-\input texinfo @c -*- coding: utf8; mode: texinfo; -*-
+\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename music-glosssary.info
@settitle Music Glossary
-@documentencoding utf-8
+@documentencoding UTF-8
@documentlanguage en
-@dircategory GNU music project
+@afourpaper
+
+@c see lilypond.tely for info installation note
+@dircategory LilyPond
@direntry
* Glossary: (lilypond/music-glossary). Glossary of music terms.
@end direntry
@ifhtml
-This document is also available in @uref{source/Documentation/user/music-glossary.pdf,PDF}
-and as @uref{source/Documentation/user/music-glossary.html,one big page}.
+This document is also available in
+@uref{source/Documentation/user/music-glossary.pdf,PDF}
+and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
@end ifhtml
@titlepage
@c Danish glossary
@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 Dadiv Gonzalez @c Spanish glossary
+@author Mats Bengtsson @c Swedish glossary
+@author David González @c Spanish glossary
@author Bjoern Jacke @c German glossary
@author Neil Jerram @c English glossary translations
-@author Mats Bengtsson @c Swedish glossary
-@author Adrian Mariano @c Italian glossary
@author Heikki Junes @c Finnish glossary
+@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
+@author Adrian Mariano @c Italian glossary
+@author Han-Wen Nienhuys @c Dutch glossary
+@author Jan Nieuwenhuizen @c Dutch glossary
-@c Fixes by Jean-Pierre Coulon and `Dirk'
+@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
-Copyright @copyright{} 1999--2005 by the authors
+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,
without Invariant Sections.
-
+
@end titlepage
@top Music glossary
@end ifnottex
-This glossary was brought you by
@ifnottex
+
+This glossary was brought you by
+
@table @code
@item Adrian Mariano
Italian glossary,
German glossary,
@item Christian Mondrup
Original author of LilyPond glossary, Danish glossary,
-@item Dadiv Gonzalez
+@item David González
Spanish glossary,
-@item Fran@,{c}ois Pinard
+@item François Pinard
Original glossary of GNU music project, French glossary,
@item Han-Wen Nienhuys
Dutch glossary,
+@item Heikki Junes
+Finnish glossary translations,
@item Jan Nieuwenhuizen
Dutch glossary,
+@item Kurtis Kroon
+English glossary,
@item Mats Bengtsson
Swedish glossary,
@item Neil Jerram
-English glossary translations,
-@item Heikki Junes
-Finnish glossary translations.
+English glossary translations.
@end table
@*
-Copyright 1999--2005 by the authors
+Copyright 1999--2007 by the authors
Permission is granted to copy, distribute and/or modify this document
@c arrowref
@macro aref{word}
@iftex
-@w{@arrow{}@strong{\word\}}@c
+@w{@expansion{}@strong{\word\}}@c
@end iftex
@ifnottex
-@arrow{}@ref{\word\, @strong{\word\}}@c
+@expansion{}@ref{\word\, @strong{\word\}}@c
@end ifnottex
@end macro
* alto::
* alto clef::
* ambit::
+* anacrusis::
* ancient minor scale::
* andante::
* appoggiatura::
* arpeggio::
+* articulation::
* ascending interval::
* augmented interval::
* autograph::
* diatonic scale::
* diminished interval::
* diminuendo::
+* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
* ecclesiastical mode::
* eighth note::
* eighth rest::
+* elision::
* embellishment::
* engraving::
* enharmonic::
* equal temperament::
* expression mark::
+* extender line::
* F::
* F clef::
* fermata::
* grand staff::
* grave::
* gruppetto::
+* H::
* half note::
* half rest::
* harmonic cadence::
* long appoggiatura::
* longa::
* lyrics::
+* lyric tie::
* major interval::
* major::
* meantone temperament::
* measure::
* mediant::
* melisma::
+* melisma line::
* melodic cadence::
* meter::
* metronome::
* ornament::
* ossia::
* part::
+* pause::
* pennant::
* percussion::
* perfect interval::
* phrase::
* phrasing::
* piano::
+* pickup::
* pitch::
* pizzicato::
* polyphony::
* ritenuto::
* scale::
* scale degree::
+* scordatura::
* score::
* second::
* semitone::
* subdominant::
* submediant::
* subtonic::
+* sul G::
* superdominant::
* supertonic::
* symphony::
S: a,
FI: A, a.
+@aref{Pitch names}
+
@node accent
@section accent
@node accidental
@section accidental
-ES: alteración accidentelle,
+ES: alteración accidental,
I: accidento,
F: altération accidentelle,
D: Vorzeichen, Versetzungszeichen, Akzidenz,
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\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
- sharp "db. sharp" flat "db. flat" natural
-}
+<<
+ \context Staff \relative c'' {
+ \set Staff.extraNatural = ##f
+ gis1 gisis ges geses g!
+ }
+ \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ sharp "db. sharp" flat "db. flat" natural
+ }
+>>
@end lilypond
@node accelerando
@section accelerando
-ES: acelerando,
+ES: accelerando,
I: accelerando,
F: accelerando, en accélérant,
D: accelerando, schneller werden,
ES: alteración,
I: alterazione
F: altération
-D:
+D:
NL: verhoging of verlaging,
DK:
S:
@node ambit
@section ambit
-ES: ambitus,
+ES: ámbito,
I: ambitus,
F: ambitus,
D: ambitus,
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.
+@node anacrusis
+@section anacrusis
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+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.
+
+@aref{measure}, @aref{meter}.
+
+@lilypond[fragment,line-width=13.0\cm]
+\key f \major
+\time 4/4
+\relative c' {
+ \partial 4 f4 | bes4. a8 bes4 c |
+ bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
+@end lilypond
+
@node ancient minor scale
@section ancient minor scale
+ES: escala menor antigua,
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
ES: apoyatura,
I: appoggiatura,
-F: appogiature, (port de voix),
+F: appoggiature, (port de voix),
D: Vorschlag,
NL: voorslag,
DK: forslag,
FI: appoggiatura, etuhele.
Ornamental note, usually a second, that is melodically connected with the
-main note following it. In music before the 19th century a.@: were usually
-performed on the beat, after that mostly before the beat. While the short
-a.@: is performed as a short note regardless of the duration of the main note
-the duration of the long a.@: is proportional to that of the main note.
+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'' {
>>
@end lilypond
+@node articulation
+@section articulation
+
+ES: articulación,
+I: articulazione,
+F: articulation,
+D: Artikulation,
+NL: articulatie,
+DK: ?,
+S: ?,
+FI: ?.
+
+Articulation refers to notation which indicates how a note or notes should
+be played. Slurs, accents, staccato, and legato are all examples of
+articulartion.
+
@node ascending interval
@section ascending interval
-ES: Intervalo ascendente,
+ES: intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
D: steigendes Intervall,
@node autograph
@section autograph
+ES: manuscrito,
I: autografo,
-F: manuscrit,
+F: manuscrit, autographe
D: Autograph, Handschrift,
NL: manuscript,
DK: håndskrift, autograf,
S: h,
FI: H, h.
+@aref{Pitch names}
+
@node backfall
@section backfall
@node bar
@section bar
-ES: compás, @aref{measure}.
+@aref{measure}.
@node bar line
@section bar line
-ES: ?,
+ES: barra, línea divisoria,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
D: Taktstrich,
ES: clave de fa en cuarta,
I: chiave di basso,
-F: clé de fa quatrième ligne,
+F: clef de fa quatrième ligne,
D: Bassschlüssel,
NL: bassleutel,
DK: basnøgle,
@node bass
@section bass
+ES: bajo,
I: basso,
F: basse,
D: Bass,
@node beam
@section beam
+ES: barra
I: coda,
F: barre,
D: Balken,
@node beat
@section beat
-ES: tiempo,
+ES: tiempo, parte (de compás)
I: tempi,
F: temps,
D: Takt, Taktschlag, Zeit (im Takt),
@node breath mark
@section breath mark
+ES: respiración,
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
@node breve
@section breve
-ES: breve,
+ES: cuadrada, breve,
I: breve,
F: brève,
D: Brevis,
S: c,
FI: C, c.
+@aref{Pitch names}
+
@node C clef
@section C clef
-ES: Clave de do,
+ES: clave de do,
I: chiave di do,
-F: clé d'ut,
+F: clef d'ut,
D: C-Schlüssel,
NL: C-sleutel,
DK: c-nøgle,
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Score.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\context Staff \relative c' {
- \clef soprano c1 s s
- \clef mezzosoprano c s s
- \clef alto c s s
- \clef tenor c s s
- \clef baritone c s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
-}
+<<
+ \context Staff \relative c' {
+ \clef soprano c1
+ \clef mezzosoprano c
+ \clef alto c
+ \clef tenor c
+ \clef baritone c
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics .LyricText #'self-alignment-X = #-1
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+ }
+>>
@end lilypond
@node cadence
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}).
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 +
+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 @aref{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
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- <g b d>1 s s
- <g bes d> s s
- <g bes des> s s
- <g b dis> s s
- <g b d f> s s
- <g b d f a> s s
+ \set Staff.extraNatural = ##f
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
}
-\context Lyrics \lyrics{
+\lyrics{
"major "
"minor "
"diminished "
"seventh-chord "
ninth-chord
}
+>>
@end lilypond
@node chromatic scale
@aref{C clef}, @aref{F clef}, @aref{G clef}.
+The clef indicates which lines of the staff correspond to which
+pitches. The three clef symbols in common use are:
+
+@lilypond[ragged-right,quote]
+\markup {
+ \column {
+ \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
+ \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
+ \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
+ }
+}
+@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:
+
+@lilypond[ragged-right,quote]
+\score {
+ <<
+%-- Treble Staff --%
+ \new Staff = "G" {
+% Allow this staff to be placed close to the others
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
+% Allow the treble clef to overlap the lower staves:
+% \override Staff.Clef #'Y-extent = #'(0 . 0)
+ \override Staff.Clef #'stencil = ##f % No clef required
+ \clef "G"
+ s1^\markup { "g," \transparent "g" }
+ s^ \markup { "b," \transparent "g" }
+ s^ \markup { "d" \transparent "g" }
+ s^ \markup { "f" \transparent "g" }
+ s^ \markup { "a" \transparent "g" }
+ s^ \markup { \with-color #red c' \transparent "g"}
+ e'^\markup { "e'" \transparent "g" }
+ g'^\markup { "g'" \transparent "g" }
+ b'^\markup { "b'" \transparent "g" }
+ d''^\markup { "d''" \transparent "g" }
+ f''^\markup { "f ''" \transparent "g" }
+ s
+ }
+%-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = 1 % One line only
+ \override Staff.StaffSymbol #'color = #red % Coloured red
+ \override Staff.Clef #'stencil = ##f % No clef required
+ \clef "C"
+
+% Allow this staff to be placed close to the others
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
+% Specify height to give correct spacing between treble and bass staves
+ \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
+
+ s1 s s s s % Space along to align horizonatally
+ \override NoteHead #'color = #red
+ c'1 % A middle C
+ s1 s s s s s % Keep staff (ie the red line) showing
+ }
+%-- Bass Staff --%
+ \new Staff = "F" {
+% Allow this staff to be placed close to the others
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
+ \override Staff.Clef #'stencil = ##f % No clef required
+ \clef "F"
+ g,1 b, d f a
+ s s s s s s s % Keep staff showing
+ }
+ >>
+ \layout {
+% Reduce horizontal spacing so semibreves can be used without exceeding 1 line
+ \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
+ }
+% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
+ \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ }
+% Remove all barlines
+ \context { \Score \override BarLine #'stencil = ##f
+ }
+% Remove time signature from all staves
+ \context { \Staff \remove Time_signature_engraver
+ }
+ } % End layout
+} % 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:
+
+@lilypond[ragged-right,quote]
+\score {
+ <<
+%-- Treble Staff --%
+ \new Staff = "G" {
+% Allow this staff to be placed close to the others
+ \override Staff.VerticalAxisGroup
+ #'minimum-Y-extent = #'(0 . 0)
+% Allow the treble clef to overlap the lower staves:
+% \override Staff.Clef #'Y-extent = #'(0 . 0)
+ \override Staff.Clef #'stencil = ##f % No clef required here
+ \clef "G"
+ s1^\markup { "g," \transparent "g" }
+ s^ \markup { "b," \transparent "g" }
+ s^ \markup { "d" \transparent "g" }
+ s^ \markup { "f" \transparent "g" }
+ s^ \markup { "a" \transparent "g" }
+ s^ \markup { \with-color #red c' \transparent "g"}
+ \stopStaff \startStaff
+ \clef "C" % Dummy to force next clef to be printed
+ s % Need at least one note for \clef to take effect
+ \override Staff.Clef #'stencil = ##t % Clef now required
+ \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
+ \clef "G"
+ e'^\markup { "e'" \transparent "g" }
+ g'^\markup { "g'" \transparent "g" }
+ b'^\markup { "b'" \transparent "g" }
+ d''^\markup { "d''" \transparent "g" }
+ f''^\markup { "f ''" \transparent "g" }
+ } % End staff G
+%-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = 1 % One line only
+ \override Staff.StaffSymbol #'color = #red % Coloured red
+ \override Staff.Clef #'stencil = ##f % No clef required
+ \clef "C"
+
+% Allow this staff to be placed close to the others
+ \override Staff.VerticalAxisGroup
+ #'minimum-Y-extent = #'(0 . 0)
+% Specify height to give correct spacing between the staves
+ \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
+
+ s1 s s s s % Space along to align horizonatally
+ \override NoteHead #'color = #red
+ c'1 % A middle C
+% s1 s s s s % Keep staff (ie the red line) showing
+ } % End staff C
+%-- Bass Staff --%
+ \new Staff = "F" {
+% Allow this staff to be placed close to the others
+ \override Staff.VerticalAxisGroup
+ #'minimum-Y-extent = #'(0 . 0)
+ \override Staff.Clef #'stencil = ##f % No clef required
+ \clef "F"
+ g,1_" " b, d f a
+% s s s s s s % Keep staff showing
+ } % End staff F
+ >>
+ \layout {
+% Reduce horizontal spacing so semibreves can be used
+% without exceeding 1 line
+ \context { \Score \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 1)
+ }
+% Reduce apparent vertical size of note heads to
+% permit them to overlap other grobs vertically
+ \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ }
+% Remove all barlines
+ \context { \Score \override BarLine #'stencil = ##f
+ }
+% Remove time signature from all staves
+ \context { \Staff \remove Time_signature_engraver
+ }
+ } % End layout
+} % End score
+@end lilypond
+
+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.
+
+@lilypond[ragged-right,quote]
+\score {
+<<
+%-- Treble Staff --%
+ \new Staff = "G" \with {
+ \remove Time_signature_engraver
+ }
+ {
+% The following two overrides are required to make the two middle C's overlap
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
+ \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
+
+ \override Staff.Clef #'Y-extent = #'(0 . 0)
+ \clef "G"
+ s1 s s s s e' g' c''
+ }
+%-- Alto Staff --%
+ \new Staff = "C" \with {
+ \remove Time_signature_engraver
+ }
+ {
+ \override Staff.StaffSymbol #'line-count = 1
+ \override Staff.StaffSymbol #'stencil = ##f
+ \once \override Staff.Clef #'stencil = ##f
+ \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
+ \override Score.BarLine #'stencil = ##f
+
+ % The following two overrides are required to align the C staff to the G and F staves
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
+ \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
+
+ s1 s s s
+ \stopStaff \startStaff
+ \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
+ \revert Staff.StaffSymbol #'stencil
+ \override Staff.StaffSymbol #'color = #red
+ b'1 % A frig. This really shows as a middle C in the score
+ s1 s s s
+ \stopStaff \startStaff
+ \override Staff.StaffSymbol #'line-count = 5
+ \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
+ \override Staff.Clef #'Y-extent = #'(0 . 0)
+ \revert Staff.StaffSymbol #'color
+ \stopStaff \startStaff
+ \clef "C"
+ s1 s s c e g c' e' g' c''
+ }
+%-- Bass Staff --%
+ \new Staff = "F" \with {
+ \remove Time_signature_engraver
+ }
+ {
+ \override Staff.Clef #'Y-extent = #'(0 . 0)
+% The following two overrides are required to make the two middle C's overlap
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
+ \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
+
+ \clef "F"
+ c1 e g s s s s s
+ }
+>>
+\layout {
+ \context {
+ \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
+ }
+ \context {
+ \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ }
+ \context {
+ \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
+ }
+}
+}
+@end lilypond
+
+
@node cluster
@section cluster
+ES: racimo.
+
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
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[fragment,relative=2,verbatim,ragged-right]
+@lilypond[fragment,relative=2,ragged-right]
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
@node comma
@section comma
+ES: coma, comma,
I: comma,
F: comma,
D: Komma,
@node complement
@section complement
+ES: intervalo invertido,
I: rivolto,
F: intervalle complémentaire,
D: Komplementärintervall,
composition methods.
@lilypond[fragment,staffsize=12,line-width=13.0\cm]
+\set Score.implicitTimeSignatureVisibility = #all-invisible
\override Score.TimeSignature #'break-visibility = #all-invisible
\context PianoStaff <<
\context Staff = SA \relative c' {
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation ``cresc.''.
+abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
@node cue-notes
@section cue-notes
-ES: notas guia,
+ES: notas guía,
I: notine,
-F: petites notes précédent l'entrée d'in instrument, réplique,
+F: petites notes précédent l'entrée d'un instrument, réplique,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
@node custos
@section custos
+F: guidon,
+D: Notenzeiger.
+
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
}
}
@end lilypond
-
+
@node D
@section D
-ES: Re,
+ES: re,
I: re,
F: ré,
D: D, d,
S: d,
FI: D, d.
+@aref{Pitch names}
+
@node da capo
@section 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 ``D.C.''.
+to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
@node dal segno
@section dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated ``d.s.''. Repetition, not from the beginning, but from
+Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
@lilypond[fragment,ragged-right]
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation ``decresc.''.
+or the abbreviation @samp{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
Ionian
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c' {
d1
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
- \context Lyrics \lyrics {
+ \lyrics {
Dorian
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
\override TextScript #'padding = #-4
e1^"~~ S" f g a b^"~~ S" c d e
}
- \context Lyrics \lyrics {
+ \lyrics {
Phrygian
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
f1 g a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
- \context Lyrics \lyrics {
+ \lyrics {
Lydian
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
g1 a
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g }
- \context Lyrics \lyrics {
+ \lyrics {
Mixolydian
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
Aeolian
}
+>>
@end lilypond
From the beginning of the 17th century the scales used in European
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c' {
c1 d
\override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Major
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
- \context Lyrics \lyrics {
+ \lyrics {
"ancient minor"
}
+>>
@end lilypond
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
\context Lyrics \lyrics {
"Harmonic minor"
}
+>>
@end lilypond
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\relative c'' {
a1
\override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S"
a g! f!^"~~ S" e d c^"~~ S" b a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Melodic minor"
}
+>>
@end lilypond
@node diminished interval
@section diminished interval
-ES: intervalo disminuído,
+ES: intervalo disminuido,
I: intervallo diminuito,
F: intervalle diminué,
D: vermindertes Intervall,
@aref{decrescendo}.
+@node direct
+@section direct
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@aref{custos}.
+
@node disjunct movement
@section disjunct movement
-ES: movimiendo disjunto,
+ES: movimiento disjunto,
I: moto disgiunto,
F: mouvement disjoint,
D: sprunghafte Bewegung,
S: hoppande rörelse,
FI: melodian hyppivä liike.
-Progressing melodically by intervals larger than a major second.
+Progressing melodically by intervals larger than a major second.
Opposite of @aref{conjunct movement}.
@lilypond[fragment,ragged-right]
@node dissonant interval
@section dissonant interval
-ES: intervalo disonante, disonancias,
+ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
F: dissonance,
D: Dissonanz,
@node dominant ninth chord
@section dominant ninth chord
+ES: acorde de novena de dominante,
I: accordo di nona di dominante,
F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
S: punkt,
FI: piste.
+@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
+
@aref{dotted note}.
@node dotted note
@node double bar line
@section double bar line
+ES: doble barra,
I: doppia barra,
F: double barre,
D: Doppelstrich,
@node double dotted note
@section double dotted note
-ES: nota con dos puntillos,
+ES: nota con doble puntillo,
I: nota doppiamente puntata,
F: note doublement pointée,
D: doppelt punktierte Note,
S: e,
FI: E, e.
+@aref{Pitch names}
+
@node ecclesiastical mode
@section ecclesiastical mode
@aref{note value}.
+@node elision
+@section elision
+
+FIXME: languages, definition
+
+
@node embellishment
@section embellishment
@node engraving
@section engraving
-ES: Grabar
+ES: grabar,
I: incisione,
F: gravure,
D: Notenstechen, Notendruck
@node enharmonic
@section enharmonic
-ES: enharmónico,
+ES: enarmónico,
I: enarmonico,
F: enharmonique,
D: enharmonisch,
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\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
+ gis1 as <des g,!> <cis g!>
}
\context Lyrics \lyrics {
\override Lyrics .LyricText #'self-alignment-X = #-1
"g sharp " "a flat " "dim fifth " "augm fourth"
}
+>>
@end lilypond
@node equal temperament
@section equal temperament
-ES: ?,
+ES: temperamento igual,
I: temperamento equabile,
F: tempérament égal,
D: gleichschwebende Stimmung,
@node expression mark
@section expression mark
-ES: ?,
+ES: expresión,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
D: Vortragszeichen,
@aref{forte}, @aref{crescendo}), 2. tempo (for example
@aref{andante}, @aref{allegro}).
+@node extender line
+@section extender line
+
+FIXME: add languages
+
+ES: línea de extención [de melisma, de bajo cifrado, etc.],
+I: ?,
+F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
+D: ?,
+NL: ?,
+DK: ?,
+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).
+
+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 figured (or thorough) bass to indicate that:
+
+ @itemize
+
+ @item The extended note should be held through a change in
+ harmony, when applied to one figure --OR--
+
+ @item The chord thus represented should be held above a moving
+ bass line, when applied to more than one figure.
+
+ @item These uses were not completely standardized, and some
+ composers used a single extender line to indicate the
+ latter case.
+
+ @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.
+
+@end itemize
+
+@aref{melisma}, @aref{sul G}, @aref{thorough bass}
+
@node F
@section F
S: f,
FI: F, f.
+@aref{Pitch names}
+
@node F clef
@section F clef
-ES: Clave de Fa,
+ES: clave de fa,
I: chiave di fa,
-F: clé de fa,
+F: clef de fa,
D: F-Schlüssel,
NL: F-sleutel,
DK: F-nøgle,
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
+an octave higher (for example, bass recorder) while 8@w{ }below the clef
+symbol indicates playing an octave lower (for example, on double bass
@aref{strings}).
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
+<<
\relative c {
\clef varbaritone
f1
\clef "F_8"
f1
}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'self-alignment-X = #-1
- "baritone "
+ \lyrics {
+ "varbaritone "
"bass "
"sub-bass "
"octaved up "
"octaved down"
}
+>>
@end lilypond
+@aref{baritone clef}
+
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
@node fermata
@section fermata
-ES: Calderón,
+ES: calderón,
I: corona,
-F: point d'orgue, point d'arr@^et,
+F: point d'orgue, point d'arrêt,
D: Fermate,
NL: fermate,
DK: fermat,
@node figured bass
@section figured bass
-ES: bajo cifrado, @aref{thorough bass}.
+@aref{thorough bass}.
@node fingering
@section fingering
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\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}$\\mid$" }
+\context Lyrics \lyrics {
+ T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+>>
@end lilypond
@node G
S: g,
FI: G, g.
+@aref{Pitch names}
+
@node G clef
@section G clef
-ES: Clave de sol,
+ES: clave de sol,
I: chiave di sol,
-F: clé de sol,
+F: clef de sol,
D: G-Schlüssel, Violinschlüssel,
NL: G-sleutel,
DK: g-nøgle,
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
-%\override Score.LyricText #'font-style = #'large
-\oldaddlyrics
-\relative c'' {
- \clef french
- g1 s s
- \clef treble
- g s s
- \clef "G^8"
- g s s
- \clef "G_8"
- g s s
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "french violin clef "
- "violin clef "
- "octaved up "
- "octaved down"
-}
+@lilypond[fragment,notime,ragged-right]
+<<
+ \set Score.automaticBars = ##f
+ \override Staff.Clef #'full-size-change = ##t
+
+ \relative c'' {
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \clef french
+ g1
+ \clef treble
+ g
+ \clef "G^8"
+ g
+ \clef "G_8"
+ g
+ }
+ \context Lyrics \lyrics {
+ \override Lyrics . LyricText #'X-offset = #-5
+ "french violin clef"
+ "violin clef"
+ "octaved up"
+ "octaved down"
+ }
+>>
@end lilypond
@node glissando
@node grace notes
@section grace notes
-ES: ?,
+ES: notas de adorno,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
@node grand staff
@section grand staff
+ES: sistema de piano,
I: accolatura,
F: accolade,
D: Akkolade,
@aref{turn}.
+@node H
+@section H
+
+ES: si,
+I: si,
+F: si,
+D: H, h,
+NL: b,
+DK: h,
+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}.
+
+@aref{Pitch names}, @aref{B}
+
@node half note
@section half note
@node half rest
@section half rest
-ES: ?,
+ES: silencio de blanca,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
\partial 4 < c g e >4 |
< c a f > < b g d > < c g e >2
}
-% %\override Score.LyricText #'font-style = #'large
- \oldaddlyrics
- \context Staff = SB \relative c {
- \clef bass
- \partial 4 c4 | f, g c2
- \bar "|."
- }
- \context Lyrics \lyrics {
- T S D T
- }
+ <<
+ \context Staff = SB \relative c {
+ \clef bass
+ \partial 4 c4 | f, g c2
+ \bar "|."
+ }
+ \lyrics {
+ T4 S D T
+ }
+ >>
>>
+
@end lilypond
@node harmony
<g d'>_"fifth " s
<g e'>_"sixth " s
<g g'>_"octave " s
- <g b'>_"decime" s s
+ <g b'>_"tenth" s s
}
@end lilypond
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor, major,
+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
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Voice \relative c'' {
- < g g >1 s
- < g as >^"minor" s
- < g a! > s
- < g ais >^"augm" s
- < gis bes >^"dimin" s
- < g! bes >^"minor" s
- < g b! >^"major" s
- < g bis >^"augm" s
+ < g g >1
+ < g as >^"minor"
+ < g a! >
+ < g ais >^"augm"
+ < gis bes >^"dimin"
+ < g! bes >^"minor"
+ < g b! >^"major"
+ < g bis >^"augm"
}
\context Lyrics \lyrics {
"unisone " "second " "second " "second "
"third " "third " "third " "third"
}
+>>
@end lilypond
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- < g c >1^"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
+ < g c >1^"perfect"
+ < g cis >^"augm"
+ < g d' >^"perfect"
+ < g des' > ^"dimin"
+ < gis es' >^"dimin"
+ < g! es' >^"minor"
+ < g e'! >^"major"
+ < g eis' >^"augm"
}
-\context Lyrics \lyrics {
+ \lyrics {
"fourth " "fourth " "fifth " "fifth "
"sixth " "sixth " "sixth " "sixth"
}
+>>
@end lilypond
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
-\oldaddlyrics
+<<
\context Staff \relative c'' {
- < 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
+ < gis f'! >1^"dimin"
+ < g! f'! >^"minor"
+ < g fis' >^"major"
+ < g g' >
+ < g as' >^"minor"
+ < g a'! >^"major"
+ < g bes' >^"minor"
+ < g b'! >^"major"
}
\context Lyrics \lyrics {
"seventh " "seventh " "seventh " "octave "
- "none " "none " "decime " "decime"
+ "ninth " "ninth " "tenth " "tenth"
}
+>>
@end lilypond
@node inverted interval
@node just intonation
@section just intonation
+ES: entonación justa,
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
@node key signature
@section key signature
-ES: armadura de clave,
+ES: armadura (de la clave),
I: armatura di chiave,
F: armure, armature [de la clé],
D: Vorzeichen, Tonart,
FI: johtosävel.
The seventh @aref{scale degree}, a @aref{semitone} below
-the tonic; so called because of its strong tendency to ``lead up'' (resolve
+the tonic; so called because of its strong tendency to @q{lead up} (resolve
upwards) to the tonic scale degree.
@node ledger line
@section ledger line
-ES: líneas adicionales,
+ES: línea adicional,
I: tagli addizionali,
F: ligne supplémentaire,
D: Hilfslinie,
@node legato
@section legato
-ES: ligado,
+ES: legato,
I: legato,
F: legato, lié,
D: legato,
S: legato,
FI: legato, sitoen.
-To be performed (a) without any perceptible interruption between the notes,
+To be performed (a) without any perceptible interruption between the notes,
unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
(d) @aref{staccato}.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-\oldaddlyrics
-\context Staff \relative c'' {
- c4-( d e-) \bar "||"
- c4-- d-- e-- \bar "||"
- c4-.-( d-. e-.-) \bar "||"
- c4-. d-. e-. \bar "||"
-}
-\context Lyrics \lyrics {
-% \override Lyrics .LyricText #'font-style = #'large
- a
- b "" ""
- c
- d
-}
+<<
+ \context Staff \relative c'' {
+ c4-( d e-) \bar "||"
+ c4-- d-- e-- \bar "||"
+ c4-.-( d-. e-.-) \bar "||"
+ c4-. d-. e-. \bar "||"
+ }
+ \lyrics {
+ a2.
+ b
+ c
+ d
+ }
+>>
@end lilypond
@node legato curve
@node lilypond
@section lilypond
-ES: estanque de lilas,
+ES: estanque de nenúfares,
I: stagno del giglio,
F: étang de lis,
UK: lily pond,
@node ligature
@section ligature
+ES: ligadura
+
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
@node lyrics
@section lyrics
-ES: .,
+ES: letra (de la canción),
I: .,
-F: .,
+F: paroles,
D: Liedtext,
NL: liedtekst,
DK: .,
S: .,
FI, sanoitus.
+@node lyric tie
+@section lyric tie
+
+FIXME: add languages
+
+@aref{elision}.
+
@node major interval
@section major interval
@node meantone temperament
@section meantone temperament
+ES: afinación mesotónica,
I: accordatura mesotonica,
F: tempérament mésotonique,
D: mitteltönige Stimmung,
@node melisma
@section melisma
-NL: melisma,
+ES: melisma,
+F: mélisme,
+NL: melisma,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural: melismata) is a group of notes or tones sung on one
syllable in plainsong
+@node melisma line
+@section melisma line
+
+FIXME: add languages
+
+@aref{extender line}.
+
@node melodic cadence
@section melodic cadence
ES: compás,
I: tempo, metro,
-F: indication de mésure,
+F: indication de mesure, mesure,
D: Taktart, Metrum,
NL: maatsoort,
DK: taktart,
@node mezzo-soprano
@section mezzo-soprano
-ES: mezzo soprano,
+ES: mezzosoprano,
I: mezzo-soprano,
F: mezzo-soprano,
D: Mezzosopran,
@node minor interval
@section minor interval
-ES: intervalo mayor,
+ES: intervalo menor,
I: intervallo minore,
F: intervalle mineur,
D: kleines Intervall,
@node motive
@section motive
-ES: tema,
+ES: motivo,
I: inciso,
F: incise,
D: Motiv,
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond[fragment,line-width=13.0\cm]
-\override Score.TimeSignature #'break-visibility = #all-invisible
-%\override Score.TextScript #'font-style = #'large
+@lilypond[line-width=13.0\cm]
+\score{
\relative c'' {
+ \set Score.implicitTimeSignatureVisibility = #all-invisible
+ \override Score.TimeSignature #'break-visibility = #all-invisible
\time 4/4
\key g \major
- \partial 8 g16_"------" fis |
- g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis |
+ \partial 8 g16\startGroup fis |
+ g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
g8 g,16 a b8 cis d16 s
}
+\layout {
+ \context {
+ \Staff \consists "Horizontal_bracket_engraver"
+}}
+}
@end lilypond
@node movement
@node note head
@section note head
-ES: oval,
+ES: cabeza,
I: testa, testina, capocchia,
-F: t@^ete de la note,
+F: tête de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
@node note value
@section note value
-ES: valor,
+ES: valor (duración),
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
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},
+higher note value. The longest duration normally used is called
+@emph{brevis},
but sometimes (mostly in pre-baroque music) the double length note value
@emph{longa} is used.
Alternatively note values may be subdivided by other ratios. Most common is
subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
-Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
+Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
@lilypond[fragment,line-width=13.0\cm]
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
+the
@emph{prall} (inverted mordent).
@lilypond[fragment,line-width=13.0\cm]
or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
melodic line of the contrapunctal web.
+@node pause
+@section pause
+
+@aref{fermata}.
+
@node pennant
@section pennant
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
+@node pickup
+@section pickup
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+@aref{anacrusis}.
+
@node piano
@section piano
@node Pythagorean comma
@section Pythagorean comma
-ES: coma pitagórico,
+ES: coma pitagórica,
I: comma pitagorico,
F: comma pythagoricien,
D: Pythagoräisches Komma,
@node quintuplet
@section quintuplet
-ES: quintillo,
+ES: cinquillo, quintillo.
I: quintina,
F: quintolet,
D: Quintole,
@node relative key
@section relative key
-ES: relativa,
+ES: relativo,
I: tonalità relativa,
F: tonalité relative,
D: Paralleltonart,
S: parallelltonart,
FI: rinnakkaissävellaji.
-@aref{major} and @aref{minor} @aref{key}
-with the same @aref{key signature}.
+@aref{major} and @aref{minor} @aref{key}s with the same @aref{key signature}.
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@node repeat
@section repeat
-ES: barra de repetición,
+ES: repetición,
I: ritornello,
F: barre de reprise,
D: Wiederholung,
@node ritardando
@section ritardando
-ES: retardando,
+ES: ritardando,
I: ritardando,
F: ritardando,
D: Ritardando, langsamer werden,
@node scale degree
@section scale degree
-ES: grados de la escala,
+ES: grado (de la escala),
I: grado della scala,
F: degré [de la gamme],
D: Tonleiterstufe,
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\set minVerticalAlign = #8
-\oldaddlyrics
+<<
\context Staff \relative c' {
c1 d e f g a b c
}
-\context Lyrics \lyrics {
+ \lyrics {
<< { I II III IV V VI VII I }
- { T "" "" S D } >>
+ { T "" "" S D } >>
}
+>>
@end lilypond
@aref{functional harmony}.
+@node scordatura
+@section scordatura
+
+ES: ?,
+I: scordatura,
+F: à cordes ravallées,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of
+stringed instruments, particularly lutes or violins. Used to:
+
+@itemize
+
+@item facilitate pitch combinations that would otherwise be difficult or
+impossible
+
+@item
+alter the characteristic timbre of the instrument, for example, to increase
+brilliance)
+
+@item reinforce certain sonorities or tonalities by making them available on
+open strings
+
+@item imitate other instruments
+
+@item etc.
+@end itemize
+
+Tunings that could be called @var{scordatura} first appeared early in the 16th
+Century and became commonplace in the 17th.
+
@node score
@section score
ES: partitura,
I: partitura,
F: partition,
-D: Partitur (full score), Klavierauszug (vocal score)
+D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
S: partitur,
@node sextuplet
@section sextuplet
+ES: seisillo,
I: sestina,
F: sextolet,
D: Sextole,
@node sixteenth rest
@section sixteenth rest
-ES: silencia de semicorchea,
+ES: silencio de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
UK: semiquaver rest,
@node sixty-fourth rest
@section sixty-fourth rest
-ES: silencia de semifusa,
+ES: silencio de semifusa,
I: pausa di semibiscroma,
F: seizième de soupir,
UK: hemidemisemiquaver rest,
@node slur
@section slur
-ES: ligadura,
+ES: ligadura (de expresión),
I: legatura (di portamento or espressiva),
F: liaison, coulé,
D: Bogen, Legatobogen, Phrasierungsbogen,
@node solmization
@section solmization
+ES: solmisación,
I: solmisazione,
F: solmisation,
D: Solmisation,
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
+composer @q{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
@node staccato
@section staccato
-ES: staccato,
+ES: picado,
I: staccato,
F: staccato, piqué, détaché,
D: Staccato,
@node submediant
@section submediant
-ES: superdominante,
+ES: submediante,
I: sopratonica,
F: sous-médiante,
D: Submediante,
@node subtonic
@section subtonic
-ES: sensible,
+ES: subtónica,
I: sottotonica,
F: sous-tonique,
D: Subtonika,
The seventh @aref{scale degree}.
+@node sul G
+@section sul G
+
+ES: sobre la G,
+I: sul g,
+F: sur la G,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicates that the indicated passage (or note) should be played on the
+G string.
+
@node superdominant
@section superdominant
@node syncopation
@section syncopation
-ES: sincopado,
+ES: síncopa,
I: sincope,
F: syncope,
D: Synkope,
@node syntonic comma
@section syntonic comma
+ES: coma sintónica,
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.
@node system
@section system
+ES: sistema,
I: accollatura,
F: système,
D: Notensystem,
ES: indicación de tempo,
I: indicazione di tempo,
-F: indication de temps,
+F: indication de tempo,
D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
@node tenuto
@section tenuto
-ES: tenuto,
+ES: subrayado (tenuto),
I: tenuto,
F: tenue, tenuto,
D: gehalten, tenuo,
ES: bajo cifrado,
I: basso continuo, basso numerato,
-F: basse chiffrée,
+F: basse chiffrée, basse continue,
D: Generalbass, bezifferter Bass,
NL: basso continuo, becijferde bas
DK: generalbas,
< bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
>>
}
- \oldaddlyrics
+ <<
\context Staff = rh \relative c' {
\clef bass
\key es \major
es8 c d bes c as bes16 as g f | es4
- }
- \context Lyrics \lyrics {
- \override Lyrics .VerticalAlign #'threshold = #'(6 . 12)
- << { "" "6" "" "4" "" "6" "" "" "6" "4" }
- { "" "" "" "2" "" "" "" "" "" "2" } >>
- }
+ }
+ \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
+ >>
>>
@end lilypond
@node time signature
@section time signature
-ES: cifra indicadora de compás,
+ES: indicación de compás,
I: segni di tempo,
-F: chiffrage (chiffres indicateurs), signe de valeur,
+F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
D: Taktangabe, Angabe der Taktart,
NL: maatsoort,
DK: taktangivelse,
@node tone
@section tone
-ES: sonido,
+ES: tono,
I: suono,
F: ton,
D: Ton,
@node tonic
@section tonic
-ES: tonica,
+ES: tónica,
I: tonica,
F: tonique,
D: Tonika,
@node transposition
@section transposition
-ES: transposición,
+ES: transporte,
I: trasposizione,
F: transposition,
D: Transposition,
ES: clave de sol,
I: chiave di violino,
-F: clé de sol,
+F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
NL: viool sleutel,
DK:@w{ }diskantnøgle,
@node tremolo
@section tremolo
-ES: tremolo,
+ES: trémolo,
I: tremolo,
F: trémolo,
D: Tremolo,
\relative c' {
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
- \repeat "tremolo" 8 { e32_"b" g }
+ \repeat tremolo 8 { e32_"b" g }
}
@end lilypond
@node triple meter
@section triple meter
-ES: compás compuesto,
+ES: compás ternario,
I: tempo ternario,
F: mesure ternaire,
D: in drei,
@node tritone
@section tritone
-ES: trítono,
+ES: tritono,
I: tritono,
F: triton,
D: Tritonus,
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
-ES: grupo,
+ES: grupeto,
I: gruppetto,
F: grupetto,
D: Doppelschlag,
@node upbeat
@section upbeat
-ES: entrada anacrúsica,
+ES: anacrusa,
I: anacrusi,
F: anacrouse, levée,
D: Auftakt,
S: upptakt,
FI: kohotahti.
-Initial note(s) of a melody occurring before the first bar
-line. @aref{measure}, @aref{meter}.
-
-@lilypond[fragment,line-width=13.0\cm]
-\key f \major
-\time 4/4
-\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
-@end lilypond
+@aref{anacrusis}
@node voice
@section voice
@node whole tone
@section whole tone
-ES: tono,
+ES: tono (entero),
I: tono intero,
F: ton entier,
D: Ganzton,
@item
@tab @strong{UK}
@tab @strong{I}
- @tab @strong{F}
+ @tab @strong{F (note name / rest name)}
@item
@tab @strong{D}
@tab @strong{NL}
@tab @strong{FI}
@tab @strong{ES}
-@item
+@c extra @items make this table harder to read, so I removed them.
@item @strong{longa}
@tab longa
@tab longa
@tab longa
-@item
-
@item @strong{breve}
@tab breve
@tab breve
- @tab brève
+ @tab brève / double-pause
@item
@tab Brevis
@tab brevis
@item
@tab brevis
@tab brevis
- @tab breve
-
-@item
+ @tab cuadrada
@item @strong{whole}
@tab semi@-breve
@tab semi@-breve
- @tab ronde
+ @tab ronde / pause
@item
@tab Ganze
@tab hele
@tab koko@-nuotti/@w{-tauko}
@tab redonda
-@item
-
@item @strong{half}
@tab minim
@tab minima
- @tab blanche
+ @tab blanche / demi-pause
@item
@tab Halbe
@tab halve
@tab puoli@-nuotti/@w{-tauko}
@tab blanca
-@item
-
@item @strong{quarter}
@tab crotchet
@tab semiminima
- @tab noire
+ @tab noire / soupir
@item
@tab Viertel
@tab kwart
@tab neljännesosa@-nuotti/@w{-tauko}
@tab negra
-@item
-
@item @strong{eighth}
@tab quaver
@tab croma
- @tab croche
+ @tab croche / demi-soupir
@item
@tab Achtel
@tab achtste
@tab kahdeksasosa@-nuotti/@w{-tauko}
@tab corchea
-@item
-
@item @strong{sixteenth}
@tab semiquaver
@tab semicroma
- @tab double croche
+ @tab double croche / quart de soupir
@item
@tab Sechzehntel
@tab zestiende
@tab kuudestoistaosa@-nuotti/@w{-tauko}
@tab semicorchea
-@item
-
@item @strong{thirty-second}
@tab demisemiquaver
@tab biscroma
- @tab triple croche
+ @tab triple croche / huitième de soupir
@item
@tab Zweiunddreissigstel
@tab tweeendertigste
@tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
@tab fusa
-@item
-
@item @strong{sixty-fourth}
@tab hemidemisemiquaver
@tab semibiscroma
- @tab quadruple croche
+ @tab quadruple croche / seizième de soupir
@item
@tab Vierundsechzigstel
@tab vierenzestigste
@tab semifusa
@end multitable
-@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
@node Pitch names
@chapter 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
-@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}
+@c TODO -- figure out how to make _real_ table headers in TeXinfo
-@item
+@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
-
-@item @strong{c-sharp} @tab do diesis @tab do diesis @tab ut dièse @tab Cis @tab cis @tab
-cis @tab cis @tab cis
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
+@tab Cis @tab cis @tab cis @tab cis @tab cis
-@item
+@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-flat} @tab re bemolle @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
+@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{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
-
-@item
-
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
-
-@item
+@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
-
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
-
-@item
-
-@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{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
+@tab g
-@item
+@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
+@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{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab
-ais @tab ais @tab ais
-
-@item
-
-@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b
-@tab b @tab b
-
-@item
+@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
projects / lilypond.git / blobdiff