X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fglossary.tely;h=6d25a07f78aef9dbf393efa4290c9ece30bcbfa0;hb=71cc3b4a5adf79c361d2af39f1a361a36a03f273;hp=9365267b7422a46c2dbbcb69dec94b7b0f5854c1;hpb=60fdc53305e8628dad96b4ebea177bc6ee8d95cd;p=lilypond.git diff --git a/Documentation/user/glossary.tely b/Documentation/user/glossary.tely index 9365267b74..6d25a07f78 100644 --- a/Documentation/user/glossary.tely +++ b/Documentation/user/glossary.tely @@ -1,14 +1,27 @@ \input texinfo @setfilename glossary.info +@html + +@end html + + @c @pagesizes 10.3in @c @everyheading @| @thispage @| @c @evenheading @thispage @| @| @c @oddheading @| @| @thispage @| -@itemize +@ignore + glossary by Christian Mondrup + + spanish by David Gonz@'alez +@end ignore + + +@itemize +@item ES - Spanish @item I - Italian @item F - French @item D - German @@ -38,15 +51,18 @@ A reference is indicated by @ar{} followed by the term in @strong{boldface}. @table @strong @item A -I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a. +ES: la +: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a. @item accent -I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N: +ES: acento, I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N: The stress of one tone over others. +@c F: how to distinguish between accidental and key-sig alteration? + @item accidental -I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen, +ES: alteraci@'on, I: alterazione, accidente, F: alt@'eration D: Vorzeichen, Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: tillf@"alligt f@"ortecken, N: @@ -71,15 +87,15 @@ accidental. g!1_"natural" s2 } @end lilypond -@item accelerando -I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller, +@item accelerando +ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller, NL: accelerando, DK: accelerando, S: accelerando, N: Still faster tempo. @item adagio -I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S: +ES: adagio, I: adagio, F: adagio, lent, D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N: adagio. It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than @@ -88,14 +104,14 @@ movement in slow tempo, esepecially the scond (slow) movement of @w{@ar{}@strong{sonata}s}, symphonies etc. @item allegro -I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, +ES: allegro, I: allegro, F: allegro, D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK: allegro, S: allegro, N: allegro. It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a @w{@ar{}@strong{sonata}}. @item alto -I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt. +ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt. 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 @@ -103,7 +119,7 @@ the female voice. This type of voice is also known as @w{@ar{}@strong{counter tenor}}. @item alto clef -I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel, +ES: clave de do en tercera, I: chiave di contralto, F: clef d'ut troisi@`eme ligne, D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt sleutel, DK: altn@o{}gle, S: altklav, N: C clef setting central C on the middle line of the staff @@ -122,13 +138,13 @@ a1 b c d e f g a } @end lilypond @item andante -I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante, +ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante, N: andante. walking tempo/character -@item appoggiatura -I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag, +@item appoggiatura +ES: apoyatura, I: appoggiatura, F: appogiature, (port de voix), D: Vorschlag, NL: voorslag, DK: forslag, S: f@"orslag, N: Ornamental note, usually a second, that is melodically connected with the main @@ -140,21 +156,24 @@ the duration of the long a. is proportionate to that of the main note. @ @lilypond[13pt,eps] -\emptyText -%\property Voice.textNonEmpty = ##f -\property Voice.TextScript \set #'font-style = #'large -\notes\relative c'' { -\key d \major; -\time 4/4; +\context Voice\notes\relative c'' { +\key d \major +\time 4/4 + +\property Score.TextScript \set #'font-style = #'large r -{ \property Grace.Stem \override #'flag-style = ##f - \grace g16 } +{ \property Voice.Stem \override #'flag-style = #"" + \grace g16 + \property Voice.Stem \revert #'flag-style + } fis8 e16 fis -{ \property Grace.Stem \override #'flag-style = ##f - \grace a16 } -g8 fis16 g | a4 \bar "||"; } +{ \property Voice.Stem \override #'flag-style = #"" + \grace a16 + \property Voice.Stem \revert #'flag-style + } +g8 fis16 g | a4 \bar "||" } \notes\relative c'' { - r g16 () fis e fis a () g fis g | a4 \bar "||"; } + r g16 () fis e fis a () g fis g | a4 \bar "||" } @end lilypond An appoggiatura may have more notes preceding the main note. @@ -162,36 +181,35 @@ An appoggiatura may have more notes preceding the main note. @ @lilypond[13pt,eps] -\emptyText -\property Voice.TextScript \set #'font-style = #'large \notes\relative c'' { - \key as \major; - \time 2/4; + \key as \major + \time 2/4 + \property Score.TextScript \set #'font-style = #'large \grace { bes16 } as8_"notation" as16 bes as8 g | \grace { [as16 ( bes] } < ) c4 as > - \grace { [as16 ( bes] } < ) c4 as > \bar "||"; + \grace { [as16 ( bes] } < ) c4 as > \bar "||" \grace { bes16 } as8_"performance" as16 bes as8 g | - < \context Voice = va { \stemUp as32 bes c8. as32 bes c8. } - \context Voice = vb { \stemDown as16 ~ as8. as16 ~ as8. } > - \bar "||"; + < \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. } + \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } > + \bar "||" } @end lilypond @item arpeggio -I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener +ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N: @ @lilypond[13pt,eps] -\context GrandStaff < - \notes\relative c'' { - \time 4/4; - \clef treble; + \notes \context PianoStaff < + \context Staff = SA \relative c'' { + \time 4/4 + \clef treble r8 g16 c e g, c e r8 g,16 c e g, c e | - r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; } - \notes\relative c' { - \clef bass; + r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" } + \context Staff = SB \relative c' { + \clef bass < \context Voice = va { \stemUp r16 e8. () e4 r16 e8. () e4 | @@ -204,13 +222,13 @@ Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N: @end lilypond @item ascending interval -I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, +ES: Intervalo ascendente, I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N: A distance between a starting lower note and a higher ending note. @item augmented interval -I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges +ES: intervalo aumentado, I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S: @"overstigande intervall, N: @@ -226,35 +244,37 @@ straightedge ruler and T-square, which attempts to emulate engraving. This required more skill than did engraving. @item B -I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h. +ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h. @item backfall; forefall @w{@ar{}@strong{appoggiatura}} @item bar line -I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: +ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: maatstreep, DK: taktstreg, S: taktstreck, N: @item bar -@w{@ar{}@strong{measure}} +ES: comp@'as, @w{@ar{}@strong{measure}} @item baritone -I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N: +ES: bar@'{@dotless{i}}tono, I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N: baryton. The male voice intermediate between the @w{@ar{}@strong{bass}} and the @w{@ar{}@strong{tenor}}. +@c F: clef de troisi@`eme ligne dropped + @item baritone clef -I: chiave di baritono, F: clef de ut cinqui@`eme ligne, clef de troisi@`eme -ligne, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S: +ES: clave de fa en tercera +I: chiave di baritono, F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, D: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S: barytonklav, N: . C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @item bass clef -I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL: +ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL: bassleutel, DK: basn@o{}gle, S: basklav, N: A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f @@ -276,7 +296,6 @@ beams determine the note value of the connected notes. @lilypond[13pt,eps] \property Score.barNonAuto = ##t -\emptyText \property Voice.TextScript \set #'font-style = #'large \notes\relative c'' { [g8_"1/8" g g g] s16 @@ -286,7 +305,7 @@ beams determine the note value of the connected notes. @end lilypond @item beat -I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: +ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: taktslag, N: Note value used for counting, most often half-, fourth- and eighth notes. The @@ -296,45 +315,40 @@ start of the music. @ @lilypond[13pt,eps] -\key g \major; -\time 4/4; -\notes\relative c'' { g4 c b a | g1 \bar "||";} -\time 3/8; -\notes\relative c'' { g8 d' c | b c a | g4. \bar "||";} +\key g \major +\time 4/4 +\notes\relative c'' { g4 c b a | g1 \bar "||"} +\time 3/8 +\notes\relative c'' { g8 d' c | b c a | g4. \bar "||"} @end lilypond @item bind @w{@ar{}@strong{tie}} @item brace +ES: llave, corchete I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL: accolade, teksthaak, DK: klamme, S: klammer, N: -Symbol at the start of a system connecting staffs. Curly braces are used +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. -@ - -@lilypond[13pt,eps] -\context GrandStaff < - \property GrandStaff.minVerticalAlign = 12 - \notes\relative c'' { \clef treble; g4 e c2 } - \notes\relative c { \clef bass; c1 \bar "|."; } > +@lilypond[13pt,eps] +\notes\context GrandStaff < + \relative c''\context Staff = SA { \clef treble g4 e c2 } + \relative c \context Staff = SB { \clef bass c1 \bar "|." } > @end lilypond -@ - -@lilypond[13pt,eps] -%\context StaffGroup < -\context ChoirStaff < - \property StaffGroup.minVerticalAlign = 12 - \notes\relative c'' { \clef treble; g4 e c2 } - \notes\relative c { \clef bass; c1 \bar "|."; } > +@lilypond[13pt,eps] +\context StaffGroup < +% \property StaffGroup.minVerticalAlign = #12 + \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 } + \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } > @end lilypond @item brass -I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres, +ES: metales, I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: cuivres, DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N: A family of blown musical instruments made of brass all using a cup formed @@ -349,23 +363,23 @@ vejrtr@ae{}kningstegn, S: andningstecken, N: . Indication of where to breathe in vocal and wind instrument parts. @item breve -I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N: +ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N: @w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used in pre-1650 music. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t \notes\relative c'' { g\breve } @end lilypond @item C -I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c +ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c @item C clef -I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK: +ES: Clave de do, I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK: c-n@o{}gle, S: c-klav, N: Clef symbol indicating the position of the central C. Used on all note @@ -373,31 +387,30 @@ lines. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Staff.clefStyle = #"fullSizeChanges" -\property Staff.textStyle = #"large" -\property Lyrics.textStyle = #"large" +\property Score.Clef \override #'full-size-change = ##t +\property Score.LyricText \set #'font-style = #'large \addlyrics -\notes\relative c' { - \clef soprano; c1 s s - \clef mezzosoprano; c s s - \clef alto; c s s - \clef tenor; c s s - \clef baritone; c s +\context Staff \notes\relative c' { + \clef soprano c1 + \clef mezzosoprano c + \clef alto c + \clef tenor c + \clef baritone c } \context Lyrics \lyrics { Soprano Mezzosoprano Alto Tenor Baritone } @end lilypond -@item cadence -I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . +@item cadence +ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . @w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}} @item cadenza -I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . +ES: cadenza, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . An extended, improvisatory style section inserted near the end of movement. The purpose of a cadenza is to give the singer or player a chance to @@ -406,12 +419,12 @@ the middle of the 19'th century, however, most cadences have been written down by the composer. @item canon -I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: . +ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: . @w{@ar{}@strong{counterpoint}} @item cent -I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: . +ES: cent, I: cent, F: cent, D: Cent, NL: cent, DK: cent, S: cent, N: . Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}} @@ -420,7 +433,7 @@ equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}} @w{@ar{}@strong{middle C}} @item chord -I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: . +ES: acorde, I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: . Three or more tones sounding simultaneously. In traditional European music the base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major + @@ -433,11 +446,10 @@ chords are denoted open chords @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.textNonEmpty = ##t \property Voice.TextScript \set #'font-style = #'large -\time 4/4; +\time 4/4 \notes\relative c'' { @@ -449,32 +461,32 @@ chords are denoted open chords @end lilypond @item chromatic scale -I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL: +ES: escala crom@'atica, I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL: chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: . A scale consisting of all 11 @w{@ar{}@strong{semitone}}s. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t \notes\relative c' { c1 cis d dis e f fis g gis a ais b c } @end lilypond @item chromaticism -I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S: +ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik, N: Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major). -@item church mode; ecclesiastical mode -I: modo ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL: +@item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo +ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL: kerktoonladder, DK: kirketoneart, S: kyrkotonart, N: @w{@ar{}@strong{diatonic scale}} @item clef -I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL: +ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL: sleutel, DK: n@o{}gle, S: klav, N: @w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}} @@ -489,7 +501,7 @@ derived from some other tuning method. @w{@ar{}@strong{temperament}} @w{@ar{}@strong{meter}} @item compound interval -I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL: +ES: intervalo compuesto, I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL: samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: . Intervals larger than an octave @@ -504,31 +516,31 @@ komplement@"arintervall (?), N: @w{@ar{}@strong{inverted interval}} @item conjunct movement -I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise +ES: movimiento conjunto, I: moto congiunto, F: mouvement conjoint, D: schrittweise/stufenweise Bewegung, NL: , DK: trinvis bev@ae{}gelse, S: stegvis r@"orelse, N: Melody moving in the narrow steps of the scale; @ -@lilypond[13pt,eps] -\key g \major; \time 4/4; -\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; } +@lilypond[13pt,eps] +\key g \major \time 4/4 +\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } @end lilypond -@item consonance -I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: +@item consonance +ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: konsonans, N: @w{@ar{}@strong{harmony}} @item contralto -I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N: +ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N: @w{@ar{}@strong{alto}} -@item counterpoint -I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK: +@item counterpoint +ES: contrapunto, I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK: kontrapunkt, S: kontrapunkt, N: . From latin @emph{punctus contra punctum}, note against note. The combination @@ -544,11 +556,11 @@ composition methods. @lilypond[13pt,eps] \property Score.TimeSignature \override #'style = #'C2/2 -\context GrandStaff < - \notes\relative c' { - \key bes \major; - \time 4/4; - \clef treble; +\notes\context PianoStaff < + \context Staff = SA \relative c' { + \key bes \major + \time 4/4 + \clef treble < \context Voice = rha { \stemUp r1 | r2 r8 g'8 bes d, | @@ -561,9 +573,9 @@ composition methods. } > } - \notes\relative c' { - \clef bass; - \key bes \major; + \context Staff = SB \relative c' { + \clef bass + \key bes \major < \context Voice = lha { \stemUp r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g | @@ -579,7 +591,7 @@ composition methods. @end lilypond @item counter tenor -I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK: +ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK: kontratenor, S: kontratenor, counter tenor, N: kontratenor @w{@ar{}@strong{contralto}} @@ -592,7 +604,7 @@ methods were superior and could well be adopted by music typesetters. This required more skill than engraving. @item crescendo -I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK: +ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK: crescendo, S: crescendo, N:@w{ }crescendo. Increasing volume. Indicated by a rightwards opening horizontal wedge or the @@ -600,30 +612,30 @@ abbreviation "cresc.". @ -@lilypond[13pt,eps] -\key g \major; \time 4/4; -\notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; } +@lilypond[13pt,eps] +\key g \major \time 4/4 +\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." } @end lilypond @item cue-notes -I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, +ES: notas guia, I: notine, F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, N: In a separate part notes belonging to another part with the purpose of hinting when to start playing. Usually printed in a smaller type. @item D -I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d +ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d -@item da capo -I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da +@item da capo +ES: da capo, I: da capo, F: da capo, depuis le commencement, D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo, N: . The term indicates repetition of the piece from the beginning to the end or to a certain place marked @emph{fine}. Mostly abbreviated D.C. @item dal segno -I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK: +ES: dal segno, I: dal segno, F: dal segno, depuis le signe, D: dal segno, NL: dal segno, DK: dal segno, S: dal segno, N: . abbreviated d.s. Repetition, not from the beginning, but from another place @@ -631,14 +643,14 @@ frequently near the beginning marked by a sign: @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Voice.TextScript \set #'font-style = #'large -\key g \major; \time 4/4; -\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; } +\key g \major \time 4/4 +\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." } @end lilypond @item decrescendo -I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S: +ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S: decrescendo, N: decrescendo Decreasing tone volume. Indicated by a leftwards opening horizontal wedge @@ -646,20 +658,20 @@ or the abbreviation "decresc.". @ -@lilypond[13pt,eps] -\key g \major; \time 4/4; -\notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; } +@lilypond[13pt,eps] +\context Staff \notes\relative c'' {\key g \major \time 4/4 + d4 \> c b a | \! g1 \bar "|." } @end lilypond @item descending interval -I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall, +ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall, absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S: fallande intervall, N: An distance between a starting higher note and a lower ending note. @item diatonic scale -I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: +ES: escala diat@'onica, I: scala diatonica, F: gamme diatonique, D: diatonische Tonleiter, NL: diatonische toonladder, DK: diatonisk skala, S: diatonisk skala, N: A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2 @@ -671,93 +683,87 @@ also to some extent in newer jazz music. @ -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics -\notes\relative c' { + \context Staff \notes\relative c' { c1 d - \property Voice.textScriptPadding = #-10 + \property Voice.TextScript \set #'padding = #-10 e^"~~ S" f g a - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c } \context Lyrics \lyrics { Ionian } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c' { d1 - \property Voice.textScriptPadding = #-10 + \property Voice.TextScript \set #'padding = #-10 e^"~~ S" f g a - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d } \context Lyrics \lyrics { Dorian } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c' { - \property Voice.textScriptPadding = #-10 + \property Voice.TextScript \set #'padding = #-10 e1^"~~ S" f g a - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d e } \context Lyrics \lyrics { Phrygian } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c' { f1 g a - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d - \property Voice.textScriptPadding = #0 + \property Voice.TextScript \set #'padding = #0 e^"~~ S" f } \context Lyrics \lyrics { Lydian } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c'' { g1 a - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d - \property Voice.textScriptPadding = #0 + \property Voice.TextScript \set #'padding = #0 e^"~~ S" f g } \context Lyrics \lyrics { Mixolydian } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c'' { a1 - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d - \property Voice.textScriptPadding = #0 + \property Voice.TextScript \set #'padding = #0 e^"~~ S" f g a } \context Lyrics \lyrics { Aeolian } @end lilypond @@ -767,90 +773,86 @@ 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[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c' { c1 d - \property Voice.textScriptPadding = #-10 + \property Voice.TextScript \set #'padding = #-10 e^"~~ S" f g a - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c } \context Lyrics \lyrics { Major } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c'' { a1 - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d - \property Voice.textScriptPadding = #0 + \property Voice.TextScript \set #'padding = #0 e^"~~ S" f g a } \context Lyrics \lyrics { "ancient minor" } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c'' { a1 - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d - \property Voice.textScriptPadding = #0 + \property Voice.TextScript \set #'padding = #0 e^"~~ S" - \property Voice.textScriptPadding = #1 + \property Voice.TextScript \set #'padding = #1 f!^"~~ A" gis^"~~ S" a } \context Lyrics \lyrics { "Harmonic minor" } @end lilypond -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics \notes\relative c'' { a1 - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 b^"~~ S" c d e fis - \property Voice.textScriptPadding = #0 + \property Voice.TextScript \set #'padding = #0 gis^"~~ S" a g! - \property Voice.textScriptPadding = #-1 + \property Voice.TextScript \set #'padding = #-1 f!^"~~ S" e d - \property Voice.textScriptPadding = #-4 + \property Voice.TextScript \set #'padding = #-4 c^"~~ S" b a } \context Lyrics \lyrics { "Melodic minor" } @end lilypond @item diminished interval -I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall, +ES: intervalo disminu@'{@dotless{i}}do, I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall, NL: verminderd interval, DK: formindsket interval, S: f@"orminskat intervall, N: . @w{@ar{}@strong{interval}} @item diminuendo -I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo, +ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo, S:@w{ }diminuendo, N:@w{ }diminuendo. @w{@ar{}@strong{decrescendo}} @item disjunct movement -I: moto disgiunto, F: mouvement disjoint, D: +ES: movimiendo disjunto, I: moto disgiunto, F: mouvement disjoint, D: sprunghafte Bewegung, NL: , DK: springende bev@ae{}gelse, S: hoppande r@"orelse, N: @@ -860,14 +862,15 @@ scale. Opposite of @ar{}@strong{conjunct movement}. @ @lilypond[13pt,eps] -\key a \major; -\time 4/4; +\key a \major +\time 4/4 \notes\relative c' { - \partial 8; e8 | a4. gis8 b a e cis | - fis2 d4. \bar "||"; } + \partial 8 e8 | a4. gis8 b a e cis | + fis2 d4. \bar "||" } @end lilypond @item dissonant interval; dissonance +ES: intervalo disonante, disonancias, I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL: dissonant interval; dissonant, DK: dissonerende interval, dissonans, S: dissonans, N: . @@ -882,38 +885,38 @@ dominantnoneakkord, S: dominantnonackord, N: . @w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}} @item dominant seventh chord -I: accordo di settima di dominante, F: accord de septi@`eme dominante, D: +ES: acorde de s@'eptima de dominante, I: accordo di settima di dominante, F: accord de septi@`eme dominante, D: Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S: dominantseptimackord, N: @w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}} @item dominant -I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: +ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: dominant, N: . The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}} @item dorian mode -I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische +ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N: @w{@ar{}@strong{diatonic scale}} @item dot (augmentation dot) -I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK: +ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK: punkt, S: punkt, N: @w{@ar{}@strong{dotted note}} @item dotted note -I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot, +ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot, DK: punkteret node, S: punkterad not, N: @w{@ar{}@strong{note value}} @item double appoggiatura -I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: +ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N: @w{@ar{}@strong{appoggiatura}} @@ -925,44 +928,44 @@ dobbeltstreg, S: dubbelstreck, N: . Indicates the end of a section within a movement. @item double dotted note -I: nota doppiamente puntata, F: note doublement point@'ee, D: +ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D: doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK: dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: . @w{@ar{}@strong{note value}} @item double flat - +ES: doble bemol, I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol, DK:@w{ }dob@-belt-b, S: dubbelbe, N: . @w{@ar{}@strong{accidental}} @item double sharp -I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis, +ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis, DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: . @w{@ar{}@strong{accidental}} @item double trill -I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK: +ES: trino doble, I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK: dobbelttrille, S: dubbeldrill, N: . A simultaneous trill on two notes, usually in the distance of a third. @item duple meter -I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige +ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige maatsoort, DK: todelt takt, S: tv@aa{}takt, N: . @w{@ar{}@strong{meter}} @item duplet -I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: . +ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: . @w{@ar{}@strong{note value}} @item duration -I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S: +ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S: tonl@"angd, N: . @w{@ar{}@strong{note value}} @@ -971,22 +974,22 @@ tonl@"angd, N: . @w{@ar{}@strong{syntonic comma}} @item E -I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e. +ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e. @item eighth note -I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK: +ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK: ottendedelsnode, S: @aa{}ttondelsnot, N: . @w{@ar{}@strong{note value}} @item eighth rest -I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: +ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: . @w{@ar{}@strong{note value}} @item engraving -I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S: +ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S: nottryck, N: . Engraving means incising or etching a metal plate for @@ -997,7 +1000,7 @@ 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. @item enharmonic -I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: +ES: enharm@'onico, I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: enharmonisk, S: enharmonisk, N: . Two notes, intervals, or scales are enharmonic if they have different names @@ -1006,7 +1009,7 @@ but equal pitch. @lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c'' { gis1_"g sharp" s as1_"a flat" s s < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s @@ -1031,10 +1034,10 @@ Performance indications concerning 1. volume, dynamics (for example @w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}}) @item F -I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f. +ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f. @item F clef -I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK: +ES: Clave de Fa, I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK: F-n@o{}gle, S: f-klav, N: . The position between the dots of the key symbol is the line of the F below @@ -1044,25 +1047,23 @@ example bass recorder) while 8 below the clef symbol indicates playing an octave lower (for example on double bass @w{@ar{}@strong{strings}}). -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Staff.clefStyle = #"fullSizeChanges" -\property Lyrics.LyricText \set #'font-style = #'large +\property Staff.Clef \override #'full-size-change = ##t +\property Score.LyricText \set #'font-style = #'large \addlyrics \notes\relative c { -% \clef "F3"; - \clef varbaritone; - f1 s -% \clef "F4"; - \clef bass; - f1 s -% \clef "F5"; - \clef subbass; - f1 s - \clef "F^8"; - f'1 s s - \clef "F_8"; - f,,1 s s +% \clef "F3" + \clef varbaritone + f1 + \clef bass + f1 + \clef subbass + f1 + \clef "F^8" + f1 + \clef "F_8" + f1 } \context Lyrics \lyrics { baritone @@ -1073,45 +1074,49 @@ octave lower (for example on double bass @w{@ar{}@strong{strings}}). } @end lilypond +@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. + @item fermata -I: corona, F: pause, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: . +ES: Calder@'on, I: corona, F: F: point d'orgue, point d'arr@^et, +D: Fermate, NL: fermate, DK: fermat, S: fermat, N: . Prolonged note or rest of indefinite duration. @lilypond[13pt,eps] -\time 4/4; +\time 4/4 \notes\relative c'' { -a4 b c2^\fermata \bar "|."; } +a4 b c2^\fermata \bar "|." } @end lilypond @item fifth -I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N: +ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N: kvint. @w{@ar{}@strong{interval}} @item figured bass -@w{@ar{}@strong{thorough bass}} +ES: bajo cifrado, @w{@ar{}@strong{thorough bass}} @item fingering -I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK: +ES: digitaci@'on, I: diteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK: fingers@ae{}tning, S: fingers@"attning, N: . The methodical use of fingers in the playing of instruments. @item flag; pennant +ES: corchete, I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje, DK: fane, S: flagga, N: . -Ornament at the end of the stem of a note used for notes with values less than -a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}. +Ornament at the end of the stem of a note used for notes with values +less than a quarter note. The number of flags determines the +@w{@ar{}@strong{note value}}. @lilypond[13pt,eps] \property Score.barNonAuto = ##t -\emptyText -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c'' { g8_"1/8" s8 g16_"1/16" s8 @@ -1120,7 +1125,7 @@ a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}. @end lilypond @item flat -I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: . +ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: . @w{@ar{}@strong{accidental}} @@ -1128,23 +1133,23 @@ I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: . @w{@ar{}@strong{appoggiatura}} @item forte -I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: . +ES: forte, I: forte, F: forte, D: forte, Laut, NL: forte, DK: forte, S: forte, N: . Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud, @emph{mezzoforte} (@b{mf}) medium loud. @item fourth -I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: . +ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: . @w{@ar{}@strong{interval}} -@item fugue -I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: . +@item fugue +ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: . @w{@ar{}@strong{counterpoint}} @item functional harmony -I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK: +ES: armon@'{@dotless{i}}a funcional, I: armonia funzionale, F: @'etude des functions, D: Funktionslehre, NL: , DK: funktionsanalyse, funktionsharmonik, S: funktionsl@"ara, N: A system of harmonic analysis. It is based on the idea that, in a given key, @@ -1155,23 +1160,22 @@ of the base chords. @ -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics -\notes\relative c'' { +\context Voice \notes\relative c'' { < g1 e c > < a f d > < b g e > < c a f > < d b g > < e c a > < f d b > } \context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" } @end lilypond @item G -I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g. +ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g. @item G clef -I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL: +ES: Clave de sol, I: chiave di sol, F: cl@'e de sol, D: G-Schl@"ussel, Violinschl@"ussel, NL: G-sleutel, DK: g-n@o{}gle, S: g-klav, N: . A clef symbol indicating the G above central C. Used on the first and second @@ -1182,20 +1186,20 @@ that). @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Staff.clefStyle = #"fullSizeChanges" -\property Lyrics.LyricText \set #'font-style = #'large +\property Staff.Clef \set #'full-size-change = ##t +\property Score.LyricText \set #'font-style = #'large \addlyrics \notes\relative c'' { - \clef french; - g1 s s s s - \clef treble; - g s s s - \clef "G^8"; - g' s s s - \clef "G_8"; - g,, s s + \clef french + g1 + \clef treble + g + \clef "G^8" + g + \clef "G_8" + g } \context Lyrics \lyrics { "french violin clef" @@ -1206,7 +1210,7 @@ that). @end lilypond @item glissando -I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S: +ES: glissando, I: glissando, F: glissando, D: Glissando, NL: glissando, DK: glissando, S: glissando, N: glissando. Letting the pitch slide fluently from one note to the other @@ -1224,16 +1228,16 @@ S: ackolad, b@"ojd klammer, N: . @w{@ar{}@strong{brace}} -A combination of two staffs with a brace. Usually used for piano music. +A combination of two staves with a brace. Usually used for piano music. @item grave -I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N: +ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N: . Slow, solemn. @item half note -I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK: +ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK: halvnode, S: halvnot, N: . @w{@ar{}@strong{note value}} @@ -1245,7 +1249,7 @@ rust, DK: halvnodespause, S: halvpaus, N: . @w{@ar{}@strong{note value}} @item harmonic cadence -I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: +ES: cadencia (arm@'onica), I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: . Sequence of chords that terminate a musical phrase or @@ -1253,23 +1257,23 @@ section. @ar{}@w{}@strong{functional harmony} @ -@lilypond[13pt,eps] -\context GrandStaff < - \notes\relative c'' { - \time 4/4; - \clef treble; - \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > } - \property Lyrics.LyricText \set #'font-style = #'large +@lilypond[13pt,eps] +\notes\context PianoStaff < + \context Staff = SA \relative c'' { + \time 4/4 + \clef treble + \partial 4 < c4 g e > | < c a f > < b g d > < c2 g e > } + \property Score.LyricText \set #'font-style = #'large \addlyrics - \notes\relative c { - \clef bass; - \partial 4; c4 | f, g c2 - \bar "|."; } + \context Staff = SB \relative c { + \clef bass + \partial 4 c4 | f, g c2 + \bar "|." } \context Lyrics \lyrics { T S D T } > @end lilypond @item harmony -I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: +ES: armon@'{@dotless{i}}a , I: armonia, F: harmonie, D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S: samklang, N: Tones sounding simultaneously. Two note harmonies fall into the cathegories @@ -1279,10 +1283,10 @@ Consonances: @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\notes\relative c'' { +\property Score.TextScript \set #'font-style = #'large +\context Voice \notes\relative c'' { s s s @@ -1297,10 +1301,10 @@ Dissonances: @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\notes\relative c'' { +\property Score.TextScript \set #'font-style = #'large +\context Voice \notes\relative c'' { s s s s @@ -1310,14 +1314,14 @@ Dissonances: Three note harmony @w{@ar{}@strong{chord}} @item homophony -I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: +ES: homofon@'{@dotless{i}}a, I: omofonia, F: homophonie, D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, N: . Music in which one voice leads melodically followed by the other voices more or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}. @item interval -I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S: +ES: intervalo, I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S: intervall, N: . Difference in pitch between two notes. Intervals may be perfect, minor, major, @@ -1328,12 +1332,12 @@ forms an octave. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics -\notes\relative c'' { +\context Voice \notes\relative c'' { < g1 g > s < g^"minor" as > s < g^"major" a! > s @@ -1349,12 +1353,12 @@ forms an octave. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics -\notes\relative c'' { +\context Staff \notes\relative c'' { < g1^"perfect" c > s < g^"augm" cis > s < g^"perfect" d' > s @@ -1370,12 +1374,12 @@ forms an octave. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Voice.TextScript \set #'font-style = #'large +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \addlyrics -\notes\relative c'' { +\context Staff \notes\relative c'' { < gis1^"dimin" f'! > s < g!^"minor" f'! > s < g^"major" fis' > s @@ -1390,20 +1394,20 @@ forms an octave. @end lilypond @item inverted interval -I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL: +ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL: interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: . The difference between an interval and an octave. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\notes\relative c'' { - < g1_"second" a > s < g'_"seventh" a, > s \bar "||"; - < g,_"third" b > s < g'_"sixth" b, > s \bar "||"; - < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"; +\property Score.TextScript \set #'font-style = #'large +\context Staff \notes\relative c'' { + < g1_"second" a > s < g'_"seventh" a, > s \bar "||" + < g,_"third" b > s < g'_"sixth" b, > s \bar "||" + < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||" } @end lilypond @@ -1415,14 +1419,14 @@ Tuning system in which the notes are obtained by adding and subtracting @w{natural} fifths and thirds. @w{@ar{}@strong{temperament}} @item key -I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S: +ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S: tonart, N: . According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12 keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}} @item key signature -I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen, +ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen, Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: tonartssignatur, N: . @@ -1430,14 +1434,14 @@ The sharps or flats appearing at the beginning of each staff indicating the key of the music. @w{@ar{}@strong{accidental}} @item largo -I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, +ES: largo, I: largo, F: largo, D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, N: largo Very slow in tempo, usually combined with great expressiveness. @emph{Larghetto} less slow than largo. @item leading note -I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: +ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton, N: . The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below @@ -1446,20 +1450,20 @@ upwards) to the tonic scale degree. @item ledger line; leger line -I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL: +ES: l@'{@dotless{i}}neas adicionales, I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL: hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alplinje, N: . A ledger line is an extension of the staff. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t \notes\relative c'' { a,1 s c'' } @end lilypond @item legato -I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N: +ES: ligado, I: legato, F: legato, li@'e, D: legato, NL: legato, DK: legato, S: legato, N: . To be performed without any perceptible interruption between the notes (a) @@ -1470,62 +1474,63 @@ unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and @lilypond[13pt,eps] \property Score.barNonAuto = ##t -\emptyText -\property Lyrics.LyricText \set #'font-style = #'large \addlyrics -\notes\relative c'' { - c4( d )e \bar "||"; - c4-- d-- e-- \bar "||"; - c4-.( d-. )e-. \bar "||"; - c4-. d-. e-. \bar "||"; +\context Staff \notes\relative c'' { + c4( d )e \bar "||" + c4-- d-- e-- \bar "||" + c4-.( d-. )e-. \bar "||" + c4-. d-. e-. \bar "||" } -\context Lyrics \lyrics { a "" "" b "" "" c "" "" d } +\context Lyrics \lyrics { + \property Lyrics . LyricText \set #'font-style = #'large + a "" "" b "" "" c "" "" d } @end lilypond @item legato curve @w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}} @item lilypond +ES: estanque de lilas, I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL: le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: . A pond with lilies floating in it, also the name of a music typesetter. @item line -I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: +ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: notlinje, N: . @w{@ar{}@strong{staff}} -@item long appoggiatura -I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt +@item long appoggiatura +ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt forslag, S: l@aa{}ngt f@"orslag, N: . @w{@ar{}@strong{appoggiatura}} @item longa -I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa +ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}} @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t \notes\relative c'' { - \property Voice.noteHeadStyle = #'mensural + \property Voice.NoteHead \set #'style = #'mensural g\longa } @end lilypond @item major interval -I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL: +ES: intervalo mayor, I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL: groot interval, DK: stort interval, S: stort intervall, N: . @w{@ar{}@strong{interval}} @item major -I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur. +ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur. @w{@ar{}@strong{diatonic scale}} @@ -1539,7 +1544,7 @@ by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this tuning keyboard instruments for performance of pre-1650 music. @item measure, bar -I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt. +ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt. A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which bears an accent. Such groups in numbers of two or more recur consistently @@ -1547,7 +1552,7 @@ throughout the composition and are marked from each other by bar-lines. @w{@ar{}@strong{meter}} @item mediant -I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S: +ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S: mediant, N: . 1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone @@ -1560,7 +1565,7 @@ harmony}} @w{@ar{}@strong{relative key}}. @w{@ar{}@strong{cadenza}} @item meter, time -I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart, +ES: comp@'as, I: tempo, metro, F: indication de m@'esure, D: Taktart, Metrum, NL: maatsoort, DK: taktart, S: taktart, N: . The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s @@ -1575,84 +1580,84 @@ one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or @lilypond[13pt,eps] \notes\relative c'' { - \time 3/4; - \key f \major; - c es d | c bes8 a bes4 | c es d | c2 \bar "||";} + \time 3/4 + \key f \major + c es d | c bes8 a bes4 | c es d | c2 \bar "||"} @end lilypond @lilypond[13pt,eps] \notes\relative c' { - \time 6/8; - \key f \major; + \time 6/8 + \key f \major f8 f f f a16 g a f | - c'8 c c c e16 d e c \bar "||";} + c'8 c c c e16 d e c \bar "||"} @end lilypond @lilypond[13pt,eps] \notes\relative c'' { - \time 5/4; - \key g \major; + \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 "||";} + g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"} @end lilypond @item metronome -I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, +ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom. Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic indication}} @item metronomic indication -I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe, +ES: indicaci@'on metron@'omica, I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe, NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: . Exact tempo indication (in beats per minute). Also denoted by M.M. (M@"alzel's Metronom) @item mezzo-soprano -I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK: +ES: mezzo soprano, I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK: mezzosopran, S: mezzosopran, N: mezzosopran. The female voice between @w{@ar{}@strong{soprano}} and @w{@ar{}@strong{contralto}}. @item middle C -I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK: +ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK: enstreget c, S: ettstruket c, N: First C below the 440 Hz A. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Staff.clefStyle = #"fullSizeChanges" +\property Staff.Clef \set #'full-size-change = ##t \notes\relative c' { - \clef bass; c1 s - \clef alto; c s - \clef treble; c s + \clef bass c1 s + \clef alto c s + \clef treble c s } @end lilypond @item minor interval -I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein +ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein interval, DK: lille interval, S: litet intervall, N: . @w{@ar{}@strong{interval}} @item minor -I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: . +ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: . @w{@ar{}@strong{diatonic scale}} @item mode -I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: . +ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: . @w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}} @item modulation -I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, +ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, S: modulering, N: . Moving from one @w{@ar{}@strong{key}} to another. For example the second @@ -1667,6 +1672,7 @@ I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N: @w{@ar{}@strong{ornament}} @item motive; motif +ES: tema, I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: . The briefest intelligible and self-contained fragment of a musical theme or @@ -1674,28 +1680,27 @@ subject. @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.TimeSignature \override #'style = #'C2/2 -\emptyText -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c'' { - \time 4/4; - \key g \major; - \partial 8; g16_"------" fis | + \time 4/4 + \key g \major + \partial 8 g16_"------" fis | g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis | g8 g,16 a b8 cis d16 s } @end lilypond @item movement -I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: . +ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: . Greater musical works like @w{@ar{}@strong{symphony}} and @w{@ar{}@strong{sonata}} most often consist of several - more or less - independant pieces called movements. @item multibar rest -I: pausa multipla, F: pause multiple, NL: meermaats rust, D: +ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D: mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: . @ @@ -1711,7 +1716,7 @@ a1 } @w{@ar{}@strong{diatonic scale}} @item natural sign -I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, +ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: . @w{@ar{}@strong{accidental}} @@ -1720,7 +1725,7 @@ DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: . @w{@ar{}@strong{appoggiatura}} @item ninth -I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: . + ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: . @w{@ar{}@strong{interval}} @@ -1728,7 +1733,7 @@ I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: . @w{@ar{}@strong{legato}} @item note -I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: , +ES: nota, I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: , Notes are signs by means of which music is fixed in writing. The term is also used for the sound indicated by a note, and even for the key of the piano @@ -1737,7 +1742,7 @@ and @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note, and hears a tone. @item note head -I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL: +ES: oval, I: testa, testina, capocchia, F: t@^ete de la note, D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N: . A head like sign which indicates pitch by its position on a @@ -1748,7 +1753,7 @@ instruments (often having no defined pitch) the note head may indicate the instrument. @item note value -I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL: +ES: valor, I: valore, durata, F: dur@'ee, valeur (d'une note), D: Notenwert, NL: nootwaarde, DK nodev@ae{}rdi, S: notv@"arde, N: . Note values (durations) are measured as fractions, normally 1/2, of the next @@ -1759,18 +1764,18 @@ but sometimes (mostly in pre baroque music) the double length note value @ @lilypond[13pt,eps] -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \property Score.barNonAuto = ##t \notes\relative c'' { - \property Voice.noteHeadStyle = #'mensural + \property Voice.NoteHead \override #'style = #'mensural g\longa_"longa" g\breve_"breve" - \property Voice.noteHeadStyle = ##f + \property Voice.NoteHead \revert #'style g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16 g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 } @end lilypond @lilypond[13pt,eps] -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \property Score.barNonAuto = ##t \notes\relative c'' { r\longa_"longa" r\breve_"breve" @@ -1784,12 +1789,11 @@ half. Another dot adds yet a fourth of the duration. @ @lilypond[13pt,eps] -\emptyText -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c'' { - \time 4/4; - g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"; - g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; } + \time 4/4 + g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||" + g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||" } @end lilypond Alternatively note values may be subdivided by other ratios. Most common is @@ -1800,17 +1804,16 @@ frequently used. @ @lilypond[13pt,eps] -\property Voice.TextScript \set #'font-style = #'large -\emptyText +\property Score.TextScript \set #'font-style = #'large \notes\relative c'' { - \time 4/4; - \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"; - \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"; - \time 3/4; + \time 4/4 + \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||" + \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||" + \time 3/4 \times 3/2 {g4_"duplets" g} | - g4 g g \bar "||"; + g4 g g \bar "||" \times 6/4 {g8_"quadruplets" g g g} | - g8 g g g g4 \bar "||";} + g8 g g g g4 \bar "||"} @end lilypond @ @@ -1820,11 +1823,12 @@ frequently used. @w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}} @item octave -I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: . +ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: . @w{@ar{}@strong{interval}} @item ornament; embellishment; accessory +ES: adorno, I: abbellimento, fioriture, F: agr@'ement, ornement, D: Verzierung, Ornament, NL: versiering, DK: forsiring, S: ornament, N: . @@ -1837,11 +1841,10 @@ the upper note is played first. @lilypond[13pt,eps] < \context Staff = sa { - \emptyText - \property Voice.TextScript \set #'font-style = #'large + \property Score.TextScript \set #'font-style = #'large \notes\relative c'' { - c2._"pre-1850" b4\trill | c1 \bar "||"; - c2._"post-1850" b4\trill | c1 \bar "||"; + c2._"pre-1850" b4\trill | c1 \bar "||" + c2._"post-1850" b4\trill | c1 \bar "||" } } \notes\relative c'' { @@ -1859,12 +1862,11 @@ Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the @lilypond[13pt,eps] < \context Staff = sa { - \emptyText - \property Voice.TextScript \set #'font-style = #'large + \property Score.TextScript \set #'font-style = #'large \notes\relative c'' { - a4_"turn" b\turn c2 \bar "||"; - g4_"mordent" a b\mordent a \bar "||"; - e'4_"prall" d\prall c2 \bar "||"; + a4_"turn" b\turn c2 \bar "||" + g4_"mordent" a b\mordent a \bar "||" + e'4_"prall" d\prall c2 \bar "||" } } \notes\relative c'' { @@ -1878,21 +1880,21 @@ Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the @w{@ar{}@strong{appoggiatura}} @item ossia -I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: . +ES: ossia, I: ossia, F: ossia, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: . Ossia (otherwise) marks an alternative. It is an added staff or piano score, usually only a few measures long, which presents another version of the music, for example for small hands. @item part -I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: . +ES: parte, I: voce, parte, F: partie, D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: . 1. In instrumental or choral music the music for the single instrument or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single melodic line of the contrapuntal web. @item percussion -I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: +ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: slagverk, N: . A family of musical instruments which are played on by striking or @@ -1902,42 +1904,42 @@ tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel and xylophone. @item perfect interval - +ES: intervalo justo, I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein interval, DK: rent interval, S: rent intervall, N: . @w{@ar{}@strong{interval}} @item phrase -I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: . +ES: frase, I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: . A natural division of the melodic line, comparable to a sentence of speech. @item phrasing -I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S: +ES: fraseo, I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S: fra@-se@-ring, N: . The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}. -@item piano -I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: . +@item piano +ES: piano, I: piano, F: piano, D: piano, leise, NL: piano, DK: piano, S: piano, N: . @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, @emph{mezzopiano} (@b{mp}) medium soft. @item pitch -I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S: +ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S: tonh@"ojd, N: . @item pizzicato -I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK: +ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK: pizzicato, S: pizzicato. Play by plucking the strings. @item polyphony -I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S: +ES: polifon@'{@dotless{i}}a, I: polifonia, F: polyphonie, D: Polyphonie, NL: polyfonie, DK: polyfoni, S: polyfoni, N: . Music written in a combination of several simultaneous voices (parts) of a @@ -1947,13 +1949,14 @@ more or less pronounced individuality. @w{@ar{}@strong{counterpoint}} @w{@ar{}@strong{legato}} @item presto -I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: +ES: presto, I: presto, F: presto, D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: presto, S: presto, N: . Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo} denotes the highest possible degree of speed. @item Pythagorean comma +ES: coma pitag@'orico, I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL: komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: . @@ -1963,37 +1966,37 @@ obtained by adding 7 octaves. The difference between those two pitches is called the Pythagorean comma. @item quadruplet -I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, +ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, N: . @w{@ar{}@strong{note value}} @item quarter note -I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL: +ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL: kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N: @w{@ar{}@strong{note value}} @item quarter rest -I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL: +ES: silencio de negra, I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL: kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: . @w{@ar{}@strong{note value}} @item quintuplet -I: quintina, F: quintuplet, D: Quintole, NL: kwintool, DK: kvintol, S: +ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, N: . @w{@ar{}@strong{note value}} @item rallentando -I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK: +ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK: rallentando, S: rallentando, N: rallentando. Abbreviation "rall.". @w{@ar{}@strong{ritardando}} @item relative key -I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK: +ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK: paralleltoneart, S: parallelltonart, N: . @w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with @@ -2001,40 +2004,41 @@ the same @w{@ar{}@strong{signature}}. @ -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c' { - \key es \major; + \key es \major es1_"e flat major" f g as bes c d es - \bar "||"; s16 - \key es \major; - c,1_"c minor" d es f g a! b! c \bar "||"; + \bar "||" s16 + \key es \major + c,1_"c minor" d es f g a! b! c \bar "||" } @end lilypond @item repeat -I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: +ES: barra de repetici@'on, I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: gen@-ta@-gel@-se, S: repris, N: . @ @lilypond[13pt,eps] -\key g \major; -\time 4/4; +\key g \major +\time 4/4 \notes\relative c'' { \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 } } @end lilypond +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. @item rest -I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: . +ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: . @w{@ar{}@strong{note value}} @item rhythm -I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: . +ES: ritmo, I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: . (a) metrical rhythm in which every time value is a multiple or fraction of a fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal @@ -2046,24 +2050,24 @@ different measures. (c) Free rhythm, i.e. the use of temporal values having no common metrical unit (beat). @item ritardando -I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK: +ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK: ritardando, S: ritardando, N: . Gradually slackening in speed. Mostly abbreviated to rit. or ritard. @item ritenuto -I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S: +ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, N: . Immediate reduction of speed. @item scale -I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: . +ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: . @w{@ar{}@strong{diatonic scale}} @item scale degree -I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap +ES: grados de la escala, I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap [van de toonladder], DK: skalatrin, S: skalsteg (?), N: . Names and symbols used in harmonic analysis to denote tones of the scale as @@ -2072,13 +2076,12 @@ sub@-do@-mi@-nant (S) and V = dominant (D). @ -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Lyrics.LyricText \set #'font-style = #'large -\property Lyrics.minVerticalAlign = 8 +\property Score.LyricText \set #'font-style = #'large +%\property Lyrics.minVerticalAlign = #8 \addlyrics -\notes\relative c' { +\context Staff \notes\relative c' { c1 d e f g a b c } \context Lyrics \lyrics { < { I II III IV V VI VII I } @@ -2089,7 +2092,7 @@ sub@-do@-mi@-nant (S) and V = dominant (D). @w{@ar{}@strong{functional harmony}} @item score -I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S: +ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S: partitur, N: . A copy of orchestral, choral or chamber music showing what each instrument is @@ -2097,7 +2100,7 @@ to play, each voice to sing, having each part arranged one underneath the other on different @w{@ar{}@strong{stave}}s. @item second -I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: . +ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: . The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A @w{@ar{}@strong{diatonic scale}} consists of alternating @@ -2105,7 +2108,7 @@ The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A of a se@-cond depends on the scale degrees in question. @item semitone -I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S: +ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S: halvton, N: . The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest @@ -2116,13 +2119,13 @@ semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}} @ -@lilypond[13pt,eps] +@lilypond[13pt,eps] \property Score.barNonAuto = ##t \notes\relative c'' { g1 gis s a bes s b c } @end lilypond @item seventh -I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: . +ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: . @w{@ar{}@strong{interval}} @@ -2133,7 +2136,7 @@ I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N: @w{@ar{}@strong{note value}} @item sharp -I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: . +ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: . @w{@ar{}@strong{accidental}} @@ -2141,25 +2144,26 @@ I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: . @w{@ar{}@strong{appoggiatura}} @item sixteenth note -I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel, +ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel, Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S: sextondelsnot, N: . @w{@ar{}@strong{note value}} @item sixteenth rest -I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D: +ES: silencia de semicorchea, I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D: Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S: sextondelspaus, N: . @w{@ar{}@strong{note value}} @item sixth -I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: . +ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: . @w{@ar{}@strong{interval}} @item sixty-fourth note +ES: semifusa, I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D: Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S: @@ -2168,6 +2172,7 @@ sextiofj@"ardedelsnot, N: . @w{@ar{}@strong{note value}} @item sixty-fourth rest +ES: silencia de semifusa, I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S: @@ -2176,7 +2181,7 @@ sextiofj@"ardedelspaus, N: . @w{@ar{}@strong{note value}} @item slur -I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen, +ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog, DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: . @@ -2194,14 +2199,14 @@ General term for systems of designating the degrees of the (@emph{ti})). @w{@ar{}@strong{scale degree}}. @item sonata -I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: . +ES: sonata, I: sonata, F: sonate, D: Sonate, NL: sonate, DK: sonate, S: sonat, N: . In its present-day meaning a sonata denotes an instrumental composition for piano or for some other instrument with piano accompaniment, which consists of three or four independant pieces, called movements. @item sonata form -I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm, +ES: forma sonata, I: forma sonata, F: [en] forme de sonate, D: Sonatenform, NL: hoofdvorm, sonatevorm, DK: sonateform, S: sonatform, N: . A form used frequently for single movements of the @w{@ar{}@strong{sonata}}, @@ -2219,12 +2224,12 @@ two. The second theme is in another key, normally in the key of the tonic is @w{@ar{}@strong{minor}}. @item soprano -I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: . +ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: . The highest female voice. @item staccato -I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK: +ES: staccato, I: staccato, F: staccato, piqu@'e, d@'etach@'e, D: staccato, NL: staccato, DK: staccato, S: staccato, N: Playing the note(s) short. Staccato is indicated by a dot above or below the @@ -2233,25 +2238,25 @@ notehead. @ @lilypond[13pt,eps] -\key d \major; -\time 4/4; +\key d \major +\time 4/4 \notes\relative c'' { - \partial 8; a8 | + \partial 8 a8 | d4-\staccato cis-\staccato b-\staccato cis-\staccato | - d2. \bar "||"; } + d2. \bar "||" } @end lilypond @item staff -I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk; +ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk; partij, DK: nodesystem, S: notsystem, N: . -pl. staves or staffs. A series of (normally 5) horizontal lines upon and -between which the musical notes are written, thus indicating (in connection -with a @w{@ar{}@strong{clef}}) their pitch. Staffs for +pl. staves. A series of (normally 5) horizontal lines upon and between +which the musical notes are written, thus indicating (in connection +with a @w{@ar{}@strong{clef}}) their pitch. Staves for @w{@ar{}@strong{percussion}} instruments may have fewer lines. @item stem -I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft, +ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft, N: . Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole @@ -2260,10 +2265,9 @@ note. @w{@ar{}@strong{beam}} @ @lilypond[13pt,eps] -\property Score.noAutoBeaming = ##t +\property Score.autoBeaming = ##f \property Score.barNonAuto = ##t -\emptyText -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c'' { g2_"1/2" g' s16 g,4_"1/4" g' s16 @@ -2273,58 +2277,58 @@ note. @w{@ar{}@strong{beam}} @end lilypond @item strings -I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S: +ES: arcos, cuerdas, I: archi, F: cordes, D: Streicher, NL: strijkers, DK: strygere, S: str@aa{}kar, N: . A family of stringed musical instruments played with a bow. Strings commonly used in a symphony orchestra are violin, viola, violoncello and double bass. @item strong beat -I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis, +ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis, D: betonet taktslag, S: betonat taktslag, N: . @w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}} @item subdominant -I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: +ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: subdominant, S: subdominant, N: . The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional harmony}} @item submediant -I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK: +ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK: Submediant, S: submediant, N: . The sixth @w{@ar{}@strong{scale degree}}. @item subtonic -I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: +ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: subtonika, N: . The seventh @w{@ar{}@strong{scale degree}} @item superdominant -I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK: +ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK: superdominant, S: superdominant, N: . The sixth @w{@ar{}@strong{scale degree}} @item supertonic -I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: +ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: supertonika, S: supertonika, N: . The second @w{@ar{}@strong{scale degree}}. @item symphony -I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, +ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, N: . A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra. @item syncopation -I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: . +ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: . Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}}, @w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical @@ -2336,11 +2340,10 @@ the underlaying (normal) pulse and the actual (abnormal) rhythm. @ @lilypond[13pt,eps] -\emptyText -\property Voice.TextScript \set #'font-style = #'large -\time 4/4; +\property Score.TextScript \set #'font-style = #'large +\time 4/4 \notes\relative c' { - \partial 4; + \partial 4 d8 dis | e c'4 e,8 c'4 e,8 c' ( | ) c2 } @@ -2362,7 +2365,7 @@ The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the writing down of keyboard, chamber, choral or orchestral music. @item temperament -I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament, +ES: temperamento, I: temperamento, F: temp@'erament, D: Stimmung, Temperatur, NL: temperament, DK: temperatur, S: temperatur, N: . Systems of tuning in which the intervals deviate from the accoustically pure @@ -2370,7 +2373,7 @@ intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal temperament}} @item tempo indication -I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{}, +ES: indicaci@'on de tempo, I: indicazione di tempo, F: indication de temps, D: Zeitma@ss{}, Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, N: . @@ -2380,22 +2383,22 @@ slowest to the quickest, as is indicated by tempo marks as @w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}. @item tenor -I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: . +ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: . The highest voice of men (apart from @w{@ar{}@strong{counter tenor}}) @item tenth -I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: . +ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: . @w{@ar{}@strong{note value}} @item third -I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: . +ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: . @w{@ar{}@strong{interval}} @item thirty-second note - +ES: fusa, I: biscroma, F: triple croche, UK: demisemiquaver, D: Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: . @@ -2403,7 +2406,7 @@ noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: . @w{@ar{}@strong{note value}} @item thirty-second rest - +ES: silencio de fusa, I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D: Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S: trettiotv@aa{}ondelspaus, N: . @@ -2411,6 +2414,7 @@ trettiotv@aa{}ondelspaus, N: . @w{@ar{}@strong{note value}} @item thorough bass; figured bass +ES: bajo cifrado, I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass, bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: . @@ -2422,10 +2426,10 @@ with figures designating the chief @w{@ar{}@strong{interval}}s and @lilypond[13pt,eps] \context GrandStaff < - \notes\relative c'' { - \time 4/4; - \key es \major; - \clef treble; + \context Staff = lh \notes\relative c'' { + \time 4/4 + \key es \major + \clef treble < \context Voice = rha { \stemUp es4 d c bes | bes } @@ -2434,16 +2438,15 @@ with figures designating the chief @w{@ar{}@strong{interval}}s and < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > } > } - \property Voice.TextScript \set #'font-style = #'large - \property Lyrics.LyricText \set #'font-style = #'Large - \property Lyrics.minVerticalAlign = 6 \addlyrics - \notes\relative c' { - \clef bass; - \key es \major; + \context Staff = rh \notes\relative c' { + \clef bass + \key es \major es8 c () c bes () bes as () as g16 f | es4 } \context Lyrics \lyrics { + \property Lyrics . LyricText \set #'font-style = #'Large + \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12) < { "" "6" "4" "6" "4" "6" "4" "6" } { "" "" "2" "" "2" "" "2" "" } > } @@ -2451,6 +2454,7 @@ with figures designating the chief @w{@ar{}@strong{interval}}s and @end lilypond @item tie; bind +ES: ligadura de prolongaci@'on, I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK: bindebue, S: bindeb@aa{}ge, @"overbindning, N: . @@ -2467,6 +2471,7 @@ uniting them into a single sound equal to the combined durations. @item time signature +ES: cifra indicadora de comp@'as, I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S: taktartssignatur, N: . @@ -2474,19 +2479,19 @@ taktartssignatur, N: . @w{@ar{}@strong{meter}} @item tone -I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: . +ES: sonido, I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: . A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is a primary building material of music. Music from the 20th century may be based on non tone related sounds. @item tonic -I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: . +ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: . The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}} @item transposition -I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: +ES: transposici@'on, I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: transposition, S: transponering, N: . Shifting a melody up or down in pitch, while keeping the same relative pitches. @@ -2495,25 +2500,25 @@ Shifting a melody up or down in pitch, while keeping the same relative pitches. @lilypond[13pt,eps] \context Staff { - \time 3/4; + \time 3/4 \notes\relative c'' { - \key g \major; - d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; } + \key g \major + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." } \transpose bes\relative c'' { - \key g \major; - d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; } + \key g \major + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." } } @end lilypond @item treble clef -I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel, +ES: clave de sol, I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel, Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav, N: . @w{@ar{}@strong{G clef}} @item tremolo -I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N: +ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N: . On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of @@ -2524,10 +2529,9 @@ a @w{@ar{}@strong{chord}}, usually in the distance of a third @ -@lilypond[13pt,eps] -\emptyText +@lilypond[13pt,eps] \property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large \notes\relative c' { % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g] % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g } @@ -2536,47 +2540,49 @@ a @w{@ar{}@strong{chord}}, usually in the distance of a third @end lilypond @item triad -I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL: +ES: tr@'{@dotless{i}}ada, I: triade, F: triade, accord parfait, accord de trois sons, D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N: @w{@ar{}@strong{chord}} @item trill; shake +ES: trino, I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL: triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }. @w{@ar{}@strong{ornament}} @item triple meter -I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige +ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, N: . @w{@ar{}@strong{meter}} @item triplet -I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: . +ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: . @w{@ar{}@strong{note value}} @item tritone -I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N: +ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N: . @w{@ar{}@strong{interval}} @item tuning fork -I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: +ES: diapas@'on, I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: stemmegaffel, S: st@"amgaffel, N: . A two-pronged piece of steel used to indicate absolute pitch. Tuning forks give the international pitch for the tone @emph{a} (440 vibrations per second.) @item turn; gruppetto +ES: grupo, I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag, S: dubbelslag, N: . @item unison -I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S: +ES: un@'{@dotless{i}}sono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S: unison, N: . Playing of the same notes or the same melody by various instruments (voices) @@ -2584,7 +2590,7 @@ or by the whole orchestra (choir), either at exactly the same pitch or in a different octave. @item upbeat -I: anacrusi, F: anacrouse, D: Auftakt, NL: opmaat, DK: optakt, S: +ES: entrada anacr@'usica, I: anacrusi, F: anacrouse, lev@'ee, D: Auftakt, NL: opmaat, DK: optakt, S: upptakt, N: Initial note(s) of a melody occurring before the first bar @@ -2593,15 +2599,15 @@ line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}} @ @lilypond[13pt,eps] -\key f \major; -\time 4/4; +\key f \major +\time 4/4 \notes\relative c' { - \partial 4; f4 | bes4. a8 bes4 c | - bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; } + \partial 4 f4 | bes4. a8 bes4 c | + bes () a g f | bes4. a8 bes4 c | f,2. \bar "||" } @end lilypond @item voice -I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: , +ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: , 1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}}, @w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}}, @@ -2609,25 +2615,25 @@ I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: , of a polyphonic composition. @item weak beat -I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag, +ES: tiempo d@'ebil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag, NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: . @w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}} @item whole note -I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot, +ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot, DK: helnode, S: helnot, N: . @w{@ar{}@strong{note value}} @item whole rest -I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele +ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele rust, DK: helnodespause, S: helpaus, N: . @w{@ar{}@strong{note value}} @item whole tone -I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S: +ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S: helton, N: . The @w{@ar{}@strong{interval}} of a major second. The interval between two @@ -2635,7 +2641,7 @@ tones on the piano keyboard with exactly one key between them - including black and white keys - is a whole tone. @item woodwind -I: legni, F: le bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, +ES: maderas, I: legni, F: les bois, D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S: tr@"abl@aa{}sare, N: . A family of blown wooden musical instruments. Today some of these instruments @@ -2793,3 +2799,4 @@ Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974. @end table @bye +