X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=49a1f5bd7bf4c5868bf90c5cd60096d2b921e3b1;hb=5c14a087ca6cbd665fd631452b7b1283ba0387c3;hp=fab2d1b7fda37787e62fc306c60471980acb9266;hpb=9e991f21a79291a496389b4d02924d59808bd27d;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index fab2d1b7fd..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 @@ -109,7 +172,8 @@ Copyright 1999--2007 by the authors @c @oddheading @| @| @thispage @| This is the Music Glossary (MG) for GNU LilyPond version @version{}. -For more information, see @rlearning{About the documentation}. +For more information about how this fits with the other +documentation, see @rlearning{About the documentation}. @c arrowref @@ -123,11 +187,12 @@ For more information, see @rlearning{About the documentation}. @end macro @menu -* Musical terms A-Z:: -* Duration names notes and rests:: -* Pitch names:: +* Musical terms A-Z:: +* Duration names notes and rests:: +* Pitch names:: @end menu + @node Musical terms A-Z @chapter Musical terms A-Z @@ -144,314 +209,334 @@ Languages in this order. @item FI - Finnish @end itemize + @menu -* A:: -* a due:: -* accent:: -* accessory:: -* accidental:: -* accelerando:: -* acciaccatura:: -* adagio:: -* 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 clef:: -* bass:: -* beam:: -* beat:: -* bind:: -* brace:: -* bracket:: -* brass:: -* breath mark:: -* breve:: -* C:: -* C clef:: -* cadence:: -* cadenza:: -* 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:: -* counterpoint:: -* counter tenor:: -* copying music:: -* crescendo:: -* cue-notes:: -* custos:: -* D:: -* da capo:: -* dal segno:: -* decrescendo:: -* descending interval:: -* diatonic scale:: -* diminished interval:: -* diminuendo:: -* diminution:: -* direct:: -* disjunct movement:: -* dissonance:: -* dissonant interval:: -* dominant ninth chord:: -* dominant seventh chord:: -* dominant:: -* 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:: -* didymic comma:: -* dynamics:: -* E:: -* ecclesiastical mode:: -* eighth note:: -* eighth rest:: -* elision:: -* embellishment:: -* engraving:: -* enharmonic:: -* equal temperament:: -* expression mark:: -* extender line:: -* F:: -* F clef:: -* feathered beam:: -* fermata:: -* fifth:: -* figured bass:: -* fingering:: -* flag:: -* flat:: -* forefall:: -* forte:: -* fourth:: -* Frenched score:: -* Frenched staff:: -* Frenched staves:: -* fugue:: -* functional harmony:: -* G:: -* G clef:: -* glissando:: -* grace notes:: -* grand staff:: -* grave:: -* gruppetto:: -* H:: -* half note:: -* half rest:: -* harmonic cadence:: -* harmony:: -* hemiola:: -* homophony:: -* interval:: -* inverted interval:: -* just intonation:: -* key:: -* key signature:: -* laissez vibrer:: -* largo:: -* leading note:: -* ledger line:: -* legato:: -* legato curve:: -* leger line:: -* lilypond:: -* ligature:: -* line:: -* loco:: -* long appoggiatura:: -* longa:: -* lyrics:: -* lyric tie:: -* major interval:: -* major:: -* meantone temperament:: -* measure:: -* mediant:: -* melisma:: -* melisma line:: -* melodic cadence:: -* mensural notation:: -* meter:: -* metronome:: -* metronomic indication:: -* metronome mark:: -* mezzo-soprano:: -* middle C:: -* minor:: -* minor interval:: -* mode:: -* modulation:: -* mordent:: -* motif:: -* motive:: -* movement:: -* multi-measure rest:: -* mixolydian mode:: -* natural:: -* neighbour tones:: -* ninth:: -* non-legato:: -* note:: -* note head:: -* note names:: -* note value:: -* octavation:: -* octave:: -* octave mark:: -* octave marking:: -* octave sign:: -* ornament:: -* ossia:: -* part:: -* pause:: -* pennant:: -* percussion:: -* perfect interval:: -* phrase:: -* phrasing:: -* pickup:: -* piano:: -* pitch:: -* pizzicato:: -* polymeter:: -* polymetric:: -* polymetric time signature:: -* polyphony:: -* portato:: -* presto:: -* proportion:: -* Pythagorean comma:: -* quadruplet:: -* quarter note:: -* quarter rest:: -* quarter tone:: -* quintuplet:: -* rallentando:: -* relative key:: -* repeat:: -* rest:: -* rhythm:: -* ritardando:: -* ritenuto:: -* scale:: -* scale degree:: -* scordatura:: -* score:: -* second:: -* semitone:: -* seventh:: -* sextolet:: -* sextuplet:: -* shake:: -* sharp:: -* simple meter:: -* sixteenth note:: -* sixteenth rest:: -* sixth:: -* sixty-fourth note:: -* sixty-fourth rest:: -* slur:: -* solmization:: -* sonata:: -* sonata form:: -* song texts:: -* soprano:: -* staccato:: -* staff:: -* staves:: -* stem:: -* 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:: +* A:: +* a due:: +* accelerando:: +* accent:: +* accessory:: +* acciaccatura:: +* accidental:: +* adagio:: +* al niente:: +* 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:: +* 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:: +* meantone temperament:: +* measure:: +* measure repeat:: +* mediant:: +* melisma:: +* melisma line:: +* melodic cadence:: +* mensural notation:: +* 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:: +* 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 @@ -471,13 +556,13 @@ Languages in this order. @seealso -@ref{Pitch names} +@ref{Pitch names}. @node a due @section a due -ES: ?, +ES: a dos, I: a due, F: à deux, D: ?, @@ -486,7 +571,7 @@ DK: ?, S: ?, FI: ?. -Abbreviated @samp{a2} or @samp{a 2}. +Abbreviated @notation{a2} or @notation{a 2}. @enumerate @@ -502,7 +587,28 @@ or groups of players (@q{desks}). @seealso -@ref{Pitch names} +None yet. + + +@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 + +None yet. @node accent @@ -519,6 +625,10 @@ FI: aksentti, korostus. The stress of one tone over others. +@seealso + +None yet. + @node accessory @section accessory @@ -528,6 +638,19 @@ The stress of one tone over others. @ref{ornament}. +@node acciaccatura +@section acciaccatura + +A grace note which takes its time from the rest or note preceding the +principal note to which it is attached. The acciaccatura is drawn as a +small eighth note (quaver) with a line drawn through the flag and +stem. + +@seealso + +@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. + + @node accidental @section accidental @@ -540,11 +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 @@ -560,33 +696,9 @@ accidental, or a sharp or flat in the key signature. >> @end lilypond - -@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. - -Increase tempo. - - -@node acciaccatura -@section acciaccatura - -A grace note which takes its time from the rest or note preceding the -principal note to which it is attached. The acciaccatura is drawn as a -small eighth note (quaver) with a line drawn through the flag and -stem. - @seealso -@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. +@ref{alteration}, @ref{semitone}, @ref{whole tone}. @node adagio @@ -601,18 +713,69 @@ DK: adagio, S: adagio, FI: adagio, hitaasti. -It.@: comfortable, easy. +[Italian: @q{comfortable, easy}.] @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 + +ES: ?, +I: al niente, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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[fragment,ragged-right] +\relative c'' { + \override Hairpin #'circled-tip = ##t + c1\< + c2\> c\< + c1\! +} +@end lilypond + +or with the actual phrase @notation{al niente}. This may be easier with +text markup, rather than as part of the @notation{decrescendo} text: + +@lilypond[fragment,ragged-right] +\relative c'' { + \dimTextDecresc + c1~\> + c~ + c\!-\markup { \italic "al niente" } +} +@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{decrescendo}, @ref{hairpin}. + @node allegro @section allegro @@ -626,8 +789,12 @@ DK: allegro, S: allegro, FI: allegro, nopeasti. -It.@: 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 @@ -643,7 +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 @@ -661,7 +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{counter tenor}. +known as countertenor. + +@seealso + +@ref{countertenor}. @node alto clef @@ -700,6 +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 @@ -717,10 +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 @@ -729,11 +904,15 @@ 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 -ES: escala menor antigua, +ES: escala menor natural, I: scala minore naturale, F: forme du mode mineur ancien, troisème mode, mode hellénique, D: reines Moll, natürliches Moll, @@ -742,10 +921,12 @@ DK: ren mol, S: ren mollskala, FI: luonnollinen molliasteikko. +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 @@ -765,8 +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 @@ -828,6 +1015,10 @@ An appoggiatura may have more notes preceding the main note. } @end lilypond +@seealso + +None yet. + @node arpeggio @section arpeggio @@ -841,6 +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'' { @@ -861,6 +1054,10 @@ FI: arpeggio, murtosointu. >> @end lilypond +@seealso + +None yet. + @node articulation @section articulation @@ -878,6 +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 @@ -893,6 +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 @@ -954,6 +1159,10 @@ emulate engraving. This required more skill than did engraving. @end itemize +@seealso + +None yet. + @node B @section B @@ -971,7 +1180,7 @@ emulate engraving. This required more skill than did engraving. @seealso -@ref{Pitch names} +@ref{H}, @ref{Pitch names} @node backfall @@ -1002,6 +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 @@ -1015,11 +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 @@ -1040,25 +1261,6 @@ C or F clef setting middle C on the upper staff line. @ref{C clef}, @ref{F clef}. -@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 bass @section bass @@ -1085,6 +1287,25 @@ double bass. @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 @@ -1127,9 +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 @@ -1139,6 +1360,18 @@ 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 + +@seealso + +@ref{percent repeat}. + @node bind @section bind @@ -1181,11 +1414,15 @@ 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 -ES: ?, +ES: corchete, I: ?, F: ?, D: ?, @@ -1215,6 +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 @@ -1230,18 +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 @@ -1273,7 +1521,7 @@ name, which originally meant @q{of short duration}. @seealso -@ref{Pitch names} +@ref{Pitch names}. @node C clef @@ -1309,6 +1557,10 @@ lines. >> @end lilypond +@seealso + +None yet. + @node cadence @section cadence @@ -1345,6 +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 @@ -1377,11 +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 @@ -1404,13 +1682,15 @@ DK: akkord, S: ackord, FI: sointu. -Three or more tones sounding simultaneously. In traditional European music the -base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major + -minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be -extended with more thirds. Four-tone @emph{seventh chords} and five-tone -@emph{ninth} major chords are most often used as dominants (@ref{functional -harmony}). A special case is chords having no third above the lower notes to -define their quality as major or minor: such chords are called @q{open chords}. +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[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1436,6 +1716,11 @@ define their quality as major or minor: such chords are called @q{open chords}. >> @end lilypond +@seealso + +@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, +@ref{third}. + @node chromatic scale @section chromatic scale @@ -1449,13 +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 @@ -1469,7 +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 @@ -1501,10 +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: @@ -1758,6 +2047,10 @@ major chord. } @end lilypond +@seealso + +@ref{C clef}, @ref{F clef}, @ref{G clef}. + @node cluster @section cluster @@ -1797,6 +2090,10 @@ pitch contained in the cluster would be notated as an ordinary note. \makeClusters { } @end lilypond +@seealso + +None yet. + @node comma @section comma @@ -1822,17 +2119,17 @@ 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 @section common time -ES: ?, +ES: compasillo, I: ?, F: ?, D: ?, @@ -1841,7 +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 @@ -1888,7 +2185,7 @@ Intervals larger than an octave. @node compound meter @section compound meter -ES: ?, +ES: compás compuesto, compás de subdivisión ternaria, I: ?, F: ?, D: ?, @@ -1908,7 +2205,7 @@ A meter that includes a triplet subdivision within the beat, such as @node compound time @section compound time -ES: ?, +ES: compás compuesto, compás de amalgama (def. 2), I: ?, F: ?, D: ?, @@ -1924,43 +2221,47 @@ 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 @section concert pitch -ES: ?, +ES: en Do, afinación de concierto, I: ?, F: ?, D: ?, @@ -1973,32 +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. -@item Woodwinds +@multitable {alto trombone} {tenor trombone} {bass trombone} +@headitem Woodwinds @tab Brass @tab Strings + +@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 @@ -2035,14 +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 @@ -2078,6 +2386,22 @@ FI: kontra-altto. @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 + +None yet. + + @node counterpoint @section counterpoint @@ -2136,34 +2460,26 @@ has been one of the most popular polyphonic composition methods. >> @end lilypond +@seealso + +None yet. + -@node counter tenor -@section counter tenor +@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 copying music -@section copying music +DK: kontratenor, +S: kontratenor, counter tenor, +FI: kontratenori. -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. +@seealso -@c Copying music required more skill than engraving. Flagged for NPOV +@ref{contralto}. @node crescendo @@ -2179,13 +2495,17 @@ S: crescendo, FI: cresendo, voimistuen. Increasing volume. Indicated by a rightwards opening horizontal wedge -or the abbreviation @samp{cresc.}. +(hairpin) or the abbreviation @notation{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 \relative c'' { g4 \< a b c | d1\! \bar "|." } @end lilypond +@seealso + +@ref{decrescendo}, @ref{hairpin}. + @node cue-notes @section cue-notes @@ -2202,11 +2522,15 @@ 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 -ES: ?, +ES: custos, I: ?, F: guidon, D: Notenzeiger, Custos, @@ -2215,17 +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 { @@ -2247,6 +2570,10 @@ of the 20th century } @end lilypond +@seealso + +None yet. + @node D @section D @@ -2279,9 +2606,33 @@ DK: da capo, S: da capo, FI: da capo, alusta. -Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from +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 + +ES: ?, +I: dal niente, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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 @@ -2295,8 +2646,9 @@ DK: dal segno, S: dal segno, FI: dal segno, lähtien merkistä. -Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from -another place frequently near the beginning marked by a sign: +Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from +another place frequently near the beginning marked by a sign +(@notation{segno}): @lilypond[fragment,ragged-right] %\override TextScript #'font-style = #'large @@ -2311,6 +2663,10 @@ another place frequently near the beginning marked by a sign: } @end lilypond +@seealso + +None yet. + @node decrescendo @section decrescendo @@ -2323,8 +2679,8 @@ DK: decrescendo, S: decrescendo, FI: decresendo, hiljentyen. -Decreasing tone volume. Indicated by a leftwards opening horizontal wedge -or the abbreviation @samp{decresc.}. +Decreasing tone volume. Indicated by a leftwards opening horizontal +wedge (hairpin) or the abbreviation @notation{decresc.}. @lilypond[fragment,ragged-right] \relative c'' { @@ -2333,6 +2689,10 @@ or the abbreviation @samp{decresc.}. } @end lilypond +@seealso + +@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}. + @node descending interval @section descending interval @@ -2348,6 +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 @@ -2361,11 +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] @@ -2461,7 +2825,7 @@ but also to some extent in newer jazz music. << \relative c'' { \override TextScript #'padding = #-4 - b^"~~ S" c d e^"~~ S" f g a b + b1^"~~ S" c d e^"~~ S" f g a b } \lyrics { Locrian @@ -2497,7 +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 @@ -2524,15 +2888,42 @@ the 6th and 7th tone. \relative c'' { a1 \override TextScript #'padding = #-4 - b^"~~ S" c d e fis gis^"~~ S" + b^"~~ S" c d e fis gis^"~~ S" a + } + \lyrics { + "Melodic minor ascending" + } +>> +@end lilypond + +@lilypond[fragment,notime,line-width=13.0\cm] +\set Score.automaticBars = ##f +%\override Score.LyricText #'font-style = #'large +%\override Score.TextScript #'font-style = #'large +<< + \relative c'' { + a'1 + \override TextScript #'padding = #-4 a g! f!^"~~ S" e d c^"~~ S" b a } \lyrics { - "Melodic minor" + "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 @@ -2580,9 +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 @@ -2618,8 +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 @@ -2630,11 +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 @@ -2654,6 +3051,81 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. @ref{harmony}. +@node divisio +@section divisio + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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 + +None yet. + + +@node doit +@section doit + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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 @@ -2688,21 +3160,6 @@ FI: dominanttiseptimisointu. @ref{chord}, @ref{functional harmony}. -@node dominant -@section dominant - -ES: dominante, -I: dominante, -F: dominante, -D: Dominante, -NL: dominant, -DK: dominant, -S: dominant, -FI: dominantti, huippusointu. - -The fifth @ref{scale degree} in @ref{functional harmony}. - - @node dorian mode @section dorian mode @@ -2785,6 +3242,10 @@ FI: kaksoistahtiviiva. Indicates the end of a section within a movement. +@seealso + +None yet. + @node double dotted note @section double dotted note @@ -2868,6 +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 @@ -2920,18 +3385,10 @@ FI: kesto, aika-arvo. @ref{note value}. -@node didymic comma -@section didymic comma - -@seealso - -@ref{syntonic comma}. - - @node dynamics @section dynamics -ES: ?, +ES: dinámica, matices, I: ?, F: nuances, D: Dynamik, Lautstärke, @@ -2974,7 +3431,7 @@ indicate this information are called dynamic marks. @seealso -@ref{church mode}. +@ref{church mode}, @ref{diatonic scale}. @node eighth note @@ -3022,7 +3479,7 @@ indicate this information are called dynamic marks. @c TODO: add languages -ES: ?, +ES: sinalefa, I: ?, F: ?, D: ?, @@ -3031,9 +3488,12 @@ DK: ?, S: ?, FI: ?. +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 @@ -3051,7 +3511,7 @@ musical tie. @node engraving @section engraving -ES: grabar, +ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck @@ -3067,6 +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 @@ -3096,6 +3560,10 @@ names but equal pitch. >> @end lilypond +@seealso + +None yet. + @node equal temperament @section equal temperament @@ -3109,12 +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 @@ -3133,17 +3601,22 @@ 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 -ES: línea de extención [de melisma, de bajo cifrado, etc.], +ES: línea de extensión [de melisma, de bajo cifrado, etc.], I: ?, F: ligne d'extension [de mélisme, de basse chiffrée, etc.], D: Fülllinie, @@ -3152,8 +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: @@ -3165,7 +3638,7 @@ Used in many contexts, for example: Dictionary}. @item -In figured (or thorough) bass to indicate that: +In figured bass to indicate that: @itemize @@ -3181,8 +3654,8 @@ single extender line to indicate the latter case. @item In string music to indicate that all notes in the passage thus indicated should be played on the same string. On the violin, for example, a series of notes to -be played on the G string would be indicated @samp{sul G}, another series to be -played on the D string would be indicated @samp{sul D}, and so on. +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 @@ -3192,8 +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 @@ -3231,8 +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 @@ -3262,15 +3735,33 @@ double bass @ref{strings}). @seealso -@ref{baritone clef} +@ref{baritone clef}, @ref{strings}. -@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. + +@node fall +@section fall + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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: ?, +ES: barra punteada, I: ?, F: liens de croches en soufflet, D: gespreizter Balken, @@ -3292,6 +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, @@ -3310,30 +3803,76 @@ Prolonged note or rest of indefinite duration. } @end lilypond - -@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 - @seealso -@ref{thorough bass}. +None yet. + + +@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. + +TODO: Make the upper clef smaller, since it's usually "realized" in performance. + +@lilypond[fragment,line-width=13.0\cm] +\context GrandStaff << + \context Staff = lh \relative c'' { + \time 4/4 + \key es \major + \clef treble + << \context Voice = rha { + \stemUp + es4 d c bes | bes } + \context Voice = rhb { + \stemDown + < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } + >> + } + << + \context Staff = rh \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 @@ -3348,7 +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 @@ -3363,21 +3907,54 @@ 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 + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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 @@ -3416,8 +3993,18 @@ DK: forte, S: forte, FI: forte, voimakkaasti. -Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud, -@emph{mezzo forte} (@samp{@b{mf}}) medium loud. +[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 + +None yet. @node fourth @@ -3440,7 +4027,7 @@ FI: kvartti. @node Frenched score @section Frenched score -ES: ?, +ES: partitura a la francesa, I: ?, F: ?, D: ?, @@ -3466,7 +4053,7 @@ you may wish to procure a copy of their style manual. @node Frenched staff @section Frenched staff -ES: ?, +ES: pentagrama a la francesa, I: ?, F: ?, D: ?, @@ -3475,9 +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 @@ -3487,16 +4074,7 @@ an @emph{ossia} staff. @node Frenched staves @section Frenched staves -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -The plural of @ref{Frenched staff}, @emph{q.v.}. +Plural of @ref{Frenched staff}. @node fugue @@ -3528,11 +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 @@ -3545,6 +4127,10 @@ note). Others are considered to be variants of the base chords. >> @end lilypond +@seealso + +None yet. + @node G @section G @@ -3577,11 +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] << @@ -3609,6 +4195,10 @@ in choral scores are notated like that). >> @end lilypond +@seealso + +None yet. + @node glissando @section glissando @@ -3624,6 +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 @@ -3677,7 +4271,11 @@ DK: grave, S: grave, FI: grave, raskaasti. -Slow, solemn. +[Italian] Slow, solemn. + +@seealso + +None yet. @node gruppetto @@ -3702,27 +4300,48 @@ Slow, solemn. @item FI: H, h @end itemize -Letter name used for @samp{B natural} in German and Scandinavian -usage. In the standard usage of these countries, @samp{B} means -@samp{B flat}. +Letter name used for @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[fragment,ragged-right] +\relative c'' { + c1\< + c2\> c\< + c1\! +} +@end lilypond @seealso -@ref{Pitch names}, @ref{B} +@ref{crescendo}, @ref{decrescendo}. @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 @@ -3732,15 +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 @@ -3761,8 +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'' { @@ -3786,6 +4405,39 @@ A sequence of chords that terminates a musical phrase or section. @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: ?. + +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 + +None yet. + @node harmony @section harmony @@ -3830,13 +4482,17 @@ Dissonances: } @end lilypond -Three note harmony @ref{chord}. +For harmony that uses three or more notes, see @ref{chord}. + +@seealso + +@ref{chord}. @node hemiola @section hemiola -ES: ?, +ES: hemiolia, I: ?, F: ?, D: ?, @@ -3845,13 +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 @@ -3875,7 +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 @@ -3890,10 +4546,54 @@ 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 +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: ?. + +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 + +None yet. + @node interval @section interval @@ -3907,11 +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 @@ -3973,6 +4673,53 @@ addition of such two intervals forms an octave. >> @end lilypond +@seealso + +@ref{enharmonic}, @ref{whole tone}. + + +@node inversion +@section inversion + +ES: ?, +I: ?, +F: inversion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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 + +None yet. + @node inverted interval @section inverted interval @@ -3998,6 +4745,10 @@ The difference between an interval and an octave. } @end lilypond +@seealso + +None yet. + @node just intonation @section just intonation @@ -4014,6 +4765,8 @@ FI: puhdas viritys. Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds. +@seealso + @ref{temperament}. @@ -4029,12 +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 @@ -4052,13 +4805,15 @@ 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: ?, +ES: dejar vibrar, I: ?, F: laissez vibrer, D: ?, @@ -4067,8 +4822,12 @@ DK: ?, S: ?, FI: ?. -[From French, @q{Let vibrate}]. Most frequently associated with harp -parts. Marked @samp{l.v.} in the score. +[French: @q{Let vibrate}.] Most frequently associated with harp +parts. Marked @notation{l.v.} in the score. + +@seealso + +None yet. @node largo @@ -4083,8 +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 @@ -4099,10 +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 @@ -4123,6 +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 @@ -4137,8 +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 @@ -4158,6 +4925,10 @@ notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) >> @end lilypond +@seealso + +@ref{staccato}. + @node legato curve @section legato curve @@ -4175,23 +4946,6 @@ notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @ref{ledger line}. -@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. - - @node ligature @section ligature @@ -4206,10 +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. @@ -4218,6 +4972,28 @@ patterns disappeared. @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 + +None yet. + + @node line @section line @@ -4238,7 +5014,7 @@ FI: viiva, nuottiviiva. @node loco @section loco -ES: ?, +ES: en su lugar, I: loco, F: ?, D: ?, @@ -4247,7 +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 @@ -4275,47 +5051,37 @@ 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}. - - -@node lyrics -@section lyrics - -ES: letra (de la canción), -I: ?, -F: paroles, -D: Liedtext, Gesangtext, -NL: liedtekst, -DK: ?, -S: ?, -FI: sanoitus. +@ref{breve}, @ref{note value}. @node lyric tie @section lyric tie -ES: ?, +ES: ligadura de letra, I: ?, F: ?, D: Textbindung, @@ -4331,21 +5097,23 @@ FI: ?. @ref{elision}. -@node major interval -@section major interval +@node lyrics +@section lyrics + +ES: letra (de la canción), +I: ?, +F: paroles, +D: Liedtext, Gesangtext, +NL: liedtekst, +DK: ?, +S: ?, +FI: sanoitus. -ES: intervalo mayor, -I: intervallo maggiore, -F: intervalle majeur, -D: großes Intervall, -NL: groot interval, -DK: stort interval, -S: stort intervall, -FI: suuri intervalli. +@c Definition? @seealso -@ref{interval}. +None yet. @node major @@ -4365,6 +5133,23 @@ FI: duuri. @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 meantone temperament @section meantone temperament @@ -4377,11 +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 @@ -4396,12 +5184,21 @@ 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 +@section measure repeat + +@seealso + +@ref{percent repeat}. @node mediant @@ -4420,14 +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 @@ -4442,8 +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 @@ -4451,7 +5253,7 @@ sung on one syllable, especially as applied to liturgical chant. @c TODO: add languages -ES: ?, +ES: línea de melisma, I: ?, F: ?, D: ?, @@ -4478,7 +5280,7 @@ FI: ?. @c TODO: add languages -ES: ?, +ES: notación mensural, I: ?, F: ?, D: ?, @@ -4489,7 +5291,7 @@ FI: ?. 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 forms the basis of the notation of rhythms in Western musical +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 @@ -4567,7 +5369,7 @@ frequently used prior to the 20th Century. @itemize - @item simple: groups of two. + @item simple: subdivided in groups of two. @itemize @@ -4577,7 +5379,7 @@ frequently used prior to the 20th Century. @end itemize - @item compound: groups of three. + @item compound: subdivided in groups of three. @itemize @@ -4631,6 +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] @@ -4685,11 +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. @@ -4698,14 +5505,6 @@ sold many of them, and people had taken to calling it a Mälzel Metronome. @ref{metronome mark}. -@node metronomic indication -@section metronomic indication - -@seealso - -@ref{metronome mark} - - @node metronome mark @section metronome mark @@ -4718,8 +5517,8 @@ DK: metronomtal, S: metronomangivelse, FI: metronomiosoitus. -Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or -@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, +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 @@ -4727,6 +5526,53 @@ Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or @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: ?. + +[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 + +None yet. + + @node mezzo-soprano @section mezzo-soprano @@ -4739,7 +5585,11 @@ DK: mezzosopran, S: mezzosopran, FI: mezzosopraano. -The female voice between @ref{soprano} and @ref{contralto}. +The female voice between soprano and contralto. + +@seealso + +@ref{soprano}, @ref{contralto}. @node middle C @@ -4766,6 +5616,10 @@ First C below the 440 Hz A. } @end lilypond +@seealso + +None yet. + @node minor @section minor @@ -4801,6 +5655,14 @@ FI: pieni intervalli. @ref{interval}. +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. + + @node mode @section mode @@ -4834,6 +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 @@ -4892,6 +5758,10 @@ theme or subject. } @end lilypond +@seealso + +None yet. + @node movement @section movement @@ -4909,6 +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 @@ -4943,14 +5817,6 @@ German, as a reminiscence of its use in Renaissance vocal polyphony. @ref{longa}, @ref{breve}. -@node mixolydian mode -@section mixolydian mode - -@seealso - -@ref{diatonic scale}. - - @node natural @section natural @@ -4968,8 +5834,8 @@ FI: palautusmerkki. @ref{accidental}. -@node neighbour tones -@section neighbour tones +@node neighbor tones +@section neighbor tones @seealso @@ -5020,6 +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 @@ -5033,12 +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 @@ -5061,11 +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. @@ -5126,6 +5999,10 @@ dotted notes are also frequently used. } @end lilypond +@seealso + +None yet. + @node octavation @section octavation @@ -5147,10 +6024,10 @@ DK: oktav, S: oktav, FI: oktaavi. -The interval of an octave, sometimes abbreviated @samp{8ve}. +The interval of an octave, sometimes abbreviated @notation{8ve}. -For uses like @emph{all'ottava} or @emph{8va} with an extender line or -bracket, or @samp{loco} see octave marking. +For uses like @notation{all'ottava} or @notation{8va} with an extender line or +bracket, or @notation{loco} see octave marking. @seealso @@ -5160,7 +6037,7 @@ bracket, or @samp{loco} see octave marking. @node octave mark @section octave mark -ES: ?, +ES: indicación de octava, I: ?, F: ?, D: ?, @@ -5174,38 +6051,40 @@ or bracket) to indicate that the music is to be played in a different octave: @itemize -@item @samp{15ma}: play two octaves higher -@item @samp{8va}: play one octave higher -@item @samp{8vb}: play one octave lower -@item @samp{8va} (written below the passage): same as @samp{8vb} -@item @samp{15vb}: play two octaves lower -@item @samp{15va} (written below the passage): same as @samp{15vb} +@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 @emph{loco} (q.v.). +change is cancelled with the word @notation{loco} (q.v.). To parallel the list above: @itemize -@item @samp{15ma}: @emph{alla quindicesima (alta)} -@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra} -@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto} -@item @samp{15vb}: @emph{alla quindicesima (bassa)} +@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, @emph{quindicesima} is sometimes replaced with -@emph{quindecima}, which is Latin. +In the phrases above, @notation{quindicesima} is sometimes replaced with +@notation{quindecima}, which is Latin. -Finally, the music on an entire staff can be marked to be played in a different -octave by putting an 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. +Finally, 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 @@ -5321,6 +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 @@ -5365,6 +6248,39 @@ web. @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[fragment,line-width=13.0\cm] +\time 4/4 +\relative c' { + \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 @@ -5383,6 +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 @@ -5415,6 +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 @@ -5428,25 +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}. - - -@node pickup -@section pickup - -ES: anacrusa, -I: anacrusi, -F: anacrouse, levée, -D: Auftakt, -NL: opmaat, -DK: optakt, -S: upptakt, -FI: kohotahti. +The clear rendering in musical performance of the @notation{phrases} of the +melody. Phrasing may be indicated by a @notation{slur}. @seealso -@ref{anacrusis}. +@ref{phrase}, @ref{slur}. @node piano @@ -5464,6 +6375,27 @@ 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 + +ES: anacrusa, +I: anacrusi, +F: anacrouse, levée, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +FI: kohotahti. + +@seealso + +@ref{anacrusis}. + @node pitch @section pitch @@ -5510,11 +6442,15 @@ FI: pizzicato, näppäillen. A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking the strings. +@seealso + +None yet. + @node polymeter @section polymeter -ES: ?, +ES: compás polimétrico, I: ?, F: ?, D: ?, @@ -5525,7 +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. @@ -5539,7 +6476,7 @@ FI: ?. @node polymetric @section polymetric -ES: ?, +ES: polimétrico, I: ?, F: ?, D: ?, @@ -5548,7 +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 @@ -5558,7 +6496,7 @@ Using two or more metric frameworks simultaneously or in alternation. @node polymetric time signature @section polymetric time signature -ES: ?, +ES: compás polimétrico, I: ?, F: ?, D: ?, @@ -5589,55 +6527,149 @@ 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 +@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 + +None yet. + + +@node proportion +@section proportion + +ES: proporción, +I: proprozione (?), +F: proportion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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 -@seealso +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: -@ref{legato}. +@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. -@node presto -@section presto +@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example: +3:1, 6:2, and 9:3. -ES: presto, -I: presto, -F: presto, -D: Presto, Sehr schnell, -NL: presto, Sehr schnell, -DK: presto, -S: presto, -FI: presto, hyvin nopeasti. +@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}. +Example: 4:1, 8:2, and 12:3 -Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} -denotes the highest possible degree of speed. +@end itemize +Other proportions were possible, but whether they were frequently used is +another question: -@node proportion -@section proportion +@itemize -ES: proporción, -I: proprozione (?), -F: proportion, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. +@item 33:9, @emph{triplasuperbipartientetertias} +@item 51:15, @emph{triplasuperbipartientequintas} -[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. +@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 @@ -5652,15 +6684,20 @@ DK: pythagoræisk komma, S: pytagoreiskt komma, FI: pytagorinen komma. -A sequence of fifths starting on C eventually circles back to C, but this C, -obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained -by adding 7 octaves. The difference between those two pitches is called the -Pythagorean comma. +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 @@ -5678,6 +6715,56 @@ FI: kvartoli. @ref{note value}. +@node quality +@section quality + +ES: ?, +I: qualità (?), +F: qualité (?), +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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 @@ -5721,7 +6808,7 @@ FI: kvartoli. @node quarter tone @section quarter tone -ES: ?, +ES: cuarto de tonno, I: ?, F: quart de ton, D: Viertelton, @@ -5766,7 +6853,9 @@ DK: rallentando, S: rallentando, FI: rallerdando, hidastuen. -Abbreviation "rall.". +[Italian] A performance indication, abbreviated "rall.". + +@seealso @ref{ritardando}. @@ -5774,7 +6863,7 @@ Abbreviation "rall.". @node relative key @section relative key -ES: relativo, +ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -5783,7 +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 @@ -5799,11 +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 @@ -5825,6 +6918,10 @@ FI: toisto. } @end lilypond +@seealso + +None yet. + @node rest @section rest @@ -5874,6 +6971,10 @@ metrical unit (beat). @end itemize +@seealso + +None yet. + @node ritardando @section ritardando @@ -5889,6 +6990,10 @@ FI: ritardando, hidastuen, Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. +@seealso + +None yet. + @node ritenuto @section ritenuto @@ -5904,6 +7009,10 @@ FI: ritenuto, hidastaen. Immediate reduction of speed. +@seealso + +None yet. + @node scale @section scale @@ -5959,7 +7068,7 @@ scale as roots of chords. The most important are degrees I = tonic @node scordatura @section scordatura -ES: ?, +ES: encordado, I: scordatura, F: à cordes ravallées, D: Skordatur, @@ -5968,7 +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: @@ -5978,7 +7087,7 @@ to: or impossible @item alter the characteristic timbre of the instrument, for example, -to increase brilliance) +to increase brilliance @item reinforce certain sonorities or tonalities by making them available on open strings @@ -5992,6 +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 @@ -6009,6 +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 @@ -6027,6 +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 @@ -6122,10 +7243,31 @@ FI: korotusmerkki. @ref{accidental}. +@node simile +@section simile + +ES: simile, +I: simile, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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: ?, +ES: compás simple, compás de subdivisión binaria, I: ?, F: ?, D: ?, @@ -6151,7 +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 @@ -6239,6 +7381,14 @@ FI: seksti. @ref{note value}. +@node slash repeat +@section slash repeat + +@seealso + +@ref{percent repeat}. + + @node slur @section slur @@ -6255,6 +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 @@ -6269,11 +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 @@ -6293,6 +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 @@ -6306,19 +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 @@ -6343,6 +7507,10 @@ FI: sopraano, korkea naisääni. The highest female voice. +@seealso + +None yet. + @node staccato @section staccato @@ -6369,6 +7537,10 @@ below the note head. } @end lilypond +@seealso + +None yet. + @node staff @section staff @@ -6387,6 +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 @@ -6425,6 +7601,30 @@ whole note. } @end lilypond +@seealso + +None yet. + + +@node stringendo +@section stringendo + +ES: ?, +I: stringendo, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a +climax. + +@seealso + +@ref{accelerando}. + @node strings @section strings @@ -6442,6 +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 @@ -6472,9 +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 @@ -6489,7 +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 @@ -6506,11 +7716,15 @@ FI: subtoonika, alitoonika. The seventh @ref{scale degree}. +@seealso + +@ref{functional harmony}, @ref{scale degree}. + @node sul G @section sul G -ES: sobre la G, +ES: sobre la cuerda de Sol, I: sul g, F: sur la G, D: auf G, auf der G-Saite, @@ -6522,6 +7736,10 @@ FI: ?. Indicates that the indicated passage (or note) should be played on the G string. +@seealso + +None yet. + @node superdominant @section superdominant @@ -6537,6 +7755,10 @@ FI: ylidominantti. The sixth @ref{scale degree}. +@seealso + +@ref{functional harmony}, @ref{scale degree}, @ref{submediant}. + @node supertonic @section supertonic @@ -6552,6 +7774,10 @@ FI: ylitoonika. The second @ref{scale degree}. +@seealso + +@ref{functional harmony}, @ref{scale degree}. + @node symphony @section symphony @@ -6565,7 +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 @@ -6597,11 +7828,15 @@ contradiction between the underlaying (normal) pulse and the actual } @end lilypond +@seealso + +None yet. + @node syntonic comma @section syntonic comma -ES: coma sintónica, +ES: coma sintónica, coma de Dídimo, I: comma sintonico (o didimico), F: comma syntonique, D: syntonisches Komma, @@ -6611,8 +7846,18 @@ S: syntoniskt komma, FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä. -Difference between the natural third and the third obtained by -Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents. +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 @@ -6627,9 +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 @@ -6646,6 +7895,8 @@ FI: viritysjärjestelmä. Systems of tuning in which the intervals deviate from the acoustically pure intervals. +@seealso + @ref{meantone temperament}, @ref{equal temperament}. @@ -6661,10 +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 @@ -6679,7 +7935,11 @@ DK: tenor, S: tenor, FI: tenori, korkea miesääni. -The highest male voice (apart from @ref{counter tenor}). +The highest @q{natural} male voice (apart from @notation{countertenor}). + +@seealso + +@ref{countertenor}. @node tenth @@ -6714,6 +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 @@ -6741,7 +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 @@ -6761,7 +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 @@ -6775,49 +8039,15 @@ FI: terssi. @node thorough bass @section thorough 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. - -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. +@seealso -@lilypond[fragment,line-width=13.0\cm] -\context GrandStaff << - \context Staff = lh \relative c'' { - \time 4/4 - \key es \major - \clef treble - << \context Voice = rha { - \stemUp - es4 d c bes | bes } - \context Voice = rhb { - \stemDown - < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } - >> - } - << - \context Staff = rh \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 +@ref{figured bass}. @node tie @section tie -ES: ligadura de prolongación, +ES: ligadura de prolongación, ligadura de unión, I: legatura (di valore), F: liaison, D: Haltebogen, Bindebogen, @@ -6881,7 +8111,11 @@ FI: ääni. A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is a primary building material of music. -Music from the 20th century may be based on atonal sounds. +@c Music from the 20th century may be based on atonal sounds. Meh, not so much + +@seealso + +None yet. @node tonic @@ -6896,17 +8130,17 @@ 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 @section transposing instrument -ES: ?, +ES: instrumento transpositor, I: ?, F: ?, D: ?, @@ -6976,6 +8210,10 @@ relative pitches. } @end lilypond +@seealso + +None yet. + @node treble clef @section treble clef @@ -7121,7 +8359,7 @@ FI: tritonus. @node tuning fork @section tuning fork -ES: diapasón, +ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, @@ -7130,9 +8368,13 @@ DK: stemmegaffel, S: stämgaffel, FI: viritysavain. -A two-pronged piece of steel used to indicate absolute pitch. Tuning forks -give the international pitch for the tone @emph{a} (440 vibrations per -second). +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 @@ -7150,7 +8392,7 @@ subdivisions. @node turn @section turn -ES: grupeto, +ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, @@ -7180,6 +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 @@ -7212,33 +8458,30 @@ FI: ääni, lauluääni. @itemize -@item Human voices: - -@itemize - -@item @ref{soprano} - -@item @ref{mezzo-soprano} - -@item @ref{contralto} - -@item @ref{tenor} + @item Human voices: -@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 @section volta -ES: ?, +ES: vez, primera y segunda vez, I: volta, F: ?, D: ?, @@ -7247,9 +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 @@ -7347,6 +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 @@ -7395,8 +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 @@ -7491,10 +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 @@ -7545,8 +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 @@ -7554,8 +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 @@ -7580,20 +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 @@ -7624,14 +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 @@ -7655,18 +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 @@ -7676,28 +8928,32 @@ the lilypond-user discussion list. @headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note +@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{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 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 @@ -7710,12 +8966,12 @@ the lilypond-user discussion list. @node Pitch names @chapter Pitch names -@c -is/-es endings for Danish per Rune Zedeler -@c and for Finnish per Risto Vääräniemi +@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 {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis} +@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 @@ -7763,28 +9019,32 @@ the lilypond-user discussion list. @menu -* Literature used:: +* Literature used:: @end menu @node Literature used @unnumberedsec Literature used @itemize -@item The Harvard Dictionary of Music, London 1944. Many more or less -literal quotes from its articles have been included into the item -explanation texts. +@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 Hugo Riemanns Musiklexicon, Berlin 1929. +@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen +Terminologie}. Kassel, 1980. -@item 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 Oxford Advanced Learner's Dictionary of Current English, Third -Edition 1974. +@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}. +Springfield, Massachusetts: G. & C. Merriam Company, 1913. -@item Webster's Revised Unabridged Dictionary, Springfield 1913. +@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}. +Cambridge: Belknap Press (Harvard University Press), 1986. -@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976. +@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929. @end itemize