-\input texinfo @c -*- coding: latin-1; mode: texinfo; -*-
+\input texinfo @c -*- coding: utf8; mode: texinfo; -*-
@settitle Music Glossary
@setfilename music-glosssary.info
+@documentencoding utf-8
+@documentlanguage en
+
@dircategory GNU music project
@direntry
-* Glossary: (lilypond/music-glossary). Glossary of music terms.
+* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
@ifhtml
-This document is also available in @uref{music-glossary.ps.gz,gzipped
-PostScript} and @uref{music-glossary.pdf,PDF}.
+This document is also available in @uref{source/Documentation/user/out-www/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/out-www/music-glossary.html,one big page}.
@end ifhtml
@titlepage
@title Music Glossary
@author Christian Mondrup @c Original author of LilyPond glossary
@c Danish glossary
-@author Fran@,{c}ois Pinard @c Original glossary of GNU music project,
+@author François Pinard @c Original glossary of GNU music project,
@c French glossary
@author Han-Wen Nienhuys @c Dutch glossary
@author Jan Nieuwenhuizen @c Dutch glossary
@author Adrian Mariano @c Italian glossary
@author Heikki Junes @c Finnish glossary
-@c Fixes by Jean-Pierre Coulon and `Dirk'
-
+@c Fixes by Jean-Pierre Coulon and `Dirk'
-Copyright @copyright{} 1999--2004 by the authors
+Copyright @copyright{} 1999--2005 by the authors
Permission is granted to copy, distribute and/or modify this document
@ifnottex
@node Top
-@top Music Glossary
-@c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
-@menu
-@end menu
+@top Music glossary
@end ifnottex
+This glossary was brought you by
+
@ifnottex
@table @code
@item Adrian Mariano
Finnish glossary translations.
@end table
@*
-Copyright 1999--2004 by the authors
+Copyright 1999--2005 by the authors
Permission is granted to copy, distribute and/or modify this document
under the terms of the GNU Free Documentation License, Version 1.1
or any later version published by the Free Software Foundation,
without Invariant Sections.
-
@*
-
-@*
-
@end ifnottex
@c @pagesizes 10.3in
@include macros.itexi
-
-@ignore
-We do not use refs for Info:
-
- @w{@arrow{}\word\}@c vs:
- @w{@arrow{}@pxref{\word\}}@c
-
-they look too intrusive (says Han-Wen).
-@end ignore
-
-
@c arrowref
@macro aref{word}
@iftex
@w{@arrow{}@strong{\word\}}@c
@end iftex
-@ifhtml
+@ifnottex
@arrow{}@ref{\word\, @strong{\word\}}@c
-@end ifhtml
-@ifinfo
-@w{@arrow{}\word\}@c
-@end ifinfo
+@end ifnottex
@end macro
+@menu
+* Musical terms A-Z::
+* Duration names notes and rests::
+* Pitch names::
+* Literature used::
+@end menu
-@c If we want hyperlinks, we must add anchors.
-@c We need the @anchor command in the item description itself
-@c (not before or after) to get mozilla jump to the right place.
-@c
-@c Note that the @aitem macro and friends should always be finished
-@c with `@c' to avoid spurious spaces:
-@c
-@c @aitem{foo}@c
-@c blablabla
-@c
-@macro aitem{word}
-@item \word\@anchor{\word\}
-@end macro
-@macro aitemii{one,two}
-@item \one\; \two\@anchor{\one\; \two\}@anchor{\one\}
-@end macro
-@macro aitemiii{one,two,three}
-@item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\}
-@end macro
-
+@node Musical terms A-Z
+@chapter Musical terms A-Z
+Languages in this order.
@itemize
@item ES - Spanish
@item I - Italian
@item FI - Finnish
@end itemize
-This is an example reference, that points you to the @aref{accent}
-entry.
+@menu
+* A::
+* accent::
+* accessory::
+* accidental::
+* accelerando::
+* adagio::
+* allegro::
+* alto::
+* alto clef::
+* ambit::
+* ancient minor scale::
+* andante::
+* appoggiatura::
+* arpeggio::
+* ascending interval::
+* augmented interval::
+* autograph::
+* B::
+* backfall::
+* bar::
+* bar line::
+* baritone::
+* baritone clef::
+* bass clef::
+* bass::
+* beam::
+* beat::
+* bind::
+* brace::
+* brass::
+* breath mark::
+* breve::
+* C::
+* C clef::
+* cadence::
+* cadenza::
+* canon::
+* cent::
+* central C::
+* chord::
+* chromatic scale::
+* chromaticism::
+* church mode::
+* clef::
+* cluster::
+* comma::
+* common meter::
+* compound interval::
+* complement::
+* conjunct movement::
+* consonance::
+* contralto::
+* counterpoint::
+* counter tenor::
+* copying music::
+* crescendo::
+* cue-notes::
+* custos::
+* D::
+* da capo::
+* dal segno::
+* decrescendo::
+* descending interval::
+* diatonic scale::
+* diminished interval::
+* diminuendo::
+* disjunct movement::
+* dissonance::
+* dissonant interval::
+* dominant ninth chord::
+* dominant seventh chord::
+* dominant::
+* dorian mode::
+* dot (augmentation dot)::
+* dotted note::
+* double appoggiatura::
+* double bar line::
+* double dotted note::
+* double flat::
+* double sharp::
+* double trill::
+* duple meter::
+* duplet::
+* duration::
+* dydimic comma::
+* E::
+* ecclesiastical mode::
+* eighth note::
+* eighth rest::
+* embellishment::
+* engraving::
+* enharmonic::
+* equal temperament::
+* expression mark::
+* F::
+* F clef::
+* fermata::
+* fifth::
+* figured bass::
+* fingering::
+* flag::
+* flat::
+* forefall::
+* forte::
+* fourth::
+* fugue::
+* functional harmony::
+* G::
+* G clef::
+* glissando::
+* grace notes::
+* grand staff::
+* grave::
+* gruppetto::
+* half note::
+* half rest::
+* harmonic cadence::
+* harmony::
+* homophony::
+* interval::
+* inverted interval::
+* just intonation::
+* key::
+* key signature::
+* largo::
+* leading note::
+* ledger line::
+* legato::
+* legato curve::
+* leger line::
+* lilypond::
+* ligature::
+* line::
+* long appoggiatura::
+* longa::
+* lyrics::
+* major interval::
+* major::
+* meantone temperament::
+* measure::
+* mediant::
+* melisma::
+* melodic cadence::
+* meter::
+* metronome::
+* metronomic indication::
+* mezzo-soprano::
+* middle C::
+* minor::
+* minor interval::
+* mode::
+* modulation::
+* mordent::
+* motif::
+* motive::
+* movement::
+* multibar rest::
+* mixolydian mode::
+* natural sign::
+* neighbour tones::
+* ninth::
+* non-legato::
+* note::
+* note head::
+* note value::
+* octave sign::
+* octave::
+* ornament::
+* ossia::
+* part::
+* pennant::
+* percussion::
+* perfect interval::
+* phrase::
+* phrasing::
+* piano::
+* pitch::
+* pizzicato::
+* polyphony::
+* portato::
+* presto::
+* Pythagorean comma::
+* quadruplet::
+* quarter note::
+* quarter rest::
+* quintuplet::
+* rallentando::
+* relative key::
+* repeat::
+* rest::
+* rhythm::
+* ritardando::
+* ritenuto::
+* scale::
+* scale degree::
+* score::
+* second::
+* semitone::
+* seventh::
+* sextolet::
+* sextuplet::
+* shake::
+* sharp::
+* short appoggiatura::
+* sixteenth note::
+* sixteenth rest::
+* sixth::
+* sixty-fourth note::
+* sixty-fourth rest::
+* slur::
+* solmization::
+* sonata::
+* sonata form::
+* song texts::
+* soprano::
+* staccato::
+* staff::
+* staves::
+* stem::
+* strings::
+* strong beat::
+* subdominant::
+* submediant::
+* subtonic::
+* superdominant::
+* supertonic::
+* symphony::
+* syncopation::
+* syntonic comma::
+* system::
+* temperament::
+* tempo indication::
+* tenor::
+* tenth::
+* third::
+* thirty-second note::
+* thirty-second rest::
+* thorough bass::
+* tie::
+* time::
+* time signature::
+* tone::
+* tonic::
+* transposition::
+* treble clef::
+* tremolo::
+* triad::
+* trill::
+* triple meter::
+* triplet::
+* tritone::
+* tuning fork::
+* turn::
+* unison::
+* upbeat::
+* voice::
+* weak beat::
+* whole note::
+* whole rest::
+* whole tone::
+* woodwind::
+@end menu
-@c All `@table @strong' replaced by `@table @code'
-@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
+@node A
+@section A
-@table @code
-
-@aitem{A}@c
ES: la,
I: la,
F: la,
S: a,
FI: A, a.
-@aitem{accent}@c
+@node accent
+@section accent
+
ES: acento,
I: accento,
F: accent,
The stress of one tone over others.
+@node accessory
+@section accessory
+
+@aref{ornament}.
+
@c F: how to distinguish between accidental and key-sig alteration?
-@aitem{accidental}@c
-ES: alteración,
+@node accidental
+@section accidental
+
+ES: alteración,
I: alterazione, accidente,
-F: altération
+F: altération
D: Vorzeichen, Versetzungszeichen,
NL: voorteken,
-DK: løst fortegn,
-S: tillfälligt förtecken,
-FI: tilapäinen etumerkki.
+DK: løst fortegn,
+S: tillfälligt förtecken,
+FI: tilapäinen etumerkki.
-@c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
+@c F: altération accidentelle, D: Vorzeichen, Versetzungszeichen,
@c Akzidenz, NL: toevallig teken, I: accidento.
A sharp raises a tone by a @aref{semitone}, a double sharp raises it
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
+%\override TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
gis1 gisis ges geses g!
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
sharp "db. sharp" flat "db. flat" natural
}
@end lilypond
-@aitem{accelerando}@c
+@node accelerando
+@section accelerando
+
ES: acelerando,
I: accelerando,
-F: accelerando, en accélérant,
+F: accelerando, en accélérant,
D: accelerando, schneller werden,
NL: accelerando,
DK: accelerando,
S: accelerando,
-FI: accelerando, kiihdyttäen.
+FI: accelerando, kiihdyttäen.
Increase tempo.
-@aitem{adagio}@c
+@node adagio
+@section adagio
+
ES: adagio,
I: adagio,
F: adagio, lent,
FI: adagio, hitaasti.
It.@: comfortable, easy.
-1. Slow tempo, slower -- especially in even meter -- than
+1.@tie{}Slow tempo, slower -- especially in even meter -- than
@aref{andante} and faster than @aref{largo}.
-2. A movement in slow tempo, especially the second (slow) movement of
+2.@tie{}A movement in slow tempo, especially the second (slow) movement of
@aref{sonata}s, symphonies, etc.
-@aitem{allegro}@c
+@node allegro
+@section allegro
+
ES: allegro,
I: allegro,
F: allegro,
-D: Allegro, Schnell, Fröhlich, Lustig,
+D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a @aref{sonata}.
-@aitem{alto}@c
+@node alto
+@section alto
+
ES: alto,
I: contralto,
F: alto,
NL: alt,
DK: alt,
S: alt,
-FI: altto, matala naisääni.
+FI: altto, matala naisääni.
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
+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
@aref{counter tenor}.
-@aitem{alto clef}@c
+@node alto clef
+@section alto clef
+
ES: clave de do en tercera,
I: chiave di contralto,
-F: clef d'ut troisième ligne,
-D: Altschlüssel, Bratschenschlüssel,
+F: clef d'ut troisième ligne,
+D: Altschlüssel, Bratschenschlüssel,
NL: alt sleutel,
-DK: altnøgle,
+DK: altnøgle,
S: altklav,
FI: alttoavain.
C clef setting middle C on the middle line of the staff
@aref{C clef}.
-@aitem{ambit}@c
+@node ambit
+@section ambit
+
ES: ambitus,
I: ambitus,
F: ambitus,
NL: ambitus,
DK: ambitus,
S: ambitus,
-FI: ambitus, ääniala, soitinala.
+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.
-@aitem{ancient minor scale}@c
+@node ancient minor scale
+@section ancient minor scale
+
I: scala minore naturale,
-F: forme du mode mineur ancien, troisème mode, mode hellénique
+F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
NL: authentieke mineurtoonladder,
DK: ren mol,
S: ren mollskala,
FI: luonnollinen molliasteikko.
-@aref{diatonic scale} (ancient minor).
+@aref{diatonic scale}.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
a1 b c d e f g a }
@end lilypond
-@aitem{andante}@c
+@node andante
+@section andante
+
ES: andante,
I: andante,
F: andante,
NL: andante,
DK: andante,
S: andante,
-FI: andante, käyden.
+FI: andante, käyden.
Walking tempo/character.
-@aitem{appoggiatura}@c
+@node appoggiatura
+@section appoggiatura
+
ES: apoyatura,
I: appoggiatura,
F: appogiature, (port de voix),
D: Vorschlag,
NL: voorslag,
DK: forslag,
-S: förslag,
+S: förslag,
FI: appoggiatura, etuhele.
Ornamental note, usually a second, that is melodically connected with the
\key d \major
\time 4/4
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
<d a fis>4_"notation" r
- { \override Stem #'flag-style = #'()
+ { \override Stem #'flag-style = #'()
\grace g16
\revert Stem #'flag-style
}
fis8 e16 fis
- { \override Stem #'flag-style = #'()
+ { \override Stem #'flag-style = #'()
\grace a16
\revert Stem #'flag-style
}
\relative c'' {
\key as \major
\time 2/4
-% \override Score.TextScript #'font-style = #'large
+% \override Score.TextScript #'font-style = #'large
\grace { bes16 } as8_"notation" as16 bes as8 g |
\grace { as16[( bes] } < c as >4-)
\grace { as16[( bes] } < c as >4-) \bar "||"
}
@end lilypond
-@aitem{arpeggio}@c
+@node arpeggio
+@section arpeggio
+
ES: arpegio,
I: arpeggio,
-F: arpège,
+F: arpège,
D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
>>
@end lilypond
-@aitem{ascending interval}@c
+@node ascending interval
+@section ascending interval
+
ES: Intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
A distance between a starting lower note and a higher ending note.
-@aitem{augmented interval}@c
+@node augmented interval
+@section augmented interval
+
ES: intervalo aumentado,
I: intervallo aumentato,
-F: intervalle augmenté,
-D: übermäßiges Intervall,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
NL: overmatig interval,
-DK: forstørret interval,
-S: överstigande intervall,
+DK: forstørret interval,
+S: överstigande intervall,
FI: ylinouseva intervalli.
@aref{interval}.
-@aitem{autograph}@c
+@node autograph
+@section autograph
+
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
NL: manuscript,
-DK: håndskrift, autograf,
+DK: håndskrift, autograf,
S: handskrift,
-FI: käsinkirjoitettu nuotti.
+FI: käsinkirjoitettu nuotti.
-1. A manuscript in the composer's own hand.
-2. Music prepared for photoreproduction by freehand drawing,
+1.@tie{}A manuscript in the composer's own hand.
+2.@tie{}Music prepared for photoreproduction by freehand drawing,
with the aid of a straightedge ruler and T-square only,
which attempts to emulate engraving.
This required more skill than did engraving.
-@aitem{B}@c
+@node B
+@section B
+
ES: si,
I: si,
F: si,
S: h,
FI: H, h.
-@aitemii{backfall,forefall}@c
+@node backfall
+@section backfall
+
@aref{appoggiatura}.
-@aitem{bar line}@c
+@node bar
+@section bar
+
+ES: compás, @aref{measure}.
+
+@node bar line
+@section bar line
+
ES: ?,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
S: taktstreck,
FI: tahtiviiva.
-@aitem{bar}@c
-ES: compás, @aref{measure}.
+@node baritone
+@section baritone
-@aitem{baritone}@c
-ES: barítono,
+ES: barítono,
I: baritono,
F: bariton,
D: Bariton,
NL: bariton,
DK: baryton,
S: baryton,
-FI: baritoni, keskikorkuinen miesääni.
+FI: baritoni, keskikorkuinen miesääni.
The male voice intermediate between the @aref{bass} and the
@aref{tenor}.
-@c F: clef de troisième ligne dropped
+@c F: clef de troisième ligne dropped
+
+@node baritone clef
+@section baritone clef
-@aitem{baritone clef}@c
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinquième ligne, clef de Fa troisième,
-D: Baritonschlüssel,
+F: clef d' Ut cinquième ligne, clef de Fa troisième,
+D: Baritonschlüssel,
NL: baritonsleutel,
-DK: barytonnøgle,
+DK: barytonnøgle,
S: barytonklav,
FI: baritoniavain.
C or F clef setting middle C on the upper staff line.
@aref{C clef}, @aref{F clef}.
-@aitem{bass clef}@c
+@node bass clef
+@section bass clef
+
ES: clave de fa en cuarta,
I: chiave di basso,
-F: clé de fa quatrième ligne,
-D: Bassschlüssel,
+F: clé de fa quatrième ligne,
+D: Bassschlüssel,
NL: bassleutel,
-DK: basnøgle,
+DK: basnøgle,
S: basklav,
FI: bassoavain.
A clef setting with middle C on the first top ledger line.
@aref{F clef}.
-@aitem{bass}@c
+@node bass
+@section bass
+
I: basso,
F: basse,
D: Bass,
NL: bas,
DK: bas,
S: bas,
-FI: basso, matala miesääni.
+FI: basso, matala miesääni.
-1. The lowest of men's voices.
-2. Sometimes, especially in jazz music, used as
+1.@tie{}The lowest male voice.
+2.@tie{}Sometimes, especially in jazz music, used as
an abbreviation for double bass.
@aref{strings}.
-@aitem{beam}@c
+@node beam
+@section beam
+
I: coda,
F: barre,
D: Balken,
NL: waardestreep,
-DK: bjælke,
+DK: bjælke,
S: balk,
FI: palkki.
Line connecting a series of notes (shorter than a quarter note).
-The number of beams determine the note value of the connected notes.
+The number of beams determines the note value of the connected notes.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
+%\override TextScript #'font-style = #'large
\relative c'' {
g8_"1/8"[ g g g] s16
g16_"1/16"[ g g g] s16
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
-@aitem{beat}@c
+@node beat
+@section beat
+
ES: tiempo,
I: tempi,
F: temps,
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
-@aitem{bind}@c
+@node bind
+@section bind
+
@aref{tie}.
-@aitem{brace}@c
+@node brace
+@section brace
+
ES: llave, corchete,
I: graffa,
F: accolade,
NL: accolade, teksthaak,
DK: klamme,
S: klammer,
-FI: yhdistävä sulkumerkki.
+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
@lilypond[fragment,raggedright]
\context GrandStaff <<
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
+ \relative c''\context Staff = SA { \clef treble g4 e c2 }
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@aitem{brass}@c
+@node brass
+@section brass
+
ES: metales,
I: ottoni,
-D: Blechbläser,
+D: Blechbläser,
NL: koper (blazers),
F: cuivres,
-DK: messingblæsere,
-S: brassinstrument, mässingsinstrument,
+DK: messingblæsere,
+S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
-A family of blown musical instruments made of brass all using a cup formed
+A family of blown musical instruments made of brass, all using a cup formed
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn, and tube.
-@aitem{breath mark}@c
+@node breath mark
+@section breath mark
+
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
NL: repercussieteken,
-DK: vejrtrækningstegn,
+DK: vejrtrækningstegn,
S: andningstecken,
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
+@node breve
+@section breve
-@aitem{breve}@c
ES: breve,
I: breve,
-F: brève,
+F: brève,
D: Brevis,
NL: brevis,
DK: brevis,
S: brevis,
FI: brevis.
-@aref{note value} twice as long as a whole note. Mainly used
+@aref{note value}, twice as long as a whole note. Mainly used
in pre-1650 music.
@lilypond[fragment,notime,raggedright]
\relative c'' { g\breve }
@end lilypond
-@aitem{C}@c
+@node C
+@section C
+
ES: do,
I: do,
F: ut,
S: c,
FI: C, c.
-@aitem{C clef}@c
+@node C clef
+@section C clef
+
ES: Clave de do,
I: chiave di do,
-F: clé d'ut,
-D: C-Schlüssel,
+F: clé d'ut,
+D: C-Schlüssel,
NL: C-sleutel,
-DK: c-nøgle,
+DK: c-nøgle,
S: c-klav,
FI: C-avain.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
+\override Score.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
\oldaddlyrics
\context Staff \relative c' {
\clef soprano c1 s s
\clef baritone c s s
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
}
@end lilypond
-@aitem{cadence}@c
+@node cadence
+@section cadence
+
ES: cadencia,
I: cadenza,
F: cadence,
@aref{harmonic cadence}, @aref{functional harmony}.
-@aitem{cadenza}@c
+@node cadenza
+@section cadenza
+
ES: cadenza,
I: cadenza,
F: cadence,
An extended, improvisatory style section inserted near the end of
movement. The purpose of a cadenza is to give singers or players a chance
-to exhibit their technical skill and not the least their ability to
+to exhibit their technical skill and -- not last -- their ability to
improvise. Since the middle of the 19th century, however, most cadences have
been written down by the composer.
-@aitem{canon}@c
+@node canon
+@section canon
+
ES: canon,
I: canone,
F: canon,
NL: canon,
DK: kanon,
S: kanon,
-FI: kaanon, tarkka jäljittely.
+FI: kaanon, tarkka jäljittely.
@aref{counterpoint}.
-@aitem{cent}@c
+@node cent
+@section cent
+
ES: cent,
I: cent,
F: cent,
NL: cent,
DK: cent,
S: cent,
-FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
+FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
of an equally tempered @aref{semitone}).
@aref{equal temperament}.
-@aitem{central C}@c
+@node central C
+@section central C
+
@aref{middle C}.
-@aitem{chord}@c
+@node chord
+@section chord
+
ES: acorde,
I: accordo,
F: accord,
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
+%\override TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
<g b d>1 s s
}
@end lilypond
-@aitem{chromatic scale}@c
-ES: escala cromática,
+@node chromatic scale
+@section chromatic scale
+
+ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
D: chro@-ma@-ti@-sche Tonleiter,
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
-@aitem{chromaticism}@c
+@node chromaticism
+@section chromaticism
+
ES: cromatismo,
I: cromatismo,
F: chromatisme,
Use of tones extraneous to a @aref{diatonic scale} (minor, major).
-@aitemii{church mode,ecclesiastical mode}@c
-ES: modo eclesiástico,
+@node church mode
+@section church mode
+
+ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode ecclésiastique,
+F: mode ecclésiastique,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
-FI: moodi, kirkkosävellaji.
+FI: moodi, kirkkosävellaji.
@aref{diatonic scale}.
-@aitem{clef}@c
+@node clef
+@section clef
+
ES: clave,
I: chiave,
-F: clé, clef,
-D: Schlüssel, Notenschlüssel,
+F: clé, clef,
+D: Schlüssel, Notenschlüssel,
NL: sleutel,
-DK: nøgle,
+DK: nøgle,
S: klav,
FI: avain, nuottiavain.
@aref{C clef}, @aref{F clef}, @aref{G clef}.
-@aitem{cluster}@c
+@node cluster
+@section cluster
+
A @emph{cluster} is a range of simultaneously sounding pitches that
may change over time. The set of available pitches to apply usually
depends on the acoustic source. Thus, in piano music, a cluster
pitch contained in the cluster would be notated as an ordinary note.
@lilypond[fragment,relative=2,verbatim,raggedright]
-\makeClusters { <c e > <b f'> <b g'> <c g> <f e> }
+\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
-@aitem{comma}@c
+@node comma
+@section comma
+
I: comma,
F: comma,
D: Komma,
NL: komma,
DK: komma,
S: komma,
-FI: komma, korvinkuultava ero äänenkorkeudessa.
+FI: komma, korvinkuultava ero äänenkorkeudessa.
Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @aref{temperament}.
-@aitem{common meter}@c
+@node common meter
+@section common meter
+
@aref{meter}.
-@aitem{compound interval}@c
+@node compound interval
+@section compound interval
+
ES: intervalo compuesto,
I: intervallo composto,
-F: intervalle composé,
+F: intervalle composé,
D: weites Intervall,
NL: samengesteld interval,
DK: sammensat interval,
@aref{interval}.
-@aitem{complement}@c
+@node complement
+@section complement
+
I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
+F: intervalle complémentaire,
+D: Komplementärintervall,
NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
@aref{inverted interval}.
-@aitem{conjunct movement}@c
+@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,
+DK: trinvis bevægelse,
+S: stegvis rörelse,
FI: asteittainen liike.
Progressing melodically by intervals of a second. The opposite of a
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
-@aitem{consonance}@c
+@node consonance
+@section consonance
+
ES: consonancia,
I: consonanza,
F: consonance,
@aref{harmony}.
-@aitem{contralto}@c
+@node contralto
+@section contralto
+
ES: contralto,
I: contralto,
F: contralto,
@aref{alto}.
-@aitem{counterpoint}@c
+@node counterpoint
+@section counterpoint
+
ES: contrapunto,
I: contrappunto,
F: contrepoint,
NL: contrapunt,
DK: kontrapunkt,
S: kontrapunkt,
-FI: kontrapunkti, ääni ääntä vastaan.
+FI: kontrapunkti, ääni ääntä vastaan.
From latin @emph{punctus contra punctum}, note against note. The combination
into a single musical fabric of lines or parts which have distinct melodic
>>
@end lilypond
-@aitem{counter tenor}@c
+@node counter tenor
+@section counter tenor
+
ES: contratenor,
I: controtenore,
F: contre-tenor,
-D: Countertenor,
+D: Countertenor, Kontratenor,
NL: contratenor,
DK: kontratenor,
S: kontratenor, counter tenor,
@aref{contralto}.
-@aitem{copying, music}@c
+@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. This
required more skill than engraving.
-@aitem{crescendo}@c
+@node crescendo
+@section crescendo
+
ES: crescendo,
I: crescendo,
F: crescendo,
@lilypond[fragment,raggedright]
\key g \major \time 4/4
-\relative c'' { g4 \< a b c | d1\! \bar "|." }
+\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
-@aitem{cue-notes}@c
+@node cue-notes
+@section cue-notes
+
ES: notas guia,
I: notine,
-F: petites notes précédent l'entrée d'in instrument, réplique,
+F: petites notes précédent l'entrée d'in instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
-@aitem{custos}@c
+@node custos
+@section custos
+
A custos is a staff symbol that appears at the end of a staff line
with monophonic musical contents (i.e., with a single voice). It
anticipates the pitch of the first note of the following line and thus
% \override Staff.Custos #'neutral-position = #4
\override Staff.Custos #'neutral-direction = #-1
\override Staff.Custos #'style = #'hufnagel
- c'1 \break
+ c'1 \break
<d' a' f''>1
}
}
@end lilypond
-@aitem{D}@c
+@node D
+@section D
+
ES: Re,
I: re,
-F: ré,
+F: ré,
D: D, d,
NL: d,
DK: d,
S: d,
FI: D, d.
-@aitem{da capo}@c
+@node da capo
+@section da capo
+
ES: da capo,
I: da capo,
F: da capo, depuis le commencement,
The term indicates repetition of the piece from the beginning to the end or
to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
-@aitem{dal segno}@c
+@node dal segno
+@section dal segno
+
ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
-D: dal segno,
+D: dal segno, ab dem Zeichen,
NL: dal segno,
DK: dal segno,
S: dal segno,
-FI: dal segno, lähtien merkistä.
+FI: dal segno, lähtien merkistä.
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
@lilypond[fragment,raggedright]
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
+%\override TextScript #'font-style = #'large
+\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
\relative c'' {
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
-@aitem{decrescendo}@c
+@node decrescendo
+@section decrescendo
+
ES: decrescendo,
I: decrescendo,
D: Decrescendo, leiser werden,
@lilypond[fragment,raggedright]
\relative c'' {
\key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
+ d4 \> c b a | g1 \! \bar "|."
}
@end lilypond
-@aitem{descending interval}@c
+@node descending interval
+@section descending interval
+
ES: intervalo descendente,
I: intervallo discendente,
F: intervalle descendant,
A distance between a starting higher note and a lower ending note.
-@aitem{diatonic scale}@c
-ES: escala diatónica,
+@node diatonic scale
+@section diatonic scale
+
+ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
D: diatonische Tonleiter,
2@w{ }@aref{semitone}s (S). Scales played on the white keys
of a piano keybord are diatonic.
-The church modes are used in gregorial chant and in pre baroque early
+The church modes are used in gregorial chant and in pre-baroque early
music but also to some extent in newer jazz music.
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c' {
d1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c' {
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c' {
f1 g a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c'' {
g1 a
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
\context Lyrics \lyrics {
Mixolydian
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c' {
c1 d
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
\context Lyrics \lyrics {
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\relative c'' {
a1
- \override TextScript #'padding = #-4
+ \override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
}
@end lilypond
-@aitem{diminished interval}@c
-ES: intervalo disminuído,
+@node diminished interval
+@section diminished interval
+
+ES: intervalo disminuído,
I: intervallo diminuito,
-F: intervalle diminué,
+F: intervalle diminué,
D: vermindertes Intervall,
NL: verminderd interval,
DK: formindsket interval,
-S: förminskat intervall,
-FI: vähennetty intervalli.
+S: förminskat intervall,
+FI: vähennetty intervalli.
@aref{interval}.
-@aitem{diminuendo}@c
+@node diminuendo
+@section diminuendo
+
ES: diminuendo,
I: diminuendo,
F: diminuendo,
@aref{decrescendo}.
-@aitem{disjunct movement}@c
+@node disjunct movement
+@section disjunct movement
+
ES: movimiendo disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
NL: sprongsgewijze beweging,
-DK: springende bevægelse,
-S: hoppande rörelse,
-FI: melodian hyppivä liike.
+DK: springende bevægelse,
+S: hoppande rörelse,
+FI: melodian hyppivä liike.
Progressing melodically by intervals larger than a major second.
Opposite of @aref{conjunct movement}.
fis2 d4. \bar "||" }
@end lilypond
-@aitemii{dissonant interval,dissonance}@c
+@node dissonance
+@section dissonance
+
+@ref{dissonant interval}.
+
+@node dissonant interval
+@section dissonant interval
+
ES: intervalo disonante, disonancias,
I: intervallo dissonante, dissonanza,
F: dissonance,
@aref{harmony}.
-@aitem{dominant ninth chord}@c
+@node dominant ninth chord
+@section dominant ninth chord
+
I: accordo di nona di dominante,
-F: accord de neuvième dominante,
+F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant seventh chord}@c
-ES: acorde de séptima de dominante,
+@node dominant seventh chord
+@section dominant seventh chord
+
+ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septième dominante,
+F: accord de septième dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant}@c
+@node dominant
+@section dominant
+
ES: dominante,
I: dominante,
F: dominante,
The fifth @aref{scale degree},
@aref{functional harmony}.
-@aitem{dorian mode}@c
-ES: modo dórico,
+@node dorian mode
+@section dorian mode
+
+ES: modo dórico,
I: modo dorico,
F: mode dorien,
D: dorisch, dorischer Kirchenton,
@aref{diatonic scale}.
-@aitem{dot (augmentation dot)}@c
+@node dot (augmentation dot)
+@section dot (augmentation dot)
+
ES: puntillo,
I: punto (di valore),
F: point,
-D: Punkt (Verlängerungspunkt),
+D: Punkt (Verlängerungspunkt),
NL: punt,
DK: punkt,
S: punkt,
@aref{dotted note}.
-@aitem{dotted note}@c
+@node dotted note
+@section dotted note
+
ES: nota con puntillo,
I: nota puntata,
-F: note pointée,
+F: note pointée,
D: punktierte Note,
NL: gepuncteerde noot,
DK: punkteret node,
@aref{note value}.
-@aitem{double appoggiatura}@c
+@node double appoggiatura
+@section double appoggiatura
+
ES: apoyatura doble,
I: appoggiatura doppia,
F: appoggiature double,
@aref{appoggiatura}.
-@aitem{double bar line}@c
+@node double bar line
+@section double bar line
+
I: doppia barra,
F: double barre,
D: Doppelstrich,
Indicates the end of a section within a movement.
-@aitem{double dotted note}@c
+@node double dotted note
+@section double dotted note
+
ES: nota con dos puntillos,
I: nota doppiamente puntata,
-F: note doublement pointée,
+F: note doublement pointée,
D: doppelt punktierte Note,
NL: dubbelgepuncteerde noot,
DK: dob@-belt@-punk@-te@-ret node,
@aref{note value}.
-@aitem{double flat}@c
+@node double flat
+@section double flat
+
ES: doble bemol,
I: doppio bemolle,
-F: double bémol,
+F: double bémol,
D: Doppel-B,
NL: dubbelmol,
DK: dob@-belt-b,
@aref{accidental}.
-@aitem{double sharp}@c
+@node double sharp
+@section double sharp
+
ES: doble sostenido,
I: doppio diesis,
-F: double dièse,
+F: double dièse,
D: Doppelkreuz,
NL: dubbelkruis,
DK: dob@-belt@-kryds,
@aref{accidental}.
-@aitem{double trill}@c
+@node double trill
+@section double trill
+
ES: trino doble,
I: doppio trillo,
F: trille double,
A simultaneous trill on two notes, usually in the distance of a third.
-@aitem{duple meter}@c
+@node duple meter
+@section duple meter
+
ES: tiempo binario,
I: tempo binario,
F: temps binaire,
D: in zwei,
NL: tweedelige maatsoort,
DK: todelt takt,
-S: tvåtakt,
+S: tvåtakt,
FI: kaksoistempo.
@aref{meter}.
-@aitem{duplet}@c
+@node duplet
+@section duplet
+
ES: dosillo,
I: duina,
F: duolet,
@aref{note value}.
-@aitem{duration}@c
-ES: duración,
+@node duration
+@section duration
+
+ES: duración,
I: durata,
-F: durée,
-D: Dauer, Länge,
+F: durée,
+D: Dauer, Länge,
NL: duur, lengte,
DK: varighed,
-S: tonlängd,
+S: tonlängd,
FI: kesto, aika-arvo.
@aref{note value}.
-@aitem{dydimic comma}@c
+@node dydimic comma
+@section dydimic comma
+
@aref{syntonic comma}.
-@aitem{E}@c
+@node E
+@section E
+
ES: mi,
I: mi,
F: mi,
S: e,
FI: E, e.
-@aitem{eighth note}@c
+@node ecclesiastical mode
+@section ecclesiastical mode
+
+@aref{church mode}.
+
+@node eighth note
+@section eighth note
+
ES: corchea,
I: croma,
F: croche,
D: Achtel, Achtelnote,
NL: achtste noot,
DK: ottendedelsnode,
-S: åttondelsnot,
+S: åttondelsnot,
FI: kahdeksasosanuotti.
@aref{note value}.
-@aitem{eighth rest}@c
+@node eighth rest
+@section eighth rest
+
ES: silencio de corchea,
I: pausa di croma,
F: demi-soupir,
D: Achtelpause,
NL: achtste rust,
DK: ottendedelspause,
-S: åttonddelspaus,
+S: åttonddelspaus,
FI: kahdeksasosatauko.
@aref{note value}.
-@aitem{engraving}@c
+@node embellishment
+@section embellishment
+
+
+@aref{ornament}.
+
+@node engraving
+@section engraving
+
ES: Grabar
I: incisione,
F: gravure,
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
-@aitem{enharmonic}@c
-ES: enharmónico,
+@node enharmonic
+@section enharmonic
+
+ES: enharmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
gis1 s s as s s <des g,!> s s <cis g!> s s
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
@end lilypond
-@aitem{equal temperament}@c
+@node equal temperament
+@section equal temperament
+
ES: ?,
I: temperamento equabile,
-F: tempérament égal,
+F: tempérament égal,
D: gleichschwebende Stimmung,
NL: ge@-lijk@-zwe@-ven@-de temperatuur,
-DK: ligesvævende temperatur,
-S: liksvävande temperatur,
+DK: ligesvævende temperatur,
+S: liksvävande temperatur,
FI: tasavireinen.
Tuning system dividing the octave into 12 equal @aref{semitone}s
(precisely 100 @aref{cent}s). @aref{temperament}.
-@aitem{expression mark}@c
+@node expression mark
+@section expression mark
+
ES: ?,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
NL: voordrachtsteken,
DK: foredragsbetegnelse,
-S: föredragsbeteckning,
+S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
@aref{forte}, @aref{crescendo}), 2. tempo (for example
@aref{andante}, @aref{allegro}).
-@aitem{F}@c
+@node F
+@section F
+
ES: fa,
I: fa,
F: fa,
S: f,
FI: F, f.
-@aitem{F clef}@c
+@node F clef
+@section F clef
+
ES: Clave de Fa,
I: chiave di fa,
-F: clé de fa,
-D: F-Schlüssel,
+F: clé de fa,
+D: F-Schlüssel,
NL: F-sleutel,
-DK: F-nøgle,
+DK: F-nøgle,
S: f-klav,
FI: F-avain.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
+\override Staff.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
\oldaddlyrics
\relative c {
\clef varbaritone
f1
}
\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'self-alignment-X = #-1
+% \override Lyrics .LyricText #'self-alignment-X = #-1
"baritone "
"bass "
"sub-bass "
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
-@aitem{fermata}@c
-ES: Calderón,
+@node fermata
+@section fermata
+
+ES: Calderón,
I: corona,
F: point d'orgue, point d'arr@^et,
D: Fermate,
NL: fermate,
DK: fermat,
S: fermat,
-FI: fermaatti, pidäke.
+FI: fermaatti, pidäke.
Prolonged note or rest of indefinite duration.
}
@end lilypond
-@aitem{fifth}@c
+@node fifth
+@section fifth
+
ES: quinta,
I: quinta,
F: quinte,
@aref{interval}.
-@aitem{figured bass}@c
+@node figured bass
+@section figured bass
+
ES: bajo cifrado, @aref{thorough bass}.
-@aitem{fingering}@c
-ES: digitación,
+@node fingering
+@section fingering
+
+ES: digitación,
I: diteggiatura,
-F: doigté,
+F: doigté,
D: Fingersatz,
NL: vingerzetting,
-DK: fingersætning,
-S: fingersättning,
+DK: fingersætning,
+S: fingersättning,
FI: sormitus.
The methodical use of fingers in the playing of instruments.
-@aitemii{flag,pennant}@c
+@node flag
+@section flag
+
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
-D: Fahne, Fähnchen,
+D: Fahne, Fähnchen,
NL: vlaggetje,
DK: fane,
S: flagga,
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c'' {
g8_"1/8" s8
g16_"1/16" s8
}
@end lilypond
-@aitem{flat}@c
+@node flat
+@section flat
+
ES: bemol,
I: bemolle,
-F: bémol,
+F: bémol,
D: B, b,
NL: mol,
DK: b,
-S: beförtecken,
+S: beförtecken,
FI: alennusmerkki.
@aref{accidental}.
-@aitemii{forefall,backfall}@c
+@node forefall
+@section forefall
+
@aref{appoggiatura}.
-@aitem{forte}@c
+@node forte
+@section forte
+
ES: forte,
I: forte,
F: forte,
Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.
-@aitem{fourth}@c
+@node fourth
+@section fourth
+
ES: cuarta,
I: quarta,
F: quarte,
@aref{interval}.
-@aitem{fugue}@c
+@node fugue
+@section fugue
+
ES: fuga,
I: fuga,
F: fugue,
@aref{counterpoint}.
-@aitem{functional harmony}@c
-ES: armonía funcional,
+@node functional harmony
+@section functional harmony
+
+ES: armonía funcional,
I: armonia funzionale,
-F: étude des functions,
+F: étude des functions,
D: Funktionslehre,
NL: functionele harmonie,
DK: funktionsanalyse, funktionsharmonik,
-S: funktionslära,
-FI: harmoniajärjestelmä.
+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). Other are considered to be
+dominant (D, the chord on the fifth note). Others are considered to be
variants of the base chords.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
-\encoding "TeX"
\context Voice \relative c'' {
<g e c >1 < a f d > < b g e >
<c a f > < d b g > < e c a > < f d b > }
\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
@end lilypond
-@aitem{G}@c
+@node G
+@section G
+
ES: sol,
I: sol,
F: sol,
S: g,
FI: G, g.
-@aitem{G clef}@c
+@node G clef
+@section G clef
+
ES: Clave de sol,
I: chiave di sol,
-F: clé de sol,
-D: G-Schlüssel, Violinschlüssel,
+F: clé de sol,
+D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
-DK: g-nøgle,
+DK: g-nøgle,
S: g-klav,
FI: G-avain.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
+\override Staff.Clef #'full-size-change = ##t
+%\override Score.LyricText #'font-style = #'large
\oldaddlyrics
\relative c'' {
\clef french
g s s
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+ \override Lyrics .LyricText #'self-alignment-X = #-1
"french violin clef "
"violin clef "
"octaved up "
}
@end lilypond
-@aitem{glissando}@c
+@node glissando
+@section glissando
+
ES: glissando,
I: glissando,
F: glissando,
Letting the pitch slide fluently from one note to the other.
-@aitem{grace notes}@c
+@node grace notes
+@section grace notes
+
ES: ?,
I: abbellimenti,
F: fioriture,
-D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
S: ornament,
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @aref{appoggiatura}.
-@aitem{grand staff}@c
+@node grand staff
+@section grand staff
+
I: accolatura,
F: accolade,
D: Akkolade,
NL: piano systeem,
DK: klaversystem,
-S: ackolad, böjd klammer,
+S: ackolad, böjd klammer,
FI: kaksoisnuottiviivasto.
@aref{brace}.
A combination of two staves with a brace. Usually used for piano music.
-@aitem{grave}@c
+@node grave
+@section grave
+
ES: grave,
I: grave,
F: grave,
Slow, solemn.
-@aitem{half note}@c
+@node gruppetto
+@section gruppetto
+
+@aref{turn}.
+
+@node half note
+@section half note
+
ES: blanca,
I: minima,
F: blanche,
@aref{note value}.
-@aitem{half rest}@c
+@node half rest
+@section half rest
+
ES: ?,
I: pausa di minima,
F: demi-pause,
@aref{note value}.
-@aitem{harmonic cadence}@c
-ES: cadencia (armónica),
+@node harmonic cadence
+@section harmonic cadence
+
+ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
D: Schlusskadenz,
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
+% %\override Score.LyricText #'font-style = #'large
\oldaddlyrics
\context Staff = SB \relative c {
\clef bass
>>
@end lilypond
-@aitem{harmony}@c
-ES: armonía,
+@node harmony
+@section harmony
+
+ES: armonía,
I: armonia,
F: harmonie,
D: Harmonie, Zusammenklang,
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
<g g>1_"unisone " s
<g b>_"third " s
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+%\override Score.TextScript #'font-style = #'large
+\context Voice \relative c'' {
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
Three note harmony @aref{chord}.
-@aitem{homophony}@c
-ES: homofonía,
+@node homophony
+@section homophony
+
+ES: homofonía,
I: omofonia,
F: homophonie,
D: Homophonie,
NL: homofonie,
DK: homofoni,
S: homofoni,
-FI: homofonia, yksiäänisyys.
+FI: homofonia, yksiäänisyys.
Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @aref{polyphony}.
-@aitem{interval}@c
+@node interval
+@section interval
+
ES: intervalo,
I: intervallo,
F: intervalle,
NL: interval,
DK: interval,
S: intervall,
-FI: intervalli, kahden sävelen korkeusero.
+FI: intervalli, kahden sävelen korkeusero.
Difference in pitch between two notes. Intervals may be perfect, minor, major,
diminished, or augmented. The augmented fourth and the diminished fifth are
identical (@aref{enharmonic}) and are called @emph{tritonus}
because they consist of three @aref{whole tone}s. The addition
-of such two forms an octave.
+of such two intervals forms an octave.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Voice \relative c'' {
< g g >1 s
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
< g c >1^"perfect" s
- < g cis >^"augm" s
- < g d' >^"perfect" s
+ < g cis >^"augm" s
+ < g d' >^"perfect" s
< g des' > ^"dimin" s
- < gis es' >^"dimin" s
- < g! es' >^"minor" s
- < g e'! >^"major" s
- < g eis' >^"augm" s
+ < gis es' >^"dimin" s
+ < g! es' >^"minor" s
+ < g e'! >^"major" s
+ < g eis' >^"augm" s
}
\context Lyrics \lyrics {
"fourth " "fourth " "fifth " "fifth "
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
- < gis f'! >1^"dimin" s
- < g! f'! >^"minor" s
- < g fis' >^"major" s
+ < gis f'! >1^"dimin" s
+ < g! f'! >^"minor" s
+ < g fis' >^"major" s
< g g' > s
- < g as' >^"minor" s
- < g a'! >^"major" s
- < g bes' >^"minor" s
- < g b'! >^"major" s
+ < g as' >^"minor" s
+ < g a'! >^"major" s
+ < g bes' >^"minor" s
+ < g b'! >^"major" s
}
\context Lyrics \lyrics {
"seventh " "seventh " "seventh " "octave "
}
@end lilypond
-@aitem{inverted interval}@c
+@node inverted interval
+@section inverted interval
+
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle reversé,
+F: intervalle reversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
-S: intervallets omvändning,
-FI: käänteisintervalli.
+S: intervallets omvändning,
+FI: käänteisintervalli.
The difference between an interval and an octave.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\context Staff \relative c'' {
- < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
+ < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
< g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
< g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
}
@end lilypond
-@aitem{just intonation}@c
+@node just intonation
+@section just intonation
+
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
NL: reine stemming,
DK: ren stemning,
-S: ren stämning,
+S: ren stämning,
FI: puhdas viritys.
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds. @aref{temperament}.
-@aitem{key}@c
+@node key
+@section key
+
ES: tonalidad,
-I: tonalità,
-F: tonalité,
+I: tonalità,
+F: tonalité,
D: Tonart,
NL: toonsoort,
DK: toneart,
there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@aref{key signature}.
-@aitem{key signature}@c
+@node key signature
+@section key signature
+
ES: armadura de clave,
I: armatura di chiave,
-F: armure, armature [de la clé],
+F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
NL: toon@-soort (voortekens),
DK: faste fortegn,
S: tonartssignatur,
-FI: sävellajiosoitus.
+FI: sävellajiosoitus.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @aref{accidental}.
-@aitem{largo}@c
+@node largo
+@section largo
+
ES: largo,
I: largo,
F: largo,
NL: largo,
DK: largo,
S: largo,
-FI: largo, hitaasti, leveästi.
+FI: largo, hitaasti, leveästi.
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
-@aitem{leading note}@c
+@node leading note
+@section leading note
+
ES: sensible,
I: sensibile,
F: note sensible,
NL: leidtoon,
DK: ledetone,
S: ledton,
-FI: johtosävel.
+FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
the tonic; so called because of its strong tendency to ``lead up'' (resolve
upwards) to the tonic scale degree.
-@aitemii{ledger line,leger line}@c
-ES: líneas adicionales,
+@node ledger line
+@section ledger line
+
+ES: líneas adicionales,
I: tagli addizionali,
-F: ligne supplémentaire,
+F: ligne supplémentaire,
D: Hilfslinie,
NL: hulplijntje,
-DK: hjælpelinie,
-S: hjälplinje,
+DK: hjælpelinie,
+S: hjälplinje,
FI: apuviiva.
A ledger line is an extension of the staff.
\relative c'' { a,1 s c'' }
@end lilypond
-@aitem{legato}@c
+@node legato
+@section legato
+
ES: ligado,
I: legato,
-F: legato, lié,
+F: legato, lié,
D: legato,
NL: legato,
DK: legato,
c4-. d-. e-. \bar "||"
}
\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'font-style = #'large
+% \override Lyrics .LyricText #'font-style = #'large
a
b "" ""
c
}
@end lilypond
-@aitem{legato curve}@c
+@node legato curve
+@section legato curve
+
@aref{slur}, @aref{legato}.
-@aitem{lilypond}@c
+@node leger line
+@section leger line
+
+@aref{ledger line}.
+
+@node lilypond
+@section lilypond
+
ES: estanque de lilas,
I: stagno del giglio,
-F: étang de lis,
+F: étang de lis,
UK: lily pond,
D: Seerosenteich,
NL: le@-lie@-vij@-ver,
A pond with lilies floating in it, also the name of a music typesetter.
-@aitem{ligature}@c
+@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
With the invention of the metric system of the white mensural
notation, the need for ligatures to denote such patterns disappeared.
-@aitem{line}@c
-ES: línea,
+@node line
+@section line
+
+ES: línea,
I: linea,
F: ligne,
D: Linie, Notenlinie,
@aref{staff}.
-@aitem{long appoggiatura}@c
+@node long appoggiatura
+@section long appoggiatura
+
ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
D: langer Vorschlag,
NL: Lange voorslag,
DK: langt forslag,
-S: långt förslag,
-FI: pitkä appoggiatura, pitkä etuhele.
+S: långt förslag,
+FI: pitkä appoggiatura, pitkä etuhele.
@aref{appoggiatura}.
-@aitem{longa}@c
+@node longa
+@section longa
+
ES: longa,
I: longa,
F: longa,
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\relative c'' {
- \override NoteHead #'style = #'mensural
+ \override NoteHead #'style = #'mensural
g\longa
}
@end lilypond
-@aitemii{lyrics,song texts}@c
+@node lyrics
+@section lyrics
+
ES: .,
I: .,
F: .,
-D: .,
+D: Liedtext,
NL: liedtekst,
DK: .,
S: .,
FI, sanoitus.
-@aitem{major interval}@c
+@node major interval
+@section major interval
+
ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
-D: großes Intervall,
+D: großes Intervall,
NL: groot interval,
DK: stort interval,
S: stort intervall,
@aref{interval}.
-@aitem{major}@c
+@node major
+@section major
+
ES: mayor,
I: maggiore,
F: [mode] majeur,
@aref{diatonic scale}.
-@aitem{meantone temperament}@c
+@node meantone temperament
+@section meantone temperament
+
I: accordatura mesotonica,
-F: tempérament mésotonique,
-D: mitteltönige Stimmung,
+F: tempérament mésotonique,
+D: mitteltönige Stimmung,
NL: middenstemming, middentoonstemming,
DK: middeltonetemperatur,
S: medeltonstemperatur,
-FI: keskisävelviritys.
+FI: keskisävelviritys.
Temperament yielding acoustically pure thirds by decreasing the natural fifth
by 16@w{ }@aref{cent}s. Due to the non-circular character of this
@aref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
-@aitemii{measure,bar}@c
-ES: compás,
+@node measure
+@section measure
+
+ES: compás,
I: misura, battuta,
F: mesure,
D: Takt,
throughout the composition and are marked from each other by
bar-lines. @aref{meter}.
-@aitem{mediant}@c
+@node mediant
+@section mediant
+
ES: mediante,
I: mediante, modale,
-F: médiante,
+F: médiante,
NL: mediant,
D: Mediante,
DK: mediant,
S: mediant,
-FI: keskisävel.
+FI: keskisävel.
-1. The third @b{scale degree}.
-2. A @aref{chord} having its base tone
+1.@tie{}The third @b{scale degree}.
+2.@tie{}A @aref{chord} having its base tone
a third from that of another chord. For example, the tonic chord may be
replaced by its lower mediant (variant tonic). @aref{functional
harmony}, @aref{relative key}.
-@aitem{melisma}@c
+@node melisma
+@section melisma
+
NL: melisma,
-FI: melisma, laulettavan tavun sävelkuvio.
+FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural: melismata) is a group of notes or tones sung on one
syllable in plainsong
-@aitem{melodic cadence}@c
+@node melodic cadence
+@section melodic cadence
+
@aref{cadenza}.
-@aitemii{meter,time}@c
-ES: compás,
+@node meter
+@section meter
+
+ES: compás,
I: tempo, metro,
-F: indication de mésure,
+F: indication de mésure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
or a section of it. For instance, 3/4 meter means that the basic
@aref{note value}s are quarter notes and that a
@aref{measure} consists of three of those. According to
-whether there are two, three or four units to the measure,
+whether there are two, three, or four units to the measure,
one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
@end lilypond
-@aitem{metronome}@c
-ES: metrónomo,
+@node metronome
+@section metronome
+
+ES: metrónomo,
I: metronomo,
-F: métronome,
+F: métronome,
D: Metronom,
NL: metronoom,
DK: me@-tro@-nom,
Device indicating the exact tempo of a piece. @aref{metronomic
indication}.
-@aitem{metronomic indication}@c
-ES: indicación metronómica,
+@node metronomic indication
+@section metronomic indication
+
+ES: indicación metronómica,
I: indicazione metronomica,
-F: indication métronomique,
+F: indication métronomique,
D: Metronomangabe,
NL: metronoom aanduiding,
DK: metronomtal,
FI: metronomiosoitus.
Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+M.M.@: (Mälzels Metronom).
+
+@node mezzo-soprano
+@section mezzo-soprano
-@aitem{mezzo-soprano}@c
ES: mezzo soprano,
I: mezzo-soprano,
F: mezzo-soprano,
The female voice between @aref{soprano} and
@aref{contralto}.
-@aitem{middle C}@c
+@node middle C
+@section middle C
+
ES: do central,
I: do centrale,
F: do central,
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
+\override Staff.Clef #'full-size-change = ##t
\relative c' {
\clef bass c1 s
\clef alto c s
}
@end lilypond
-@aitem{minor}@c
+@node minor
+@section minor
+
ES: menor,
I: minore,
F: mode mineur,
@aref{diatonic scale}.
-@aitem{minor interval}@c
+@node minor interval
+@section minor interval
+
ES: intervalo mayor,
I: intervallo minore,
F: intervalle mineur,
@aref{interval}.
-@aitem{mode}@c
+@node mode
+@section mode
+
ES: modo,
I: modo,
F: mode,
NL: modus,
DK: skala,
S: modus, skala,
-FI: moodi, kirkkosävelasteikko.
+FI: moodi, kirkkosävelasteikko.
@aref{church mode}, @aref{diatonic scale}.
-@aitem{modulation}@c
-ES: modulación,
+@node modulation
+@section modulation
+
+ES: modulación,
I: modulazione,
F: modulation,
D: Modulation,
NL: modulatie,
DK: modulation,
S: modulering,
-FI: modulaatio, sävellajin vaihdos.
+FI: modulaatio, sävellajin vaihdos.
Moving from one @aref{key} to another. For example, the second
subject of a @aref{sonata form} movement modulates to the dominant
key if the key is major and to the @aref{relative key} if the key
is minor.
-@aitem{mordent}@c
+@node mordent
+@section mordent
+
I: mordente,
F: mordant,
D: Mordent,
@aref{ornament}.
-@aitemii{motive,motif}@c
+@node motif
+@section motif
+
+@aref{motive}.
+
+@node motive
+@section motive
+
ES: tema,
I: inciso,
F: incise,
NL: motief,
DK: motiv,
S: motiv,
-FI: teema, sävelaihe.
+FI: teema, sävelaihe.
The briefest intelligible and self-contained fragment of a musical theme or
subject.
}
@end lilypond
-@aitem{movement}@c
+@node movement
+@section movement
+
ES: movimiento,
I: movimento,
F: mouvement,
@aref{sonata} most often consist of several -- more or less --
independant pieces called movements.
-@aitem{multibar rest}@c
+@node multibar rest
+@section multibar rest
+
ES: compases de espera,
I: pausa multipla,
F: pause multiple,
}
@end lilypond
-@aitem{mixolydian mode}@c
+@node mixolydian mode
+@section mixolydian mode
+
@aref{diatonic scale}.
-@aitem{natural sign}@c
+@node natural sign
+@section natural sign
+
ES: becuadro,
I: bequadro,
-F: bécarre,
-D: Auflösungszeichen,
+F: bécarre,
+D: Auflösungszeichen,
NL: herstellingsteken,
-DK: op@-løsningstegn,
-S: återställningstecken,
+DK: op@-løsningstegn,
+S: återställningstecken,
FI: palautusmerkki.
@aref{accidental}.
-@aitem{neighbour tones}@c
+@node neighbour tones
+@section neighbour tones
+
@aref{appoggiatura}.
-@aitem{ninth}@c
+@node ninth
+@section ninth
+
ES: novena,
I: nona,
-F: neuvième,
+F: neuvième,
D: None,
NL: noon,
DK: none,
@aref{interval}.
-@aitem{non-legato}@c
+@node non-legato
+@section non-legato
+
@aref{legato}.
-@aitem{note}@c
+@node note
+@section note
+
ES: nota,
I: nota,
F: note,
and @aref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-@aitem{note head}@c
+@node note head
+@section note head
+
ES: oval,
I: testa, testina, capocchia,
F: t@^ete de la note,
NL: nootballetje,
DK: nodehovede,
S: nothuvud,
-FI: nuotin pää.
+FI: nuotin pää.
-A head like sign which indicates pitch by its position on a
+A head-like sign which indicates pitch by its position on a
@aref{staff} provided with a @aref{clef}, and duration
by a variety of shapes such as hollow or black heads with or without
@aref{stem}s, @aref{flag}s, etc. For percussion
instruments (often having no defined pitch) the note head may indicate the
instrument.
-@aitem{note value}@c
+@node note value
+@section note value
+
ES: valor,
I: valore, durata,
-F: durée, valeur (d'une note),
+F: durée, valeur (d'une note),
D: Notenwert,
NL: nootwaarde,
-DK nodeværdi,
-S: notvärde,
+DK nodeværdi,
+S: notvärde,
FI: nuotin aika-arvo.
Note values (durations) are measured as fractions, normally 1/2, of the next
higher note value. The longest duration normally used is called @emph{brevis},
-but sometimes (mostly in pre baroque music) the double length note value
+but sometimes (mostly in pre-baroque music) the double length note value
@emph{longa} is used.
@lilypond[fragment,notime,linewidth=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
- \override NoteHead #'style = #'mensural
+ \override NoteHead #'style = #'mensural
a\longa_"longa" a\breve_"breve"
\revert NoteHead #'style
a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
@end lilypond
@lilypond[fragment,notime,linewidth=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
r\longa_"longa" r\breve_"breve"
half. Another dot adds yet a fourth of the duration.
@lilypond[fragment,linewidth=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
dotted notes are also frequently used.
@lilypond[fragment,linewidth=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@aitem{octave sign}@c
+@node octave sign
+@section octave sign
+
@aref{G clef}, @aref{F clef}.
-@aitem{octave}@c
+@node octave
+@section octave
+
ES: octava,
I: ottava,
F: octave,
@aref{interval}.
-@aitemiii{ornament,embellishment,accessory}@c
+@node ornament
+@section ornament
+
ES: adorno,
I: abbellimento, fioriture,
-F: agrément, ornement,
+F: agrément, ornement,
D: Verzierung, Ornament,
NL: versiering,
DK: forsiring,
@lilypond[fragment,linewidth=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
+% \override Score.TextScript #'font-style = #'large
\relative c'' {
- c2._"pre-1850" b4\trill | c1 \bar "||"
+ c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
}
}
@lilypond[fragment,linewidth=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
+% \override Score.TextScript #'font-style = #'large
\relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
}
\relative c'' {
a4 c16[ b a b] c2
- g4 a b16-[ a b8] a4
+ g4 a b16-[ a b8] a4
e'4 e32[ d e d ~ d8] c2
}
>>
@aref{appoggiatura}.
-@aitem{ossia}@c
+@node ossia
+@section ossia
+
ES: ossia,
I: ossia,
F: ossia,
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@aitem{part}@c
+@node part
+@section part
+
ES: parte,
I: voce, parte,
F: partie,
D: Stimme,
NL: partij,
DK: stemme,
-S: stämma,
+S: stämma,
FI: stemma, instrumenttiosuus.
-1. In instrumental or choral music the music for the single instrument
-or voice. 2. in contrapuntal music @aref{counterpoint} the single
+1.@tie{}In instrumental or choral music the music for the single instrument
+or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
melodic line of the contrapunctal web.
-@aitem{percussion}@c
-ES: percusión,
+@node pennant
+@section pennant
+
+@aref{flag}.
+
+@node percussion
+@section percussion
+
+ES: percusión,
I: percussioni,
F: percussion,
D: Schlagzeug, Schlagwerk,
NL: slagwerk,
-DK: slagtøj,
+DK: slagtøj,
S: slagverk,
-FI: lyömäsoittimet.
+FI: lyömäsoittimet.
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@aitem{perfect interval}@c
+@node perfect interval
+@section perfect interval
+
ES: intervalo justo,
I: intervallo giusto,
F: intervalle juste,
@aref{interval}.
-@aitem{phrase}@c
+@node phrase
+@section phrase
+
ES: frase,
I: frase,
F: phrase,
A natural division of the melodic line, comparable to a sentence of speech.
-@aitem{phrasing}@c
+@node phrasing
+@section phrasing
+
ES: fraseo,
I: fraseggio,
-F: phrasé,
+F: phrasé,
D: Phrasierung,
NL: frasering,
DK: frasering,
S: fra@-se@-ring,
-FI: fraseeraus, jäsentäminen.
+FI: fraseeraus, jäsentäminen.
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
-@aitem{piano}@c
+@node piano
+@section piano
+
ES: piano,
I: piano,
F: piano,
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.
-@aitem{pitch}@c
+@node pitch
+@section pitch
+
ES: altura,
I: altezza,
F: hauteur,
-D: Tonhöhe,
+D: Tonhöhe,
NL: toonhoogte,
-DK: tonehøjde,
-S: tonhöjd,
-FI: sävelkorkeus.
+DK: tonehøjde,
+S: tonhöjd,
+FI: sävelkorkeus.
+
+@node pizzicato
+@section pizzicato
-@aitem{pizzicato}@c
ES: pizzicato,
I: pizzicato,
F: pizzicato,
NL: pizzicato, getokkeld,
DK: pizzicato,
S: pizzicato,
-FI: pizzicato, näppäillen.
+FI: pizzicato, näppäillen.
Play by plucking the strings.
-@aitem{polyphony}@c
-ES: polifonía,
+@node polyphony
+@section polyphony
+
+ES: polifonía,
I: polifonia,
F: polyphonie,
-D: Polyphonie,
+D: Polyphonie, Mehrstimmigkeit,
NL: polyfonie,
DK: polyfoni,
S: polyfoni,
-FI: polyfonia, moniäänisyys.
+FI: polyfonia, moniäänisyys.
Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @aref{counterpoint}.
-@aitem{portato}@c
+@node portato
+@section portato
+
@aref{legato}.
-@aitem{presto}@c
+@node presto
+@section presto
+
ES: presto,
I: presto,
F: presto,
S: presto,
FI: presto, hyvin nopeasti.
-Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
+Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-@aitem{Pythagorean comma}@c
-ES: coma pitagórico,
+@node Pythagorean comma
+@section Pythagorean comma
+
+ES: coma pitagórico,
I: comma pitagorico,
F: comma pythagoricien,
-D: Pythagoräisches Komma,
+D: Pythagoräisches Komma,
NL: komma van Pythagoras,
-DK: pythagoræisk komma,
+DK: pythagoræisk komma,
S: pytagoreiskt komma,
FI: pytagorinen komma.
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
-@aitem{quadruplet}@c
+@node quadruplet
+@section quadruplet
+
ES: cuatrillo,
I: quartina,
F: quartolet,
@aref{note value}.
-@aitem{quarter note}@c
+@node quarter note
+@section quarter note
+
ES: negra,
I: semiminima, nera,
F: noire,
D: Viertel, Viertelnote,
NL: kwartnoot,
DK: fjerdedelsnode,
-S: fjärdedelsnot,
-FI: neljännesosanuotti.
+S: fjärdedelsnot,
+FI: neljännesosanuotti.
@aref{note value}.
-@aitem{quarter rest}@c
+@node quarter rest
+@section quarter rest
+
ES: silencio de negra,
I: pausa di semiminima,
F: soupir,
D: Viertelpause,
NL: kwart rust,
DK:@w{ }fjerdedelspause,
-S: fjärdedelspaus,
-FI: neljännesosatauko.
+S: fjärdedelspaus,
+FI: neljännesosatauko.
@aref{note value}.
-@aitem{quintuplet}@c
+@node quintuplet
+@section quintuplet
+
ES: quintillo,
I: quintina,
F: quintolet,
@aref{note value}.
-@aitem{rallentando}@c
+@node rallentando
+@section rallentando
+
ES: rallentando,
I: rallentando,
F: rallentando,
Abbreviation "rall.". @aref{ritardando}.
-@aitem{relative key}@c
+@node relative key
+@section relative key
+
ES: relativa,
-I: tonalità relativa,
-F: tonalité relative,
+I: tonalità relativa,
+F: tonalité relative,
D: Paralleltonart,
NL: paralleltoonsoort,
DK: paralleltoneart,
S: parallelltonart,
-FI: rinnakkaissävellaji.
+FI: rinnakkaissävellaji.
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c' {
\key es \major
es1_"e flat major" f g as bes c d es
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c' {
\key es \major
c1_"c minor" d es f g a! b! c \bar "||"
}
@end lilypond
-@aitem{repeat}@c
-ES: barra de repetición,
+@node repeat
+@section repeat
+
+ES: barra de repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-@aitem{rest}@c
+@node rest
+@section rest
+
ES: silencio,
I: pausa,
F: silence,
@aref{note value}.
-@aitem{rhythm}@c
+@node rhythm
+@section rhythm
+
ES: ritmo,
I: ritmo,
F: rythme,
(a) Metrical rhythm in which every time value is a multiple or fraction of a
fixed unit of time, called @aref{beat}, and in which the normal
@aref{accent} recurs in regular intervals, called
-@aref{measure}. The basic scheme scheme of time values is called
+@aref{measure}. The basic scheme of time values is called
@aref{meter}. (b) Measured rhythm which lacks regularly recurrent
accent. In modern notation such music appears as a free alternation of
different measures. (c) Free rhythm, i.e., the use of temporal values having
no common metrical unit (beat).
-@aitem{ritardando}@c
+@node ritardando
+@section ritardando
+
ES: retardando,
I: ritardando,
F: ritardando,
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-@aitem{ritenuto}@c
+@node ritenuto
+@section ritenuto
+
ES: ritenuto,
I: ritenuto,
F: ritenuto,
Immediate reduction of speed.
-@aitem{scale}@c
+@node scale
+@section scale
+
ES: escala,
I: scala,
F: gamme,
NL: toonladder,
DK: Skala,
S: skala,
-FI: asteikko, sävelasteikko.
+FI: asteikko, sävelasteikko.
@aref{diatonic scale}.
-@aitem{scale degree}@c
+@node scale degree
+@section scale degree
+
ES: grados de la escala,
I: grado della scala,
-F: degré [de la gamme],
+F: degré [de la gamme],
D: Tonleiterstufe,
NL: trap [van de toonladder],
DK: skalatrin,
S: skalsteg (?),
-FI: sävelaste, asteikon sävel.
+FI: sävelaste, asteikon sävel.
Names and symbols used in harmonic analysis to denote tones of the scale as
roots of chords. The most important are degrees I = tonic (T), IV =
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
+%\override Score.LyricText #'font-style = #'large
%\set minVerticalAlign = #8
\oldaddlyrics
\context Staff \relative c' {
}
\context Lyrics \lyrics {
<< { I II III IV V VI VII I }
- { T "" "" S D } >>
+ { T "" "" S D } >>
}
@end lilypond
@aref{functional harmony}.
-@aitem{score}@c
+@node score
+@section score
+
ES: partitura,
I: partitura,
F: partition,
to play, each voice to sing, having each part arranged one underneath the
other on different staves @aref{staff}.
-@aitem{second}@c
+@node second
+@section second
+
ES: segunda,
I: secunda,
F: seconde,
-D: Sekund,
+D: Sekund(a),
NL: secunde,
DK: sekund,
S: sekund,
@aref{semitone}s and @aref{whole tone}s, hence the size
of a se@-cond depends on the scale degrees in question.
-@aitem{semitone}@c
+@node semitone
+@section semitone
+
ES: semitono,
I: semitono,
F: demi-ton,
NL: halve toon,
DK: halvtone,
S: halvton,
-FI: puolisävel.
+FI: puolisävel.
The @aref{interval} of a minor second. The (usually) smallest
interval in European composed music. The interval between two neighbouring
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
-@aitem{seventh}@c
-ES: séptima,
+@node seventh
+@section seventh
+
+ES: séptima,
I: settima,
-F: septième,
+F: septième,
D: Septime,
NL: septiem,
DK: septim,
@aref{interval}.
-@aitem{sextuplet, sextolet}@c
+@node sextolet
+@section sextolet
+
+@aref{sextuplet}
+
+@node sextuplet
+@section sextuplet
+
I: sestina,
F: sextolet,
D: Sextole,
@aref{note value}.
-@aitem{sharp}@c
+@node shake
+@section shake
+
+@aref{trill}.
+
+@node sharp
+@section sharp
+
ES: sostenido,
I: diesis,
-F: dièse,
+F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
-S: kors@-förtecken,
+S: kors@-förtecken,
FI: korotusmerkki.
@aref{accidental}.
-@aitem{short appoggiatura}@c
+@node short appoggiatura
+@section short appoggiatura
+
@aref{appoggiatura}.
-@aitem{sixteenth note}@c
+@node sixteenth note
+@section sixteenth note
+
ES: semicorchea,
I: semicroma,
F: double croche,
@aref{note value}.
-@aitem{sixteenth rest}@c
+@node sixteenth rest
+@section sixteenth rest
+
ES: silencia de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
@aref{note value}.
-@aitem{sixth}@c
+@node sixth
+@section sixth
+
ES: sexta,
I: sesta,
F: sixte,
@aref{interval}.
-@aitem{sixty-fourth note}@c
+@node sixty-fourth note
+@section sixty-fourth note
+
ES: semifusa,
I: semibiscroma,
F: quadruple croche,
D: Vierundsechzigstel, Vierundsechzigstelnote,
NL: vierenzestigste noot,
DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
-S: sextiofjärdedelsnot,
-FI: kuudeskymmenesneljäsosanuotti.
+S: sextiofjärdedelsnot,
+FI: kuudeskymmenesneljäsosanuotti.
@aref{note value}.
-@aitem{sixty-fourth rest}@c
+@node sixty-fourth rest
+@section sixty-fourth rest
+
ES: silencia de semifusa,
I: pausa di semibiscroma,
-F: seizième de soupir,
+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.
+S: sextiofjärdedelspaus,
+FI: kuudeskymmenesneljäsosatauko.
@aref{note value}.
-@aitem{slur}@c
+@node slur
+@section slur
+
ES: ligadura,
I: legatura (di portamento or espressiva),
-F: liaison, coulé,
+F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
NL: fraseringsboog, legatoboog, streekboog,
DK: legatobue, fraseringsbue,
-S: båge,
+S: båge,
FI: kaari.
A slur above or below a group of notes indicates that they are to be played
@aref{legato}, e.g., with one stroke of the violin bow or with one
breath in singing.
-@aitem{solmization}@c
+@node solmization
+@section solmization
+
I: solmisazione,
F: solmisation,
D: Solmisation,
(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})). @aref{scale degree}.
-@aitem{sonata}@c
+@node sonata
+@section sonata
+
ES: sonata,
I: sonata,
F: sonate,
piano or for some other instrument with piano accompaniment, which consists of
three or four independant pieces, called movements.
-@aitem{sonata form}@c
+@node sonata form
+@section sonata form
+
ES: forma sonata,
I: forma sonata,
F: [en] forme de sonate,
@aref{symphony}, quartet, etc. A movement written in sonata form
falls into three sections called @emph{exposition}, @emph{development} and
@emph{recapitulation}. In the exposition the composer introduces some musical
-ideas, consisting of a number of themes; in the development section the composer
-"develops" this material, and in the recapitulation the composer repeats the exposition,
-with certain modificationsr. The exposition contains a number of themes
-which fall into two groups, often called first and second subject. Other
-melodies occurring in each group are considered as continuations of these
-two. The second theme is in another key, normally in the key of the
-@aref{dominant} if the @aref{tonic} is
-@aref{major}, and in the @aref{relative key} if the
-tonic is @aref{minor}.
-
-@aitem{soprano}@c
+ideas, consisting of a number of themes; in the development section the
+composer `develops' this material, and in the recapitulation the composer
+repeats the exposition, with certain modifications. The exposition contains a
+number of themes that fall into two groups, often called first and second
+subject. Other melodies occurring in each group are considered as
+continuations of these two. The second theme is in another key, normally in
+the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
+@aref{relative key} if the tonic is @aref{minor}.
+
+@node song texts
+@section song texts
+
+@aref{lyrics}.
+
+@node soprano
+@section soprano
+
ES: soprano,
I: soprano,
F: soprano,
NL: sopraan,
DK: sopran,
S: sopran,
-FI: sopraano, korkea naisääni.
+FI: sopraano, korkea naisääni.
The highest female voice.
-@aitem{staccato}@c
+@node staccato
+@section staccato
+
ES: staccato,
I: staccato,
-F: staccato, piqué, détaché,
-D: staccato,
+F: staccato, piqué, détaché,
+D: Staccato,
NL: staccato,
DK: staccato,
S: staccato,
-FI: staccato, lyhyesti, terävästi.
+FI: staccato, lyhyesti, terävästi.
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
}
@end lilypond
-@aitemii{staff, pl. staves}@c
+@node staff
+@section staff
+
ES: pentagrama,
I: pentagramma, rigo (musicale),
-F: portée,
+F: portée,
D: Notenzeile,
NL: (noten)balk, partij,
DK: nodesystem,
S: notsystem,
FI: nuottiviivasto.
-A series of (normally@w{ }5) horizontal lines upon and between
-which the musical notes are written, thus indicating (in connection
-with a @aref{clef}) their pitch. Staves for
+A staff (pl. staves) is a series of (normally five) horizontal lines
+upon and between which the musical notes are written, thus indicating
+(in connection with a @aref{clef}) their pitch. Staves for
@aref{percussion} instruments may have fewer lines.
-@aitem{stem}@c
+@node staves
+@section staves
+
+@aref{staff}.
+
+@node stem
+@section stem
+
ES: plica,
I: gamba,
F: queue,
@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c'' {
g2_"1/2" g' s16
g,4_"1/4" g' s16
}
@end lilypond
-@aitem{strings}@c
+@node strings
+@section strings
+
ES: arcos, cuerdas,
I: archi,
F: cordes,
D: Streicher,
NL: strijkers,
DK: strygere,
-S: stråkar,
+S: stråkar,
FI: jouset.
A family of stringed musical instruments played with a bow. Strings commonly
used in a symphony orchestra are violin, viola, violoncello, and double bass.
-@aitem{strong beat}@c
+@node strong beat
+@section strong beat
+
ES: tiempo fuerte,
I: tempo forte,
F: temps fort,
@aref{beat}, @aref{accent}, @aref{measure},
@aref{rhythm}.
-@aitem{subdominant}@c
+@node subdominant
+@section subdominant
+
ES: subdominante,
I: sottodominante,
F: sous-dominante,
S: subdominant,
FI: subdominantti, alidominantti.
-The fourth @aref{scale degree}. @aref{functional
-harmony}.
+The fourth @aref{scale degree}. @aref{functional harmony}.
+
+@node submediant
+@section submediant
-@aitem{submediant}@c
ES: superdominante,
I: sopratonica,
-F: sous-médiante,
+F: sous-médiante,
D: Submediante,
NL: submediant,
DK: Submediant,
S: submediant,
-FI: alikeskisävel.
+FI: alikeskisävel.
The sixth @aref{scale degree}.
-@aitem{subtonic}@c
+@node subtonic
+@section subtonic
+
ES: sensible,
I: sottotonica,
F: sous-tonique,
The seventh @aref{scale degree}.
-@aitem{superdominant}@c
+@node superdominant
+@section superdominant
+
ES: superdominante,
I: sopradominante,
F: sus-dominante,
The sixth @aref{scale degree}.
-@aitem{supertonic}@c
-ES: supertónica,
+@node supertonic
+@section supertonic
+
+ES: supertónica,
I: sopratonica,
F: sus-tonique,
D: Supertonika,
The second @aref{scale degree}.
-@aitem{symphony}@c
-ES: sinfonía,
+@node symphony
+@section symphony
+
+ES: sinfonía,
I: sinfonia,
F: symphonie,
D: Sinfonie, Symphonie,
A symphony may be defined as a @aref{sonata} for orchestra.
-@aitem{syncopation}@c
+@node syncopation
+@section syncopation
+
ES: sincopado,
I: sincope,
F: syncope,
FI: synkooppi.
Any deliberate upsetting of the normal pulse of @aref{meter},
-@aref{accent} and @aref{rhythm}. Our system of musical
+@aref{accent}, and @aref{rhythm}. The occidental system of musical
rhythm rests upon the grouping of equal beats into groups of two or three,
with a regularly recurrent accent on the first beat of each group. Any
deviation from this scheme is felt as a disturbance or contradiction between
\relative c' {
\partial 4
d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | c2)
+ e c'4 e,8 c'4 e,8 c' ( | c2)
}
@end lilypond
-@aitemii{syntonic comma,dydimic comma}@c
+@node syntonic comma
+@section syntonic comma
+
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
-@aitem{system}@c
+@node system
+@section system
+
I: accollatura,
-F: système,
+F: système,
D: Notensystem,
NL: systeem,
DK: system,
S: system,
-FI: nuottijärjestelmä.
+FI: nuottijärjestelmä.
The collection of staves @aref{staff}, two or more, as used for
writing down of keyboard, chamber, choral, or orchestral music.
-@aitem{temperament}@c
+@node temperament
+@section temperament
+
ES: temperamento,
I: temperamento,
-F: tempérament,
+F: tempérament,
D: Stimmung, Tem@-pe@-ra@-tur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
-FI: viritysjärjestelmä.
+FI: viritysjärjestelmä.
Systems of tuning in which the intervals deviate from the acoustically pure
-intervals. @aref{meantone temperament}, @aref{equal
-temperament}.
+intervals. @aref{meantone temperament}, @aref{equal temperament}.
+
+@node tempo indication
+@section tempo indication
-@aitem{tempo indication}@c
-ES: indicación de tempo,
+ES: indicación de tempo,
I: indicazione di tempo,
F: indication de temps,
-D: Zeitmaß, Tempobezeichnung,
+D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
S: tempobeteckning,
-FI: tempomerkintä.
+FI: tempomerkintä.
The rate of speed of a composition or a section thereof, ranging from the
slowest to the quickest, as is indicated by tempo marks as
@aref{largo}, @aref{adagio}, @aref{andante},
@aref{allegro}, and @aref{presto}.
-@aitem{tenor}@c
+@node tenor
+@section tenor
+
ES: tenor,
I: tenore,
-F: ténor,
+F: ténor,
D: Tenor,
NL: tenor,
DK: tenor,
S: tenor,
-FI: tenori, korkea miesääni.
+FI: tenori, korkea miesääni.
-The highest voice of men (apart from @aref{counter tenor}).
+The highest male voice (apart from @aref{counter tenor}).
-@aitem{tenth}@c
-ES: décima,
+@node tenth
+@section tenth
+
+ES: décima,
I: decima,
-F: dixième,
+F: dixième,
D: Dezime,
NL: deciem,
DK: decim,
@aref{note value}.
-@aitem{third}@c
+@node third
+@section third
+
ES: tercera,
I: terza,
F: tierce,
@aref{interval}.
-@aitem{thirty-second note}@c
+@node thirty-second note
+@section thirty-second note
+
ES: fusa,
I: biscroma,
F: triple croche,
D: Zweiunddreissigstel, Zweiunddreissigstelnote,
NL: twee-endertig@-ste noot,
DK: toogtredivtedelsnode,
-S: trettiotvåondelsnot,
+S: trettiotvåondelsnot,
FI: kolmanneskymmeneskahdesosanuotti.
@aref{note value}.
-@aitem{thirty-second rest}@c
+@node thirty-second rest
+@section thirty-second rest
+
ES: silencio de fusa,
I: pausa di biscroma,
-F: huitième de soupir,
+F: huitième de soupir,
UK: demisemiquaver rest,
D: Zweiunddreissigstel@-pause,
NL: 32e rust,
DK: toogtredivtedelspause,
-S: trettiotvåondelspaus,
+S: trettiotvåondelspaus,
FI: kolmanneskymmeneskahdesosatauko.
@aref{note value}.
-@aitemii{thorough bass,figured bass}@c
+@node thorough bass
+@section thorough bass
+
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffrée,
+F: basse chiffrée,
D: Generalbass, bezifferter Bass,
NL: basso continuo, becijferde bas
DK: generalbas,
es8 c d bes c as bes16 as g f | es4
}
\context Lyrics \lyrics {
- \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
+ \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
<< { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >>
+ { "" "" "" "2" "" "" "" "" "" "2" } >>
}
>>
@end lilypond
-@aitemii{tie,bind}@c
-ES: ligadura de prolongación,
+@node tie
+@section tie
+
+ES: ligadura de prolongación,
I: legatura (di valore),
F: liaison,
D: Haltebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
-S: bindebåge, överbindning,
+S: bindebåge, överbindning,
FI: sitominen.
A curved line, identical in appearance with the @aref{slur}, which
connects two succesive notes of the same pitch, and which has the function of
-uniting them into a single sound equal to the combined durations.
+uniting them into a single sound (tone) equal to the combined durations.
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
-@aitem{time signature}@c
-ES: cifra indicadora de compás,
+@node time
+@section time
+
+@aref{meter}.
+
+@node time signature
+@section time signature
+
+ES: cifra indicadora de compás,
I: segni di tempo,
F: chiffrage (chiffres indicateurs), signe de valeur,
D: Taktangabe, Angabe der Taktart,
@aref{meter}.
-@aitem{tone}@c
+@node tone
+@section tone
+
ES: sonido,
I: suono,
F: ton,
NL: toon,
DK: tone,
S: ton,
-FI: ääni.
+FI: ääni.
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 non tone related sounds.
+Music from the 20th century may be based on atonal sounds.
+
+@node tonic
+@section tonic
-@aitem{tonic}@c
ES: tonica,
I: tonica,
F: tonique,
The first @aref{scale degree}.
@aref{functional harmony}.
-@aitem{transposition}@c
-ES: transposición,
+@node transposition
+@section transposition
+
+ES: transposición,
I: trasposizione,
F: transposition,
D: Transposition,
}
@end lilypond
-@aitem{treble clef}@c
+@node treble clef
+@section treble clef
+
ES: clave de sol,
I: chiave di violino,
-F: clé de sol,
-D: Violinschlüssel, Sopranschlüssel,
+F: clé de sol,
+D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
-DK:@w{ }diskantnøgle,
+DK:@w{ }diskantnøgle,
S: diskantklav,
FI: diskanttiavain.
@aref{G clef}.
-@aitem{tremolo}@c
+@node tremolo
+@section tremolo
+
ES: tremolo,
I: tremolo,
-F: trémolo,
+F: trémolo,
D: Tremolo,
NL: tremolo,
DK: tremolo,
FI: tremolo.
On stringed instruments (@aref{strings}) the quick reiteration of
-the same tone, produced by a rapid up-and-down movement movement of the bow
+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 @aref{chord}, usually in the distance of a third
(@aref{interval}).
@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
+%\override Score.TextScript #'font-style = #'large
\relative c' {
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
}
@end lilypond
-@aitem{triad}@c
-ES: tríada,
+@node triad
+@section triad
+
+ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
D: Drei@-klang,
@aref{chord}.
-@aitemii{trill,shake}@c
+@node trill
+@section trill
+
ES: trino,
I: trillo,
F: trille, tremblement, battement (cadence),
@aref{ornament}.
-@aitem{triple meter}@c
-ES: compás compuesto,
+@node triple meter
+@section triple meter
+
+ES: compás compuesto,
I: tempo ternario,
F: mesure ternaire,
D: in drei,
@aref{meter}.
-@aitem{triplet}@c
+@node triplet
+@section triplet
+
ES: tresillo,
I: terzina,
F: triolet,
@aref{note value}.
-@aitem{tritone}@c
-ES: trítono,
+@node tritone
+@section tritone
+
+ES: trítono,
I: tritono,
F: triton,
D: Tritonus,
@aref{interval}.
-@aitem{tuning fork}@c
-ES: diapasón,
+@node tuning fork
+@section tuning fork
+
+ES: diapasón,
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
-S: stämgaffel,
+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.)
+give the international pitch for the tone @emph{a} (440 vibrations per second).
+
+@node turn
+@section turn
-@aitemii{turn,gruppetto}@c
ES: grupo,
I: gruppetto,
F: grupetto,
@aref{ornament}.
-@aitem{unison}@c
-ES: unísono,
+@node unison
+@section unison
+
+ES: unísono,
I: unisono,
F: unisson,
D: unisono,
NL: unisono,
DK: unison,
S: unison,
-FI: unisono, yksiäänisesti.
+FI: unisono, yksiäänisesti.
Playing of the same notes or the same melody by various instruments (voices)
or by the whole orchestra (choir), either at exactly the same pitch or in a
different octave.
-@aitem{upbeat}@c
-ES: entrada anacrúsica,
+@node upbeat
+@section upbeat
+
+ES: entrada anacrúsica,
I: anacrusi,
-F: anacrouse, levée,
+F: anacrouse, levée,
D: Auftakt,
NL: opmaat,
DK: optakt,
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
-@aitem{voice}@c
+@node voice
+@section voice
+
ES: voz,
I: voce,
F: voix,
D: Stimme,
NL: stem,
DK: stemme,
-S: stämma,
-FI: ääni, lauluääni.
+S: stämma,
+FI: ääni, lauluääni.
-1. Human voices: @aref{soprano}, @aref{mezzo-soprano},
-@aref{contralto}, @aref{tenor},
-@aref{baritone}, @aref{bass}.
-2. A melodic layer or part of a polyphonic composition.
+1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
+@aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
+2.@tie{}A melodic layer or part of a polyphonic composition.
-@aitem{weak beat}@c
-ES: tiempo débil,
+@node weak beat
+@section weak beat
+
+ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
D: unbetonter Taktteil oder Taktschlag,
@aref{beat}, @aref{measure}, @aref{rhythm}.
-@aitem{whole note}@c
+@node whole note
+@section whole note
+
ES: redonda,
I: semibreve,
F: ronde,
@aref{note value}.
-@aitem{whole rest}@c
+@node whole rest
+@section whole rest
+
ES: silencio de redonda,
I: pausa di semibreve,
F: pause,
@aref{note value}.
-@aitem{whole tone}@c
+@node whole tone
+@section whole tone
+
ES: tono,
I: tono intero,
F: ton entier,
tones on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-@aitem{woodwind}@c
+@node woodwind
+@section woodwind
+
ES: maderas,
I: legni,
F: les bois,
-D: Holzbläser,
+D: Holzbläser,
NL: houtblazers,
-DK træblæsere,
-S: träblåsare,
+DK træblæsere,
+S: träblåsare,
FI: puupuhaltimet.
A family of blown wooden musical instruments. Today some of these instruments
are actually made from metal. The woodwind instruments commonly used in a
symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
-@end table
-
-@page
+@node Duration names notes and rests
+@chapter Duration names, notes and rests
@table @code
@item DURATION NAMES, NOTES AND RESTS
@item @strong{breve}
@tab breve
@tab breve
- @tab brève
+ @tab brève
@item
@tab Brevis
@tab brevis
@tab kwart
@tab fjerdedel
@item
- @tab fjärdedel
- @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab fjärdedel
+ @tab neljännesosa@-nuotti/@w{-tauko}
@tab
@item
@tab achtste
@tab ottendedel
@item
- @tab åttondel
+ @tab åttondel
@tab kahdeksasosa@-nuotti/@w{-tauko}
@tab
@tab tweeendertigste
@tab toogtredivtedel
@item
- @tab trettiotvåondel
+ @tab trettiotvåondel
@tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
@tab
@tab vierenzestigste
@tab fireogtred@-sindstyvendedel
@item
- @tab sextiofjärdedel
- @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+ @tab sextiofjärdedel
+ @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
@tab
@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
-@page
+@node Pitch names
+@chapter Pitch names
@table @code
@item PITCH NAMES
@item
-@item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
+@item @strong{c-sharp} @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
cis @tab cis @tab cis
@item
-@item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
+@item @strong{d-flat} @tab re bemolle @tab ré bémol @tab Des @tab des @tab
des @tab des @tab des
@item
-@item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
+@item @strong{d} @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
@item
@item
-@item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
+@item @strong{a-flat} @tab la bemolle @tab la bémol @tab As @tab as @tab as
@tab as @tab as
@item
@item
-@item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
+@item @strong{a-sharp} @tab la diesis @tab la dièse @tab Ais @tab ais @tab
ais @tab ais @tab ais
@item
-@item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
+@item @strong{b-flat} @tab si bemolle @tab si bémol @tab B @tab bes @tab b
@tab b @tab b
@item
@end multitable
+@node Literature used
@unnumbered Literature used
@itemize
@item Hugo Riemanns Musiklexicon, Berlin 1929.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
1974.