* arpeggio::
* articulation::
* ascending interval::
-* augmentation::
* augmented interval::
+* augmentation::
* autograph::
* B::
* backfall::
* bass clef::
* beam::
* beat::
-* beat repeat::
+* beat repeat::
* bind::
* brace::
* bracket::
* contralto::
* copying music::
* counterpoint::
-* countertenor::
+* countertenor::
* crescendo::
* cue-notes::
* custos::
* didymic comma::
* diminished interval::
* diminuendo::
-* diminution::
+* diminution::
* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
+* divisio::
+* doit::
* dominant::
* dominant ninth chord::
* dominant seventh chord::
* extender line::
* F::
* F clef::
+* fall::
* feathered beam::
* fermata::
* fifth::
* figured bass::
* fingering::
* flag::
+* flageolet::
* flat::
* forefall::
* forte::
* grave::
* gruppetto::
* H::
+* hairpin::
* half note::
* half rest::
* harmonic cadence::
+* harmonics::
* harmony::
* hemiola::
* homophony::
+* hymn meter::
* interval::
+* inversion::
* inverted interval::
* just intonation::
* key::
* major interval::
* meantone temperament::
* measure::
-* measure repeat::
+* measure repeat::
* mediant::
* melisma::
* melisma line::
* note head::
* note names::
* note value::
-* octavation::
+* octavation::
* octave::
-* octave mark::
-* octave marking::
+* octave mark::
+* octave marking::
* octave sign::
* ornament::
* ossia::
* part::
* pause::
* pennant::
-* percent repeat::
+* percent repeat::
* percussion::
* perfect interval::
* phrase::
* portato::
* presto::
* proportion::
-* Pythagorean comma::
+* Pythagorean comma::
* quadruplet::
+* quality::
* quarter note::
* quarter rest::
* quarter tone::
* sextuplet::
* shake::
* sharp::
-* simile::
+* simile::
* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* sixty-fourth note::
* sixty-fourth rest::
-* slash repeat::
+* slash repeat::
* slur::
* solmization::
* sonata::
* staff::
* staves::
* stem::
+* stringendo::
* strings::
* strong beat::
* subdominant::
* supertonic::
* symphony::
* syncopation::
-* syntonic comma::
+* syntonic comma::
* system::
* temperament::
* tempo indication::
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music the
-base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
-minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
-extended with more thirds. Four-tone @emph{seventh chords} and five-tone
-@emph{ninth} major chords are most often used as dominants (@ref{functional
-harmony}). A special case is chords having no third above the lower notes to
-define their quality as major or minor: such chords are called @q{open chords}.
+Three or more tones sounding simultaneously. In traditional European music
+the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+(major + minor third) as well as @emph{minor} (minor + major third) chords
+may be extended with more thirds. Four-tone @emph{seventh chords} and
+five-tone @emph{ninth} major chords are most often used as dominants
+(functional harmony). Chords having no third above the lower notes to
+define their mood are a special case called @q{open chords}. The lack of
+the middle third means their quality is ambivalent: neither major nor minor.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
>>
@end lilypond
+@seealso
+
+@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
+@ref{third}.
+
@node chromatic scale
@section chromatic scale
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-or the abbreviation @samp{cresc.}.
+(hairpin) or the abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
S: decrescendo,
FI: decresendo, hiljentyen.
-Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation @samp{decresc.}.
+Decreasing tone volume. Indicated by a leftwards opening horizontal
+wedge (hairpin) or the abbreviation @samp{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
Scales played on the white keys of a piano keybord are diatonic; and these
scales are sometimes called, somewhat inaccurately, @q{church modes}).
-These @q{modes} are used in gregorian chant and in pre-baroque early music
+These @q{modes} are used in Gregorian chant and in pre-baroque early music
but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
@ref{harmony}.
+@node divisio
+@section divisio
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
+vertical stroke through part or all of the staff that serves to
+structure a chant into phrases and sections. There are four types:
+
+@itemize
+
+@item @emph{divisio minima}, a short pause
+
+@item @emph{divisio maior}, a medium pause
+
+@item @emph{divisio maxima}, a long pause
+
+@item @emph{finalis}, to indicate the end of a chant, or the end of a
+section in a long antiphonal or responsorial chant.
+
+@end itemize
+
+TODO: musical example here?
+
+@seealso
+
+None yet.
+
+
+@node doit
+@section doit
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicator for a indeterminately rising pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+
+@ref{fall}, @ref{glissando}.
+
+
@node dominant
@section dominant
Dictionary}.
@item
-In figured (or thorough) bass to indicate that:
+In figured bass to indicate that:
@itemize
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+@node fall
+@section fall
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicator for a indeterminately falling pitch bend. Compare with
+@emph{glissando}, which has determinate starting and ending pitches.
+
+@seealso
+
+@ref{doit}, @ref{glissando}.
+
+
@node feathered beam
@section feathered beam
@node figured bass
@section figured bass
-@seealso
+ES: bajo cifrado,
+I: basso continuo, basso numerato,
+F: basse chiffrée, basse continue,
+D: Generalbass, bezifferter Bass,
+NL: basso continuo, becijferde bas
+DK: generalbas,
+S: generalbas,
+FI: kenraalibasso, numeroitu basso.
-@ref{thorough bass}.
+Also called @q{thorough bass}.
+
+A method of indicating an accompaniment part by the bass notes only, together
+with figures designating the chief @ref{interval}s and @ref{chord}s to be played
+above the bass notes.
+
+@lilypond[fragment,line-width=13.0\cm]
+\context GrandStaff <<
+ \context Staff = lh \relative c'' {
+ \time 4/4
+ \key es \major
+ \clef treble
+ << \context Voice = rha {
+ \stemUp
+ es4 d c bes | bes }
+ \context Voice = rhb {
+ \stemDown
+ < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
+ >>
+ }
+ <<
+ \context Staff = rh \relative c' {
+ \clef bass
+ \key es \major
+ es8 c d bes c as bes16 as g f | es4
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
+>>
+@end lilypond
@node fingering
@end lilypond
+@node flageolet
+@section flageolet
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+An articulation for string players that means the note or passage is to
+be played in harmonics.
+
+Also:
+
+@itemize
+
+@item A duct flute similar to the recorder.
+
+@item An organ stop of flute scale at 1' or 2' pitch.
+
+@end itemize
+
+@seealso
+
+@ref{articulation}, @ref{harmonics}.
+
+
@node flat
@section flat
@seealso
-@ref{Pitch names}, @ref{B}
+@ref{Pitch names}, @ref{B}.
+
+
+@node hairpin
+@section hairpin
+
+Graphical version of the @notation{crescendo} and @notation{decrescendo}
+dynamic marks.
+
+@seealso
+
+@ref{crescendo}, @ref{decrescendo}.
@node half note
@end lilypond
+@node harmonics
+@section harmonics
+
+ES: sonidos del flautín,
+I: suoni flautati,
+F: flageolet, sons harmoniques,
+D: Flageolett-Töne,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The general class of pitches produced by sounding the second or higher
+harmonic of a tone producer: string, column of air, and so on.
+
+On stringed instruments, these pitches sound rather flute-like; hence,
+their name in languages other than English. They are produced by
+lightly touching the string at a node for the desired mode of vibration
+while it is being bowed or plucked.
+
+For instruments of the violin family, there are two types of harmonics:
+natural harmonics, which are those played on the open string; and
+artificial harmonics, which are produced on stopped strings.
+
+
@node harmony
@section harmony
@ref{polyphony}.
+@node hymn meter
+@section hymn meter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A group or list of numbers that indicate the number of syllables in a
+line of a hymn's verse. Different hymnals have different ways of noting
+the hymn meter -- consider a hymn having four lines in two couplets that
+alternate between eight and seven syllables. The @emph{English Hymnal}
+notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
+8@w{ }7@w{ }8@w{ }7.
+
+Some frequently-used hymn meters have traditional names:
+
+@itemize
+
+@item 66.86 is called Short Meter (abbreviated SM or S.M.)
+
+@item 86.86 is called Common Meter (CM or C.M.)
+
+@item 88.88 is called Long Meter (LM or L.M.)
+
+@end itemize
+
+Some hymns and their tunes are doubled versions of a simpler meter: for
+easier reading, a hymn with a meter of 87.87.87.87 is usually written
+87.87D. The traditional names above also have doubled versions:
+
+@itemize
+
+@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
+
+@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
+
+@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
+
+@end itemize
+
+
+
@node interval
@section interval
@end lilypond
+@node inversion
+@section inversion
+
+ES: ?,
+I: ?,
+F: inversion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+When the bass is not the same as the root, the chord is inverted. The number
+of inversions that a chord can have is one fewer than the number of
+constituent notes. Triads, for example, (having three constituent notes) can
+have three positions, two of which are inversions:
+
+@table @strong
+@item Root position
+The root note is in the bass, and above that are the third and the fifth. A
+triad built on the first scale degree, for example, is marked @notation{I}.
+
+@item First inversion
+The third is in the bass, and above it are the fifth and the root. This
+creates an interval of a sixth and a third above the bass note, and so is
+marked in figured Roman notation as @notation{6/3}. This is commonly
+abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
+characteristic interval of the inversion, and so always implies
+@notation{6/3}.
+
+@item Second inversion
+The fifth is in the bass, and above it are the root and the third. This
+creates an interval of a sixth and a fourth above the bass note, and so is
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+unstable chord position.
+@end table
+
+
@node inverted interval
@section inverted interval
@ref{note value}.
+@node quality
+@section quality
+
+ES: ?,
+I: qualità (?),
+F: qualité (?),
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The quality of a triad is determined by the precise arrangement of its
+intervals. Tertian triads can be described as a series of three notes. The
+first element is the root note (or simply @q{root}) of the chord, the second
+note is the @q{third} of the chord, and the last note is the @q{fifth} of
+the chord. These are described below:
+
+@multitable @columnfractions .10 .35 .35 .20
+
+@headitem Chord name @tab Component intervals
+ @tab Example
+ @tab Symbol
+@item major triad @tab major third/perfect fifth
+ @tab C-E-G
+ @tab C, CM, Cma, Cmaj, CΔ
+@item minor triad @tab minor third/perfect fifth
+ @tab C-E♭-G
+ @tab Cm, Cmi, Cmin, C-
+@item augmented triad @tab major third/augmented fifth
+ @tab C-E-G♯
+ @tab C+, C^+, Caug
+@item diminished triad @tab minor third/diminished fifth
+ @tab C-E♭-G♭
+ @tab Cm(♭5), Cº, Cdim
+@end multitable
+
+There are various types of seventh chords depending on the quality of the
+original chord and the quality of the seventh added.
+
+Five common types of seventh chords have standard symbols. The chord quality
+indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
+and D^m7 are all identical). The last three chords are not commonly used
+except in jazz.
+
+@seealso
+
+@ref{chord}.
+
+
@node quarter note
@section quarter note
or impossible
@item alter the characteristic timbre of the instrument, for example,
-to increase brilliance)
+to increase brilliance
@item reinforce certain sonorities or tonalities by making them
available on open strings
@end lilypond
+@node stringendo
+@section stringendo
+
+ES: ?,
+I: stringendo,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
+climax.
+
+@seealso
+
+@ref{accelerando}.
+
+
@node strings
@section strings
@node thorough bass
@section thorough bass
-ES: bajo cifrado,
-I: basso continuo, basso numerato,
-F: basse chiffrée, basse continue,
-D: Generalbass, bezifferter Bass,
-NL: basso continuo, becijferde bas
-DK: generalbas,
-S: generalbas,
-FI: kenraalibasso, numeroitu basso.
-
-Also called @q{figured bass}.
-
-A method of indicating an accompaniment part by the bass notes only, together
-with figures designating the chief @ref{interval}s and @ref{chord}s to be played
-above the bass notes.
+@seealso
-@lilypond[fragment,line-width=13.0\cm]
-\context GrandStaff <<
- \context Staff = lh \relative c'' {
- \time 4/4
- \key es \major
- \clef treble
- << \context Voice = rha {
- \stemUp
- es4 d c bes | bes }
- \context Voice = rhb {
- \stemDown
- < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
- >>
- }
- <<
- \context Staff = rh \relative c' {
- \clef bass
- \key es \major
- es8 c d bes c as bes16 as g f | es4
- }
- \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
- >>
->>
-@end lilypond
+@ref{figured bass}.
@node tie
projects / lilypond.git / blobdiff