mezzo-soprano}
+
+@item @ref{contralto}
+
+@item @ref{tenor}
+
+@item @ref{baritone}
+
+@item @ref{bass}
+
+@end itemize
@item A melodic layer or part of a polyphonic composition.
@end itemize
+@node volta
+@section volta
+
+ES: vez, primera y segunda vez,
+I: volta,
+F: ?,
+D: Volta, Wiederholungsklammer,
+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
@node whole note
@section whole note
-ES: redonda,
-I: semibreve,
-F: ronde,
-UK: semibreve,
-D: Ganze, ganze Note,
-NL: hele noot,
-DK: helnode,
-S: helnot,
-FI: kokonuotti.
+@itemize
+@item UK: semibreve
+@item ES: redonda
+@item I: semibreve
+@item F: ronde
+@item D: Ganze, ganze Note
+@item NL: hele noot
+@item DK: helnode
+@item S: helnot
+@item FI: kokonuotti
+@end itemize
@seealso
@node whole rest
@section whole rest
-ES: silencio de redonda,
-I: pausa di semibreve,
-F: pause,
-UK: semibreve rest,
-D: ganze Pause, ganztaktige Pause,
-NL: hele rust,
-DK: helnodespause,
-S: helpaus,
-FI: kokotauko.
+@itemize
+@item UK: semibreve rest
+@item ES: silencio de redonda
+@item I: pausa di semibreve
+@item F: pause
+@item D: ganze Pause, ganztaktige Pause
+@item NL: hele rust
+@item DK: helnodespause
+@item S: helpaus
+@item FI: kokotauko
+@end itemize
@seealso
S: helton,
FI: kokoaskel.
-The @ref{interval} of a major second. The interval between two tones
+The interval of a major second. The interval between two tones
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
+@seealso
+
+@ref{interval}.
+
@node woodwind
@section woodwind
@node Duration names notes and rests
-@chapter Duration names, notes and rests
+@chapter Duration names notes and rests
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
-
-@multitable @columnfractions .15 .26 .33 .26
-
-@item
- @tab @strong{UK}
- @tab @strong{I}
- @tab @strong{F (note name / rest name)}
-@item
- @tab @strong{D}
- @tab @strong{NL}
- @tab @strong{DK}
-@item
- @tab @strong{S}
- @tab @strong{FI}
- @tab @strong{ES}
-
-@c extra @items make this table harder to read, so I removed them.
+@multitable @columnfractions .12 .22 .22 .22 .22
-@item @strong{longa}
- @tab longa
- @tab longa
- @tab longa
-@item
- @tab Longa
- @tab longa
- @tab longa
-@item
- @tab longa
- @tab longa
- @tab longa
-
-@item @strong{breve}
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab long
+ @tab long rest
@tab breve
+ @tab breve rest
+@item @strong{UK} @tab longa
+ @tab longa rest
@tab breve
- @tab brève / double-pause
-@item
+ @tab breve rest
+@item @strong{ES} @tab longa
+ @tab silencio de longa
+ @tab cuadrada
+ @tab silencio de cuadrada
+@item @strong{IT} @tab longa
+ @tab pausa di longa
+ @tab breve
+ @tab pausa di breve
+@item @strong{FR} @tab longa
+ @tab quadruple-pause
+ @tab brève
+ @tab double-pause
+@item @strong{DE} @tab Longa
+ @tab longa Pause
@tab Brevis
+ @tab brevis Pause
+@item @strong{NL} @tab longa
+ @tab longa rust
@tab brevis
+ @tab brevis rust
+@item @strong{DK} @tab longa
+ @tab longanodespause
@tab brevis
-@item
- @tab brevis
+ @tab brevis(nodes)pause
+@item @strong{SE} @tab longa
+ @tab longapaus
@tab brevis
- @tab cuadrada
+ @tab brevispaus
+@item @strong{FI} @tab longa-nuotti
+ @tab longa-tauko
+ @tab brevis-nuotti, kaksoiskokonuotti
+ @tab brevis-tauko, kaksoiskokotauko
-@item @strong{whole}
- @tab semi@-breve
- @tab semi@-breve
- @tab ronde / pause
-@item
- @tab Ganze
- @tab hele
- @tab hel
-@item
- @tab hel
- @tab koko@-nuotti/@w{-tauko}
- @tab redonda
+@end multitable
-@item @strong{half}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab whole note
+ @tab whole rest
+ @tab half note
+ @tab half rest
+@item @strong{UK} @tab semibreve
+ @tab semibreve rest
@tab minim
- @tab minima
- @tab blanche / demi-pause
-@item
- @tab Halbe
- @tab halve
- @tab halv
-@item
- @tab halv
- @tab puoli@-nuotti/@w{-tauko}
+ @tab minim rest
+@item @strong{ES} @tab redonda
+ @tab silencio de redonda
@tab blanca
+ @tab silencio de blanca
+@item @strong{IT} @tab semibreve
+ @tab pause di semibreve
+ @tab minima
+ @tab pausa di minima
+@item @strong{FR} @tab ronde
+ @tab pause
+ @tab blanche
+ @tab demi-pause
+@item @strong{DE} @tab ganze Note
+ @tab ganze Pause
+ @tab halbe Note
+ @tab halbe Pause
+@item @strong{NL} @tab hele noot
+ @tab hele rust
+ @tab halve noot
+ @tab halve rust
+@item @strong{DK} @tab helnode
+ @tab helnodespause
+ @tab halvnode
+ @tab halvnodespause
+@item @strong{SE} @tab helnot
+ @tab helpaus
+ @tab halvnot
+ @tab halvpaus
+@item @strong{FI} @tab kokonuotti
+ @tab kokotauko
+ @tab puolinuotti
+ @tab puolitauko
-@item @strong{quarter}
- @tab crotchet
- @tab semiminima
- @tab noire / soupir
-@item
- @tab Viertel
- @tab kwart
- @tab fjerdedel
-@item
- @tab fjärdedel
- @tab neljännesosa@-nuotti/@w{-tauko}
- @tab negra
+@end multitable
-@item @strong{eighth}
+@multitable @columnfractions .12 .22 .22 .22 .22
+
+@headitem Lang. @tab note name
+ @tab rest name
+ @tab note name
+ @tab rest name
+@item @strong{US} @tab quarter note
+ @tab quarter rest
+ @tab eighth note
+ @tab eighth rest
+@item @strong{UK} @tab crotchet
+ @tab crotchet rest
@tab quaver
- @tab croma
- @tab croche / demi-soupir
-@item
- @tab Achtel
- @tab achtste
- @tab ottendedel
-@item
- @tab åttondel
- @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab quaver rest
+@item @strong{ES} @tab negra
+ @tab silencio de negra
@tab corchea
+ @tab silencio de corchea
+@item @strong{IT} @tab semiminima, nera
+ @tab pausa di semiminima, pausa di nera
+ @tab croma
+ @tab pausa di croma
+@item @strong{FR} @tab noire
+ @tab soupir*
+ @tab croche*
+ @tab demi-soupir
+@item @strong{DE} @tab Viertelnote
+ @tab Viertelpause
+ @tab Achtelnote
+ @tab Achtelpause
+@item @strong{NL} @tab kwartnoot
+ @tab kwartrust
+ @tab achtste noot
+ @tab achtste rust
+@item @strong{DK} @tab fjerdedelsnode
+ @tab fjerdedelspause
+ @tab ottendedelsnode
+ @tab ottendedelspause
+@item @strong{SE} @tab fjärdedelsnot
+ @tab fjärdedelspaus
+ @tab åttondelsnot
+ @tab åttondelspaus
+@item @strong{FI} @tab neljäsosanuotti
+ @tab neljäsosatauko
+ @tab kahdeksasosanuotti
+ @tab kahdeksasosatauko
-@item @strong{sixteenth}
- @tab semiquaver
- @tab semicroma
- @tab double croche / quart de soupir
-@item
- @tab Sechzehntel
- @tab zestiende
- @tab sekstendedel
-@item
- @tab sextondel
- @tab kuudestoistaosa@-nuotti/@w{-tauko}
- @tab semicorchea
-
-@item @strong{thirty-second}
- @tab demisemiquaver
- @tab biscroma
- @tab triple croche / huitième de soupir
-@item
- @tab Zweiunddreissigstel
- @tab tweeendertigste
- @tab toogtredivtedel
-@item
- @tab trettiotvåondel
- @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
- @tab fusa
-
-@item @strong{sixty-fourth}
- @tab hemidemisemiquaver
- @tab semibiscroma
- @tab quadruple croche / seizième de soupir
-@item
- @tab Vierundsechzigstel
- @tab vierenzestigste
- @tab fireogtred@-sindstyvendedel
-@item
- @tab sextiofjärdedel
- @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
- @tab semifusa
+@end multitable
+
+* About the French naming system: @emph{croche} refers to the note's "hook".
+Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
+hook}, @q{trebled hook}, and so on.
+
+The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
+rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
+a @emph{soupir}, and so on.
+
+Each of the following tables contains one type of note and its matching rest,
+with abbreviations that apply to both notes and rests. Just switch the part
+that means @q{note} with the part that means @q{rest}, for example:
+
+@itemize
+
+@item English: 16th @strong{note}, 16th @strong{rest}
+@item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
+@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
+
+@end itemize
+
+I put a dash @q{-} when I could not find a language-specific abbreviation for a
+duration name. If you know of one that I missed, please send it to me, care of
+the lilypond-user discussion list.
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixteenth note
+ @tab sixteenth rest
+ @tab 16th note
+@item @strong{UK} @tab semiquaver
+ @tab semiquaver rest
+ @tab -
+@item @strong{ES} @tab semicorchea
+ @tab silencio de semicorchea
+ @tab -
+@item @strong{IT} @tab semicroma
+ @tab pausa di semicroma
+ @tab -
+@item @strong{FR} @tab double croche
+ @tab quart de soupir
+ @tab -
+@item @strong{DE} @tab Sechzehntelnote
+ @tab Sechzehntelpause
+ @tab 16tel-Note
+@item @strong{NL} @tab zestiende noot
+ @tab zestiende rust
+ @tab 16e noot
+@item @strong{DK} @tab sekstendedelsnode
+ @tab sekstendedelspause
+ @tab -
+@item @strong{SE} @tab sextondelsnot
+ @tab sextondelspaus
+ @tab -
+@item @strong{FI} @tab kuudestoistaosanuotti
+ @tab kuudestoistaosatauko
+ @tab 16-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab thirty-second note
+ @tab thirty-second rest
+ @tab 32nd note
+@item @strong{UK} @tab demisemiquaver
+ @tab demisemiquaver rest
+ @tab -
+@item @strong{ES} @tab fusa
+ @tab silencio de fusa
+ @tab -
+@item @strong{IT} @tab biscroma
+ @tab pausa di biscroma
+ @tab -
+@item @strong{FR} @tab triple croche
+ @tab huitième de soupir
+ @tab -
+@item @strong{DE} @tab Zweiunddreißigstelnote
+ @tab Zweiunddreißigstelpause
+ @tab 32tel-Note
+@item @strong{NL} @tab tweeendertigste noot
+ @tab tweeendertigste rust
+ @tab 32e noot
+@item @strong{DK} @tab toogtredivtedelsnode
+ @tab toogtredivtedelspause
+ @tab -
+@item @strong{SE} @tab trettiotvåondelsnot
+ @tab trettiotvåondelspaus
+ @tab -
+@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
+ @tab kolmaskymmeneskahdesosatauko
+ @tab 32-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab sixty-fourth note
+ @tab sixty-fourth rest
+ @tab 64th note
+@item @strong{UK} @tab hemidemisemiquaver
+ @tab hemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semifusa
+ @tab silencio de semifusa
+ @tab -
+@item @strong{IT} @tab semibiscroma
+ @tab pausa di semibiscroma
+ @tab -
+@item @strong{FR} @tab quadruple croche
+ @tab seizième de soupir
+ @tab -
+@item @strong{DE} @tab Vierundsechzigstelnote
+ @tab Vierundsechzigstelpause
+ @tab 64tel-Note
+@item @strong{NL} @tab vierenzestigste noot
+ @tab vierenzestigste rust
+ @tab 64e noot
+@item @strong{DK} @tab fireogtredsindstyvendedelsnode
+ @tab fireogtredsindstyvendedelspause
+ @tab -
+@item @strong{SE} @tab sextiofjärdedelsnot
+ @tab sextiofjärdedelspaus
+ @tab -
+@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
+ @tab kuudeskymmenesneljäsosatauko
+ @tab 64-osanuotti
+
+@end multitable
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab one-hundred-twenty-eighth note
+ @tab one-hundred-twenty-eighth rest
+ @tab 128th note
+@item @strong{UK} @tab semihemidemisemiquaver
+ @tab semihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab garrapatea
+ @tab silencio de garrapatea
+ @tab -
+@item @strong{IT} @tab fusa
+ @tab pausa di fusa
+ @tab -
+@item @strong{FR} @tab quintuple croche
+ @tab trente-deuxième de soupir @tab -
+@item @strong{DE} @tab Hundertundachtundzwanzigstel
+ @tab Hundertundachtundzwanzigstel @tab 128tel-Note
+@item @strong{NL} @tab honderdachtentwintigste noot
+ @tab honderdachtentwintigste rust
+ @tab 128e noot
+@item @strong{DK} @tab hundredeotteogtyvendedelsnode
+ @tab hundredeotteogtyvendedelspause
+ @tab -
+@item @strong{SE} @tab hundratjugoåttondelsnot
+ @tab hundratjugoåttondelspaus
+ @tab -
+@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
+ @tab sadaskahdeskymmeneskahdeksasosatauko
+ @tab 128-osanuotti
@end multitable
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Lang. @tab Note name
+ @tab Rest name
+ @tab Abbr.
+@item @strong{US} @tab two-hundred-fifty-sixth note
+ @tab two-hundred-fifty-sixth rest
+ @tab 256th note
+@item @strong{UK} @tab demisemihemidemisemiquaver
+ @tab demisemihemidemisemiquaver rest
+ @tab -
+@item @strong{ES} @tab semigarrapatea
+ @tab silencio de semigarrapatea @tab -
+@item @strong{IT} @tab semifusa
+ @tab pausa di semifusa
+ @tab -
+@item @strong{FR} @tab sextuple croche
+ @tab soixante-quatrième de soupir @tab -
+@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
+ @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
+@item @strong{NL} @tab tweehonderdzesenvijftigste noot
+ @tab tweehonderdzesenvijftigste rust
+ @tab 256e noot
+@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
+ @tab tohundredeseksoghalvtredsendedelspause
+ @tab -
+@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
+ @tab tvåhundrafemtiosjättedelspaus
+ @tab -
+@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
+ @tab kahdessadasviideskymmeneskuudesosatauko
+ @tab 256-osanuotti
+
+@end multitable
+
+@seealso
+
+@ref{mensural notation}
+
@node Pitch names
@chapter Pitch names
@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
@unnumberedsec Literature used
@itemize
-@item The Harvard Dictionary of Music, London 1944. Many
-more or less literal quotes from its articles have been included into
-the item explanation texts.
+@item The Harvard Dictionary of Music, London 1944. Many more or less
+literal quotes from its articles have been included into the item
+explanation texts.
@item Hugo Riemanns Musiklexicon, Berlin 1929.
@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
+@item Henna Mikkonen, Suvi Rimpiläinen, Konsertissa kävijän taskusanasto, Jyväskylä, 2003
+
@end itemize
@bye
projects / lilypond.git / blobdiff