-\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
+@afourpaper
+
@c see lilypond.tely for info installation note
@dircategory LilyPond
@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}.
+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 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--2006 by the authors
+Copyright @copyright{} 1999--2007 by the authors
Permission is granted to copy, distribute and/or modify this document
Original author of LilyPond glossary, Danish glossary,
@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--2006 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
* 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
\set Score.automaticBars = ##f
<<
\context Staff \relative c'' {
+ \set Staff.extraNatural = ##f
gis1 gisis ges geses g!
}
\lyrics {
@node anacrusis
@section anacrusis
-@c TODO: add more languages for anacrusis
-F: anacrouse
+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.
+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: 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'' {
@node articulation
@section articulation
-@c TODO: add languages for 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: 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
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,
S: c,
FI: C, c.
+@aref{Pitch names}
+
@node C clef
@section C clef
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,
%\override TextScript #'font-style = #'large
<<
\context Staff \relative c'' {
+ \set Staff.extraNatural = ##f
<g b d>1
<g bes d>
<g bes des>
@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
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
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation @q{cresc.}.
+abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
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
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 @q{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 @q{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 @q{decresc.}.
+or the abbreviation @samp{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
@aref{decrescendo}.
+@node direct
+@section direct
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@aref{custos}.
+
@node disjunct movement
@section disjunct movement
S: punkt,
FI: piste.
+@c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
+
@aref{dotted note}.
@node dotted 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
@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,
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]
f1
}
\lyrics {
- "baritone "
+ "varbaritone "
"bass "
"sub-bass "
"octaved up "
>>
@end lilypond
+@aref{baritone clef}
+
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
@node fermata
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,
S: g,
FI: G, g.
+@aref{Pitch names}
+
@node G clef
@section G clef
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,
@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
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
@section 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,
ES: cabeza,
I: testa, testina, capocchia,
-F: t@^ete de la note,
+F: tête de la note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
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]
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 quintuplet
@section quintuplet
-ES: cinquillo,
+ES: cinquillo, quintillo.
I: quintina,
F: quintolet,
D: Quintole,
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
@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,
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
ES: indicación de tempo,
I: indicazione di tempo,
-F: indication de temps,
+F: indication de tempo,
D: Zeitmaß, Tempobezeichnung,
NL: tempo aanduiding,
DK: tempobetegelse,
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,
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,
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,
\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
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
@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 brevis
@tab cuadrada
-@item
-
@item @strong{whole}
@tab semi@-breve
@tab semi@-breve
@tab koko@-nuotti/@w{-tauko}
@tab redonda
-@item
-
@item @strong{half}
@tab minim
@tab minima
@tab puoli@-nuotti/@w{-tauko}
@tab blanca
-@item
-
@item @strong{quarter}
@tab crotchet
@tab semiminima
@tab neljännesosa@-nuotti/@w{-tauko}
@tab negra
-@item
-
@item @strong{eighth}
@tab quaver
@tab croma
@tab kahdeksasosa@-nuotti/@w{-tauko}
@tab corchea
-@item
-
@item @strong{sixteenth}
@tab semiquaver
@tab semicroma
@tab kuudestoistaosa@-nuotti/@w{-tauko}
@tab semicorchea
-@item
-
@item @strong{thirty-second}
@tab demisemiquaver
@tab biscroma
@tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
@tab fusa
-@item
-
@item @strong{sixty-fourth}
@tab hemidemisemiquaver
@tab semibiscroma
@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
+@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
-
@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 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
+@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} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
+@tab des @tab des @tab des @tab des
-@item
+@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
+@tab es @tab es @tab es @tab es
-@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
+@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
-
-@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{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 @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
projects / lilypond.git / blobdiff