@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
* Pitch names::
@end menu
+@contents
+
+
@node Musical terms A-Z
@chapter Musical terms A-Z
@menu
* A::
* a due::
+* accelerando::
* accent::
* accessory::
-* accidental::
-* accelerando::
* acciaccatura::
+* accidental::
* adagio::
* allegro::
* alteration::
* arpeggio::
* articulation::
* ascending interval::
-* augmentation::
* augmented interval::
+* augmentation::
* autograph::
* B::
* backfall::
* bar line::
* baritone::
* baritone clef::
-* bass clef::
* bass::
+* bass clef::
* beam::
* beat::
+* beat repeat::
* bind::
* brace::
* bracket::
* 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::
+* 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::
-* didymic comma::
* dynamics::
* E::
* ecclesiastical mode::
* extender line::
* F::
* F clef::
+* fall::
* feathered beam::
* fermata::
* fifth::
* figured bass::
* fingering::
* flag::
+* flageolet::
* flat::
* forefall::
* forte::
* 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::
-* metronomic indication::
* 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::
-* octavation::
+* octavation::
* octave::
-* octave mark::
-* octave marking::
+* octave mark::
+* octave marking::
* octave sign::
* ornament::
* ossia::
* part::
* pause::
* pennant::
+* percent repeat::
* percussion::
* perfect interval::
* phrase::
* phrasing::
-* pickup::
* piano::
+* pickup::
* pitch::
* pizzicato::
* polymeter::
* portato::
* presto::
* proportion::
-* Pythagorean comma::
+* Pythagorean comma::
* quadruplet::
+* quality::
* quarter note::
* quarter rest::
* quarter tone::
* 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::
* supertonic::
* symphony::
* syncopation::
-* syntonic comma::
+* syntonic comma::
* system::
* temperament::
* tempo indication::
@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
@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,
ES: ?,
I: ?,
F: ?,
-D: ?,
+D: Augmentation,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: augmentaatio, harvennus.
@c TODO: add definition.
@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: ?,
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
-minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
-extended with more thirds. Four-tone @emph{seventh chords} and five-tone
-@emph{ninth} major chords are most often used as dominants (@ref{functional
-harmony}). A special case is chords having no third above the lower notes to
-define their quality as major or minor: such chords are called @q{open chords}.
+Three or more tones sounding simultaneously. In traditional European music
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+(major + minor third) as well as @emph{minor} (minor + major third) chords
+may be extended with more thirds. Four-tone @emph{seventh chords} and
+five-tone @emph{ninth} major chords are most often used as dominants
+(functional harmony). Chords having no third above the lower notes to
+define their mood are a special case called @q{open chords}. The lack of
+the middle third means their quality is ambivalent: neither major nor minor.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+@seealso
+
+@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
+@ref{third}.
+
@node chromatic scale
@section chromatic scale
@node common time
@section common time
-ES: ?,
+ES: compasillo,
I: ?,
F: ?,
-D: ?,
+D: Vier-Viertel-Takt,
NL: ?,
DK: ?,
S: ?,
@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: ?,
@node concert pitch
@section concert pitch
-ES: ?,
+ES: en Do, afinación de concierto,
I: ?,
F: ?,
-D: ?,
+D: Kammerton,
NL: ?,
DK: ?,
S: ?,
@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.
-
-@c Copying music required more skill than engraving. Flagged for NPOV
-
-
@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,
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'' {
Scales played on the white keys of a piano keybord are diatonic; and these
scales are sometimes called, somewhat inaccurately, @q{church modes}).
-These @q{modes} are used in gregorian chant and in pre-baroque early music
+These @q{modes} are used in Gregorian chant and in pre-baroque early music
but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
<<
\relative c'' {
\override TextScript #'padding = #-4
- b^"~~ S" c d e^"~~ S" f g a b
+ b1^"~~ S" c d e^"~~ S" f g a b
}
\lyrics {
Locrian
\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
ES: ?,
I: ?,
F: ?,
-D: ?,
+D: Diminution, Verkleinerung,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: diminuutio, tihennys.
@c TODO: add definition
@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 didymic comma
-@section didymic 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
@c TODO: add languages
-ES: ?,
+ES: sinalefa,
I: ?,
F: ?,
-D: ?,
+D: Elision, Auslassung,
NL: ?,
DK: ?,
S: ?,
FI: ?.
+More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
+smear together}].
+
The singing of several syllables on a single note. Elision may be indicated
by a lyric tie, which is looks like (and serves the same function) as a
musical tie.
@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:
+In figured bass to indicate that:
@itemize
@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.
-@ref{thorough bass}.
+Also called @q{thorough bass}.
+
+A method of indicating an accompaniment part by the bass notes only, together
+with figures designating the chief @ref{interval}s and @ref{chord}s to be played
+above the bass notes.
+
+@lilypond[fragment,line-width=13.0\cm]
+\context GrandStaff <<
+ \context Staff = lh \relative c'' {
+ \time 4/4
+ \key es \major
+ \clef treble
+ << \context Voice = rha {
+ \stemUp
+ es4 d c bes | bes }
+ \context Voice = rhb {
+ \stemDown
+ < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
+ >>
+ }
+ <<
+ \context Staff = rh \relative c' {
+ \clef bass
+ \key es \major
+ es8 c d bes c as bes16 as g f | es4
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
+>>
+@end lilypond
@node fingering
@end lilypond
+@node flageolet
+@section flageolet
+
+ES: ?,
+I: ?,
+F: ?,
+D: 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: ?,
@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
@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
@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
@node laissez vibrer
@section laissez vibrer
-ES: ?,
+ES: dejar vibrar,
I: ?,
F: laissez vibrer,
-D: ?,
+D: Laissez vibrer, klingen lassen,
NL: ?,
DK: ?,
S: ?,
@ref{ledger line}.
-@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 ligature
@section ligature
@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
@section line
@node loco
@section loco
-ES: ?,
+ES: en su lugar,
I: loco,
F: ?,
-D: ?,
+D: loco,
NL: ?,
DK: ?,
S: ?,
@seealso
-@ref{note value}.
+@ref{note value}.
+
+
+@node lyric tie
+@section lyric tie
+
+ES: ligadura de letra,
+I: ?,
+F: ?,
+D: Bindestrich,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+
+@seealso
+
+@ref{elision}.
@node lyrics
FI: sanoitus.
-@node lyric tie
-@section lyric tie
-
-ES: ?,
-I: ?,
-F: ?,
-D: Textbindung,
-NL: ?,
-DK: ?,
-S: ?,
-FI: ?.
+@node major
+@section major
-@c TODO: add languages
+ES: mayor,
+I: maggiore,
+F: [mode] majeur,
+D: Dur,
+NL: majeur,
+DK: dur,
+S: dur,
+FI: duuri.
@seealso
-@ref{elision}.
+@ref{diatonic scale}.
@node major interval
@ref{interval}.
-@node major
-@section major
-
-ES: mayor,
-I: maggiore,
-F: [mode] majeur,
-D: Dur,
-NL: majeur,
-DK: dur,
-S: dur,
-FI: duuri.
-
-@seealso
-
-@ref{diatonic scale}.
-
-
@node meantone temperament
@section meantone temperament
@ref{meter}.
+@node measure repeat
+@section measure repeat
+
+@seealso
+
+@ref{percent repeat}.
+
+
@node mediant
@section mediant
@node melisma line
@section melisma line
-@c TODO: add languages
-
-ES: ?,
+ES: línea de melisma,
I: ?,
F: ?,
-D: ?,
+D: Melismastrich,
NL: ?,
DK: ?,
S: ?,
@node mensural notation
@section mensural notation
-@c TODO: 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 forms the basis of the notation of rhythms in Western musical
+1600. As such, it is the basis for the notation of rhythms in Western musical
notation.
Franco of Cologne (ca. 1250) is credited with the first systematic explanation
@ref{metronome mark}.
-@node metronomic indication
-@section metronomic indication
-
-@seealso
-
-@ref{metronome mark}
-
-
@node metronome mark
@section metronome mark
@ref{metronome}
+@node metronomic indication
+@section metronomic indication
+
+@seealso
+
+@ref{metronome mark}
+
+
@node mezzo-soprano
@section 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
@node octave mark
@section octave mark
-ES: ?,
+ES: indicación de octava,
I: ?,
F: ?,
-D: ?,
+D: Oktavierungszeichen,
NL: ?,
DK: ?,
S: ?,
@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
@node polymeter
@section polymeter
-ES: ?,
+ES: compás polimétrico,
I: ?,
F: ?,
-D: ?,
+D: Polymetrik,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: polymetriikka.
@itemize
@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 alternation.
@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.
A time signature that indicates regularly alternating polymetric time.
ES: proporción,
I: proprozione (?),
F: proportion,
-D: ?,
+D: Proportion, proportio,
NL: ?,
DK: ?,
S: ?,
S: pytagoreiskt komma,
FI: pytagorinen komma.
-A sequence of fifths starting on C eventually circles back to C, but this C,
-obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
-by adding 7 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
@section 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
@node quarter tone
@section quarter tone
-ES: ?,
+ES: cuarto de tonno,
I: ?,
F: quart de ton,
D: Viertelton,
NL: kwart toon,
DK: ?,
S: kvartston,
-FI: ?.
+FI: neljännes sävelaskel.
An interval equal to half a semitone.
@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
@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: ?,
-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.
@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
@item ES: fusa
@item I: biscroma
@item F: triple croche
-@item D: Zweiunddreissigstel, Zweiunddreissigstelnote
+@item D: Zweiunddreißigstel, Zweiunddreißigstelnote
@item NL: twee-endertig@-ste (32e) noot
@item DK: toogtredivtedelsnode
@item S: trettiotvåondelsnot
@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
@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,
@node volta
@section volta
-ES: ?,
+ES: vez, primera y segunda vez,
I: volta,
F: ?,
-D: ?,
+D: Volta, Wiederholungsklammer,
NL: ?,
DK: ?,
S: ?,
@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{DE} @tab Hundertundachtundzwanzigstel
+ @tab Hundertundachtundzwanzigstel @tab 128tel-Note
@item @strong{NL} @tab honderdachtentwintigste noot
@tab honderdachtentwintigste rust
@tab 128e noot
@headitem Lang. @tab Note name
@tab Rest name
@tab Abbr.
-@item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note
+@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{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{DE} @tab Zweihundertundsechsundfünfzigstelnote
+ @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
@item @strong{NL} @tab tweehonderdzesenvijftigste noot
@tab tweehonderdzesenvijftigste rust
@tab 256e noot
@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