X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fmusic-glossary.tely;h=b724a9e9e4b5d83bc4349ab1d9c0b5b46d7331b1;hb=1ee79e6b8d4386a5885960a3eafb87db933d7f63;hp=7d0c961ac8cda1d838099453b2e91eb67e2d4b84;hpb=44ec216ed7a8f92311cdb8ea925d6e5cab4a72a0;p=lilypond.git diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 7d0c961ac8..b724a9e9e4 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 @@ -40,7 +41,6 @@ and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page Copyright @copyright{} 1999--2007 by the authors - Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, @@ -51,9 +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 @@ -95,7 +95,6 @@ English glossary translations. @* Copyright 1999--2007 by the authors - Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation, @@ -109,7 +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} @@ -127,17 +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 @@ -145,11 +150,12 @@ Languages in this order. @menu * A:: +* a due:: +* accelerando:: * accent:: * accessory:: -* accidental:: -* accelerando:: * acciaccatura:: +* accidental:: * adagio:: * allegro:: * alteration:: @@ -163,6 +169,7 @@ Languages in this order. * arpeggio:: * articulation:: * ascending interval:: +* augmentation:: * augmented interval:: * autograph:: * B:: @@ -171,12 +178,14 @@ Languages in this order. * bar line:: * baritone:: * baritone clef:: -* bass clef:: * bass:: +* bass clef:: * beam:: * beat:: +* beat repeat:: * bind:: * brace:: +* bracket:: * brass:: * breath mark:: * breve:: @@ -195,14 +204,18 @@ Languages in this order. * cluster:: * comma:: * common meter:: -* compound interval:: +* common time:: * complement:: +* compound interval:: +* compound meter:: +* compound time:: +* concert pitch:: * conjunct movement:: * consonance:: * contralto:: -* counterpoint:: -* counter tenor:: * copying music:: +* counterpoint:: +* countertenor:: * crescendo:: * cue-notes:: * custos:: @@ -212,15 +225,17 @@ Languages in this order. * decrescendo:: * descending interval:: * diatonic scale:: +* didymic comma:: * diminished interval:: * diminuendo:: +* diminution:: * direct:: * disjunct movement:: * dissonance:: * dissonant interval:: +* dominant:: * dominant ninth chord:: * dominant seventh chord:: -* dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: @@ -229,11 +244,11 @@ Languages in this order. * double dotted note:: * double flat:: * double sharp:: +* double time signature:: * double trill:: * duple meter:: * duplet:: * duration:: -* dydimic comma:: * dynamics:: * E:: * ecclesiastical mode:: @@ -258,6 +273,9 @@ Languages in this order. * forefall:: * forte:: * fourth:: +* Frenched score:: +* Frenched staff:: +* Frenched staves:: * fugue:: * functional harmony:: * G:: @@ -272,40 +290,48 @@ Languages in this order. * half rest:: * harmonic cadence:: * harmony:: +* hemiola:: * homophony:: * interval:: +* inversion:: * inverted interval:: * just intonation:: * key:: * key signature:: +* laissez vibrer:: * largo:: * leading note:: * ledger line:: * 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:: * melodic cadence:: +* mensural notation:: * meter:: * metronome:: +* metronome mark:: * metronomic indication:: * mezzo-soprano:: * middle C:: * minor:: * minor interval:: +* mixolydian mode:: * mode:: * modulation:: * mordent:: @@ -313,37 +339,46 @@ Languages in this order. * motive:: * movement:: * multi-measure rest:: -* mixolydian mode:: -* natural sign:: +* natural:: * neighbour tones:: * ninth:: * non-legato:: * note:: * note head:: +* note names:: * note value:: -* octave sign:: +* octavation:: * octave:: +* octave mark:: +* octave marking:: +* octave sign:: * ornament:: * ossia:: -* ottava:: * part:: * pause:: * pennant:: +* percent repeat:: * percussion:: * perfect interval:: * phrase:: * phrasing:: -* pickup:: * piano:: +* pickup:: * pitch:: * pizzicato:: +* polymeter:: +* polymetric:: +* polymetric time signature:: * polyphony:: * portato:: * presto:: -* Pythagorean comma:: +* proportion:: +* Pythagorean comma:: * quadruplet:: +* quality:: * quarter note:: * quarter rest:: +* quarter tone:: * quintuplet:: * rallentando:: * relative key:: @@ -363,11 +398,14 @@ 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:: @@ -388,7 +426,7 @@ Languages in this order. * supertonic:: * symphony:: * syncopation:: -* syntonic comma:: +* syntonic comma:: * system:: * temperament:: * tempo indication:: @@ -404,6 +442,7 @@ Languages in this order. * time signature:: * tone:: * tonic:: +* transposing instrument:: * transposition:: * treble clef:: * tremolo:: @@ -418,6 +457,7 @@ Languages in this order. * unison:: * upbeat:: * voice:: +* volta:: * weak beat:: * whole note:: * whole rest:: @@ -429,20 +469,68 @@ 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 + +@ref{Pitch names} + + +@node a due +@section a due + +ES: a dos, +I: a due, +F: à deux, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Abbreviated @samp{a2} or @samp{a 2}. + +@enumerate + +@item An indication in orchestral scores that a single part notated on a single +staff that normally carries parts for two players (e.g. first and second oboes) +is to be played by both players. + +@item Or conversely, that two pitches or parts notated on a staff that normally +carries a single part (e.g. first violin) are to be played by different players, +or groups of players (@q{desks}). + +@end enumerate @seealso @ref{Pitch names} +@node 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 @@ -466,6 +554,19 @@ 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 @@ -479,10 +580,10 @@ S: tillfälligt förtecken, FI: tilapäinen etumerkki. An accidental has the effect of an @ref{alteration} of a note. A -sharp raises a tone by a @ref{semitone}, a double sharp raises it by -a @ref{whole tone}, a flat lowers it by a semitone and a double flat +sharp raises a tone by a @ref{semitone}, a double sharp raises it by a +@ref{whole tone}, a flat lowers it by a semitone and a double flat lowers it by a whole tone. A natural cancels the effect of a previous -accidental. +accidental, or a sharp or flat in the key signature. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -499,33 +600,6 @@ accidental. @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 @@ -539,10 +613,16 @@ S: adagio, FI: adagio, hitaasti. It.@: comfortable, easy. -1.@tie{}Slow tempo, slower -- especially in even meter -- than + +@itemize + +@item Slow tempo, slower -- especially in even meter -- than @ref{andante} and faster than @ref{largo}. -2.@tie{}A movement in slow tempo, especially the second (slow) movement of -@ref{sonata}s, symphonies, etc. + +@item A movement in slow tempo, especially the second (slow) movement +of @ref{sonata}s, symphonies, etc. + +@end itemize @node allegro @@ -569,9 +649,9 @@ I: alterazione, F: altération, D: Alteration, NL: verhoging of verlaging, -DK: -S: -FI: +DK: ?, +S: ?, +FI: ?. An alteration is the modification, raising or lowering, of a note's pitch. It is established by an @ref{accidental}. @@ -589,10 +669,10 @@ DK: alt, S: alt, FI: altto, matala naisääni. -A female voice of low range (@emph{contralto}). Originally the alto was a -high male voice (hence the name), which by the use of falsetto reached the -height of the female voice. This type of voice is also known as -@ref{counter tenor}. +A female voice of low range (@emph{contralto}). Originally the alto +was a high male voice (hence the name), which by the use of falsetto +reached the height of the female voice. This type of voice is also +known as @ref{countertenor}. @node alto clef @@ -626,9 +706,10 @@ 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 @@ -644,8 +725,8 @@ S: upptakt, FI: kohotahti. An anacrusis (also known as pickup or upbeat) is an incomplete measure -of music before a section of music. It also refers to the initial note(s) -of a melody occurring in that incomplete measure. +of music before a section of music. It also refers to the initial +note(s) of a melody occurring in that incomplete measure. @seealso @@ -663,7 +744,7 @@ 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, @@ -672,16 +753,16 @@ 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 @@ -710,12 +791,12 @@ DK: forslag, S: förslag, FI: appoggiatura, etuhele. -Ornamental note, usually a second, that is melodically connected with the -main note following it. In music before the 19th century appoggiature were -usually performed on the beat, after that mostly before the beat. While the -short appoggiatura is performed as a short note regardless of the duration of -the main note the duration of the long appoggiatura is proportional to that of -the main note. +Ornamental note, usually a second, that is melodically connected with +the main note following it. In music before the 19th century +appoggiature were usually performed on the beat, after that mostly +before the beat. While the short appoggiatura is performed as a short +note regardless of the duration of the main note the duration of the +long appoggiatura is proportional to that of the main note. @lilypond[line-width=13.0\cm] \context Voice \relative c'' { @@ -804,9 +885,9 @@ DK: ?, S: ?, FI: artikulaatio, ilmaisu. -Articulation refers to notation which indicates how a note or notes should -be played. Slurs, accents, staccato, and legato are all examples of -articulartion. +Articulation refers to notation which indicates how a note or notes +should be played. Slurs, accents, staccato, and legato are all +examples of articulation. @node ascending interval @@ -817,7 +898,7 @@ 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. @@ -841,6 +922,27 @@ FI: ylinouseva intervalli. @ref{interval}. +@node augmentation +@section augmentation + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add definition. + +This is a placeholder for augmentation (wrt mensural notation). + +@seealso + +@ref{diminution}, @ref{mensural notation}. + + @node autograph @section autograph @@ -853,24 +955,30 @@ DK: håndskrift, autograf, S: handskrift, FI: käsinkirjoitettu nuotti. -1.@tie{}A manuscript in the composer's own hand. -2.@tie{}Music prepared for photoreproduction by freehand drawing, -with the aid of a straightedge ruler and T-square only, -which attempts to emulate engraving. -This required more skill than did engraving. +@itemize + +@item A manuscript written in the composer's own hand. + +@item Music prepared for photoreproduction by freehand drawing, with +the aid of a straightedge ruler and T-square only, which attempts to +emulate engraving. This required more skill than did engraving. + +@end itemize @node B @section B -ES: si, -I: si, -F: si, -D: H, h, -NL: b, -DK: h, -S: h, -FI: H, h. +@itemize +@item ES: si +@item I: si +@item F: si +@item D: H, h +@item NL: b +@item DK: h +@item S: h +@item FI: H, h +@end itemize @seealso @@ -943,6 +1051,32 @@ C or F clef setting middle C on the upper staff line. @ref{C clef}, @ref{F clef}. +@node bass +@section bass + +ES: bajo, +I: basso, +F: basse, +D: Bass, +NL: bas, +DK: bas, +S: bas, +FI: basso, matala miesääni. + +@itemize + +@item The lowest male voice. + +@item Sometimes, especially in jazz music, used as an abbreviation for +double bass. + +@end itemize + +@seealso + +@ref{strings}. + + @node bass clef @section bass clef @@ -962,27 +1096,6 @@ A clef setting with middle C on the first top ledger line. @ref{F clef}. -@node bass -@section bass - -ES: bajo, -I: basso, -F: basse, -D: Bass, -NL: bas, -DK: bas, -S: bas, -FI: basso, matala miesääni. - -1.@tie{}The lowest male voice. -2.@tie{}Sometimes, especially in jazz music, used as -an abbreviation for double bass. - -@seealso - -@ref{strings}. - - @node beam @section beam @@ -995,8 +1108,8 @@ DK: bjælke, S: balk, FI: palkki. -Line connecting a series of notes (shorter than a quarter note). -The number of beams determines the note value of the connected notes. +Line connecting a series of notes (shorter than a quarter note). The +number of beams determines the note value of the connected notes. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1025,9 +1138,9 @@ DK: (takt)slag, S: taktslag, FI: aika-arvo. -Note value used for counting, most often half-, fourth-, and eighth notes. -The base counting value and the number of them per measure is indicated at -the start of the music. +Note value used for counting, most often half-, fourth-, and eighth +notes. The base counting value and the number of them per measure is +indicated at the start of the music. @lilypond[fragment,line-width=13.0\cm] \key g \major @@ -1038,6 +1151,14 @@ the start of the music. @end lilypond +@node beat repeat +@section beat repeat + +@seealso + +@ref{percent repeat}. + + @node bind @section bind @@ -1058,9 +1179,11 @@ DK: klamme, S: klammer, FI: yhdistävä sulkumerkki. -Symbol at the start of a system connecting staves. Curly braces are used -for connecting piano staves, angular brackets for connecting parts in an -orchestral or choral score. +Symbol at the start of a system connecting staves. + +Curly braces are used for connecting piano staves, and sometimes for connecting +the staves of like instruments in an orchestral score when written on different +staves (e.g. first and second flutes): @lilypond[fragment,ragged-right] \context GrandStaff << @@ -1068,6 +1191,8 @@ orchestral or choral score. \relative c \context Staff = SB { \clef bass c1 \bar "|." } >> @end lilypond +Angular brackets for connecting parts in an orchestral or choral score: + @lilypond[fragment,ragged-right] \context StaffGroup << % \set StaffGroup.minVerticalAlign = #12 @@ -1076,6 +1201,23 @@ orchestral or choral score. @end lilypond +@node bracket +@section bracket + +ES: corchete, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{brace} + + @node brass @section brass @@ -1088,9 +1230,9 @@ DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin. -A family of blown musical instruments made of brass, all using a cup formed -mouth piece. The brass instruments commonly used in a symphony orchestra are -trumpet, trombone, french horn, and tube. +A family of blown musical instruments made of brass, all using a cup +formed mouth piece. The brass instruments commonly used in a symphony +orchestra are trumpet, trombone, french horn, and tube. @node breath mark @@ -1107,6 +1249,7 @@ FI: hengitysmerkki. Indication of where to breathe in vocal and wind instrument parts. + @node breve @section breve @@ -1117,28 +1260,35 @@ 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. +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 @@ -1209,10 +1359,10 @@ S: kadens, FI: kadenssi, lopuke. An extended, improvisatory style section inserted near the end of -movement. The purpose of a cadenza is to give singers or players a chance -to exhibit their technical skill and -- not last -- their ability to -improvise. Since the middle of the 19th century, however, most cadences have -been written down by the composer. +movement. The purpose of a cadenza is to give singers or players a +chance to exhibit their technical skill and -- not last -- their +ability to improvise. Since the middle of the 19th century, however, +most cadenzas have been written down by the composer. @node canon @@ -1245,8 +1395,8 @@ S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. -Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100 -of an equally tempered @ref{semitone}). +Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave +(1/100 of an equally tempered @ref{semitone}). @seealso @@ -1274,15 +1424,13 @@ 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 +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 @@ -1308,6 +1456,11 @@ 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 @@ -1391,8 +1544,8 @@ pitches. The three clef symbols in common use are: @end lilypond Imagine a large staff of 11 lines centered on middle C, sometimes -called a @q{grand staff}, with the bottom line representing low G -and the top line high F: +called a @q{grand staff}, with the bottom line representing low G and +the top line high F: @lilypond[ragged-right,quote] \score { @@ -1462,10 +1615,10 @@ and the top line high F: } % End score @end lilypond -Staves of five lines are usually used, and the clef superimposed on them -indicates which five lines have been selected from this @samp{grand staff}. -For example, the treble or G clef indicates that the top five -lines have been selected: +Staves of five lines are usually used, and the clef superimposed on +them indicates which five lines have been selected from this +@samp{grand staff}. For example, the treble or G clef indicates that +the top five lines have been selected: @lilypond[ragged-right,quote] \score { @@ -1546,12 +1699,14 @@ lines have been selected: } % End score @end lilypond -The @q{curl} of the G clef in centered on the line that represents the pitch G. +The @q{curl} of the G clef is centered on the line that represents the +pitch G. -In the same way, the bass or F clef indicates that the bottom five lines -have been selected from the @samp{grand staff}, and the alto or C clef -indicates the middle five lines have been selected. This relationship is -shown below, where the notes show an arpeggio on a C major chord. +In the same way, the bass or F clef indicates that the bottom five +lines have been selected from the @samp{grand staff}, and the alto or +C clef indicates the middle five lines have been selected. This +relationship is shown below, where the notes show an arpeggio on a C +major chord. @lilypond[ragged-right,quote] \score { @@ -1629,12 +1784,16 @@ shown below, where the notes show an arpeggio on a C major chord. @end lilypond - @node cluster @section cluster ES: racimo, -DE: Cluster, +I: ?, +F: ?, +D: Cluster, +NL: ?, +DK: ?, +S: ?, FI: klusteri, cluster. A @emph{cluster} is a range of simultaneously sounding pitches that @@ -1676,39 +1835,43 @@ DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa. -Difference in pitch between a note derived from pure tuning and the same note -derived from some other tuning method. +Difference in pitch between a note derived from pure tuning and the +same note derived from some other tuning method. @seealso +@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma}, @ref{temperament}. @node common meter @section common meter +@ref{common time} + @seealso @ref{meter}. -@node compound interval -@section compound interval +@node common time +@section common time -ES: intervalo compuesto, -I: intervallo composto, -F: intervalle composé, -D: weites Intervall, -NL: samengesteld interval, -DK: sammensat interval, -S: sammansatt intervall, -FI: oktaavia laajempi intervalli. +ES: compasillo, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. -Intervals larger than an octave. +4/4 time. The symbol, which resembles a capital letter C, derives from +mensural notation. @seealso -@ref{interval}. +@ref{mensural notation}, @ref{meter}. @node complement @@ -1728,20 +1891,177 @@ FI: täydentävä intervalli. @ref{inverted interval}. -@node conjunct movement -@section conjunct movement - -ES: movimiento conjunto, -I: moto congiunto, -F: mouvement conjoint, -D: schritt@-weise, stufenweise Bewegung, -NL: stapsgewijze, trapsgewijze beweging, -DK: trinvis bevægelse, -S: stegvis rörelse, -FI: asteittainen liike. +@node compound interval +@section compound interval -Progressing melodically by intervals of a second. The opposite of a -@ref{disjunct movement}. +ES: intervalo compuesto, +I: intervallo composto, +F: intervalle composé, +D: weites Intervall, +NL: samengesteld interval, +DK: sammensat interval, +S: sammansatt intervall, +FI: oktaavia laajempi intervalli. + +Intervals larger than an octave. + +@seealso + +@ref{interval}. + + +@node compound meter +@section compound meter + +ES: compás compuesto, compás de subdivisión ternaria, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A meter that includes a triplet subdivision within the beat, such as +6/8, 9/8, 12/8. + +@seealso + +@ref{meter}, @ref{simple meter}. + + +@node compound time +@section compound time + +ES: compás compuesto, compás de amalgama (def. 2), +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@enumerate + +@item +A meter that includes a triplet subdivision within the beat: see +@ref{compound meter}. + +@item +A time signature that additively combines two or more unequal meters, e.g. +"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures. + +@lilypond[fragment,line-width=13.0\cm] +#(define (compound-time grob one two three num) + (interpret-markup + (ly:grob-layout grob) + '(((baseline-skip . 2) + (word-space . 1.5) + (font-family . number))) + (markup + #:line ( #:column (one) "+" #:column (two num) "+" #:column (three))))) + + \relative c' { + \key f \major + #(set-time-signature 8 8 '(3 2 3)) + \override Staff.TimeSignature #'stencil + = #(lambda (grob) (compound-time grob "3" "2" "3" "8")) + #(override-auto-beam-setting '(end 1 8 8 8) 3 8) + #(override-auto-beam-setting '(end 1 8 8 8) 5 8) + \set Staff.beatGrouping = #'(3 2 3) + + c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||" + } +@end lilypond + +@end enumerate + +@seealso + +@ref{compound meter}, @ref{meter}. + + +@node concert pitch +@section concert pitch + +ES: en Do, afinación de concierto, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The pitch at which the piano and other nontransposing instruments play: such +instruments are said to be @q{in C}. The following list includes some (but not +all) instruments that play in concert pitch: + +@itemize + +@item Woodwinds +@itemize +@item flute +@item oboe +@item bassoon +@end itemize + +@item Brass +@itemize +@item alto trombone +@item tenor trombone +@item bass trombone +@end itemize + +@item Strings +@itemize +@item violin +@item viola +@item violincello +@end itemize + +@item piano + +@end itemize + +The trombones are a special case: although they are said to be @q{in F} (alto or +bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to +their parts' transposition. (In fact, the trombones' parts are written at +concert pitch with an appropriate clef -- alto, tenor or bass.) This differs +from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing +instruments. + +Instruments that play @q{in C} but in a different octave than what is written +are, technically speaking, @emph{transposing instruments}: + +@itemize + +@item piccolo (plays an octave higher) +@item celesta (plays an octave higher) +@item double-bass (plays an octave lower) + +@end itemize + +@seealso + +@ref{transposing instrument}. + + +@node conjunct movement +@section conjunct movement + +ES: movimiento conjunto, +I: moto congiunto, +F: mouvement conjoint, +D: schritt@-weise, stufenweise Bewegung, +NL: stapsgewijze, trapsgewijze beweging, +DK: trinvis bevægelse, +S: stegvis rörelse, +FI: asteittainen liike. + +Progressing melodically by intervals of a second. The opposite of a +@ref{disjunct movement}. @lilypond[fragment,line-width=13.0\cm] \key g \major \time 4/4 @@ -1783,6 +2103,18 @@ 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 @@ -1795,14 +2127,14 @@ DK: kontrapunkt, S: kontrapunkt, FI: kontrapunkti, ääni ääntä vastaan. -From latin @emph{punctus contra punctum}, note against note. The combination -into a single musical fabric of lines or parts which have distinct melodic -significance. A frequently used polyphonic technique is imitation, in its -strictest form found in the canon needing only one part to be written down -while the other parts are performed with a given displacement. Imitation is -also the contrapunctal technique used in the @emph{fugue} which, since the -music of the baroque era, has been one of the most popular polyphonic -composition methods. +From Latin @emph{punctus contra punctum}, note against note. The +combination into a single musical fabric of lines or parts which have +distinct melodic significance. A frequently used polyphonic technique +is imitation, in its strictest form found in the canon needing only +one part to be written down while the other parts are performed with a +given displacement. Imitation is also the contrapunctal technique +used in the @emph{fugue} which, since the music of the baroque era, +has been one of the most popular polyphonic composition methods. @lilypond[fragment,staffsize=12,line-width=13.0\cm] \set Score.implicitTimeSignatureVisibility = #all-invisible @@ -1842,8 +2174,8 @@ composition methods. @end lilypond -@node counter tenor -@section counter tenor +@node countertenor +@section countertenor ES: contratenor, I: controtenore, @@ -1859,16 +2191,6 @@ 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. This -required more skill than engraving. - - @node crescendo @section crescendo @@ -1881,8 +2203,8 @@ DK: crescendo, S: crescendo, FI: cresendo, voimistuen. -Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation @samp{cresc.}. +Increasing volume. Indicated by a rightwards opening horizontal wedge +or the abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -1902,26 +2224,32 @@ DK: stiknoder, S: inprickningar, FI: vihjenuotit. -In a separate part notes belonging to another part with the purpose of hinting -when to start playing. Usually printed in a smaller type. +In a separate part notes belonging to another part with the purpose of +hinting when to start playing. Usually printed in a smaller type. @node custos @section custos +ES: custos, +I: ?, F: guidon, -D: Notenzeiger, Custos. +D: Notenzeiger, Custos, +NL: ?, +DK: ?, +S: ?, +FI: ?. -A custos is a staff symbol that appears at the end of a staff line -with monophonic musical contents (i.e., with a single voice). It -anticipates the pitch of the first note of the following line and thus -helps the player or singer to manage line breaks during performance, -thus enhancing readability of a score. +A custos (plural: custodes) is a staff symbol that appears at the end +of a staff line with monophonic musical contents (i.e., with a single +voice). It anticipates the pitch of the first note of the following +line and thus helps the player or singer to manage line breaks during +performance, thus enhancing readability of a score. Custodes were frequently used in music notation until the 16th century. There were different appearences for different notation styles. Nowadays, they have survived only in special forms of musical -notation such as via the editio vaticana dating back to the beginning +notation such as via the Editio Vaticana dating back to the beginning of the 20th century @lilypond @@ -1948,14 +2276,16 @@ 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 @@ -1974,8 +2304,8 @@ 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}. Mostly abbreviated as @samp{D.C.}. +Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from +the beginning to the end or to a certain place marked @emph{fine}. @node dal segno @@ -2001,7 +2331,7 @@ 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 @@ -2056,12 +2386,12 @@ DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko. -A scale consisting of 5@w{ }@ref{whole tone}s and -2@w{ }@ref{semitone}s (S). Scales played on the white keys -of a piano keybord are diatonic. +A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S). +Scales played on the white keys of a piano keybord are diatonic; and these +scales are sometimes called, somewhat inaccurately, @q{church modes}). -The church modes are used in gregorial chant and in pre-baroque early -music but also to some extent in newer jazz music. +These @q{modes} are used in gregorian chant and in pre-baroque early music +but also to some extent in newer jazz music. @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -2149,10 +2479,25 @@ music but also to some extent in newer jazz music. >> @end lilypond +@lilypond[fragment,notime,ragged-right] +\set Score.automaticBars = ##f +%\override Score.LyricText #'font-style = #'large +%\override Score.TextScript #'font-style = #'large +<< + \relative c'' { + \override TextScript #'padding = #-4 + 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. +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 @@ -2177,7 +2522,7 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and b^"~~ S" c d e^"~~ S" f g a } \lyrics { - "ancient minor" + "Ancient minor" } >> @end lilypond @@ -2204,16 +2549,39 @@ harmonic minor scale type an augmented second (A) occurs between the 6th and \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 @@ -2247,6 +2615,28 @@ FI: diminuendo, hiljentyen. @ref{decrescendo}. + +@node diminution +@section diminution + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@c TODO: add definition + +This is a placeholder for diminution (wrt mensural notation). + +@seealso + +@ref{augmentation}, @ref{mensural notation}. + + @node direct @section direct @@ -2263,6 +2653,7 @@ FI: ?. @ref{custos}. + @node disjunct movement @section disjunct movement @@ -2275,8 +2666,8 @@ DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. -Progressing melodically by intervals larger than a major second. -Opposite of @ref{conjunct movement}. +Progressing melodically by intervals larger than a major second, as +opposed to @ref{conjunct movement}. @lilypond[fragment,ragged-right] \key a \major @@ -2311,6 +2702,21 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. @ref{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 dominant ninth chord @section dominant ninth chord @@ -2345,21 +2751,6 @@ 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 @@ -2389,11 +2780,9 @@ DK: punkt, S: punkt, FI: piste. -@c TODO: fix double redirect -- to "dotted note", and thence to "note value"? - @seealso -@ref{dotted note}. +@ref{dotted note}, @ref{note value}. @node dotted note @@ -2496,6 +2885,23 @@ FI: kaksoisylennysmerkki. @ref{accidental}. +@node double time signature +@section double time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{polymetric time signature}. + + @node double trill @section double trill @@ -2562,18 +2968,10 @@ 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, @@ -2582,26 +2980,29 @@ DK: ?, S: ?, FI: ?. -The aspect of music relating to degrees of loudness, or changes from one -degree to another. The terms, abbreviations, and symbols used to indicate -this information are called dynamic marks. +The aspect of music relating to degrees of loudness, or changes from +one degree to another. The terms, abbreviations, and symbols used to +indicate this information are called dynamic marks. @seealso -@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}. +@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, +@ref{diminuendo}. @node E @section E -ES: mi, -I: mi, -F: mi, -D: E, e, -NL: e, -DK: e, -S: e, -FI: E, e. +@itemize +@item ES: mi +@item I: mi +@item F: mi +@item D: E, e +@item NL: e +@item DK: e +@item S: e +@item FI: E, e +@end itemize @seealso @@ -2619,15 +3020,17 @@ 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 @@ -2637,15 +3040,17 @@ 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 @@ -2655,7 +3060,27 @@ FI: kahdeksasosatauko. @node elision @section elision -TODO: languages, definition +@c TODO: add languages + +ES: sinalefa, +I: ?, +F: ?, +D: ?, +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. + +@seealso + +@ref{lyric tie}. @node embellishment @@ -2669,7 +3094,7 @@ TODO: languages, definition @node engraving @section engraving -ES: grabar, +ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck @@ -2678,9 +3103,9 @@ DK: nodestik, S: nottryck, FI: painatus. -Engraving means incising or etching a metal plate for -printing. Photoengraving means drawing music with ink in a manner -similar to drafting or engineering drawing, using similar tools. +Engraving means incising or etching a metal plate for printing. +Photoengraving means drawing music with ink in a manner similar to +drafting or engineering drawing, using similar tools. The traditional process of music printing is done through cutting in a plate of metal. Now also the term for the art of music typesetting. @@ -2698,8 +3123,8 @@ DK: enharmonisk, S: enharmonisk, FI: enharmoninen. -Two notes, intervals, or scales are enharmonic if they have different names -but equal pitch. +Two notes, intervals, or scales are enharmonic if they have different +names but equal pitch. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2747,15 +3172,21 @@ DK: foredragsbetegnelse, S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki. -Performance indications concerning 1. volume, dynamics (for example -@ref{forte}, @ref{crescendo}), 2. tempo (for example -@ref{andante}, @ref{allegro}). +Performance indications concerning: + +@itemize + +@item volume, dynamics (for example @ref{forte}, @ref{crescendo}), + +@item tempo (for example @ref{andante}, @ref{allegro}). + +@end itemize @node extender line @section extender line -ES: línea de extención [de melisma, de bajo cifrado, etc.], +ES: línea de extensión [de melisma, de bajo cifrado, etc.], I: ?, F: ligne d'extension [de mélisme, de basse chiffrée, etc.], D: Fülllinie, @@ -2764,60 +3195,63 @@ DK: ?, S: ?, FI: ?. -The generic term for a line (or dash) of arbitrary length that -extends text (without indicating the musical @emph{function} of -that text). +The generic term for a line (or dash) of arbitrary length that extends +text (without indicating the musical @emph{function} of that text). Used in many contexts, for example: @itemize -@item -In vocal music to indicate the syllable for a melisma. Called @q{extension} -in the -@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}. -@item -In figured (or thorough) bass to indicate that: +@item In vocal music to indicate the syllable for a melisma. Called +@q{extension} in the +@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music +Dictionary}. - @itemize +@item +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 @@ -2836,12 +3270,12 @@ DK: F-nøgle, S: f-klav, FI: F-avain. -The position between the dots of the key symbol is the line of the F below -central@w{ }C. Used on the third, fourth and fifth note line. A -digit@w{ }8 above the clef symbol indicates that the notes must be played -an octave higher (for example, bass recorder) while 8@w{ }below the clef -symbol indicates playing an octave lower (for example, on double bass -@ref{strings}). +The position between the dots of the key symbol is the line of the F +below central@w{ }C. Used on the third, fourth and fifth note line. +A digit@w{ }8 above the clef symbol indicates that the notes must be +played an octave higher (for example, bass recorder) while 8@w{ }below +the clef symbol indicates playing an octave lower (for example, on +double bass @ref{strings}). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2879,7 +3313,7 @@ symbol indicates playing an octave lower (for example, on double bass @node feathered beam @section feathered beam -ES: ?, +ES: barra punteada, I: ?, F: liens de croches en soufflet, D: gespreizter Balken, @@ -2940,11 +3374,49 @@ FI: kvintti. @node figured bass @section figured bass -@seealso - -@ref{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. + +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. + +@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 @section fingering @@ -3046,6 +3518,68 @@ FI: kvartti. @ref{interval}. +@node Frenched score +@section Frenched score + +ES: partitura a la francesa, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A @q{condensed} score, produced by omitting staves for instruments that are not +playing at the moment, and by moving up additional systems from following pages +to take up the space thus liberated, which reduces the total number of pages +used to print the work. + +The specific rules for @q{frenching} a score differ from publisher to publisher. +If you are producing scores for eventual publication by a commercial publisher, +you may wish to procure a copy of their style manual. + +@seealso + +@ref{Frenched staff}. + + +@node Frenched staff +@section Frenched staff + +ES: pentagrama a la francesa, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded +measures or sections removed. This would be useful for producing, for example, +an @emph{ossia} staff. + +@seealso + +@ref{ossia}. + + +@node Frenched staves +@section Frenched staves + +ES: pentagramas a la francesa, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The plural of @ref{Frenched staff}, @emph{q.v.}. + + @node fugue @section fugue @@ -3075,11 +3609,11 @@ DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä. -A system of harmonic analysis. It is based on the idea that, in a given key, -there are only three functionally different chords: tonic (T, the chord on the -first note of the scale), subdominant (S, the chord on the fourth note), and -dominant (D, the chord on the fifth note). Others are considered to be -variants of the base chords. +A system of harmonic analysis. It is based on the idea that, in a +given key, there are only three functionally different chords: tonic +(T, the chord on the first note of the scale), subdominant (S, the +chord on the fourth note), and dominant (D, the chord on the fifth +note). Others are considered to be variants of the base chords. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3096,14 +3630,16 @@ 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 @@ -3122,11 +3658,11 @@ DK: g-nøgle, S: g-klav, FI: G-avain. -A clef symbol indicating the G above central@w{ }C. Used on the first +A clef symbol indicating the G above middle@w{ }C. Used on the first and second note lines. A digit 8 above the clef symbol indicates that -the notes must be played an octave higher while 8 below the clef symbol -indicates playing or singing an octave lower (most tenor parts in choral -scores are notated like that). +the notes must be played an octave higher while 8 below the clef +symbol indicates playing or singing an octave lower (most tenor parts +in choral scores are notated like that). @lilypond[fragment,notime,ragged-right] << @@ -3187,7 +3723,8 @@ counted in the rhythm of the bar. @seealso -@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. +@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, +@ref{ornament}. @node grand staff @@ -3235,17 +3772,20 @@ 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 @samp{B flat}. +Letter name used for @samp{B natural} in German and Scandinavian +usage. In the standard usage of these countries, @samp{B} means +@samp{B flat}. @seealso @@ -3255,10 +3795,10 @@ standard usage of these countries, @samp{B} means @samp{B flat}. @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, @@ -3273,10 +3813,10 @@ 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, @@ -3300,8 +3840,7 @@ DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi. -A sequence of chords that terminates a musical phrase or -section. +A sequence of chords that terminates a musical phrase or section. @ref{functional harmony}. @@ -3341,8 +3880,8 @@ DK: samklang, S: samklang, FI: harmonia, yhteissointi. -Tones sounding simultaneously. Two note harmonies fall into the categories -@emph{consonances} and @emph{dissonances}. +Tones sounding simultaneously. Two note harmonies fall into the +categories @emph{consonances} and @emph{dissonances}. Consonances: @@ -3375,6 +3914,51 @@ Dissonances: Three note harmony @ref{chord}. +@node hemiola +@section hemiola + +ES: hemiolia, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to +the use of three notes of equal value in the time normally occupied by +of two notes of equal value. The resulting rhythm can be expressed in +modern terms as a substitution (for example) of a bar in 3/2 for one +of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era, +hemiola is most frequently as a special effect (or @emph{affect}) at +cadences. + +For example, this phrase in 6/4 time + +@lilypond[fragment,line-width=13.0\cm] +\key c \major +\time 6/4 +\relative c' { + c2. e | d2 c d | c1. \bar "||" } +@end lilypond + +may be thought of having alternating time signatures + +@lilypond[fragment,line-width=13.0\cm] +\key c \major +\time 6/4 +\relative c' { + c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" } +@end lilypond + +and is therefore a polymeter (second definition) of considerable antiquity. + +@seealso + +@ref{mensural notation}, @ref{meter}, @ref{polymeter}. + + @node homophony @section homophony @@ -3387,8 +3971,9 @@ DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys. -Music in which one voice leads melodically followed by the other voices more -or less in the same rhythm. In contrast to @ref{polyphony}. +Music in which one voice leads melodically followed by the other +voices more or less in the same rhythm. In contrast to +@ref{polyphony}. @node interval @@ -3403,11 +3988,11 @@ DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero. -Difference in pitch between two notes. Intervals may be perfect, minor, -major, diminished, or augmented. The augmented fourth and the diminished fifth -are identical (@ref{enharmonic}) and are called @emph{tritonus} because they -consist of three @ref{whole tone}s. The addition of such two intervals forms an -octave. +Difference in pitch between two notes. Intervals may be perfect, +minor, major, diminished, or augmented. The augmented fourth and the +diminished fifth are identical (@ref{enharmonic}) and are called +@emph{tritonus} because they consist of three @ref{whole tone}s. The +addition of such two intervals forms an octave. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3470,6 +4055,44 @@ octave. @end lilypond +@node inversion +@section inversion + +ES: ?, +I: ?, +F: inversion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +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 @@ -3525,8 +4148,8 @@ 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 @@ -3551,6 +4174,22 @@ key of the music. @ref{accidental}. +@node laissez vibrer +@section laissez vibrer + +ES: dejar vibrar, +I: ?, +F: laissez vibrer, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From French, @q{Let vibrate}]. Most frequently associated with harp +parts. Marked @samp{l.v.} in the score. + + @node largo @section largo @@ -3563,8 +4202,8 @@ 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 @@ -3579,9 +4218,9 @@ DK: ledetone, S: ledton, FI: johtosävel. -The seventh @ref{scale degree}, a @ref{semitone} below -the tonic; so called because of its strong tendency to @q{lead up} (resolve -upwards) to the tonic scale degree. +The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so +called because of its strong tendency to @q{lead up} (resolve upwards) +to the tonic scale degree. @node ledger line @@ -3616,9 +4255,9 @@ DK: legato, S: legato, FI: legato, sitoen. -To be performed (a) without any perceptible interruption between the notes, -unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and -(d) @ref{staccato}. +To be performed (a) without any perceptible interruption between the +notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) +@emph{portato}, and (d) @ref{staccato}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3655,37 +4294,47 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and @ref{ledger line}. +@node ligature +@section ligature + +ES: ligadura, +I: ?, +F: ligature, +DE: Ligatur, +NL: ?, +DK: ?, +S: ?, +FI: ligatuura. + +A ligature is a coherent graphical symbol that represents at least two +distinct notes. Ligatures originally appeared in the manuscripts of +Gregorian chant notation roughly since the 9th century to denote ascending +or descending sequences of notes. In early notation, ligatures were used +for monophonic tunes (Gregorian chant) and very soon denoted also the way of +performance in the sense of articulation. With the invention of the metric +system of the white mensural notation, the need for ligatures to denote such +patterns disappeared. + +@seealso + +@ref{mensural notation}. + + @node lilypond @section lilypond +UK: lily pond, ES: estanque de nenúfares, I: stagno del giglio, -F: étang de lis, -UK: lily pond, +F: étang de nénuphars, étang de nymphéas, D: Seerosenteich, NL: le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, FI: liljalampi. -A pond with lilies floating in it, also the name of a music typesetter. - - -@node ligature -@section ligature - -ES: ligadura, -DE: Ligatur, -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. +A pond with lilies floating in it. +Also, the name of a music typesetting program. @node line @@ -3705,6 +4354,26 @@ FI: viiva, nuottiviiva. @ref{staff}. +@node loco +@section loco + +ES: en su lugar, +I: loco, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Italian, @q{place}]. Instruction to play the following passage at the +written pitch. Cancels octave mark (q.v.). + +@seealso + +@ref{octave mark}, @ref{octave marking}. + + @node long appoggiatura @section long appoggiatura @@ -3749,23 +4418,10 @@ 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, @@ -3774,28 +4430,24 @@ DK: ?, S: ?, FI: ?. -TODO: add languages +@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 @@ -3815,6 +4467,23 @@ 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 @@ -3827,10 +4496,11 @@ DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys. -Temperament yielding acoustically pure thirds by decreasing the natural fifth -by 16@w{ }@ref{cent}s. Due to the non-circular character of this -@ref{temperament} only a limited set of keys are playable. -Used for tuning keyboard instruments for performance of pre-1650 music. +Temperament yielding acoustically pure thirds by decreasing the +natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular +character of this @ref{temperament} only a limited set of keys are +playable. Used for tuning keyboard instruments for performance of +pre-1650 music. @node measure @@ -3846,13 +4516,21 @@ S: takt, FI: tahti. A group of @ref{beat}s (units of musical time) the first of which -bears an accent. Such groups in numbers of two or more recur consistently -throughout the composition and are marked from each other by -bar-lines. +bears an accent. Such groups in numbers of two or more recur +consistently throughout the composition and are marked from each other +by bar-lines. @ref{meter}. +@node measure repeat +@section measure repeat + +@seealso + +@ref{percent repeat}. + + @node mediant @section mediant @@ -3865,32 +4543,49 @@ DK: mediant, S: mediant, FI: keskisävel. -1.@tie{}The third @b{scale degree}. -2.@tie{}A @ref{chord} having its base tone -a third from that of another chord. For example, the tonic chord may be -replaced by its lower mediant (variant tonic). +@itemize + +@item The third @b{scale degree}. + +@item A @ref{chord} having its base tone a third from that of another +chord. For example, the tonic chord may be replaced by its lower +mediant (variant tonic). -@ref{functional -harmony}, @ref{relative key}. +@end itemize + +@seealso +@ref{functional harmony}, @ref{relative key}. @node melisma @section melisma ES: melisma, +I: ?, F: mélisme, D: Melisma, NL: melisma, +DK: ?, +S: ?, FI: melisma, laulettavan tavun sävelkuvio. -A melisma (plural: melismata) is a group of notes or tones sung on one -syllable in plainsong +A melisma (plural, from Greek: melismata) is a group of notes or tones +sung on one syllable, especially as applied to liturgical chant. @node melisma line @section melisma line -TODO: add languages +@c TODO: add languages + +ES: línea de melisma, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. @seealso @@ -3905,50 +4600,205 @@ TODO: add languages @ref{cadenza}. -@node meter -@section meter +@node mensural notation +@section mensural notation -ES: compás, -I: tempo, metro, -F: indication de mesure, mesure, -D: Taktart, Metrum, -NL: maatsoort, -DK: taktart, +@c TODO: add languages + +ES: notación mensural, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A system of duration notation whose principles were first established in the +mid-13th century, and that (with various changes) remained in use until about +1600. As such, it is the basis for the notation of rhythms in Western musical +notation. + +Franco of Cologne (ca. 1250) is credited with the first systematic explanation +of the notation's principles, so the notation of this earliest period is called +@q{Franconian}. Franco's system made use of three note values -- long, breve, +and semibreve -- each of which was normally equivalent to three of the next +lower note value. + +Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs +added several note values (the minim, semiminim and fusa) and extended Franco's +principles to govern the relationship between these values. They also put the +duple division of note values on an equal footing with the earlier (preferred) +triple division. + +TODO: continue description of French and Italian black notation, and the +relationship betwixt them. + +@b{White or void mensural notation} + +In the 15th century, hollow (or void) notes began to substitute for the earlier +solid black ones, which were then free to assume the function of red (or +colored) notes in the earlier notation. ... + +TODO: add to definition (including summary info on proportional notation) + +@seealso + +@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}. +@c TODO: more cross-references? + + +@node meter +@section meter + +ES: tiempo, compás, +I: tempo, misura, +F: indication de mesure, mesure, +D: Taktart, Metrum, +NL: maatsoort, +DK: taktart, S: taktart, FI: aika-arvo. -The basic scheme of @ref{note value}s and @ref{accent}s which remains -unaltered throughout a composition or a section of it. For instance, -3/4 meter means that the basic @ref{note value}s are quarter notes and -that a @ref{measure} consists of three of those. According to whether -there are two, three, or four units to the measure, one speaks of -@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or -@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common -meter. +The pattern of note values and accents in a composition or a section thereof. +There are a couple ways to classify @q{traditional} meter (i.e. not polymeter): +by grouping beats and by subdividing the primary beat. + +@b{By grouping beats}: + +@itemize + + @item @b{duple}: groups of two. + @item @b{triple}: groups of three. + @item @b{quadruple}: groups of four. A special case of duple meter. + @item @b{quintuple}: groups of five beats. + @item @b{sextuple} meter: groups of six. A special case of: + + @itemize + + @item duple meter, subdivided in three; or + @item triple meter, subdivided in two. + + @end itemize + + @item @b{septuple} meter: groups of seven. + @item and so on. + +@end itemize + +Other than triple meter and its subdivided variants (see below), meters that +feature odd groupings of beats (e.g. quintuple or septuple meter) are not +frequently used prior to the 20th Century. + +@b{By subdividing the primary beat}: + +@itemize + + @item simple: groups of two. + + @itemize + + @item duple: 2/2, 2/4, 2/8 + @item triple: 3/2, 3/4, 3/8 + @item quadruple: 4/2, 4/4 (also called common time), 4/8 + + @end itemize + + @item compound: groups of three. + + @itemize + + @item duple: 6/8 + @item triple: 9/8 + @item quadruple: 12/8 + + @end itemize + +@end itemize + +Time signatures are placed at the beginning of a composition (or section) to +indicate the meter. For instance, a piece written in simple triple meter with a +beat on each quarter note is conventionally written with a time signature of +3/4. Here are some combinations of the two classifications above: + +Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 2/4 + \key g \major + g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"} +@end lilypond + +Simple triple meter: @lilypond[fragment,line-width=13.0\cm] \relative c'' { \time 3/4 - \key f \major - c es d | c bes8 a bes4 | c es d | c2 \bar "||"} + \key c \minor + c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"} +@end lilypond + +Simple quadruple meter (French folk tune, @emph{Au clair de la lune}): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 4/4 + \key g \major + g4 g g a | b2 a | g4 b a a | g1 \bar "||"} @end lilypond +Simple quintuple meter (B. Marcello, 1686-1739): + +@lilypond[fragment,line-width=13.0\cm] +\relative c'' { + \time 5/4 + \key c \major + r4 cis8 bis ais4 dis c8 ais | + aes4 bes8 aes ges4 aes f8 es \bar "||"} +@end lilypond + +Compound duple meter (unknown): + @lilypond[fragment,line-width=13.0\cm] \relative c' { \time 6/8 \key f \major - f8 f f f a16 g a f | - c'8 c c c e16 d e c \bar "||"} + f8 f g a bes16 a g f | + g8 g bes a c16 a bes g + \bar "||"} @end lilypond +Compound triple meter (J.S. Bach, 1685-1750): + @lilypond[fragment,line-width=13.0\cm] -\relative c'' { - \time 5/4 +\relative c' { + \time 9/8 \key g \major - d4 b8 g b d d c a4 | - g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"} + r8 g'( a) b( d c) c( e d) | + d( g fis) g( d b) g( a b) + \bar "||"} +@end lilypond + +Compound quadruple meter (P. Yon, 1886-1943): + +@lilypond[fragment,line-width=13.0\cm] +\relative c' { + \time 12/8 + \key e \major + b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 | + e4 e8 fis( gis) a b4.~ b4 b8 + \bar "||"} @end lilypond +@b{@q{Monometer} vs Polymeter} + +TODO: add information from discussion on lilypond-user related to polymeter. + +@seealso + +@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} + @node metronome @section metronome @@ -3964,12 +4814,19 @@ FI: metronomi. Device indicating the exact tempo of a piece. -@ref{metronomic -indication}. +Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name +from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo +divisions, and patented it as a "metronome". The inevitable lawsuit that +followed acknowledged Winkler as the creator, but by then Mälzel had already +sold many of them, and people had taken to calling it a Mälzel Metronome. +@seealso -@node metronomic indication -@section metronomic indication +@ref{metronome mark}. + + +@node metronome mark +@section metronome mark ES: indicación metronómica, I: indicazione metronomica, @@ -3980,8 +4837,21 @@ 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 @@ -4058,6 +4928,14 @@ FI: pieni intervalli. @ref{interval}. +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. + + @node mode @section mode @@ -4087,10 +4965,9 @@ DK: modulation, S: modulering, FI: modulaatio, sävellajin vaihdos. -Moving from one @ref{key} to another. For example, the second -subject of a @ref{sonata form} movement modulates to the dominant -key if the key is major and to the @ref{relative key} if the key -is minor. +Moving from one @ref{key} to another. For example, the second subject +of a @ref{sonata form} movement modulates to the dominant key if the +key is major and to the @ref{relative key} if the key is minor. @node mordent @@ -4129,8 +5006,8 @@ DK: motiv, S: motiv, FI: teema, sävelaihe. -The briefest intelligible and self-contained fragment of a musical theme or -subject. +The briefest intelligible and self-contained fragment of a musical +theme or subject. @lilypond[line-width=13.0\cm] \score{ @@ -4163,9 +5040,9 @@ DK: sats, S: sats, FI: osa. -Greater musical works like @ref{symphony} and -@ref{sonata} most often consist of several -- more or less -- -independant pieces called movements. +Greater musical works like @ref{symphony} and @ref{sonata} most often +consist of several -- more or less -- independant pieces called +movements. @node multi-measure rest @@ -4180,11 +5057,11 @@ DK: flertaktspause, S: flertaktspaus, FI: usean tahdin mittainen tauko. -Multi-measure rests are conventionally typeset with a combination of longa, -breve and whole rests for shorter and a long horizontal bar for longer -spans of rest, with a number above to indicate the duration (in measures) -of the rest. The former style is called @q{Kirchenpausen} in German, as a -reminiscence of its use in Renaissance vocal polyphony. +Multi-measure rests are conventionally typeset with a combination of +longa, breve and whole rests for shorter and a long horizontal bar for +longer spans of rest, with a number above to indicate the duration (in +measures) of the rest. The former style is called @q{Kirchenpausen} in +German, as a reminiscence of its use in Renaissance vocal polyphony. @lilypond[fragment,ragged-right] \relative c'' { @@ -4196,18 +5073,13 @@ reminiscence of its use in Renaissance vocal polyphony. } @end lilypond - - -@node mixolydian mode -@section mixolydian mode - @seealso -@ref{diatonic scale}. +@ref{longa}, @ref{breve}. -@node natural sign -@section natural sign +@node natural +@section natural ES: becuadro, I: bequadro, @@ -4296,6 +5168,14 @@ instruments (often having no defined pitch) the note head may indicate the instrument. +@node note names +@section note names + +@seealso + +@ref{Pitch names} + + @node note value @section note value @@ -4314,7 +5194,7 @@ called @emph{brevis}, but sometimes (mostly in pre-baroque music) the double-length note value @emph{longa} or the quadruple-length note value @emph{maxima} are used. -@c TODO -- add maxima to this example +@c TODO -- add maxima to this example, in a way that doesn't break it. @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large @@ -4374,12 +5254,12 @@ 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 @@ -4394,9 +5274,101 @@ 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{interval}, @ref{octave marking}. + + +@node octave mark +@section octave mark + +ES: indicación de octava, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: oktaavamerkki. + +The phrase, abbreviation, or other mark used (with or without an extender line +or bracket) to indicate that the music is to be played in a different octave: + +@itemize + +@item @samp{15ma}: play two octaves higher +@item @samp{8va}: play one octave higher +@item @samp{8vb}: play one octave lower +@item @samp{8va} (written below the passage): same as @samp{8vb} +@item @samp{15vb}: play two octaves lower +@item @samp{15va} (written below the passage): same as @samp{15vb} + +@end itemize + +For longer passages, it may be more practical to mark the octave change at the +beginning with a phrase (see the list below for examples), but without a bracket +or extender line. Then, when the music returns to the written pitch, the octave +change is cancelled with the word @emph{loco} (q.v.). + +To parallel the list above: + +@itemize + +@item @samp{15ma}: @emph{alla quindicesima (alta)} +@item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra} +@item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto} +@item @samp{15vb}: @emph{alla quindicesima (bassa)} + +@end itemize + +In the phrases above, @emph{quindicesima} is sometimes replaced with +@emph{quindecima}, which is Latin. + +Finally, the music on an entire staff can be marked to be played in a different +octave by putting an 8 or 15 above or below the clef at the beginning. This +octave mark can be applied to any clef, but it is most frequently used with the +G and F clefs. + +@seealso + +@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}. + + +@node octave marking +@section octave marking + +ES: a la octava, +I: all'ottava, +F: octaviation, +D: Oktavierung, +NL: octaveren, +DK: oktavering, +S: oktavering, +FI: oktaavamerkintä. + +The practice of marking music -- an entire staff, a passage, etc. -- to indicate +that it is to be played in a different octave. If applied to the clef at the +beginning of the staff, all music on that staff is to played at the indicated +octave. + +For a list of the specific marks used, see @ref{octave mark}. + +@seealso + +@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}. + + +@node octave sign +@section octave sign + +@seealso + +@ref{octave mark}. @node ornament @@ -4477,14 +5449,6 @@ score, usually only a few measures long, which presents another version of the music, for example for small hands. -@node ottava -@section ottava - -TODO - -DE: Oktavierung. - - @node part @section part @@ -4497,9 +5461,19 @@ DK: stemme, S: stämma, FI: stemma, instrumenttiosuus. -1.@tie{}In instrumental or choral music the music for the single instrument -or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single -melodic line of the contrapunctal web. +@itemize + +@item In instrumental or choral music, the music for a single +instrument or voice. + +@item in contrapuntal music, a single melodic line in the contrapuntal +web. + +@end itemize + +@seealso + +@ref{counterpoint} @node pause @@ -4518,6 +5492,39 @@ melodic line of the contrapunctal 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 @@ -4585,6 +5592,22 @@ 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 @@ -4602,22 +5625,6 @@ 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 @@ -4630,6 +5637,23 @@ 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 @@ -4643,7 +5667,71 @@ DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. -Play by plucking the strings. +A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking +the strings. + + +@node polymeter +@section polymeter + +ES: compás polimétrico, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@itemize + +@item The simultaneous use of two or more meters, in two or more parts. + +@item The @emph{successive} use of different meters in one or more parts. + +@end itemize + +@seealso + +@ref{polymetric} (adj.) + + +@node polymetric +@section polymetric + +ES: polimétrico, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Using two or more metric frameworks simultaneously or in alternation. + +@seealso + +@ref{polymeter} (noun) + + +@node polymetric time signature +@section polymetric time signature + +ES: compás polimétrico, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A time signature that indicates regularly alternating polymetric time. + +@seealso + +@ref{polymetric}. @node polyphony @@ -4658,8 +5746,8 @@ DK: polyfoni, S: polyfoni, FI: polyfonia, moniäänisyys. -Music written in a combination of several simultaneous voices (parts) of a -more or less pronounced individuality. +Music written in a combination of several simultaneous voices (parts) +of a more or less pronounced individuality. @ref{counterpoint}. @@ -4684,8 +5772,32 @@ DK: presto, S: presto, FI: presto, hyvin nopeasti. -Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} -denotes the highest possible degree of speed. +Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo} +denotes the highest possible degree of speed. + + +@node proportion +@section proportion + +ES: proporción, +I: proprozione (?), +F: proportion, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Latin @emph{proportio}] In mensural notation, a ratio that expresses the +relationship between the note values that follow with those that precede; or +between the note values of a passage and the @q{normal} relationship of note +values to the metrical pulse. + +@c TODO: add an example or two. O => 4/3, and its modern equivalent + +@seealso + +@ref{mensural notation} @node Pythagorean comma @@ -4700,11 +5812,18 @@ 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 @@ -4724,18 +5843,70 @@ 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 used commonly +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 @@ -4745,21 +5916,42 @@ 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: ?. + +An interval equal to half a semitone. + +@seealso + +@ref{interval} + + @node quintuplet @section quintuplet @@ -4797,7 +5989,7 @@ Abbreviation "rall.". @node relative key @section relative key -ES: relativo, +ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -4848,9 +6040,6 @@ FI: toisto. } @end lilypond -@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to -@c specify the rest's value. - @node rest @section rest @@ -4864,6 +6053,9 @@ DK: pause, S: paus, FI: tauko. +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. + @seealso @ref{note value}. @@ -4898,7 +6090,6 @@ metrical unit (beat). @end itemize - @node ritardando @section ritardando @@ -4983,7 +6174,7 @@ 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, @@ -5002,7 +6193,7 @@ 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 @@ -5064,17 +6255,20 @@ 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 @@ -5098,7 +6292,7 @@ FI: septimi. @seealso -@ref{sextuplet} +@ref{sextuplet}, @ref{note value}. @node sextuplet @@ -5143,18 +6337,61 @@ FI: korotusmerkki. @ref{accidental}. +@node simile +@section simile + +ES: simile, +I: simile, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[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: compás simple, compás de subdivisión binaria, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +A meter in which the basic beat is subdivided in two: that is, a meter +that does not include triplet subdivision of the beat. + +@seealso + +@ref{compound meter}, @ref{meter}. + + @node sixteenth note @section sixteenth note -ES: semicorchea, -I: semicroma, -F: double croche, -UK: semiquaver, -D: Sechzehntel, Sechzehntelnote, -NL: zes@-ti@-ende noot, -DK: sekstendedelsnode, -S: sextondelsnot, -FI: kuudestoistaosanuotti. +@itemize +@item UK: semiquaver +@item ES: semicorchea +@item I: semicroma +@item F: double croche +@item D: Sechzehntel, Sechzehntelnote +@item NL: zes@-ti@-ende noot +@item DK: sekstendedelsnode +@item S: sextondelsnot +@item FI: kuudestoistaosanuotti +@end itemize @seealso @@ -5164,15 +6401,17 @@ 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 @@ -5199,15 +6438,17 @@ 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 @@ -5217,21 +6458,30 @@ 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 @@ -5250,7 +6500,6 @@ played @ref{legato}, e.g., with one stroke of the violin bow or with one breath in singing. - @node solmization @section solmization @@ -5271,7 +6520,6 @@ General term for systems of designating the degrees of the @ref{scale degree}. - @node sonata @section sonata @@ -5378,9 +6626,9 @@ DK: nodesystem, S: notsystem, FI: nuottiviivasto. -A staff (pl. staves) is a series of (normally five) horizontal lines -upon and between which the musical notes are written, thus indicating -(in connection with a @ref{clef}) their pitch. Staves for +A staff (plural: staves) is a series of (normally five) horizontal +lines upon and between which the musical notes are written, thus +indicating (in connection with a @ref{clef}) their pitch. Staves for @ref{percussion} instruments may have fewer lines. @@ -5506,7 +6754,7 @@ 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, @@ -5594,11 +6842,10 @@ contradiction between the underlaying (normal) pulse and the actual @end lilypond - @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, @@ -5608,9 +6855,18 @@ 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 @@ -5629,7 +6885,6 @@ The collection of staves (@ref{staff}), two or more, as used for writing down of keyboard, chamber, choral, or orchestral music. - @node temperament @section temperament @@ -5678,7 +6933,7 @@ 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 @@ -5734,15 +6989,17 @@ 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 @@ -5752,15 +7009,17 @@ 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 @@ -5770,49 +7029,15 @@ 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, @@ -5852,9 +7077,13 @@ DK: taktangivelse, S: taktartssignatur, FI: tahtiosoitus. +The sign placed at the beginning of a composition to indicate its +meter. It most often takes the form of a fraction, but a few signs +derived from mensural notation and proportions are also employed. + @seealso -@ref{meter}. +@ref{mensural notation}, @ref{meter}. @node tone @@ -5872,7 +7101,7 @@ 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 @@ -5894,6 +7123,44 @@ The first @ref{scale degree}. @ref{functional harmony}. +@node transposing instrument +@section transposing instrument + +ES: instrumento transpositor, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Instruments whose notated pitch is different from their sounded pitch. Except +for those whose notated and sounding pitches differ by one or more octaves (to +reduce the number of ledger lines needed), most such instruments are identified +by the letter name of the pitch class of their fundamental. The pitch class is +the note that @emph{sounds} (disregarding the octave in which it sounds) when +the instrument plays a notated C. + +For example: when played on the B-flat clarinet, the note middle C @emph{sounds} +the B-flat one tone lower. If played on the A clarinet, the same written +note sounds the A (one and half tones -- a minor third -- lower). + +Not all transposing instruments include the pitch class in their name: + +@itemize + +@item English horn (in F) + +@item Alto flute (in G) + +@end itemize + +@seealso + +@ref{concert pitch}. + + @node transposition @section transposition @@ -5938,7 +7205,7 @@ I: chiave di violino, F: clef de sol, D: Violinschlüssel, Sopranschlüssel, NL: viool sleutel, -DK:@w{ }diskantnøgle, +DK: diskantnøgle, S: diskantklav, FI: diskanttiavain. @@ -5959,10 +7226,17 @@ 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 @@ -5974,6 +7248,10 @@ of a @ref{chord}, usually in the distance of a third (@ref{interval}). } @end lilypond +@seealso + +@ref{strings} + @node triad @section triad @@ -6063,7 +7341,7 @@ FI: tritonus. @node tuning fork @section tuning fork -ES: diapasón, +ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, @@ -6072,9 +7350,13 @@ 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 @@ -6092,7 +7374,7 @@ subdivisions. @node turn @section turn -ES: grupeto, +ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, @@ -6152,9 +7434,46 @@ DK: stemme, S: stämma, FI: ääni, lauluääni. -1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano}, -@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}. -2.@tie{}A melodic layer or part of a polyphonic composition. +@itemize + +@item Human voices: + +@itemize + +@item @ref{soprano} + +@item @ref{mezzo-soprano} + +@item @ref{contralto} + +@item @ref{tenor} + +@item @ref{baritone} + +@item @ref{bass} + +@end itemize + +@item A melodic layer or part of a polyphonic composition. + +@end itemize + + +@node volta +@section volta + +ES: vez, primera y segunda vez, +I: volta, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Italian, @q{time} (instance, not duration)]. An ending, such as a first +or second ending. LilyPond extends this idea to any number, and allows any text +(not just a number) -- to serve as the @q{volta} text. @node weak beat @@ -6177,15 +7496,17 @@ 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 @@ -6195,22 +7516,23 @@ 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 @ref{note value}. - @node whole tone @section whole tone @@ -6223,11 +7545,13 @@ 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 @@ -6248,216 +7572,425 @@ commonly used in a symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon. - - @node Duration names notes and rests -@chapter Duration names, notes and rests - -@table @code -@item DURATION NAMES, NOTES AND RESTS -@end table - -@multitable @columnfractions .15 .26 .33 .26 - -@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. +@chapter Duration names notes and rests -@item @strong{longa} - @tab longa - @tab longa - @tab longa -@item - @tab Longa - @tab longa - @tab longa -@item - @tab longa - @tab longa - @tab longa +@multitable @columnfractions .12 .22 .22 .22 .22 -@item @strong{breve} +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab long + @tab long rest @tab breve + @tab breve rest +@item @strong{UK} @tab longa + @tab longa rest @tab breve - @tab brève / double-pause -@item + @tab breve rest +@item @strong{ES} @tab longa + @tab silencio de longa + @tab cuadrada + @tab silencio de cuadrada +@item @strong{IT} @tab longa + @tab pausa di longa + @tab breve + @tab pausa di breve +@item @strong{FR} @tab longa + @tab quadruple-pause + @tab brève + @tab double-pause +@item @strong{DE} @tab Longa + @tab longa Pause @tab Brevis + @tab brevis Pause +@item @strong{NL} @tab longa + @tab longa rust @tab brevis + @tab brevis rust +@item @strong{DK} @tab longa + @tab longanodespause @tab brevis -@item - @tab brevis + @tab brevis(nodes)pause +@item @strong{SE} @tab longa + @tab longapaus @tab brevis - @tab cuadrada + @tab brevispaus +@item @strong{FI} @tab longa-nuotti + @tab longa-tauko + @tab brevis-nuotti, kaksoiskokonuotti + @tab brevis-tauko, kaksoiskokotauko -@item @strong{whole} - @tab semi@-breve - @tab semi@-breve - @tab ronde / pause -@item - @tab Ganze - @tab hele - @tab hel -@item - @tab hel - @tab koko@-nuotti/@w{-tauko} - @tab redonda +@end multitable -@item @strong{half} +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab whole note + @tab whole rest + @tab half note + @tab half rest +@item @strong{UK} @tab semibreve + @tab semibreve rest @tab minim - @tab minima - @tab blanche / demi-pause -@item - @tab Halbe - @tab halve - @tab halv -@item - @tab halv - @tab puoli@-nuotti/@w{-tauko} + @tab minim rest +@item @strong{ES} @tab redonda + @tab silencio de redonda @tab blanca + @tab silencio de blanca +@item @strong{IT} @tab semibreve + @tab pause di semibreve + @tab minima + @tab pausa di minima +@item @strong{FR} @tab ronde + @tab pause + @tab blanche + @tab demi-pause +@item @strong{DE} @tab ganze Note + @tab ganze Pause + @tab halbe Note + @tab halbe Pause +@item @strong{NL} @tab hele noot + @tab hele rust + @tab halve noot + @tab halve rust +@item @strong{DK} @tab helnode + @tab helnodespause + @tab halvnode + @tab halvnodespause +@item @strong{SE} @tab helnot + @tab helpaus + @tab halvnot + @tab halvpaus +@item @strong{FI} @tab kokonuotti + @tab kokotauko + @tab puolinuotti + @tab puolitauko -@item @strong{quarter} - @tab crotchet - @tab semiminima - @tab noire / soupir -@item - @tab Viertel - @tab kwart - @tab fjerdedel -@item - @tab fjärdedel - @tab neljännesosa@-nuotti/@w{-tauko} - @tab negra +@end multitable -@item @strong{eighth} +@multitable @columnfractions .12 .22 .22 .22 .22 + +@headitem Lang. @tab note name + @tab rest name + @tab note name + @tab rest name +@item @strong{US} @tab quarter note + @tab quarter rest + @tab eighth note + @tab eighth rest +@item @strong{UK} @tab crotchet + @tab crotchet rest @tab quaver - @tab croma - @tab croche / demi-soupir -@item - @tab Achtel - @tab achtste - @tab ottendedel -@item - @tab åttondel - @tab kahdeksasosa@-nuotti/@w{-tauko} + @tab quaver rest +@item @strong{ES} @tab negra + @tab silencio de negra @tab corchea - -@item @strong{sixteenth} - @tab semiquaver - @tab semicroma - @tab double croche / quart de soupir -@item - @tab Sechzehntel - @tab zestiende - @tab sekstendedel -@item - @tab sextondel - @tab kuudestoistaosa@-nuotti/@w{-tauko} - @tab semicorchea - -@item @strong{thirty-second} - @tab demisemiquaver - @tab biscroma - @tab triple croche / huitième de soupir -@item - @tab Zweiunddreissigstel - @tab tweeendertigste - @tab toogtredivtedel -@item - @tab trettiotvåondel - @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko} - @tab fusa - -@item @strong{sixty-fourth} - @tab hemidemisemiquaver - @tab semibiscroma - @tab quadruple croche / seizième de soupir -@item - @tab Vierundsechzigstel - @tab vierenzestigste - @tab fireogtred@-sindstyvendedel -@item - @tab sextiofjärdedel - @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko} - @tab semifusa + @tab silencio de corchea +@item @strong{IT} @tab semiminima, nera + @tab pausa di semiminima, pausa di nera + @tab croma + @tab pausa di croma +@item @strong{FR} @tab noire + @tab soupir* + @tab croche* + @tab demi-soupir +@item @strong{DE} @tab Viertelnote + @tab Viertelpause + @tab Achtelnote + @tab Achtelpause +@item @strong{NL} @tab kwartnoot + @tab kwartrust + @tab achtste noot + @tab achtste rust +@item @strong{DK} @tab fjerdedelsnode + @tab fjerdedelspause + @tab ottendedelsnode + @tab ottendedelspause +@item @strong{SE} @tab fjärdedelsnot + @tab fjärdedelspaus + @tab åttondelsnot + @tab åttondelspaus +@item @strong{FI} @tab neljäsosanuotti + @tab neljäsosatauko + @tab kahdeksasosanuotti + @tab kahdeksasosatauko @end multitable +* 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: -@node Pitch names -@chapter Pitch names - -@table @code -@item PITCH NAMES -@end table - -@c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -@c the extra @item's between each row makes the table hard to read ... so I removed them +@itemize -@multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1 +@item English: 16th @strong{note}, 16th @strong{rest} +@item German: 32tel-@strong{Note}, 32tel-@strong{Pause} +@item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko} -@c TODO -- figure out how to make _real_ table headers in TeXinfo +@end itemize -@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D} -@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI} +I put a dash @q{-} when I could not find a language-specific abbreviation for a +duration name. If you know of one that I missed, please send it to me, care of +the lilypond-user discussion list. + +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab sixteenth note + @tab sixteenth rest + @tab 16th note +@item @strong{UK} @tab semiquaver + @tab semiquaver rest + @tab - +@item @strong{ES} @tab semicorchea + @tab silencio de semicorchea + @tab - +@item @strong{IT} @tab semicroma + @tab pausa di semicroma + @tab - +@item @strong{FR} @tab double croche + @tab quart de soupir + @tab - +@item @strong{DE} @tab Sechzehntelnote + @tab Sechzehntelpause + @tab 16tel-Note +@item @strong{NL} @tab zestiende noot + @tab zestiende rust + @tab 16e noot +@item @strong{DK} @tab sekstendedelsnode + @tab sekstendedelspause + @tab - +@item @strong{SE} @tab sextondelsnot + @tab sextondelspaus + @tab - +@item @strong{FI} @tab kuudestoistaosanuotti + @tab kuudestoistaosatauko + @tab 16-osanuotti -@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c -@tab c +@end multitable -@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut -dièse @tab Cis @tab cis @tab cis @tab cis @tab cis +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab thirty-second note + @tab thirty-second rest + @tab 32nd note +@item @strong{UK} @tab demisemiquaver + @tab demisemiquaver rest + @tab - +@item @strong{ES} @tab fusa + @tab silencio de fusa + @tab - +@item @strong{IT} @tab biscroma + @tab pausa di biscroma + @tab - +@item @strong{FR} @tab triple croche + @tab huitième de soupir + @tab - +@item @strong{DE} @tab Zweiunddreißigstelnote + @tab Zweiunddreißigstelpause + @tab 32tel-Note +@item @strong{NL} @tab tweeendertigste noot + @tab tweeendertigste rust + @tab 32e noot +@item @strong{DK} @tab toogtredivtedelsnode + @tab toogtredivtedelspause + @tab - +@item @strong{SE} @tab trettiotvåondelsnot + @tab trettiotvåondelspaus + @tab - +@item @strong{FI} @tab kolmaskymmeneskahdesosanuotti + @tab kolmaskymmeneskahdesosatauko + @tab 32-osanuotti -@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol -@tab Des @tab des @tab des @tab des @tab des +@end multitable -@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d -@tab d @tab d +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab sixty-fourth note + @tab sixty-fourth rest + @tab 64th note +@item @strong{UK} @tab hemidemisemiquaver + @tab hemidemisemiquaver rest + @tab - +@item @strong{ES} @tab semifusa + @tab silencio de semifusa + @tab - +@item @strong{IT} @tab semibiscroma + @tab pausa di semibiscroma + @tab - +@item @strong{FR} @tab quadruple croche + @tab seizième de soupir + @tab - +@item @strong{DE} @tab Vierundsechzigstelnote + @tab Vierundsechzigstelpause + @tab 64tel-Note +@item @strong{NL} @tab vierenzestigste noot + @tab vierenzestigste rust + @tab 64e noot +@item @strong{DK} @tab fireogtredsindstyvendedelsnode + @tab fireogtredsindstyvendedelspause + @tab - +@item @strong{SE} @tab sextiofjärdedelsnot + @tab sextiofjärdedelspaus + @tab - +@item @strong{FI} @tab kuudeskymmenesneljäsosanuotti + @tab kuudeskymmenesneljäsosatauko + @tab 64-osanuotti -@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol -@tab Es @tab es @tab es @tab es @tab es +@end multitable -@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e -@tab e +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab one-hundred-twenty-eighth note + @tab one-hundred-twenty-eighth rest + @tab 128th note +@item @strong{UK} @tab semihemidemisemiquaver + @tab semihemidemisemiquaver rest + @tab - +@item @strong{ES} @tab garrapatea + @tab silencio de garrapatea + @tab - +@item @strong{IT} @tab fusa + @tab pausa di fusa + @tab - +@item @strong{FR} @tab quintuple croche + @tab trente-deuxième de soupir @tab - +@item @strong{DE} @tab Hundertundachtundzwanzigstel + @tab Hundertundachtundzwanzigstel @tab 128tel-Note +@item @strong{NL} @tab honderdachtentwintigste noot + @tab honderdachtentwintigste rust + @tab 128e noot +@item @strong{DK} @tab hundredeotteogtyvendedelsnode + @tab hundredeotteogtyvendedelspause + @tab - +@item @strong{SE} @tab hundratjugoåttondelsnot + @tab hundratjugoåttondelspaus + @tab - +@item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti + @tab sadaskahdeskymmeneskahdeksasosatauko + @tab 128-osanuotti -@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f -@tab f +@end multitable -@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g -@tab g @tab g +@multitable @columnfractions .10 .35 .35 .20 + +@headitem Lang. @tab Note name + @tab Rest name + @tab Abbr. +@item @strong{US} @tab two-hundred-fifty-sixth 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 -@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol -@tab As @tab as @tab as @tab as @tab as +@end multitable -@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a -@tab a +@seealso -@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la -dièse @tab Ais @tab ais @tab ais @tab ais @tab ais +@ref{mensural notation} -@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol -@tab B @tab bes @tab b @tab b @tab b -@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h -@tab h +@node Pitch names +@chapter Pitch names +@c -is/-es endings for Danish per Rune Zedeler +@c and for Finnish per Risto Vääräniemi +@c -iss/-ess endings for Swedish per Mats Bengtsson +@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 --> + +@multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis} +@headitem EN + @tab ES @tab I @tab F @tab D + @tab NL @tab DK @tab S @tab FI +@item @strong{c} @tab do @tab do @tab ut @tab C + @tab c @tab c @tab c @tab c +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis + @tab cis @tab cis @tab ciss @tab cis +@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des + @tab des @tab des @tab dess @tab des +@item @strong{d} @tab re @tab re @tab ré @tab D + @tab d @tab d @tab d @tab d +@item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis + @tab dis @tab dis @tab diss @tab dis +@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es + @tab es @tab es @tab ess @tab es +@item @strong{e} @tab mi @tab mi @tab mi @tab E + @tab e @tab e @tab e @tab e +@item @strong{f-flat} = e + @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes + @tab fes @tab fes @tab fess @tab fes +@item @strong{f} @tab fa @tab fa @tab fa @tab F + @tab f @tab f @tab f @tab f +@item @strong{e-sharp} = f + @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis + @tab eis @tab eis @tab eiss @tab eis +@item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis + @tab fis @tab fis @tab fiss @tab fis +@item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges + @tab ges @tab ges @tab gess @tab ges +@item @strong{g} @tab sol @tab sol @tab sol @tab G + @tab g @tab g @tab g @tab g +@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis + @tab gis @tab gis @tab giss @tab gis +@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As + @tab as @tab as @tab ass @tab as +@item @strong{a} @tab la @tab la @tab la @tab A + @tab a @tab a @tab a @tab a +@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais + @tab ais @tab ais @tab aiss @tab ais +@item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B + @tab bes @tab b @tab b @tab b +@item @strong{b} @tab si @tab si @tab si @tab H + @tab b @tab h @tab h @tab h @end multitable - - - @menu * Literature used:: @end menu @@ -6466,9 +7999,9 @@ dièse @tab Ais @tab ais @tab ais @tab ais @tab ais @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.