@c Danish glossary
@author François Pinard @c Original glossary of GNU music project,
@c French glossary
-@author Han-Wen Nienhuys @c Dutch glossary
-@author Jan Nieuwenhuizen @c Dutch glossary
+@author Mats Bengtsson @c Swedish glossary
@author David González @c Spanish glossary
@author Bjoern Jacke @c German glossary
@author Neil Jerram @c English glossary translations
-@author Mats Bengtsson @c Swedish glossary
-@author Adrian Mariano @c Italian glossary
@author Heikki Junes @c Finnish glossary
+@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
+@author Adrian Mariano @c Italian glossary
+@author Han-Wen Nienhuys @c Dutch glossary
+@author Jan Nieuwenhuizen @c Dutch glossary
-@c Fixes by Jean-Pierre Coulon and `Dirk'
+@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
Copyright @copyright{} 1999--2007 by the authors
Original glossary of GNU music project, French glossary,
@item Han-Wen Nienhuys
Dutch glossary,
+@item Heikki Junes
+Finnish glossary translations,
@item Jan Nieuwenhuizen
Dutch glossary,
+@item Kurtis Kroon
+English glossary,
@item Mats Bengtsson
Swedish glossary,
@item Neil Jerram
-English glossary translations,
-@item Heikki Junes
-Finnish glossary translations.
+English glossary translations.
@end table
@*
Copyright 1999--2007 by the authors
* diatonic scale::
* diminished interval::
* diminuendo::
-* direct::
+* direct::
* disjunct movement::
* dissonance::
* dissonant interval::
* phrase::
* phrasing::
* piano::
+* pickup::
* pitch::
* pizzicato::
* polyphony::
* ritenuto::
* scale::
* scale degree::
+* scordatura::
* score::
* second::
* semitone::
* subdominant::
* submediant::
* subtonic::
+* sul G::
* superdominant::
* supertonic::
* symphony::
@node anacrusis
@section anacrusis
-@c TODO: add more languages for anacrusis
-ES: anacrusa
-F: anacrouse
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
An anacrusis (also known as pickup or upbeat) is an incomplete measure
-of music before a section of music.
+of music before a section of music. It also refers to the initial note(s)
+of a melody occurring in that incomplete measure.
+
+@aref{measure}, @aref{meter}.
+
+@lilypond[fragment,line-width=13.0\cm]
+\key f \major
+\time 4/4
+\relative c' {
+ \partial 4 f4 | bes4. a8 bes4 c |
+ bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
+@end lilypond
@node ancient minor scale
@section ancient minor scale
}
@end lilypond
-Imagine a large staff of 11 lines centered on middle C,
-sometimes called a @qq{grand staff}, with
-the bottom line representing low G and the top line high F:
+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:
@lilypond[ragged-right,quote]
\score {
%-- Treble Staff --%
\new Staff = "G" {
% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
% Allow the treble clef to overlap the lower staves:
% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
+ \override Staff.Clef #'stencil = ##f % No clef required
\clef "G"
s1^\markup { "g," \transparent "g" }
s^ \markup { "b," \transparent "g" }
b'^\markup { "b'" \transparent "g" }
d''^\markup { "d''" \transparent "g" }
f''^\markup { "f ''" \transparent "g" }
+ s
}
%-- Alto Staff reduced to a single line on middle C --%
\new Staff = "C" {
\override Staff.StaffSymbol #'line-count = 1 % One line only
\override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
+ \override Staff.Clef #'stencil = ##f % No clef required
\clef "C"
% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between the staves
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
+% Specify height to give correct spacing between treble and bass staves
\override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
s1 s s s s % Space along to align horizonatally
\override NoteHead #'color = #red
c'1 % A middle C
- s1 s s s s % Keep staff (ie the red line) showing
+ s1 s s s s s % Keep staff (ie the red line) showing
}
%-- Bass Staff --%
\new Staff = "F" {
% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
+ \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
+ \override Staff.Clef #'stencil = ##f % No clef required
\clef "F"
g,1 b, d f a
- s s s s s s % Keep staff showing
+ s s s s s s s % Keep staff showing
}
>>
\layout {
-% Reduce horizontal spacing so semibreves can be
-% used without exceeding 1 line
- \context { \Score \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
+% Reduce horizontal spacing so semibreves can be used without exceeding 1 line
+ \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
}
-% Reduce apparent vertical size of note heads to
-% permit them to overlap other grobs vertically
+% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
\context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
}
% Remove all barlines
} % 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 @qq{grand staff}.
+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:
} % End score
@end lilypond
-The @qq{curl} of the G clef in centered on the
-line which 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
-@qq{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 {
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
-abbreviation @q{cresc.}.
+abbreviation @samp{cresc.}.
@lilypond[fragment,ragged-right]
\key g \major \time 4/4
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 @q{D.C.}.
+to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
@node dal segno
@section dal segno
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
+Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
@lilypond[fragment,ragged-right]
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
-or the abbreviation @q{decresc.}.
+or the abbreviation @samp{decresc.}.
@lilypond[fragment,ragged-right]
\relative c'' {
The generic term for a line (or dash) of arbitrary length that
extends text (without indicating the musical @emph{function} of
-that text.
+that text).
Used in many contexts, for example:
@itemize
@item
-In vocal music to indicate a single syllable to be sung for a melisma. Called
-extension the the Dolmetsch Online Music Dictionary.
+In vocal music to indicate the syllable for a melisma. Called @q{extension}
+in the
+@uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
@item
In figured (or thorough) bass to indicate that:
@end itemize
@item
-In string music to indicate that all notes 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 @q{sul G}, another series to be played on the
-D string would be indicated @q{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
-@aref{melisma}, @aref{thorough bass}
-
-Sul G, Sul D, Sul A, Sul E
-
+@aref{melisma}, @aref{sul G}, @aref{thorough bass}
@node F
@section F
S: h,
FI: H, h.
-Letter name used for @q{B natural} in German and Scandinavian usage. In the
-standard usage of these countries, @q{B} means @q{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}.
@aref{Pitch names}, @aref{B}
The clear rendering in musical performance of the @aref{phrase}s of
the melody. Phrasing may be indicated by a @aref{slur}.
+@node pickup
+@section pickup
+
+ES: anacrusa,
+I: anacrusi,
+F: anacrouse, levée,
+D: Auftakt,
+NL: opmaat,
+DK: optakt,
+S: upptakt,
+FI: kohotahti.
+
+@aref{anacrusis}.
+
@node piano
@section piano
@aref{functional harmony}.
+@node scordatura
+@section scordatura
+
+ES: ?,
+I: scordatura,
+F: à cordes ravallées,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of
+stringed instruments, particularly lutes or violins. Used to:
+
+@itemize
+
+@item facilitate pitch combinations that would otherwise be difficult or
+impossible
+
+@item
+alter the characteristic timbre of the instrument, for example, to increase
+brilliance)
+
+@item reinforce certain sonorities or tonalities by making them available on
+open strings
+
+@item imitate other instruments
+
+@item etc.
+@end itemize.
+
+Tunings that could be called @var{scordatura} first appeared early in the 16th
+Century and became commonplace in the 17th.
+
@node score
@section score
ES: partitura,
I: partitura,
F: partition,
-D: Partitur (full score), Klavierauszug (vocal score)
+D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
S: partitur,
The seventh @aref{scale degree}.
+@node sul G
+@section sul G
+
+ES: sobre la G,
+I: sul g,
+F: sur la G,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Indicates that the indicated passage (or note) should be played on the
+G string.
+
@node superdominant
@section superdominant
S: upptakt,
FI: kohotahti.
-Initial note(s) of a melody occurring before the first bar
-line. @aref{measure}, @aref{meter}.
-
-@lilypond[fragment,line-width=13.0\cm]
-\key f \major
-\time 4/4
-\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
-@end lilypond
+@aref{anacrusis}
@node voice
@section voice
projects / lilypond.git / commitdiff