Copyright @copyright{} 1999--2007 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,
@*
Copyright 1999--2007 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,
@menu
* A::
+* a due::
* accent::
* accessory::
* accidental::
* accelerando::
+* acciaccatura::
* adagio::
* allegro::
* alteration::
* beat::
* bind::
* brace::
+* bracket::
* brass::
* breath mark::
* breve::
* cluster::
* comma::
* common meter::
-* compound interval::
+* common time::
* complement::
+* compound interval::
+* compound meter::
+* compound time::
+* concert pitch::
* conjunct movement::
* consonance::
* contralto::
* double dotted note::
* double flat::
* double sharp::
+* double time signature::
* double trill::
* duple meter::
* duplet::
* forefall::
* forte::
* fourth::
+* Frenched score::
+* Frenched staff::
+* Frenched staves::
* fugue::
* functional harmony::
* G::
* half rest::
* harmonic cadence::
* harmony::
+* hemiola::
* homophony::
* interval::
* inverted interval::
* just intonation::
* key::
* key signature::
+* laissez vibrer::
* largo::
* leading note::
* ledger line::
* lilypond::
* ligature::
* line::
+* loco::
* long appoggiatura::
* longa::
* lyrics::
* melisma::
* melisma line::
* melodic cadence::
+* mensural notation::
* meter::
* metronome::
* metronomic indication::
+* metronome mark::
* mezzo-soprano::
* middle C::
* minor::
* movement::
* multi-measure rest::
* mixolydian mode::
-* natural sign::
+* natural::
* neighbour tones::
* ninth::
* non-legato::
* note::
* note head::
+* note names::
* note value::
+* octavation::
* octave sign::
* octave::
* ornament::
* ossia::
-* ottava::
* part::
* pause::
* pennant::
* piano::
* pitch::
* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
* polyphony::
* portato::
* presto::
+* proportion::
* Pythagorean comma::
* quadruplet::
* quarter note::
* quarter rest::
+* quarter tone::
* quintuplet::
* rallentando::
* relative key::
* sextuplet::
* shake::
* sharp::
-* short appoggiatura::
+* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* time signature::
* tone::
* tonic::
+* transposing instrument::
* transposition::
* treble clef::
* tremolo::
@ref{Pitch names}
+@node a due
+@section a due
+
+ES: ?,
+I: a due,
+F: à deux,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Abbreviated @samp{a2} or @samp{a 2}.
+
+@enumerate
+
+@item An indication in orchestral scores that a single part notated on a single
+staff that normally carries parts for two players (e.g. first and second oboes)
+is to be played by both players.
+
+@item Or conversely, that two pitches or parts notated on a staff that normally
+carries a single part (e.g. first violin) are to be played by different players,
+or groups of players (@q{desks}).
+
+@end enumerate
+
+@seealso
+
+@ref{Pitch names}
+
+
@node accent
@section accent
FI: tilapäinen etumerkki.
An accidental has the effect of an @ref{alteration} of a note. A
-sharp raises a tone by a @ref{semitone}, a double sharp raises it by
-a @ref{whole tone}, a flat lowers it by a semitone and a double flat
+sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
+@ref{whole tone}, a flat lowers it by a semitone and a double flat
lowers it by a whole tone. A natural cancels the effect of a previous
-accidental.
+accidental, or a sharp or flat in the key signature.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
Increase tempo.
+@node acciaccatura
+@section acciaccatura
+
+A grace note which takes its time from the rest or note preceding the
+principal note to which it is attached. The acciaccatura is drawn as a
+small eighth note (quaver) with a line drawn through the flag and
+stem.
+
+@seealso
+
+@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+
+
@node adagio
@section adagio
FI: adagio, hitaasti.
It.@: comfortable, easy.
-1.@tie{}Slow tempo, slower -- especially in even meter -- than
+
+@itemize
+
+@item Slow tempo, slower -- especially in even meter -- than
@ref{andante} and faster than @ref{largo}.
-2.@tie{}A movement in slow tempo, especially the second (slow) movement of
-@ref{sonata}s, symphonies, etc.
+
+@item A movement in slow tempo, especially the second (slow) movement
+of @ref{sonata}s, symphonies, etc.
+
+@end itemize
@node allegro
F: altération,
D: Alteration,
NL: verhoging of verlaging,
-DK:
-S:
-FI:
+DK: ?,
+S: ?,
+FI: ?.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an @ref{accidental}.
S: alt,
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
-height of the female voice. This type of voice is also known as
-@ref{counter tenor}.
+A female voice of low range (@emph{contralto}). Originally the alto
+was a high male voice (hence the name), which by the use of falsetto
+reached the height of the female voice. This type of voice is also
+known as @ref{counter tenor}.
@node alto clef
S: ambitus,
FI: ambitus, ääniala, soitinala.
-The term ambit (from latin: ambitus, plural: ambitus) denotes a range
+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.
FI: kohotahti.
An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music. It also refers to the initial note(s)
-of a melody occurring in that incomplete measure.
+of music before a section of music. It also refers to the initial
+note(s) of a melody occurring in that incomplete measure.
@seealso
S: förslag,
FI: appoggiatura, etuhele.
-Ornamental note, usually a second, that is melodically connected with the
-main note following it. In music before the 19th century appoggiature were
-usually performed on the beat, after that mostly before the beat. While the
-short appoggiatura is performed as a short note regardless of the duration of
-the main note the duration of the long appoggiatura is proportional to that of
-the main note.
+Ornamental note, usually a second, that is melodically connected with
+the main note following it. In music before the 19th century
+appoggiature were usually performed on the beat, after that mostly
+before the beat. While the short appoggiatura is performed as a short
+note regardless of the duration of the main note the duration of the
+long appoggiatura is proportional to that of the main note.
@lilypond[line-width=13.0\cm]
\context Voice \relative c'' {
S: ?,
FI: artikulaatio, ilmaisu.
-Articulation refers to notation which indicates how a note or notes should
-be played. Slurs, accents, staccato, and legato are all examples of
-articulartion.
+Articulation refers to notation which indicates how a note or notes
+should be played. Slurs, accents, staccato, and legato are all
+examples of articulation.
@node ascending interval
S: handskrift,
FI: käsinkirjoitettu nuotti.
-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.
+@itemize
+
+@item A manuscript in the composer's own hand.
+
+@item Music prepared for photoreproduction by freehand drawing, with
+the aid of a straightedge ruler and T-square only, which attempts to
+emulate engraving. This required more skill than did engraving.
+
+@end itemize
@node B
S: bas,
FI: basso, matala miesääni.
-1.@tie{}The lowest male voice.
-2.@tie{}Sometimes, especially in jazz music, used as
-an abbreviation for double bass.
+@itemize
+
+@item The lowest male voice.
+
+@item Sometimes, especially in jazz music, used as an abbreviation for
+double bass.
+
+@end itemize
@seealso
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note).
-The number of beams determines the note value of the connected notes.
+Line connecting a series of notes (shorter than a quarter note). The
+number of beams determines the note value of the connected notes.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
S: taktslag,
FI: aika-arvo.
-Note value used for counting, most often half-, fourth-, and eighth notes.
-The base counting value and the number of them per measure is indicated at
-the start of the music.
+Note value used for counting, most often half-, fourth-, and eighth
+notes. The base counting value and the number of them per measure is
+indicated at the start of the music.
@lilypond[fragment,line-width=13.0\cm]
\key g \major
S: klammer,
FI: yhdistävä sulkumerkki.
-Symbol at the start of a system connecting staves. Curly braces are used
-for connecting piano staves, angular brackets for connecting parts in an
-orchestral or choral score.
+Symbol at the start of a system connecting staves.
+
+Curly braces are used for connecting piano staves, and sometimes for connecting
+the staves of like instruments in an orchestral score when written on different
+staves (e.g. first and second flutes):
@lilypond[fragment,ragged-right]
\context GrandStaff <<
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+Angular brackets for connecting parts in an orchestral or choral score:
+
@lilypond[fragment,ragged-right]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
@end lilypond
+@node bracket
+@section bracket
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{brace}
+
+
@node brass
@section brass
S: brassinstrument, mässingsinstrument,
FI: vaskisoitin.
-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.
+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.
@node breath mark
S: brevis,
FI: brevis.
-@ref{note value}, twice as long as a whole note. Mainly used
-in pre-1650 music.
+@ref{note value}, twice as long as a whole note. Mainly used in
+pre-1650 music. The shortest note value generally used in white
+mensural notation, hence the name, which originally meant "of short
+duration".
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
FI: kadenssi, lopuke.
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 last -- their ability to
-improvise. Since the middle of the 19th century, however, most cadences have
-been written down by the composer.
+movement. The purpose of a cadenza is to give singers or players a
+chance to exhibit their technical skill and -- not last -- their
+ability to improvise. Since the middle of the 19th century, however,
+most cadenzas have been written down by the composer.
@node canon
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 @ref{semitone}).
+Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
+(1/100 of an equally tempered @ref{semitone}).
@seealso
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music
-the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
-+
-minor @ref{third}) as well as @emph{minor} (minor + major third)
-chords may be extended with more thirds. Four-tone @emph{seventh chords}
-and five-tone @emph{ninth} major chords are most often used as dominants
-(@ref{functional harmony}). A special case is chords having no
-third above the lower notes to define their quality as major or minor. Such
-chords are denoted open chords
+Three or more tones sounding simultaneously. In traditional European
+music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
+@emph{Major} (major + minor @ref{third}) as well as @emph{minor}
+(minor + major third) chords may be extended with more thirds.
+Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
+chords are most often used as dominants (@ref{functional harmony}). A
+special case is chords having no third above the lower notes to define
+their quality as major or minor. Such chords are denoted open chords
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@end lilypond
Imagine a large staff of 11 lines centered on middle C, sometimes
-called a @q{grand staff}, with the bottom line representing low G
-and the top line high F:
+called a @q{grand staff}, with the bottom line representing low G and
+the top line high F:
@lilypond[ragged-right,quote]
\score {
} % End score
@end lilypond
-Staves of five lines are usually used, and the clef superimposed on them
-indicates which five lines have been selected from this @samp{grand staff}.
-For example, the treble or G clef indicates that the top five
-lines have been selected:
+Staves of five lines are usually used, and the clef superimposed on
+them indicates which five lines have been selected from this
+@samp{grand staff}. For example, the treble or G clef indicates that
+the top five lines have been selected:
@lilypond[ragged-right,quote]
\score {
} % End score
@end lilypond
-The @q{curl} of the G clef in centered on the line that represents the pitch G.
+The @q{curl} of the G clef in centered on the line that represents the
+pitch G.
-In the same way, the bass or F clef indicates that the bottom five lines
-have been selected from the @samp{grand staff}, and the alto or C clef
-indicates the middle five lines have been selected. This relationship is
-shown below, where the notes show an arpeggio on a C major chord.
+In the same way, the bass or F clef indicates that the bottom five
+lines have been selected from the @samp{grand staff}, and the alto or
+C clef indicates the middle five lines have been selected. This
+relationship is shown below, where the notes show an arpeggio on a C
+major chord.
@lilypond[ragged-right,quote]
\score {
@end lilypond
-
@node cluster
@section cluster
ES: racimo,
-DE: Cluster,
+I: ?,
+F: ?,
+D: Cluster,
+NL: ?,
+DK: ?,
+S: ?,
FI: klusteri, cluster.
A @emph{cluster} is a range of simultaneously sounding pitches that
S: komma,
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.
+Difference in pitch between a note derived from pure tuning and the
+same note derived from some other tuning method.
@seealso
@node common meter
@section common meter
+@ref{common time}
+
+@seealso
+
+@ref{meter}.
+
+
+@node common time
+@section common time
+
+4/4 time. The symbol, which resembles a capital letter C derives from
+mensural notation (q.v.).
+
@seealso
@ref{meter}.
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+
@node compound interval
@section compound interval
@ref{interval}.
-@node complement
-@section complement
+@node compound meter
+@section compound meter
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
@seealso
-@ref{inverted interval}.
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@ref{compound meter}
+
+@seealso
+
+@ref{meter}.
+
+
+@node concert pitch
+@section concert pitch
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The pitch at which the piano and other nontransposing instruments play: such
+instruments are said to be @q{in C}. The following list includes some (but not
+all) instruments that play in concert pitch:
+
+@itemize
+
+@item Woodwinds
+@itemize
+@item flute
+@item oboe
+@item bassoon
+@end itemize
+
+@item Brass
+@itemize
+@item alto trombone
+@item tenor trombone
+@item bass trombone
+@end itemize
+
+@item Strings
+@itemize
+@item violin
+@item viola
+@item violincello
+@end itemize
+
+@item piano
+
+@end itemize
+
+The trombones are a special case: although they are said to be @q{in F} (alto or
+bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
+their parts' transposition. (In fact, the trombones' parts are written at
+concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
+from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
+instruments.
+
+Instruments that play @q{in C} but in a different octave than what is written
+are, technically speaking, @emph{transposing instruments}:
+
+@itemize
+
+@item piccolo (plays an octave higher)
+@item celesta (plays an octave higher)
+@item double-bass (plays an octave lower)
+
+@end itemize
+
+@seealso
+
+@ref{transposing instrument}.
@node conjunct movement
S: kontrapunkt,
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
-significance. A frequently used polyphonic technique is imitation, in its
-strictest form found in the canon needing only one part to be written down
-while the other parts are performed with a given displacement. Imitation is
-also the contrapunctal technique used in the @emph{fugue} which, since the
-music of the baroque era, has been one of the most popular polyphonic
-composition methods.
+From Latin @emph{punctus contra punctum}, note against note. The
+combination into a single musical fabric of lines or parts which have
+distinct melodic significance. A frequently used polyphonic technique
+is imitation, in its strictest form found in the canon needing only
+one part to be written down while the other parts are performed with a
+given displacement. Imitation is also the contrapunctal technique
+used in the @emph{fugue} which, since the music of the baroque era,
+has been one of the most popular polyphonic composition methods.
@lilypond[fragment,staffsize=12,line-width=13.0\cm]
\set Score.implicitTimeSignatureVisibility = #all-invisible
@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.
+A music copyist did fast freehand scores and parts on preprinted staff
+lines for performance. Some of their conventions (e.g., the placement
+of note heads on stems) varied slightly from those of engravers. Some
+of their working methods were superior and could well be adopted by
+music typesetters. Copying music required more skill than engraving.
@node crescendo
S: crescendo,
FI: cresendo, voimistuen.
-Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation @samp{cresc.}.
+Increasing volume. Indicated by a rightwards opening horizontal wedge
+or the abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
S: inprickningar,
FI: vihjenuotit.
-In a separate part notes belonging to another part with the purpose of hinting
-when to start playing. Usually printed in a smaller type.
+In a separate part notes belonging to another part with the purpose of
+hinting when to start playing. Usually printed in a smaller type.
@node custos
@section custos
+ES: ?,
+I: ?,
F: guidon,
-D: Notenzeiger, Custos.
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-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
-helps the player or singer to manage line breaks during performance,
-thus enhancing readability of a score.
+A custos (plural: custodes) 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 helps the player or singer to manage line breaks during
+performance, thus enhancing readability of a score.
Custodes were frequently used in music notation until the 16th
century. There were different appearences for different notation
styles. Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning
of the 20th century
@lilypond
S: da capo,
FI: da capo, alusta.
-The term indicates repetition of the piece from the beginning to the end or
-to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
+The term indicates repetition of the piece from the beginning to the
+end or to a certain place marked @emph{fine}. Usually abbreviated as
+@samp{D.C.}.
@node dal segno
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }@ref{whole tone}s and
-2@w{ }@ref{semitone}s (S). Scales played on the white keys
-of a piano keybord are diatonic.
+A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
+}@ref{semitone}s (S). Scales played on the white keys of a piano
+keybord are diatonic.
-The church modes are used in gregorial chant and in pre-baroque early
+The church modes are used in gregorian chant and in pre-baroque early
music but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
@end lilypond
From the beginning of the 17th century the scales used in European
-compositional music are primarily the major and the minor scales. In the
-harmonic minor scale type an augmented second (A) occurs between the 6th and
-7th tone.
+compositional music are primarily the major and the minor scales. In
+the harmonic minor scale type an augmented second (A) occurs between
+the 6th and 7th tone.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
@ref{decrescendo}.
+
@node direct
@section direct
@ref{custos}.
+
@node disjunct movement
@section disjunct movement
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second.
-Opposite of @ref{conjunct movement}.
+Progressing melodically by intervals larger than a major second, as
+opposed to @ref{conjunct movement}.
@lilypond[fragment,ragged-right]
\key a \major
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
-NL: dissonant interval; dissonant,
+NL: dissonant interval, dissonant,
DK: dissonerende interval, dissonans,
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
S: punkt,
FI: piste.
-@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
-
@seealso
-@ref{dotted note}.
+@ref{dotted note}, @ref{note value}.
@node dotted note
@ref{accidental}.
+@node double time signature
+@section double time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@seealso
+
+@ref{polymetric time signature}.
+
+
@node double trill
@section double trill
S: ?,
FI: ?.
-The aspect of music relating to degrees of loudness, or changes from one
-degree to another. The terms, abbreviations, and symbols used to indicate
-this information are called dynamic marks.
+The aspect of music relating to degrees of loudness, or changes from
+one degree to another. The terms, abbreviations, and symbols used to
+indicate this information are called dynamic marks.
@seealso
-@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
+@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
+@ref{diminuendo}.
@node E
@node elision
@section elision
-FIXME: languages, definition
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO definition -- referenced from lyric tie
@node embellishment
S: nottryck,
FI: painatus.
-Engraving means incising or etching a metal plate for
-printing. Photoengraving means drawing music with ink in a manner
-similar to drafting or engineering drawing, using similar tools.
+Engraving means incising or etching a metal plate for printing.
+Photoengraving means drawing music with ink in a manner similar to
+drafting or engineering drawing, using similar tools.
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.
S: enharmonisk,
FI: enharmoninen.
-Two notes, intervals, or scales are enharmonic if they have different names
-but equal pitch.
+Two notes, intervals, or scales are enharmonic if they have different
+names but equal pitch.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
S: föredragsbeteckning,
FI: nyanssiosoitus, esitysmerkki.
-Performance indications concerning 1. volume, dynamics (for example
-@ref{forte}, @ref{crescendo}), 2. tempo (for example
-@ref{andante}, @ref{allegro}).
+Performance indications concerning:
+
+@itemize
+
+@item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
+
+@item tempo (for example @ref{andante}, @ref{allegro}).
+
+@end itemize
@node extender line
S: ?,
FI: ?.
-The generic term for a line (or dash) of arbitrary length that
-extends text (without indicating the musical @emph{function} of
-that text).
+The generic term for a line (or dash) of arbitrary length that extends
+text (without indicating the musical @emph{function} of that text).
Used in many contexts, for example:
@itemize
-@item
-In vocal music to indicate the syllable for a melisma. Called @q{extension}
-in the
-@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
+
+@item In vocal music to indicate the syllable for a melisma. Called
+@q{extension} in the
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
+Dictionary}.
@item
In figured (or thorough) bass to indicate that:
@end itemize
@item
-In string music to indicate that all notes in the passage thus indicated
-should be played on the same string. On the violin, for example, a series
-of notes to be played on the G string would be indicated @samp{sul G},
-another series to be played on the D string would be indicated @samp{sul D},
-and so on.
+In string music to indicate that all notes in the passage thus
+indicated should be played on the same string. On the violin, for
+example, a series of notes to be played on the G string would be
+indicated @samp{sul G}, another series to be played on the D string
+would be indicated @samp{sul D}, and so on.
+
+@item
+With an octave indication (also called @emph{octavation}, q.v.) to indicate that
+a passage is to be played higher or lower by the given number of octaves.
@end itemize
@seealso
-@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
@node F
S: f-klav,
FI: F-avain.
-The position between the dots of the key symbol is the line of the F below
-central@w{ }C. Used on the third, fourth and fifth note line. A
-digit@w{ }8 above the clef symbol indicates that the notes must be played
-an octave higher (for example, bass recorder) while 8@w{ }below the clef
-symbol indicates playing an octave lower (for example, on double bass
-@ref{strings}).
+The position between the dots of the key symbol is the line of the F
+below central@w{ }C. Used on the third, fourth and fifth note line.
+A digit@w{ }8 above the clef symbol indicates that the notes must be
+played an octave higher (for example, bass recorder) while 8@w{ }below
+the clef symbol indicates playing an octave lower (for example, on
+double bass @ref{strings}).
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@ref{interval}.
+@node Frenched score
+@section Frenched score
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A @q{condensed} score, produced by omitting staves for instruments that are not
+playing at the moment, and by moving up additional systems from following pages
+to take up the space thus liberated, which reduces the total number of pages
+used to print the work.
+
+The specific rules for @q{frenching} a score differ from publisher to publisher.
+If you are producing scores for eventual publication by a commercial publisher,
+you may wish to procure a copy of their style manual.
+
+@seealso
+
+@ref{Frenched staff}.
+
+
+@node Frenched staff
+@section Frenched staff
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
+measures or sections removed. This would be useful for producing, for example,
+an @emph{ossia} staff.
+
+@seealso
+
+@ref{ossia}.
+
+
+@node Frenched staves
+@section Frenched staves
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The plural of @ref{Frenched staff}, @emph{q.v.}.
+
+
@node fugue
@section fugue
S: funktionslära,
FI: harmoniajärjestelmä.
-A system of harmonic analysis. It is based on the idea that, in a given key,
-there are only three functionally different chords: tonic (T, the chord on the
-first note of the scale), subdominant (S, the chord on the fourth note), and
-dominant (D, the chord on the fifth note). Others are considered to be
-variants of the base chords.
+A system of harmonic analysis. It is based on the idea that, in a
+given key, there are only three functionally different chords: tonic
+(T, the chord on the first note of the scale), subdominant (S, the
+chord on the fourth note), and dominant (D, the chord on the fifth
+note). Others are considered to be variants of the base chords.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
S: g-klav,
FI: G-avain.
-A clef symbol indicating the G above central@w{ }C. Used on the first
+A clef symbol indicating the G above middle@w{ }C. Used on the first
and second note lines. A digit 8 above the clef symbol indicates that
-the notes must be played an octave higher while 8 below the clef symbol
-indicates playing or singing an octave lower (most tenor parts in choral
-scores are notated like that).
+the notes must be played an octave higher while 8 below the clef
+symbol indicates playing or singing an octave lower (most tenor parts
+in choral scores are notated like that).
@lilypond[fragment,notime,ragged-right]
<<
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
-@ref{appoggiatura}.
+@seealso
+
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
@node grand staff
S: h,
FI: H, h.
-Letter name used for @samp{B natural} in German and Scandinavian usage. In the
-standard usage of these countries, @samp{B} means @samp{B flat}.
+Letter name used for @samp{B natural} in German and Scandinavian
+usage. In the standard usage of these countries, @samp{B} means
+@samp{B flat}.
@seealso
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-A sequence of chords that terminates a musical phrase or
-section.
+A sequence of chords that terminates a musical phrase or section.
@ref{functional harmony}.
S: samklang,
FI: harmonia, yhteissointi.
-Tones sounding simultaneously. Two note harmonies fall into the categories
-@emph{consonances} and @emph{dissonances}.
+Tones sounding simultaneously. Two note harmonies fall into the
+categories @emph{consonances} and @emph{dissonances}.
Consonances:
Three note harmony @ref{chord}.
-@node homophony
-@section homophony
+@node hemiola
+@section hemiola
-ES: homofonía,
-I: omofonia,
-F: homophonie,
-D: Homophonie,
-NL: homofonie,
-DK: homofoni,
-S: homofoni,
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value. The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
+
+@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
+@c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}
+
+
+@node homophony
+@section homophony
+
+ES: homofonía,
+I: omofonia,
+F: homophonie,
+D: Homophonie,
+NL: homofonie,
+DK: homofoni,
+S: homofoni,
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 @ref{polyphony}.
+Music in which one voice leads melodically followed by the other
+voices more or less in the same rhythm. In contrast to
+@ref{polyphony}.
@node interval
S: intervall,
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 (@ref{enharmonic}) and are called @emph{tritonus} because they
-consist of three @ref{whole tone}s. The addition of such two intervals forms an
-octave.
+Difference in pitch between two notes. Intervals may be perfect,
+minor, major, diminished, or augmented. The augmented fourth and the
+diminished fifth are identical (@ref{enharmonic}) and are called
+@emph{tritonus} because they consist of three @ref{whole tone}s. The
+addition of such two intervals forms an octave.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@ref{accidental}.
+@node laissez vibrer
+@section laissez vibrer
+
+ES: ?,
+I: ?,
+F: laissez vibrer,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From French] "Let vibrate". Most frequently associated with harp
+parts. Marked @samp{l.v.} in the score.
+
+
@node largo
@section largo
S: ledton,
FI: johtosävel.
-The seventh @ref{scale degree}, a @ref{semitone} below
-the tonic; so called because of its strong tendency to @q{lead up} (resolve
-upwards) to the tonic scale degree.
+The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
+called because of its strong tendency to @q{lead up} (resolve upwards)
+to the tonic scale degree.
@node ledger line
S: legato,
FI: legato, sitoen.
-To be performed (a) without any perceptible interruption between the notes,
-unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
-(d) @ref{staccato}.
+To be performed (a) without any perceptible interruption between the
+notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
+@emph{portato}, and (d) @ref{staccato}.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@section ligature
ES: ligadura,
+I: ?,
+F: ligature,
DE: Ligatur,
+NL: ?,
+DK: ?,
+S: ?,
FI: ligatuura.
A ligature is a coherent graphical symbol that represents at least two
@ref{staff}.
+@node loco
+@section loco
+
+ES: ?,
+I: loco,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @q{place}]. Instruction to play the following passage at the
+written pitch. Cancels octavation (q.v.).
+
+@seealso
+
+@ref{octavation}.
+
+
@node long appoggiatura
@section long appoggiatura
S: ?,
FI: ?.
-FIXME: add languages
+@c TODO: add languages
@seealso
S: medeltonstemperatur,
FI: keskisävelviritys.
-Temperament yielding acoustically pure thirds by decreasing the natural fifth
-by 16@w{ }@ref{cent}s. Due to the non-circular character of this
-@ref{temperament} only a limited set of keys are playable.
-Used for tuning keyboard instruments for performance of pre-1650 music.
+Temperament yielding acoustically pure thirds by decreasing the
+natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
+character of this @ref{temperament} only a limited set of keys are
+playable. Used for tuning keyboard instruments for performance of
+pre-1650 music.
@node measure
FI: tahti.
A group of @ref{beat}s (units of musical time) the first of which
-bears an accent. Such groups in numbers of two or more recur consistently
-throughout the composition and are marked from each other by
-bar-lines.
+bears an accent. Such groups in numbers of two or more recur
+consistently throughout the composition and are marked from each other
+by bar-lines.
@ref{meter}.
S: mediant,
FI: keskisävel.
-1.@tie{}The third @b{scale degree}.
-2.@tie{}A @ref{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).
+@itemize
+
+@item The third @b{scale degree}.
+
+@item A @ref{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).
+
+@end itemize
-@ref{functional
-harmony}, @ref{relative key}.
+@seealso
+@ref{functional harmony}, @ref{relative key}.
@node melisma
NL: melisma,
FI: melisma, laulettavan tavun sävelkuvio.
-A melisma (plural: melismata) is a group of notes or tones sung on one
-syllable in plainsong
+A melisma (plural, from Greek: melismata) is a group of notes or tones
+sung on one syllable, especially as applied to liturgical chant.
@node melisma line
@section melisma line
-FIXME: add languages
+@c TODO: add languages
@seealso
@ref{cadenza}.
+@node mensural notation
+@section mensural notation
+
+@c FIXME: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition (inc. info on proportional notation)
+
+@c FIXME: add cross-references.
+
+
@node meter
@section meter
-ES: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,
F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
S: taktart,
FI: aika-arvo.
-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it. For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those. According to 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.
+The basic pattern of @ref{note value}s and @ref{accent}s that remains
+unaltered throughout a composition or a section of it. Meters can be
+@emph{duple} or @emph{triple} depending on how the beat is grouped in
+the composition (or in sections thereof):
+
+@itemize
+
+@item In duple meters, the beat recurs in groups of two.
+
+@item In triple meters, the beat recurs in groups of three.
+
+@end itemize
+
+Other recurrence patterns are possible:
+
+@itemize
+
+@item Quadruple meter: groups of four. A special case of duple meter.
+
+@item Quintuple meter: groups of five
+
+@item Sextuple meter: groups of six. A special case of:
+
+@itemize
+@item Duple meter, subdivided in three (less frequent); or
+@item Triple meter, subdivided in two (more frequent).
+@end itemize
+
+@item Septuple meter: groups of seven.
+
+@item etc.
+
+@end itemize
+
+Other than quadruple and sextuple meters, these other recurrence
+patterns were not frequently used prior to the 20th Century.
+
+In addition to classification by primary beat grouping, meters can be further
+classified by how the primary beat is subdivided: if in two, the meter is
+@emph{simple}; if in three, the meter is @emph{compound}.
+
+@itemize
+
+@item Simple meter
+
+@itemize
+@item duple: 2/2, 2/4, 2/8
+@item triple: 3/2, 3/4, 3/8
+@item quadruple: 4/2, 4/4 (also called common time), 4/8
+@end itemize
+
+@item Compound meter
+
+@itemize
+@item duple: 6/8
+@item triple: 9/8
+@item quadruple: 12/8
+@end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or
+section) to indicate the meter. For instance, a piece written in
+simple triple meter with a beat on each quarter note has a time
+signature of 3/4.
+
+Simple duple meter:
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 2/4
+ \key c \major
+ c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+@end lilypond
+
+Simple triple meter:
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \key f \major
- c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+ \key c \minor
+ c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
+@end lilypond
+
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 4/4
+ \key g \major
+ g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
@end lilypond
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+ \time 5/4
+ \key c \major
+ r4 cis8 bis ais4 dis c8 ais |
+ aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter (unknown):
+
@lilypond[fragment,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
- f8 f f f a16 g a f |
- c'8 c c c e16 d e c \bar "||"}
+ f8 f g a bes16 a g f |
+ g8 g bes a c16 a bes g
+ \bar "||"}
@end lilypond
+Compound triple meter (J.S. Bach, 1685-1750):
+
@lilypond[fragment,line-width=13.0\cm]
-\relative c'' {
- \time 5/4
- \key g \major
- d4 b8 g b d d c a4 |
- g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+\relative c' {
+ \time 9/8
+ \key f \major
+ r8 g( a) b( d c) c( e d) |
+ d( c fis) g( d b) g( a b)
+ \bar "||"}
+@end lilypond
+
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+ \time 12/8
+ \key e \major
+ b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+ e4 e8 fis( gis) a b4.~ b4 b8
+ \bar "||"}
@end lilypond
+@seealso
+
+@ref{hemiola}, @ref{time signature}
+
@node metronome
@section metronome
Device indicating the exact tempo of a piece.
-@ref{metronomic
-indication}.
+Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
+from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
+divisions, and patented it as a "metronome". The inevitable lawsuit that
+followed acknowledged Winkler as the creator, but by then Mälzel had already
+sold many of them, and people had taken to calling it a Mälzel Metronome.
+
+@seealso
+
+@ref{metronome mark}.
@node metronomic indication
@section metronomic indication
+@seealso
+
+@ref{metronome mark}
+
+
+@node metronome mark
+@section metronome mark
+
ES: indicación metronómica,
I: indicazione metronomica,
F: indication métronomique,
S: metronomangivelse,
FI: metronomiosoitus.
-Exact tempo indication (in beats per minute). Also denoted by
-M.M.@: (Mälzels Metronom).
+Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
+@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
+@emph{anglice}).
+
+@seealso
+
+@ref{metronome}
@node mezzo-soprano
S: modulering,
FI: modulaatio, sävellajin vaihdos.
-Moving from one @ref{key} to another. For example, the second
-subject of a @ref{sonata form} movement modulates to the dominant
-key if the key is major and to the @ref{relative key} if the key
-is minor.
+Moving from one @ref{key} to another. For example, the second subject
+of a @ref{sonata form} movement modulates to the dominant key if the
+key is major and to the @ref{relative key} if the key is minor.
@node mordent
S: motiv,
FI: teema, sävelaihe.
-The briefest intelligible and self-contained fragment of a musical theme or
-subject.
+The briefest intelligible and self-contained fragment of a musical
+theme or subject.
@lilypond[line-width=13.0\cm]
\score{
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and
-@ref{sonata} most often consist of several -- more or less --
-independant pieces called movements.
+Greater musical works like @ref{symphony} and @ref{sonata} most often
+consist of several -- more or less -- independant pieces called
+movements.
@node multi-measure rest
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-Multi-measure rests are conventionally typeset with a combination of longa,
-breve and whole rests for shorter and a long horizontal bar for longer
-spans of rest, with a number above to indicate the duration (in measures)
-of the rest. The former style is called @q{Kirchenpausen} in German, as a
-reminiscence of its use in Renaissance vocal polyphony.
+Multi-measure rests are conventionally typeset with a combination of
+longa, breve and whole rests for shorter and a long horizontal bar for
+longer spans of rest, with a number above to indicate the duration (in
+measures) of the rest. The former style is called @q{Kirchenpausen} in
+German, as a reminiscence of its use in Renaissance vocal polyphony.
@lilypond[fragment,ragged-right]
\relative c'' {
}
@end lilypond
+@seealso
+
+@ref{longa}, @ref{breve}.
@node mixolydian mode
@ref{diatonic scale}.
-@node natural sign
-@section natural sign
+@node natural
+@section natural
ES: becuadro,
I: bequadro,
@seealso
-@ref{appoggiatura}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{ornament}.
@node ninth
instrument.
+@node note names
+@section note names
+
+@seealso
+
+@ref{Pitch names}
+
+
@node note value
@section note value
double-length note value @emph{longa} or the quadruple-length note
value @emph{maxima} are used.
-@c TODO -- add maxima to this example
+@c TODO -- add maxima to this example, in a way that doesn't break it.
@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
@end lilypond
+@node octavation
+@section octavation
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The use of a phrase or abbreviation with an extender line or bracket to indicate
+that a passage is to be played in a different octave:
+
+@itemize
+
+@item @samp{15ma}: play two octaves higher
+@item @samp{8va}: play one octave higher
+@item @samp{8vb}: play one octave lower
+@item @samp{8va} written below the passage: same as @samp{8vb}
+@item @samp{15vb}: play two octaves lower
+@item @samp{15va} written below the passage: same as @samp{15vb}
+
+@end itemize
+
+Another practice, which may be useful for longer passages, is to indicate the
+different octave with a phrase at the beginning (see below). When the music
+returns to the written pitch, the octavation is cancelled with the word
+@emph{loco} (q.v.).
+
+To parallel the list above:
+
+@itemize
+
+@item @samp{15ma}: @emph{alla quindicesima (alta)}
+@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
+@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
+@item @samp{15vb}: @emph{alla quindicesima (bassa)}
+
+@end itemize
+
+@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
+
+@seealso
+
+@ref{interval}, @ref{loco}, @ref{octave}.
+
+
@node octave sign
@section octave sign
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Putting 8 or 15 above or below the clef to indicate that the entire part is
+played in the indicated octave: a clef-wide octavation. An octave sign can be
+applied to any clef, though it is most frequently used with the G and F clefs.
+
@seealso
@ref{G clef}, @ref{F clef}.
S: oktav,
FI: oktaavi.
+The interval of an octave, sometimes abbreviated @samp{8ve}.
+
+For uses like @emph{all'ottava} or @emph{8va} with an extender line or
+bracket, or @samp{loco} see octavation.
+
@seealso
-@ref{interval}.
+@ref{interval}, @ref{octavation}.
@node ornament
@seealso
-@ref{appoggiatura}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
@node ossia
of the music, for example for small hands.
-@node ottava
-@section ottava
-
-FIXME
-
-DE: Oktavierung.
-
-
@node part
@section part
S: stämma,
FI: stemma, instrumenttiosuus.
-1.@tie{}In instrumental or choral music the music for the single instrument
-or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
-melodic line of the contrapunctal web.
+@itemize
+
+@item In instrumental or choral music, the music for a single
+instrument or voice.
+
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
+
+@end itemize
+
+@seealso
+
+@ref{counterpoint}
@node pause
S: pizzicato,
FI: pizzicato, näppäillen.
-Play by plucking the strings.
+Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
+stringed instruments.)
+
+
+@node polymeter
+@section polymeter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The simultaneous use of two or more meters. The term is sometimes
+applied to the @emph{successive} use of different meters in one or
+more parts.
+
+@seealso
+
+@ref{polymetric} (adj.)
+
+
+@node polymetric
+@section polymetric
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Using two or more metric frameworks simultaneously or in regular
+alternation
+
+@seealso
+
+@ref{polymeter} (noun)
+
+
+@node polymetric time signature
+@section polymetric time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Time signature indicating regularly alternating polymetric time.
+
+@seealso
+
+@ref{polymetric}.
@node polyphony
S: polyfoni,
FI: polyfonia, moniäänisyys.
-Music written in a combination of several simultaneous voices (parts) of a
-more or less pronounced individuality.
+Music written in a combination of several simultaneous voices (parts)
+of a more or less pronounced individuality.
@ref{counterpoint}.
denotes the highest possible degree of speed.
+@node proportion
+@section proportion
+
+ES: proporción,
+I: ?,
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}] In mensural notation, a ratio that
+expresses the relationship between the note values that follow with
+those that precede; or between the note values of a passage and an
+assumed @q{normal} relationship of note values to the metrical pulse.
+
+@c TODO: add an example or two. O => 4/3, and its modern equivalent
+
+@seealso
+
+@ref{mensural notation}
+
+
@node Pythagorean comma
@section Pythagorean comma
@ref{note value}.
+@node quarter tone
+@section quarter tone
+
+ES: ?,
+I: ?,
+F: quart de ton,
+D: Viertelton,
+NL: kwart toon,
+DK: ?,
+S: kvartston,
+FI: ?.
+
+An interval equal to half a semitone.
+
+@seealso
+
+@ref{interval}
+
+
@node quintuplet
@section quintuplet
}
@end lilypond
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c specify the rest's value.
-
@node rest
@section rest
S: paus,
FI: tauko.
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c specify the rest's value.
+
@seealso
@ref{note value}.
@end itemize
-
@node ritardando
@section ritardando
@seealso
-@ref{sextuplet}
+@ref{sextuplet}, @ref{note value}.
@node sextuplet
@ref{accidental}.
-@node short appoggiatura
-@section short appoggiatura
+@node simple meter
+@section simple meter
+
+ES: ?,
+I: ?,
+F: ?,
+UK: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
@seealso
-@ref{appoggiatura}.
+@ref{compound meter}, @ref{meter}.
@node sixteenth note
@ref{note value}.
-
@node slur
@section slur
one breath in singing.
-
@node solmization
@section solmization
@ref{scale degree}.
-
@node sonata
@section sonata
S: notsystem,
FI: nuottiviivasto.
-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 @ref{clef}) their pitch. Staves for
+A staff (plural: staves) is a series of (normally five) horizontal
+lines upon and between which the musical notes are written, thus
+indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
@end lilypond
-
@node syntonic comma
@section syntonic comma
Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
-
@node system
@section system
down of keyboard, chamber, choral, or orchestral music.
-
@node temperament
@section temperament
S: taktartssignatur,
FI: tahtiosoitus.
+The sign placed at the beginning of a composition to indicate its
+meter. It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+
@seealso
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
@node tone
@ref{functional harmony}.
+@node transposing instrument
+@section transposing instrument
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Instruments whose notated pitch is different from their sounded pitch. Except
+for those whose notated and sounding pitches differ by one or more octaves (to
+reduce the number of ledger lines needed), most such instruments are identified
+by the letter name of the pitch class of their fundamental. The pitch class is
+the note that @emph{sounds} (disregarding the octave in which it sounds) when
+the instrument plays a notated C.
+
+For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
+the B-flat one tone lower. If played on the A clarinet, the same written
+note sounds the A (one and half tones -- a minor third -- lower).
+
+Not all transposing instruments include the pitch class in their name:
+
+@itemize
+@item English horn (in F)
+@item Alto flute (in G)
+@end itemize
+
+@seealso
+
+@ref{concert pitch}.
+
+
@node transposition
@section transposition
S: stämma,
FI: ääni, lauluääni.
-1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
+@itemize
+
+@item Human voices: @ref{soprano}, @ref{mezzo-soprano},
@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
-2.@tie{}A melodic layer or part of a polyphonic composition.
+
+@item A melodic layer or part of a polyphonic composition.
+
+@end itemize
@node weak beat
@ref{note value}.
-
@node whole tone
@section whole tone
black and white keys -- is a whole tone.
-
-
@node woodwind
@section woodwind
saxophone, and bassoon.
-
-
@node Duration names notes and rests
-@chapter Duration names, notes and rests
-
-@table @code
-@item DURATION NAMES, NOTES AND RESTS
-@end table
+@chapter Duration names notes and rests
@multitable @columnfractions .15 .26 .33 .26
-@item
+@headitem @strong{US}
@tab @strong{UK}
@tab @strong{I}
@tab @strong{F (note name / rest name)}
-@item
+@headitem
@tab @strong{D}
@tab @strong{NL}
@tab @strong{DK}
-@item
+@headitem
@tab @strong{S}
@tab @strong{FI}
@tab @strong{ES}
-@c extra @items make this table harder to read, so I removed them.
-
@item @strong{longa}
@tab longa
@tab longa
@end multitable
-
-
@node Pitch names
@chapter Pitch names
-@table @code
-@item PITCH NAMES
-@end table
-
-@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
-@c the extra @item's between each row makes the table hard to read ... so I removed them
-
-@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
-
-@c TODO -- figure out how to make _real_ table headers in TeXinfo
-
-@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
-@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
-@tab c
-
-@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
-dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
-
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
-@tab Des @tab des @tab des @tab des @tab des
-
-@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
-@tab d @tab d
-
-@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
-@tab Es @tab es @tab es @tab es @tab es
-
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
-@tab e
-
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
-@tab f
-
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
-@tab g @tab g
-
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
-@tab As @tab as @tab as @tab as @tab as
-
-@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
-@tab a
-
-@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
-dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
-
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
-@tab B @tab bes @tab b @tab b @tab b
-
-@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
-@tab h
-
+@c -is/-es endings for Danish per Rune Zedeler
+@c and for Finnish per Risto Vääräniemi
+@c -iss/-ess endings for Swedish per Mats Bengtsson
+@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
+
+@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
+@headitem EN
+ @tab ES @tab I @tab F @tab D
+ @tab NL @tab DK @tab S @tab FI
+@item @strong{c}
+ @tab do @tab do @tab ut @tab C
+ @tab c @tab c @tab c @tab c
+@item @strong{c-sharp}
+ @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
+ @tab cis @tab cis @tab ciss @tab cis
+@item @strong{d-flat}
+ @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+ @tab des @tab des @tab dess @tab des
+@item @strong{d}
+ @tab re @tab re @tab ré @tab D
+ @tab d @tab d @tab d @tab d
+@item @strong{d-sharp}
+ @tab re sostenido @tab re diesis @tab re dièse @tab Dis
+ @tab dis @tab dis @tab diss @tab dis
+@item @strong{e-flat}
+ @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+ @tab es @tab es @tab ess @tab es
+@item @strong{e}
+ @tab mi @tab mi @tab mi @tab E
+ @tab e @tab e @tab e @tab e
+@item @strong{f-flat} = e
+ @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
+ @tab fes @tab fes @tab fess @tab fes
+@item @strong{f}
+ @tab fa @tab fa @tab fa @tab F
+ @tab f @tab f @tab f @tab f
+@item @strong{e-sharp} = f
+ @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
+ @tab eis @tab eis @tab eiss @tab eis
+@item @strong{f-sharp}
+ @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
+ @tab fis @tab fis @tab fiss @tab fis
+@item @strong{g-flat}
+ @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
+ @tab ges @tab ges @tab gess @tab ges
+@item @strong{g}
+ @tab sol @tab sol @tab sol @tab G
+ @tab g @tab g @tab g @tab g
+@item @strong{g-sharp}
+ @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
+ @tab gis @tab gis @tab giss @tab gis
+@item @strong{a-flat}
+ @tab la bemol @tab la bemolle @tab la bémol @tab As
+ @tab as @tab as @tab ass @tab as
+@item @strong{a}
+ @tab la @tab la @tab la @tab A
+ @tab a @tab a @tab a @tab a
+@item @strong{a-sharp}
+ @tab la sostenido @tab la diesis @tab la dièse @tab Ais
+ @tab ais @tab ais @tab aiss @tab ais
+@item @strong{b-flat}
+ @tab si bemol @tab si bemolle @tab si bémol @tab B
+ @tab bes @tab b @tab b @tab b
+@item @strong{b}
+ @tab si @tab si @tab si @tab H
+ @tab b @tab h @tab h @tab h
@end multitable
-
-
-
@menu
* Literature used::
@end menu
projects / lilypond.git / blobdiff