@menu
* A::
-* accelerando::
* accent::
* accessory::
-* acciaccatura::
* accidental::
+* accelerando::
+* acciaccatura::
* adagio::
* allegro::
* alteration::
* bar line::
* baritone::
* baritone clef::
-* bass::
* bass clef::
+* bass::
* beam::
* beat::
* bind::
* cluster::
* comma::
* common meter::
-* complement::
* compound interval::
+* complement::
* conjunct movement::
* consonance::
* contralto::
-* copying music::
-* counter tenor::
* counterpoint::
+* counter tenor::
+* copying music::
* crescendo::
* cue-notes::
* custos::
* disjunct movement::
* dissonance::
* dissonant interval::
-* dominant::
* dominant ninth chord::
* dominant seventh chord::
+* dominant::
* dorian mode::
* dot (augmentation dot)::
* dotted note::
* double dotted note::
* double flat::
* double sharp::
+* double time signature::
* double trill::
* duple meter::
* duplet::
* just intonation::
* key::
* key signature::
+* laissez vibrer::
* largo::
* leading note::
* ledger line::
* legato::
* legato curve::
* leger line::
-* ligature::
* lilypond::
+* ligature::
* line::
* long appoggiatura::
* longa::
-* lyric tie::
* lyrics::
-* major::
+* lyric tie::
* major interval::
+* major::
* meantone temperament::
* measure::
* mediant::
* melisma::
* melisma line::
* melodic cadence::
+* mensural notation::
* meter::
* metronome::
* metronomic indication::
* middle C::
* minor::
* minor interval::
-* mixolydian mode::
* mode::
* modulation::
* mordent::
* motive::
* movement::
* multi-measure rest::
+* mixolydian mode::
* natural sign::
-* neighbor tones::
+* neighbour tones::
* ninth::
* non-legato::
* note::
* note head::
* note value::
-* octave::
* octave sign::
+* octave::
* ornament::
* ossia::
* ottava::
* perfect interval::
* phrase::
* phrasing::
-* piano::
* pickup::
+* piano::
* pitch::
* pizzicato::
+* polymeter::
+* polymetric::
+* polymetric time signature::
* polyphony::
* portato::
* presto::
@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
@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
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.
@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
FI: adagio, hitaasti.
It.@: comfortable, easy.
-1.@tie{}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.
+
+1.@tie{}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.
@node allegro
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{counter tenor}.
@node alto clef
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
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'' {
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
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.
+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.
@node B
@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.
-
-1.@tie{}The lowest male voice.
-2.@tie{}Sometimes, especially in jazz music, used as
-an abbreviation for double bass.
-
-@seealso
-
-@ref{strings}.
-
-
@node bass clef
@section bass 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.
+
+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
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
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
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, angular brackets for connecting
+parts in an orchestral or choral score.
@lilypond[fragment,ragged-right]
\context GrandStaff <<
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
S: brevis,
FI: brevis.
-@ref{note value}, twice as long as a whole note. Mainly used
-in pre-1650 music.
+@ref{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 "of short
+duration".
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
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
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
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
+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
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@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 {
} % 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 {
} % 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 in 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 {
@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
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{meter}.
-@node complement
-@section complement
-
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
-
-@seealso
-
-@ref{inverted interval}.
-
-
@node compound interval
@section compound interval
@ref{interval}.
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+
@node conjunct movement
@section conjunct movement
@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. This
-required more skill than engraving.
-
-
-@node counter tenor
-@section counter tenor
-
-ES: contratenor,
-I: controtenore,
-F: contre-tenor,
-D: Countertenor, Kontratenor,
-NL: contratenor,
-DK: kontratenor,
-S: kontratenor, counter tenor,
-FI: kontratenori.
-
-@seealso
-
-@ref{contralto}.
-
-
@node counterpoint
@section counterpoint
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
@end lilypond
+@node counter tenor
+@section counter tenor
+
+ES: contratenor,
+I: controtenore,
+F: contre-tenor,
+D: Countertenor, Kontratenor,
+NL: contratenor,
+DK: kontratenor,
+S: kontratenor, counter tenor,
+FI: kontratenori.
+
+@seealso
+
+@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. Copying music required more skill than engraving.
+
+
@node crescendo
@section 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
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: ?,
+I: ?,
F: guidon,
-D: Notenzeiger, Custos.
+D: Notenzeiger, Custos,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
-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.
+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
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.}.
+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.}.
@node dal segno
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.
-The church modes are used in gregorial chant and in pre-baroque early
+The church 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]
@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
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
@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
@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
@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
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
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.
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
FI: nyanssiosoitus, esitysmerkki.
Performance indications concerning 1. volume, dynamics (for example
-@ref{forte}, @ref{crescendo}), 2. tempo (for example
-@ref{andante}, @ref{allegro}).
+@ref{forte}, @ref{crescendo}), 2. tempo (for example @ref{andante},
+@ref{allegro}).
@node extender line
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
+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
@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.
+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.
@end itemize
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
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
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]
<<
S: h,
FI: H, h.
-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
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}.
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:
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
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
@ref{accidental}.
+@node laissez vibrer
+@section laisser vibrer
+
+ES: ?,
+I: ?,
+F: laissez vibrer,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From French] "Let vibrate". Most frequently associated with harp
+parts. Marked @samp{l.v.} in the score.
+
+
@node largo
@section largo
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
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
@ref{ledger line}.
+@node lilypond
+@section lilypond
+
+ES: estanque de nenúfares,
+I: stagno del giglio,
+F: étang de lis,
+UK: lily pond,
+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
notation, the need for ligatures to denote such patterns disappeared.
-@node lilypond
-@section lilypond
-
-ES: estanque de nenúfares,
-I: stagno del giglio,
-F: étang de lis,
-UK: lily pond,
-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 line
@section line
@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
@ref{elision}.
-@node lyrics
-@section lyrics
+@node major interval
+@section major interval
-ES: letra (de la canción),
-I: ?,
-F: paroles,
-D: Liedtext, Gesangtext,
-NL: liedtekst,
-DK: ?,
-S: ?,
-FI: sanoitus.
+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 major
@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
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
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}.
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).
+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).
@ref{functional
harmony}, @ref{relative key}.
NL: melisma,
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
@ref{cadenza}.
+@node mensural notation
+@section mensural notation
+
+@c TODO: add languages, definition, references
+
+
@node meter
@section meter
Device indicating the exact tempo of a piece.
-@ref{metronomic
-indication}.
+@ref{metronomic indication}.
@node metronomic indication
@ref{interval}.
-@node mixolydian mode
-@section mixolydian mode
-
-@seealso
-
-@ref{diatonic scale}.
-
-
@node mode
@section mode
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
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{
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
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'' {
}
@end lilypond
+@seealso
+
+@ref{longa}, @ref{breve}.
+
+
+@node mixolydian mode
+@section mixolydian mode
+
+@seealso
+
+@ref{diatonic scale}.
@node natural sign
@ref{accidental}.
-@node neighbor tones
-@section neighbor tones
+@node neighbour tones
+@section neighbour tones
@seealso
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
@end lilypond
+@node octave sign
+@section octave sign
+
+@seealso
+
+@ref{G clef}, @ref{F clef}.
+
+
@node octave
@section octave
@ref{interval}.
-@node octave sign
-@section octave sign
-
-@seealso
-
-@ref{G clef}, @ref{F clef}.
-
-
@node ornament
@section ornament
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
@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
S: pizzicato,
FI: pizzicato, näppäillen.
-Play by plucking the strings.
+Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
+stringed instruments.)
+
+
+@node polymeter
+@section polymeter
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The simultaneous use of two or more meters. The term is sometimes
+applied to the @emph{successive} use of different meters in one or
+more parts.
+
+@seealso
+
+@ref{polymetric} (adj.)
+
+
+@node polymetric
+@section polymetric
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Using two or more metric frameworks simultaneously or in regular
+alternation
+
+@seealso
+
+@ref{polymeter} (noun)
+
+
+@node polymetric time signature
+@section polymetric time signature
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Time signature indicating regularly alternating polymetric time.
+
+@seealso
+
+@ref{polymetric}.
@node polyphony
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}.
S: sekund,
FI: sekunti.
-The @ref{interval} between two neigboring tones of a scale. A
+The @ref{interval} between two neigbouring tones of a scale. A
@ref{diatonic scale} consists of alternating @ref{semitone}s and
@ref{whole tone}s, hence the size of a se@-cond depends on the scale
degrees in question.
FI: puolisävel.
The @ref{interval} of a minor second. The (usually) smallest interval
-in European composed music. The interval between two neighboring
+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}.
projects / lilypond.git / commitdiff