From: Han-Wen Nienhuys Date: Wed, 1 Mar 2000 12:32:12 +0000 (+0100) Subject: release: 1.3.28 X-Git-Tag: release/1.3.28 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=a6193f6f613e0b2ff519b804d28f99fcd6ec9b92;p=lilypond.git release: 1.3.28 ====== * Update of the glossary by Christian Mondrup * Moved horn-concerto-3 out of tarball to private website, removed W.A.Mozart subdirectory. 1.3.27.h --- diff --git a/AUTHORS.txt b/AUTHORS.txt index 04c8fae710..83bef5a611 100644 --- a/AUTHORS.txt +++ b/AUTHORS.txt @@ -43,6 +43,8 @@ list is alphabetically ordered. * Adrian Mariano <> Reference manual, tutorial fixes, glossary. + * Christian Mondrup Glossary. + * Han-Wen Nienhuys , `http://www.cs.uu.nl/~hanwen/' Main author (initials: HWN). diff --git a/CHANGES b/CHANGES index e439dbafe5..2f2baa38ed 100644 --- a/CHANGES +++ b/CHANGES @@ -1,8 +1,50 @@ -1.3.27.jcn1 -- eigenlijk: 26.hwn4.jcn1 + +1.3.28 +====== + +* Update of the glossary by Christian Mondrup + +* Moved horn-concerto-3 out of tarball to private website, removed +W.A.Mozart subdirectory. + +1.3.27.hwn1 +=========== + +* Bugfix: don't make giant ties if the horizontal part of tie is near +the center. + +* Small optimizations to be a little more careful with mem usage. + +* Website change: put all examples in one directory. + +* Removed Atom as a separate type. Now use SCM, and since we use +function composition, Atoms are immutable, so they don't have to be +copied. This makes life easier, hopefully this is quicker and uses +less memory. + +1.3.27.jcn1 =========== * Bezier_bow: minimise_enclosed_area +1.3.27 +====== + +1.3.26.hwn4 +=========== + +* Tuplet-spanner slope calculation now looks better on tupletted rests +(patch courtesy Laurent Martelli) + +* Bugfix (Staff_performer::new_instrument_str ()) check type of +\property "instrument" + +* New mechanism for breaking lines: do not copy & prune the element +property list separately, but combine these steps. Dramatically +reduces memory usage for large scores. + +1.3.27 +====== 1.3.26.jcn2 =========== diff --git a/Documentation/index.texi b/Documentation/index.texi index e9258e0c72..da0c1053fb 100644 --- a/Documentation/index.texi +++ b/Documentation/index.texi @@ -20,7 +20,14 @@ @itemize @bullet @item @uref{faq.html,FAQ: Frequently asked questions}, with answers @item @uref{programs.html,`Manual pages'} -@item @uref{../user/out-www/index.html,User documentation} + +@item @uref{../user/out-www/lilypond.html,LilyPond reference manual} +also available in @uref{../user/out-www/lilypond.ps.gz,Postscript} +@item @uref{../user/out-www/glossary.html,A glossary of musical +terms}, includes translations. Also available in @uref{../user/out-www/glossary.ps.gz,Postscript}) +@item @uref{../user/out-www/mudela-book.html,mudela-book}, a tool for +integrating text and music in LaTeX and texinfo; also available in +@uref{../user/out-www/mudela-book.ps.gz,Postscript} @item @uref{../programmer/out-www/index.html,Programmer documentation} @item @uref{../bibliography/out-www/index.html,Bibliography} @item @uref{../misc/out-www/index.html,Miscellaneous texts} diff --git a/Documentation/topdocs/AUTHORS.texi b/Documentation/topdocs/AUTHORS.texi index 950c41a7fa..4a37c46e0f 100644 --- a/Documentation/topdocs/AUTHORS.texi +++ b/Documentation/topdocs/AUTHORS.texi @@ -43,8 +43,10 @@ list is alphabetically ordered. misc bugfixes, some Beam and Stem code. @item @email{drl@@vuse.vanderbilt.edu, David R. Linn}, Mailing list maintenance. -@item @email{, Adrian Mariano} +@item @email{,Adrian Mariano} Reference manual, tutorial fixes, glossary. +@item @email{scancm@@biobase.dk,Christian Mondrup} + Glossary. @item @email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}, @uref{http://www.cs.uu.nl/~hanwen/} Main author (initials: HWN). diff --git a/Documentation/topdocs/INSTALL.texi b/Documentation/topdocs/INSTALL.texi index b0a5d56567..8678c583b1 100644 --- a/Documentation/topdocs/INSTALL.texi +++ b/Documentation/topdocs/INSTALL.texi @@ -12,10 +12,10 @@ This document explains what you need to install LilyPond, and what you should do. If you are going to compile and install LilyPond often, -e.g. when doing development, you might want to check out the -@file{buildscripts/set-lily.sh} script. It sets some environment -variables and symlinks, which comes in handly when you have to compile -LilyPond more often. +e.g. when doing development, you might want to check out the +@file{buildscripts/set-lily.sh} script. It sets some environment +variables and symlinks, which comes in handy when you have to compile +LilyPond more often. @section Obtaining diff --git a/Documentation/topdocs/index.tely b/Documentation/topdocs/index.tely index e87837690f..e1211293a7 100644 --- a/Documentation/topdocs/index.tely +++ b/Documentation/topdocs/index.tely @@ -70,7 +70,7 @@ almost no restrictions. LilyPond is part of the The version numbers are in Linux-kernel style: even numbered versions are `stable'. The webpages for the stable version (1.2) reside at GNU, here: @uref{http://www.gnu.org/software/lilypond}. Big enhancements go -into the latest odd numbered version (1.3), which webpages are on +into the latest odd numbered version (1.3); its webpages are on @uref{http://www.cs.uu.nl/~hanwen/lilypond/,Han-Wen's site}. If want more information, you can browse the @@ -91,8 +91,8 @@ For the latest and greatest features, check out the If you are interested in sheet music typeset by LilyPond, have a look at -the examples included. We have @uref{./input/out-www/index.html,short -examples} and @uref{./mutopia/out-www/index.html,longer examples}. The +the examples included. We have @uref{short-examples.html,short +examples} and @uref{long-examples.html,longer examples}. The examples include sound bites in MIDI, pictures in PNG, printable scores in PostScript, and LilyPond input. @@ -112,9 +112,9 @@ large archive of public domain sheet music under construction. If you want to compile LilyPond from source, download here: @itemize @bullet -@item Download stable releases at +@item Download stable releases at @uref{ftp://ftp.gnu.org/gnu/lilypond/} -@item Download development releases at +@item Download development releases at @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/development/} @item Canadian mirror @uref{http://sca.uwaterloo.ca/lilypond/} and @uref{ftp://sca.uwaterloo.ca/pub/} @item Another site in Europe @@ -122,7 +122,8 @@ If you want to compile LilyPond from source, download here: @end itemize Installing and compiling requires many additional packages, which are -listed in the @uref{Documentation/topdocs/out-www/INSTALL.html, installation instructions}. +listed in the @uref{Documentation/topdocs/out-www/INSTALL.html, +installation instructions}. There are binaries available, but alas they are not updated for every version released. @itemize @bullet @@ -144,25 +145,6 @@ If you have questions, do write to the mailing lists! (But don't forget to read the @uref{Documentation/out-www/faq.html, Frequently Asked Questions} first.) -@html -

-[ - Download - | - FAQ - | - Documentation - | - Music archives - | - Mailing lists - | - - Regression test - | - News -] -@end html @table @samp @item info-gnu-music@@gnu.org diff --git a/Documentation/user/glossary.itexi b/Documentation/user/glossary.itexi deleted file mode 100644 index fca076a4ab..0000000000 --- a/Documentation/user/glossary.itexi +++ /dev/null @@ -1,2068 +0,0 @@ -@node Glossary, , , Top -@chapter Glossary - -This is a list of musical terms, along with explanations and -translations. It is not complete, so additions are welcome. -Languages are marked thusly: - -@itemize -@item NL - Nederlands -@item UK - British English -@item F - French -@item I - Italian -@end itemize - -@table @strong - -@item Enharmonic Comma - -F: comma enharmonique - - -@ignore - -F: doigté de pédale - -F: doigté, D: Fingersatz - -F: indication de pédale - -F: pointillés. - -@end ignore - -@item A -F: la, D: a. - - - - -@item accent -F: accent, D: Akzent NL: accent I: accento. - - - -@item accidental -F: altération accidentelle, D: Vorzeichen, Versetzungszeichen, Akzidenz NL: toevallig teken, I: accidento. - - - -@item adjacent keys -F: tons voisins. - - - -@item alto -F: alto, D: Alt, NL: alt. - - - -@item ancient form??? (diatonic minor scale) -F: forme du mode mineur ancien. - - - -@item appoggiatura -F: appogiature, ports de voix, notes d'agrèment, D: langer Vorschlag, NL: lange voorslag, I: appogiature. - - - -@item arbitrary number of bars' rest -F: bâton de pause, NL: meermaats rust. - - - -@item arpeggio -F: arpège, arpègement, D: Arpeggio, Brechungen, NL: gebroken akoord, I: arpeggio. - - - -@item artificial measure -F: mesure artificielle. - - - -@item artificial rest -F: respiration. - - - -@item ascending interval - -F: intervalle ascendant, NL: stijgend interval. - - -@item augmented (interval) - -F: augmenté (intervalle), D: übermäßig (Intervall), NL: overmatig interval. - - -@item autograph - -1. A manuscript in the composer's own hand. 2. Music prepared for -photoreproduction by freehand drawing, with only the aid of a -straightedge ruler and T-square, which attempts to emulate -engraving. This required more skill than engraving. - -@item B - -F: si, D: h. - - - - - -@item backfall; forefall - -F: accent, chute, port de voix, D: Vorschlag, NL: korte voorslag, I: appogiature. - - - - - -@item bar line - -F: barre (de mesure), D: Taktstrich, NL: maatstreep, I: stanghetta. - - - - - -@item bar; measure - -F: mesure, D: Takt, NL: maat, maatstreep. - - - - - -@item baritone - -F: bariton, D: Bariton, NL: bariton. - - - -@item F clef - -D: F-Schlüssel, NL: F sleutel. - -A clef shaped as a curl with two dots. The position between the dots is the line of the F below central C. - - - - -@item bass clef - -F: clé de fa, D: Bass-Schlüssel, NL: bas sleutel, I: chiave di basso. - -A clef setting with central C on the first top ledger line. - - - - -@item bass - -F: basse, D: Bass, NL: bas. - - - - - -@item beam - -F: barre, D: Balken, NL: waardestreep/balk, I: barra. - - - - - -@item beat - -F: temps, D: Takt(-schlag), NL: tel. - - - - - -@item brace - -F: accolade, D: Klammer, NL: accolade, haak, I: accolada. - -Symbol at the start of a system that connects staffs. - - - - -@item brass - - D: Blechbläser, NL: koper (blazers). - - - - - -@item alto clef - -F: clé d'ut, D: Altschlüssel, NL: alt sleutel, I: chiave di tenore. - -Clef setting that has central C on the middle staff line. - - - - -@item C clef - - NL: C sleutel. . - -A clef symbol that looks like a horizontally mirrored 3. It indicates the position of the central C. Used in different positions. - - - - -@item C - -F: do, D: c, NL: C. - - - - - -@item C - -F: ut, D: c. - - - - - -@item cadence - -F: cadence, D: Kadenz, NL: cadens. - - - - - -@item cadenza - -F: fioriture, D: Kadenz, NL: cadens, I: cadenza. - - - - - -@item cent - - D: Cent, NL: cent. - -1/1200 of an octave (1/100 of an equally tempered semitone) - - - - -@item chain of trills - -F: chaîne de trilles, NL: triller. - - - - - -@item character - -F: caractère. - - - - - -@item chevron - -F: chevron. - - - - - -@item chord - -F: accord, D: Akkord, NL: akkoord. - - - - - -@item chromatic scale - -F: gamme chromatique, D: Chromatische Tonleiter, NL: chromatische toonladder. - - - - - -@item chromatic semitone - -F: demi-ton chromatique, NL: chromatische halve toon. - - - - - -@item chromatic transposition - -F: transposition chromatique. - - - - - -@item chromatic type - -F: genre chromatique. - - - - - -@item church mode; ecclesiastical mode - -F: mode ecclésiastique, D: Kirchentonart, NL: kerk toonladder. - - - - - -@item clef - -F: clé, D: Notenschlüssel, NL: sleutel, I: la chiave (pl. le chiavi). - - - - - -@item comma - -F: comma, D: Komma, NL: komma. - -Difference in pitch of a note when the note is derived from a different tuning system. - - - - -@item compound interval - -F: intervalle composé, D: Komplementärintervall. - - - - - -@item compound measure - -F: mesure composée, NL: samengestelde maat. - - - - - -@item conjunct movement - -F: mouvement conjoint. - - - - - -@item consonant interval; consonance - -F: consonance, D: Konsonanz, NL: consonant. - - - - - -@item contralto - -F: contralto, D: Alt(-stimme), alt-. - - - - - -@item contro-time - -F: contre-temps. - -@item 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 -noteheads on stems) varied slightly from those of engravers. Some of -their practices (not that) were superior and could well be adopted by -music typesetters. This also required more skill than engraving. - - -@item crescendo - -F: crescendo, D: Crescendo, I: crescendo. - -written with an extended opening angular bracket, indicates increasing volume - - - - -@item cue-notes - - D: Stichnoten, NL: stichnoten. - -In an orchestral part, notes for a different instrument that hint when to start playing. Usually printed in smaller type. - - - - -@item D - -F: ré, D: d. - - - - - -@item dash over/below - - I: pizzicato. - -With plucked strings - - - - -@item decrescendo - - D: Decrescendo, I: decrescendo. - -written with an extended closing angular bracket, indicates decreasing volume - - - - -@item degree [of the scale] - -F: degré [de la gamme], D: Stufe [der Tonleiter], NL: trap [van de toonladder]. - - - - - -@item descending interval - -F: intervalle descendant, NL: dalend interval. - - - - - -@item diatonic major scale - -F: gamme diatonique majeure, D: Diatonische Durtonleiter, NL: diatonische majeur toonladder. - - - - - -@item diatonic minor scale - -F: gamme diatonique mineure, D: Diatonische Molltonleiter. - - - - - -@item diatonic semitone - -F: demi-ton diatonique, NL: diatonische halve toon. - - - - - -@item diatonic type - -F: genre diatonique, D: diatonisch. - - - - - -@item diatonic - -F: diatonique, NL: diatonisch. - -A diatonic scale is a scale consisting of whole and half tones. - - - - -@item diminished (interval) - -F: diminué (intervalle), D: vermindert (Intervall), NL: verminderd (interval). - - - - - -@item disjunct movement - -F: mouvement disjoint. - - - - - -@item dissonant interval; dissonance - -F: dissonance, D: Dissonanz, NL: dissonant interval; dissonant. - - - - - -@item dominant ninth chord - -F: accord de neuvième dominante, NL: dominant noon akkoord. - - - - - -@item dominant seventh chord - -F: accord de septième dominante, D: Dominantseptakkord, NL: dominant septiem akkoord. - - - - - -@item dominant - -F: dominante, D: Dominante, NL: dominant. - -A tone that creates tension;the fifth degree of the scale. - - - - -@item dorian mode - - D: Dorische Tonart, NL: dorische toonladder. - -Mode obtained by raising the sixth in minor mode. A Dorian scale can be played from D to D with no sharps or flats. - - - - -@item dot (augmentation dot) - -F: point, D: Punkt (Verlängerungspunkt), NL: punt, I: punto. - -An augmentation dot after note adds multiplies the duration by one and a half. - - - - -@item dot and curved line combined - -F: point et liaison combinés. - - - - - -@item dot over/below - - D: Staccato, NL: staccato, I: staccato. - -Play each note short. - - - - -@item dot - -F: point, D: Punkt, NL: punt. - - - - - -@item dotted note - -F: note pointée, D: punktierte Note. - - - - - -@item double appoggiatura - -F: appogiature double. - - - - - -@item double bar line - -F: double barre, D: Doppel(takt)strich, NL: dubbele streep, I: doppia barra. - -Indicates the end of a section within a movement. - - - - -@item double dotted note - -F: note doublement pointée, D: doppel-punktierte Note. - - - - - -@item double flat - -F: double bémol, D: Doppel-Be, NL: dubbelmol, I: doppio bemolle. - - - - - -@item double sharp - -F: double dièse, D: Doppelkreuz, NL: dubbelkruis, I: doppio diesis. - -Raise pitch by two semitones - - - - -@item double trill - -F: trille double, D: Doppeltriller. - -A trill on a chord - - - - -@item double triplet - -F: double triolet, D: Doppeltriole, NL: dubbele triool. - - - - - -@item double whole note - - UK: breve, D: Brevis, NL: brevis, I: breve. - -Note during twice as long as a whole note. Mainly used in pre-1650 music. - - - - -@item duple meter - -F: temps binaire, NL: tweedelige maatsoort. - - - - - -@item duplet - -F: duolet, D: Duole, NL: duool. - - - - - -@item duration - -F: durée, D: Dauer, Länge, NL: duur, lengte. - - - - - -@item E - -F: mi, D: e. - - - - - -@item eighth note - -F: croche, UK: quaver, D: Achtelnote, NL: achtste noot. - - - - - -@item eighth rest - -F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: achtste rust. - - - - - -@item engraving - -D: Notenstechen, NL: steken. - -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 typography. - - - - -@item enharmonic - -F: enharmonique, D: enharmonisch, NL: enharmonisch. - -Two notes, intervals, or scales are enharmonic if they have different names but sound the same. Examples: C sharp and D flat, diminished fourth and major third - - - - -@item equal temperament - -F: tempérament égal, NL: getempereerde stemming. - -Tuning system in which each semitone is precisely 100 cents. - - - - -@item essential alteration - -F: altération essentielle. - - - - - -@item expression mark - -F: signe d'expressoin, D: Vortragszeichen, NL: voordrachtsteken, I: segno d'espressione. - - - - - -@item extension of interval - -F: extension d'intervalle. - - - - - -@item F - -F: fa, D: f. - - - - - -@item fermata - -F: pauses, D: Fermate, NL: fermate, I: fermata. - -Prolonged sound or silence of indefinite duration - - - - -@item fifth - -F: quinte, D: Quinte, NL: kwint. - - - - - -@item flag; hook; tail; pennant - -F: crochet, D: Fähnchen, NL: vlaggetje, I: coda uncinata. - -Ornament at the end of the stem of a note. The number of flags determines the lengths of notes shorter than a quarter note. - - - - -@item flat - -F: bémol, D: Be, NL: mol, I: bemolle. - -Lower pitch by a semitone - - - - -@item four-bar rest - -F: bâton de pause. - - - - - -@item fourth - -F: quarte, D: Quarte, NL: kwart. - - - - - -@item G - -F: sol, D: g. - - - - - -@item glissando - -F: glissement, D: Glissando, NL: glissando, I: glissando. - -Letting the pitch slide fluently from one note to the other - - - - -@item graces - -F: petites notes, D: Verzierungen, Manieren, NL: versieringen, I: appogiature. - - - - - -@item grand staff - - NL: piano systeem. - -A combination of two staffs with a brace. Usually used for piano music. - - - - -@item half note - -F: blanche, UK: minim, D: Halbe Note, NL: halve noot. - - - - - -@item half rest - -F: demi-pause, UK: minim rest, D: Halbe Pause, NL: halve rust. - - - - - -@item harmonic cadence - -F: cadence harmonique, NL: harmonische cadens. - -Sequence of chords that terminate a musical phrase or section. - - - - -@item harmonic form (diatonic minor scale) - -F: forme harmonique. - - - - - -@item harmonic interval - -F: intervalle harmonique, D: Harmonisches Intervall. - - - - - -@item incomplete measure - -F: mesure incomplète. - - - - - -@item interval - -F: intervalle, D: Intervall, NL: interval. - -Difference in pitch between two notes - - - - -@item inversion of interval - -F: renversement d'intervalle, NL: interval inversie. - - - - - -@item irregular contro-time - -F: contre-temps irrégulier. - - - - - -@item irregular group - -F: groupe irrégulier. - - - - - -@item irregular measure - -F: mesure irrégulière. - - - - - -@item irregular syncopation - -F: syncope irrégulière, NL: onregelmatige syncope. - - - - - -@item just intonation - - I: . - -Tuning system in which the notes are obtained by adding and subtracting natural fifths and thirds. - - - - -@item key signature - -F: armure, armature [de la clé], signes des accidentals, D: Vorzeichen, NL: toonsoort (voortekens), I: segni di chiave. - - - - - -@item kind of note - -F: figure de note. - - - - - -@item kind of rest - -F: figure de silence. - - - - - -@item leading note - -F: sensible. - - - - - -@item ledger line; leger line - -F: ligne supplémentaire, D: Hilfslinien, Kopfstriche (?), NL: hulplijntje, I: lineette. - -A ledger line is an extension of the staff. - - - - -@item legato curve - -F: liaison rythmique, NL: legato boog. - - - - - -@item lilypond - -F: étang de lis, UK: lily pond, D: Lilienteich, NL: lelievijver, I: stagno del giglio. - -A pond with lilies floating in it, also the name of a music typesetter. - - - - -@item line - -F: ligne, D: Linie, NL: lijn. - - - - - -@item long appoggiatura - -F: appogiature longue. - - - - - -@item lower number - -F: chiffre inférieur. - - - - - -@item major (interval) - -F: majeur (intervalle), D: groß (Intervall), NL: groot (interval). - - - - - -@item major mode - -F: mode majeur, D: Dur. - - - - - -@item meantone temperament - -F: tempérament mésotonique. - -Tuning based on a fifth that is 16 cents smaller than the natural fifth. - - - - -@item mediant - -F: médiante, NL: mediant. - -The third degree of a scale - - - - -@item melodic cadence - -F: cadence mélodique, NL: cadens. - -A free-form section at the end of a solo-concerto, where the soloist can demonstrate his/her virtuosity. - - - - -@item melodic form (diatonic minor scale) - -F: forme mélodique. - - - - - -@item meter; time - -F: mètre, D: Takt, Metrum, NL: maatsoort. - -A recurring pattern of stress - - - - -@item metronome - -F: métronome, D: Metronom, NL: metronoom. - -Device which sounds a steady beat - - - - -@item metronomic indication - -F: indication métronomique, D: Metronomangabe. - -Exact tempo indication (in beats per minute). Also denoted by M.M. (Mälzel's Metronom) - - - - -@item mezzo-soprano - -F: mezzo-soprano, D: Mezzosopran. - - - - - -@item middle C - -F: do central, D: eingestrichenes c, NL: centrale C. - -First C below the 440 Hz A. - - - - -@item minor (interval) - -F: mineur (intervalle), D: klein (Intervall). - - - - - -@item minor mode - -F: mode mineur, D: Moll. - - - - - -@item modal note - -F: note modale. - - - - - -@item mode - -F: mode, D: Geschlecht. - - - - - -@item modulation - -F: modulation, D: Modulation, NL: modulatie. - - - - - -@item mordent - -F: mordant, pincè, D: Pralltriller, Mordent, NL: mordent, I: mordente. - - - - - -@item motive - -F: incise, D: Motiv, NL: motief. - - - - - -@item musical ladder - -F: échelle musicale. - - - - - -@item mixolydian mode - - D: Mixolydische Tonart, NL: Mixolydische toonladder. - -Mode obtained by lowering the seventh in major. A mixolydian scale can be obtained by playing G to G with no sharps or flats. - - - - -@item natural sign - -F: bécarre, D: Auflösungszeichen, NL: herstellingsteken, I: bequadro. - -Do not play the following note flat or sharp. - - - - -@item ninth - - D: None, NL: noon. - - - - - -@item note head - - D: Notenkopf, NL: noot balletje. - - - - - -@item note - -F: note, D: Note, NL: noot, I: nota. - - - - - -@item octave line - -F: échelle d'octave. - - - - - -@item octave line - -F: clé d'octave. - - - - - -@item octave sign - -F: octave, D: Oktave, I: ottava. - - - - - -@item octave - -F: octave, D: Oktave, NL: octaaf. - - - - - -@item ornament; embellishment; accessory - -F: agrèment, ornement, D: Verzierungen, I: fiorette, fioriture, -abbellimenti. - - -@item ossia - -NL: alternatief - -Ossia (otherwise) marks an alternative. It is an added staff or piano -score, usually only a few measures long, which presents another version -of the music, for small hands, for example. - - -@item part - -NL: partij. - - - - - -@item pause - -F: pause, D: Luftpause. - - - - - -@item pause - -F: point d'orgue. - - - - - -@item perfect (interval) - -F: juste (intervalle), D: rein (Intervall), NL: rein (interval). - - - - - -@item perfect major chord - -F: accord parfait majeur. - - - - - -@item perfect minor chord - -F: accord parfait mineur. - - - - - -@item phrase member - -F: membre de phrase. - - - - - -@item phrase - -F: phrase, D: Phrase, NL: frase, zin. - - - - - -@item phrasing - -F: phrasé. - - - - - -@item pitch pipe; tuning fork - -F: diapason, D: Stimmgabel, NL: stemfluitje; stemvork. - - - - - -@item pitch - -F: hauteur, D: Tonhöhe, NL: toonhoogte. - - - - - -@item Pythagorean comma - -F: comma pythagoricien, D: Pythagoräisches Komma, NL: komma van Pythagoras. - -A sequence of fifths starting on C eventually circles back to C (B sharp), but this B sharp is 24 cents higher than C. This gap is the Pythagorean comma. - - - - -@item quadruplet - -F: quartolet, NL: kwartool. - - - - - -@item quarter note - -F: noire, UK: crotchet, D: Viertelnote, NL: kwartnoot. - - - - - -@item quarter rest - -F: soupir, UK: crotchet rest, D: Viertelpause, NL: kwart rust. - - - - - -@item register - -F: registre, D: Register, NL: register. - - - - - -@item regular contro-time - -F: contre-temps régulier. - - - - - -@item regular syncopation - -F: syncope régulière. - - - - - -@item relative scales - -F: gammes relatives, tons relatifs. - - - - - -@item repeat - -F: barre de reprise, D: Wiederholung, NL: herhaling. - - - - - -@item rest - -F: silence. - - - - - -@item rest - -F: soupir, D: Pause, NL: rust, I: pausa. - - - - - -@item return sign - -F: renvoi, NL: herstellingsteken. - - - - - -@item rhythm - -F: rythme, D: Rhythmus, NL: ritme. - - - - - -@item rhythmic curve - -F: courbe rythmique. - - - - - -@item scale - -F: gamme, D: Tonleiter, NL: toonladder. - - - - - -@item score - -F: partition, D: Partitur, NL: partituur. - - - - - -@item second - -F: seconde, D: Sekunde, I: secunde. - - - - - -@item semitone - -F: demi-ton, D: Halbton, NL: halve toon. - - - - - -@item seventh - -F: septième, D: Septime, NL: septiem, I: septime. - - - - - -@item sextuplet - -F: sextolet, D: Sextole, NL: sextool. - - - - - -@item sextuplet - -F: sixain, NL: sextool. - - - - - -@item shading signs - -F: signes indicateurs de nuance. - - - - - -@item shading - -F: nuance, D: Nuance. - - - - - -@item sharp - -F: dièse, D: Kreuz (um Halbton erhöht), NL: kruis. - - - - - -@item short appoggiatura - -F: appogiature brève. - - - - - -@item simple appoggiatura - -F: appogiature simple. - - - - - -@item simple interval - -F: intervalle simple. - - - - - -@item simple measure - -F: mesure simple. - - - - - -@item sixteenth note - -F: double croche, UK: semiquaver, D: Sechzehntelnote, NL: zestiende noot. - - - - - -@item sixteenth rest - -F: quart de soupir, UK: semiquaver rest, D: Sechzehntelpause, NL: zestiende rust. - - - - - -@item sixth - -F: sixte, D: Sexte, NL: sext. - - - - - -@item sixty-fourth note - -F: quadruple croche, UK: hemidemisemiquaver, D: Vierundsechzigstelnote, NL: vierenzestigste noot. - - - - - -@item sixty-fourth rest - -F: seizième de soupir, UK: hemidemisemiquaver rest, D: Vierundsechzigstelpause. - - - - - -@item slur - -F: liaison, coulé, D: Bindungszeichen, Bindebogen, NL: binding, bindingsboog, I: legatura. - - - - - -@item soprano - -F: soprano, D: Sopran, NL: sopraan. - - - - - -@item space - -F: espace. - - - - - -@item staff - -F: portée, D: Noten(linien)system, NL: (noten)balk; partij. - -pl staves or staffs - - - - -@item stem - -F: queue, D: Stiel, Hals, NL: stok, I: asta, gamba. - - - - - -@item strings - - D: Streicher, NL: strijkers. - - - - - -@item strong beat - -F: temps fort, NL: thesis. - - - - - -@item subdominant - -F: sous-dominante, D: Subdominante. - -The fourth degree of the scale - - - - -@item submediant - - I: . - -The sixth scale degree - - - - -@item subtonic - -F: sous-tonique, D: Subtonika. - -The seventh degree of the scale - - - - -@item superdominant - -F: sus-dominante. - -The sixth scale degree - - - - -@item supertonic - -F: sus-tonique. - -The second scale degree - - - - -@item syncopation; upbeat - -F: syncope, D: Synkope, NL: syncope. - - - - - -@item syntonic comma - -F: comma syntonique, NL: komma van Didymos, syntonische komma. - -Difference between the natural third and the third obtained by Pythagorean tuning, euqal to 22 cents. - - - - -@item system - -F: système, D: System, NL: systeem, I: sitema. - - - - - -@item tempo indication - -F: signes de temps, D: Zeitmaß, Tempobezeichnung, NL: tempo aanduiding, I: segno di tempo. - - - - - -@item tempo; movement - -F: mouvement, D: Tempo. - - - - - -@item tenor - -F: ténor, D: Tenor. - - - - - -@item tenth - - D: Dezime, NL: deciem, I: decime. - - - - - -@item tetrachord - -F: tétracorde, D: Vierklang. - - - - - -@item third - -F: tierce, D: Terz, NL: terts. - - - - - -@item thirty-second note - -F: triple croche, UK: demisemiquaver, D: Zweiunddreißigstelnote, NL: 32e noot. - - - - - -@item thirty-second rest - -F: huitième de soupir, UK: demisemiquaver rest, D: Zweiunddreißigstelpause, NL: 32e rust. - - - - - -@item tie - -F: liaison, D: Haltebogen, NL: overbinding, I: legatura. - -A curve that shows the prolongation (as opposed to the repetition fo a note) - - - - -@item time signature - -F: chiffrage (chiffres indicateurs), signe de valeur, D: Taktvorzeichnung, Taktvorzeichen, NL: maatsoort, I: segni di tempo. - - - - - -@item tonal note - -F: note tonale. - - - - - -@item tonality - -F: tonalité, D: Tonalität, NL: tonaliteit. - - - - - -@item tone - -F: ton, D: Ton, NL: toon. - - - - - -@item tonic - -F: tonique, D: Tonika, NL: tonica. - - - - - -@item transposition - -F: transposition, D: Transposition, NL: transpositie. - -Shifting a melody up or down in pitch, while keeping the same relative pitches. - - - - -@item G clef - - NL: G sleutel. - -A clef symbol with a loop at the top and a spiral in the center. The center of the spiral indicates the G above central C. - - - - -@item treble clef - -F: clé de sol, D: Violinschlüssel, NL: viool sleutel, I: chiave di violino. - -Clef setting where the second lowest line is the G above central C. - - - - -@item tremolo - -F: trèmolo, D: Tremolo, NL: tremolo, I: tremolo. - - - - - -@item trill; shake - -F: trille, tremblement, battement (cadence), D: Triller, NL: triller, I: trillo. - - - - - -@item triple meter - -F: temps ternaire, NL: driedelige maatsoort. - - - - - -@item triplet - -F: triolet, D: Triole. - - - - - -@item tritone - -F: triton, D: Tritonus. - - - - - -@item turn; gruppetto - -F: brisè, groupe, doublè, grupetto, D: Doppelschlag, NL: dubbelslag, I: grupetto. - - - - - -@item two-bar rest - -F: bâton de pause. - - - - -@item underline over/below - -F: portamento, D: Portato. - - - - - -@item unison - -F: unisson, D: Unisono, I: unisono. - -Different instruments playing exactly the same melody. - - - - -@item unit of beat - -F: unité de temps. - - - - - -@item unit of measure - -F: unité de mesure. - - - - - -@item upbeat; arsis - - D: Auftakt. - - - - - -@item upper number - -F: chiffre supérieur. - - - - - -@item voice - -F: voix, D: Stimme, NL: stem. - - - -@item weak beat - -F: temps faible, NL: arsis. - - - - - -@item whole note - -F: ronde, UK: semibreve, D: Ganze Note, NL: hele noot. - - - - - -@item whole rest - -F: pause, UK: semibreve rest, D: Ganze Pause. - - - - - -@item woodwind - -D: Holzbläser, NL: houtblazers. - - -@end table - diff --git a/Documentation/user/glossary.tely b/Documentation/user/glossary.tely new file mode 100644 index 0000000000..825f55c25b --- /dev/null +++ b/Documentation/user/glossary.tely @@ -0,0 +1,2614 @@ + +\input texinfo +@setfilename glossary.info + +@c @everyheading @| @thispage @| +@evenheading @thispage @| @| +@oddheading @| @| @thispage @| + +@itemize + +@item I - Italian +@item F - French +@item D - German +@item NL - Nederlands +@item UK - British English +@item DK - Danish +@item S - Swedish +@item N - Norwegian +@end itemize + +@ + +@macro ar{} +@iftex +@tex $\\Rightarrow$ @end tex +@end iftex +@ifhtml +--> +@end ifhtml +@ifinfo +--> +@end ifinfo +@end macro + +A reference is indicated by @ar{} followed by the term in @strong{boldface}. + +@table @strong + +@item A +I: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a. + +@item accent +I: accento, F: accent, D: Akzent, NL: accent, DK: accent, S: accent, N: + +The stress of one tone over others. + +@item accidental +I: alterazione, accidente, F: alt@'eration accidentelle, D: Vorzeichen, +Versetzungszeichen, NL: voorteken, DK: l@o{}st fortegn, S: f@"ortecken, N: + +@c F: alt@'eration accidentelle, D: Vorzeichen, Versetzungszeichen, +@c Akzidenz, NL: toevallig teken, I: accidento. + +A sharp raises a tone by a @w{@ar{}@strong{semitone}}, a double sharp raises it +by a @ar{}@strong{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. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + gis1_"sharp" s s2 + gisis1_"db. sharp" s s2 + ges1_"flat" s s2 + geses1_"db. flat" s s2 + g!1_"natural" +} +@end mudela + +@item adagio +I: adagio, F: , D: Adagio, Langsam, NL: adagio, DK: adagio, S: adagio, N: +adagio. + +It. comfortable, easy. 1. Slow tempo, slower - especially in even meter - than +@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A +movement in slow tempo, esepecially the scond (slow) movement of +@w{@ar{}@strong{sonata}s}, symphonies etc. + +@item accelerando +I: accelerando, F: , D: accelerando, Schneller, NL: accelerando, DK: +accelerando, S: accelerando, N: + +Stil faster tempo. + +@item allegro +I: allegro, F: , D: Allegro, Schnell, Fr@"ohlich, Lustig, NL: allegro, DK: +allegro, S: allegro, N: allegro. + +It. cheerful. Quick tempo. Also used as a title for pieces in a quick tempo, +especially the first and last movements of a @w{@ar{}@strong{sonata}}. + +@item alto +I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt. + +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 +height of the female voice. This type of voice is also known as +@w{@ar{}@strong{counter tenor}}. + +@item alto clef +@c F: cl@'e d'ut, D: Altschl@"ussel, Bratschenschl@"ussel, NL: altsleutel, I: +chiave di tenore. + +I: chiave di contralto, F: , D: Altschl@"ussel, Bratschenschl@"ussel, NL: alt +sleutel, DK: altn@o{}gle, S: altklav, N: + +C clef setting central C on the middle line of the staff +@w{@ar{}@strong{C clef}} + +@item ancient minor scale +I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode, +mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: . + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c'' { +a1 b c d e f g a } +@end mudela + +@item andante +I: andante, F: , D: Andante, NL: andante, DK: andante, S: andante, +N: andante. + +walking tempo/character + +@item appoggiatura +I: appoggiatura, F: port de voix, D: Vorschlag, NL: voorslag, DK: forslag, S: +f@"orslag, N: + +Ornamental note, usually a second, that is melodically connected with the main +note that follows it. In music before the 19'th 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 proportionate to that of the main note. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { +\key d; +\time 4/4; + r +{ \property Grace.stemStyle = "" + \grace g16 } +fis8 e16 fis +{ \property Grace.stemStyle = "" + \grace a16 } +g8 fis16 g | a4 \bar "||"; } +\notes\relative c'' { + r g16 () fis e fis a () g fis g | a4 \bar "||"; } +@end mudela + +An appoggiatura may have more notes preceding the main note. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + \key as; + \time 2/4; + \grace { bes16 } as8_"notation" as16 bes as8 g | + \grace { [as16 ( bes] } < ) c4 as > + \grace { [as16 ( bes] } < ) c4 as > \bar "||"; + \grace { bes16 } as8_"performance" as16 bes as8 g | + < \context Voice = va { \stemup as32 bes c8. as32 bes c8. } + \context Voice = vb { \stemdown as16 ~ as8. as16 ~ as8. } > + \bar "||"; +} +@end mudela + +@item arpeggio +I: arpeggio, F: arp@`ege, arp@`egement, D: Arpeggio, Akkordbrechungen, +gebrochener Akkord, NL: gebroken akoord, DK: arpeggio, +akkordbrydning, S: arpeggio, N: + +@ + +@mudela[13pt,eps] +\context GrandStaff < + \notes\relative c'' { + \time 4/4; + \clef treble; + r8 g16 c e g, c e r8 g,16 c e g, c e | + r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||"; } + \notes\relative c' { + \clef bass; + < \context Voice = va { + \stemup + r16 e8. () e4 r16 e8. () e4 | + r16 d8. () d4 r16 d8. () d4 } + \context Voice = vb { + \stemdown + c2 c | c c } > + } +> +@end mudela + +@item ascending interval +I: intervallo ascendente, F: intervalle ascendant, D: steigendes Intervall, +NL: stijgend interval, DK:@w{ }stigende interval, S: stigande intervall, N: + +@item augmented interval +I: intervallo aumentato, F: intervalle augment@'e, D: @"uberm@"a@ss{}iges +Intervall, NL: overmatig interval, DK: forst@o{}rret interval, S: +@"overstigande intervall, N: + +@w{@ar{}@strong{interval}} + +@item autograph +I: autografo, F: , D: Autograph, Handschrift, NL: , DK: h@aa{}ndskrift, +autograf, S: handskrift, N: . + +1. A manuscript in the composer's own hand. 2. Music prepared for +photoreproduction by freehand drawing, with only the aid of a +straightedge ruler and T-square, which attempts to emulate +engraving. This required more skill than did engraving. + +@item B +I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h. + +@item backfall; forefall +@w{@ar{}@strong{appoggiatura}} + +@item bar line +I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: +maatstreep, DK: taktstreg, S: taktstreck, N: + +@item bar +@w{@ar{}@strong{measure}} + +@item baritone +I: baritono, F: bariton, D: Bariton, NL: bariton, DK: baryton, S: baryton, N: +baryton. + +The male voice intermediate between the @w{@ar{}@strong{bass}} and the +@w{@ar{}@strong{tenor}}. + +@item bariton clef +I: chiave di baritono, F: , D: Barytonschl@"ussel, NL: baritonsleutel, DK: +barytonn@o{}gle, S: barytonklav, N: . + +C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}} +@w{@ar{}@strong{f clef}} + +@item bass clef +I: chiave di basso, F: cl@'e de fa, D: Bass-Schl@"ussel, NL: bassleutel, DK: +basn@o{}gle, S: basklav, N: + +A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f +clef}} + +@item bass +I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas. + +1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as +an abbreviation for double bass @w{@ar{}@strong{strings}}. + +@item beam +I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N: + +Line connecting a series of notes (shorter than a quarter note). The number of +beams determine the note value of the connected notes. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + [g8_"1/8" g g g] s16 + [g16_"1/16" g g g] s16 + [g32_"1/32" s32 g32 s32 g32 s32 g32] s16 + [g64_"1/64" s32 g64 s32 g64 s32 g64] s32 } +@end mudela + +@item beat +I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: +taktslag, N: + +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. + +@ + +@mudela[13pt,eps] +\key g; +\time 4/4; +\notes\relative c'' { g4 c b a | g1 \bar "||";} +\time 3/8; +\notes\relative c'' { g8 d' c | b c a | g4. \bar "||";} +@end mudela + +@item bind +@w{@ar{}@strong{tie}} + +@item brace +I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL: +accolade, teksthaak, DK: klamme, S: klammer, N: + +Symbol at the start of a system connecting staffs. Curly braces are used +for connecting piano staves, angular brackets for connecting parts in an +orchestral or choral score. + +@ + +@mudela[13pt,eps] +\context GrandStaff < + \property GrandStaff.minVerticalAlign = 12 + \notes\relative c'' { \clef treble; g4 e c2 } + \notes\relative c { \clef bass; c1 \bar "|."; } > +@end mudela + +@ + +@mudela[13pt,eps] +\context StaffGroup < + \property StaffGroup.minVerticalAlign = 12 + \notes\relative c'' { \clef treble; g4 e c2 } + \notes\relative c { \clef bass; c1 \bar "|."; } > +@end mudela + +@item brass +I: ottoni, D: Blechbl@"aser, NL: koper (blazers), F: instruments de cuivre, +DK: messingbl@ae{}sere, S: brassinstrument, m@"assingsinstrument, N: + +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. + +@item breath mark +I: respiro, F: respiration, D: Atemzeichen, Trennungszeichen, NL: +repercussieteken, DK: +vejrtr@ae{}kningstegn, S: andningstecken, N: . + +@item breve +I: breve, F: , D: Brevis, NL: brevis, DK: brevis, S: brevis, N: + +@w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used +in pre-1650 music. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c'' { g\breve } +@end mudela + +@item C +I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c + +@item C clef +I: chiave di do, F: cl@'e d'ut, D: C-Schl@"ussel, NL: C-sleutel, DK: +c-n@o{}gle, S: c-klav, N: + +Clef symbol indicating the position of the central C. Used on all note +lines. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.clefStyle = "fullSizeChanges" +\addlyrics +\notes\relative c' { + \clef "C1"; c1 s s + \clef "C2"; c s s + \clef "C3"; c s s + \clef "C4"; c s s + \clef "C5"; c s +} +\context Lyrics \lyrics { Soprano Mezzosoprano Alto Tenor Baritone } +@end mudela + +@item cadence +I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . + +@w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}} + +@item cadenza +I: cadenza, F: fioriture, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . + +An extended, improvisatory style section inserted near the end of +movement. The purpose of a c. is to give the singer or player a chance to +exhibit her technichal skill and not the least her ability to improvise. Since +the middle of the 19'th century, however, most cadences have been written down +by the composer. + +@item canon +I: canone, F: , D: Kanon, NL: canon, DK: kanon, S: kanon, N: . + +@w{@ar{}@strong{counterpoint}} + +@item cent +I: cent, F: , D: Cent, NL: cent, DK: cent, S: cent, N: . + +Logarithmic unit of measurement. 1 cent is 1/1200 of an octave (1/100 of an +equally tempered @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}} + +@item central C +@w{@ar{}@strong{middle C}} + +@item chord +I: accordo, F: accord, D: Akkord, NL: akkoord, DK: akkord, S: ackord, N: . + +Three or more tones sounding simultaneously. In traditional European music the +base chord is a @emph{triad} consisting of 2 thirds. @emph{Major} (major + +minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third) +chords may be extended with more thirds. Four- @emph{seventh chords} and five +tone @emph{ninth} major chords are most often used as dominants +(@w{@ar{}@strong{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 + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\time 4/4; +\notes\relative c'' { + + + + + + +} +@end mudela + +@item chromatic scale +I: scala cromatica, F: gamme chromatique, D: Chromatische Tonleiter, NL: +chromatische toonladder, DK: kromatisk skala, S: kromatisk skala, N: . + +A scale consisting of all 11 @w{@ar{}@strong{semitone}}s. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c' { c1 cis e f fis g gis a ais b c } +@end mudela + +@item chromaticism +I: cromatismo, F: , D: Chromatik, NL: chromatiek, DK: kromatik, S: kromatik, +N: + +Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major). + +@item church mode; ecclesiastical mode +I: modi ecclesiastici, F: mode eccl@'esiastique, D: Kirchentonart, NL: +kerktoonladder, DK: kirketoneart, S: kyrkotonart, N: + +@w{@ar{}@strong{diatonic scale}} + +@item clef +I: chiave, F: cl@'e, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL: +sleutel, DK: n@o{}gle, S: klav, N: + +@w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}} + +@item comma +I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N: + +Difference in pitch between a note derived from pure tuning and the same note +derived from some other tuning method. @w{@ar{}@strong{temperament}} + +@item common meter +@w{@ar{}@strong{meter}} + +@item compound interval +I: intervallo composto, F: intervalle compos@'e, D: Weites Intervall(?), NL: +samengesteld interval, DK: sammensat interval, S: sammansatt intervall, N: . + +Intervals larger than an octave + +@w{@ar{}@strong{interval}} + +@item complement +I: rivolto, F: , D: Komplement@"arintervall, NL: complementair interval, DK: +komplement@ae{}rinterval, S: komplement@"arintervall (?), N: + +@w{@ar{}@strong{inverted interval}} + +@item conjunct movement +I: moto congiunto, F: mouvement conjoint, D: enge Lage(?), NL: , DK: trinvis +bev@ae{}gelse, S: stegvis r@"orelse, N: + +Melody moving in the narrow steps of the scale; + +@ + +@mudela[13pt,eps] +\key g; \time 4/4; +\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||"; } +@end mudela + +@item consonance +I: consonanza, F :consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: +konsonans, N: + +@w{@ar{}@strong{harmony}} + +@item contralto +I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N: + +@w{@ar{}@strong{alto}} + +@item counterpoint +I: contrappunto, F: contrepoint, D: Kontrapunkt, NL: contrapunt, DK: +kontrapunkt, S: kontrapunkt, N: . + +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 contrapuntal technique used in the @emph{fugue} which, since the +music of the baroque era, has been one of the most popular polyphonic +composition methods. + +@ + +@mudela[13pt,eps] +\property Score.timeSignatureStyle = "C2/2" +\context GrandStaff < + \notes\relative c' { + \key bes; + \time 4/4; + \clef treble; + < \context Voice = rha { + \stemup + r1 | r2 r8 g'8 bes d, | + cis4 d r8 e!16 f g8 f16 e | + f8 g16 a bes8 a16 g a8 + } + \context Voice = rhb { + \stemdown + r1 | r | r | r2 s8 + } + > + } + \notes\relative c' { + \clef bass; + \key bes; + < \context Voice = lha { + \stemup + r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g | + r8 a16 g f8 g16 a bes8 g e! cis' | + d4. e!8 f + } + \context Voice = lhb { + \stemdown + r1 | r | r | r2 s8 + } > + } +> +@end mudela + +@item counter tenor +I: controtenore, F: , D: Kontratenor, NL: contratenor, DK: kontratenor, S: +kontratenor, counter tenor, N: kontratenor + +@w{@ar{}@strong{contralto}} + +@item 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 noteheads +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. + +@item crescendo +I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK: +crescendo, S: crescendo, N:@w{ }crescendo. + +Increasing volume. Indicated by a rightwards opening horizontal wedge or the +abbreviation "cresc". + +@ + +@mudela[13pt,eps] +\key g; \time 4/4; +\notes\relative c'' { g4 \< a b c | \! d1 \bar "|."; } +@end mudela + +@item cue-notes +I: notine, F: , D: Stichnoten, NL: stichnoten, DK: stiknoder, S: +inprickningar, N: + +In a separate part notes belonging to another part with the purpose of hinting +when to start playing. Usually printed in a smaller type. + +@item D +I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d + +@item da capo +I: da capo, F: , D: da capo, von Anfang, NL: da capo, DK: da capo, S: da capo, +N: . + +The term indicates repetition of the piece from the beginning to the end or to +a certain place marked @emph{fine}. Mostly abbreviated D.C. + +@item dal segno +I: dal segno, F: , D: dal segno, NL: dal segno, DK: dal segno, S: dal +segno, N: . + +abbreviated d.s. Repetition, not from the beginning, but from another place +frequently near the beginning marked by a sign: + +@ + +@mudela[13pt,eps] +\property Voice.textStyle = "large" +\key g; \time 4/4; +\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|."; } +@end mudela + +@item decrescendo +I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S: +decrescendo, N: decrescendo + +Decreasing tone volume. Indicated by a leftwards opening horizontal wedge +or the abbreviation "decresc". + +@ + +@mudela[13pt,eps] +\key g; \time 4/4; +\notes\relative c'' { d4 \> c b a | \! g1 \bar "|."; } +@end mudela + +@item descending interval +I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall, +absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S: +fallande intervall, N: + +@item diatonic scale +I: scala diatonica, F: , D: diatonische Tonleiter, NL: diatonische toonladder, +DK: diatonisk skala, S: diatonisk skala, N: + +A scale consisting of 5 @w{@ar{}@strong{whole tones}} and 2 +@w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano +keybord are diatonic. + +The church modes are used in gregorial chant and pre baroque early music but +also to some extent in newer jazz music. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c' { + c1 d + \property Voice.textScriptPadding = "-10" + e^"~~ S" f g a + \property Voice.textScriptPadding = "-4" + b^"~~ S" c } + \context Lyrics \lyrics { Ionian } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c' { + d1 + \property Voice.textScriptPadding = "-10" + e^"~~ S" + f g a + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d } + \context Lyrics \lyrics { Dorian } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c' { + \property Voice.textScriptPadding = "-10" + e1^"~~ S" + f g a + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d e } + \context Lyrics \lyrics { Phrygian } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c' { + f1 g a + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d + \property Voice.textScriptPadding = "0" + e^"~~ S" f } + \context Lyrics \lyrics { Lydian } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + g1 a + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d + \property Voice.textScriptPadding = "0" + e^"~~ S" f g } + \context Lyrics \lyrics { Mixolydian } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + a1 + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d + \property Voice.textScriptPadding = "0" + e^"~~ S" f g a } + \context Lyrics \lyrics { Aeolian } +@end mudela + +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. + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c' { + c1 d + \property Voice.textScriptPadding = "-10" + e^"~~ S" f g a + \property Voice.textScriptPadding = "-4" + b^"~~ S" c } + \context Lyrics \lyrics { Major } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + a1 + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d + \property Voice.textScriptPadding = "0" + e^"~~ S" f g a } + \context Lyrics \lyrics { "ancient minor" } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + a1 + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d + \property Voice.textScriptPadding = "0" + e^"~~ S" + \property Voice.textScriptPadding = "1" + f!^"~~ A" + gis^"~~ S" + a } + \context Lyrics \lyrics { "Harmonic minor" } +@end mudela + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + a1 + \property Voice.textScriptPadding = "-4" + b^"~~ S" c d e fis + \property Voice.textScriptPadding = "0" + gis^"~~ S" a g! + \property Voice.textScriptPadding = "-1" + f!^"~~ S" e d + \property Voice.textScriptPadding = "-4" + c^"~~ S" b a +} + \context Lyrics \lyrics { "Melodic minor" } +@end mudela + +@item diminished interval +I: intervallo diminuito, F: intervalle diminu@'e, D: vermindertes Intervall, +NL: verminderd interval, DK: formindsket interval, S: f@"orminskat +intervall, N: . + +@w{@ar{}@strong{interval}} + +@item diminuendo +I: diminuendo, F: , D: Diminuendo, NL: diminuendo, DK: diminuendo, +S:@w{ }diminuendo, N:@w{ }diminuendo. + +@w{@ar{}@strong{decrescendo}} + +@item disjunct movement +I: moto disgiunto, F: mouvement disjoint, D: , NL: , DK: springende +bev@ae{}gelse, S: hoppande r@"orelse, N: + +Melody moving in steps greater than those of the +scale. Opposite of @ar{}@strong{conjunct movement}. + +@ + +@mudela[13pt,eps] +\key a; +\time 4/4; +\notes\relative c' { + \partial 8; e8 | a4. gis8 b a e cis | + fis2 d4. \bar "||"; } +@end mudela + +@item dissonant interval; dissonance +I: intervallo dissonante, dissonanza, F: dissonance, D: Dissonanz, NL: +dissonant interval; dissonant, DK: dissonerende interval, dissonans, S: +dissonans, N: . + +@w{@ar{}@strong{harmony}} + +@item dominant ninth chord +I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D: +Dominantnoneakkord, NL: dominant noon akkoord, DK: +dominantnoneakkord, S: dominantnonackord, N: . + +@w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}} + +@item dominant seventh chord +I: accordo di settima di dominante, F: accord de septi@`eme dominante, D: +Dominantseptakkord, NL: dominant septiem akkoord, DK: dominantseptimakkord, S: +dominantseptimackord, N: + +@w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}} + +@item dominant +I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: +dominant, N: . + +The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}} + +@item dorian mode +I: modo dorico, F: , D: Dorischer Kirchenton, NL: dorische toonladder, +dorischer Kirchenton, DK: dorisk skala, S: dorisk skala, N: + +@w{@ar{}@strong{diatonic scale}} + +@item dot (augmentation dot) +I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK: +punkt, S: punkt, N: + +@w{@ar{}@strong{dotted note}} + +@item dotted note +I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot, +DK: punkteret node, S: punkterad not, N: + +@w{@ar{}@strong{note value}} + +@item double appoggiatura +I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: +dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N: + +@w{@ar{}@strong{appoggiatura}} + +@item double bar line +I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK: +dobbeltstreg, S: dubbelstreck, N: . + +Indicates the end of a section within a movement. + +@item double dotted note +I: nota doppiamente puntata, F: note doublement point@'ee, D: +doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK: +dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: . + +@w{@ar{}@strong{note value}} + +@item double flat + +I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol, +DK:@w{ }dob@-belt-b, S: dubbelbe, N: . + +@w{@ar{}@strong{accidental}} + +@item double sharp +I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis, +DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: . + +@w{@ar{}@strong{accidental}} + +@item double trill +I: doppio trillo, F: trille double, D: Doppeltriller, NL: dubbele triller, DK: +dobbelttrille, S: dubbeldrill, N: . + +A simultaneous trill on two notes, usually in the distance of a third. + +@item duple meter +I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige +maatsoort, DK: todelt takt, S: tv@aa{}takt, N: . + +@w{@ar{}@strong{meter}} + +@item duplet +I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: . + +@w{@ar{}@strong{note value}} + +@item duration +I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S: +tonl@"angd, N: . + +@w{@ar{}@strong{note value}} + +@item dydimic comma +@w{@ar{}@strong{syntonic comma}} + +@item E +I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e. + +@item eighth note +I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK: +ottendedelsnode, S: @aa{}ttondelsnot, N: . + +@w{@ar{}@strong{note value}} + +@item eighth rest +I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: +achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: . + +@w{@ar{}@strong{note value}} + +@item engraving +I: incisione, F: , D: Notenstechen, NL: steken, DK: nodestik, S: nottryck, N: . + +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. + +@item enharmonic +I: enarmonico, F: enharmonique, D: enharmonisch, NL: enharmonisch, DK: +enharmonisk, S: enharmonisk, N: . + +Two notes, intervals, or scales are enharmonic if they have different names +but equal pitch. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + gis1_"g sharp" s as1_"a flat" s s + < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s +} +@end mudela + +@item equal temperament +I: temperamento equabile, F: , D: gleichschwebende Stimmung, NL: +ge@-lijk@-zwe@-ven@-de temperatuur, DK: ligesv@ae{}vende temperatur, +S: liksv@"avande temperatur, N: . + +Tuning system dividing the octave into 12 equal @w{@ar{}@strong{semitones}} +(precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}} + +@item expression mark +I: segno d'espressione, F: signe d'expressoin, D: Vortragszeichen, NL: +voordrachtsteken, DK: foredragsbetegnelse, S: f@"oredragsbeteckning, N: . + +Performance indications concerning 1. volume, dynamics (for example +@w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example +@w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}}) + +@item F +I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f. + +@item F clef +I: chiave di fa, F: cl@'e de fa, D: F-Schl@"ussel, NL: F-sleutel, DK: +F-n@o{}gle, S: f-klav, N: . + +The position between the dots of the key symbol is the line of the F below +central C. Used on the third, fourth and fifth note line. A digit 8 above the +clef symbol indicates that the notes must be played an octave higher (for +example bass recorder) while 8 below the clef symbol indicates playing an +octave lower (for example on double bass @w{@ar{}@strong{strings}}). + +@ + +@ignore +@mud ela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.clefStyle = "fullSizeChanges" +\property Lyrics.textStyle = "large" +\addlyrics +\notes\relative c { + \clef "F3"; + f1 s + \clef "F4"; + f1 s + \clef "F5"; + f1 s + \clef "F^8"; + f'1 s s + \clef "F_8"; + f,,1 s s +} +\context Lyrics \lyrics { + baritone + bass + "sub-bass" + "octaved up" + "octaved down" +} +@end mudela +@end ignore + +@item fermata +I: corona, F: pauses, D: Fermate, NL: fermate, DK: fermat, S: fermat, N: . + +Prolonged note or rest of indefinite duration. + +@ + +@mudela[13pt,eps] +\time 4/4; +\notes\relative c'' { +a4 b c2^\fermata \bar "|."; } +@end mudela + +@item fifth +I: quinta, F: quinte, D: Quinte, NL: kwint, I: , DK: kvint, S: kvint, N: kvint. + +@w{@ar{}@strong{interval}} + +@item figured bass +@w{@ar{}@strong{thorough bass}} + +@item fingering +I: ditteggiatura, F: doigt@'e, D: Fingersatz, NL: vingerzetting, DK: +fingers@ae{}tning, S: fingers@"attning, N: . + +The methodical use of fingers in the playing of instruments. + +@item flag; pennant +I: coda (uncinata), bandiera, F: crochet, D: Fahne, F@"ahnchen, NL: vlaggetje, +DK: fane, S: flagga, N: . + +Ornament at the end of the stem of a note used for notes with values less than +a quarter note. The number of flags determines the @w{@ar{}@strong{note value}}. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + g8_"1/8" s8 + g16_"1/16" s8 + g32_"1/32" s8 + g64_"1/64" s8 } +@end mudela + +@item flat +I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: . + +@w{@ar{}@strong{accidental}} + +@item forefall; backfall +@w{@ar{}@strong{appoggiatura}} + +@item forte +I: forte, F: , D: forte, Laut, NL: forte, DK: forte, S: forte, N: . + +Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud, +@emph{mezzoforte} (@b{mf}) medium loud. + +@item fourth +I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: . + +@w{@ar{}@strong{interval}} + +@item fugue +I: fuga, F: , D: Fuge, NL: fuga, DK: fuga, S: fuga, N: . + +@w{@ar{}@strong{counterpoint}} + +@item functiontional harmony +I: armonia funzionale, F: , D: Funktionslehre, NL: , DK: funktionsanalyse, +funktionsharmonik, S: funktionsl@"ara, N: + +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). Other are considered to be variants +of the base chords. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + < g1 e c > < 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}$\\mid$" } +@end mudela + +@item G +I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g. + +@item G clef +I: chiave di sol, F: , D: G-Schl@"ussel, Violinschl@"ussel, NL: G-sleutel, DK: +g-n@o{}gle, S: g-klav, N: . + +A clef symbol indicating the G above central 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). + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.clefStyle = "fullSizeChanges" +\addlyrics +\notes\relative c'' { + \clef "G1"; g1 s s s s + \clef "G2"; g s s s + \clef "G^8"; g' s s s + \clef "G_8"; g,, s s +} +\context Lyrics \lyrics { + "french violin clef" + "violin clef" + "octaved up" + "octaved down" +} +@end mudela + +@item glissando +I: glissando, F: glissement, D: Glissando, NL: glissando, DK: glissando, S: +glissando, N: glissando. + +Letting the pitch slide fluently from one note to the other + +@item grace notes +I: abbellimenti, F: , D: Verzierungen, Vorschl@"age, Vorschlagsnoten, NL: +versieringen, DK: forsiringer, S: ornament, N: . + +Notes printed in small types to indicate that their time values are not +counted in the rhythm of the bar. @w{@ar{}@strong{appoggiatura}} + +@item grand staff +I: accolatura, F: , D: Akkolade, NL: piano systeem, DK: klaversystem, S: +ackolad, b@"ojd klammer, N: . + +@w{@ar{}@strong{brace}} + +A combination of two staffs with a brace. Usually used for piano music. + +@item grave +I: grave, F: , D: grave, langsam, traurig, NL: , DK: grave, S: grave, N: . + +@item half note +I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK: +halvnode, S: halvnot, N: . + +@w{@ar{}@strong{note value}} + +@item half rest +I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve +rust, DK: halvnodespause, S: halvnotspaus, N: . + +@w{@ar{}@strong{note value}} + +@item harmonic cadence +I: cadenza (armonica), F: cadence harmonique, D: Schlusskadenz, NL: +harmonische cadens, DK: harmonisk kadence, S: (harmonisk) kadens, N: . + +Sequence of chords that terminate a musical phrase or +section. @ar{}@w{}@strong{functional harmony} + +@ + +@mudela[13pt,eps] +\context GrandStaff < + \notes\relative c'' { + \time 4/4; + \clef treble; + \partial 4; < c4 g e > | < c a f > < b g d > < c2 g e > } + \property Lyrics.textStyle = "large" + \addlyrics + \notes\relative c { + \clef bass; + \partial 4; c4 | f, g c2 + \bar "|."; } + \context Lyrics \lyrics { T S D T } > +@end mudela + +@item harmony +I: armonia, F: , D: Harmonie, Zusammenklang, NL: harmonie, DK: samklang, S: +samklang, N: + +Tones sounding simultaneously. Two note harmonies fall into the cathegories +@emph{consonances} and @emph{dissonances}. + +Consonances: + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + s + s + s + s + s + s + s s +} +@end mudela + +Dissonances: + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + s + s + s s +} +@end mudela + +Three note harmony @w{@ar{}@strong{chord}} + +@item homophony +I: omofonia, F: , D: Homophonie, NL: homofonie, DK: homofoni, S: homofoni, N: . + +Music in which one voice leads melodically followed by the other voices more +or less in the same rhythm. In contrast to @w{@ar{}@strong{polyphony}}. + +@item interval +I: intervallo, F: intervalle, D: Intervall, NL: interval, DK: interval, S: +intervall, N: . + +Difference in pitch between two notes. Intervals may be perfect, minor, major, +diminished or augmented. The augmented fourth and the diminished fifth are +identical (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because +it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two +forms an octave. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + < g1 g > s + < g^"minor" as > s + < g^"major" a! > s + < g^"augm" ais > s + < gis^"dimin" bes > s + < g!^"minor" bes > s + < g^"major" b! > s + < g^"augm" bis > s +} +\context Lyrics \lyrics { + unisone second second second third third third third } +@end mudela + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + < g1^"perfect" c > s + < g^"augm" cis > s + < g^"perfect" d' > s + < g^"dim" des' > s + < gis^"dimin" es' > s + < g!^"minor" es' > s + < g^"major" e'! > s + < g^"augm" eis' > s +} +\context Lyrics \lyrics { + fourth fourth fifth fifth sixth sixth sixth sixth } +@end mudela + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Voice.textStyle = "large" +\addlyrics +\notes\relative c'' { + < gis1^"dimin" f'! > s + < g!^"minor" f'! > s + < g^"major" fis' > s + < g g' > s + < g^"minor" as' > s + < g^"major" a'! > s + < g^"minor" bes' > s + < g^"major" b'! > s +} +\context Lyrics \lyrics { + seventh seventh seventh octave none none decime decime } +@end mudela + +@item inverted interval +I: rivolto, F: renversement d'intervalle, D: umgekerhtes Intervall, NL: +interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: . + +The difference between an interval and an octave. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + < g1_"second" a > s < g'_"seventh" a, > s \bar "||"; + < g,_"third" b > s < g'_"sixth" b, > s \bar "||"; + < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||"; +} +@end mudela + +@item just intonation +I: intonazione giusta, F: , D: reine Stimmung, NL: reine stemming, DK: ren +stemning, S: ren st@"amning, N: . + +Tuning system in which the notes are obtained by adding and subtracting +@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}} + +@item key +I: tonalit@`a, F: , D: Tonart, NL: toonsoort, DK: toneart, S: tonart, N: . + +According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12 +keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}} + +@item key signature +I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen, +Tonart, NL: @w{ }toon@-soort (voortekens), DK: faste fortegn, S: largo, N: . + +The sharps or flats appearing at the beginning of each staff indicating the +key of the music. @w{@ar{}@strong{accidental}} + +@item largo +I: largo, F: , D: Largo, Langsam, Breit, NL: largo, DK: largo, S: largo, N: +largo + +Very slow in tempo, usually combined with great +expressiveness. @emph{Larghetto} less slow than largo. + +@item leading note +I: sensibile, F: sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: ledton, +N: . + +The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below +the tonic; so called because of its strong tendency to ``lead up'' (resolve +upwards) to the tonic scale degree. + +@item ledger line; leger line + +I: tagli addizionali, F: ligne suppl@'ementaire, D: Hilfslinie, NL: +hulplijntje, DK: hj@ae{}lpelinie, S: hj@"alpstreck, N: . + +A ledger line is an extension of the staff. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c'' { a,1 s c'' } +@end mudela + +@item legato +I: legato, F: , D: legato, NL: legato, DK: legato, S: legato, N: . + +To be performed without any perceptible interruption between the notes (a) +unlike @emph{leggiero} or @emph{non-legato} (b), @emph{portato} (c) and +@w{@ar{}@strong{staccato}} (d) + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.textEmptyDimension = "1" +\property Lyrics.textStyle = "large" +\addlyrics +\notes\relative c'' { + c4( d )e \bar "||"; + c4-- d-- e-- \bar "||"; + c4-.( d-. )e-. \bar "||"; + c4-. d-. e-. \bar "||"; +} +\context Lyrics \lyrics { a "" "" b "" "" c "" "" d } +@end mudela + +@item legato curve +@w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}} + +@item lilypond +I: stagno del giglio, F: @'etang de lis, UK: lily pond, D: Seerosenteich, NL: +le@-lie@-vij@-ver, DK: liliedam, S: liljedamm, N: . + +A pond with lilies floating in it, also the name of a music typesetter. + +@item line +I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: +notlinje, N: . + +@w{@ar{}@strong{staff}} + +@item long appoggiatura +I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt +forslag, S: l@aa{}ngt f@"orslag, N: . + +@w{@ar{}@strong{appoggiatura}} + +@item longa +I: longa, F: , D: Longa, NL: longa, DK: longa, S: longa, N: longa + +note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}} + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c'' { g\longa } +@end mudela + +@item major interval +I: intervallo maggiore, F: intervalle majeur, D: gro@ss{}es Intervall, NL: +groot interval, DK: stort interval, S: stort intervall, N: . + +@w{@ar{}@strong{interval}} + +@item major +I: maggiore, F: mode majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur. + +@w{@ar{}@strong{diatonic scale}} + +@item meantone temperament +I: accordatura mesotonica, F: temp@'erament m@'esotonique, D: +Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: . + +Temperament yielding acoustically pure thirds by decreasing the natural fifth +by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this +@w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for +tuning keyboard instruments for performance of pre-1650 music. + +@item measure, bar +I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt. + +A group of @w{@ar{}@strong{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. @w{@ar{}@strong{meter}} + +@item mediant +I: mediante, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S: mediant, +N: . + +1. The third @b{scale degree}. 2. A @w{@ar{}@strong{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). @w{@ar{}@strong{functional +harmony}} @w{@ar{}@strong{relative key}}. + +@item melodic cadence + +@w{@ar{}@strong{cadenza}} + +@item meter, time +I: tempo, metro, F: m@`etre, D: Taktart, Metrum, NL: maatsoort, DK: taktart, +S: taktart, N: . + +The basic scheme of @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s +which remains unaltered throughout a composition or a section of it. For +instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are +quarter-notes and that a @w{@ar{}@strong{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. + +@ + +@mudela[13pt,eps] +\notes\relative c'' { + \time 3/4; + \key f; + c es d | c bes8 a bes4 | c es d | c2 \bar "||";} +@end mudela + +@mudela[13pt,eps] +\notes\relative c' { + \time 6/8; + \key f; + f8 f f f a16 g a f | + c'8 c c c e16 d e c \bar "||";} +@end mudela + +@mudela[13pt,eps] +\notes\relative c'' { + \time 5/4; + \key g; + d4 b8 g b d d c a4 | + g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||";} +@end mudela + +@item metronome +I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, +DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom. + +Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic +indication}} + +@item metronomic indication +I: indicazione metronomica, F: indication m@'etronomique, D: Metronomangabe, +NL: metronoom aanduiding, DK: metronomtal, S: metronomangivelse, N: . + +Exact tempo indication (in beats per minute). Also denoted by +M.M. (M@"alzel's Metronom) + +@item mezzo-soprano +I: mezzo-soprano, F: mezzo-soprano, D: Mezzosopran, NL: mezzosopraan, DK: +mezzosopran, S: mezzosopran, N: mezzosopran. + +The female voice between @w{@ar{}@strong{soprano}} and +@w{@ar{}@strong{contralto}}. + +@item middle C +I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK: +enstreget c, S: ettstruket c, N: + +First C below the 440 Hz A. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\property Voice.clefStyle = "fullSizeChanges" +\notes\relative c' { + \clef "F"; c1 s + \clef "C3"; c s + \clef "G2"; c s +} +@end mudela + +@item minor interval +I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein +interval, DK: lille interval, S: litet intervall, N: . + +@w{@ar{}@strong{interval}} + +@item minor +I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: . + +@w{@ar{}@strong{diatonic scale}} + +@item mode +I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: . + +@w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}} + +@item modulation +I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, +S: modulering, N: . + +Moving from one @w{@ar{}@strong{key}} to another. For example the second +subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant +key if the key is major and to the @w{@ar{}@strong{relative key}} if the key +is minor. + +@item mordent +I: mordente, F: mordant, pinc@`e, D: Mordent, NL: mordent, DK: mordent, S: +mordent, N: . + +@w{@ar{}@strong{ornament}} + +@item motive; motif +I: inciso, F: incise, D: Motiv, NL: motief, DK: motiv, S: motiv, N: . + +The briefest intelligible and self-contained fragment of a musical theme or +subject. + +@ + +@mudela[13pt,eps] +\property Score.timeSignatureStyle = "C2/2" +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + \time 4/4; + \key g; + \partial 8; g16_"------" fis | + g8 d16_"------" c d8 g16 fis g8 b,16 a b8 g'16 fis | + g8 g,16 a b8 cis d16 s +} +@end mudela + +@item movement +I: movimento, F: , D: Satz, NL: deel, DK: sats, S: sats, N: . + +Greater musical works like @w{@ar{}@strong{symphony}} and +@w{@ar{}@strong{sonata}} most often consist of several - more or less - +independant pieces called movements. + +@item multibar rest +I: pausa multipla, F: b@^aton de pause, NL: meermaats rust, D: +mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: . + +@ + +@mudela[13pt,eps] +\notes\relative c'' { +a1 +\property Score.skipBars=1 R1*3 +a1 } +@end mudela + +@item mixolydian mode +@w{@ar{}@strong{diatonic scale}} + +@item natural sign +I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, +DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: . + +@w{@ar{}@strong{accidental}} + +@item neighbour tones +@w{@ar{}@strong{appoggiatura}} + +@item ninth +I: nona, F: , D: None, NL: noon, DK: none, S: nona, N: . + +@w{@ar{}@strong{interval}} + +@item non-legato +@w{@ar{}@strong{legato}} + +@item note +I: nota, F: note, D: Note, NL: noot, DK: node, S: not, N: , + +@item note head +I: testa, F: , D: Notenkopf, NL: nootballetje, DK: nodehovede, S: nothuvud, N: +. + +A head like sign which indicates pitch by its position on a +@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration +by a variety of shapes such as hollow or black heads with or without +@w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion +instruments (often having no defined pitch) the note head may indicate the +instrument. + +@item note value +I: valore, durata, F: , D: Notenwert, NL: nootwaarde, DK nodev@ae{}rdi, S: +notv@"arde, N: . + +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. + +@ + +@mudela[13pt,eps] +\property Voice.textStyle = "large" +\property Score.barNonAuto = "1" +\notes\relative c'' { + g\longa_"longa" g\breve_"breve" + 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 } +@end mudela + +@mudela[13pt,eps] +\property Voice.textStyle = "large" +\property Score.barNonAuto = "1" +\notes\relative c'' { + r\longa_"longa" r\breve_"breve" + r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16 + r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 } +@end mudela + +An augmentation dot after a note multiplies the duration by one and a +half. Another dot adds yet a fourth of the duration. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + \time 4/4; + g4._"pointed" g8 g2 | g4 () g8 g g2 \bar "||"; + g4.._"double pointed" g16 g2 | g4 () g8 () g16 g g2 \bar "||"; } +@end mudela + +Alternatively note values may be subdivided by other ratios. Most common is +subdivision by 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by +2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also +frequently used. + +@ + +@mudela[13pt,eps] +\property Voice.textStyle = "large" +\property Voice.textEmptyDimension = "1" +\notes\relative c'' { + \time 4/4; + \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"; + \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"; + \time 3/4; + \times 3/2 {g4_"duplets" g} | + g4 g g \bar "||"; + \times 6/4 {g8_"quadruplets" g g g} | + g8 g g g g4 \bar "||";} +@end mudela + +@item octave sign +@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}} + +@item octave +I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: . + +@w{@ar{}@strong{interval}} + +@item ornament; embellishment; accessory +I: abbellimento, fioriture, abbellimenti, F: agr@`ement, ornement, D: +Verzierung, Ornament, NL: versiering, DK: forsiring, S: ornament, N: . + +Most commonly used is the @emph{trill}, the rapid alternation of a given note +with the diatonic @w{@ar{}@strong{second}} above it. In the music from the +middle of the 19th century and onwards the trill is performed with the main +note first while in the music from the preceding baroque and classic periods +the upper note is played first. + +@ + +@mudela[13pt,eps] +< + \context Staff = sa { + \property Voice.textEmptyDimension = "1" + \property Voice.textStyle = "large" + \notes\relative c'' { + c2._"pre-1850" b4\trill | c1 \bar "||"; + c2._"post-1850" b4\trill | c1 \bar "||"; + } + } + \notes\relative c'' { + c2. c32 b c b c b c b | c1 + c2. b32 c b c \times 4/5 { b c b c b } | c1 + } +> +@end mudela + +Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the +@emph{prall} (inverted mordent). + +@ + +@mudela[13pt,eps] +< + \context Staff = sa { + \property Voice.textEmptyDimension = "1" + \property Voice.textStyle = "large" + \notes\relative c'' { + a4_"turn" b\turn c2 \bar "||"; + g4_"mordent" a b\mordent a \bar "||"; + e'4_"prall" d\prall c2 \bar "||"; + } + } + \notes\relative c'' { + a4 [c16 b a b] c2 + g4 a [b16 a b8] a4 + e'4 [e8 ~ e32 d e d] c2 + } +> +@end mudela + +@w{@ar{}@strong{appoggiatura}} + +@item ossia +I: ossia, F: facilit@'e, D: Ossia, NL: alternatief, DK: ossia, S: ossia, N: . + +Ossia (otherwise) marks an alternative. It is an added staff or piano +score, usually only a few measures long, which presents another version +of the music, for example for small hands. + +@item part +I: voce, parte, F: , D: Stimme, NL: partij, DK: stemme, S: st@"amma, N: . + +1. In instrumental or choral music the music for the single instrument +or voice. 2. in contrapuntal music @w{@ar{}@strong{counterpoint}} the single +melodic line of the contrapuntal web. + +@item percussion +I: percussioni, F: , D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: slagverk, +N: . + +A family of musical instruments which are played on by striking or +shaking. Percussion instruments commonly used in a symphony orchestra are +kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, +tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel +and xylophone. + +@item perfect interval + +I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein +interval, DK: rent interval, S: rent intervall, N: . + +@w{@ar{}@strong{interval}} + +@item phrase +I: frase, F: phrase, D: Phrase, NL: frase, zin, DK: frase, S: fras, N: . + +A natural division of the melodic line, comparable to a sentence of speech. + +@item phrasing +I: fraseggio, F: phras@'e, D: Phrasierung, NL: frasering, DK: frasering, S: +fra@-se@-ring, N: . + +The clear rendering in musical performance of the @w{@ar{}@strong{phrase}}s of +the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}. + +@item piano +I: piano, F: , D: piano, leise, NL: piano, DK: piano, S: piano, N: . + +@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, +@emph{mezzopiano} (@b{mp}) medium soft. + +@item pitch +I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S: +tonh@"ojd, N: . + +@item pizzicato +I: pizzicato, F: , D: pizzicato, NL: pizzicato, getokkeld, DK: pizzicato, S: +pizzicato. + +Play by plucking the strings. + +@item polyphony +I: polifonia, F: , D: Polyphonie, NL: polyfonie, DK: polyfoni, S: polyfoni, N: +. + +Music written in a combination of several simultaneous voices (parts) of a +more or less pronounced individuality. @w{@ar{}@strong{counterpoint}} + +@item portato +@w{@ar{}@strong{legato}} + +@item presto +I: presto, F: , D: Presto, Sehr schnell, NL: presto, Sehr schnell, DK: presto, +S: presto, N: . + +Very quick, i.e. quicker than @w{@ar{}@strong{allegro}}. @emph{prestissimo} +denotes the highest possible degree of speed. + +@item Pythagorean comma +I: comma pitagorico, F: comma pythagoricien, D: Pythagor@"aisches Komma, NL: +komma van Pythagoras, DK: pythagor@ae{}isk komma, S: pytagoreiskt komma, N: . + +A sequence of fifths starting on C eventually circles back to C, but this C, +obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C +obtained by adding 7 octaves. The difference between those two pitches is +called the Pythagorean comma. + +@item quadruplet +I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, +N: . + +@w{@ar{}@strong{note value}} + +@item quarter note +I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL: +kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N: + +@w{@ar{}@strong{note value}} + +@item quarter rest +I: pausa di semiminima, F: soupir, UK: crotchet rest, D: Viertelpause, NL: +kwart rust, DK:@w{ }fjerdedelspause, S: fj@"ardedelspaus, N: . + +@w{@ar{}@strong{note value}} + +@item quintuplet +I: quintina, F: , D: Quintole, NL: kwintool, DK: kvintol, S: kvintol, N: . + +@w{@ar{}@strong{note value}} + +@item rallentando +I: rallentando, F: , D: rallentando, langsamer, NL: rallentando, DK: +rallentando, S: rallentando, N: . + +@w{@ar{}@strong{ritardando}} + +@item relative key +I: tonalit@`a relativa, F: , D: Paralleltonart, DK: paralleltoneart, S: +parallelltonart, N: . + +@w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with +the same @w{@ar{}@strong{signature}}. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c' { + \key es; + es1_"e flat major" f g as bes c d es + \bar "||"; s16 + \key es; + c,1_"c minor" d es f g a! b! c \bar "||"; +} +@end mudela + +@item repeat +I: ritornello, F: barre de reprise, D: Wiederholung, NL: herhaling, DK: +gen@-ta@-gel@-se, S: repris, N: . + +@ + +@mudela[13pt,eps] +\key g; +\time 4/4; +\notes\relative c'' { + \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 } +} +@end mudela + +@item rest +I: pausa, F: soupir, D: Pause, NL: rust, DK: pause, S: paus, N: . + +@w{@ar{}@strong{note value}} + +@item rhythm +I: ritmo, F: rythme, D: Rhythmus, NL: ritme, DK: rytme, S: rytm, N: . + +(a) metrical rhythm in which every time value is a multiple or fraction of a +fixed unit of time, called @w{@ar{}@strong{beat}}, and in which the normal +@w{@ar{}@strong{accent}} recurs in regular intervals, called +@w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called +@w{@ar{}@strong{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). + +@item ritardando +I: ritardando, F: , D: Ritardando, Langsamer, NL: ritardando, DK: ritardando, +S: ritardando, N: . + +Gradually slackening in speed. Mostly abbreviated to rit. or ritard. + +@item ritenuto +I: ritenuto, F: , D: Ritenuto, NL: ritenuto, DK: ritenuto, S: ritenuto, N: . + +Immediate reduction of speed. + +@item scale +I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: . + +@w{@ar{}@strong{diatonic scale}} + +@item scale degree +I: grado della scala, F: degr@'e [de la gamme], D: Tonleiterstufe, NL: trap +[van de toonladder], DK: skalatrin, S: skalatrin (?), N: . + +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). + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Lyrics.textStyle = "large" +\property Lyrics.minVerticalAlign = 8 +\addlyrics +\notes\relative c' { + c1 d e f g a b c } +\context Lyrics \lyrics { + < { I II III IV V VI VII I } + { T "" "" S D } > +} +@end mudela + +@w{@ar{}@strong{functional harmony}} + +@item score +I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S: +partitur, N: . + +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 @w{@ar{}@strong{stave}}s. + +@item second +I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: . + +The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A +@w{@ar{}@strong{diatonic scale}} consists of alternating +@w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size +of a se@-cond depends on the scale degrees in question. + +@item semitone +I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S: +halvton, N: . + +The @w{@ar{}@strong{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 +semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}} + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c'' { g1 gis s a bes s b c } +@end mudela + +@item seventh +I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: . + +@w{@ar{}@strong{interval}} + +@item sextuplet, sextolet +I: settimina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N: +. + +@w{@ar{}@strong{note value}} + +@item sharp +I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: . + +@w{@ar{}@strong{accidental}} + +@item short appoggiatura +@w{@ar{}@strong{appoggiatura}} + +@item sixteenth note +I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel, +Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S: +sextondelsnot, N: . + +@w{@ar{}@strong{note value}} + +@item sixteenth rest +I: pausa di semicroma, F: quart de soupir, UK: semiquaver rest, D: +Sechzehntelpause, NL: zestiende rust, DK: sekstendedelspause, S: +sextondelspaus, N: . + +@w{@ar{}@strong{note value}} + +@item sixth +I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: . + +@w{@ar{}@strong{interval}} + +@item sixty-fourth note +I: semibiscroma, F: quadruple croche, UK: hemidemisemiquaver, D: +Vierundsechzigstel, Vierundsechzigstelnote, NL: vierenzestigste noot, DK: +fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de, S: +sextiofj@"ardedelsnot, N: . + +@w{@ar{}@strong{note value}} + +@item sixty-fourth rest +I: pausa di semibiscroma, F: seizi@`eme de soupir, UK: hemidemisemiquaver +rest, D: Vierundsechzigstelpause, NL: vierenzestigste rust, DK: +fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se, S: +sextiofj@"ardedelspaus, N: . + +@w{@ar{}@strong{note value}} + +@item slur +I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen, +Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog, +DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: . + +A slur above or below a group of notes indicates that they are to be played +@w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one +breath in singing. + +@item solmization +I: solmisazione, F: , D: Solmisation, NL: solmizatie, DK: solmisation, S: +solmisation, N: . + +General term for systems of designating the degrees of the +@w{@ar{}@strong{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})). @w{@ar{}@strong{scale degree}}. + +@item sonata +I: sonata, F: , D: Sonate, NL: sonate, DK: sonate, S: sonat, N: . + +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. + +@item sonata form +I: forma sonata, F: , D: Sonatenform, NL: hoofdvorm, sonatevorm, DK: +sonateform, S: sonatform, N: . + +A form used frequently for single movements of the @w{@ar{}@strong{sonata}}, +@w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form +falls in three sections called @emph{exposition}, @emph{development} and +@emph{recapitulation}. In the exposition the composer introduces his musical +ideas, consisting of a number of themes; in the development section he +"develops" this material, and in the recapitulation he repeats the exposition, +with certain modifications however. The exposition contains a number of themes +which 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 +@w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is +@w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the +tonic is @w{@ar{}@strong{minor}}. + +@item soprano +I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: . + +The highest female voice. + +@item staccato +I: staccato, F: , D: staccato, NL: staccato, DK: staccato, S: staccato, N: + +Playing the note(s) short. Staccato is indicated by a dot above or below the +notehead. + +@ + +@mudela[13pt,eps] +\key d; +\time 4/4; +\notes\relative c'' { + \partial 8; a8 | + d4-\staccato cis-\staccato b-\staccato cis-\staccato | + d2. \bar "||"; } +@end mudela + +@item staff +I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk; +partij, DK: nodesystem, S: notsystem, N: . + +pl. staves or staffs. A series of (normally 5) horizontal lines upon and +between which the musical notes are written, thus indicating (in connection +with a @w{@ar{}@strong{clef}}) their pitch. Staffs for +@w{@ar{}@strong{percussion}} instruments may have fewer lines. + +@item stem +I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft, +N: . + +Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole +note. @w{@ar{}@strong{beam}} + +@ + +@mudela[13pt,eps] +\property Score.noAutoBeaming = "1" +\property Score.barNonAuto = "1" +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\notes\relative c'' { + g2_"1/2" g' s16 + g,4_"1/4" g' s16 + g,8_"1/8" g' s16 + g,16_"1/16" g' s16 +} +@end mudela + +@item strings +I: archi, F: , D: Streicher, NL: strijkers, DK: strygere, S: str@aa{}kar, N: . + +A family of stringed musical instruments played with a bow. Strings commonly +used in a symphony orchestra are violin, viola, violoncello and double bass. + +@item strong beat +I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis, +D: betonet taktslag, S: betonat taktslag, N: . + +@w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}} +@w{@ar{}@strong{rhythm}} + +@item subdominant +I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: +subdominant, S: subdominant, N: . + +The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional +harmony}} + +@item submediant +I: sopradominante, F: , D: Submediant, NL: submediant, DK: Submediant, S: +submediant, N: . + +The sixth @w{@ar{}@strong{scale degree}}. + +@item subtonic +I: sensibile, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: +subtonika, N: . + +The seventh @w{@ar{}@strong{scale degree}} + +@item superdominant +I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK: +superdominant, S: superdominant, N: . + +The sixth @w{@ar{}@strong{scale degree}} + +@item supertonic +I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: +supertonika, S: supertonika, N: . + +The second @w{@ar{}@strong{scale degree}}. + +@item symphony +I: sinfonia, F: , D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, N: . + +A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra. + +@item syncopation +I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: . + +Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}}, +@w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our 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. + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Voice.textStyle = "large" +\time 4/4; +\notes\relative c' { + \partial 4; + d8 dis | + e c'4 e,8 c'4 e,8 c' ( | ) c2 +} +@end mudela + +@item syntonic comma; dydimic comma + +I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma, +NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: . + +Difference between the natural third and the third obtained by Pythagorean +tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents. + +@item system +I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S: +system, N: . + +The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the +writing down of keyboard, chamber, choral or orchestral music. + +@item temperament +I: temperamento, F: , D: Stimmung, Temperatur, NL: temperament, DK: +temperatur, S: temperatur, N: . + +Systems of tuning in which the intervals deviate from the accoustically pure +intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal +temperament}} + +@item tempo indication +I: indicazioni di tempo, F: signe de temps, D: Zeitma@ss{}, Tempobezeichnung, +NL: tempo aanduiding, DK: tempobetegelse, S: tempobeteckning, N: . + +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 +@w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}}, +@w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}. + +@item tenor +I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: . + +The highest voice of men (apart from @w{@ar{}@strong{counter tenor}}) + +@item tenth +I: decima, F: , D: Dezime, NL: deciem, DK: decim, S: decima, N: . + +@w{@ar{}@strong{note value}} + +@item third +I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: . + +@w{@ar{}@strong{interval}} + +@item thirty-second note + +I: biscroma, F: triple croche, UK: demisemiquaver, D: +Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: 32e noot, DK: +toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: . + +@w{@ar{}@strong{note value}} + +@item thirty-second rest + +I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D: +Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S: +trettiotv@aa{}ondelspaus, N: . + +@w{@ar{}@strong{note value}} + +@item thorough bass; figured bass +I: basso continuo, F: basse chiffr@'e, D: Generalbass, bezifferter Bass, NL: +basso continuo, DK:@w{ }generalbas, S: generalbas, N: . + +A method of indicating an accompaniment part by the bass notes only, together +with figures designating the chief @w{@ar{}@strong{interval}}s and +@w{@ar{}@strong{chord}}s to be played above the bass notes. + +@ + +@mudela[13pt,eps] +\context GrandStaff < + \notes\relative c'' { + \time 4/4; + \key es; + \clef treble; + < \context Voice = rha { + \stemup + es4 d c bes | bes } + \context Voice = rhb { + \stemdown + < bes8 g > as < as f > g < g es > f < d f > es | < g4 es > } + > + } + \property Voice.textStyle = "large" + \property Lyrics.textStyle = "Large" + \property Lyrics.minVerticalAlign = 6 + \addlyrics + \notes\relative c' { + \clef bass; + \key es; + es8 c () c bes () bes as () as g16 f | es4 + } + \context Lyrics \lyrics { + < { "" "6" "4" "6" "4" "6" "4" "6" } + { "" "" "2" "" "2" "" "2" "" } > + } +> +@end mudela + +@item tie; bind +I: legatura (di valore), F: liaison, D: Haltebogen, NL: overbinding, DK: +bindebue, S: bindeb@aa{}ge, @"overbindning, N: . + +A curved line, identical in appearance with the @w{@ar{}@strong{slur}}, which +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. + +@ + +@mudela[13pt,eps] +\property Score.barNonAuto = "1" +\notes\relative c'' { g2 ~ g4. } +@end mudela + +@item time signature + +I: segni di tempo, F: chiffrage (chiffres indicateurs), signe de valeur, D: +Taktangabe, Angabe der Taktart, NL: maatsoort, DK: taktangivelse, S: +taktartssignatur, N: . + +@w{@ar{}@strong{meter}} + +@item tone +I: suono, F: ton, D: Ton, NL: toon, DK: tone, S: ton, N: . + +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 non tone related sounds. + +@item tonic +I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: . + +The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}} + +@item transposition +I: trasposizione, F: transposition, D: Transposition, NL: transpositie, DK: +transposition, S: transponering, N: . + +Shifting a melody up or down in pitch, while keeping the same relative pitches. + +@ + +@mudela[13pt,eps] +\context Staff { + \time 3/4; + \notes\relative c'' { + \key g; + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; } + \transpose bes\relative c'' { + \key g; + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."; } +} +@end mudela + +@item treble clef +I: chiave di violino, F: cl@'e de sol, D: Violinschl@"ussel, +Sopranschl@"ussel, NL: viool sleutel, DK:@w{ }diskantn@o{}gle, S: diskantklav, +N: . + +@w{@ar{}@strong{G clef}} + +@item tremolo +I: tremolo, F: tr@`emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N: +. + +On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of +the same tone, produced by a rapid up-and-down movement movement of the bow +(a). The term is also used for the rapid alternation (b) between two notes of +a @w{@ar{}@strong{chord}}, usually in the distance of a third +(@w{@ar{}@strong{interval}}). + +@ + +@mudela[13pt,eps] +\property Voice.textEmptyDimension = "1" +\property Score.barNonAuto = "1" +\property Voice.textStyle = "large" +\notes\relative c' { + e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 [:32 e1_"b" g] +} +@end mudela + +@item triad +I: triade, F: , D: Dreiklang, NL: drieklank, DK: treklang, S: treklang, N: + +@w{@ar{}@strong{chord}} + +@item trill; shake +I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL: +triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }. + +@w{@ar{}@strong{ornament}} + +@item triple meter +I: tempo ternario, F: temps ternaire, D: dreiteiliger Takt, NL: driedelige +maatsoort, DK: tredelt takt, S: tretakt, N: . + +@w{@ar{}@strong{meter}} + +@item triplet +I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: . + +@w{@ar{}@strong{note value}} + +@item tritone +I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N: +. + +@w{@ar{}@strong{interval}} + +@item tuning fork +I: diapason, corista, F: diapason, D: Stimmgabel, NL: stemvork, DK: +stemmegaffel, S: st@"amgaffel, N: . + +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.) + +@item turn; gruppetto +I: grupetto, F: bris@`e, groupe, doubl@`e, grupetto, D: Doppelschlag, NL: +dubbelslag, DK: dobbeltslag, S: dubbelslag, N: . + +@item unison +I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S: +unison, N: . + +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. + +@item upbeat +I: anacrusi, F: , D: Auftakt, NL: opmaat, I: , DK: optakt, S: upptakt, N: + +Initial note(s) of a melody occurring before the first bar +line. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}} + +@ + +@mudela[13pt,eps] +\key f; +\time 4/4; +\notes\relative c' { + \partial 4; f4 | bes4. a8 bes4 c | + bes () a g f | bes4. a8 bes4 c | f,2. \bar "||"; } +@end mudela + +@item voice +I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: , + +1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}}, +@w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}}, +@w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part +of a polyphonic composition. + +@item weak beat +I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag, +NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: . + +@w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}} + +@item whole note +I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot, +DK: helnode, S: helnot, N: . + +@w{@ar{}@strong{note value}} + +@item whole rest +I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele +rust, DK: helnodespause, S: helnotspaus, N: . + +@w{@ar{}@strong{note value}} + +@item whole tone +I: tono intero, F: , D: Ganzton, NL: hele toon, DK: heltone, S: helton, N: . + +The @w{@ar{}@strong{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. + +@item woodwind +I: legni, F: , D: Holzbl@"aser, NL: houtblazers, DK tr@ae{}bl@ae{}sere, S: +tr@"abl@aa{}sare, N: . + +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. + +@ + +@item --------------------- + +@ + +@item Litterature used +The Harvard Dictionary of Music, London 1944. Many more or less litteral +quotes from its articles have been included into the item explanation texts. + +Hugo Riemans Musiklexicon, Berlin 1929 + +Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974. + +@end table + +@bye diff --git a/Documentation/user/lilypond.tely b/Documentation/user/lilypond.tely index bf2e8244f7..987e40be36 100644 --- a/Documentation/user/lilypond.tely +++ b/Documentation/user/lilypond.tely @@ -86,7 +86,6 @@ than the names being similar :-)" * Invoking LilyPond:: Operation. * Reporting Bugs:: Where to report bugs. * Reference Manual:: Reference Manual. -* Glossary:: A dictionary of musical terms. * More information:: Where to turn to for more help. * convert-mudela:: Upgrading input files. * Index:: Unified index. @@ -112,8 +111,6 @@ than the names being similar :-)" @mbinclude refman.itely -@include glossary.itexi - @include moreinfo.itexi @include convert-mudela.itexi diff --git a/INSTALL.txt b/INSTALL.txt index 9f8ab35a43..0d2bafa7fc 100644 --- a/INSTALL.txt +++ b/INSTALL.txt @@ -10,7 +10,7 @@ Abstract you should do. If you are going to compile and install LilyPond often, e.g. when doing development, you might want to check out the `buildscripts/set-lily.sh' script. It sets some environment variables -and symlinks, which comes in handly when you have to compile LilyPond +and symlinks, which comes in handy when you have to compile LilyPond more often. Obtaining diff --git a/TODO b/TODO index 9fb9933e9f..f5a11cecd9 100644 --- a/TODO +++ b/TODO @@ -17,7 +17,26 @@ Grep -i for TODO, FIXME and ugh/ugr/urg. . * entangle ly/* paper-params papersize stuff . * fix tremolos. . * change ) c4 to c4-) +. * +There's insufficient leading between lines of lyrics, so risers like +`l' and 'b' collide with the bottom of the line above. + +Also the lines are unevenly spaced. + +. * write comments in the source code . * internationalize GUILE msgs. +. * roy rankin: +1> The volta brackets are on top of the lyrics. This problem existed in + 1.2.x which I corrected by giving the brackets a vertical size. I + have not had the time to check what is going on in 1.3. + +2> Part names are being written on top of the staff and not in the + left margin. + +3> The tag at the end is spaced out clear across the page. (new problem + in 1.3.27) + +I also get the following error messages from ly2dvi. . * unbroken marks. . * chubb: -- Take a piece of early music, and typeset it as closely as possible to diff --git a/VERSION b/VERSION index a85e0bcfad..eccd0728c3 100644 --- a/VERSION +++ b/VERSION @@ -1,8 +1,8 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=3 -PATCH_LEVEL=27 -MY_PATCH_LEVEL=jcn1 +PATCH_LEVEL=28 +MY_PATCH_LEVEL= # use the above to send patches: MY_PATCH_LEVEL is always empty for a # released version. diff --git a/buildscripts/mutopia-index.py b/buildscripts/mutopia-index.py index be4163087b..9e05102b94 100755 --- a/buildscripts/mutopia-index.py +++ b/buildscripts/mutopia-index.py @@ -46,7 +46,7 @@ yourself.""" # FIXME breaks on multiple strings. # def read_mudela_header (fn): - s = gulp_file(fn) + s = open(fn).read () s = re.sub('%.*$', '', s) s = re.sub('\n', ' ', s) @@ -77,47 +77,36 @@ def help (): sys.stdout.write (r"""Usage: mutopia-index [options] INFILE OUTFILE Generate index for mutopia\n Options: - -h, --help print this help - --prefix=PRE specify prefix + -h, --help print this help + -o,-output=FILE write output to file. -s, --subdirs=DIR add subdir --suffix=SUF specify suffix""" ) sys.exit (0) # ugh. -def gen_list(inputs, subdir, filename): - (pre, subdirs, post)=subdir +def gen_list(inputs, filename): print "generating HTML list %s\n" % filename - list = open(filename, 'w') + if filename: + list = open(filename, 'w') + else: + list = sys.stdout list.write ('Rendered Examples\n') list.write ('') - if subdirs: - list.write ('

subdirectories

') - list.write ('
    ') - for ex in subdirs: - print 'subdir %s ' % ex - list.write ('
  • Subdirectory: %s
    • \n' % (pre + ex + post , ex)) - - list.write ('
') - - - + if inputs: - list.write('

Contents of this directory

\n'); - list.write (headertext) else: list.write (headertext_nopics) for ex in inputs: - ex_ext = '.ly' + (base, ext) = os.path.splitext (ex) + (base, ext2) = os.path.splitext (base) + ext = ext2 + ext + print '%s, ' % ex - try: - header = read_mudela_header(ex + ex_ext + '.txt') - except: - ex_ext = '.fly' - header = read_mudela_header(ex + ex_ext + '.txt') + header = read_mudela_header(ex) def read_dict(s, default, h =header): try: @@ -125,7 +114,7 @@ def gen_list(inputs, subdir, filename): except KeyError: ret = default return ret - head = read_dict('title', ex) + head = read_dict('title', os.path.basename (base)) composer = read_dict('composer', '') desc = read_dict('description', '') list.write('
') @@ -142,14 +131,15 @@ def gen_list(inputs, subdir, filename): l.write (' (%s %dk)' % (type, (size + 512) / 1024)) pictures = ['jpeg', 'png', 'xpm'] l.write ('\n') - list_item(ex + ex_ext + '.txt', 'The input', 'ASCII') + + list_item(base + ext, 'The input', 'ASCII') for pageno in range(1,100): - f = ex + '-page%d.png' % pageno + f = base + '-page%d.png' % pageno if not file_exist_b (f): break list_item(f, 'The output, page %d' % pageno, 'png') - list_item(ex + '.ps.gz', 'The output', 'gzipped PostScript') - list_item(ex + '.midi', 'The output', 'MIDI') + list_item(base + '.ps.gz', 'The output', 'gzipped PostScript') + list_item(base + '.midi', 'The output', 'MIDI') list.write (""); list.write( ""); @@ -158,23 +148,31 @@ def gen_list(inputs, subdir, filename): import getopt (options, files) = getopt.getopt(sys.argv[1:], - 'hp:s:', ['help', 'subdirs=', 'suffix=', 'prefix=']) -subdir_pre='' -subdir_suf ='' + 'ho:', ['help', 'output=']) +outfile = 'examples.html' subdirs =[] for opt in options: o = opt[0] a = opt[1] - if o == '--subdirs' or o == '-s': - subdirs.append (a) - elif o == '--prefix': - subdir_pre = a - elif o == '--suffix': - subdir_suf = a + if o == '--help' or o == '-h': + help() + elif o == '--output' or o == '-o': + outfile = a - -allfiles = find.find ('*.ly') + find.find ('*.ly.txt') +dirs = [] +for f in files: + dirs = dirs + find.find ('out-www', f); + +if not dirs: + dirs = ['.'] + +allfiles = [] + +for d in dirs: + allfiles = allfiles + find.find ('*.ly.txt', d) + +print allfiles -gen_list (files, (subdir_pre, subdirs, subdir_suf), 'index.html') +gen_list (allfiles, outfile) diff --git a/input/test/GNUmakefile b/input/test/GNUmakefile index 00cddc0806..0923318b99 100644 --- a/input/test/GNUmakefile +++ b/input/test/GNUmakefile @@ -1,7 +1,7 @@ # input/test/Makefile depth = ../.. -examples=font20 sleur +examples=font20 LOCALSTEPMAKE_TEMPLATES=mutopia include $(depth)/make/stepmake.make diff --git a/input/test/sleur.ly b/input/test/sleur.ly index f9f6cd1d8f..0b69da1a7b 100644 --- a/input/test/sleur.ly +++ b/input/test/sleur.ly @@ -1,8 +1,8 @@ \header{ +title = "sleur"; +subtitle = "test slurs."; enteredby = "jcn"; copyright = "public domain"; -TestedFeatures = "This file tests Feta embedded slurs" + - "(Feta definitively is not an abbreviation of Font-En-TjA)"; } \version "1.3.5"; diff --git a/input/test/slur-area.fly b/input/test/slur-area.fly new file mode 100644 index 0000000000..14705f7d23 --- /dev/null +++ b/input/test/slur-area.fly @@ -0,0 +1,10 @@ +\property Voice.slurVerticalDirection = #1 +\property Voice.stemVerticalDirection = #-1 +a''(a' a,)a +a(a a')a, +a(d a)a +a8(d a a a a a)a +a(a a a a a d)a + +c,(g' c e f d b)g +c,(g' c e f d b)g diff --git a/input/test/slur-area.sly b/input/test/slur-area.sly deleted file mode 100644 index 4b676c7749..0000000000 --- a/input/test/slur-area.sly +++ /dev/null @@ -1,3 +0,0 @@ -\property Voice.slurVerticalDirection = #1 -\property Voice.stemVerticalDirection = #-1 -a''(a' a,)a diff --git a/input/test/slur-proof.ly b/input/test/slur-proof.ly new file mode 100644 index 0000000000..8853a63a38 --- /dev/null +++ b/input/test/slur-proof.ly @@ -0,0 +1,46 @@ + +% :-( +x = { +\outputproperty #(make-type-checker 'Note_head) #'extra-offset = #'(-1 . 0) +} + +\score{ +\context Staff \notes\relative c< +\context Voice=va { \x f()f } +\context Voice=vb { \x g(s4)g } +\context Voice=vc { \x a(s4*2)a } +\context Voice=vd { b(s4*3)b } +\context Voice=ve { c(s4*4)c } +\context Voice=vf { d(s4*5)d } +\context Voice=vg { e(s4*6)e } +\context Voice=vh { f(s4*7)f } +\context Voice=vi { g(s4*8)g } +\context Voice=vj { a(s4*9)a } +\context Voice=vk { b(s4*10)b } +\context Voice=vl { c(s4*11)c } +\context Voice=vm { d(s4*12)d } +\context Voice=vn { e(s4*13)e } +\context Voice=vo { f(s4*14)f } +\context Voice=vp { g(s4*15)g } +\context Voice=vq { a(s4*16)a } +\context Voice=vr { b(s4*17)b } +\context Voice=vs { c(s4*18)c } +\context Voice=vt { d(s4*19)d } +\context Voice=vu { e(s4*20)e } +\context Voice=vv { f(s4*21)f } +\context Voice=vw { g(s4*22)g } +\context Voice=vx { a(s4*23)a } +\context Voice=vy { b(s4*24)b } +\context Voice=vz { c(s4*25)c } +\context Voice=wa { d(s4*26)d } +> +\paper{ +indent=0.0\mm; +linewidth=-1.0\mm; +\translator{ +\VoiceContext +slurVerticalDirection = #1 +stemVerticalDirection = #-1 +} +} +} diff --git a/input/test/tuplet-rest.ly b/input/test/tuplet-rest.ly new file mode 100644 index 0000000000..d31e4f6f7e --- /dev/null +++ b/input/test/tuplet-rest.ly @@ -0,0 +1,16 @@ + + +\score { + \context Voice \notes \relative c'' { + \time 2/4; + \times 2/3 { r c,,, c''' } + \times 2/3 { r c c } + \times 2/3 { r c r} + \times 2/3 { r r r} + \times 2/3 { r c e} + \times 2/3 { c r e} + \times 2/3 { r c g} + \times 2/3 { c r g} + } +} + diff --git a/lily/atom.cc b/lily/atom.cc index cc2bde40be..9dd82bc754 100644 --- a/lily/atom.cc +++ b/lily/atom.cc @@ -7,74 +7,49 @@ */ #include -#include "ly-smobs.icc" #include "atom.hh" -#include "interval.hh" -#include "string.hh" -#include "array.hh" -#include "debug.hh" -#include "dimensions.hh" #include "lookup.hh" -#include "main.hh" #include "global-ctor.hh" #include "font-metric.hh" -Atom::Atom(SCM s) + +#if 0 +SCM translate_sym; + +static void init() { - SCM onstack = s; // protection. just to be sure. - func_ = s; - self_scm_ = SCM_EOL; - smobify_self (); + translate_sym = sly_symbol2scm ("translate-atom"); } +ADD_SCM_INIT_FUNC(atom, init); +#endif + SCM -Atom::mark_smob (SCM s) +translate_atom (Offset o, SCM func) { - Atom* a = SMOB_TO_TYPE(Atom, s); - assert (s == a->self_scm_); - return a->func_; + return gh_list (ly_symbol2scm ("translate-atom"), + ly_quote_scm (ly_offset2scm (o)), + func, + SCM_UNDEFINED); } -void -Atom::fontify (Font_metric * met) +SCM +translate_atom_axis (Real r, Axis a, SCM func) { - SCM desc = ly_quote_scm (met->description ()); - SCM font_switch = gh_list (ly_symbol2scm ("select-font"), - desc, - SCM_UNDEFINED); - - SCM f =func_; - func_ = gh_list (ly_symbol2scm ("string-append"), - font_switch , f, - SCM_UNDEFINED); + // off_[a] += r; + Offset o ; + o[a] = r; + return gh_list (ly_symbol2scm ("translate-atom"), + ly_quote_scm (ly_offset2scm (o)), + func, + SCM_UNDEFINED); } -void -Atom::do_smobify_self () -{ -} -Atom::Atom (Atom const &s) -{ - off_ = s.off_; - func_ = s.func_; - self_scm_= SCM_EOL; - smobify_self (); -} -int -Atom::print_smob (SCM s, SCM p, scm_print_state*) +SCM +fontify_atom(Font_metric * met, SCM f) { - Atom * a = unsmob_atom (s); - - scm_puts ("#off_.str ()); - scm_puts ((char *)str.ch_C(), p); - scm_display (a->func_, p); - scm_puts ("> ",p); - return 1; + return gh_list (ly_symbol2scm ("fontify"), + ly_quote_scm (met->description ()), f, SCM_UNDEFINED); } - -IMPLEMENT_UNSMOB(Atom, atom) -IMPLEMENT_SMOBS(Atom) - diff --git a/lily/bezier-bow.cc b/lily/bezier-bow.cc index 2206a6663f..3565cddb31 100644 --- a/lily/bezier-bow.cc +++ b/lily/bezier-bow.cc @@ -50,26 +50,60 @@ Bezier_bow::Bezier_bow (Array points, Direction dir) ratio_ = 1.0; } +static Real +default_height (Real len) +{ + // assume 20pt staff + // see fonts.doc + Real staff_space = 5.0; + Real h_inf = 2.0* staff_space; + Real r_0 = 0.33; + return h_inf * 2.0 / M_PI * atan ( M_PI * r_0 / (2.0 * h_inf) * len); +} + void Bezier_bow::blow_fit () { - Real len = curve_.control_[3][X_AXIS] ; - Real ind = curve_.control_[1][X_AXIS] / len; + Real len = curve_.control_[3][X_AXIS]; Real h = curve_.control_[1][Y_AXIS] * fit_factor () / len; - - // ugh. Unhardcode this - if (h > 4 * ind) - { - h = 4* ind; - } - - if (h > 0.8 + -2 * ind) - { - h = 0.8 - 2 *ind; - } - curve_.control_[1][Y_AXIS] = h * len; curve_.control_[2][Y_AXIS] = h * len; + curve_.check_sanity (); +} + +void +Bezier_bow::de_uglyfy () +{ + Real len = curve_.control_[3][X_AXIS] ; + Real ff = fit_factor (); + for (int i = 1; i < 3; i++) + { + Real ind = abs (curve_.control_[(i-1)*3][X_AXIS] + - curve_.control_[i][X_AXIS]) / len; + Real h = curve_.control_[i][Y_AXIS] * ff / len; + + // ugh. Unhardcode this +#if 0 + // Too crude. + if (h > 4 * ind) + { + h = 4* ind; + } +#else + Real f = default_height (len) / len; + if (h > 2.0 * f) + { + h = 2.0 * f; + } +#endif + + if (h > 0.8 + -2 * ind) + { + h = 0.8 - 2 *ind; + } + + curve_.control_[i][Y_AXIS] = h * len; + } curve_.check_sanity (); } @@ -83,48 +117,139 @@ Bezier_bow::calc_enclosed_area_f () const Interval x; Interval y; if (i == 0) - x = Interval (0, encompass_[1][X_AXIS]/2); + { + x = Interval (0, encompass_[1][X_AXIS] / 2); + y = Interval (0, + curve_.get_other_coordinate (X_AXIS, + encompass_[1][X_AXIS] + / 2)); + } else if (i == encompass_.size () - 1) - x = Interval ((encompass_[i-1][X_AXIS] + encompass_[i][X_AXIS])/2, - encompass_[i][X_AXIS]); + { + x = Interval ((encompass_[i-1][X_AXIS] + encompass_[i][X_AXIS])/2, + encompass_[i][X_AXIS]); + y = Interval (0, + (curve_.get_other_coordinate (X_AXIS, + (x[MIN] + x[MAX]) / 2))); + } else - x = Interval ((encompass_[i-1][X_AXIS] + encompass_[i][X_AXIS])/2, - (encompass_[i][X_AXIS] + encompass_[i+1][X_AXIS])/2); + { + x = Interval ((encompass_[i-1][X_AXIS] + encompass_[i][X_AXIS]) / 2, + (encompass_[i][X_AXIS] + encompass_[i+1][X_AXIS]) / 2); + y = Interval (encompass_[i][Y_AXIS], + (curve_.get_other_coordinate (X_AXIS, x[MIN]) + + curve_.get_other_coordinate (X_AXIS, + (x[MIN] + x[MAX]) / 2) + + curve_.get_other_coordinate (X_AXIS, x[MAX])) / 3); + } - y[MIN] = encompass_[i][Y_AXIS]; - // solve_point (X, 0|Xmax) has no solutions... - y[MAX] = (x[MIN] ? curve_.get_other_coordinate (X_AXIS, x[MIN]) : 0 - + curve_.get_other_coordinate (X_AXIS, (x[MIN] + x[MAX])/2) - + x[MAX] != encompass_.top ()[X_AXIS] ? curve_.get_other_coordinate (X_AXIS, x[MAX]) : 0)/3; Real da = x.length () * y.length (); - if (da > 0) - a += da; + a += da; } return a; } -void -Bezier_bow::minimise_enclosed_area () +Array +Bezier_bow::area_gradient_offset_arr () { + Real len = curve_.control_[3][X_AXIS]; Real area = calc_enclosed_area_f (); + Real grow = len / 10.0; Array da (2); for (int i=1; i < 3; i++) { for (Axis a=X_AXIS; a < NO_AXES; incr (a)) { Real r = curve_.control_[i][a]; - curve_.control_[i][a] += 1; - da[i-1][a] = (calc_enclosed_area_f () - area) / area; + curve_.control_[i][a] += grow; + da[i-1][a] = (calc_enclosed_area_f () - area) / grow; + curve_.control_[i][a] = r; } } + return da; +} + +void +Bezier_bow::minimise_enclosed_area () +{ + Real len = curve_.control_[3][X_AXIS]; + Real beautiful = len * default_height (len) / 2.0; + + DEBUG_OUT << to_str ("Beautiful: %f\n", beautiful); + DEBUG_OUT << to_str ("Length: %f\n", len); + int steps=2; + for (int i=0; i < steps; i++) + { + Real ff = fit_factor (); + if (!ff) + break; + + DEBUG_OUT << to_str ("FitFac: %f\n", ff); + + // slur must be higher at every point + if (ff > 1.01) + { + blow_fit (); + DEBUG_OUT << to_str ("Blown area: %f\n", calc_enclosed_area_f ()); + } + else + DEBUG_OUT << to_str ("Init area: %f\n", calc_enclosed_area_f ()); + + Real area = calc_enclosed_area_f (); + + + if (area <= beautiful) + break; + + Array da = area_gradient_offset_arr (); + + /* + Urg: empiric cs + Small slurs are easily too asymmetric, + while big slurs are too symmetric + + This makes short slurs strictly x-bound, + long slurs become y-bound. + */ + Real ypct = 0.50; + //Real xpct = (0.07 * len * len / 1000.0) 1.5) + blow_fit (); + + DEBUG_OUT << to_str ("Exarea: %f\n", calc_enclosed_area_f ()); + Real area = calc_enclosed_area_f (); + /* + Slurs that fit beautifully are not ugly + */ + if (area > beautiful) { - da[i-1] *= da[i-1].length () ? 1.0 / da[i-1].length () : 1.0; - curve_.control_[i] -= da[i-1] * curve_.control_[i].length (); + DEBUG_OUT << "DE-UGLYFY\n"; + de_uglyfy (); } + } void @@ -134,7 +259,7 @@ Bezier_bow::calculate () if (fit_factor () > 1.0) { // calc_tangent_controls (); - blow_fit (); + // blow_fit (); minimise_enclosed_area (); } } @@ -256,7 +381,8 @@ Bezier_bow::calc_tangent_controls () } /* - The maximum amount that the encompass points stick out above the bezier curve. + max ( encompass.y / curve.y ) + */ Real Bezier_bow::fit_factor () const @@ -264,7 +390,7 @@ Bezier_bow::fit_factor () const Real x1 = encompass_[0][X_AXIS]; Real x2 = encompass_.top ()[X_AXIS]; - Real factor = 1.0; + Real factor = 0.0; for (int i=1; i < encompass_.size ()-1; i++) { if (encompass_[i][X_AXIS] > x1 && encompass_[i][X_AXIS] < x2) @@ -342,3 +468,4 @@ Bezier_bow::calc_default () + diff --git a/lily/crescendo.cc b/lily/crescendo.cc index b8d1744fb4..481d30bca7 100644 --- a/lily/crescendo.cc +++ b/lily/crescendo.cc @@ -83,14 +83,14 @@ Crescendo * me = (Crescendo*)this; m->dim_.x () = Interval (0, width); m->dim_.y () = Interval (-2*height, 2*height); - Atom *a = new Atom(gh_list (ly_symbol2scm (hairpin), + SCM at = gh_list (ly_symbol2scm (hairpin), gh_double2scm (thick), gh_double2scm (width), gh_double2scm (height), gh_double2scm (continued ? height/2 : 0.0), - SCM_UNDEFINED)); + SCM_UNDEFINED); - m->add_atom (a->self_scm_); + m->add_atom (at); m->translate_axis (extra_left, X_AXIS); return m; } diff --git a/lily/dimension-cache.cc b/lily/dimension-cache.cc index 005499624b..69ff282b0a 100644 --- a/lily/dimension-cache.cc +++ b/lily/dimension-cache.cc @@ -90,16 +90,16 @@ Dimension_cache::get_offset () const Dimension_cache * Dimension_cache::common_refpoint (Dimension_cache const* s) const { - Link_array my_groups; - for (Dimension_cache const *c = this; c ; c = c->parent_l_) - my_groups.push ((Dimension_cache*)c); - - Dimension_cache const *common=0; - - for (Dimension_cache const * d = s; !common && d; d = d->parent_l_) - common = (Dimension_cache const*)my_groups.find_l (d); - - return (Dimension_cache*) common; + /* + I don't like the quadratic aspect of this code. Maybe this should + be rewritten some time, but the largest chain of parents might be + 10 high or so, so it shouldn't be a real issue. */ + for (Dimension_cache const *c = this; c; c = c->parent_l_) + for (Dimension_cache const * d = s; d; d = d->parent_l_) + if (d == c) + return (Dimension_cache*)d; + + return 0; } Interval diff --git a/lily/include/atom.hh b/lily/include/atom.hh index 877cdd999e..10b6fcb364 100644 --- a/lily/include/atom.hh +++ b/lily/include/atom.hh @@ -9,35 +9,12 @@ #ifndef ATOM_HH #define ATOM_HH -#include "protected-scm.hh" -#include "string.hh" -#include "box.hh" #include "lily-proto.hh" +#include "box.hh" #include "lily-guile.hh" -#include "smobs.hh" - -/** - Atoms should only be created on the heap, ie. with - "new Atom" - */ -class Atom { - Offset off_; - - friend class Molecule; - friend class Paper_outputter; -public: - Atom (SCM s); - Atom (Atom const&); - - DECLARE_SMOBS; - - /* - SCM expression that (when evaluated) gives a TeX string -representing a musical notation symbol. */ - SCM func_; - void fontify (Font_metric*); -}; -Atom* unsmob_atom (SCM); +SCM translate_atom (Offset, SCM); +SCM translate_atom_axis (Real, Axis,SCM); +SCM fontify_atom (Font_metric*, SCM atom); #endif diff --git a/lily/include/bezier-bow.hh b/lily/include/bezier-bow.hh index 2997fa52e3..d442124a5c 100644 --- a/lily/include/bezier-bow.hh +++ b/lily/include/bezier-bow.hh @@ -23,11 +23,13 @@ class Bezier_bow Array encompass_; void blow_fit (); + void de_uglyfy (); void calc_default (); void to_canonic_form (); void calc_tangent_controls (); Real calc_enclosed_area_f () const; void minimise_enclosed_area (); + Array area_gradient_offset_arr (); Real fit_factor () const; diff --git a/lily/include/item.hh b/lily/include/item.hh index e8ac64c183..c4b3dfbad3 100644 --- a/lily/include/item.hh +++ b/lily/include/item.hh @@ -39,6 +39,10 @@ class Item : public virtual Score_element { void do_break (); void try_visibility_lambda (); +public: + /* + ugh. + */ Drul_array broken_to_drul_; diff --git a/lily/include/lily-guile.hh b/lily/include/lily-guile.hh index 28cf68fa91..8d808ac403 100644 --- a/lily/include/lily-guile.hh +++ b/lily/include/lily-guile.hh @@ -21,7 +21,7 @@ SCM ly_symbol2scm (char const *); String ly_symbol2string (SCM); SCM ly_offset2scm (Offset o); - +Offset ly_scm2offset (SCM s); SCM ly_eval (SCM a); SCM ly_parse_scm (char const* s, int* n); SCM ly_quote_scm (SCM s); diff --git a/lily/include/lily-proto.hh b/lily/include/lily-proto.hh index 52a930409c..af8c468994 100644 --- a/lily/include/lily-proto.hh +++ b/lily/include/lily-proto.hh @@ -18,7 +18,6 @@ struct Adobe_font_metric; struct Align_element; struct All_font_metrics; struct Articulation_req; -struct Atom; struct Audio_column; struct Audio_element; struct Audio_element_info; diff --git a/lily/include/translator.hh b/lily/include/translator.hh index df5f253254..54696d1040 100644 --- a/lily/include/translator.hh +++ b/lily/include/translator.hh @@ -9,7 +9,8 @@ #ifndef TRANSLATOR_HH #define TRANSLATOR_HH - #include + +#include #include "global-ctor.hh" #include "string.hh" #include "lily-proto.hh" diff --git a/lily/include/tuplet-spanner.hh b/lily/include/tuplet-spanner.hh index de429e8954..e201413197 100644 --- a/lily/include/tuplet-spanner.hh +++ b/lily/include/tuplet-spanner.hh @@ -25,7 +25,8 @@ public: void add_column (Note_column*); void add_beam (Beam*); protected: - void calc_position_and_height (Real*,Real*)const; + void calc_dy (Real *) const; + void calc_position_and_height (Real*,Real *dy)const; virtual Molecule* do_brew_molecule_p () const; VIRTUAL_COPY_CONS(Score_element); diff --git a/lily/lily-guile.cc b/lily/lily-guile.cc index 036bd19039..0ed09ec2de 100644 --- a/lily/lily-guile.cc +++ b/lily/lily-guile.cc @@ -91,9 +91,6 @@ ly_parse_scm (char const* s, int* n) return answer; } -/* - scm_m_quote doesn't use any env, but needs one for a good signature in GUILE. -*/ SCM ly_quote_scm (SCM s) { @@ -335,3 +332,10 @@ ly_offset2scm (Offset o) { return gh_cons (gh_double2scm (o[X_AXIS]), gh_double2scm(o[Y_AXIS])); } + +Offset +ly_scm2offset (SCM s) +{ + return Offset (gh_scm2double (gh_car (s)), + gh_scm2double (gh_cdr (s))); +} diff --git a/lily/lookup.cc b/lily/lookup.cc index f074bab26a..28a50a073e 100644 --- a/lily/lookup.cc +++ b/lily/lookup.cc @@ -66,13 +66,13 @@ Lookup::afm_find (String s, bool warn) const return m; } - Atom* at = new Atom (gh_list (ly_symbol2scm ("char"), + SCM at = (gh_list (ly_symbol2scm ("char"), gh_int2scm (cm->code), SCM_UNDEFINED)); - at->fontify (afm_l_); + at= fontify_atom (afm_l_,at); m.dim_ = afm_bbox_to_box (cm->charBBox); - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -182,14 +182,13 @@ Lookup::beam (Real slope, Real width, Real thick) m.dim_[Y_AXIS] = Interval (min_y, max_y); - Atom *at = new Atom - (gh_list (ly_symbol2scm ("beam"), + SCM at = (gh_list (ly_symbol2scm ("beam"), gh_double2scm (width), gh_double2scm (slope), gh_double2scm (thick), SCM_UNDEFINED)); - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -204,13 +203,13 @@ Lookup::dashed_slur (Bezier b, Real thick, Real dash) l = gh_cons (ly_offset2scm (b.control_[i]), l); } - Atom *at = new Atom(gh_list (ly_symbol2scm ("dashed-slur"), + SCM at = (gh_list (ly_symbol2scm ("dashed-slur"), gh_double2scm (thick), gh_double2scm (dash), ly_quote_scm (l), SCM_UNDEFINED)); Molecule m; - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -231,7 +230,7 @@ Lookup::filledbox (Box b ) { Molecule m; - Atom* at = new Atom(gh_list (ly_symbol2scm ("filledbox"), + SCM at = (gh_list (ly_symbol2scm ("filledbox"), gh_double2scm (-b[X_AXIS][LEFT]), gh_double2scm (b[X_AXIS][RIGHT]), gh_double2scm (-b[Y_AXIS][DOWN]), @@ -239,7 +238,7 @@ Lookup::filledbox (Box b ) SCM_UNDEFINED)); m.dim_ = b; - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -364,12 +363,12 @@ Lookup::text (String style, String text, Paper_def *paper_l) m.dim_ = metric_l->text_dimension (text); - Atom *at = new Atom (gh_list (ly_symbol2scm ("text"), + SCM at = (gh_list (ly_symbol2scm ("text"), ly_str02scm (text.ch_C()), SCM_UNDEFINED)); - at->fontify (metric_l); + at = fontify_atom (metric_l,at); - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -393,13 +392,13 @@ Lookup::staff_brace (Real y, int staff_size) nm = ly_scm2string (gh_cdr (l)); nm += to_str (staff_size); SCM e =gh_list (ly_symbol2scm ("char"), gh_int2scm (idx), SCM_UNDEFINED); - Atom *at = new Atom (e); + SCM at = (e); - at->fontify (all_fonts_global_p->find_font (nm)); + at = fontify_atom (all_fonts_global_p->find_font (nm), at); m.dim_[Y_AXIS] = Interval (-y/2,y/2); m.dim_[X_AXIS] = Interval (0,0); - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -434,7 +433,7 @@ Lookup::slur (Bezier curve, Real curvethick, Real linethick) } - Atom *at = new Atom (gh_list (ly_symbol2scm ("bezier-sandwich"), + SCM at = (gh_list (ly_symbol2scm ("bezier-sandwich"), ly_quote_scm (list), gh_double2scm (linethick), SCM_UNDEFINED)); @@ -442,7 +441,7 @@ Lookup::slur (Bezier curve, Real curvethick, Real linethick) Molecule m; m.dim_[X_AXIS] = curve.extent (X_AXIS); m.dim_[Y_AXIS] = curve.extent (Y_AXIS); - m.add_atom (at->self_scm_); + m.add_atom (at); return m; } @@ -450,7 +449,7 @@ Molecule Lookup::staff_bracket (Real height, Paper_def* paper_l) { Molecule m; - Atom *at = new Atom ( gh_list (ly_symbol2scm ("bracket"), + SCM at = ( gh_list (ly_symbol2scm ("bracket"), gh_double2scm (paper_l->get_var("bracket_arch_angle")), gh_double2scm (paper_l->get_var("bracket_arch_width")), gh_double2scm (paper_l->get_var("bracket_arch_height")), @@ -460,7 +459,7 @@ Lookup::staff_bracket (Real height, Paper_def* paper_l) gh_double2scm (paper_l->get_var("bracket_thick")), SCM_UNDEFINED)); - m.add_atom (at->self_scm_); + m.add_atom (at); m.dim_[Y_AXIS] = Interval (-height/2,height/2); m.dim_[X_AXIS] = Interval (0,4 PT); diff --git a/lily/molecule.cc b/lily/molecule.cc index 45fa78b7ec..f447d542d6 100644 --- a/lily/molecule.cc +++ b/lily/molecule.cc @@ -5,6 +5,11 @@ (c) 1997--2000 Han-Wen Nienhuys */ + +/* + ugh. Rewrite not finished yet. Still must copy atom lists. + */ + #include #include "interval.hh" @@ -38,7 +43,7 @@ Molecule::translate (Offset o) for (SCM ptr = gh_cdr (atom_list_); ptr != SCM_EOL; ptr = gh_cdr(ptr)) { - unsmob_atom (gh_car (ptr))->off_ += o; + gh_set_car_x (ptr, translate_atom (o, gh_car (ptr))); } if (!empty_b ()) dim_.translate (o); @@ -54,7 +59,7 @@ Molecule::translate_axis (Real x,Axis a) } for (SCM ptr = gh_cdr (atom_list_); ptr != SCM_EOL; ptr = gh_cdr(ptr)) { - unsmob_atom (gh_car (ptr))->off_[a] += x; + gh_set_car_x (ptr, translate_atom_axis (x, a, gh_car (ptr))); } if (!dim_[a].empty_b ()) @@ -66,8 +71,7 @@ Molecule::add_molecule (Molecule const &m) { for (SCM ptr = gh_cdr (m.atom_list_); ptr != SCM_EOL; ptr = gh_cdr(ptr)) { - Atom *a = new Atom (*unsmob_atom (gh_car (ptr))); - add_atom (a->self_scm_); + add_atom (gh_car (ptr)); } dim_.unite (m.dim_); } @@ -77,8 +81,6 @@ Molecule::add_atom (SCM atomsmob) { gh_set_cdr_x (atom_list_, gh_cons (atomsmob, gh_cdr (atom_list_))); - - scm_unprotect_object (atomsmob); } void @@ -87,9 +89,8 @@ Molecule::operator=(Molecule const & src) if (&src == this) return; - atom_list_ = gh_cons (SCM_EOL,SCM_EOL); + atom_list_ = gh_cons (SCM_EOL,scm_list_copy (gh_cdr (src.atom_list_))); dim_= src.dim_; - add_molecule (src); } void @@ -118,9 +119,8 @@ Molecule::print () const Molecule::Molecule (Molecule const &s) { - atom_list_ = gh_cons (SCM_EOL, SCM_EOL); - set_empty (true); - add_molecule (s); + atom_list_ = gh_cons (SCM_EOL, scm_list_copy (gh_cdr (s.atom_list_))); + dim_ = s.dim_; } Molecule::~Molecule () diff --git a/lily/paper-outputter.cc b/lily/paper-outputter.cc index c8dbed177d..f3863b13bd 100644 --- a/lily/paper-outputter.cc +++ b/lily/paper-outputter.cc @@ -79,17 +79,30 @@ Paper_outputter::output_molecule (Molecule const*m, Offset o, char const *nm) { output_comment (nm); } - + + SCM offset_sym = ly_symbol2scm ("translate-atom"); for (SCM ptr = gh_cdr (m->atom_list_); ptr != SCM_EOL; ptr = gh_cdr (ptr)) { - Atom * i = unsmob_atom (gh_car (ptr)); + SCM func = gh_car (ptr); + SCM funcptr = func; - Offset a_off = i->off_; + Offset a_off (0,0); + while (gh_pair_p (funcptr)) + { + if (gh_car (funcptr) == offset_sym) + { + SCM quot = gh_cadr (funcptr); + a_off += ly_scm2offset (gh_cadr (quot)); + } + funcptr = scm_last_pair (funcptr); + if (funcptr != SCM_EOL ) + { + funcptr = gh_car (funcptr); + } + } + a_off += o; - - if (!i->func_) - continue; - + Axis a = X_AXIS; while (a < NO_AXES) { @@ -107,7 +120,7 @@ Paper_outputter::output_molecule (Molecule const*m, Offset o, char const *nm) = gh_list (ly_symbol2scm ("placebox"), gh_double2scm (a_off[X_AXIS]), gh_double2scm (a_off[Y_AXIS]), - SCM(i->func_), + func, SCM_UNDEFINED); output_scheme (box_scm); @@ -133,21 +146,6 @@ Paper_outputter::output_scheme (SCM scm) } -int -count_cells (SCM s) -{ - if (Atom * a = unsmob_atom (s)) - { - return 2 + count_cells (a->func_); - } - else if (gh_pair_p (s)) - { - return 2 + count_cells (gh_car (s))+ count_cells (gh_cdr (s)); - } - else - return 1; -} - void Paper_outputter::dump_onto (Paper_stream *ps) { diff --git a/lily/paper-score.cc b/lily/paper-score.cc index bb8cd0d474..6bd6e33e05 100644 --- a/lily/paper-score.cc +++ b/lily/paper-score.cc @@ -110,7 +110,6 @@ Paper_score::calc_breaking () void Paper_score::process () { - print (); progress_indication (_ ("Preprocessing elements...") + " "); line_l_->breakable_col_processing (); diff --git a/lily/score-element.cc b/lily/score-element.cc index 39d1d26c70..63a89e500f 100644 --- a/lily/score-element.cc +++ b/lily/score-element.cc @@ -434,7 +434,6 @@ Score_element::handle_broken_dependencies() if (original_l_ && s) return; - if (s) { for (int i = 0; i< s->broken_into_l_arr_ .size (); i++) diff --git a/lily/slur.cc b/lily/slur.cc index 57a01433b3..bc64fd20c4 100644 --- a/lily/slur.cc +++ b/lily/slur.cc @@ -623,3 +623,4 @@ Slur::get_curve () const return curve; } + diff --git a/lily/staff-performer.cc b/lily/staff-performer.cc index a91d2170c4..547163f457 100644 --- a/lily/staff-performer.cc +++ b/lily/staff-performer.cc @@ -101,7 +101,8 @@ Staff_performer::new_instrument_str () if (!gh_string_p(minstr)) minstr = get_property (ly_symbol2scm ("instrument"), 0); - if (ly_scm2string (minstr) == instrument_str_) + if (!gh_string_p (minstr) + || ly_scm2string (minstr) == instrument_str_) return ""; instrument_str_ = ly_scm2string (minstr); diff --git a/lily/tie.cc b/lily/tie.cc index 989861002c..b96a815dfa 100644 --- a/lily/tie.cc +++ b/lily/tie.cc @@ -241,7 +241,7 @@ Tie::get_curve () const Real y0 = c.control_ [0][Y_AXIS]; c.control_[2][Y_AXIS] = c.control_[1][Y_AXIS] = - (c.control_[1][Y_AXIS] - y0) * (newy / y) + y0; + (c.control_[1][Y_AXIS] - y0) * ((newy - y0) / (y - y0)) + y0; } else programming_error ("Tie is nowhere horizontal"); diff --git a/lily/translator-group.cc b/lily/translator-group.cc index f80b2c49de..743f843cb2 100644 --- a/lily/translator-group.cc +++ b/lily/translator-group.cc @@ -260,7 +260,6 @@ Translator_group::ancestor_l (int level) void Translator_group::terminate_translator (Translator*r_l) { - DEBUG_OUT << "Removing " << classname (r_l) << " at " << now_mom () << '\n'; r_l->removal_processing(); Translator * trans_p =remove_translator_p (r_l); diff --git a/lily/tuplet-spanner.cc b/lily/tuplet-spanner.cc index 2a10981813..766b636fe0 100644 --- a/lily/tuplet-spanner.cc +++ b/lily/tuplet-spanner.cc @@ -90,16 +90,16 @@ Tuplet_spanner::do_brew_molecule_p () const { Real gap = paper_l () -> get_var ("tuplet_spanner_gap"); Real height = staff_space; - Atom *at = new Atom (gh_list(ly_symbol2scm ("tuplet"), + SCM at =gh_list(ly_symbol2scm ("tuplet"), gh_double2scm (height), gh_double2scm (gap), gh_double2scm (w), gh_double2scm (dy), gh_double2scm (thick), gh_int2scm (dir), - SCM_UNDEFINED)); + SCM_UNDEFINED); - mol_p->add_atom (at->self_scm_); + mol_p->add_atom (at); } mol_p->translate_axis (dir * staff_space, Y_AXIS); @@ -120,6 +120,8 @@ Tuplet_spanner::do_add_processing () } } + + /* use first -> last note for slope, and then correct for disturbing notes in between. */ @@ -131,8 +133,26 @@ Tuplet_spanner::calc_position_and_height (Real *offset, Real * dy) const Direction d = directional_element (this).get (); - *dy = column_arr.top ()->extent (Y_AXIS) [d] - - column_arr[0]->extent (Y_AXIS) [d]; + + /* + Use outer non-rest columns to determine slope + */ + int l = 0; + while (l rest_b()) + l ++; + + int r = column_arr.size ()- 1; + while (r >= l && column_arr[r]->rest_b()) + r--; + + if (l < r) + { + *dy = column_arr[r]->extent (Y_AXIS) [d] + - column_arr[l]->extent (Y_AXIS) [d]; + } + else + * dy = 0; + *offset = - d * infinity_f; @@ -152,6 +172,21 @@ Tuplet_spanner::calc_position_and_height (Real *offset, Real * dy) const } } +/* + use first -> last note for slope, +*/ +void +Tuplet_spanner::calc_dy (Real * dy) const +{ + Link_array column_arr= + Group_interface__extract_elements (this, (Note_column*)0, "columns"); + + + Direction d = directional_element (this).get (); + *dy = column_arr.top ()->extent (Y_AXIS) [d] + - column_arr[0]->extent (Y_AXIS) [d]; +} + void Tuplet_spanner::do_post_processing () { @@ -174,7 +209,9 @@ Tuplet_spanner::do_post_processing () } Real dy, offset; - calc_position_and_height (&offset, &dy); +calc_position_and_height (&offset,&dy); + // calc_position (&offset, dy); + set_elt_property ("delta-y", gh_double2scm (dy)); translate_axis (offset, Y_AXIS); diff --git a/lily/volta-spanner.cc b/lily/volta-spanner.cc index 72ace70c4f..fba5da4831 100644 --- a/lily/volta-spanner.cc +++ b/lily/volta-spanner.cc @@ -70,7 +70,7 @@ Volta_spanner::do_brew_molecule_p () const Molecule volta; - Atom *at = new Atom(gh_list (ly_symbol2scm ("volta"), + SCM at = (gh_list (ly_symbol2scm ("volta"), gh_double2scm (h), gh_double2scm (w), gh_double2scm (t), @@ -80,7 +80,7 @@ Volta_spanner::do_brew_molecule_p () const volta.dim_[Y_AXIS] = Interval (- h/2, h/2); volta.dim_[X_AXIS] = Interval (0, w); - volta.add_atom (at->self_scm_); + volta.add_atom (at); Molecule num (lookup_l ()->text ("volta", ly_scm2string (get_elt_property("text")), diff --git a/make/mutopia-targets.make b/make/mutopia-targets.make index 35b8afd3be..8fd9880957 100644 --- a/make/mutopia-targets.make +++ b/make/mutopia-targets.make @@ -3,8 +3,8 @@ all: $(OUT_FILES) local-WWW: $(ly_examples) $(fly_examples) $(ps_examples) $(png_examples) - (cd $(outdir); $(PYTHON) ../$(buildscripts)/mutopia-index.py --prefix=../ --suffix=/$(outdir) $(html_subdirs) $(all_examples)) - echo $^ > $(depth)/wwwlist +# (cd $(outdir); $(PYTHON) ../$(buildscripts)/mutopia-index.py --prefix=../ --suffix=/$(outdir) $(html_subdirs) $(all_examples)) +# echo $^ > $(depth)/wwwlist # $(footify) $(outdir)/index.html local-web: diff --git a/make/out/lilypond.lsm b/make/out/lilypond.lsm index 568d4527b9..682abaf587 100644 --- a/make/out/lilypond.lsm +++ b/make/out/lilypond.lsm @@ -1,15 +1,15 @@ Begin3 Title: LilyPond -Version: 1.3.27 -Entered-date: 24FEB00 +Version: 1.3.28 +Entered-date: 01MAR00 Description: Keywords: music notation typesetting midi fonts engraving Author: hanwen@cs.uu.nl (Han-Wen Nienhuys) janneke@gnu.org (Jan Nieuwenhuizen) Maintained-by: hanwen@stack.nl (Han-Wen Nienhuys) Primary-site: sunsite.unc.edu /pub/Linux/apps/sound/convert - 1000k lilypond-1.3.27.tar.gz + 1000k lilypond-1.3.28.tar.gz Original-site: ftp.cs.uu.nl /pub/GNU/LilyPond/development/ - 1000k lilypond-1.3.27.tar.gz + 1000k lilypond-1.3.28.tar.gz Copying-policy: GPL End diff --git a/make/out/lilypond.spec b/make/out/lilypond.spec index 06fa453754..c51ae7c22e 100644 --- a/make/out/lilypond.spec +++ b/make/out/lilypond.spec @@ -1,9 +1,9 @@ Name: lilypond -Version: 1.3.27 +Version: 1.3.28 Release: 1 Copyright: GPL Group: Applications/Publishing -Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.3.27.tar.gz +Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-1.3.28.tar.gz Summary: A program for printing sheet music. URL: http://www.cs.uu.nl/~hanwen/lilypond # get Packager from (undocumented?) ~/.rpmmacros! diff --git a/make/toplevel.make.in b/make/toplevel.make.in index f23ac55661..ed42272d1a 100644 --- a/make/toplevel.make.in +++ b/make/toplevel.make.in @@ -36,6 +36,10 @@ examples: $(MAKE) CONFIGSUFFIX='www' -C input WWW $(MAKE) CONFIGSUFFIX='www' -C mutopia WWW $(footify-all-command) + $(PYTHON) $(buildscripts)/mutopia-index.py -o short-examples.html input/ + $(PYTHON) $(buildscripts)/mutopia-index.py -o long-examples.html mutopia/ + + tar --exclude='*.dvi' --exclude='*.tex' --exclude='*.ps' --exclude='*.ppm' -czf $(outdir)/examples.tar.gz `find input mutopia -type d -name 'out-www' -print` localinstall: diff --git a/mutopia/GNUmakefile b/mutopia/GNUmakefile index a1129ad5ad..3484e938c4 100644 --- a/mutopia/GNUmakefile +++ b/mutopia/GNUmakefile @@ -2,7 +2,7 @@ depth = .. -SUBDIRS = J.S.Bach Coriolan W.A.Mozart F.Schubert D.Zipoli Hymns L.Mozart E.Satie N.W.Gade +SUBDIRS = J.S.Bach Coriolan F.Schubert D.Zipoli Hymns L.Mozart E.Satie N.W.Gade examples= LOCALSTEPMAKE_TEMPLATES=mutopia diff --git a/mutopia/W.A.Mozart/GNUmakefile b/mutopia/W.A.Mozart/GNUmakefile deleted file mode 100644 index bc10564db5..0000000000 --- a/mutopia/W.A.Mozart/GNUmakefile +++ /dev/null @@ -1,11 +0,0 @@ -# mutopia/W.A.Mozart - -depth = ../.. - -examples=# cadenza -SUBDIRS=horn-concerto-3 -LOCALSTEPMAKE_TEMPLATES=mutopia - -include $(depth)/make/stepmake.make - - diff --git a/mutopia/W.A.Mozart/horn-concerto-3/GNUmakefile b/mutopia/W.A.Mozart/horn-concerto-3/GNUmakefile deleted file mode 100644 index 13fb5e529f..0000000000 --- a/mutopia/W.A.Mozart/horn-concerto-3/GNUmakefile +++ /dev/null @@ -1,9 +0,0 @@ -depth = ../../.. - -examples= -SUBDIRS= -LOCALSTEPMAKE_TEMPLATES=mutopia - -include $(depth)/make/stepmake.make - - diff --git a/mutopia/W.A.Mozart/horn-concerto-3/allegro.ly b/mutopia/W.A.Mozart/horn-concerto-3/allegro.ly deleted file mode 100644 index 2352cb524a..0000000000 --- a/mutopia/W.A.Mozart/horn-concerto-3/allegro.ly +++ /dev/null @@ -1,143 +0,0 @@ - - -allegro = - \notes - \relative c' -{ - \time 4/4; - r4 | - R1*4 - c'2^"tutti" g - c, r - R1*1 - r8 [g' g g] [g g e c] - g'4 g, r2 - R1*18 - r2 r4 g'4 | - e'4. () c8 [f (d c )b ] - [b()c] g4 r8 [g-. c-. e-.] - g2. ( [g16-.( f e ))f] - dis4 () e4-- r8 [c8-. c-. c-.] - c4.( [d16 )e] f4 () e - a,() d g,() c - d-. d-. \grace e16( [)d8. c16 d8. e16] - c4 r r2 - R1*3 - c,2 ~ [c8 e( g )c] - [c () b ] b4-. r2 - [c,8 () e g c] [e()g e c] - [c()b] b4-- r2 - c4.() g8 e'4.() c8 - [g'()d ] d4-- r4 d - [d8 () c] c4.( [d16 e] [d8 )c] - [c8(-\trill )b] b4 r2 | - d2( ~ [d8 e16 d] [c8 )b] | - [b()a-.] a4-> r8 [a-. a-. a-.] - a4 cis e g - \grace { \longgrace g16( } - [ fis8 e16 )d] d4-. r2 | - \mark "B"; - R1*3 - r2 r4 [d8 (b ] - [a )g d'( b] [a )g e'( c ] - [b8 )a] a4 r4 [a8-. a-.] - [a( \< b c \!cis\< ] d4 \! )c - [ais8() b] r8 b [b()c] r c - [cis ()d] r4 r2 - g,1 ~ g2 ~ [g8 a16 b] [c()d e c] - f4-. d-. b-. g-. - r1 - \emptyText - c,2\p e4 g c_\cresc e g4. e8 | - d4. [e16 fis] [g () fis e d] [c() b a g] - a1(-\trill \grace{ [g16 a] } - )g4 r r2 - R1*15 - \mark "D"; - bes2-\mf d4 f - g,2~ [g8 g'( es )c]| - bes4( )a4. [c8 d es] - cis4()d r8 [bes (c )d] - es2 () d4 r - es2\p () d4 r - [c8(\mf g' es )c] bes4()c-. - c4.( cis8 )d4 r - R1*2 - es1~es1| - e! - d - c - c, - e' - e, - c'2 [b8( a gis )a] - [gis8 e gis b ] e4 r | - r8 [e, a c] dis4 r - r8 [e, a c] dis4 r - r8 [e, g b] e4 r - r8 [fis, b dis] fis4 r - r8 [gis, b d] f4 r - r8 [g, b d_"rit."] f4 r - \mark "E"; - R1*8 - r2 r8 [g,-. g-. g-.] - e'4.() c8 [f( d c )b] - [b()c] g4 r8 [g c e] | - g2. ( [g16( f e ))f] - dis4()e r8 [c-. c-. c-.] - c4.( [d16 e] f4 )e - a, ( d g, )c - d d [ - \grace { e8( } - d8. c16 d8. e16] - c4 r r2 - \mark "F"; - R1*3 - c,2~[c8( e g )c] - [c8()b] b4 r2 - [c,8()e g c ] [e ()g e c] - [c()b] b4 r2 - c2 (bes )a [a8(b c )cis] - d2( ~ [d8 e16 d] [\grace { \longgrace d16( } )c8 b16 )c] - \grace { \longgrace c16 }[ b8( a16 )g] g4 r2 | - R1*3 - r2 r4 [g'8()e] - \mark "G"; - [d()c g'()e] [d()c a'()f] - [e()d] d4 r [d8 d] - d4(~ [d16 e d )e] [g8() f e d] | - c4 r r2 - r1 - c1 ~ - c | - [c8-. c-.] r c-. [cis()d] r d-. | - [dis()e] r e-. [e()f] r f-. | - g4-. e-. c-. bes-. | - g-.\ff e-. c-. r | - a'2 ~ [a8_"sempre f" b16 c] [d( e d )e]%TODO - - f4. () d8 [f8 ()d f d] - [c (e] )g2 \grace { \longgrace f16( } [)e8( d16 )c] - \grace { \aftergrace [c16 d] } - d1-\trill - c4 r r2 - r1 | - \mark "H"; - \times 2/3 { [ c8 ()b a ] } \times 2/3 { [ g a b] } \times 2/3 { [ c d e] } \times 2/3 { [ f()e d] } | - \times 2/3 { [ c () b a ] } \times 2/3 { [ g a b] } \times 2/3 { [ c d e] } \times 2/3 { [ f()e d] }| - c4 \times 2/3 { r8 [g'()e]} c4 \times 2/3 { r8 [e () c]} | - g4 \times 2/3 { r8 [c8() g] } \times 2/3 { [ e ()g e] } \times 2/3 { [c ()e c] }| - g4 r8 g'\f [a b c d]| - \grace { \aftergrace [c16 d] } - d1(-\trill - )c4 r r2 - R1*3 - \grace{ \aftergrace [c16 d] } - c1-\trill_"Cadenza ad lib." ( - )c4 r r2 - R1*2 - r4 [c8.^"tutti"-\f c16] c4 c - c [c,8. c16] c4 c| - c2 r2 \bar "|."; - -} diff --git a/mutopia/W.A.Mozart/horn-concerto-3/cadenza.ly b/mutopia/W.A.Mozart/horn-concerto-3/cadenza.ly deleted file mode 100644 index 414eb16df2..0000000000 --- a/mutopia/W.A.Mozart/horn-concerto-3/cadenza.ly +++ /dev/null @@ -1,82 +0,0 @@ -\header{ - title = "Konzert Nr. 3 Es dur"; - subtitle = "Cadenza ad lib."; - enteredby = "HWN"; - copyright = "public domain"; - instrument = "Horn in Es"; - - mutopiatitle = "Cadenza for horn concerto no. 3"; - mutopiacomposer = "Anon."; - style = "classical"; - tagline = "\\\\This music is part of the Mutopia project, http://sca.uwaterloo.ca/Mutopia/\\\\It has been typeset and placed in the public domain by Han-Wen Nienhuys.\\\\Unrestricted modification and redistribution is permitted and encouraged - copy this music and share it!"; - maintainer = "hanwen@cs.uu.nl"; - lastupdated = "1999/Oct/16"; - source = "Breitkopf & Haertel + own modifications"; -} - - - -%{ - -This is a cadenza to Mozart 3, as given to me by Arthur Verhofstad -(one of my teachers). The source is unknown - -Lots more can be found in Uijlenspiegel 1998 no. 1, in an article by -Herman Jeurissen. - -%} - -\version "1.3.4"; - - -cad = \notes \relative c' { - \property Score.midiInstrument = "french horn" - \context Staff { - \emptyText - \cadenzaOn - - - \clef "violin"; - c'4.\mf g8 - - - [e'^"accel" () d c b] - [b() c] g-\fermata - \bar "empty"; - c, ~ [c^\turn_"rubato" e g c] - e4. e8 [g () f_"rit" e d] - - dis4() e4 - \bar "" ; - r8 [c16 d] [e f g gis] - - a4-> f,() e g' - f-> d,() cis e' - - d4^\fermata - \bar "" ; - - r8 a [b cis] - \grace { e8( } - [d16 cis d e] - f4 ~ [f16 e d c] - b4-\turn - \times 2/3 { [ d8 c8 a8] } - g2~ - \bar "" ; - [g16 c, e g] [c e, g c] - [e g, c e] g4^\fermata - \bar "" ; - [g8.(_"a tempo" e16 g8. )e16] - a4. g8 [f8 e8 d8 c8] - g2 d'2-\trill - \grace { [c32 d] } - c4 - } } - -\score { - \notes { \cad } -% \midi { \tempo 4 = 90; } - \paper { casting_algorithm = \Wordwrap;} - -} diff --git a/mutopia/W.A.Mozart/horn-concerto-3/horn-concerto-3.ly b/mutopia/W.A.Mozart/horn-concerto-3/horn-concerto-3.ly deleted file mode 100644 index a7c04b8daf..0000000000 --- a/mutopia/W.A.Mozart/horn-concerto-3/horn-concerto-3.ly +++ /dev/null @@ -1,84 +0,0 @@ -\header{ - title = "Konzert Nr. 3 Es dur"; - subtitle = "f\\\"ur Horn und Orchester"; - composer = "Wolfgang Amadeus Mozart (1756-1792)"; - enteredby = "HWN"; - opus = "K.V. 447"; - - copyright = "public domain"; - instrument = "Horn in Es"; - - mutopiatitle = "Horn Concerto 3"; - mutopiacomposer = "W.A.Mozart"; - mutopiaopus = "KV447"; - style = "classical"; - tagline = "\\\\This music is part of the Mutopia project, http://sca.uwaterloo.ca/Mutopia/\\\\It has been typeset and placed in the public domain by Han-Wen Nienhuys.\\\\Unrestricted modification and redistribution is permitted and encouraged - copy this music and share it!"; - maintainer = "hanwen@cs.uu.nl"; - lastupdated = "1999/Oct/16"; - source = "Breitkopf & Haertel + own modifications"; -} - -%%%%%%% This is the main file. - -%{ - -This is the Mozart 3 for horn. It's from an old and fumbled part I -have with lots of unidentified staccato dots, marcato's and dynamic -markings; I left off most of them. - -Some of the marks are mine. Some of them are my teachers'. Some of -them are my teachers' teachers. Some of them are B&H's. Some of them -are Mozart's. - ---hwn - -%} - -longgrace = \property Grace.stemStyle = "" -aftergrace = \property Grace.graceAlignPosition = \right - - -\version "1.3.4"; - -\include "allegro.ly" -\include "romanze.ly" -\include "rondo.ly" - -\paper{ - \translator { \StaffContext \consists Mark_engraver; } - \translator { \ScoreContext - skipBars = ##t - } - linewidth = 180. \mm; -} - -\score -{ - < \allegro - \property Score.midiInstrument = "french horn" - > - \paper{ } - \header { piece = "allegro"; opus = ""; } - \midi{ \tempo 4=90; } -} - -\score -{ - < \romanze - \property Score.midiInstrument = "french horn" - > - \header { piece = "romanze"; opus = ""; } - \midi{ \tempo 4 = 70; } - \paper{} -} -\score -{ - < \rondo - \property Score.midiInstrument = "french horn" - > - \header { piece = "rondo"; opus = ""; } - \paper{ - \translator { \BarNumberingStaffContext } - } - \midi{ \tempo 4 = 100; } -} diff --git a/mutopia/W.A.Mozart/horn-concerto-3/romanze.ly b/mutopia/W.A.Mozart/horn-concerto-3/romanze.ly deleted file mode 100644 index 34906bd5c3..0000000000 --- a/mutopia/W.A.Mozart/horn-concerto-3/romanze.ly +++ /dev/null @@ -1,73 +0,0 @@ - - -romanze = \notes \relative c' { - \key F; - \time 2/2; - \emptyText - c'4.( _\textscript "p. con molto espressione" "italic" ) - f8 a,4 a - [bes8( c d bes] )g4 r8 g - a r bes r c r [d()bes] - a2( [)g8 a( bes )b] - c4. () f8 a,4 a | - [bes8 (c d) bes] g4 r8 c,-. - [c8( e g )bes] [a( c f ) d] - c r e r f r r4 - \mark "A"; - R1*8 - g4. ()f8 [e( d c) bes] - [bes( a d )c] c4 r - R1*2 - g'4.() f8 [e( d c) bes] - [bes (a d ) c] c4 r - r1 - [c16\mf () d c-. d-.] [e () f e-. f-.] [g()e c-. c-.] [f()d b-. b-.] - [c16\p () d c-. d-.] [e () f e-. f-.] [g()e c-. c-.] [f()d b-. b-.] - [c8 \< c, c c] [c c c \! c] %B&H use tremolo. - \mark "B"; - c1\f - R1*9 - f'4.(\p )d8 b4 r8 g - g'4.() e8 c4 r8 cis | - d4(~ [d16 e d )e] [f8 () d f() d] - c2()b4 r - R1*4 - e4. ()g8 c,4 ()cis - [d8( e f )d] b4 r8 g - [c ()e g g] [g( f e )d] - c4( - \grace { e16 } - [d8. )c16] [c8 c--( c-- )c--] - \mark "C"; - des1\sfp - g,1\sfp - c\sfp - c,\sfp - R1*3 - r8 [c-\p c c] c2~ - [c8 c' c c] c2~ - [c8 \< e( g f] [e \!d \> c bes] - \mark "D"; - \! )a4 r r2 - R1*3 - c4.-\p () f8 a,4 a | - [bes8 (c d) bes] g4 r8 c,-. - [c8( e g )bes] [a( c f ) d] - c-. r e-. r f4 r4 - R1*3 - r2 r4 r8 c,8 - [c8( e g )bes] [a( c f ) d] - c-. r e-. r f4 r4 - g,1\pp - c,2~c4. c8 - [c8( e g )bes] [a( c f ) d] - c r e r f4 r4 % -. ? - - r1 - c8-. r e-. r f4 r4 - - % Finish with F if played separately - c8-. ( r c,-. r ) c4 r4| - \bar "|."; -} - diff --git a/mutopia/W.A.Mozart/horn-concerto-3/rondo.ly b/mutopia/W.A.Mozart/horn-concerto-3/rondo.ly deleted file mode 100644 index b8b72b7927..0000000000 --- a/mutopia/W.A.Mozart/horn-concerto-3/rondo.ly +++ /dev/null @@ -1,160 +0,0 @@ - -rondotheme = \notes \relative c' { - [c'8 c c] [c c c] - c4( cis8 )d r g, - [d'8 d d] [d d d] - d4( dis8 )e r c | - [c()d e] [f g a] - [g ()e c] c4 d8 - e4()d8 e4()f8 - e4.()d8 r r | -} - -lipbreaker = \notes \relative c' -{ - r8 [g'-. g-.] [c()e g,-.] - [c()e g,-.] [c()e g,-.] - [c c, c] [c c c] - [c c c] [c c c] -} - -rightsixteenth = { \property Voice.stemLeftBeamCount = 1 - \property Voice.stemRightBeamCount = 2 } -leftsixteenth = { \property Voice.stemLeftBeamCount = 2 - \property Voice.stemRightBeamCount = 1 } -bothsixteenth = { \property Voice.stemLeftBeamCount = 2 - \property Voice.stemRightBeamCount = 2 } - -rondo = \notes \relative c' -{ - \partial 8; - g'8-\p | - \time 6/8; - - \rondotheme - - R2.*13 | - r8 r-\fermata d [d e f] - [g ()e c-.] [d()e d-.] - c4 c8 [d e f] - [g()e c-.] [d()e d-.] - c4 r8 r4 r8 | - R2.*7 - \mark "A"; - c4.\p \grace { e16( } [)d8 c d] - c4 r8 r4 r8 - e4. \grace g16( [)f8 e f] - e4 r8 r4 r8 - g4. e4 c8 - g2.~ - [g8 a b] [c d e ] - e4.()d8 r r - R2.*4 - e2.~ | - [e8 d c] [c b a] - d2.~ - [d8 c b] [b a g] - g'4()e8 b4()cis8 - \mark "B"; - d4 r8 r4 r8 - R2.*3 | - r8 [d-. d-.] [d()g d-.] - [d()g d-.] [d d d] - [d()g] r r4 r8 - R2.*1 - \lipbreaker - c4 r8 [c' d e] - d4()g8 [c, d e] - d4 r8 r4 r8 - R2. | - r4 r8 [c-. d-. e-.] - d4()g8 [c, d e] - [d()g fis] [e d c] - [b () e d] [c b a] - \mark "C"; - g4 r8 r4 r8 - r2. | - % - r8 [g g] [g( )b b] - [b()d d-.] [d()g g-.] - g2.~ - [g8 a g] [f e d] - < \rondotheme - { s8-\p } > - - R2.*12 - r4 r8 r4 c8 - \mark "D"; - c4 f8 c4 a8 - a4.~a4 a8 - bes4 c8 d4 bes8 - g4. ~ g8 r r - R2.*3 - r4 r8 r4 c8 - a4. c - f ~ [f8. \rightsixteenth e16( \bothsixteenth d )c] - bes4 g8 e4 g8 - c4. ~ c8 r r - R2.*3| - r4 r8 r4 c8 - b4()c8 b4()c8 - bes4. ~ bes4 g8 - a4 c8 [f () d b] - d4. () c8 r r - \mark "E"; - R2.*9 | - \lipbreaker - [c8 c' c] c4.~ - [c8 c d] [e e fis] - g4 r8 r4 r8 - r2. - r8 [g, g] [g g g] | - es'4. ~ [es8 d c] - b4 r8 r4 r8 - r2. | - r8 [g g] [g g g] - es'4. ~ [es8 d c] - b4.\cresc c4. d4. e4. - \mark "F"; - f2.\f ~ | - f4 r8 r4 r8 - r8 [g,\> g] [g g g] - [fis g gis] % Edition breitkopf says a-flat (silly!) - [a bes \! b] - < \rondotheme - { s8-\p } > - R2.*7 - \mark "G"; - R2.*4 - c,4.\mf c4 c8 - c4. e4 c8 - g'4. g4 g8 - g4. g,4 g8 - c4 r8 r4 r8 - r4 r8 r4 g'8 - [c ()e g,-.] [c ()e g,-.] - [c ()e g,-.] [c ()e g,-.] - \mark "H"; - g'2._\cresc bes,2. - a4. [b16 c d e f g] - a4. f4 d8 - [c8\f g' e] [c g e] - [\stemup c \stemdown e' c] \stemboth [g e c] - g4 r8 [g''8 e c] - \grace { \aftergrace [c16 d] } - d2.(-\trill - )c4 r8 r4 r8 - R2.*5 - r8 r8-\fermata d8\p [d e f] - [g ()e c] [d()e d] - [c\cresc c c] [d e f] - [g()e c] [d()e d] - c4\f r8 r4 r8 - R2.*5 - [c8\f c, c] [c c c] - c4 r8 c4 r8 - c4 r8 r4 \bar "|."; % B&H do another r8. -} - - - diff --git a/scm/lily.scm b/scm/lily.scm index b6ea62e1df..582c55e24b 100644 --- a/scm/lily.scm +++ b/scm/lily.scm @@ -215,7 +215,12 @@ (map (lambda (x) (font-load-command (car x) (cdr x))) font-name-alist) )) - + +(define (fontify name exp) + (string-append (select-font name) + exp) + ) + ;;;;;;;;;;;;;;;;;;;; @@ -233,7 +238,10 @@ +;;;;;;;;;;;;;;;;;;; generic output +(define (translate-atom offset exp) + exp) ;;;;;;;;;;;;;;;;;;; TeX output diff --git a/scripts/ly2dvi.py b/scripts/ly2dvi.py index 6c27cae35f..a07fef4d7a 100644 --- a/scripts/ly2dvi.py +++ b/scripts/ly2dvi.py @@ -341,7 +341,7 @@ class TeXOutput: this.write(r""" %% \vfill\hfill{\mudelatagline} \makeatletter -\renewcommand{\@oddfoot}{\mudelatagline}% +\renewcommand{\@oddfoot}{\hfil\mudelatagline}% \makeatother \end{document} """)