* Pitch names::
@end menu
+@contents
+
+
@node Musical terms A-Z
@chapter Musical terms A-Z
* arpeggio::
* articulation::
* ascending interval::
- * augmentation::
* augmented interval::
+ * augmentation::
* autograph::
* B::
* backfall::
* bass clef::
* beam::
* beat::
- * beat repeat::
+ * beat repeat::
* bind::
* brace::
* bracket::
* contralto::
* copying music::
* counterpoint::
- * countertenor::
+ * countertenor::
* crescendo::
* cue-notes::
* custos::
* didymic comma::
* diminished interval::
* diminuendo::
- * diminution::
+ * diminution::
* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
+ * divisio::
+ * doit::
* dominant::
* dominant ninth chord::
* dominant seventh chord::
* extender line::
* F::
* F clef::
+ * fall::
* feathered beam::
* fermata::
* fifth::
* figured bass::
* fingering::
* flag::
+ * flageolet::
* flat::
* forefall::
* forte::
* grave::
* gruppetto::
* H::
+ * hairpin::
* half note::
* half rest::
* harmonic cadence::
+ * harmonics::
* harmony::
* hemiola::
* homophony::
+ * hymn meter::
* interval::
- * inversion::
+ * inversion::
* inverted interval::
* just intonation::
* key::
* major interval::
* meantone temperament::
* measure::
- * measure repeat::
+ * measure repeat::
* mediant::
* melisma::
* melisma line::
* note head::
* note names::
* note value::
- * octavation::
+ * octavation::
* octave::
- * octave mark::
- * octave marking::
+ * octave mark::
+ * octave marking::
* octave sign::
* ornament::
* ossia::
* part::
* pause::
* pennant::
- * percent repeat::
+ * percent repeat::
* percussion::
* perfect interval::
* phrase::
* portato::
* presto::
* proportion::
- * Pythagorean comma::
+ * Pythagorean comma::
* quadruplet::
- * quality::
+ * quality::
* quarter note::
* quarter rest::
* quarter tone::
* sextuplet::
* shake::
* sharp::
- * simile::
+ * simile::
* simple meter::
* sixteenth note::
* sixteenth rest::
* sixth::
* sixty-fourth note::
* sixty-fourth rest::
- * slash repeat::
+ * slash repeat::
* slur::
* solmization::
* sonata::
* staff::
* staves::
* stem::
+ * stringendo::
* strings::
* strong beat::
* subdominant::
* supertonic::
* symphony::
* syncopation::
- * syntonic comma::
+ * syntonic comma::
* system::
* temperament::
* tempo indication::
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
- or the abbreviation @samp{cresc.}.
+ (hairpin) or the abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
S: decrescendo,
FI: decresendo, hiljentyen.
- Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
- or the abbreviation @samp{decresc.}.
+ Decreasing tone volume. Indicated by a leftwards opening horizontal
+ wedge (hairpin) or the abbreviation @samp{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
Scales played on the white keys of a piano keybord are diatonic; and these
scales are sometimes called, somewhat inaccurately, @q{church modes}).
- These @q{modes} are used in gregorian chant and in pre-baroque early music
+ These @q{modes} are used in Gregorian chant and in pre-baroque early music
but also to some extent in newer jazz music.
@lilypond[fragment,notime,ragged-right]
@ref{harmony}.
+ @node divisio
+ @section divisio
+
+ ES: ?,
+ I: ?,
+ F: ?,
+ D: ?,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ [Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
+ vertical stroke through part or all of the staff that serves to
+ structure a chant into phrases and sections. There are four types:
+
+ @itemize
+
+ @item @emph{divisio minima}, a short pause
+
+ @item @emph{divisio maior}, a medium pause
+
+ @item @emph{divisio maxima}, a long pause
+
+ @item @emph{finalis}, to indicate the end of a chant, or the end of a
+ section in a long antiphonal or responsorial chant.
+
+ @end itemize
+
+ TODO: musical example here?
+
+ @seealso
+
+ None yet.
+
+
+ @node doit
+ @section doit
+
+ ES: ?,
+ I: ?,
+ F: ?,
+ D: ?,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ Indicator for a indeterminately rising pitch bend. Compare with
+ @emph{glissando}, which has determinate starting and ending pitches.
+
+ @seealso
+
+ @ref{fall}, @ref{glissando}.
+
+
@node dominant
@section dominant
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+ @node fall
+ @section fall
+
+ ES: ?,
+ I: ?,
+ F: ?,
+ D: ?,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ Indicator for a indeterminately falling pitch bend. Compare with
+ @emph{glissando}, which has determinate starting and ending pitches.
+
+ @seealso
+
+ @ref{doit}, @ref{glissando}.
+
+
@node feathered beam
@section feathered beam
@end lilypond
-
-
@node fingering
@section fingering
@end lilypond
+ @node flageolet
+ @section flageolet
+
+ ES: ?,
+ I: ?,
+ F: ?,
+ D: ?,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ An articulation for string players that means the note or passage is to
+ be played in harmonics.
+
+ Also:
+
+ @itemize
+
+ @item A duct flute similar to the recorder.
+
+ @item An organ stop of flute scale at 1' or 2' pitch.
+
+ @end itemize
+
+ @seealso
+
+ @ref{articulation}, @ref{harmonics}.
+
+
@node flat
@section flat
@seealso
- @ref{Pitch names}, @ref{B}
+ @ref{Pitch names}, @ref{B}.
+
+
+ @node hairpin
+ @section hairpin
+
+ Graphical version of the @notation{crescendo} and @notation{decrescendo}
+ dynamic marks.
+
+ @seealso
+
+ @ref{crescendo}, @ref{decrescendo}.
@node half note
@end lilypond
+ @node harmonics
+ @section harmonics
+
+ ES: sonidos del flautín,
+ I: suoni flautati,
+ F: flageolet, sons harmoniques,
+ D: Flageolett-Töne,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ The general class of pitches produced by sounding the second or higher
+ harmonic of a tone producer: string, column of air, and so on.
+
+ On stringed instruments, these pitches sound rather flute-like; hence,
+ their name in languages other than English. They are produced by
+ lightly touching the string at a node for the desired mode of vibration
+ while it is being bowed or plucked.
+
+ For instruments of the violin family, there are two types of harmonics:
+ natural harmonics, which are those played on the open string; and
+ artificial harmonics, which are produced on stopped strings.
+
+
@node harmony
@section harmony
@ref{polyphony}.
+ @node hymn meter
+ @section hymn meter
+
+ ES: ?,
+ I: ?,
+ F: ?,
+ D: ?,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ A group or list of numbers that indicate the number of syllables in a
+ line of a hymn's verse. Different hymnals have different ways of noting
+ the hymn meter -- consider a hymn having four lines in two couplets that
+ alternate between eight and seven syllables. The @emph{English Hymnal}
+ notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
+ 8@w{ }7@w{ }8@w{ }7.
+
+ Some frequently-used hymn meters have traditional names:
+
+ @itemize
+
+ @item 66.86 is called Short Meter (abbreviated SM or S.M.)
+
+ @item 86.86 is called Common Meter (CM or C.M.)
+
+ @item 88.88 is called Long Meter (LM or L.M.)
+
+ @end itemize
+
+ Some hymns and their tunes are doubled versions of a simpler meter: for
+ easier reading, a hymn with a meter of 87.87.87.87 is usually written
+ 87.87D. The traditional names above also have doubled versions:
+
+ @itemize
+
+ @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
+
+ @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
+
+ @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
+
+ @end itemize
+
+
+
@node interval
@section interval
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
+ and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
@seealso
@end lilypond
+ @node stringendo
+ @section stringendo
+
+ ES: ?,
+ I: stringendo,
+ F: ?,
+ D: ?,
+ NL: ?,
+ DK: ?,
+ S: ?,
+ FI: ?.
+
+ [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
+ climax.
+
+ @seealso
+
+ @ref{accelerando}.
+
+
@node strings
@section strings
@unnumberedsec \TEXT\
@end macro
-@ifnottex
+@ifhtml
+
+@ifset bigpage
+
+@macro rlearning{NAME}
+See also Learning Manual, section
+@ref{\NAME\,,,lilypond-learning-big-page,Learning Manual}.
+@end macro
+
@macro ruser{NAME}
- These snippets illustrate the User Manual,
+ These snippets illustrate the Notation Reference,
-section @ref{\NAME\,,,lilypond,Notation Reference}.
+section @ref{\NAME\,,,lilypond-big-page,Notation Reference}.
@end macro
+@end ifset
+
+
+@ifclear bigpage
+
@macro rlearning{NAME}
See also Learning Manual, section
@ref{\NAME\,,,lilypond-learning,Learning Manual}.
@end macro
-@end ifnottex
-@iftex
@macro ruser{NAME}
- These snippets illustrate the User Manual,
-These snippets illustrate @ref{\NAME\,,,lilypond,Notation Reference}.
++These snippets illustrate the Notation Reference,
+section @ref{\NAME\,,,lilypond,Notation Reference}.
@end macro
+@end ifclear
+
+@end ifhtml
+
+
+@ifnothtml
+
@macro rlearning{NAME}
See also @ref{\NAME\,,,lilypond-learning,Learning Manual}.
@end macro
-@end iftex
+
+@macro ruser{NAME}
+These snippets illustrate @ref{\NAME\,,,lilypond,Notation Reference}.
+@end macro
+
+@end ifnothtml
@dircategory GNU LilyPond --- the music typesetter
@direntry
* Templates::
@end menu
+@contents
+
@c Please take care of naming every .itely
@c with an existing tag name.
projects / lilypond.git / commitdiff