From: Jan Nieuwenhuizen Date: Thu, 26 Sep 2002 13:02:18 +0000 (+0000) Subject: * Documentation/user/refman.itely: X-Git-Tag: release/1.6.5~5 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=f9204a121a577cc2f5564f81d9ffeca30977e272;p=lilypond.git * Documentation/user/refman.itely: * Documentation/user/tutorial.itely: * Documentation/user/music-glossary.tely: Merge changes. * Documentation/user/glossary.html.in: * Documentation/index.texi: * Documentation/header.html.in: Accomodate renaming of glossary. * Documentation/user/tutorial.itely: Add some glossary references. * Documentation/user/refman.itely: Minor fixes. * Documentation/user/lilypond.tely: Add glossary do direntry. * Documentation/user/music-glossary.tely: Rename (previously: glossary.tely). Fix anchor placement. * Documentation/user/GNUmakefile: Make music-glossary.info too. --- diff --git a/ChangeLog b/ChangeLog index ed0c9ea142..eaf0152443 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,3 +1,24 @@ +2002-09-26 Jan Nieuwenhuizen + + * Documentation/user/refman.itely: + * Documentation/user/tutorial.itely: + * Documentation/user/music-glossary.tely: Merge changes. + + * Documentation/user/glossary.html.in: + * Documentation/index.texi: + * Documentation/header.html.in: Accomodate renaming of glossary. + + * Documentation/user/tutorial.itely: Add some glossary references. + + * Documentation/user/refman.itely: Minor fixes. + + * Documentation/user/lilypond.tely: Add glossary do direntry. + + * Documentation/user/music-glossary.tely: Rename (previously: + glossary.tely). Fix anchor placement. + + * Documentation/user/GNUmakefile: Make music-glossary.info too. + 2002-09-23 Werner Lemberg * scripts/lilypond-book.py (output_dict): Fix handling of diff --git a/Documentation/header.html.in b/Documentation/header.html.in index ed3939660c..5dbb7421d8 100644 --- a/Documentation/header.html.in +++ b/Documentation/header.html.in @@ -59,7 +59,7 @@ which substitutes some @AT_VARIABLES@ as well. Tutorial
Manual
- Glossary
+ Glossary
Index

 diff --git a/Documentation/index.texi b/Documentation/index.texi index 196d2968bf..327635afbf 100644 --- a/Documentation/index.texi +++ b/Documentation/index.texi @@ -86,12 +86,11 @@ The user @uref{../user/out-www/lilypond.html, manual in one big page}, for easy searching, or look it up in the @uref{../user/out-www/lilypond/Index.html,index}. -@c glossary maybe for new users? @item - A @uref{../user/out-www/glossary.html,glossary} of musical + A @uref{../user/out-www/music-glossary.html,glossary} of musical terms, including translations. (also in -@uref{../user/out-www/glossary.ps.gz,PostScript} and -@uref{../user/out-www/glossary.pdf,PDF}). Read this if you're not +@uref{../user/out-www/music-glossary.ps.gz,PostScript} and +@uref{../user/out-www/music-glossary.pdf,PDF}). Read this if you're not familiar with English terms for notation. @item Documentation of diff --git a/Documentation/user/GNUmakefile b/Documentation/user/GNUmakefile index a3f909f13a..b401365d15 100644 --- a/Documentation/user/GNUmakefile +++ b/Documentation/user/GNUmakefile @@ -17,17 +17,13 @@ PDF_FILES = $(DVI_FILES:.dvi=.pdf) PS_GZ_FILES= $(addsuffix .gz, $(PS_FILES)) -INFO_FILES = $(addprefix $(outdir)/, lilypond.info lilypond-internals.info) +INFO_DOCS = lilypond lilypond-internals music-glossary +INFO_FILES = $(INFO_DOCS:%=$(outdir)/%.info) STEPMAKE_TEMPLATES=tex texinfo documentation LOCALSTEPMAKE_TEMPLATES=lilypond ly LILYPOND_BOOK_FLAGS=--extra-options '-e "(ly-set-option (quote internal-type-checking) \#t)"' -# Hmm, what about? -# local-dist: check-info - -info: # check-info # -> reinstate when actively hacking doco. - include $(depth)/make/stepmake.make # Ugh,ugh. diff --git a/Documentation/user/glossary.html.in b/Documentation/user/glossary.html.in new file mode 100644 index 0000000000..d0c91633f1 --- /dev/null +++ b/Documentation/user/glossary.html.in @@ -0,0 +1,9 @@ + + + + +

Music glossary has moved

+ +The new location is: music-glossary.html. + +

Please update your links. Sorry for the inconvenience. \ No newline at end of file diff --git a/Documentation/user/glossary.tely b/Documentation/user/glossary.tely deleted file mode 100644 index 62d9adae9b..0000000000 --- a/Documentation/user/glossary.tely +++ /dev/null @@ -1,4191 +0,0 @@ -\input texinfo @c -*-texinfo-*- -@settitle Music Glossary -@setfilename glosssary.info - -@html - -@end html - -@ifhtml -This document is also available in @uref{glossary.ps.gz,gzipped -PostScript} and @uref{glossary.pdf,PDF}. -@end ifhtml - -@titlepage -@title Music Glossary -@author Christian Mondrup -@author spanish by David Gonz@'alez -@c License PD, BSD-ish, GNU GPL, GNU FDL? - -Copyright @copyright{} 1999--2002 by the authors -@end titlepage - -@ifnottex -@node Top -@top -@chapter Music Glossary -@menu -@end menu -@end ifnottex - -@ifnottex -Christian Mondrup -@* -spanish by Davi Gonz@'alez -@* -Copyright 1999-2002 by the authors - -@c License PD, BSD-ish, GNU GPL, GNU FDL? - -@* - -@* - -@end ifnottex - -@c @pagesizes 10.3in -@c @everyheading @| @thispage @| -@c @evenheading @thispage @| @| -@c @oddheading @| @| @thispage @| - -@macro ar{} -@iftex -@tex $\\Rightarrow$ @end tex@c -@end iftex -@ifhtml ---> -@end ifhtml -@ifinfo ---> -@end ifinfo -@end macro - -@ignore -We don't use refs for Info: - - @w{@ar{}\word\}@c vs: - @w{@ar{}@pxref{\word\}}@c - -they look too intrusive (says Han-Wen). -@end ignore - -@c arrowref -@macro aref{word} -@iftex -@w{@ar{}@strong{\word\}}@c -@end iftex -@ifhtml -@ar{}@ref{\word\, @strong{\word\}}@c -@end ifhtml -@ifinfo -@w{@ar{}\word\}@c -@end ifinfo -@end macro - - -@c If we want hypelinks, we must add anchors. -@c anchoritem -@macro aitem{word} -@anchor{\word\}@item \word\ -@end macro - - -@itemize -@item ES - Spanish -@item I - Italian -@item F - French -@item D - German -@item NL - Dutch -@item UK - British English -@item DK - Danish -@item S - Swedish -@item N - Norwegian -@end itemize - -This is an example reference, that points you to the @aref{accent} -entry. - - -@table @strong - -@aitem{A} -ES: la, -I: la, -F: la, -D: A, a, -NL: a, -DK: a, -S: a, -N: a. - -@aitem{accent} -ES: acento, -I: accento, -F: accent, -D: Akzent, -NL: accent, -DK: accent, -S: accent, -N: ?. - -The stress of one tone over others. - -@c F: how to distinguish between accidental and key-sig alteration? - -@aitem{accidental} -ES: alteraci@'on, -I: alterazione, accidente, -F: alt@'eration -D: Vorzeichen, Versetzungszeichen, -NL: voorteken, -DK: l@o{}st fortegn, -S: tillf@"alligt 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 @aref{semitone}, a double sharp raises it -by a @aref{whole tone}, a flat lowers it by a semitone and a double -flat lowers it by a whole tone. A natural cancels the effect of a previous -accidental. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\addlyrics -\context Staff \notes\relative c'' { - gis1 s s gisis s s ges s s geses s s g! -} -\context Lyrics \lyrics { - \property Lyrics . LyricText \override #'alignment = #-1 - "sharp " "db. sharp " "flat " "db. flat " natural -} -@end lilypond - -@aitem{accelerando} -ES: acelerando, -I: accelerando, -F: accelerando, en acc@'el@'erant, -D: accelerando, schneller werden, -NL: accelerando, -DK: accelerando, -S: accelerando, -N: ?. - -Increase tempo. - -@aitem{adagio} -ES: adagio, -I: adagio, -F: adagio, lent, -D: Adagio, Langsam, -NL: adagio, -DK: adagio, -S: adagio, -N: adagio. - -It. comfortable, easy. -1. Slow tempo, slower -- especially in even meter -- than -@aref{andante} and faster than @aref{largo}. -2. A movement in slow tempo, especially the second (slow) movement of -@aref{sonata}s, symphonies, etc. - -@aitem{allegro} -ES: allegro, -I: allegro, -F: allegro, -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 @aref{sonata}. - -@aitem{alto} -ES: alto, -I: contralto, -F: alto, D: Alt, -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 of -the female voice. This type of voice is also known as @aref{counter -tenor}. - -@aitem{alto clef} -ES: clave de do en tercera, -I: chiave di contralto, -F: clef d'ut troisi@`eme ligne, -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 -@aref{C clef}. - -@aitem{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: ?. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c'' { -a1 b c d e f g a } -@end lilypond - -@aitem{andante} -ES: andante, -I: andante, -F: andante, -D: Andante, Gehend, -NL: andante, -DK: andante, -S: andante, -N: andante. - -Walking tempo/character. - -@aitem{appoggiatura} -ES: apoyatura, -I: appoggiatura, -F: appogiature, (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 19th century a. were usually -performed on the beat, after that mostly before the beat. While the short -a. is performed as a short note regardless of the duration of the main note -the duration of the long a. is proportional to that of the main note. - -@lilypond[13pt] -\context Voice \notes\relative c'' { -\key d \major -\time 4/4 - -\property Score.TextScript \set #'font-style = #'large - r -{ \property Voice.Stem \override #'flag-style = #"" - \grace g16 - \property Voice.Stem \revert #'flag-style - } -fis8 e16 fis -{ \property Voice.Stem \override #'flag-style = #"" - \grace a16 - \property Voice.Stem \revert #'flag-style - } -g8 fis16 g | -\cadenzaOn a4 \bar "||" \cadenzaOff } -\notes\relative c'' { - r g16 () fis e fis a () g fis g | -\cadenzaOn a4 \bar "||" \cadenzaOff } -@end lilypond - -An appoggiatura may have more notes preceding the main note. - -@lilypond[13pt] -\notes\relative c'' { - \key as \major - \time 2/4 - \property Score.TextScript \set #'font-style = #'large - \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\tieUp as32 bes c8. as32 bes c8. } - \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } > - \bar "||" -} -@end lilypond - -@aitem{arpeggio} -ES: arpegio, -I: arpeggio, -F: arp@`ege, -D: Arpeggio, Akkordbrechungen, gebrochener Akkord, -NL: gebroken akoord, -DK: arpeggio, akkordbrydning, -S: arpeggio, -N: ?. - -@lilypond[13pt] -\notes \context PianoStaff < - \context Staff = SA \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 "||" } - \context Staff = SB \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 lilypond - -@aitem{ascending interval} -ES: Intervalo ascendente, -I: intervallo ascendente, -F: intervalle ascendant, -D: steigendes Intervall, -NL: stijgend interval, -DK:@w{ }stigende interval, -S: stigande intervall, -N: ?. - -A distance between a starting lower note and a higher ending note. - -@aitem{augmented interval} -ES: intervalo aumentado, -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: ?. - -@aref{interval}. - -@aitem{autograph } -I: autografo, -F: manuscrit, -D: Autograph, Handschrift, -NL: manuscript, -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. - -@aitem{B} -ES: si, -I: si, -F: si, -D: H, h, -NL: b, -DK: h, -S: h, -N: h. - -@aitem{backfall; forefall} -@anchor{backfall} -@aref{appoggiatura}. - -@aitem{bar line} -ES: ?, -I: stanghetta, barra (di divisione), -F: barre (de mesure), -D: Taktstrich, -NL: maatstreep, -DK: taktstreg, -S: taktstreck, -N: ?. - -@aitem{bar} -ES: comp@'as, @aref{measure}. - -@aitem{baritone} -ES: bar@'{@dotless{i}}tono, -I: baritono, -F: bariton, -D: Bariton, -NL: bariton, -DK: baryton, -S: baryton, -N: baryton. - -The male voice intermediate between the @aref{bass} and the -@aref{tenor}. - -@c F: clef de troisi@`eme ligne dropped - -@aitem{baritone clef} -ES: clave de fa en tercera, -I: chiave di baritono, -F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, -D: Baritonschl@"ussel, -NL: baritonsleutel, -DK: barytonn@o{}gle, -S: barytonklav, -N: ?. - -C or F clef setting central C on the upper staff line. -@aref{C clef}, @aref{F clef}. - -@aitem{bass clef} -ES: clave de fa en cuarta, -I: chiave di basso, -F: cl@'e de fa quatri@`eme ligne, -D: Bassschl@"ussel, -NL: bassleutel, -DK: basn@o{}gle, -S: basklav, -N: ?. - -A clef setting with central C on the first top ledger line. -@aref{F clef}. - -@aitem{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. -@aref{strings}. - -@aitem{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. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'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 lilypond - -@aitem{beat} -ES: tiempo, -I: tempi, -F: temps, -D: Takt, 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. - -@lilypond[13pt] -\key g \major -\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 lilypond - -@aitem{bind} -@aref{tie}. - -@aitem{brace} -ES: llave, corchete, -I: graffa, -F: accolade, -D: Klammer, Akkolade, -NL: accolade, teksthaak, -DK: klamme, -S: klammer, -N: ?. - -Symbol at the start of a system connecting staves. Curly braces are used -for connecting piano staves, angular brackets for connecting parts in an -orchestral or choral score. - -@lilypond[13pt] -\notes\context GrandStaff < - \relative c''\context Staff = SA { \clef treble g4 e c2 } - \relative c \context Staff = SB { \clef bass c1 \bar "|." } > -@end lilypond - -@lilypond[13pt] -\context StaffGroup < -% \property StaffGroup.minVerticalAlign = #12 - \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 } - \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } > -@end lilypond - -@aitem{brass} -ES: metales, -I: ottoni, -D: Blechbl@"aser, -NL: koper (blazers), -F: cuivres, -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. - -@aitem{breath mark} -I: respiro, -F: respiration, -D: Atemzeichen, Trennungszeichen, -NL: repercussieteken, -DK: vejrtr@ae{}kningstegn, -S: andningstecken, -N: ?. - -Indication of where to breathe in vocal and wind instrument parts. - -@aitem{breve} -ES: breve, -I: breve, -F: br@`eve, -D: Brevis, -NL: brevis, -DK: brevis, -S: brevis, -N: ?. - -@aref{note value} twice as long as a whole note. Mainly used -in pre-1650 music. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c'' { g\breve } -@end lilypond - -@aitem{C} -ES: do, -I: do, -F: ut, -D: C, c, -NL: c, -DK: c, -S: c, -N: c. - -@aitem{C clef} -ES: Clave de do, -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. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.Clef \override #'full-size-change = ##t -\property Score.LyricText \set #'font-style = #'large -\addlyrics -\context Staff \notes\relative c' { - \clef soprano c1 s s - \clef mezzosoprano c s s - \clef alto c s s - \clef tenor c s s - \clef baritone c s s -} -\context Lyrics \lyrics { - \property Lyrics . LyricText \override #'alignment = #-1 - "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone -} -@end lilypond - -@aitem{cadence} -ES: cadencia, -I: cadenza, -F: cadence, -D: Kadenz, -NL: cadens, -DK: kadence, -S: kadens, -N: ?. - -@aref{harmonic cadence}, @aref{functional harmony}. - -@aitem{cadenza} -ES: cadenza, -I: cadenza, -F: cadence, -D: Kadenz, -NL: cadens, -DK: kadence, -S: kadens, -N: ?. - -An extended, improvisatory style section inserted near the end of -movement. The purpose of a cadenza 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 19th century, however, most cadences have been written down -by the composer. - -@aitem{canon} -ES: canon, -I: canone, -F: canon, -D: Kanon, -NL: canon, -DK: kanon, -S: kanon, -N: ?. - -@aref{counterpoint}. - -@aitem{cent} -ES: cent, -I: cent, -F: cent, -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 @aref{semitone}). -@aref{equal temperament}. - -@aitem{central C} -@aref{middle C}. - -@aitem{chord} -ES: acorde, -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@w{ }thirds. @emph{Major} (major + -minor @aref{third}) as well as @emph{minor} (minor + major third) -chords may be extended with more thirds. Four-tone @emph{seventh chords} -and five-tone @emph{ninth} major chords are most often used as dominants -(@aref{functional harmony}). A special case is chords having no -third above the lower notes to define their quality as major or minor. Such -chords are denoted open chords - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\addlyrics -\context Staff \notes\relative c'' { - s s - s s - s s - s s - s s - s s -} -\context Lyrics \lyrics{ - \property Lyrics . LyricText \override #'alignment = #-1 - "major " "minor " "diminished " "augmented " - "seventh-chord " "ninth-chord " -} -@end lilypond - -@aitem{chromatic scale} -ES: escala crom@'atica, -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 @aref{semitone}s. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c' { c1 cis d dis e f fis g gis a ais b c } -@end lilypond - -@aitem{chromaticism} -ES: cromatismo, -I: cromatismo, -F: chromatisme, -D: Chromatik, -NL: chromatiek, -DK: kromatik, -S: kromatik, -N: ?. - -Use of tones extraneous to a @aref{diatonic scale} (minor, major). - -@aitem{church mode; ecclesiastical mode} -@anchor{church mode}@anchor{ecclesiastical mode} -ES: modo eclesi@'astico, -I: modo ecclesiastico, -F: mode eccl@'esiastique, -D: Kirchentonart, -NL: kerktoonladder, -DK: kirketoneart, -S: kyrkotonart, -N: ?. - -@aref{diatonic scale}. - -@aitem{clef} -ES: clave, -I: chiave, -F: cl@'e, clef, -D: Schl@"ussel, Notenschl@"ussel, -NL: sleutel, -DK: n@o{}gle, -S: klav, -N: ?. - -@aref{C clef}, @aref{F clef}, @aref{G clef}. - -@aitem{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. @aref{temperament}. - -@aitem{common meter} -@aref{meter}. - -@aitem{compound interval} -ES: intervalo compuesto, -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. - -@aref{interval}. - -@aitem{complement} -I: rivolto, -F: intervalle compl@'ementaire, -D: Komplement@"arintervall, -NL: complementair interval, -DK: komplement@ae{}rinterval, -S: komplement@"arintervall (?), -N: ?. - -@aref{inverted interval}. - -@aitem{conjunct movement} -ES: movimiento conjunto, -I: moto congiunto, -F: mouvement conjoint, -D: schrittweise, stufenweise Bewegung, -NL: ?, -DK: trinvis bev@ae{}gelse, -S: stegvis r@"orelse, -N: ?. - -Melody moving in the narrow steps of the scale. - -@lilypond[13pt] -\key g \major \time 4/4 -\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } -@end lilypond - -@aitem{consonance} -ES: consonancia, -I: consonanza, -F: consonance, -D: Konsonanz, -NL: consonant, -DK: konsonans, -S: konsonans, -N: ?. - -@aref{harmony}. - -@aitem{contralto} -ES: contralto, -I: contralto, -F: contralto, -D: Alt, -NL: contralto, -DK: alt, -S: alt, -N: ?. - -@aref{alto}. - -@aitem{counterpoint} -ES: contrapunto, -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 contrapunctal technique used in the @emph{fugue} which, since the -music of the baroque era, has been one of the most popular polyphonic -composition methods. - -@lilypond[11pt,noquote] -\property Score.TimeSignature \override #'style = #'() -\notes\context PianoStaff < - \context Staff = SA \relative c' { - \key bes \major - \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 - } - > - } - \context Staff = SB \relative c' { - \clef bass - \key bes \major - < \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 lilypond - -@aitem{counter tenor} -ES: contratenor, -I: controtenore, -F: contre-tenor, -D: Countertenor, -NL: contratenor, -DK: kontratenor, -S: kontratenor, counter tenor, -N: kontratenor. - -@aref{contralto}. - -@aitem{Copying, Music} -A music copyist did fast freehand scores and parts on preprinted staff lines -for performance. Some of their conventions (e.g., the placement of 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. - -@aitem{crescendo} -ES: crescendo, -I: crescendo, -F: crescendo, -D: Crescendo, lauter werden, -NL: crescendo, -DK: crescendo, -S: crescendo, -N: crescendo. - -Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation ``cresc.''. - -@lilypond[13pt] -\key g \major \time 4/4 -\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." } -@end lilypond - -@aitem{cue-notes} -ES: notas guia, -I: notine, -F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique, -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. - -@aitem{D} -ES: Re, -I: re, -F: r@'e, -D: D, d, -NL: d, -DK: d, -S: d, -N: d. - -@aitem{da capo} -ES: da capo, -I: da capo, -F: da capo, depuis le commencement, -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 as ``D.C.''. - -@aitem{dal segno} -ES: dal segno, -I: dal segno, -F: dal segno, depuis le signe, -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: - -@lilypond[13pt] -\property Voice.TextScript \set #'font-style = #'large -\property Voice.TextScript \set #'font-shape = #'italic -\key g \major \time 4/4 -\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." } -@end lilypond - -@aitem{decrescendo} -ES: decrescendo, -I: decrescendo, -D: Decrescendo, leiser werden, -NL: decrescendo, -DK: decrescendo, -S: decrescendo, -N: decrescendo. - -Decreasing tone volume. Indicated by a leftwards opening horizontal wedge -or the abbreviation ``decresc.''. - -@lilypond[13pt] -\notes\relative c'' { - \key g \major \time 4/4 - d4 \> c b a | \! g1 \bar "|." -} -@end lilypond - -@aitem{descending interval} -ES: intervalo descendente, -I: intervallo discendente, -F: intervalle descendant, -D: fallendes Intervall, absteigendes Intervall, -NL: dalend interval, -DK: faldende interval, -S: fallande intervall, -N: ?. - -A distance between a starting higher note and a lower ending note. - -@aitem{diatonic scale} -ES: escala diat@'onica, -I: scala diatonica, -F: gamme diatonique, -D: diatonische Tonleiter, -NL: diatonische toonladder, -DK: diatonisk skala, -S: diatonisk skala, -N: ?. - -A scale consisting of 5@w{ }@aref{whole tone}s and -2@w{ }@aref{semitone}s (S). Scales played on the white keys -of a piano keybord are diatonic. - -The church modes are used in gregorial chant and pre baroque early music but -also to some extent in newer jazz music. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \context Staff \notes\relative c' { - c1 d - \property Voice.TextScript \set #'padding = #-4 - e^"~~ S" f g a b^"~~ S" c - } - \context Lyrics \lyrics { - Ionian - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \context Staff \notes\relative c' { - d1 - \property Voice.TextScript \set #'padding = #-4 - e^"~~ S" f g a b^"~~ S" c d - } - \context Lyrics \lyrics { - Dorian - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c' { - \property Voice.TextScript \set #'padding = #-4 - e1^"~~ S" f g a b^"~~ S" c d e - } - \context Lyrics \lyrics { - Phrygian - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c' { - f1 g a - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e^"~~ S" f - } - \context Lyrics \lyrics { - Lydian - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c'' { - g1 a - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e^"~~ S" f g } - \context Lyrics \lyrics { - Mixolydian - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c'' { - a1 - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e^"~~ S" f g a - } - \context Lyrics \lyrics { - Aeolian - } -@end lilypond - -From the beginning of the 17th century the scales used in European -compositional music are primarily the major and the minor scales. In the -harmonic minor scale type an augmented second (A) occurs between the 6th and -7th tone. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c' { - c1 d - \property Voice.TextScript \set #'padding = #-4 - e^"~~ S" f g a b^"~~ S" c - } - \context Lyrics \lyrics { - Major - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c'' { - a1 - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e^"~~ S" f g a - } - \context Lyrics \lyrics { - "ancient minor" - } -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c'' { - a1 - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a - } - \context Lyrics \lyrics { - "Harmonic minor" - } -@end lilypond - -@lilypond[13pt,notime,linewidth=110mm] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics - \notes\relative c'' { - a1 - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e fis gis^"~~ S" - a g! f!^"~~ S" e d c^"~~ S" b a - } - \context Lyrics \lyrics { - "Melodic minor" - } -@end lilypond - -@aitem{diminished interval} -ES: intervalo disminu@'{@dotless{i}}do, -I: intervallo diminuito, -F: intervalle diminu@'e, -D: vermindertes Intervall, -NL: verminderd interval, -DK: formindsket interval, -S: f@"orminskat intervall, -N: ?. - -@aref{interval}. - -@aitem{diminuendo} -ES: diminuendo, -I: diminuendo, -F: diminuendo, -D: Diminuendo, -NL: diminuendo, -DK: diminuendo, -S: diminuendo, -N: diminuendo. - -@aref{decrescendo}. - -@aitem{disjunct movement} -ES: movimiendo disjunto, -I: moto disgiunto, -F: mouvement disjoint, -D: sprunghafte Bewegung, -NL: ?, -DK: springende bev@ae{}gelse, -S: hoppande r@"orelse, -N: ?. - -Melody moving in steps greater than those of the -scale. Opposite of @aref{conjunct movement}. - -@lilypond[13pt] -\key a \major -\time 4/4 -\notes\relative c' { - \partial 8 e8 | - a4. gis8 b a e cis | - fis2 d4. \bar "||" } -@end lilypond - -@aitem{dissonant interval; dissonance} -@anchor{dissonant interval}@anchor{dissonance} -ES: intervalo disonante, disonancias, -I: intervallo dissonante, dissonanza, -F: dissonance, -D: Dissonanz, -NL: dissonant interval; dissonant, -DK: dissonerende interval, dissonans, -S: dissonans, -N: ?. - -@aref{harmony}. - -@aitem{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: ?. - -@aref{chord}, @aref{functional harmony}. - -@aitem{dominant seventh chord} -ES: acorde de s@'eptima de dominante, -I: accordo di settima di dominante, -F: accord de septi@`eme dominante, -D: Dominantseptakkord, -NL: dominant septiem akkoord, -DK: dominantseptimakkord, -S: dominantseptimackord, -N: ? - -@aref{chord}, @aref{functional harmony}. - -@aitem{dominant} -ES: dominante, -I: dominante, -F: dominante, -D: Dominante, -NL: dominant, -DK: dominant, -S: dominant, -N: ?. - -The fifth @aref{scale degree}, -@aref{functional harmony}. - -@aitem{dorian mode} -ES: modo d@'orico, -I: modo dorico, -F: mode dorien, -D: dorisch, dorischer Kirchenton, -NL: dorische toonladder, -DK: dorisk skala, -S: dorisk tonart, -N: ?. - -@aref{diatonic scale}. - -@aitem{dot (augmentation dot)} -ES: puntillo, -I: punto (di valore), -F: point, -D: Punkt (Verl@"angerungspunkt), -NL: punt, -DK: punkt, -S: punkt, -N: ?. - -@aref{dotted note}. - -@aitem{dotted note} -ES: nota con puntillo, -I: nota puntata, -F: note point@'ee, -D: punktierte Note, -NL: gepuncteerde noot, -DK: punkteret node, -S: punkterad not, -N: ?. - -@aref{note value}. - -@aitem{double appoggiatura} -ES: apoyatura doble, -I: appoggiatura doppia, -F: appoggiature double, -D: doppelter Vorschlag, -NL: dubbele voorslag, -DK: dobbelt forslag, -S: dubbelslag, -N: ?. - -@aref{appoggiatura}. - -@aitem{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. - -@aitem{double dotted note} -ES: nota con dos puntillos, -I: nota doppiamente puntata, -F: note doublement point@'ee, -D: doppelt punktierte Note, -NL: dubbelgepuncteerde noot, -DK: dob@-belt@-punk@-te@-ret node, -S: dub@-bel@-punk@-te@-rad not, -N: ?. - -@aref{note value}. - -@aitem{double flat} -ES: doble bemol, -I: doppio bemolle, -F: double b@'emol, -D: Doppel-B, -NL: dubbelmol, -DK: dob@-belt-b, -S: dubbelbe, -N: ?. - -@aref{accidental}. - -@aitem{double sharp} -ES: doble sostenido, -I: doppio diesis, -F: double di@`ese, -D: Doppelkreuz, -NL: dubbelkruis, -DK: dob@-belt@-kryds, -S: dubbelkors, -N: ?. - -@aref{accidental}. - -@aitem{double trill} -ES: trino doble, -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. - -@aitem{duple meter} -ES: tiempo binario, -I: tempo binario, -F: temps binaire, -D: in zwei, -NL: tweedelige maatsoort, -DK: todelt takt, -S: tv@aa{}takt, -N: ?. - -@aref{meter}. - -@aitem{duplet} -ES: dosillo, -I: duina, -F: duolet, -D: Duole, -NL: duool, -DK: duol, -S: duol, -N: ?. - -@aref{note value}. - -@aitem{duration} -ES: duraci@'on, -I: durata, -F: dur@'ee, -D: Dauer, L@"ange, -NL: duur, lengte, -DK: varighed, -S: tonl@"angd, -N: ?. - -@aref{note value}. - -@aitem{dydimic comma} -@aref{syntonic comma}. - -@aitem{E} -ES: mi, -I: mi, -F: mi, -D: E, e, -NL: e, -DK: e, -S: e, -N: e. - -@aitem{eighth note} -ES: corchea, -I: croma, -F: croche, -UK: quaver, -D: Achtel, Achtelnote, -NL: achtste noot, -DK: ottendedelsnode, -S: @aa{}ttondelsnot, -N: ?. - -@aref{note value}. - -@aitem{eighth rest} -ES: silencio de corchea, -I: pausa di croma, -F: demi-soupir, -UK: quaver rest, -D: Achtelpause, -NL: achtste rust, -DK: ottendedelspause, -S: @aa{}ttonddelspaus, -N: ?. - -@aref{note value}. - -@aitem{engraving} -ES: Grabar -I: incisione, -F: gravure, -D: Notenstechen, Notendruck -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. - -@aitem{enharmonic} -ES: enharm@'onico, -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. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\addlyrics -\context Staff \notes\relative c'' { - gis1 s s as s s s s s s -} -\context Lyrics \lyrics { - \property Lyrics . LyricText \override #'alignment = #-1 - "g sharp " "a flat " "dim fifth " "augm fourth" -} -@end lilypond - -@aitem{equal temperament} -ES: ?, -I: temperamento equabile, -F: temp@'erament @'egal, -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 @aref{semitone}s -(precisely 100 @aref{cent}s). @aref{temperament}. - -@aitem{expression mark} -ES: ?, -I: segno d'espressione, -F: signe d'expression, indication de nuance, -D: Vortragszeichen, -NL: voordrachtsteken, -DK: foredragsbetegnelse, -S: f@"oredragsbeteckning, -N: ?. - -Performance indications concerning 1. volume, dynamics (for example -@aref{forte}, @aref{crescendo}), 2. tempo (for example -@aref{andante}, @aref{allegro}). - -@aitem{F} -ES: fa, -I: fa, -F: fa, -D: F, f, -NL: f, -DK: f, -S: f, -N: f. - -@aitem{F clef} -ES: Clave de Fa, -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@w{ }C. Used on the third, fourth and fifth note line. A -digit@w{ }8 above the clef symbol indicates that the notes must be played -an octave higher (for example bass recorder) while 8@w{ }below the clef -symbol indicates playing an octave lower (for example on double bass -@aref{strings}). - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Staff.Clef \override #'full-size-change = ##t -\property Score.LyricText \set #'font-style = #'large -\addlyrics -\notes\relative c { - \clef varbaritone - f1 - \clef bass - f1 - \clef subbass - f1 - \clef "F^8" - f1 - \clef "F_8" - f1 -} -\context Lyrics \lyrics { - \property Lyrics . LyricText \override #'alignment = #-1 - "baritone " - "bass " - "sub-bass " - "octaved up " - "octaved down" -} -@end lilypond - -@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. - -@aitem{fermata} -ES: Calder@'on, -I: corona, -F: point d'orgue, point d'arr@^et, -D: Fermate, -NL: fermate, -DK: fermat, -S: fermat, -N: ?. - -Prolonged note or rest of indefinite duration. - -@lilypond[13pt] -\time 4/4 -\notes\relative c'' { - a4 b c2^\fermata \bar "|." -} -@end lilypond - -@aitem{fifth} -ES: quinta, -I: quinta, -F: quinte, -D: Quinte, -NL: kwint, -DK: kvint, -S: kvint, -N: kvint. - -@aref{interval}. - -@aitem{figured bass} -ES: bajo cifrado, @aref{thorough bass}. - -@aitem{fingering} -ES: digitaci@'on, -I: diteggiatura, -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. - -@aitem{flag; pennant} -@anchor{flag}@anchor{pennant} -ES: corchete, -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 -@aref{note value}. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\notes\relative c'' { - g8_"1/8" s8 - g16_"1/16" s8 - g32_"1/32" s8 - g64_"1/64" s8 -} -@end lilypond - -@aitem{flat} -ES: bemol, -I: bemolle, -F: b@'emol, -D: B, b, -NL: mol, -DK: b, -S: bef@"ortecken, -N: ?. - -@aref{accidental}. - -@aitem{forefall; backfall} -@anchor{forefall} -@aref{appoggiatura}. - -@aitem{forte} -ES: forte, -I: forte, -F: forte, -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. - -@aitem{fourth} -ES: cuarta, -I: quarta, -F: quarte, -D: Quarte, -NL: kwart, -DK: kvart, -S: kvart, -N: ?. - -@aref{interval}. - -@aitem{fugue} -ES: fuga, -I: fuga, -F: fugue, -D: Fuge, -NL: fuga, -DK: fuga, -S: fuga, -N: ?. - -@aref{counterpoint}. - -@aitem{functional harmony} -ES: armon@'{@dotless{i}}a funcional, -I: armonia funzionale, -F: @'etude des functions, -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. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics -\context Voice \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 lilypond - -@aitem{G} -ES: sol, -I: sol, -F: sol, -D: G, g, -NL: g, -DK: g, -S: g, -N: g. - -@aitem{G clef} -ES: Clave de sol, -I: chiave di sol, -F: cl@'e de sol, -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@w{ }C. Used on the first -and second note lines. A digit 8 above the clef symbol indicates that -the notes must be played an octave higher while 8 below the clef symbol -indicates playing or singing an octave lower (most tenor parts in choral -scores are notated like that). - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Staff.Clef \set #'full-size-change = ##t -\property Score.LyricText \set #'font-style = #'large -\addlyrics -\notes\relative c'' { - \clef french - g1 s s - \clef treble - g s s - \clef "G^8" - g s s - \clef "G_8" - g s s -} -\context Lyrics \lyrics { - \property Lyrics . LyricText \override #'alignment = #-1 - "french violin clef " - "violin clef " - "octaved up " - "octaved down" -} -@end lilypond - -@aitem{glissando} -ES: glissando, -I: glissando, -F: glissando, -D: Glissando, -NL: glissando, -DK: glissando, -S: glissando, -N: glissando. - -Letting the pitch slide fluently from one note to the other. - -@aitem{grace notes} -SP: ?, -I: abbellimenti, -F: fioriture, -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. @aref{appoggiatura}. - -@aitem{grand staff} -I: accolatura, -F: accolade, -D: Akkolade, -NL: piano systeem, -DK: klaversystem, -S: ackolad, b@"ojd klammer, -N: ?. - -@aref{brace}. - -A combination of two staves with a brace. Usually used for piano music. - -@aitem{grave} -ES: grave, -I: grave, -F: grave, -D: grave, langsam, -NL: grave, ernstig, -DK: grave, -S: grave, -N: ?. - -Slow, solemn. - -@aitem{half note} -ES: blanca, -I: minima, -F: blanche, -UK: minim, -D: Halbe, halbe Note, -NL: halve noot, -DK: halvnode, -S: halvnot, -N: ?. - -@aref{note value}. - -@aitem{half rest} -SP: ?, -I: pausa di minima, -F: demi-pause, -UK: minim rest, -D: halbe Pause, -NL: halve, rust, -DK: halvnodespause, -S: halvpaus, -N: ?. - -@aref{note value}. - -@aitem{harmonic cadence} -ES: cadencia (arm@'onica), -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. @aref{functional harmony}. - -@lilypond[13pt] -\notes\context PianoStaff < - \context Staff = SA \relative c'' { - \time 4/4 - \clef treble - \context Voice - \partial 4 < c4 g e > | - < c a f > < b g d > < c2 g e > - } - \property Score.LyricText \set #'font-style = #'large - \addlyrics - \context Staff = SB \relative c { - \clef bass - \partial 4 c4 | f, g c2 - \bar "|." - } - \context Lyrics \lyrics { - T S D T - } -> -@end lilypond - -@aitem{harmony} -ES: armon@'{@dotless{i}}a, -I: armonia, -F: harmonie, -D: Harmonie, Zusammenklang, -NL: harmonie, -DK: samklang, -S: samklang, -N: ?. - -Tones sounding simultaneously. Two note harmonies fall into the categories -@emph{consonances} and @emph{dissonances}. - -Consonances: - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\context Voice \notes\relative c'' { - s - s - s - s - s - s - s s -} -@end lilypond - -Dissonances: - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\context Voice \notes\relative c'' { - s s - s s - s s -} -@end lilypond - -Three note harmony @aref{chord}. - -@aitem{homophony} -ES: homofon@'{@dotless{i}}a, -I: omofonia, -F: homophonie, -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 @aref{polyphony}. - -@aitem{interval} -ES: intervalo, -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 (@aref{enharmonic}) and are called @emph{tritonus} -because they consist of three @aref{whole tone}s. The addition -of such two forms an octave. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics -\context Voice \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 lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics -\context Staff \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 lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics -\context Staff \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 lilypond - -@aitem{inverted interval} -ES: intervalo invertido, -I: intervallo rivolto, -F: intervalle revers@'e, -D: umgekehrtes Intervall, -NL: interval inversie, -DK: omvendingsinterval, -S: intervallets omv@"andning, -N: ?. - -The difference between an interval and an octave. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\context Staff \notes\relative c'' { - < g1_"second " a > s s < g'_"seventh " a, > s s \bar "||" - < g,_"third " b > s s < g'_"sixth " b, > s s \bar "||" - < g,_"fourth " c > s s < g'_"fifth " c, > s s \bar "||" -} -@end lilypond - -@aitem{just intonation} -I: intonazione giusta, -F: intonation juste, -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 -natural fifths and thirds. @aref{temperament}. - -@aitem{key} -ES: tonalidad, -I: tonalit@`a, -F: tonalit@'e, -D: Tonart, -NL: toonsoort, -DK: toneart, -S: tonart, -N: ?. - -According to the 12@w{ }tones of the @aref{chromatic scale} -there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc. -@aref{key signature}. - -@aitem{key signature} -ES: armadura de clave, -I: armatura di chiave, -F: armure, armature [de la cl@'e], -D: Vorzeichen, Tonart, -NL: toon@-soort (voortekens), -DK: faste fortegn, -S: tonartssignatur, -N: ?. - -The sharps or flats appearing at the beginning of each staff indicating the -key of the music. @aref{accidental}. - -@aitem{largo} -ES: largo, -I: largo, -F: largo, -D: Largo, Langsam, Breit, -NL: largo, -DK: largo, -S: largo, -N: largo. - -Very slow in tempo, usually combined with great -expressiveness. @emph{Larghetto} is less slow than largo. - -@aitem{leading note} -ES: sensible, -I: sensibile, -F: note sensible, -D: Leitton, -NL: leidtoon, -DK: ledetone, -S: ledton, -N: ?. - -The seventh @aref{scale degree}, a @aref{semitone} below -the tonic; so called because of its strong tendency to ``lead up'' (resolve -upwards) to the tonic scale degree. - -@aitem{ledger line; leger line} -@anchor{ledger line}@anchor{leger line} -ES: l@'{@dotless{i}}neas adicionales, -I: tagli addizionali, -F: ligne suppl@'ementaire, -D: Hilfslinie, -NL: hulplijntje, -DK: hj@ae{}lpelinie, -S: hj@"alplinje, -N: ?. - -A ledger line is an extension of the staff. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c'' { a,1 s c'' } -@end lilypond - -@aitem{legato} -ES: ligado, -I: legato, -F: legato, li@'e, -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 -@aref{staccato} (d). - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\addlyrics -\context Staff \notes\relative c'' { - c4( d )e \bar "||" - c4-- d-- e-- \bar "||" - c4-.( d-. )e-. \bar "||" - c4-. d-. e-. \bar "||" -} -\context Lyrics \lyrics { - \property Lyrics . LyricText \set #'font-style = #'large - a - b "" "" - c - d -} -@end lilypond - -@aitem{legato curve} -@aref{slur}, @aref{legato}. - -@aitem{lilypond} -ES: estanque de lilas, -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. - -@aitem{line} -ES: l@'{@dotless{i}}nea, -I: linea, -F: ligne, -D: Linie, Notenlinie, -NL: lijn, -DK: nodelinie, -S: notlinje, -N: ?. - -@aref{staff}. - -@aitem{long appoggiatura} -ES: apoyatura larga, -I: appoggiatura lunga, -F: appoggiature longue, -D: langer Vorschlag, -DK: langt forslag, -S: l@aa{}ngt f@"orslag, -N: ?. - -@aref{appoggiatura}. - -@aitem{longa} -ES: longa, -I: longa, -F: longa, -D: Longa, -NL: longa, -DK: longa, -S: longa, -N: longa. - -Note value: double length of @aref{breve}. -@aref{note value}. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c'' { - \property Voice.NoteHead \set #'style = #'mensural - g\longa -} -@end lilypond - -@aitem{major interval} -ES: intervalo mayor, -I: intervallo maggiore, -F: intervalle majeur, -D: gro@ss{}es Intervall, -NL: groot interval, -DK: stort interval, -S: stort intervall, -N: ?. - -@aref{interval}. - -@aitem{major} -ES: mayor, -I: maggiore, -F: [mode] majeur, -D: Dur, -NL: majeur, -DK: dur, -S: dur, -N: dur. - -@aref{diatonic scale}. - -@aitem{meantone temperament} -I: accordatura mesotonica, -F: temp@'erament m@'esotonique, -D: mittelt@"onige Stimmung, -NL: ?, -DK: middeltonetemperatur, -S: medeltonstemperatur, -N: ?. - -Temperament yielding acoustically pure thirds by decreasing the natural fifth -by 16@w{ }@aref{cent}s. Due to the non-circular character of this -@aref{temperament} only a limited set of keys are playable. -Used for tuning keyboard instruments for performance of pre-1650 music. - -@aitem{measure, bar} -ES: comp@'as, -I: misura, battuta, -F: mesure, -D: Takt, -NL: maat, -DK: takt, -S: takt, -N: takt. - -A group of @aref{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. @aref{meter}. - -@aitem{mediant} -ES: mediante, -I: mediante, modale, -F: m@'ediante, -NL: mediant, -D: Mediante, -DK: mediant, -S: mediant, -N: ?. - -1. The third @b{scale degree}. -2. A @aref{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). @aref{functional -harmony}, @aref{relative key}. - -@aitem{melodic cadence} -@aref{cadenza}. - -@aitem{meter, time} -ES: comp@'as, -I: tempo, metro, -F: indication de m@'esure, -D: Taktart, Metrum, -NL: maatsoort, -DK: taktart, -S: taktart, -N: ?. - -The basic scheme of @aref{note value}s and -@aref{accent}s which remains unaltered throughout a composition -or a section of it. For instance, 3/4 meter means that the basic -@aref{note value}s are quarter notes and that a -@aref{measure} consists of three of those. According to -whether there are two, three or four units to the measure, -one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or -@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter. - -@lilypond[13pt] -\notes\relative c'' { - \time 3/4 - \key f \major - c es d | c bes8 a bes4 | c es d | c2 \bar "||"} -@end lilypond - -@lilypond[13pt] -\notes\relative c' { - \time 6/8 - \key f \major - f8 f f f a16 g a f | - c'8 c c c e16 d e c \bar "||"} -@end lilypond - -@lilypond[13pt] -\notes\relative c'' { - \time 5/4 - \key g \major - d4 b8 g b d d c a4 | - g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"} -@end lilypond - -@aitem{metronome} -ES: metr@'onomo, -I: metronomo, -F: m@'etronome, -D: Metronom, -NL: metronoom, -DK: me@-tro@-nom, -S: me@-tro@-nom, -N: metronom. - -Device indicating the exact tempo of a piece. @aref{metronomic -indication}. - -@aitem{metronomic indication} -ES: indicaci@'on metron@'omica, -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@"alzels Metronom). - -@aitem{mezzo-soprano} -ES: mezzo soprano, -I: mezzo-soprano, -F: mezzo-soprano, -D: Mezzosopran, -NL: mezzosopraan, -DK: mezzosopran, -S: mezzosopran, -N: mezzosopran. - -The female voice between @aref{soprano} and -@aref{contralto}. - -@aitem{middle C} -ES: do central, -I: do centrale, -F: do central, -D: eingestrichenes@w{ }c, -NL: centrale@w{ }c, -DK: enstreget@w{ }c, -S: ettstruket@w{ }c, -N: ?. - -First C below the 440 Hz A. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Staff.Clef \set #'full-size-change = ##t -\notes\relative c' { - \clef bass c1 s - \clef alto c s - \clef treble c s -} -@end lilypond - -@aitem{minor} -ES: menor, -I: minore, -F: mode mineur, -D: Moll, -NL: mineur, -DK: mol, -S: moll, -N: ?. - -@aref{diatonic scale}. - -@aitem{minor interval} -ES: intervalo mayor, -I: intervallo minore, -F: intervalle mineur, -D: kleines Intervall, -NL: klein interval, -DK: lille interval, -S: litet intervall, -N: ?. - -@aref{interval}. - -@aitem{mode} -ES: modo, -I: modo, -F: mode, -D: Modus, -NL: modus, -DK: skala, -S: modus, skala, -N: ?. - -@aref{church mode}, @aref{diatonic scale}. - -@aitem{modulation} -ES: modulaci@'on, -I: modulazione, -F: modulation, -D: Modulation, -NL: modulatie, -DK: modulation, -S: modulering, -N: ?. - -Moving from one @aref{key} to another. For example, the second -subject of a @aref{sonata form} movement modulates to the dominant -key if the key is major and to the @aref{relative key} if the key -is minor. - -@aitem{mordent} -I: mordente, -F: mordant, -D: Mordent, -NL: mordent, -DK: mordent, -S: mordent, -N: ?. - -@aref{ornament}. - -@aitem{motive; motif} -@anchor{motive}@anchor{motif} -ES: tema, -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. - -@lilypond[13pt] -\property Score.TimeSignature \override #'style = #'() -\property Score.TextScript \set #'font-style = #'large -\notes\relative c'' { - \time 4/4 - \key g \major - \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 lilypond - -@aitem{movement} -ES: movimiento, -I: movimento, -F: mouvement, -D: Satz, -NL: deel, -DK: sats, -S: sats, -N: ?. - -Greater musical works like @aref{symphony} and -@aref{sonata} most often consist of several -- more or less -- -independant pieces called movements. - -@aitem{multibar rest} -ES: compases de espera, -I: pausa multipla, -F: pause multiple, -NL: meermaats rust, -D: mehrtaktige Pause, -DK: flertaktspause, -S: flertaktspaus, -N: ?. - -@lilypond[13pt] -\notes\relative c'' { - a1 - \property Score.skipBars=##t R1*3 - a1 -} -@end lilypond - -@aitem{mixolydian mode} -@aref{diatonic scale}. - -@aitem{natural sign} -ES: becuadro, -I: bequadro, -F: b@'ecarre, -D: Aufl@"osungszeichen, -NL: herstellingsteken, -DK: op@-l@o{}sningstegn, -S: @aa{}terst@"allningstecken, -N: ?. - -@aref{accidental}. - -@aitem{neighbour tones} -@aref{appoggiatura}. - -@aitem{ninth} -ES: novena, -I: nona, -F: neuvi@`eme, -D: None, -NL: noon, -DK: none, -S: nona, -N: ?. - -@aref{interval}. - -@aitem{non-legato} -@aref{legato}. - -@aitem{note} -ES: nota, -I: nota, -F: note, -D: Note, -NL: noot, -DK: node, -S: not, -N: ?, - -Notes are signs by means of which music is fixed in writing. The term is also -used for the sound indicated by a note, and even for the key of the piano -which produces the sound. However, a clear distinction between the terms tone -and @aref{note} is strongly recommended. Briefly, one sees a note, -and hears a tone. - -@aitem{note head} -ES: oval, -I: testa, testina, capocchia, -F: t@^ete de la note, -D: Notenkopf, -NL: nootballetje, -DK: nodehovede, -S: nothuvud, -N: ?. - -A head like sign which indicates pitch by its position on a -@aref{staff} provided with a @aref{clef}, and duration -by a variety of shapes such as hollow or black heads with or without -@aref{stem}s, @aref{flag}s, etc. For percussion -instruments (often having no defined pitch) the note head may indicate the -instrument. - -@aitem{note value} -ES: valor, -I: valore, durata, -F: dur@'ee, valeur (d'une note), -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. - -@lilypond[13pt,notime] -\property Score.TextScript \set #'font-style = #'large -\property Score.barNonAuto = ##t -\notes\relative c'' { - \property Voice.NoteHead \override #'style = #'mensural - g\longa_"longa" g\breve_"breve" - \property Voice.NoteHead \revert #'style - g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16 - g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 } -@end lilypond - -@lilypond[13pt,notime] -\property Score.TextScript \set #'font-style = #'large -\property Score.barNonAuto = ##t -\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 lilypond - -An augmentation dot after a note multiplies the duration by one and a -half. Another dot adds yet a fourth of the duration. - -@lilypond[13pt] -\property Score.TextScript \set #'font-style = #'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 lilypond - -Alternatively note values may be subdivided by other ratios. Most common is -subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}). -Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of -dotted notes are also frequently used. - -@lilypond[13pt] -\property Score.TextScript \set #'font-style = #'large -\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 "||" -} -@end lilypond - -@lilypond[13pt] -\notes\relative c'' { - \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 lilypond - -@aitem{octave sign} -@aref{G clef}, @aref{F clef}. - -@aitem{octave} -ES: octava, -I: ottava, -F: octave, -D: Oktave, -NL: octaaf, -DK: oktav, -S: oktav, -N: ?. - -@aref{interval}. - -@aitem{ornament; embellishment; accessory} -@anchor{ornament}@anchor{embellishment}@anchor{accessory} -ES: adorno, -I: abbellimento, fioriture, -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 @aref{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. - -@lilypond[13pt] -< - \context Staff = sa { - \property Score.TextScript \set #'font-style = #'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 lilypond - -Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the -@emph{prall} (inverted mordent). - -@lilypond[13pt] -< - \context Staff = sa { - \property Score.TextScript \set #'font-style = #'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 [e32 d e d ~ d8] c2 - } -> -@end lilypond - -@aref{appoggiatura}. - -@aitem{ossia} -ES: ossia, -I: ossia, -F: ossia, -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. - -@aitem{part} -ES: parte, -I: voce, parte, -F: partie, -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 @aref{counterpoint} the single -melodic line of the contrapunctal web. - -@aitem{percussion} -ES: percusi@'on, -I: percussioni, -F: percussion, -D: Schlagzeug, Schlagwerk, -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. - -@aitem{perfect interval} -ES: intervalo justo, -I: intervallo giusto, -F: intervalle juste, -D: reines Intervall, -NL: rein interval, -DK: rent interval, -S: rent intervall, -N: ?. - -@aref{interval}. - -@aitem{phrase} -ES: frase, -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. - -@aitem{phrasing} -ES: fraseo, -I: fraseggio, -F: phras@'e, -D: Phrasierung, -NL: frasering, -DK: frasering, -S: fra@-se@-ring, -N: ?. - -The clear rendering in musical performance of the @aref{phrase}s of -the melody. Phrasing may be indicated by a @aref{slur}. - -@aitem{piano} -ES: piano, -I: piano, -F: piano, -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. - -@aitem{pitch} -ES: altura, -I: altezza, -F: hauteur, -D: Tonh@"ohe, -NL: toonhoogte, -DK: toneh@o{}jde, -S: tonh@"ojd, -N: ?. - -@aitem{pizzicato} -ES: pizzicato, -I: pizzicato, -F: pizzicato, -D: pizzicato, -NL: pizzicato, getokkeld, -DK: pizzicato, -S: pizzicato, -N: ?. - -Play by plucking the strings. - -@aitem{polyphony} -ES: polifon@'{@dotless{i}}a, -I: polifonia, -F: polyphonie, -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. @aref{counterpoint}. - -@aitem{portato} -@aref{legato}. - -@aitem{presto} -ES: presto, -I: presto, -F: presto, -D: Presto, Sehr schnell, -NL: presto, Sehr schnell, -DK: presto, -S: presto, -N: ?. - -Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo} -denotes the highest possible degree of speed. - -@aitem{Pythagorean comma} -ES: coma pitag@'orico, -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@w{ }C eventually circles back to@w{ }C, -but this@w{ }C, obtained by adding 12@w{ }fifths, is -24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding -7@w{ }octaves. The difference between those two pitches is called the -Pythagorean comma. - -@aitem{quadruplet} -ES: cuatrillo, -I: quartina, -F: quartolet, -D: Quartole, -NL: kwartool, -DK: kvartol, -S: kvartol, -N: ?. - -@aref{note value}. - -@aitem{quarter note} -ES: negra, -I: semiminima, nera, -F: noire, -UK: crotchet, -D: Viertel, Viertelnote, -NL: kwartnoot, -DK: fjerdedelsnode, -S: fj@"ardedelsnot, -N: ?. - -@aref{note value}. - -@aitem{quarter rest} -ES: silencio de negra, -I: pausa di semiminima, -F: soupir, -UK: crotchet rest, -D: Viertelpause, -NL: kwart rust, -DK:@w{ }fjerdedelspause, -S: fj@"ardedelspaus, -N: ?. - -@aref{note value}. - -@aitem{quintuplet} -ES: quintillo, -I: quintina, -F: quintolet, -D: Quintole, -NL: kwintool, -DK: kvintol, -S: kvintol, -N: ?. - -@aref{note value}. - -@aitem{rallentando} -ES: rallentando, -I: rallentando, -F: rallentando, -D: rallentando, langsamer werden, -NL: rallentando, -DK: rallentando, -S: rallentando, -N: rallentando. - -Abbreviation "rall.". @aref{ritardando}. - -@aitem{relative key} -ES: relativa, -I: tonalit@`a relativa, -F: tonalit@'e relative, -D: Paralleltonart, -DK: paralleltoneart, -S: parallelltonart, -N: ?. - -@aref{major} and @aref{minor} @aref{key} -with the same @aref{key signature}. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\notes\relative c' { - \key es \major - es1_"e flat major" f g as bes c d es - \bar "||" -} -@end lilypond - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\notes\relative c' { - \key es \major - c1_"c minor" d es f g a! b! c \bar "||" -} -@end lilypond - -@aitem{repeat} -ES: barra de repetici@'on, -I: ritornello, -F: barre de reprise, -D: Wiederholung, -NL: herhaling, -DK: gen@-ta@-gel@-se, -S: repris, -N: ?. - -@lilypond[13pt] -\key g \major -\time 4/4 -\notes\relative c'' { - \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 } -} -@end lilypond - -@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to -@c specify the rest's value. - -@aitem{rest} -ES: silencio, -I: pausa, -F: silence, -D: Pause, -NL: rust, -DK: pause, -S: paus, -N: ?. - -@aref{note value}. - -@aitem{rhythm} -ES: ritmo, -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 @aref{beat}, and in which the normal -@aref{accent} recurs in regular intervals, called -@aref{measure}. The basic scheme scheme of time values is called -@aref{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). - -@aitem{ritardando} -ES: retardando, -I: ritardando, -F: ritardando, -D: Ritardando, langsamer werden, -NL: ritardando, -DK: ritardando, -S: ritardando, -N: ?. - -Gradually slackening in speed. Mostly abbreviated to rit. or ritard. - -@aitem{ritenuto} -ES: ritenuto, -I: ritenuto, -F: ritenuto, -D: Ritenuto, -NL: ritenuto, -DK: ritenuto, -S: ritenuto, -N: ?. - -Immediate reduction of speed. - -@aitem{scale} -ES: escala, -I: scala, -F: gamme, -D: Tonleiter, -NL: toonladder, -DK: Skala, -S: skala, -N: ?. - -@aref{diatonic scale}. - -@aitem{scale degree} -ES: grados de la escala, -I: grado della scala, -F: degr@'e [de la gamme], -D: Tonleiterstufe, -NL: trap [van de toonladder], -DK: skalatrin, -S: skalsteg (?), -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). - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -%\property Lyrics.minVerticalAlign = #8 -\addlyrics -\context Staff \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 lilypond - -@aref{functional harmony}. - -@aitem{score} -ES: partitura, -I: partitura, -F: partition, -D: Partitur (full score), Klavierauszug (vocal score) -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 staves @aref{staff}. - -@aitem{second} -ES: segunda, -I: secunda, -F: seconde, -D: Sekund, -NL: secunde, -DK: sekund, -S: sekund, -N: ?. - -The @aref{interval} between two neigbouring tones of a scale. A -@aref{diatonic scale} consists of alternating -@aref{semitone}s and @aref{whole tone}s, hence the size -of a se@-cond depends on the scale degrees in question. - -@aitem{semitone} -ES: semitono, -I: semitono, -F: demi-ton, -D: Halbton, -NL: halve toon, -DK: halvtone, -S: halvton, -N: ?. - -The @aref{interval} of a minor second. The (usually) smallest -interval in European composed music. The interval between two neighbouring -tones on the piano keyboard -- including black and white keys -- is a -semitone. An octave may be divided into 12@w{ }semitones. -@aref{interval}, @aref{chromatic scale}. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c'' { g1 gis s a bes s b! c } -@end lilypond - -@aitem{seventh} -ES: s@'eptima, -I: settima, -F: septi@`eme, -D: Septime, -NL: septiem, -DK: septim, -S: septim, -N: ?. - -@aref{interval}. - -@aitem{sextuplet, sextolet} -I: sestina, -F: sextolet, -D: Sextole, -NL: sextool, -DK: sekstol, -S: sextol, -N: ?. - -@aref{note value}. - -@aitem{sharp} -ES: sostenido, -I: diesis, -F: di@`ese, -D: Kreuz, -NL: kruis, -DK: kryds, -S: korsf@"ortecken, -N: ?. - -@aref{accidental}. - -@aitem{short appoggiatura} -@aref{appoggiatura}. - -@aitem{sixteenth note} -ES: semicorchea, -I: semicroma, -F: double croche, -UK: semiquaver, -D: Sechzehntel, Sechzehntelnote, -NL: zes@-ti@-ende noot, -DK: sekstendedelsnode, -S: sextondelsnot, -N: ?. - -@aref{note value}. - -@aitem{sixteenth rest} -ES: silencia de semicorchea, -I: pausa di semicroma, -F: quart de soupir, -UK: semiquaver rest, -D: Sechzehntelpause, -NL: zestiende rust, -DK: sekstendedelspause, -S: sextondelspaus, -N: ?. - -@aref{note value}. - -@aitem{sixth} -ES: sexta, -I: sesta, -F: sixte, -D: Sexte, -NL: sext, -DK: sekst, -S: sext, -N: ?. - -@aref{interval}. - -@aitem{sixty-fourth note} -ES: semifusa, -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: ?. - -@aref{note value}. - -@aitem{sixty-fourth rest} -ES: silencia de semifusa, -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: ?. - -@aref{note value}. - -@aitem{slur} -ES: ligadura, -I: legatura (di portamento or espressiva), -F: liaison, coul@'e, -D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen, -NL: binding, bindingsboog, -DK: legatobue, fraseringsbue, -S: b@aa{}ge, -N: ?. - -A slur above or below a group of notes indicates that they are to be played -@aref{legato}, e.g., with one stroke of the violin bow or with one -breath in singing. - -@aitem{solmization} -I: solmisazione, -F: solmisation, -D: Solmisation, -NL: solmizatie, -DK: solmisation, -S: solmisation, -N: ?. - -General term for systems of designating the degrees of the -@aref{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})). @aref{scale degree}. - -@aitem{sonata} -ES: sonata, -I: sonata, -F: sonate, -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. - -@aitem{sonata form} -ES: forma sonata, -I: forma sonata, -F: [en] forme de sonate, -D: Sonatenform, -NL: hoofdvorm, sonatevorm, -DK: sonateform, -S: sonatform, -N: ?. - -A form used frequently for single movements of the @aref{sonata}, -@aref{symphony}, quartet, etc. A movement written in sonata form -falls into three sections called @emph{exposition}, @emph{development} and -@emph{recapitulation}. In the exposition the composer introduces 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 -@aref{dominant} if the @aref{tonic} is -@aref{major}, and in the @aref{relative key} if the -tonic is @aref{minor}. - -@aitem{soprano} -ES: soprano, -I: soprano, -F: soprano, -D: Sopran, -NL: sopraan, -DK: sopran, -S: sopran, -N: ?. - -The highest female voice. - -@aitem{staccato} -ES: staccato, -I: staccato, -F: staccato, piqu@'e, d@'etach@'e, -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. - -@lilypond[13pt] -\key d \major -\time 4/4 -\notes\relative c'' { - \partial 8 a8 | - d4-\staccato cis-\staccato b-\staccato cis-\staccato | - d2. \bar "||" -} -@end lilypond - -@aitem{staff} -ES: pentagrama, -I: pentagramma, rigo (musicale), -F: port@'ee, -D: Notenzeile, -NL: (noten)balk, partij, -DK: nodesystem, -S: notsystem, -N: ?. - -pl. staves. A series of (normally@w{ }5) horizontal lines upon and between -which the musical notes are written, thus indicating (in connection -with a @aref{clef}) their pitch. Staves for -@aref{percussion} instruments may have fewer lines. - -@aitem{stem} -ES: plica, -I: gamba, -F: queue, -D: Hals, Notenhals, Stiel, -NL: stok, -DK: hals, -S: skaft, -N: ?. - -Vertical line above or below a @aref{note head} shorter than a -whole note. @aref{beam}. - -@lilypond[13pt,notime] -\property Score.autoBeaming = ##f -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'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 lilypond - -@aitem{strings} -ES: arcos, cuerdas, -I: archi, -F: cordes, -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. - -@aitem{strong beat} -ES: tiempo fuerte, -I: tempo forte, -F: temps fort, -D: betonter Taktteil oder Taktschlag, -NL: thesis, -D: betonet taktslag, -S: betonat taktslag, -N: ?. - -@aref{beat}, @aref{accent}, @aref{measure}, -@aref{rhythm}. - -@aitem{subdominant} -ES: subdominante, -I: sottodominante, -F: sous-dominante, -D: Subdominante, -NL: subdominant, -DK: subdominant, -S: subdominant, -N: ?. - -The fourth @aref{scale degree}. @aref{functional -harmony}. - -@aitem{submediant} -ES: superdominante, -I: sopratonica, -F: sous-m@'ediante, -D: Submediante, -NL: submediant, -DK: Submediant, -S: submediant, -N: ?. - -The sixth @aref{scale degree}. - -@aitem{subtonic} -ES: sensible, -I: sottotonica, -F: sous-tonique, -D: Subtonika, -NL: subtonica, -DK: Subtonika, -S: subtonika, -N: ?. - -The seventh @aref{scale degree}. - -@aitem{superdominant} -ES: superdominante, -I: sopradominante, -F: sus-dominante, -D: Superdominante, -NL: superdominant, -DK: superdominant, -S: superdominant, -N: ?. - -The sixth @aref{scale degree}. - -@aitem{supertonic} -ES: supert@'onica, -I: sopratonica, -F: sus-tonique, -D: Supertonika, -NL: supertonica, -DK: supertonika, -S: supertonika, -N: ?. - -The second @aref{scale degree}. - -@aitem{symphony} -ES: sinfon@'{@dotless{i}}a, -I: sinfonia, -F: symphonie, -D: Sinfonie, Symphonie, -NL: symfonie, -DK: symfoni, -S: symfoni, -N: ?. - -A symphony may be defined as a @aref{sonata} for orchestra. - -@aitem{syncopation} -ES: sincopado, -I: sincope, -F: syncope, -D: Synkope, -NL: syncope, -DK: synkope, -S: synkop, -N: ?. - -Any deliberate upsetting of the normal pulse of @aref{meter}, -@aref{accent} and @aref{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. - -@lilypond[13pt] -\time 4/4 -\notes\relative c' { - \partial 4 - d8 dis | - e c'4 e,8 c'4 e,8 c' ( | ) c2 -} -@end lilypond - -@aitem{syntonic comma; dydimic comma} -@anchor{syntonic comma} -I: comma sintonico (o didimico), -F: comma syntonique, -D: syntonisches Komma, -NL: syntonische komma, -DK: syntonisk komma, -S: syntoniskt komma, -N: ?. - -Difference between the natural third and the third obtained by Pythagorean -tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents. - -@aitem{system} -I: accollatura, -F: syst@`eme, -D: Notensystem, -NL: systeem, -DK: system, -S: system, -N: ?. - -The collection of staves @aref{staff}, two or more, as used for -writing down of keyboard, chamber, choral, or orchestral music. - -@aitem{temperament} -ES: temperamento, -I: temperamento, -F: temp@'erament, -D: Stimmung, Temperatur, -NL: temperament, -DK: temperatur, -S: temperatur, -N: ?. - -Systems of tuning in which the intervals deviate from the acoustically pure -intervals. @aref{meantone temperament}, @aref{equal -temperament}. - -@aitem{tempo indication} -ES: indicaci@'on de tempo, -I: indicazione di tempo, -F: indication 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 -@aref{largo}, @aref{adagio}, @aref{andante}, -@aref{allegro}, and @aref{presto}. - -@aitem{tenor} -ES: tenor, -I: tenore, -F: t@'enor, -D: Tenor, -NL: tenor, -DK: tenor, -S: tenor, -N: ?. - -The highest voice of men (apart from @aref{counter tenor}). - -@aitem{tenth} -ES: d@'ecima, -I: decima, -F: dixi@`eme, -D: Dezime, -NL: deciem, -DK: decim, -S: decima, -N: ?. - -@aref{note value}. - -@aitem{third} -ES: tercera, -I: terza, -F: tierce, -D: Terz, -NL: terts, -DK: terts, -S: ters, -N: ?. - -@aref{interval}. - -@aitem{thirty-second note} -ES: fusa, -I: biscroma, -F: triple croche, -UK: demisemiquaver, -D: Zweiunddreissigstel, Zweiunddreissigstelnote, -NL: twee-endertig@-ste noot, -DK: toogtredivtedelsnode, -S: trettiotv@aa{}ondelsnot, -N: ?. - -@aref{note value}. - -@aitem{thirty-second rest} -ES: silencio de fusa, -I: pausa di biscroma, -F: huiti@`eme de soupir, -UK: demisemiquaver rest, -D: Zweiunddreissigstel@-pause, -NL: 32e rust, -DK: toogtredivtedelspause, -S: trettiotv@aa{}ondelspaus, -N: ?. - -@aref{note value}. - -@aitem{thorough bass; figured bass} -@anchor{thorough bass} -ES: bajo cifrado, -I: basso continuo, basso numerato, -F: basse chiffr@'ee, -D: Generalbass, bezifferter Bass, -NL: basso continuo, -DK: generalbas, -S: generalbas, -N: ?. - -A method of indicating an accompaniment part by the bass notes only, together -with figures designating the chief @aref{interval}s and -@aref{chord}s to be played above the bass notes. - -@lilypond[13pt] -\context GrandStaff < - \context Staff = lh \notes\relative c'' { - \time 4/4 - \key es \major - \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 > } - > - } - \addlyrics - \context Staff = rh \notes\relative c' { - \clef bass - \key es \major - es8 c d bes c as bes16 as g f | es4 - } - \context Lyrics \lyrics { - \property Lyrics . LyricText \set #'font-style = #'Large - \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12) - < { "" "6" "" "4" "" "6" "" "" "6" "4" } - { "" "" "" "2" "" "" "" "" "" "2" } > - } -> -@end lilypond - -@aitem{tie; bind} -@anchor{tie} -ES: ligadura de prolongaci@'on, -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 @aref{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. - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\notes\relative c'' { g2 ~ g4. } -@end lilypond - -@aitem{time signature} -ES: cifra indicadora de comp@'as, -I: segni di tempo, -F: chiffrage (chiffres indicateurs), signe de valeur, -D: Taktangabe, Angabe der Taktart, -NL: maatsoort, -DK: taktangivelse, -S: taktartssignatur, -N: ?. - -@aref{meter}. - -@aitem{tone} -ES: sonido, -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. - -@aitem{tonic} -ES: tonica, -I: tonica, -F: tonique, -D: Tonika, -NL: tonica, -DK: tonika, -S: tonika, -N: ?. - -The first @aref{scale degree}. -@aref{functional harmony}. - -@aitem{transposition} -ES: transposici@'on, -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. - -@lilypond[13pt] -\context Staff { - \time 3/4 - \notes\relative c'' { - \key g \major - d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." - } -} -@end lilypond - -@lilypond[13pt] -\context Staff { - \time 3/4 - \transpose bes\relative c'' { - \key g \major - d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." - } -} -@end lilypond - -@aitem{treble clef} -ES: clave de sol, -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: ?. - -@aref{G clef}. - -@aitem{tremolo} -ES: tremolo, -I: tremolo, -F: tr@'emolo, -D: Tremolo, -NL: tremolo, -DK: tremolo, -S: tremolo, -N: ?. - -On stringed instruments (@aref{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 @aref{chord}, usually in the distance of a third -(@aref{interval}). - -@lilypond[13pt,notime] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\notes\relative c' { - e2:32_"a" - f:32 [ e8:16 f:16 g:16 a:16 ] s4 - \repeat "tremolo" 8 { e32_"b" g } -} -@end lilypond - -@aitem{triad} -ES: tr@'{@dotless{i}}ada, -I: triade, -F: triade, accord parfait, accord de trois sons, -D: Dreiklang, -NL: drieklank, -DK: treklang, -S: treklang, -N: ?. - -@aref{chord}. - -@aitem{trill; shake} -@anchor{trill}@anchor{shake} -ES: trino, -I: trillo, -F: trille, tremblement, battement (cadence), -D: Triller, -NL: triller, -DK: trille, -S: drill, -N: ?. - -@aref{ornament}. - -@aitem{triple meter} -ES: comp@'as compuesto, -I: tempo ternario, -F: mesure ternaire, -D: in drei, -NL: driedelige maatsoort, -DK: tredelt takt, -S: tretakt, -N: ?. - -@aref{meter}. - -@aitem{triplet} -ES: tresillo, -I: terzina, -F: triolet, -D: Triole, -NL: triool, -DK: triol, -S: triol, -N: ?. - -@aref{note value}. - -@aitem{tritone} -ES: tr@'{@dotless{i}}tono, -I: tritono, -F: triton, -D: Tritonus, -NL: tritoon, -DK: tritonus, -S: tritonus, -N: ?. - -@aref{interval}. - -@aitem{tuning fork} -ES: diapas@'on, -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.) - -@aitem{turn; gruppetto} -@anchor{turn}@anchor{gruppetto} -ES: grupo, -I: gruppetto, -F: grupetto, -D: Doppelschlag, -NL: dubbelslag, -DK: dobbeltslag, -S: dubbelslag, -N: ?. - -??? - -@aitem{unison} -ES: un@'{@dotless{i}}sono, -I: unisono, -F: unisson, -D: 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. - -@aitem{upbeat} -ES: entrada anacr@'usica, -I: anacrusi, -F: anacrouse, lev@'ee, -D: Auftakt, -NL: opmaat, -DK: optakt, -S: upptakt, -N: ?. - -Initial note(s) of a melody occurring before the first bar -line. @aref{measure}, @aref{meter}. - -@lilypond[13pt] -\key f \major -\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 lilypond - -@aitem{voice} -ES: voz, -I: voce, -F: voix, -D: Stimme, -NL: stem, -DK: stemme, -S: st@"amma, -N: ?, - -1. Human voices: @aref{soprano}, @aref{mezzo-soprano}, -@aref{contralto}, @aref{tenor}, -@aref{baritone}, @aref{bass}. -2. A melodic layer or part of a polyphonic composition. - -@aitem{weak beat} -ES: tiempo d@'ebil, -I: tempo debole, arsi, -F: temps faible, -D: unbetonter Taktteil oder Taktschlag, -NL: arsis, -DK: ubetonet taktslag, -S: obetonat taktslag, -N: ?. - -@aref{beat}, @aref{measure}, @aref{rhythm}. - -@aitem{whole note} -ES: redonda, -I: semibreve, -F: ronde, -UK: semibreve, -D: Ganze, ganze Note, -NL: hele noot, -DK: helnode, -S: helnot, -N: ?. - -@aref{note value}. - -@aitem{whole rest} -ES: silencio de redonda, -I: pausa di semibreve, -F: pause, -UK: semibreve rest, -D: ganze Pause, ganztaktige Pause, -NL: hele rust, -DK: helnodespause, -S: helpaus, -N: ?. - -@aref{note value}. - -@aitem{whole tone} -ES: tono, -I: tono intero, -F: ton entier, -D: Ganzton, -NL: hele toon, -DK: heltone, -S: helton, -N: ?. - -The @aref{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. - -@aitem{woodwind} -ES: maderas, -I: legni, -F: les bois, -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. - -@end table - -@page - -@table @strong -@item DURATION NAMES, NOTES AND RESTS -@end table - -@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111 - -@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab -@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N} - -@item - -@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa -@tab longa @tab longa @tab longa - -@item - -@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab -brevis @tab brevis @tab brevis @tab brevis - -@item - -@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab -Ganze @tab hele @tab hel @tab hel @tab - -@item - -@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab -halve @tab halv @tab halv @tab - -@item - -@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab -Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab - -@item - -@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab -achtste @tab ottende@-del @tab @aa{}tton@-del @tab - -@item - -@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche -@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del -@tab - -@item - -@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab -triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste -@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab - -@item - -@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab -semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab -vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab -sextio@-fj@"arde@-del @tab - -@end multitable -@c @item @tab @tab @tab @tab @tab @tab @tab @tab - -@page - -@table @strong -@item PITCH NAMES -@end table - -@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125 - -@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab -@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N} - -@item - -@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c - -@item - -@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab -cis @tab cis @tab cis - -@item - -@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab -des @tab des @tab des - -@item - -@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d - -@item - -@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e - -@item - -@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f - -@item - -@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g - -@item - -@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as -@tab as @tab as - -@item - -@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a - -@item - -@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab -ais @tab ais @tab ais - -@item - -@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b -@tab b @tab b - -@item - -@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h - -@end multitable - -@ - -@table @strong - -@item --------------------- - -@ - -@item Literature used -The Harvard Dictionary of Music, London 1944. Many more or less literal -quotes from its articles have been included into the item explanation texts. - -Hugo Riemanns Musiklexicon, Berlin 1929 - -Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980 -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 cbecdf53f0..640204fcf9 100644 --- a/Documentation/user/lilypond.tely +++ b/Documentation/user/lilypond.tely @@ -17,8 +17,8 @@ Distributions will want to install lilypond.info doing: @c ;; prepend GNU for dir, must be unique * GNU LilyPond: (lilypond). The GNU music typesetter. * ly2dvi: (lilypond)Invoking ly2dvi:: Titling LilyPond scores. -* convert-ly: (lilypond)Invoking convert-ly:: - Older LilyPond versions. +* Glossary: (music-glossary). Glossary of music terms. +* convert-ly: (lilypond)Invoking convert-ly:: Older LilyPond versions. * midi2ly: (lilypond)Invoking midi2ly:: Importing MIDI. * etf2ly: (lilypond)Invoking etf2ly:: Importing Finale. * abc2ly: (lilypond)Invoking abc2ly:: Importing ABC. @@ -29,6 +29,12 @@ Distributions will want to install lilypond.info doing: @end direntry +@ifhtml +This document is also available in @uref{../lilypond.ps.gz,gzipped +PostScript} and @uref{../lilypond.pdf,PDF}. +@end ifhtml + + @titlepage @title GNU LilyPond @subtitle The music typesetter @@ -47,11 +53,12 @@ Copyright @copyright{} 1999--2002 by the authors @end titlepage -@ifinfo +@c Han-Wen Nienhuys, Jan Nieuwenhuizen, Adrian Mariano, Tom Cato Amundsen. + +@ifnottex This file documents GNU LilyPond. -Copyright 1999 Han-Wen Nienhuys, Jan Nieuwenhuizen, Adrian Mariano -Tom Cato Amundsen. +Copyright 1999-2002 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 @@ -60,18 +67,13 @@ Tom Cato Amundsen. A copy of the license is included in the section entitled ``GNU Free Documentation License''. -@end ifinfo +@end ifnottex @ifnottex @node Top @top -@ifhtml -This document is also available as a @uref{../lilypond.ps.gz,gzipped -postscript file} and @uref{../lilypond.pdf,PDF}. -@end ifhtml - @chapter GNU LilyPond --- The music typesetter This is the user manual for GNU LilyPond 1.6.0. diff --git a/Documentation/user/macros.itexi b/Documentation/user/macros.itexi index a2a5ccab68..e9b28b4749 100644 --- a/Documentation/user/macros.itexi +++ b/Documentation/user/macros.itexi @@ -1,3 +1,17 @@ +@c -*-texinfo-*- + +@c Only reference in HTML. +@macro htmlref {NAME} +@ifhtml +@ref{\NAME\}@c +@end ifhtml +@ifnothtml +\NAME\@c +@end ifnothtml +@end macro + + +@c Reference ENGraver description @ifnottex @macro reng {word} @ref{ (lilypond-internals)\word\, \word\ } @@ -12,6 +26,7 @@ @end iftex +@c Reference GROB description @ifnottex @macro rgrob {word} @ref{ (lilypond-internals)\word\, \word\ } @@ -26,6 +41,7 @@ @end iftex +@c Reference INTernals document @ifnottex @macro rint {word} @ref{ (lilypond-internals)\word\, \word\ } @@ -39,6 +55,19 @@ @end macro @end iftex + +@c Reference GLOSsary +@macro rglos {NAME} +@ifhtml +@c ugh: @ref assumes that external refs are split documents too +@uref{../music-glossary.html#\NAME\,\NAME\}@c +@end ifhtml +@ifnothtml +\NAME\@c +@end ifnothtml +@end macro + + @ifnottex @macro texisharp {word} # @@ -97,41 +126,8 @@ $\\flat$% @end macro @end ifhtml -@ignore - -@c Huh, do outline mode and texinfo really fight eachother? -@c Outline can only use spaces to indent topic headers -@c (or bullets, but then topics can't start with `@c'). -@c Texinfo can't have spaces in macro names. - -@macro c_ {word} -\word\ -@node \word\ -@section \word\ -@end macro - -@macro c__ {word} -\word\ -@menu -* \word\:: -@end menu - -@node \word\ -@subsection \word\ -@end macro - -@macro c___ {word} -\word\ -@node \word\ -@unnumberedsubsubsection \word\ -@end macro - -@macro c_ {word} -@end macro - -@end ignore - +@c dup? @ifhtml @macro internalsref{NAME} @uref{../lilypond-internals/\NAME\.html,\NAME\} diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely new file mode 100644 index 0000000000..1e8a542452 --- /dev/null +++ b/Documentation/user/music-glossary.tely @@ -0,0 +1,4196 @@ +\input texinfo @c -*-texinfo-*- +@settitle Music Glossary +@setfilename music-glosssary.info + +@html + +@end html + +@ifhtml +This document is also available in @uref{glossary.ps.gz,gzipped +PostScript} and @uref{glossary.pdf,PDF}. +@end ifhtml + +@titlepage +@title Music Glossary +@author Christian Mondrup +@author spanish by David Gonz@'alez +@c License PD, BSD-ish, GNU GPL, GNU FDL? + +Copyright @copyright{} 1999--2002 by the authors +@end titlepage + +@ifnottex +@node Top +@top +@chapter Music Glossary +@menu +@end menu +@end ifnottex + +@ifnottex +Christian Mondrup +@* +spanish by Davi Gonz@'alez +@* +Copyright 1999-2002 by the authors + +@c License PD, BSD-ish, GNU GPL, GNU FDL? + +@* + +@* + +@end ifnottex + +@c @pagesizes 10.3in +@c @everyheading @| @thispage @| +@c @evenheading @thispage @| @| +@c @oddheading @| @| @thispage @| + +@macro ar{} +@iftex +@tex $\\Rightarrow$ @end tex@c +@end iftex +@ifhtml +--> +@end ifhtml +@ifinfo +--> +@end ifinfo +@end macro + +@ignore +We don't use refs for Info: + + @w{@ar{}\word\}@c vs: + @w{@ar{}@pxref{\word\}}@c + +they look too intrusive (says Han-Wen). +@end ignore + +@c arrowref +@macro aref{word} +@iftex +@w{@ar{}@strong{\word\}}@c +@end iftex +@ifhtml +@ar{}@ref{\word\, @strong{\word\}}@c +@end ifhtml +@ifinfo +@w{@ar{}\word\}@c +@end ifinfo +@end macro + + +@c If we want hypelinks, we must add anchors. +@c Hmm, we need the @achor command in the item description itself +@c (not before or after) to get mozilla jump to the right place. +@c anchoritem +@macro aitem{word} +@item \word\@anchor{\word\} +@end macro +@macro aitemii{one,two} +@item \one\; \two\@anchor{\one\; \two\}@anchor{\one\} +@end macro +@macro aitemiii{one,two,three} +@item \one\; \two\; \three\@anchor{\one\; \two\; \three\}@anchor{\one\} +@end macro + + +@itemize +@item ES - Spanish +@item I - Italian +@item F - French +@item D - German +@item NL - Dutch +@item UK - British English +@item DK - Danish +@item S - Swedish +@item N - Norwegian +@end itemize + +This is an example reference, that points you to the @aref{accent} +entry. + + +@table @strong + +@aitem{A} +ES: la, +I: la, +F: la, +D: A, a, +NL: a, +DK: a, +S: a, +N: a. + +@aitem{accent} +ES: acento, +I: accento, +F: accent, +D: Akzent, +NL: accent, +DK: accent, +S: accent, +N: ?. + +The stress of one tone over others. + +@c F: how to distinguish between accidental and key-sig alteration? + +@aitem{accidental} +ES: alteraci@'on, +I: alterazione, accidente, +F: alt@'eration +D: Vorzeichen, Versetzungszeichen, +NL: voorteken, +DK: l@o{}st fortegn, +S: tillf@"alligt 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 @aref{semitone}, a double sharp raises it +by a @aref{whole tone}, a flat lowers it by a semitone and a double +flat lowers it by a whole tone. A natural cancels the effect of a previous +accidental. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Voice.TextScript \set #'font-style = #'large +\addlyrics +\context Staff \notes\relative c'' { + gis1 s s gisis s s ges s s geses s s g! +} +\context Lyrics \lyrics { + \property Lyrics . LyricText \override #'alignment = #-1 + "sharp " "db. sharp " "flat " "db. flat " natural +} +@end lilypond + +@aitem{accelerando} +ES: acelerando, +I: accelerando, +F: accelerando, en acc@'el@'erant, +D: accelerando, schneller werden, +NL: accelerando, +DK: accelerando, +S: accelerando, +N: ?. + +Increase tempo. + +@aitem{adagio} +ES: adagio, +I: adagio, +F: adagio, lent, +D: Adagio, Langsam, +NL: adagio, +DK: adagio, +S: adagio, +N: adagio. + +It. comfortable, easy. +1. Slow tempo, slower -- especially in even meter -- than +@aref{andante} and faster than @aref{largo}. +2. A movement in slow tempo, especially the second (slow) movement of +@aref{sonata}s, symphonies, etc. + +@aitem{allegro} +ES: allegro, +I: allegro, +F: allegro, +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 @aref{sonata}. + +@aitem{alto} +ES: alto, +I: contralto, +F: alto, D: Alt, +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 of +the female voice. This type of voice is also known as @aref{counter +tenor}. + +@aitem{alto clef} +ES: clave de do en tercera, +I: chiave di contralto, +F: clef d'ut troisi@`eme ligne, +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 +@aref{C clef}. + +@aitem{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: ?. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c'' { +a1 b c d e f g a } +@end lilypond + +@aitem{andante} +ES: andante, +I: andante, +F: andante, +D: Andante, Gehend, +NL: andante, +DK: andante, +S: andante, +N: andante. + +Walking tempo/character. + +@aitem{appoggiatura} +ES: apoyatura, +I: appoggiatura, +F: appogiature, (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 19th century a. were usually +performed on the beat, after that mostly before the beat. While the short +a. is performed as a short note regardless of the duration of the main note +the duration of the long a. is proportional to that of the main note. + +@lilypond[13pt] +\context Voice \notes\relative c'' { +\key d \major +\time 4/4 + +\property Score.TextScript \set #'font-style = #'large + r +{ \property Voice.Stem \override #'flag-style = #"" + \grace g16 + \property Voice.Stem \revert #'flag-style + } +fis8 e16 fis +{ \property Voice.Stem \override #'flag-style = #"" + \grace a16 + \property Voice.Stem \revert #'flag-style + } +g8 fis16 g | +\cadenzaOn a4 \bar "||" \cadenzaOff } +\notes\relative c'' { + r g16 () fis e fis a () g fis g | +\cadenzaOn a4 \bar "||" \cadenzaOff } +@end lilypond + +An appoggiatura may have more notes preceding the main note. + +@lilypond[13pt] +\notes\relative c'' { + \key as \major + \time 2/4 + \property Score.TextScript \set #'font-style = #'large + \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\tieUp as32 bes c8. as32 bes c8. } + \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } > + \bar "||" +} +@end lilypond + +@aitem{arpeggio} +ES: arpegio, +I: arpeggio, +F: arp@`ege, +D: Arpeggio, Akkordbrechungen, gebrochener Akkord, +NL: gebroken akoord, +DK: arpeggio, akkordbrydning, +S: arpeggio, +N: ?. + +@lilypond[13pt] +\notes \context PianoStaff < + \context Staff = SA \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 "||" } + \context Staff = SB \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 lilypond + +@aitem{ascending interval} +ES: Intervalo ascendente, +I: intervallo ascendente, +F: intervalle ascendant, +D: steigendes Intervall, +NL: stijgend interval, +DK:@w{ }stigende interval, +S: stigande intervall, +N: ?. + +A distance between a starting lower note and a higher ending note. + +@aitem{augmented interval} +ES: intervalo aumentado, +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: ?. + +@aref{interval}. + +@aitem{autograph } +I: autografo, +F: manuscrit, +D: Autograph, Handschrift, +NL: manuscript, +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. + +@aitem{B} +ES: si, +I: si, +F: si, +D: H, h, +NL: b, +DK: h, +S: h, +N: h. + +@aitemii{backfall,forefall} +@aref{appoggiatura}. + +@aitem{bar line} +ES: ?, +I: stanghetta, barra (di divisione), +F: barre (de mesure), +D: Taktstrich, +NL: maatstreep, +DK: taktstreg, +S: taktstreck, +N: ?. + +@aitem{bar} +ES: comp@'as, @aref{measure}. + +@aitem{baritone} +ES: bar@'{@dotless{i}}tono, +I: baritono, +F: bariton, +D: Bariton, +NL: bariton, +DK: baryton, +S: baryton, +N: baryton. + +The male voice intermediate between the @aref{bass} and the +@aref{tenor}. + +@c F: clef de troisi@`eme ligne dropped + +@aitem{baritone clef} +ES: clave de fa en tercera, +I: chiave di baritono, +F: clef d' Ut cinqui@`eme ligne, clef de Fa troisi@`eme, +D: Baritonschl@"ussel, +NL: baritonsleutel, +DK: barytonn@o{}gle, +S: barytonklav, +N: ?. + +C or F clef setting central C on the upper staff line. +@aref{C clef}, @aref{F clef}. + +@aitem{bass clef} +ES: clave de fa en cuarta, +I: chiave di basso, +F: cl@'e de fa quatri@`eme ligne, +D: Bassschl@"ussel, +NL: bassleutel, +DK: basn@o{}gle, +S: basklav, +N: ?. + +A clef setting with central C on the first top ledger line. +@aref{F clef}. + +@aitem{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. +@aref{strings}. + +@aitem{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. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Voice.TextScript \set #'font-style = #'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 lilypond + +@aitem{beat} +ES: tiempo, +I: tempi, +F: temps, +D: Takt, 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. + +@lilypond[13pt] +\key g \major +\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 lilypond + +@aitem{bind} +@aref{tie}. + +@aitem{brace} +ES: llave, corchete, +I: graffa, +F: accolade, +D: Klammer, Akkolade, +NL: accolade, teksthaak, +DK: klamme, +S: klammer, +N: ?. + +Symbol at the start of a system connecting staves. Curly braces are used +for connecting piano staves, angular brackets for connecting parts in an +orchestral or choral score. + +@lilypond[13pt] +\notes\context GrandStaff < + \relative c''\context Staff = SA { \clef treble g4 e c2 } + \relative c \context Staff = SB { \clef bass c1 \bar "|." } > +@end lilypond + +@lilypond[13pt] +\context StaffGroup < +% \property StaffGroup.minVerticalAlign = #12 + \notes\relative c'' \context Staff = SA { \clef treble g4 e c2 } + \notes\relative c \context Staff = SB { \clef bass c1 \bar "|." } > +@end lilypond + +@aitem{brass} +ES: metales, +I: ottoni, +D: Blechbl@"aser, +NL: koper (blazers), +F: cuivres, +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. + +@aitem{breath mark} +I: respiro, +F: respiration, +D: Atemzeichen, Trennungszeichen, +NL: repercussieteken, +DK: vejrtr@ae{}kningstegn, +S: andningstecken, +N: ?. + +Indication of where to breathe in vocal and wind instrument parts. + +@aitem{breve} +ES: breve, +I: breve, +F: br@`eve, +D: Brevis, +NL: brevis, +DK: brevis, +S: brevis, +N: ?. + +@aref{note value} twice as long as a whole note. Mainly used +in pre-1650 music. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c'' { g\breve } +@end lilypond + +@aitem{C} +ES: do, +I: do, +F: ut, +D: C, c, +NL: c, +DK: c, +S: c, +N: c. + +@aitem{C clef} +ES: Clave de do, +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. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.Clef \override #'full-size-change = ##t +\property Score.LyricText \set #'font-style = #'large +\addlyrics +\context Staff \notes\relative c' { + \clef soprano c1 s s + \clef mezzosoprano c s s + \clef alto c s s + \clef tenor c s s + \clef baritone c s s +} +\context Lyrics \lyrics { + \property Lyrics . LyricText \override #'alignment = #-1 + "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone +} +@end lilypond + +@aitem{cadence} +ES: cadencia, +I: cadenza, +F: cadence, +D: Kadenz, +NL: cadens, +DK: kadence, +S: kadens, +N: ?. + +@aref{harmonic cadence}, @aref{functional harmony}. + +@aitem{cadenza} +ES: cadenza, +I: cadenza, +F: cadence, +D: Kadenz, +NL: cadens, +DK: kadence, +S: kadens, +N: ?. + +An extended, improvisatory style section inserted near the end of +movement. The purpose of a cadenza 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 19th century, however, most cadences have been written down +by the composer. + +@aitem{canon} +ES: canon, +I: canone, +F: canon, +D: Kanon, +NL: canon, +DK: kanon, +S: kanon, +N: ?. + +@aref{counterpoint}. + +@aitem{cent} +ES: cent, +I: cent, +F: cent, +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 @aref{semitone}). +@aref{equal temperament}. + +@aitem{central C} +@aref{middle C}. + +@aitem{chord} +ES: acorde, +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@w{ }thirds. @emph{Major} (major + +minor @aref{third}) as well as @emph{minor} (minor + major third) +chords may be extended with more thirds. Four-tone @emph{seventh chords} +and five-tone @emph{ninth} major chords are most often used as dominants +(@aref{functional harmony}). A special case is chords having no +third above the lower notes to define their quality as major or minor. Such +chords are denoted open chords + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Voice.TextScript \set #'font-style = #'large +\addlyrics +\context Staff \notes\relative c'' { + s s + s s + s s + s s + s s + s s +} +\context Lyrics \lyrics{ + \property Lyrics . LyricText \override #'alignment = #-1 + "major " "minor " "diminished " "augmented " + "seventh-chord " "ninth-chord " +} +@end lilypond + +@aitem{chromatic scale} +ES: escala crom@'atica, +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 @aref{semitone}s. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c' { c1 cis d dis e f fis g gis a ais b c } +@end lilypond + +@aitem{chromaticism} +ES: cromatismo, +I: cromatismo, +F: chromatisme, +D: Chromatik, +NL: chromatiek, +DK: kromatik, +S: kromatik, +N: ?. + +Use of tones extraneous to a @aref{diatonic scale} (minor, major). + +@aitemii{church mode,ecclesiastical mode} +ES: modo eclesi@'astico, +I: modo ecclesiastico, +F: mode eccl@'esiastique, +D: Kirchentonart, +NL: kerktoonladder, +DK: kirketoneart, +S: kyrkotonart, +N: ?. + +@aref{diatonic scale}. + +@aitem{clef} +ES: clave, +I: chiave, +F: cl@'e, clef, +D: Schl@"ussel, Notenschl@"ussel, +NL: sleutel, +DK: n@o{}gle, +S: klav, +N: ?. + +@aref{C clef}, @aref{F clef}, @aref{G clef}. + +@aitem{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. @aref{temperament}. + +@aitem{common meter} +@aref{meter}. + +@aitem{compound interval} +ES: intervalo compuesto, +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. + +@aref{interval}. + +@aitem{complement} +I: rivolto, +F: intervalle compl@'ementaire, +D: Komplement@"arintervall, +NL: complementair interval, +DK: komplement@ae{}rinterval, +S: komplement@"arintervall (?), +N: ?. + +@aref{inverted interval}. + +@aitem{conjunct movement} +ES: movimiento conjunto, +I: moto congiunto, +F: mouvement conjoint, +D: schrittweise, stufenweise Bewegung, +NL: ?, +DK: trinvis bev@ae{}gelse, +S: stegvis r@"orelse, +N: ?. + +Melody moving in the narrow steps of the scale. + +@lilypond[13pt] +\key g \major \time 4/4 +\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } +@end lilypond + +@aitem{consonance} +ES: consonancia, +I: consonanza, +F: consonance, +D: Konsonanz, +NL: consonant, +DK: konsonans, +S: konsonans, +N: ?. + +@aref{harmony}. + +@aitem{contralto} +ES: contralto, +I: contralto, +F: contralto, +D: Alt, +NL: contralto, +DK: alt, +S: alt, +N: ?. + +@aref{alto}. + +@aitem{counterpoint} +ES: contrapunto, +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 contrapunctal technique used in the @emph{fugue} which, since the +music of the baroque era, has been one of the most popular polyphonic +composition methods. + +@lilypond[11pt,noquote] +\property Score.TimeSignature \override #'style = #'() +\notes\context PianoStaff < + \context Staff = SA \relative c' { + \key bes \major + \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 + } + > + } + \context Staff = SB \relative c' { + \clef bass + \key bes \major + < \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 lilypond + +@aitem{counter tenor} +ES: contratenor, +I: controtenore, +F: contre-tenor, +D: Countertenor, +NL: contratenor, +DK: kontratenor, +S: kontratenor, counter tenor, +N: kontratenor. + +@aref{contralto}. + +@aitem{Copying, Music} +A music copyist did fast freehand scores and parts on preprinted staff lines +for performance. Some of their conventions (e.g., the placement of 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. + +@aitem{crescendo} +ES: crescendo, +I: crescendo, +F: crescendo, +D: Crescendo, lauter werden, +NL: crescendo, +DK: crescendo, +S: crescendo, +N: crescendo. + +Increasing volume. Indicated by a rightwards opening horizontal wedge or the +abbreviation ``cresc.''. + +@lilypond[13pt] +\key g \major \time 4/4 +\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." } +@end lilypond + +@aitem{cue-notes} +ES: notas guia, +I: notine, +F: petites notes pr@'ec@'edent l'entr@'ee d'in instrument, r@'eplique, +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. + +@aitem{D} +ES: Re, +I: re, +F: r@'e, +D: D, d, +NL: d, +DK: d, +S: d, +N: d. + +@aitem{da capo} +ES: da capo, +I: da capo, +F: da capo, depuis le commencement, +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 as ``D.C.''. + +@aitem{dal segno} +ES: dal segno, +I: dal segno, +F: dal segno, depuis le signe, +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: + +@lilypond[13pt] +\property Voice.TextScript \set #'font-style = #'large +\property Voice.TextScript \set #'font-shape = #'italic +\key g \major \time 4/4 +\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." } +@end lilypond + +@aitem{decrescendo} +ES: decrescendo, +I: decrescendo, +D: Decrescendo, leiser werden, +NL: decrescendo, +DK: decrescendo, +S: decrescendo, +N: decrescendo. + +Decreasing tone volume. Indicated by a leftwards opening horizontal wedge +or the abbreviation ``decresc.''. + +@lilypond[13pt] +\notes\relative c'' { + \key g \major \time 4/4 + d4 \> c b a | \! g1 \bar "|." +} +@end lilypond + +@aitem{descending interval} +ES: intervalo descendente, +I: intervallo discendente, +F: intervalle descendant, +D: fallendes Intervall, absteigendes Intervall, +NL: dalend interval, +DK: faldende interval, +S: fallande intervall, +N: ?. + +A distance between a starting higher note and a lower ending note. + +@aitem{diatonic scale} +ES: escala diat@'onica, +I: scala diatonica, +F: gamme diatonique, +D: diatonische Tonleiter, +NL: diatonische toonladder, +DK: diatonisk skala, +S: diatonisk skala, +N: ?. + +A scale consisting of 5@w{ }@aref{whole tone}s and +2@w{ }@aref{semitone}s (S). Scales played on the white keys +of a piano keybord are diatonic. + +The church modes are used in gregorial chant and pre baroque early music but +also to some extent in newer jazz music. + +@lilypond[13pt,notime,linewidth=110mm] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \context Staff \notes\relative c' { + c1 d + \property Voice.TextScript \set #'padding = #-4 + e^"~~ S" f g a b^"~~ S" c + } + \context Lyrics \lyrics { + Ionian + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \context Staff \notes\relative c' { + d1 + \property Voice.TextScript \set #'padding = #-4 + e^"~~ S" f g a b^"~~ S" c d + } + \context Lyrics \lyrics { + Dorian + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c' { + \property Voice.TextScript \set #'padding = #-4 + e1^"~~ S" f g a b^"~~ S" c d e + } + \context Lyrics \lyrics { + Phrygian + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c' { + f1 g a + \property Voice.TextScript \set #'padding = #-4 + b^"~~ S" c d e^"~~ S" f + } + \context Lyrics \lyrics { + Lydian + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c'' { + g1 a + \property Voice.TextScript \set #'padding = #-4 + b^"~~ S" c d e^"~~ S" f g } + \context Lyrics \lyrics { + Mixolydian + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c'' { + a1 + \property Voice.TextScript \set #'padding = #-4 + b^"~~ S" c d e^"~~ S" f g a + } + \context Lyrics \lyrics { + Aeolian + } +@end lilypond + +From the beginning of the 17th century the scales used in European +compositional music are primarily the major and the minor scales. In the +harmonic minor scale type an augmented second (A) occurs between the 6th and +7th tone. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c' { + c1 d + \property Voice.TextScript \set #'padding = #-4 + e^"~~ S" f g a b^"~~ S" c + } + \context Lyrics \lyrics { + Major + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c'' { + a1 + \property Voice.TextScript \set #'padding = #-4 + b^"~~ S" c d e^"~~ S" f g a + } + \context Lyrics \lyrics { + "ancient minor" + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c'' { + a1 + \property Voice.TextScript \set #'padding = #-4 + b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a + } + \context Lyrics \lyrics { + "Harmonic minor" + } +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics + \notes\relative c'' { + a1 + \property Voice.TextScript \set #'padding = #-4 + b^"~~ S" c d e fis gis^"~~ S" + a g! f!^"~~ S" e d c^"~~ S" b a + } + \context Lyrics \lyrics { + "Melodic minor" + } +@end lilypond + +@aitem{diminished interval} +ES: intervalo disminu@'{@dotless{i}}do, +I: intervallo diminuito, +F: intervalle diminu@'e, +D: vermindertes Intervall, +NL: verminderd interval, +DK: formindsket interval, +S: f@"orminskat intervall, +N: ?. + +@aref{interval}. + +@aitem{diminuendo} +ES: diminuendo, +I: diminuendo, +F: diminuendo, +D: Diminuendo, +NL: diminuendo, +DK: diminuendo, +S: diminuendo, +N: diminuendo. + +@aref{decrescendo}. + +@aitem{disjunct movement} +ES: movimiendo disjunto, +I: moto disgiunto, +F: mouvement disjoint, +D: sprunghafte Bewegung, +NL: ?, +DK: springende bev@ae{}gelse, +S: hoppande r@"orelse, +N: ?. + +Melody moving in steps greater than those of the +scale. Opposite of @aref{conjunct movement}. + +@lilypond[13pt] +\key a \major +\time 4/4 +\notes\relative c' { + \partial 8 e8 | + a4. gis8 b a e cis | + fis2 d4. \bar "||" } +@end lilypond + +@aitemii{dissonant interval,dissonance} +ES: intervalo disonante, disonancias, +I: intervallo dissonante, dissonanza, +F: dissonance, +D: Dissonanz, +NL: dissonant interval; dissonant, +DK: dissonerende interval, dissonans, +S: dissonans, +N: ?. + +@aref{harmony}. + +@aitem{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: ?. + +@aref{chord}, @aref{functional harmony}. + +@aitem{dominant seventh chord} +ES: acorde de s@'eptima de dominante, +I: accordo di settima di dominante, +F: accord de septi@`eme dominante, +D: Dominantseptakkord, +NL: dominant septiem akkoord, +DK: dominantseptimakkord, +S: dominantseptimackord, +N: ? + +@aref{chord}, @aref{functional harmony}. + +@aitem{dominant} +ES: dominante, +I: dominante, +F: dominante, +D: Dominante, +NL: dominant, +DK: dominant, +S: dominant, +N: ?. + +The fifth @aref{scale degree}, +@aref{functional harmony}. + +@aitem{dorian mode} +ES: modo d@'orico, +I: modo dorico, +F: mode dorien, +D: dorisch, dorischer Kirchenton, +NL: dorische toonladder, +DK: dorisk skala, +S: dorisk tonart, +N: ?. + +@aref{diatonic scale}. + +@aitem{dot (augmentation dot)} +ES: puntillo, +I: punto (di valore), +F: point, +D: Punkt (Verl@"angerungspunkt), +NL: punt, +DK: punkt, +S: punkt, +N: ?. + +@aref{dotted note}. + +@aitem{dotted note} +ES: nota con puntillo, +I: nota puntata, +F: note point@'ee, +D: punktierte Note, +NL: gepuncteerde noot, +DK: punkteret node, +S: punkterad not, +N: ?. + +@aref{note value}. + +@aitem{double appoggiatura} +ES: apoyatura doble, +I: appoggiatura doppia, +F: appoggiature double, +D: doppelter Vorschlag, +NL: dubbele voorslag, +DK: dobbelt forslag, +S: dubbelslag, +N: ?. + +@aref{appoggiatura}. + +@aitem{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. + +@aitem{double dotted note} +ES: nota con dos puntillos, +I: nota doppiamente puntata, +F: note doublement point@'ee, +D: doppelt punktierte Note, +NL: dubbelgepuncteerde noot, +DK: dob@-belt@-punk@-te@-ret node, +S: dub@-bel@-punk@-te@-rad not, +N: ?. + +@aref{note value}. + +@aitem{double flat} +ES: doble bemol, +I: doppio bemolle, +F: double b@'emol, +D: Doppel-B, +NL: dubbelmol, +DK: dob@-belt-b, +S: dubbelbe, +N: ?. + +@aref{accidental}. + +@aitem{double sharp} +ES: doble sostenido, +I: doppio diesis, +F: double di@`ese, +D: Doppelkreuz, +NL: dubbelkruis, +DK: dob@-belt@-kryds, +S: dubbelkors, +N: ?. + +@aref{accidental}. + +@aitem{double trill} +ES: trino doble, +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. + +@aitem{duple meter} +ES: tiempo binario, +I: tempo binario, +F: temps binaire, +D: in zwei, +NL: tweedelige maatsoort, +DK: todelt takt, +S: tv@aa{}takt, +N: ?. + +@aref{meter}. + +@aitem{duplet} +ES: dosillo, +I: duina, +F: duolet, +D: Duole, +NL: duool, +DK: duol, +S: duol, +N: ?. + +@aref{note value}. + +@aitem{duration} +ES: duraci@'on, +I: durata, +F: dur@'ee, +D: Dauer, L@"ange, +NL: duur, lengte, +DK: varighed, +S: tonl@"angd, +N: ?. + +@aref{note value}. + +@aitem{dydimic comma} +@aref{syntonic comma}. + +@aitem{E} +ES: mi, +I: mi, +F: mi, +D: E, e, +NL: e, +DK: e, +S: e, +N: e. + +@aitem{eighth note} +ES: corchea, +I: croma, +F: croche, +UK: quaver, +D: Achtel, Achtelnote, +NL: achtste noot, +DK: ottendedelsnode, +S: @aa{}ttondelsnot, +N: ?. + +@aref{note value}. + +@aitem{eighth rest} +ES: silencio de corchea, +I: pausa di croma, +F: demi-soupir, +UK: quaver rest, +D: Achtelpause, +NL: achtste rust, +DK: ottendedelspause, +S: @aa{}ttonddelspaus, +N: ?. + +@aref{note value}. + +@aitem{engraving} +ES: Grabar +I: incisione, +F: gravure, +D: Notenstechen, Notendruck +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. + +@aitem{enharmonic} +ES: enharm@'onico, +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. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\addlyrics +\context Staff \notes\relative c'' { + gis1 s s as s s s s s s +} +\context Lyrics \lyrics { + \property Lyrics . LyricText \override #'alignment = #-1 + "g sharp " "a flat " "dim fifth " "augm fourth" +} +@end lilypond + +@aitem{equal temperament} +ES: ?, +I: temperamento equabile, +F: temp@'erament @'egal, +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 @aref{semitone}s +(precisely 100 @aref{cent}s). @aref{temperament}. + +@aitem{expression mark} +ES: ?, +I: segno d'espressione, +F: signe d'expression, indication de nuance, +D: Vortragszeichen, +NL: voordrachtsteken, +DK: foredragsbetegnelse, +S: f@"oredragsbeteckning, +N: ?. + +Performance indications concerning 1. volume, dynamics (for example +@aref{forte}, @aref{crescendo}), 2. tempo (for example +@aref{andante}, @aref{allegro}). + +@aitem{F} +ES: fa, +I: fa, +F: fa, +D: F, f, +NL: f, +DK: f, +S: f, +N: f. + +@aitem{F clef} +ES: Clave de Fa, +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@w{ }C. Used on the third, fourth and fifth note line. A +digit@w{ }8 above the clef symbol indicates that the notes must be played +an octave higher (for example bass recorder) while 8@w{ }below the clef +symbol indicates playing an octave lower (for example on double bass +@aref{strings}). + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Staff.Clef \override #'full-size-change = ##t +\property Score.LyricText \set #'font-style = #'large +\addlyrics +\notes\relative c { + \clef varbaritone + f1 + \clef bass + f1 + \clef subbass + f1 + \clef "F^8" + f1 + \clef "F_8" + f1 +} +\context Lyrics \lyrics { + \property Lyrics . LyricText \override #'alignment = #-1 + "baritone " + "bass " + "sub-bass " + "octaved up " + "octaved down" +} +@end lilypond + +@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. + +@aitem{fermata} +ES: Calder@'on, +I: corona, +F: point d'orgue, point d'arr@^et, +D: Fermate, +NL: fermate, +DK: fermat, +S: fermat, +N: ?. + +Prolonged note or rest of indefinite duration. + +@lilypond[13pt] +\time 4/4 +\notes\relative c'' { + a4 b c2^\fermata \bar "|." +} +@end lilypond + +@aitem{fifth} +ES: quinta, +I: quinta, +F: quinte, +D: Quinte, +NL: kwint, +DK: kvint, +S: kvint, +N: kvint. + +@aref{interval}. + +@aitem{figured bass} +ES: bajo cifrado, @aref{thorough bass}. + +@aitem{fingering} +ES: digitaci@'on, +I: diteggiatura, +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. + +@aitem{flag,pennant} +ES: corchete, +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 +@aref{note value}. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\notes\relative c'' { + g8_"1/8" s8 + g16_"1/16" s8 + g32_"1/32" s8 + g64_"1/64" s8 +} +@end lilypond + +@aitem{flat} +ES: bemol, +I: bemolle, +F: b@'emol, +D: B, b, +NL: mol, +DK: b, +S: bef@"ortecken, +N: ?. + +@aref{accidental}. + +@aitemii{forefall,backfall} +@aref{appoggiatura}. + +@aitem{forte} +ES: forte, +I: forte, +F: forte, +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. + +@aitem{fourth} +ES: cuarta, +I: quarta, +F: quarte, +D: Quarte, +NL: kwart, +DK: kvart, +S: kvart, +N: ?. + +@aref{interval}. + +@aitem{fugue} +ES: fuga, +I: fuga, +F: fugue, +D: Fuge, +NL: fuga, +DK: fuga, +S: fuga, +N: ?. + +@aref{counterpoint}. + +@aitem{functional harmony} +ES: armon@'{@dotless{i}}a funcional, +I: armonia funzionale, +F: @'etude des functions, +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. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics +\context Voice \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 lilypond + +@aitem{G} +ES: sol, +I: sol, +F: sol, +D: G, g, +NL: g, +DK: g, +S: g, +N: g. + +@aitem{G clef} +ES: Clave de sol, +I: chiave di sol, +F: cl@'e de sol, +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@w{ }C. Used on the first +and second note lines. A digit 8 above the clef symbol indicates that +the notes must be played an octave higher while 8 below the clef symbol +indicates playing or singing an octave lower (most tenor parts in choral +scores are notated like that). + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Staff.Clef \set #'full-size-change = ##t +\property Score.LyricText \set #'font-style = #'large +\addlyrics +\notes\relative c'' { + \clef french + g1 s s + \clef treble + g s s + \clef "G^8" + g s s + \clef "G_8" + g s s +} +\context Lyrics \lyrics { + \property Lyrics . LyricText \override #'alignment = #-1 + "french violin clef " + "violin clef " + "octaved up " + "octaved down" +} +@end lilypond + +@aitem{glissando} +ES: glissando, +I: glissando, +F: glissando, +D: Glissando, +NL: glissando, +DK: glissando, +S: glissando, +N: glissando. + +Letting the pitch slide fluently from one note to the other. + +@aitem{grace notes} +SP: ?, +I: abbellimenti, +F: fioriture, +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. @aref{appoggiatura}. + +@aitem{grand staff} +I: accolatura, +F: accolade, +D: Akkolade, +NL: piano systeem, +DK: klaversystem, +S: ackolad, b@"ojd klammer, +N: ?. + +@aref{brace}. + +A combination of two staves with a brace. Usually used for piano music. + +@aitem{grave} +ES: grave, +I: grave, +F: grave, +D: grave, langsam, +NL: grave, ernstig, +DK: grave, +S: grave, +N: ?. + +Slow, solemn. + +@aitem{half note} +ES: blanca, +I: minima, +F: blanche, +UK: minim, +D: Halbe, halbe Note, +NL: halve noot, +DK: halvnode, +S: halvnot, +N: ?. + +@aref{note value}. + +@aitem{half rest} +SP: ?, +I: pausa di minima, +F: demi-pause, +UK: minim rest, +D: halbe Pause, +NL: halve, rust, +DK: halvnodespause, +S: halvpaus, +N: ?. + +@aref{note value}. + +@aitem{harmonic cadence} +ES: cadencia (arm@'onica), +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. @aref{functional harmony}. + +@lilypond[13pt] +\notes\context PianoStaff < + \context Staff = SA \relative c'' { + \time 4/4 + \clef treble + \context Voice + \partial 4 < c4 g e > | + < c a f > < b g d > < c2 g e > + } + \property Score.LyricText \set #'font-style = #'large + \addlyrics + \context Staff = SB \relative c { + \clef bass + \partial 4 c4 | f, g c2 + \bar "|." + } + \context Lyrics \lyrics { + T S D T + } +> +@end lilypond + +@aitem{harmony} +ES: armon@'{@dotless{i}}a, +I: armonia, +F: harmonie, +D: Harmonie, Zusammenklang, +NL: harmonie, +DK: samklang, +S: samklang, +N: ?. + +Tones sounding simultaneously. Two note harmonies fall into the categories +@emph{consonances} and @emph{dissonances}. + +Consonances: + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\context Voice \notes\relative c'' { + s + s + s + s + s + s + s s +} +@end lilypond + +Dissonances: + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\context Voice \notes\relative c'' { + s s + s s + s s +} +@end lilypond + +Three note harmony @aref{chord}. + +@aitem{homophony} +ES: homofon@'{@dotless{i}}a, +I: omofonia, +F: homophonie, +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 @aref{polyphony}. + +@aitem{interval} +ES: intervalo, +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 (@aref{enharmonic}) and are called @emph{tritonus} +because they consist of three @aref{whole tone}s. The addition +of such two forms an octave. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics +\context Voice \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 lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics +\context Staff \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 lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +\property Score.TextScript \set #'font-style = #'large +\addlyrics +\context Staff \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 lilypond + +@aitem{inverted interval} +ES: intervalo invertido, +I: intervallo rivolto, +F: intervalle revers@'e, +D: umgekehrtes Intervall, +NL: interval inversie, +DK: omvendingsinterval, +S: intervallets omv@"andning, +N: ?. + +The difference between an interval and an octave. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\context Staff \notes\relative c'' { + < g1_"second " a > s s < g'_"seventh " a, > s s \bar "||" + < g,_"third " b > s s < g'_"sixth " b, > s s \bar "||" + < g,_"fourth " c > s s < g'_"fifth " c, > s s \bar "||" +} +@end lilypond + +@aitem{just intonation} +I: intonazione giusta, +F: intonation juste, +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 +natural fifths and thirds. @aref{temperament}. + +@aitem{key} +ES: tonalidad, +I: tonalit@`a, +F: tonalit@'e, +D: Tonart, +NL: toonsoort, +DK: toneart, +S: tonart, +N: ?. + +According to the 12@w{ }tones of the @aref{chromatic scale} +there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc. +@aref{key signature}. + +@aitem{key signature} +ES: armadura de clave, +I: armatura di chiave, +F: armure, armature [de la cl@'e], +D: Vorzeichen, Tonart, +NL: toon@-soort (voortekens), +DK: faste fortegn, +S: tonartssignatur, +N: ?. + +The sharps or flats appearing at the beginning of each staff indicating the +key of the music. @aref{accidental}. + +@aitem{largo} +ES: largo, +I: largo, +F: largo, +D: Largo, Langsam, Breit, +NL: largo, +DK: largo, +S: largo, +N: largo. + +Very slow in tempo, usually combined with great +expressiveness. @emph{Larghetto} is less slow than largo. + +@aitem{leading note} +ES: sensible, +I: sensibile, +F: note sensible, +D: Leitton, +NL: leidtoon, +DK: ledetone, +S: ledton, +N: ?. + +The seventh @aref{scale degree}, a @aref{semitone} below +the tonic; so called because of its strong tendency to ``lead up'' (resolve +upwards) to the tonic scale degree. + +@aitemii{ledger line,leger line} +ES: l@'{@dotless{i}}neas adicionales, +I: tagli addizionali, +F: ligne suppl@'ementaire, +D: Hilfslinie, +NL: hulplijntje, +DK: hj@ae{}lpelinie, +S: hj@"alplinje, +N: ?. + +A ledger line is an extension of the staff. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c'' { a,1 s c'' } +@end lilypond + +@aitem{legato} +ES: ligado, +I: legato, +F: legato, li@'e, +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 +@aref{staccato} (d). + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\addlyrics +\context Staff \notes\relative c'' { + c4( d )e \bar "||" + c4-- d-- e-- \bar "||" + c4-.( d-. )e-. \bar "||" + c4-. d-. e-. \bar "||" +} +\context Lyrics \lyrics { + \property Lyrics . LyricText \set #'font-style = #'large + a + b "" "" + c + d +} +@end lilypond + +@aitem{legato curve} +@aref{slur}, @aref{legato}. + +@aitem{lilypond} +ES: estanque de lilas, +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. + +@aitem{line} +ES: l@'{@dotless{i}}nea, +I: linea, +F: ligne, +D: Linie, Notenlinie, +NL: lijn, +DK: nodelinie, +S: notlinje, +N: ?. + +@aref{staff}. + +@aitem{long appoggiatura} +ES: apoyatura larga, +I: appoggiatura lunga, +F: appoggiature longue, +D: langer Vorschlag, +DK: langt forslag, +S: l@aa{}ngt f@"orslag, +N: ?. + +@aref{appoggiatura}. + +@aitem{longa} +ES: longa, +I: longa, +F: longa, +D: Longa, +NL: longa, +DK: longa, +S: longa, +N: longa. + +Note value: double length of @aref{breve}. +@aref{note value}. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c'' { + \property Voice.NoteHead \set #'style = #'mensural + g\longa +} +@end lilypond + +@aitemii{lyrics,song texts} +ES: ., +I: ., +F: ., +D: ., +NL: liedtekst, +DK: ., +S: ., +N: .. + +@aitem{major interval} +ES: intervalo mayor, +I: intervallo maggiore, +F: intervalle majeur, +D: gro@ss{}es Intervall, +NL: groot interval, +DK: stort interval, +S: stort intervall, +N: ?. + +@aref{interval}. + +@aitem{major} +ES: mayor, +I: maggiore, +F: [mode] majeur, +D: Dur, +NL: majeur, +DK: dur, +S: dur, +N: dur. + +@aref{diatonic scale}. + +@aitem{meantone temperament} +I: accordatura mesotonica, +F: temp@'erament m@'esotonique, +D: mittelt@"onige Stimmung, +NL: ?, +DK: middeltonetemperatur, +S: medeltonstemperatur, +N: ?. + +Temperament yielding acoustically pure thirds by decreasing the natural fifth +by 16@w{ }@aref{cent}s. Due to the non-circular character of this +@aref{temperament} only a limited set of keys are playable. +Used for tuning keyboard instruments for performance of pre-1650 music. + +@aitem{measure, bar} +ES: comp@'as, +I: misura, battuta, +F: mesure, +D: Takt, +NL: maat, +DK: takt, +S: takt, +N: takt. + +A group of @aref{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. @aref{meter}. + +@aitem{mediant} +ES: mediante, +I: mediante, modale, +F: m@'ediante, +NL: mediant, +D: Mediante, +DK: mediant, +S: mediant, +N: ?. + +1. The third @b{scale degree}. +2. A @aref{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). @aref{functional +harmony}, @aref{relative key}. + +@aitem{melodic cadence} +@aref{cadenza}. + +@aitem{meter, time} +ES: comp@'as, +I: tempo, metro, +F: indication de m@'esure, +D: Taktart, Metrum, +NL: maatsoort, +DK: taktart, +S: taktart, +N: ?. + +The basic scheme of @aref{note value}s and +@aref{accent}s which remains unaltered throughout a composition +or a section of it. For instance, 3/4 meter means that the basic +@aref{note value}s are quarter notes and that a +@aref{measure} consists of three of those. According to +whether there are two, three or four units to the measure, +one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or +@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter. + +@lilypond[13pt] +\notes\relative c'' { + \time 3/4 + \key f \major + c es d | c bes8 a bes4 | c es d | c2 \bar "||"} +@end lilypond + +@lilypond[13pt] +\notes\relative c' { + \time 6/8 + \key f \major + f8 f f f a16 g a f | + c'8 c c c e16 d e c \bar "||"} +@end lilypond + +@lilypond[13pt] +\notes\relative c'' { + \time 5/4 + \key g \major + d4 b8 g b d d c a4 | + g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"} +@end lilypond + +@aitem{metronome} +ES: metr@'onomo, +I: metronomo, +F: m@'etronome, +D: Metronom, +NL: metronoom, +DK: me@-tro@-nom, +S: me@-tro@-nom, +N: metronom. + +Device indicating the exact tempo of a piece. @aref{metronomic +indication}. + +@aitem{metronomic indication} +ES: indicaci@'on metron@'omica, +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@"alzels Metronom). + +@aitem{mezzo-soprano} +ES: mezzo soprano, +I: mezzo-soprano, +F: mezzo-soprano, +D: Mezzosopran, +NL: mezzosopraan, +DK: mezzosopran, +S: mezzosopran, +N: mezzosopran. + +The female voice between @aref{soprano} and +@aref{contralto}. + +@aitem{middle C} +ES: do central, +I: do centrale, +F: do central, +D: eingestrichenes@w{ }c, +NL: centrale@w{ }c, +DK: enstreget@w{ }c, +S: ettstruket@w{ }c, +N: ?. + +First C below the 440 Hz A. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Staff.Clef \set #'full-size-change = ##t +\notes\relative c' { + \clef bass c1 s + \clef alto c s + \clef treble c s +} +@end lilypond + +@aitem{minor} +ES: menor, +I: minore, +F: mode mineur, +D: Moll, +NL: mineur, +DK: mol, +S: moll, +N: ?. + +@aref{diatonic scale}. + +@aitem{minor interval} +ES: intervalo mayor, +I: intervallo minore, +F: intervalle mineur, +D: kleines Intervall, +NL: klein interval, +DK: lille interval, +S: litet intervall, +N: ?. + +@aref{interval}. + +@aitem{mode} +ES: modo, +I: modo, +F: mode, +D: Modus, +NL: modus, +DK: skala, +S: modus, skala, +N: ?. + +@aref{church mode}, @aref{diatonic scale}. + +@aitem{modulation} +ES: modulaci@'on, +I: modulazione, +F: modulation, +D: Modulation, +NL: modulatie, +DK: modulation, +S: modulering, +N: ?. + +Moving from one @aref{key} to another. For example, the second +subject of a @aref{sonata form} movement modulates to the dominant +key if the key is major and to the @aref{relative key} if the key +is minor. + +@aitem{mordent} +I: mordente, +F: mordant, +D: Mordent, +NL: mordent, +DK: mordent, +S: mordent, +N: ?. + +@aref{ornament}. + +@aitemii{motive,motif} +ES: tema, +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. + +@lilypond[13pt] +\property Score.TimeSignature \override #'style = #'() +\property Score.TextScript \set #'font-style = #'large +\notes\relative c'' { + \time 4/4 + \key g \major + \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 lilypond + +@aitem{movement} +ES: movimiento, +I: movimento, +F: mouvement, +D: Satz, +NL: deel, +DK: sats, +S: sats, +N: ?. + +Greater musical works like @aref{symphony} and +@aref{sonata} most often consist of several -- more or less -- +independant pieces called movements. + +@aitem{multibar rest} +ES: compases de espera, +I: pausa multipla, +F: pause multiple, +NL: meermaats rust, +D: mehrtaktige Pause, +DK: flertaktspause, +S: flertaktspaus, +N: ?. + +@lilypond[13pt] +\notes\relative c'' { + a1 + \property Score.skipBars=##t R1*3 + a1 +} +@end lilypond + +@aitem{mixolydian mode} +@aref{diatonic scale}. + +@aitem{natural sign} +ES: becuadro, +I: bequadro, +F: b@'ecarre, +D: Aufl@"osungszeichen, +NL: herstellingsteken, +DK: op@-l@o{}sningstegn, +S: @aa{}terst@"allningstecken, +N: ?. + +@aref{accidental}. + +@aitem{neighbour tones} +@aref{appoggiatura}. + +@aitem{ninth} +ES: novena, +I: nona, +F: neuvi@`eme, +D: None, +NL: noon, +DK: none, +S: nona, +N: ?. + +@aref{interval}. + +@aitem{non-legato} +@aref{legato}. + +@aitem{note} +ES: nota, +I: nota, +F: note, +D: Note, +NL: noot, +DK: node, +S: not, +N: ?, + +Notes are signs by means of which music is fixed in writing. The term is also +used for the sound indicated by a note, and even for the key of the piano +which produces the sound. However, a clear distinction between the terms tone +and @aref{note} is strongly recommended. Briefly, one sees a note, +and hears a tone. + +@aitem{note head} +ES: oval, +I: testa, testina, capocchia, +F: t@^ete de la note, +D: Notenkopf, +NL: nootballetje, +DK: nodehovede, +S: nothuvud, +N: ?. + +A head like sign which indicates pitch by its position on a +@aref{staff} provided with a @aref{clef}, and duration +by a variety of shapes such as hollow or black heads with or without +@aref{stem}s, @aref{flag}s, etc. For percussion +instruments (often having no defined pitch) the note head may indicate the +instrument. + +@aitem{note value} +ES: valor, +I: valore, durata, +F: dur@'ee, valeur (d'une note), +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. + +@lilypond[13pt,notime] +\property Score.TextScript \set #'font-style = #'large +\property Score.barNonAuto = ##t +\notes\relative c'' { + \property Voice.NoteHead \override #'style = #'mensural + g\longa_"longa" g\breve_"breve" + \property Voice.NoteHead \revert #'style + g1_"1/1" g2_"1/2" g4_"1/4" s16 g8_"1/8" s16 + g16_"1/16" s16 g32_"1/32" s16 g64_"1/64" s32 } +@end lilypond + +@lilypond[13pt,notime] +\property Score.TextScript \set #'font-style = #'large +\property Score.barNonAuto = ##t +\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 lilypond + +An augmentation dot after a note multiplies the duration by one and a +half. Another dot adds yet a fourth of the duration. + +@lilypond[13pt] +\property Score.TextScript \set #'font-style = #'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 lilypond + +Alternatively note values may be subdivided by other ratios. Most common is +subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}). +Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of +dotted notes are also frequently used. + +@lilypond[13pt] +\property Score.TextScript \set #'font-style = #'large +\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 "||" +} +@end lilypond + +@lilypond[13pt] +\notes\relative c'' { + \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 lilypond + +@aitem{octave sign} +@aref{G clef}, @aref{F clef}. + +@aitem{octave} +ES: octava, +I: ottava, +F: octave, +D: Oktave, +NL: octaaf, +DK: oktav, +S: oktav, +N: ?. + +@aref{interval}. + +@aitemiii{ornament,embellishment,accessory} +ES: adorno, +I: abbellimento, fioriture, +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 @aref{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. + +@lilypond[13pt] +< + \context Staff = sa { + \property Score.TextScript \set #'font-style = #'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 lilypond + +Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the +@emph{prall} (inverted mordent). + +@lilypond[13pt] +< + \context Staff = sa { + \property Score.TextScript \set #'font-style = #'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 [e32 d e d ~ d8] c2 + } +> +@end lilypond + +@aref{appoggiatura}. + +@aitem{ossia} +ES: ossia, +I: ossia, +F: ossia, +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. + +@aitem{part} +ES: parte, +I: voce, parte, +F: partie, +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 @aref{counterpoint} the single +melodic line of the contrapunctal web. + +@aitem{percussion} +ES: percusi@'on, +I: percussioni, +F: percussion, +D: Schlagzeug, Schlagwerk, +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. + +@aitem{perfect interval} +ES: intervalo justo, +I: intervallo giusto, +F: intervalle juste, +D: reines Intervall, +NL: rein interval, +DK: rent interval, +S: rent intervall, +N: ?. + +@aref{interval}. + +@aitem{phrase} +ES: frase, +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. + +@aitem{phrasing} +ES: fraseo, +I: fraseggio, +F: phras@'e, +D: Phrasierung, +NL: frasering, +DK: frasering, +S: fra@-se@-ring, +N: ?. + +The clear rendering in musical performance of the @aref{phrase}s of +the melody. Phrasing may be indicated by a @aref{slur}. + +@aitem{piano} +ES: piano, +I: piano, +F: piano, +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. + +@aitem{pitch} +ES: altura, +I: altezza, +F: hauteur, +D: Tonh@"ohe, +NL: toonhoogte, +DK: toneh@o{}jde, +S: tonh@"ojd, +N: ?. + +@aitem{pizzicato} +ES: pizzicato, +I: pizzicato, +F: pizzicato, +D: pizzicato, +NL: pizzicato, getokkeld, +DK: pizzicato, +S: pizzicato, +N: ?. + +Play by plucking the strings. + +@aitem{polyphony} +ES: polifon@'{@dotless{i}}a, +I: polifonia, +F: polyphonie, +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. @aref{counterpoint}. + +@aitem{portato} +@aref{legato}. + +@aitem{presto} +ES: presto, +I: presto, +F: presto, +D: Presto, Sehr schnell, +NL: presto, Sehr schnell, +DK: presto, +S: presto, +N: ?. + +Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo} +denotes the highest possible degree of speed. + +@aitem{Pythagorean comma} +ES: coma pitag@'orico, +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@w{ }C eventually circles back to@w{ }C, +but this@w{ }C, obtained by adding 12@w{ }fifths, is +24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding +7@w{ }octaves. The difference between those two pitches is called the +Pythagorean comma. + +@aitem{quadruplet} +ES: cuatrillo, +I: quartina, +F: quartolet, +D: Quartole, +NL: kwartool, +DK: kvartol, +S: kvartol, +N: ?. + +@aref{note value}. + +@aitem{quarter note} +ES: negra, +I: semiminima, nera, +F: noire, +UK: crotchet, +D: Viertel, Viertelnote, +NL: kwartnoot, +DK: fjerdedelsnode, +S: fj@"ardedelsnot, +N: ?. + +@aref{note value}. + +@aitem{quarter rest} +ES: silencio de negra, +I: pausa di semiminima, +F: soupir, +UK: crotchet rest, +D: Viertelpause, +NL: kwart rust, +DK:@w{ }fjerdedelspause, +S: fj@"ardedelspaus, +N: ?. + +@aref{note value}. + +@aitem{quintuplet} +ES: quintillo, +I: quintina, +F: quintolet, +D: Quintole, +NL: kwintool, +DK: kvintol, +S: kvintol, +N: ?. + +@aref{note value}. + +@aitem{rallentando} +ES: rallentando, +I: rallentando, +F: rallentando, +D: rallentando, langsamer werden, +NL: rallentando, +DK: rallentando, +S: rallentando, +N: rallentando. + +Abbreviation "rall.". @aref{ritardando}. + +@aitem{relative key} +ES: relativa, +I: tonalit@`a relativa, +F: tonalit@'e relative, +D: Paralleltonart, +DK: paralleltoneart, +S: parallelltonart, +N: ?. + +@aref{major} and @aref{minor} @aref{key} +with the same @aref{key signature}. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\notes\relative c' { + \key es \major + es1_"e flat major" f g as bes c d es + \bar "||" +} +@end lilypond + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\notes\relative c' { + \key es \major + c1_"c minor" d es f g a! b! c \bar "||" +} +@end lilypond + +@aitem{repeat} +ES: barra de repetici@'on, +I: ritornello, +F: barre de reprise, +D: Wiederholung, +NL: herhaling, +DK: gen@-ta@-gel@-se, +S: repris, +N: ?. + +@lilypond[13pt] +\key g \major +\time 4/4 +\notes\relative c'' { + \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 } +} +@end lilypond + +@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to +@c specify the rest's value. + +@aitem{rest} +ES: silencio, +I: pausa, +F: silence, +D: Pause, +NL: rust, +DK: pause, +S: paus, +N: ?. + +@aref{note value}. + +@aitem{rhythm} +ES: ritmo, +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 @aref{beat}, and in which the normal +@aref{accent} recurs in regular intervals, called +@aref{measure}. The basic scheme scheme of time values is called +@aref{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). + +@aitem{ritardando} +ES: retardando, +I: ritardando, +F: ritardando, +D: Ritardando, langsamer werden, +NL: ritardando, +DK: ritardando, +S: ritardando, +N: ?. + +Gradually slackening in speed. Mostly abbreviated to rit. or ritard. + +@aitem{ritenuto} +ES: ritenuto, +I: ritenuto, +F: ritenuto, +D: Ritenuto, +NL: ritenuto, +DK: ritenuto, +S: ritenuto, +N: ?. + +Immediate reduction of speed. + +@aitem{scale} +ES: escala, +I: scala, +F: gamme, +D: Tonleiter, +NL: toonladder, +DK: Skala, +S: skala, +N: ?. + +@aref{diatonic scale}. + +@aitem{scale degree} +ES: grados de la escala, +I: grado della scala, +F: degr@'e [de la gamme], +D: Tonleiterstufe, +NL: trap [van de toonladder], +DK: skalatrin, +S: skalsteg (?), +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). + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.LyricText \set #'font-style = #'large +%\property Lyrics.minVerticalAlign = #8 +\addlyrics +\context Staff \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 lilypond + +@aref{functional harmony}. + +@aitem{score} +ES: partitura, +I: partitura, +F: partition, +D: Partitur (full score), Klavierauszug (vocal score) +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 staves @aref{staff}. + +@aitem{second} +ES: segunda, +I: secunda, +F: seconde, +D: Sekund, +NL: secunde, +DK: sekund, +S: sekund, +N: ?. + +The @aref{interval} between two neigbouring tones of a scale. A +@aref{diatonic scale} consists of alternating +@aref{semitone}s and @aref{whole tone}s, hence the size +of a se@-cond depends on the scale degrees in question. + +@aitem{semitone} +ES: semitono, +I: semitono, +F: demi-ton, +D: Halbton, +NL: halve toon, +DK: halvtone, +S: halvton, +N: ?. + +The @aref{interval} of a minor second. The (usually) smallest +interval in European composed music. The interval between two neighbouring +tones on the piano keyboard -- including black and white keys -- is a +semitone. An octave may be divided into 12@w{ }semitones. +@aref{interval}, @aref{chromatic scale}. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c'' { g1 gis s a bes s b! c } +@end lilypond + +@aitem{seventh} +ES: s@'eptima, +I: settima, +F: septi@`eme, +D: Septime, +NL: septiem, +DK: septim, +S: septim, +N: ?. + +@aref{interval}. + +@aitem{sextuplet, sextolet} +I: sestina, +F: sextolet, +D: Sextole, +NL: sextool, +DK: sekstol, +S: sextol, +N: ?. + +@aref{note value}. + +@aitem{sharp} +ES: sostenido, +I: diesis, +F: di@`ese, +D: Kreuz, +NL: kruis, +DK: kryds, +S: korsf@"ortecken, +N: ?. + +@aref{accidental}. + +@aitem{short appoggiatura} +@aref{appoggiatura}. + +@aitem{sixteenth note} +ES: semicorchea, +I: semicroma, +F: double croche, +UK: semiquaver, +D: Sechzehntel, Sechzehntelnote, +NL: zes@-ti@-ende noot, +DK: sekstendedelsnode, +S: sextondelsnot, +N: ?. + +@aref{note value}. + +@aitem{sixteenth rest} +ES: silencia de semicorchea, +I: pausa di semicroma, +F: quart de soupir, +UK: semiquaver rest, +D: Sechzehntelpause, +NL: zestiende rust, +DK: sekstendedelspause, +S: sextondelspaus, +N: ?. + +@aref{note value}. + +@aitem{sixth} +ES: sexta, +I: sesta, +F: sixte, +D: Sexte, +NL: sext, +DK: sekst, +S: sext, +N: ?. + +@aref{interval}. + +@aitem{sixty-fourth note} +ES: semifusa, +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: ?. + +@aref{note value}. + +@aitem{sixty-fourth rest} +ES: silencia de semifusa, +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: ?. + +@aref{note value}. + +@aitem{slur} +ES: ligadura, +I: legatura (di portamento or espressiva), +F: liaison, coul@'e, +D: Bogen, Bindebogen, Legatobogen, Phrasierungsbogen, +NL: binding, bindingsboog, +DK: legatobue, fraseringsbue, +S: b@aa{}ge, +N: ?. + +A slur above or below a group of notes indicates that they are to be played +@aref{legato}, e.g., with one stroke of the violin bow or with one +breath in singing. + +@aitem{solmization} +I: solmisazione, +F: solmisation, +D: Solmisation, +NL: solmizatie, +DK: solmisation, +S: solmisation, +N: ?. + +General term for systems of designating the degrees of the +@aref{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})). @aref{scale degree}. + +@aitem{sonata} +ES: sonata, +I: sonata, +F: sonate, +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. + +@aitem{sonata form} +ES: forma sonata, +I: forma sonata, +F: [en] forme de sonate, +D: Sonatenform, +NL: hoofdvorm, sonatevorm, +DK: sonateform, +S: sonatform, +N: ?. + +A form used frequently for single movements of the @aref{sonata}, +@aref{symphony}, quartet, etc. A movement written in sonata form +falls into three sections called @emph{exposition}, @emph{development} and +@emph{recapitulation}. In the exposition the composer introduces 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 +@aref{dominant} if the @aref{tonic} is +@aref{major}, and in the @aref{relative key} if the +tonic is @aref{minor}. + +@aitem{soprano} +ES: soprano, +I: soprano, +F: soprano, +D: Sopran, +NL: sopraan, +DK: sopran, +S: sopran, +N: ?. + +The highest female voice. + +@aitem{staccato} +ES: staccato, +I: staccato, +F: staccato, piqu@'e, d@'etach@'e, +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. + +@lilypond[13pt] +\key d \major +\time 4/4 +\notes\relative c'' { + \partial 8 a8 | + d4-\staccato cis-\staccato b-\staccato cis-\staccato | + d2. \bar "||" +} +@end lilypond + +@aitem{staff} +ES: pentagrama, +I: pentagramma, rigo (musicale), +F: port@'ee, +D: Notenzeile, +NL: (noten)balk, partij, +DK: nodesystem, +S: notsystem, +N: ?. + +pl. staves. A series of (normally@w{ }5) horizontal lines upon and between +which the musical notes are written, thus indicating (in connection +with a @aref{clef}) their pitch. Staves for +@aref{percussion} instruments may have fewer lines. + +@aitem{stem} +ES: plica, +I: gamba, +F: queue, +D: Hals, Notenhals, Stiel, +NL: stok, +DK: hals, +S: skaft, +N: ?. + +Vertical line above or below a @aref{note head} shorter than a +whole note. @aref{beam}. + +@lilypond[13pt,notime] +\property Score.autoBeaming = ##f +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'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 lilypond + +@aitem{strings} +ES: arcos, cuerdas, +I: archi, +F: cordes, +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. + +@aitem{strong beat} +ES: tiempo fuerte, +I: tempo forte, +F: temps fort, +D: betonter Taktteil oder Taktschlag, +NL: thesis, +D: betonet taktslag, +S: betonat taktslag, +N: ?. + +@aref{beat}, @aref{accent}, @aref{measure}, +@aref{rhythm}. + +@aitem{subdominant} +ES: subdominante, +I: sottodominante, +F: sous-dominante, +D: Subdominante, +NL: subdominant, +DK: subdominant, +S: subdominant, +N: ?. + +The fourth @aref{scale degree}. @aref{functional +harmony}. + +@aitem{submediant} +ES: superdominante, +I: sopratonica, +F: sous-m@'ediante, +D: Submediante, +NL: submediant, +DK: Submediant, +S: submediant, +N: ?. + +The sixth @aref{scale degree}. + +@aitem{subtonic} +ES: sensible, +I: sottotonica, +F: sous-tonique, +D: Subtonika, +NL: subtonica, +DK: Subtonika, +S: subtonika, +N: ?. + +The seventh @aref{scale degree}. + +@aitem{superdominant} +ES: superdominante, +I: sopradominante, +F: sus-dominante, +D: Superdominante, +NL: superdominant, +DK: superdominant, +S: superdominant, +N: ?. + +The sixth @aref{scale degree}. + +@aitem{supertonic} +ES: supert@'onica, +I: sopratonica, +F: sus-tonique, +D: Supertonika, +NL: supertonica, +DK: supertonika, +S: supertonika, +N: ?. + +The second @aref{scale degree}. + +@aitem{symphony} +ES: sinfon@'{@dotless{i}}a, +I: sinfonia, +F: symphonie, +D: Sinfonie, Symphonie, +NL: symfonie, +DK: symfoni, +S: symfoni, +N: ?. + +A symphony may be defined as a @aref{sonata} for orchestra. + +@aitem{syncopation} +ES: sincopado, +I: sincope, +F: syncope, +D: Synkope, +NL: syncope, +DK: synkope, +S: synkop, +N: ?. + +Any deliberate upsetting of the normal pulse of @aref{meter}, +@aref{accent} and @aref{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. + +@lilypond[13pt] +\time 4/4 +\notes\relative c' { + \partial 4 + d8 dis | + e c'4 e,8 c'4 e,8 c' ( | ) c2 +} +@end lilypond + +@aitemii{syntonic comma,dydimic comma} +I: comma sintonico (o didimico), +F: comma syntonique, +D: syntonisches Komma, +NL: syntonische komma, +DK: syntonisk komma, +S: syntoniskt komma, +N: ?. + +Difference between the natural third and the third obtained by Pythagorean +tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents. + +@aitem{system} +I: accollatura, +F: syst@`eme, +D: Notensystem, +NL: systeem, +DK: system, +S: system, +N: ?. + +The collection of staves @aref{staff}, two or more, as used for +writing down of keyboard, chamber, choral, or orchestral music. + +@aitem{temperament} +ES: temperamento, +I: temperamento, +F: temp@'erament, +D: Stimmung, Temperatur, +NL: temperament, +DK: temperatur, +S: temperatur, +N: ?. + +Systems of tuning in which the intervals deviate from the acoustically pure +intervals. @aref{meantone temperament}, @aref{equal +temperament}. + +@aitem{tempo indication} +ES: indicaci@'on de tempo, +I: indicazione di tempo, +F: indication 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 +@aref{largo}, @aref{adagio}, @aref{andante}, +@aref{allegro}, and @aref{presto}. + +@aitem{tenor} +ES: tenor, +I: tenore, +F: t@'enor, +D: Tenor, +NL: tenor, +DK: tenor, +S: tenor, +N: ?. + +The highest voice of men (apart from @aref{counter tenor}). + +@aitem{tenth} +ES: d@'ecima, +I: decima, +F: dixi@`eme, +D: Dezime, +NL: deciem, +DK: decim, +S: decima, +N: ?. + +@aref{note value}. + +@aitem{third} +ES: tercera, +I: terza, +F: tierce, +D: Terz, +NL: terts, +DK: terts, +S: ters, +N: ?. + +@aref{interval}. + +@aitem{thirty-second note} +ES: fusa, +I: biscroma, +F: triple croche, +UK: demisemiquaver, +D: Zweiunddreissigstel, Zweiunddreissigstelnote, +NL: twee-endertig@-ste noot, +DK: toogtredivtedelsnode, +S: trettiotv@aa{}ondelsnot, +N: ?. + +@aref{note value}. + +@aitem{thirty-second rest} +ES: silencio de fusa, +I: pausa di biscroma, +F: huiti@`eme de soupir, +UK: demisemiquaver rest, +D: Zweiunddreissigstel@-pause, +NL: 32e rust, +DK: toogtredivtedelspause, +S: trettiotv@aa{}ondelspaus, +N: ?. + +@aref{note value}. + +@aitemii{thorough bass,figured bass} +ES: bajo cifrado, +I: basso continuo, basso numerato, +F: basse chiffr@'ee, +D: Generalbass, bezifferter Bass, +NL: basso continuo, +DK: generalbas, +S: generalbas, +N: ?. + +A method of indicating an accompaniment part by the bass notes only, together +with figures designating the chief @aref{interval}s and +@aref{chord}s to be played above the bass notes. + +@lilypond[13pt] +\context GrandStaff < + \context Staff = lh \notes\relative c'' { + \time 4/4 + \key es \major + \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 > } + > + } + \addlyrics + \context Staff = rh \notes\relative c' { + \clef bass + \key es \major + es8 c d bes c as bes16 as g f | es4 + } + \context Lyrics \lyrics { + \property Lyrics . LyricText \set #'font-style = #'Large + \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12) + < { "" "6" "" "4" "" "6" "" "" "6" "4" } + { "" "" "" "2" "" "" "" "" "" "2" } > + } +> +@end lilypond + +@aitemii{tie,bind} +ES: ligadura de prolongaci@'on, +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 @aref{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. + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\notes\relative c'' { g2 ~ g4. } +@end lilypond + +@aitem{time signature} +ES: cifra indicadora de comp@'as, +I: segni di tempo, +F: chiffrage (chiffres indicateurs), signe de valeur, +D: Taktangabe, Angabe der Taktart, +NL: maatsoort, +DK: taktangivelse, +S: taktartssignatur, +N: ?. + +@aref{meter}. + +@aitem{tone} +ES: sonido, +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. + +@aitem{tonic} +ES: tonica, +I: tonica, +F: tonique, +D: Tonika, +NL: tonica, +DK: tonika, +S: tonika, +N: ?. + +The first @aref{scale degree}. +@aref{functional harmony}. + +@aitem{transposition} +ES: transposici@'on, +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. + +@lilypond[13pt] +\context Staff { + \time 3/4 + \notes\relative c'' { + \key g \major + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." + } +} +@end lilypond + +@lilypond[13pt] +\context Staff { + \time 3/4 + \transpose bes\relative c'' { + \key g \major + d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|." + } +} +@end lilypond + +@aitem{treble clef} +ES: clave de sol, +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: ?. + +@aref{G clef}. + +@aitem{tremolo} +ES: tremolo, +I: tremolo, +F: tr@'emolo, +D: Tremolo, +NL: tremolo, +DK: tremolo, +S: tremolo, +N: ?. + +On stringed instruments (@aref{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 @aref{chord}, usually in the distance of a third +(@aref{interval}). + +@lilypond[13pt,notime] +\property Score.barNonAuto = ##t +\property Score.TextScript \set #'font-style = #'large +\notes\relative c' { + e2:32_"a" + f:32 [ e8:16 f:16 g:16 a:16 ] s4 + \repeat "tremolo" 8 { e32_"b" g } +} +@end lilypond + +@aitem{triad} +ES: tr@'{@dotless{i}}ada, +I: triade, +F: triade, accord parfait, accord de trois sons, +D: Dreiklang, +NL: drieklank, +DK: treklang, +S: treklang, +N: ?. + +@aref{chord}. + +@aitemii{trill,shake} +ES: trino, +I: trillo, +F: trille, tremblement, battement (cadence), +D: Triller, +NL: triller, +DK: trille, +S: drill, +N: ?. + +@aref{ornament}. + +@aitem{triple meter} +ES: comp@'as compuesto, +I: tempo ternario, +F: mesure ternaire, +D: in drei, +NL: driedelige maatsoort, +DK: tredelt takt, +S: tretakt, +N: ?. + +@aref{meter}. + +@aitem{triplet} +ES: tresillo, +I: terzina, +F: triolet, +D: Triole, +NL: triool, +DK: triol, +S: triol, +N: ?. + +@aref{note value}. + +@aitem{tritone} +ES: tr@'{@dotless{i}}tono, +I: tritono, +F: triton, +D: Tritonus, +NL: tritoon, +DK: tritonus, +S: tritonus, +N: ?. + +@aref{interval}. + +@aitem{tuning fork} +ES: diapas@'on, +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.) + +@aitemii{turn,gruppetto} +ES: grupo, +I: gruppetto, +F: grupetto, +D: Doppelschlag, +NL: dubbelslag, +DK: dobbeltslag, +S: dubbelslag, +N: ?. + +??? + +@aitem{unison} +ES: un@'{@dotless{i}}sono, +I: unisono, +F: unisson, +D: 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. + +@aitem{upbeat} +ES: entrada anacr@'usica, +I: anacrusi, +F: anacrouse, lev@'ee, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +N: ?. + +Initial note(s) of a melody occurring before the first bar +line. @aref{measure}, @aref{meter}. + +@lilypond[13pt] +\key f \major +\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 lilypond + +@aitem{voice} +ES: voz, +I: voce, +F: voix, +D: Stimme, +NL: stem, +DK: stemme, +S: st@"amma, +N: ?, + +1. Human voices: @aref{soprano}, @aref{mezzo-soprano}, +@aref{contralto}, @aref{tenor}, +@aref{baritone}, @aref{bass}. +2. A melodic layer or part of a polyphonic composition. + +@aitem{weak beat} +ES: tiempo d@'ebil, +I: tempo debole, arsi, +F: temps faible, +D: unbetonter Taktteil oder Taktschlag, +NL: arsis, +DK: ubetonet taktslag, +S: obetonat taktslag, +N: ?. + +@aref{beat}, @aref{measure}, @aref{rhythm}. + +@aitem{whole note} +ES: redonda, +I: semibreve, +F: ronde, +UK: semibreve, +D: Ganze, ganze Note, +NL: hele noot, +DK: helnode, +S: helnot, +N: ?. + +@aref{note value}. + +@aitem{whole rest} +ES: silencio de redonda, +I: pausa di semibreve, +F: pause, +UK: semibreve rest, +D: ganze Pause, ganztaktige Pause, +NL: hele rust, +DK: helnodespause, +S: helpaus, +N: ?. + +@aref{note value}. + +@aitem{whole tone} +ES: tono, +I: tono intero, +F: ton entier, +D: Ganzton, +NL: hele toon, +DK: heltone, +S: helton, +N: ?. + +The @aref{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. + +@aitem{woodwind} +ES: maderas, +I: legni, +F: les bois, +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. + +@end table + +@page + +@table @strong +@item DURATION NAMES, NOTES AND RESTS +@end table + +@multitable @columnfractions .111 .111 .111 .111 .111 .111 .111 .111 .111 + +@item @tab @strong{UK} @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab +@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N} + +@item + +@item @strong{longa} @tab longa @tab longa @tab longa @tab Longa @tab longa +@tab longa @tab longa @tab longa + +@item + +@item @strong{breve} @tab breve @tab breve @tab br@`eve @tab Brevis @tab +brevis @tab brevis @tab brevis @tab brevis + +@item + +@item @strong{whole} @tab semi@-breve @tab semi@-breve @tab ronde @tab +Ganze @tab hele @tab hel @tab hel @tab + +@item + +@item @strong{half} @tab minim @tab minima @tab blanche @tab Halbe @tab +halve @tab halv @tab halv @tab + +@item + +@item @strong{quarter} @tab crotchet @tab semi@-minima @tab noire @tab +Viertel @tab kwart @tab fjerde@-del @tab fj@"arde@-del @tab + +@item + +@item @strong{eighth} @tab quaver @tab croma @tab croche @tab Achtel @tab +achtste @tab ottende@-del @tab @aa{}tton@-del @tab + +@item + +@item @strong{sixteenth} @tab semi@-quaver @tab semi@-croma @tab double croche +@tab Sech@-zehntel @tab zes@-ti@-ende @tab seks@-tende@-del @tab sexton@-del +@tab + +@item + +@item @strong{thirty-second} @tab demi@-semi@-quaver @tab bis@-croma @tab +triple croche @tab Zwei@-und@-drei@-@ss{}ig@-stel @tab twee-en@-dertig@-ste +@tab toog@-tredivte-del @tab trettio@-tv@aa{}on@-del @tab + +@item + +@item @strong{sixty-fourth} @tab hemi@-demi@-semi@-quaver @tab +semi@-bis@-croma @tab qua@-druple croche @tab Vier@-und@-sechzig@-stel @tab +vier@-en@-zestig@-ste @tab fireog@-tred@-sinds@-ty@-ven@-de@-del @tab +sextio@-fj@"arde@-del @tab + +@end multitable +@c @item @tab @tab @tab @tab @tab @tab @tab @tab + +@page + +@table @strong +@item PITCH NAMES +@end table + +@multitable @columnfractions .125 .125 .125 .125 .125 .125 .125 .125 + +@item @tab @strong{I} @tab @strong{F} @tab @strong{D} @tab +@strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{N} + +@item + +@item @strong{c} @tab do @tab ut @tab C @tab c @tab c @tab c @tab c + +@item + +@item @strong{c-sharp} @tab do diesis @tab ut di@`ese @tab Cis @tab cis @tab +cis @tab cis @tab cis + +@item + +@item @strong{d-flat} @tab re bemolle @tab r@'e b@'emol @tab Des @tab des @tab +des @tab des @tab des + +@item + +@item @strong{d} @tab re @tab r@'e @tab D @tab d @tab d @tab d @tab d + +@item + +@item @strong{e} @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e + +@item + +@item @strong{f} @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f + +@item + +@item @strong{g} @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g + +@item + +@item @strong{a-flat} @tab la bemolle @tab la b@'emol @tab As @tab as @tab as +@tab as @tab as + +@item + +@item @strong{a} @tab la @tab la @tab A @tab a @tab a @tab a @tab a + +@item + +@item @strong{a-sharp} @tab la diesis @tab la di@`ese @tab Ais @tab ais @tab +ais @tab ais @tab ais + +@item + +@item @strong{b-flat} @tab si bemolle @tab si b@'emol @tab B @tab bes @tab b +@tab b @tab b + +@item + +@item @strong{b} @tab si @tab si @tab H @tab b @tab h @tab h @tab h + +@end multitable + +@ + +@table @strong + +@item --------------------- + +@ + +@item Literature used +The Harvard Dictionary of Music, London 1944. Many more or less literal +quotes from its articles have been included into the item explanation texts. + +Hugo Riemanns Musiklexicon, Berlin 1929 + +Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980 +Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974. + +@end table + +@bye diff --git a/Documentation/user/refman.itely b/Documentation/user/refman.itely index 83447b1eea..fd0e190320 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -119,6 +119,8 @@ To use them, simply include the language specific init file. For example: @code{\include "english.ly"}. The available language files and the note names they define are: +@anchor{note name} +@anchor{note names} @example Note Names sharp flat nederlands.ly c d e f g a bes b -is -es diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 664528b190..b929fe7548 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -39,9 +39,9 @@ complex examples. @node First steps @section First steps -We start off by showing how very simple music is entered in -LilyPond: You get a note simply by typing its note name, from -@samp{a} through @samp{g}. So if you enter +We start off by showing how very simple music is entered in LilyPond: +you get a note simply by typing its @htmlref{note name}, from @samp{a} +through @samp{g}. So if you enter @example c d e f g a b @@ -59,7 +59,7 @@ We will continue with this format: First we show a snippet of input, then the resulting output. The length of a note is specified by adding a number, @samp{1} for a -whole note, @samp{2} for a half note, and so on: +@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on: @example a1 a2 a4 a16 a32 @@ -71,7 +71,7 @@ a1 a2 a4 a16 a32 \transpose c'' { a1 a2 a4 a16 a32 s16_" " } @end lilypond -If you don't specify a duration, the previous one is used: +If you don't specify a @rglos{duration}, the previous one is used: @example a4 a a2 a @@ -82,10 +82,10 @@ a4 a a2 a \transpose c'' { a a a2 a s16_" " } @end lilypond -A sharp (@texisharp{}) is made by adding @samp{is}, a flat -(@texiflat{}) by adding @samp{es}. As you would expect, a -double-sharp or double-flat is made by adding @samp{isis} or -@samp{eses}: +A @rglos{sharp} (@texisharp{}) is made by adding @samp{is}, a +@rglos{flat} (@texiflat{}) by adding @samp{es}. As you would expect, +a @rglos{double sharp} or @rglos{double flat} is made by adding +@samp{isis} or @samp{eses}: @example cis1 ees fisis aeses @@ -96,7 +96,8 @@ cis1 ees fisis aeses \transpose c'' { cis1 ees fisis aeses s16_" " } @end lilypond -Add a dot @samp{.} after the duration to get a dotted note: +Add a dot @samp{.} after the duration to get a @rglos{dotted note}: + @example a2. a4 a8. a16 @end example @@ -106,7 +107,8 @@ a2. a4 a8. a16 \transpose c'' { a2. a4 a8. a16 s16_" " } @end lilypond -The meter (or time signature) can be set with the @code{\time} command: +The @rglos{meter} (or @rglos{time signature}) can be set with the +@code{\time} command: @example \time 3/4 @@ -125,7 +127,7 @@ s4_" " s16_" " @end lilypond -The clef can be set using the @code{\clef} command: +The @rglos{clef} can be set using the @code{\clef} command: @c what is more common name treble or violin? @c in Dutch, its violin. @@ -151,7 +153,7 @@ s16_" " When you enter these commands in a file, you must to enclose them in @code{\notes @{@dots{}@}}. This lets LilyPond know that music (and -not lyrics, for example) follows: +not @rglos{lyrics}, for example) follows: @example \notes @{