X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=9448550df5f09eafeb70d9b516c0a2bdd94e7141;hb=beb52c9966a934559684caebce7acc2b326d316e;hp=45378ffd6163bc9e70ae144963c204ad7fa8655e;hpb=4bd3884ee1ae3ea527082c67dc7d8ec69d537999;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 45378ffd61..9448550df5 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -1,10 +1,11 @@ \input texinfo @c -*- coding: utf-8; mode: texinfo; -*- @setfilename music-glosssary.info @settitle Music Glossary - @documentencoding UTF-8 @documentlanguage en +@include macros.itexi + @afourpaper @c see lilypond.tely for info installation note @@ -50,9 +51,9 @@ Copyright @copyright{} 1999--2007 by the authors @c TODO: multiple omfcreators? @ignore -@omfcreator Christian Mondrup +@omfcreator Christian Mondrup, Kurt Kroon @omfdescription Glossary of musical terms with translations -@omftype user's guide +@omftype glossary @omfcategory Applications|Publishing @omflanguage English @end ignore @@ -107,7 +108,10 @@ Copyright 1999--2007 by the authors @c @evenheading @thispage @| @| @c @oddheading @| @| @thispage @| -@include macros.itexi +This is the Music Glossary (MG) for GNU LilyPond version @version{}. +For more information about how this fits with the other +documentation, see @rlearning{About the documentation}. + @c arrowref @macro aref{word} @@ -125,6 +129,9 @@ Copyright 1999--2007 by the authors * Pitch names:: @end menu +@contents + + @node Musical terms A-Z @chapter Musical terms A-Z @@ -144,11 +151,11 @@ Languages in this order. @menu * A:: * a due:: +* accelerando:: * accent:: * accessory:: -* accidental:: -* accelerando:: * acciaccatura:: +* accidental:: * adagio:: * allegro:: * alteration:: @@ -171,10 +178,11 @@ Languages in this order. * bar line:: * baritone:: * baritone clef:: -* bass clef:: * bass:: +* bass clef:: * beam:: * beat:: +* beat repeat:: * bind:: * brace:: * bracket:: @@ -205,9 +213,9 @@ Languages in this order. * conjunct movement:: * consonance:: * contralto:: -* counterpoint:: -* counter tenor:: * copying music:: +* counterpoint:: +* countertenor:: * crescendo:: * cue-notes:: * custos:: @@ -217,6 +225,7 @@ Languages in this order. * decrescendo:: * descending interval:: * diatonic scale:: +* didymic comma:: * diminished interval:: * diminuendo:: * diminution:: @@ -224,9 +233,9 @@ Languages in this order. * disjunct movement:: * dissonance:: * dissonant interval:: +* dominant:: * dominant ninth chord:: * dominant seventh chord:: -* dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: @@ -240,7 +249,6 @@ Languages in this order. * duple meter:: * duplet:: * duration:: -* didymic comma:: * dynamics:: * E:: * ecclesiastical mode:: @@ -296,18 +304,19 @@ Languages in this order. * legato:: * legato curve:: * leger line:: -* lilypond:: * ligature:: +* lilypond:: * line:: * loco:: * long appoggiatura:: * longa:: -* lyrics:: * lyric tie:: -* major interval:: +* lyrics:: * major:: +* major interval:: * meantone temperament:: * measure:: +* measure repeat:: * mediant:: * melisma:: * melisma line:: @@ -315,12 +324,13 @@ Languages in this order. * mensural notation:: * meter:: * metronome:: -* metronomic indication:: * metronome mark:: +* metronomic indication:: * mezzo-soprano:: * middle C:: * minor:: * minor interval:: +* mixolydian mode:: * mode:: * modulation:: * mordent:: @@ -328,7 +338,6 @@ Languages in this order. * motive:: * movement:: * multi-measure rest:: -* mixolydian mode:: * natural:: * neighbour tones:: * ninth:: @@ -338,19 +347,22 @@ Languages in this order. * note names:: * note value:: * octavation:: -* octave sign:: * octave:: +* octave mark:: +* octave marking:: +* octave sign:: * ornament:: * ossia:: * part:: * pause:: * pennant:: +* percent repeat:: * percussion:: * perfect interval:: * phrase:: * phrasing:: -* pickup:: * piano:: +* pickup:: * pitch:: * pizzicato:: * polymeter:: @@ -384,12 +396,14 @@ Languages in this order. * sextuplet:: * shake:: * sharp:: +* simile:: * simple meter:: * sixteenth note:: * sixteenth rest:: * sixth:: * sixty-fourth note:: * sixty-fourth rest:: +* slash repeat:: * slur:: * solmization:: * sonata:: @@ -441,6 +455,7 @@ Languages in this order. * unison:: * upbeat:: * voice:: +* volta:: * weak beat:: * whole note:: * whole rest:: @@ -471,7 +486,7 @@ Languages in this order. @node a due @section a due -ES: ?, +ES: a dos, I: a due, F: à deux, D: ?, @@ -499,6 +514,21 @@ or groups of players (@q{desks}). @ref{Pitch names} +@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 accent @section accent @@ -522,6 +552,19 @@ 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 @@ -555,34 +598,6 @@ 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}. - - @node adagio @section adagio @@ -655,7 +670,7 @@ 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 @ref{countertenor}. @node alto clef @@ -727,7 +742,7 @@ note(s) of a melody occurring in that incomplete measure. @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, @@ -881,7 +896,7 @@ I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, NL: stijgend interval, -DK:@w{ }stigende interval, +DK: stigende interval, S: stigande intervall, FI: nouseva intervalli. @@ -940,7 +955,7 @@ FI: käsinkirjoitettu nuotti. @itemize -@item A manuscript in the composer's own hand. +@item A manuscript written in the composer's own hand. @item Music prepared for photoreproduction by freehand drawing, with the aid of a straightedge ruler and T-square only, which attempts to @@ -1034,25 +1049,6 @@ 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 @@ -1079,6 +1075,25 @@ 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 @@ -1134,6 +1149,14 @@ indicated at the start of the music. @end lilypond +@node beat repeat +@section beat repeat + +@seealso + +@ref{percent repeat}. + + @node bind @section bind @@ -1179,7 +1202,7 @@ Angular brackets for connecting parts in an orchestral or choral score: @node bracket @section bracket -ES: ?, +ES: corchete, I: ?, F: ?, D: ?, @@ -1235,7 +1258,7 @@ D: Brevis, NL: brevis, DK: brevis, S: brevis, -FI: brevis. +FI: brevis, kaksoiskokonuotti. 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 @@ -1398,14 +1421,13 @@ DK: akkord, S: ackord, FI: sointu. -Three or more tones sounding simultaneously. In traditional European -music the base chord is a @emph{triad} consisting of 2@w{ }thirds. -@emph{Major} (major + minor @ref{third}) as well as @emph{minor} -(minor + major third) chords may be extended with more thirds. -Four-tone @emph{seventh chords} and five-tone @emph{ninth} major -chords are most often used as dominants (@ref{functional harmony}). A -special case is chords having no third above the lower notes to define -their quality as major or minor. Such chords are denoted open chords +Three or more tones sounding simultaneously. In traditional European music the +base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major + +minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be +extended with more thirds. Four-tone @emph{seventh chords} and five-tone +@emph{ninth} major chords are most often used as dominants (@ref{functional +harmony}). A special case is chords having no third above the lower notes to +define their quality as major or minor: such chords are called @q{open chords}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1827,7 +1849,7 @@ same note derived from some other tuning method. @node common time @section common time -ES: ?, +ES: compasillo, I: ?, F: ?, D: ?, @@ -1883,7 +1905,7 @@ Intervals larger than an octave. @node compound meter @section compound meter -ES: ?, +ES: compás compuesto, compás de subdivisión ternaria, I: ?, F: ?, D: ?, @@ -1903,7 +1925,7 @@ 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: ?, @@ -1912,17 +1934,50 @@ DK: ?, S: ?, FI: ?. -@ref{compound meter} +@enumerate + +@item +A meter that includes a triplet subdivision within the beat: see +@ref{compound meter}. + +@item +A time signature that additively combines two or more unequal meters, e.g. +"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures. + +@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))))) + + \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 "||" + } +@end lilypond + +@end enumerate @seealso -@ref{meter}. +@ref{compound meter}, @ref{meter}. @node concert pitch @section concert pitch -ES: ?, +ES: en Do, afinación de concierto, I: ?, F: ?, D: ?, @@ -2040,6 +2095,18 @@ 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 + + @node counterpoint @section counterpoint @@ -2099,8 +2166,8 @@ has been one of the most popular polyphonic composition methods. @end lilypond -@node counter tenor -@section counter tenor +@node countertenor +@section countertenor ES: contratenor, I: controtenore, @@ -2116,18 +2183,6 @@ FI: kontratenori. @ref{contralto}. -@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 - - @node crescendo @section crescendo @@ -2168,7 +2223,7 @@ hinting when to start playing. Usually printed in a smaller type. @node custos @section custos -ES: ?, +ES: custos, I: ?, F: guidon, D: Notenzeiger, Custos, @@ -2423,7 +2478,7 @@ 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 @@ -2486,16 +2541,39 @@ 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 +@node didymic comma +@section didymic comma + +@seealso + +@ref{syntonic comma}. + + @node diminished interval @section diminished interval @@ -2616,6 +2694,21 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. @ref{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 dominant ninth chord @section dominant ninth chord @@ -2650,21 +2743,6 @@ 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 @@ -2882,18 +2960,10 @@ 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, @@ -2984,7 +3054,7 @@ indicate this information are called dynamic marks. @c TODO: add languages -ES: ?, +ES: sinalefa, I: ?, F: ?, D: ?, @@ -2993,6 +3063,9 @@ DK: ?, S: ?, FI: ?. +More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek 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. @@ -3013,7 +3086,7 @@ musical tie. @node engraving @section engraving -ES: grabar, +ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck @@ -3105,7 +3178,7 @@ Performance indications concerning: @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, @@ -3129,36 +3202,33 @@ Dictionary}. @item In figured (or thorough) bass to indicate that: - @itemize - - @item The extended note should be held through a change in - harmony, when applied to one figure --OR-- - - @item The chord thus represented should be held above a moving - bass line, when applied to more than one figure. +@itemize - @item These uses were not completely standardized, and some - composers used a single extender line to indicate the - latter case. +@item The extended note should be held through a change in harmony, when applied +to one figure --OR-- +@item The chord thus represented should be held above a moving bass line, when +applied to more than one figure. +@item These uses were not completely standardized, and some composers used a +single extender line to indicate the latter case. - @end itemize +@end itemize @item -In string music to indicate that all notes in the passage thus -indicated should be played on the same string. On the violin, for -example, a series of notes to be played on the G string would be -indicated @samp{sul G}, another series to be played on the D string -would be indicated @samp{sul D}, and so on. +In string music to indicate that all notes in the passage thus indicated should +be played on the same string. On the violin, for example, a series of notes to +be played on the G string would be indicated @samp{sul G}, another series to be +played on the D string would be indicated @samp{sul D}, and so on. @item -With an octave indication (also called @emph{octavation}, q.v.) to indicate that -a passage is to be played higher or lower by the given number of octaves. +With an octave mark to indicate that a passage is to be played higher or lower +by the given number of octaves. @end itemize @seealso -@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}. +@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave +marking}. @node F @@ -3235,7 +3305,7 @@ double bass @ref{strings}). @node feathered beam @section feathered beam -ES: ?, +ES: barra punteada, I: ?, F: liens de croches en soufflet, D: gespreizter Balken, @@ -3405,7 +3475,7 @@ FI: kvartti. @node Frenched score @section Frenched score -ES: ?, +ES: partitura a la francesa, I: ?, F: ?, D: ?, @@ -3431,7 +3501,7 @@ 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: ?, @@ -3452,7 +3522,7 @@ an @emph{ossia} staff. @node Frenched staves @section Frenched staves -ES: ?, +ES: pentagramas a la francesa, I: ?, F: ?, D: ?, @@ -3801,7 +3871,7 @@ Three note harmony @ref{chord}. @node hemiola @section hemiola -ES: ?, +ES: hemiolia, I: ?, F: ?, D: ?, @@ -4023,7 +4093,7 @@ key of the music. @node laissez vibrer @section laissez vibrer -ES: ?, +ES: dejar vibrar, I: ?, F: laissez vibrer, D: ?, @@ -4140,25 +4210,8 @@ 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 +@node ligature +@section ligature ES: ligadura, I: ?, @@ -4183,6 +4236,23 @@ 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. + + @node line @section line @@ -4203,7 +4273,7 @@ FI: viiva, nuottiviiva. @node loco @section loco -ES: ?, +ES: en su lugar, I: loco, F: ?, D: ?, @@ -4213,11 +4283,11 @@ S: ?, FI: ?. [From Italian, @q{place}]. Instruction to play the following passage at the -written pitch. Cancels octavation (q.v.). +written pitch. Cancels octave mark (q.v.). @seealso -@ref{octavation}. +@ref{octave mark}, @ref{octave marking}. @node long appoggiatura @@ -4264,23 +4334,10 @@ Note value: double length of @ref{breve}. @ref{note value}. -@node lyrics -@section lyrics - -ES: letra (de la canción), -I: ?, -F: paroles, -D: Liedtext, Gesangtext, -NL: liedtekst, -DK: ?, -S: ?, -FI: sanoitus. - - @node lyric tie @section lyric tie -ES: ?, +ES: ligadura de letra, I: ?, F: ?, D: Textbindung, @@ -4296,21 +4353,17 @@ FI: ?. @ref{elision}. -@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 +@node lyrics +@section lyrics -@ref{interval}. +ES: letra (de la canción), +I: ?, +F: paroles, +D: Liedtext, Gesangtext, +NL: liedtekst, +DK: ?, +S: ?, +FI: sanoitus. @node major @@ -4330,6 +4383,23 @@ 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 @@ -4369,6 +4439,14 @@ by bar-lines. @ref{meter}. +@node measure repeat +@section measure repeat + +@seealso + +@ref{percent repeat}. + + @node mediant @section mediant @@ -4416,7 +4494,7 @@ sung on one syllable, especially as applied to liturgical chant. @c TODO: add languages -ES: ?, +ES: línea de melisma, I: ?, F: ?, D: ?, @@ -4443,7 +4521,7 @@ FI: ?. @c TODO: add languages -ES: ?, +ES: notación mensural, I: ?, F: ?, D: ?, @@ -4452,11 +4530,33 @@ DK: ?, S: ?, FI: ?. -The system of music notation that was first developed in the mid-13th -century, and which forms the basis of modern musical notation. From its -creation by Franco of Cologne until the 15th century, +A system of duration notation whose principles were first established in the +mid-13th century, and that (with various changes) remained in use until about +1600. As such, it is the basis for the notation of rhythms in Western musical +notation. + +Franco of Cologne (ca. 1250) is credited with the first systematic explanation +of the notation's principles, so the notation of this earliest period is called +@q{Franconian}. Franco's system made use of three note values -- long, breve, +and semibreve -- each of which was normally equivalent to three of the next +lower note value. -@c TODO: add definition (inc. info on proportional notation) +Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs +added several note values (the minim, semiminim and fusa) and extended Franco's +principles to govern the relationship between these values. They also put the +duple division of note values on an equal footing with the earlier (preferred) +triple division. + +TODO: continue description of French and Italian black notation, and the +relationship betwixt them. + +@b{White or void mensural notation} + +In the 15th century, hollow (or void) notes began to substitute for the earlier +solid black ones, which were then free to assume the function of red (or +colored) notes in the earlier notation. ... + +TODO: add to definition (including summary info on proportional notation) @seealso @@ -4476,79 +4576,74 @@ DK: taktart, S: taktart, FI: aika-arvo. -The basic pattern of @ref{note value}s and @ref{accent}s that remains -unaltered throughout a composition or a section of it. Meters can be -@emph{duple} or @emph{triple} depending on how the beat is grouped in -the composition (or in sections thereof): +The pattern of note values and accents in a composition or a section thereof. +There are a couple ways to classify @q{traditional} meter (i.e. not polymeter): +by grouping beats and by subdividing the primary beat. + +@b{By grouping beats}: @itemize -@item In duple meters, the beat recurs in groups of two. + @item @b{duple}: groups of two. + @item @b{triple}: groups of three. + @item @b{quadruple}: groups of four. A special case of duple meter. + @item @b{quintuple}: groups of five beats. + @item @b{sextuple} meter: groups of six. A special case of: -@item In triple meters, the beat recurs in groups of three. + @itemize -@end itemize + @item duple meter, subdivided in three; or + @item triple meter, subdivided in two. -Other recurrence patterns are possible: + @end itemize -@itemize + @item @b{septuple} meter: groups of seven. + @item and so on. -@item Quadruple meter: groups of four. A special case of duple meter. +@end itemize -@item Quintuple meter: groups of five +Other than triple meter and its subdivided variants (see below), meters that +feature odd groupings of beats (e.g. quintuple or septuple meter) are not +frequently used prior to the 20th Century. -@item Sextuple meter: groups of six. A special case of: +@b{By subdividing the primary beat}: @itemize -@item Duple meter, subdivided in three (less frequent); or -@item Triple meter, subdivided in two (more frequent). -@end itemize -@item Septuple meter: groups of seven. + @item simple: groups of two. -@item etc. + @itemize -@end itemize + @item duple: 2/2, 2/4, 2/8 + @item triple: 3/2, 3/4, 3/8 + @item quadruple: 4/2, 4/4 (also called common time), 4/8 -Other than quadruple and sextuple meters, these other recurrence -patterns were not frequently used prior to the 20th Century. + @end itemize -In addition to classification by primary beat grouping, meters can be further -classified by how the primary beat is subdivided: if in two, the meter is -@emph{simple}; if in three, the meter is @emph{compound}. + @item compound: groups of three. -@itemize - -@item Simple meter + @itemize -@itemize -@item duple: 2/2, 2/4, 2/8 -@item triple: 3/2, 3/4, 3/8 -@item quadruple: 4/2, 4/4 (also called common time), 4/8 -@end itemize + @item duple: 6/8 + @item triple: 9/8 + @item quadruple: 12/8 -@item Compound meter + @end itemize -@itemize -@item duple: 6/8 -@item triple: 9/8 -@item quadruple: 12/8 @end itemize -@end itemize +Time signatures are placed at the beginning of a composition (or section) to +indicate the meter. For instance, a piece written in simple triple meter with a +beat on each quarter note is conventionally written with a time signature of +3/4. Here are some combinations of the two classifications above: -Time signatures are placed at the beginning of a composition (or -section) to indicate the meter. For instance, a piece written in -simple triple meter with a beat on each quarter note has a time -signature of 3/4. - -Simple duple meter: +Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune): @lilypond[fragment,line-width=13.0\cm] \relative c'' { \time 2/4 - \key c \major - c4. d8 | e4 d | f e | d8 b c4 \bar "||"} + \key g \major + g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"} @end lilypond Simple triple meter: @@ -4612,9 +4707,13 @@ Compound quadruple meter (P. Yon, 1886-1943): \bar "||"} @end lilypond +@b{@q{Monometer} vs Polymeter} + +TODO: add information from discussion on lilypond-user related to polymeter. + @seealso -@ref{hemiola}, @ref{time signature} +@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} @node metronome @@ -4642,14 +4741,6 @@ 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 @@ -4671,6 +4762,14 @@ 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-soprano @section mezzo-soprano @@ -4745,6 +4844,14 @@ FI: pieni intervalli. @ref{interval}. +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. + + @node mode @section mode @@ -4887,14 +4994,6 @@ 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 @@ -5074,33 +5173,63 @@ dotted notes are also frequently used. @node octavation @section octavation -ES: a la octava, -I: all'ottava, -F: octaviation, -D: Oktavierung, -NL: octaveren, +@seealso + +@ref{octave marking}. + + +@node octave +@section octave + +ES: octava, +I: ottava, +F: octave, +D: Oktave, +NL: octaaf, +DK: oktav, +S: oktav, +FI: oktaavi. + +The interval of an octave, sometimes abbreviated @samp{8ve}. + +For uses like @emph{all'ottava} or @emph{8va} with an extender line or +bracket, or @samp{loco} see octave marking. + +@seealso + +@ref{interval}, @ref{octave marking}. + + +@node octave mark +@section octave mark + +ES: indicación de octava, +I: ?, +F: ?, +D: ?, +NL: ?, DK: ?, S: ?, -FI: ?. +FI: oktaavamerkki. -The use of a phrase or abbreviation with an extender line or bracket to indicate -that a passage is to be played in a different octave: +The phrase, abbreviation, or other mark used (with or without an extender line +or bracket) to indicate that the music is to be played in a different octave: @itemize @item @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{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 @samp{15va} (written below the passage): same as @samp{15vb} @end itemize -Another practice, which may be useful for longer passages, is to indicate the -different octave with a phrase at the beginning (see below). When the music -returns to the written pitch, the octavation is cancelled with the word -@emph{loco} (q.v.). +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.). To parallel the list above: @@ -5113,54 +5242,49 @@ To parallel the list above: @end itemize -@emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin. +In the phrases above, @emph{quindicesima} is sometimes replaced with +@emph{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. @seealso -@ref{interval}, @ref{loco}, @ref{octave}. +@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}. -@node octave sign -@section octave sign +@node octave marking +@section octave marking -ES: ?, -I: ?, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -Putting 8 or 15 above or below the clef to indicate that the entire part is -played in the indicated octave: a clef-wide octavation. An octave sign can be -applied to any clef, though it is most frequently used with the G and F clefs. - -@seealso +ES: a la octava, +I: all'ottava, +F: octaviation, +D: Oktavierung, +NL: octaveren, +DK: oktavering, +S: oktavering, +FI: oktaavamerkintä. -@ref{G clef}, @ref{F clef}. +The practice of marking music -- an entire staff, a passage, etc. -- to indicate +that it is to be played in a different octave. If applied to the clef at the +beginning of the staff, all music on that staff is to played at the indicated +octave. +For a list of the specific marks used, see @ref{octave mark}. -@node octave -@section octave +@seealso -ES: octava, -I: ottava, -F: octave, -D: Oktave, -NL: octaaf, -DK: oktav, -S: oktav, -FI: oktaavi. +@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}. -The interval of an octave, sometimes abbreviated @samp{8ve}. -For uses like @emph{all'ottava} or @emph{8va} with an extender line or -bracket, or @samp{loco} see octavation. +@node octave sign +@section octave sign @seealso -@ref{interval}, @ref{octavation}. +@ref{octave mark}. @node ornament @@ -5284,6 +5408,39 @@ 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 @@ -5351,6 +5508,22 @@ The clear rendering in musical performance of the @ref{phrase}s of the melody. Phrasing may be indicated by a @ref{slur}. +@node piano +@section piano + +ES: piano, +I: piano, +F: piano, +D: piano, leise, +NL: piano, +DK: piano, +S: piano, +FI, piano, hiljaa. + +@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, +@emph{mezzo piano} (@b{mp}) medium soft. + + @node pickup @section pickup @@ -5368,22 +5541,6 @@ FI: kohotahti. @ref{anacrusis}. -@node piano -@section piano - -ES: piano, -I: piano, -F: piano, -D: piano, leise, -NL: piano, -DK: piano, -S: piano, -FI, piano, hiljaa. - -@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, -@emph{mezzo piano} (@b{mp}) medium soft. - - @node pitch @section pitch @@ -5396,6 +5553,23 @@ DK: tonehøjde, S: tonhöjd, FI: sävelkorkeus. +@enumerate + +@item The perceived quality of a sound that is primarily a function of its +fundamental frequency. + +@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch. + +@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized +association of a particular frequency with a particular pitch name, e.g., c' = +256 Hz. + +@end enumerate + +@seealso + +@ref{Pitch names}. + @node pizzicato @section pizzicato @@ -5409,14 +5583,14 @@ DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. -Abbr. @emph{pizz}. Play by plucking the strings. (Technique for -stringed instruments.) +A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking +the strings. @node polymeter @section polymeter -ES: ?, +ES: compás polimétrico, I: ?, F: ?, D: ?, @@ -5441,7 +5615,7 @@ FI: ?. @node polymetric @section polymetric -ES: ?, +ES: polimétrico, I: ?, F: ?, D: ?, @@ -5450,8 +5624,7 @@ DK: ?, S: ?, FI: ?. -Using two or more metric frameworks simultaneously or in regular -alternation +Using two or more metric frameworks simultaneously or in alternation. @seealso @@ -5461,7 +5634,7 @@ alternation @node polymetric time signature @section polymetric time signature -ES: ?, +ES: compás polimétrico, I: ?, F: ?, D: ?, @@ -5470,7 +5643,7 @@ DK: ?, S: ?, FI: ?. -Time signature indicating regularly alternating polymetric time. +A time signature that indicates regularly alternating polymetric time. @seealso @@ -5531,10 +5704,10 @@ DK: ?, S: ?, FI: ?. -[From Latin @emph{proportio}] In mensural notation, a ratio that -expresses the relationship between the note values that follow with -those that precede; or between the note values of a passage and an -assumed @q{normal} relationship of note values to the metrical pulse. +[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. @c TODO: add an example or two. O => 4/3, and its modern equivalent @@ -5555,15 +5728,20 @@ 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 @@ -5624,7 +5802,7 @@ FI: kvartoli. @node quarter tone @section quarter tone -ES: ?, +ES: cuarto de tonno, I: ?, F: quart de ton, D: Viertelton, @@ -5677,7 +5855,7 @@ Abbreviation "rall.". @node relative key @section relative key -ES: relativo, +ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -5862,7 +6040,7 @@ 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, @@ -6025,10 +6203,31 @@ FI: korotusmerkki. @ref{accidental}. +@node simile +@section simile + +ES: simile, +I: simile, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From It, @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: ?, @@ -6142,6 +6341,14 @@ FI: seksti. @ref{note value}. +@node slash repeat +@section slash repeat + +@seealso + +@ref{percent repeat}. + + @node slur @section slur @@ -6413,7 +6620,7 @@ The seventh @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, @@ -6504,7 +6711,7 @@ contradiction between the underlaying (normal) pulse and the actual @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, @@ -6514,8 +6721,18 @@ 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 @@ -6582,7 +6799,7 @@ DK: tenor, S: tenor, FI: tenori, korkea miesääni. -The highest male voice (apart from @ref{counter tenor}). +The highest male voice (apart from @ref{countertenor}). @node tenth @@ -6687,9 +6904,11 @@ 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. +Also called @q{figured bass}. + +A method of indicating an accompaniment part by the bass notes only, together +with figures designating the chief @ref{interval}s and @ref{chord}s to be played +above the bass notes. @lilypond[fragment,line-width=13.0\cm] \context GrandStaff << @@ -6720,7 +6939,7 @@ together with figures designating the chief @ref{interval}s and @node tie @section tie -ES: ligadura de prolongación, +ES: ligadura de prolongación, ligadura de unión, I: legatura (di valore), F: liaison, D: Haltebogen, Bindebogen, @@ -6784,7 +7003,7 @@ 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 @node tonic @@ -6809,7 +7028,7 @@ The first @ref{scale degree}. @node transposing instrument @section transposing instrument -ES: ?, +ES: instrumento transpositor, I: ?, F: ?, D: ?, @@ -7024,7 +7243,7 @@ FI: tritonus. @node tuning fork @section tuning fork -ES: diapasón, +ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, @@ -7033,9 +7252,13 @@ 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 @@ -7053,7 +7276,7 @@ subdivisions. @node turn @section turn -ES: grupeto, +ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, @@ -7115,14 +7338,46 @@ FI: ääni, lauluääni. @itemize -@item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto}, -@ref{tenor}, @ref{baritone}, @ref{bass}. +@item Human voices: + +@itemize + +@item @ref{soprano} + +@item @ref{mezzo-soprano} + +@item @ref{contralto} + +@item @ref{tenor} + +@item @ref{baritone} + +@item @ref{bass} + +@end itemize @item A melodic layer or part of a polyphonic composition. @end itemize +@node volta +@section volta + +ES: vez, primera y segunda vez, +I: volta, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From 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. + + @node weak beat @section weak beat @@ -7224,118 +7479,96 @@ saxophone, and bassoon. @multitable @columnfractions .12 .22 .22 .22 .22 -@headitem lang. - @tab note name +@headitem Lang. @tab note name @tab rest name @tab note name @tab rest name -@item @strong{US} - @tab long +@item @strong{US} @tab long @tab long rest @tab breve @tab breve rest -@item @strong{UK} - @tab longa +@item @strong{UK} @tab longa @tab longa rest @tab breve @tab breve rest -@item @strong{ES} - @tab longa +@item @strong{ES} @tab longa @tab silencio de longa @tab cuadrada @tab silencio de cuadrada -@item @strong{IT} - @tab longa +@item @strong{IT} @tab longa @tab pausa di longa @tab breve @tab pausa di breve -@item @strong{FR} - @tab longa +@item @strong{FR} @tab longa @tab quadruple-pause @tab brève @tab double-pause -@item @strong{DE} - @tab Longa +@item @strong{DE} @tab Longa @tab longa Pause @tab Brevis @tab brevis Pause -@item @strong{NL} - @tab longa +@item @strong{NL} @tab longa @tab longa rust @tab brevis @tab brevis rust -@item @strong{DK} - @tab longa +@item @strong{DK} @tab longa @tab longanodespause @tab brevis @tab brevis(nodes)pause -@item @strong{SE} - @tab longa +@item @strong{SE} @tab longa @tab longapaus @tab brevis - @tab brevis(paus) -@item @strong{FI} - @tab longa - @tab longa - @tab brevis - @tab brevis + @tab brevispaus +@item @strong{FI} @tab longa-nuotti + @tab longa-tauko + @tab brevis-nuotti, kaksoiskokonuotti + @tab brevis-tauko, kaksoiskokotauko @end multitable @multitable @columnfractions .12 .22 .22 .22 .22 -@headitem lang. - @tab note name +@headitem Lang. @tab note name @tab rest name @tab note name @tab rest name -@item @strong{US} - @tab whole note +@item @strong{US} @tab whole note @tab whole rest @tab half note @tab half rest -@item @strong{UK} - @tab semibreve +@item @strong{UK} @tab semibreve @tab semibreve rest @tab minim @tab minim rest -@item @strong{ES} - @tab redonda +@item @strong{ES} @tab redonda @tab silencio de redonda @tab blanca @tab silencio de blanca -@item @strong{IT} - @tab semibreve +@item @strong{IT} @tab semibreve @tab pause di semibreve @tab minima @tab pausa di minima -@item @strong{FR} - @tab ronde +@item @strong{FR} @tab ronde @tab pause @tab blanche @tab demi-pause -@item @strong{DE} - @tab ganze Note +@item @strong{DE} @tab ganze Note @tab ganze Pause @tab halbe Note @tab halbe Pause -@item @strong{NL} - @tab hele noot +@item @strong{NL} @tab hele noot @tab hele rust @tab halve noot @tab halve rust -@item @strong{DK} - @tab helnode +@item @strong{DK} @tab helnode @tab helnodespause @tab halvnode @tab halvnodespause -@item @strong{SE} - @tab helnot +@item @strong{SE} @tab helnot @tab helpaus @tab halvnot @tab halvpaus -@item @strong{FI} - @tab kokonuotti +@item @strong{FI} @tab kokonuotti @tab kokotauko @tab puolinuotti @tab puolitauko @@ -7344,58 +7577,47 @@ saxophone, and bassoon. @multitable @columnfractions .12 .22 .22 .22 .22 -@headitem lang. - @tab note name +@headitem Lang. @tab note name @tab rest name @tab note name @tab rest name -@item @strong{US} - @tab quarter note +@item @strong{US} @tab quarter note @tab quarter rest @tab eighth note @tab eighth rest -@item @strong{UK} - @tab crotchet +@item @strong{UK} @tab crotchet @tab crotchet rest @tab quaver @tab quaver rest -@item @strong{ES} - @tab negra +@item @strong{ES} @tab negra @tab silencio de negra @tab corchea @tab silencio de corchea -@item @strong{IT} - @tab semiminima, nera +@item @strong{IT} @tab semiminima, nera @tab pausa di semiminima, pausa di nera @tab croma @tab pausa di croma -@item @strong{FR} - @tab noire +@item @strong{FR} @tab noire @tab soupir* @tab croche* @tab demi-soupir -@item @strong{DE} - @tab Viertelnote +@item @strong{DE} @tab Viertelnote @tab Viertelpause @tab Achtelnote @tab Achtelpause -@item @strong{NL} - @tab kwartnoot +@item @strong{NL} @tab kwartnoot @tab kwartrust @tab achtste noot @tab achtste rust -@item @strong{DK} - @tab fjerdedelsnode +@item @strong{DK} @tab fjerdedelsnode @tab fjerdedelspause @tab ottendedelsnode @tab ottendedelspause -@item @strong{SE} - @tab fjärdedelsnot +@item @strong{SE} @tab fjärdedelsnot @tab fjärdedelspaus @tab åttondelsnot @tab åttondelspaus -@item @strong{FI} - @tab neljäsosanuotti +@item @strong{FI} @tab neljäsosanuotti @tab neljäsosatauko @tab kahdeksasosanuotti @tab kahdeksasosatauko @@ -7428,48 +7650,37 @@ the lilypond-user discussion list. @multitable @columnfractions .10 .35 .35 .20 -@headitem Lang. - @tab Note name +@headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} - @tab sixteenth note +@item @strong{US} @tab sixteenth note @tab sixteenth rest @tab 16th note -@item @strong{UK} - @tab semiquaver +@item @strong{UK} @tab semiquaver @tab semiquaver rest @tab - -@item @strong{ES} - @tab semicorchea +@item @strong{ES} @tab semicorchea @tab silencio de semicorchea @tab - -@item @strong{IT} - @tab semicroma +@item @strong{IT} @tab semicroma @tab pausa di semicroma @tab - -@item @strong{FR} - @tab double croche +@item @strong{FR} @tab double croche @tab quart de soupir @tab - -@item @strong{DE} - @tab Sechzehntelnote +@item @strong{DE} @tab Sechzehntelnote @tab Sechzehntelpause @tab 16tel-Note -@item @strong{NL} - @tab zestiende noot +@item @strong{NL} @tab zestiende noot @tab zestiende rust @tab 16e noot -@item @strong{DK} - @tab sekstendedelsnode +@item @strong{DK} @tab sekstendedelsnode @tab sekstendedelspause @tab - -@item @strong{SE} - @tab sextondelsnot +@item @strong{SE} @tab sextondelsnot @tab sextondelspaus @tab - -@item @strong{FI} - @tab kuudestoistaosanuotti +@item @strong{FI} @tab kuudestoistaosanuotti @tab kuudestoistaosatauko @tab 16-osanuotti @@ -7477,48 +7688,37 @@ the lilypond-user discussion list. @multitable @columnfractions .10 .35 .35 .20 -@headitem Lang. - @tab Note name +@headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} - @tab thirty-second note +@item @strong{US} @tab thirty-second note @tab thirty-second rest @tab 32nd note -@item @strong{UK} - @tab demisemiquaver +@item @strong{UK} @tab demisemiquaver @tab demisemiquaver rest @tab - -@item @strong{ES} - @tab fusa +@item @strong{ES} @tab fusa @tab silencio de fusa @tab - -@item @strong{IT} - @tab biscroma +@item @strong{IT} @tab biscroma @tab pausa di biscroma @tab - -@item @strong{FR} - @tab triple croche +@item @strong{FR} @tab triple croche @tab huitième de soupir @tab - -@item @strong{DE} - @tab Zweiunddreißigstelnote +@item @strong{DE} @tab Zweiunddreißigstelnote @tab Zweiunddreißigstelpause @tab 32tel-Note -@item @strong{NL} - @tab tweeendertigste noot +@item @strong{NL} @tab tweeendertigste noot @tab tweeendertigste rust @tab 32e noot -@item @strong{DK} - @tab toogtredivtedelsnode +@item @strong{DK} @tab toogtredivtedelsnode @tab toogtredivtedelspause @tab - -@item @strong{SE} - @tab trettiotvåondelsnot +@item @strong{SE} @tab trettiotvåondelsnot @tab trettiotvåondelspaus @tab - -@item @strong{FI} - @tab kolmaskymmeneskahdesosanuotti +@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti @tab kolmaskymmeneskahdesosatauko @tab 32-osanuotti @@ -7526,48 +7726,37 @@ the lilypond-user discussion list. @multitable @columnfractions .10 .35 .35 .20 -@headitem Lang. - @tab Note name +@headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} - @tab sixty-fourth note +@item @strong{US} @tab sixty-fourth note @tab sixty-fourth rest @tab 64th note -@item @strong{UK} - @tab hemidemisemiquaver +@item @strong{UK} @tab hemidemisemiquaver @tab hemidemisemiquaver rest @tab - -@item @strong{ES} - @tab semifusa +@item @strong{ES} @tab semifusa @tab silencio de semifusa @tab - -@item @strong{IT} - @tab semibiscroma +@item @strong{IT} @tab semibiscroma @tab pausa di semibiscroma @tab - -@item @strong{FR} - @tab quadruple croche +@item @strong{FR} @tab quadruple croche @tab seizième de soupir @tab - -@item @strong{DE} - @tab Vierundsechzigstelnote +@item @strong{DE} @tab Vierundsechzigstelnote @tab Vierundsechzigstelpause @tab 64tel-Note -@item @strong{NL} - @tab vierenzestigste noot +@item @strong{NL} @tab vierenzestigste noot @tab vierenzestigste rust @tab 64e noot -@item @strong{DK} - @tab fireogtredsindstyvendedelsnode +@item @strong{DK} @tab fireogtredsindstyvendedelsnode @tab fireogtredsindstyvendedelspause @tab - -@item @strong{SE} - @tab sextiofjärdedelsnot +@item @strong{SE} @tab sextiofjärdedelsnot @tab sextiofjärdedelspaus @tab - -@item @strong{FI} - @tab kuudeskymmenesneljäsosanuotti +@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti @tab kuudeskymmenesneljäsosatauko @tab 64-osanuotti @@ -7575,43 +7764,35 @@ the lilypond-user discussion list. @multitable @columnfractions .10 .35 .35 .20 -@headitem Lang. - @tab Note name +@headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} - @tab one-hundred-twenty-eighth note +@item @strong{US} @tab one-hundred-twenty-eighth note @tab one-hundred-twenty-eighth rest @tab 128th note -@item @strong{UK} - @tab semihemidemisemiquaver +@item @strong{UK} @tab semihemidemisemiquaver @tab semihemidemisemiquaver rest @tab - -@item @strong{ES} - @tab garrapatea @tab silencio de garrapatea @tab - -@item @strong{IT} - @tab fusa +@item @strong{ES} @tab garrapatea + @tab silencio de garrapatea + @tab - +@item @strong{IT} @tab fusa @tab pausa di fusa @tab - -@item @strong{FR} - @tab quintuple croche +@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 +@item @strong{DE} @tab Hundertundachtundzwanzigstel + @tab Hundertundachtundzwanzigstel @tab 128tel-Note +@item @strong{NL} @tab honderdachtentwintigste noot @tab honderdachtentwintigste rust @tab 128e noot -@item @strong{DK} - @tab ? - @tab ? +@item @strong{DK} @tab hundredeotteogtyvendedelsnode + @tab hundredeotteogtyvendedelspause @tab - -@item @strong{SE} - @tab hundratjugoåttondelsnot +@item @strong{SE} @tab hundratjugoåttondelsnot @tab hundratjugoåttondelspaus @tab - -@item @strong{FI} - @tab sadaskahdeskymmeneskahdeksasosanuotti +@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti @tab sadaskahdeskymmeneskahdeksasosatauko @tab 128-osanuotti @@ -7619,41 +7800,34 @@ the lilypond-user discussion list. @multitable @columnfractions .10 .35 .35 .20 -@headitem Lang. - @tab Note name +@headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} - @tab two-hundred-fifty-sixth @tab two-hundred-fifty-sixth @tab 256th note -@item @strong{UK} - @tab demisemihemidemisemiquaver +@item @strong{US} @tab two-hundred-fifty-sixth note + @tab two-hundred-fifty-sixth rest + @tab 256th note +@item @strong{UK} @tab demisemihemidemisemiquaver @tab demisemihemidemisemiquaver rest @tab - -@item @strong{ES} - @tab semigarrapatea @tab silencio de semigarrapatea @tab - -@item @strong{IT} - @tab semifusa +@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 +@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 +@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote + @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note +@item @strong{NL} @tab tweehonderdzesenvijftigste noot @tab tweehonderdzesenvijftigste rust @tab 256e noot -@item @strong{DK} - @tab ? - @tab ? +@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode + @tab tohundredeseksoghalvtredsendedelspause @tab - -@item @strong{SE} - @tab tvåhundrafemtiosjättedelsnot +@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot @tab tvåhundrafemtiosjättedelspaus @tab - -@item @strong{FI} - @tab kahdessadasviideskymmeneskuudesosanuotti +@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti @tab kahdessadasviideskymmeneskuudesosatauko @tab 256-osanuotti @@ -7676,62 +7850,45 @@ the lilypond-user discussion list. @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI -@item @strong{c} - @tab do @tab do @tab ut @tab C +@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c -@item @strong{c-sharp} - @tab do sostenido @tab do diesis @tab ut dièse @tab Cis +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis @tab cis @tab cis @tab ciss @tab cis -@item @strong{d-flat} - @tab re bemol @tab re bemolle @tab ré bémol @tab Des +@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des @tab des @tab des @tab dess @tab des -@item @strong{d} - @tab re @tab re @tab ré @tab D +@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d -@item @strong{d-sharp} - @tab re sostenido @tab re diesis @tab re dièse @tab Dis +@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis @tab dis @tab dis @tab diss @tab dis -@item @strong{e-flat} - @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es +@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es @tab es @tab es @tab ess @tab es -@item @strong{e} - @tab mi @tab mi @tab mi @tab E +@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes @tab fes @tab fes @tab fess @tab fes -@item @strong{f} - @tab fa @tab fa @tab fa @tab F +@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis @tab eis @tab eis @tab eiss @tab eis -@item @strong{f-sharp} - @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis +@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis @tab fis @tab fis @tab fiss @tab fis -@item @strong{g-flat} - @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges +@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges @tab ges @tab ges @tab gess @tab ges -@item @strong{g} - @tab sol @tab sol @tab sol @tab G +@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g -@item @strong{g-sharp} - @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis +@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis @tab gis @tab gis @tab giss @tab gis -@item @strong{a-flat} - @tab la bemol @tab la bemolle @tab la bémol @tab As +@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as @tab ass @tab as -@item @strong{a} - @tab la @tab la @tab la @tab A +@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a -@item @strong{a-sharp} - @tab la sostenido @tab la diesis @tab la dièse @tab Ais +@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab ais @tab aiss @tab ais -@item @strong{b-flat} - @tab si bemol @tab si bemolle @tab si bémol @tab B +@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b @tab b @tab b -@item @strong{b} - @tab si @tab si @tab si @tab H +@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h @end multitable