X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;fp=Documentation%2Fuser%2Fmusic-glossary.tely;h=0000000000000000000000000000000000000000;hb=941dff9d2a67080e0dd8474f1e70f0c72ace6424;hp=4c70e2f6a16da5f84d4de1bf89509bc163b9b37e;hpb=5a22d6233a39d3164e1ca043244794c268be4ad0;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely deleted file mode 100644 index 4c70e2f6a1..0000000000 --- a/Documentation/user/music-glossary.tely +++ /dev/null @@ -1,8853 +0,0 @@ -\input texinfo @c -*- coding: utf-8; mode: texinfo; -*- -@setfilename music-glosssary.info -@settitle Music Glossary -@documentencoding UTF-8 -@documentlanguage en - -@include macros.itexi - -@afourpaper - -@c see lilypond.tely for info installation note -@dircategory LilyPond -@direntry -* Glossary: (lilypond/music-glossary). Glossary of music terms. -@end direntry - -@titlepage -@title Music Glossary -@author Christian Mondrup @c Original author of LilyPond glossary -@c Danish glossary -@author François Pinard @c Original glossary of GNU music project, -@c French glossary -@author Mats Bengtsson @c Swedish glossary -@author David González @c Spanish glossary -@author Bjoern Jacke @c German glossary -@author Neil Jerram @c English glossary translations -@author Heikki Junes @c Finnish glossary -@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007 -@author Adrian Mariano @c Italian glossary -@author Han-Wen Nienhuys @c Dutch glossary -@author Jan Nieuwenhuizen @c Dutch glossary - -@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07 -@c Updates to the German translation by Till Rettig, 12/07 - -Copyright @copyright{} 1999--2009 by the authors - - Permission is granted to copy, distribute and/or modify this document - under the terms of the GNU Free Documentation License, Version 1.1 - or any later version published by the Free Software Foundation, - without Invariant Sections. - -@end titlepage - - -@c TODO: multiple omfcreators? -@ignore -@omfcreator Christian Mondrup, Kurt Kroon -@omfdescription Glossary of musical terms with translations -@omftype glossary -@omfcategory Applications|Publishing -@omflanguage English -@end ignore - -@ifnottex -@node Top -@top Music glossary -@end ifnottex - - -@ifnottex - -@ifhtml -@ifclear bigpage -This document is also available as a -@uref{source/Documentation/user/music-glossary.pdf,PDF} and as -@uref{source/Documentation/user/music-glossary-big-page.html,one big page}. -@end ifclear -@ifset bigpage -This document is also available as a -@uref{source/Documentation/user/music-glossary.pdf,PDF} and as a -@uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}. -@end ifset -@end ifhtml - -This glossary was brought you by: - -@itemize - -@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish, -@item @b{François Pinard}: Original glossary of GNU music project, French, - -@item @b{Han-Wen Nienhuys}: Dutch, -@item @b{Jan Nieuwenhuizen}: Dutch, - -@item @b{Neil Jerram}: English, -@item @b{Kurtis Kroon}: English, - -@item @b{Heikki Junes}: Finnish, - -@item @b{Bjoern Jacke}: German, - -@item @b{Adrian Mariano}: Italian, - -@item @b{David González}: Spanish, - -@item @b{Mats Bengtsson}: Swedish, - -@end itemize - -with additional contributions: thanks to all who have contributed. - -@ignore - -The list is rather long ... - -@itemize - -@item Danish: -@itemize -@item Rune Zedeler, @emph{pace} -@item Eyolf Østrem -@end itemize - -@item Dutch: -@itemize -@item Alard de Boer -@end itemize - -@item English: -@itemize -@item Trevor Bača -@item Trevor Daniels -@item Andrew Hawryluk -@item Ian Hulin -@item Kieren MacMillan -@item Patrick McCarty -@item Ralph Palmer -@item Carl D. Sorensen -@item Anh Hai Trinh -@end itemize - -@item Finnish: -@itemize -@item Risto Vääräniemi -@end itemize - -@item German: -@itemize -@item Orm Finnendahl -@item Reinhold Kainhofer -@item Werner Lemberg -@item Till Rettig -@item Thomas Scharkowski -@end itemize - -@item Italian -@itemize -@item Andrea Valle -@end itemize - -@item Spanish -@itemize -@item Francisco Vila -@end itemize - -@item Swedish -@itemize -@item Simon Dahlbacka -@end itemize - -@end itemize -@end ignore - -@* -Copyright 1999--2009 by the authors - - Permission is granted to copy, distribute and/or modify this document - under the terms of the GNU Free Documentation License, Version 1.1 - or any later version published by the Free Software Foundation, - without Invariant Sections. - -@* -@end ifnottex - -@c @pagesizes 10.3in -@c @everyheading @| @thispage @| -@c @evenheading @thispage @| @| -@c @oddheading @| @| @thispage @| - -This is the Music Glossary (MG) for GNU LilyPond version @version{}. -For more information about how this fits with the other -documentation, see @rlearning{About the documentation}. - - -@c arrowref -@macro aref{word} -@iftex -@w{@expansion{}@strong{\word\}}@c -@end iftex -@ifnottex -@expansion{}@ref{\word\, @strong{\word\}}@c -@end ifnottex -@end macro - -@menu -* Musical terms A-Z:: -* Duration names notes and rests:: -* Pitch names:: -@end menu - - -@node Musical terms A-Z -@chapter Musical terms A-Z - -Languages in this order. -@itemize -@item UK - British English (where it differs from American English) -@item ES - Spanish -@item I - Italian -@item F - French -@item D - German -@item NL - Dutch -@item DK - Danish -@item S - Swedish -@item FI - Finnish -@end itemize - - -@menu -* A:: -* a due:: -* accelerando:: -* accent:: -* accessory:: -* acciaccatura:: -* accidental:: -* adagio:: -* al niente:: -* alla breve:: -* allegro:: -* alteration:: -* alto:: -* alto clef:: -* ambitus:: -* anacrusis:: -* ancient minor scale:: -* andante:: -* appoggiatura:: -* arpeggio:: -* articulation:: -* ascending interval:: -* augmentation:: -* augmented interval:: -* autograph:: -* B:: -* backfall:: -* bar:: -* bar line:: -* baritone:: -* baritone clef:: -* bass:: -* bass clef:: -* beam:: -* beat:: -* beat repeat:: -* bind:: -* brace:: -* bracket:: -* brass:: -* breath mark:: -* breve:: -* C:: -* C clef:: -* cadence:: -* cadenza:: -* caesura:: -* canon:: -* cent:: -* central C:: -* chord:: -* chromatic scale:: -* chromaticism:: -* church mode:: -* clef:: -* cluster:: -* comma:: -* common meter:: -* common time:: -* complement:: -* compound interval:: -* compound meter:: -* compound time:: -* concert pitch:: -* conjunct movement:: -* consonance:: -* contralto:: -* copying music:: -* counterpoint:: -* countertenor:: -* crescendo:: -* cue-notes:: -* custos:: -* cut time:: -* D:: -* da capo:: -* dal niente:: -* dal segno:: -* decrescendo:: -* descending interval:: -* diatonic scale:: -* didymic comma:: -* diminished interval:: -* diminuendo:: -* diminution:: -* direct:: -* disjunct movement:: -* dissonance:: -* dissonant interval:: -* divisio:: -* doit:: -* dominant:: -* dominant ninth chord:: -* dominant seventh chord:: -* dorian mode:: -* dot (augmentation dot):: -* dotted note:: -* double appoggiatura:: -* double bar line:: -* double dotted note:: -* double flat:: -* double sharp:: -* double time signature:: -* double trill:: -* duple meter:: -* duplet:: -* duration:: -* dynamics:: -* E:: -* ecclesiastical mode:: -* eighth note:: -* eighth rest:: -* elision:: -* embellishment:: -* engraving:: -* enharmonic:: -* equal temperament:: -* expression mark:: -* extender line:: -* F:: -* F clef:: -* fall:: -* feathered beam:: -* fermata:: -* fifth:: -* figured bass:: -* fingering:: -* flag:: -* flageolet:: -* flat:: -* forefall:: -* forte:: -* fourth:: -* Frenched score:: -* Frenched staff:: -* Frenched staves:: -* fugue:: -* functional harmony:: -* G:: -* G clef:: -* glissando:: -* grace notes:: -* grand staff:: -* grave:: -* gruppetto:: -* H:: -* hairpin:: -* half note:: -* half rest:: -* harmonic cadence:: -* harmonics:: -* harmony:: -* hemiola:: -* homophony:: -* hymn meter:: -* interval:: -* inversion:: -* inverted interval:: -* just intonation:: -* key:: -* key signature:: -* laissez vibrer:: -* largo:: -* leading note:: -* ledger line:: -* legato:: -* legato curve:: -* leger line:: -* ligature:: -* lilypond:: -* line:: -* loco:: -* long appoggiatura:: -* longa:: -* lyric tie:: -* lyrics:: -* major:: -* major interval:: -* maxima:: -* meantone temperament:: -* measure:: -* measure repeat:: -* mediant:: -* melisma:: -* melisma line:: -* melodic cadence:: -* mensural notation:: -* mensuration sign:: -* meter:: -* metronome:: -* metronome mark:: -* metronomic indication:: -* mezzo:: -* mezzo-soprano:: -* middle C:: -* minor:: -* minor interval:: -* mixolydian mode:: -* mode:: -* modulation:: -* mordent:: -* motif:: -* motive:: -* movement:: -* multi-measure rest:: -* natural:: -* neighbor tones:: -* ninth:: -* non-legato:: -* note:: -* note head:: -* note names:: -* note value:: -* octavation:: -* octave:: -* octave mark:: -* octave marking:: -* octave sign:: -* ornament:: -* ossia:: -* part:: -* pause:: -* pennant:: -* percent repeat:: -* percussion:: -* perfect interval:: -* phrase:: -* phrasing:: -* piano:: -* pickup:: -* pitch:: -* pizzicato:: -* polymeter:: -* polymetric:: -* polymetric time signature:: -* polyphony:: -* portato:: -* presto:: -* proportion:: -* Pythagorean comma:: -* quadruplet:: -* quality:: -* quarter note:: -* quarter rest:: -* quarter tone:: -* quintuplet:: -* rallentando:: -* relative key:: -* repeat:: -* rest:: -* rhythm:: -* ritardando:: -* ritenuto:: -* scale:: -* scale degree:: -* scordatura:: -* score:: -* second:: -* semibreve:: -* semitone:: -* seventh:: -* sextolet:: -* sextuplet:: -* shake:: -* sharp:: -* simile:: -* simple meter:: -* sixteenth note:: -* sixteenth rest:: -* sixth:: -* sixty-fourth note:: -* sixty-fourth rest:: -* slash repeat:: -* slur:: -* solmization:: -* sonata:: -* sonata form:: -* song texts:: -* soprano:: -* staccato:: -* staff:: -* staves:: -* stem:: -* stringendo:: -* strings:: -* strong beat:: -* subdominant:: -* submediant:: -* subtonic:: -* sul G:: -* superdominant:: -* supertonic:: -* symphony:: -* syncopation:: -* syntonic comma:: -* system:: -* temperament:: -* tempo indication:: -* tenor:: -* tenth:: -* tenuto:: -* third:: -* thirty-second note:: -* thirty-second rest:: -* thorough bass:: -* tie:: -* time:: -* time signature:: -* tone:: -* tonic:: -* transposing instrument:: -* transposition:: -* treble clef:: -* tremolo:: -* triad:: -* trill:: -* triple meter:: -* triplet:: -* tritone:: -* tuning fork:: -* tuplet:: -* turn:: -* unison:: -* upbeat:: -* voice:: -* volta:: -* weak beat:: -* whole note:: -* whole rest:: -* whole tone:: -* woodwind:: -@end menu - - -@node A -@section A - -@itemize -@item ES: la -@item I: la -@item F: la -@item D: A, a -@item NL: a -@item DK: a -@item S: a -@item FI: A, a -@end itemize - -@seealso -@ref{Pitch names}. - - -@node a due -@section a due - -ES: a dos, -I: a due, -F: à deux, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kahdelle. - -Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a -due} indicates that: - -@enumerate - -@item A single part notated on a single staff that normally carries parts for -two players (e.g. first and second oboes) is to be played by both players. - -@item Or conversely, that two pitches or parts notated on a staff that normally -carries a single part (e.g. first violin) are to be played by different players, -or groups of players (@q{desks}). - -@end enumerate - -@seealso -No cross-references. - - -@node accelerando -@section accelerando - -ES: accelerando, -I: accelerando, -F: accelerando, en accélérant, -D: accelerando, schneller werden, -NL: accelerando, -DK: accelerando, -S: accelerando, -FI: accelerando, kiihdyttäen. - -[Italian: @q{speed up, accelerate}] - -Increase tempo - -@seealso -No cross-references. - - -@node accent -@section accent - -ES: acento, -I: accento, -F: accent, -D: Akzent, -NL: accent, -DK: accent, -S: accent, -FI: aksentti, korostus. - -The stress of one tone over others. - -@seealso -No cross-references. - - -@node accessory -@section accessory - -@seealso -@ref{ornament}. - - -@node acciaccatura -@section acciaccatura - -ES: ?, -I: acciaccatura, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -A grace note which takes its time from the rest or note preceding the -principal note to which it is attached. The acciaccatura is drawn as a -small eighth note (quaver) with a line drawn through the flag and -stem. - -@seealso -@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. - - -@node accidental -@section accidental - -ES: alteración accidental, -I: accidento, -F: altération accidentelle, -D: Versetzungszeichen, Akzidenz, -NL: toevallig (verplaatsings)teken, -DK: løst fortegn, -S: tillfälligt förtecken, -FI: tilapäinen etumerkki. - -An accidental alters a note by: - -@itemize - -@item Raising its pitch: -@itemize -@item By two semitones (a whole tone)—@notation{double sharp} -@item By one semitone—@notation{sharp} -@end itemize - -@item Lowering its pitch: -@itemize -@item By one semitone—@notation{flat} -@item By two semitones (a whole tone)—@notation{double flat} -@end itemize - -@item Or canceling the effects of the key signature or previous accidentals. -@end itemize - -@lilypond[quote,notime] -\score { - \new Staff { - \relative c'' { - \set Staff.extraNatural = ##f - gisis1 gis g! ges geses - } - } - \addlyrics { - \markup { - \center-column { double sharp } - } - sharp - natural - flat - \markup { - \center-column { double flat } - } - } - \layout { - \context { - \Score - \override SpacingSpanner - #'base-shortest-duration = #(ly:make-moment 1 32) - } - } -} -@end lilypond - -@seealso -@ref{alteration}, @ref{semitone}, @ref{whole tone}. - - -@node adagio -@section adagio - -ES: adagio, -I: adagio, -F: adagio, lent, -D: Adagio, Langsam, -NL: adagio, -DK: adagio, -S: adagio, -FI: adagio, hitaasti. - -[Italian: @q{comfortable, easy}] - -@itemize - -@item Slow tempo, slower -- especially in even meter -- than @notation{andante} -and faster than @notation{largo}. - -@item A movement in slow tempo, especially the second (slow) movement -of sonatas, symphonies, etc. - -@end itemize - -@seealso -@ref{andante}, @ref{largo}, @ref{sonata}. - - -@node al niente -@section al niente - -ES: ?, -I: al niente, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: häviten olemattomiin. - -[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate -that the sound should fade away to nothing. - -@notation{Al niente} is indicated by circling the tip of the hairpin: - -@lilypond[quote,relative=2] -\override Hairpin #'circled-tip = ##t -c1\< -c2\> c\< -c1\! -@end lilypond - -or with the actual phrase @notation{al niente}: - -@lilypond[quote,relative=2] -\dimTextDecresc -\override DynamicTextSpanner #'(bound-details right text) = - \markup { \italic { al niente } } -c1\> ~ -c1 ~ -c1\! -@end lilypond - -Since one does not crescendo @emph{to} nothing, it is not correct to use -@notation{al niente} with @notation{crescendo}. Instead, one should use -@emph{dal niente} (@notation{@b{from} nothing}). - -@seealso -@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}. - - -@node alla breve -@section alla breve - -ES: ?, -I: ?, -F: alla breve, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -[Italian: @q{on the breve}] Twice as fast as the notation indicates. - -Also called @notation{in cut-time}. The name derives from mensural notation, -where the @notation{tactus} (or beat) is counted on the semibreve (the modern -whole note). Counting @q{on the breve} shifts the tactus to the next longest -note value, which (in modern usage) effectively halves all note values. - -(In mensural notation, breves and semibreves can have a ternary relationship, in -which case @notation{alla breve} means thrice (not twice) as fast. In practice, -this complication may not have mattered, since Gaffurius's system of multiplex -proportions makes it easy to explicitly state which proportion is needed.) - -@seealso -@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value}, -@ref{proportion}, @ref{whole note}. - - -@node allegro -@section allegro - -ES: allegro, -I: allegro, -F: allegro, -D: Allegro, Schnell, Fröhlich, Lustig, -NL: allegro, -DK: allegro, -S: allegro, -FI: allegro, nopeasti. - -[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a -quick tempo, especially the first and last movements of a sonata. - -@seealso -@ref{sonata}. - - -@node alteration -@section alteration - -ES: alteración, -I: alterazione, -F: altération, -D: Alteration, -NL: verhoging of verlaging, -DK: ?, -S: ?, -FI: muunnettu. - -An alteration is the modification, raising or lowering, of a note's -pitch. It is established by an accidental. - -@c TODO: add second meaning from mensural notation - -@seealso -@ref{accidental}. - - -@node alto -@section alto - -ES: alto, -I: contralto, -F: alto, -D: Alt, -NL: alt, -DK: alt, -S: alt, -FI: altto, matala naisääni. - -A female voice of low range (@emph{contralto}). Originally the alto -was a high male voice (hence the name), which by the use of falsetto -reached the height of the female voice. This type of voice is also -known as countertenor. - -@seealso -@ref{countertenor}. - - -@node alto clef -@section alto clef - -ES: clave de do en tercera, -I: chiave di contralto, -F: clef d'ut troisième ligne, -D: Altschlüssel, Bratschenschlüssel, -NL: alt sleutel, -DK: altnøgle, -S: altklav, -FI: alttoavain. - -C clef setting middle C on the middle line of the staff. - -@seealso -@ref{C clef}. - - -@node ambitus -@section ambitus - -ES: ámbito, -I: ambitus, -F: ambitus, -D: Ambitus, -NL: ambitus, -DK: ambitus, -S: ambitus, -FI: ambitus, ääniala, soitinala. - -[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus] -Denotes a range of pitches for a given voice in a part of music. It may -also denote the pitch range that a musical instrument is capable of playing. -Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}). - -@seealso -No cross-references. - - -@node anacrusis -@section anacrusis - -ES: anacrusa, -I: anacrusi, -F: anacrouse, levée, -D: Auftakt, -NL: opmaat, -DK: optakt, -S: upptakt, -FI: kohotahti. - -An anacrusis (also known as pickup or upbeat) is an incomplete measure -of music before a section of music. It also refers to the initial -note(s) of a melody occurring in that incomplete measure. - -@lilypond[quote,relative=1] -\key f \major -\time 4/4 -\partial 4 f4 -bes4. a8 bes4 c -bes4( a) g f -bes4. a8 bes4 c -f,2. \bar "||" -@end lilypond - -@seealso -@ref{measure}, @ref{meter}. - - -@node ancient minor scale -@section ancient minor scale - -ES: escala menor natural, -I: scala minore naturale, -F: forme du mode mineur ancien, troisème mode, mode hellénique, -D: reines Moll, natürliches Moll, -NL: authentieke mineurtoonladder, -DK: ren mol, -S: ren mollskala, -FI: luonnollinen molliasteikko. - -Also called @q{natural minor scale}. - -@lilypond[quote,notime,relative=2] -a1 b c d e f g a -@end lilypond - - -@seealso -@ref{diatonic scale}. - - -@node andante -@section andante - -ES: andante, -I: andante, -F: andante, -D: Andante, Gehend, -NL: andante, -DK: andante, -S: andante, -FI: andante, käyden. - -[Italian: present participle of @emph{andare}, @q{to walk}] - -Walking tempo/character. - -@seealso -No cross-references. - - -@node appoggiatura -@section appoggiatura - -ES: apoyatura, -I: appoggiatura, -F: appoggiature, (port de voix), -D: Vorschlag, Vorhalt -NL: voorslag, -DK: forslag, -S: förslag, -FI: appoggiatura, etuhele. - -Ornamental note, usually a second, that is melodically connected with -the main note following it. In music before the 19th century -appoggiature were usually performed on the beat, after that mostly -before the beat. While the short appoggiatura is performed as a short -note regardless of the duration of the main note the duration of the -long appoggiatura is proportional to that of the main note. - -@lilypond[quote,relative=2] -\key d \major -\time 4/4 -4_"notation" r -\grace g16 -fis8 e16 fis -\grace a16 -g8 fis16 g | -a4 \bar "||" - -\set Score.measurePosition = #ZERO-MOMENT -4_"performance" r -g16( fis) e fis -a16 ( g) fis g | -a4 \bar "||" -@end lilypond - -An appoggiatura may have more notes preceding the main note. - -@lilypond[quote,relative=2] -\key as \major -\time 2/4 -\grace bes16 as8-"notation" as16 bes as8 g | -\grace { as16[( bes] } 4) -\grace { as16[( bes] } 4) \bar "||" - -\grace bes16 as8-"performance" as16 bes as8 g | -<< - { - \voiceOne - as32 bes c8. as32 bes c8. - } - \new Voice { - \voiceTwo - as16 ~ as8. as16 ~ as8. - } ->> -@end lilypond - -@seealso -No cross-references. - - -@node arpeggio -@section arpeggio - -ES: arpegio, -I: arpeggio, -F: arpège, -D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord, -NL: gebroken akoord, -DK: arpeggio, akkordbrydning, -S: arpeggio, -FI: arpeggio, murtosointu. - -[Italian: @q{harp-like, played like a harp}] - -@lilypond[quote,line-width=13\cm] -\new PianoStaff << - \context Staff = "SA" { - \relative c'' { - \clef treble - \time 4/4 - 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 "||" - } - } - \context Staff = "SB" { - \relative c' { - \clef bass - << - { - \voiceOne - r16 e8. ( e4) r16 e8. ( e4) - r16 d8. ( d4) r16 d8. ( d4) - } - \new Voice { - \voiceTwo - c2 c - c2 c - } - >> - } - } ->> -@end lilypond - -@seealso -No cross-references. - - -@node articulation -@section articulation - -ES: articulación, -I: articulazione, -F: articulation, -D: Artikulation, -NL: articulatie, -DK: ?, -S: ?, -FI: artikulaatio, ilmaisu. - -Articulation refers to notation which indicates how a note or notes -should be played. Slurs, accents, staccato, and legato are all -examples of articulation. - -@seealso -No cross-references. - - -@node ascending interval -@section ascending interval - -ES: intervalo ascendente, -I: intervallo ascendente, -F: intervalle ascendant, -D: steigendes Intervall, -NL: stijgend interval, -DK: stigende interval, -S: stigande intervall, -FI: nouseva intervalli. - -A distance between a starting lower note and a higher ending note. - -@seealso -No cross-references. - - -@node augmented interval -@section augmented interval - -ES: intervalo aumentado, -I: intervallo aumentato, -F: intervalle augmenté, -D: übermäßiges Intervall, -NL: overmatig interval, -DK: forstørret interval, -S: överstigande intervall, -FI: ylinouseva intervalli. - -@seealso -@ref{interval}. - - -@node augmentation -@section augmentation - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: aika-arvojen pidentäminen. - -@c TODO: add definition. - -This is a placeholder for augmentation (wrt mensural notation). - -@seealso -@ref{diminution}, @ref{mensural notation}. - - -@node autograph -@section autograph - -ES: manuscrito, -I: autografo, -F: manuscrit, autographe -D: Autograph, Handschrift, -NL: manuscript, -DK: håndskrift, autograf, -S: handskrift, -FI: käsinkirjoitettu nuotti. - -@itemize - -@item A manuscript written in the composer's own hand. - -@item Music prepared for photoreproduction by freehand drawing, with -the aid of a straightedge ruler and T-square only, which attempts to -emulate engraving. This required more skill than did engraving. - -@end itemize - -@seealso -No cross-references. - - -@node B -@section B - -@itemize -@item ES: si -@item I: si -@item F: si -@item D: H, h -@item NL: b -@item DK: h -@item S: h -@item FI: H, h -@end itemize - -@seealso -@ref{H}, @ref{Pitch names} - - -@node backfall -@section backfall - -@seealso -@ref{appoggiatura}. - - -@node bar -@section bar - -@seealso -@ref{measure}. - - -@node bar line -@section bar line - -ES: barra, línea divisoria, -I: stanghetta, barra (di divisione), -F: barre (de mesure), -D: Taktstrich, -NL: maatstreep, -DK: taktstreg, -S: taktstreck, -FI: tahtiviiva. - -A vertical line through the staff (or through multiple staves) that -separates measures. Used very infrequently during the Renaissance (mostly -in secular music, or in sacred music to indicate congruences between parts -in otherwise-unmetered music). - -@seealso -@ref{measure}. - - -@node baritone -@section baritone - -ES: barítono, -I: baritono, -F: bariton, -D: Bariton, -NL: bariton, -DK: baryton, -S: baryton, -FI: baritoni, keskikorkuinen miesääni. - -The male voice intermediate in pitch between the bass and the tenor. - -@c F: clef de troisième ligne dropped - -@seealso -@ref{bass}, @ref{tenor}. - - -@node baritone clef -@section baritone clef - -ES: clave de fa en tercera, -I: chiave di baritono, -F: clef d' Ut cinquième ligne, clef de Fa troisième, -D: Baritonschlüssel, -NL: baritonsleutel, -DK: barytonnøgle, -S: barytonklav, -FI: baritoniavain. - -C or F clef setting middle C on the upper staff line. - -@seealso -@ref{C clef}, @ref{F clef}. - - -@node bass -@section bass - -ES: bajo, -I: basso, -F: basse, -D: Bass, -NL: bas, -DK: bas, -S: bas, -FI: basso, matala miesääni. - -@itemize - -@item The lowest male voice. - -@item Sometimes, especially in jazz music, used as an abbreviation for -double bass. - -@end itemize - -@seealso -@ref{strings}. - - -@node bass clef -@section bass clef - -ES: clave de fa en cuarta, -I: chiave di basso, -F: clef de fa quatrième ligne, -D: Bassschlüssel, -NL: bassleutel, -DK: basnøgle, -S: basklav, -FI: bassoavain. - -A clef setting with middle C on the first top ledger line. - -@seealso -@ref{F clef}. - - -@node beam -@section beam - -ES: barra -I: coda, -F: barre, -D: Balken, -NL: waardestreep, -DK: bjælke, -S: balk, -FI: palkki. - -Line connecting a series of notes (shorter than a quarter note). The -number of beams determines the note value of the connected notes. - -@lilypond[quote,notime,relative=2,line-width=13\cm] -g8-"1/8"[ g g g] s16 -g16-"1/16"[ g g g] s -g32-"1/32"[ s g s g s g] s16 -g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32 -@end lilypond - -@seealso -@ref{feathered beam}. - - -@node beat -@section beat - -ES: tiempo, parte (de compás) -I: tempi, -F: temps, -D: Takt, Taktschlag, Zeit (im Takt), -NL: tel, -DK: (takt)slag, -S: taktslag, -FI: aika-arvo. - -Note value used for counting, most often half-, fourth-, and eighth notes. -The base counting value and the number of them in each measure is indicated -at the start of the music by the @notation{time signature}. - -@lilypond[quote,relative=2] -\key g \major -\time 4/4 -g4 c b a | g1 \bar "||" -\time 3/8 -g8 d' c | b c a | g4. \bar "||" -@end lilypond - -@seealso -@ref{time signature}. - - -@node beat repeat -@section beat repeat - -@seealso -@ref{percent repeat}. - - -@node bind -@section bind - -@seealso -@ref{tie}. - - -@node brace -@section brace - -ES: llave, corchete, -I: graffa, -F: accolade, -D: Klammer, Akkolade, -NL: accolade, teksthaak, -DK: klamme, -S: klammer, -FI: yhdistävä sulkumerkki. - -Symbol at the start of a system connecting staves. - -Curly braces are used for connecting piano staves, and sometimes for connecting -the staves of like instruments in an orchestral score when written on different -staves (e.g. first and second flutes): - -@lilypond[quote] -\new GrandStaff << - \context Staff = "SA" { - \relative c'' { - \clef treble - g4 e c2 - } - } - \context Staff = "SB" { - \relative c { - \clef bass - c1 - \bar "|." - } - } ->> -@end lilypond - -Angular brackets for connecting parts in an orchestral or choral score: - -@lilypond[quote] -\new StaffGroup << - \context Staff = "SA" { - \relative c'' { - \clef treble - g4 e c2 - } - } - \context Staff = "SB" { - \relative c { - \clef bass - c1 - \bar "|." - } - } ->> -@end lilypond - -@seealso -No cross-references. - - -@node bracket -@section bracket - -ES: corchete, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: sulkumerkki. - -@seealso -@ref{brace} - - -@node brass -@section brass - -ES: metales, -I: ottoni, -D: Blechbläser, -NL: koper (blazers), -F: cuivres, -DK: messingblæsere, -S: brassinstrument, mässingsinstrument, -FI: vaskisoitin. - -A family of blown musical instruments made of brass, all using a cup -formed mouth piece. The brass instruments commonly used in a symphony -orchestra are trumpet, trombone, french horn, and tuba. - -@seealso -No cross-references. - - -@node breath mark -@section breath mark - -ES: respiración, -I: respiro, -F: respiration, -D: Atemzeichen, Trennungszeichen, -NL: repercussieteken, -DK: vejrtrækningstegn, -S: andningstecken, -FI: hengitysmerkki. - -Indication of where to breathe in vocal and wind instrument parts. - -@seealso -@ref{caesura}. - - -@node breve -@section breve - -@itemize -@item US: breve, double-whole note -@item ES: cuadrada, breve -@item I: breve -@item F: brève -@item D: Brevis -@item NL: brevis -@item DK: brevis -@item S: brevis -@item FI: brevis, kaksoiskokonuotti -@end itemize - -Note value: twice the length of a @notation{whole note} (@notation{semibreve}). - -Mainly used in music from before 1650. In mensural notation, it was a note -of fairly short duration—hence the name, which is Latin for @q{short} or -@q{of short duration}. - -@lilypond[quote,notime,relative=2] -g\breve -@end lilypond - -@seealso -@ref{mensural notation}, @ref{note value}, @ref{semibreve}. - - -@node C -@section C - -@itemize -@item ES: do -@item I: do -@item F: ut -@item D: C, c -@item NL: c -@item DK: c -@item S: c -@item FI: C, c -@end itemize - -@seealso -@ref{Pitch names}. - - -@node C clef -@section C clef - -ES: clave de do, -I: chiave di do, -F: clef d'ut, -D: C-Schlüssel, -NL: C-sleutel, -DK: c-nøgle, -S: c-klav, -FI: C-avain. - -Clef symbol indicating the position of the middle C. Used on all note -lines. - -@lilypond[quote,notime,relative=1,line-width=13.0\cm] -\new Staff { - \override Staff.Clef #'full-size-change = ##t - \clef soprano c1 - \clef mezzosoprano c1 - \clef alto c1 - \clef tenor c1 - \clef baritone c1 -} -\addlyrics { - \override Lyrics . LyricText #'self-alignment-X = #LEFT - "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone -} -@end lilypond - -@seealso -No cross-references. - - -@node cadence -@section cadence - -ES: cadencia, -I: cadenza, -F: cadence, -D: Kadenz, -NL: cadens, -DK: kadence, -S: kadens, -FI: kadenssi, lopuke. - -@seealso -@ref{harmonic cadence}, @ref{functional harmony}. - - -@node cadenza -@section cadenza - -ES: cadenza, -I: cadenza, -F: cadence, -D: Kadenz, -NL: cadens, -DK: kadence, -S: kadens, -FI: kadenssi, lopuke. - -An extended, improvisatory style section inserted near the end of -movement. The purpose of a cadenza is to give singers or players a -chance to exhibit their technical skill and -- not last -- their -ability to improvise. Since the middle of the 19th century, however, -most cadenzas have been written down by the composer. - -@seealso -No cross-references. - - -@node caesura -@section caesura - -ES: cesura, -I: cesura, -F: césura, -D: Zäsur, -NL: ?, -DK: ?, -S: ?, -FI: välimerkki. - -[Latin: from the supine of @emph{caedere} @q{to cut down}] - -The break between two musical phrases, sometimes (but not always) marked by a -rest or a breath mark. - -@seealso -@ref{breath mark}. - - -@node canon -@section canon - -ES: canon, -I: canone, -F: canon, -D: Kanon, -NL: canon, -DK: kanon, -S: kanon, -FI: kaanon, tarkka jäljittely. - -@seealso -@ref{counterpoint}. - - -@node cent -@section cent - -ES: cent, -I: cent, -F: cent, -D: Cent, -NL: cent, -DK: cent, -S: cent, -FI: sentti, puolisävelaskeleen sadasosa tasavireisessä -viritysjärjestelmässä. - -Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave -(1/100 of an equally tempered semitone). - -@seealso -@ref{equal temperament}, @ref{semitone}. - - -@node central C -@section central C - -@seealso -@ref{middle C}. - - -@node chord -@section chord - -ES: acorde, -I: accordo, -F: accord, -D: Akkord, -NL: akkoord, -DK: akkord, -S: ackord, -FI: sointu. - -Three or more tones sounding simultaneously. In traditional European music -the base chord is a @emph{triad} consisting of two thirds. @emph{Major} -(major + minor third) as well as @emph{minor} (minor + major third) chords -may be extended with more thirds. Four-tone @emph{seventh chords} and -five-tone @emph{ninth} major chords are most often used as dominants -(functional harmony). Chords having no third above the lower notes to -define their mood are a special case called @q{open chords}. The lack of -the middle third means their quality is ambivalent -- neither major nor -minor. - -@lilypond[quote,notime,line-width=13.0\cm] -<< - \new Staff { - \relative c'' { - \set Staff.extraNatural = ##f - 1 - - - - - - } - } - \lyrics { - "major " - "minor " - "diminished " - "augmented " - "seventh-chord " - ninth-chord - } ->> -@end lilypond - -@seealso -@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, -@ref{third}. - - -@node chromatic scale -@section chromatic scale - -ES: escala cromática, -I: scala cromatica, -F: gamme chromatique, -D: chro@-ma@-ti@-sche Tonleiter, -NL: chromatische toonladder, -DK: kromatisk skala, -S: kromatisk skala, -FI: kromaattinen asteikko. - -A scale consisting of all 12 semitones. - -@lilypond[quote,notime,relative=1,line-width=13.0\cm] -c1 cis d dis e f fis g gis a ais b c -@end lilypond - -@seealso -@ref{semitone}. - - -@node chromaticism -@section chromaticism - -ES: cromatismo, -I: cromatismo, -F: chromatisme, -D: Chromatik, -NL: chromatiek, -DK: kromatik, -S: kromatik, -FI: kromatiikka. - -Using tones extraneous to a diatonic scale (minor, major). - -@seealso -@ref{diatonic scale}. - - -@node church mode -@section church mode - -ES: modo eclesiástico, -I: modo ecclesiastico, -F: mode ecclésiastique, -D: Kirchentonart, -NL: kerktoonladder, -DK: kirketoneart, -S: kyrkotonart, -FI: moodi, kirkkosävellaji. - -@seealso -@ref{diatonic scale}. - - -@node clef -@section clef - -ES: clave, -I: chiave, -F: clé, clef, -D: Schlüssel, Notenschlüssel, -NL: sleutel, -DK: nøgle, -S: klav, -FI: avain, nuottiavain. - -The clef indicates which lines of the staff correspond to which -pitches. The three clef symbols in common use are: - -@lilypond[quote] -\markup { - \left-column { - \line { The Treble or G clef: } - \strut - \line { The Bass or F clef: } - \strut - \line { The Alto or C clef: } - } - \hspace #0.5 - \left-column { - \musicglyph #"clefs.G" - \strut - \musicglyph #"clefs.F" - \strut - \musicglyph #"clefs.C" - } -} -@end lilypond - -Imagine a large staff of 11 lines centered on middle C, sometimes -called a @q{grand staff}, with the bottom line representing low G and -the top line high F: - -@lilypond[quote] -\score { - << - %-- Note names above treble staff --% - \new NoteNames { - \set printOctaveNames = ##t - g,1 b, d f a - \once \override NoteName #'color = #red - c'1 - e'1 g' b' d'' f'' - } - %-- Treble Staff --% - \new Staff = "G" { - \override Staff.Clef #'stencil = ##f - \clef "G" - s1 s s s s s - e'1 g' b' d'' f'' - s1 - } - %-- Alto Staff reduced to a single line on middle C --% - \new Staff = "C" { - \override Staff.StaffSymbol #'line-count = #1 - \override Staff.StaffSymbol #'color = #red - \override Staff.Clef #'stencil = ##f - \clef "C" - s1 s s s s - \override NoteHead #'color = #red - c'1 - s1 s s s s s - } - %-- Bass Staff --% - \new Staff = "F" { - \override Staff.Clef #'stencil = ##f - \clef "F" - g,1 b, d f a - s1 s s s s s s - } - >> - \layout { - \context { - \Score - \override SpacingSpanner - #'base-shortest-duration = #(ly:make-moment 1 1) - \override NonMusicalPaperColumn - #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6))) - \override BarLine #'stencil = ##f - } - \context { - \Staff - \remove "Time_signature_engraver" - } - } -} -@end lilypond - -Staves of five lines are usually used, and the clef superimposed on -them indicates which five lines have been selected from this -@samp{grand staff}. For example, the treble or G clef indicates that -the top five lines have been selected: - -@lilypond[quote] -\score { - << - %-- Note names above treble staff --% - \new NoteNames { - \set printOctaveNames = ##t - g,1 b, d f a - \once \override NoteName #'color = #red - c'1 - s1 - e'1 g' b' d'' f'' - } - %-- Treble Staff --% - \new Staff = "G" { - \once \override Staff.Clef #'stencil = ##f - \clef "G" - s1 s s s s s s - \override Staff.Clef #'full-size-change = ##t - \set Staff.forceClef = ##t - \clef "G" - e'1 g' b' d'' f'' - } - %-- Alto Staff reduced to a single line on middle C --% - \new Staff = "C" { - \override Staff.StaffSymbol #'line-count = #1 - \override Staff.StaffSymbol #'color = #red - \override Staff.Clef #'stencil = ##f - \clef "C" - s1 s s s s - \override NoteHead #'color = #red - c'1 - } - %-- Bass Staff --% - \new Staff = "F" { - \override Staff.Clef #'stencil = ##f - \clef "F" - g,1 b, d f a - } - >> - \layout { - \context { - \Score - \override SpacingSpanner - #'base-shortest-duration = #(ly:make-moment 2 1) - \override NonMusicalPaperColumn - #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6))) - \override BarLine #'stencil = ##f - } - \context { - \Staff - \remove "Time_signature_engraver" - } - } -} -@end lilypond - -The @q{curl} of the G clef is centered on the line that represents the -pitch G. - -In the same way, the bass or F clef indicates that the bottom five -lines have been selected from the @samp{grand staff}, and the alto or -C clef indicates the middle five lines have been selected. This -relationship is shown below, where the notes show an arpeggio on a C -major chord. - -@lilypond[quote] -\score { - << - %-- Treble Staff --% - \new Staff = "G" { - \clef "G" - s1 s s s - e'1 g' c'' s - } - %-- Alto Staff --% - \new Staff = "C" { - \override Staff.StaffSymbol #'line-count = #1 - \once \override Staff.Clef #'stencil = ##f - \stopStaff - \clef "C" - s1 s s - \startStaff - \revert Staff.StaffSymbol #'stencil - \override Staff.StaffSymbol #'color = #red - c'1 - s1 s s s s - \stopStaff \startStaff - \revert Staff.StaffSymbol #'line-count - \revert Staff.StaffSymbol #'color - \stopStaff \startStaff - \override Staff.Clef #'full-size-change = ##t - \set Staff.forceClef = ##t - \clef "C" - s1 s - c1 e g c' e' g' c'' - } - %-- Bass Staff --% - \new Staff = "F" { - \clef "F" - c1 e g - s1 s s s s - } - >> - \layout { - \context { - \Score - \override SpacingSpanner #'base-shortest-duration = - #(ly:make-moment 2 1) - \override NonMusicalPaperColumn - #'line-break-system-details = #'((alignment-offsets . (0 -3 -6))) - \override BarLine #'stencil = ##f - } - \context { - \Staff - \remove "Time_signature_engraver" - } - } -} -@end lilypond - -@seealso -@ref{C clef}, @ref{F clef}, @ref{G clef}. - - -@node cluster -@section cluster - -ES: racimo, -I: ?, -F: ?, -D: Cluster, -NL: ?, -DK: ?, -S: ?, -FI: klusteri, cluster. - -A @emph{cluster} is a range of simultaneously sounding pitches that -may change over time. The set of available pitches to apply usually -depends on the acoustic source. Thus, in piano music, a cluster -typically consists of a continuous range of the semitones as provided -by the piano's fixed set of a chromatic scale. In choral music, each -singer of the choir typically may sing an arbitrary pitch within the -cluster's range that is not bound to any diatonic, chromatic or other -scale. In electronic music, a cluster (theoretically) may even cover -a continuous range of pitches, thus resulting in colored noise, such -as pink noise. - -Clusters can be denoted in the context of ordinary staff notation by -engraving simple geometrical shapes that replace ordinary notation of -notes. Ordinary notes as musical events specify starting time and -duration of pitches; however, the duration of a note is expressed by -the shape of the note head rather than by the horizontal graphical -extent of the note symbol. In contrast, the shape of a cluster -geometrically describes the development of a range of pitches -(vertical extent) over time (horizontal extent). Still, the -geometrical shape of a cluster covers the area in which any single -pitch contained in the cluster would be notated as an ordinary note. - -@lilypond[quote,relative=2] -\makeClusters { 4 8 } -@end lilypond - -@seealso -No cross-references. - - -@node comma -@section comma - -ES: coma, comma, -I: comma, -F: comma, -D: Komma, -NL: komma, -DK: komma, -S: komma, -FI: komma, korvinkuultava ero äänenkorkeudessa. - -Difference in pitch between a note derived from pure tuning and the -same note derived from some other tuning method. - -@seealso -@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma}, -@ref{temperament}. - - -@node common meter -@section common meter - -Another name for @ref{common time}. - -@seealso -@ref{common time}, @ref{meter}. - - -@node common time -@section common time - -ES: compasillo, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: C-merkintä. - -4/4 time. The symbol, which resembles a capital letter C, comes from -mensural notation. - -@seealso -@ref{mensural notation}, @ref{meter}. - - -@node complement -@section complement - -ES: intervalo invertido, -I: rivolto, -F: intervalle complémentaire, -D: Komplementärintervall, -NL: complementair interval, -DK: komplementærinterval, -S: komplementärintervall (?), -FI: täydentävä intervalli. - -@seealso -@ref{inverted interval}. - - -@node compound interval -@section compound interval - -ES: intervalo compuesto, -I: intervallo composto, -F: intervalle composé, -D: weites Intervall, -NL: samengesteld interval, -DK: sammensat interval, -S: sammansatt intervall, -FI: oktaavia laajempi intervalli. - -Intervals larger than an octave. - -@seealso -@ref{interval}. - - -@node compound meter -@section compound meter - -ES: compás compuesto, compás de subdivisión ternaria, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kolmijakoinen tahtilaji. - -A meter that includes a triplet subdivision within the beat, such as -6/8, 9/8, 12/8. - -@seealso -@ref{meter}, @ref{simple meter}. - - -@node compound time -@section compound time - -ES: compás compuesto, compás de amalgama (def. 2), -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: yhdistetty tahtilajiosoitus. - -@enumerate - -@item -A meter that includes a triplet subdivision within the beat: see -@ref{compound meter}. - -@item -A time signature that additively combines two or more unequal meters, e.g., -"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures. - -@end enumerate - -@lilypond[quote,line-width=13.0\cm] -#(define ((compound-time one two three num) grob) - (grob-interpret-markup grob - (markup - #:override '(baseline-skip . 0) - #:number - #:line ( - #:left-column (one num) - #:vcenter "+" - #:left-column (two num) - #:vcenter "+" - #:left-column (three num))))) - -\relative c' { - \key f \major - #(set-time-signature 8 8 '(3 2 3)) - \override Staff.TimeSignature #'stencil = - #(compound-time "3" "2" "3" "8") - #(override-auto-beam-setting '(end 1 8 8 8) 3 8) - #(override-auto-beam-setting '(end 1 8 8 8) 5 8) - - c8 d e f4 d8 c bes - c4 g'8 e c f4. - \bar "||" -} -@end lilypond - -@seealso -@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}. - - -@node concert pitch -@section concert pitch - -ES: en Do, afinación de concierto, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: konserttikorkeus. - -The pitch at which the piano and other nontransposing instruments play: such -instruments are said to be @q{in C}. The following list includes some (but not -all) instruments that play in concert pitch: - -@c Let's see how easy (or hard) it is to put bulleted lists in tables. - -@multitable {alto trombone} {tenor trombone} {bass trombone} -@headitem Woodwinds @tab Brass @tab Strings - -@item -@itemize -@item flute -@item oboe -@item bassoon -@end itemize - -@tab - -@itemize -@item alto trombone -@item tenor trombone -@item bass trombone -@end itemize - -@tab - -@itemize -@item violin -@item viola -@item violoncello -@end itemize - -@end multitable - -The trombones are a special case: although they are said to be @q{in F} (alto or -bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to -their parts' transposition. (In fact, the trombones' parts are written at -concert pitch with an appropriate clef -- alto, tenor or bass.) This differs -from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing -instruments. - -Instruments that play @q{in C} but in a different octave than what is written -are, technically speaking, @emph{transposing instruments}: - -@itemize - -@item piccolo (plays an octave higher) -@item celesta (plays an octave higher) -@item double bass (plays an octave lower) - -@end itemize - -@seealso -@ref{transposing instrument}. - - -@node conjunct movement -@section conjunct movement - -ES: movimiento conjunto, -I: moto congiunto, -F: mouvement conjoint, -D: schritt@-weise, stufenweise Bewegung, -NL: stapsgewijze, trapsgewijze beweging, -DK: trinvis bevægelse, -S: stegvis rörelse, -FI: asteittainen liike. - -Progressing melodically by intervals of a second, as contrasted with -@emph{disjunct movement}. - -@lilypond[quote,relative=2,line-width=13.0\cm] -\key g \major -\time 4/4 -g4 g g a | b2 a | g4 b a a | g1 \bar "||" -@end lilypond - -@seealso -@ref{disjunct movement}. - - -@node consonance -@section consonance - -ES: consonancia, -I: consonanza, -F: consonance, -D: Konsonanz, -NL: consonant, -DK: konsonans, -S: konsonans, -FI: konsonanssi, sopusointi. - -@seealso -@ref{harmony}. - - -@node contralto -@section contralto - -ES: contralto, -I: contralto, -F: contralto, -D: Alt, -NL: contralto, -DK: alt, -S: alt, -FI: kontra-altto. - -@seealso -@ref{alto}. - - -@node copying music -@section copying music - -A music copyist did fast freehand scores and parts on preprinted staff -lines for performance. Some of their conventions (e.g., the placement -of note heads on stems) varied slightly from those of engravers. Some -of their working methods were superior and could well be adopted by -music typesetters. - -@c Copying music required more skill than engraving. Flagged for NPOV - -@seealso -No cross-references. - - -@node counterpoint -@section counterpoint - -ES: contrapunto, -I: contrappunto, -F: contrepoint, -D: Kontrapunkt, -NL: contrapunt, -DK: kontrapunkt, -S: kontrapunkt, -FI: kontrapunkti, ääni ääntä vastaan. - -From Latin @emph{punctus contra punctum}, note against note. The -combination into a single musical fabric of lines or parts which have -distinct melodic significance. A frequently used polyphonic technique -is imitation, in its strictest form found in the canon needing only -one part to be written down while the other parts are performed with a -given displacement. Imitation is also the contrapuntal technique -used in the @emph{fugue} which, since the music of the baroque era, -has been one of the most popular polyphonic composition methods. - -@lilypond[quote,staffsize=12,line-width=13.0\cm] -\new 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, | - cis4 d r8 e!16 f g8 f16 e | - f8 g16 a bes8 a16 g a8 - } - \context Voice = rhb { - \stemDown - r1 | r | r | r2 s8 - } - >> - } - \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 | - r8 a16 g f8 g16 a bes8 g e! cis' | - d4. e!8 f - } - \context Voice = lhb { - \stemDown - r1 | r | r | r2 s8 - } >> - } ->> -@end lilypond - -@seealso -No cross-references. - - -@node countertenor -@section countertenor - -ES: contratenor, -I: controtenore, -F: contre-tenor, -D: Countertenor, Kontratenor, -NL: contratenor, -DK: kontratenor, -S: kontratenor, counter tenor, -FI: kontratenori. - -@seealso -@ref{contralto}. - - -@node crescendo -@section crescendo - -ES: crescendo, -I: crescendo, -F: crescendo, -D: Crescendo, lauter werden, -NL: crescendo, -DK: crescendo, -S: crescendo, -FI: cresendo, voimistuen. - -Increasing volume. Indicated by a rightwards opening horizontal wedge -(hairpin) or the abbreviation @notation{cresc.}. - -@lilypond[quote,relative=2] -\key g \major -\time 4/4 -g4\< a b c | d1\! \bar "|." -@end lilypond - -@seealso -@ref{decrescendo}, @ref{hairpin}. - - -@node cue-notes -@section cue-notes - -ES: notas guía, -I: notine, -F: petites notes précédent l'entrée d'un instrument, réplique, -D: Stichnoten, -NL: stichnoten, -DK: stiknoder, -S: inprickningar, -FI: vihjenuotit. - -In a separate part notes belonging to another part with the purpose of -hinting when to start playing. Usually printed in a smaller type. - -@seealso -No cross-references. - - -@node custos -@section custos - -ES: custos, -I: ?, -F: guidon, -D: Notenzeiger, Custos, -NL: ?, -DK: ?, -S: ?, -FI: vihje. - -A custos (plural: custodes) is a staff symbol that appears at the end of a -staff line with monophonic musical contents (i.e., with a single voice). It -anticipates the pitch of the first note of the following line and thus helps -the player or singer to manage line breaks during performance, which -enhances the readability of a score. - -Custodes were frequently used in music notation until the 16th century. -There were different appearences for different notation styles. Nowadays, -they have survived only in special forms of musical notation such as the -@emph{Editio Vaticana}, dating from the beginning of the 20th century - -@lilypond[quote,ragged-right] -\score { - \new Staff { - \override Staff.Custos #'neutral-direction = #DOWN - \override Staff.Custos #'style = #'hufnagel - c'1 \break - 1 - } - \layout { - \context { - \Staff - \consists "Custos_engraver" - } - } -} -@end lilypond - -@seealso -No cross-references. - - -@node cut time -@section cut time - -@seealso -@ref{alla breve}. - - -@node D -@section D - -@itemize -@item ES: re -@item I: re -@item F: ré -@item D: D, d -@item NL: d -@item DK: d -@item S: d -@item FI: D, d -@end itemize - -@seealso -@ref{Pitch names} - - -@node da capo -@section 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, -FI: da capo, alusta. - -Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from -the beginning to the end or to a certain place marked @emph{fine}. - -@seealso -No cross-references. - - -@node dal niente -@section dal niente - -ES: ?, -I: dal niente, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: tyhjästä ilmaantuen. - -[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate -that the sound should gradually increase from nothing. - -@seealso -@ref{al niente}. - - -@node dal segno -@section dal segno - -ES: dal segno, -I: dal segno, -F: dal segno, depuis le signe, -D: dal segno, ab dem Zeichen, -NL: dal segno, -DK: dal segno, -S: dal segno, -FI: dal segno, lähtien merkistä. - -Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from -another place frequently near the beginning marked by a sign -(@notation{segno}): - -@lilypond[quote,relative=2] -\key g \major -\time 4/4 -d1 -g,4^\segno a b c -b4 a g2-\markup { - \italic "D.S. " - \tiny \raise #1 - \musicglyph #"scripts.segno" -} -\bar "|." -@end lilypond - -@seealso -No cross-references. - - -@node decrescendo -@section decrescendo - -ES: decrescendo, -I: decrescendo, -D: Decrescendo, leiser werden, -NL: decrescendo, -DK: decrescendo, -S: decrescendo, -FI: decresendo, hiljentyen. - -Decreasing tone volume. Indicated by a leftwards opening horizontal -wedge (hairpin) or the abbreviation @notation{decresc.}. - -@lilypond[quote,relative=2] -\key g \major -\time 4/4 -d4\> c b a | g1 \! \bar "|." -@end lilypond - -@seealso -@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}. - - -@node descending interval -@section descending interval - -ES: intervalo descendente, -I: intervallo discendente, -F: intervalle descendant, -D: fallendes Intervall, absteigendes Intervall, -NL: dalend interval, -DK: faldende interval, -S: fallande intervall, -FI: laskeva intervalli. - -A distance between a starting higher note and a lower ending note. - -@seealso -No cross-references. - - -@node diatonic scale -@section diatonic scale - -ES: escala diatónica, -I: scala diatonica, -F: gamme diatonique, -D: diatonische Tonleiter, -NL: diatonische toonladder, -DK: diatonisk skala, -S: diatonisk skala, -FI: diatoninen asteikko. - -A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales -played on the white keys of a piano keybord are diatonic. These scales -are sometimes called, somewhat inaccurately, @q{church modes}). - -These @emph{modes} are used in Gregorian chant and in pre-baroque early music -but also to some extent in newer jazz music. - -@lilypond[quote,notime,relative=1] -<< - { - c1 d - e^"~~ S" f g a b^"~~ S" c - } - \lyrics { - Ionian - } ->> -@end lilypond - -@lilypond[quote,notime,relative=1] -<< - { - d1 - e^"~~ S" f g a b^"~~ S" c d - } - \lyrics { - Dorian - } ->> -@end lilypond - -@lilypond[quote,notime,relative=1] -<< - { - e1^"~~ S" f g a b^"~~ S" c d e - } - \lyrics { - Phrygian - } ->> -@end lilypond - -@lilypond[quote,notime,relative=1] -<< - { - f1 g a - b^"~~ S" c d e^"~~ S" f - } - \lyrics { - Lydian - } ->> -@end lilypond - -@lilypond[quote,notime,relative=2] -<< - { - g1 a - b^"~~ S" c d e^"~~ S" f g - } - \lyrics { - Mixolydian - } ->> -@end lilypond - -@lilypond[quote,notime,relative=2] -<< - { - a1 - b^"~~ S" c d e^"~~ S" f g a - } - \lyrics { - Aeolian - } ->> -@end lilypond - -@lilypond[quote,notime,relative=2] -<< - { - b1^"~~ S" c d e^"~~ S" f g a b - } - \lyrics { - Locrian - } ->> -@end lilypond - -From the beginning of the 17th century the scales used in European -compositional music are primarily the major and the minor scales. In -the harmonic minor scale type an augmented second (A) occurs between -the 6th and 7th tone. - -@lilypond[quote,notime,relative=1] -<< - { - c1 d - e^"~~ S" f g a b^"~~ S" c - } - \lyrics { - Major - } ->> -@end lilypond - -@lilypond[quote,notime,relative=2] -<< - { - a1 - b^"~~ S" c d e^"~~ S" f g a - } - \lyrics { - "Ancient (or Natural) minor" - } ->> -@end lilypond - -@lilypond[quote,notime,relative=2] -<< - { - a1 - b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a - } - \lyrics { - "Harmonic minor" - } ->> -@end lilypond - -@lilypond[quote,notime,relative=2] -<< - { - a1 - b^"~~ S" c d e fis gis^"~~ S" a - } - \lyrics { - "Melodic minor ascending" - } ->> -@end lilypond - -@lilypond[quote,notime,relative=3] -<< - { - a1 - g! f!^"~~ S" e d c^"~~ S" b a - } - \lyrics { - "Melodic minor descending" - } ->> -@end lilypond - -@seealso -@ref{semitone}, @ref{whole tone}. - - -@node didymic comma -@section didymic comma - -@seealso -@ref{syntonic comma}. - - -@node diminished interval -@section diminished interval - -ES: intervalo disminuido, -I: intervallo diminuito, -F: intervalle diminué, -D: vermindertes Intervall, -NL: verminderd interval, -DK: formindsket interval, -S: förminskat intervall, -FI: vähennetty intervalli. - -@seealso -@ref{interval}. - - -@node diminuendo -@section diminuendo - -ES: diminuendo, -I: diminuendo, -F: diminuendo, -D: diminuendo, -NL: diminuendo, -DK: diminuendo, -S: diminuendo, -FI: diminuendo, hiljentyen. - -@seealso -@ref{decrescendo}. - - -@node diminution -@section diminution - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: aika-arvojen tihennys. - -This is a stub for diminution (@emph{wrt} mensural notation). - -@seealso -@ref{augmentation}, @ref{mensural notation}. - - -@node direct -@section direct - -ES: ?, -I: ?, -F: ?, -D: Weiser, Zeiger, -NL: ?, -DK: ?, -S: ?, -FI: suora. - -@seealso -@ref{custos}. - - -@node disjunct movement -@section disjunct movement - -ES: movimiento disjunto, -I: moto disgiunto, -F: mouvement disjoint, -D: sprunghafte Bewegung, -NL: sprongsgewijze beweging, -DK: springende bevægelse, -S: hoppande rörelse, -FI: melodian hyppivä liike. - -Progressing melodically by intervals larger than a major second, as contrasted -with conjunct movement. - -@lilypond[quote,relative=1] -\key a \major -\time 4/4 { - \partial 8 e8 | - a4. gis8 b a e cis | - fis2 d4. - \bar "||" } -@end lilypond - -@seealso -@ref{conjunct movement}. - - -@node dissonance -@section dissonance - -Another name for @ref{dissonant interval}. - -@seealso -@ref{dissonant interval}, @ref{harmony}. - - -@node dissonant interval -@section dissonant interval - -ES: intervalo disonante, disonancia, -I: intervallo dissonante, dissonanza, -F: dissonance, -D: Dissonanz, -NL: dissonant interval, dissonant, -DK: dissonerende interval, dissonans, -S: dissonans, -FI: dissonanssi, dissonoiva intervalli, riitasointi. - -@seealso -@ref{harmony}. - - -@node divisio -@section divisio - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: jäsennysmerkki. - -[Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a -vertical stroke through part or all of the staff that serves to -structure a chant into phrases and sections. There are four types: - -@itemize - -@item @emph{divisio minima}, a short pause - -@item @emph{divisio maior}, a medium pause - -@item @emph{divisio maxima}, a long pause - -@item @emph{finalis}, to indicate the end of a chant, or the end of a -section in a long antiphonal or responsorial chant. - -@end itemize - -TODO: musical example here? - -@seealso -No cross-references. - - -@node doit -@section doit - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: nousu. - -Indicator for a indeterminately rising pitch bend. Compare with -@emph{glissando}, which has determinate starting and ending pitches. - -@seealso -@ref{fall}, @ref{glissando}. - - -@node dominant -@section dominant - -ES: dominante, -I: dominante, -F: dominante, -D: Dominante, -NL: dominant, -DK: dominant, -S: dominant, -FI: dominantti, huippusointu. - -The fifth @emph{scale degree} in @emph{functional harmony}. - -@seealso -@ref{functional harmony}, @ref{scale degree}. - - -@node dominant ninth chord -@section dominant ninth chord - -ES: acorde de novena de dominante, -I: accordo di nona di dominante, -F: accord de neuvième dominante, -D: Domi@-nant@-nonen@-akkord, -NL: dominant noon akkoord, -DK: dominantnoneakkord, -S: dominantnonackord, -FI: dominanttinoonisointu. - -@seealso -@ref{chord}, @ref{functional harmony}. - - -@node dominant seventh chord -@section dominant seventh chord - -ES: acorde de séptima de dominante, -I: accordo di settima di dominante, -F: accord de septième dominante, -D: Dominantseptakkord, -NL: dominant septiem akkoord, -DK: dominantseptimakkord, -S: dominantseptimackord, -FI: dominanttiseptimisointu. - -@seealso -@ref{chord}, @ref{functional harmony}. - - -@node dorian mode -@section dorian mode - -ES: modo dórico, -I: modo dorico, -F: mode dorien, -D: dorisch, dorischer Kirchenton, -NL: dorische toonladder, -DK: dorisk skala, -S: dorisk tonart, -FI: doorinen moodi. - -@seealso -@ref{diatonic scale}. - - -@node dot (augmentation dot) -@section dot (augmentation dot) - -ES: puntillo, -I: punto (di valore), -F: point, -D: Punkt (Verlängerungspunkt), -NL: punt, -DK: punkt, -S: punkt, -FI: piste. - -@seealso -@ref{dotted note}, @ref{note value}. - - -@node dotted note -@section dotted note - -ES: nota con puntillo, -I: nota puntata, -F: note pointée, -D: punktierte Note, -NL: gepuncteerde noot, -DK: punkteret node, -S: punkterad not, -FI: pisteellinen nuotti. - -@seealso -@ref{note value}. - - -@node double appoggiatura -@section double appoggiatura - -ES: apoyatura doble, -I: appoggiatura doppia, -F: appoggiature double, -D: doppelter Vorschlag, -NL: dubbele voorslag, -DK: dobbelt forslag, -S: dubbelslag, -FI: kaksoisappogiatura, kaksoisetuhele. - -@seealso -@ref{appoggiatura}. - - -@node double bar line -@section double bar line - -ES: doble barra, -I: doppia barra, -F: double barre, -D: Doppelstrich, -NL: dubbele maatstreep, -DK: dobbeltstreg, -S: dubbelstreck, -FI: kaksoistahtiviiva. - -Indicates the end of a section within a movement. - -@seealso -No cross-references. - - -@node double dotted note -@section double dotted note - -ES: nota con doble puntillo, -I: nota doppiamente puntata, -F: note doublement pointée, -D: doppelt punktierte Note, -NL: dubbelgepuncteerde noot, -DK: dob@-belt@-punk@-te@-ret node, -S: dub@-bel@-punk@-te@-rad not, -FI: kaksoispisteellinen nuotti. - -@seealso -@ref{note value}. - - -@node double flat -@section double flat - -ES: doble bemol, -I: doppio bemolle, -F: double bémol, -D: Doppel-B, -NL: dubbelmol, -DK: dob@-belt-b, -S: dubbelbe, -FI: kaksoisalennusmerkki. - -@seealso -@ref{accidental}. - - -@node double sharp -@section double sharp - -ES: doble sostenido, -I: doppio diesis, -F: double dièse, -D: Doppelkreuz, -NL: dubbelkruis, -DK: dob@-belt@-kryds, -S: dubbelkors, -FI: kaksoisylennysmerkki. - -@seealso -@ref{accidental}. - - -@node double time signature -@section double time signature - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kaksois-aika-arvomerkintä. - -@seealso -@ref{polymetric time signature}. - - -@node double trill -@section double trill - -ES: trino doble, -I: doppio trillo, -F: trille double, -D: Doppeltriller, -NL: dubbele triller, -DK: dobbelttrille, -S: dubbeldrill, -FI: kaksoistrilli. - -A simultaneous trill on two notes, usually in the distance of a third. - -@seealso -No cross-references. - - -@node duple meter -@section duple meter - -ES: tiempo binario, -I: tempo binario, -F: temps binaire, -D: in zwei, grader Takt, -NL: tweedelige maatsoort, -DK: todelt takt, -S: tvåtakt, -FI: kaksoistempo. - -@seealso -@ref{meter}. - - -@node duplet -@section duplet - -ES: dosillo, -I: duina, -F: duolet, -D: Duole, -NL: duool, -DK: duol, -S: duol, -FI: duoli. - -@seealso -@ref{note value}. - - -@node duration -@section duration - -ES: duración, -I: durata, -F: durée, -D: Dauer, Länge, -NL: duur, lengte, -DK: varighed, -S: tonlängd, -FI: kesto, aika-arvo. - -@seealso -@ref{note value}. - - -@node dynamics -@section dynamics - -ES: dinámica, matices, -I: ?, -F: nuances, -D: Dynamik, Lautstärke, -NL: ?, -DK: ?, -S: ?, -FI: äänen voimakkuusvaihtelu, dynamiikka. - -The aspect of music relating to degrees of loudness, or changes from -one degree to another. The terms, abbreviations, and symbols used to -indicate this information are called dynamic marks. - -@seealso -@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, -@ref{diminuendo}. - - -@node E -@section E - -@itemize -@item ES: mi -@item I: mi -@item F: mi -@item D: E, e -@item NL: e -@item DK: e -@item S: e -@item FI: E, e -@end itemize - -@seealso -@ref{Pitch names} - - -@node ecclesiastical mode -@section ecclesiastical mode - -@seealso -@ref{church mode}, @ref{diatonic scale}. - - -@node eighth note -@section eighth note - -@itemize -@item UK: quaver -@item ES: corchea -@item I: croma -@item F: croche -@item D: Achtel, Achtelnote -@item NL: achtste noot -@item DK: ottendedelsnode -@item S: åttondelsnot -@item FI: kahdeksasosanuotti -@end itemize - -@seealso -@ref{note value}. - - -@node eighth rest -@section eighth rest - -@itemize -@item UK: quaver rest -@item ES: silencio de corchea -@item I: pausa di croma -@item F: demi-soupir -@item D: Achtelpause -@item NL: achtste rust -@item DK: ottendedelspause -@item S: åttonddelspaus -@item FI: kahdeksasosatauko -@end itemize - -@seealso -@ref{note value}. - - -@node elision -@section elision - -@c TODO: add languages - -ES: sinalefa, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: tavujen yhdistäminen yhteen ääneen. - -More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek -@emph{συναλοιφην} @q{to smear together}]. - -The singing of several syllables on a single note. Elision may be indicated -by a lyric tie, which looks like (and serves the same function) as a musical -tie. - -@seealso -@ref{lyric tie}. - - -@node embellishment -@section embellishment - -@seealso -@ref{ornament}. - - -@node engraving -@section engraving - -ES: grabado, -I: incisione, -F: gravure, -D: Notenstich, Notendruck -NL: steken, -DK: nodestik, -S: nottryck, -FI: painatus. - -Engraving means incising or etching a metal plate for printing. -Photoengraving means drawing music with ink in a manner similar to -drafting or engineering drawing, using similar tools. - -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. - -@seealso -No cross-references. - - -@node enharmonic -@section enharmonic - -ES: enarmónico, -I: enarmonico, -F: enharmonique, -D: enharmonisch, -NL: enharmonisch, -DK: enharmonisk, -S: enharmonisk, -FI: enharmoninen. - -Two notes, intervals, or scales are enharmonic if they have different -names but equal pitch. - -@lilypond[quote,notime,line-width=13.0\cm] -<< - \new Staff { - \relative c'' { - gis1 as - } - } - \lyrics { - "g sharp " "a flat " "dim fifth " "augm fourth" - } ->> -@end lilypond - -@seealso -No cross-references. - - -@node equal temperament -@section equal temperament - -ES: temperamento igual, -I: temperamento equabile, -F: tempérament égal, -D: gleichschwebende Stimmung, -NL: ge@-lijk@-zwe@-ven@-de temperatuur, -DK: ligesvævende temperatur, -S: liksvävande temperatur, -FI: tasavireinen. - -A tuning system that divides the octave into 12 equal semitones (each of -which is precisely equal to 100 cents). - -@seealso -@ref{cent}, @ref{semitone}, @ref{temperament}. - - -@node expression mark -@section expression mark - -ES: expresión, -I: segno d'espressione, -F: signe d'expression, indication de nuance, -D: Vortragszeichen, -NL: voordrachtsteken, -DK: foredragsbetegnelse, -S: föredragsbeteckning, -FI: nyanssiosoitus, esitysmerkki. - -Performance indications concerning: - -@itemize - -@item volume, dynamics (for example, @notation{forte}, -@notation{crescendo}), - -@item tempo (for example, @notation{andante}, @notation{allegro}). - -@end itemize - -@seealso -@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}. - - -@node extender line -@section extender line - -ES: línea de extensión [de melisma, de bajo cifrado, etc.], -I: ?, -F: ligne d'extension [de mélisme, de basse chiffrée, etc.], -D: Fülllinie, -NL: ?, -DK: ?, -S: ?, -FI: pidennysviiva. - -The generic term (in LilyPond) for a line (or dash) of arbitrary length that -extends text (without indicating the musical @emph{function} of that text). - -Used in many contexts, for example: - -@itemize - -@item In vocal music to indicate the syllable for a melisma. Called -@q{extension} in the -@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music -Dictionary}. - -@item -In figured bass to indicate that: - -@itemize - -@item The extended note should be held through a change in harmony, when applied -to one figure --OR-- -@item The chord thus represented should be held above a moving bass line, when -applied to more than one figure. -@item These uses were not completely standardized, and some composers used a -single extender line to indicate the latter case. - -@end itemize - -@item -In string music to indicate that all notes in the passage thus indicated should -be played on the same string. On the violin, for example, a series of notes to -be played on the G string would be indicated @notation{sul G}, another series to be -played on the D string would be indicated @notation{sul D}, and so on. - -@item -With an octave mark to indicate that a passage is to be played higher or lower -by the given number of octaves. - -@end itemize - -@seealso -@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, -@ref{octave marking}. - - -@node F -@section F - -@itemize -@item ES: fa -@item I: fa -@item F: fa -@item D: F, f -@item NL: f -@item DK: f -@item S: f -@item FI: F, f -@end itemize - -@seealso -@ref{Pitch names} - - -@node F clef -@section F clef - -ES: clave de fa, -I: chiave di fa, -F: clef de fa, -D: F-Schlüssel, -NL: F-sleutel, -DK: F-nøgle, -S: f-klav, -FI: F-avain. - -The position between the dots of the key symbol is the line of the F -below central@w{ }C. Used on the third, fourth and fifth note line. -A digit@w{ }8 above the clef symbol indicates that the notes must be -played an octave higher (for example, bass recorder) while 8@w{ }below -the clef symbol indicates playing an octave lower (for example, on the -Double Bass). - -@lilypond[quote,notime,line-width=13.0\cm] -<< - \relative c { - \override Staff.Clef #'full-size-change = ##t - \clef varbaritone - f1 - \clef bass - f1 - \clef subbass - f1 - \clef "F^8" - f1 - \clef "F_8" - f1 - } - \lyrics { - "varbaritone " - "bass " - "sub-bass " - "octave up " - "octave down" - } ->> -@end lilypond - -@seealso -@ref{baritone clef}, @ref{strings}. - - -@node fall -@section fall - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: lasku. - -Indicator for a indeterminately falling pitch bend. Compare with -@emph{glissando}, which has determinate starting and ending pitches. - -@seealso -@ref{doit}, @ref{glissando}. - - -@node feathered beam -@section feathered beam - -ES: barra punteada, -I: ?, -F: liens de croches en soufflet, -D: gespreizter Balken, -NL: ?, -DK: ?, -S: ?, -FI: kiilapalkki. - -A type of beam used to indicate that a small group of notes should be -played at an increasing or decreasing tempo -- depending on the -direction of @q{feathering} -- but without changing the overall tempo -of the piece. - -@seealso -Internals Reference: @ruser{Manual beams} - - -@node fermata -@section fermata - -@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. - -ES: calderón, -I: corona, -F: point d'orgue, point d'arrêt, -D: Fermate, -NL: fermate, -DK: fermat, -S: fermat, -FI: fermaatti, pidäke. - -Prolonged note or rest of indefinite duration. - -@lilypond[quote,relative=2] -\time 4/4 -a4 b c2^\fermata -\bar "|." -@end lilypond - -@seealso -No cross-references. - - -@node fifth -@section fifth - -ES: quinta, -I: quinta, -F: quinte, -D: Quinte, -NL: kwint, -DK: kvint, -S: kvint, -FI: kvintti. - -@seealso -@ref{interval}. - - -@node figured bass -@section figured bass - -ES: bajo cifrado, -I: basso continuo, basso numerato, -F: basse chiffrée, basse continue, -D: Generalbass, bezifferter Bass, -NL: basso continuo, becijferde bas -DK: generalbas, -S: generalbas, -FI: kenraalibasso, numeroitu basso. - -Also called @q{thorough bass}. - -A method of indicating an accompaniment part by the bass notes only, -together with figures designating the chief intervals and chords to be -played above the bass notes. - -@lilypond[quote,line-width=13.0\cm] -\new GrandStaff << - \new Staff = "rh" \with { - fontSize = #-3 - \override StaffSymbol #'staff-space = #(magstep -3) - } \relative c'' { - \clef treble - \key es \major - \time 4/4 - << - \context Voice = "rha" { - \voiceOne - es4 d c bes - bes4 - } - \context Voice = "rhb" { - \voiceTwo - 8 as g f es - 4 - } - >> - } - \new Staff = "lh" \relative c' { - \clef bass - \key es \major - es8 c d bes c as bes16 as g f - es4 - } - \figures { - s8 <6> s <4 2> s <6> s16 s <6> <4 2> - } ->> -@end lilypond - -@seealso -@ref{chord}, @ref{interval}. - - -@node fingering -@section fingering - -ES: digitación, -I: diteggiatura, -F: doigté, -D: Fingersatz, -NL: vingerzetting, -DK: fingersætning, -S: fingersättning, -FI: sormitus. - -Figures to the side or above the note that methodically indicate which -fingers to use while playing a passage. - -@seealso -No cross-references. - - -@node flag -@section flag - -ES: corchete, -I: coda (uncinata), bandiera, -F: crochet, -D: Fahne, Fähnchen, -NL: vlaggetje, -DK: fane, -S: flagga, -FI: lippu, viiri. - -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 note value. - -@lilypond[quote,notime,relative=2] -g8-"8th" s8 -g16-"16th" s8 -g32-"32nd" s8 -g64-"64th" s8 -@end lilypond - -@seealso -@ref{note value}. - - -@node flageolet -@section flageolet - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: flageolet-ääni. - -An articulation for string players that means the note or passage is to -be played in harmonics. - -Also: - -@itemize - -@item A duct flute similar to the recorder. - -@item An organ stop of flute scale at 1' or 2' pitch. - -@end itemize - -@seealso -@ref{articulation}, @ref{harmonics}. - - -@node flat -@section flat - -ES: bemol, -I: bemolle, -F: bémol, -D: B, -NL: mol, -DK: b, -S: beförtecken, -FI: alennusmerkki. - -@seealso -@ref{accidental}. - - -@node forefall -@section forefall - -@seealso -@ref{appoggiatura}. - - -@node forte -@section forte - -ES: forte, -I: forte, -F: forte, -D: forte, laut, -NL: forte, -DK: forte, -S: forte, -FI: forte, voimakkaasti. - -[Italian: @q{loud}] - -Abbreviated @notation{@b{f}}. Variants include: - -@itemize -@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}), -@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}). -@end itemize - -@seealso -No cross-references. - - -@node fourth -@section fourth - -ES: cuarta, -I: quarta, -F: quarte, -D: Quarte, -NL: kwart, -DK: kvart, -S: kvart, -FI: kvartti. - -@seealso -@ref{interval}. - - -@node Frenched score -@section Frenched score - -ES: partitura a la francesa, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: partituuri francesan tapaan. - -A @q{condensed} score, produced by omitting staves for instruments that are not -playing at the moment, and by moving up additional systems from following pages -to take up the space thus liberated, which reduces the total number of pages -used to print the work. - -The specific rules for @q{frenching} a score differ from publisher to publisher. -If you are producing scores for eventual publication by a commercial publisher, -you may wish to procure a copy of their style manual. - -@seealso -@ref{Frenched staff}. - - -@node Frenched staff -@section Frenched staff - -ES: pentagrama a la francesa, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: karsittu nuotinnus. - -[Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a -Frenched staff has unneeded measures or sections removed. This is useful -for producing, for example, an @emph{ossia} staff. - -@seealso -@ref{ossia}. - - -@node Frenched staves -@section Frenched staves - -Plural of @ref{Frenched staff}. - - -@node fugue -@section fugue - -ES: fuga, -I: fuga, -F: fugue, -D: Fuge, -NL: fuga, -DK: fuga, -S: fuga, -FI: fuuga. - -@seealso -@ref{counterpoint}. - - -@node functional harmony -@section functional harmony - -ES: armonía funcional, -I: armonia funzionale, -F: étude des functions, -D: Funktionslehre, -NL: functionele harmonie, -DK: funktionsanalyse, funktionsharmonik, -S: funktionslära, -FI: harmoniajärjestelmä. - -A system of harmonic analysis. - -It is based on the idea that, in a given key, there are only three -functionally different chords: tonic (T, the chord on the first note of the -scale), subdominant (S, the chord on the fourth note), and dominant (D, the -chord on the fifth note). Others are considered to be variants of the base -chords. - -TODO: what does the @q{p} mean in Sp, Dp, Tp? - -@lilypond[quote,notime,relative=2,line-width=13.0\cm] -<< - { - 1 - - } - \lyrics { - T Sp Dp S D Tp - \markup { D \translate #'(-2 . 0) | } - } ->> -@end lilypond - -@seealso -No cross-references. - - -@node G -@section G - -@itemize -@item ES: sol -@item I: sol -@item F: sol -@item D: G, g -@item NL: g -@item DK: g -@item S: g -@item FI: G, g -@end itemize - -@seealso -@ref{Pitch names} - - -@node G clef -@section G clef - -ES: clave de sol, -I: chiave di sol, -F: clef de sol, -D: G-Schlüssel, Violinschlüssel, -NL: G-sleutel, -DK: g-nøgle, -S: g-klav, -FI: G-avain. - -A clef symbol that indicates G above middle@w{ }C. Used on the first and -second note lines. A digit 8 above the clef symbol indicates that the notes -must be played an octave higher while 8 below the clef symbol indicates -playing or singing an octave lower (used most frequently to notate the tenor -part in modern choral scores). - -@lilypond[quote,notime] -\relative c'' { - \override Staff.Clef #'full-size-change = ##t - \set Score.proportionalNotationDuration = #(ly:make-moment 1 8) - \clef french - g1 - \clef treble - g1 - \clef "G^8" - g1 - \clef "G_8" - g1 -} -\addlyrics { - "french violin clef" - "violin clef" - "octave up" - "octave down" - } -@end lilypond - -@seealso -No cross-references. - - -@node glissando -@section glissando - -ES: glissando, -I: glissando, -F: glissando, -D: Glissando, -NL: glissando, -DK: glissando, -S: glissando, -FI: glissando, liukuen. - -Letting the pitch slide fluently from one note to the other. - -@seealso -No cross-references. - - -@node grace notes -@section grace notes - -ES: notas de adorno, -I: abbellimenti, -F: fioriture, -D: Verzierungen, Vorschläge, Vor@-schlags@-noten, -NL: versieringen, -DK: forsiringer, -S: ornament, -FI: korunuotit. - -Notes printed in small types to indicate that their time values are not -counted in the rhythm of the bar. - -@seealso -@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, -@ref{ornament}. - - -@node grand staff -@section grand staff - -ES: sistema de piano, -I: accolatura, -F: accolade, -D: Akkolade, Klaviersystem, -NL: piano systeem, -DK: klaversystem, -S: ackolad, böjd klammer, -FI: kaksoisnuottiviivasto. - -A combination of two staves with a brace. Usually used for piano music. - -@seealso -@ref{brace}. - - -@node grave -@section grave - -ES: grave, -I: grave, -F: grave, -D: Grave, Langsam, -NL: grave, ernstig, -DK: grave, -S: grave, -FI: grave, raskaasti. - -[Italian] Slow, solemn. - -@seealso -No cross-references. - - -@node gruppetto -@section gruppetto - -@seealso -@ref{turn}. - - -@node H -@section H - -@itemize -@item ES: si -@item I: si -@item F: si -@item D: H, h -@item NL: b -@item DK: h -@item S: h -@item FI: H, h -@end itemize - -Letter name used for @notation{B natural} in German and Scandinavian -usage. In the standard usage of these countries, @notation{B} means -@notation{B flat}. - -@seealso -@ref{Pitch names}, @ref{B}. - - -@node hairpin -@section hairpin - -Graphical version of the @notation{crescendo} and @notation{decrescendo} -dynamic marks. - -@lilypond[quote,relative=2] -c1\< -c2\> c\< -c1\! -@end lilypond - -@seealso -@ref{crescendo}, @ref{decrescendo}. - - -@node half note -@section half note - -@itemize -@item UK: minim, -@item ES: blanca, -@item I: minima, -@item F: blanche, -@item D: Halbe, halbe Note, -@item NL: halve noot, -@item DK: halvnode, -@item S: halvnot, -@item FI: puolinuotti. -@end itemize - -@seealso -@ref{note value}. - - -@node half rest -@section half rest - -@itemize -@item UK: minim rest, -@item ES: silencio de blanca, -@item I: pausa di minima, -@item F: demi-pause, -@item D: halbe Pause, -@item NL: halve, rust, -@item DK: halvnodespause, -@item S: halvpaus, -@item FI: puolitauko. -@end itemize - -@seealso -@ref{note value}. - - -@node harmonic cadence -@section harmonic cadence - -ES: cadencia (armónica), -I: cadenza (armonica), -F: cadence harmonique, -D: Schlusskadenz, -NL: harmonische cadens, -DK: harmonisk kadence, -S: (harmonisk) kadens, -FI: harmoninen kadenssi. - -A sequence of chords that terminates a musical phrase or section. - -@lilypond[quote] -\new PianoStaff << - \context Staff = "SA" \relative c'' { - \clef treble - \time 4/4 - \partial 4 4 | - 2 - } - << - \context Staff = "SB" \relative c { - \clef bass - \partial 4 c4 | f, g c2 - \bar "|." - } - \lyrics { - T4 S D T - } - >> ->> -@end lilypond - - -@seealso -@ref{functional harmony}. - - -@node harmonics -@section harmonics - -ES: sonidos del flautín, -I: suoni flautati, -F: flageolet, sons harmoniques, -D: Flageolett-Töne, -NL: ?, -DK: ?, -S: ?, -FI: harmoniset äänet, huiluäänet. - -The general class of pitches produced by sounding the second or higher -harmonic of a tone producer: string, column of air, and so on. - -On stringed instruments, these pitches sound rather flute-like; hence, -their name in languages other than English. They are produced by -lightly touching the string at a node for the desired mode of vibration -while it is being bowed or plucked. - -For instruments of the violin family, there are two types of harmonics: -natural harmonics, which are those played on the open string; and -artificial harmonics, which are produced on stopped strings. - -@seealso -No cross-references. - - -@node harmony -@section harmony - -ES: armonía, -I: armonia, -F: harmonie, -D: Harmonie, Zusammenklang, -NL: harmonie, -DK: samklang, -S: samklang, -FI: harmonia, yhteissointi. - -Tones sounding simultaneously. Two note harmonies fall into the -categories @emph{consonances} and @emph{dissonances}. - -Consonances: - -@lilypond[quote,notime,relative=2,line-width=13.0\cm] - 1_"unison " s - _"third " s - _"fourth " s - _"fifth " s - _"sixth " s - _"octave " s - _"tenth" s s -@end lilypond - -Dissonances: - -@lilypond[quote,notime,relative=2,line-width=13.0\cm] - 1_"second " s s - _"seventh " s s - _"ninth" s s -@end lilypond - -For harmony that uses three or more notes, see @ref{chord}. - -@seealso -@ref{chord}. - - -@node hemiola -@section hemiola - -ES: hemiolia, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: 3/2 -suhde. - -[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. - -Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the -time normally occupied by two. The resulting rhythm can be expressed in modern -terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a -bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently -as a special effect (or @emph{affect}) at cadences. - -For example, this phrase in 6/4 time - -@lilypond[quote,relative=1,line-width=13.0\cm] -\key c \major -\time 6/4 -c2. e | d2 c d | c1. \bar "||" -@end lilypond - -may be thought of having alternating time signatures - -@lilypond[quote,relative=1,line-width=13.0\cm] -\key c \major -\time 6/4 -c2. e -\time 3/2 -d2 c d -\time 6/4 -c1. \bar "||" -@end lilypond - -and is therefore a polymeter (second definition) of considerable antiquity. - -@seealso -@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}. - - -@node homophony -@section homophony - -ES: homofonía, -I: omofonia, -F: homophonie, -D: Homophonie, -NL: homofonie, -DK: homofoni, -S: homofoni, -FI: homofonia, yksiäänisyys. - -Music in which one voice leads melodically supported by the other voices in -the same rhythm (more or less). In contrast to @emph{polyphony}. - -@seealso -@ref{polyphony}. - - -@node hymn meter -@section hymn meter - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: säkeiden tavumäärät. - -A group or list of numbers that indicate the number of syllables in a line -of a hymn's verse. Different hymnals have different ways of noting the hymn -meter: for example, consider a hymn that has four lines in two couplets -alternating regularly between eight and seven syllables. The @emph{English -Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, -or 8@w{ }7@w{ }8@w{ }7. - -Some frequently-used hymn meters have traditional names: - -@itemize -@item 66.86 is called Short Meter (abbreviated SM or S.M.) -@item 86.86 is called Common Meter (CM or C.M.) -@item 88.88 is called Long Meter (LM or L.M.) -@end itemize - -Some hymns and their tunes are doubled versions of a simpler meter: for -easier reading, a hymn with a meter of 87.87.87.87 is usually written -87.87D. The traditional names above also have doubled versions: - -@itemize -@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.) -@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.) -@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.) -@end itemize - -@seealso -No cross-references. - - -@node interval -@section interval - -ES: intervalo, -I: intervallo, -F: intervalle, -D: Intervall, -NL: interval, -DK: interval, -S: intervall, -FI: intervalli, kahden sävelen korkeusero. - -Difference in pitch between two notes. Intervals may be diminished, minor, -perfect, major, or augmented. The augmented fourth and the diminished fifth are -identical (or @emph{enharmonic}) and are called @emph{tritonus} because they -consist of three whole tones. The addition of such two intervals forms an -octave. - -@lilypond[quote,notime,line-width=13.0\cm] -<< -\context Voice \relative c'' { -% Prime or unison - < g g >1 - < g gis >^"aug" -% Second - < gis as >^"dim" - < g! as >^"min" - < g a! >^"maj" - < g ais >^"aug" -% Third - < gis bes >^"dim" - < g! bes >^"min" - < g b! >^"maj" - < g bis >^"aug" -% Fourth - < g ces >^"dim" - < g c! >^"per" - < g cis >^"aug" -% Fifth - < g des' >^"dim" - < g d' >^"per" - < g dis >^"aug" -% Sixth - < gis es' >^"dim" - < g! es' >^"min" - < g e'! >^"maj" - < g eis' >^"aug" -% Seventh - < gis f'! >^"dim" - < g! f'! >^"min" - < g fis' >^"maj" - < g fisis' >^"aug" -% Octave - < g ges' >^"dim" - < g g' >^"per" - < g gis' >^"aug" -} -\context Lyrics \lyrics { - "unison " "unison " - "second " "second " "second " "second " - "third " "third " "third " "third " - "fourth " "fourth " "fourth " - "fifth " "fifth " "fifth " - "sixth " "sixth " "sixth " "sixth " - "seventh" "seventh" "seventh" "seventh" - "octave " "octave " "octave " -} ->> -@end lilypond - -@seealso -@ref{enharmonic}, @ref{whole tone}. - - -@node inversion -@section inversion - -ES: ?, -I: ?, -F: inversion, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: käännös. - -When a chord sounds with a bass note that differs from the root of the -chord, it is said to be @emph{inverted}. The number of inversions that a -chord can have is one fewer than the number of constituent notes. For -example, triads (which have three constituent notes) can have three -positions, two of which are inversions: - -@table @dfn -@item Root position -The root note is in the bass, and above that are the third and the fifth. A -triad built on the first scale degree, for example, is marked @notation{I}. - -@item First inversion -The third is in the bass, and above it are the fifth and the root. This -creates an interval of a sixth and a third above the bass note, and so is -marked in figured Roman notation as @notation{6/3}. This is commonly -abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the -characteristic interval of the inversion, and so always implies -@notation{6/3}. - -@item Second inversion -The fifth is in the bass, and above it are the root and the third. This -creates an interval of a sixth and a fourth above the bass note, and so is -marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most -unstable chord position. -@end table - -@seealso -No cross-references. - - -@node inverted interval -@section inverted interval - -ES: intervalo invertido, -I: intervallo rivolto, -F: intervalle reversé, -D: umgekehrtes Intervall, -NL: interval inversie, -DK: omvendingsinterval, -S: intervallets omvändning, -FI: käänteisintervalli. - -The difference between an interval and an octave. - -@lilypond[quote,notime,relative=2,line-width=13.0\cm] -1_"second " s s _"seventh " s s \bar "||" -_"third " s s _"sixth " s s \bar "||" -_"fourth " s s _"fifth " s s \bar "||" -@end lilypond - -@seealso -No cross-references. - - -@node just intonation -@section just intonation - -ES: entonación justa, -I: intonazione giusta, -F: intonation juste, -D: reine Stimmung, -NL: reine stemming, -DK: ren stemning, -S: ren stämning, -FI: puhdas viritys. - -Tuning system in which the notes are obtained by adding and subtracting -natural fifths and thirds. - -@seealso -@ref{temperament}. - - -@node key -@section key - -ES: tonalidad, -I: tonalità, -F: tonalité, -D: Tonart, -NL: toonsoort, -DK: toneart, -S: tonart, -FI: tonaliteetti. - -According to the 12@w{ }tones of the @emph{chromatic scale} there are -12@w{ }keys, one on@w{ }c, one on c-sharp, etc. - -@seealso -@ref{chromatic scale}, @ref{key signature}. - - -@node key signature -@section key signature - -ES: armadura (de la clave), -I: armatura di chiave, -F: armure, armature [de la clé], -D: Vorzeichen, Tonart, -NL: toon@-soort (voortekens), -DK: faste fortegn, -S: tonartssignatur, -FI: sävellajiosoitus. - -The sharps or flats appearing at the beginning of each staff indicating the -key of the music. - -@seealso -@ref{accidental}. - - -@node laissez vibrer -@section laissez vibrer - -ES: dejar vibrar, -I: ?, -F: laissez vibrer, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: antaa väristä. - -[French: @q{Let vibrate}] Most frequently associated with harp -parts. Marked @notation{l.v.} in the score. - -@seealso -No cross-references. - - -@node largo -@section largo - -ES: largo, -I: largo, -F: largo, -D: Largo, Langsam, Breit, -NL: largo, -DK: largo, -S: largo, -FI: largo, hitaasti, leveästi. - -[Italian: @q{wide}.] Very slow in tempo, usually combined with great -expressiveness. @emph{Larghetto} is less slow than largo. - - -@node leading note -@section leading note - -ES: sensible, -I: sensibile, -F: note sensible, -D: Leitton, -NL: leidtoon, -DK: ledetone, -S: ledton, -FI: johtosävel. - -The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so -called because of its strong tendency to @q{lead up} (resolve upwards) -to the tonic scale degree. - -@seealso -@ref{scale degree}, @ref{semitone}. - - -@node ledger line -@section ledger line - -ES: línea adicional, -I: tagli addizionali, -F: ligne supplémentaire, -D: Hilfslinie, -NL: hulplijntje, -DK: hjælpelinie, -S: hjälplinje, -FI: apuviiva. - -A ledger line is an extension of the staff. - -@lilypond[quote,notime,relative=2] -a,1 -s1 -c''1 -@end lilypond - -@seealso -No cross-references. - - -@node legato -@section legato - -ES: legato, -I: legato, -F: legato, lié, -D: legato, gebunden, -NL: legato, -DK: legato, -S: legato, -FI: legato, sitoen. - -To be performed (a) without any perceptible interruption between the -notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c) -@notation{portato}, or (d) @notation{staccato}. - -@lilypond[quote,notime,line-width=13.0\cm] -<< - \context Staff \relative c'' { - c4-( d e-) \bar "||" - c4-- d-- e-- \bar "||" - c4-.-( d-. e-.-) \bar "||" - c4-. d-. e-. \bar "||" - } - \lyrics { - a2. - b - c - d - } ->> -@end lilypond - -@seealso -@ref{staccato}. - - -@node legato curve -@section legato curve - -@seealso -@ref{slur}, @ref{legato}. - - -@node leger line -@section leger line - -@seealso -@ref{ledger line}. - - -@node ligature -@section ligature - -ES: ligadura, -I: ?, -F: ligature, -DE: Ligatur, -NL: ?, -DK: ?, -S: ?, -FI: ligatuura. - -A ligature is a coherent graphical symbol that represents at least two -distinct notes. Ligatures originally appeared in the manuscripts of -Gregorian chant notation around the 9th century to denote ascending or -descending sequences of notes. In early notation, ligatures were used for -monophonic tunes (Gregorian chant) and very soon denoted also the way of -performance in the sense of articulation. With the invention of the metric -system of the white mensural notation, the need for ligatures to denote such -patterns disappeared. - -@seealso -@ref{mensural notation}. - - -@node lilypond -@section lilypond - -UK: lily pond, -ES: estanque de nenúfares, -I: stagno del giglio, -F: étang de nénuphars, étang de nymphéas, -D: Seerosenteich, -NL: le@-lie@-vij@-ver, -DK: liliedam, -S: liljedamm, -FI: liljalampi. - -A pond with lilies floating in it. - -Also, the name of a music typesetting program. - -@seealso -No cross-references. - - -@node line -@section line - -ES: línea, -I: linea, -F: ligne, -D: Linie, Notenlinie, -NL: lijn, -DK: nodelinie, -S: notlinje, -FI: viiva, nuottiviiva. - -@seealso -@ref{staff}. - - -@node loco -@section loco - -ES: en su lugar, -I: loco, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kirjoitetussa äänenkorkeudessa. - -[Italian: @q{place}] Instruction to play the following passage at the -written pitch. Cancels octave mark (q.v.). - -@seealso -@ref{octave mark}, @ref{octave marking}. - - -@node long appoggiatura -@section long appoggiatura - -ES: apoyatura larga, -I: appoggiatura lunga, -F: appoggiature longue, -D: Vorhalt, -NL: Lange voorslag, -DK: langt forslag, -S: långt förslag, -FI: pitkä appoggiatura, pitkä etuhele. - -@seealso -@ref{appoggiatura}. - - -@node longa -@section longa - -@itemize -@item US: long, longa, -@item ES: longa, -@item I: longa, -@item F: longa, -@item D: Longa, -@item NL: longa, -@item DK: longa, -@item S: longa, -@item FI: longa. -@end itemize - -Note value: twice the length of a @notation{breve}. - -@lilypond[quote,notime,relative=2] -\override NoteHead #'style = #'mensural -g\longa g\breve -@end lilypond - -@seealso -@ref{breve}, @ref{note value}. - - -@node lyric tie -@section lyric tie - -ES: ligadura de letra, -I: ?, -F: ?, -D: Textbindung, -NL: ?, -DK: ?, -S: ?, -FI: sidonta sanoituksessa. - -@c TODO: add languages - -@seealso -@ref{elision}. - - -@node lyrics -@section lyrics - -ES: letra (de la canción), -I: ?, -F: paroles, -D: Liedtext, Gesangtext, -NL: liedtekst, -DK: ?, -S: ?, -FI: sanoitus. - -@c Definition? - -@seealso -No cross-references. - - -@node major -@section major - -ES: mayor, -I: maggiore, -F: [mode] majeur, -D: Dur, -NL: majeur, -DK: dur, -S: dur, -FI: duuri. - -@seealso -@ref{diatonic scale}. - - -@node major interval -@section major interval - -ES: intervalo mayor, -I: intervallo maggiore, -F: intervalle majeur, -D: großes Intervall, -NL: groot interval, -DK: stort interval, -S: stort intervall, -FI: suuri intervalli. - -@seealso -@ref{interval}. - - -@node maxima -@section maxima - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -Note value: twice the length of a @notation{longa}. - -The maxima is the largest duration in use during the 15th and 16th centuries. -Like the longa, the maxima can be either two or three times as long as the -@notation{longa} (called @notation{binary} and @notation{ternary}, -respectively). By the late 15th century, most composers used the smaller -proportion by default. - -@seealso -@ref{Duration names notes and rests}, @ref{longa}, @ref{note value}. - - -@node meantone temperament -@section meantone temperament - -ES: afinación mesotónica, -I: accordatura mesotonica, -F: tempérament mésotonique, -D: mitteltönige Stimmung, -NL: middenstemming, middentoonstemming, -DK: middeltonetemperatur, -S: medeltonstemperatur, -FI: keskisävelviritys. - -Temperament yielding acoustically pure thirds by decreasing the natural -fifth by 16@w{ }cents. Due to the non-circular character of this -temperament only a limited set of keys are playable. Used for tuning -keyboard instruments for performance of pre-1650 music. - -@seealso -@ref{cent}, @ref{temperament}. - - -@node measure -@section measure - -ES: compás, -I: misura, battuta, -F: mesure, -D: Takt, -NL: maat, -DK: takt, -S: takt, -FI: tahti. - -A group of beats (units of musical time) the first of which bears an accent. -Such groups in numbers of two or more recur consistently throughout the -composition and are separated from each other by bar lines. - -@seealso -@ref{bar line}, @ref{beat}, @ref{meter}. - - -@node measure repeat -@section measure repeat - -@seealso -@ref{percent repeat}. - - -@node mediant -@section mediant - -ES: mediante, -I: mediante, modale, -F: médiante, -NL: mediant, -D: Mediante, -DK: mediant, -S: mediant, -FI: keskisävel. - -@itemize - -@item The third @b{scale degree}. - -@item A @emph{chord} having its base tone a third from that of another -chord. For example, the tonic chord may be replaced by its lower -mediant (variant tonic). - -@end itemize - -@seealso -@ref{chord}, @ref{functional harmony}, @ref{relative key}. - - -@node melisma -@section melisma - -ES: melisma, -I: ?, -F: mélisme, -D: Melisma, -NL: melisma, -DK: ?, -S: ?, -FI: melisma, laulettavan tavun sävelkuvio. - -A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung -on one syllable, especially as applied to liturgical chant. - -@seealso -No cross-references. - - -@node melisma line -@section melisma line - -@c TODO: add languages - -ES: línea de melisma, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: melismaviiva. - -@seealso -@ref{extender line}. - - -@node melodic cadence -@section melodic cadence - -@seealso -@ref{cadenza}. - - -@node mensural notation -@section mensural notation - -@c TODO: add languages - -ES: notación mensural, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: mensuraalinuotinnus. - -A system of duration notation whose principles were first established in the -mid-13th century, and that (with various changes) remained in use until about -1600. As such, it is the basis for the notation of rhythms in Western musical -notation. - -Franco of Cologne (ca. 1250) is credited with the first systematic explanation -of the notation's principles, so the notation of this earliest period is called -@q{Franconian}. Franco's system made use of three note values -- long, breve, -and semibreve -- each of which was normally equivalent to three of the next -lower note value. - -Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs -added several note values (the minim, semiminim and fusa) and extended Franco's -principles to govern the relationship between these values. They also put the -duple division of note values on an equal footing with the earlier (preferred) -triple division. - -TODO: continue description of French and Italian black notation, and the -relationship betwixt them. - -@b{White or void mensural notation} - -In the 15th century, hollow (or void) notes began to substitute for the earlier -solid black ones, which were then free to assume the function of red (or -colored) notes in the earlier notation. ... - -TODO: add to definition (including summary info on proportional notation) - -@seealso -@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}. -@c TODO: more cross-references? - - -@node mensuration sign -@section mensuration sign - -@c TODO: add languages - -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -The ancestor of the time signature, mensuration signs were used to indicate the -relationship between two sets of note durations—specifically, the ratio of -breves to semibreves (called @notation{tempus}), and of semibreves to minims -(called @notation{prolatio}). - -Each ratio was represented with a single single sign, and was either -three-to-one (ternary) or two-to-one (binary), as in modern music notation. -Unlike modern music notation, the @emph{ternary} ratio was the preferred -one—applied to the @emph{tempus}, it was called @emph{perfect}, and was -represented by a complete circle; applied to the @emph{prolatio}, it was called -@emph{major} and was represented by a dot in the middle of the sign. The binary -ratio applied to the @emph{tempus} was called @emph{imperfect}, and was -represented by an incomplete circle; applied to @emph{prolatio}, it was called -@emph{minor} and was represented by the lack of an internal dot. There are four -possible combinations, which can be represented in modern time signatures with -and without reduction of note values. (These signs are hard-coded in LilyPond -with reduction.) - -@table @dfn -@item perfect @emph{tempus} with major @emph{prolatio} -Indicated by a complete circle with an internal dot. In modern time signatures, -this equals: -@itemize -@item 9/4, with reduction or -@item 9/2, without reduction -@end itemize - -@item perfect @emph{tempus} and minor @emph{prolatio} -Indicated by a complete circle without an internal dot. In modern time -signatures, this equals: -@itemize -@item 3/2, with reduction or -@item 3/1, without reduction -@end itemize - -@item imperfect @emph{tempus} and major @emph{prolatio} -Indicated by an incomplete circle with an internal dot. In modern time -signatures, this equals: -@itemize -@item 6/4, with reduction or -@item 6/2, without reduction -@end itemize - -@item imperfect @emph{tempus} and minor @emph{prolatio} -Indicated by an incomplete circle without an internal dot. In modern time -signatures, this equals: -@itemize -@item 4/4, with reduction or -@item 2/1, without reduction -@end itemize -@end table - -The last mensuration sign @emph{looks} like common-time because it @emph{is}, -with note values reduced from the original semibreve to a modern quarter note. -Being doubly imperfect, this sign represented the (theoretically) -least-preferred mensuration, but it was actually used fairly often. - -This system extended to the ratio of longer note values to each other: - -@itemize - - @item maxima to longa, called: - - @itemize - - @item @notation{modus maximorum}, - @item @notation{modus major}, or - @item @notation{maximodus}) - - @end itemize - - @item longa to breve, called: - - @itemize - - @item @notation{modus longarum}, - @item @notation{modus minor}, or - @item @notation{modus} - - @end itemize - -@end itemize - -In the absence of any other indication, these modes were assumed to be -binary. The mensuration signs only indicated tempus and prolatio, so -composers needed another way to indicate these longer ratios (called modes. -Around the middle of the 15th century started to use groups of rests at the -beginning of the staff, preceding the mensuration sign. - - -Two mensuration signs have survived to the present day: the C-shaped sign, -which originally designated @notation{tempus imperfectum} and -@notation{prolatio minor} now stands for @notation{common time}; and the -slashed C, which designated the same with @notation{diminution} now stands -for @notation{cut-time} (essentially, it has not lost its original meaning). - -@seealso -@ref{diminution}, @ref{proportion}, @ref{time signature}. -@c TODO: more cross-references? - - -@node meter -@section meter - -ES: tiempo, compás, -I: tempo, misura, -F: indication de mesure, mesure, -D: Taktart, Metrum, -NL: maatsoort, -DK: taktart, -S: taktart, -FI: aika-arvo. - -The pattern of note values and accents in a composition or a section thereof. -There are a couple ways to classify @q{traditional} meter (i.e. not polymeter): -by grouping beats and by subdividing the primary beat. - -@b{By grouping beats}: - -@itemize - - @item @b{duple}: groups of two. - @item @b{triple}: groups of three. - @item @b{quadruple}: groups of four. A special case of duple meter. - @item @b{quintuple}: groups of five beats. - @item @b{sextuple} meter: groups of six. A special case of: - - @itemize - - @item duple meter, subdivided in three; or - @item triple meter, subdivided in two. - - @end itemize - - @item @b{septuple} meter: groups of seven. - @item and so on. - -@end itemize - -Other than triple meter and its subdivided variants (see below), meters that -feature odd groupings of beats (e.g. quintuple or septuple meter) are not -frequently used prior to the 20th Century. - -@b{By subdividing the primary beat}: - -@itemize - - @item simple: subdivided in groups of two. - - @itemize - - @item duple: 2/2, 2/4, 2/8 - @item triple: 3/2, 3/4, 3/8 - @item quadruple: 4/2, 4/4 (also called common time), 4/8 - - @end itemize - - @item compound: subdivided in groups of three. - - @itemize - - @item duple: 6/8 - @item triple: 9/8 - @item quadruple: 12/8 - - @end itemize - -@end itemize - -Time signatures are placed at the beginning of a composition (or section) to -indicate the meter. For instance, a piece written in simple triple meter with a -beat on each quarter note is conventionally written with a time signature of -3/4. Here are some combinations of the two classifications above: - -Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune): - -@lilypond[quote,line-width=13.0\cm] -\relative c'' { - \time 2/4 - \key g \major - g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"} -@end lilypond - -Simple triple meter: - -@lilypond[quote,line-width=13.0\cm] -\relative c'' { - \time 3/4 - \key c \minor - c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"} -@end lilypond - -Simple quadruple meter (French folk tune, @emph{Au clair de la lune}): - -@lilypond[quote,line-width=13.0\cm] -\relative c'' { - \time 4/4 - \key g \major - g4 g g a | b2 a | g4 b a a | g1 \bar "||"} -@end lilypond - -Simple quintuple meter (B. Marcello, 1686-1739): - -@lilypond[quote,line-width=13.0\cm] -\relative c'' { - \time 5/4 - \key c \major - r4 cis8 bis ais4 dis c8 ais | - aes4 bes8 aes ges4 aes f8 es \bar "||"} -@end lilypond - -(Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in -the source, with sharps in the accompaniment where the voice has flats and -@emph{vice versa}.) - -Compound duple meter (unknown): - -@lilypond[quote,line-width=13.0\cm] -\relative c' { - \time 6/8 - \key f \major - f8 f g a bes16 a g f | - g8 g bes a c16 a bes g - \bar "||"} -@end lilypond - -Compound triple meter (J.S. Bach, 1685-1750): - -@lilypond[quote,line-width=13.0\cm] -\relative c' { - \time 9/8 - \key g \major - r8 g'( a) b( d c) c( e d) | - d( g fis) g( d b) g( a b) - \bar "||"} -@end lilypond - -Compound quadruple meter (P. Yon, 1886-1943): - -@lilypond[quote,line-width=13.0\cm] -\relative c' { - \time 12/8 - \key e \major - b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 | - e4 e8 fis( gis) a b4.~ b4 b8 - \bar "||"} -@end lilypond - -@b{@q{Monometer} vs Polymeter} - -TODO: add information from discussion on lilypond-user related to polymeter. - -@seealso -@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} - - -@node metronome -@section metronome - -ES: metrónomo, -I: metronomo, -F: métronome, -D: Metronom, -NL: metronoom, -DK: me@-tro@-nom, -S: me@-tro@-nom, -FI: metronomi. - -Device used to indicate the exact tempo of a piece. - -Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name -from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo -divisions, and patented it as a @q{metronome}. The inevitable lawsuit that -followed acknowledged Winkler as the creator, but by then Mälzel had already -sold many of them, and people had taken to calling it a Mälzel Metronome. - -@seealso -@ref{metronome mark}. - - -@node metronome mark -@section metronome mark - -ES: indicación metronómica, -I: indicazione metronomica, -F: indication métronomique, -D: Metronomangabe, -NL: metronoom aanduiding, -DK: metronomtal, -S: metronomangivelse, -FI: metronomiosoitus. - -Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or -@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, -@emph{anglice}). - -@seealso -@ref{metronome} - - -@node metronomic indication -@section metronomic indication - -@seealso -@ref{metronome mark} - - -@node mezzo -@section mezzo - -ES: ?, -I: mezzo, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kohtalaisen, melko. - -[Italian: @q{medium}] - -Used to qualify other indications, such as: - -@itemize - -@item Dynamics - @itemize - @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as - @notation{piano}) - @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as - @notation{forte}) - @end itemize - -@item Voice - @itemize - @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and - sopranos - @end itemize - -@end itemize - -@seealso -No cross-references. - - -@node mezzo-soprano -@section mezzo-soprano - -ES: mezzosoprano, -I: mezzo-soprano, -F: mezzo-soprano, -D: Mezzosopran, -NL: mezzosopraan, -DK: mezzosopran, -S: mezzosopran, -FI: mezzosopraano. - -The female voice between soprano and contralto. - -@seealso -@ref{soprano}, @ref{contralto}. - - -@node middle C -@section middle C - -ES: do central, -I: do centrale, -F: do central, -D: eingestrichenes@w{ }c, -NL: centrale@w{ }c, -DK: enstreget@w{ }c, -S: ettstruket@w{ }c, -FI: keski-C. - -First C below the 440 Hz A. - -@lilypond[quote,notime,relative=1] -\override Staff.Clef #'full-size-change = ##t - \clef bass c1 s - \clef alto c s - \clef treble c s -@end lilypond - -@seealso -No cross-references. - - -@node minor -@section minor - -ES: menor, -I: minore, -F: mode mineur, -D: Moll, -NL: mineur, -DK: mol, -S: moll, -FI: molli. - -@seealso -@ref{diatonic scale}. - - -@node minor interval -@section minor interval - -ES: intervalo menor, -I: intervallo minore, -F: intervalle mineur, -D: kleines Intervall, -NL: klein interval, -DK: lille interval, -S: litet intervall, -FI: pieni intervalli. - -@seealso -@ref{interval}. - - -@node mixolydian mode -@section mixolydian mode - -@seealso -@ref{diatonic scale}. - - -@node mode -@section mode - -ES: modo, -I: modo, -F: mode, -D: Kirchentonart, Modus, -NL: modus, -DK: skala, -S: modus, skala, -FI: moodi, kirkkosävelasteikko. - -@seealso -@ref{church mode}, @ref{diatonic scale}. - - -@node modulation -@section modulation - -ES: modulación, -I: modulazione, -F: modulation, -D: Modulation, -NL: modulatie, -DK: modulation, -S: modulering, -FI: modulaatio, sävellajin vaihdos. - -Moving from one @ref{key} to another. For example, the second subject -of a @ref{sonata form} movement modulates to the dominant key if the -key is major and to the @ref{relative key} if the key is minor. - -@seealso -No cross-references. - - -@node mordent -@section mordent - -I: mordente, -F: mordant, -D: Mordent, -NL: mordent, -DK: mordent, -S: mordent, -FI: mordent, korukuvio. - -@seealso -@ref{ornament}. - - -@node motif -@section motif - -@seealso -@ref{motive}. - - -@node motive -@section motive - -ES: motivo, -I: inciso, -F: incise, -D: Motiv, -NL: motief, -DK: motiv, -S: motiv, -FI: teema, sävelaihe. - -The briefest intelligible and self-contained fragment of a musical -theme or subject. - -@lilypond[quote,line-width=13.0\cm] -\score{ -\relative c'' { - \set Score.implicitTimeSignatureVisibility = #all-invisible - \override Score.TimeSignature #'break-visibility = #all-invisible - \time 4/4 - \key g \major - \partial 8 g16\startGroup fis | - g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis | - g8 g,16 a b8 cis d16 s -} -\layout { - \context { - \Staff \consists "Horizontal_bracket_engraver" -}} -} -@end lilypond - -@seealso -No cross-references. - - -@node movement -@section movement - -ES: movimiento, -I: movimento, -F: mouvement, -D: Satz, -NL: deel, -DK: sats, -S: sats, -FI: osa. - -Greater musical works like @ref{symphony} and @ref{sonata} most often consist of -several -- more or less -- independent pieces called movements. - -@seealso -No cross-references. - - -@node multi-measure rest -@section multi-measure rest - -ES: compases de espera, -I: pausa multipla, -F: pause multiple, -NL: meermaats rust, -D: mehrtaktige Pause, Kirchenpause, -DK: flertaktspause, -S: flertaktspaus, -FI: usean tahdin mittainen tauko. - -Multi-measure rests are conventionally typeset with a combination of -longa, breve and whole rests for shorter and a long horizontal bar for -longer spans of rest, with a number above to indicate the duration (in -measures) of the rest. The former style is called @q{Kirchenpausen} in -German, as a reminiscence of its use in Renaissance vocal polyphony. - -@lilypond[quote,relative=2] -a1 -\set Score.skipBars = ##t -R1*3 -a1 -\set Score.skipBars = ##t -R1*122 -a1 -@end lilypond - -@seealso -@ref{longa}, @ref{breve}. - - -@node natural -@section natural - -ES: becuadro, -I: bequadro, -F: bécarre, -D: Auflösungszeichen, -NL: herstellingsteken, -DK: op@-løsningstegn, -S: återställningstecken, -FI: palautusmerkki. - -@seealso -@ref{accidental}. - - -@node neighbor tones -@section neighbor tones - -@seealso -@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, -@ref{ornament}. - - -@node ninth -@section ninth - -ES: novena, -I: nona, -F: neuvième, -D: None, -NL: noon, -DK: none, -S: nona, -FI: nooni. - -@seealso -@ref{interval}. - - -@node non-legato -@section non-legato - -@seealso -@ref{legato}. - - -@node note -@section note - -ES: nota, -I: nota, -F: note, -D: Note, -NL: noot, -DK: node, -S: not, -FI: nuotti. - -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 -which produces the sound. However, a clear distinction between the terms tone -and @ref{note} is strongly recommended. Briefly, one sees a note, -and hears a tone. - -@seealso -No cross-references. - - -@node note head -@section note head - -ES: cabeza, -I: testa, testina, capocchia, -F: tête de la note, -D: Notenkopf, -NL: nootballetje, -DK: nodehovede, -S: nothuvud, -FI: nuotin pää. - -A head-like sign which indicates pitch by its position on a @notation{staff} -provided with a @notation{clef}, and duration by a variety of shapes such as -hollow or black heads with or without @notation{stems}, @notation{flags}, etc. -For percussion instruments (often having no defined pitch) the note head may -indicate the instrument. - -@seealso -@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}. - - -@node note names -@section note names - -@seealso -@ref{Pitch names} - - -@node note value -@section note value - -ES: valor (duración), -I: valore, durata, -F: durée, valeur (d'une note), -D: Notenwert, -NL: nootwaarde, -DK nodeværdi, -S: notvärde, -FI: nuotin aika-arvo. - -Note values (durations) are measured as fractions—in modern usage, one-half—of -the next higher note value. The longest duration in current use is the -@notation{breve} (equal to two whole notes), but sometimes (especially in music -dating from the Baroque era or earlier) the @notation{longa} (four whole notes) -or @notation{maxima} (eight whole notes) may be found. - -As used in mensural notation, this fraction was more flexible: it could also -be one-third the higher note value. Composers indicated which proportions -to use with various signs—two of which survive to the present day: the -C-shaped sign for @notation{common time}, and the slashed C for -@notation{alla breve} or @notation{cut-time}. - -@c TODO -- add maxima to this example, in a way that doesn't break it. - -@lilypond[quote,notime,line-width=13.0\cm] -\relative c'' { - \override NoteHead #'style = #'mensural - a\longa_"longa" a\breve_"breve" - \revert NoteHead #'style - a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16 - a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 } -@end lilypond - -@c TODO -- add maxima rest to this example - -@lilypond[quote,notime,line-width=13.0\cm] -\relative c'' { - r\longa_"longa" r\breve_"breve" - r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16 - r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 } -@end lilypond - -An augmentation dot after a note increases its duration by half; a second dot -increases it by half of the first addition (that is, by a fourth of the original -duration). More dots can be used to add further halved fractions of the -original note value (1/8, 1/16, etc.), but they are not frequently encountered. - -@lilypond[quote,line-width=13.0\cm] -\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 "||" } -@end lilypond - -Alternatively note values may be subdivided by other ratios. Most common is -subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}). -Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of -dotted notes are also frequently used. - -@lilypond[quote,line-width=13.0\cm] -\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 "||" -} -@end lilypond - -@lilypond[quote,line-width=13.0\cm] -\relative c'' { - \time 3/4 - \times 3/2 {g4_"duplets" g} | - g4 g g \bar "||" - \times 6/4 {g8_"quadruplets" g g g} | - g8 g g g g4 \bar "||" -} -@end lilypond - -@seealso -@ref{common time}. - - -@node octavation -@section octavation - -@seealso -@ref{octave marking}. - - -@node octave -@section octave - -ES: octava, -I: ottava, -F: octave, -D: Oktave, -NL: octaaf, -DK: oktav, -S: oktav, -FI: oktaavi. - -The interval of an octave, sometimes abbreviated @notation{8ve}. - -For uses like @notation{all'ottava} or @notation{8va} with an extender line or -bracket, or @notation{loco} see octave marking. - -@seealso -@ref{interval}, @ref{octave marking}. - - -@node octave mark -@section octave mark - -ES: indicación de octava, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: oktaavamerkki. - -The phrase, abbreviation, or other mark used (with or without an extender line -or bracket) to indicate that the music is to be played in a different octave: - -@itemize - -@item @notation{15ma}: play two octaves higher -@item @notation{8va}: play one octave higher -@item @notation{8vb}: play one octave lower -@item @notation{8va} (written below the passage): unusual, same as -@notation{8vb} -@item @notation{15vb}: play two octaves lower -@item @notation{15va} (written below the passage): unusual, same as -@notation{15vb} - -@end itemize - -For longer passages, it may be more practical to mark the octave change at the -beginning with a phrase (see the list below for examples), but without a bracket -or extender line. Then, when the music returns to the written pitch, the octave -change is cancelled with the word @notation{loco} (q.v.). - -To parallel the list above: - -@itemize - -@item @notation{15ma}: @notation{alla quindicesima (alta)} -@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra} -@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto} -@item @notation{15vb}: @notation{alla quindicesima (bassa)} - -@end itemize - -In the phrases above, @notation{quindicesima} is sometimes replaced with -@notation{quindecima}, which is Latin. - -The music on an entire staff can be marked to be played in a different octave by -putting a small 8 or 15 above or below the clef at the beginning. This octave -mark can be applied to any clef, but it is most frequently used with the G and F -clefs. - -@seealso -@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}. - - -@node octave marking -@section octave marking - -ES: a la octava, -I: all'ottava, -F: octaviation, -D: Oktavierung, -NL: octaveren, -DK: oktavering, -S: oktavering, -FI: oktaavamerkintä. - -The practice of marking music -- an entire staff, a passage, etc. -- to indicate -that it is to be played in a different octave. If applied to the clef at the -beginning of the staff, all music on that staff is to played at the indicated -octave. - -For a list of the specific marks used, see @ref{octave mark}. - -@seealso -@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}. - - -@node octave sign -@section octave sign - -@seealso -@ref{octave mark}. - - -@node ornament -@section ornament - -ES: adorno, -I: abbellimento, fioriture, -F: agrément, ornement, -D: Verzierung, Ornament, -NL: versiering, -DK: forsiring, -S: ornament, -FI: koru, hele. - -Most commonly used is the @emph{trill}, the rapid alternation of a given note -with the diatonic @ref{second} above it. In the music from the -middle of the 19th century and onwards the trill is performed with the main -note first while in the music from the preceding baroque and classic periods -the upper note is played first. - -@lilypond[quote,line-width=13.0\cm] -<< - \context Staff = sa { - \relative c'' { - c2._"pre-1850" b4\trill | c1 \bar "||" - c2._"post-1850" b4\trill | c1 \bar "||" - } - } - \relative c'' { - c2. c32 b c b c b c b | c1 - c2. b32 c b c \times 4/5 { b c b c b } | c1 - } ->> -@end lilypond - -Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and -the -@emph{prall} (inverted mordent). - -@lilypond[quote,line-width=13.0\cm] -<< - \context Staff = sa { - \relative c'' { - a4_"turn" b\turn c2 \bar "||" - g4_"mordent" a b\mordent a \bar "||" - e'4_"prall" d\prall c2 \bar "||" - } - } - \relative c'' { - a4 c16[ b a b] c2 - g4 a b16-[ a b8] a4 - e'4 e32[ d e d ~ d8] c2 - } ->> -@end lilypond - -@seealso -@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}. - - -@node ossia -@section ossia - -ES: ossia, -I: ossia, -F: ossia, -D: Ossia, -NL: alternatief, -DK: ossia, -S: ossia, -FI: ossia, vaihtoehtoinen esitystapa. - -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. - -@seealso -No cross-references. - - -@node part -@section part - -ES: parte, -I: voce, parte, -F: partie, -D: Stimme, -NL: partij, -DK: stemme, -S: stämma, -FI: stemma, instrumenttiosuus. - -@itemize - -@item In instrumental or choral music, the music for a single -instrument or voice. - -@item in contrapuntal music, a single melodic line in the contrapuntal -web. - -@end itemize - -@seealso -@ref{counterpoint} - - -@node pause -@section pause - -@seealso -@ref{fermata}. - - -@node pennant -@section pennant - -@seealso -@ref{flag}. - - -@node percent repeat -@section percent repeat - -LilyPond-specific term to indicate the repetition of a musical expression on a -single staff, as opposed to the more usual definition of repeat, which affects -all parts. The musical expression can be anything from a single note or note -pattern to one or more measures. There are other names for this symbol: - -@itemize - -@item simile mark -@item slash mark, or slash repeat -@item beat repeat -@item measure (or multi-measure) repeat - -@end itemize - -@lilypond[quote,relative=2,line-width=13.0\cm] -\time 4/4 - \repeat percent 4 { c4_"Beat (or slash) repeat" } - \repeat percent 2 { c4 e g b_"Measure repeat" } - \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | } -@end lilypond - -@seealso -@ref{repeat}, -@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of -Vermont Music Dictionary}. - - -@node percussion -@section percussion - -ES: percusión, -I: percussioni, -F: percussion, -D: Schlagzeug, Schlagwerk, -NL: slagwerk, -DK: slagtøj, -S: slagverk, -FI: lyömäsoittimet. - -A family of musical instruments which are played on by striking or -shaking. Percussion instruments commonly used in a symphony orchestra are -kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, -tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel, -and xylophone. - -@seealso -No cross-references. - - -@node perfect interval -@section perfect interval - -ES: intervalo justo, -I: intervallo giusto, -F: intervalle juste, -D: reines Intervall, -NL: rein interval, -DK: rent interval, -S: rent intervall, -FI: puhdas intervalli. - -@seealso -@ref{interval}. - - -@node phrase -@section phrase - -ES: frase, -I: frase, -F: phrase, -D: Phrase, -NL: frase, zin, -DK: frase, -S: fras, -FI: fraasi, lause. - -A natural division of the melodic line, comparable to a sentence of speech. - -@seealso -@ref{caesura}. - - -@node phrasing -@section phrasing - -ES: fraseo, -I: fraseggio, -F: phrasé, -D: Phrasierung, -NL: frasering, -DK: frasering, -S: fra@-se@-ring, -FI: fraseeraus, jäsentäminen. - -The clear rendering in musical performance of the @notation{phrases} of the -melody. Phrasing may be indicated by a @notation{slur}. - -@seealso -@ref{phrase}, @ref{slur}. - - -@node piano -@section piano - -ES: piano, -I: piano, -F: piano, -D: piano, leise, -NL: piano, -DK: piano, -S: piano, -FI, piano, hiljaa. - -@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, -@emph{mezzo piano} (@b{mp}) medium soft. - -@seealso -No cross-references. - - -@node pickup -@section pickup - -ES: anacrusa, -I: anacrusi, -F: anacrouse, levée, -D: Auftakt, -NL: opmaat, -DK: optakt, -S: upptakt, -FI: kohotahti. - -@seealso -@ref{anacrusis}. - - -@node pitch -@section pitch - -ES: altura, -I: altezza, -F: hauteur, -D: Tonhöhe, -NL: toonhoogte, -DK: tonehøjde, -S: tonhöjd, -FI: sävelkorkeus. - -@enumerate - -@item The perceived quality of a sound that is primarily a function of its -fundamental frequency. - -@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch. - -@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized -association of a particular frequency with a particular pitch name, e.g., c' = -256 Hz. - -@end enumerate - -@seealso -@ref{Pitch names}. - - -@node pizzicato -@section pizzicato - -ES: pizzicato, -I: pizzicato, -F: pizzicato, -D: pizzicato, -NL: pizzicato, getokkeld, -DK: pizzicato, -S: pizzicato, -FI: pizzicato, näppäillen. - -A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking -the strings. - -@seealso -No cross-references. - - -@node polymeter -@section polymeter - -ES: compás polimétrico, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: monia tahtiosoituksia sisältävä. - -@itemize - -@item The @emph{simultaneous} use of two or more meters, in two or more -parts. - -@item The @emph{successive} use of different meters in one or more parts. - -@end itemize - -@seealso -@ref{polymetric} (adj.) - - -@node polymetric -@section polymetric - -ES: polimétrico, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä. - -Characterized by @emph{polymeter}: using two or more metric frameworks -simultaneously or in alternation. - -@seealso -@ref{polymeter} (noun) - - -@node polymetric time signature -@section polymetric time signature - -ES: compás polimétrico, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: vaihtelevan tahtiosoitusmerkintä. - -A time signature that indicates regularly alternating polymetric time. - -@seealso -@ref{polymetric}. - - -@node polyphony -@section polyphony - -ES: polifonía, -I: polifonia, -F: polyphonie, -D: Polyphonie, Mehrstimmigkeit, -NL: polyfonie, -DK: polyfoni, -S: polyfoni, -FI: polyfonia, moniäänisyys. - -Music written in a combination of several simultaneous voices (parts) -of a more or less pronounced individuality. - -@seealso -@ref{counterpoint}. - - -@node portato -@section portato - -[Italian: past participle of @emph{portare}, @q{to carry}] - -A stroke in which each of several notes is separated slightly within a slur, -without changing the bow's direction. It is used for passages of a -@notation{cantabile} character. - -@seealso -@ref{legato}. - - -@node presto -@section presto - -ES: presto, -I: presto, -F: presto, -D: Presto, Sehr schnell, -NL: presto, Sehr schnell, -DK: presto, -S: presto, -FI: presto, hyvin nopeasti. - -[Italian] - -Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} -denotes the highest possible degree of speed. - -@seealso -No cross-references. - - -@node proportion -@section proportion - -ES: proporción, -I: proprozione (?), -F: proportion, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: suhde. - -[Latin: @emph{proportio}] Described in great detail by Gaffurius, in -@emph{Practica musicae} (published in Milan in 1496). In mensural notation, -proportion is: - -@enumerate - -@item A ratio that expresses the relationship between the note values that -follow with those that precede; - -@item A ratio between the note values of a passage and the @q{normal} -relationship of note values to the metrical pulse. (A special case of the -first definition.) - -@end enumerate - -The most common proportions are: - -@itemize -@item 2:1 (or simply 2), expressed by a vertical line through the -mensuration sign (the origin of the @notation{alla breve} time signature), -or by turning the sign backwards -@item 3:1 (or simply 3) -@item 3:2 (@emph{sesquialtera}) -@end itemize - -To @q{cancel} any of these, the inverse proportion is applied. Thus: - -@itemize -@item 1:2 cancels 2:1 -@item 1:3 cancels 3:1 -@item 2:3 cancels 3:2 -@item and so on. -@end itemize - -Gaffurius enumerates five basic types of major:minor proportions and their -inverses: - -@enumerate -@item Multiplex, if the major number is an exact multiple of the minor (2:1, -3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6) - -@item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}], -if the major number is one more than the minor (3:2, 4:3, 5:4); and its -inverse, Subsuperparticular (2:3, 3:4, 4:5) - -@item Superpartiens, if the major number is one less than twice the minor -(5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11) - -@item Multiplexsuperparticular, if the major number is one more than twice the -minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7, -4:9) - -@item Multiplexsuperpartiens, if the major number is one less than some other -multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its -inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11) - -@end enumerate - -He then continues to subdivide each type in various ways. For the multiplex -proportions, for example, he indicates how many times greater the major number -is than the minor: - -@itemize - -@item If two times greater, the proportion is @emph{dupla}. If inverted, it's -called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3. - -@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example: -3:1, 6:2, and 9:3. - -@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}. -Example: 4:1, 8:2, and 12:3 - -@end itemize - -Other proportions were possible, but whether they were frequently used is -another question: - -@itemize - -@item 33:9, @emph{triplasuperbipartientetertias} -@item 51:15, @emph{triplasuperbipartientequintas} - -@end itemize - -@c TODO: add an example or two. O => 4/3, and its modern equivalent - -@seealso -@ref{mensural notation}. - - -@node Pythagorean comma -@section Pythagorean comma - -ES: coma pitagórica, -I: comma pitagorico, -F: comma pythagoricien, -D: Pythagoräisches Komma, -NL: komma van Pythagoras, -DK: pythagoræisk komma, -S: pytagoreiskt komma, -FI: pytagorinen komma. - -Originally, the interval by which the sum of six whole tones exceeds the octave --- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents. - -Modern acoustical theory defines it as the interval by which twelve fifths -exceed seven octaves. To put it another way: A sequence of fifths that starts -on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher -than the C obtained by adding 7 octaves. The difference between those two -pitches is the Pythagorean comma. - -@seealso -@ref{cent}, @ref{temperament}. - - -@node quadruplet -@section quadruplet - -ES: cuatrillo, -I: quartina, -F: quartolet, -D: Quartole, -NL: kwartool, -DK: kvartol, -S: kvartol, -FI: kvartoli. - -@seealso -@ref{note value}. - - -@node quality -@section quality - -ES: ?, -I: qualità (?), -F: qualité (?), -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: laatu. - -The quality of a triad is determined by the precise arrangement of its -intervals. Tertian triads can be described as a series of three notes. The -first element is the root note (or simply @q{root}) of the chord, the second -note is the @q{third} of the chord, and the last note is the @q{fifth} of -the chord. These are described below: - -@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ} -@headitem Chord name - @tab Component intervals - @tab Example - @tab Symbol -@item major triad @tab major third/perfect fifth - @tab C-E-G - @tab C, CM, Cma, Cmaj, CΔ -@item minor triad @tab minor third/perfect fifth - @tab C-E♭-G - @tab Cm, Cmi, Cmin, C- -@item augmented triad @tab major third/augmented fifth - @tab C-E-G♯ - @tab C+, C^+, Caug -@item diminished triad @tab minor third/diminished fifth - @tab C-E♭-G♭ - @tab Cm(♭5), Cº, Cdim -@end multitable - -There are various types of seventh chords depending on the quality of the -original chord and the quality of the seventh added. - -Five common types of seventh chords have standard symbols. The chord quality -indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7, -and D^m7 are all identical). The last three chords are not commonly used -except in jazz. - -@seealso -@ref{chord}. - - -@node quarter note -@section quarter note - -@itemize -@item UK: crotchet -@item ES: negra -@item I: semiminima, nera -@item F: noire -@item D: Viertel, Viertelnote -@item NL: kwartnoot -@item DK: fjerdedelsnode -@item S: fjärdedelsnot -@item FI: neljäsosanuotti -@end itemize - -@seealso -@ref{note value}. - - -@node quarter rest -@section quarter rest - -@itemize -@item UK: crotchet rest -@item ES: silencio de negra -@item I: pausa di semiminima -@item F: soupir -@item D: Viertelpause -@item NL: kwartrust -@item DK: fjerdedelspause -@item S: fjärdedelspaus -@item FI: neljäsosatauko -@end itemize - -@seealso -@ref{note value}. - - -@node quarter tone -@section quarter tone - -ES: cuarto de tonno, -I: ?, -F: quart de ton, -D: Viertelton, -NL: kwart toon, -DK: ?, -S: kvartston, -FI: neljännessävelaskel. - -An interval equal to half a semitone. - -@seealso -@ref{interval} - - -@node quintuplet -@section quintuplet - -ES: cinquillo, quintillo. -I: quintina, -F: quintolet, -D: Quintole, -NL: kwintool, -DK: kvintol, -S: kvintol, -FI: kvintoli. - -@seealso -@ref{note value}. - - -@node rallentando -@section rallentando - -ES: rallentando, -I: rallentando, -F: rallentando, -D: rallentando, langsamer werden, -NL: rallentando, -DK: rallentando, -S: rallentando, -FI: rallerdando, hidastuen. - -[Italian] A performance indication, abbreviated "rall.". - -@seealso -@ref{ritardando}. - - -@node relative key -@section relative key - -ES: tono relativo, -I: tonalità relativa, -F: tonalité relative, -D: Paralleltonart, -NL: paralleltoonsoort, -DK: paralleltoneart, -S: parallelltonart, -FI: rinnakkaissävellaji. - -Major and minor keys that have the same key signature. - -@lilypond[quote,notime,relative=1,line-width=13.0\cm] -\key es \major -es1_"e flat major" f g as bes c d es -\bar "||" -@end lilypond - -@lilypond[quote,notime,relative=1,line-width=13.0\cm] -\key c \minor -c1_"c minor" d es f g a! b! c -\bar "||" -@end lilypond - -@seealso -@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}. - - -@node repeat -@section repeat - -ES: repetición, -I: ritornello, -F: barre de reprise, -D: Wiederholung, -NL: herhaling, -DK: gen@-ta@-gel@-se, -S: repris, -FI: toisto. - -@lilypond[quote,relative=2,line-width=13.0\cm] -\key g \major -\time 4/4 -\repeat volta 2 { - g4 g d' d - e4 e d2 - c4 c b b - a a g2 -} -@end lilypond - -@seealso -No cross-references. - - -@node rest -@section rest - -ES: silencio, -I: pausa, -F: silence, -D: Pause, -NL: rust, -DK: pause, -S: paus, -FI: tauko. - -@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to -@c specify the rest's value. - -@seealso -@ref{note value}. - - -@node rhythm -@section rhythm - -ES: ritmo, -I: ritmo, -F: rythme, -D: Rhythmus, -NL: ritme, -DK: rytme, -S: rytm, -FI: rytmi. - -@itemize - -@item Metrical rhythm in which every time value is a multiple or -fraction of a fixed unit of time, called @ref{beat}, and in which the -normal @ref{accent} recurs in regular intervals, called @ref{measure}. -The basic scheme of time values is called @ref{meter}. - -@item Measured rhythm which lacks regularly recurrent accent. In -modern notation such music appears as a free alternation of different -measures. - -@item Free rhythm, i.e., the use of temporal values having no common -metrical unit (beat). - -@end itemize - -@seealso -No cross-references. - - -@node ritardando -@section ritardando - -ES: ritardando, -I: ritardando, -F: ritardando, -D: ritardando, langsamer werden, -NL: ritardando, -DK: ritardando, -S: ritardando, -FI: ritardando, hidastuen, - -Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. - -@seealso -No cross-references. - - -@node ritenuto -@section ritenuto - -ES: ritenuto, -I: ritenuto, -F: ritenuto, -D: ritenuto, -NL: ritenuto, -DK: ritenuto, -S: ritenuto, -FI: ritenuto, hidastaen. - -Immediate reduction of speed. - -@seealso -No cross-references. - - -@node scale -@section scale - -ES: escala, -I: scala, -F: gamme, -D: Tonleiter, -NL: toonladder, -DK: Skala, -S: skala, -FI: asteikko, sävelasteikko. - -@seealso -@ref{diatonic scale}. - - -@node scale degree -@section scale degree - -ES: grado (de la escala), -I: grado della scala, -F: degré [de la gamme], -D: Tonleiterstufe, -NL: trap [van de toonladder], -DK: skalatrin, -S: skalsteg (?), -FI: sävelaste, asteikon sävel. - -Names and symbols used in harmonic analysis to denote tones of the -scale as roots of chords. The most important are degrees I = tonic -(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D). - -@lilypond[quote,notime,line-width=13.0\cm] -<< -\new Staff \relative c' { - c1 d e f g a b c -} - \lyrics { - << { I II III IV V VI VII I } - { T "" "" S D } >> -} ->> -@end lilypond - -@seealso -@ref{functional harmony}. - - -@node scordatura -@section scordatura - -ES: encordado, -I: scordatura, -F: à cordes ravallées, -D: Skordatur, -NL: ?, -DK: ?, -S: ?, -FI: epätavallinen viritys. - -[Italian: @emph{scordare}, @q{to mistune}] Unconventional -tuning of stringed instruments, particularly lutes or violins. Used -to: - -@itemize - -@item facilitate pitch combinations that would otherwise be difficult -or impossible - -@item alter the characteristic timbre of the instrument, for example, -to increase brilliance - -@item reinforce certain sonorities or tonalities by making them -available on open strings - -@item imitate other instruments - -@item etc. - -@end itemize - -Tunings that could be called @var{scordatura} first appeared early in -the 16th Century and became commonplace in the 17th. - -@seealso -No cross-references. - - -@node score -@section score - -ES: partitura, -I: partitura, -F: partition, -D: Partitur (full score), Klavierauszug (vocal score), -NL: partituur, -DK: partitur, -S: partitur, -FI: partituuri. - -A copy of orchestral, choral, or chamber music showing what each -instrument is to play, each voice to sing, having each part arranged -one underneath the other on different staves @ref{staff}. - -@seealso -No cross-references. - - -@node second -@section second - -ES: segunda, -I: secunda, -F: seconde, -D: Sekunde, -NL: secunde, -DK: sekund, -S: sekund, -FI: sekunti. - -The interval between two neighboring tones of a scale. A diatonic scale -consists of alternating semitones and whole tones, hence the size of a -second depends on the scale degrees in question. - -@seealso -@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}. - - -@node semibreve -@section semibreve - -@itemize -@item US: whole note, -@item ES: redonda, -@item I: semibreve, -@item F: ronde, -@item D: Ganze, ganze Note, -@item NL: hele noot, -@item DK: helnode, -@item S: helnot, -@item FI: kokonuotti. -@end itemize - -Note value: called @notation{whole note} in the US. - -The semibreve is the basis for the @notation{tactus} in mensural notation -(i.e. music written before ca. 1600). - -@seealso -@ref{mensural notation}, @ref{note value}. - - -@node semitone -@section semitone - -ES: semitono, -I: semitono, -F: demi-ton, -D: Halbton, -NL: halve toon, -DK: halvtone, -S: halvton, -FI: puolisävel. - -The interval of a minor second. The (usually) smallest interval in European -composed music. The interval between two neighboring tones on the piano -keyboard -- including black and white keys -- is a semitone. An octave may -be divided into 12@w{ }semitones. - -@lilypond[quote,notime,relative=2,line-width=13.0\cm] -g1 gis s a bes s b! c -@end lilypond - -@seealso -@ref{interval}, @ref{chromatic scale}. - - -@node seventh -@section seventh - -ES: séptima, -I: settima, -F: septième, -D: Septime, -NL: septiem, -DK: septim, -S: septim, -FI: septimi. - -@seealso -@ref{interval}. - - -@node sextolet -@section sextolet - -@seealso -@ref{sextuplet}, @ref{note value}. - - -@node sextuplet -@section sextuplet - -ES: seisillo, -I: sestina, -F: sextolet, -D: Sextole, -NL: sextool, -DK: sekstol, -S: sextol, -FI: sekstoli. - -@seealso -@ref{note value}. - - -@node shake -@section shake - -@seealso -@ref{trill}. - - -@node sharp -@section sharp - -ES: sostenido, -I: diesis, -F: dièse, -D: Kreuz, -NL: kruis, -DK: kryds, -S: kors@-förtecken, -FI: korotusmerkki. - -@seealso -@ref{accidental}. - - -@node simile -@section simile - -ES: simile, -I: simile, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: samoin. - -[Italian: @q{in the same manner}] Performance direction: the music thus marked -is to be played in the same manner (i.e. with the same articulations, dynamics, -etc.) as the music that precedes it. - -@seealso -TODO: Where else could I refer the reader? - - -@node simple meter -@section simple meter - -ES: compás simple, compás de subdivisión binaria, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kaksijakoinen tahtiosoitus. - -A meter in which the basic beat is subdivided in two: that is, a meter -that does not include triplet subdivision of the beat. - -@seealso -@ref{compound meter}, @ref{meter}. - - -@node sixteenth note -@section sixteenth note - -@itemize -@item UK: semiquaver -@item ES: semicorchea -@item I: semicroma -@item F: double croche -@item D: Sechzehntel, Sechzehntelnote -@item NL: zestiende noot -@item DK: sekstendedelsnode -@item S: sextondelsnot -@item FI: kuudestoistaosanuotti -@end itemize - -@seealso -@ref{note value}. - - -@node sixteenth rest -@section sixteenth rest - -@itemize -@item UK: semiquaver rest -@item ES: silencio de semicorchea -@item I: pausa di semicroma -@item F: quart de soupir -@item D: Sechzehntelpause -@item NL: zestiende rust -@item DK: sekstendedelspause -@item S: sextondelspaus -@item FI: kuudestoistaosatauko -@end itemize - -@seealso -@ref{note value}. - - -@node sixth -@section sixth - -ES: sexta, -I: sesta, -F: sixte, -D: Sexte, -NL: sext, -DK: sekst, -S: sext, -FI: seksti. - -@seealso -@ref{interval}. - - -@node sixty-fourth note -@section sixty-fourth note - -@itemize -@item UK: hemidemisemiquaver -@item ES: semifusa -@item I: semibiscroma -@item F: quadruple croche -@item D: Vierundsechzigstel, Vierundsechzigstelnote -@item NL: vierenzestigste noot -@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de -@item S: sextiofjärdedelsnot -@item FI: kuudeskymmenesneljäsosanuotti -@end itemize - -@seealso -@ref{note value}. - - -@node sixty-fourth rest -@section sixty-fourth rest - -@itemize -@item UK: hemidemisemiquaver rest -@item ES: silencio de semifusa -@item I: pausa di semibiscroma -@item F: seizième de soupir -@item D: Vierundsechzigstelpause -@item NL: vierenzestigste rust -@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se -@item S: sextiofjärdedelspaus -@item FI: kuudeskymmenesneljäsosatauko -@end itemize - -@seealso -@ref{note value}. - - -@node slash repeat -@section slash repeat - -@seealso -@ref{percent repeat}. - - -@node slur -@section slur - -ES: ligadura (de expresión), -I: legatura (di portamento or espressiva), -F: liaison, coulé, -D: Bogen (Legatobogen, Phrasierungsbogen), -NL: fraseringsboog, legatoboog, streekboog, -DK: legatobue, fraseringsbue, -S: båge, -FI: kaari. - -A slur above or below a group of notes indicates that they are to be -played @ref{legato}, e.g., with one stroke of the violin bow or with -one breath in singing. - -@seealso -No cross-references. - - -@node solmization -@section solmization - -ES: solmisación, -I: solmisazione, -F: solmisation, -D: Solmisation, -NL: solmizatie, -DK: solmisation, -S: solmisation, -FI: suhteelliset laulunimet. - -General term for systems of designating the degrees of the -@notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}), -@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si} -(@emph{ti})). - -@seealso -@ref{scale}, @ref{scale degree}. - - -@node sonata -@section sonata - -ES: sonata, -I: sonata, -F: sonate, -D: Sonate, -NL: sonate, -DK: sonate, -S: sonat, -FI: sonaatti. - -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. - -@seealso -No cross-references. - - -@node sonata form -@section sonata form - -ES: forma sonata, -I: forma sonata, -F: [en] forme de sonate, -D: Sonatenform, -NL: hoofdvorm, sonatevorm, -DK: sonateform, -S: sonatform, -FI: sonaattimuoto. - -A form used frequently for single movements of the @emph{sonata}, -@emph{symphony}, quartet, etc. A movement written in sonata form falls into -three sections called @notation{exposition}, @notation{development} and -@notation{recapitulation}. In the exposition the composer introduces some -musical ideas, consisting of a number of themes; in the development section the -composer @emph{develops} this material, and in the recapitulation the composer -repeats the exposition, with certain modifications. The exposition contains a -number of themes that fall into two groups, often called first and second -subject. Other melodies occurring in each group are considered as continuations -of these two. The second theme is in another key, normally in the key of the -@notation{dominant} if the @notation{tonic} is @notation{major}, and in the -@notation{relative key} if the tonic is @notation{minor}. - -@seealso -@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata}, -@ref{symphony}, @ref{tonic}. - - -@node song texts -@section song texts - -@seealso -@ref{lyrics}. - - -@node soprano -@section soprano - -ES: soprano, -I: soprano, -F: soprano, -D: Sopran, -NL: sopraan, -DK: sopran, -S: sopran, -FI: sopraano, korkea naisääni. - -The highest female voice. - -@seealso -No cross-references. - - -@node staccato -@section staccato - -ES: picado, -I: staccato, -F: staccato, piqué, détaché, -D: staccato, -NL: staccato, -DK: staccato, -S: staccato, -FI: staccato, lyhyesti, terävästi. - -Playing the note(s) short. Staccato is indicated by a dot above or -below the note head. - -@lilypond[quote,relative=2] -\key d \major -\time 4/4 - \partial 8 a8 | - d4-\staccato cis-\staccato b-\staccato cis-\staccato | - d2. - \bar "||" -@end lilypond - -@seealso -No cross-references. - - -@node staff -@section staff - -UK: stave, -ES: pentagrama, -I: pentagramma, rigo (musicale), -F: portée, -D: Notensystem, Notenzeile, -NL: (noten)balk, partij, -DK: nodesystem, -S: notsystem, -FI: nuottiviivasto. - -A staff (plural: staves) is a series of (normally five) horizontal -lines upon and between which the musical notes are written, thus -indicating (in connection with a @ref{clef}) their pitch. Staves for -@ref{percussion} instruments may have fewer lines. - -@seealso -No cross-references. - - -@node staves -@section staves - -@seealso -@ref{staff}. - - -@node stem -@section stem - -ES: plica, -I: gamba, -F: queue, -D: Hals, Notenhals, Stiel, -NL: stok, -DK: hals, -S: skaft, -FI: nuottipalkki. - -Vertical line above or below a @ref{note head} shorter than a -whole note. - -@lilypond[quote,notime,relative=2] -\set Score.autoBeaming = ##f - g2_"1/2" g' s16 - g,4_"1/4" g' s16 - g,8_"1/8" g' s16 - g,16_"1/16" g' s16 -@end lilypond - -@seealso -@ref{beam}. - - -@node stringendo -@section stringendo - -ES: ?, -I: stringendo, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: kiihdyttäen, nopeuttaen. - -[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a -climax. - -@seealso -@ref{accelerando}. - - -@node strings -@section strings - -ES: arcos, cuerdas, -I: archi, -F: cordes, -D: Streicher, -NL: strijkers, -DK: strygere, -S: stråkar, -FI: jouset. - -A family of stringed musical instruments played with a bow. Strings -commonly used in a symphony orchestra are violin, viola, violoncello, -and double bass. - -@seealso -No cross-references. - - -@node strong beat -@section strong beat - -ES: tiempo fuerte, -I: tempo forte, -F: temps fort, -D: betonter Taktteil oder Taktschlag, -NL: thesis, -D: betonet taktslag, -S: betonat taktslag, -FI: tahdin vahva isku. - -@seealso -@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}. - - -@node subdominant -@section subdominant - -ES: subdominante, -I: sottodominante, -F: sous-dominante, -D: Subdominante, -NL: subdominant, -DK: subdominant, -S: subdominant, -FI: subdominantti, alidominantti. - -The fourth @notation{scale degree}. - -@seealso -@ref{functional harmony}, @ref{scale degree}. - - -@node submediant -@section submediant - -ES: submediante, -I: sopratonica, -F: sous-médiante, -D: Submediante, -NL: submediant, -DK: Submediant, -S: submediant, -FI: alikeskisävel. - -The sixth @notation{scale degree}. - -@seealso -@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}. - - -@node subtonic -@section subtonic - -ES: subtónica, -I: sottotonica, -F: sous-tonique, -D: Subtonika, -NL: subtonica, -DK: Subtonika, -S: subtonika, -FI: subtoonika, alitoonika. - -The seventh @ref{scale degree}. - -@seealso -@ref{functional harmony}, @ref{scale degree}. - - -@node sul G -@section sul G - -ES: sobre la cuerda de Sol, -I: sul g, -F: sur la G, -D: auf G, auf der G-Saite, -NL: ?, -DK: ?, -S: ?, -FI: G-kielellä. - -Indicates that the indicated passage (or note) should be played on the -G string. - -@seealso -No cross-references. - - -@node superdominant -@section superdominant - -ES: superdominante, -I: sopradominante, -F: sus-dominante, -D: Superdominante, -NL: superdominant, -DK: superdominant, -S: superdominant, -FI: ylidominantti. - -The sixth @ref{scale degree}. - -@seealso -@ref{functional harmony}, @ref{scale degree}, @ref{submediant}. - - -@node supertonic -@section supertonic - -ES: supertónica, -I: sopratonica, -F: sus-tonique, -D: Supertonika, -NL: supertonica, -DK: supertonika, -S: supertonika, -FI: ylitoonika. - -The second @ref{scale degree}. - -@seealso -@ref{functional harmony}, @ref{scale degree}. - - -@node symphony -@section symphony - -ES: sinfonía, -I: sinfonia, -F: symphonie, -D: Sinfonie, Symphonie, -NL: symfonie, -DK: symfoni, -S: symfoni, -FI: sinfonia. - -A symphony may be defined as a @emph{sonata} for orchestra. - -@seealso -@ref{sonata}. - - - -@node syncopation -@section syncopation - -ES: síncopa, -I: sincope, -F: syncope, -D: Synkope, -NL: syncope, -DK: synkope, -S: synkop, -FI: synkooppi. - -Any deliberate upsetting of the normal pulse of @ref{meter}, -@ref{accent}, and @ref{rhythm}. The occidental system of musical -rhythm rests upon the grouping of equal beats into groups of two or -three, with a regularly recurrent accent on the first beat of each -group. Any deviation from this scheme is felt as a disturbance or -contradiction between the underlaying (normal) pulse and the actual -(abnormal) rhythm. - -@lilypond[quote,relative=1] -\time 2/4 -\partial 8 d16 dis -e16 c'8 e,16 c'8 e,16 c' ~ -c4 -@end lilypond - -@seealso -No cross-references. - - -@node syntonic comma -@section syntonic comma - -ES: coma sintónica, coma de Dídimo, -I: comma sintonico (o didimico), -F: comma syntonique, -D: syntonisches Komma, -NL: syntonische komma, -DK: syntonisk komma, -S: syntoniskt komma, -FI: syntoninen komma, terssien taajuusero luonnollisessa ja -Pytagorisessa viritysjärjestelmässä. - -Named after Ptolemy's syntonic diatonic genus. Originally, the difference -by which the ditone exceeds the pure major third obtained by Pythagorean -tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents. - -Modern acoustical theory defines it as the interval by which four fifths exceed -the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4) - -This comma is also known as the comma of Didymus, or didymic comma. - -@seealso -@ref{Pythagorean comma} - - -@node system -@section system - -ES: sistema, -I: accollatura, -F: système, -D: Notensystem, Partitur, -NL: systeem, -DK: system, -S: system, -FI: nuottijärjestelmä. - -The collection of staves (@notation{staff}), two or more, as used for writing -down of keyboard, chamber, choral, or orchestral music. - -@seealso -@ref{staff}. - - -@node temperament -@section temperament - -ES: temperamento, -I: temperamento, -F: tempérament, -D: Stimmung, Tem@-pe@-ra@-tur, -NL: stemming, temperatuur, -DK: temperatur, -S: temperatur, -FI: viritysjärjestelmä. - -Systems of tuning in which the intervals deviate from the acoustically -pure intervals. - -@seealso -@ref{meantone temperament}, @ref{equal temperament}. - - -@node tempo indication -@section tempo indication - -ES: indicación de tempo, -I: indicazione di tempo, -F: indication de tempo, -D: Zeitmaß, Tempobezeichnung, -NL: tempo aanduiding, -DK: tempobetegelse, -S: tempobeteckning, -FI: tempomerkintä. - -The rate of speed of a composition or a section thereof, ranging from the -slowest to the quickest, as is indicated by tempo marks as @notation{largo}, -@notation{adagio}, @notation{andante}, @notation{allegro}, and -@notation{presto}. - -@seealso -@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}. - - - -@node tenor -@section tenor - -ES: tenor, -I: tenore, -F: ténor, -D: Tenor, -NL: tenor, -DK: tenor, -S: tenor, -FI: tenori, korkea miesääni. - -The highest @q{natural} male voice (apart from @notation{countertenor}). - -@seealso -@ref{countertenor}. - - -@node tenth -@section tenth - -ES: décima, -I: decima, -F: dixième, -D: Dezime, -NL: deciem, -DK: decim, -S: decima, -FI: desimi. - -@seealso -@ref{note value}. - - -@node tenuto -@section tenuto - -ES: subrayado (tenuto), -I: tenuto, -F: tenue, tenuto, -D: gehalten, tenuo, -NL: tenuto, -DK: tenuto, -S: tenuto, -FI: viiva, tenuto. - -An indication that a particular note should be held for the whole -length, although this can vary depending on the composer and era. - -@seealso -No cross-references. - - -@node third -@section third - -ES: tercera, -I: terza, -F: tierce, -D: Terz, -NL: terts, -DK: terts, -S: ters, -FI: terssi. - -@seealso -@ref{interval}. - - -@node thirty-second note -@section thirty-second note - -@itemize -@item UK: demisemiquaver -@item ES: fusa -@item I: biscroma -@item F: triple croche -@item D: Zweiunddreissigstel, Zweiunddreissigstelnote -@item NL: twee@-endertig@-ste (32e) noot -@item DK: toogtredivtedelsnode -@item S: trettiotvåondelsnot -@item FI: kolmaskymmeneskahdesosanuotti -@end itemize - -@seealso -@ref{note value}. - - -@node thirty-second rest -@section thirty-second rest - -@itemize -@item UK: demisemiquaver rest -@item ES: silencio de fusa -@item I: pausa di biscroma -@item F: huitième de soupir -@item D: Zweiunddreissigstel@-pause -@item NL: twee@-endertig@-ste (32e) rust -@item DK: toogtredivtedelspause -@item S: trettiotvåondelspaus -@item FI: kolmaskymmeneskahdesosatauko -@end itemize - -@seealso -@ref{note value}. - - -@node thorough bass -@section thorough bass - -@seealso -@ref{figured bass}. - - -@node tie -@section tie - -ES: ligadura de prolongación, ligadura de unión, -I: legatura (di valore), -F: liaison, -D: Haltebogen, Bindebogen, -NL: overbinding, bindingsboog, -DK: bindebue, -S: bindebåge, överbindning, -FI: sitominen. - -A curved line, identical in appearance with the @ref{slur}, which -connects two succesive notes of the same pitch, and which has the -function of uniting them into a single sound (tone) equal to the -combined durations. - -@lilypond[quote,notime,relative=2] -g2 ~ g4. r8 -@end lilypond - - -@node time -@section time - -@seealso -@ref{meter}. - - -@node time signature -@section time signature - -ES: indicación de compás, -I: segni di tempo, -F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure, -D: Taktangabe, Angabe der Taktart, -NL: maatsoort, -DK: taktangivelse, -S: taktartssignatur, -FI: tahtiosoitus. - -The sign placed at the beginning of a composition to indicate its -meter. It most often takes the form of a fraction, but a few signs -derived from mensural notation and proportions are also employed. - -@seealso -@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}. - - -@node tone -@section tone - -ES: tono, -I: suono, -F: ton, -D: Ton, -NL: toon, -DK: tone, -S: ton, -FI: ääni. - -A sound of definite pitch and duration, as distinct from @emph{noise}. -Tone is a primary building material of music. - -@c Music from the 20th century may be based on atonal sounds. Meh, not so much - -@seealso -No cross-references. - - -@node tonic -@section tonic - -ES: tónica, -I: tonica, -F: tonique, -D: Tonika, -NL: tonica, -DK: tonika, -S: tonika, -FI: toonika. - -The first @notation{scale degree}. - -@seealso -@ref{functional harmony}, @ref{scale degree}. - - -@node transposing instrument -@section transposing instrument - -ES: instrumento transpositor, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: transponoitava soitin. - -Instruments whose notated pitch is different from their sounded pitch. Except -for those whose notated and sounding pitches differ by one or more octaves (to -reduce the number of ledger lines needed), most such instruments are identified -by the letter name of the pitch class of their fundamental. The pitch class is -the note that @emph{sounds} (disregarding the octave in which it sounds) when -the instrument plays a notated C. - -For example: when played on the B-flat clarinet, the note middle C @emph{sounds} -the B-flat one tone lower. If played on the A clarinet, the same written -note sounds the A (one and half tones -- a minor third -- lower). - -Not all transposing instruments include the pitch class in their name: - -@itemize - -@item English horn (in F) - -@item Alto flute (in G) - -@end itemize - -@seealso -@ref{concert pitch}. - - -@node transposition -@section transposition - -ES: transporte, -I: trasposizione, -F: transposition, -D: Transposition, -NL: transpositie, -DK: transposition, -S: transponering, -FI: transponointi. - -Shifting a melody up or down in pitch, while keeping the same -relative pitches. - -@lilypond[quote,line-width=13.0\cm] -\context Staff { - \time 3/4 - \relative c'' { - \key g \major - d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." - } -} -@end lilypond - -@lilypond[quote,line-width=13.0\cm] -\context Staff { - \time 3/4 - \transpose c bes \relative c'' { - \key g \major - d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." - } -} -@end lilypond - -@seealso -No cross-references. - - -@node treble clef -@section treble clef - -ES: clave de sol, -I: chiave di violino, -F: clef de sol, -D: Violinschlüssel, Sopranschlüssel, -NL: viool sleutel, -DK: diskantnøgle, -S: diskantklav, -FI: diskanttiavain. - -@seealso -@ref{G clef}. - - -@node tremolo -@section tremolo - -ES: trémolo, -I: tremolo, -F: trémolo, -D: Tremolo, -NL: tremolo, -DK: tremolo, -S: tremolo, -FI: tremolo. - -On stringed instruments: - -@enumerate - -@item The quick reiteration of the same tone, produced by a rapid -up-and-down movement of the bow. - -@item Or, the rapid alternation between two notes of a @ref{chord}, usually -in the distance of a third (@ref{interval}). - -@end enumerate - -@lilypond[quote,notime,relative=1] - e2:32_"a" - f:32 [ e8:16 f:16 g:16 a:16 ] s4 - \repeat tremolo 8 { e32_"b" g } -@end lilypond - -@seealso -@ref{strings} - - -@node triad -@section triad - -ES: tríada, -I: triade, -F: triade, accord parfait, accord de trois sons, -D: Drei@-klang, -NL: drieklank, -DK: treklang, -S: treklang, -FI: kolmisointu. - -@seealso -@ref{chord}. - - -@node trill -@section trill - -ES: trino, -I: trillo, -F: trille, tremblement, battement (cadence), -D: Triller, -NL: triller, -DK: trille, -S: drill, -FI: trilli. - -@seealso -@ref{ornament}. - - -@node triple meter -@section triple meter - -ES: compás ternario, -I: tempo ternario, -F: mesure ternaire, -D: in drei, ungerader Takt, -NL: driedelige maatsoort, -DK: tredelt takt, -S: tretakt, -FI: kolmijakoinen. - -@seealso -@ref{meter}. - - -@node triplet -@section triplet - -ES: tresillo, -I: terzina, -F: triolet, -D: Triole, -NL: triool, -DK: triol, -S: triol, -FI: trioli. - -@seealso -@ref{note value}. - - -@node tritone -@section tritone - -ES: tritono, -I: tritono, -F: triton, -D: Tritonus, -NL: tritoon, -DK: tritonus, -S: tritonus, -FI: tritonus. - -@seealso -@ref{interval}. - - -@node tuning fork -@section tuning fork - -ES: diapasón, horquilla de afinación, -I: diapason, corista, -F: diapason, -D: Stimmgabel, -NL: stemvork, -DK: stemmegaffel, -S: stämgaffel, -FI: viritysavain. - -A two-pronged piece of steel used to indicate an absolute pitch, usually for -@emph{A} above middle C (440 cps/Hz), which is the international tuning -standard. Tuning forks for other pitches are available. - -@seealso -@ref{middle C}. - - -@node tuplet -@section tuplet - -A non-standard subdivision of a beat or part of a beat, usually -indicated with a bracket and a number indicating the number of -subdivisions. - -@seealso -@ref{triplet}, @ref{note value}. - - -@node turn -@section turn - -ES: grupeto (circular), -I: gruppetto, -F: grupetto, -D: Doppelschlag, -NL: dubbelslag, -DK: dobbeltslag, -S: dubbelslag, -FI: korukuvio. - -@seealso -@ref{ornament}. - - -@node unison -@section unison - -ES: unísono, -I: unisono, -F: unisson, -D: unisono, -NL: unisono, -DK: unison, -S: unison, -FI: unisono, yksiäänisesti. - -Playing of the same notes or the same melody by various instruments -(voices) or by the whole orchestra (choir), either at exactly the same -pitch or in a different octave. - -@seealso -No cross-references. - - -@node upbeat -@section upbeat - -ES: anacrusa, -I: anacrusi, -F: anacrouse, levée, -D: Auftakt, -NL: opmaat, -DK: optakt, -S: upptakt, -FI: kohotahti. - -@seealso -@ref{anacrusis} - - -@node voice -@section voice - -ES: voz, -I: voce, -F: voix, -D: Stimme, -NL: stem, -DK: stemme, -S: stämma, -FI: ääni, lauluääni. - -@itemize - - @item Human voices: - - @itemize - @item @ref{soprano} - @item @ref{mezzo-soprano} - @item @ref{contralto} - @item @ref{tenor} - @item @ref{baritone} - @item @ref{bass} - @end itemize - - @item A melodic layer or part of a polyphonic composition. - -@end itemize - -@seealso -No cross-references. - - -@node volta -@section volta - -ES: vez, primera y segunda vez, -I: volta, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: yksi kertauksen maaleista. - -[Italian: @q{time} (instance, not duration)] An ending, such as a first -or second ending. LilyPond extends this idea to any number, and allows any text -(not just a number) -- to serve as the @notation{volta} text. - -@seealso -No cross-references. - - -@node weak beat -@section weak beat - -ES: tiempo débil, -I: tempo debole, arsi, -F: temps faible, -D: unbetonter Taktteil oder Taktschlag, -NL: arsis, -DK: ubetonet taktslag, -S: obetonat taktslag, -FI: tahdin heikko isku. - -@seealso -@ref{beat}, @ref{measure}, @ref{rhythm}. - - -@node whole note -@section whole note - -@itemize -@item UK: semibreve -@item ES: redonda -@item I: semibreve -@item F: ronde -@item D: Ganze, ganze Note -@item NL: hele noot -@item DK: helnode -@item S: helnot -@item FI: kokonuotti -@end itemize - -@seealso -@ref{note value}. - - -@node whole rest -@section whole rest - -@itemize -@item UK: semibreve rest -@item ES: silencio de redonda -@item I: pausa di semibreve -@item F: pause -@item D: ganze Pause, ganztaktige Pause -@item NL: hele rust -@item DK: helnodespause -@item S: helpaus -@item FI: kokotauko -@end itemize - -@seealso -@ref{note value}. - - -@node whole tone -@section whole tone - -ES: tono (entero), -I: tono intero, -F: ton entier, -D: Ganzton, -NL: hele toon, -DK: heltone, -S: helton, -FI: kokoaskel. - -The interval of a major second. The interval between two tones -on the piano keyboard with exactly one key between them -- including -black and white keys -- is a whole tone. - -@seealso -@ref{interval}. - - -@node woodwind -@section woodwind - -ES: maderas, -I: legni, -F: les bois, -D: Holzbläser, -NL: houtblazers, -DK træblæsere, -S: träblåsare, -FI: puupuhaltimet. - -A family of blown wooden musical instruments. Today some of these -instruments are actually made from metal. The woodwind instruments -commonly used in a symphony orchestra are flute, oboe, clarinet, -saxophone, and bassoon. - -@seealso -No cross-references. - - -@node Duration names notes and rests -@chapter Duration names notes and rests - -@multitable @columnfractions .12 .22 .22 .22 .22 - -@headitem Lang. @tab note name - @tab rest name - @tab note name - @tab rest name -@item @strong{US} @tab long - @tab long rest - @tab breve - @tab breve rest -@item @strong{UK} @tab longa - @tab longa rest - @tab breve - @tab breve rest -@item @strong{ES} @tab longa - @tab silencio de longa - @tab cuadrada - @tab silencio de cuadrada -@item @strong{IT} @tab longa - @tab pausa di longa - @tab breve - @tab pausa di breve -@item @strong{FR} @tab longa - @tab quadruple-pause - @tab brève - @tab double-pause -@item @strong{DE} @tab Longa - @tab longa Pause - @tab Brevis - @tab brevis Pause -@item @strong{NL} @tab longa - @tab longa rust - @tab brevis - @tab brevis rust -@item @strong{DK} @tab longa - @tab longanodespause - @tab brevis - @tab brevis(nodes)pause -@item @strong{SE} @tab longa - @tab longapaus - @tab brevis - @tab brevispaus -@item @strong{FI} @tab longa-nuotti - @tab longa-tauko - @tab brevis-nuotti, kaksoiskoko@-nuotti - @tab brevis-tauko, kaksoiskoko@-tauko - -@end multitable - -@multitable @columnfractions .12 .22 .22 .22 .22 - -@headitem Lang. @tab note name - @tab rest name - @tab note name - @tab rest name -@item @strong{US} @tab whole note - @tab whole rest - @tab half note - @tab half rest -@item @strong{UK} @tab semibreve - @tab semibreve rest - @tab minim - @tab minim rest -@item @strong{ES} @tab redonda - @tab silencio de redonda - @tab blanca - @tab silencio de blanca -@item @strong{IT} @tab semibreve - @tab pause di semibreve - @tab minima - @tab pausa di minima -@item @strong{FR} @tab ronde - @tab pause - @tab blanche - @tab demi-pause -@item @strong{DE} @tab ganze Note - @tab ganze Pause - @tab halbe Note - @tab halbe Pause -@item @strong{NL} @tab hele noot - @tab hele rust - @tab halve noot - @tab halve rust -@item @strong{DK} @tab helnode - @tab helnodespause - @tab halvnode - @tab halvnodespause -@item @strong{SE} @tab helnot - @tab helpaus - @tab halvnot - @tab halvpaus -@item @strong{FI} @tab kokonuotti - @tab kokotauko - @tab puolinuotti - @tab puolitauko - -@end multitable - -@multitable @columnfractions .12 .22 .22 .22 .22 - -@headitem Lang. @tab note name - @tab rest name - @tab note name - @tab rest name -@item @strong{US} @tab quarter note - @tab quarter rest - @tab eighth note - @tab eighth rest -@item @strong{UK} @tab crotchet - @tab crotchet rest - @tab quaver - @tab quaver rest -@item @strong{ES} @tab negra - @tab silencio de negra - @tab corchea - @tab silencio de corchea -@item @strong{IT} @tab semiminima, nera - @tab pausa di semiminima, pausa di nera - @tab croma - @tab pausa di croma -@item @strong{FR} @tab noire - @tab soupir* - @tab croche* - @tab demi-soupir -@item @strong{DE} @tab Viertelnote - @tab Viertelpause - @tab Achtelnote - @tab Achtelpause -@item @strong{NL} @tab kwartnoot - @tab kwartrust - @tab achtste noot - @tab achtste rust -@item @strong{DK} @tab fjerdedelsnode - @tab fjerdedelspause - @tab ottendedelsnode - @tab ottendedelspause -@item @strong{SE} @tab fjärdedelsnot - @tab fjärdedelspaus - @tab åttondelsnot - @tab åttondelspaus -@item @strong{FI} @tab neljäsosa@-nuotti - @tab neljäsosa@-tauko - @tab kahdeksasosa@-nuotti - @tab kahdeksasosa@-tauko - -@end multitable - -* About the French naming system: @emph{croche} refers to the note's "hook". -Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled -hook}, @q{trebled hook}, and so on. - -The rest names are based on the @emph{soupir}, or quarter rest. Subsequent -rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of -a @emph{soupir}, and so on. - -Each of the following tables contains one type of note and its matching rest, -with abbreviations that apply to both notes and rests. Just switch the part -that means @q{note} with the part that means @q{rest}, for example: - -@itemize - -@item English: 16th @strong{note}, 16th @strong{rest} -@item German: 32tel-@strong{Note}, 32tel-@strong{Pause} -@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko} - -@end itemize - -I put a dash @q{-} when I could not find a language-specific abbreviation for a -duration name. If you know of one that I missed, please send it to me, care of -the lilypond-user discussion list. - -@multitable @columnfractions .10 .35 .35 .20 - -@headitem Lang. @tab Note name - @tab Rest name - @tab Abbr. -@item @strong{US} @tab sixteenth note - @tab sixteenth rest - @tab 16th note -@item @strong{UK} @tab semiquaver - @tab semiquaver rest - @tab - -@item @strong{ES} @tab semicorchea - @tab silencio de semicorchea - @tab - -@item @strong{IT} @tab semicroma - @tab pausa di semicroma - @tab - -@item @strong{FR} @tab double croche - @tab quart de soupir - @tab - -@item @strong{DE} @tab Sechzehntelnote - @tab Sechzehntelpause - @tab 16tel-Note -@item @strong{NL} @tab zes@-ti@-ende noot - @tab zes@-ti@-ende rust - @tab 16e noot -@item @strong{DK} @tab sekstendedelsnode - @tab sekstendedelspause - @tab - -@item @strong{SE} @tab sextondelsnot - @tab sextondelspaus - @tab - -@item @strong{FI} @tab kuudes@-toistaosa@-nuotti - @tab kuudes@-toistaosa@-tauko - @tab 16-osanuotti - -@end multitable - -@multitable @columnfractions .10 .35 .35 .20 - -@headitem Lang. @tab Note name - @tab Rest name - @tab Abbr. -@item @strong{US} @tab thirty-second note - @tab thirty-second rest - @tab 32nd note -@item @strong{UK} @tab demisemiquaver - @tab demisemiquaver rest - @tab - -@item @strong{ES} @tab fusa - @tab silencio de fusa - @tab - -@item @strong{IT} @tab biscroma - @tab pausa di biscroma - @tab - -@item @strong{FR} @tab triple croche - @tab huitième de soupir - @tab - -@item @strong{DE} @tab Zweiunddreißig@-stelnote - @tab Zweiunddreißig@-stelpause - @tab 32tel-Note -@item @strong{NL} @tab twee@-endertigste noot - @tab twee@-endertigste rust - @tab 32e noot -@item @strong{DK} @tab toogtredivtedelsnode - @tab toogtredivtedelspause - @tab - -@item @strong{SE} @tab trettio@-tvåondelsnot - @tab trettio@-tvåondelspaus - @tab - -@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti - @tab kolmas@-kymmenes@-kahdesosa@-tauko - @tab 32-osanuotti - -@end multitable - -@multitable @columnfractions .10 .35 .35 .20 - -@headitem Lang. @tab Note name - @tab Rest name - @tab Abbr. -@item @strong{US} @tab sixty-fourth note - @tab sixty-fourth rest - @tab 64th note -@item @strong{UK} @tab hemidemisemiquaver - @tab hemidemisemiquaver rest - @tab - -@item @strong{ES} @tab semifusa - @tab silencio de semifusa - @tab - -@item @strong{IT} @tab semibiscroma - @tab pausa di semibiscroma - @tab - -@item @strong{FR} @tab quadruple croche - @tab seizième de soupir - @tab - -@item @strong{DE} @tab Vierundsechzigstelnote - @tab Vierundsechzigstelpause - @tab 64tel-Note -@item @strong{NL} @tab vierenzestigste noot - @tab vierenzestigste rust - @tab 64e noot -@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode - @tab fireog@-tredsindstyven@-dedelspause - @tab - -@item @strong{SE} @tab sextiofjärdedelsnot - @tab sextiofjärdedelspaus - @tab - -@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti - @tab kuudes@-kymmenes@-neljäsosa@-tauko - @tab 64-osanuotti - -@end multitable - -@multitable @columnfractions .10 .35 .35 .20 - -@headitem Lang. @tab Note name - @tab Rest name - @tab Abbr. -@item @strong{US} @tab one-hundred-twenty-eighth note - @tab one-hundred-twenty-eighth rest - @tab 128th note -@item @strong{UK} @tab semihemidemisemiquaver - @tab semihemidemisemiquaver rest - @tab - -@item @strong{ES} @tab garrapatea - @tab silencio de garrapatea - @tab - -@item @strong{IT} @tab fusa - @tab pausa di fusa - @tab - -@item @strong{FR} @tab quintuple croche - @tab trente-deuxième de soupir @tab - -@item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note - @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note -@item @strong{NL} @tab honderd@-acht@-en@-twintigste noot - @tab honderd@-acht@-en@-twintigste rust - @tab 128e noot -@item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node - @tab hundrede@-otte@-og@-tyvendedels@-pause - @tab - -@item @strong{SE} @tab hundratjugoåttondelsnot - @tab hundratjugoåttondelspaus - @tab - -@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti - @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko - @tab 128-osanuotti - -@end multitable - -@multitable @columnfractions .10 .35 .35 .20 - -@headitem Lang. @tab Note name - @tab Rest name - @tab Abbr. -@item @strong{US} @tab two-hundred-fifty-sixth note - @tab two-hundred-fifty-sixth rest - @tab 256th note -@item @strong{UK} @tab demisemihemidemisemiquaver - @tab demisemihemidemisemiquaver rest - @tab - -@item @strong{ES} @tab semigarrapatea - @tab silencio de semigarrapatea @tab - -@item @strong{IT} @tab semifusa - @tab pausa di semifusa - @tab - -@item @strong{FR} @tab sextuple croche - @tab soixante-quatrième de soupir @tab - -@item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note - @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note -@item @strong{NL} @tab tweehonderd@-zesenvijftigste noot - @tab tweehonderd@-zesenvijftigste rust - @tab 256e noot -@item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node - @tab tohundrede@-seks@-og@-halvtredsendedels@-pause - @tab - -@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot - @tab tvåhundra@-femtiosjättedelspaus - @tab - -@item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti - @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko - @tab 256-osanuotti - -@end multitable - -@seealso -@ref{mensural notation} - - -@node Pitch names -@chapter Pitch names - -@c -is/-es endings for Danish per Rune Zedeler, pace -@c and for Finnish per Risto Vääräniemi -@c -iss/-ess endings for Swedish per Mats Bengtsson -@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 --> - -@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis} -@headitem EN - @tab ES @tab I @tab F @tab D - @tab NL @tab DK @tab S @tab FI -@item @strong{c} @tab do @tab do @tab ut @tab C - @tab c @tab c @tab c @tab c -@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis - @tab cis @tab cis @tab ciss @tab cis -@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des - @tab des @tab des @tab dess @tab des -@item @strong{d} @tab re @tab re @tab ré @tab D - @tab d @tab d @tab d @tab d -@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis - @tab dis @tab dis @tab diss @tab dis -@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es - @tab es @tab es @tab ess @tab es -@item @strong{e} @tab mi @tab mi @tab mi @tab E - @tab e @tab e @tab e @tab e -@item @strong{f-flat} = e - @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes - @tab fes @tab fes @tab fess @tab fes -@item @strong{f} @tab fa @tab fa @tab fa @tab F - @tab f @tab f @tab f @tab f -@item @strong{e-sharp} = f - @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis - @tab eis @tab eis @tab eiss @tab eis -@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis - @tab fis @tab fis @tab fiss @tab fis -@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges - @tab ges @tab ges @tab gess @tab ges -@item @strong{g} @tab sol @tab sol @tab sol @tab G - @tab g @tab g @tab g @tab g -@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis - @tab gis @tab gis @tab giss @tab gis -@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As - @tab as @tab as @tab ass @tab as -@item @strong{a} @tab la @tab la @tab la @tab A - @tab a @tab a @tab a @tab a -@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais - @tab ais @tab ais @tab aiss @tab ais -@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B - @tab bes @tab b @tab b @tab b -@item @strong{b} @tab si @tab si @tab si @tab H - @tab b @tab h @tab h @tab h -@end multitable - - -@menu -* Literature used:: -@end menu - -@node Literature used -@unnumberedsec Literature used - -@itemize -@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}. -Cambridge: Belknap Press (Harvard University Press), 1944. - -@item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland: -WSOY, 1976. - -@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen -Terminologie}. Kassel, 1980. - -@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of -Current English}, 3rd ed. London: Oxford University Press, 1974. - -@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}. -Springfield, Massachusetts: G. & C. Merriam Company, 1913. - -@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}. -Cambridge: Belknap Press (Harvard University Press), 1986. - -@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929. - -@end itemize - -@bye