X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=aa072e7e7d77d4fbd260bf2f250f94bbecf56a97;hb=def21b306e2b8fa2d5630fab0878e9922e197f0c;hp=b8471041e1966aab842857d7459dc77348ad8694;hpb=832268609be7b49bbcaf7a77f06f9e1e5a91a081;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index b8471041e1..b33d3fc2fc 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -1,10 +1,11 @@ \input texinfo @c -*- coding: utf-8; mode: texinfo; -*- @setfilename music-glosssary.info @settitle Music Glossary - @documentencoding UTF-8 @documentlanguage en +@include macros.itexi + @afourpaper @c see lilypond.tely for info installation note @@ -36,7 +37,7 @@ 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 +@c Updates to the German translation by Till Rettig, 2007-2008 Copyright @copyright{} 1999--2007 by the authors @@ -50,9 +51,9 @@ Copyright @copyright{} 1999--2007 by the authors @c TODO: multiple omfcreators? @ignore -@omfcreator Christian Mondrup +@omfcreator Christian Mondrup, Kurt Kroon @omfdescription Glossary of musical terms with translations -@omftype user's guide +@omftype glossary @omfcategory Applications|Publishing @omflanguage English @end ignore @@ -107,7 +108,10 @@ Copyright 1999--2007 by the authors @c @evenheading @thispage @| @| @c @oddheading @| @| @thispage @| -@include macros.itexi +This is the Music Glossary (MG) for GNU LilyPond version @version{}. +For more information about how this fits with the other +documentation, see @rlearning{About the documentation}. + @c arrowref @macro aref{word} @@ -125,17 +129,20 @@ Copyright 1999--2007 by the authors * Pitch names:: @end menu +@contents + + @node Musical terms A-Z @chapter Musical terms A-Z 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 @@ -144,11 +151,11 @@ Languages in this order. @menu * A:: * a due:: +* accelerando:: * accent:: * accessory:: -* accidental:: -* accelerando:: * acciaccatura:: +* accidental:: * adagio:: * allegro:: * alteration:: @@ -163,6 +170,7 @@ Languages in this order. * articulation:: * ascending interval:: * augmented interval:: +* augmentation:: * autograph:: * B:: * backfall:: @@ -170,13 +178,14 @@ Languages in this order. * bar line:: * baritone:: * baritone clef:: -* bass clef:: * bass:: +* bass clef:: * beam:: * beat:: +* beat repeat:: * bind:: * brace:: -* bracket:: +* bracket:: * brass:: * breath mark:: * breve:: @@ -204,9 +213,9 @@ Languages in this order. * conjunct movement:: * consonance:: * contralto:: -* counterpoint:: -* counter tenor:: * copying music:: +* counterpoint:: +* countertenor:: * crescendo:: * cue-notes:: * custos:: @@ -216,15 +225,19 @@ Languages in this order. * decrescendo:: * descending interval:: * diatonic scale:: +* didymic comma:: * diminished interval:: * diminuendo:: +* diminution:: * direct:: * disjunct movement:: * dissonance:: * dissonant interval:: +* divisio:: +* doit:: +* dominant:: * dominant ninth chord:: * dominant seventh chord:: -* dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: @@ -238,7 +251,6 @@ Languages in this order. * duple meter:: * duplet:: * duration:: -* dydimic comma:: * dynamics:: * E:: * ecclesiastical mode:: @@ -253,19 +265,21 @@ Languages in this order. * extender line:: * F:: * F clef:: +* fall:: * feathered beam:: * fermata:: * fifth:: * figured bass:: * fingering:: * flag:: +* flageolet:: * flat:: * forefall:: * forte:: * fourth:: -* Frenched score:: -* Frenched staff:: -* Frenched staves:: +* Frenched score:: +* Frenched staff:: +* Frenched staves:: * fugue:: * functional harmony:: * G:: @@ -276,13 +290,17 @@ Languages in this order. * grave:: * gruppetto:: * H:: +* hairpin:: * half note:: * half rest:: * harmonic cadence:: +* harmonics:: * harmony:: * hemiola:: * homophony:: +* hymn meter:: * interval:: +* inversion:: * inverted interval:: * just intonation:: * key:: @@ -294,17 +312,19 @@ Languages in this order. * legato:: * legato curve:: * leger line:: -* lilypond:: * ligature:: +* lilypond:: * line:: +* loco:: * long appoggiatura:: * longa:: -* lyrics:: * lyric tie:: -* major interval:: +* lyrics:: * major:: +* major interval:: * meantone temperament:: * measure:: +* measure repeat:: * mediant:: * melisma:: * melisma line:: @@ -312,11 +332,13 @@ Languages in this order. * mensural notation:: * meter:: * metronome:: +* metronome mark:: * metronomic indication:: * mezzo-soprano:: * middle C:: * minor:: * minor interval:: +* mixolydian mode:: * mode:: * modulation:: * mordent:: @@ -324,7 +346,6 @@ Languages in this order. * motive:: * movement:: * multi-measure rest:: -* mixolydian mode:: * natural:: * neighbour tones:: * ninth:: @@ -333,20 +354,23 @@ Languages in this order. * note head:: * note names:: * note value:: -* octave sign:: +* octavation:: * octave:: +* octave mark:: +* octave marking:: +* octave sign:: * ornament:: * ossia:: -* ottava:: * part:: * pause:: * pennant:: +* percent repeat:: * percussion:: * perfect interval:: * phrase:: * phrasing:: -* pickup:: * piano:: +* pickup:: * pitch:: * pizzicato:: * polymeter:: @@ -358,8 +382,10 @@ Languages in this order. * proportion:: * Pythagorean comma:: * quadruplet:: +* quality:: * quarter note:: * quarter rest:: +* quarter tone:: * quintuplet:: * rallentando:: * relative key:: @@ -379,12 +405,14 @@ Languages in this order. * sextuplet:: * shake:: * sharp:: +* simile:: * simple meter:: * sixteenth note:: * sixteenth rest:: * sixth:: * sixty-fourth note:: * sixty-fourth rest:: +* slash repeat:: * slur:: * solmization:: * sonata:: @@ -395,6 +423,7 @@ Languages in this order. * staff:: * staves:: * stem:: +* stringendo:: * strings:: * strong beat:: * subdominant:: @@ -436,6 +465,7 @@ Languages in this order. * unison:: * upbeat:: * voice:: +* volta:: * weak beat:: * whole note:: * whole rest:: @@ -447,14 +477,16 @@ Languages in this order. @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 @@ -464,10 +496,10 @@ FI: A, a. @node a due @section a due -ES: ?, +ES: a dos, I: a due, F: à deux, -D: ?, +D: a due, zu zweit NL: ?, DK: ?, S: ?, @@ -492,6 +524,21 @@ or groups of players (@q{desks}). @ref{Pitch names} +@node accelerando +@section accelerando + +ES: accelerando, +I: accelerando, +F: accelerando, en accélérant, +D: accelerando, schneller werden, +NL: accelerando, +DK: accelerando, +S: accelerando, +FI: accelerando, kiihdyttäen. + +Increase tempo. + + @node accent @section accent @@ -515,6 +562,19 @@ The stress of one tone over others. @ref{ornament}. +@node acciaccatura +@section acciaccatura + +A grace note which takes its time from the rest or note preceding the +principal note to which it is attached. The acciaccatura is drawn as a +small eighth note (quaver) with a line drawn through the flag and +stem. + +@seealso + +@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. + + @node accidental @section accidental @@ -548,34 +608,6 @@ accidental, or a sharp or flat in the key signature. @end lilypond -@node accelerando -@section accelerando - -ES: accelerando, -I: accelerando, -F: accelerando, en accélérant, -D: accelerando, schneller werden, -NL: accelerando, -DK: accelerando, -S: accelerando, -FI: accelerando, kiihdyttäen. - -Increase tempo. - - -@node acciaccatura -@section acciaccatura - -A grace note which takes its time from the rest or note preceding the -principal note to which it is attached. The acciaccatura is drawn as a -small eighth note (quaver) with a line drawn through the flag and -stem. - -@seealso - -@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. - - @node adagio @section adagio @@ -627,7 +659,7 @@ D: Alteration, NL: verhoging of verlaging, DK: ?, S: ?, -FI: ?. +FI: kromaattinen merkki, muunnemerkki. An alteration is the modification, raising or lowering, of a note's pitch. It is established by an @ref{accidental}. @@ -648,7 +680,7 @@ FI: altto, matala naisääni. A female voice of low range (@emph{contralto}). Originally the alto was a high male voice (hence the name), which by the use of falsetto reached the height of the female voice. This type of voice is also -known as @ref{counter tenor}. +known as @ref{countertenor}. @node alto clef @@ -682,9 +714,10 @@ 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 @@ -719,7 +752,7 @@ note(s) of a melody occurring in that incomplete measure. @node ancient minor scale @section ancient minor scale -ES: escala menor antigua, +ES: escala menor natural, I: scala minore naturale, F: forme du mode mineur ancien, troisème mode, mode hellénique, D: reines Moll, natürliches Moll, @@ -728,16 +761,16 @@ 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 @@ -873,7 +906,7 @@ I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, NL: stijgend interval, -DK:@w{ }stigende interval, +DK: stigende interval, S: stigande intervall, FI: nouseva intervalli. @@ -897,6 +930,27 @@ FI: ylinouseva intervalli. @ref{interval}. +@node augmentation +@section augmentation + +ES: ?, +I: ?, +F: ?, +D: Augmentation, +NL: ?, +DK: ?, +S: ?, +FI: augmentaatio, harvennus. + +@c TODO: add definition. + +This is a placeholder for augmentation (wrt mensural notation). + +@seealso + +@ref{diminution}, @ref{mensural notation}. + + @node autograph @section autograph @@ -911,7 +965,7 @@ FI: käsinkirjoitettu nuotti. @itemize -@item A manuscript in the composer's own hand. +@item A manuscript written in the composer's own hand. @item Music prepared for photoreproduction by freehand drawing, with the aid of a straightedge ruler and T-square only, which attempts to @@ -923,14 +977,16 @@ emulate engraving. This required more skill than did engraving. @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 @@ -1003,25 +1059,6 @@ C or F clef setting middle C on the upper staff line. @ref{C clef}, @ref{F clef}. -@node bass clef -@section bass clef - -ES: clave de fa en cuarta, -I: chiave di basso, -F: clef de fa quatrième ligne, -D: Bassschlüssel, -NL: bassleutel, -DK: basnøgle, -S: basklav, -FI: bassoavain. - -A clef setting with middle C on the first top ledger line. - -@seealso - -@ref{F clef}. - - @node bass @section bass @@ -1048,6 +1085,25 @@ double bass. @ref{strings}. +@node bass clef +@section bass clef + +ES: clave de fa en cuarta, +I: chiave di basso, +F: clef de fa quatrième ligne, +D: Bassschlüssel, +NL: bassleutel, +DK: basnøgle, +S: basklav, +FI: bassoavain. + +A clef setting with middle C on the first top ledger line. + +@seealso + +@ref{F clef}. + + @node beam @section beam @@ -1103,6 +1159,14 @@ indicated at the start of the music. @end lilypond +@node beat repeat +@section beat repeat + +@seealso + +@ref{percent repeat}. + + @node bind @section bind @@ -1148,10 +1212,10 @@ Angular brackets for connecting parts in an orchestral or choral score: @node bracket @section bracket -ES: ?, +ES: corchete, I: ?, F: ?, -D: ?, +D: Klammer, NL: ?, DK: ?, S: ?, @@ -1193,6 +1257,7 @@ FI: hengitysmerkki. Indication of where to breathe in vocal and wind instrument parts. + @node breve @section breve @@ -1203,30 +1268,35 @@ 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. The shortest note value generally used in white -mensural notation, hence the name, which originally meant "of short -duration". +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 @@ -1361,14 +1431,14 @@ 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 two thirds. @emph{Major} +(major + minor third) as well as @emph{minor} (minor + major third) chords +may be extended with more thirds. Four-tone @emph{seventh chords} and +five-tone @emph{ninth} major chords are most often used as dominants +(functional harmony). Chords having no third above the lower notes to +define their mood are a special case called @q{open chords}. The lack of +the middle third means their quality is ambivalent: neither major nor minor. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1394,6 +1464,11 @@ their quality as major or minor. Such chords are denoted open chords >> @end lilypond +@seealso + +@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, +@ref{third}. + @node chromatic scale @section chromatic scale @@ -1632,7 +1707,7 @@ the top five lines have been selected: } % End score @end lilypond -The @q{curl} of the G clef in centered on the line that represents the +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 @@ -1773,6 +1848,7 @@ same note derived from some other tuning method. @seealso +@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma}, @ref{temperament}. @@ -1789,12 +1865,21 @@ same note derived from some other tuning method. @node common time @section common time -4/4 time. The symbol, which resembles a capital letter C derives from -mensural notation (q.v.). +ES: compasillo, +I: ?, +F: ?, +D: Vier-Viertel-Takt, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +4/4 time. The symbol, which resembles a capital letter C, derives from +mensural notation. @seealso -@ref{meter}. +@ref{mensural notation}, @ref{meter}. @node complement @@ -1836,14 +1921,14 @@ Intervals larger than an octave. @node compound meter @section compound meter -ES: ?, +ES: compás compuesto, compás de subdivisión ternaria, I: ?, F: ?, -D: ?, +D: Dreiertakt, NL: ?, DK: ?, S: ?, -FI: ?. +FI: kolmijakoinen rytmi. A meter that includes a triplet subdivision within the beat, such as 6/8, 9/8, 12/8. @@ -1856,35 +1941,119 @@ A meter that includes a triplet subdivision within the beat, such as @node compound time @section compound time -ES: ?, +ES: compás compuesto, compás de amalgama (def. 2), I: ?, F: ?, -D: ?, +D: Dreiertakt, Wechseltakt, NL: ?, DK: ?, S: ?, FI: ?. -@ref{compound meter} +@enumerate + +@item +A meter that includes a triplet subdivision within the beat: see +@ref{compound meter}. + +@item +A time signature that additively combines two or more unequal meters, e.g. +"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures. + +@lilypond[fragment,line-width=13.0\cm] +#(define (compound-time grob one two three num) + (interpret-markup + (ly:grob-layout grob) + '(((baseline-skip . 2) + (word-space . 1.5) + (font-family . number))) + (markup + #:line ( #:column (one) "+" #:column (two num) "+" #:column (three))))) + + \relative c' { + \key f \major + #(set-time-signature 8 8 '(3 2 3)) + \override Staff.TimeSignature #'stencil + = #(lambda (grob) (compound-time grob "3" "2" "3" "8")) + #(override-auto-beam-setting '(end 1 8 8 8) 3 8) + #(override-auto-beam-setting '(end 1 8 8 8) 5 8) + \set Staff.beatGrouping = #'(3 2 3) + + c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||" + } +@end lilypond + +@end enumerate @seealso -@ref{meter}. +@ref{compound meter}, @ref{meter}. @node concert pitch @section concert pitch -ES: ?, +ES: en Do, afinación de concierto, I: ?, F: ?, -D: ?, +D: Kammerton, NL: ?, DK: ?, S: ?, FI: ?. -FIXME: this is a placeholder +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 @@ -1942,6 +2111,18 @@ FI: kontra-altto. @ref{alto}. +@node copying music +@section copying music + +A music copyist did fast freehand scores and parts on preprinted staff +lines for performance. Some of their conventions (e.g., the placement +of note heads on stems) varied slightly from those of engravers. Some +of their working methods were superior and could well be adopted by +music typesetters. + +@c Copying music required more skill than engraving. Flagged for NPOV + + @node counterpoint @section counterpoint @@ -2001,8 +2182,8 @@ has been one of the most popular polyphonic composition methods. @end lilypond -@node counter tenor -@section counter tenor +@node countertenor +@section countertenor ES: contratenor, I: controtenore, @@ -2018,16 +2199,6 @@ FI: kontratenori. @ref{contralto}. -@node copying music -@section copying music - -A music copyist did fast freehand scores and parts on preprinted staff -lines for performance. Some of their conventions (e.g., the placement -of note heads on stems) varied slightly from those of engravers. Some -of their working methods were superior and could well be adopted by -music typesetters. Copying music required more skill than engraving. - - @node crescendo @section crescendo @@ -2041,7 +2212,7 @@ S: crescendo, FI: cresendo, voimistuen. Increasing volume. Indicated by a rightwards opening horizontal wedge -or the abbreviation @samp{cresc.}. +(hairpin) or the abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -2068,7 +2239,7 @@ hinting when to start playing. Usually printed in a smaller type. @node custos @section custos -ES: ?, +ES: custos, I: ?, F: guidon, D: Notenzeiger, Custos, @@ -2113,14 +2284,16 @@ of the 20th century @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 @@ -2139,9 +2312,8 @@ 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}. Usually 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 @@ -2167,7 +2339,7 @@ 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 @@ -2184,8 +2356,8 @@ DK: decrescendo, S: decrescendo, FI: decresendo, hiljentyen. -Decreasing tone volume. Indicated by a leftwards opening horizontal wedge -or the abbreviation @samp{decresc.}. +Decreasing tone volume. Indicated by a leftwards opening horizontal +wedge (hairpin) or the abbreviation @samp{decresc.}. @lilypond[fragment,ragged-right] \relative c'' { @@ -2222,12 +2394,12 @@ 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 gregorian 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 @@ -2315,16 +2487,31 @@ music but also to some extent in newer jazz music. >> @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. - @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f +%\override Score.LyricText #'font-style = #'large +%\override Score.TextScript #'font-style = #'large << - \relative c' { - c1 d + \relative c'' { + \override TextScript #'padding = #-4 + b1^"~~ 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. + +@lilypond[fragment,notime,ragged-right] +\set Score.automaticBars = ##f +<< + \relative c' { + c1 d \override TextScript #'padding = #-4 e^"~~ S" f g a b^"~~ S" c } @@ -2343,7 +2530,7 @@ the 6th and 7th tone. b^"~~ S" c d e^"~~ S" f g a } \lyrics { - "ancient minor" + "Ancient minor" } >> @end lilypond @@ -2370,16 +2557,39 @@ the 6th and 7th tone. \relative c'' { a1 \override TextScript #'padding = #-4 - b^"~~ S" c d e fis gis^"~~ S" + b^"~~ S" c d e fis gis^"~~ S" a + } + \lyrics { + "Melodic minor ascending" + } +>> +@end lilypond + +@lilypond[fragment,notime,line-width=13.0\cm] +\set Score.automaticBars = ##f +%\override Score.LyricText #'font-style = #'large +%\override Score.TextScript #'font-style = #'large +<< + \relative c'' { + a'1 + \override TextScript #'padding = #-4 a g! f!^"~~ S" e d c^"~~ S" b a } \lyrics { - "Melodic minor" + "Melodic minor descending" } >> @end lilypond +@node didymic comma +@section didymic comma + +@seealso + +@ref{syntonic comma}. + + @node diminished interval @section diminished interval @@ -2414,6 +2624,27 @@ FI: diminuendo, hiljentyen. @ref{decrescendo}. +@node diminution +@section diminution + +ES: ?, +I: ?, +F: ?, +D: Diminution, Verkleinerung, +NL: ?, +DK: ?, +S: ?, +FI: diminuutio, tihennys. + +@c TODO: add definition + +This is a placeholder for diminution (wrt mensural notation). + +@seealso + +@ref{augmentation}, @ref{mensural notation}. + + @node direct @section direct @@ -2479,6 +2710,77 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. @ref{harmony}. +@node divisio +@section divisio + +ES: ?, +I: ?, +F: ?, +D: Divisio, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a +vertical stroke through part or all of the staff that serves to +structure a chant into phrases and sections. There are four types: + +@itemize + +@item @emph{divisio minima}, a short pause + +@item @emph{divisio maior}, a medium pause + +@item @emph{divisio maxima}, a long pause + +@item @emph{finalis}, to indicate the end of a chant, or the end of a +section in a long antiphonal or responsorial chant. + +@end itemize + +TODO: musical example here? + +@seealso + +None yet. + + +@node doit +@section doit + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Indicator for a indeterminately rising pitch bend. Compare with +@emph{glissando}, which has determinate starting and ending pitches. + +@seealso + +@ref{fall}, @ref{glissando}. + + +@node dominant +@section dominant + +ES: dominante, +I: dominante, +F: dominante, +D: Dominante, +NL: dominant, +DK: dominant, +S: dominant, +FI: dominantti, huippusointu. + +The fifth @ref{scale degree} in @ref{functional harmony}. + + @node dominant ninth chord @section dominant ninth chord @@ -2513,21 +2815,6 @@ FI: dominanttiseptimisointu. @ref{chord}, @ref{functional harmony}. -@node dominant -@section dominant - -ES: dominante, -I: dominante, -F: dominante, -D: Dominante, -NL: dominant, -DK: dominant, -S: dominant, -FI: dominantti, huippusointu. - -The fifth @ref{scale degree} in @ref{functional harmony}. - - @node dorian mode @section dorian mode @@ -2668,7 +2955,7 @@ FI: kaksoisylennysmerkki. ES: ?, I: ?, F: ?, -D: ?, +D: Doppeltakt, Wechseltakt, NL: ?, DK: ?, S: ?, @@ -2745,25 +3032,17 @@ FI: kesto, aika-arvo. @ref{note value}. -@node dydimic comma -@section dydimic comma - -@seealso - -@ref{syntonic comma}. - - @node dynamics @section dynamics -ES: ?, +ES: dinámica, matices, I: ?, F: nuances, D: Dynamik, Lautstärke, NL: ?, DK: ?, S: ?, -FI: ?. +FI: dynamiikka, voimakkuusvaihtelut. The aspect of music relating to degrees of loudness, or changes from one degree to another. The terms, abbreviations, and symbols used to @@ -2778,14 +3057,16 @@ indicate this information are called dynamic marks. @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 @@ -2803,15 +3084,17 @@ FI: E, e. @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 @@ -2821,15 +3104,17 @@ FI: kahdeksasosanuotti. @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 @@ -2841,16 +3126,25 @@ FI: kahdeksasosatauko. @c TODO: add languages -ES: ?, +ES: sinalefa, I: ?, F: ?, -D: ?, +D: Elision, Auslassung, NL: ?, DK: ?, S: ?, FI: ?. -@c TODO definition -- referenced from lyric tie +More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to +smear together}]. + +The singing of several syllables on a single note. Elision may be indicated +by a lyric tie, which is looks like (and serves the same function) as a +musical tie. + +@seealso + +@ref{lyric tie}. @node embellishment @@ -2864,7 +3158,7 @@ FI: ?. @node engraving @section engraving -ES: grabar, +ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck @@ -2956,7 +3250,7 @@ Performance indications concerning: @node extender line @section extender line -ES: línea de extención [de melisma, de bajo cifrado, etc.], +ES: línea de extensión [de melisma, de bajo cifrado, etc.], I: ?, F: ligne d'extension [de mélisme, de basse chiffrée, etc.], D: Fülllinie, @@ -2978,47 +3272,50 @@ Used in many contexts, for example: Dictionary}. @item -In figured (or thorough) bass to indicate that: - - @itemize +In figured bass to indicate that: - @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 @@ -3077,10 +3374,30 @@ double bass @ref{strings}). @c F: 'point d'orgue' on a note, 'point d'arret' on a rest. +@node fall +@section fall + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Indicator for a indeterminately falling pitch bend. Compare with +@emph{glissando}, which has determinate starting and ending pitches. + +@seealso + +@ref{doit}, @ref{glissando}. + + @node feathered beam @section feathered beam -ES: ?, +ES: barra punteada, I: ?, F: liens de croches en soufflet, D: gespreizter Balken, @@ -3141,9 +3458,45 @@ FI: kvintti. @node figured bass @section figured bass -@seealso +ES: bajo cifrado, +I: basso continuo, basso numerato, +F: basse chiffrée, basse continue, +D: Generalbass, bezifferter Bass, +NL: basso continuo, becijferde bas +DK: generalbas, +S: generalbas, +FI: kenraalibasso, numeroitu basso. + +Also called @q{thorough bass}. + +A method of indicating an accompaniment part by the bass notes only, together +with figures designating the chief @ref{interval}s and @ref{chord}s to be played +above the bass notes. -@ref{thorough bass}. +@lilypond[fragment,line-width=13.0\cm] +\context GrandStaff << + \context Staff = lh \relative c'' { + \time 4/4 + \key es \major + \clef treble + << \context Voice = rha { + \stemUp + es4 d c bes | bes } + \context Voice = rhb { + \stemDown + < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } + >> + } + << + \context Staff = rh \relative c' { + \clef bass + \key es \major + es8 c d bes c as bes16 as g f | es4 + } + \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> } + >> +>> +@end lilypond @node fingering @@ -3189,6 +3542,36 @@ less than a quarter note. The number of flags determines the @end lilypond +@node flageolet +@section flageolet + +ES: ?, +I: ?, +F: ?, +D: Flageolett, +NL: ?, +DK: ?, +S: ?, +FI: flageoletti. + +An articulation for string players that means the note or passage is to +be played in harmonics. + +Also: + +@itemize + +@item A duct flute similar to the recorder. + +@item An organ stop of flute scale at 1' or 2' pitch. + +@end itemize + +@seealso + +@ref{articulation}, @ref{harmonics}. + + @node flat @section flat @@ -3250,10 +3633,10 @@ FI: kvartti. @node Frenched score @section Frenched score -ES: ?, +ES: partitura a la francesa, I: ?, F: ?, -D: ?, +D: Partitur (ohne leere Takte), NL: ?, DK: ?, S: ?, @@ -3276,10 +3659,10 @@ you may wish to procure a copy of their style manual. @node Frenched staff @section Frenched staff -ES: ?, +ES: pentagrama a la francesa, I: ?, F: ?, -D: ?, +D: Notensystem (ohne leere Takte), NL: ?, DK: ?, S: ?, @@ -3297,10 +3680,10 @@ an @emph{ossia} staff. @node Frenched staves @section Frenched staves -ES: ?, +ES: pentagramas a la francesa, I: ?, F: ?, -D: ?, +D: Notensysteme (ohne leere Takte), NL: ?, DK: ?, S: ?, @@ -3359,14 +3742,16 @@ note). Others are considered to be variants of the base chords. @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 @@ -3499,14 +3884,16 @@ Slow, solemn. @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 @@ -3514,16 +3901,27 @@ usage. In the standard usage of these countries, @samp{B} means @seealso -@ref{Pitch names}, @ref{B} +@ref{Pitch names}, @ref{B}. + + +@node hairpin +@section hairpin + +Graphical version of the @notation{crescendo} and @notation{decrescendo} +dynamic marks. + +@seealso + +@ref{crescendo}, @ref{decrescendo}. @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, @@ -3538,10 +3936,10 @@ FI: puolinuotti. @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, @@ -3593,6 +3991,31 @@ A sequence of chords that terminates a musical phrase or section. @end lilypond +@node harmonics +@section harmonics + +ES: sonidos del flautín, +I: suoni flautati, +F: flageolet, sons harmoniques, +D: Flageolett-Töne, +NL: ?, +DK: ?, +S: ?, +FI: yläsävelsarjan flageoletti-ääni. + +The general class of pitches produced by sounding the second or higher +harmonic of a tone producer: string, column of air, and so on. + +On stringed instruments, these pitches sound rather flute-like; hence, +their name in languages other than English. They are produced by +lightly touching the string at a node for the desired mode of vibration +while it is being bowed or plucked. + +For instruments of the violin family, there are two types of harmonics: +natural harmonics, which are those played on the open string; and +artificial harmonics, which are produced on stopped strings. + + @node harmony @section harmony @@ -3642,13 +4065,13 @@ Three note harmony @ref{chord}. @node hemiola @section hemiola -ES: ?, +ES: hemiolia, I: ?, F: ?, -D: ?, +D: Hemiole, NL: ?, DK: ?, -S: ?, +S: hemiol, FI: ?. [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to @@ -3659,16 +4082,33 @@ 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. -@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or -@c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 } +For example, this phrase in 6/4 time -@seealso +@lilypond[fragment,line-width=13.0\cm] +\key c \major +\time 6/4 +\relative c' { + c2. e | d2 c d | c1. \bar "||" } +@end lilypond -@ref{mensural notation}, @ref{meter} +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 -@node homophony -@section homophony +and is therefore a polymeter (second definition) of considerable antiquity. + +@seealso + +@ref{mensural notation}, @ref{meter}, @ref{polymeter}. + + +@node homophony +@section homophony ES: homofonía, I: omofonia, @@ -3684,6 +4124,53 @@ voices more or less in the same rhythm. In contrast to @ref{polyphony}. +@node hymn meter +@section hymn meter + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A group or list of numbers that indicate the number of syllables in a +line of a hymn's verse. Different hymnals have different ways of noting +the hymn meter -- consider a hymn having four lines in two couplets that +alternate between eight and seven syllables. The @emph{English Hymnal} +notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or +8@w{ }7@w{ }8@w{ }7. + +Some frequently-used hymn meters have traditional names: + +@itemize + +@item 66.86 is called Short Meter (abbreviated SM or S.M.) + +@item 86.86 is called Common Meter (CM or C.M.) + +@item 88.88 is called Long Meter (LM or L.M.) + +@end itemize + +Some hymns and their tunes are doubled versions of a simpler meter: for +easier reading, a hymn with a meter of 87.87.87.87 is usually written +87.87D. The traditional names above also have doubled versions: + +@itemize + +@item 66.86.66.86 is Double Short Meter (DSM or D.S.M.) + +@item 86.86.86.86 is Double Common Meter (DCM or D.C.M.) + +@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.) + +@end itemize + + + @node interval @section interval @@ -3763,6 +4250,44 @@ addition of such two intervals forms an octave. @end lilypond +@node inversion +@section inversion + +ES: ?, +I: ?, +F: inversion, +D: Umkehrung (Akkord), +NL: ?, +DK: ?, +S: ?, +FI: (kolmisoinnun) käännös. + +When the bass is not the same as the root, the chord is inverted. The number +of inversions that a chord can have is one fewer than the number of +constituent notes. Triads, for example, (having three constituent notes) can +have three positions, two of which are inversions: + +@table @strong +@item Root position +The root note is in the bass, and above that are the third and the fifth. A +triad built on the first scale degree, for example, is marked @notation{I}. + +@item First inversion +The third is in the bass, and above it are the fifth and the root. This +creates an interval of a sixth and a third above the bass note, and so is +marked in figured Roman notation as @notation{6/3}. This is commonly +abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the +characteristic interval of the inversion, and so always implies +@notation{6/3}. + +@item Second inversion +The fifth is in the bass, and above it are the root and the third. This +creates an interval of a sixth and a fourth above the bass note, and so is +marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most +unstable chord position. +@end table + + @node inverted interval @section inverted interval @@ -3818,8 +4343,8 @@ 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 @@ -3847,16 +4372,16 @@ key of the music. @node laissez vibrer @section laissez vibrer -ES: ?, +ES: dejar vibrar, I: ?, F: laissez vibrer, -D: ?, +D: Laissez vibrer, klingen lassen, NL: ?, DK: ?, S: ?, FI: ?. -[From French] "Let vibrate". Most frequently associated with harp +[From French, @q{Let vibrate}]. Most frequently associated with harp parts. Marked @samp{l.v.} in the score. @@ -3872,8 +4397,8 @@ DK: largo, S: largo, FI: largo, hitaasti, leveästi. -Very slow in tempo, usually combined with great -expressiveness. @emph{Larghetto} is less slow than largo. +Very slow in tempo, usually combined with great expressiveness. +@emph{Larghetto} is less slow than largo. @node leading note @@ -3964,22 +4489,6 @@ notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @ref{ledger line}. -@node lilypond -@section lilypond - -ES: estanque de nenúfares, -I: stagno del giglio, -F: étang de lis, -UK: lily pond, -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. - - @node ligature @section ligature @@ -3994,12 +4503,33 @@ 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 lilypond +@section lilypond + +UK: lily pond, +ES: estanque de nenúfares, +I: stagno del giglio, +F: étang de nénuphars, étang de nymphéas, +D: Seerosenteich, +NL: le@-lie@-vij@-ver, +DK: liliedam, +S: liljedamm, +FI: liljalampi. + +A pond with lilies floating in it. +Also, the name of a music typesetting program. @node line @@ -4019,6 +4549,26 @@ FI: viiva, nuottiviiva. @ref{staff}. +@node loco +@section loco + +ES: en su lugar, +I: loco, +F: ?, +D: loco, +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 @@ -4063,53 +4613,35 @@ Note value: double length of @ref{breve}. @ref{note value}. -@node lyrics -@section lyrics - -ES: letra (de la canción), -I: ?, -F: paroles, -D: Liedtext, Gesangtext, -NL: liedtekst, -DK: ?, -S: ?, -FI: sanoitus. - - @node lyric tie @section lyric tie -ES: ?, +ES: ligadura de letra, I: ?, F: ?, -D: Textbindung, +D: Bindestrich, NL: ?, DK: ?, S: ?, FI: ?. -@c TODO: add languages @seealso @ref{elision}. -@node major interval -@section major interval - -ES: intervalo mayor, -I: intervallo maggiore, -F: intervalle majeur, -D: großes Intervall, -NL: groot interval, -DK: stort interval, -S: stort intervall, -FI: suuri intervalli. - -@seealso +@node lyrics +@section lyrics -@ref{interval}. +ES: letra (de la canción), +I: ?, +F: paroles, +D: Liedtext, Gesangtext, +NL: liedtekst, +DK: ?, +S: ?, +FI: sanoitus. @node major @@ -4129,6 +4661,23 @@ FI: duuri. @ref{diatonic scale}. +@node major interval +@section major interval + +ES: intervalo mayor, +I: intervallo maggiore, +F: intervalle majeur, +D: großes Intervall, +NL: groot interval, +DK: stort interval, +S: stort intervall, +FI: suuri intervalli. + +@seealso + +@ref{interval}. + + @node meantone temperament @section meantone temperament @@ -4168,6 +4717,14 @@ by bar-lines. @ref{meter}. +@node measure repeat +@section measure repeat + +@seealso + +@ref{percent repeat}. + + @node mediant @section mediant @@ -4198,9 +4755,12 @@ mediant (variant tonic). @section melisma ES: melisma, +I: ?, F: mélisme, D: Melisma, NL: melisma, +DK: ?, +S: ?, FI: melisma, laulettavan tavun sävelkuvio. A melisma (plural, from Greek: melismata) is a group of notes or tones @@ -4210,7 +4770,14 @@ sung on one syllable, especially as applied to liturgical chant. @node melisma line @section melisma line -@c TODO: add languages +ES: línea de melisma, +I: ?, +F: ?, +D: Melismastrich, +NL: ?, +DK: ?, +S: ?, +FI: ?. @seealso @@ -4228,20 +4795,47 @@ sung on one syllable, especially as applied to liturgical chant. @node mensural notation @section mensural notation -@c FIXME: add languages - -ES: ?, +ES: notación mensural, I: ?, F: ?, -D: ?, +D: Mensuralnotation, NL: ?, DK: ?, S: ?, -FI: ?. +FI: mensuraalinuottikirjoitus. + +A system of duration notation whose principles were first established in the +mid-13th century, and that (with various changes) remained in use until about +1600. As such, it is the basis for the notation of rhythms in Western musical +notation. -@c TODO: add definition (inc. info on proportional notation) +Franco of Cologne (ca. 1250) is credited with the first systematic explanation +of the notation's principles, so the notation of this earliest period is called +@q{Franconian}. Franco's system made use of three note values -- long, breve, +and semibreve -- each of which was normally equivalent to three of the next +lower note value. -@c FIXME: add cross-references. +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 @@ -4256,79 +4850,74 @@ DK: taktart, S: taktart, FI: aika-arvo. -The basic pattern of @ref{note value}s and @ref{accent}s that remains -unaltered throughout a composition or a section of it. Meters can be -@emph{duple} or @emph{triple} depending on how the beat is grouped in -the composition (or in sections thereof): +The pattern of note values and accents in a composition or a section thereof. +There are a couple ways to classify @q{traditional} meter (i.e. not polymeter): +by grouping beats and by subdividing the primary beat. + +@b{By grouping beats}: @itemize -@item In duple meters, the beat recurs in groups of two. + @item @b{duple}: groups of two. + @item @b{triple}: groups of three. + @item @b{quadruple}: groups of four. A special case of duple meter. + @item @b{quintuple}: groups of five beats. + @item @b{sextuple} meter: groups of six. A special case of: -@item In triple meters, the beat recurs in groups of three. + @itemize -@end itemize + @item duple meter, subdivided in three; or + @item triple meter, subdivided in two. -Other recurrence patterns are possible: + @end itemize -@itemize + @item @b{septuple} meter: groups of seven. + @item and so on. -@item Quadruple meter: groups of four. A special case of duple meter. +@end itemize -@item Quintuple meter: groups of five +Other than triple meter and its subdivided variants (see below), meters that +feature odd groupings of beats (e.g. quintuple or septuple meter) are not +frequently used prior to the 20th Century. -@item Sextuple meter: groups of six. A special case of: +@b{By subdividing the primary beat}: @itemize -@item Duple meter, subdivided in three (less frequent); or -@item Triple meter, subdivided in two (more frequent). -@end itemize - -@item Septuple meter: groups of seven. -@item etc. - -@end itemize + @item simple: groups of two. -Other than quadruple and sextuple meters, these other recurrence -patterns were not frequently used prior to the 20th Century. + @itemize -In addition to classification by @emph{tactus}, meters can be further -classified by how the tactus is subdivided: in two, the meter is -@emph{simple}; in three, the meter is @emph{compound}. + @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 -@itemize + @end itemize -@item Simple meter + @item compound: groups of three. -@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 + @itemize -@item Compound meter + @item duple: 6/8 + @item triple: 9/8 + @item quadruple: 12/8 -@itemize -@item duple: 6/8 -@item triple: 9/8 -@item quadruple: 12/8 -@end itemize + @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 has a time -signature of 3/4. +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: +Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune): @lilypond[fragment,line-width=13.0\cm] \relative c'' { \time 2/4 - \key c \major - c4. d8 | e4 d | f e | d8 b c4 \bar "||"} + \key g \major + g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"} @end lilypond Simple triple meter: @@ -4359,7 +4948,7 @@ Simple quintuple meter (B. Marcello, 1686-1739): aes4 bes8 aes ges4 aes f8 es \bar "||"} @end lilypond -Compound duple meter: +Compound duple meter (unknown): @lilypond[fragment,line-width=13.0\cm] \relative c' { @@ -4375,9 +4964,9 @@ Compound triple meter (J.S. Bach, 1685-1750): @lilypond[fragment,line-width=13.0\cm] \relative c' { \time 9/8 - \key f \major - r8 g( a) b( d c) c( e d) | - d( c fis) g( d b) g( a b) + \key g \major + r8 g'( a) b( d c) c( e d) | + d( g fis) g( d b) g( a b) \bar "||"} @end lilypond @@ -4387,14 +4976,18 @@ Compound quadruple meter (P. Yon, 1886-1943): \relative c' { \time 12/8 \key e \major - b8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 | + 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{hemiola}, @ref{time signature} +@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} @node metronome @@ -4411,13 +5004,19 @@ FI: metronomi. Device indicating the exact tempo of a piece. +Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name +from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo +divisions, and patented it as a "metronome". The inevitable lawsuit that +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{metronomic indication}. +@ref{metronome mark}. -@node metronomic indication -@section metronomic indication +@node metronome mark +@section metronome mark ES: indicación metronómica, I: indicazione metronomica, @@ -4428,8 +5027,21 @@ 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 metronomic indication +@section metronomic indication + +@seealso + +@ref{metronome mark} @node mezzo-soprano @@ -4506,6 +5118,14 @@ FI: pieni intervalli. @ref{interval}. +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. + + @node mode @section mode @@ -4648,14 +5268,6 @@ German, as a reminiscence of its use in Renaissance vocal polyphony. @ref{longa}, @ref{breve}. -@node mixolydian mode -@section mixolydian mode - -@seealso - -@ref{diatonic scale}. - - @node natural @section natural @@ -4832,12 +5444,12 @@ 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 @@ -4852,9 +5464,101 @@ DK: oktav, S: oktav, FI: oktaavi. +The interval of an octave, sometimes abbreviated @samp{8ve}. + +For uses like @emph{all'ottava} or @emph{8va} with an extender line or +bracket, or @samp{loco} see octave marking. + +@seealso + +@ref{interval}, @ref{octave marking}. + + +@node octave mark +@section octave mark + +ES: indicación de octava, +I: ?, +F: ?, +D: Oktavierungszeichen, +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{ottava}, @ref{interval}. +@ref{octave mark}. @node ornament @@ -4935,33 +5639,6 @@ score, usually only a few measures long, which presents another version of the music, for example for small hands. -@node ottava -@section ottava - -@c TODO: translations - -ES: ?, -I: ottava, -F: octave, -DE: Oktavierung, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -[From Italian] The interval of an octave, abbreviated 8va. - -@emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or -@emph{8va} written above a passage indicates that it should be played -an octave higher than written. @emph{Ottava bassa}, @emph{ottava -sotto}, or @emph{8va} written below a passage indicates that it should -be played an octave lower than written. - -@seealso - -@ref{interval}. - - @node part @section part @@ -5005,6 +5682,39 @@ web. @ref{flag}. +@node percent repeat +@section percent repeat + +LilyPond-specific term to indicate the repetition of a musical expression on a +single staff, as opposed to the more usual definition of repeat, which affects +all parts. The musical expression can be anything from a single note or note +pattern to one or more measures. There are other names for this symbol: + +@itemize + +@item simile mark +@item slash mark, or slash repeat +@item beat repeat +@item measure (or multi-measure) repeat + +@end itemize + +@lilypond[fragment,line-width=13.0\cm] +\time 4/4 +\relative c' { + \repeat percent 4 { c4_"Beat (or slash) repeat" } + \repeat percent 2 { c4 e g b_"Measure repeat" } + \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | } +} +@end lilypond + +@seealso + +@ref{repeat}, +@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of +Vermont Music Dictionary}. + + @node percussion @section percussion @@ -5072,6 +5782,22 @@ The clear rendering in musical performance of the @ref{phrase}s of the melody. Phrasing may be indicated by a @ref{slur}. +@node piano +@section piano + +ES: piano, +I: piano, +F: piano, +D: piano, leise, +NL: piano, +DK: piano, +S: piano, +FI, piano, hiljaa. + +@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, +@emph{mezzo piano} (@b{mp}) medium soft. + + @node pickup @section pickup @@ -5089,22 +5815,6 @@ FI: kohotahti. @ref{anacrusis}. -@node piano -@section piano - -ES: piano, -I: piano, -F: piano, -D: piano, leise, -NL: piano, -DK: piano, -S: piano, -FI, piano, hiljaa. - -@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, -@emph{mezzo piano} (@b{mp}) medium soft. - - @node pitch @section pitch @@ -5117,6 +5827,23 @@ DK: tonehøjde, S: tonhöjd, FI: sävelkorkeus. +@enumerate + +@item The perceived quality of a sound that is primarily a function of its +fundamental frequency. + +@item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch. + +@item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized +association of a particular frequency with a particular pitch name, e.g., c' = +256 Hz. + +@end enumerate + +@seealso + +@ref{Pitch names}. + @node pizzicato @section pizzicato @@ -5130,25 +5857,29 @@ DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. -Abbr. @emph{pizz}. Play by plucking the strings. (Technique for -stringed instruments.) +A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking +the strings. @node polymeter @section polymeter -ES: ?, +ES: compás polimétrico, I: ?, F: ?, -D: ?, +D: Polymetrik, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetriikka. + +@itemize + +@item The simultaneous use of two or more meters, in two or more parts. -The simultaneous use of two or more meters. The term is sometimes -applied to the @emph{successive} use of different meters in one or -more parts. +@item The @emph{successive} use of different meters in one or more parts. + +@end itemize @seealso @@ -5158,17 +5889,16 @@ more parts. @node polymetric @section polymetric -ES: ?, +ES: polimétrico, I: ?, F: ?, -D: ?, +D: polymetrisch, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetrinen. -Using two or more metric frameworks simultaneously or in regular -alternation +Using two or more metric frameworks simultaneously or in alternation. @seealso @@ -5178,16 +5908,16 @@ alternation @node polymetric time signature @section polymetric time signature -ES: ?, +ES: compás polimétrico, I: ?, F: ?, -D: ?, +D: polymetrische Taktart, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetrinen tahtiosoitus. -Time signature indicating regularly alternating polymetric time. +A time signature that indicates regularly alternating polymetric time. @seealso @@ -5240,18 +5970,18 @@ denotes the highest possible degree of speed. @section proportion ES: proporción, -I: ?, +I: proprozione (?), F: proportion, -D: ?, +D: Proportion, proportio, 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 an -assumed @q{normal} relationship of note values to the metrical pulse. +[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the +relationship between the note values that follow with those that precede; or +between the note values of a passage and the @q{normal} relationship of note +values to the metrical pulse. @c TODO: add an example or two. O => 4/3, and its modern equivalent @@ -5272,11 +6002,18 @@ 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 -Pythagorean comma. +Originally, the interval by which the sum of six whole tones exceeds the octave +-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents. + +Modern acoustical theory defines it as the interval by which twelve fifths +exceed seven octaves. To put it another way: A sequence of fifths that starts +on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher +than the C obtained by adding 7 octaves. The difference between those two +pitches is the Pythagorean comma. + +@seealso + +@ref{cent}, @ref{temperament}. @node quadruplet @@ -5296,18 +6033,70 @@ FI: kvartoli. @ref{note value}. +@node quality +@section quality + +ES: ?, +I: qualità (?), +F: qualité (?), +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The quality of a triad is determined by the precise arrangement of its +intervals. Tertian triads can be described as a series of three notes. The +first element is the root note (or simply @q{root}) of the chord, the second +note is the @q{third} of the chord, and the last note is the @q{fifth} of +the chord. These are described below: + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Chord name @tab Component intervals + @tab Example + @tab Symbol +@item major triad @tab major third/perfect fifth + @tab C-E-G + @tab C, CM, Cma, Cmaj, CΔ +@item minor triad @tab minor third/perfect fifth + @tab C-E♭-G + @tab Cm, Cmi, Cmin, C- +@item augmented triad @tab major third/augmented fifth + @tab C-E-G♯ + @tab C+, C^+, Caug +@item diminished triad @tab minor third/diminished fifth + @tab C-E♭-G♭ + @tab Cm(♭5), Cº, Cdim +@end multitable + +There are various types of seventh chords depending on the quality of the +original chord and the quality of the seventh added. + +Five common types of seventh chords have standard symbols. The chord quality +indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7, +and D^m7 are all identical). The last three chords are not commonly used +except in jazz. + +@seealso + +@ref{chord}. + + @node quarter note @section quarter note -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 @@ -5317,21 +6106,42 @@ FI: neljännesosanuotti. @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: cuarto de tonno, +I: ?, +F: quart de ton, +D: Viertelton, +NL: kwart toon, +DK: ?, +S: kvartston, +FI: neljännes sävelaskel. + +An interval equal to half a semitone. + +@seealso + +@ref{interval} + + @node quintuplet @section quintuplet @@ -5369,7 +6179,7 @@ Abbreviation "rall.". @node relative key @section relative key -ES: relativo, +ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -5554,7 +6364,7 @@ scale as roots of chords. The most important are degrees I = tonic @node scordatura @section scordatura -ES: ?, +ES: encordado, I: scordatura, F: à cordes ravallées, D: Skordatur, @@ -5573,7 +6383,7 @@ to: or impossible @item alter the characteristic timbre of the instrument, for example, -to increase brilliance) +to increase brilliance @item reinforce certain sonorities or tonalities by making them available on open strings @@ -5635,17 +6445,20 @@ 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 @@ -5714,18 +6527,38 @@ FI: korotusmerkki. @ref{accidental}. +@node simile +@section simile + +ES: simile, +I: simile, +F: ?, +D: simile, gleichartig, +NL: ?, +DK: ?, +S: ?, +FI: samaan tapaan. + +[From It, @q{in the same manner}] Performance direction: the music thus marked +is to be played in the same manner (i.e. with the same articulations, dynamics, +etc.) as the music that precedes it. + +@seealso + +TODO: Where else could I refer the reader? + + @node simple meter @section simple meter -ES: ?, +ES: compás simple, compás de subdivisión binaria, I: ?, F: ?, -UK: ?, -D: ?, +D: Zweiertakt, NL: ?, DK: ?, S: ?, -FI: ?. +FI: tasajakoinen rytmi. A meter in which the basic beat is subdivided in two: that is, a meter that does not include triplet subdivision of the beat. @@ -5738,15 +6571,17 @@ that does not include triplet subdivision of the beat. @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 @@ -5756,15 +6591,17 @@ FI: kuudestoistaosanuotti. @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 @@ -5791,15 +6628,17 @@ FI: seksti. @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 @@ -5809,21 +6648,31 @@ FI: kuudeskymmenesneljäsosanuotti. @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 slash repeat +@section slash repeat + +@seealso + +@ref{percent repeat}. + + @node slur @section slur @@ -6011,6 +6860,26 @@ whole note. @end lilypond +@node stringendo +@section stringendo + +ES: ?, +I: stringendo, +F: ?, +D: Stringendo, steigernd, +NL: ?, +DK: ?, +S: ?, +FI: stringendo, kiihtyen. + +[It, @q{pressing}]. Pressing, urging, or hastening the time, as to a +climax. + +@seealso + +@ref{accelerando}. + + @node strings @section strings @@ -6095,7 +6964,7 @@ The seventh @ref{scale degree}. @node sul G @section sul G -ES: sobre la G, +ES: sobre la cuerda de Sol, I: sul g, F: sur la G, D: auf G, auf der G-Saite, @@ -6186,7 +7055,7 @@ contradiction between the underlaying (normal) pulse and the actual @node syntonic comma @section syntonic comma -ES: coma sintónica, +ES: coma sintónica, coma de Dídimo, I: comma sintonico (o didimico), F: comma syntonique, D: syntonisches Komma, @@ -6196,8 +7065,18 @@ S: syntoniskt komma, FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysjärjestelmässä. -Difference between the natural third and the third obtained by -Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents. +Named after Ptolemy's syntonic diatonic genus. Originally, the difference +by which the ditone exceeds the pure major third obtained by Pythagorean +tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents. + +Modern acoustical theory defines it as the interval by which four fifths exceed +the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4) + +This comma is also known as the comma of Didymus, or didymic comma. + +@seealso + +@ref{Pythagorean comma} @node system @@ -6264,7 +7143,7 @@ DK: tenor, S: tenor, FI: tenori, korkea miesääni. -The highest male voice (apart from @ref{counter tenor}). +The highest male voice (apart from @ref{countertenor}). @node tenth @@ -6320,15 +7199,17 @@ FI: terssi. @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 @@ -6338,15 +7219,17 @@ FI: kolmanneskymmeneskahdesosanuotti. @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 @@ -6356,49 +7239,15 @@ FI: kolmanneskymmeneskahdesosatauko. @node thorough bass @section thorough bass -ES: bajo cifrado, -I: basso continuo, basso numerato, -F: basse chiffrée, basse continue, -D: Generalbass, bezifferter Bass, -NL: basso continuo, becijferde bas -DK: generalbas, -S: generalbas, -FI: kenraalibasso, numeroitu basso. - -A method of indicating an accompaniment part by the bass notes only, -together with figures designating the chief @ref{interval}s and -@ref{chord}s to be played above the bass notes. +@seealso -@lilypond[fragment,line-width=13.0\cm] -\context GrandStaff << - \context Staff = lh \relative c'' { - \time 4/4 - \key es \major - \clef treble - << \context Voice = rha { - \stemUp - es4 d c bes | bes } - \context Voice = rhb { - \stemDown - < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } - >> - } - << - \context Staff = rh \relative c' { - \clef bass - \key es \major - es8 c d bes c as bes16 as g f | es4 - } - \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> } - >> ->> -@end lilypond +@ref{figured bass}. @node tie @section tie -ES: ligadura de prolongación, +ES: ligadura de prolongación, ligadura de unión, I: legatura (di valore), F: liaison, D: Haltebogen, Bindebogen, @@ -6462,7 +7311,7 @@ FI: ääni. A sound of definite pitch and duration, as distinct from @emph{noise}. Tone is a primary building material of music. -Music from the 20th century may be based on atonal sounds. +@c Music from the 20th century may be based on atonal sounds. Meh, not so much @node tonic @@ -6487,16 +7336,39 @@ The first @ref{scale degree}. @node transposing instrument @section transposing instrument -ES: ?, +ES: instrumento transpositor, I: ?, F: ?, -D: ?, +D: transponierende Instrumente, NL: ?, DK: ?, S: ?, -FI: ?. +FI: transponoivat soitimet. + +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: -FIXME: this is a placeholder +@itemize + +@item English horn (in F) + +@item Alto flute (in G) + +@end itemize + +@seealso + +@ref{concert pitch}. @node transposition @@ -6543,7 +7415,7 @@ I: chiave di violino, F: clef de sol, D: Violinschlüssel, Sopranschlüssel, NL: viool sleutel, -DK:@w{ }diskantnøgle, +DK: diskantnøgle, S: diskantklav, FI: diskanttiavain. @@ -6564,10 +7436,17 @@ 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 @@ -6579,6 +7458,10 @@ of a @ref{chord}, usually in the distance of a third (@ref{interval}). } @end lilypond +@seealso + +@ref{strings} + @node triad @section triad @@ -6668,7 +7551,7 @@ FI: tritonus. @node tuning fork @section tuning fork -ES: diapasón, +ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, @@ -6677,9 +7560,13 @@ DK: stemmegaffel, S: stämgaffel, FI: viritysavain. -A two-pronged piece of steel used to indicate absolute pitch. Tuning -forks give the international pitch for the tone @emph{a} (440 -vibrations per second). +A two-pronged piece of steel used to indicate an absolute pitch, usually for +@emph{A} above middle C (440 cps/Hz), which is the international tuning +standard. Tuning forks for other pitches are available. + +@seealso + +@ref{middle C}. @node tuplet @@ -6697,7 +7584,7 @@ subdivisions. @node turn @section turn -ES: grupeto, +ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, @@ -6759,14 +7646,46 @@ FI: ääni, lauluääni. @itemize -@item Human voices: @ref{soprano}, @ref{mezzo-soprano}, -@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}. +@item Human voices: + +@itemize + +@item @ref{soprano} + +@item @ref{mezzo-soprano} + +@item @ref{contralto} + +@item @ref{tenor} + +@item @ref{baritone} + +@item @ref{bass} + +@end itemize @item A melodic layer or part of a polyphonic composition. @end itemize +@node volta +@section volta + +ES: vez, primera y segunda vez, +I: volta, +F: ?, +D: Volta, Wiederholungsklammer, +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 @@ -6787,15 +7706,17 @@ FI: tahdin heikko isku. @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 @@ -6805,15 +7726,17 @@ FI: kokonuotti. @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 @@ -6832,10 +7755,14 @@ DK: heltone, S: helton, FI: kokoaskel. -The @ref{interval} of a major second. The interval between two tones +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 @@ -6856,148 +7783,368 @@ saxophone, and bassoon. @node Duration names notes and rests -@chapter 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 - -@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. +@multitable @columnfractions .12 .22 .22 .22 .22 -@item @strong{longa} - @tab longa - @tab longa - @tab longa -@item - @tab Longa - @tab longa - @tab longa -@item - @tab longa - @tab longa - @tab longa - -@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 + @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 -@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 +@end multitable + +* 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. + +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: + +@itemize + +@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} + +@end itemize + +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 + +@end multitable + +@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 + +@end multitable + +@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 + +@end multitable + +@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 @end multitable +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab two-hundred-fifty-sixth note + @tab two-hundred-fifty-sixth rest + @tab 256th note +@item @strong{UK} @tab demisemihemidemisemiquaver + @tab demisemihemidemisemiquaver rest + @tab - +@item @strong{ES} @tab semigarrapatea + @tab silencio de semigarrapatea @tab - +@item @strong{IT} @tab semifusa + @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 + +@end multitable + +@seealso + +@ref{mensural notation} + @node Pitch names @chapter Pitch names @@ -7011,62 +8158,45 @@ saxophone, and bassoon. @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI -@item @strong{c} - @tab do @tab do @tab ut @tab C +@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c -@item @strong{c-sharp} - @tab do sostenido @tab do diesis @tab ut dièse @tab Cis +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis @tab cis @tab cis @tab ciss @tab cis -@item @strong{d-flat} - @tab re bemol @tab re bemolle @tab ré bémol @tab Des +@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des @tab des @tab des @tab dess @tab des -@item @strong{d} - @tab re @tab re @tab ré @tab D +@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d -@item @strong{d-sharp} - @tab re sostenido @tab re diesis @tab re dièse @tab Dis +@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis @tab dis @tab dis @tab diss @tab dis -@item @strong{e-flat} - @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es +@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es @tab es @tab es @tab ess @tab es -@item @strong{e} - @tab mi @tab mi @tab mi @tab E +@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes @tab fes @tab fes @tab fess @tab fes -@item @strong{f} - @tab fa @tab fa @tab fa @tab F +@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis @tab eis @tab eis @tab eiss @tab eis -@item @strong{f-sharp} - @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis +@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis @tab fis @tab fis @tab fiss @tab fis -@item @strong{g-flat} - @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges +@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges @tab ges @tab ges @tab gess @tab ges -@item @strong{g} - @tab sol @tab sol @tab sol @tab G +@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g -@item @strong{g-sharp} - @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis +@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis @tab gis @tab gis @tab giss @tab gis -@item @strong{a-flat} - @tab la bemol @tab la bemolle @tab la bémol @tab As +@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as @tab ass @tab as -@item @strong{a} - @tab la @tab la @tab la @tab A +@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a -@item @strong{a-sharp} - @tab la sostenido @tab la diesis @tab la dièse @tab Ais +@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab ais @tab aiss @tab ais -@item @strong{b-flat} - @tab si bemol @tab si bemolle @tab si bémol @tab B +@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b @tab b @tab b -@item @strong{b} - @tab si @tab si @tab si @tab H +@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h @end multitable @@ -7079,9 +8209,9 @@ saxophone, and bassoon. @unnumberedsec Literature used @itemize -@item The Harvard Dictionary of Music, London 1944. Many -more or less literal quotes from its articles have been included into -the item explanation texts. +@item The Harvard Dictionary of Music, London 1944. Many more or less +literal quotes from its articles have been included into the item +explanation texts. @item Hugo Riemanns Musiklexicon, Berlin 1929. @@ -7095,6 +8225,8 @@ Edition 1974. @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976. +@item Henna Mikkonen, Suvi Rimpiläinen, Konsertissa kävijän taskusanasto, Jyväskylä, 2003 + @end itemize @bye