X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=b33d3fc2fc053169e3636604d76670d029495725;hb=def21b306e2b8fa2d5630fab0878e9922e197f0c;hp=76066e259a49f1a39548fb66936b32befedc11fc;hpb=3ea0878e90e036cbd240b5f89873282f552dec98;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 76066e259a..b33d3fc2fc 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -14,12 +14,6 @@ * Glossary: (lilypond/music-glossary). Glossary of music terms. @end direntry -@ifnottex -@node Top -@top Music Glossary -@end ifnottex - - @ifhtml This document is also available in @uref{source/Documentation/user/music-glossary.pdf,PDF} @@ -43,7 +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 @@ -64,24 +58,40 @@ Copyright @copyright{} 1999--2007 by the authors @omflanguage English @end ignore +@ifnottex +@node Top +@top Music glossary +@end ifnottex + @ifnottex This glossary was brought you by -@multitable {Jan Nieuwenhuizen} {Original glossary of GNU music project, French glossary,} -@item Adrian Mariano @tab Italian glossary, -@item Bjoern Jacke @tab German glossary, -@item Christian Mondrup @tab Original author of LilyPond glossary, Danish glossary, -@item David González @tab Spanish glossary, -@item François Pinard @tab Original glossary of GNU music project, French glossary, -@item Han-Wen Nienhuys @tab Dutch glossary, -@item Heikki Junes @tab Finnish glossary translations, -@item Jan Nieuwenhuizen @tab Dutch glossary, -@item Kurtis Kroon @tab English glossary, -@item Mats Bengtsson @tab Swedish glossary, -@item Neil Jerram @tab English glossary translations. -@end multitable +@table @code +@item Adrian Mariano +Italian glossary, +@item Bjoern Jacke +German glossary, +@item Christian Mondrup +Original author of LilyPond glossary, Danish glossary, +@item David González +Spanish glossary, +@item François Pinard +Original glossary of GNU music project, French glossary, +@item Han-Wen Nienhuys +Dutch glossary, +@item Heikki Junes +Finnish glossary translations, +@item Jan Nieuwenhuizen +Dutch glossary, +@item Kurtis Kroon +English glossary, +@item Mats Bengtsson +Swedish glossary, +@item Neil Jerram +English glossary translations. +@end table @* Copyright 1999--2007 by the authors @@ -102,7 +112,6 @@ 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}. -@shortcontents @c arrowref @macro aref{word} @@ -115,11 +124,14 @@ documentation, see @rlearning{About the documentation}. @end macro @menu -* Musical terms A-Z:: -* Duration names notes and rests:: -* Pitch names:: +* Musical terms A-Z:: +* Duration names notes and rests:: +* Pitch names:: @end menu +@contents + + @node Musical terms A-Z @chapter Musical terms A-Z @@ -137,331 +149,328 @@ Languages in this order. @end itemize @menu -* A:: -* a due:: -* accelerando:: -* accent:: -* accessory:: -* acciaccatura:: -* accidental:: -* adagio:: -* al niente:: -* allegro:: -* alteration:: -* alto:: -* alto clef:: -* ambitus:: -* anacrusis:: -* ancient minor scale:: -* andante:: -* appoggiatura:: -* arpeggio:: -* articulation:: -* ascending interval:: -* augmentation:: -* augmented interval:: -* autograph:: -* B:: -* backfall:: -* bar:: -* bar line:: -* baritone:: -* baritone clef:: -* bass:: -* bass clef:: -* beam:: -* beat:: -* beat repeat:: -* bind:: -* brace:: -* bracket:: -* brass:: -* breath mark:: -* breve:: -* C:: -* C clef:: -* cadence:: -* cadenza:: -* canon:: -* cent:: -* central C:: -* chord:: -* chromatic scale:: -* chromaticism:: -* church mode:: -* clef:: -* cluster:: -* comma:: -* common meter:: -* common time:: -* complement:: -* compound interval:: -* compound meter:: -* compound time:: -* concert pitch:: -* conjunct movement:: -* consonance:: -* contralto:: -* copying music:: -* counterpoint:: -* countertenor:: -* crescendo:: -* cue-notes:: -* custos:: -* D:: -* da capo:: -* dal niente:: -* dal segno:: -* 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:: -* dorian mode:: -* dot (augmentation dot):: -* dotted note:: -* double appoggiatura:: -* double bar line:: -* double dotted note:: -* double flat:: -* double sharp:: -* double time signature:: -* double trill:: -* duple meter:: -* duplet:: -* duration:: -* dynamics:: -* E:: -* ecclesiastical mode:: -* eighth note:: -* eighth rest:: -* elision:: -* embellishment:: -* engraving:: -* enharmonic:: -* equal temperament:: -* expression mark:: -* 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:: -* fugue:: -* functional harmony:: -* G:: -* G clef:: -* glissando:: -* grace notes:: -* grand staff:: -* grave:: -* gruppetto:: -* H:: -* hairpin:: -* half note:: -* half rest:: -* harmonic cadence:: -* harmonics:: -* harmony:: -* hemiola:: -* homophony:: -* hymn meter:: -* interval:: -* inversion:: -* inverted interval:: -* just intonation:: -* key:: -* key signature:: -* laissez vibrer:: -* largo:: -* leading note:: -* ledger line:: -* legato:: -* legato curve:: -* leger line:: -* ligature:: -* lilypond:: -* line:: -* loco:: -* long appoggiatura:: -* longa:: -* lyric tie:: -* lyrics:: -* major:: -* major interval:: -* meantone temperament:: -* measure:: -* measure repeat:: -* mediant:: -* melisma:: -* melisma line:: -* melodic cadence:: -* mensural notation:: -* meter:: -* metronome:: -* metronome mark:: -* metronomic indication:: -* mezzo:: -* mezzo-soprano:: -* middle C:: -* minor:: -* minor interval:: -* mixolydian mode:: -* mode:: -* modulation:: -* mordent:: -* motif:: -* motive:: -* movement:: -* multi-measure rest:: -* natural:: -* neighbour tones:: -* ninth:: -* non-legato:: -* note:: -* note head:: -* note names:: -* note value:: -* octavation:: -* octave:: -* octave mark:: -* octave marking:: -* octave sign:: -* ornament:: -* ossia:: -* part:: -* pause:: -* pennant:: -* percent repeat:: -* percussion:: -* perfect interval:: -* phrase:: -* phrasing:: -* piano:: -* pickup:: -* pitch:: -* pizzicato:: -* polymeter:: -* polymetric:: -* polymetric time signature:: -* polyphony:: -* portato:: -* presto:: -* proportion:: -* Pythagorean comma:: -* quadruplet:: -* quality:: -* quarter note:: -* quarter rest:: -* quarter tone:: -* quintuplet:: -* rallentando:: -* relative key:: -* repeat:: -* rest:: -* rhythm:: -* ritardando:: -* ritenuto:: -* scale:: -* scale degree:: -* scordatura:: -* score:: -* second:: -* semitone:: -* seventh:: -* sextolet:: -* sextuplet:: -* shake:: -* sharp:: -* simile:: -* simple meter:: -* sixteenth note:: -* sixteenth rest:: -* sixth:: -* sixty-fourth note:: -* sixty-fourth rest:: -* slash repeat:: -* slur:: -* solmization:: -* sonata:: -* sonata form:: -* song texts:: -* soprano:: -* staccato:: -* staff:: -* staves:: -* stem:: -* stringendo:: -* strings:: -* strong beat:: -* subdominant:: -* submediant:: -* subtonic:: -* sul G:: -* superdominant:: -* supertonic:: -* symphony:: -* syncopation:: -* syntonic comma:: -* system:: -* temperament:: -* tempo indication:: -* tenor:: -* tenth:: -* tenuto:: -* third:: -* thirty-second note:: -* thirty-second rest:: -* thorough bass:: -* tie:: -* time:: -* time signature:: -* tone:: -* tonic:: -* transposing instrument:: -* transposition:: -* treble clef:: -* tremolo:: -* triad:: -* trill:: -* triple meter:: -* triplet:: -* tritone:: -* tuning fork:: -* tuplet:: -* turn:: -* unison:: -* upbeat:: -* voice:: -* volta:: -* weak beat:: -* whole note:: -* whole rest:: -* whole tone:: -* woodwind:: +* A:: +* a due:: +* accelerando:: +* accent:: +* accessory:: +* acciaccatura:: +* accidental:: +* adagio:: +* allegro:: +* alteration:: +* alto:: +* alto clef:: +* ambitus:: +* anacrusis:: +* ancient minor scale:: +* andante:: +* appoggiatura:: +* arpeggio:: +* articulation:: +* ascending interval:: +* augmented interval:: +* augmentation:: +* autograph:: +* B:: +* backfall:: +* bar:: +* bar line:: +* baritone:: +* baritone clef:: +* bass:: +* bass clef:: +* beam:: +* beat:: +* beat repeat:: +* bind:: +* brace:: +* bracket:: +* brass:: +* breath mark:: +* breve:: +* C:: +* C clef:: +* cadence:: +* cadenza:: +* canon:: +* cent:: +* central C:: +* chord:: +* chromatic scale:: +* chromaticism:: +* church mode:: +* clef:: +* cluster:: +* comma:: +* common meter:: +* common time:: +* complement:: +* compound interval:: +* compound meter:: +* compound time:: +* concert pitch:: +* conjunct movement:: +* consonance:: +* contralto:: +* copying music:: +* counterpoint:: +* countertenor:: +* crescendo:: +* cue-notes:: +* custos:: +* D:: +* da capo:: +* dal segno:: +* 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:: +* dorian mode:: +* dot (augmentation dot):: +* dotted note:: +* double appoggiatura:: +* double bar line:: +* double dotted note:: +* double flat:: +* double sharp:: +* double time signature:: +* double trill:: +* duple meter:: +* duplet:: +* duration:: +* dynamics:: +* E:: +* ecclesiastical mode:: +* eighth note:: +* eighth rest:: +* elision:: +* embellishment:: +* engraving:: +* enharmonic:: +* equal temperament:: +* expression mark:: +* 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:: +* fugue:: +* functional harmony:: +* G:: +* G clef:: +* glissando:: +* grace notes:: +* grand staff:: +* grave:: +* gruppetto:: +* H:: +* hairpin:: +* half note:: +* half rest:: +* harmonic cadence:: +* harmonics:: +* harmony:: +* hemiola:: +* homophony:: +* hymn meter:: +* interval:: +* inversion:: +* inverted interval:: +* just intonation:: +* key:: +* key signature:: +* laissez vibrer:: +* largo:: +* leading note:: +* ledger line:: +* legato:: +* legato curve:: +* leger line:: +* ligature:: +* lilypond:: +* line:: +* loco:: +* long appoggiatura:: +* longa:: +* lyric tie:: +* lyrics:: +* major:: +* major interval:: +* meantone temperament:: +* measure:: +* measure repeat:: +* mediant:: +* melisma:: +* melisma line:: +* melodic cadence:: +* mensural notation:: +* meter:: +* metronome:: +* metronome mark:: +* metronomic indication:: +* mezzo-soprano:: +* middle C:: +* minor:: +* minor interval:: +* mixolydian mode:: +* mode:: +* modulation:: +* mordent:: +* motif:: +* motive:: +* movement:: +* multi-measure rest:: +* natural:: +* neighbour tones:: +* ninth:: +* non-legato:: +* note:: +* note head:: +* note names:: +* note value:: +* octavation:: +* octave:: +* octave mark:: +* octave marking:: +* octave sign:: +* ornament:: +* ossia:: +* part:: +* pause:: +* pennant:: +* percent repeat:: +* percussion:: +* perfect interval:: +* phrase:: +* phrasing:: +* piano:: +* pickup:: +* pitch:: +* pizzicato:: +* polymeter:: +* polymetric:: +* polymetric time signature:: +* polyphony:: +* portato:: +* presto:: +* proportion:: +* Pythagorean comma:: +* quadruplet:: +* quality:: +* quarter note:: +* quarter rest:: +* quarter tone:: +* quintuplet:: +* rallentando:: +* relative key:: +* repeat:: +* rest:: +* rhythm:: +* ritardando:: +* ritenuto:: +* scale:: +* scale degree:: +* scordatura:: +* score:: +* second:: +* semitone:: +* seventh:: +* sextolet:: +* sextuplet:: +* shake:: +* sharp:: +* simile:: +* simple meter:: +* sixteenth note:: +* sixteenth rest:: +* sixth:: +* sixty-fourth note:: +* sixty-fourth rest:: +* slash repeat:: +* slur:: +* solmization:: +* sonata:: +* sonata form:: +* song texts:: +* soprano:: +* staccato:: +* staff:: +* staves:: +* stem:: +* stringendo:: +* strings:: +* strong beat:: +* subdominant:: +* submediant:: +* subtonic:: +* sul G:: +* superdominant:: +* supertonic:: +* symphony:: +* syncopation:: +* syntonic comma:: +* system:: +* temperament:: +* tempo indication:: +* tenor:: +* tenth:: +* tenuto:: +* third:: +* thirty-second note:: +* thirty-second rest:: +* thorough bass:: +* tie:: +* time:: +* time signature:: +* tone:: +* tonic:: +* transposing instrument:: +* transposition:: +* treble clef:: +* tremolo:: +* triad:: +* trill:: +* triple meter:: +* triplet:: +* tritone:: +* tuning fork:: +* tuplet:: +* turn:: +* unison:: +* upbeat:: +* voice:: +* volta:: +* weak beat:: +* whole note:: +* whole rest:: +* whole tone:: +* woodwind:: @end menu @@ -490,13 +499,13 @@ Languages in this order. ES: a dos, I: a due, F: à deux, -D: ?, +D: a due, zu zweit NL: ?, DK: ?, S: ?, FI: ?. -Abbreviated @notation{a2} or @notation{a 2}. +Abbreviated @samp{a2} or @samp{a 2}. @enumerate @@ -527,9 +536,7 @@ DK: accelerando, S: accelerando, FI: accelerando, kiihdyttäen. -[Italian: @q{speed up, accelerate}.] - -Increase tempo +Increase tempo. @node accent @@ -613,7 +620,7 @@ DK: adagio, S: adagio, FI: adagio, hitaasti. -[Italian: @q{comfortable, easy}.] +It.@: comfortable, easy. @itemize @@ -626,53 +633,6 @@ of @ref{sonata}s, symphonies, etc. @end itemize -@node al niente -@section al niente - -ES: ?, -I: al niente, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -[Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate -that the sound should fade away to nothing. - -@notation{Al niente} is indicated by circling the tip of the hairpin: - -@lilypond[fragment,ragged-right] -\relative c'' { - \override Hairpin #'circled-tip = ##t - c1\< - c2\> c\< - c1\! -} -@end lilypond - -or with the actual phrase @notation{al niente}. This may be easier with -text markup, rather than as part of the @notation{decrescendo} text: - -@lilypond[fragment,ragged-right] -\relative c'' { - \dimTextDecresc - c1~\> - c~ - c\!-\markup { \italic "al niente" } -} -@end lilypond - -Since one does not crescendo @emph{to} nothing, it is not correct to use -@notation{al niente} with the word @notation{crescendo}. Instead, one -should use @emph{dal niente} (@notation{@b{from} nothing}). - -@seealso - -@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}. - - @node allegro @section allegro @@ -685,7 +645,7 @@ DK: allegro, S: allegro, FI: allegro, nopeasti. -[Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick +It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick tempo, especially the first and last movements of a @ref{sonata}. @@ -699,7 +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}. @@ -801,8 +761,6 @@ DK: ren mol, S: ren mollskala, FI: luonnollinen molliasteikko. -Also called @q{natural minor scale}. - @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f \relative c'' { @@ -978,11 +936,11 @@ FI: ylinouseva intervalli. ES: ?, I: ?, F: ?, -D: ?, +D: Augmentation, NL: ?, DK: ?, S: ?, -FI: ?. +FI: augmentaatio, harvennus. @c TODO: add definition. @@ -1032,7 +990,7 @@ emulate engraving. This required more skill than did engraving. @seealso -@ref{H}, @ref{Pitch names} +@ref{Pitch names} @node backfall @@ -1257,7 +1215,7 @@ Angular brackets for connecting parts in an orchestral or choral score: ES: corchete, I: ?, F: ?, -D: ?, +D: Klammer, NL: ?, DK: ?, S: ?, @@ -1910,7 +1868,7 @@ same note derived from some other tuning method. ES: compasillo, I: ?, F: ?, -D: ?, +D: Vier-Viertel-Takt, NL: ?, DK: ?, S: ?, @@ -1966,11 +1924,11 @@ Intervals larger than an octave. 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. @@ -1986,7 +1944,7 @@ A meter that includes a triplet subdivision within the beat, such as ES: compás compuesto, compás de amalgama (def. 2), I: ?, F: ?, -D: ?, +D: Dreiertakt, Wechseltakt, NL: ?, DK: ?, S: ?, @@ -2038,7 +1996,7 @@ A time signature that additively combines two or more unequal meters, e.g. ES: en Do, afinación de concierto, I: ?, F: ?, -D: ?, +D: Kammerton, NL: ?, DK: ?, S: ?, @@ -2254,7 +2212,7 @@ S: crescendo, FI: cresendo, voimistuen. Increasing volume. Indicated by a rightwards opening horizontal wedge -(hairpin) or the abbreviation @notation{cresc.}. +(hairpin) or the abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -2354,30 +2312,10 @@ DK: da capo, S: da capo, FI: da capo, alusta. -Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from +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 niente -@section dal niente - -ES: ?, -I: dal niente, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate -that the sound should gradually increase from nothing. - -@seealso - -@ref{al niente}. - - @node dal segno @section dal segno @@ -2390,9 +2328,8 @@ DK: dal segno, S: dal segno, FI: dal segno, lähtien merkistä. -Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from -another place frequently near the beginning marked by a sign -(@notation{segno}): +Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from +another place frequently near the beginning marked by a sign: @lilypond[fragment,ragged-right] %\override TextScript #'font-style = #'large @@ -2420,7 +2357,7 @@ S: decrescendo, FI: decresendo, hiljentyen. Decreasing tone volume. Indicated by a leftwards opening horizontal -wedge (hairpin) or the abbreviation @notation{decresc.}. +wedge (hairpin) or the abbreviation @samp{decresc.}. @lilypond[fragment,ragged-right] \relative c'' { @@ -2693,11 +2630,11 @@ FI: diminuendo, hiljentyen. ES: ?, I: ?, F: ?, -D: ?, +D: Diminution, Verkleinerung, NL: ?, DK: ?, S: ?, -FI: ?. +FI: diminuutio, tihennys. @c TODO: add definition @@ -2779,7 +2716,7 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. ES: ?, I: ?, F: ?, -D: ?, +D: Divisio, NL: ?, DK: ?, S: ?, @@ -3018,7 +2955,7 @@ FI: kaksoisylennysmerkki. ES: ?, I: ?, F: ?, -D: ?, +D: Doppeltakt, Wechseltakt, NL: ?, DK: ?, S: ?, @@ -3105,7 +3042,7 @@ 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 @@ -3192,7 +3129,7 @@ indicate this information are called dynamic marks. ES: sinalefa, I: ?, F: ?, -D: ?, +D: Elision, Auslassung, NL: ?, DK: ?, S: ?, @@ -3351,8 +3288,8 @@ single extender line to indicate the latter case. @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 @notation{sul G}, another series to be -played on the D string would be indicated @notation{sul D}, and so on. +be played on the G string would be indicated @samp{sul G}, another series to be +played on the D string would be indicated @samp{sul D}, and so on. @item With an octave mark to indicate that a passage is to be played higher or lower @@ -3611,11 +3548,11 @@ less than a quarter note. The number of flags determines the ES: ?, I: ?, F: ?, -D: ?, +D: Flageolett, NL: ?, DK: ?, S: ?, -FI: ?. +FI: flageoletti. An articulation for string players that means the note or passage is to be played in harmonics. @@ -3672,14 +3609,9 @@ DK: forte, S: forte, FI: forte, voimakkaasti. -[Italian: @q{loud}.] +Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud, +@emph{mezzo forte} (@samp{@b{mf}}) medium loud. -Abbreviated @notation{@b{f}}. Variants include: - -@itemize -@item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}), -@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}). -@end itemize @node fourth @section fourth @@ -3704,7 +3636,7 @@ FI: kvartti. ES: partitura a la francesa, I: ?, F: ?, -D: ?, +D: Partitur (ohne leere Takte), NL: ?, DK: ?, S: ?, @@ -3730,7 +3662,7 @@ you may wish to procure a copy of their style manual. ES: pentagrama a la francesa, I: ?, F: ?, -D: ?, +D: Notensystem (ohne leere Takte), NL: ?, DK: ?, S: ?, @@ -3751,7 +3683,7 @@ an @emph{ossia} staff. ES: pentagramas a la francesa, I: ?, F: ?, -D: ?, +D: Notensysteme (ohne leere Takte), NL: ?, DK: ?, S: ?, @@ -3963,9 +3895,9 @@ Slow, solemn. @item FI: H, h @end itemize -Letter name used for @notation{B natural} in German and Scandinavian -usage. In the standard usage of these countries, @notation{B} means -@notation{B flat}. +Letter name used for @samp{B natural} in German and Scandinavian +usage. In the standard usage of these countries, @samp{B} means +@samp{B flat}. @seealso @@ -3978,14 +3910,6 @@ usage. In the standard usage of these countries, @notation{B} means Graphical version of the @notation{crescendo} and @notation{decrescendo} dynamic marks. -@lilypond[fragment,ragged-right] -\relative c'' { - c1\< - c2\> c\< - c1\! -} -@end lilypond - @seealso @ref{crescendo}, @ref{decrescendo}. @@ -4077,7 +4001,7 @@ D: Flageolett-Töne, NL: ?, DK: ?, S: ?, -FI: ?. +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. @@ -4144,10 +4068,10 @@ Three note harmony @ref{chord}. 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 @@ -4332,18 +4256,18 @@ addition of such two intervals forms an octave. ES: ?, I: ?, F: inversion, -D: ?, +D: Umkehrung (Akkord), NL: ?, DK: ?, S: ?, -FI: ?. +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 @code +@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}. @@ -4451,14 +4375,14 @@ key of the music. ES: dejar vibrar, I: ?, F: laissez vibrer, -D: ?, +D: Laissez vibrer, klingen lassen, NL: ?, DK: ?, S: ?, FI: ?. [From French, @q{Let vibrate}]. Most frequently associated with harp -parts. Marked @notation{l.v.} in the score. +parts. Marked @samp{l.v.} in the score. @node largo @@ -4631,7 +4555,7 @@ FI: viiva, nuottiviiva. ES: en su lugar, I: loco, F: ?, -D: ?, +D: loco, NL: ?, DK: ?, S: ?, @@ -4695,13 +4619,12 @@ Note value: double length of @ref{breve}. ES: ligadura de letra, I: ?, F: ?, -D: Textbindung, +D: Bindestrich, NL: ?, DK: ?, S: ?, FI: ?. -@c TODO: add languages @seealso @@ -4847,12 +4770,10 @@ 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: ?, +D: Melismastrich, NL: ?, DK: ?, S: ?, @@ -4874,16 +4795,14 @@ FI: ?. @node mensural notation @section mensural notation -@c TODO: add languages - 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 @@ -5108,8 +5027,8 @@ DK: metronomtal, S: metronomangivelse, FI: metronomiosoitus. -Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or -@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark, +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 @@ -5125,41 +5044,6 @@ Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or @ref{metronome mark} -@node mezzo -@section mezzo - -ES: ?, -I: mezzo, -F: ?, -D: ?, -NL: ?, -DK: ?, -S: ?, -FI: ?. - -[Italian: @q{medium}.] - -Used to qualify other indications, such as: - -@itemize - -@item Dynamics - @itemize - @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as - @notation{piano}) - @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as - @notation{forte}) - @end itemize - -@item Voice - @itemize - @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and - sopranos - @end itemize - -@end itemize - - @node mezzo-soprano @section mezzo-soprano @@ -5172,11 +5056,7 @@ DK: mezzosopran, S: mezzosopran, FI: mezzosopraano. -The female voice between soprano and contralto. - -@seealso - -@ref{soprano}, @ref{contralto}. +The female voice between @ref{soprano} and @ref{contralto}. @node middle C @@ -5584,10 +5464,10 @@ DK: oktav, S: oktav, FI: oktaavi. -The interval of an octave, sometimes abbreviated @notation{8ve}. +The interval of an octave, sometimes abbreviated @samp{8ve}. -For uses like @notation{all'ottava} or @notation{8va} with an extender line or -bracket, or @notation{loco} see octave marking. +For uses like @emph{all'ottava} or @emph{8va} with an extender line or +bracket, or @samp{loco} see octave marking. @seealso @@ -5600,7 +5480,7 @@ bracket, or @notation{loco} see octave marking. ES: indicación de octava, I: ?, F: ?, -D: ?, +D: Oktavierungszeichen, NL: ?, DK: ?, S: ?, @@ -5611,40 +5491,38 @@ or bracket) to indicate that the music is to be played in a different octave: @itemize -@item @notation{15ma}: play two octaves higher -@item @notation{8va}: play one octave higher -@item @notation{8vb}: play one octave lower -@item @notation{8va} (written below the passage): unusual, same as -@notation{8vb} -@item @notation{15vb}: play two octaves lower -@item @notation{15va} (written below the passage): unusual, same as -@notation{15vb} +@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 @notation{loco} (q.v.). +change is cancelled with the word @emph{loco} (q.v.). To parallel the list above: @itemize -@item @notation{15ma}: @notation{alla quindicesima (alta)} -@item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra} -@item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto} -@item @notation{15vb}: @notation{alla quindicesima (bassa)} +@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, @notation{quindicesima} is sometimes replaced with -@notation{quindecima}, which is Latin. +In the phrases above, @emph{quindicesima} is sometimes replaced with +@emph{quindecima}, which is Latin. -Finally, the music on an entire staff can be marked to be played in a -different octave by putting a small 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. +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 @@ -5989,11 +5867,11 @@ the strings. ES: compás polimétrico, I: ?, F: ?, -D: ?, +D: Polymetrik, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetriikka. @itemize @@ -6014,11 +5892,11 @@ FI: ?. ES: polimétrico, I: ?, F: ?, -D: ?, +D: polymetrisch, NL: ?, DK: ?, S: ?, -FI: ?. +FI: polymetrinen. Using two or more metric frameworks simultaneously or in alternation. @@ -6033,11 +5911,11 @@ Using two or more metric frameworks simultaneously or in alternation. 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. @@ -6094,7 +5972,7 @@ denotes the highest possible degree of speed. ES: proporción, I: proprozione (?), F: proportion, -D: ?, +D: Proportion, proportio, NL: ?, DK: ?, S: ?, @@ -6255,7 +6133,7 @@ D: Viertelton, NL: kwart toon, DK: ?, S: kvartston, -FI: ?. +FI: neljännes sävelaskel. An interval equal to half a semitone. @@ -6655,11 +6533,11 @@ FI: korotusmerkki. ES: simile, I: simile, F: ?, -D: ?, +D: simile, gleichartig, NL: ?, DK: ?, S: ?, -FI: ?. +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, @@ -6676,11 +6554,11 @@ TODO: Where else could I refer the reader? 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. @@ -6988,11 +6866,11 @@ whole note. ES: ?, I: stringendo, F: ?, -D: ?, +D: Stringendo, steigernd, NL: ?, DK: ?, S: ?, -FI: ?. +FI: stringendo, kiihtyen. [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a climax. @@ -7326,7 +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 @@ -7461,11 +7339,11 @@ The first @ref{scale degree}. 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 @@ -7797,7 +7675,7 @@ FI: ääni, lauluääni. ES: vez, primera y segunda vez, I: volta, F: ?, -D: ?, +D: Volta, Wiederholungsklammer, NL: ?, DK: ?, S: ?, @@ -8271,12 +8149,12 @@ the lilypond-user discussion list. @node Pitch names @chapter Pitch names -@c -is/-es endings for Danish per Rune Zedeler, pace -@c and for Finnish per Risto Vääräniemi +@c -is/-es endings for Danish per Rune Zedeler +@c and for Finnish per Risto Vääräniemi @c -iss/-ess endings for Swedish per Mats Bengtsson @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 --> -@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis} +@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis} @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI @@ -8324,32 +8202,30 @@ the lilypond-user discussion list. @menu -* Literature used:: +* Literature used:: @end menu @node Literature used @unnumberedsec Literature used @itemize -@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}. -Cambridge: Belknap Press (Harvard University Press), 1944. +@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 Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland: -WSOY, 1976. +@item Hugo Riemanns Musiklexicon, Berlin 1929. -@item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen -Terminologie}. Kassel, 1980. +@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel +1980. -@item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}. -Cambridge: Belknap Press (Harvard University Press), 1986. +@item Oxford Advanced Learner's Dictionary of Current English, Third +Edition 1974. -@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929. +@item Webster's Revised Unabridged Dictionary, Springfield 1913. -@item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of -Current English}, 3rd ed. London: Oxford University Press, 1974. +@item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976. -@item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}. -Springfield, Massachusetts: G. & C. Merriam Company, 1913. +@item Henna Mikkonen, Suvi Rimpiläinen, Konsertissa kävijän taskusanasto, Jyväskylä, 2003 @end itemize