S: ?,
FI: kahdelle.
-Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
-due} indicates that:
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
+@notation{a due} indicates that:
@enumerate
-@item 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 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}).
+@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
FI: ?.
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.
+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}.
@item Raising its pitch:
@itemize
-@item By two semitones (a whole tone)—@notation{double sharp}
+@item By two semitones—@notation{double sharp}
@item By one semitone—@notation{sharp}
@end itemize
@item Lowering its pitch:
@itemize
@item By one semitone—@notation{flat}
-@item By two semitones (a whole tone)—@notation{double flat}
+@item By two semitones—@notation{double flat}
@end itemize
@item Or canceling the effects of the key signature or previous accidentals.
@itemize
-@item Slow tempo, slower -- especially in even meter -- than @notation{andante}
-and faster than @notation{largo}.
+@item Slow tempo, slower -- especially in even meter -- than
+@notation{andante} and faster than @notation{largo}.
@item A movement in slow tempo, especially the second (slow) movement
of sonatas, symphonies, etc.
ES: ?,
I: ?,
-F: alla breve,à la brève,
+F: alla breve, à la brève,
D: ?,
NL: ?,
DK: ?,
[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-Also called @notation{in cut-time}. The name derives from mensural notation,
-where the @notation{tactus} (or beat) is counted on the semibreve (the modern
-whole note). Counting @q{on the breve} shifts the tactus to the next longest
-note value, which (in modern usage) effectively halves all note values.
+Also called @notation{in cut-time}. The name derives from mensural
+notation, where the @notation{tactus} (or beat) is counted on the semibreve
+(the modern whole note). Counting @q{on the breve} shifts the tactus to the
+next longest note value, which (in modern usage) effectively halves all note
+values.
-(In mensural notation, breves and semibreves can have a ternary relationship, in
-which case @notation{alla breve} means thrice (not twice) as fast. In practice,
-this complication may not have mattered, since Gaffurius's system of multiplex
-proportions makes it easy to explicitly state which proportion is needed.)
+In mensural notation, breves and semibreves can have a ternary relationship,
+in which case @notation{alla breve} means thrice (not twice) as fast. In
+practice, this complication may not have mattered, since Gaffurius's system
+of multiplex proportions makes it easy to explicitly state which proportion
+is needed.
@seealso
@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
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
+A female voice of low range (@emph{contralto}). Originally the alto was a
+high male voice (hence the name), which by castration or the use of falsetto
+reached the height of the natural female voice. This type of voice is also
known as countertenor.
@seealso
}
\addlyrics {
\override Lyrics . LyricText #'self-alignment-X = #LEFT
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
}
@end lilypond
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 semitone).
+Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
+an octave (1/100 of an equally tempered semitone).
@seealso
@ref{equal temperament}, @ref{semitone}.
"diminished "
"augmented "
"seventh-chord "
- ninth-chord
+ "ninth-chord"
}
>>
@end lilypond
@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.
+@q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
@end enumerate
@itemize
-@item piccolo (plays an octave higher)
-@item celesta (plays an octave higher)
-@item double bass (plays an octave lower)
+@item piccolo (plays an octave higher than written)
+@item celesta (plays an octave higher than written)
+@item classical guitar (plays an octave lower than written)
+@item double bass (plays an octave lower than written)
@end itemize
ES: notas guía,
I: notine,
-F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
+F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
D: Stichnoten,
NL: stichnoten,
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.
+Notes belonging to one part printed in another to hint when to start
+playing. Usually printed in a smaller type.
@seealso
-No cross-references.
+Compare: @ref{ossia}.
@node custos
FI: intervalli, kahden sävelen korkeusero.
Difference in pitch between two notes. Intervals may be diminished, minor,
-perfect, major, or augmented. The augmented fourth and the diminished fifth are
-identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
-consist of three whole tones. The addition of such two intervals forms an
-octave.
+perfect, major, or augmented. The augmented fourth and the diminished fifth
+are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
+and are called @emph{tritonus} because they consist of three whole tones.
+The addition of such two intervals forms an octave.
@lilypond[quote,notime,line-width=13.0\cm]
<<
\bar "||"}
@end lilypond
+@ignore
@b{@q{Monometer} vs Polymeter}
TODO: add information from discussion on lilypond-user related to polymeter.
+@end ignore
@seealso
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
@end lilypond
Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
-the
-@emph{prall} (inverted mordent).
+the @emph{prall} (inverted mordent).
@lilypond[quote,line-width=13.0\cm]
<<
of the music, for example for small hands.
@seealso
-No cross-references.
+Compare: @ref{cue-notes}.
@node part
S: rallentando,
FI: rallerdando, hidastuen.
-[Italian] A performance indication, abbreviated "rall.".
+[Italian] A performance indication, abbreviated @notation{rall.}.
@seealso
@ref{ritardando}.
@itemize
@item Metrical rhythm in which every time value is a multiple or
-fraction of a fixed unit of time, called @ref{beat}, and in which the
-normal @ref{accent} recurs in regular intervals, called @ref{measure}.
-The basic scheme of time values is called @ref{meter}.
+fraction of a fixed unit of time, called @emph{beat}, and in which the
+normal @emph{accent} recurs in regular intervals, called @emph{measure}.
+The basic scheme of time values is called @emph{meter}.
@item Measured rhythm which lacks regularly recurrent accent. In
modern notation such music appears as a free alternation of different
@end itemize
@seealso
-No cross-references.
-
+@ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
@node ritardando
@section ritardando
@ref{sonata}.
-
@node syncopation
@section syncopation
@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.
+* About the French naming system: @notation{croche} refers to the note's
+@q{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.
+The rest names are based on the @notation{soupir}, or quarter rest.
+Subsequent rests are expressed as fractions thereof: half a
+@notation{soupir}, a quarter of a @notation{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
@end itemize
-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.
+Editor's note: 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
@node Pitch names
@chapter Pitch names
-@c -is/-es endings for Danish per Rune Zedeler, pace
-@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 -->
+@ignore
+ -is/-es endings for Danish per Rune Zedeler, pace,
+ and for Finnish per Risto Vääräniemi;
+ -iss/-ess endings for Swedish per Mats Bengtsson
+ originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
+
+ NOTE: Please leave the first line as-is -- that is, do not wrap it to
+ multiple lines -- as texinfo needs it to allow enough space for the
+ table entries. (For the curious, it's a list of the widest items in
+ each column of the table. Romance pitch names are two characters,
+ except for g (sol) ... so there you go.)
+@end ignore
@multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
-@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
+@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} @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{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{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} @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
+@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
+@item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
+ @tab ces @tab ces @tab cess @tab ces
+@item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
+ @tab His @tab bis @tab his @tab hiss @tab his
@end multitable
projects / lilypond.git / commitdiff