@end macro
-@c If we want hypelinks, we must add anchors.
-@c Hmm, we need the @achor command in the item description itself
+@c If we want hyperlinks, we must add anchors.
+@c Hmm, we need the @anchor command in the item description itself
@c (not before or after) to get mozilla jump to the right place.
@c anchoritem
@macro aitem{word}
A sharp raises a tone by a @aref{semitone}, a double sharp raises it
by a @aref{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
+flat lowers it by a whole tone. A natural cancels the effect of a previous
accidental.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
- gis1 s s gisis s s ges s s geses s s g!
+ gis1 gisis ges geses g!
}
\context Lyrics \lyrics {
\override Lyrics .LyricText #'self-alignment-X = #-1
- "sharp " "db. sharp " "flat " "db. flat " natural
+ sharp "db. sharp" flat "db. flat" natural
}
@end lilypond
S: adagio,
FI: adagio, hitaasti.
-It. comfortable, easy.
+It.@: comfortable, easy.
1. Slow tempo, slower -- especially in even meter -- than
@aref{andante} and faster than @aref{largo}.
2. A movement in slow tempo, especially the second (slow) movement of
S: allegro,
FI: allegro, nopeasti.
-It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo,
-especially the first and last movements of a @aref{sonata}.
+It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
+tempo, especially the first and last movements of a @aref{sonata}.
@aitem{alto}
ES: alto,
I: contralto,
-F: alto, D: Alt,
+F: alto,
D: Alt,
NL: alt,
DK: alt,
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 @aref{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
+@aref{counter tenor}.
@aitem{alto clef}
ES: clave de do en tercera,
FI: ambitus, ääniala, soitinala.
The term ambit (from latin: ambitus, plural: ambitus) denotes a range
-of pitches for a given voice in a part of music. It may also denote
+of pitches for a given voice in a part of music. It may also denote
the pitch range that a musical instrument is capable of playing.
@aitem{ancient minor scale}
@aref{diatonic scale} (ancient minor).
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' {
a1 b c d e f g a }
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 a. were usually
+Ornamental note, usually a second, that is melodically connected with the
+main note following it. In music before the 19th century a.@: were usually
performed on the beat, after that mostly before the beat. While the short
-a. is performed as a short note regardless of the duration of the main note
-the duration of the long a. is proportional to that of the main note.
+a.@: is performed as a short note regardless of the duration of the main note
+the duration of the long a.@: is proportional to that of the main note.
-@lilypond
+@lilypond[linewidth=13.0\cm]
\context Voice \relative c'' {
-\key d \major
-\time 4/4
+ \key d \major
+ \time 4/4
%\override Score.TextScript #'font-style = #'large
-<d a fis>4_"notation" r
-{ \override Stem #'flag-style = #'()
- \grace g16
- \revert Stem #'flag-style
- }
-fis8 e16 fis
-{ \override Stem #'flag-style = #'()
- \grace a16
- \revert Stem #'flag-style
+ <d a fis>4_"notation" r
+ { \override Stem #'flag-style = #'()
+ \grace g16
+ \revert Stem #'flag-style
}
-g8 fis16 g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
-\relative c'' {
-<d a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
-\cadenzaOn a4 \bar "||" \cadenzaOff }
+ fis8 e16 fis
+ { \override Stem #'flag-style = #'()
+ \grace a16
+ \revert Stem #'flag-style
+ }
+ g8 fis16 g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+
+ <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
+ \cadenzaOn a4 \bar "||" \cadenzaOff
+}
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond
+@lilypond[linewidth=13.0\cm]
\relative c'' {
\key as \major
\time 2/4
ES: arpegio,
I: arpeggio,
F: arpège,
-D: Arpeggio, Akkordbrechungen, gebrochener Akkord,
+D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
NL: gebroken akoord,
DK: arpeggio, akkordbrydning,
S: arpeggio,
FI: arpeggio, murtosointu.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
Line connecting a series of notes (shorter than a quarter note).
The number of beams determine the note value of the connected notes.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\relative c'' {
The base counting value and the number of them per measure is indicated at
the start of the music.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\key g \major
\time 4/4
\relative c'' { g4 c b a | g1 \bar "||"}
for connecting piano staves, angular brackets for connecting parts in an
orchestral or choral score.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\context GrandStaff <<
\relative c''\context Staff = SA { \clef treble g4 e c2 }
\relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
@end lilypond
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\context StaffGroup <<
% \set StaffGroup.minVerticalAlign = #12
\relative c'' \context Staff = SA { \clef treble g4 e c2 }
@aref{note value} twice as long as a whole note. Mainly used
in pre-1650 music.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\relative c'' { g\breve }
@end lilypond
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\override Score.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
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 the least 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 the least their ability to
+improvise. Since the middle of the 19th century, however, most cadences have
+been written down by the composer.
@aitem{canon}
ES: canon,
S: cent,
FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä.
-Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an
-equally tempered @aref{semitone}).
+Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
+of an equally tempered @aref{semitone}).
@aref{equal temperament}.
@aitem{central C}
third above the lower notes to define their quality as major or minor. Such
chords are denoted open chords
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override TextScript #'font-style = #'large
\oldaddlyrics
<g b d f a> s s
}
\context Lyrics \lyrics{
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "major " "minor " "diminished " "augmented "
- "seventh-chord " "ninth-chord "
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
}
@end lilypond
ES: escala cromática,
I: scala cromatica,
F: gamme chromatique,
-D: chromatische Tonleiter,
+D: chro@-ma@-ti@-sche Tonleiter,
NL: chromatische toonladder,
DK: kromatisk skala,
S: kromatisk skala,
A scale consisting of all 12 @aref{semitone}s.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\relative c' { c1 cis d dis e f fis g gis a ais b c }
@end lilypond
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[fragment,relative=2,verbatim]
- \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
+@lilypond[fragment,relative=2,verbatim,raggedright]
+\makeClusters { <c e > <b f'> <b g'> <c g> <f e> }
@end lilypond
-
@aitem{comma}
I: comma,
F: comma,
ES: movimiento conjunto,
I: moto congiunto,
F: mouvement conjoint,
-D: schrittweise, stufenweise Bewegung,
+D: schritt@-weise, stufenweise Bewegung,
NL: stapsgewijze, trapsgewijze beweging,
DK: trinvis bevægelse,
S: stegvis rörelse,
FI: asteittainen liike.
-Progressing melodically by intervals of a second. Opposite of @aref{disjunct movement}.
-
+Progressing melodically by intervals of a second. The opposite of a
+@aref{disjunct movement}.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\key g \major \time 4/4
\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
@end lilypond
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[fragment,staffsize=11]
+@lilypond[fragment,staffsize=12,linewidth=13.0\cm]
\override Score.TimeSignature #'break-visibility = #all-invisible
\context PianoStaff <<
\context Staff = SA \relative c' {
@aref{contralto}.
-@aitem{Copying, Music}
+@aitem{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
Increasing volume. Indicated by a rightwards opening horizontal wedge or the
abbreviation ``cresc.''.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\key g \major \time 4/4
\relative c'' { g4 \< a b c | d1\! \bar "|." }
@end lilypond
@aitem{custos}
A custos is a staff symbol that appears at the end of a staff line
-with monophonic musical contents (i.e. with a single voice). It
+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.
@lilypond
\score {
- {
-% \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #-1
+ {
+% \override Staff.Custos #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #-1
+ \override Staff.Custos #'style = #'hufnagel
+ c'1 \break
+ <d' a' f''>1
+ }
- \override Staff.Custos #'style = #'hufnagel
- c'1
- \break < d' a' f''>1
- }
- \layout {
- \context {
- \Staff
- \consists Custos_engraver
- }
- raggedright = ##t
+ \layout {
+ \context {
+ \Staff
+ \consists Custos_engraver
}
+ raggedright = ##t
+ }
}
@end lilypond
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 ``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 ``D.C.''.
@aitem{dal segno}
ES: dal segno,
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
%\override TextScript #'font-style = #'large
\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
-\relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
+\relative c'' {
+ d1 |
+ g,4^\segno a b c |
+ b a g2_\markup{
+ \line < "d.s. " \tiny \raise #1 \musicglyph #"scripts-segno" > }
+ \bar "|."
+}
@end lilypond
@aitem{decrescendo}
Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
or the abbreviation ``decresc.''.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\relative c'' {
\key g \major \time 4/4
d4 \> c b a | g1 \! \bar "|."
2@w{ }@aref{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 music but
-also to some extent in newer jazz music.
+The church modes are used in gregorial chant and in pre baroque early
+music but also to some extent in newer jazz music.
-@lilypond[fragment,notime,linewidth=110\mm]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
harmonic minor scale type an augmented second (A) occurs between the 6th and
7th tone.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
Progressing melodically by intervals larger than a major second.
Opposite of @aref{conjunct movement}.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\key a \major
\time 4/4
\relative c' {
@aitem{dominant ninth chord}
I: accordo di nona di dominante,
F: accord de neuvième dominante,
-D: Dominantnoneakkord,
+D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
Two notes, intervals, or scales are enharmonic if they have different names
but equal pitch.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
symbol indicates playing an octave lower (for example on double bass
@aref{strings}).
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
f1
}
\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
+% \override Lyrics .LyricText #'self-alignment-X = #-1
"baritone "
"bass "
"sub-bass "
Prolonged note or rest of indefinite duration.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\time 4/4
\relative c'' {
a4 b c2^\fermata \bar "|."
less than a quarter note. The number of flags determines the
@aref{note value}.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c'' {
dominant (D, the chord on the fifth note). Other are considered to be
variants of the base chords.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
+\encoding "TeX"
\context Voice \relative c'' {
<g e c >1 < a f d > < b g e >
<c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics { T Sp Dp S D Tp "D{\\kern-5pt}$\\mid$" }
+\context Lyrics \lyrics { T Sp Dp S D Tp "\ \ D{\\kern-5pt}$\\mid$" }
@end lilypond
@aitem{G}
indicates playing or singing an octave lower (most tenor parts in choral
scores are notated like that).
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
%\override Score.LyricText #'font-style = #'large
ES: ?,
I: abbellimenti,
F: fioriture,
-D: Verzierungen, Vorschläge, Vorschlagsnoten,
+D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
S: ornament,
S: (harmonisk) kadens,
FI: harmoninen kadenssi.
-Sequence of chords that terminate a musical phrase or
+A sequence of chords that terminates a musical phrase or
section. @aref{functional harmony}.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\context PianoStaff <<
\context Staff = SA \relative c'' {
\time 4/4
Consonances:
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
Dissonances:
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Voice \relative c'' {
because they consist of three @aref{whole tone}s. The addition
of such two forms an octave.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
< g bis >^"augm" s
}
\context Lyrics \lyrics {
- "unisone " "second " "second " "second "
- "third " "third " "third " "third "
+ "unisone " "second " "second " "second "
+ "third " "third " "third " "third"
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
\oldaddlyrics
\context Staff \relative c'' {
- < g c >^"perfect" s
+ < g c >1^"perfect" s
< g cis >^"augm" s
< g d' >^"perfect" s
< g des' > ^"dimin" s
}
\context Lyrics \lyrics {
"fourth " "fourth " "fifth " "fifth "
- "sixth " "sixth " "sixth " "sixth "
+ "sixth " "sixth " "sixth " "sixth"
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\override Score.TextScript #'font-style = #'large
< g b'! >^"major" s
}
\context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "none " "none " "decime " "decime "
+ "seventh " "seventh " "seventh " "octave "
+ "none " "none " "decime " "decime"
}
@end lilypond
The difference between an interval and an octave.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\context Staff \relative c'' {
A ledger line is an extension of the staff.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\relative c'' { a,1 s c'' }
@end lilypond
unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
(d) @aref{staccato}.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\oldaddlyrics
\context Staff \relative c'' {
With the invention of the metric system of the white mensural
notation, the need for ligatures to denote such patterns disappeared.
-
-
@aitem{line}
ES: línea,
I: linea,
Note value: double length of @aref{breve}.
@aref{note value}.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\relative c'' {
\override NoteHead #'style = #'mensural
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]
+@lilypond[fragment,linewidth=13.0\cm]
\relative c'' {
\time 3/4
\key f \major
c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
@end lilypond
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\relative c' {
\time 6/8
\key f \major
c'8 c c c e16 d e c \bar "||"}
@end lilypond
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\relative c'' {
\time 5/4
\key g \major
FI: metronomiosoitus.
Exact tempo indication (in beats per minute). Also denoted by
-M.M. (Mälzels Metronom).
+M.M.@: (Mälzels Metronom).
@aitem{mezzo-soprano}
ES: mezzo soprano,
First C below the 440 Hz A.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\override Staff.Clef #'full-size-change = ##t
\relative c' {
The briefest intelligible and self-contained fragment of a musical theme or
subject.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\override Score.TimeSignature #'break-visibility = #all-invisible
%\override Score.TextScript #'font-style = #'large
\relative c'' {
S: flertaktspaus,
FI: usean tahdin mittainen tauko.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\relative c'' {
a1
\set Score.skipBars = ##t R1*3
but sometimes (mostly in pre baroque music) the double length note value
@emph{longa} is used.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
\override NoteHead #'style = #'mensural
- g\longa_"longa" g\breve_"breve"
+ a\longa_"longa" a\breve_"breve"
\revert NoteHead #'style
- g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16
- g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 }
+ a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
+ a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\set Score.automaticBars = ##f
\relative c'' {
An augmentation dot after a note multiplies the duration by one and a
half. Another dot adds yet a fourth of the duration.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
%\override Score.TextScript #'font-style = #'large
\relative c'' {
\time 4/4
}
@end lilypond
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
@emph{prall} (inverted mordent).
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
<<
\context Staff = sa {
% \override Score.TextScript #'font-style = #'large
S: presto,
FI: presto, hyvin nopeasti.
-Very quick, i.e. quicker than @aref{allegro}; @emph{prestissimo}
+Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
@aitem{Pythagorean comma}
NL: rallentando,
DK: rallentando,
S: rallentando,
-FI. rallerdando, hidastuen.
+FI: rallerdando, hidastuen.
Abbreviation "rall.". @aref{ritardando}.
@aref{major} and @aref{minor} @aref{key}
with the same @aref{key signature}.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
}
@end lilypond
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
S: repris,
FI: toisto.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\key g \major
\time 4/4
\relative c'' {
NL: ritardando,
DK: ritardando,
S: ritardando,
-FI. ritardando, hidastuen,
+FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to rit. or ritard.
+Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
@aitem{ritenuto}
ES: ritenuto,
roots of chords. The most important are degrees I = tonic (T), IV =
sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
%\override Score.LyricText #'font-style = #'large
%\set minVerticalAlign = #8
semitone. An octave may be divided into 12@w{ }semitones.
@aref{interval}, @aref{chromatic scale}.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.automaticBars = ##f
\relative c'' { g1 gis s a bes s b! c }
@end lilypond
Playing the note(s) short. Staccato is indicated by a dot above or below the
note head.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\key d \major
\time 4/4
\relative c'' {
}
@end lilypond
-@aitemii{staff,pl. staves}
+@aitemii{staff, pl. staves}
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
Vertical line above or below a @aref{note head} shorter than a
whole note. @aref{beam}.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,linewidth=13.0\cm]
\set Score.autoBeaming = ##f
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
deviation from this scheme is felt as a disturbance or contradiction between
the underlaying (normal) pulse and the actual (abnormal) rhythm.
-@lilypond[fragment]
+@lilypond[fragment,raggedright]
\time 4/4
\relative c' {
\partial 4
ES: temperamento,
I: temperamento,
F: tempérament,
-D: Stimmung, Temperatur,
+D: Stimmung, Tem@-pe@-ra@-tur,
NL: stemming, temperatuur,
DK: temperatur,
S: temperatur,
with figures designating the chief @aref{interval}s and
@aref{chord}s to be played above the bass notes.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\context GrandStaff <<
\context Staff = lh \relative c'' {
\time 4/4
connects two succesive notes of the same pitch, and which has the function of
uniting them into a single sound equal to the combined durations.
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
\relative c'' { g2 ~ g4. }
@end lilypond
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
a @aref{chord}, usually in the distance of a third
(@aref{interval}).
-@lilypond[fragment,notime]
+@lilypond[fragment,notime,raggedright]
\set Score.automaticBars = ##f
%\override Score.TextScript #'font-style = #'large
\relative c' {
ES: tríada,
I: triade,
F: triade, accord parfait, accord de trois sons,
-D: Dreiklang,
+D: Drei@-klang,
NL: drieklank,
DK: treklang,
S: treklang,
Initial note(s) of a melody occurring before the first bar
line. @aref{measure}, @aref{meter}.
-@lilypond[fragment]
+@lilypond[fragment,linewidth=13.0\cm]
\key f \major
\time 4/4
\relative c' {
@end multitable
-@
-@table @samp
-
-@item ---------------------
-
-@
-
-@item Literature used
+@unnumbered Literature used
The Harvard Dictionary of Music, London 1944. Many more or less literal
quotes from its articles have been included into the item explanation texts.
Webster's Revised Unabridged Dictionary, Springfield 1913.
-@end table
-
@bye
projects / lilypond.git / commitdiff