X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=b33d3fc2fc053169e3636604d76670d029495725;hb=def21b306e2b8fa2d5630fab0878e9922e197f0c;hp=70843c2e3a51a1ac9936e0afcf5d92adde2e5c1b;hpb=b567811cb0fa5a805aabb9e8fb903763c13e8c29;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 70843c2e3a..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 @@ -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} @@ -147,11 +151,11 @@ Languages in this order. @menu * A:: * a due:: +* accelerando:: * accent:: * accessory:: -* accidental:: -* accelerando:: * acciaccatura:: +* accidental:: * adagio:: * allegro:: * alteration:: @@ -165,8 +169,8 @@ Languages in this order. * arpeggio:: * articulation:: * ascending interval:: -* augmentation:: * augmented interval:: +* augmentation:: * autograph:: * B:: * backfall:: @@ -174,10 +178,11 @@ Languages in this order. * bar line:: * baritone:: * baritone clef:: -* bass clef:: * bass:: +* bass clef:: * beam:: * beat:: +* beat repeat:: * bind:: * brace:: * bracket:: @@ -208,9 +213,9 @@ Languages in this order. * conjunct movement:: * consonance:: * contralto:: -* counterpoint:: -* counter tenor:: * copying music:: +* counterpoint:: +* countertenor:: * crescendo:: * cue-notes:: * custos:: @@ -220,16 +225,19 @@ Languages in this order. * decrescendo:: * descending interval:: * diatonic scale:: +* didymic comma:: * diminished interval:: * diminuendo:: -* diminution:: +* diminution:: * direct:: * disjunct movement:: * dissonance:: * dissonant interval:: +* divisio:: +* doit:: +* dominant:: * dominant ninth chord:: * dominant seventh chord:: -* dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: @@ -243,7 +251,6 @@ Languages in this order. * duple meter:: * duplet:: * duration:: -* didymic comma:: * dynamics:: * E:: * ecclesiastical mode:: @@ -258,12 +265,14 @@ Languages in this order. * extender line:: * F:: * F clef:: +* fall:: * feathered beam:: * fermata:: * fifth:: * figured bass:: * fingering:: * flag:: +* flageolet:: * flat:: * forefall:: * forte:: @@ -281,13 +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:: @@ -299,18 +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:: @@ -318,12 +332,13 @@ Languages in this order. * mensural notation:: * meter:: * metronome:: -* metronomic indication:: * metronome mark:: +* metronomic indication:: * mezzo-soprano:: * middle C:: * minor:: * minor interval:: +* mixolydian mode:: * mode:: * modulation:: * mordent:: @@ -331,7 +346,6 @@ Languages in this order. * motive:: * movement:: * multi-measure rest:: -* mixolydian mode:: * natural:: * neighbour tones:: * ninth:: @@ -340,22 +354,23 @@ Languages in this order. * note head:: * note names:: * note value:: -* octavation:: +* octavation:: * octave:: -* octave mark:: -* octave marking:: +* octave mark:: +* octave marking:: * octave sign:: * ornament:: * ossia:: * part:: * pause:: * pennant:: +* percent repeat:: * percussion:: * perfect interval:: * phrase:: * phrasing:: -* pickup:: * piano:: +* pickup:: * pitch:: * pizzicato:: * polymeter:: @@ -365,8 +380,9 @@ Languages in this order. * portato:: * presto:: * proportion:: -* Pythagorean comma:: +* Pythagorean comma:: * quadruplet:: +* quality:: * quarter note:: * quarter rest:: * quarter tone:: @@ -389,12 +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:: @@ -405,6 +423,7 @@ Languages in this order. * staff:: * staves:: * stem:: +* stringendo:: * strings:: * strong beat:: * subdominant:: @@ -415,7 +434,7 @@ Languages in this order. * supertonic:: * symphony:: * syncopation:: -* syntonic comma:: +* syntonic comma:: * system:: * temperament:: * tempo indication:: @@ -477,10 +496,10 @@ Languages in this order. @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: ?, @@ -505,6 +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 @@ -528,6 +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 @@ -561,34 +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 @@ -640,7 +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}. @@ -661,7 +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 @@ -733,7 +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, @@ -917,11 +936,11 @@ FI: ylinouseva intervalli. ES: ?, I: ?, F: ?, -D: ?, +D: Augmentation, NL: ?, DK: ?, S: ?, -FI: ?. +FI: augmentaatio, harvennus. @c TODO: add definition. @@ -1040,25 +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 @@ -1085,6 +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 @@ -1140,6 +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 @@ -1185,10 +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: ?, @@ -1404,13 +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 called @q{open chords}. +Three or more tones sounding simultaneously. In traditional European music +the base chord is a @emph{triad} consisting of two thirds. @emph{Major} +(major + minor third) as well as @emph{minor} (minor + major third) chords +may be extended with more thirds. Four-tone @emph{seventh chords} and +five-tone @emph{ninth} major chords are most often used as dominants +(functional harmony). Chords having no third above the lower notes to +define their mood are a special case called @q{open chords}. The lack of +the middle third means their quality is ambivalent: neither major nor minor. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1436,6 +1464,11 @@ define their quality as major or minor: such chords are called @q{open chords}. >> @end lilypond +@seealso + +@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality}, +@ref{third}. + @node chromatic scale @section chromatic scale @@ -1832,10 +1865,10 @@ same note derived from some other tuning method. @node common time @section common time -ES: ?, +ES: compasillo, I: ?, F: ?, -D: ?, +D: Vier-Viertel-Takt, NL: ?, DK: ?, S: ?, @@ -1888,14 +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. @@ -1908,10 +1941,10 @@ 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: ?, @@ -1960,10 +1993,10 @@ A time signature that additively combines two or more unequal meters, e.g. @node concert pitch @section concert pitch -ES: ?, +ES: en Do, afinación de concierto, I: ?, F: ?, -D: ?, +D: Kammerton, NL: ?, DK: ?, S: ?, @@ -2078,6 +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 @@ -2137,8 +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, @@ -2154,18 +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. - -@c Copying music required more skill than engraving. Flagged for NPOV - - @node crescendo @section crescendo @@ -2179,7 +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 @@ -2206,7 +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, @@ -2323,8 +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'' { @@ -2365,7 +2398,7 @@ 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}). -These @q{modes} are used in gregorian chant and in pre-baroque early 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] @@ -2461,7 +2494,7 @@ but also to some extent in newer jazz music. << \relative c'' { \override TextScript #'padding = #-4 - b^"~~ S" c d e^"~~ S" f g a b + b1^"~~ S" c d e^"~~ S" f g a b } \lyrics { Locrian @@ -2524,16 +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 @@ -2574,11 +2630,11 @@ FI: diminuendo, hiljentyen. ES: ?, I: ?, F: ?, -D: ?, +D: Diminution, Verkleinerung, NL: ?, DK: ?, S: ?, -FI: ?. +FI: diminuutio, tihennys. @c TODO: add definition @@ -2654,6 +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 @@ -2688,21 +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 @@ -2843,7 +2955,7 @@ FI: kaksoisylennysmerkki. ES: ?, I: ?, F: ?, -D: ?, +D: Doppeltakt, Wechseltakt, NL: ?, DK: ?, S: ?, @@ -2920,25 +3032,17 @@ FI: kesto, aika-arvo. @ref{note value}. -@node didymic comma -@section didymic comma - -@seealso - -@ref{syntonic comma}. - - @node dynamics @section dynamics -ES: ?, +ES: dinámica, matices, I: ?, F: nuances, D: Dynamik, Lautstärke, 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 @@ -3022,15 +3126,18 @@ indicate this information are called dynamic marks. @c TODO: add languages -ES: ?, +ES: sinalefa, I: ?, F: ?, -D: ?, +D: Elision, Auslassung, NL: ?, DK: ?, S: ?, FI: ?. +More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to +smear together}]. + The singing of several syllables on a single note. Elision may be indicated by a lyric tie, which is looks like (and serves the same function) as a musical tie. @@ -3051,7 +3158,7 @@ musical tie. @node engraving @section engraving -ES: grabar, +ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck @@ -3143,7 +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, @@ -3165,7 +3272,7 @@ Used in many contexts, for example: Dictionary}. @item -In figured (or thorough) bass to indicate that: +In figured bass to indicate that: @itemize @@ -3267,10 +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, @@ -3331,9 +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 @@ -3379,6 +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 @@ -3440,10 +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: ?, @@ -3466,10 +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: ?, @@ -3487,10 +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: ?, @@ -3708,7 +3901,18 @@ 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 @@ -3787,6 +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 @@ -3836,13 +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 @@ -3895,6 +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 @@ -3974,6 +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 @@ -4058,10 +4372,10 @@ 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: ?, @@ -4175,23 +4489,6 @@ notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @ref{ledger line}. -@node lilypond -@section lilypond - -UK: lily pond, -ES: estanque de nenúfares, -I: stagno del giglio, -F: étang de nénuphars, étang de nymphéas, -D: Seerosenteich, -NL: le@-lie@-vij@-ver, -DK: liliedam, -S: liljedamm, -FI: liljalampi. - -A pond with lilies floating in it. -Also, the name of a music typesetting program. - - @node ligature @section ligature @@ -4218,6 +4515,23 @@ patterns disappeared. @ref{mensural notation}. +@node lilypond +@section lilypond + +UK: lily pond, +ES: estanque de nenúfares, +I: stagno del giglio, +F: étang de nénuphars, étang de nymphéas, +D: Seerosenteich, +NL: le@-lie@-vij@-ver, +DK: liliedam, +S: liljedamm, +FI: liljalampi. + +A pond with lilies floating in it. +Also, the name of a music typesetting program. + + @node line @section line @@ -4238,10 +4552,10 @@ FI: viiva, nuottiviiva. @node loco @section loco -ES: ?, +ES: en su lugar, I: loco, F: ?, -D: ?, +D: loco, NL: ?, DK: ?, S: ?, @@ -4296,7 +4610,25 @@ Note value: double length of @ref{breve}. @seealso -@ref{note value}. +@ref{note value}. + + +@node lyric tie +@section lyric tie + +ES: ligadura de letra, +I: ?, +F: ?, +D: Bindestrich, +NL: ?, +DK: ?, +S: ?, +FI: ?. + + +@seealso + +@ref{elision}. @node lyrics @@ -4312,23 +4644,21 @@ S: ?, FI: sanoitus. -@node lyric tie -@section lyric tie - -ES: ?, -I: ?, -F: ?, -D: Textbindung, -NL: ?, -DK: ?, -S: ?, -FI: ?. +@node major +@section major -@c TODO: add languages +ES: mayor, +I: maggiore, +F: [mode] majeur, +D: Dur, +NL: majeur, +DK: dur, +S: dur, +FI: duuri. @seealso -@ref{elision}. +@ref{diatonic scale}. @node major interval @@ -4348,23 +4678,6 @@ FI: suuri intervalli. @ref{interval}. -@node major -@section major - -ES: mayor, -I: maggiore, -F: [mode] majeur, -D: Dur, -NL: majeur, -DK: dur, -S: dur, -FI: duuri. - -@seealso - -@ref{diatonic scale}. - - @node meantone temperament @section meantone temperament @@ -4404,6 +4717,14 @@ by bar-lines. @ref{meter}. +@node measure repeat +@section measure repeat + +@seealso + +@ref{percent repeat}. + + @node mediant @section mediant @@ -4449,12 +4770,10 @@ sung on one syllable, especially as applied to liturgical chant. @node melisma line @section melisma line -@c TODO: add languages - -ES: ?, +ES: línea de melisma, I: ?, F: ?, -D: ?, +D: Melismastrich, NL: ?, DK: ?, S: ?, @@ -4476,20 +4795,18 @@ FI: ?. @node mensural notation @section mensural notation -@c TODO: 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 forms the basis of the notation of rhythms in Western musical +1600. As such, it is the basis for the notation of rhythms in Western musical notation. Franco of Cologne (ca. 1250) is credited with the first systematic explanation @@ -4698,14 +5015,6 @@ sold many of them, and people had taken to calling it a Mälzel Metronome. @ref{metronome mark}. -@node metronomic indication -@section metronomic indication - -@seealso - -@ref{metronome mark} - - @node metronome mark @section metronome mark @@ -4727,6 +5036,14 @@ Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or @ref{metronome} +@node metronomic indication +@section metronomic indication + +@seealso + +@ref{metronome mark} + + @node mezzo-soprano @section mezzo-soprano @@ -4801,6 +5118,14 @@ FI: pieni intervalli. @ref{interval}. +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. + + @node mode @section mode @@ -4943,14 +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 @@ -5160,10 +5477,10 @@ bracket, or @samp{loco} see octave marking. @node octave mark @section octave mark -ES: ?, +ES: indicación de octava, I: ?, F: ?, -D: ?, +D: Oktavierungszeichen, NL: ?, DK: ?, S: ?, @@ -5365,6 +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 @@ -5432,6 +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 @@ -5449,22 +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 @@ -5514,14 +5864,14 @@ the strings. @node polymeter @section polymeter -ES: ?, +ES: compás polimétrico, I: ?, F: ?, -D: ?, +D: Polymetrik, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetriikka. @itemize @@ -5539,14 +5889,14 @@ FI: ?. @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 alternation. @@ -5558,14 +5908,14 @@ Using two or more metric frameworks simultaneously or in alternation. @node polymetric time signature @section polymetric time signature -ES: ?, +ES: compás polimétrico, I: ?, F: ?, -D: ?, +D: polymetrische Taktart, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetrinen tahtiosoitus. A time signature that indicates regularly alternating polymetric time. @@ -5622,7 +5972,7 @@ denotes the highest possible degree of speed. ES: proporción, I: proprozione (?), F: proportion, -D: ?, +D: Proportion, proportio, NL: ?, DK: ?, S: ?, @@ -5652,15 +6002,20 @@ DK: pythagoræisk komma, S: pytagoreiskt komma, FI: pytagorinen komma. -A sequence of fifths starting on C eventually circles back to C, but this C, -obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained -by adding 7 octaves. The difference between those two pitches is called the -Pythagorean comma. +Originally, the interval by which the sum of six whole tones exceeds the octave +-- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents. + +Modern acoustical theory defines it as the interval by which twelve fifths +exceed seven octaves. To put it another way: A sequence of fifths that starts +on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher +than the C obtained by adding 7 octaves. The difference between those two +pitches is the Pythagorean comma. @seealso @ref{cent}, @ref{temperament}. + @node quadruplet @section quadruplet @@ -5678,6 +6033,56 @@ FI: kvartoli. @ref{note value}. +@node quality +@section quality + +ES: ?, +I: qualità (?), +F: qualité (?), +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The quality of a triad is determined by the precise arrangement of its +intervals. Tertian triads can be described as a series of three notes. The +first element is the root note (or simply @q{root}) of the chord, the second +note is the @q{third} of the chord, and the last note is the @q{fifth} of +the chord. These are described below: + +@multitable @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 @@ -5721,14 +6126,14 @@ FI: kvartoli. @node quarter tone @section quarter tone -ES: ?, +ES: cuarto de tonno, I: ?, F: quart de ton, D: Viertelton, NL: kwart toon, DK: ?, S: kvartston, -FI: ?. +FI: neljännes sävelaskel. An interval equal to half a semitone. @@ -5774,7 +6179,7 @@ Abbreviation "rall.". @node relative key @section relative key -ES: relativo, +ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -5959,7 +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, @@ -5978,7 +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 @@ -6122,17 +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: ?, -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. @@ -6239,6 +6665,14 @@ FI: seksti. @ref{note value}. +@node slash repeat +@section slash repeat + +@seealso + +@ref{percent repeat}. + + @node slur @section slur @@ -6426,6 +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 @@ -6510,7 +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, @@ -6601,7 +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, @@ -6611,8 +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 @@ -6679,7 +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 @@ -6740,7 +7204,7 @@ FI: terssi. @item ES: fusa @item I: biscroma @item F: triple croche -@item D: Zweiunddreissigstel, Zweiunddreissigstelnote +@item D: Zweiunddreißigstel, Zweiunddreißigstelnote @item NL: twee-endertig@-ste (32e) noot @item DK: toogtredivtedelsnode @item S: trettiotvåondelsnot @@ -6775,49 +7239,15 @@ FI: terssi. @node thorough bass @section thorough bass -ES: bajo cifrado, -I: basso continuo, basso numerato, -F: basse chiffrée, basse continue, -D: Generalbass, bezifferter Bass, -NL: basso continuo, becijferde bas -DK: generalbas, -S: generalbas, -FI: kenraalibasso, numeroitu basso. - -A method of indicating an accompaniment part by the bass notes only, -together with figures designating the chief @ref{interval}s and -@ref{chord}s to be played above the bass notes. +@seealso -@lilypond[fragment,line-width=13.0\cm] -\context GrandStaff << - \context Staff = lh \relative c'' { - \time 4/4 - \key es \major - \clef treble - << \context Voice = rha { - \stemUp - es4 d c bes | bes } - \context Voice = rhb { - \stemDown - < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 } - >> - } - << - \context Staff = rh \relative c' { - \clef bass - \key es \major - es8 c d bes c as bes16 as g f | es4 - } - \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> } - >> ->> -@end lilypond +@ref{figured bass}. @node tie @section tie -ES: ligadura de prolongación, +ES: ligadura de prolongación, ligadura de unión, I: legatura (di valore), F: liaison, D: Haltebogen, Bindebogen, @@ -6881,7 +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 @@ -6906,14 +7336,14 @@ 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 @@ -7121,7 +7551,7 @@ FI: tritonus. @node tuning fork @section tuning fork -ES: diapasón, +ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, @@ -7130,9 +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 @@ -7150,7 +7584,7 @@ subdivisions. @node turn @section turn -ES: grupeto, +ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, @@ -7238,10 +7672,10 @@ FI: ääni, lauluääni. @node volta @section volta -ES: ?, +ES: vez, primera y segunda vez, I: volta, F: ?, -D: ?, +D: Volta, Wiederholungsklammer, NL: ?, DK: ?, S: ?, @@ -7655,7 +8089,8 @@ the lilypond-user discussion list. @tab - @item @strong{FR} @tab quintuple croche @tab trente-deuxième de soupir @tab - -@item @strong{DE} @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note +@item @strong{DE} @tab Hundertundachtundzwanzigstel + @tab Hundertundachtundzwanzigstel @tab 128tel-Note @item @strong{NL} @tab honderdachtentwintigste noot @tab honderdachtentwintigste rust @tab 128e noot @@ -7676,17 +8111,21 @@ the lilypond-user discussion list. @headitem Lang. @tab Note name @tab Rest name @tab Abbr. -@item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note +@item @strong{US} @tab two-hundred-fifty-sixth note + @tab two-hundred-fifty-sixth rest + @tab 256th note @item @strong{UK} @tab demisemihemidemisemiquaver @tab demisemihemidemisemiquaver rest @tab - -@item @strong{ES} @tab semigarrapatea @tab silencio de semigarrapatea @tab - +@item @strong{ES} @tab semigarrapatea + @tab silencio de semigarrapatea @tab - @item @strong{IT} @tab semifusa @tab pausa di semifusa @tab - @item @strong{FR} @tab sextuple croche @tab soixante-quatrième de soupir @tab - -@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note +@item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote + @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note @item @strong{NL} @tab tweehonderdzesenvijftigste noot @tab tweehonderdzesenvijftigste rust @tab 256e noot @@ -7786,6 +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