\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
@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::
* arpeggio::
* articulation::
* ascending interval::
+* augmentation::
* augmented interval::
* autograph::
* B::
* bar line::
* baritone::
* baritone clef::
-* bass clef::
* bass::
+* bass clef::
* beam::
* beat::
+* beat repeat::
* bind::
* brace::
+* bracket::
* brass::
* breath mark::
* breve::
* compound interval::
* compound meter::
* compound time::
+* concert pitch::
* 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::
+* 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::
* forefall::
* forte::
* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* hemiola::
* homophony::
* 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::
* non-legato::
* note::
* 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::
* portato::
* presto::
* proportion::
-* Pythagorean comma::
+* 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::
* supertonic::
* symphony::
* syncopation::
-* syntonic comma::
+* syntonic comma::
* system::
* temperament::
* tempo indication::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
* 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
+
+@ref{Pitch names}
+
+
+@node a due
+@section a due
+
+ES: a dos,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
@seealso
@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
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: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@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
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are
-used for connecting piano staves, angular brackets for connecting
-parts in an orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
@end lilypond
+@node bracket
+@section bracket
+
+ES: corchete,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
@node brass
@section brass
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: ?,
+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: ?,
@node compound time
@section compound time
-ES: ?,
+ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
-@ref{compound meter}
+@enumerate
-@seealso
+@item
+A meter that includes a triplet subdivision within the beat: see
+@ref{compound meter}.
-@ref{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)))))
-@node conjunct movement
-@section conjunct movement
+ \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
-ES: movimiento conjunto,
-I: moto congiunto,
-F: mouvement conjoint,
-D: schritt@-weise, stufenweise Bewegung,
-NL: stapsgewijze, trapsgewijze beweging,
-DK: trinvis bevægelse,
-S: stegvis rörelse,
-FI: asteittainen liike.
+@end enumerate
-Progressing melodically by intervals of a second. The opposite of a
-@ref{disjunct movement}.
+@seealso
-@lilypond[fragment,line-width=13.0\cm]
-\key g \major \time 4/4
-\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
-@end lilypond
+@ref{compound meter}, @ref{meter}.
-@node consonance
-@section consonance
+@node concert pitch
+@section concert pitch
-ES: consonancia,
-I: consonanza,
-F: consonance,
-D: Konsonanz,
-NL: consonant,
-DK: konsonans,
-S: konsonans,
-FI: konsonanssi, sopusointi.
+ES: en Do, afinación de concierto,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-@seealso
+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:
-@ref{harmony}.
+@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
+@section conjunct movement
+
+ES: movimiento conjunto,
+I: moto congiunto,
+F: mouvement conjoint,
+D: schritt@-weise, stufenweise Bewegung,
+NL: stapsgewijze, trapsgewijze beweging,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
+FI: asteittainen liike.
+
+Progressing melodically by intervals of a second. The opposite of a
+@ref{disjunct movement}.
+
+@lilypond[fragment,line-width=13.0\cm]
+\key g \major \time 4/4
+\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+@end lilypond
+
+
+@node consonance
+@section consonance
+
+ES: consonancia,
+I: consonanza,
+F: consonance,
+D: Konsonanz,
+NL: consonant,
+DK: konsonans,
+S: konsonans,
+FI: konsonanssi, sopusointi.
+
+@seealso
+
+@ref{harmony}.
@node contralto
@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
@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: 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
+@lilypond[fragment,notime,ragged-right]
+\set Score.automaticBars = ##f
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
+<<
+ \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
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: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@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 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
@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,
@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: ?,
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:
+In figured bass to indicate that:
- @itemize
-
- @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
@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.
+
+@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{thorough bass}.
@node fingering
@ref{interval}.
-@node fugue
-@section fugue
+@node Frenched score
+@section Frenched score
-ES: fuga,
-I: fuga,
-F: fugue,
-D: Fuge,
-NL: fuga,
-DK: fuga,
-S: fuga,
-FI: fuuga.
+ES: partitura a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-@seealso
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
-@ref{counterpoint}.
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+@seealso
-@node functional harmony
-@section functional harmony
+@ref{Frenched staff}.
-ES: armonía funcional,
-I: armonia funzionale,
-F: étude des functions,
-D: Funktionslehre,
-NL: functionele harmonie,
-DK: funktionsanalyse, funktionsharmonik,
-S: funktionslära,
-FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a
-given key, there are only three functionally different chords: tonic
-(T, the chord on the first note of the scale), subdominant (S, the
-chord on the fourth note), and dominant (D, the chord on the fifth
+@node Frenched staff
+@section Frenched staff
+
+ES: pentagrama a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
+measures or sections removed. This would be useful for producing, for example,
+an @emph{ossia} staff.
+
+@seealso
+
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+ES: pentagramas a la francesa,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The plural of @ref{Frenched staff}, @emph{q.v.}.
+
+
+@node fugue
+@section fugue
+
+ES: fuga,
+I: fuga,
+F: fugue,
+D: Fuge,
+NL: fuga,
+DK: fuga,
+S: fuga,
+FI: fuuga.
+
+@seealso
+
+@ref{counterpoint}.
+
+
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
+I: armonia funzionale,
+F: étude des functions,
+D: Funktionslehre,
+NL: functionele harmonie,
+DK: funktionsanalyse, funktionsharmonik,
+S: funktionslära,
+FI: harmoniajärjestelmä.
+
+A system of harmonic analysis. It is based on the idea that, in a
+given key, there are only three functionally different chords: tonic
+(T, the chord on the first note of the scale), subdominant (S, the
+chord on the fourth note), and dominant (D, the chord on the fifth
note). Others are considered to be variants of the base chords.
@lilypond[fragment,notime,line-width=13.0\cm]
@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
@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,
@node hemiola
@section hemiola
-ES: ?,
+ES: hemiolia,
I: ?,
F: ?,
D: ?,
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
+
+@lilypond[fragment,line-width=13.0\cm]
+\key c \major
+\time 6/4
+\relative c' {
+ c2. e | d2 c d | c1. \bar "||" }
+@end lilypond
+
+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
+
+and is therefore a polymeter (second definition) of considerable antiquity.
@seealso
-@ref{mensural notation}, @ref{meter}
+@ref{mensural notation}, @ref{meter}, @ref{polymeter}.
@node homophony
@end lilypond
+@node inversion
+@section inversion
+
+ES: ?,
+I: ?,
+F: inversion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+When the bass is not the same as the root, the chord is inverted. The number
+of inversions that a chord can have is one fewer than the number of
+constituent notes. Triads, for example, (having three constituent notes) can
+have three positions, two of which are inversions:
+
+@table @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 laisser vibrer
+@section laissez vibrer
-ES: ?,
+ES: dejar vibrar,
I: ?,
F: laissez vibrer,
D: ?,
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: ?,
+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,
@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
@c TODO: add languages
+ES: línea de melisma,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
@seealso
@ref{extender line}.
@node mensural notation
@section mensural notation
-@c FIXME: add languages
+@c TODO: add languages
-ES: ?,
+ES: notación mensural,
I: ?,
F: ?,
D: ?,
S: ?,
FI: ?.
-@c TODO: add definition (inc. info on proportional notation)
+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 FIXME: add cross-references.
+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.
+
+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 simple: groups of two.
-@item etc.
+ @itemize
-@end 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
-Other than quadruple and sextuple meters, these other recurrence
-patterns were not frequently used prior to the 20th Century.
+ @end 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 compound: groups of three.
-@itemize
+ @itemize
-@item Simple meter
+ @item duple: 6/8
+ @item triple: 9/8
+ @item quadruple: 12/8
-@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
+ @end itemize
-@item Compound meter
-
-@itemize
-@item duple: 6/8
-@item triple: 9/8
-@item quadruple: 12/8
@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 is conventionally written with a time signature of
+3/4. Here are some combinations of the two classifications above:
-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.
-
-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
instrument.
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
@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: ?,
+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{ottava}, @ref{interval}.
+@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
+
+
+@node octave sign
+@section octave sign
+
+@seealso
+
+@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: ?,
S: ?,
FI: ?.
-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.
+@itemize
+
+@item The simultaneous use of two or more meters, in two 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: ?,
S: ?,
FI: ?.
-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: ?,
S: ?,
FI: ?.
-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: ?,
NL: ?,
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 used commonly
+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: ?.
+
+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: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[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: ?,
NL: ?,
DK: ?,
@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
@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
@ref{functional harmony}.
+@node transposing instrument
+@section transposing instrument
+
+ES: instrumento transpositor,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+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:
+
+@itemize
+
+@item English horn (in F)
+
+@item Alto flute (in G)
+
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
+
+
@node transposition
@section 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: ?,
+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
-
-@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.
+@chapter Duration names notes and rests
-@item @strong{longa}
- @tab longa
- @tab longa
- @tab longa
-@item
- @tab Longa
- @tab longa
- @tab longa
-@item
- @tab longa
- @tab longa
- @tab longa
+@multitable @columnfractions .12 .22 .22 .22 .22
-@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
-
-@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
+ @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
@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.
-@node Pitch names
-@chapter Pitch names
+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.
-@table @code
-@item PITCH NAMES
-@end table
+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:
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
+@itemize
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
+@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}
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
+@end itemize
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+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
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
+@end multitable
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
+@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
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
+@end multitable
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
+@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
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
+@end multitable
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
+@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
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
+@end multitable
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
+@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
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
+@end multitable
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
+@seealso
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
+@ref{mensural notation}
-@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 @tab b @tab h @tab h
-@tab h
+@node Pitch names
+@chapter Pitch names
+@c -is/-es endings for Danish per Rune Zedeler
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+
+@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
+@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
+ @tab c @tab c @tab c @tab c
+@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
+ @tab des @tab des @tab dess @tab des
+@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
+ @tab dis @tab dis @tab diss @tab dis
+@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
+ @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
+ @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
+ @tab fis @tab fis @tab fiss @tab fis
+@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
+ @tab g @tab g @tab g @tab g
+@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
+ @tab as @tab as @tab ass @tab as
+@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
+ @tab ais @tab ais @tab aiss @tab ais
+@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
+ @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.
projects / lilypond.git / blobdiff