@end ifnottex
@ifnottex
-@table @samp
+@table @code
@item Adrian Mariano
Italian glossary,
@item Bjoern Jacke
@c If we want hyperlinks, we must add anchors.
-@c Hmm, we need the @anchor command in the item description itself
+@c We need the @anchor command in the item description itself
@c (not before or after) to get mozilla jump to the right place.
-@c anchoritem
+@c
+@c Note that the @aitem macro and friends should always be finished
+@c with `@c' to avoid spurious spaces:
+@c
+@c @aitem{foo}@c
+@c blablabla
+@c
@macro aitem{word}
@item \word\@anchor{\word\}
@end macro
This is an example reference, that points you to the @aref{accent}
entry.
-@c All `@table @strong' replaced by `@table @samp'
+@c All `@table @strong' replaced by `@table @code'
@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
-@table @samp
-@aitem{A}
+@table @code
+
+@aitem{A}@c
ES: la,
I: la,
F: la,
S: a,
FI: A, a.
-@aitem{accent}
+@aitem{accent}@c
ES: acento,
I: accento,
F: accent,
@c F: how to distinguish between accidental and key-sig alteration?
-@aitem{accidental}
+@aitem{accidental}@c
ES: alteración,
I: alterazione, accidente,
F: altération
}
@end lilypond
-@aitem{accelerando}
+@aitem{accelerando}@c
ES: acelerando,
I: accelerando,
F: accelerando, en accélérant,
Increase tempo.
-@aitem{adagio}
+@aitem{adagio}@c
ES: adagio,
I: adagio,
F: adagio, lent,
2. A movement in slow tempo, especially the second (slow) movement of
@aref{sonata}s, symphonies, etc.
-@aitem{allegro}
+@aitem{allegro}@c
ES: allegro,
I: allegro,
F: allegro,
It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a @aref{sonata}.
-@aitem{alto}
+@aitem{alto}@c
ES: alto,
I: contralto,
F: alto,
height of the female voice. This type of voice is also known as
@aref{counter tenor}.
-@aitem{alto clef}
+@aitem{alto clef}@c
ES: clave de do en tercera,
I: chiave di contralto,
F: clef d'ut troisième ligne,
C clef setting middle C on the middle line of the staff
@aref{C clef}.
-@aitem{ambit}
+@aitem{ambit}@c
ES: ambitus,
I: ambitus,
F: ambitus,
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.
-@aitem{ancient minor scale}
+@aitem{ancient minor scale}@c
I: scala minore naturale,
F: forme du mode mineur ancien, troisème mode, mode hellénique
D: reines Moll,
a1 b c d e f g a }
@end lilypond
-@aitem{andante}
+@aitem{andante}@c
ES: andante,
I: andante,
F: andante,
Walking tempo/character.
-@aitem{appoggiatura}
+@aitem{appoggiatura}@c
ES: apoyatura,
I: appoggiatura,
F: appogiature, (port de voix),
}
@end lilypond
-@aitem{arpeggio}
+@aitem{arpeggio}@c
ES: arpegio,
I: arpeggio,
F: arpège,
>>
@end lilypond
-@aitem{ascending interval}
+@aitem{ascending interval}@c
ES: Intervalo ascendente,
I: intervallo ascendente,
F: intervalle ascendant,
A distance between a starting lower note and a higher ending note.
-@aitem{augmented interval}
+@aitem{augmented interval}@c
ES: intervalo aumentado,
I: intervallo aumentato,
F: intervalle augmenté,
@aref{interval}.
-@aitem{autograph}
+@aitem{autograph}@c
I: autografo,
F: manuscrit,
D: Autograph, Handschrift,
which attempts to emulate engraving.
This required more skill than did engraving.
-@aitem{B}
+@aitem{B}@c
ES: si,
I: si,
F: si,
S: h,
FI: H, h.
-@aitemii{backfall,forefall}
+@aitemii{backfall,forefall}@c
@aref{appoggiatura}.
-@aitem{bar line}
+@aitem{bar line}@c
ES: ?,
I: stanghetta, barra (di divisione),
F: barre (de mesure),
S: taktstreck,
FI: tahtiviiva.
-@aitem{bar}
+@aitem{bar}@c
ES: compás, @aref{measure}.
-@aitem{baritone}
+@aitem{baritone}@c
ES: barítono,
I: baritono,
F: bariton,
@c F: clef de troisième ligne dropped
-@aitem{baritone clef}
+@aitem{baritone clef}@c
ES: clave de fa en tercera,
I: chiave di baritono,
F: clef d' Ut cinquième ligne, clef de Fa troisième,
C or F clef setting middle C on the upper staff line.
@aref{C clef}, @aref{F clef}.
-@aitem{bass clef}
+@aitem{bass clef}@c
ES: clave de fa en cuarta,
I: chiave di basso,
F: clé de fa quatrième ligne,
A clef setting with middle C on the first top ledger line.
@aref{F clef}.
-@aitem{bass}
+@aitem{bass}@c
I: basso,
F: basse,
D: Bass,
an abbreviation for double bass.
@aref{strings}.
-@aitem{beam}
+@aitem{beam}@c
I: coda,
F: barre,
D: Balken,
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
-@aitem{beat}
+@aitem{beat}@c
ES: tiempo,
I: tempi,
F: temps,
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
-@aitem{bind}
+@aitem{bind}@c
@aref{tie}.
-@aitem{brace}
+@aitem{brace}@c
ES: llave, corchete,
I: graffa,
F: accolade,
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@aitem{brass}
+@aitem{brass}@c
ES: metales,
I: ottoni,
D: Blechbläser,
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn, and tube.
-@aitem{breath mark}
+@aitem{breath mark}@c
I: respiro,
F: respiration,
D: Atemzeichen, Trennungszeichen,
Indication of where to breathe in vocal and wind instrument parts.
-@aitem{breve}
+@aitem{breve}@c
ES: breve,
I: breve,
F: brève,
\relative c'' { g\breve }
@end lilypond
-@aitem{C}
+@aitem{C}@c
ES: do,
I: do,
F: ut,
S: c,
FI: C, c.
-@aitem{C clef}
+@aitem{C clef}@c
ES: Clave de do,
I: chiave di do,
F: clé d'ut,
}
@end lilypond
-@aitem{cadence}
+@aitem{cadence}@c
ES: cadencia,
I: cadenza,
F: cadence,
@aref{harmonic cadence}, @aref{functional harmony}.
-@aitem{cadenza}
+@aitem{cadenza}@c
ES: cadenza,
I: cadenza,
F: cadence,
improvise. Since the middle of the 19th century, however, most cadences have
been written down by the composer.
-@aitem{canon}
+@aitem{canon}@c
ES: canon,
I: canone,
F: canon,
@aref{counterpoint}.
-@aitem{cent}
+@aitem{cent}@c
ES: cent,
I: cent,
F: cent,
of an equally tempered @aref{semitone}).
@aref{equal temperament}.
-@aitem{central C}
+@aitem{central C}@c
@aref{middle C}.
-@aitem{chord}
+@aitem{chord}@c
ES: acorde,
I: accordo,
F: accord,
}
@end lilypond
-@aitem{chromatic scale}
+@aitem{chromatic scale}@c
ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
-@aitem{chromaticism}
+@aitem{chromaticism}@c
ES: cromatismo,
I: cromatismo,
F: chromatisme,
Use of tones extraneous to a @aref{diatonic scale} (minor, major).
-@aitemii{church mode,ecclesiastical mode}
+@aitemii{church mode,ecclesiastical mode}@c
ES: modo eclesiástico,
I: modo ecclesiastico,
F: mode ecclésiastique,
@aref{diatonic scale}.
-@aitem{clef}
+@aitem{clef}@c
ES: clave,
I: chiave,
F: clé, clef,
@aref{C clef}, @aref{F clef}, @aref{G clef}.
-@aitem{cluster}
-
+@aitem{cluster}@c
A @emph{cluster} is a range of simultaneously sounding pitches that
may change over time. The set of available pitches to apply usually
depends on the acoustic source. Thus, in piano music, a cluster
\makeClusters { <c e > <b f'> <b g'> <c g> <f e> }
@end lilypond
-@aitem{comma}
+@aitem{comma}@c
I: comma,
F: comma,
D: Komma,
Difference in pitch between a note derived from pure tuning and the same note
derived from some other tuning method. @aref{temperament}.
-@aitem{common meter}
+@aitem{common meter}@c
@aref{meter}.
-@aitem{compound interval}
+@aitem{compound interval}@c
ES: intervalo compuesto,
I: intervallo composto,
F: intervalle composé,
@aref{interval}.
-@aitem{complement}
+@aitem{complement}@c
I: rivolto,
F: intervalle complémentaire,
D: Komplementärintervall,
@aref{inverted interval}.
-@aitem{conjunct movement}
+@aitem{conjunct movement}@c
ES: movimiento conjunto,
I: moto congiunto,
F: mouvement conjoint,
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
-@aitem{consonance}
+@aitem{consonance}@c
ES: consonancia,
I: consonanza,
F: consonance,
@aref{harmony}.
-@aitem{contralto}
+@aitem{contralto}@c
ES: contralto,
I: contralto,
F: contralto,
@aref{alto}.
-@aitem{counterpoint}
+@aitem{counterpoint}@c
ES: contrapunto,
I: contrappunto,
F: contrepoint,
>>
@end lilypond
-@aitem{counter tenor}
+@aitem{counter tenor}@c
ES: contratenor,
I: controtenore,
F: contre-tenor,
@aref{contralto}.
-@aitem{copying, music}
+@aitem{copying, music}@c
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.
-@aitem{crescendo}
+@aitem{crescendo}@c
ES: crescendo,
I: crescendo,
F: crescendo,
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
-@aitem{cue-notes}
+@aitem{cue-notes}@c
ES: notas guia,
I: notine,
F: petites notes précédent l'entrée d'in instrument, réplique,
In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.
-@aitem{custos}
-
+@aitem{custos}@c
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
}
@end lilypond
-@aitem{D}
+@aitem{D}@c
ES: Re,
I: re,
F: ré,
S: d,
FI: D, d.
-@aitem{da capo}
+@aitem{da capo}@c
ES: da capo,
I: da capo,
F: da capo, depuis le commencement,
The term indicates repetition of the piece from the beginning to the end or
to a certain place marked @emph{fine}. Mostly abbreviated as ``D.C.''.
-@aitem{dal segno}
+@aitem{dal segno}@c
ES: dal segno,
I: dal segno,
F: dal segno, depuis le signe,
}
@end lilypond
-@aitem{decrescendo}
+@aitem{decrescendo}@c
ES: decrescendo,
I: decrescendo,
D: Decrescendo, leiser werden,
}
@end lilypond
-@aitem{descending interval}
+@aitem{descending interval}@c
ES: intervalo descendente,
I: intervallo discendente,
F: intervalle descendant,
A distance between a starting higher note and a lower ending note.
-@aitem{diatonic scale}
+@aitem{diatonic scale}@c
ES: escala diatónica,
I: scala diatonica,
F: gamme diatonique,
}
@end lilypond
-@aitem{diminished interval}
+@aitem{diminished interval}@c
ES: intervalo disminuído,
I: intervallo diminuito,
F: intervalle diminué,
@aref{interval}.
-@aitem{diminuendo}
+@aitem{diminuendo}@c
ES: diminuendo,
I: diminuendo,
F: diminuendo,
@aref{decrescendo}.
-@aitem{disjunct movement}
+@aitem{disjunct movement}@c
ES: movimiendo disjunto,
I: moto disgiunto,
F: mouvement disjoint,
fis2 d4. \bar "||" }
@end lilypond
-@aitemii{dissonant interval,dissonance}
+@aitemii{dissonant interval,dissonance}@c
ES: intervalo disonante, disonancias,
I: intervallo dissonante, dissonanza,
F: dissonance,
@aref{harmony}.
-@aitem{dominant ninth chord}
+@aitem{dominant ninth chord}@c
I: accordo di nona di dominante,
F: accord de neuvième dominante,
D: Domi@-nant@-nonen@-akkord,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant seventh chord}
+@aitem{dominant seventh chord}@c
ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
F: accord de septième dominante,
@aref{chord}, @aref{functional harmony}.
-@aitem{dominant}
+@aitem{dominant}@c
ES: dominante,
I: dominante,
F: dominante,
The fifth @aref{scale degree},
@aref{functional harmony}.
-@aitem{dorian mode}
+@aitem{dorian mode}@c
ES: modo dórico,
I: modo dorico,
F: mode dorien,
@aref{diatonic scale}.
-@aitem{dot (augmentation dot)}
+@aitem{dot (augmentation dot)}@c
ES: puntillo,
I: punto (di valore),
F: point,
@aref{dotted note}.
-@aitem{dotted note}
+@aitem{dotted note}@c
ES: nota con puntillo,
I: nota puntata,
F: note pointée,
@aref{note value}.
-@aitem{double appoggiatura}
+@aitem{double appoggiatura}@c
ES: apoyatura doble,
I: appoggiatura doppia,
F: appoggiature double,
@aref{appoggiatura}.
-@aitem{double bar line}
+@aitem{double bar line}@c
I: doppia barra,
F: double barre,
D: Doppelstrich,
Indicates the end of a section within a movement.
-@aitem{double dotted note}
+@aitem{double dotted note}@c
ES: nota con dos puntillos,
I: nota doppiamente puntata,
F: note doublement pointée,
@aref{note value}.
-@aitem{double flat}
+@aitem{double flat}@c
ES: doble bemol,
I: doppio bemolle,
F: double bémol,
@aref{accidental}.
-@aitem{double sharp}
+@aitem{double sharp}@c
ES: doble sostenido,
I: doppio diesis,
F: double dièse,
@aref{accidental}.
-@aitem{double trill}
+@aitem{double trill}@c
ES: trino doble,
I: doppio trillo,
F: trille double,
A simultaneous trill on two notes, usually in the distance of a third.
-@aitem{duple meter}
+@aitem{duple meter}@c
ES: tiempo binario,
I: tempo binario,
F: temps binaire,
@aref{meter}.
-@aitem{duplet}
+@aitem{duplet}@c
ES: dosillo,
I: duina,
F: duolet,
@aref{note value}.
-@aitem{duration}
+@aitem{duration}@c
ES: duración,
I: durata,
F: durée,
@aref{note value}.
-@aitem{dydimic comma}
+@aitem{dydimic comma}@c
@aref{syntonic comma}.
-@aitem{E}
+@aitem{E}@c
ES: mi,
I: mi,
F: mi,
S: e,
FI: E, e.
-@aitem{eighth note}
+@aitem{eighth note}@c
ES: corchea,
I: croma,
F: croche,
@aref{note value}.
-@aitem{eighth rest}
+@aitem{eighth rest}@c
ES: silencio de corchea,
I: pausa di croma,
F: demi-soupir,
@aref{note value}.
-@aitem{engraving}
+@aitem{engraving}@c
ES: Grabar
I: incisione,
F: gravure,
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.
-@aitem{enharmonic}
+@aitem{enharmonic}@c
ES: enharmónico,
I: enarmonico,
F: enharmonique,
}
@end lilypond
-@aitem{equal temperament}
+@aitem{equal temperament}@c
ES: ?,
I: temperamento equabile,
F: tempérament égal,
Tuning system dividing the octave into 12 equal @aref{semitone}s
(precisely 100 @aref{cent}s). @aref{temperament}.
-@aitem{expression mark}
+@aitem{expression mark}@c
ES: ?,
I: segno d'espressione,
F: signe d'expression, indication de nuance,
@aref{forte}, @aref{crescendo}), 2. tempo (for example
@aref{andante}, @aref{allegro}).
-@aitem{F}
+@aitem{F}@c
ES: fa,
I: fa,
F: fa,
S: f,
FI: F, f.
-@aitem{F clef}
+@aitem{F clef}@c
ES: Clave de Fa,
I: chiave di fa,
F: clé de fa,
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
-@aitem{fermata}
+@aitem{fermata}@c
ES: Calderón,
I: corona,
F: point d'orgue, point d'arr@^et,
}
@end lilypond
-@aitem{fifth}
+@aitem{fifth}@c
ES: quinta,
I: quinta,
F: quinte,
@aref{interval}.
-@aitem{figured bass}
+@aitem{figured bass}@c
ES: bajo cifrado, @aref{thorough bass}.
-@aitem{fingering}
+@aitem{fingering}@c
ES: digitación,
I: diteggiatura,
F: doigté,
The methodical use of fingers in the playing of instruments.
-@aitemii{flag,pennant}
+@aitemii{flag,pennant}@c
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
}
@end lilypond
-@aitem{flat}
+@aitem{flat}@c
ES: bemol,
I: bemolle,
F: bémol,
@aref{accidental}.
-@aitemii{forefall,backfall}
+@aitemii{forefall,backfall}@c
@aref{appoggiatura}.
-@aitem{forte}
+@aitem{forte}@c
ES: forte,
I: forte,
F: forte,
Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
@emph{mezzoforte} (@b{mf}) medium loud.
-@aitem{fourth}
+@aitem{fourth}@c
ES: cuarta,
I: quarta,
F: quarte,
@aref{interval}.
-@aitem{fugue}
+@aitem{fugue}@c
ES: fuga,
I: fuga,
F: fugue,
@aref{counterpoint}.
-@aitem{functional harmony}
+@aitem{functional harmony}@c
ES: armonía funcional,
I: armonia funzionale,
F: étude des functions,
\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
@end lilypond
-@aitem{G}
+@aitem{G}@c
ES: sol,
I: sol,
F: sol,
S: g,
FI: G, g.
-@aitem{G clef}
+@aitem{G clef}@c
ES: Clave de sol,
I: chiave di sol,
F: clé de sol,
}
@end lilypond
-@aitem{glissando}
+@aitem{glissando}@c
ES: glissando,
I: glissando,
F: glissando,
Letting the pitch slide fluently from one note to the other.
-@aitem{grace notes}
+@aitem{grace notes}@c
ES: ?,
I: abbellimenti,
F: fioriture,
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar. @aref{appoggiatura}.
-@aitem{grand staff}
+@aitem{grand staff}@c
I: accolatura,
F: accolade,
D: Akkolade,
A combination of two staves with a brace. Usually used for piano music.
-@aitem{grave}
+@aitem{grave}@c
ES: grave,
I: grave,
F: grave,
Slow, solemn.
-@aitem{half note}
+@aitem{half note}@c
ES: blanca,
I: minima,
F: blanche,
@aref{note value}.
-@aitem{half rest}
+@aitem{half rest}@c
ES: ?,
I: pausa di minima,
F: demi-pause,
@aref{note value}.
-@aitem{harmonic cadence}
+@aitem{harmonic cadence}@c
ES: cadencia (armónica),
I: cadenza (armonica),
F: cadence harmonique,
>>
@end lilypond
-@aitem{harmony}
+@aitem{harmony}@c
ES: armonía,
I: armonia,
F: harmonie,
Three note harmony @aref{chord}.
-@aitem{homophony}
+@aitem{homophony}@c
ES: homofonía,
I: omofonia,
F: homophonie,
Music in which one voice leads melodically followed by the other voices more
or less in the same rhythm. In contrast to @aref{polyphony}.
-@aitem{interval}
+@aitem{interval}@c
ES: intervalo,
I: intervallo,
F: intervalle,
}
@end lilypond
-@aitem{inverted interval}
+@aitem{inverted interval}@c
ES: intervalo invertido,
I: intervallo rivolto,
F: intervalle reversé,
}
@end lilypond
-@aitem{just intonation}
+@aitem{just intonation}@c
I: intonazione giusta,
F: intonation juste,
D: reine Stimmung,
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds. @aref{temperament}.
-@aitem{key}
+@aitem{key}@c
ES: tonalidad,
I: tonalità,
F: tonalité,
there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
@aref{key signature}.
-@aitem{key signature}
+@aitem{key signature}@c
ES: armadura de clave,
I: armatura di chiave,
F: armure, armature [de la clé],
The sharps or flats appearing at the beginning of each staff indicating the
key of the music. @aref{accidental}.
-@aitem{largo}
+@aitem{largo}@c
ES: largo,
I: largo,
F: largo,
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
-@aitem{leading note}
+@aitem{leading note}@c
ES: sensible,
I: sensibile,
F: note sensible,
the tonic; so called because of its strong tendency to ``lead up'' (resolve
upwards) to the tonic scale degree.
-@aitemii{ledger line,leger line}
+@aitemii{ledger line,leger line}@c
ES: líneas adicionales,
I: tagli addizionali,
F: ligne supplémentaire,
\relative c'' { a,1 s c'' }
@end lilypond
-@aitem{legato}
+@aitem{legato}@c
ES: ligado,
I: legato,
F: legato, lié,
}
@end lilypond
-@aitem{legato curve}
+@aitem{legato curve}@c
@aref{slur}, @aref{legato}.
-@aitem{lilypond}
+@aitem{lilypond}@c
ES: estanque de lilas,
I: stagno del giglio,
F: étang de lis,
A pond with lilies floating in it, also the name of a music typesetter.
-@aitem{ligature}
-
+@aitem{ligature}@c
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
With the invention of the metric system of the white mensural
notation, the need for ligatures to denote such patterns disappeared.
-@aitem{line}
+@aitem{line}@c
ES: línea,
I: linea,
F: ligne,
@aref{staff}.
-@aitem{long appoggiatura}
+@aitem{long appoggiatura}@c
ES: apoyatura larga,
I: appoggiatura lunga,
F: appoggiature longue,
@aref{appoggiatura}.
-@aitem{longa}
+@aitem{longa}@c
ES: longa,
I: longa,
F: longa,
}
@end lilypond
-@aitemii{lyrics,song texts}
+@aitemii{lyrics,song texts}@c
ES: .,
I: .,
F: .,
S: .,
FI, sanoitus.
-@aitem{major interval}
+@aitem{major interval}@c
ES: intervalo mayor,
I: intervallo maggiore,
F: intervalle majeur,
@aref{interval}.
-@aitem{major}
+@aitem{major}@c
ES: mayor,
I: maggiore,
F: [mode] majeur,
@aref{diatonic scale}.
-@aitem{meantone temperament}
+@aitem{meantone temperament}@c
I: accordatura mesotonica,
F: tempérament mésotonique,
D: mitteltönige Stimmung,
@aref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
-@aitemii{measure,bar}
+@aitemii{measure,bar}@c
ES: compás,
I: misura, battuta,
F: mesure,
throughout the composition and are marked from each other by
bar-lines. @aref{meter}.
-@aitem{mediant}
+@aitem{mediant}@c
ES: mediante,
I: mediante, modale,
F: médiante,
replaced by its lower mediant (variant tonic). @aref{functional
harmony}, @aref{relative key}.
-@aitem{melisma}
-
+@aitem{melisma}@c
NL: melisma,
FI: melisma, laulettavan tavun sävelkuvio.
A melisma (plural: melismata) is a group of notes or tones sung on one
syllable in plainsong
-@aitem{melodic cadence}
+@aitem{melodic cadence}@c
@aref{cadenza}.
-@aitemii{meter,time}
+@aitemii{meter,time}@c
ES: compás,
I: tempo, metro,
F: indication de mésure,
g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
@end lilypond
-@aitem{metronome}
+@aitem{metronome}@c
ES: metrónomo,
I: metronomo,
F: métronome,
Device indicating the exact tempo of a piece. @aref{metronomic
indication}.
-@aitem{metronomic indication}
+@aitem{metronomic indication}@c
ES: indicación metronómica,
I: indicazione metronomica,
F: indication métronomique,
Exact tempo indication (in beats per minute). Also denoted by
M.M.@: (Mälzels Metronom).
-@aitem{mezzo-soprano}
+@aitem{mezzo-soprano}@c
ES: mezzo soprano,
I: mezzo-soprano,
F: mezzo-soprano,
The female voice between @aref{soprano} and
@aref{contralto}.
-@aitem{middle C}
+@aitem{middle C}@c
ES: do central,
I: do centrale,
F: do central,
}
@end lilypond
-@aitem{minor}
+@aitem{minor}@c
ES: menor,
I: minore,
F: mode mineur,
@aref{diatonic scale}.
-@aitem{minor interval}
+@aitem{minor interval}@c
ES: intervalo mayor,
I: intervallo minore,
F: intervalle mineur,
@aref{interval}.
-@aitem{mode}
+@aitem{mode}@c
ES: modo,
I: modo,
F: mode,
@aref{church mode}, @aref{diatonic scale}.
-@aitem{modulation}
+@aitem{modulation}@c
ES: modulación,
I: modulazione,
F: modulation,
key if the key is major and to the @aref{relative key} if the key
is minor.
-@aitem{mordent}
+@aitem{mordent}@c
I: mordente,
F: mordant,
D: Mordent,
@aref{ornament}.
-@aitemii{motive,motif}
+@aitemii{motive,motif}@c
ES: tema,
I: inciso,
F: incise,
}
@end lilypond
-@aitem{movement}
+@aitem{movement}@c
ES: movimiento,
I: movimento,
F: mouvement,
@aref{sonata} most often consist of several -- more or less --
independant pieces called movements.
-@aitem{multibar rest}
+@aitem{multibar rest}@c
ES: compases de espera,
I: pausa multipla,
F: pause multiple,
}
@end lilypond
-@aitem{mixolydian mode}
+@aitem{mixolydian mode}@c
@aref{diatonic scale}.
-@aitem{natural sign}
+@aitem{natural sign}@c
ES: becuadro,
I: bequadro,
F: bécarre,
@aref{accidental}.
-@aitem{neighbour tones}
+@aitem{neighbour tones}@c
@aref{appoggiatura}.
-@aitem{ninth}
+@aitem{ninth}@c
ES: novena,
I: nona,
F: neuvième,
@aref{interval}.
-@aitem{non-legato}
+@aitem{non-legato}@c
@aref{legato}.
-@aitem{note}
+@aitem{note}@c
ES: nota,
I: nota,
F: note,
and @aref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-@aitem{note head}
+@aitem{note head}@c
ES: oval,
I: testa, testina, capocchia,
F: t@^ete de la note,
instruments (often having no defined pitch) the note head may indicate the
instrument.
-@aitem{note value}
+@aitem{note value}@c
ES: valor,
I: valore, durata,
F: durée, valeur (d'une note),
}
@end lilypond
-@aitem{octave sign}
+@aitem{octave sign}@c
@aref{G clef}, @aref{F clef}.
-@aitem{octave}
+@aitem{octave}@c
ES: octava,
I: ottava,
F: octave,
@aref{interval}.
-@aitemiii{ornament,embellishment,accessory}
+@aitemiii{ornament,embellishment,accessory}@c
ES: adorno,
I: abbellimento, fioriture,
F: agrément, ornement,
@aref{appoggiatura}.
-@aitem{ossia}
+@aitem{ossia}@c
ES: ossia,
I: ossia,
F: ossia,
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-@aitem{part}
+@aitem{part}@c
ES: parte,
I: voce, parte,
F: partie,
or voice. 2. in contrapuntal music @aref{counterpoint} the single
melodic line of the contrapunctal web.
-@aitem{percussion}
+@aitem{percussion}@c
ES: percusión,
I: percussioni,
F: percussion,
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-@aitem{perfect interval}
+@aitem{perfect interval}@c
ES: intervalo justo,
I: intervallo giusto,
F: intervalle juste,
@aref{interval}.
-@aitem{phrase}
+@aitem{phrase}@c
ES: frase,
I: frase,
F: phrase,
A natural division of the melodic line, comparable to a sentence of speech.
-@aitem{phrasing}
+@aitem{phrasing}@c
ES: fraseo,
I: fraseggio,
F: phrasé,
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
-@aitem{piano}
+@aitem{piano}@c
ES: piano,
I: piano,
F: piano,
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.
-@aitem{pitch}
+@aitem{pitch}@c
ES: altura,
I: altezza,
F: hauteur,
S: tonhöjd,
FI: sävelkorkeus.
-@aitem{pizzicato}
+@aitem{pizzicato}@c
ES: pizzicato,
I: pizzicato,
F: pizzicato,
Play by plucking the strings.
-@aitem{polyphony}
+@aitem{polyphony}@c
ES: polifonía,
I: polifonia,
F: polyphonie,
Music written in a combination of several simultaneous voices (parts) of a
more or less pronounced individuality. @aref{counterpoint}.
-@aitem{portato}
+@aitem{portato}@c
@aref{legato}.
-@aitem{presto}
+@aitem{presto}@c
ES: presto,
I: presto,
F: presto,
Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-@aitem{Pythagorean comma}
+@aitem{Pythagorean comma}@c
ES: coma pitagórico,
I: comma pitagorico,
F: comma pythagoricien,
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
-@aitem{quadruplet}
+@aitem{quadruplet}@c
ES: cuatrillo,
I: quartina,
F: quartolet,
@aref{note value}.
-@aitem{quarter note}
+@aitem{quarter note}@c
ES: negra,
I: semiminima, nera,
F: noire,
@aref{note value}.
-@aitem{quarter rest}
+@aitem{quarter rest}@c
ES: silencio de negra,
I: pausa di semiminima,
F: soupir,
@aref{note value}.
-@aitem{quintuplet}
+@aitem{quintuplet}@c
ES: quintillo,
I: quintina,
F: quintolet,
@aref{note value}.
-@aitem{rallentando}
+@aitem{rallentando}@c
ES: rallentando,
I: rallentando,
F: rallentando,
Abbreviation "rall.". @aref{ritardando}.
-@aitem{relative key}
+@aitem{relative key}@c
ES: relativa,
I: tonalità relativa,
F: tonalité relative,
}
@end lilypond
-@aitem{repeat}
+@aitem{repeat}@c
ES: barra de repetición,
I: ritornello,
F: barre de reprise,
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-@aitem{rest}
+@aitem{rest}@c
ES: silencio,
I: pausa,
F: silence,
@aref{note value}.
-@aitem{rhythm}
+@aitem{rhythm}@c
ES: ritmo,
I: ritmo,
F: rythme,
different measures. (c) Free rhythm, i.e., the use of temporal values having
no common metrical unit (beat).
-@aitem{ritardando}
+@aitem{ritardando}@c
ES: retardando,
I: ritardando,
F: ritardando,
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-@aitem{ritenuto}
+@aitem{ritenuto}@c
ES: ritenuto,
I: ritenuto,
F: ritenuto,
Immediate reduction of speed.
-@aitem{scale}
+@aitem{scale}@c
ES: escala,
I: scala,
F: gamme,
@aref{diatonic scale}.
-@aitem{scale degree}
+@aitem{scale degree}@c
ES: grados de la escala,
I: grado della scala,
F: degré [de la gamme],
@aref{functional harmony}.
-@aitem{score}
+@aitem{score}@c
ES: partitura,
I: partitura,
F: partition,
to play, each voice to sing, having each part arranged one underneath the
other on different staves @aref{staff}.
-@aitem{second}
+@aitem{second}@c
ES: segunda,
I: secunda,
F: seconde,
@aref{semitone}s and @aref{whole tone}s, hence the size
of a se@-cond depends on the scale degrees in question.
-@aitem{semitone}
+@aitem{semitone}@c
ES: semitono,
I: semitono,
F: demi-ton,
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
-@aitem{seventh}
+@aitem{seventh}@c
ES: séptima,
I: settima,
F: septième,
@aref{interval}.
-@aitem{sextuplet, sextolet}
+@aitem{sextuplet, sextolet}@c
I: sestina,
F: sextolet,
D: Sextole,
@aref{note value}.
-@aitem{sharp}
+@aitem{sharp}@c
ES: sostenido,
I: diesis,
F: dièse,
D: Kreuz,
NL: kruis,
DK: kryds,
-S: korsförtecken,
+S: kors@-förtecken,
FI: korotusmerkki.
@aref{accidental}.
-@aitem{short appoggiatura}
+@aitem{short appoggiatura}@c
@aref{appoggiatura}.
-@aitem{sixteenth note}
+@aitem{sixteenth note}@c
ES: semicorchea,
I: semicroma,
F: double croche,
@aref{note value}.
-@aitem{sixteenth rest}
+@aitem{sixteenth rest}@c
ES: silencia de semicorchea,
I: pausa di semicroma,
F: quart de soupir,
@aref{note value}.
-@aitem{sixth}
+@aitem{sixth}@c
ES: sexta,
I: sesta,
F: sixte,
@aref{interval}.
-@aitem{sixty-fourth note}
+@aitem{sixty-fourth note}@c
ES: semifusa,
I: semibiscroma,
F: quadruple croche,
@aref{note value}.
-@aitem{sixty-fourth rest}
+@aitem{sixty-fourth rest}@c
ES: silencia de semifusa,
I: pausa di semibiscroma,
F: seizième de soupir,
@aref{note value}.
-@aitem{slur}
+@aitem{slur}@c
ES: ligadura,
I: legatura (di portamento or espressiva),
F: liaison, coulé,
@aref{legato}, e.g., with one stroke of the violin bow or with one
breath in singing.
-@aitem{solmization}
+@aitem{solmization}@c
I: solmisazione,
F: solmisation,
D: Solmisation,
(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})). @aref{scale degree}.
-@aitem{sonata}
+@aitem{sonata}@c
ES: sonata,
I: sonata,
F: sonate,
piano or for some other instrument with piano accompaniment, which consists of
three or four independant pieces, called movements.
-@aitem{sonata form}
+@aitem{sonata form}@c
ES: forma sonata,
I: forma sonata,
F: [en] forme de sonate,
@aref{major}, and in the @aref{relative key} if the
tonic is @aref{minor}.
-@aitem{soprano}
+@aitem{soprano}@c
ES: soprano,
I: soprano,
F: soprano,
The highest female voice.
-@aitem{staccato}
+@aitem{staccato}@c
ES: staccato,
I: staccato,
F: staccato, piqué, détaché,
}
@end lilypond
-@aitemii{staff, pl. staves}
+@aitemii{staff, pl. staves}@c
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
with a @aref{clef}) their pitch. Staves for
@aref{percussion} instruments may have fewer lines.
-@aitem{stem}
+@aitem{stem}@c
ES: plica,
I: gamba,
F: queue,
}
@end lilypond
-@aitem{strings}
+@aitem{strings}@c
ES: arcos, cuerdas,
I: archi,
F: cordes,
A family of stringed musical instruments played with a bow. Strings commonly
used in a symphony orchestra are violin, viola, violoncello, and double bass.
-@aitem{strong beat}
+@aitem{strong beat}@c
ES: tiempo fuerte,
I: tempo forte,
F: temps fort,
@aref{beat}, @aref{accent}, @aref{measure},
@aref{rhythm}.
-@aitem{subdominant}
+@aitem{subdominant}@c
ES: subdominante,
I: sottodominante,
F: sous-dominante,
The fourth @aref{scale degree}. @aref{functional
harmony}.
-@aitem{submediant}
+@aitem{submediant}@c
ES: superdominante,
I: sopratonica,
F: sous-médiante,
The sixth @aref{scale degree}.
-@aitem{subtonic}
+@aitem{subtonic}@c
ES: sensible,
I: sottotonica,
F: sous-tonique,
The seventh @aref{scale degree}.
-@aitem{superdominant}
+@aitem{superdominant}@c
ES: superdominante,
I: sopradominante,
F: sus-dominante,
The sixth @aref{scale degree}.
-@aitem{supertonic}
+@aitem{supertonic}@c
ES: supertónica,
I: sopratonica,
F: sus-tonique,
The second @aref{scale degree}.
-@aitem{symphony}
+@aitem{symphony}@c
ES: sinfonía,
I: sinfonia,
F: symphonie,
A symphony may be defined as a @aref{sonata} for orchestra.
-@aitem{syncopation}
+@aitem{syncopation}@c
ES: sincopado,
I: sincope,
F: syncope,
}
@end lilypond
-@aitemii{syntonic comma,dydimic comma}
+@aitemii{syntonic comma,dydimic comma}@c
I: comma sintonico (o didimico),
F: comma syntonique,
D: syntonisches Komma,
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
-@aitem{system}
+@aitem{system}@c
I: accollatura,
F: système,
D: Notensystem,
The collection of staves @aref{staff}, two or more, as used for
writing down of keyboard, chamber, choral, or orchestral music.
-@aitem{temperament}
+@aitem{temperament}@c
ES: temperamento,
I: temperamento,
F: tempérament,
intervals. @aref{meantone temperament}, @aref{equal
temperament}.
-@aitem{tempo indication}
+@aitem{tempo indication}@c
ES: indicación de tempo,
I: indicazione di tempo,
F: indication de temps,
@aref{largo}, @aref{adagio}, @aref{andante},
@aref{allegro}, and @aref{presto}.
-@aitem{tenor}
+@aitem{tenor}@c
ES: tenor,
I: tenore,
F: ténor,
The highest voice of men (apart from @aref{counter tenor}).
-@aitem{tenth}
+@aitem{tenth}@c
ES: décima,
I: decima,
F: dixième,
@aref{note value}.
-@aitem{third}
+@aitem{third}@c
ES: tercera,
I: terza,
F: tierce,
@aref{interval}.
-@aitem{thirty-second note}
+@aitem{thirty-second note}@c
ES: fusa,
I: biscroma,
F: triple croche,
@aref{note value}.
-@aitem{thirty-second rest}
+@aitem{thirty-second rest}@c
ES: silencio de fusa,
I: pausa di biscroma,
F: huitième de soupir,
@aref{note value}.
-@aitemii{thorough bass,figured bass}
+@aitemii{thorough bass,figured bass}@c
ES: bajo cifrado,
I: basso continuo, basso numerato,
F: basse chiffrée,
>>
@end lilypond
-@aitemii{tie,bind}
+@aitemii{tie,bind}@c
ES: ligadura de prolongación,
I: legatura (di valore),
F: liaison,
\relative c'' { g2 ~ g4. }
@end lilypond
-@aitem{time signature}
+@aitem{time signature}@c
ES: cifra indicadora de compás,
I: segni di tempo,
F: chiffrage (chiffres indicateurs), signe de valeur,
@aref{meter}.
-@aitem{tone}
+@aitem{tone}@c
ES: sonido,
I: suono,
F: ton,
Tone is a primary building material of music.
Music from the 20th century may be based on non tone related sounds.
-@aitem{tonic}
+@aitem{tonic}@c
ES: tonica,
I: tonica,
F: tonique,
The first @aref{scale degree}.
@aref{functional harmony}.
-@aitem{transposition}
+@aitem{transposition}@c
ES: transposición,
I: trasposizione,
F: transposition,
}
@end lilypond
-@aitem{treble clef}
+@aitem{treble clef}@c
ES: clave de sol,
I: chiave di violino,
F: clé de sol,
@aref{G clef}.
-@aitem{tremolo}
+@aitem{tremolo}@c
ES: tremolo,
I: tremolo,
F: trémolo,
}
@end lilypond
-@aitem{triad}
+@aitem{triad}@c
ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
@aref{chord}.
-@aitemii{trill,shake}
+@aitemii{trill,shake}@c
ES: trino,
I: trillo,
F: trille, tremblement, battement (cadence),
@aref{ornament}.
-@aitem{triple meter}
+@aitem{triple meter}@c
ES: compás compuesto,
I: tempo ternario,
F: mesure ternaire,
@aref{meter}.
-@aitem{triplet}
+@aitem{triplet}@c
ES: tresillo,
I: terzina,
F: triolet,
@aref{note value}.
-@aitem{tritone}
+@aitem{tritone}@c
ES: trítono,
I: tritono,
F: triton,
@aref{interval}.
-@aitem{tuning fork}
+@aitem{tuning fork}@c
ES: diapasón,
I: diapason, corista,
F: diapason,
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.)
-@aitemii{turn,gruppetto}
+@aitemii{turn,gruppetto}@c
ES: grupo,
I: gruppetto,
F: grupetto,
@aref{ornament}.
-@aitem{unison}
+@aitem{unison}@c
ES: unísono,
I: unisono,
F: unisson,
or by the whole orchestra (choir), either at exactly the same pitch or in a
different octave.
-@aitem{upbeat}
+@aitem{upbeat}@c
ES: entrada anacrúsica,
I: anacrusi,
F: anacrouse, levée,
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
-@aitem{voice}
+@aitem{voice}@c
ES: voz,
I: voce,
F: voix,
@aref{baritone}, @aref{bass}.
2. A melodic layer or part of a polyphonic composition.
-@aitem{weak beat}
+@aitem{weak beat}@c
ES: tiempo débil,
I: tempo debole, arsi,
F: temps faible,
@aref{beat}, @aref{measure}, @aref{rhythm}.
-@aitem{whole note}
+@aitem{whole note}@c
ES: redonda,
I: semibreve,
F: ronde,
@aref{note value}.
-@aitem{whole rest}
+@aitem{whole rest}@c
ES: silencio de redonda,
I: pausa di semibreve,
F: pause,
@aref{note value}.
-@aitem{whole tone}
+@aitem{whole tone}@c
ES: tono,
I: tono intero,
F: ton entier,
tones on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-@aitem{woodwind}
+@loggingall
+
+@aitem{woodwind}@c
ES: maderas,
I: legni,
F: les bois,
@page
-@table @samp
+@table @code
@item DURATION NAMES, NOTES AND RESTS
@end table
-@multitable @columnfractions .1 .1 .1 .1 .1 .1 .1 .1 .1 .1
+@multitable @columnfractions .15 .26 .33 .26
-@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
-@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
+@item
+ @tab @strong{UK}
+ @tab @strong{I}
+ @tab @strong{F}
+@item
+ @tab @strong{D}
+ @tab @strong{NL}
+ @tab @strong{DK}
+@item
+ @tab @strong{S}
+ @tab @strong{FI}
+ @tab
@item
-@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa
-@tab longa @tab longa @tab longa
+@item @strong{longa}
+ @tab longa
+ @tab longa
+ @tab longa
+@item
+ @tab Longa
+ @tab longa
+ @tab longa
+@item
+ @tab longa
+ @tab longa
+ @tab
@item
-@item @strong{breve} @tab breve @tab breve @tab brève @tab Brevis @tab
-brevis @tab brevis @tab brevis @tab brevis
+@item @strong{breve}
+ @tab breve
+ @tab breve
+ @tab brève
+@item
+ @tab Brevis
+ @tab brevis
+ @tab brevis
+@item
+ @tab brevis
+ @tab brevis
+ @tab
@item
-@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab
-Ganze @tab hele @tab hel @tab hel @tab kokonuotti/-tauko @tab
+@item @strong{whole}
+ @tab semi@-breve
+ @tab semi@-breve
+ @tab ronde
+@item
+ @tab Ganze
+ @tab hele
+ @tab hel
+@item
+ @tab hel
+ @tab koko@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab
-halve @tab halv @tab halv @tab puoli- @tab
+@item @strong{half}
+ @tab minim
+ @tab minima
+ @tab blanche
+@item
+ @tab Halbe
+ @tab halve
+ @tab halv
+@item
+ @tab halv
+ @tab puoli@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab
-Viertel @tab kwart @tab fjerde@-del @tab fjärde@-del @tab neljännes- @tab
+@item @strong{quarter}
+ @tab crotchet
+ @tab semiminima
+ @tab noire
+@item
+ @tab Viertel
+ @tab kwart
+ @tab fjerdedel
+@item
+ @tab fjärdedel
+ @tab neljännesosa@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab
-achtste @tab ottende@-del @tab åtton@-del @tab kahdeksasosa- @tab
+@item @strong{eighth}
+ @tab quaver
+ @tab croma
+ @tab croche
+@item
+ @tab Achtel
+ @tab achtste
+ @tab ottendedel
+@item
+ @tab åttondel
+ @tab kahdeksasosa@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche
-@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del
-@tab kuudestoistaosa- @tab
+@item @strong{sixteenth}
+ @tab semiquaver
+ @tab semicroma
+ @tab double croche
+@item
+ @tab Sechzehntel
+ @tab zestiende
+ @tab sekstendedel
+@item
+ @tab sextondel
+ @tab kuudestoistaosa@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab
-triple croche @tab Zwei@-und@-drei@-ßig@-stel @tab twee-en@-dertig@-ste
-@tab toog@-tredivte-del @tab trettio@-tvåon@-del @tab kolmaskymmeneskahdesosa- @tab
+@item @strong{thirty-second}
+ @tab demisemiquaver
+ @tab biscroma
+ @tab triple croche
+@item
+ @tab Zweiunddreissigstel
+ @tab tweeendertigste
+ @tab toogtredivtedel
+@item
+ @tab trettiotvåondel
+ @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
+ @tab
@item
-@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab
-semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab
-vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab
-sextio@-fjärde@-del @tab kuudeskymmenesneljäsosa- @tab
+@item @strong{sixty-fourth}
+ @tab hemidemisemiquaver
+ @tab semibiscroma
+ @tab quadruple croche
+@item
+ @tab Vierundsechzigstel
+ @tab vierenzestigste
+ @tab fireogtred@-sindstyvendedel
+@item
+ @tab sextiofjärdedel
+ @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
+ @tab
@end multitable
@c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
@page
-@table @samp
+@table @code
@item PITCH NAMES
@end table
-@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111
+@multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab
@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
@unnumbered Literature used
-The Harvard Dictionary of Music, London 1944. Many more or less literal
-quotes from its articles have been included into the item explanation texts.
-Hugo Riemanns Musiklexicon, Berlin 1929.
+@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.
-Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980
-Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+@item Hugo Riemanns Musiklexicon, Berlin 1929.
-Webster's Revised Unabridged Dictionary, Springfield 1913.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
+
+@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
+1974.
+
+@item Webster's Revised Unabridged Dictionary, Springfield 1913.
+@end itemize
@bye
projects / lilypond.git / commitdiff