X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=984aae2a14a357924c4773ff0a478f446a9263f4;hb=a1243d8d9cfdb8b923780d75175831af9b9f2060;hp=55ac317db99ff17826cd98cc6e55e0c4d9b6375d;hpb=ef9073b9dc0ab0d32e888f752df7bfa222c5d32e;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 55ac317db9..984aae2a14 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -5,7 +5,8 @@ @documentencoding utf-8 @documentlanguage en -@dircategory GNU music project +@c see lilypond.tely for info installation note +@dircategory LilyPond @direntry * Glossary: (lilypond/music-glossary). Glossary of music terms. @end direntry @@ -58,9 +59,11 @@ Copyright @copyright{} 1999--2006 by the authors @top Music glossary @end ifnottex -This glossary was brought you by @ifnottex + +This glossary was brought you by + @table @code @item Adrian Mariano Italian glossary, @@ -70,7 +73,7 @@ German glossary, Original author of LilyPond glossary, Danish glossary, @item David González Spanish glossary, -@item Fran@,{c}ois Pinard +@item François Pinard Original glossary of GNU music project, French glossary, @item Han-Wen Nienhuys Dutch glossary, @@ -147,10 +150,12 @@ Languages in this order. * alto:: * alto clef:: * ambit:: +* anacrusis:: * ancient minor scale:: * andante:: * appoggiatura:: * arpeggio:: +* articulation:: * ascending interval:: * augmented interval:: * autograph:: @@ -307,6 +312,7 @@ Languages in this order. * ornament:: * ossia:: * part:: +* pause:: * pennant:: * percussion:: * perfect interval:: @@ -454,6 +460,7 @@ accidental. \set Score.automaticBars = ##f << \context Staff \relative c'' { + \set Staff.extraNatural = ##f gis1 gisis ges geses g! } \lyrics { @@ -573,6 +580,16 @@ The term ambit (from latin: ambitus, plural: ambitus) denotes a range of pitches for a given voice in a part of music. It may also denote the pitch range that a musical instrument is capable of playing. +@node anacrusis +@section anacrusis + +@c TODO: add more languages for anacrusis +ES: anacrusa +F: anacrouse + +An anacrusis (also known as pickup or upbeat) is an incomplete measure +of music before a section of music. + @node ancient minor scale @section ancient minor scale @@ -612,7 +629,7 @@ Walking tempo/character. ES: apoyatura, I: appoggiatura, -F: appogiature, (port de voix), +F: appoggiature, (port de voix), D: Vorschlag, NL: voorslag, DK: forslag, @@ -698,6 +715,15 @@ FI: arpeggio, murtosointu. >> @end lilypond +@node articulation +@section articulation + +@c TODO: add languages for articulation. +Articulation refers to notation which indicates how a note or notes should +be played. Slurs, accents, staccato, and legato are all examples of +articulartion. + + @node ascending interval @section ascending interval @@ -731,7 +757,7 @@ FI: ylinouseva intervalli. ES: manuscrito, I: autografo, -F: manuscrit, +F: manuscrit, autographe D: Autograph, Handschrift, NL: manuscript, DK: håndskrift, autograf, @@ -1115,6 +1141,7 @@ chords are denoted open chords %\override TextScript #'font-style = #'large << \context Staff \relative c'' { + \set Staff.extraNatural = ##f 1 @@ -1345,6 +1372,7 @@ music of the baroque era, has been one of the most popular polyphonic composition methods. @lilypond[fragment,staffsize=12,line-width=13.0\cm] +\set Score.implicitTimeSignatureVisibility = #all-invisible \override Score.TimeSignature #'break-visibility = #all-invisible \context PianoStaff << \context Staff = SA \relative c' { @@ -1416,7 +1444,7 @@ S: crescendo, FI: cresendo, voimistuen. Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation ``cresc.''. +abbreviation @q{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -1441,6 +1469,9 @@ when to start playing. Usually printed in a smaller type. @node custos @section custos +F: guidon, +D: Notenzeiger. + A custos 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 @@ -1498,7 +1529,7 @@ S: da capo, FI: da capo, alusta. The term indicates repetition of the piece from the beginning to the end or -to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''. +to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}. @node dal segno @section dal segno @@ -1512,7 +1543,7 @@ DK: dal segno, S: dal segno, FI: dal segno, lähtien merkistä. -Abbreviated ``d.s.''. Repetition, not from the beginning, but from +Abbreviated @q{d.s.}. Repetition, not from the beginning, but from another place frequently near the beginning marked by a sign: @lilypond[fragment,ragged-right] @@ -1540,7 +1571,7 @@ S: decrescendo, FI: decresendo, hiljentyen. Decreasing tone volume. Indicated by a leftwards opening horizontal wedge -or the abbreviation ``decresc.''. +or the abbreviation @q{decresc.}. @lilypond[fragment,ragged-right] \relative c'' { @@ -1763,7 +1794,7 @@ FI: diminuendo, hiljentyen. @node disjunct movement @section disjunct movement -ES: movimiendo disjunto, +ES: movimiento disjunto, I: moto disgiunto, F: mouvement disjoint, D: sprunghafte Bewegung, @@ -2214,7 +2245,7 @@ symbol indicates playing an octave lower (for example on double bass ES: calderón, I: corona, -F: point d'orgue, point d'arr@^et, +F: point d'orgue, point d'arrêt, D: Fermate, NL: fermate, DK: fermat, @@ -2596,7 +2627,7 @@ Consonances: _"fifth " s _"sixth " s _"octave " s - _"decime" s s + _"tenth" s s } @end lilypond @@ -2703,7 +2734,7 @@ of such two intervals forms an octave. } \context Lyrics \lyrics { "seventh " "seventh " "seventh " "octave " - "none " "none " "decime " "decime" + "ninth " "ninth " "tenth " "tenth" } >> @end lilypond @@ -2806,7 +2837,7 @@ S: ledton, FI: johtosävel. The seventh @aref{scale degree}, a @aref{semitone} below -the tonic; so called because of its strong tendency to ``lead up'' (resolve +the tonic; so called because of its strong tendency to @q{lead up} (resolve upwards) to the tonic scale degree. @node ledger line @@ -2854,7 +2885,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and c4-. d-. e-. \bar "||" } \lyrics { - a1 + a2. b c d @@ -2957,7 +2988,7 @@ Note value: double length of @aref{breve}. ES: letra (de la canción), I: ., -F: ., +F: paroles, D: Liedtext, NL: liedtekst, DK: ., @@ -3048,6 +3079,7 @@ harmony}, @aref{relative key}. @section melisma ES: melisma, +F: mélisme, NL: melisma, FI: melisma, laulettavan tavun sävelkuvio. @@ -3064,7 +3096,7 @@ syllable in plainsong ES: compás, I: tempo, metro, -F: indication de mésure, +F: indication de mesure, mesure, D: Taktart, Metrum, NL: maatsoort, DK: taktart, @@ -3264,16 +3296,22 @@ FI: teema, sävelaihe. The briefest intelligible and self-contained fragment of a musical theme or subject. -@lilypond[fragment,line-width=13.0\cm] -\override Score.TimeSignature #'break-visibility = #all-invisible -%\override Score.TextScript #'font-style = #'large +@lilypond[line-width=13.0\cm] +\score{ \relative c'' { + \set Score.implicitTimeSignatureVisibility = #all-invisible + \override Score.TimeSignature #'break-visibility = #all-invisible \time 4/4 \key g \major - \partial 8 g16_"------" fis | - g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis | + \partial 8 g16\startGroup fis | + g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis | g8 g,16 a b8 cis d16 s } +\layout { + \context { + \Staff \consists "Horizontal_bracket_engraver" +}} +} @end lilypond @node movement @@ -3378,7 +3416,7 @@ and hears a tone. ES: cabeza, I: testa, testina, capocchia, -F: t@^ete de la note, +F: tête de la note, D: Notenkopf, NL: nootballetje, DK: nodehovede, @@ -3574,6 +3612,11 @@ FI: stemma, instrumenttiosuus. or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single melodic line of the contrapunctal web. +@node pause +@section pause + +@ref{fermata}. + @node pennant @section pennant @@ -3781,7 +3824,7 @@ FI: neljännesosatauko. @node quintuplet @section quintuplet -ES: cinquillo, +ES: cinquillo, quintillo. I: quintina, F: quintolet, D: Quintole, @@ -4224,7 +4267,7 @@ A form used frequently for single movements of the @aref{sonata}, 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 `develops' this material, and in the recapitulation the composer +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 @@ -4518,7 +4561,7 @@ intervals. @aref{meantone temperament}, @aref{equal temperament}. ES: indicación de tempo, I: indicazione di tempo, -F: indication de temps, +F: indication de tempo, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, DK: tempobetegelse, @@ -4622,7 +4665,7 @@ FI: kolmanneskymmeneskahdesosatauko. ES: bajo cifrado, I: basso continuo, basso numerato, -F: basse chiffrée, +F: basse chiffrée, basse continue, D: Generalbass, bezifferter Bass, NL: basso continuo, becijferde bas DK: generalbas, @@ -4689,7 +4732,7 @@ uniting them into a single sound (tone) equal to the combined durations. ES: indicación de compás, I: segni di tempo, -F: chiffrage (chiffres indicateurs), signe de valeur, +F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure, D: Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse,