X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;ds=sidebyside;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=49e40c5f1f5ebf50964bf64aec5be18f89cb645f;hb=70cdb3118765db18800ab76ea62b9c187e9acd52;hp=816d120de34a6e51a35a2b8a5721385637a89428;hpb=ef8ddd4b533bddf631a5e207eba4a68e7e251173;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 816d120de3..49e40c5f1f 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -36,10 +36,10 @@ and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page @author Jan Nieuwenhuizen @c Dutch glossary @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07 +@c Updates to the German translation by Till Rettig, 12/07 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, @@ -48,7 +48,7 @@ Copyright @copyright{} 1999--2007 by the authors @end titlepage -@c FIXME: multiple omfcreators? +@c TODO: multiple omfcreators? @ignore @omfcreator Christian Mondrup @omfdescription Glossary of musical terms with translations @@ -94,7 +94,6 @@ English glossary translations. @* 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, @@ -144,16 +143,18 @@ Languages in this order. @menu * A:: +* a due:: * accent:: * accessory:: * accidental:: * accelerando:: +* acciaccatura:: * adagio:: * allegro:: * alteration:: * alto:: * alto clef:: -* ambit:: +* ambitus:: * anacrusis:: * ancient minor scale:: * andante:: @@ -175,6 +176,7 @@ Languages in this order. * beat:: * bind:: * brace:: +* bracket:: * brass:: * breath mark:: * breve:: @@ -193,8 +195,12 @@ Languages in this order. * cluster:: * comma:: * common meter:: -* compound interval:: +* common time:: * complement:: +* compound interval:: +* compound meter:: +* compound time:: +* concert pitch:: * conjunct movement:: * consonance:: * contralto:: @@ -227,6 +233,7 @@ Languages in this order. * double dotted note:: * double flat:: * double sharp:: +* double time signature:: * double trill:: * duple meter:: * duplet:: @@ -256,6 +263,9 @@ Languages in this order. * forefall:: * forte:: * fourth:: +* Frenched score:: +* Frenched staff:: +* Frenched staves:: * fugue:: * functional harmony:: * G:: @@ -270,12 +280,14 @@ Languages in this order. * half rest:: * harmonic cadence:: * harmony:: +* hemiola:: * homophony:: * interval:: * inverted interval:: * just intonation:: * key:: * key signature:: +* laissez vibrer:: * largo:: * leading note:: * ledger line:: @@ -297,9 +309,11 @@ Languages in this order. * melisma:: * melisma line:: * melodic cadence:: +* mensural notation:: * meter:: * metronome:: * metronomic indication:: +* metronome mark:: * mezzo-soprano:: * middle C:: * minor:: @@ -312,17 +326,19 @@ Languages in this order. * movement:: * multi-measure rest:: * mixolydian mode:: -* natural sign:: +* natural:: * neighbour tones:: * ninth:: * non-legato:: * note:: * note head:: +* note names:: * note value:: * octave sign:: * octave:: * ornament:: * ossia:: +* ottava:: * part:: * pause:: * pennant:: @@ -334,9 +350,13 @@ Languages in this order. * piano:: * pitch:: * pizzicato:: +* polymeter:: +* polymetric:: +* polymetric time signature:: * polyphony:: * portato:: * presto:: +* proportion:: * Pythagorean comma:: * quadruplet:: * quarter note:: @@ -360,7 +380,7 @@ Languages in this order. * sextuplet:: * shake:: * sharp:: -* short appoggiatura:: +* simple meter:: * sixteenth note:: * sixteenth rest:: * sixth:: @@ -402,6 +422,7 @@ Languages in this order. * time signature:: * tone:: * tonic:: +* transposing instrument:: * transposition:: * treble clef:: * tremolo:: @@ -411,6 +432,7 @@ Languages in this order. * triplet:: * tritone:: * tuning fork:: +* tuplet:: * turn:: * unison:: * upbeat:: @@ -440,6 +462,37 @@ FI: A, a. @ref{Pitch names} +@node a due +@section a due + +ES: ?, +I: a due, +F: à deux, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Abbreviated @samp{a2} or @samp{a 2}. + +@enumerate + +@item An indication in orchestral scores that a single part notated on a single +staff that normally carries parts for two players (e.g. first and second oboes) +is to be played by both players. + +@item Or conversely, that two pitches or parts notated on a staff that normally +carries a single part (e.g. first violin) are to be played by different players, +or groups of players (@q{desks}). + +@end enumerate + +@seealso + +@ref{Pitch names} + + @node accent @section accent @@ -469,17 +522,17 @@ The stress of one tone over others. ES: alteración accidental, I: accidento, F: altération accidentelle, -D: Vorzeichen, Versetzungszeichen, Akzidenz, +D: Versetzungszeichen, Akzidenz, NL: toevallig (verplaatsings)teken, DK: løst fortegn, S: tillfälligt förtecken, FI: tilapäinen etumerkki. An accidental has the effect of an @ref{alteration} of a note. A -sharp raises a tone by a @ref{semitone}, a double sharp raises it by -a @ref{whole tone}, a flat lowers it by a semitone and a double flat +sharp raises a tone by a @ref{semitone}, a double sharp raises it by a +@ref{whole tone}, a flat lowers it by a semitone and a double flat lowers it by a whole tone. A natural cancels the effect of a previous -accidental. +accidental, or a sharp or flat in the key signature. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -511,6 +564,19 @@ FI: accelerando, kiihdyttäen. Increase tempo. +@node acciaccatura +@section acciaccatura + +A grace note which takes its time from the rest or note preceding the +principal note to which it is attached. The acciaccatura is drawn as a +small eighth note (quaver) with a line drawn through the flag and +stem. + +@seealso + +@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. + + @node adagio @section adagio @@ -524,10 +590,16 @@ S: adagio, FI: adagio, hitaasti. It.@: comfortable, easy. -1.@tie{}Slow tempo, slower -- especially in even meter -- than + +@itemize + +@item Slow tempo, slower -- especially in even meter -- than @ref{andante} and faster than @ref{largo}. -2.@tie{}A movement in slow tempo, especially the second (slow) movement of -@ref{sonata}s, symphonies, etc. + +@item A movement in slow tempo, especially the second (slow) movement +of @ref{sonata}s, symphonies, etc. + +@end itemize @node allegro @@ -550,13 +622,13 @@ tempo, especially the first and last movements of a @ref{sonata}. @section alteration ES: alteración, -I: alterazione -F: altération -D: +I: alterazione, +F: altération, +D: Alteration, NL: verhoging of verlaging, -DK: -S: -FI: +DK: ?, +S: ?, +FI: ?. An alteration is the modification, raising or lowering, of a note's pitch. It is established by an @ref{accidental}. @@ -574,10 +646,10 @@ DK: alt, S: alt, FI: altto, matala naisääni. -A female voice of low range (@emph{contralto}). Originally the alto was a -high male voice (hence the name), which by the use of falsetto reached the -height of the female voice. This type of voice is also known as -@ref{counter tenor}. +A female voice of low range (@emph{contralto}). Originally the alto +was a high male voice (hence the name), which by the use of falsetto +reached the height of the female voice. This type of voice is also +known as @ref{counter tenor}. @node alto clef @@ -599,19 +671,19 @@ C clef setting middle C on the middle line of the staff. @ref{C clef}. -@node ambit -@section ambit +@node ambitus +@section ambitus ES: ámbito, I: ambitus, F: ambitus, -D: ambitus, +D: Ambitus, NL: ambitus, DK: ambitus, S: ambitus, FI: ambitus, ääniala, soitinala. -The term ambit (from latin: ambitus, plural: ambitus) denotes a range +The term ambit (from Latin: ambitus, plural: ambitus) denotes a range of pitches for a given voice in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. @@ -629,8 +701,8 @@ 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. +of music before a section of music. It also refers to the initial +note(s) of a melody occurring in that incomplete measure. @seealso @@ -650,8 +722,8 @@ of a melody occurring in that incomplete measure. ES: escala menor antigua, I: scala minore naturale, -F: forme du mode mineur ancien, troisème mode, mode hellénique -D: reines Moll, +F: forme du mode mineur ancien, troisème mode, mode hellénique, +D: reines Moll, natürliches Moll, NL: authentieke mineurtoonladder, DK: ren mol, S: ren mollskala, @@ -689,18 +761,18 @@ Walking tempo/character. ES: apoyatura, I: appoggiatura, F: appoggiature, (port de voix), -D: Vorschlag, +D: Vorschlag, Vorhalt NL: voorslag, DK: forslag, S: förslag, FI: appoggiatura, etuhele. -Ornamental note, usually a second, that is melodically connected with the -main note following it. In music before the 19th century appoggiature were -usually performed on the beat, after that mostly before the beat. While the -short appoggiatura is performed as a short note regardless of the duration of -the main note the duration of the long appoggiatura is proportional to that of -the main note. +Ornamental note, usually a second, that is melodically connected with +the main note following it. In music before the 19th century +appoggiature were usually performed on the beat, after that mostly +before the beat. While the short appoggiatura is performed as a short +note regardless of the duration of the main note the duration of the +long appoggiatura is proportional to that of the main note. @lilypond[line-width=13.0\cm] \context Voice \relative c'' { @@ -787,11 +859,11 @@ D: Artikulation, NL: articulatie, DK: ?, S: ?, -FI: ?. +FI: artikulaatio, ilmaisu. -Articulation refers to notation which indicates how a note or notes should -be played. Slurs, accents, staccato, and legato are all examples of -articulartion. +Articulation refers to notation which indicates how a note or notes +should be played. Slurs, accents, staccato, and legato are all +examples of articulation. @node ascending interval @@ -838,11 +910,15 @@ DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti. -1.@tie{}A manuscript in the composer's own hand. -2.@tie{}Music prepared for photoreproduction by freehand drawing, -with the aid of a straightedge ruler and T-square only, -which attempts to emulate engraving. -This required more skill than did engraving. +@itemize + +@item A manuscript in the composer's own hand. + +@item Music prepared for photoreproduction by freehand drawing, with +the aid of a straightedge ruler and T-square only, which attempts to +emulate engraving. This required more skill than did engraving. + +@end itemize @node B @@ -959,9 +1035,14 @@ DK: bas, S: bas, FI: basso, matala miesääni. -1.@tie{}The lowest male voice. -2.@tie{}Sometimes, especially in jazz music, used as -an abbreviation for double bass. +@itemize + +@item The lowest male voice. + +@item Sometimes, especially in jazz music, used as an abbreviation for +double bass. + +@end itemize @seealso @@ -980,8 +1061,8 @@ DK: bjælke, S: balk, FI: palkki. -Line connecting a series of notes (shorter than a quarter note). -The number of beams determines the note value of the connected notes. +Line connecting a series of notes (shorter than a quarter note). The +number of beams determines the note value of the connected notes. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1010,9 +1091,9 @@ DK: (takt)slag, S: taktslag, FI: aika-arvo. -Note value used for counting, most often half-, fourth-, and eighth notes. -The base counting value and the number of them per measure is indicated at -the start of the music. +Note value used for counting, most often half-, fourth-, and eighth +notes. The base counting value and the number of them per measure is +indicated at the start of the music. @lilypond[fragment,line-width=13.0\cm] \key g \major @@ -1043,9 +1124,11 @@ DK: klamme, S: klammer, FI: yhdistävä sulkumerkki. -Symbol at the start of a system connecting staves. Curly braces are used -for connecting piano staves, angular brackets for connecting parts in an -orchestral or choral score. +Symbol at the start of a system connecting staves. + +Curly braces are used for connecting piano staves, and sometimes for connecting +the staves of like instruments in an orchestral score when written on different +staves (e.g. first and second flutes): @lilypond[fragment,ragged-right] \context GrandStaff << @@ -1053,6 +1136,8 @@ orchestral or choral score. \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond +Angular brackets for connecting parts in an orchestral or choral score: + @lilypond[fragment,ragged-right] \context StaffGroup << % \set StaffGroup.minVerticalAlign = #12 @@ -1061,6 +1146,23 @@ orchestral or choral score. @end lilypond +@node bracket +@section bracket + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{brace} + + @node brass @section brass @@ -1073,9 +1175,9 @@ DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin. -A family of blown musical instruments made of brass, all using a cup formed -mouth piece. The brass instruments commonly used in a symphony orchestra are -trumpet, trombone, french horn, and tube. +A family of blown musical instruments made of brass, all using a cup +formed mouth piece. The brass instruments commonly used in a symphony +orchestra are trumpet, trombone, french horn, and tube. @node breath mark @@ -1104,8 +1206,10 @@ DK: brevis, S: brevis, FI: brevis. -@ref{note value}, twice as long as a whole note. Mainly used -in pre-1650 music. +@ref{note value}, twice as long as a whole note. Mainly used in +pre-1650 music. The shortest note value generally used in white +mensural notation, hence the name, which originally meant "of short +duration". @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -1194,10 +1298,10 @@ S: kadens, FI: kadenssi, lopuke. An extended, improvisatory style section inserted near the end of -movement. The purpose of a cadenza is to give singers or players a chance -to exhibit their technical skill and -- not last -- their ability to -improvise. Since the middle of the 19th century, however, most cadences have -been written down by the composer. +movement. The purpose of a cadenza is to give singers or players a +chance to exhibit their technical skill and -- not last -- their +ability to improvise. Since the middle of the 19th century, however, +most cadenzas have been written down by the composer. @node canon @@ -1230,8 +1334,8 @@ S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. -Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100 -of an equally tempered @ref{semitone}). +Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave +(1/100 of an equally tempered @ref{semitone}). @seealso @@ -1258,16 +1362,14 @@ DK: akkord, S: ackord, FI: sointu. -Three or more tones sounding simultaneously. In traditional European music -the -base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major -+ -minor @ref{third}) as well as @emph{minor} (minor + major third) -chords may be extended with more thirds. Four-tone @emph{seventh chords} -and five-tone @emph{ninth} major chords are most often used as dominants -(@ref{functional harmony}). A special case is chords having no -third above the lower notes to define their quality as major or minor. Such -chords are denoted open chords +Three or more tones sounding simultaneously. In traditional European +music the base chord is a @emph{triad} consisting of 2@w{ }thirds. +@emph{Major} (major + minor @ref{third}) as well as @emph{minor} +(minor + major third) chords may be extended with more thirds. +Four-tone @emph{seventh chords} and five-tone @emph{ninth} major +chords are most often used as dominants (@ref{functional harmony}). A +special case is chords having no third above the lower notes to define +their quality as major or minor. Such chords are denoted open chords @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1376,8 +1478,8 @@ pitches. The three clef symbols in common use are: @end lilypond Imagine a large staff of 11 lines centered on middle C, sometimes -called a @q{grand staff}, with the bottom line representing low G -and the top line high F: +called a @q{grand staff}, with the bottom line representing low G and +the top line high F: @lilypond[ragged-right,quote] \score { @@ -1447,10 +1549,10 @@ and the top line high F: } % End score @end lilypond -Staves of five lines are usually used, and the clef superimposed on them -indicates which five lines have been selected from this @samp{grand staff}. -For example, the treble or G clef indicates that the top five -lines have been selected: +Staves of five lines are usually used, and the clef superimposed on +them indicates which five lines have been selected from this +@samp{grand staff}. For example, the treble or G clef indicates that +the top five lines have been selected: @lilypond[ragged-right,quote] \score { @@ -1531,12 +1633,14 @@ lines have been selected: } % End score @end lilypond -The @q{curl} of the G clef in centered on the line that represents the pitch G. +The @q{curl} of the G clef in centered on the line that represents the +pitch G. -In the same way, the bass or F clef indicates that the bottom five lines -have been selected from the @samp{grand staff}, and the alto or C clef -indicates the middle five lines have been selected. This relationship is -shown below, where the notes show an arpeggio on a C major chord. +In the same way, the bass or F clef indicates that the bottom five +lines have been selected from the @samp{grand staff}, and the alto or +C clef indicates the middle five lines have been selected. This +relationship is shown below, where the notes show an arpeggio on a C +major chord. @lilypond[ragged-right,quote] \score { @@ -1614,11 +1718,17 @@ shown below, where the notes show an arpeggio on a C major chord. @end lilypond - @node cluster @section cluster -ES: racimo. +ES: racimo, +I: ?, +F: ?, +D: Cluster, +NL: ?, +DK: ?, +S: ?, +FI: klusteri, cluster. A @emph{cluster} is a range of simultaneously sounding pitches that may change over time. The set of available pitches to apply usually @@ -1659,8 +1769,8 @@ DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa. -Difference in pitch between a note derived from pure tuning and the same note -derived from some other tuning method. +Difference in pitch between a note derived from pure tuning and the +same note derived from some other tuning method. @seealso @@ -1670,11 +1780,41 @@ derived from some other tuning method. @node common meter @section common meter +@ref{common time} + @seealso @ref{meter}. +@node common time +@section common time + +4/4 time. The symbol, which resembles a capital letter C derives from +mensural notation (q.v.). + +@seealso + +@ref{meter}. + + +@node complement +@section complement + +ES: intervalo invertido, +I: rivolto, +F: intervalle complémentaire, +D: Komplementärintervall, +NL: complementair interval, +DK: komplementærinterval, +S: komplementärintervall (?), +FI: täydentävä intervalli. + +@seealso + +@ref{inverted interval}. + + @node compound interval @section compound interval @@ -1694,21 +1834,58 @@ Intervals larger than an octave. @ref{interval}. -@node complement -@section complement +@node compound meter +@section compound meter -ES: intervalo invertido, -I: rivolto, -F: intervalle complémentaire, -D: Komplementärintervall, -NL: complementair interval, -DK: komplementærinterval, -S: komplementärintervall (?), -FI: täydentävä intervalli. +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A meter that includes a triplet subdivision within the beat, such as +6/8, 9/8, 12/8. @seealso -@ref{inverted interval}. +@ref{meter}, @ref{simple meter}. + + +@node compound time +@section compound time + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@ref{compound meter} + +@seealso + +@ref{meter}. + + +@node concert pitch +@section concert pitch + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +FIXME: this is a placeholder @node conjunct movement @@ -1778,14 +1955,14 @@ DK: kontrapunkt, S: kontrapunkt, FI: kontrapunkti, ääni ääntä vastaan. -From latin @emph{punctus contra punctum}, note against note. The combination -into a single musical fabric of lines or parts which have distinct melodic -significance. A frequently used polyphonic technique is imitation, in its -strictest form found in the canon needing only one part to be written down -while the other parts are performed with a given displacement. Imitation is -also the contrapunctal technique used in the @emph{fugue} which, since the -music of the baroque era, has been one of the most popular polyphonic -composition methods. +From Latin @emph{punctus contra punctum}, note against note. The +combination into a single musical fabric of lines or parts which have +distinct melodic significance. A frequently used polyphonic technique +is imitation, in its strictest form found in the canon needing only +one part to be written down while the other parts are performed with a +given displacement. Imitation is also the contrapunctal technique +used in the @emph{fugue} which, since the music of the baroque era, +has been one of the most popular polyphonic composition methods. @lilypond[fragment,staffsize=12,line-width=13.0\cm] \set Score.implicitTimeSignatureVisibility = #all-invisible @@ -1845,11 +2022,11 @@ FI: kontratenori. @node copying music @section copying music -A music copyist did fast freehand scores and parts on preprinted staff lines -for performance. Some of their conventions (e.g., the placement of note heads -on stems) varied slightly from those of engravers. Some of their working -methods were superior and could well be adopted by music typesetters. This -required more skill than engraving. +A music copyist did fast freehand scores and parts on preprinted staff +lines for performance. Some of their conventions (e.g., the placement +of note heads on stems) varied slightly from those of engravers. Some +of their working methods were superior and could well be adopted by +music typesetters. Copying music required more skill than engraving. @node crescendo @@ -1864,8 +2041,8 @@ DK: crescendo, S: crescendo, FI: cresendo, voimistuen. -Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation @samp{cresc.}. +Increasing volume. Indicated by a rightwards opening horizontal wedge +or the abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -1885,26 +2062,32 @@ DK: stiknoder, S: inprickningar, FI: vihjenuotit. -In a separate part notes belonging to another part with the purpose of hinting -when to start playing. Usually printed in a smaller type. +In a separate part notes belonging to another part with the purpose of +hinting when to start playing. Usually printed in a smaller type. @node custos @section custos +ES: ?, +I: ?, F: guidon, -D: Notenzeiger. +D: Notenzeiger, Custos, +NL: ?, +DK: ?, +S: ?, +FI: ?. -A custos is a staff symbol that appears at the end of a staff line -with monophonic musical contents (i.e., with a single voice). It -anticipates the pitch of the first note of the following line and thus -helps the player or singer to manage line breaks during performance, -thus enhancing readability of a score. +A custos (plural: custodes) is a staff symbol that appears at the end +of a staff line with monophonic musical contents (i.e., with a single +voice). It anticipates the pitch of the first note of the following +line and thus helps the player or singer to manage line breaks during +performance, thus enhancing readability of a score. Custodes were frequently used in music notation until the 16th century. There were different appearences for different notation styles. Nowadays, they have survived only in special forms of musical -notation such as via the editio vaticana dating back to the beginning +notation such as via the Editio Vaticana dating back to the beginning of the 20th century @lilypond @@ -1957,8 +2140,9 @@ DK: da capo, S: da capo, FI: da capo, alusta. -The term indicates repetition of the piece from the beginning to the end or -to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}. +The term indicates repetition of the piece from the beginning to the +end or to a certain place marked @emph{fine}. Usually abbreviated as +@samp{D.C.}. @node dal segno @@ -2039,11 +2223,11 @@ DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko. -A scale consisting of 5@w{ }@ref{whole tone}s and -2@w{ }@ref{semitone}s (S). Scales played on the white keys -of a piano keybord are diatonic. +A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ +}@ref{semitone}s (S). Scales played on the white keys of a piano +keybord are diatonic. -The church modes are used in gregorial chant and in pre-baroque early +The church modes are used in gregorian chant and in pre-baroque early music but also to some extent in newer jazz music. @lilypond[fragment,notime,ragged-right] @@ -2133,9 +2317,9 @@ music but also to some extent in newer jazz music. @end lilypond From the beginning of the 17th century the scales used in European -compositional music are primarily the major and the minor scales. In the -harmonic minor scale type an augmented second (A) occurs between the 6th and -7th tone. +compositional music are primarily the major and the minor scales. In +the harmonic minor scale type an augmented second (A) occurs between +the 6th and 7th tone. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -2220,7 +2404,7 @@ FI: vähennetty intervalli. ES: diminuendo, I: diminuendo, F: diminuendo, -D: Diminuendo, +D: diminuendo, NL: diminuendo, DK: diminuendo, S: diminuendo, @@ -2237,7 +2421,7 @@ FI: diminuendo, hiljentyen. ES: ?, I: ?, F: ?, -D: ?, +D: Weiser, Zeiger, NL: ?, DK: ?, S: ?, @@ -2260,8 +2444,8 @@ DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. -Progressing melodically by intervals larger than a major second. -Opposite of @ref{conjunct movement}. +Progressing melodically by intervals larger than a major second, as +opposed to @ref{conjunct movement}. @lilypond[fragment,ragged-right] \key a \major @@ -2286,7 +2470,7 @@ ES: intervalo disonante, disonancia, I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, -NL: dissonant interval; dissonant, +NL: dissonant interval, dissonant, DK: dissonerende interval, dissonans, S: dissonans, FI: dissonanssi, dissonoiva intervalli, riitasointi. @@ -2374,11 +2558,9 @@ DK: punkt, S: punkt, FI: piste. -@c TODO: fix double redirect -- to "dotted note", and thence to "note value"? - @seealso -@ref{dotted note}. +@ref{dotted note}, @ref{note value}. @node dotted note @@ -2481,6 +2663,23 @@ FI: kaksoisylennysmerkki. @ref{accidental}. +@node double time signature +@section double time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{polymetric time signature}. + + @node double trill @section double trill @@ -2502,7 +2701,7 @@ A simultaneous trill on two notes, usually in the distance of a third. ES: tiempo binario, I: tempo binario, F: temps binaire, -D: in zwei, +D: in zwei, grader Takt, NL: tweedelige maatsoort, DK: todelt takt, S: tvåtakt, @@ -2560,20 +2759,21 @@ FI: kesto, aika-arvo. ES: ?, I: ?, -F: ?, -D: ?, +F: nuances, +D: Dynamik, Lautstärke, NL: ?, DK: ?, S: ?, FI: ?. -The aspect of music relating to degrees of loudness, or changes from one -degree to another. The terms, abbreviations, and symbols used to indicate -this information are called dynamic marks. +The aspect of music relating to degrees of loudness, or changes from +one degree to another. The terms, abbreviations, and symbols used to +indicate this information are called dynamic marks. @seealso -@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}. +@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, +@ref{diminuendo}. @node E @@ -2640,7 +2840,18 @@ FI: kahdeksasosatauko. @node elision @section elision -FIXME: languages, definition +@c TODO: add languages + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO definition -- referenced from lyric tie @node embellishment @@ -2657,15 +2868,15 @@ FIXME: languages, definition ES: grabar, I: incisione, F: gravure, -D: Notenstechen, Notendruck +D: Notenstich, Notendruck NL: steken, DK: nodestik, S: nottryck, FI: painatus. -Engraving means incising or etching a metal plate for -printing. Photoengraving means drawing music with ink in a manner -similar to drafting or engineering drawing, using similar tools. +Engraving means incising or etching a metal plate for printing. +Photoengraving means drawing music with ink in a manner similar to +drafting or engineering drawing, using similar tools. The traditional process of music printing is done through cutting in a plate of metal. Now also the term for the art of music typesetting. @@ -2683,8 +2894,8 @@ DK: enharmonisk, S: enharmonisk, FI: enharmoninen. -Two notes, intervals, or scales are enharmonic if they have different names -but equal pitch. +Two notes, intervals, or scales are enharmonic if they have different +names but equal pitch. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2732,36 +2943,40 @@ DK: foredragsbetegnelse, S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki. -Performance indications concerning 1. volume, dynamics (for example -@ref{forte}, @ref{crescendo}), 2. tempo (for example -@ref{andante}, @ref{allegro}). +Performance indications concerning: + +@itemize + +@item volume, dynamics (for example @ref{forte}, @ref{crescendo}), + +@item tempo (for example @ref{andante}, @ref{allegro}). + +@end itemize @node extender line @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: ?, +D: Fülllinie, NL: ?, DK: ?, S: ?, -FI: . +FI: ?. -The generic term for a line (or dash) of arbitrary length that -extends text (without indicating the musical @emph{function} of -that text). +The generic term for a line (or dash) of arbitrary length that extends +text (without indicating the musical @emph{function} of that text). Used in many contexts, for example: @itemize -@item -In vocal music to indicate the syllable for a melisma. Called @q{extension} -in the -@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}. + +@item In vocal music to indicate the syllable for a melisma. Called +@q{extension} in the +@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music +Dictionary}. @item In figured (or thorough) bass to indicate that: @@ -2781,11 +2996,11 @@ In figured (or thorough) bass to indicate that: @end itemize @item -In string music to indicate that all notes in the passage thus indicated -should be played on the same string. On the violin, for example, a series -of notes to be played on the G string would be indicated @samp{sul G}, -another series to be played on the D string would be indicated @samp{sul D}, -and so on. +In string music to indicate that all notes in the passage thus +indicated should be played on the same string. On the violin, for +example, a series of notes to be played on the G string would be +indicated @samp{sul G}, another series to be played on the D string +would be indicated @samp{sul D}, and so on. @end itemize @@ -2823,12 +3038,12 @@ DK: F-nøgle, S: f-klav, FI: F-avain. -The position between the dots of the key symbol is the line of the F below -central@w{ }C. Used on the third, fourth and fifth note line. A -digit@w{ }8 above the clef symbol indicates that the notes must be played -an octave higher (for example, bass recorder) while 8@w{ }below the clef -symbol indicates playing an octave lower (for example, on double bass -@ref{strings}). +The position between the dots of the key symbol is the line of the F +below central@w{ }C. Used on the third, fourth and fifth note line. +A digit@w{ }8 above the clef symbol indicates that the notes must be +played an octave higher (for example, bass recorder) while 8@w{ }below +the clef symbol indicates playing an octave lower (for example, on +double bass @ref{strings}). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2868,8 +3083,8 @@ symbol indicates playing an octave lower (for example, on double bass ES: ?, I: ?, -F: ?, -D: ?, +F: liens de croches en soufflet, +D: gespreizter Balken, NL: ?, DK: ?, S: ?, @@ -2981,7 +3196,7 @@ less than a quarter note. The number of flags determines the ES: bemol, I: bemolle, F: bémol, -D: B, b, +D: B, NL: mol, DK: b, S: beförtecken, @@ -3033,6 +3248,68 @@ FI: kvartti. @ref{interval}. +@node Frenched score +@section Frenched score + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A @q{condensed} score, produced by omitting staves for instruments that are not +playing at the moment, and by moving up additional systems from following pages +to take up the space thus liberated, which reduces the total number of pages +used to print the work. + +The specific rules for @q{frenching} a score differ from publisher to publisher. +If you are producing scores for eventual publication by a commercial publisher, +you may wish to procure a copy of their style manual. + +@seealso + +@ref{Frenched staff}. + + +@node Frenched staff +@section Frenched staff + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded +measures or sections removed. This would be useful for producing, for example, +an @emph{ossia} staff. + +@seealso + +@ref{ossia}. + + +@node Frenched staves +@section Frenched staves + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The plural of @ref{Frenched staff}, @emph{q.v.}. + + @node fugue @section fugue @@ -3062,11 +3339,11 @@ DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä. -A system of harmonic analysis. It is based on the idea that, in a given key, -there are only three functionally different chords: tonic (T, the chord on the -first note of the scale), subdominant (S, the chord on the fourth note), and -dominant (D, the chord on the fifth note). Others are considered to be -variants of the base chords. +A system of harmonic analysis. It is based on the idea that, in a +given key, there are only three functionally different chords: tonic +(T, the chord on the first note of the scale), subdominant (S, the +chord on the fourth note), and dominant (D, the chord on the fifth +note). Others are considered to be variants of the base chords. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3109,11 +3386,11 @@ DK: g-nøgle, S: g-klav, FI: G-avain. -A clef symbol indicating the G above central@w{ }C. Used on the first +A clef symbol indicating the G above middle@w{ }C. Used on the first and second note lines. A digit 8 above the clef symbol indicates that -the notes must be played an octave higher while 8 below the clef symbol -indicates playing or singing an octave lower (most tenor parts in choral -scores are notated like that). +the notes must be played an octave higher while 8 below the clef +symbol indicates playing or singing an octave lower (most tenor parts +in choral scores are notated like that). @lilypond[fragment,notime,ragged-right] << @@ -3172,7 +3449,10 @@ FI: korunuotit. Notes printed in small types to indicate that their time values are not counted in the rhythm of the bar. -@ref{appoggiatura}. +@seealso + +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. @node grand staff @@ -3181,7 +3461,7 @@ counted in the rhythm of the bar. ES: sistema de piano, I: accolatura, F: accolade, -D: Akkolade, +D: Akkolade, Klaviersystem, NL: piano systeem, DK: klaversystem, S: ackolad, böjd klammer, @@ -3200,7 +3480,7 @@ A combination of two staves with a brace. Usually used for piano music. ES: grave, I: grave, F: grave, -D: grave, langsam, +D: Grave, Langsam, NL: grave, ernstig, DK: grave, S: grave, @@ -3229,8 +3509,9 @@ 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}. +Letter name used for @samp{B natural} in German and Scandinavian +usage. In the standard usage of these countries, @samp{B} means +@samp{B flat}. @seealso @@ -3285,8 +3566,7 @@ DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi. -A sequence of chords that terminates a musical phrase or -section. +A sequence of chords that terminates a musical phrase or section. @ref{functional harmony}. @@ -3326,8 +3606,8 @@ DK: samklang, S: samklang, FI: harmonia, yhteissointi. -Tones sounding simultaneously. Two note harmonies fall into the categories -@emph{consonances} and @emph{dissonances}. +Tones sounding simultaneously. Two note harmonies fall into the +categories @emph{consonances} and @emph{dissonances}. Consonances: @@ -3360,6 +3640,34 @@ Dissonances: Three note harmony @ref{chord}. +@node hemiola +@section hemiola + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to +the use of three notes of equal value in the time normally occupied by +of two notes of equal value. The resulting rhythm can be expressed in +modern terms as a substitution (for example) of a bar in 3/2 for one +of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era, +hemiola is most frequently as a special effect (or @emph{affect}) at +cadences. + +@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or +@c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 } + +@seealso + +@ref{mensural notation}, @ref{meter} + + @node homophony @section homophony @@ -3372,8 +3680,9 @@ DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys. -Music in which one voice leads melodically followed by the other voices more -or less in the same rhythm. In contrast to @ref{polyphony}. +Music in which one voice leads melodically followed by the other +voices more or less in the same rhythm. In contrast to +@ref{polyphony}. @node interval @@ -3388,11 +3697,11 @@ DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero. -Difference in pitch between two notes. Intervals may be perfect, minor, -major, diminished, or augmented. The augmented fourth and the diminished fifth -are identical (@ref{enharmonic}) and are called @emph{tritonus} because they -consist of three @ref{whole tone}s. The addition of such two intervals forms an -octave. +Difference in pitch between two notes. Intervals may be perfect, +minor, major, diminished, or augmented. The augmented fourth and the +diminished fifth are identical (@ref{enharmonic}) and are called +@emph{tritonus} because they consist of three @ref{whole tone}s. The +addition of such two intervals forms an octave. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3536,8 +3845,24 @@ key of the music. @ref{accidental}. -@node largo -@section largo +@node laissez vibrer +@section laissez vibrer + +ES: ?, +I: ?, +F: laissez vibrer, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From French] "Let vibrate". Most frequently associated with harp +parts. Marked @samp{l.v.} in the score. + + +@node largo +@section largo ES: largo, I: largo, @@ -3564,9 +3889,9 @@ DK: ledetone, S: ledton, FI: johtosävel. -The seventh @ref{scale degree}, a @ref{semitone} below -the tonic; so called because of its strong tendency to @q{lead up} (resolve -upwards) to the tonic scale degree. +The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so +called because of its strong tendency to @q{lead up} (resolve upwards) +to the tonic scale degree. @node ledger line @@ -3595,15 +3920,15 @@ A ledger line is an extension of the staff. ES: legato, I: legato, F: legato, lié, -D: legato, +D: legato, gebunden, NL: legato, DK: legato, S: legato, FI: legato, sitoen. -To be performed (a) without any perceptible interruption between the notes, -unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and -(d) @ref{staccato}. +To be performed (a) without any perceptible interruption between the +notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) +@emph{portato}, and (d) @ref{staccato}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3659,7 +3984,14 @@ A pond with lilies floating in it, also the name of a music typesetter. @node ligature @section ligature -ES: ligadura +ES: ligadura, +I: ?, +F: ligature, +DE: Ligatur, +NL: ?, +DK: ?, +S: ?, +FI: ligatuura. A ligature is a coherent graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of @@ -3694,7 +4026,7 @@ FI: viiva, nuottiviiva. ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, -D: langer Vorschlag, +D: Vorhalt, NL: Lange voorslag, DK: langt forslag, S: långt förslag, @@ -3736,19 +4068,28 @@ Note value: double length of @ref{breve}. @section lyrics ES: letra (de la canción), -I: ., +I: ?, F: paroles, -D: Liedtext, +D: Liedtext, Gesangtext, NL: liedtekst, -DK: ., -S: ., -FI, sanoitus. +DK: ?, +S: ?, +FI: sanoitus. @node lyric tie @section lyric tie -FIXME: add languages +ES: ?, +I: ?, +F: ?, +D: Textbindung, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add languages @seealso @@ -3801,10 +4142,11 @@ DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys. -Temperament yielding acoustically pure thirds by decreasing the natural fifth -by 16@w{ }@ref{cent}s. Due to the non-circular character of this -@ref{temperament} only a limited set of keys are playable. -Used for tuning keyboard instruments for performance of pre-1650 music. +Temperament yielding acoustically pure thirds by decreasing the +natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular +character of this @ref{temperament} only a limited set of keys are +playable. Used for tuning keyboard instruments for performance of +pre-1650 music. @node measure @@ -3820,9 +4162,9 @@ S: takt, FI: tahti. A group of @ref{beat}s (units of musical time) the first of which -bears an accent. Such groups in numbers of two or more recur consistently -throughout the composition and are marked from each other by -bar-lines. +bears an accent. Such groups in numbers of two or more recur +consistently throughout the composition and are marked from each other +by bar-lines. @ref{meter}. @@ -3839,13 +4181,18 @@ DK: mediant, S: mediant, FI: keskisävel. -1.@tie{}The third @b{scale degree}. -2.@tie{}A @ref{chord} having its base tone -a third from that of another chord. For example, the tonic chord may be -replaced by its lower mediant (variant tonic). +@itemize + +@item The third @b{scale degree}. -@ref{functional -harmony}, @ref{relative key}. +@item A @ref{chord} having its base tone a third from that of another +chord. For example, the tonic chord may be replaced by its lower +mediant (variant tonic). + +@end itemize + +@seealso +@ref{functional harmony}, @ref{relative key}. @node melisma @@ -3853,17 +4200,18 @@ harmony}, @ref{relative key}. ES: melisma, F: mélisme, +D: Melisma, NL: melisma, FI: melisma, laulettavan tavun sävelkuvio. -A melisma (plural: melismata) is a group of notes or tones sung on one -syllable in plainsong +A melisma (plural, from Greek: melismata) is a group of notes or tones +sung on one syllable, especially as applied to liturgical chant. @node melisma line @section melisma line -FIXME: add languages +@c TODO: add languages @seealso @@ -3878,11 +4226,30 @@ FIXME: add languages @ref{cadenza}. +@node mensural notation +@section mensural notation + +@c FIXME: add languages + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add definition (inc. info on proportional notation) + +@c FIXME: add cross-references. + + @node meter @section meter -ES: compás, -I: tempo, metro, +ES: tiempo, compás, +I: tempo, misura, F: indication de mesure, mesure, D: Taktart, Metrum, NL: maatsoort, @@ -3890,38 +4257,146 @@ DK: taktart, S: taktart, FI: aika-arvo. -The basic scheme of @ref{note value}s and @ref{accent}s which remains -unaltered throughout a composition or a section of it. For instance, -3/4 meter means that the basic @ref{note value}s are quarter notes and -that a @ref{measure} consists of three of those. According to whether -there are two, three, or four units to the measure, one speaks of -@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or -@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common -meter. +The basic pattern of @ref{note value}s and @ref{accent}s that remains +unaltered throughout a composition or a section of it. Meters can be +@emph{duple} or @emph{triple} depending on how the beat is grouped in +the composition (or in sections thereof): + +@itemize + +@item In duple meters, the beat recurs in groups of two. + +@item In triple meters, the beat recurs in groups of three. + +@end itemize + +Other recurrence patterns are possible: + +@itemize + +@item Quadruple meter: groups of four. A special case of duple meter. + +@item Quintuple meter: groups of five + +@item Sextuple meter: groups of six. A special case of: + +@itemize +@item Duple meter, subdivided in three (less frequent); or +@item Triple meter, subdivided in two (more frequent). +@end itemize + +@item Septuple meter: groups of seven. + +@item etc. + +@end itemize + +Other than quadruple and sextuple meters, these other recurrence +patterns were not frequently used prior to the 20th Century. + +In addition to classification by primary beat grouping, meters can be further +classified by how the primary beat is subdivided: if in two, the meter is +@emph{simple}; if in three, the meter is @emph{compound}. + +@itemize + +@item Simple meter + +@itemize +@item duple: 2/2, 2/4, 2/8 +@item triple: 3/2, 3/4, 3/8 +@item quadruple: 4/2, 4/4 (also called common time), 4/8 +@end itemize + +@item Compound meter + +@itemize +@item duple: 6/8 +@item triple: 9/8 +@item quadruple: 12/8 +@end itemize + +@end itemize + +Time signatures are placed at the beginning of a composition (or +section) to indicate the meter. For instance, a piece written in +simple triple meter with a beat on each quarter note has a time +signature of 3/4. + +Simple duple meter: + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 2/4 + \key c \major + c4. d8 | e4 d | f e | d8 b c4 \bar "||"} +@end lilypond + +Simple triple meter: @lilypond[fragment,line-width=13.0\cm] \relative c'' { \time 3/4 - \key f \major - c es d | c bes8 a bes4 | c es d | c2 \bar "||"} + \key c \minor + c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"} +@end lilypond + +Simple quadruple meter (French folk tune, @emph{Au clair de la lune}): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 4/4 + \key g \major + g4 g g a | b2 a | g4 b a a | g1 \bar "||"} @end lilypond +Simple quintuple meter (B. Marcello, 1686-1739): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 5/4 + \key c \major + r4 cis8 bis ais4 dis c8 ais | + aes4 bes8 aes ges4 aes f8 es \bar "||"} +@end lilypond + +Compound duple meter (unknown): + @lilypond[fragment,line-width=13.0\cm] \relative c' { \time 6/8 \key f \major - f8 f f f a16 g a f | - c'8 c c c e16 d e c \bar "||"} + f8 f g a bes16 a g f | + g8 g bes a c16 a bes g + \bar "||"} @end lilypond +Compound triple meter (J.S. Bach, 1685-1750): + @lilypond[fragment,line-width=13.0\cm] -\relative c'' { - \time 5/4 - \key g \major - d4 b8 g b d d c a4 | - g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"} +\relative c' { + \time 9/8 + \key f \major + r8 g( a) b( d c) c( e d) | + d( c fis) g( d b) g( a b) + \bar "||"} +@end lilypond + +Compound quadruple meter (P. Yon, 1886-1943): + +@lilypond[fragment,line-width=13.0\cm] +\relative c' { + \time 12/8 + \key e \major + b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 | + e4 e8 fis( gis) a b4.~ b4 b8 + \bar "||"} @end lilypond +@seealso + +@ref{hemiola}, @ref{time signature} + @node metronome @section metronome @@ -3937,13 +4412,28 @@ FI: metronomi. Device indicating the exact tempo of a piece. -@ref{metronomic -indication}. +Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name +from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo +divisions, and patented it as a "metronome". The inevitable lawsuit that +followed acknowledged Winkler as the creator, but by then Mälzel had already +sold many of them, and people had taken to calling it a Mälzel Metronome. + +@seealso + +@ref{metronome mark}. @node metronomic indication @section metronomic indication +@seealso + +@ref{metronome mark} + + +@node metronome mark +@section metronome mark + ES: indicación metronómica, I: indicazione metronomica, F: indication métronomique, @@ -3953,8 +4443,13 @@ DK: metronomtal, S: metronomangivelse, FI: metronomiosoitus. -Exact tempo indication (in beats per minute). Also denoted by -M.M.@: (Mälzels Metronom). +Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or +@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, +@emph{anglice}). + +@seealso + +@ref{metronome} @node mezzo-soprano @@ -4037,7 +4532,7 @@ FI: pieni intervalli. ES: modo, I: modo, F: mode, -D: Modus, +D: Kirchentonart, Modus, NL: modus, DK: skala, S: modus, skala, @@ -4060,10 +4555,9 @@ DK: modulation, S: modulering, FI: modulaatio, sävellajin vaihdos. -Moving from one @ref{key} to another. For example, the second -subject of a @ref{sonata form} movement modulates to the dominant -key if the key is major and to the @ref{relative key} if the key -is minor. +Moving from one @ref{key} to another. For example, the second subject +of a @ref{sonata form} movement modulates to the dominant key if the +key is major and to the @ref{relative key} if the key is minor. @node mordent @@ -4102,8 +4596,8 @@ DK: motiv, S: motiv, FI: teema, sävelaihe. -The briefest intelligible and self-contained fragment of a musical theme or -subject. +The briefest intelligible and self-contained fragment of a musical +theme or subject. @lilypond[line-width=13.0\cm] \score{ @@ -4136,9 +4630,9 @@ DK: sats, S: sats, FI: osa. -Greater musical works like @ref{symphony} and -@ref{sonata} most often consist of several -- more or less -- -independant pieces called movements. +Greater musical works like @ref{symphony} and @ref{sonata} most often +consist of several -- more or less -- independant pieces called +movements. @node multi-measure rest @@ -4153,11 +4647,11 @@ DK: flertaktspause, S: flertaktspaus, FI: usean tahdin mittainen tauko. -Multi-measure rests are conventionally typeset with a combination of longa, -breve and whole rests for shorter and a long horizontal bar for longer -spans of rest, with a number above to indicate the duration (in measures) -of the rest. The former style is called @q{Kirchenpausen} in German, as a -reminiscence of its use in Renaissance vocal polyphony. +Multi-measure rests are conventionally typeset with a combination of +longa, breve and whole rests for shorter and a long horizontal bar for +longer spans of rest, with a number above to indicate the duration (in +measures) of the rest. The former style is called @q{Kirchenpausen} in +German, as a reminiscence of its use in Renaissance vocal polyphony. @lilypond[fragment,ragged-right] \relative c'' { @@ -4169,6 +4663,9 @@ reminiscence of its use in Renaissance vocal polyphony. } @end lilypond +@seealso + +@ref{longa}, @ref{breve}. @node mixolydian mode @@ -4179,8 +4676,8 @@ reminiscence of its use in Renaissance vocal polyphony. @ref{diatonic scale}. -@node natural sign -@section natural sign +@node natural +@section natural ES: becuadro, I: bequadro, @@ -4201,7 +4698,8 @@ FI: palautusmerkki. @seealso -@ref{appoggiatura}. +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. @node ninth @@ -4268,6 +4766,14 @@ instruments (often having no defined pitch) the note head may indicate the instrument. +@node note names +@section note names + +@seealso + +@ref{Pitch names} + + @node note value @section note value @@ -4286,7 +4792,7 @@ called @emph{brevis}, but sometimes (mostly in pre-baroque music) the double-length note value @emph{longa} or the quadruple-length note value @emph{maxima} are used. -@c TODO -- add maxima to this example +@c TODO -- add maxima to this example, in a way that doesn't break it. @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large @@ -4368,7 +4874,7 @@ FI: oktaavi. @seealso -@ref{interval}. +@ref{ottava}, @ref{interval}. @node ornament @@ -4429,7 +4935,7 @@ the @seealso -@ref{appoggiatura}. +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}. @node ossia @@ -4449,6 +4955,33 @@ score, usually only a few measures long, which presents another version of the music, for example for small hands. +@node ottava +@section ottava + +@c TODO: translations + +ES: ?, +I: ottava, +F: octave, +DE: Oktavierung, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Italian] The interval of an octave, abbreviated 8va. + +@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or +@emph{8va} written above a passage indicates that it should be played +an octave higher than written. @emph{Ottava bassa}, @emph{ottava +sotto}, or @emph{8va} written below a passage indicates that it should +be played an octave lower than written. + +@seealso + +@ref{interval}. + + @node part @section part @@ -4461,9 +4994,19 @@ DK: stemme, S: stämma, FI: stemma, instrumenttiosuus. -1.@tie{}In instrumental or choral music the music for the single instrument -or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single -melodic line of the contrapunctal web. +@itemize + +@item In instrumental or choral music, the music for a single +instrument or voice. + +@item in contrapuntal music, a single melodic line in the contrapuntal +web. + +@end itemize + +@seealso + +@ref{counterpoint} @node pause @@ -4607,7 +5150,68 @@ DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. -Play by plucking the strings. +Abbr. @emph{pizz}. Play by plucking the strings. (Technique for +stringed instruments.) + + +@node polymeter +@section polymeter + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The simultaneous use of two or more meters. The term is sometimes +applied to the @emph{successive} use of different meters in one or +more parts. + +@seealso + +@ref{polymetric} (adj.) + + +@node polymetric +@section polymetric + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Using two or more metric frameworks simultaneously or in regular +alternation + +@seealso + +@ref{polymeter} (noun) + + +@node polymetric time signature +@section polymetric time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Time signature indicating regularly alternating polymetric time. + +@seealso + +@ref{polymetric}. @node polyphony @@ -4622,8 +5226,8 @@ DK: polyfoni, S: polyfoni, FI: polyfonia, moniäänisyys. -Music written in a combination of several simultaneous voices (parts) of a -more or less pronounced individuality. +Music written in a combination of several simultaneous voices (parts) +of a more or less pronounced individuality. @ref{counterpoint}. @@ -4652,6 +5256,30 @@ Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} denotes the highest possible degree of speed. +@node proportion +@section proportion + +ES: proporción, +I: ?, +F: proportion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Latin @emph{proportio}] In mensural notation, a ratio that +expresses the relationship between the note values that follow with +those that precede; or between the note values of a passage and an +assumed @q{normal} relationship of note values to the metrical pulse. + +@c TODO: add an example or two. O => 4/3, and its modern equivalent + +@seealso + +@ref{mensural notation} + + @node Pythagorean comma @section Pythagorean comma @@ -4812,9 +5440,6 @@ FI: toisto. } @end lilypond -@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to -@c specify the rest's value. - @node rest @section rest @@ -4828,6 +5453,9 @@ DK: pause, S: paus, FI: tauko. +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. + @seealso @ref{note value}. @@ -4862,14 +5490,13 @@ metrical unit (beat). @end itemize - @node ritardando @section ritardando ES: ritardando, I: ritardando, F: ritardando, -D: Ritardando, langsamer werden, +D: ritardando, langsamer werden, NL: ritardando, DK: ritardando, S: ritardando, @@ -4884,7 +5511,7 @@ Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. ES: ritenuto, I: ritenuto, F: ritenuto, -D: Ritenuto, +D: ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, @@ -4950,7 +5577,7 @@ scale as roots of chords. The most important are degrees I = tonic ES: ?, I: scordatura, F: à cordes ravallées, -D: ?, +D: Skordatur, NL: ?, DK: ?, S: ?, @@ -5004,7 +5631,7 @@ one underneath the other on different staves @ref{staff}. ES: segunda, I: secunda, F: seconde, -D: Sekund(a), +D: Sekunde, NL: secunde, DK: sekund, S: sekund, @@ -5062,7 +5689,7 @@ FI: septimi. @seealso -@ref{sextuplet} +@ref{sextuplet}, @ref{note value}. @node sextuplet @@ -5107,12 +5734,25 @@ FI: korotusmerkki. @ref{accidental}. -@node short appoggiatura -@section short appoggiatura +@node simple meter +@section simple meter + +ES: ?, +I: ?, +F: ?, +UK: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A meter in which the basic beat is subdivided in two: that is, a meter +that does not include triplet subdivision of the beat. @seealso -@ref{appoggiatura}. +@ref{compound meter}, @ref{meter}. @node sixteenth note @@ -5204,14 +5844,13 @@ FI: kuudeskymmenesneljäsosatauko. @ref{note value}. - @node slur @section slur ES: ligadura (de expresión), I: legatura (di portamento or espressiva), F: liaison, coulé, -D: Bogen, Legatobogen, Phrasierungsbogen, +D: Bogen (Legatobogen, Phrasierungsbogen), NL: fraseringsboog, legatoboog, streekboog, DK: legatobue, fraseringsbue, S: båge, @@ -5222,7 +5861,6 @@ played @ref{legato}, e.g., with one stroke of the violin bow or with one breath in singing. - @node solmization @section solmization @@ -5243,7 +5881,6 @@ General term for systems of designating the degrees of the @ref{scale degree}. - @node sonata @section sonata @@ -5318,7 +5955,7 @@ The highest female voice. ES: picado, I: staccato, F: staccato, piqué, détaché, -D: Staccato, +D: staccato, NL: staccato, DK: staccato, S: staccato, @@ -5344,15 +5981,15 @@ below the note head. ES: pentagrama, I: pentagramma, rigo (musicale), F: portée, -D: Notenzeile, +D: Notensystem, Notenzeile, NL: (noten)balk, partij, DK: nodesystem, S: notsystem, FI: nuottiviivasto. -A staff (pl. staves) is a series of (normally five) horizontal lines -upon and between which the musical notes are written, thus indicating -(in connection with a @ref{clef}) their pitch. Staves for +A staff (plural: staves) is a series of (normally five) horizontal +lines upon and between which the musical notes are written, thus +indicating (in connection with a @ref{clef}) their pitch. Staves for @ref{percussion} instruments may have fewer lines. @@ -5481,7 +6118,7 @@ The seventh @ref{scale degree}. ES: sobre la G, I: sul g, F: sur la G, -D: ?, +D: auf G, auf der G-Saite, NL: ?, DK: ?, S: ?, @@ -5566,7 +6203,6 @@ contradiction between the underlaying (normal) pulse and the actual @end lilypond - @node syntonic comma @section syntonic comma @@ -5584,14 +6220,13 @@ Difference between the natural third and the third obtained by Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents. - @node system @section system ES: sistema, I: accollatura, F: système, -D: Notensystem, +D: Notensystem, Partitur, NL: systeem, DK: system, S: system, @@ -5601,7 +6236,6 @@ The collection of staves (@ref{staff}), two or more, as used for writing down of keyboard, chamber, choral, or orchestral music. - @node temperament @section temperament @@ -5787,7 +6421,7 @@ together with figures designating the chief @ref{interval}s and ES: ligadura de prolongación, I: legatura (di valore), F: liaison, -D: Haltebogen, +D: Haltebogen, Bindebogen, NL: overbinding, bindingsboog, DK: bindebue, S: bindebåge, överbindning, @@ -5824,9 +6458,13 @@ DK: taktangivelse, S: taktartssignatur, FI: tahtiosoitus. +The sign placed at the beginning of a composition to indicate its +meter. It most often takes the form of a fraction, but a few signs +derived from mensural notation and proportions are also employed. + @seealso -@ref{meter}. +@ref{mensural notation}, @ref{meter}. @node tone @@ -5866,6 +6504,21 @@ The first @ref{scale degree}. @ref{functional harmony}. +@node transposing instrument +@section transposing instrument + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +FIXME: this is a placeholder + + @node transposition @section transposition @@ -5987,7 +6640,7 @@ FI: trilli. ES: compás ternario, I: tempo ternario, F: mesure ternaire, -D: in drei, +D: in drei, ungerader Takt, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, @@ -6049,6 +6702,18 @@ forks give the international pitch for the tone @emph{a} (440 vibrations per second). +@node tuplet +@section tuplet + +A non-standard subdivision of a beat or part of a beat, usually +indicated with a bracket and a number indicating the number of +subdivisions. + +@seealso + +@ref{triplet}, @ref{note value}. + + @node turn @section turn @@ -6112,9 +6777,14 @@ DK: stemme, S: stämma, FI: ääni, lauluääni. -1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano}, +@itemize + +@item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}. -2.@tie{}A melodic layer or part of a polyphonic composition. + +@item A melodic layer or part of a polyphonic composition. + +@end itemize @node weak beat @@ -6170,7 +6840,6 @@ FI: kokotauko. @ref{note value}. - @node whole tone @section whole tone @@ -6188,8 +6857,6 @@ on the piano keyboard with exactly one key between them -- including black and white keys -- is a whole tone. - - @node woodwind @section woodwind @@ -6208,32 +6875,24 @@ commonly used in a symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. - - @node Duration names notes and rests @chapter Duration names, notes and rests -@table @code -@item DURATION NAMES, NOTES AND RESTS -@end table - @multitable @columnfractions .15 .26 .33 .26 -@item +@headitem @strong{US} @tab @strong{UK} @tab @strong{I} @tab @strong{F (note name / rest name)} -@item +@headitem @tab @strong{D} @tab @strong{NL} @tab @strong{DK} -@item +@headitem @tab @strong{S} @tab @strong{FI} @tab @strong{ES} -@c extra @items make this table harder to read, so I removed them. - @item @strong{longa} @tab longa @tab longa @@ -6354,70 +7013,78 @@ saxophone, and bassoon. @end multitable - - @node Pitch names @chapter Pitch names -@table @code -@item PITCH NAMES -@end table - -@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -@c the extra @item's between each row makes the table hard to read ... so I removed them - -@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1 - -@c TODO -- figure out how to make _real_ table headers in TeXinfo - -@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} -@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} - -@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c -@tab c - -@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut -dièse @tab Cis @tab cis @tab cis @tab cis @tab cis - -@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol -@tab Des @tab des @tab des @tab des @tab des - -@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d -@tab d @tab d - -@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol -@tab Es @tab es @tab es @tab es @tab es - -@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e -@tab e - -@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f -@tab f - -@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g -@tab g @tab g - -@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol -@tab As @tab as @tab as @tab as @tab as - -@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a -@tab a - -@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la -dièse @tab Ais @tab ais @tab ais @tab ais @tab ais - -@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol -@tab B @tab bes @tab b @tab b @tab b - -@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h -@tab h - +@c -is/-es endings for Danish per Rune Zedeler +@c and for Finnish per Risto Vääräniemi +@c -iss/-ess endings for Swedish per Mats Bengtsson +@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 --> + +@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis} +@headitem EN + @tab ES @tab I @tab F @tab D + @tab NL @tab DK @tab S @tab FI +@item @strong{c} + @tab do @tab do @tab ut @tab C + @tab c @tab c @tab c @tab c +@item @strong{c-sharp} + @tab do sostenido @tab do diesis @tab ut dièse @tab Cis + @tab cis @tab cis @tab ciss @tab cis +@item @strong{d-flat} + @tab re bemol @tab re bemolle @tab ré bémol @tab Des + @tab des @tab des @tab dess @tab des +@item @strong{d} + @tab re @tab re @tab ré @tab D + @tab d @tab d @tab d @tab d +@item @strong{d-sharp} + @tab re sostenido @tab re diesis @tab re dièse @tab Dis + @tab dis @tab dis @tab diss @tab dis +@item @strong{e-flat} + @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es + @tab es @tab es @tab ess @tab es +@item @strong{e} + @tab mi @tab mi @tab mi @tab E + @tab e @tab e @tab e @tab e +@item @strong{f-flat} = e + @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes + @tab fes @tab fes @tab fess @tab fes +@item @strong{f} + @tab fa @tab fa @tab fa @tab F + @tab f @tab f @tab f @tab f +@item @strong{e-sharp} = f + @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis + @tab eis @tab eis @tab eiss @tab eis +@item @strong{f-sharp} + @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis + @tab fis @tab fis @tab fiss @tab fis +@item @strong{g-flat} + @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges + @tab ges @tab ges @tab gess @tab ges +@item @strong{g} + @tab sol @tab sol @tab sol @tab G + @tab g @tab g @tab g @tab g +@item @strong{g-sharp} + @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis + @tab gis @tab gis @tab giss @tab gis +@item @strong{a-flat} + @tab la bemol @tab la bemolle @tab la bémol @tab As + @tab as @tab as @tab ass @tab as +@item @strong{a} + @tab la @tab la @tab la @tab A + @tab a @tab a @tab a @tab a +@item @strong{a-sharp} + @tab la sostenido @tab la diesis @tab la dièse @tab Ais + @tab ais @tab ais @tab aiss @tab ais +@item @strong{b-flat} + @tab si bemol @tab si bemolle @tab si bémol @tab B + @tab bes @tab b @tab b @tab b +@item @strong{b} + @tab si @tab si @tab si @tab H + @tab b @tab h @tab h @tab h @end multitable - - - @menu * Literature used:: @end menu @@ -6440,6 +7107,8 @@ Edition 1974. @item Webster's Revised Unabridged Dictionary, Springfield 1913. +@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976. + @end itemize @bye