X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=aa072e7e7d77d4fbd260bf2f250f94bbecf56a97;hb=ca70c381bd4e926e704565d725406e88f80cc180;hp=02a33d6bc989de32bc46dce0d535953797129e2a;hpb=8bdb0125d35cf00037357399d9764e545071c74a;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 02a33d6bc9..aa072e7e7d 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -36,10 +36,10 @@ and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page @author Jan Nieuwenhuizen @c Dutch glossary @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07 +@c Updates to the German translation by Till Rettig, 12/07 Copyright @copyright{} 1999--2007 by the authors - Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, @@ -48,11 +48,11 @@ Copyright @copyright{} 1999--2007 by the authors @end titlepage -@c FIXME: multiple omfcreators? +@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 @@ -94,7 +94,6 @@ English glossary translations. @* Copyright 1999--2007 by the authors - Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, @@ -124,7 +123,6 @@ Copyright 1999--2007 by the authors * Musical terms A-Z:: * Duration names notes and rests:: * Pitch names:: -* Literature used:: @end menu @node Musical terms A-Z @@ -132,12 +130,12 @@ Copyright 1999--2007 by the authors Languages in this order. @itemize +@item UK - British English (where it differs from American English) @item ES - Spanish @item I - Italian @item F - French @item D - German @item NL - Dutch -@item UK - British English @item DK - Danish @item S - Swedish @item FI - Finnish @@ -145,16 +143,18 @@ Languages in this order. @menu * A:: +* a due:: * accent:: * accessory:: * accidental:: * accelerando:: +* acciaccatura:: * adagio:: * allegro:: * alteration:: * alto:: * alto clef:: -* ambit:: +* ambitus:: * anacrusis:: * ancient minor scale:: * andante:: @@ -162,6 +162,7 @@ Languages in this order. * arpeggio:: * articulation:: * ascending interval:: +* augmentation:: * augmented interval:: * autograph:: * B:: @@ -176,6 +177,7 @@ Languages in this order. * beat:: * bind:: * brace:: +* bracket:: * brass:: * breath mark:: * breve:: @@ -194,8 +196,12 @@ Languages in this order. * cluster:: * comma:: * common meter:: -* compound interval:: +* common time:: * complement:: +* compound interval:: +* compound meter:: +* compound time:: +* concert pitch:: * conjunct movement:: * consonance:: * contralto:: @@ -213,6 +219,7 @@ Languages in this order. * diatonic scale:: * diminished interval:: * diminuendo:: +* diminution:: * direct:: * disjunct movement:: * dissonance:: @@ -228,11 +235,12 @@ Languages in this order. * double dotted note:: * double flat:: * double sharp:: +* double time signature:: * double trill:: * duple meter:: * duplet:: * duration:: -* dydimic comma:: +* didymic comma:: * dynamics:: * E:: * ecclesiastical mode:: @@ -247,6 +255,7 @@ Languages in this order. * extender line:: * F:: * F clef:: +* feathered beam:: * fermata:: * fifth:: * figured bass:: @@ -256,6 +265,9 @@ Languages in this order. * forefall:: * forte:: * fourth:: +* Frenched score:: +* Frenched staff:: +* Frenched staves:: * fugue:: * functional harmony:: * G:: @@ -270,12 +282,14 @@ Languages in this order. * half rest:: * harmonic cadence:: * harmony:: +* hemiola:: * homophony:: * interval:: * inverted interval:: * just intonation:: * key:: * key signature:: +* laissez vibrer:: * largo:: * leading note:: * ledger line:: @@ -285,6 +299,7 @@ Languages in this order. * lilypond:: * ligature:: * line:: +* loco:: * long appoggiatura:: * longa:: * lyrics:: @@ -297,9 +312,11 @@ Languages in this order. * melisma:: * melisma line:: * melodic cadence:: +* mensural notation:: * meter:: * metronome:: * metronomic indication:: +* metronome mark:: * mezzo-soprano:: * middle C:: * minor:: @@ -310,17 +327,21 @@ Languages in this order. * motif:: * motive:: * movement:: -* multibar rest:: +* multi-measure rest:: * mixolydian mode:: -* natural sign:: +* natural:: * neighbour tones:: * ninth:: * non-legato:: * note:: * note head:: +* note names:: * note value:: -* octave sign:: +* octavation:: * octave:: +* octave mark:: +* octave marking:: +* octave sign:: * ornament:: * ossia:: * part:: @@ -334,13 +355,18 @@ Languages in this order. * piano:: * pitch:: * pizzicato:: +* polymeter:: +* polymetric:: +* polymetric time signature:: * polyphony:: * portato:: * presto:: -* Pythagorean comma:: +* proportion:: +* Pythagorean comma:: * quadruplet:: * quarter note:: * quarter rest:: +* quarter tone:: * quintuplet:: * rallentando:: * relative key:: @@ -360,7 +386,7 @@ Languages in this order. * sextuplet:: * shake:: * sharp:: -* short appoggiatura:: +* simple meter:: * sixteenth note:: * sixteenth rest:: * sixth:: @@ -386,7 +412,7 @@ Languages in this order. * supertonic:: * symphony:: * syncopation:: -* syntonic comma:: +* syntonic comma:: * system:: * temperament:: * tempo indication:: @@ -402,6 +428,7 @@ Languages in this order. * time signature:: * tone:: * tonic:: +* transposing instrument:: * transposition:: * treble clef:: * tremolo:: @@ -411,10 +438,12 @@ Languages in this order. * triplet:: * tritone:: * tuning fork:: +* tuplet:: * turn:: * unison:: * upbeat:: * voice:: +* volta:: * weak beat:: * whole note:: * whole rest:: @@ -422,22 +451,57 @@ Languages in this order. * woodwind:: @end menu + @node A @section A -ES: la, -I: la, -F: la, -D: A, a, -NL: a, -DK: a, -S: a, -FI: A, a. +@itemize +@item ES: la +@item I: la +@item F: la +@item D: A, a +@item NL: a +@item DK: a +@item S: a +@item FI: A, a +@end itemize + +@seealso + +@ref{Pitch names} + + +@node a due +@section a due + +ES: ?, +I: a due, +F: à deux, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Abbreviated @samp{a2} or @samp{a 2}. + +@enumerate + +@item An indication in orchestral scores that a single part notated on a single +staff that normally carries parts for two players (e.g. first and second oboes) +is to be played by both players. + +@item Or conversely, that two pitches or parts notated on a staff that normally +carries a single part (e.g. first violin) are to be played by different players, +or groups of players (@q{desks}). + +@end enumerate @seealso @ref{Pitch names} + @node accent @section accent @@ -452,6 +516,7 @@ FI: aksentti, korostus. The stress of one tone over others. + @node accessory @section accessory @@ -459,23 +524,24 @@ The stress of one tone over others. @ref{ornament}. + @node accidental @section accidental ES: alteración accidental, I: accidento, F: altération accidentelle, -D: Vorzeichen, Versetzungszeichen, Akzidenz, +D: Versetzungszeichen, Akzidenz, NL: toevallig (verplaatsings)teken, 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 +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. +accidental, or a sharp or flat in the key signature. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -491,6 +557,7 @@ accidental. >> @end lilypond + @node accelerando @section accelerando @@ -505,6 +572,20 @@ 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 @@ -518,10 +599,17 @@ S: adagio, FI: adagio, hitaasti. It.@: comfortable, easy. -1.@tie{}Slow tempo, slower -- especially in even meter -- than + +@itemize + +@item Slow tempo, slower -- especially in even meter -- than @ref{andante} and faster than @ref{largo}. -2.@tie{}A movement in slow tempo, especially the second (slow) movement of -@ref{sonata}s, symphonies, etc. + +@item A movement in slow tempo, especially the second (slow) movement +of @ref{sonata}s, symphonies, etc. + +@end itemize + @node allegro @section allegro @@ -538,21 +626,23 @@ 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}. + @node alteration @section alteration ES: alteración, -I: alterazione -F: altération -D: +I: alterazione, +F: altération, +D: Alteration, NL: verhoging of verlaging, -DK: -S: -FI: +DK: ?, +S: ?, +FI: ?. An alteration is the modification, raising or lowering, of a note's pitch. It is established by an @ref{accidental}. + @node alto @section alto @@ -565,10 +655,11 @@ DK: alt, S: alt, FI: altto, matala naisääni. -A female voice of low range (@emph{contralto}). Originally the alto was a -high male voice (hence the name), which by the use of falsetto reached the -height of the female voice. This type of voice is also known as -@ref{counter tenor}. +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}. + @node alto clef @section alto clef @@ -588,21 +679,24 @@ C clef setting middle C on the middle line of the staff. @ref{C clef}. -@node ambit -@section ambit + +@node ambitus +@section ambitus ES: ámbito, I: ambitus, F: ambitus, -D: ambitus, +D: Ambitus, NL: ambitus, DK: ambitus, S: ambitus, FI: ambitus, ääniala, soitinala. -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. +[Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus] +Denotes a range of pitches for a given voice in a part of music. It may +also denote the pitch range that a musical instrument is capable of playing. +Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}). + @node anacrusis @section anacrusis @@ -617,8 +711,8 @@ S: upptakt, FI: kohotahti. An anacrusis (also known as pickup or upbeat) is an incomplete measure -of music before a section of music. It also refers to the initial note(s) -of a melody occurring in that incomplete measure. +of music before a section of music. It also refers to the initial +note(s) of a melody occurring in that incomplete measure. @seealso @@ -632,28 +726,30 @@ of a melody occurring in that incomplete measure. bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" } @end lilypond + @node ancient minor scale @section ancient minor scale ES: escala menor antigua, I: scala minore naturale, -F: forme du mode mineur ancien, troisème mode, mode hellénique -D: reines Moll, +F: forme du mode mineur ancien, troisème mode, mode hellénique, +D: reines Moll, natürliches Moll, NL: authentieke mineurtoonladder, DK: ren mol, S: ren mollskala, FI: luonnollinen molliasteikko. -@seealso - -@ref{diatonic scale}. - @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c'' { a1 b c d e f g a } @end lilypond +@seealso + +@ref{diatonic scale}. + + @node andante @section andante @@ -668,24 +764,25 @@ FI: andante, käyden. Walking tempo/character. + @node appoggiatura @section appoggiatura ES: apoyatura, I: appoggiatura, F: appoggiature, (port de voix), -D: Vorschlag, +D: Vorschlag, Vorhalt NL: voorslag, DK: forslag, S: förslag, FI: appoggiatura, etuhele. -Ornamental note, usually a second, that is melodically connected with the -main note following it. In music before the 19th century appoggiature were -usually performed on the beat, after that mostly before the beat. While the -short appoggiatura is performed as a short note regardless of the duration of -the main note the duration of the long appoggiatura is proportional to that of -the main note. +Ornamental note, usually a second, that is melodically connected with +the main note following it. In music before the 19th century +appoggiature were usually performed on the beat, after that mostly +before the beat. While the short appoggiatura is performed as a short +note regardless of the duration of the main note the duration of the +long appoggiatura is proportional to that of the main note. @lilypond[line-width=13.0\cm] \context Voice \relative c'' { @@ -728,6 +825,7 @@ An appoggiatura may have more notes preceding the main note. } @end lilypond + @node arpeggio @section arpeggio @@ -760,6 +858,7 @@ FI: arpeggio, murtosointu. >> @end lilypond + @node articulation @section articulation @@ -770,11 +869,12 @@ D: Artikulation, NL: articulatie, DK: ?, S: ?, -FI: ?. +FI: artikulaatio, ilmaisu. + +Articulation refers to notation which indicates how a note or notes +should be played. Slurs, accents, staccato, and legato are all +examples of articulation. -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 @@ -784,12 +884,13 @@ 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. A distance between a starting lower note and a higher ending note. + @node augmented interval @section augmented interval @@ -806,6 +907,28 @@ FI: ylinouseva intervalli. @ref{interval}. + +@node augmentation +@section augmentation + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add definition. + +This is a placeholder for augmentation (wrt mensural notation). + +@seealso + +@ref{diminution}, @ref{mensural notation}. + + @node autograph @section autograph @@ -818,28 +941,36 @@ DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti. -1.@tie{}A manuscript in the composer's own hand. -2.@tie{}Music prepared for photoreproduction by freehand drawing, -with the aid of a straightedge ruler and T-square only, -which attempts to emulate engraving. -This required more skill than did engraving. +@itemize + +@item A manuscript written in the composer's own hand. + +@item Music prepared for photoreproduction by freehand drawing, with +the aid of a straightedge ruler and T-square only, which attempts to +emulate engraving. This required more skill than did engraving. + +@end itemize + @node B @section B -ES: si, -I: si, -F: si, -D: H, h, -NL: b, -DK: h, -S: h, -FI: H, h. +@itemize +@item ES: si +@item I: si +@item F: si +@item D: H, h +@item NL: b +@item DK: h +@item S: h +@item FI: H, h +@end itemize @seealso @ref{Pitch names} + @node backfall @section backfall @@ -847,6 +978,7 @@ FI: H, h. @ref{appoggiatura}. + @node bar @section bar @@ -854,6 +986,7 @@ FI: H, h. @ref{measure}. + @node bar line @section bar line @@ -866,6 +999,7 @@ DK: taktstreg, S: taktstreck, FI: tahtiviiva. + @node baritone @section baritone @@ -883,6 +1017,7 @@ The male voice intermediate between the @ref{bass} and the @c F: clef de troisième ligne dropped + @node baritone clef @section baritone clef @@ -901,6 +1036,7 @@ C or F clef setting middle C on the upper staff line. @ref{C clef}, @ref{F clef}. + @node bass clef @section bass clef @@ -919,6 +1055,7 @@ A clef setting with middle C on the first top ledger line. @ref{F clef}. + @node bass @section bass @@ -931,14 +1068,20 @@ DK: bas, S: bas, FI: basso, matala miesääni. -1.@tie{}The lowest male voice. -2.@tie{}Sometimes, especially in jazz music, used as -an abbreviation for double bass. +@itemize + +@item The lowest male voice. + +@item Sometimes, especially in jazz music, used as an abbreviation for +double bass. + +@end itemize @seealso @ref{strings}. + @node beam @section beam @@ -951,8 +1094,8 @@ DK: bjælke, S: balk, FI: palkki. -Line connecting a series of notes (shorter than a quarter note). -The number of beams determines the note value of the connected notes. +Line connecting a series of notes (shorter than a quarter note). The +number of beams determines the note value of the connected notes. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -964,6 +1107,11 @@ The number of beams determines the note value of the connected notes. g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 } @end lilypond +@seealso + +@ref{feathered beam}. + + @node beat @section beat @@ -976,9 +1124,9 @@ 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 per measure is +indicated at the start of the music. @lilypond[fragment,line-width=13.0\cm] \key g \major @@ -988,6 +1136,7 @@ the start of the music. \relative c'' { g8 d' c | b c a | g4. \bar "||"} @end lilypond + @node bind @section bind @@ -995,6 +1144,7 @@ the start of the music. @ref{tie}. + @node brace @section brace @@ -1007,9 +1157,11 @@ DK: klamme, S: klammer, FI: yhdistävä sulkumerkki. -Symbol at the start of a system connecting staves. Curly braces are used -for connecting piano staves, angular brackets for connecting parts in an -orchestral or choral score. +Symbol at the start of a system connecting staves. + +Curly braces are used for connecting piano staves, and sometimes for connecting +the staves of like instruments in an orchestral score when written on different +staves (e.g. first and second flutes): @lilypond[fragment,ragged-right] \context GrandStaff << @@ -1017,6 +1169,8 @@ orchestral or choral score. \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond +Angular brackets for connecting parts in an orchestral or choral score: + @lilypond[fragment,ragged-right] \context StaffGroup << % \set StaffGroup.minVerticalAlign = #12 @@ -1024,6 +1178,24 @@ orchestral or choral score. \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond + +@node bracket +@section bracket + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{brace} + + @node brass @section brass @@ -1036,9 +1208,10 @@ DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin. -A family of blown musical instruments made of brass, all using a cup formed -mouth piece. The brass instruments commonly used in a symphony orchestra are -trumpet, trombone, french horn, and tube. +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. + @node breath mark @section breath mark @@ -1053,6 +1226,8 @@ S: andningstecken, FI: hengitysmerkki. Indication of where to breathe in vocal and wind instrument parts. + + @node breve @section breve @@ -1063,32 +1238,41 @@ D: Brevis, NL: brevis, DK: brevis, S: brevis, -FI: brevis. +FI: brevis, kaksoiskokonuotti. -@ref{note value}, twice as long as a whole note. Mainly used -in pre-1650 music. +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 +name, which originally meant @q{of short duration}. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { g\breve } @end lilypond +@seealso + +@ref{mensural notation}, @ref{note value}. + + @node C @section C -ES: do, -I: do, -F: ut, -D: C, c, -NL: c, -DK: c, -S: c, -FI: C, c. +@itemize +@item ES: do +@item I: do +@item F: ut +@item D: C, c +@item NL: c +@item DK: c +@item S: c +@item FI: C, c +@end itemize @seealso @ref{Pitch names} + @node C clef @section C clef @@ -1122,6 +1306,7 @@ lines. >> @end lilypond + @node cadence @section cadence @@ -1138,6 +1323,7 @@ FI: kadenssi, lopuke. @ref{harmonic cadence}, @ref{functional harmony}. + @node cadenza @section cadenza @@ -1151,10 +1337,11 @@ S: kadens, FI: kadenssi, lopuke. An extended, improvisatory style section inserted near the end of -movement. The purpose of a cadenza is to give singers or players a chance -to exhibit their technical skill and -- not last -- their ability to -improvise. Since the middle of the 19th century, however, most cadences have -been written down by the composer. +movement. The purpose of a cadenza is to give singers or players a +chance to exhibit their technical skill and -- not last -- their +ability to improvise. Since the middle of the 19th century, however, +most cadenzas have been written down by the composer. + @node canon @section canon @@ -1172,6 +1359,7 @@ FI: kaanon, tarkka jäljittely. @ref{counterpoint}. + @node cent @section cent @@ -1185,13 +1373,14 @@ S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. -Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100 -of an equally tempered @ref{semitone}). +Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave +(1/100 of an equally tempered @ref{semitone}). @seealso @ref{equal temperament}. + @node central C @section central C @@ -1199,6 +1388,7 @@ of an equally tempered @ref{semitone}). @ref{middle C}. + @node chord @section chord @@ -1211,16 +1401,13 @@ 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 @@ -1246,6 +1433,7 @@ chords are denoted open chords >> @end lilypond + @node chromatic scale @section chromatic scale @@ -1265,6 +1453,7 @@ A scale consisting of all 12 @ref{semitone}s. \relative c' { c1 cis d dis e f fis g gis a ais b c } @end lilypond + @node chromaticism @section chromaticism @@ -1279,6 +1468,7 @@ FI: kromatiikka. Use of tones extraneous to a @ref{diatonic scale} (minor, major). + @node church mode @section church mode @@ -1295,6 +1485,7 @@ FI: moodi, kirkkosävellaji. @ref{diatonic scale}. + @node clef @section clef @@ -1325,8 +1516,8 @@ pitches. The three clef symbols in common use are: @end lilypond Imagine a large staff of 11 lines centered on middle C, sometimes -called a @q{grand staff}, with the bottom line representing low G -and the top line high F: +called a @q{grand staff}, with the bottom line representing low G and +the top line high F: @lilypond[ragged-right,quote] \score { @@ -1396,10 +1587,10 @@ and the top line high F: } % End score @end lilypond -Staves of five lines are usually used, and the clef superimposed on them -indicates which five lines have been selected from this @samp{grand staff}. -For example, the treble or G clef indicates that the top five -lines have been selected: +Staves of five lines are usually used, and the clef superimposed on +them indicates which five lines have been selected from this +@samp{grand staff}. For example, the treble or G clef indicates that +the top five lines have been selected: @lilypond[ragged-right,quote] \score { @@ -1480,12 +1671,14 @@ lines have been selected: } % End score @end lilypond -The @q{curl} of the G clef in centered on the line that represents the pitch G. +The @q{curl} of the G clef is centered on the line that represents the +pitch G. -In the same way, the bass or F clef indicates that the bottom five lines -have been selected from the @samp{grand staff}, and the alto or C clef -indicates the middle five lines have been selected. This relationship is -shown below, where the notes show an arpeggio on a C major chord. +In the same way, the bass or F clef indicates that the bottom five +lines have been selected from the @samp{grand staff}, and the alto or +C clef indicates the middle five lines have been selected. This +relationship is shown below, where the notes show an arpeggio on a C +major chord. @lilypond[ragged-right,quote] \score { @@ -1566,7 +1759,14 @@ shown below, where the notes show an arpeggio on a C major chord. @node cluster @section cluster -ES: racimo. +ES: racimo, +I: ?, +F: ?, +D: Cluster, +NL: ?, +DK: ?, +S: ?, +FI: klusteri, cluster. A @emph{cluster} is a range of simultaneously sounding pitches that may change over time. The set of available pitches to apply usually @@ -1594,6 +1794,7 @@ pitch contained in the cluster would be notated as an ordinary note. \makeClusters { } @end lilypond + @node comma @section comma @@ -1606,37 +1807,44 @@ DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa. -Difference in pitch between a note derived from pure tuning and the same note -derived from some other tuning method. +Difference in pitch between a note derived from pure tuning and the +same note derived from some other tuning method. @seealso +@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma}, @ref{temperament}. + @node common meter @section common meter +@ref{common time} + @seealso @ref{meter}. -@node compound interval -@section compound interval -ES: intervalo compuesto, -I: intervallo composto, -F: intervalle composé, -D: weites Intervall, -NL: samengesteld interval, -DK: sammensat interval, -S: sammansatt intervall, -FI: oktaavia laajempi intervalli. +@node common time +@section common time -Intervals larger than an octave. +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +4/4 time. The symbol, which resembles a capital letter C, derives from +mensural notation. @seealso -@ref{interval}. +@ref{mensural notation}, @ref{meter}. + @node complement @section complement @@ -1654,82 +1862,243 @@ FI: täydentävä intervalli. @ref{inverted interval}. -@node conjunct movement -@section conjunct movement -ES: movimiento conjunto, -I: moto congiunto, -F: mouvement conjoint, -D: schritt@-weise, stufenweise Bewegung, -NL: stapsgewijze, trapsgewijze beweging, -DK: trinvis bevægelse, -S: stegvis rörelse, -FI: asteittainen liike. +@node compound interval +@section compound interval -Progressing melodically by intervals of a second. The opposite of a -@ref{disjunct movement}. +ES: intervalo compuesto, +I: intervallo composto, +F: intervalle composé, +D: weites Intervall, +NL: samengesteld interval, +DK: sammensat interval, +S: sammansatt intervall, +FI: oktaavia laajempi intervalli. -@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 +Intervals larger than an octave. -@node consonance -@section consonance +@seealso -ES: consonancia, -I: consonanza, -F: consonance, -D: Konsonanz, -NL: consonant, -DK: konsonans, -S: konsonans, -FI: konsonanssi, sopusointi. +@ref{interval}. -@seealso -@ref{harmony}. +@node compound meter +@section compound meter -@node contralto -@section contralto +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. -ES: contralto, -I: contralto, -F: contralto, -D: Alt, -NL: contralto, -DK: alt, -S: alt, -FI: kontra-altto. +A meter that includes a triplet subdivision within the beat, such as +6/8, 9/8, 12/8. @seealso -@ref{alto}. - -@node counterpoint -@section counterpoint +@ref{meter}, @ref{simple meter}. -ES: contrapunto, -I: contrappunto, -F: contrepoint, -D: Kontrapunkt, -NL: contrapunt, -DK: kontrapunkt, -S: kontrapunkt, -FI: kontrapunkti, ääni ääntä vastaan. -From latin @emph{punctus contra punctum}, note against note. The combination -into a single musical fabric of lines or parts which have distinct melodic -significance. A frequently used polyphonic technique is imitation, in its -strictest form found in the canon needing only one part to be written down -while the other parts are performed with a given displacement. Imitation is -also the contrapunctal technique used in the @emph{fugue} which, since the -music of the baroque era, has been one of the most popular polyphonic -composition methods. +@node compound time +@section compound time -@lilypond[fragment,staffsize=12,line-width=13.0\cm] -\set Score.implicitTimeSignatureVisibility = #all-invisible -\override Score.TimeSignature #'break-visibility = #all-invisible +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@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{compound meter}, @ref{meter}. + + +@node concert pitch +@section concert pitch + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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 + +@item Woodwinds +@itemize +@item flute +@item oboe +@item bassoon +@end itemize + +@item Brass +@itemize +@item alto trombone +@item tenor trombone +@item bass trombone +@end itemize + +@item Strings +@itemize +@item violin +@item viola +@item violincello +@end itemize + +@item piano + +@end itemize + +The trombones are a special case: although they are said to be @q{in F} (alto or +bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to +their parts' transposition. (In fact, the trombones' parts are written at +concert pitch with an appropriate clef -- alto, tenor or bass.) This differs +from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing +instruments. + +Instruments that play @q{in C} but in a different octave than what is written +are, technically speaking, @emph{transposing instruments}: + +@itemize + +@item piccolo (plays an octave higher) +@item celesta (plays an octave higher) +@item double-bass (plays an octave lower) + +@end itemize + +@seealso + +@ref{transposing instrument}. + + +@node conjunct movement +@section conjunct movement + +ES: movimiento conjunto, +I: moto congiunto, +F: mouvement conjoint, +D: schritt@-weise, stufenweise Bewegung, +NL: stapsgewijze, trapsgewijze beweging, +DK: trinvis bevægelse, +S: stegvis rörelse, +FI: asteittainen liike. + +Progressing melodically by intervals of a second. The opposite of a +@ref{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 + + +@node consonance +@section consonance + +ES: consonancia, +I: consonanza, +F: consonance, +D: Konsonanz, +NL: consonant, +DK: konsonans, +S: konsonans, +FI: konsonanssi, sopusointi. + +@seealso + +@ref{harmony}. + + +@node contralto +@section contralto + +ES: contralto, +I: contralto, +F: contralto, +D: Alt, +NL: contralto, +DK: alt, +S: alt, +FI: kontra-altto. + +@seealso + +@ref{alto}. + + +@node counterpoint +@section counterpoint + +ES: contrapunto, +I: contrappunto, +F: contrepoint, +D: Kontrapunkt, +NL: contrapunt, +DK: kontrapunkt, +S: kontrapunkt, +FI: kontrapunkti, ääni ääntä vastaan. + +From Latin @emph{punctus contra punctum}, note against note. The +combination into a single musical fabric of lines or parts which have +distinct melodic significance. A frequently used polyphonic technique +is imitation, in its strictest form found in the canon needing only +one part to be written down while the other parts are performed with a +given displacement. Imitation is also the contrapunctal technique +used in the @emph{fugue} which, since the music of the baroque era, +has been one of the most popular polyphonic composition methods. + +@lilypond[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' { \key bes \major @@ -1764,6 +2133,7 @@ composition methods. >> @end lilypond + @node counter tenor @section counter tenor @@ -1780,14 +2150,18 @@ 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. This -required more skill than engraving. +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 @@ -1801,14 +2175,15 @@ DK: crescendo, S: crescendo, FI: cresendo, voimistuen. -Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation @samp{cresc.}. +Increasing volume. Indicated by a rightwards opening horizontal wedge +or the abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 \relative c'' { g4 \< a b c | d1\! \bar "|." } @end lilypond + @node cue-notes @section cue-notes @@ -1821,25 +2196,32 @@ DK: stiknoder, S: inprickningar, FI: vihjenuotit. -In a separate part notes belonging to another part with the purpose of hinting -when to start playing. Usually printed in a smaller type. +In a separate part notes belonging to another part with the purpose of +hinting when to start playing. Usually printed in a smaller type. + @node custos @section custos +ES: ?, +I: ?, F: guidon, -D: Notenzeiger. +D: Notenzeiger, Custos, +NL: ?, +DK: ?, +S: ?, +FI: ?. -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 -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, thus enhancing 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 +notation such as via the Editio Vaticana dating back to the beginning of the 20th century @lilypond @@ -1862,22 +2244,26 @@ of the 20th century } @end lilypond + @node D @section D -ES: re, -I: re, -F: ré, -D: D, d, -NL: d, -DK: d, -S: d, -FI: D, d. +@itemize +@item ES: re +@item I: re +@item F: ré +@item D: D, d +@item NL: d +@item DK: d +@item S: d +@item FI: D, d +@end itemize @seealso @ref{Pitch names} + @node da capo @section da capo @@ -1890,8 +2276,9 @@ DK: da capo, 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 @samp{D.C.}. +Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from +the beginning to the end or to a certain place marked @emph{fine}. + @node dal segno @section dal segno @@ -1916,11 +2303,12 @@ another place frequently near the beginning marked by a sign: d1 | g,4^\segno a b c | b a g2_\markup{ - \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } } + \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } } \bar "|." } @end lilypond + @node decrescendo @section decrescendo @@ -1942,6 +2330,7 @@ or the abbreviation @samp{decresc.}. } @end lilypond + @node descending interval @section descending interval @@ -1956,6 +2345,7 @@ FI: laskeva intervalli. A distance between a starting higher note and a lower ending note. + @node diatonic scale @section diatonic scale @@ -1968,12 +2358,12 @@ 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. +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}). -The church modes are used in gregorial chant and in pre-baroque early -music but also to some extent in newer jazz music. +These @q{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] \set Score.automaticBars = ##f @@ -2061,10 +2451,25 @@ music but also to some extent in newer jazz music. >> @end lilypond +@lilypond[fragment,notime,ragged-right] +\set Score.automaticBars = ##f +%\override Score.LyricText #'font-style = #'large +%\override Score.TextScript #'font-style = #'large +<< + \relative c'' { + \override TextScript #'padding = #-4 + b^"~~ S" c d e^"~~ S" f g a b + } + \lyrics { + Locrian + } +>> +@end lilypond + From the beginning of the 17th century the scales used in European -compositional music are primarily the major and the minor scales. In the -harmonic minor scale type an augmented second (A) occurs between the 6th and -7th tone. +compositional music are primarily the major and the minor scales. In +the harmonic minor scale type an augmented second (A) occurs between +the 6th and 7th tone. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -2089,7 +2494,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and b^"~~ S" c d e^"~~ S" f g a } \lyrics { - "ancient minor" + "Ancient minor" } >> @end lilypond @@ -2125,6 +2530,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and >> @end lilypond + @node diminished interval @section diminished interval @@ -2141,13 +2547,14 @@ FI: vähennetty intervalli. @ref{interval}. + @node diminuendo @section diminuendo ES: diminuendo, I: diminuendo, F: diminuendo, -D: Diminuendo, +D: diminuendo, NL: diminuendo, DK: diminuendo, S: diminuendo, @@ -2157,13 +2564,35 @@ FI: diminuendo, hiljentyen. @ref{decrescendo}. + +@node diminution +@section diminution + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add definition + +This is a placeholder for diminution (wrt mensural notation). + +@seealso + +@ref{augmentation}, @ref{mensural notation}. + + @node direct @section direct ES: ?, I: ?, F: ?, -D: ?, +D: Weiser, Zeiger, NL: ?, DK: ?, S: ?, @@ -2173,6 +2602,7 @@ FI: ?. @ref{custos}. + @node disjunct movement @section disjunct movement @@ -2185,8 +2615,8 @@ DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. -Progressing melodically by intervals larger than a major second. -Opposite of @ref{conjunct movement}. +Progressing melodically by intervals larger than a major second, as +opposed to @ref{conjunct movement}. @lilypond[fragment,ragged-right] \key a \major @@ -2197,11 +2627,13 @@ Opposite of @ref{conjunct movement}. fis2 d4. \bar "||" } @end lilypond + @node dissonance @section dissonance @ref{dissonant interval}. + @node dissonant interval @section dissonant interval @@ -2209,7 +2641,7 @@ ES: intervalo disonante, disonancia, I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, -NL: dissonant interval; dissonant, +NL: dissonant interval, dissonant, DK: dissonerende interval, dissonans, S: dissonans, FI: dissonanssi, dissonoiva intervalli, riitasointi. @@ -2218,6 +2650,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. @ref{harmony}. + @node dominant ninth chord @section dominant ninth chord @@ -2234,6 +2667,7 @@ FI: dominanttinoonisointu. @ref{chord}, @ref{functional harmony}. + @node dominant seventh chord @section dominant seventh chord @@ -2250,6 +2684,7 @@ FI: dominanttiseptimisointu. @ref{chord}, @ref{functional harmony}. + @node dominant @section dominant @@ -2264,6 +2699,7 @@ FI: dominantti, huippusointu. The fifth @ref{scale degree} in @ref{functional harmony}. + @node dorian mode @section dorian mode @@ -2280,6 +2716,7 @@ FI: doorinen moodi. @ref{diatonic scale}. + @node dot (augmentation dot) @section dot (augmentation dot) @@ -2292,11 +2729,10 @@ DK: punkt, S: punkt, FI: piste. -@c TODO: fix double redirect -- to "dotted note", and thence to "note value"? - @seealso -@ref{dotted note}. +@ref{dotted note}, @ref{note value}. + @node dotted note @section dotted note @@ -2314,6 +2750,7 @@ FI: pisteellinen nuotti. @ref{note value}. + @node double appoggiatura @section double appoggiatura @@ -2330,6 +2767,7 @@ FI: kaksoisappogiatura, kaksoisetuhele. @ref{appoggiatura}. + @node double bar line @section double bar line @@ -2344,6 +2782,7 @@ FI: kaksoistahtiviiva. Indicates the end of a section within a movement. + @node double dotted note @section double dotted note @@ -2360,6 +2799,7 @@ FI: kaksoispisteellinen nuotti. @ref{note value}. + @node double flat @section double flat @@ -2376,6 +2816,7 @@ FI: kaksoisalennusmerkki. @ref{accidental}. + @node double sharp @section double sharp @@ -2392,6 +2833,24 @@ FI: kaksoisylennysmerkki. @ref{accidental}. + +@node double time signature +@section double time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{polymetric time signature}. + + @node double trill @section double trill @@ -2406,13 +2865,14 @@ FI: kaksoistrilli. A simultaneous trill on two notes, usually in the distance of a third. + @node duple meter @section duple meter ES: tiempo binario, I: tempo binario, F: temps binaire, -D: in zwei, +D: in zwei, grader Takt, NL: tweedelige maatsoort, DK: todelt takt, S: tvåtakt, @@ -2422,6 +2882,7 @@ FI: kaksoistempo. @ref{meter}. + @node duplet @section duplet @@ -2438,6 +2899,7 @@ FI: duoli. @ref{note value}. + @node duration @section duration @@ -2454,49 +2916,56 @@ FI: kesto, aika-arvo. @ref{note value}. -@node dydimic comma -@section dydimic comma + +@node didymic comma +@section didymic comma @seealso @ref{syntonic comma}. + @node dynamics @section dynamics ES: ?, I: ?, -F: ?, -D: ?, +F: nuances, +D: Dynamik, Lautstärke, NL: ?, DK: ?, S: ?, FI: ?. -The aspect of music relating to degrees of loudness, or changes from one -degree to another. The terms, abbreviations, and symbols used to indicate -this information are called dynamic marks. +The aspect of music relating to degrees of loudness, or changes from +one degree to another. The terms, abbreviations, and symbols used to +indicate this information are called dynamic marks. @seealso -@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}. +@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, +@ref{diminuendo}. + @node E @section E -ES: mi, -I: mi, -F: mi, -D: E, e, -NL: e, -DK: e, -S: e, -FI: E, e. +@itemize +@item ES: mi +@item I: mi +@item F: mi +@item D: E, e +@item NL: e +@item DK: e +@item S: e +@item FI: E, e +@end itemize @seealso @ref{Pitch names} + @node ecclesiastical mode @section ecclesiastical mode @@ -2504,44 +2973,69 @@ FI: E, e. @ref{church mode}. + @node eighth note @section eighth note -ES: corchea, -I: croma, -F: croche, -UK: quaver, -D: Achtel, Achtelnote, -NL: achtste noot, -DK: ottendedelsnode, -S: åttondelsnot, -FI: kahdeksasosanuotti. +@itemize +@item UK: quaver +@item ES: corchea +@item I: croma +@item F: croche +@item D: Achtel, Achtelnote +@item NL: achtste noot +@item DK: ottendedelsnode +@item S: åttondelsnot +@item FI: kahdeksasosanuotti +@end itemize @seealso @ref{note value}. + @node eighth rest @section eighth rest -ES: silencio de corchea, -I: pausa di croma, -F: demi-soupir, -UK: quaver rest, -D: Achtelpause, -NL: achtste rust, -DK: ottendedelspause, -S: åttonddelspaus, -FI: kahdeksasosatauko. +@itemize +@item UK: quaver rest +@item ES: silencio de corchea +@item I: pausa di croma +@item F: demi-soupir +@item D: Achtelpause +@item NL: achtste rust +@item DK: ottendedelspause +@item S: åttonddelspaus +@item FI: kahdeksasosatauko +@end itemize @seealso @ref{note value}. + @node elision @section elision -FIXME: languages, definition +@c TODO: add languages + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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. + +@seealso + +@ref{lyric tie}. + @node embellishment @section embellishment @@ -2550,25 +3044,27 @@ FIXME: languages, definition @ref{ornament}. + @node engraving @section engraving ES: grabar, I: incisione, F: gravure, -D: Notenstechen, Notendruck +D: Notenstich, Notendruck NL: steken, DK: nodestik, S: nottryck, FI: painatus. -Engraving means incising or etching a metal plate for -printing. Photoengraving means drawing music with ink in a manner -similar to drafting or engineering drawing, using similar tools. +Engraving means incising or etching a metal plate for printing. +Photoengraving means drawing music with ink in a manner similar to +drafting or engineering drawing, using similar tools. The traditional process of music printing is done through cutting in a plate of metal. Now also the term for the art of music typesetting. + @node enharmonic @section enharmonic @@ -2581,8 +3077,8 @@ DK: enharmonisk, S: enharmonisk, FI: enharmoninen. -Two notes, intervals, or scales are enharmonic if they have different names -but equal pitch. +Two notes, intervals, or scales are enharmonic if they have different +names but equal pitch. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2597,6 +3093,7 @@ but equal pitch. >> @end lilypond + @node equal temperament @section equal temperament @@ -2616,6 +3113,7 @@ Tuning system dividing the octave into 12 equal @ref{semitone}s @ref{temperament}. + @node expression mark @section expression mark @@ -2628,82 +3126,92 @@ DK: foredragsbetegnelse, S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki. -Performance indications concerning 1. volume, dynamics (for example -@ref{forte}, @ref{crescendo}), 2. tempo (for example -@ref{andante}, @ref{allegro}). +Performance indications concerning: -@node extender line -@section extender line +@itemize -FIXME: add languages +@item volume, dynamics (for example @ref{forte}, @ref{crescendo}), -ES: línea de extención [de melisma, de bajo cifrado, etc.], -I: ?, +@item tempo (for example @ref{andante}, @ref{allegro}). + +@end itemize + + +@node extender line +@section extender line + +ES: línea de extención [de melisma, de bajo cifrado, etc.], +I: ?, F: ligne d'extension [de mélisme, de basse chiffrée, etc.], -D: ?, +D: Fülllinie, NL: ?, DK: ?, S: ?, -FI: . +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 for a line (or dash) of arbitrary length that extends +text (without indicating the musical @emph{function} of that text). Used in many contexts, for example: @itemize -@item -In vocal music to indicate the syllable for a melisma. Called @q{extension} -in the -@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}. + +@item In vocal music to indicate the syllable for a melisma. Called +@q{extension} in the +@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music +Dictionary}. @item In figured (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-- +@itemize - @item The chord thus represented should be held above a moving - bass line, when applied to more than one figure. +@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. - @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. @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. +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{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave +marking}. + @node F @section F -ES: fa, -I: fa, -F: fa, -D: F, f, -NL: f, -DK: f, -S: f, -FI: F, f. +@itemize +@item ES: fa +@item I: fa +@item F: fa +@item D: F, f +@item NL: f +@item DK: f +@item S: f +@item FI: F, f +@end itemize @seealso @ref{Pitch names} + @node F clef @section F clef @@ -2716,12 +3224,12 @@ DK: F-nøgle, S: f-klav, FI: F-avain. -The position between the dots of the key symbol is the line of the F below -central@w{ }C. Used on the third, fourth and fifth note line. A -digit@w{ }8 above the clef symbol indicates that the notes must be played -an octave higher (for example, bass recorder) while 8@w{ }below the clef -symbol indicates playing an octave lower (for example, on double bass -@ref{strings}). +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}). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2755,6 +3263,29 @@ symbol indicates playing an octave lower (for example, on double bass @c F: 'point d'orgue' on a note, 'point d'arret' on a rest. + +@node feathered beam +@section feathered beam + +ES: ?, +I: ?, +F: liens de croches en soufflet, +D: gespreizter Balken, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A type of beam used to indicate that a small group of notes should be +played at an increasing or decreasing tempo -- depending on the +direction of @q{feathering} -- but without changing the overall tempo +of the piece. + +@seealso + +Internals Reference: @ruser{Manual beams} + + @node fermata @section fermata @@ -2776,6 +3307,7 @@ Prolonged note or rest of indefinite duration. } @end lilypond + @node fifth @section fifth @@ -2792,6 +3324,7 @@ FI: kvintti. @ref{interval}. + @node figured bass @section figured bass @@ -2799,6 +3332,7 @@ FI: kvintti. @ref{thorough bass}. + @node fingering @section fingering @@ -2813,6 +3347,7 @@ FI: sormitus. The methodical use of fingers in the playing of instruments. + @node flag @section flag @@ -2840,13 +3375,14 @@ less than a quarter note. The number of flags determines the } @end lilypond + @node flat @section flat ES: bemol, I: bemolle, F: bémol, -D: B, b, +D: B, NL: mol, DK: b, S: beförtecken, @@ -2856,6 +3392,7 @@ FI: alennusmerkki. @ref{accidental}. + @node forefall @section forefall @@ -2863,6 +3400,7 @@ FI: alennusmerkki. @ref{appoggiatura}. + @node forte @section forte @@ -2878,6 +3416,7 @@ FI: forte, voimakkaasti. Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud, @emph{mezzo forte} (@samp{@b{mf}}) medium loud. + @node fourth @section fourth @@ -2894,6 +3433,69 @@ FI: kvartti. @ref{interval}. + +@node Frenched score +@section Frenched score + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A @q{condensed} score, produced by omitting staves for instruments that are not +playing at the moment, and by moving up additional systems from following pages +to take up the space thus liberated, which reduces the total number of pages +used to print the work. + +The specific rules for @q{frenching} a score differ from publisher to publisher. +If you are producing scores for eventual publication by a commercial publisher, +you may wish to procure a copy of their style manual. + +@seealso + +@ref{Frenched staff}. + + +@node Frenched staff +@section Frenched staff + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +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. + +@seealso + +@ref{ossia}. + + +@node Frenched staves +@section Frenched staves + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The plural of @ref{Frenched staff}, @emph{q.v.}. + + @node fugue @section fugue @@ -2910,6 +3512,7 @@ FI: fuuga. @ref{counterpoint}. + @node functional harmony @section functional harmony @@ -2922,11 +3525,11 @@ 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. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2939,22 +3542,26 @@ variants of the base chords. >> @end lilypond + @node G @section G -ES: sol, -I: sol, -F: sol, -D: G, g, -NL: g, -DK: g, -S: g, -FI: G, g. +@itemize +@item ES: sol +@item I: sol +@item F: sol +@item D: G, g +@item NL: g +@item DK: g +@item S: g +@item FI: G, g +@end itemize @seealso @ref{Pitch names} + @node G clef @section G clef @@ -2967,11 +3574,11 @@ DK: g-nøgle, S: g-klav, FI: G-avain. -A clef symbol indicating the G above central@w{ }C. Used on the first +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). +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). @lilypond[fragment,notime,ragged-right] << @@ -2999,6 +3606,7 @@ scores are notated like that). >> @end lilypond + @node glissando @section glissando @@ -3013,6 +3621,7 @@ FI: glissando, liukuen. Letting the pitch slide fluently from one note to the other. + @node grace notes @section grace notes @@ -3028,7 +3637,11 @@ FI: korunuotit. Notes printed in small types to indicate that their time values are not counted in the rhythm of the bar. -@ref{appoggiatura}. +@seealso + +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. + @node grand staff @section grand staff @@ -3036,7 +3649,7 @@ counted in the rhythm of the bar. ES: sistema de piano, I: accolatura, F: accolade, -D: Akkolade, +D: Akkolade, Klaviersystem, NL: piano systeem, DK: klaversystem, S: ackolad, böjd klammer, @@ -3048,13 +3661,14 @@ A combination of two staves with a brace. Usually used for piano music. @ref{brace}. + @node grave @section grave ES: grave, I: grave, F: grave, -D: grave, langsam, +D: Grave, Langsam, NL: grave, ernstig, DK: grave, S: grave, @@ -3062,6 +3676,7 @@ FI: grave, raskaasti. Slow, solemn. + @node gruppetto @section gruppetto @@ -3069,32 +3684,37 @@ Slow, solemn. @ref{turn}. + @node H @section H -ES: si, -I: si, -F: si, -D: H, h, -NL: b, -DK: h, -S: h, -FI: H, h. +@itemize +@item ES: si +@item I: si +@item F: si +@item D: H, h +@item NL: b +@item DK: h +@item S: h +@item FI: H, h +@end itemize -Letter name used for @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 @samp{B natural} in German and Scandinavian +usage. In the standard usage of these countries, @samp{B} means +@samp{B flat}. @seealso @ref{Pitch names}, @ref{B} + @node half note @section half note +UK: minim, ES: blanca, I: minima, F: blanche, -UK: minim, D: Halbe, halbe Note, NL: halve noot, DK: halvnode, @@ -3105,13 +3725,14 @@ FI: puolinuotti. @ref{note value}. + @node half rest @section half rest +UK: minim rest, ES: silencio de blanca, I: pausa di minima, F: demi-pause, -UK: minim rest, D: halbe Pause, NL: halve, rust, DK: halvnodespause, @@ -3122,6 +3743,7 @@ FI: puolitauko. @ref{note value}. + @node harmonic cadence @section harmonic cadence @@ -3134,8 +3756,7 @@ DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi. -A sequence of chords that terminates a musical phrase or -section. +A sequence of chords that terminates a musical phrase or section. @ref{functional harmony}. @@ -3162,6 +3783,7 @@ section. @end lilypond + @node harmony @section harmony @@ -3174,8 +3796,8 @@ DK: samklang, S: samklang, FI: harmonia, yhteissointi. -Tones sounding simultaneously. Two note harmonies fall into the categories -@emph{consonances} and @emph{dissonances}. +Tones sounding simultaneously. Two note harmonies fall into the +categories @emph{consonances} and @emph{dissonances}. Consonances: @@ -3207,6 +3829,52 @@ Dissonances: Three note harmony @ref{chord}. + +@node hemiola +@section hemiola + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +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. + +For example, this phrase in 6/4 time + +@lilypond[fragment,line-width=13.0\cm] +\key c \major +\time 6/4 +\relative c' { + c2. e | d2 c d | c1. \bar "||" } +@end lilypond + +may be thought of having alternating time signatures + +@lilypond[fragment,line-width=13.0\cm] +\key c \major +\time 6/4 +\relative c' { + c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" } +@end lilypond + +and is therefore a polymeter (second definition) of considerable antiquity. + +@seealso + +@ref{mensural notation}, @ref{meter}, @ref{polymeter}. + + @node homophony @section homophony @@ -3219,8 +3887,10 @@ DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys. -Music in which one voice leads melodically followed by the other voices more -or less in the same rhythm. In contrast to @ref{polyphony}. +Music in which one voice leads melodically followed by the other +voices more or less in the same rhythm. In contrast to +@ref{polyphony}. + @node interval @section interval @@ -3234,11 +3904,11 @@ 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 (@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. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3300,6 +3970,7 @@ octave. >> @end lilypond + @node inverted interval @section inverted interval @@ -3324,6 +3995,7 @@ The difference between an interval and an octave. } @end lilypond + @node just intonation @section just intonation @@ -3341,6 +4013,7 @@ natural fifths and thirds. @ref{temperament}. + @node key @section key @@ -3353,13 +4026,14 @@ DK: toneart, S: tonart, FI: tonaliteetti. -According to the 12@w{ }tones of the @ref{chromatic scale} -there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc. +According to the 12@w{ }tones of the @ref{chromatic scale} there are +12@w{ }keys, one on@w{ }c, one on c-sharp, etc. @seealso @ref{key signature}. + @node key signature @section key signature @@ -3377,6 +4051,23 @@ key of the music. @ref{accidental}. + +@node laissez vibrer +@section laissez vibrer + +ES: ?, +I: ?, +F: laissez vibrer, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From French, @q{Let vibrate}]. Most frequently associated with harp +parts. Marked @samp{l.v.} in the score. + + @node largo @section largo @@ -3389,8 +4080,9 @@ DK: largo, S: largo, FI: largo, hitaasti, leveästi. -Very slow in tempo, usually combined with great -expressiveness. @emph{Larghetto} is less slow than largo. +Very slow in tempo, usually combined with great expressiveness. +@emph{Larghetto} is less slow than largo. + @node leading note @section leading note @@ -3404,9 +4096,10 @@ DK: ledetone, S: ledton, FI: johtosävel. -The seventh @ref{scale degree}, a @ref{semitone} below -the tonic; so called because of its strong tendency to @q{lead up} (resolve -upwards) to the tonic scale degree. +The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so +called because of its strong tendency to @q{lead up} (resolve upwards) +to the tonic scale degree. + @node ledger line @section ledger line @@ -3427,21 +4120,22 @@ A ledger line is an extension of the staff. \relative c'' { a,1 s c'' } @end lilypond + @node legato @section legato ES: legato, I: legato, F: legato, lié, -D: legato, +D: legato, gebunden, NL: legato, DK: legato, S: legato, FI: legato, sitoen. -To be performed (a) without any perceptible interruption between the notes, -unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and -(d) @ref{staccato}. +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}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3461,6 +4155,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and >> @end lilypond + @node legato curve @section legato curve @@ -3468,6 +4163,7 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and @ref{slur}, @ref{legato}. + @node leger line @section leger line @@ -3475,34 +4171,49 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and @ref{ledger line}. + @node lilypond @section lilypond +UK: lily pond, ES: estanque de nenúfares, I: stagno del giglio, -F: étang de lis, -UK: lily pond, +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 typesetter. +A pond with lilies floating in it. +Also, the name of a music typesetting program. + @node ligature @section ligature -ES: ligadura +ES: ligadura, +I: ?, +F: ligature, +DE: Ligatur, +NL: ?, +DK: ?, +S: ?, +FI: ligatuura. A ligature is a coherent graphical symbol that represents at least two distinct notes. Ligatures originally appeared in the manuscripts of -Gregorian chant notation 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 system of the white mensural -notation, the need for ligatures to denote such patterns disappeared. +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 +system of the white mensural notation, the need for ligatures to denote such +patterns disappeared. + +@seealso + +@ref{mensural notation}. + @node line @section line @@ -3520,13 +4231,34 @@ FI: viiva, nuottiviiva. @ref{staff}. + +@node loco +@section loco + +ES: ?, +I: loco, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Italian, @q{place}]. Instruction to play the following passage at the +written pitch. Cancels octave mark (q.v.). + +@seealso + +@ref{octave mark}, @ref{octave marking}. + + @node long appoggiatura @section long appoggiatura ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, -D: langer Vorschlag, +D: Vorhalt, NL: Lange voorslag, DK: langt forslag, S: långt förslag, @@ -3536,6 +4268,7 @@ FI: pitkä appoggiatura, pitkä etuhele. @ref{appoggiatura}. + @node longa @section longa @@ -3562,27 +4295,39 @@ Note value: double length of @ref{breve}. @ref{note value}. + @node lyrics @section lyrics ES: letra (de la canción), -I: ., +I: ?, F: paroles, -D: Liedtext, +D: Liedtext, Gesangtext, NL: liedtekst, -DK: ., -S: ., -FI, sanoitus. +DK: ?, +S: ?, +FI: sanoitus. + @node lyric tie @section lyric tie -FIXME: add languages +ES: ?, +I: ?, +F: ?, +D: Textbindung, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add languages @seealso @ref{elision}. + @node major interval @section major interval @@ -3599,6 +4344,7 @@ FI: suuri intervalli. @ref{interval}. + @node major @section major @@ -3615,6 +4361,7 @@ FI: duuri. @ref{diatonic scale}. + @node meantone temperament @section meantone temperament @@ -3627,10 +4374,12 @@ 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{ }@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. + @node measure @section measure @@ -3645,12 +4394,13 @@ 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. +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. @ref{meter}. + @node mediant @section mediant @@ -3663,34 +4413,55 @@ DK: mediant, S: mediant, FI: keskisävel. -1.@tie{}The third @b{scale degree}. -2.@tie{}A @ref{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). +@itemize + +@item The third @b{scale degree}. + +@item A @ref{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{functional -harmony}, @ref{relative key}. @node melisma @section melisma ES: melisma, +I: ?, F: mélisme, +D: Melisma, NL: melisma, +DK: ?, +S: ?, FI: melisma, laulettavan tavun sävelkuvio. -A melisma (plural: melismata) is a group of notes or tones sung on one -syllable in plainsong +A melisma (plural, from Greek: melismata) is a group of notes or tones +sung on one syllable, especially as applied to liturgical chant. + @node melisma line @section melisma line -FIXME: add languages +@c TODO: add languages + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. @seealso @ref{extender line}. + @node melodic cadence @section melodic cadence @@ -3698,11 +4469,60 @@ FIXME: add languages @ref{cadenza}. + +@node mensural notation +@section mensural notation + +@c TODO: add languages + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +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 +notation. + +Franco of Cologne (ca. 1250) is credited with the first systematic explanation +of the notation's principles, so the notation of this earliest period is called +@q{Franconian}. Franco's system made use of three note values -- long, breve, +and semibreve -- each of which was normally equivalent to three of the next +lower note value. + +Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs +added several note values (the minim, semiminim and fusa) and extended Franco's +principles to govern the relationship between these values. They also put the +duple division of note values on an equal footing with the earlier (preferred) +triple division. + +TODO: continue description of French and Italian black notation, and the +relationship betwixt them. + +@b{White or void mensural notation} + +In the 15th century, hollow (or void) notes began to substitute for the earlier +solid black ones, which were then free to assume the function of red (or +colored) notes in the earlier notation. ... + +TODO: add to definition (including summary info on proportional notation) + +@seealso + +@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}. +@c TODO: more cross-references? + + @node meter @section meter -ES: compás, -I: tempo, metro, +ES: tiempo, compás, +I: tempo, misura, F: indication de mesure, mesure, D: Taktart, Metrum, NL: maatsoort, @@ -3710,38 +4530,146 @@ DK: taktart, S: taktart, FI: aika-arvo. -The basic scheme of @ref{note value}s and -@ref{accent}s which remains unaltered throughout a composition -or a section of it. For instance, 3/4 meter means that the basic -@ref{note value}s are quarter notes and that a -@ref{measure} consists of three of those. According to -whether there are two, three, or four units to the measure, -one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or -@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter. +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. -@lilypond[fragment,line-width=13.0\cm] -\relative c'' { - \time 3/4 - \key f \major - c es d | c bes8 a bes4 | c es d | c2 \bar "||"} +@b{By grouping beats}: + +@itemize + + @item @b{duple}: groups of two. + @item @b{triple}: groups of three. + @item @b{quadruple}: groups of four. A special case of duple meter. + @item @b{quintuple}: groups of five beats. + @item @b{sextuple} meter: groups of six. A special case of: + + @itemize + + @item duple meter, subdivided in three; or + @item triple meter, subdivided in two. + + @end itemize + + @item @b{septuple} meter: groups of seven. + @item and so on. + +@end itemize + +Other than triple meter and its subdivided variants (see below), meters that +feature odd groupings of beats (e.g. quintuple or septuple meter) are not +frequently used prior to the 20th Century. + +@b{By subdividing the primary beat}: + +@itemize + + @item simple: groups of two. + + @itemize + + @item duple: 2/2, 2/4, 2/8 + @item triple: 3/2, 3/4, 3/8 + @item quadruple: 4/2, 4/4 (also called common time), 4/8 + + @end itemize + + @item compound: groups of three. + + @itemize + + @item duple: 6/8 + @item triple: 9/8 + @item quadruple: 12/8 + + @end itemize + +@end itemize + +Time signatures are placed at the beginning of a composition (or section) to +indicate the meter. For instance, a piece written in simple triple meter with a +beat on each quarter note is conventionally written with a time signature of +3/4. Here are some combinations of the two classifications above: + +Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 2/4 + \key g \major + g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"} +@end lilypond + +Simple triple meter: + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 3/4 + \key c \minor + c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"} +@end lilypond + +Simple quadruple meter (French folk tune, @emph{Au clair de la lune}): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 4/4 + \key g \major + g4 g g a | b2 a | g4 b a a | g1 \bar "||"} +@end lilypond + +Simple quintuple meter (B. Marcello, 1686-1739): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 5/4 + \key c \major + r4 cis8 bis ais4 dis c8 ais | + aes4 bes8 aes ges4 aes f8 es \bar "||"} @end lilypond +Compound duple meter (unknown): + @lilypond[fragment,line-width=13.0\cm] \relative c' { \time 6/8 \key f \major - f8 f f f a16 g a f | - c'8 c c c e16 d e c \bar "||"} + f8 f g a bes16 a g f | + g8 g bes a c16 a bes g + \bar "||"} @end lilypond +Compound triple meter (J.S. Bach, 1685-1750): + @lilypond[fragment,line-width=13.0\cm] -\relative c'' { - \time 5/4 +\relative c' { + \time 9/8 \key g \major - d4 b8 g b d d c a4 | - g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"} + r8 g'( a) b( d c) c( e d) | + d( g fis) g( d b) g( a b) + \bar "||"} @end lilypond +Compound quadruple meter (P. Yon, 1886-1943): + +@lilypond[fragment,line-width=13.0\cm] +\relative c' { + \time 12/8 + \key e \major + b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 | + e4 e8 fis( gis) a b4.~ b4 b8 + \bar "||"} +@end lilypond + +@b{@q{Monometer} vs Polymeter} + +TODO: add information from discussion on lilypond-user related to polymeter. + +@seealso + +@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} + + @node metronome @section metronome @@ -3756,12 +4684,28 @@ FI: metronomi. Device indicating the exact tempo of a piece. -@ref{metronomic -indication}. +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 +followed acknowledged Winkler as the creator, but by then Mälzel had already +sold many of them, and people had taken to calling it a Mälzel Metronome. + +@seealso + +@ref{metronome mark}. + @node metronomic indication @section metronomic indication +@seealso + +@ref{metronome mark} + + +@node metronome mark +@section metronome mark + ES: indicación metronómica, I: indicazione metronomica, F: indication métronomique, @@ -3771,8 +4715,14 @@ DK: metronomtal, S: metronomangivelse, FI: metronomiosoitus. -Exact tempo indication (in beats per minute). Also denoted by -M.M.@: (Mälzels Metronom). +Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or +@samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, +@emph{anglice}). + +@seealso + +@ref{metronome} + @node mezzo-soprano @section mezzo-soprano @@ -3788,6 +4738,7 @@ FI: mezzosopraano. The female voice between @ref{soprano} and @ref{contralto}. + @node middle C @section middle C @@ -3812,6 +4763,7 @@ First C below the 440 Hz A. } @end lilypond + @node minor @section minor @@ -3828,6 +4780,7 @@ FI: molli. @ref{diatonic scale}. + @node minor interval @section minor interval @@ -3844,13 +4797,14 @@ FI: pieni intervalli. @ref{interval}. + @node mode @section mode ES: modo, I: modo, F: mode, -D: Modus, +D: Kirchentonart, Modus, NL: modus, DK: skala, S: modus, skala, @@ -3860,6 +4814,7 @@ FI: moodi, kirkkosävelasteikko. @ref{church mode}, @ref{diatonic scale}. + @node modulation @section modulation @@ -3872,10 +4827,10 @@ DK: modulation, S: modulering, FI: modulaatio, sävellajin vaihdos. -Moving from one @ref{key} to another. For example, the second -subject of a @ref{sonata form} movement modulates to the dominant -key if the key is major and to the @ref{relative key} if the key -is minor. +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. + @node mordent @section mordent @@ -3892,6 +4847,7 @@ FI: mordent, korukuvio. @ref{ornament}. + @node motif @section motif @@ -3899,6 +4855,7 @@ FI: mordent, korukuvio. @ref{motive}. + @node motive @section motive @@ -3911,8 +4868,8 @@ DK: motiv, S: motiv, FI: teema, sävelaihe. -The briefest intelligible and self-contained fragment of a musical theme or -subject. +The briefest intelligible and self-contained fragment of a musical +theme or subject. @lilypond[line-width=13.0\cm] \score{ @@ -3932,6 +4889,7 @@ subject. } @end lilypond + @node movement @section movement @@ -3944,30 +4902,44 @@ DK: sats, S: sats, FI: osa. -Greater musical works like @ref{symphony} and -@ref{sonata} most often consist of several -- more or less -- -independant pieces called movements. +Greater musical works like @ref{symphony} and @ref{sonata} most often +consist of several -- more or less -- independant pieces called +movements. + -@node multibar rest -@section multibar rest +@node multi-measure rest +@section multi-measure rest ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, -D: mehrtaktige Pause, +D: mehrtaktige Pause, Kirchenpause, DK: flertaktspause, S: flertaktspaus, FI: usean tahdin mittainen tauko. +Multi-measure rests are conventionally typeset with a combination of +longa, breve and whole rests for shorter and a long horizontal bar for +longer spans of rest, with a number above to indicate the duration (in +measures) of the rest. The former style is called @q{Kirchenpausen} in +German, as a reminiscence of its use in Renaissance vocal polyphony. + @lilypond[fragment,ragged-right] \relative c'' { a1 \set Score.skipBars = ##t R1*3 a1 + \set Score.skipBars = ##t R1*122 + a1 } @end lilypond +@seealso + +@ref{longa}, @ref{breve}. + + @node mixolydian mode @section mixolydian mode @@ -3975,8 +4947,9 @@ FI: usean tahdin mittainen tauko. @ref{diatonic scale}. -@node natural sign -@section natural sign + +@node natural +@section natural ES: becuadro, I: bequadro, @@ -3991,12 +4964,15 @@ FI: palautusmerkki. @ref{accidental}. + @node neighbour tones @section neighbour tones @seealso -@ref{appoggiatura}. +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. + @node ninth @section ninth @@ -4014,6 +4990,7 @@ FI: nooni. @ref{interval}. + @node non-legato @section non-legato @@ -4021,6 +4998,7 @@ FI: nooni. @ref{legato}. + @node note @section note @@ -4039,6 +5017,7 @@ 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. + @node note head @section note head @@ -4058,6 +5037,15 @@ by a variety of shapes such as hollow or black heads with or without instruments (often having no defined pitch) the note head may indicate the instrument. + +@node note names +@section note names + +@seealso + +@ref{Pitch names} + + @node note value @section note value @@ -4070,11 +5058,13 @@ 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} is used. +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. + +@c TODO -- add maxima to this example, in a way that doesn't break it. @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large @@ -4087,6 +5077,8 @@ but sometimes (mostly in pre-baroque music) the double length note value a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 } @end lilypond +@c TODO -- add maxima rest to this example + @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large \set Score.automaticBars = ##f @@ -4131,12 +5123,14 @@ dotted notes are also frequently used. } @end lilypond -@node octave sign -@section octave sign + +@node octavation +@section octavation @seealso -@ref{G clef}, @ref{F clef}. +@ref{octave marking}. + @node octave @section octave @@ -4150,9 +5144,102 @@ 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{interval}, @ref{octave marking}. + + +@node octave mark +@section octave mark + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: oktaavamerkki. + +The phrase, abbreviation, or other mark used (with or without an extender line +or bracket) to indicate that the music is to be played in a different octave: + +@itemize + +@item @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} + +@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.). + +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)} + +@end itemize + +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{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}. + + +@node octave marking +@section octave marking + +ES: a la octava, +I: all'ottava, +F: octaviation, +D: Oktavierung, +NL: octaveren, +DK: oktavering, +S: oktavering, +FI: oktaavamerkintä. + +The practice of marking music -- an entire staff, a passage, etc. -- to indicate +that it is to be played in a different octave. If applied to the clef at the +beginning of the staff, all music on that staff is to played at the indicated +octave. + +For a list of the specific marks used, see @ref{octave mark}. + +@seealso + +@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}. + + +@node octave sign +@section octave sign + +@seealso + +@ref{octave mark}. + @node ornament @section ornament @@ -4212,7 +5299,8 @@ the @seealso -@ref{appoggiatura}. +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}. + @node ossia @section ossia @@ -4230,6 +5318,7 @@ 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. + @node part @section part @@ -4242,9 +5331,20 @@ DK: stemme, S: stämma, FI: stemma, instrumenttiosuus. -1.@tie{}In instrumental or choral music the music for the single instrument -or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single -melodic line of the contrapunctal web. +@itemize + +@item In instrumental or choral music, the music for a single +instrument or voice. + +@item in contrapuntal music, a single melodic line in the contrapuntal +web. + +@end itemize + +@seealso + +@ref{counterpoint} + @node pause @section pause @@ -4253,6 +5353,7 @@ melodic line of the contrapunctal web. @ref{fermata}. + @node pennant @section pennant @@ -4260,6 +5361,7 @@ melodic line of the contrapunctal web. @ref{flag}. + @node percussion @section percussion @@ -4278,6 +5380,7 @@ kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel, and xylophone. + @node perfect interval @section perfect interval @@ -4294,6 +5397,7 @@ FI: puhdas intervalli. @ref{interval}. + @node phrase @section phrase @@ -4308,6 +5412,7 @@ FI: fraasi, lause. A natural division of the melodic line, comparable to a sentence of speech. + @node phrasing @section phrasing @@ -4323,6 +5428,7 @@ 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 @@ -4339,6 +5445,7 @@ FI: kohotahti. @ref{anacrusis}. + @node piano @section piano @@ -4354,6 +5461,7 @@ 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 @@ -4366,6 +5474,24 @@ 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 @@ -4378,7 +5504,72 @@ DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. -Play by plucking the strings. +A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking +the strings. + + +@node polymeter +@section polymeter + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@itemize + +@item The simultaneous use of two or more meters, in two or more parts. + +@item The @emph{successive} use of different meters in one or more parts. + +@end itemize + +@seealso + +@ref{polymetric} (adj.) + + +@node polymetric +@section polymetric + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Using two or more metric frameworks simultaneously or in alternation. + +@seealso + +@ref{polymeter} (noun) + + +@node polymetric time signature +@section polymetric time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A time signature that indicates regularly alternating polymetric time. + +@seealso + +@ref{polymetric}. + @node polyphony @section polyphony @@ -4392,11 +5583,12 @@ DK: polyfoni, S: polyfoni, FI: polyfonia, moniäänisyys. -Music written in a combination of several simultaneous voices (parts) of a -more or less pronounced individuality. +Music written in a combination of several simultaneous voices (parts) +of a more or less pronounced individuality. @ref{counterpoint}. + @node portato @section portato @@ -4404,6 +5596,7 @@ more or less pronounced individuality. @ref{legato}. + @node presto @section presto @@ -4419,6 +5612,31 @@ FI: presto, hyvin nopeasti. Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} denotes the highest possible degree of speed. + +@node proportion +@section proportion + +ES: proporción, +I: proprozione (?), +F: proportion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the +relationship between the note values that follow with those that precede; or +between the note values of a passage and the @q{normal} relationship of note +values to the metrical pulse. + +@c TODO: add an example or two. O => 4/3, and its modern equivalent + +@seealso + +@ref{mensural notation} + + @node Pythagorean comma @section Pythagorean comma @@ -4431,12 +5649,15 @@ DK: pythagoræisk komma, S: pytagoreiskt komma, FI: pytagorinen komma. -A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C, -but this@w{ }C, obtained by adding 12@w{ }fifths, is -24 @ref{cent}s higher than the@w{ }C obtained by adding -7@w{ }octaves. The difference between those two pitches is called the +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. +@seealso + +@ref{cent}, @ref{temperament}. + @node quadruplet @section quadruplet @@ -4453,39 +5674,65 @@ FI: kvartoli. @ref{note value}. + @node quarter note @section quarter note -ES: negra, -I: semiminima, nera, -F: noire, -UK: crotchet, -D: Viertel, Viertelnote, -NL: kwartnoot, -DK: fjerdedelsnode, -S: fjärdedelsnot, -FI: neljännesosanuotti. +@itemize +@item UK: crotchet +@item ES: negra +@item I: semiminima, nera +@item F: noire +@item D: Viertel, Viertelnote +@item NL: kwartnoot +@item DK: fjerdedelsnode +@item S: fjärdedelsnot +@item FI: neljäsosanuotti +@end itemize @seealso @ref{note value}. + @node quarter rest @section quarter rest -ES: silencio de negra, -I: pausa di semiminima, -F: soupir, -UK: crotchet rest, -D: Viertelpause, -NL: kwart rust, -DK:@w{ }fjerdedelspause, -S: fjärdedelspaus, -FI: neljännesosatauko. +@itemize +@item UK: crotchet rest +@item ES: silencio de negra +@item I: pausa di semiminima +@item F: soupir +@item D: Viertelpause +@item NL: kwartrust +@item DK: fjerdedelspause +@item S: fjärdedelspaus +@item FI: neljäsosatauko +@end itemize + +@seealso + +@ref{note value}. + + +@node quarter tone +@section quarter tone + +ES: ?, +I: ?, +F: quart de ton, +D: Viertelton, +NL: kwart toon, +DK: ?, +S: kvartston, +FI: ?. + +An interval equal to half a semitone. @seealso -@ref{note value}. +@ref{interval} + @node quintuplet @section quintuplet @@ -4503,6 +5750,7 @@ FI: kvintoli. @ref{note value}. + @node rallentando @section rallentando @@ -4519,6 +5767,7 @@ Abbreviation "rall.". @ref{ritardando}. + @node relative key @section relative key @@ -4552,6 +5801,7 @@ FI: rinnakkaissävellaji. } @end lilypond + @node repeat @section repeat @@ -4572,8 +5822,6 @@ FI: toisto. } @end lilypond -@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to -@c specify the rest's value. @node rest @section rest @@ -4587,10 +5835,14 @@ DK: pause, S: paus, FI: tauko. +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. + @seealso @ref{note value}. + @node rhythm @section rhythm @@ -4603,14 +5855,22 @@ DK: rytme, S: rytm, FI: rytmi. -(a) Metrical rhythm in which every time value is a multiple or fraction of a -fixed unit of time, called @ref{beat}, and in which the normal -@ref{accent} recurs in regular intervals, called -@ref{measure}. The basic scheme of time values is called -@ref{meter}. (b) Measured rhythm which lacks regularly recurrent -accent. In modern notation such music appears as a free alternation of -different measures. (c) Free rhythm, i.e., the use of temporal values having -no common metrical unit (beat). +@itemize + +@item Metrical rhythm in which every time value is a multiple or +fraction of a fixed unit of time, called @ref{beat}, and in which the +normal @ref{accent} recurs in regular intervals, called @ref{measure}. +The basic scheme of time values is called @ref{meter}. + +@item Measured rhythm which lacks regularly recurrent accent. In +modern notation such music appears as a free alternation of different +measures. + +@item Free rhythm, i.e., the use of temporal values having no common +metrical unit (beat). + +@end itemize + @node ritardando @section ritardando @@ -4618,7 +5878,7 @@ no common metrical unit (beat). ES: ritardando, I: ritardando, F: ritardando, -D: Ritardando, langsamer werden, +D: ritardando, langsamer werden, NL: ritardando, DK: ritardando, S: ritardando, @@ -4626,13 +5886,14 @@ FI: ritardando, hidastuen, Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard. + @node ritenuto @section ritenuto ES: ritenuto, I: ritenuto, F: ritenuto, -D: Ritenuto, +D: ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, @@ -4640,6 +5901,7 @@ FI: ritenuto, hidastaen. Immediate reduction of speed. + @node scale @section scale @@ -4656,6 +5918,7 @@ FI: asteikko, sävelasteikko. @ref{diatonic scale}. + @node scale degree @section scale degree @@ -4668,9 +5931,9 @@ DK: skalatrin, S: skalsteg (?), FI: sävelaste, asteikon sävel. -Names and symbols used in harmonic analysis to denote tones of the scale as -roots of chords. The most important are degrees I = tonic (T), IV = -sub@-do@-mi@-nant (S) and V = dominant (D). +Names and symbols used in harmonic analysis to denote tones of the +scale as roots of chords. The most important are degrees I = tonic +(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -4689,40 +5952,43 @@ sub@-do@-mi@-nant (S) and V = dominant (D). @ref{functional harmony}. + @node scordatura @section scordatura ES: ?, I: scordatura, F: à cordes ravallées, -D: ?, +D: Skordatur, NL: ?, DK: ?, S: ?, FI: ?. -[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of -stringed instruments, particularly lutes or violins. Used to: +[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional +tuning of stringed instruments, particularly lutes or violins. Used +to: @itemize -@item facilitate pitch combinations that would otherwise be difficult or -impossible +@item facilitate pitch combinations that would otherwise be difficult +or impossible -@item -alter the characteristic timbre of the instrument, for example, to increase -brilliance) +@item alter the characteristic timbre of the instrument, for example, +to increase brilliance) -@item reinforce certain sonorities or tonalities by making them available on -open strings +@item reinforce certain sonorities or tonalities by making them +available on open strings @item imitate other instruments @item etc. + @end itemize -Tunings that could be called @var{scordatura} first appeared early in the 16th -Century and became commonplace in the 17th. +Tunings that could be called @var{scordatura} first appeared early in +the 16th Century and became commonplace in the 17th. + @node score @section score @@ -4736,9 +6002,10 @@ DK: partitur, S: partitur, FI: partituuri. -A copy of orchestral, choral, or chamber music showing what each instrument is -to play, each voice to sing, having each part arranged one underneath the -other on different staves @ref{staff}. +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}. + @node second @section second @@ -4746,16 +6013,17 @@ other on different staves @ref{staff}. ES: segunda, I: secunda, F: seconde, -D: Sekund(a), +D: Sekunde, NL: secunde, DK: sekund, S: sekund, FI: sekunti. The @ref{interval} between two neigbouring tones of a scale. A -@ref{diatonic scale} consists of alternating -@ref{semitone}s and @ref{whole tone}s, hence the size -of a se@-cond depends on the scale degrees in question. +@ref{diatonic scale} consists of alternating @ref{semitone}s and +@ref{whole tone}s, hence the size of a se@-cond depends on the scale +degrees in question. + @node semitone @section semitone @@ -4769,17 +6037,21 @@ DK: halvtone, S: halvton, FI: puolisävel. -The @ref{interval} of a minor second. The (usually) smallest -interval in European composed music. The interval between two neighbouring -tones on the piano keyboard -- including black and white keys -- is a -semitone. An octave may be divided into 12@w{ }semitones. -@ref{interval}, @ref{chromatic scale}. +The interval of a minor second. The (usually) smallest interval in European +composed music. The interval between two neighbouring tones on the piano +keyboard -- including black and white keys -- is a semitone. An octave may +be divided into 12@w{ }semitones. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c'' { g1 gis s a bes s b! c } @end lilypond +@seealso + +@ref{interval}, @ref{chromatic scale}. + + @node seventh @section seventh @@ -4796,12 +6068,14 @@ FI: septimi. @ref{interval}. + @node sextolet @section sextolet @seealso -@ref{sextuplet} +@ref{sextuplet}, @ref{note value}. + @node sextuplet @section sextuplet @@ -4819,6 +6093,7 @@ FI: sekstoli. @ref{note value}. + @node shake @section shake @@ -4826,6 +6101,7 @@ FI: sekstoli. @ref{trill}. + @node sharp @section sharp @@ -4842,47 +6118,67 @@ FI: korotusmerkki. @ref{accidental}. -@node short appoggiatura -@section short appoggiatura + +@node simple meter +@section simple meter + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A meter in which the basic beat is subdivided in two: that is, a meter +that does not include triplet subdivision of the beat. @seealso -@ref{appoggiatura}. +@ref{compound meter}, @ref{meter}. + @node sixteenth note @section sixteenth note -ES: semicorchea, -I: semicroma, -F: double croche, -UK: semiquaver, -D: Sechzehntel, Sechzehntelnote, -NL: zes@-ti@-ende noot, -DK: sekstendedelsnode, -S: sextondelsnot, -FI: kuudestoistaosanuotti. +@itemize +@item UK: semiquaver +@item ES: semicorchea +@item I: semicroma +@item F: double croche +@item D: Sechzehntel, Sechzehntelnote +@item NL: zes@-ti@-ende noot +@item DK: sekstendedelsnode +@item S: sextondelsnot +@item FI: kuudestoistaosanuotti +@end itemize @seealso @ref{note value}. + @node sixteenth rest @section sixteenth rest -ES: silencio de semicorchea, -I: pausa di semicroma, -F: quart de soupir, -UK: semiquaver rest, -D: Sechzehntelpause, -NL: zestiende rust, -DK: sekstendedelspause, -S: sextondelspaus, -FI: kuudesosatauko. +@itemize +@item UK: semiquaver rest +@item ES: silencio de semicorchea +@item I: pausa di semicroma +@item F: quart de soupir +@item D: Sechzehntelpause +@item NL: zestiende rust +@item DK: sekstendedelspause +@item S: sextondelspaus +@item FI: kuudestoistaosatauko +@end itemize @seealso @ref{note value}. + @node sixth @section sixth @@ -4899,55 +6195,63 @@ FI: seksti. @ref{interval}. + @node sixty-fourth note @section sixty-fourth note -ES: semifusa, -I: semibiscroma, -F: quadruple croche, -UK: hemidemisemiquaver, -D: Vierundsechzigstel, Vierundsechzigstelnote, -NL: vierenzestigste noot, -DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, -S: sextiofjärdedelsnot, -FI: kuudeskymmenesneljäsosanuotti. +@itemize +@item UK: hemidemisemiquaver +@item ES: semifusa +@item I: semibiscroma +@item F: quadruple croche +@item D: Vierundsechzigstel, Vierundsechzigstelnote +@item NL: vierenzestigste noot +@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de +@item S: sextiofjärdedelsnot +@item FI: kuudeskymmenesneljäsosanuotti +@end itemize @seealso @ref{note value}. + @node sixty-fourth rest @section sixty-fourth rest -ES: silencio de semifusa, -I: pausa di semibiscroma, -F: seizième de soupir, -UK: hemidemisemiquaver rest, -D: Vierundsechzigstelpause, -NL: vierenzestigste rust, -DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, -S: sextiofjärdedelspaus, -FI: kuudeskymmenesneljäsosatauko. +@itemize +@item UK: hemidemisemiquaver rest +@item ES: silencio de semifusa +@item I: pausa di semibiscroma +@item F: seizième de soupir +@item D: Vierundsechzigstelpause +@item NL: vierenzestigste rust +@item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se +@item S: sextiofjärdedelspaus +@item FI: kuudeskymmenesneljäsosatauko +@end itemize @seealso @ref{note value}. + @node slur @section slur ES: ligadura (de expresión), I: legatura (di portamento or espressiva), F: liaison, coulé, -D: Bogen, Legatobogen, Phrasierungsbogen, +D: Bogen (Legatobogen, Phrasierungsbogen), NL: fraseringsboog, legatoboog, streekboog, DK: legatobue, fraseringsbue, S: båge, FI: kaari. -A slur above or below a group of notes indicates that they are to be played -@ref{legato}, e.g., with one stroke of the violin bow or with one -breath in singing. +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. + @node solmization @section solmization @@ -4962,12 +6266,13 @@ 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}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si} +@ref{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}. + @node sonata @section sonata @@ -4980,9 +6285,11 @@ DK: sonate, S: sonat, FI: sonaatti. -In its present-day meaning a sonata denotes an instrumental composition for -piano or for some other instrument with piano accompaniment, which consists of -three or four independant pieces, called movements. +In its present-day meaning a sonata denotes an instrumental +composition for piano or for some other instrument with piano +accompaniment, which consists of three or four independant pieces, +called movements. + @node sonata form @section sonata form @@ -4997,18 +6304,20 @@ 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{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}. + @node song texts @section song texts @@ -5016,6 +6325,7 @@ the key of the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the @ref{lyrics}. + @node soprano @section soprano @@ -5030,20 +6340,21 @@ FI: sopraano, korkea naisääni. The highest female voice. + @node staccato @section staccato ES: picado, I: staccato, F: staccato, piqué, détaché, -D: Staccato, +D: staccato, NL: staccato, DK: staccato, S: staccato, FI: staccato, lyhyesti, terävästi. -Playing the note(s) short. Staccato is indicated by a dot above or below the -note head. +Playing the note(s) short. Staccato is indicated by a dot above or +below the note head. @lilypond[fragment,ragged-right] \key d \major @@ -5055,23 +6366,25 @@ note head. } @end lilypond + @node staff @section staff ES: pentagrama, I: pentagramma, rigo (musicale), F: portée, -D: Notenzeile, +D: Notensystem, Notenzeile, NL: (noten)balk, partij, DK: nodesystem, S: notsystem, FI: nuottiviivasto. -A staff (pl. staves) is a series of (normally five) horizontal lines -upon and between which the musical notes are written, thus indicating -(in connection with a @ref{clef}) their pitch. Staves for +A staff (plural: staves) is a series of (normally five) horizontal +lines upon and between which the musical notes are written, thus +indicating (in connection with a @ref{clef}) their pitch. Staves for @ref{percussion} instruments may have fewer lines. + @node staves @section staves @@ -5079,6 +6392,7 @@ upon and between which the musical notes are written, thus indicating @ref{staff}. + @node stem @section stem @@ -5108,6 +6422,7 @@ whole note. } @end lilypond + @node strings @section strings @@ -5120,8 +6435,10 @@ DK: strygere, S: stråkar, FI: jouset. -A family of stringed musical instruments played with a bow. Strings commonly -used in a symphony orchestra are violin, viola, violoncello, and double bass. +A family of stringed musical instruments played with a bow. Strings +commonly used in a symphony orchestra are violin, viola, violoncello, +and double bass. + @node strong beat @section strong beat @@ -5139,6 +6456,7 @@ FI: tahdin vahva isku. @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}. + @node subdominant @section subdominant @@ -5155,6 +6473,7 @@ The fourth @ref{scale degree}. @ref{functional harmony}. + @node submediant @section submediant @@ -5169,6 +6488,7 @@ FI: alikeskisävel. The sixth @ref{scale degree}. + @node subtonic @section subtonic @@ -5183,13 +6503,14 @@ FI: subtoonika, alitoonika. The seventh @ref{scale degree}. + @node sul G @section sul G ES: sobre la G, I: sul g, F: sur la G, -D: ?, +D: auf G, auf der G-Saite, NL: ?, DK: ?, S: ?, @@ -5198,6 +6519,7 @@ FI: ?. Indicates that the indicated passage (or note) should be played on the G string. + @node superdominant @section superdominant @@ -5212,6 +6534,7 @@ FI: ylidominantti. The sixth @ref{scale degree}. + @node supertonic @section supertonic @@ -5226,6 +6549,7 @@ FI: ylitoonika. The second @ref{scale degree}. + @node symphony @section symphony @@ -5240,6 +6564,7 @@ FI: sinfonia. A symphony may be defined as a @ref{sonata} for orchestra. + @node syncopation @section syncopation @@ -5254,10 +6579,11 @@ FI: synkooppi. Any deliberate upsetting of the normal pulse of @ref{meter}, @ref{accent}, and @ref{rhythm}. The occidental system of musical -rhythm rests upon the grouping of equal beats into groups of two or three, -with a regularly recurrent accent on the first beat of each group. Any -deviation from this scheme is felt as a disturbance or contradiction between -the underlaying (normal) pulse and the actual (abnormal) rhythm. +rhythm rests upon the grouping of equal beats into groups of two or +three, with a regularly recurrent accent on the first beat of each +group. Any deviation from this scheme is felt as a disturbance or +contradiction between the underlaying (normal) pulse and the actual +(abnormal) rhythm. @lilypond[fragment,ragged-right] \time 4/4 @@ -5268,6 +6594,7 @@ the underlaying (normal) pulse and the actual (abnormal) rhythm. } @end lilypond + @node syntonic comma @section syntonic comma @@ -5278,11 +6605,12 @@ D: syntonisches Komma, NL: syntonische komma, DK: syntonisk komma, S: syntoniskt komma, -FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa -viritysjärjestelmässä. +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. -Difference between the natural third and the third obtained by Pythagorean -tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents. @node system @section system @@ -5290,14 +6618,15 @@ tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents. ES: sistema, I: accollatura, F: système, -D: Notensystem, +D: Notensystem, Partitur, NL: systeem, DK: system, S: system, FI: nuottijärjestelmä. -The collection of staves @ref{staff}, two or more, as used for -writing down of keyboard, chamber, choral, or orchestral music. +The collection of staves (@ref{staff}), two or more, as used for writing +down of keyboard, chamber, choral, or orchestral music. + @node temperament @section temperament @@ -5311,11 +6640,12 @@ DK: temperatur, S: temperatur, FI: viritysjärjestelmä. -Systems of tuning in which the intervals deviate from the acoustically pure -intervals. +Systems of tuning in which the intervals deviate from the acoustically +pure intervals. @ref{meantone temperament}, @ref{equal temperament}. + @node tempo indication @section tempo indication @@ -5328,10 +6658,11 @@ 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 +@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and +@ref{presto}. + @node tenor @section tenor @@ -5347,6 +6678,7 @@ FI: tenori, korkea miesääni. The highest male voice (apart from @ref{counter tenor}). + @node tenth @section tenth @@ -5363,6 +6695,7 @@ FI: desimi. @ref{note value}. + @node tenuto @section tenuto @@ -5378,6 +6711,7 @@ 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. + @node third @section third @@ -5394,40 +6728,47 @@ FI: terssi. @ref{interval}. + @node thirty-second note @section thirty-second note -ES: fusa, -I: biscroma, -F: triple croche, -UK: demisemiquaver, -D: Zweiunddreissigstel, Zweiunddreissigstelnote, -NL: twee-endertig@-ste noot, -DK: toogtredivtedelsnode, -S: trettiotvåondelsnot, -FI: kolmanneskymmeneskahdesosanuotti. +@itemize +@item UK: demisemiquaver +@item ES: fusa +@item I: biscroma +@item F: triple croche +@item D: Zweiunddreissigstel, Zweiunddreissigstelnote +@item NL: twee-endertig@-ste (32e) noot +@item DK: toogtredivtedelsnode +@item S: trettiotvåondelsnot +@item FI: kolmaskymmeneskahdesosanuotti +@end itemize @seealso @ref{note value}. + @node thirty-second rest @section thirty-second rest -ES: silencio de fusa, -I: pausa di biscroma, -F: huitième de soupir, -UK: demisemiquaver rest, -D: Zweiunddreissigstel@-pause, -NL: 32e rust, -DK: toogtredivtedelspause, -S: trettiotvåondelspaus, -FI: kolmanneskymmeneskahdesosatauko. +@itemize +@item UK: demisemiquaver rest +@item ES: silencio de fusa +@item I: pausa di biscroma +@item F: huitième de soupir +@item D: Zweiunddreissigstel@-pause +@item NL: twee-endertig@-ste (32e) rust +@item DK: toogtredivtedelspause +@item S: trettiotvåondelspaus +@item FI: kolmaskymmeneskahdesosatauko +@end itemize @seealso @ref{note value}. + @node thorough bass @section thorough bass @@ -5440,8 +6781,8 @@ 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 +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] @@ -5469,27 +6810,30 @@ with figures designating the chief @ref{interval}s and >> @end lilypond + @node tie @section tie ES: ligadura de prolongación, I: legatura (di valore), F: liaison, -D: Haltebogen, +D: Haltebogen, Bindebogen, NL: overbinding, bindingsboog, DK: bindebue, S: bindebåge, överbindning, FI: sitominen. A curved line, identical in appearance with the @ref{slur}, which -connects two succesive notes of the same pitch, and which has the function of -uniting them into a single sound (tone) equal to the combined durations. +connects two succesive notes of the same pitch, and which has the +function of uniting them into a single sound (tone) equal to the +combined durations. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f \relative c'' { g2 ~ g4. } @end lilypond + @node time @section time @@ -5497,6 +6841,7 @@ uniting them into a single sound (tone) equal to the combined durations. @ref{meter}. + @node time signature @section time signature @@ -5509,9 +6854,14 @@ DK: taktangivelse, S: taktartssignatur, FI: tahtiosoitus. +The sign placed at the beginning of a composition to indicate its +meter. It most often takes the form of a fraction, but a few signs +derived from mensural notation and proportions are also employed. + @seealso -@ref{meter}. +@ref{mensural notation}, @ref{meter}. + @node tone @section tone @@ -5527,8 +6877,10 @@ 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. + @node tonic @section tonic @@ -5547,6 +6899,45 @@ The first @ref{scale degree}. @ref{functional harmony}. + +@node transposing instrument +@section transposing instrument + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Instruments whose notated pitch is different from their sounded pitch. Except +for those whose notated and sounding pitches differ by one or more octaves (to +reduce the number of ledger lines needed), most such instruments are identified +by the letter name of the pitch class of their fundamental. The pitch class is +the note that @emph{sounds} (disregarding the octave in which it sounds) when +the instrument plays a notated C. + +For example: when played on the B-flat clarinet, the note middle C @emph{sounds} +the B-flat one tone lower. If played on the A clarinet, the same written +note sounds the A (one and half tones -- a minor third -- lower). + +Not all transposing instruments include the pitch class in their name: + +@itemize + +@item English horn (in F) + +@item Alto flute (in G) + +@end itemize + +@seealso + +@ref{concert pitch}. + + @node transposition @section transposition @@ -5582,6 +6973,7 @@ relative pitches. } @end lilypond + @node treble clef @section treble clef @@ -5590,7 +6982,7 @@ I: chiave di violino, F: clef de sol, D: Violinschlüssel, Sopranschlüssel, NL: viool sleutel, -DK:@w{ }diskantnøgle, +DK: diskantnøgle, S: diskantklav, FI: diskanttiavain. @@ -5598,6 +6990,7 @@ FI: diskanttiavain. @ref{G clef}. + @node tremolo @section tremolo @@ -5610,11 +7003,17 @@ DK: tremolo, S: tremolo, FI: tremolo. -On stringed instruments (@ref{strings}) the quick reiteration of -the same tone, produced by a rapid up-and-down movement of the bow -(a). The term is also used for the rapid alternation (b) between two notes of -a @ref{chord}, usually in the distance of a third -(@ref{interval}). +On stringed instruments: + +@enumerate + +@item The quick reiteration of the same tone, produced by a rapid +up-and-down movement of the bow. + +@item Or, the rapid alternation between two notes of a @ref{chord}, usually +in the distance of a third (@ref{interval}). + +@end enumerate @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -5626,6 +7025,11 @@ a @ref{chord}, usually in the distance of a third } @end lilypond +@seealso + +@ref{strings} + + @node triad @section triad @@ -5642,6 +7046,7 @@ FI: kolmisointu. @ref{chord}. + @node trill @section trill @@ -5658,13 +7063,14 @@ FI: trilli. @ref{ornament}. + @node triple meter @section triple meter ES: compás ternario, I: tempo ternario, F: mesure ternaire, -D: in drei, +D: in drei, ungerader Takt, NL: driedelige maatsoort, DK: tredelt takt, S: tretakt, @@ -5674,6 +7080,7 @@ FI: kolmijakoinen. @ref{meter}. + @node triplet @section triplet @@ -5690,6 +7097,7 @@ FI: trioli. @ref{note value}. + @node tritone @section tritone @@ -5706,6 +7114,7 @@ FI: tritonus. @ref{interval}. + @node tuning fork @section tuning fork @@ -5722,6 +7131,19 @@ 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). + +@node tuplet +@section tuplet + +A non-standard subdivision of a beat or part of a beat, usually +indicated with a bracket and a number indicating the number of +subdivisions. + +@seealso + +@ref{triplet}, @ref{note value}. + + @node turn @section turn @@ -5738,6 +7160,7 @@ FI: korukuvio. @ref{ornament}. + @node unison @section unison @@ -5750,9 +7173,10 @@ DK: unison, S: unison, FI: unisono, yksiäänisesti. -Playing of the same notes or the same melody by various instruments (voices) -or by the whole orchestra (choir), either at exactly the same pitch or in a -different octave. +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. + @node upbeat @section upbeat @@ -5770,6 +7194,7 @@ FI: kohotahti. @ref{anacrusis} + @node voice @section voice @@ -5782,9 +7207,47 @@ DK: stemme, S: stämma, FI: ääni, lauluääni. -1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano}, -@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}. -2.@tie{}A melodic layer or part of a polyphonic composition. +@itemize + +@item Human voices: + +@itemize + +@item @ref{soprano} + +@item @ref{mezzo-soprano} + +@item @ref{contralto} + +@item @ref{tenor} + +@item @ref{baritone} + +@item @ref{bass} + +@end itemize + +@item A melodic layer or part of a polyphonic composition. + +@end itemize + + +@node volta +@section volta + +ES: ?, +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 @@ -5802,40 +7265,47 @@ FI: tahdin heikko isku. @ref{beat}, @ref{measure}, @ref{rhythm}. + @node whole note @section whole note -ES: redonda, -I: semibreve, -F: ronde, -UK: semibreve, -D: Ganze, ganze Note, -NL: hele noot, -DK: helnode, -S: helnot, -FI: kokonuotti. +@itemize +@item UK: semibreve +@item ES: redonda +@item I: semibreve +@item F: ronde +@item D: Ganze, ganze Note +@item NL: hele noot +@item DK: helnode +@item S: helnot +@item FI: kokonuotti +@end itemize @seealso @ref{note value}. + @node whole rest @section whole rest -ES: silencio de redonda, -I: pausa di semibreve, -F: pause, -UK: semibreve rest, -D: ganze Pause, ganztaktige Pause, -NL: hele rust, -DK: helnodespause, -S: helpaus, -FI: kokotauko. +@itemize +@item UK: semibreve rest +@item ES: silencio de redonda +@item I: pausa di semibreve +@item F: pause +@item D: ganze Pause, ganztaktige Pause +@item NL: hele rust +@item DK: helnodespause +@item S: helpaus +@item FI: kokotauko +@end itemize @seealso @ref{note value}. + @node whole tone @section whole tone @@ -5848,10 +7318,15 @@ DK: heltone, S: helton, FI: kokoaskel. -The @ref{interval} of a major second. The interval between two -tones on the piano keyboard with exactly one key between them -- including +The interval of a major second. The interval between two tones +on the piano keyboard with exactly one key between them -- including black and white keys -- is a whole tone. +@seealso + +@ref{interval}. + + @node woodwind @section woodwind @@ -5864,208 +7339,432 @@ DK træblæsere, S: träblåsare, FI: puupuhaltimet. -A family of blown wooden musical instruments. Today some of these instruments -are actually made from metal. The woodwind instruments commonly used in a -symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. - -@node Duration names notes and rests -@chapter Duration names, notes and rests - -@table @code -@item DURATION NAMES, NOTES AND RESTS -@end table - -@multitable @columnfractions .15 .26 .33 .26 +A family of blown wooden musical instruments. Today some of these +instruments are actually made from metal. The woodwind instruments +commonly used in a symphony orchestra are flute, oboe, clarinet, +saxophone, and bassoon. -@item - @tab @strong{UK} - @tab @strong{I} - @tab @strong{F (note name / rest name)} -@item - @tab @strong{D} - @tab @strong{NL} - @tab @strong{DK} -@item - @tab @strong{S} - @tab @strong{FI} - @tab @strong{ES} -@c extra @items make this table harder to read, so I removed them. +@node Duration names notes and rests +@chapter Duration names notes and rests -@item @strong{longa} - @tab longa - @tab longa - @tab longa -@item - @tab Longa - @tab longa - @tab longa -@item - @tab longa - @tab longa - @tab longa +@multitable @columnfractions .12 .22 .22 .22 .22 -@item @strong{breve} +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab long + @tab long rest @tab breve + @tab breve rest +@item @strong{UK} @tab longa + @tab longa rest @tab breve - @tab brève / double-pause -@item + @tab breve rest +@item @strong{ES} @tab longa + @tab silencio de longa + @tab cuadrada + @tab silencio de cuadrada +@item @strong{IT} @tab longa + @tab pausa di longa + @tab breve + @tab pausa di breve +@item @strong{FR} @tab longa + @tab quadruple-pause + @tab brève + @tab double-pause +@item @strong{DE} @tab Longa + @tab longa Pause @tab Brevis + @tab brevis Pause +@item @strong{NL} @tab longa + @tab longa rust @tab brevis + @tab brevis rust +@item @strong{DK} @tab longa + @tab longanodespause @tab brevis -@item - @tab brevis + @tab brevis(nodes)pause +@item @strong{SE} @tab longa + @tab longapaus @tab brevis - @tab cuadrada + @tab brevispaus +@item @strong{FI} @tab longa-nuotti + @tab longa-tauko + @tab brevis-nuotti, kaksoiskokonuotti + @tab brevis-tauko, kaksoiskokotauko -@item @strong{whole} - @tab semi@-breve - @tab semi@-breve - @tab ronde / pause -@item - @tab Ganze - @tab hele - @tab hel -@item - @tab hel - @tab koko@-nuotti/@w{-tauko} - @tab redonda +@end multitable -@item @strong{half} +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab whole note + @tab whole rest + @tab half note + @tab half rest +@item @strong{UK} @tab semibreve + @tab semibreve rest @tab minim - @tab minima - @tab blanche / demi-pause -@item - @tab Halbe - @tab halve - @tab halv -@item - @tab halv - @tab puoli@-nuotti/@w{-tauko} + @tab minim rest +@item @strong{ES} @tab redonda + @tab silencio de redonda @tab blanca + @tab silencio de blanca +@item @strong{IT} @tab semibreve + @tab pause di semibreve + @tab minima + @tab pausa di minima +@item @strong{FR} @tab ronde + @tab pause + @tab blanche + @tab demi-pause +@item @strong{DE} @tab ganze Note + @tab ganze Pause + @tab halbe Note + @tab halbe Pause +@item @strong{NL} @tab hele noot + @tab hele rust + @tab halve noot + @tab halve rust +@item @strong{DK} @tab helnode + @tab helnodespause + @tab halvnode + @tab halvnodespause +@item @strong{SE} @tab helnot + @tab helpaus + @tab halvnot + @tab halvpaus +@item @strong{FI} @tab kokonuotti + @tab kokotauko + @tab puolinuotti + @tab puolitauko -@item @strong{quarter} - @tab crotchet - @tab semiminima - @tab noire / soupir -@item - @tab Viertel - @tab kwart - @tab fjerdedel -@item - @tab fjärdedel - @tab neljännesosa@-nuotti/@w{-tauko} - @tab negra +@end multitable -@item @strong{eighth} +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab quarter note + @tab quarter rest + @tab eighth note + @tab eighth rest +@item @strong{UK} @tab crotchet + @tab crotchet rest @tab quaver - @tab croma - @tab croche / demi-soupir -@item - @tab Achtel - @tab achtste - @tab ottendedel -@item - @tab åttondel - @tab kahdeksasosa@-nuotti/@w{-tauko} + @tab quaver rest +@item @strong{ES} @tab negra + @tab silencio de negra @tab corchea - -@item @strong{sixteenth} - @tab semiquaver - @tab semicroma - @tab double croche / quart de soupir -@item - @tab Sechzehntel - @tab zestiende - @tab sekstendedel -@item - @tab sextondel - @tab kuudestoistaosa@-nuotti/@w{-tauko} - @tab semicorchea - -@item @strong{thirty-second} - @tab demisemiquaver - @tab biscroma - @tab triple croche / huitième de soupir -@item - @tab Zweiunddreissigstel - @tab tweeendertigste - @tab toogtredivtedel -@item - @tab trettiotvåondel - @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko} - @tab fusa - -@item @strong{sixty-fourth} - @tab hemidemisemiquaver - @tab semibiscroma - @tab quadruple croche / seizième de soupir -@item - @tab Vierundsechzigstel - @tab vierenzestigste - @tab fireogtred@-sindstyvendedel -@item - @tab sextiofjärdedel - @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko} - @tab semifusa + @tab silencio de corchea +@item @strong{IT} @tab semiminima, nera + @tab pausa di semiminima, pausa di nera + @tab croma + @tab pausa di croma +@item @strong{FR} @tab noire + @tab soupir* + @tab croche* + @tab demi-soupir +@item @strong{DE} @tab Viertelnote + @tab Viertelpause + @tab Achtelnote + @tab Achtelpause +@item @strong{NL} @tab kwartnoot + @tab kwartrust + @tab achtste noot + @tab achtste rust +@item @strong{DK} @tab fjerdedelsnode + @tab fjerdedelspause + @tab ottendedelsnode + @tab ottendedelspause +@item @strong{SE} @tab fjärdedelsnot + @tab fjärdedelspaus + @tab åttondelsnot + @tab åttondelspaus +@item @strong{FI} @tab neljäsosanuotti + @tab neljäsosatauko + @tab kahdeksasosanuotti + @tab kahdeksasosatauko @end multitable -@node Pitch names -@chapter Pitch names +* About the French naming system: @emph{croche} refers to the note's "hook". +Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled +hook}, @q{trebled hook}, and so on. -@table @code -@item PITCH NAMES -@end table +The rest names are based on the @emph{soupir}, or quarter rest. Subsequent +rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of +a @emph{soupir}, and so on. + +Each of the following tables contains one type of note and its matching rest, +with abbreviations that apply to both notes and rests. Just switch the part +that means @q{note} with the part that means @q{rest}, for example: -@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -@c the extra @item's between each row makes the table hard to read ... so I removed them +@itemize -@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1 +@item English: 16th @strong{note}, 16th @strong{rest} +@item German: 32tel-@strong{Note}, 32tel-@strong{Pause} +@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko} -@c TODO -- figure out how to make _real_ table headers in TeXinfo +@end itemize -@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} -@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} +I put a dash @q{-} when I could not find a language-specific abbreviation for a +duration name. If you know of one that I missed, please send it to me, care of +the lilypond-user discussion list. + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab sixteenth note + @tab sixteenth rest + @tab 16th note +@item @strong{UK} @tab semiquaver + @tab semiquaver rest + @tab - +@item @strong{ES} @tab semicorchea + @tab silencio de semicorchea + @tab - +@item @strong{IT} @tab semicroma + @tab pausa di semicroma + @tab - +@item @strong{FR} @tab double croche + @tab quart de soupir + @tab - +@item @strong{DE} @tab Sechzehntelnote + @tab Sechzehntelpause + @tab 16tel-Note +@item @strong{NL} @tab zestiende noot + @tab zestiende rust + @tab 16e noot +@item @strong{DK} @tab sekstendedelsnode + @tab sekstendedelspause + @tab - +@item @strong{SE} @tab sextondelsnot + @tab sextondelspaus + @tab - +@item @strong{FI} @tab kuudestoistaosanuotti + @tab kuudestoistaosatauko + @tab 16-osanuotti -@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c +@end multitable -@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse -@tab Cis @tab cis @tab cis @tab cis @tab cis +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab thirty-second note + @tab thirty-second rest + @tab 32nd note +@item @strong{UK} @tab demisemiquaver + @tab demisemiquaver rest + @tab - +@item @strong{ES} @tab fusa + @tab silencio de fusa + @tab - +@item @strong{IT} @tab biscroma + @tab pausa di biscroma + @tab - +@item @strong{FR} @tab triple croche + @tab huitième de soupir + @tab - +@item @strong{DE} @tab Zweiunddreißigstelnote + @tab Zweiunddreißigstelpause + @tab 32tel-Note +@item @strong{NL} @tab tweeendertigste noot + @tab tweeendertigste rust + @tab 32e noot +@item @strong{DK} @tab toogtredivtedelsnode + @tab toogtredivtedelspause + @tab - +@item @strong{SE} @tab trettiotvåondelsnot + @tab trettiotvåondelspaus + @tab - +@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti + @tab kolmaskymmeneskahdesosatauko + @tab 32-osanuotti -@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des -@tab des @tab des @tab des @tab des +@end multitable -@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab sixty-fourth note + @tab sixty-fourth rest + @tab 64th note +@item @strong{UK} @tab hemidemisemiquaver + @tab hemidemisemiquaver rest + @tab - +@item @strong{ES} @tab semifusa + @tab silencio de semifusa + @tab - +@item @strong{IT} @tab semibiscroma + @tab pausa di semibiscroma + @tab - +@item @strong{FR} @tab quadruple croche + @tab seizième de soupir + @tab - +@item @strong{DE} @tab Vierundsechzigstelnote + @tab Vierundsechzigstelpause + @tab 64tel-Note +@item @strong{NL} @tab vierenzestigste noot + @tab vierenzestigste rust + @tab 64e noot +@item @strong{DK} @tab fireogtredsindstyvendedelsnode + @tab fireogtredsindstyvendedelspause + @tab - +@item @strong{SE} @tab sextiofjärdedelsnot + @tab sextiofjärdedelspaus + @tab - +@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti + @tab kuudeskymmenesneljäsosatauko + @tab 64-osanuotti -@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es -@tab es @tab es @tab es @tab es +@end multitable -@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab one-hundred-twenty-eighth note + @tab one-hundred-twenty-eighth rest + @tab 128th note +@item @strong{UK} @tab semihemidemisemiquaver + @tab semihemidemisemiquaver rest + @tab - +@item @strong{ES} @tab garrapatea + @tab silencio de garrapatea + @tab - +@item @strong{IT} @tab fusa + @tab pausa di fusa + @tab - +@item @strong{FR} @tab quintuple croche + @tab trente-deuxième de soupir @tab - +@item @strong{DE} @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note +@item @strong{NL} @tab honderdachtentwintigste noot + @tab honderdachtentwintigste rust + @tab 128e noot +@item @strong{DK} @tab hundredeotteogtyvendedelsnode + @tab hundredeotteogtyvendedelspause + @tab - +@item @strong{SE} @tab hundratjugoåttondelsnot + @tab hundratjugoåttondelspaus + @tab - +@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti + @tab sadaskahdeskymmeneskahdeksasosatauko + @tab 128-osanuotti -@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f +@end multitable -@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g -@tab g +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note +@item @strong{UK} @tab demisemihemidemisemiquaver + @tab demisemihemidemisemiquaver rest + @tab - +@item @strong{ES} @tab semigarrapatea @tab silencio de semigarrapatea @tab - +@item @strong{IT} @tab semifusa + @tab pausa di semifusa + @tab - +@item @strong{FR} @tab sextuple croche + @tab soixante-quatrième de soupir @tab - +@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note +@item @strong{NL} @tab tweehonderdzesenvijftigste noot + @tab tweehonderdzesenvijftigste rust + @tab 256e noot +@item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode + @tab tohundredeseksoghalvtredsendedelspause + @tab - +@item @strong{SE} @tab tvåhundrafemtiosjättedelsnot + @tab tvåhundrafemtiosjättedelspaus + @tab - +@item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti + @tab kahdessadasviideskymmeneskuudesosatauko + @tab 256-osanuotti -@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As -@tab as @tab as @tab as @tab as +@end multitable -@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a +@seealso -@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse -@tab Ais @tab ais @tab ais @tab ais @tab ais +@ref{mensural notation} -@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B -@tab bes @tab b @tab b @tab b -@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h +@node Pitch names +@chapter Pitch names +@c -is/-es endings for Danish per Rune Zedeler +@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} +@headitem EN + @tab ES @tab I @tab F @tab D + @tab NL @tab DK @tab S @tab FI +@item @strong{c} @tab do @tab do @tab ut @tab C + @tab c @tab c @tab c @tab c +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis + @tab cis @tab cis @tab ciss @tab cis +@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des + @tab des @tab des @tab dess @tab des +@item @strong{d} @tab re @tab re @tab ré @tab D + @tab d @tab d @tab d @tab d +@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis + @tab dis @tab dis @tab diss @tab dis +@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es + @tab es @tab es @tab ess @tab es +@item @strong{e} @tab mi @tab mi @tab mi @tab E + @tab e @tab e @tab e @tab e +@item @strong{f-flat} = e + @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes + @tab fes @tab fes @tab fess @tab fes +@item @strong{f} @tab fa @tab fa @tab fa @tab F + @tab f @tab f @tab f @tab f +@item @strong{e-sharp} = f + @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis + @tab eis @tab eis @tab eiss @tab eis +@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis + @tab fis @tab fis @tab fiss @tab fis +@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges + @tab ges @tab ges @tab gess @tab ges +@item @strong{g} @tab sol @tab sol @tab sol @tab G + @tab g @tab g @tab g @tab g +@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis + @tab gis @tab gis @tab giss @tab gis +@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As + @tab as @tab as @tab ass @tab as +@item @strong{a} @tab la @tab la @tab la @tab A + @tab a @tab a @tab a @tab a +@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais + @tab ais @tab ais @tab aiss @tab ais +@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B + @tab bes @tab b @tab b @tab b +@item @strong{b} @tab si @tab si @tab si @tab H + @tab b @tab h @tab h @tab h @end multitable +@menu +* Literature used:: +@end menu + @node Literature used -@unnumbered Literature used +@unnumberedsec Literature used @itemize @item The Harvard Dictionary of Music, London 1944. Many more or less @@ -6074,12 +7773,16 @@ explanation texts. @item Hugo Riemanns Musiklexicon, Berlin 1929. -@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980. +@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel +1980. -@item Oxford Advanced Learner's Dictionary of Current English, Third Edition -1974. +@item Oxford Advanced Learner's Dictionary of Current English, Third +Edition 1974. @item Webster's Revised Unabridged Dictionary, Springfield 1913. + +@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976. + @end itemize @bye