X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=49a1f5bd7bf4c5868bf90c5cd60096d2b921e3b1;hb=5c14a087ca6cbd665fd631452b7b1283ba0387c3;hp=a7e163a49018ca4e0195563fbee2b6f854609a3b;hpb=9b49dd0a1e5be1e3c5c3677e5812719242c201c6;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index a7e163a490..49a1f5bd7b 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -39,7 +39,7 @@ and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07 @c Updates to the German translation by Till Rettig, 12/07 -Copyright @copyright{} 1999--2007 by the authors +Copyright @copyright{} 1999--2008 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 @@ -66,34 +66,97 @@ Copyright @copyright{} 1999--2007 by the authors @ifnottex -This glossary was brought you by - -@table @code -@item Adrian Mariano -Italian glossary, -@item Bjoern Jacke -German glossary, -@item Christian Mondrup -Original author of LilyPond glossary, Danish glossary, -@item David González -Spanish glossary, -@item François Pinard -Original glossary of GNU music project, French glossary, -@item Han-Wen Nienhuys -Dutch glossary, -@item Heikki Junes -Finnish glossary translations, -@item Jan Nieuwenhuizen -Dutch glossary, -@item Kurtis Kroon -English glossary, -@item Mats Bengtsson -Swedish glossary, -@item Neil Jerram -English glossary translations. -@end table +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--2007 by the authors +Copyright 1999--2008 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 @@ -129,6 +192,7 @@ documentation, see @rlearning{About the documentation}. * Pitch names:: @end menu + @node Musical terms A-Z @chapter Musical terms A-Z @@ -145,6 +209,7 @@ Languages in this order. @item FI - Finnish @end itemize + @menu * A:: * a due:: @@ -191,6 +256,7 @@ Languages in this order. * C clef:: * cadence:: * cadenza:: +* caesura:: * canon:: * cent:: * central C:: @@ -347,7 +413,7 @@ Languages in this order. * movement:: * multi-measure rest:: * natural:: -* neighbour tones:: +* neighbor tones:: * ninth:: * non-legato:: * note:: @@ -490,7 +556,7 @@ Languages in this order. @seealso -@ref{Pitch names} +@ref{Pitch names}. @node a due @@ -521,7 +587,7 @@ or groups of players (@q{desks}). @seealso -@ref{Pitch names} +None yet. @node accelerando @@ -540,6 +606,10 @@ FI: accelerando, kiihdyttäen. Increase tempo +@seealso + +None yet. + @node accent @section accent @@ -555,6 +625,10 @@ FI: aksentti, korostus. The stress of one tone over others. +@seealso + +None yet. + @node accessory @section accessory @@ -589,11 +663,24 @@ DK: løst fortegn, S: tillfälligt förtecken, FI: tilapäinen etumerkki. -An accidental has the effect of an @ref{alteration} of a note. A -sharp raises a tone by a @ref{semitone}, a double sharp raises it by a -@ref{whole tone}, a flat lowers it by a semitone and a double flat -lowers it by a whole tone. A natural cancels the effect of a previous -accidental, or a sharp or flat in the key signature. +An accidental alters a note by: + +@itemize + +@item Raising its pitch: +@itemize +@item A @notation{double sharp}, by two semitones (a whole tone) +@item A @notation{sharp}, by one semitone +@end itemize + +@item Lowering its pitch: +@itemize +@item A @notation{flat}, by one semitone +@item A @notation{double flat}, by two semitones (a whole tone) +@end itemize + +@item Canceling the effects of the key signature or previous accidentals. +@end itemize @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -609,6 +696,10 @@ accidental, or a sharp or flat in the key signature. >> @end lilypond +@seealso + +@ref{alteration}, @ref{semitone}, @ref{whole tone}. + @node adagio @section adagio @@ -626,14 +717,18 @@ FI: adagio, hitaasti. @itemize -@item Slow tempo, slower -- especially in even meter -- than -@ref{andante} and faster than @ref{largo}. +@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 @ref{sonata}s, symphonies, etc. +of sonatas, symphonies, etc. @end itemize +@seealso + +@ref{andante}, @ref{largo}, @ref{sonata}. + @node al niente @section al niente @@ -674,8 +769,8 @@ text markup, rather than as part of the @notation{decrescendo} text: @end lilypond Since one does not crescendo @emph{to} nothing, it is not correct to use -@notation{al niente} with the word @notation{crescendo}. Instead, one -should use @emph{dal niente} (@notation{@b{from} nothing}). +@notation{al niente} with @notation{crescendo}. Instead, one should use +@emph{dal niente} (@notation{@b{from} nothing}). @seealso @@ -694,8 +789,12 @@ DK: allegro, S: allegro, FI: allegro, nopeasti. -[Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick -tempo, especially the first and last movements of a @ref{sonata}. +[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 @@ -711,7 +810,11 @@ S: ?, FI: ?. An alteration is the modification, raising or lowering, of a note's -pitch. It is established by an @ref{accidental}. +pitch. It is established by an accidental. + +@seealso + +@ref{accidental}. @node alto @@ -729,7 +832,11 @@ FI: altto, matala naisääni. A female voice of low range (@emph{contralto}). Originally the alto was a high male voice (hence the name), which by the use of falsetto reached the height of the female voice. This type of voice is also -known as @ref{countertenor}. +known as countertenor. + +@seealso + +@ref{countertenor}. @node alto clef @@ -768,6 +875,10 @@ 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 + +None yet. + @node anacrusis @section anacrusis @@ -785,10 +896,6 @@ 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. -@seealso - -@ref{measure}, @ref{meter}. - @lilypond[fragment,line-width=13.0\cm] \key f \major \time 4/4 @@ -797,6 +904,10 @@ note(s) of a melody occurring in that incomplete measure. bes( 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 @@ -815,7 +926,7 @@ Also called @q{natural minor scale}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c'' { -a1 b c d e f g a } + a1 b c d e f g a } @end lilypond @seealso @@ -835,8 +946,14 @@ DK: andante, S: andante, FI: andante, käyden. +[Italian: present participle of @emph{andare}, @q{to walk}.] + Walking tempo/character. +@seealso + +None yet. + @node appoggiatura @section appoggiatura @@ -898,6 +1015,10 @@ An appoggiatura may have more notes preceding the main note. } @end lilypond +@seealso + +None yet. + @node arpeggio @section arpeggio @@ -911,6 +1032,8 @@ DK: arpeggio, akkordbrydning, S: arpeggio, FI: arpeggio, murtosointu. +[Italian: @q{harp-like, played like a harp}.] + @lilypond[fragment,line-width=13.0\cm] \context PianoStaff << \context Staff = SA \relative c'' { @@ -931,6 +1054,10 @@ FI: arpeggio, murtosointu. >> @end lilypond +@seealso + +None yet. + @node articulation @section articulation @@ -948,6 +1075,10 @@ 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 + +None yet. + @node ascending interval @section ascending interval @@ -963,6 +1094,10 @@ FI: nouseva intervalli. A distance between a starting lower note and a higher ending note. +@seealso + +None yet. + @node augmented interval @section augmented interval @@ -1024,6 +1159,10 @@ emulate engraving. This required more skill than did engraving. @end itemize +@seealso + +None yet. + @node B @section B @@ -1072,6 +1211,15 @@ 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 @@ -1085,11 +1233,14 @@ DK: baryton, S: baryton, FI: baritoni, keskikorkuinen miesääni. -The male voice intermediate between the @ref{bass} and the -@ref{tenor}. +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 @@ -1197,9 +1348,9 @@ DK: (takt)slag, S: taktslag, FI: aika-arvo. -Note value used for counting, most often half-, fourth-, and eighth -notes. The base counting value and the number of them per measure is -indicated at the start of the music. +Note value used for counting, most often half-, fourth-, and eighth notes. +The base counting value and the number of them in each measure is indicated +at the start of the music by the @notation{time signature}. @lilypond[fragment,line-width=13.0\cm] \key g \major @@ -1209,6 +1360,10 @@ indicated at the start of the music. \relative c'' { g8 d' c | b c a | g4. \bar "||"} @end lilypond +@seealso + +@ref{time signature}. + @node beat repeat @section beat repeat @@ -1259,6 +1414,10 @@ Angular brackets for connecting parts in an orchestral or choral score: \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond +@seealso + +None yet. + @node bracket @section bracket @@ -1293,6 +1452,10 @@ A family of blown musical instruments made of brass, all using a cup formed mouth piece. The brass instruments commonly used in a symphony orchestra are trumpet, trombone, french horn, and tube. +@seealso + +None yet. + @node breath mark @section breath mark @@ -1308,18 +1471,25 @@ FI: hengitysmerkki. Indication of where to breathe in vocal and wind instrument parts. +@seealso + +@ref{caesura}. + @node breve @section breve -ES: cuadrada, breve, -I: breve, -F: brève, -D: Brevis, -NL: brevis, -DK: brevis, -S: brevis, -FI: brevis, kaksoiskokonuotti. +@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 as long as a whole note. Mainly used in pre-1650 music. The shortest note value generally used in white mensural notation, hence the @@ -1351,7 +1521,7 @@ name, which originally meant @q{of short duration}. @seealso -@ref{Pitch names} +@ref{Pitch names}. @node C clef @@ -1387,6 +1557,10 @@ lines. >> @end lilypond +@seealso + +None yet. + @node cadence @section cadence @@ -1423,6 +1597,32 @@ 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 + +None yet. + + +@node caesura +@section caesura + +ES: cesura, +I: cesura, +F: césura, +D: Zäsur, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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 @@ -1455,11 +1655,11 @@ FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave -(1/100 of an equally tempered @ref{semitone}). +(1/100 of an equally tempered semitone). @seealso -@ref{equal temperament}. +@ref{equal temperament}, @ref{semitone}. @node central C @@ -1489,7 +1689,8 @@ 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. +the middle third means their quality is ambivalent -- neither major nor +minor. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1533,13 +1734,17 @@ DK: kromatisk skala, S: kromatisk skala, FI: kromaattinen asteikko. -A scale consisting of all 12 @ref{semitone}s. +A scale consisting of all 12 semitones. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c' { c1 cis d dis e f fis g gis a ais b c } @end lilypond +@seealso + +@ref{semitone}. + @node chromaticism @section chromaticism @@ -1553,7 +1758,11 @@ DK: kromatik, S: kromatik, FI: kromatiikka. -Use of tones extraneous to a @ref{diatonic scale} (minor, major). +Using tones extraneous to a diatonic scale (minor, major). + +@seealso + +@ref{diatonic scale}. @node church mode @@ -1585,10 +1794,6 @@ DK: nøgle, S: klav, FI: avain, nuottiavain. -@seealso - -@ref{C clef}, @ref{F clef}, @ref{G clef}. - The clef indicates which lines of the staff correspond to which pitches. The three clef symbols in common use are: @@ -1842,6 +2047,10 @@ major chord. } @end lilypond +@seealso + +@ref{C clef}, @ref{F clef}, @ref{G clef}. + @node cluster @section cluster @@ -1881,6 +2090,10 @@ pitch contained in the cluster would be notated as an ordinary note. \makeClusters { } @end lilypond +@seealso + +None yet. + @node comma @section comma @@ -1906,11 +2119,11 @@ same note derived from some other tuning method. @node common meter @section common meter -@ref{common time} +Another name for @ref{common time}. @seealso -@ref{meter}. +@ref{common time}, @ref{meter}. @node common time @@ -1925,7 +2138,7 @@ DK: ?, S: ?, FI: ?. -4/4 time. The symbol, which resembles a capital letter C, derives from +4/4 time. The symbol, which resembles a capital letter C, comes from mensural notation. @seealso @@ -2008,37 +2221,41 @@ 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. +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. @lilypond[fragment,line-width=13.0\cm] #(define (compound-time grob one two three num) - (interpret-markup - (ly:grob-layout grob) - '(((baseline-skip . 2) - (word-space . 1.5) - (font-family . number))) - (markup - #:line ( #:column (one) "+" #:column (two num) "+" #:column (three))))) + (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 - = #(lambda (grob) (compound-time grob "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) - \set Staff.beatGrouping = #'(3 2 3) - - c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||" - } +\relative c' { + \key f \major + #(set-time-signature 8 8 '(3 2 3)) + \override Staff.TimeSignature #'stencil = #(lambda (grob) + (compound-time grob "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 @end enumerate @seealso -@ref{compound meter}, @ref{meter}. +@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}. @node concert pitch @@ -2057,32 +2274,35 @@ 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: -@itemize +@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 Woodwinds +@item @itemize @item flute @item oboe @item bassoon @end itemize -@item Brass +@tab + @itemize @item alto trombone @item tenor trombone @item bass trombone @end itemize -@item Strings +@tab + @itemize @item violin @item viola @item violincello @end itemize -@item piano - -@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 @@ -2119,14 +2339,18 @@ DK: trinvis bevægelse, S: stegvis rörelse, FI: asteittainen liike. -Progressing melodically by intervals of a second. The opposite of a -@ref{disjunct movement}. +Progressing melodically by intervals of a second, as contrasted with +@emph{disjunct movement}. @lilypond[fragment,line-width=13.0\cm] \key g \major \time 4/4 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } @end lilypond +@seealso + +@ref{disjunct movement}. + @node consonance @section consonance @@ -2173,6 +2397,10 @@ music typesetters. @c Copying music required more skill than engraving. Flagged for NPOV +@seealso + +None yet. + @node counterpoint @section counterpoint @@ -2232,6 +2460,10 @@ has been one of the most popular polyphonic composition methods. >> @end lilypond +@seealso + +None yet. + @node countertenor @section countertenor @@ -2270,6 +2502,10 @@ Increasing volume. Indicated by a rightwards opening horizontal wedge \relative c'' { g4 \< a b c | d1\! \bar "|." } @end lilypond +@seealso + +@ref{decrescendo}, @ref{hairpin}. + @node cue-notes @section cue-notes @@ -2286,6 +2522,10 @@ 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 + +None yet. + @node custos @section custos @@ -2299,17 +2539,16 @@ DK: ?, S: ?, FI: ?. -A custos (plural: custodes) is a staff symbol that appears at the end -of a staff line with monophonic musical contents (i.e., with a single -voice). It anticipates the pitch of the first note of the following -line and thus helps the player or singer to manage line breaks during -performance, thus enhancing readability of a score. +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 via the Editio Vaticana dating back to the beginning -of the 20th century +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 \score { @@ -2331,6 +2570,10 @@ of the 20th century } @end lilypond +@seealso + +None yet. + @node D @section D @@ -2366,6 +2609,10 @@ 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 + +None yet. + @node dal niente @section dal niente @@ -2416,6 +2663,10 @@ another place frequently near the beginning marked by a sign } @end lilypond +@seealso + +None yet. + @node decrescendo @section decrescendo @@ -2438,6 +2689,10 @@ wedge (hairpin) or the abbreviation @notation{decresc.}. } @end lilypond +@seealso + +@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}. + @node descending interval @section descending interval @@ -2453,6 +2708,10 @@ FI: laskeva intervalli. A distance between a starting higher note and a lower ending note. +@seealso + +None yet. + @node diatonic scale @section diatonic scale @@ -2466,11 +2725,11 @@ DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko. -A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S). -Scales played on the white keys of a piano keybord are diatonic; and these -scales are sometimes called, somewhat inaccurately, @q{church modes}). +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 @q{modes} are used in Gregorian chant and in pre-baroque early music +These @emph{modes} are used in Gregorian chant and in pre-baroque early music but also to some extent in newer jazz music. @lilypond[fragment,notime,ragged-right] @@ -2602,7 +2861,7 @@ the 6th and 7th tone. b^"~~ S" c d e^"~~ S" f g a } \lyrics { - "Ancient minor" + "Ancient (or Natural) minor" } >> @end lilypond @@ -2653,6 +2912,10 @@ the 6th and 7th tone. >> @end lilypond +@seealso + +@ref{semitone}, @ref{whole tone}. + @node didymic comma @section didymic comma @@ -2708,9 +2971,7 @@ DK: ?, S: ?, FI: ?. -@c TODO: add definition - -This is a placeholder for diminution (wrt mensural notation). +This is a stub for diminution (@emph{wrt} mensural notation). @seealso @@ -2746,8 +3007,8 @@ DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. -Progressing melodically by intervals larger than a major second, as -opposed to @ref{conjunct movement}. +Progressing melodically by intervals larger than a major second, as contrasted +with conjunct movement. @lilypond[fragment,ragged-right] \key a \major @@ -2758,11 +3019,19 @@ opposed to @ref{conjunct movement}. fis2 d4. \bar "||" } @end lilypond +@seealso + +@ref{conjunct movement}. + @node dissonance @section dissonance -@ref{dissonant interval}. +Another name for @ref{dissonant interval}. + +@seealso + +@ref{dissonant interval}, @ref{harmony}. @node dissonant interval @@ -2794,7 +3063,7 @@ DK: ?, S: ?, FI: ?. -[Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a +[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: @@ -2850,7 +3119,11 @@ DK: dominant, S: dominant, FI: dominantti, huippusointu. -The fifth @ref{scale degree} in @ref{functional harmony}. +The fifth @emph{scale degree} in @emph{functional harmony}. + +@seealso + +@ref{functional harmony}, @ref{scale degree}. @node dominant ninth chord @@ -2969,6 +3242,10 @@ FI: kaksoistahtiviiva. Indicates the end of a section within a movement. +@seealso + +None yet. + @node double dotted note @section double dotted note @@ -3052,6 +3329,10 @@ FI: kaksoistrilli. A simultaneous trill on two notes, usually in the distance of a third. +@seealso + +None yet. + @node duple meter @section duple meter @@ -3150,7 +3431,7 @@ indicate this information are called dynamic marks. @seealso -@ref{church mode}. +@ref{church mode}, @ref{diatonic scale}. @node eighth note @@ -3207,12 +3488,12 @@ DK: ?, S: ?, FI: ?. -More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to -smear together}]. +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 is looks like (and serves the same function) as a -musical tie. +by a lyric tie, which looks like (and serves the same function) as a musical +tie. @seealso @@ -3246,6 +3527,10 @@ 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 + +None yet. + @node enharmonic @section enharmonic @@ -3275,6 +3560,10 @@ names but equal pitch. >> @end lilypond +@seealso + +None yet. + @node equal temperament @section equal temperament @@ -3288,12 +3577,12 @@ DK: ligesvævende temperatur, S: liksvävande temperatur, FI: tasavireinen. -Tuning system dividing the octave into 12 equal @ref{semitone}s -(precisely 100 @ref{cent}s). +A tuning system that divides the octave into 12 equal semitones (each of +which is precisely equal to 100 cents). @seealso -@ref{temperament}. +@ref{cent}, @ref{semitone}, @ref{temperament}. @node expression mark @@ -3312,12 +3601,17 @@ Performance indications concerning: @itemize -@item volume, dynamics (for example @ref{forte}, @ref{crescendo}), +@item volume, dynamics (for example, @notation{forte}, +@notation{crescendo}), -@item tempo (for example @ref{andante}, @ref{allegro}). +@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 @@ -3331,8 +3625,8 @@ DK: ?, S: ?, FI: ?. -The generic term for a line (or dash) of arbitrary length that extends -text (without indicating the musical @emph{function} of that text). +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: @@ -3371,8 +3665,8 @@ by the given number of octaves. @seealso -@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave -marking}. +@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, +@ref{octave marking}. @node F @@ -3410,8 +3704,8 @@ The position between the dots of the key symbol is the line of the F below central@w{ }C. Used on the third, fourth and fifth note line. A digit@w{ }8 above the clef symbol indicates that the notes must be played an octave higher (for example, bass recorder) while 8@w{ }below -the clef symbol indicates playing an octave lower (for example, on -double bass @ref{strings}). +the clef symbol indicates playing an octave lower (for example, on the +Double Bass). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3441,9 +3735,7 @@ double bass @ref{strings}). @seealso -@ref{baritone clef} - -@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. +@ref{baritone clef}, @ref{strings}. @node fall @@ -3491,6 +3783,8 @@ 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, @@ -3509,6 +3803,10 @@ Prolonged note or rest of indefinite duration. } @end lilypond +@seealso + +None yet. + @node fifth @section fifth @@ -3541,9 +3839,11 @@ 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 @ref{interval}s and @ref{chord}s to be played -above the bass notes. +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. + +TODO: Make the upper clef smaller, since it's usually "realized" in performance. @lilypond[fragment,line-width=13.0\cm] \context GrandStaff << @@ -3570,6 +3870,10 @@ above the bass notes. >> @end lilypond +@seealso + +@ref{chord}, @ref{interval}. + @node fingering @section fingering @@ -3583,7 +3887,12 @@ DK: fingersætning, S: fingersättning, FI: sormitus. -The methodical use of fingers in the playing of instruments. +Figures to the side or above the note that methodically indicate which +fingers to use while playing a passage. + +@seealso + +None yet. @node flag @@ -3598,21 +3907,24 @@ 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 -@ref{note value}. +Ornament at the end of the stem of a note used for notes with values less +than a quarter note. The number of flags determines the note value. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \relative c'' { - g8_"1/8" s8 - g16_"1/16" s8 - g32_"1/32" s8 - g64_"1/64" s8 + g8_"8th" s8 + g16_"16th" s8 + g32_"32nd" s8 + g64_"64th" s8 } @end lilypond +@seealso + +@ref{note value}. + @node flageolet @section flageolet @@ -3690,6 +4002,11 @@ Abbreviated @notation{@b{f}}. Variants include: @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}). @end itemize +@seealso + +None yet. + + @node fourth @section fourth @@ -3745,9 +4062,9 @@ DK: ?, S: ?, FI: ?. -Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded -measures or sections removed. This would be useful for producing, for example, -an @emph{ossia} staff. +[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 @@ -3757,16 +4074,7 @@ an @emph{ossia} staff. @node Frenched staves @section Frenched staves -ES: pentagramas a la francesa, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -The plural of @ref{Frenched staff}, @emph{q.v.}. +Plural of @ref{Frenched staff}. @node fugue @@ -3798,11 +4106,15 @@ DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä. -A system of harmonic analysis. It is based on the idea that, in a -given key, there are only three functionally different chords: tonic -(T, the chord on the first note of the scale), subdominant (S, the -chord on the fourth note), and dominant (D, the chord on the fifth -note). Others are considered to be variants of the base chords. +A system of harmonic analysis. + +It is based on the idea that, in a given key, there are only three +functionally different chords: tonic (T, the chord on the first note of the +scale), subdominant (S, the chord on the fourth note), and dominant (D, the +chord on the fifth note). Others are considered to be variants of the base +chords. + +TODO: what does the @q{p} mean in Sp, Dp, Tp? @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3815,6 +4127,10 @@ note). Others are considered to be variants of the base chords. >> @end lilypond +@seealso + +None yet. + @node G @section G @@ -3847,11 +4163,11 @@ DK: g-nøgle, S: g-klav, FI: G-avain. -A clef symbol indicating the G above middle@w{ }C. Used on the first -and second note lines. A digit 8 above the clef symbol indicates that -the notes must be played an octave higher while 8 below the clef -symbol indicates playing or singing an octave lower (most tenor parts -in choral scores are notated like that). +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[fragment,notime,ragged-right] << @@ -3879,6 +4195,10 @@ in choral scores are notated like that). >> @end lilypond +@seealso + +None yet. + @node glissando @section glissando @@ -3894,6 +4214,10 @@ FI: glissando, liukuen. Letting the pitch slide fluently from one note to the other. +@seealso + +None yet. + @node grace notes @section grace notes @@ -3947,7 +4271,11 @@ DK: grave, S: grave, FI: grave, raskaasti. -Slow, solemn. +[Italian] Slow, solemn. + +@seealso + +None yet. @node gruppetto @@ -4003,15 +4331,17 @@ dynamic marks. @node half note @section half note -UK: minim, -ES: blanca, -I: minima, -F: blanche, -D: Halbe, halbe Note, -NL: halve noot, -DK: halvnode, -S: halvnot, -FI: puolinuotti. +@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 @@ -4021,15 +4351,17 @@ FI: puolinuotti. @node half rest @section half rest -UK: minim rest, -ES: silencio de blanca, -I: pausa di minima, -F: demi-pause, -D: halbe Pause, -NL: halve, rust, -DK: halvnodespause, -S: halvpaus, -FI: puolitauko. +@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 @@ -4050,8 +4382,6 @@ FI: harmoninen kadenssi. A sequence of chords that terminates a musical phrase or section. -@ref{functional harmony}. - @lilypond[fragment,ragged-right] \context PianoStaff << \context Staff = SA \relative c'' { @@ -4075,6 +4405,10 @@ A sequence of chords that terminates a musical phrase or section. @end lilypond +@seealso + +@ref{functional harmony}. + @node harmonics @section harmonics @@ -4100,6 +4434,10 @@ 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 + +None yet. + @node harmony @section harmony @@ -4144,7 +4482,11 @@ Dissonances: } @end lilypond -Three note harmony @ref{chord}. +For harmony that uses three or more notes, see @ref{chord}. + +@seealso + +@ref{chord}. @node hemiola @@ -4159,13 +4501,13 @@ DK: ?, S: ?, FI: ?. -[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to -the use of three notes of equal value in the time normally occupied by -of two notes of equal value. The resulting rhythm can be expressed in -modern terms as a substitution (for example) of a bar in 3/2 for one -of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era, -hemiola is most frequently as a special effect (or @emph{affect}) at -cadences. +[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 @@ -4189,7 +4531,7 @@ and is therefore a polymeter (second definition) of considerable antiquity. @seealso -@ref{mensural notation}, @ref{meter}, @ref{polymeter}. +@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}. @node homophony @@ -4204,10 +4546,12 @@ DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys. -Music in which one voice leads melodically followed by the other -voices more or less in the same rhythm. In contrast to -@ref{polyphony}. +Music in which one voice leads melodically 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 @@ -4221,23 +4565,19 @@ DK: ?, S: ?, FI: ?. -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 -- consider a hymn having four lines in two couplets that -alternate 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. +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 @@ -4245,15 +4585,14 @@ 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 + +None yet. @node interval @@ -4268,11 +4607,11 @@ DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero. -Difference in pitch between two notes. Intervals may be perfect, -minor, major, diminished, or augmented. The augmented fourth and the -diminished fifth are identical (@ref{enharmonic}) and are called -@emph{tritonus} because they consist of three @ref{whole tone}s. The -addition of such two intervals forms an octave. +Difference in pitch between two notes. Intervals may be perfect, minor, +major, diminished, or augmented. The augmented fourth and the diminished +fifth are identical (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[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -4334,6 +4673,10 @@ addition of such two intervals forms an octave. >> @end lilypond +@seealso + +@ref{enharmonic}, @ref{whole tone}. + @node inversion @section inversion @@ -4347,12 +4690,13 @@ DK: ?, S: ?, FI: ?. -When the bass is not the same as the root, the chord is inverted. The number -of inversions that a chord can have is one fewer than the number of -constituent notes. Triads, for example, (having three constituent notes) can -have three positions, two of which are inversions: +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 @code +@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}. @@ -4372,6 +4716,10 @@ marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most unstable chord position. @end table +@seealso + +None yet. + @node inverted interval @section inverted interval @@ -4397,6 +4745,10 @@ The difference between an interval and an octave. } @end lilypond +@seealso + +None yet. + @node just intonation @section just intonation @@ -4413,6 +4765,8 @@ FI: puhdas viritys. Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds. +@seealso + @ref{temperament}. @@ -4428,12 +4782,12 @@ DK: toneart, S: tonart, FI: tonaliteetti. -According to the 12@w{ }tones of the @ref{chromatic scale} there are +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{key signature}. +@ref{chromatic scale}, @ref{key signature}. @node key signature @@ -4451,6 +4805,8 @@ FI: sävellajiosoitus. The sharps or flats appearing at the beginning of each staff indicating the key of the music. +@seealso + @ref{accidental}. @@ -4466,9 +4822,13 @@ DK: ?, S: ?, FI: ?. -[From French, @q{Let vibrate}]. Most frequently associated with harp +[French: @q{Let vibrate}.] Most frequently associated with harp parts. Marked @notation{l.v.} in the score. +@seealso + +None yet. + @node largo @section largo @@ -4482,8 +4842,8 @@ DK: largo, S: largo, FI: largo, hitaasti, leveästi. -Very slow in tempo, usually combined with great expressiveness. -@emph{Larghetto} is less slow than largo. +[Italian: @q{wide}.] Very slow in tempo, usually combined with great +expressiveness. @emph{Larghetto} is less slow than largo. @node leading note @@ -4498,10 +4858,14 @@ DK: ledetone, S: ledton, FI: johtosävel. -The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so +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 @@ -4522,6 +4886,10 @@ A ledger line is an extension of the staff. \relative c'' { a,1 s c'' } @end lilypond +@seealso + +None yet. + @node legato @section legato @@ -4536,8 +4904,8 @@ S: legato, FI: legato, sitoen. To be performed (a) without any perceptible interruption between the -notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) -@emph{portato}, and (d) @ref{staccato}. +notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c) +@notation{portato}, or (d) @notation{staccato}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -4557,6 +4925,10 @@ notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) >> @end lilypond +@seealso + +@ref{staccato}. + @node legato curve @section legato curve @@ -4588,10 +4960,10 @@ 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 roughly since 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 +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. @@ -4614,8 +4986,13 @@ S: liljedamm, FI: liljalampi. A pond with lilies floating in it. + Also, the name of a music typesetting program. +@seealso + +None yet. + @node line @section line @@ -4646,7 +5023,7 @@ DK: ?, S: ?, FI: ?. -[From Italian, @q{place}]. Instruction to play the following passage at the +[Italian: @q{place}.] Instruction to play the following passage at the written pitch. Cancels octave mark (q.v.). @seealso @@ -4674,28 +5051,31 @@ FI: pitkä appoggiatura, pitkä etuhele. @node longa @section longa -ES: longa, -I: longa, -F: longa, -D: Longa, -NL: longa, -DK: longa, -S: longa, -FI: 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: double length of @ref{breve}. +Note value: double length of @notation{breve}. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { \override NoteHead #'style = #'mensural - g\longa + g\longa g\breve } @end lilypond @seealso -@ref{note value}. +@ref{breve}, @ref{note value}. @node lyric tie @@ -4729,6 +5109,12 @@ DK: ?, S: ?, FI: sanoitus. +@c Definition? + +@seealso + +None yet. + @node major @section major @@ -4776,11 +5162,14 @@ DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys. -Temperament yielding acoustically pure thirds by decreasing the -natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular -character of this @ref{temperament} only a limited set of keys are -playable. Used for tuning keyboard instruments for performance of -pre-1650 music. +Temperament yielding acoustically pure thirds by decreasing the natural +fifth by 16@w{ }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 @@ -4795,12 +5184,13 @@ DK: takt, S: takt, FI: tahti. -A group of @ref{beat}s (units of musical time) the first of which -bears an accent. Such groups in numbers of two or more recur -consistently throughout the composition and are marked from each other -by bar-lines. +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. -@ref{meter}. +@seealso + +@ref{bar line}, @ref{beat}, @ref{meter}. @node measure repeat @@ -4827,14 +5217,15 @@ FI: keskisävel. @item The third @b{scale degree}. -@item A @ref{chord} having its base tone a third from that of another +@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{functional harmony}, @ref{relative key}. + +@ref{chord}, @ref{functional harmony}, @ref{relative key}. @node melisma @@ -4849,8 +5240,12 @@ DK: ?, S: ?, FI: melisma, laulettavan tavun sävelkuvio. -A melisma (plural, from Greek: melismata) is a group of notes or tones -sung on one syllable, especially as applied to liturgical chant. +A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung +on one syllable, especially as applied to liturgical chant. + +@seealso + +None yet. @node melisma line @@ -4974,7 +5369,7 @@ frequently used prior to the 20th Century. @itemize - @item simple: groups of two. + @item simple: subdivided in groups of two. @itemize @@ -4984,7 +5379,7 @@ frequently used prior to the 20th Century. @end itemize - @item compound: groups of three. + @item compound: subdivided in groups of three. @itemize @@ -5038,6 +5433,11 @@ Simple quintuple meter (B. Marcello, 1686-1739): 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[fragment,line-width=13.0\cm] @@ -5092,11 +5492,11 @@ DK: me@-tro@-nom, S: me@-tro@-nom, FI: metronomi. -Device indicating the exact tempo of a piece. +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 "metronome". The inevitable lawsuit that +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. @@ -5166,7 +5566,11 @@ Used to qualify other indications, such as: sopranos @end itemize -@end itemize +@end itemize + +@seealso + +None yet. @node mezzo-soprano @@ -5212,6 +5616,10 @@ First C below the 440 Hz A. } @end lilypond +@seealso + +None yet. + @node minor @section minor @@ -5288,6 +5696,10 @@ 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 + +None yet. + @node mordent @section mordent @@ -5346,6 +5758,10 @@ theme or subject. } @end lilypond +@seealso + +None yet. + @node movement @section movement @@ -5363,6 +5779,10 @@ Greater musical works like @ref{symphony} and @ref{sonata} most often consist of several -- more or less -- independant pieces called movements. +@seealso + +None yet. + @node multi-measure rest @section multi-measure rest @@ -5414,8 +5834,8 @@ FI: palautusmerkki. @ref{accidental}. -@node neighbour tones -@section neighbour tones +@node neighbor tones +@section neighbor tones @seealso @@ -5466,6 +5886,10 @@ 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 + +None yet. + @node note head @section note head @@ -5479,12 +5903,15 @@ DK: nodehovede, S: nothuvud, FI: nuotin pää. -A head-like sign which indicates pitch by its position on a -@ref{staff} provided with a @ref{clef}, and duration -by a variety of shapes such as hollow or black heads with or without -@ref{stem}s, @ref{flag}s, etc. For percussion -instruments (often having no defined pitch) the note head may indicate the -instrument. +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 @@ -5507,11 +5934,11 @@ DK nodeværdi, S: notvärde, FI: nuotin aika-arvo. -Note values (durations) are measured as fractions, normally 1/2, of -the next higher note value. The longest duration normally used is -called @emph{brevis}, but sometimes (mostly in pre-baroque music) the -double-length note value @emph{longa} or the quadruple-length note -value @emph{maxima} are used. +Note values (durations) are measured as fractions -- normally half -- of the +next higher note value. The longest duration in current use is the +@emph{breve}, but sometimes (especially music from the Baroque or earlier) the +double-length note value @emph{longa} or the quadruple-length note value +@emph{maxima} are used. @c TODO -- add maxima to this example, in a way that doesn't break it. @@ -5572,6 +5999,10 @@ dotted notes are also frequently used. } @end lilypond +@seealso + +None yet. + @node octavation @section octavation @@ -5769,6 +6200,10 @@ 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 + +None yet. + @node part @section part @@ -5864,6 +6299,10 @@ kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel, and xylophone. +@seealso + +None yet. + @node perfect interval @section perfect interval @@ -5896,6 +6335,10 @@ FI: fraasi, lause. A natural division of the melodic line, comparable to a sentence of speech. +@seealso + +@ref{caesura}. + @node phrasing @section phrasing @@ -5909,8 +6352,12 @@ DK: frasering, S: fra@-se@-ring, FI: fraseeraus, jäsentäminen. -The clear rendering in musical performance of the @ref{phrase}s of -the melody. Phrasing may be indicated by a @ref{slur}. +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 @@ -5928,6 +6375,10 @@ FI, piano, hiljaa. @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, @emph{mezzo piano} (@b{mp}) medium soft. +@seealso + +None yet. + @node pickup @section pickup @@ -5991,6 +6442,10 @@ FI: pizzicato, näppäillen. A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking the strings. +@seealso + +None yet. + @node polymeter @section polymeter @@ -6006,7 +6461,8 @@ FI: ?. @itemize -@item The simultaneous use of two or more meters, in two or more parts. +@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. @@ -6029,7 +6485,8 @@ DK: ?, S: ?, FI: ?. -Using two or more metric frameworks simultaneously or in alternation. +Characterized by @emph{polymeter}: using two or more metric frameworks +simultaneously or in alternation. @seealso @@ -6070,12 +6527,20 @@ 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}. @@ -6093,9 +6558,15 @@ 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 + +None yet. + @node proportion @section proportion @@ -6109,16 +6580,96 @@ DK: ?, S: ?, FI: ?. -[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the -relationship between the note values that follow with those that precede; or -between the note values of a passage and the @q{normal} relationship of note -values to the metrical pulse. +[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 @q{cut-time} 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} +@ref{mensural notation}. @node Pythagorean comma @@ -6182,9 +6733,9 @@ 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 @columnfractions .10 .35 .35 .20 - -@headitem Chord name @tab Component intervals +@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 @@ -6302,7 +6853,9 @@ DK: rallentando, S: rallentando, FI: rallerdando, hidastuen. -Abbreviation "rall.". +[Italian] A performance indication, abbreviated "rall.". + +@seealso @ref{ritardando}. @@ -6319,7 +6872,7 @@ DK: paralleltoneart, S: parallelltonart, FI: rinnakkaissävellaji. -@ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}. +Major and minor keys that have the same key signature. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -6335,11 +6888,15 @@ FI: rinnakkaissävellaji. \set Score.automaticBars = ##f %\override Score.TextScript #'font-style = #'large \relative c' { - \key es \major + \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 @@ -6361,6 +6918,10 @@ FI: toisto. } @end lilypond +@seealso + +None yet. + @node rest @section rest @@ -6410,6 +6971,10 @@ metrical unit (beat). @end itemize +@seealso + +None yet. + @node ritardando @section ritardando @@ -6425,6 +6990,10 @@ FI: ritardando, hidastuen, Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. +@seealso + +None yet. + @node ritenuto @section ritenuto @@ -6440,6 +7009,10 @@ FI: ritenuto, hidastaen. Immediate reduction of speed. +@seealso + +None yet. + @node scale @section scale @@ -6504,7 +7077,7 @@ DK: ?, S: ?, FI: ?. -[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional +[Italian: @emph{scordare}, @q{to mistune}.] Unconventional tuning of stringed instruments, particularly lutes or violins. Used to: @@ -6528,6 +7101,10 @@ available on open strings Tunings that could be called @var{scordatura} first appeared early in the 16th Century and became commonplace in the 17th. +@seealso + +None yet. + @node score @section score @@ -6545,6 +7122,10 @@ 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 + +None yet. + @node second @section second @@ -6563,6 +7144,10 @@ The @ref{interval} between two neigbouring tones of a scale. A @ref{whole tone}s, hence the size of a se@-cond depends on the scale degrees in question. +@seealso + +None yet. + @node semitone @section semitone @@ -6670,7 +7255,7 @@ DK: ?, S: ?, FI: ?. -[From It, @q{in the same manner}] Performance direction: the music thus marked +[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. @@ -6708,7 +7293,7 @@ that does not include triplet subdivision of the beat. @item I: semicroma @item F: double croche @item D: Sechzehntel, Sechzehntelnote -@item NL: zes@-ti@-ende noot +@item NL: zestiende noot @item DK: sekstendedelsnode @item S: sextondelsnot @item FI: kuudestoistaosanuotti @@ -6820,6 +7405,10 @@ 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 + +None yet. + @node solmization @section solmization @@ -6834,11 +7423,13 @@ S: solmisation, FI: suhteelliset laulunimet. General term for systems of designating the degrees of the -@ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}), +@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})). -@ref{scale degree}. +@seealso + +@ref{scale}, @ref{scale degree}. @node sonata @@ -6858,6 +7449,10 @@ composition for piano or for some other instrument with piano accompaniment, which consists of three or four independant pieces, called movements. +@seealso + +None yet. + @node sonata form @section sonata form @@ -6871,19 +7466,23 @@ DK: sonateform, S: sonatform, FI: sonaattimuoto. -A form used frequently for single movements of the @ref{sonata}, -@ref{symphony}, quartet, etc. A movement written in sonata form falls -into three sections called @emph{exposition}, @emph{development} and -@emph{recapitulation}. In the exposition the composer introduces some -musical ideas, consisting of a number of themes; in the development -section the composer @q{develops} this material, and in the -recapitulation the composer repeats the exposition, with certain -modifications. The exposition contains a number of themes that fall -into two groups, often called first and second subject. Other -melodies occurring in each group are considered as continuations of -these two. The second theme is in another key, normally in the key of -the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the -@ref{relative key} if the tonic is @ref{minor}. +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 @@ -6908,6 +7507,10 @@ FI: sopraano, korkea naisääni. The highest female voice. +@seealso + +None yet. + @node staccato @section staccato @@ -6934,6 +7537,10 @@ below the note head. } @end lilypond +@seealso + +None yet. + @node staff @section staff @@ -6952,6 +7559,10 @@ 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 + +None yet. + @node staves @section staves @@ -6990,6 +7601,10 @@ whole note. } @end lilypond +@seealso + +None yet. + @node stringendo @section stringendo @@ -7003,7 +7618,7 @@ DK: ?, S: ?, FI: ?. -[It, @q{pressing}]. Pressing, urging, or hastening the time, as to a +[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a climax. @seealso @@ -7027,6 +7642,10 @@ 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 + +None yet. + @node strong beat @section strong beat @@ -7057,9 +7676,11 @@ DK: subdominant, S: subdominant, FI: subdominantti, alidominantti. -The fourth @ref{scale degree}. +The fourth @notation{scale degree}. -@ref{functional harmony}. +@seealso + +@ref{functional harmony}, @ref{scale degree}. @node submediant @@ -7074,7 +7695,11 @@ DK: Submediant, S: submediant, FI: alikeskisävel. -The sixth @ref{scale degree}. +The sixth @notation{scale degree}. + +@seealso + +@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}. @node subtonic @@ -7091,6 +7716,10 @@ FI: subtoonika, alitoonika. The seventh @ref{scale degree}. +@seealso + +@ref{functional harmony}, @ref{scale degree}. + @node sul G @section sul G @@ -7107,6 +7736,10 @@ FI: ?. Indicates that the indicated passage (or note) should be played on the G string. +@seealso + +None yet. + @node superdominant @section superdominant @@ -7122,6 +7755,10 @@ FI: ylidominantti. The sixth @ref{scale degree}. +@seealso + +@ref{functional harmony}, @ref{scale degree}, @ref{submediant}. + @node supertonic @section supertonic @@ -7137,6 +7774,10 @@ FI: ylitoonika. The second @ref{scale degree}. +@seealso + +@ref{functional harmony}, @ref{scale degree}. + @node symphony @section symphony @@ -7150,7 +7791,12 @@ DK: symfoni, S: symfoni, FI: sinfonia. -A symphony may be defined as a @ref{sonata} for orchestra. +A symphony may be defined as a @emph{sonata} for orchestra. + +@seealso + +@ref{sonata}. + @node syncopation @@ -7182,6 +7828,10 @@ contradiction between the underlaying (normal) pulse and the actual } @end lilypond +@seealso + +None yet. + @node syntonic comma @section syntonic comma @@ -7222,9 +7872,13 @@ DK: system, S: system, FI: nuottijärjestelmä. -The collection of staves (@ref{staff}), two or more, as used for writing +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 @@ -7241,6 +7895,8 @@ FI: viritysjärjestelmä. Systems of tuning in which the intervals deviate from the acoustically pure intervals. +@seealso + @ref{meantone temperament}, @ref{equal temperament}. @@ -7256,10 +7912,15 @@ 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 -@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and -@ref{presto}. +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 @@ -7274,7 +7935,11 @@ DK: tenor, S: tenor, FI: tenori, korkea miesääni. -The highest male voice (apart from @ref{countertenor}). +The highest @q{natural} male voice (apart from @notation{countertenor}). + +@seealso + +@ref{countertenor}. @node tenth @@ -7309,6 +7974,10 @@ 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 + +None yet. + @node third @section third @@ -7336,7 +8005,7 @@ FI: terssi. @item I: biscroma @item F: triple croche @item D: Zweiunddreissigstel, Zweiunddreissigstelnote -@item NL: twee-endertig@-ste (32e) noot +@item NL: twee@-endertig@-ste (32e) noot @item DK: toogtredivtedelsnode @item S: trettiotvåondelsnot @item FI: kolmaskymmeneskahdesosanuotti @@ -7356,7 +8025,7 @@ FI: terssi. @item I: pausa di biscroma @item F: huitième de soupir @item D: Zweiunddreissigstel@-pause -@item NL: twee-endertig@-ste (32e) rust +@item NL: twee@-endertig@-ste (32e) rust @item DK: toogtredivtedelspause @item S: trettiotvåondelspaus @item FI: kolmaskymmeneskahdesosatauko @@ -7444,6 +8113,10 @@ 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 + +None yet. + @node tonic @section tonic @@ -7457,11 +8130,11 @@ DK: tonika, S: tonika, FI: toonika. -The first @ref{scale degree}. +The first @notation{scale degree}. @seealso -@ref{functional harmony}. +@ref{functional harmony}, @ref{scale degree}. @node transposing instrument @@ -7537,6 +8210,10 @@ relative pitches. } @end lilypond +@seealso + +None yet. + @node treble clef @section treble clef @@ -7745,6 +8422,10 @@ 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 + +None yet. + @node upbeat @section upbeat @@ -7777,27 +8458,24 @@ FI: ääni, lauluääni. @itemize -@item Human voices: - -@itemize - -@item @ref{soprano} - -@item @ref{mezzo-soprano} - -@item @ref{contralto} + @item Human voices: -@item @ref{tenor} - -@item @ref{baritone} + @itemize + @item @ref{soprano} + @item @ref{mezzo-soprano} + @item @ref{contralto} + @item @ref{tenor} + @item @ref{baritone} + @item @ref{bass} + @end itemize -@item @ref{bass} + @item A melodic layer or part of a polyphonic composition. @end itemize -@item A melodic layer or part of a polyphonic composition. +@seealso -@end itemize +None yet. @node volta @@ -7812,9 +8490,13 @@ DK: ?, S: ?, FI: ?. -[From Italian, @q{time} (instance, not duration)]. An ending, such as a first +[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 @q{volta} text. +(not just a number) -- to serve as the @notation{volta} text. + +@seealso + +None yet. @node weak beat @@ -7912,6 +8594,10 @@ instruments are actually made from metal. The woodwind instruments commonly used in a symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. +@seealso + +None yet. + @node Duration names notes and rests @chapter Duration names notes and rests @@ -7960,8 +8646,8 @@ saxophone, and bassoon. @tab brevispaus @item @strong{FI} @tab longa-nuotti @tab longa-tauko - @tab brevis-nuotti, kaksoiskokonuotti - @tab brevis-tauko, kaksoiskokotauko + @tab brevis-nuotti, kaksoiskoko@-nuotti + @tab brevis-tauko, kaksoiskoko@-tauko @end multitable @@ -8056,10 +8742,10 @@ saxophone, and bassoon. @tab fjärdedelspaus @tab åttondelsnot @tab åttondelspaus -@item @strong{FI} @tab neljäsosanuotti - @tab neljäsosatauko - @tab kahdeksasosanuotti - @tab kahdeksasosatauko +@item @strong{FI} @tab neljäsosa@-nuotti + @tab neljäsosa@-tauko + @tab kahdeksasosa@-nuotti + @tab kahdeksasosa@-tauko @end multitable @@ -8110,8 +8796,8 @@ the lilypond-user discussion list. @item @strong{DE} @tab Sechzehntelnote @tab Sechzehntelpause @tab 16tel-Note -@item @strong{NL} @tab zestiende noot - @tab zestiende rust +@item @strong{NL} @tab zes@-ti@-ende noot + @tab zes@-ti@-ende rust @tab 16e noot @item @strong{DK} @tab sekstendedelsnode @tab sekstendedelspause @@ -8119,8 +8805,8 @@ the lilypond-user discussion list. @item @strong{SE} @tab sextondelsnot @tab sextondelspaus @tab - -@item @strong{FI} @tab kuudestoistaosanuotti - @tab kuudestoistaosatauko +@item @strong{FI} @tab kuudes@-toistaosa@-nuotti + @tab kuudes@-toistaosa@-tauko @tab 16-osanuotti @end multitable @@ -8145,20 +8831,20 @@ the lilypond-user discussion list. @item @strong{FR} @tab triple croche @tab huitième de soupir @tab - -@item @strong{DE} @tab Zweiunddreißigstelnote - @tab Zweiunddreißigstelpause +@item @strong{DE} @tab Zweiunddreißig@-stelnote + @tab Zweiunddreißig@-stelpause @tab 32tel-Note -@item @strong{NL} @tab tweeendertigste noot - @tab tweeendertigste rust +@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 trettiotvåondelsnot - @tab trettiotvåondelspaus +@item @strong{SE} @tab trettio@-tvåondelsnot + @tab trettio@-tvåondelspaus @tab - -@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti - @tab kolmaskymmeneskahdesosatauko +@item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti + @tab kolmas@-kymmenes@-kahdesosa@-tauko @tab 32-osanuotti @end multitable @@ -8189,14 +8875,14 @@ the lilypond-user discussion list. @item @strong{NL} @tab vierenzestigste noot @tab vierenzestigste rust @tab 64e noot -@item @strong{DK} @tab fireogtredsindstyvendedelsnode - @tab fireogtredsindstyvendedelspause +@item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode + @tab fireog@-tredsindstyven@-dedelspause @tab - @item @strong{SE} @tab sextiofjärdedelsnot @tab sextiofjärdedelspaus @tab - -@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti - @tab kuudeskymmenesneljäsosatauko +@item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti + @tab kuudes@-kymmenes@-neljäsosa@-tauko @tab 64-osanuotti @end multitable @@ -8220,19 +8906,19 @@ the lilypond-user discussion list. @tab - @item @strong{FR} @tab quintuple croche @tab trente-deuxième de soupir @tab - -@item @strong{DE} @tab Hundertundachtundzwanzigstel - @tab Hundertundachtundzwanzigstel @tab 128tel-Note -@item @strong{NL} @tab honderdachtentwintigste noot - @tab honderdachtentwintigste rust +@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 hundredeotteogtyvendedelsnode - @tab hundredeotteogtyvendedelspause +@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 sadaskahdeskymmeneskahdeksasosanuotti - @tab sadaskahdeskymmeneskahdeksasosatauko +@item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti + @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko @tab 128-osanuotti @end multitable @@ -8255,19 +8941,19 @@ the lilypond-user discussion list. @tab - @item @strong{FR} @tab sextuple croche @tab soixante-quatrième de soupir @tab - -@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote - @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note -@item @strong{NL} @tab tweehonderdzesenvijftigste noot - @tab tweehonderdzesenvijftigste rust +@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 tohundredeseksoghalvtredsendedelsnode - @tab tohundredeseksoghalvtredsendedelspause +@item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node + @tab tohundrede@-seks@-og@-halvtredsendedels@-pause @tab - -@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot - @tab tvåhundrafemtiosjättedelspaus +@item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot + @tab tvåhundra@-femtiosjättedelspaus @tab - -@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti - @tab kahdessadasviideskymmeneskuudesosatauko +@item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti + @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko @tab 256-osanuotti @end multitable @@ -8349,17 +9035,17 @@ WSOY, 1976. @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen Terminologie}. Kassel, 1980. -@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. - @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