* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
-* Literature used::
@end menu
@node Musical terms A-Z
* chromatic scale::
* chromaticism::
* church mode::
+* church rest::
* clef::
* cluster::
* comma::
* extender line::
* F::
* F clef::
+* feathered beam::
* fermata::
* fifth::
* figured bass::
* woodwind::
@end menu
+
@node A
@section A
@ref{Pitch names}
+
@node accent
@section accent
The stress of one tone over others.
+
@node accessory
@section accessory
@ref{ornament}.
+
@node accidental
@section accidental
>>
@end lilypond
+
@node accelerando
@section accelerando
Increase tempo.
+
@node adagio
@section adagio
2.@tie{}A movement in slow tempo, especially the second (slow) movement of
@ref{sonata}s, symphonies, etc.
+
@node allegro
@section allegro
It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
tempo, especially the first and last movements of a @ref{sonata}.
+
@node alteration
@section alteration
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an @ref{accidental}.
+
@node alto
@section alto
height of the female voice. This type of voice is also known as
@ref{counter tenor}.
+
@node alto clef
@section alto clef
@ref{C clef}.
+
@node ambit
@section ambit
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.
+
@node anacrusis
@section anacrusis
bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
@end lilypond
+
@node ancient minor scale
@section ancient minor scale
a1 b c d e f g a }
@end lilypond
+
@node andante
@section andante
Walking tempo/character.
+
@node appoggiatura
@section appoggiatura
}
@end lilypond
+
@node arpeggio
@section arpeggio
>>
@end lilypond
+
@node articulation
@section articulation
be played. Slurs, accents, staccato, and legato are all examples of
articulartion.
+
@node ascending interval
@section ascending interval
A distance between a starting lower note and a higher ending note.
+
@node augmented interval
@section augmented interval
@ref{interval}.
+
@node autograph
@section autograph
which attempts to emulate engraving.
This required more skill than did engraving.
+
@node B
@section B
@ref{Pitch names}
+
@node backfall
@section backfall
@ref{appoggiatura}.
+
@node bar
@section bar
@ref{measure}.
+
@node bar line
@section bar line
S: taktstreck,
FI: tahtiviiva.
+
@node baritone
@section baritone
@c F: clef de troisième ligne dropped
+
@node baritone clef
@section baritone clef
@ref{C clef}, @ref{F clef}.
+
@node bass clef
@section bass clef
@ref{F clef}.
+
@node bass
@section bass
@ref{strings}.
+
@node beam
@section beam
g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
@end lilypond
+@seealso
+
+@ref{feathered beam}.
+
+
@node beat
@section beat
\relative c'' { g8 d' c | b c a | g4. \bar "||"}
@end lilypond
+
@node bind
@section bind
@ref{tie}.
+
@node brace
@section brace
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
+
@node brass
@section brass
mouth piece. The brass instruments commonly used in a symphony orchestra are
trumpet, trombone, french horn, and tube.
+
@node breath mark
@section breath mark
FI: hengitysmerkki.
Indication of where to breathe in vocal and wind instrument parts.
+
@node breve
@section breve
\relative c'' { g\breve }
@end lilypond
+
@node C
@section C
@ref{Pitch names}
+
@node C clef
@section C clef
>>
@end lilypond
+
@node cadence
@section cadence
@ref{harmonic cadence}, @ref{functional harmony}.
+
@node cadenza
@section cadenza
improvise. Since the middle of the 19th century, however, most cadences have
been written down by the composer.
+
@node canon
@section canon
@ref{counterpoint}.
+
@node cent
@section cent
@ref{equal temperament}.
+
@node central C
@section central C
@ref{middle C}.
+
@node chord
@section chord
>>
@end lilypond
+
@node chromatic scale
@section chromatic scale
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
+
@node chromaticism
@section chromaticism
Use of tones extraneous to a @ref{diatonic scale} (minor, major).
+
@node church mode
@section church mode
@ref{diatonic scale}.
+
+@node church rest
+@section church rest
+
+ES: compases de espera (estilo de la iglesia),
+I: pausa multipla (della cappella),
+F: pause multiple (style de l'église),
+NL: meermaats rust (?),
+D: Kirchenpause,
+DK: flertaktspause (?),
+S: flertaktspaus (?),
+FI: usean tahdin mittainen tauko (?).
+
+LilyPond-specific term for an older style of multibar rests. Instead of a long bar with a number, @q{church rest}s use a combination of longa, breve and whole rests to indicate the duration (in measures) of a rest.
+
+@seealso
+
+@ref{multibar rest}.
+
+
@node clef
@section clef
@end lilypond
+
@node cluster
@section cluster
\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
@end lilypond
+
@node comma
@section comma
@ref{temperament}.
+
@node common meter
@section common meter
@ref{meter}.
+
@node compound interval
@section compound interval
@ref{interval}.
+
@node complement
@section complement
@ref{inverted interval}.
+
@node conjunct movement
@section conjunct movement
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
+
@node consonance
@section consonance
@ref{harmony}.
+
@node contralto
@section contralto
@ref{alto}.
+
@node counterpoint
@section counterpoint
>>
@end lilypond
+
@node counter tenor
@section counter tenor
@ref{contralto}.
+
@node copying music
@section copying music
methods were superior and could well be adopted by music typesetters. This
required more skill than engraving.
+
@node crescendo
@section crescendo
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
+
@node cue-notes
@section cue-notes
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
}
@end lilypond
+
@node D
@section D
@ref{Pitch names}
+
@node da capo
@section da capo
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
@section dal segno
}
@end lilypond
+
@node decrescendo
@section decrescendo
}
@end lilypond
+
@node descending interval
@section descending interval
A distance between a starting higher note and a lower ending note.
+
@node diatonic scale
@section diatonic scale
>>
@end lilypond
+
@node diminished interval
@section diminished interval
@ref{interval}.
+
@node diminuendo
@section diminuendo
@ref{decrescendo}.
+
@node direct
@section direct
@ref{custos}.
+
@node disjunct movement
@section disjunct movement
fis2 d4. \bar "||" }
@end lilypond
+
@node dissonance
@section dissonance
@ref{dissonant interval}.
+
@node dissonant interval
@section dissonant interval
@ref{harmony}.
+
@node dominant ninth chord
@section dominant ninth chord
@ref{chord}, @ref{functional harmony}.
+
@node dominant seventh chord
@section dominant seventh chord
@ref{chord}, @ref{functional harmony}.
+
@node dominant
@section dominant
The fifth @ref{scale degree} in @ref{functional harmony}.
+
@node dorian mode
@section dorian mode
@ref{diatonic scale}.
+
@node dot (augmentation dot)
@section dot (augmentation dot)
@ref{dotted note}.
+
@node dotted note
@section dotted note
@ref{note value}.
+
@node double appoggiatura
@section double appoggiatura
@ref{appoggiatura}.
+
@node double bar line
@section double bar line
Indicates the end of a section within a movement.
+
@node double dotted note
@section double dotted note
@ref{note value}.
+
@node double flat
@section double flat
@ref{accidental}.
+
@node double sharp
@section double sharp
@ref{accidental}.
+
@node double trill
@section double trill
A simultaneous trill on two notes, usually in the distance of a third.
+
@node duple meter
@section duple meter
@ref{meter}.
+
@node duplet
@section duplet
@ref{note value}.
+
@node duration
@section duration
@ref{note value}.
+
@node dydimic comma
@section dydimic comma
@ref{syntonic comma}.
+
@node dynamics
@section dynamics
@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
+
@node E
@section E
@ref{Pitch names}
+
@node ecclesiastical mode
@section ecclesiastical mode
@ref{church mode}.
+
@node eighth note
@section eighth note
@ref{note value}.
+
@node eighth rest
@section eighth rest
@ref{note value}.
+
@node elision
@section elision
FIXME: languages, definition
+
@node embellishment
@section embellishment
@ref{ornament}.
+
@node engraving
@section engraving
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.
+
@node enharmonic
@section enharmonic
>>
@end lilypond
+
@node equal temperament
@section equal temperament
@ref{temperament}.
+
@node expression mark
@section expression mark
@ref{forte}, @ref{crescendo}), 2. tempo (for example
@ref{andante}, @ref{allegro}).
+
@node extender line
@section extender line
@ref{melisma}, @ref{sul G}, @ref{thorough bass}
+
@node F
@section F
@ref{Pitch names}
+
@node F clef
@section F clef
@c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
+
+@node feathered beam
+@section feathered beam
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A type of beam used to indicate that a small group of notes should be
+played at an increasing or decreasing tempo -- depending on the
+direction of @q{feathering} -- but without changing the overall tempo
+of the piece.
+
+@seealso
+
+Program reference: @ruser{Manual beams}
+
+
@node fermata
@section fermata
}
@end lilypond
+
@node fifth
@section fifth
@ref{interval}.
+
@node figured bass
@section figured bass
@ref{thorough bass}.
+
@node fingering
@section fingering
The methodical use of fingers in the playing of instruments.
+
@node flag
@section flag
}
@end lilypond
+
@node flat
@section flat
@ref{accidental}.
+
@node forefall
@section forefall
@ref{appoggiatura}.
+
@node forte
@section forte
Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
@emph{mezzo forte} (@samp{@b{mf}}) medium loud.
+
@node fourth
@section fourth
@ref{interval}.
+
@node fugue
@section fugue
@ref{counterpoint}.
+
@node functional harmony
@section functional harmony
>>
@end lilypond
+
@node G
@section G
@ref{Pitch names}
+
@node G clef
@section G clef
>>
@end lilypond
+
@node glissando
@section glissando
Letting the pitch slide fluently from one note to the other.
+
@node grace notes
@section grace notes
@ref{appoggiatura}.
+
@node grand staff
@section grand staff
@ref{brace}.
+
@node grave
@section grave
Slow, solemn.
+
@node gruppetto
@section gruppetto
@ref{turn}.
+
@node H
@section H
@ref{Pitch names}, @ref{B}
+
@node half note
@section half note
@ref{note value}.
+
@node half rest
@section half rest
@ref{note value}.
+
@node harmonic cadence
@section harmonic cadence
@end lilypond
+
@node harmony
@section harmony
Three note harmony @ref{chord}.
+
@node homophony
@section homophony
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
@section interval
>>
@end lilypond
+
@node inverted interval
@section inverted interval
}
@end lilypond
+
@node just intonation
@section just intonation
@ref{temperament}.
+
@node key
@section key
@ref{key signature}.
+
@node key signature
@section key signature
@ref{accidental}.
+
@node largo
@section largo
Very slow in tempo, usually combined with great
expressiveness. @emph{Larghetto} is less slow than largo.
+
@node leading note
@section leading note
the tonic; so called because of its strong tendency to @q{lead up} (resolve
upwards) to the tonic scale degree.
+
@node ledger line
@section ledger line
\relative c'' { a,1 s c'' }
@end lilypond
+
@node legato
@section legato
>>
@end lilypond
+
@node legato curve
@section legato curve
@ref{slur}, @ref{legato}.
+
@node leger line
@section leger line
@ref{ledger line}.
+
@node lilypond
@section lilypond
A pond with lilies floating in it, also the name of a music typesetter.
+
@node ligature
@section ligature
With the invention of the metric system of the white mensural
notation, the need for ligatures to denote such patterns disappeared.
+
@node line
@section line
@ref{staff}.
+
@node long appoggiatura
@section long appoggiatura
@ref{appoggiatura}.
+
@node longa
@section longa
@ref{note value}.
+
@node lyrics
@section lyrics
S: .,
FI, sanoitus.
+
@node lyric tie
@section lyric tie
@ref{elision}.
+
@node major interval
@section major interval
@ref{interval}.
+
@node major
@section major
@ref{diatonic scale}.
+
@node meantone temperament
@section meantone temperament
@ref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
+
@node measure
@section measure
@ref{meter}.
+
@node mediant
@section mediant
@ref{functional
harmony}, @ref{relative key}.
+
@node melisma
@section melisma
A melisma (plural: melismata) is a group of notes or tones sung on one
syllable in plainsong
+
@node melisma line
@section melisma line
@ref{extender line}.
+
@node melodic cadence
@section melodic cadence
@ref{cadenza}.
+
@node meter
@section meter
S: taktart,
FI: aika-arvo.
-The basic scheme of @ref{note value}s and
-@ref{accent}s which remains unaltered throughout a composition
-or a section of it. For instance, 3/4 meter means that the basic
-@ref{note value}s are quarter notes and that a
-@ref{measure} consists of three of those. According to
-whether there are two, three, or four units to the measure,
-one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
+The basic scheme of @ref{note value}s and @ref{accent}s which remains
+unaltered throughout a composition or a section of it. For instance,
+3/4 meter means that the basic @ref{note value}s are quarter notes and
+that a @ref{measure} consists of three of those. According to whether
+there are two, three, or four units to the measure, one speaks of
+@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
+@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
+meter.
@lilypond[fragment,line-width=13.0\cm]
\relative c'' {
g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
@end lilypond
+
@node metronome
@section metronome
@ref{metronomic
indication}.
+
@node metronomic indication
@section metronomic indication
Exact tempo indication (in beats per minute). Also denoted by
M.M.@: (Mälzels Metronom).
+
@node mezzo-soprano
@section mezzo-soprano
The female voice between @ref{soprano} and @ref{contralto}.
+
@node middle C
@section middle C
}
@end lilypond
+
@node minor
@section minor
@ref{diatonic scale}.
+
@node minor interval
@section minor interval
@ref{interval}.
+
@node mode
@section mode
@ref{church mode}, @ref{diatonic scale}.
+
@node modulation
@section modulation
key if the key is major and to the @ref{relative key} if the key
is minor.
+
@node mordent
@section mordent
@ref{ornament}.
+
@node motif
@section motif
@ref{motive}.
+
@node motive
@section motive
}
@end lilypond
+
@node movement
@section movement
@ref{sonata} most often consist of several -- more or less --
independant pieces called movements.
+
@node multibar rest
@section multibar rest
}
@end lilypond
+
@node mixolydian mode
@section mixolydian mode
@ref{diatonic scale}.
+
@node natural sign
@section natural sign
@ref{accidental}.
+
@node neighbour tones
@section neighbour tones
@ref{appoggiatura}.
+
@node ninth
@section ninth
@ref{interval}.
+
@node non-legato
@section non-legato
@ref{legato}.
+
@node note
@section note
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
+
@node note head
@section note head
instruments (often having no defined pitch) the note head may indicate the
instrument.
+
@node note value
@section note value
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions, normally 1/2, of the next
-higher note value. The longest duration normally used is called
-@emph{brevis},
-but sometimes (mostly in pre-baroque music) the double length note value
-@emph{longa} is used.
+Note values (durations) are measured as fractions, normally 1/2, of
+the next higher note value. The longest duration normally used is
+called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
+double-length note value @emph{longa} or the quadruple-length note
+value @emph{maxima} are used.
+
+@c TODO -- add maxima to this example
@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
+@c TODO -- add maxima rest to this example
+
@lilypond[fragment,notime,line-width=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
}
@end lilypond
+
@node octave sign
@section octave sign
@ref{G clef}, @ref{F clef}.
+
@node octave
@section octave
@ref{interval}.
+
@node ornament
@section ornament
@ref{appoggiatura}.
+
@node ossia
@section ossia
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
+
@node part
@section part
or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
melodic line of the contrapunctal web.
+
@node pause
@section pause
@ref{fermata}.
+
@node pennant
@section pennant
@ref{flag}.
+
@node percussion
@section percussion
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
+
@node perfect interval
@section perfect interval
@ref{interval}.
+
@node phrase
@section phrase
A natural division of the melodic line, comparable to a sentence of speech.
+
@node phrasing
@section phrasing
The clear rendering in musical performance of the @ref{phrase}s of
the melody. Phrasing may be indicated by a @ref{slur}.
+
@node pickup
@section pickup
@ref{anacrusis}.
+
@node piano
@section piano
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
+
@node pitch
@section pitch
S: tonhöjd,
FI: sävelkorkeus.
+
@node pizzicato
@section pizzicato
Play by plucking the strings.
+
@node polyphony
@section polyphony
@ref{counterpoint}.
+
@node portato
@section portato
@ref{legato}.
+
@node presto
@section presto
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
+
@node Pythagorean comma
@section Pythagorean comma
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
+
@node quadruplet
@section quadruplet
@ref{note value}.
+
@node quarter note
@section quarter note
@ref{note value}.
+
@node quarter rest
@section quarter rest
@ref{note value}.
+
@node quintuplet
@section quintuplet
@ref{note value}.
+
@node rallentando
@section rallentando
@ref{ritardando}.
+
@node relative key
@section relative key
}
@end lilypond
+
@node repeat
@section repeat
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
+
@node rest
@section rest
@ref{note value}.
+
@node rhythm
@section rhythm
S: rytm,
FI: rytmi.
-(a) 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}. (b) Measured rhythm which lacks regularly recurrent
-accent. In modern notation such music appears as a free alternation of
-different measures. (c) Free rhythm, i.e., the use of temporal values having
-no common metrical unit (beat).
+@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}.
+
+@item Measured rhythm which lacks regularly recurrent accent. In
+modern notation such music appears as a free alternation of different
+measures.
+
+@item Free rhythm, i.e., the use of temporal values having no common
+metrical unit (beat).
+
+@end itemize
+
+
@node ritardando
@section ritardando
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
+
@node ritenuto
@section ritenuto
Immediate reduction of speed.
+
@node scale
@section scale
@ref{diatonic scale}.
+
@node scale degree
@section scale degree
S: skalsteg (?),
FI: sävelaste, asteikon sävel.
-Names and symbols used in harmonic analysis to denote tones of the scale as
-roots of chords. The most important are degrees I = tonic (T), IV =
-sub@-do@-mi@-nant (S) and V = dominant (D).
+Names and symbols used in harmonic analysis to denote tones of the
+scale as roots of chords. The most important are degrees I = tonic
+(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
@lilypond[fragment,notime,line-width=13.0\cm]
\set Score.automaticBars = ##f
@ref{functional harmony}.
+
@node scordatura
@section scordatura
S: ?,
FI: ?.
-[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of
-stringed instruments, particularly lutes or violins. Used to:
+[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 facilitate pitch combinations that would otherwise be difficult
+or impossible
-@item
-alter the characteristic timbre of the instrument, for example, to increase
-brilliance)
+@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 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.
+Tunings that could be called @var{scordatura} first appeared early in
+the 16th Century and became commonplace in the 17th.
+
@node score
@section score
S: partitur,
FI: partituuri.
-A copy of orchestral, choral, or chamber music showing what each instrument is
-to play, each voice to sing, having each part arranged one underneath the
-other on different staves @ref{staff}.
+A copy of orchestral, choral, or chamber music showing what each
+instrument is to play, each voice to sing, having each part arranged
+one underneath the other on different staves @ref{staff}.
+
@node second
@section second
FI: sekunti.
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.
+@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.
+
@node semitone
@section semitone
S: halvton,
FI: puolisävel.
-The @ref{interval} of a minor second. The (usually) smallest
-interval in European composed music. The interval between two neighbouring
+The @ref{interval} of a minor second. The (usually) smallest interval
+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}.
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
+
@node seventh
@section seventh
@ref{interval}.
+
@node sextolet
@section sextolet
@ref{sextuplet}
+
@node sextuplet
@section sextuplet
@ref{note value}.
+
@node shake
@section shake
@ref{trill}.
+
@node sharp
@section sharp
@ref{accidental}.
+
@node short appoggiatura
@section short appoggiatura
@ref{appoggiatura}.
+
@node sixteenth note
@section sixteenth note
@ref{note value}.
+
@node sixteenth rest
@section sixteenth rest
@ref{note value}.
+
@node sixth
@section sixth
@ref{interval}.
+
@node sixty-fourth note
@section sixty-fourth note
@ref{note value}.
+
@node sixty-fourth rest
@section sixty-fourth rest
@ref{note value}.
+
+
@node slur
@section slur
S: båge,
FI: kaari.
-A slur above or below a group of notes indicates that they are to be played
-@ref{legato}, e.g., with one stroke of the violin bow or with one
-breath in singing.
+A slur above or below a group of notes indicates that they are to be
+played @ref{legato}, e.g., with one stroke of the violin bow or with
+one breath in singing.
+
+
@node solmization
@section solmization
FI: suhteelliset laulunimet.
General term for systems of designating the degrees of the
-@ref{scale}, not by letters, but by syllables (@emph{do}
-(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
+@ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
+@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
@ref{scale degree}.
+
+
@node sonata
@section sonata
S: sonat,
FI: sonaatti.
-In its present-day meaning a sonata denotes an instrumental composition for
-piano or for some other instrument with piano accompaniment, which consists of
-three or four independant pieces, called movements.
+In its present-day meaning a sonata denotes an instrumental
+composition for piano or for some other instrument with piano
+accompaniment, which consists of three or four independant pieces,
+called movements.
+
@node sonata form
@section sonata form
FI: sonaattimuoto.
A form used frequently for single movements of the @ref{sonata},
-@ref{symphony}, quartet, etc. A movement written in sonata form
-falls into three sections called @emph{exposition}, @emph{development} and
-@emph{recapitulation}. In the exposition the composer introduces some musical
-ideas, consisting of a number of themes; in the development section the
-composer @q{develops} this material, and in the recapitulation the composer
-repeats the exposition, with certain modifications. The exposition contains a
-number of themes that fall into two groups, often called first and second
-subject. Other melodies occurring in each group are considered as
-continuations of these two. The second theme is in another key, normally in
-the key of the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
+@ref{symphony}, quartet, etc. A movement written in sonata form falls
+into three sections called @emph{exposition}, @emph{development} and
+@emph{recapitulation}. In the exposition the composer introduces some
+musical ideas, consisting of a number of themes; in the development
+section the composer @q{develops} this material, and in the
+recapitulation the composer repeats the exposition, with certain
+modifications. The exposition contains a number of themes that fall
+into two groups, often called first and second subject. Other
+melodies occurring in each group are considered as continuations of
+these two. The second theme is in another key, normally in the key of
+the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
@ref{relative key} if the tonic is @ref{minor}.
+
@node song texts
@section song texts
@ref{lyrics}.
+
@node soprano
@section soprano
The highest female voice.
+
@node staccato
@section staccato
S: staccato,
FI: staccato, lyhyesti, terävästi.
-Playing the note(s) short. Staccato is indicated by a dot above or below the
-note head.
+Playing the note(s) short. Staccato is indicated by a dot above or
+below the note head.
@lilypond[fragment,ragged-right]
\key d \major
}
@end lilypond
+
@node staff
@section staff
(in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
+
@node staves
@section staves
@ref{staff}.
+
@node stem
@section stem
}
@end lilypond
+
@node strings
@section strings
S: stråkar,
FI: jouset.
-A family of stringed musical instruments played with a bow. Strings commonly
-used in a symphony orchestra are violin, viola, violoncello, and double bass.
+A family of stringed musical instruments played with a bow. Strings
+commonly used in a symphony orchestra are violin, viola, violoncello,
+and double bass.
+
@node strong beat
@section strong beat
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
+
@node subdominant
@section subdominant
@ref{functional harmony}.
+
@node submediant
@section submediant
The sixth @ref{scale degree}.
+
@node subtonic
@section subtonic
The seventh @ref{scale degree}.
+
@node sul G
@section sul G
Indicates that the indicated passage (or note) should be played on the
G string.
+
@node superdominant
@section superdominant
The sixth @ref{scale degree}.
+
@node supertonic
@section supertonic
The second @ref{scale degree}.
+
@node symphony
@section symphony
A symphony may be defined as a @ref{sonata} for orchestra.
+
@node syncopation
@section syncopation
Any deliberate upsetting of the normal pulse of @ref{meter},
@ref{accent}, and @ref{rhythm}. The occidental system of musical
-rhythm rests upon the grouping of equal beats into groups of two or three,
-with a regularly recurrent accent on the first beat of each group. Any
-deviation from this scheme is felt as a disturbance or contradiction between
-the underlaying (normal) pulse and the actual (abnormal) rhythm.
+rhythm rests upon the grouping of equal beats into groups of two or
+three, with a regularly recurrent accent on the first beat of each
+group. Any deviation from this scheme is felt as a disturbance or
+contradiction between the underlaying (normal) pulse and the actual
+(abnormal) rhythm.
@lilypond[fragment,ragged-right]
\time 4/4
}
@end lilypond
+
+
@node syntonic comma
@section syntonic comma
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
-viritysjärjestelmässä.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja
+Pytagorisessa viritysjärjestelmässä.
+
+Difference between the natural third and the third obtained by
+Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
+
-Difference between the natural third and the third obtained by Pythagorean
-tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
@node system
@section system
S: system,
FI: nuottijärjestelmä.
-The collection of staves @ref{staff}, two or more, as used for
-writing down of keyboard, chamber, choral, or orchestral music.
+The collection of staves (@ref{staff}), two or more, as used for writing
+down of keyboard, chamber, choral, or orchestral music.
+
+
@node temperament
@section temperament
S: temperatur,
FI: viritysjärjestelmä.
-Systems of tuning in which the intervals deviate from the acoustically pure
-intervals.
+Systems of tuning in which the intervals deviate from the acoustically
+pure intervals.
@ref{meantone temperament}, @ref{equal temperament}.
+
@node tempo indication
@section tempo indication
S: tempobeteckning,
FI: tempomerkintä.
-The rate of speed of a composition or a section thereof, ranging from the
-slowest to the quickest, as is indicated by tempo marks as
-@ref{largo}, @ref{adagio}, @ref{andante},
-@ref{allegro}, and @ref{presto}.
+The rate of speed of a composition or a section thereof, ranging from
+the slowest to the quickest, as is indicated by tempo marks as
+@ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
+@ref{presto}.
+
@node tenor
@section tenor
The highest male voice (apart from @ref{counter tenor}).
+
@node tenth
@section tenth
@ref{note value}.
+
@node tenuto
@section tenuto
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
+
@node third
@section third
@ref{interval}.
+
@node thirty-second note
@section thirty-second note
@ref{note value}.
+
@node thirty-second rest
@section thirty-second rest
@ref{note value}.
+
@node thorough bass
@section thorough bass
S: generalbas,
FI: kenraalibasso, numeroitu basso.
-A method of indicating an accompaniment part by the bass notes only, together
-with figures designating the chief @ref{interval}s and
+A method of indicating an accompaniment part by the bass notes only,
+together with figures designating the chief @ref{interval}s and
@ref{chord}s to be played above the bass notes.
@lilypond[fragment,line-width=13.0\cm]
>>
@end lilypond
+
@node tie
@section tie
FI: sitominen.
A curved line, identical in appearance with the @ref{slur}, which
-connects two succesive notes of the same pitch, and which has the function of
-uniting them into a single sound (tone) equal to the combined durations.
+connects two succesive notes of the same pitch, and which has the
+function of uniting them into a single sound (tone) equal to the
+combined durations.
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
+
@node time
@section time
@ref{meter}.
+
@node time signature
@section time signature
@ref{meter}.
+
@node tone
@section tone
A sound of definite pitch and duration, as distinct from @emph{noise}.
Tone is a primary building material of music.
+
Music from the 20th century may be based on atonal sounds.
+
@node tonic
@section tonic
@ref{functional harmony}.
+
@node transposition
@section transposition
}
@end lilypond
+
@node treble clef
@section treble clef
@ref{G clef}.
+
@node tremolo
@section tremolo
S: tremolo,
FI: tremolo.
-On stringed instruments (@ref{strings}) the quick reiteration of
-the same tone, produced by a rapid up-and-down movement of the bow
-(a). The term is also used for the rapid alternation (b) between two notes of
-a @ref{chord}, usually in the distance of a third
-(@ref{interval}).
+On stringed instruments (@ref{strings}) the quick reiteration of the
+same tone, produced by a rapid up-and-down movement of the bow (a).
+The term is also used for the rapid alternation (b) between two notes
+of a @ref{chord}, usually in the distance of a third (@ref{interval}).
@lilypond[fragment,notime,ragged-right]
\set Score.automaticBars = ##f
}
@end lilypond
+
@node triad
@section triad
@ref{chord}.
+
@node trill
@section trill
@ref{ornament}.
+
@node triple meter
@section triple meter
@ref{meter}.
+
@node triplet
@section triplet
@ref{note value}.
+
@node tritone
@section tritone
@ref{interval}.
+
@node tuning fork
@section tuning fork
S: stämgaffel,
FI: viritysavain.
-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).
+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).
+
@node turn
@section turn
@ref{ornament}.
+
@node unison
@section unison
S: unison,
FI: unisono, yksiäänisesti.
-Playing of the same notes or the same melody by various instruments (voices)
-or by the whole orchestra (choir), either at exactly the same pitch or in a
-different octave.
+Playing of the same notes or the same melody by various instruments
+(voices) or by the whole orchestra (choir), either at exactly the same
+pitch or in a different octave.
+
@node upbeat
@section upbeat
@ref{anacrusis}
+
@node voice
@section voice
@ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
2.@tie{}A melodic layer or part of a polyphonic composition.
+
@node weak beat
@section weak beat
@ref{beat}, @ref{measure}, @ref{rhythm}.
+
@node whole note
@section whole note
@ref{note value}.
+
@node whole rest
@section whole rest
@ref{note value}.
+
+
@node whole tone
@section whole tone
S: helton,
FI: kokoaskel.
-The @ref{interval} of a major second. The interval between two
-tones on the piano keyboard with exactly one key between them -- including
+The @ref{interval} of a major second. The interval between two tones
+on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
+
+
+
@node woodwind
@section woodwind
S: träblåsare,
FI: puupuhaltimet.
-A family of blown wooden musical instruments. Today some of these instruments
-are actually made from metal. The woodwind instruments commonly used in a
-symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
+A family of blown wooden musical instruments. Today some of these
+instruments are actually made from metal. The woodwind instruments
+commonly used in a symphony orchestra are flute, oboe, clarinet,
+saxophone, and bassoon.
+
+
+
@node Duration names notes and rests
@chapter Duration names, notes and rests
@end multitable
+
+
+
@node Pitch names
@chapter Pitch names
@item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
@tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
-@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
+@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 cis @tab cis
+@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
+dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
-@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
-@tab des @tab des @tab des @tab des
+@item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
+@tab Des @tab des @tab des @tab des @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{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
-@tab es @tab es @tab es @tab es
+@item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
+@tab Es @tab es @tab es @tab es @tab es
-@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
+@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
+@tab e
-@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
+@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
+@tab f
-@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
-@tab g
+@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
+@tab g @tab g
-@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
-@tab as @tab as @tab as @tab as
+@item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
+@tab As @tab as @tab as @tab as @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 ais @tab ais
+@item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
+dièse @tab Ais @tab ais @tab ais @tab ais @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-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
@end multitable
+
+
+
+@menu
+* Literature used::
+@end menu
+
@node Literature used
-@unnumbered Literature used
+@unnumberedsec Literature used
@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.
+@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.
@item Hugo Riemanns Musiklexicon, Berlin 1929.
-@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
+@item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
+1980.
-@item Oxford Advanced Learner's Dictionary of Current English, Third Edition
-1974.
+@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