From 1b4f371fe85ccdf1a5e5670cf5626426bd05d82b Mon Sep 17 00:00:00 2001 From: Jan Nieuwenhuizen Date: Mon, 7 Oct 2002 12:23:21 +0000 Subject: [PATCH] * Actually merge changes since 1.6.4 besides ChangeLog, and resolve conflicts. Lots of updates, hope all is well. * cygwin/lilypond.hint (requires): Add ghostscript. * scm: Update some (c). --- ChangeLog | 204 +- Documentation/header.html.in | 2 +- Documentation/index.texi | 9 +- Documentation/topdocs/INSTALL.texi | 20 +- Documentation/topdocs/README.texi | 2 +- Documentation/user/GNUmakefile | 22 +- Documentation/user/appendices.itely | 13 +- Documentation/user/glossary.html.in | 9 + Documentation/user/glossary.tely | 2802 ------------ Documentation/user/introduction.itely | 55 +- Documentation/user/lilypond-book.itely | 334 +- Documentation/user/lilypond.tely | 24 +- Documentation/user/macros.itexi | 66 +- Documentation/user/music-glossary.tely | 4196 ++++++++++++++++++ Documentation/user/refman.itely | 156 +- Documentation/user/tutorial.itely | 230 +- GNUmakefile.in | 1 + THANKS | 5 +- buildscripts/mutopia-index.py | 5 + cygwin/lilypond.hint | 2 +- flower/include/string-data.icc | 1 + input/les-nereides.ly | 2 +- input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly | 2 +- input/test/bagpipe.ly | 2 +- input/test/dynamic-extra.ly | 17 + lily/stem.cc | 1 - lily/volta-engraver.cc | 5 +- make/lilypond.redhat.spec.in | 110 +- scm/auto-beam.scm | 2 +- scm/backend-documentation-lib.scm | 2 +- scm/beam.scm | 2 +- scm/c++.scm | 2 +- scm/chord-name.scm | 2 +- scm/documentation-lib.scm | 2 +- scm/engraver-documentation-lib.scm | 2 +- scm/font.scm | 2 +- scm/generate-documentation.scm | 2 +- scm/grob-description.scm | 6 +- scm/grob-property-description.scm | 2 +- scm/interface-description.scm | 2 +- scm/lily.scm | 2 +- scm/midi.scm | 2 +- scm/music-property-description.scm | 2 +- scm/output-lib.scm | 2 +- scm/pdftex.scm | 2 +- scm/ps.scm | 2 +- scm/pysk.scm | 2 +- scm/sketch.scm | 2 +- scm/slur.scm | 2 +- scm/standalone.scm | 2 +- scm/tex.scm | 47 +- scm/translator-property-description.scm | 3 + scripts/lilypond-book.py | 459 +- stepmake/stepmake/www-targets.make | 6 + 54 files changed, 5321 insertions(+), 3539 deletions(-) create mode 100644 Documentation/user/glossary.html.in delete mode 100644 Documentation/user/glossary.tely create mode 100644 Documentation/user/music-glossary.tely create mode 100644 input/test/dynamic-extra.ly diff --git a/ChangeLog b/ChangeLog index ae0e8ef83c..852c2555e0 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,10 +1,208 @@ +2002-10-05 Jan Nieuwenhuizen + + * Actually merge changes since 1.6.4 besides ChangeLog, and + resolve conflicts. Lots of updates, hope all is well. + + * cygwin/lilypond.hint (requires): Add ghostscript. + + * scm: Update some (c). + 2002-10-07 Han-Wen Nienhuys * input/test/{various}.ly: add \header fields and texidoc strings. -2002-10-06 Han-Wen Nienhuys +2002-10-05 Werner Lemberg + + * scripts/lilypond-book.py (output_dict) : `output_tex' + renamed to `output_latex_quoted'. + Added `output_latex_noquote'. + (schedule_lilypond_block): Implement `noquote' option for LaTeX + mode. + +2002-10-04 Jan Nieuwenhuizen + + * scm/grob-description.scm (minimum-beam-collision-distance): 0.75 + staff-space. Previous 1.5 was probably meant as half-spaces. + (cautionary-style): parentheses (was: smaller). This is what doco + says, and it seems more logical. + + * Documentation/user/refman.itely (Chromatic alterations): Bugfix + for 2nd sentence. + +2002-10-04 Han-Wen Nienhuys + + * make/lilypond.redhat.spec.in: various fixes for RedHat 8.0 + +2002-10-03 Jan Nieuwenhuizen + + * lily/beam.cc (rest_collision_callback): Fixed: partial rewrite. + +2002-09-30 Han-Wen Nienhuys + + * VERSION: 1.6.5 released + + * scripts/lilypond-book.py (make_pixmap): don't produce empty pages. + +2002-09-28 Han-Wen Nienhuys + + * scm/translator-property-description.scm (voltaOnThisStaff): add + property. + +2002-09-28 Werner Lemberg + + * scm/tex.scm (header-end): Suppress page numbering. + + * scripts/lilypond-book.py (output_dict) : + Fix quotation for HTML output. + +2002-09-28 Graham Percival + + * Documentation/user/refman.itely: grammar and phrasing + fixes to "Note Entry" section. Also adds a few new examples. + +2002-09-27 Han-Wen Nienhuys + + * flower/include/string-data.icc: include string.h + +2002-09-25 Han-Wen Nienhuys + + * scm/chord-name.scm (chord::inner-name-banter): remove space. + +2002-09-27 Jan Nieuwenhuizen + + * Documentation/user/GNUmakefile (extra-local-help): Add. + + * stepmake/stepmake/www-targets.make (local-help): Add. + +2002-09-26 Han-Wen Nienhuys + + * Documentation/topdocs/INSTALL.texi (Top): recommend binary + packages. + + * Documentation/topdocs/README.texi (Top): building documentation + (not website.) + +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 + various environments by avoid extraneous newlines. + Rename `output-all' regexp for html to `output-html'. + Replace `output-all' regexp for texi with `output-texi-quote' + and `output-texi-noquote'. + (compose_full_body): Don't override `linewidth' user option + for `singleline'. + (schedule_lilypond_block): Don't indent text specified with + `intertext' option. + Add new option `noquote'. + (compile_all_files): Use latex instead of tex to compile ly + files directly. + + * Documentation/user/lilypond-book.itely: Updated and revised. + Improve layout. + + * Documentation/user/glossary.tely, + Documentation/user/introduction.itely, + Documentation/user/tutorial.itely, + Documentation/user/refman.itely, + Documentation/user/appendices.itely: Fix overfull LilyPond + boxes caused by the new lilypond-book code. Other minor + fixes. + + * Documentation/user/macros.itexi (@texiflat): Don't emit + trailing space. + + * scm/tex.scm (end-output, header-end): Add preamble and + postamble to make lilypond output directly compilable with + latex. + + +2002-09-23 Han-Wen Nienhuys + + * Documentation/topdocs/INSTALL.texi (Top): bugfix for RH RPM + instructions. + +2002-09-25 Jan Nieuwenhuizen + + * Documentation/user/glossary.tely: Add titling and hyperlinks. + +2002-09-24 Han-Wen Nienhuys + + * lily/beam.cc (connect_beams): don't crash if there are quarter + notes in beams. + +2002-09-24 Juergen Reuter + + * Documentation/user/refman.itely: corrected ancient clef + docu; added docu on ligatures + +2002-09-21 Juergen Reuter + + * Documentation/user/glossary.tely, + Documentation/user/refman.itely, input/les-nereides.ly, + input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly, + input/test/bagpipe.ly, lily/stem.cc, ly/grace-init.ly, + scm/grob-property-description.scm, scripts/convert-ly.py: renamed + Stem properties: flag-style -> stroke-style, style -> flag-style. + + +2002-09-22 Werner Lemberg + + * scripts/lilypond-book.py: Add option `notime' to suppress + printing of a time signature. Specify default indentation of 0pt + if single line fragment. Don't emit redundant `\paper{ }'. + + * Documentation/user/lilypond-book.itely: Updated. + + * Documentation/user/glossary.tely: Completely reformatting. + +2002-09-23 Han-Wen Nienhuys + + * GNUmakefile.in (top-web): generate (possibly empty) examples.html + +2002-09-22 Jan Nieuwenhuizen + + * Documentation/user/tutorial.itely: Fix links. + + * Documentation/topdocs/index.tely: + * Documentation/index.texi: + * Documentation/header.html.in: Small website fixes and updates. + + * debian/: Debian patch by Anthony Fok. + +2002-09-21 Jan Nieuwenhuizen + + * Documentation/footer.html.in: How time flies: It's already 2002! + + * Documentation/topdocs/index.tely: Stable/development fix. Use + more descriptive link names than 'here'. + +2002-09-21 Han-Wen Nienhuys * VERSION: 1.7.2 released + * VERSION: 1.6.4 released + + * scm/tex.scm (header-end): enclose lily output in begingroup/endgroup. * scripts/convert-ly.py (FatalConversionError.conv): add rule for (ly-make-music "Foo_bar") -> (make-music-by-name 'FooBarEvent). @@ -45,6 +243,10 @@ * lily/stem.cc (flag): new flag-style: no-flag. * input/test/stem-cross-staff.ly: new file + + * Documentation/user/internals.itely: Improved formatting, fixing + typos. Added a section `Output details' to describe how the TeX + code looks like. * lily/include/midi-stream.hh: use stdio.h iso. iostream.h diff --git a/Documentation/header.html.in b/Documentation/header.html.in index 55b867a13b..c6b60da408 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 90b643882d..958d270196 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 @@ -242,7 +241,7 @@ changes) Windows installer @end itemize -These pages were entirely created from a @strong{development snapshot} +These pages were entirely created from a @strong{development version} of the LilyPond package. The version of this webpage is printed at the bottom. diff --git a/Documentation/topdocs/INSTALL.texi b/Documentation/topdocs/INSTALL.texi index e28586bdc0..1420bfee6e 100644 --- a/Documentation/topdocs/INSTALL.texi +++ b/Documentation/topdocs/INSTALL.texi @@ -31,9 +31,12 @@ servers}. Big enhancements go into the latest odd numbered version (1.5), whose webpages are on @uref{http://www.lilypond.org/,the lilypond site}. +Building LilyPond is an involved process. We advise to use binary +packages if these are available for your platform. + @subsection Source code -If you want to compile LilyPond from source, download here: + If you want to compile LilyPond from source, download here: @itemize @bullet @item Download development releases from @c Hmm, these won't show up in lilypond.org/stats @@ -50,8 +53,6 @@ If you want to compile LilyPond from source, download here: For Red Hat Linux and SuSE Linux, @file{.spec} files are included in the tarball; see instructions below. - - Of course, if your platform supports LilyPond, such as Debian GNU/Linux, FreeBSD, OpenBSD or NetBSD, you're encouraged to use the native build from source drill. @@ -89,7 +90,7 @@ to compile them ourselves, they are not updated for every version released. @itemize @bullet -@item @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/binaries/RedHat/RPMS/, Red Hat i386} +@item @uref{ftp://ftp.cs.uu.nl/pub/GNU/LilyPond/binaries/RedHat-7.x/, Red Hat i386} @item @uref{ftp://ftp.lilypond.org/pub/LilyPond/binaries/SuSE, SuSE} @item @uref{ftp://ftp.lilypond.org/pub/LilyPond/binaries/linuxppc/, LinuxPPC} @@ -234,12 +235,12 @@ Csh and bourne sh scripts are left in LilyPond is a big and slow program. A fast CPU and plenty of RAM is recommended for comfortable use. -@subsection Building website +@subsection Building documentation -The documentation comes in the form of a website. You can view this -website on the internet, but you can also build it locally. This process -requires a successful compile of lilypond. The website is built -by issuing +You can view the documentation online at +@uref{http://www.lilypond.org/stable/Documentation/out-www/}, but you +can also build it locally. This process requires a successful compile of +lilypond. The documentation is built by issuing @example make web-doc @@ -358,6 +359,7 @@ You can also compile them yourself. A spec file is in with the sources. You can make the rpm by issuing @example + cp lilypond-x.y.z.tar.gz /usr/src/redhat/SOURCES/ tar xfz lilypond-x.y.z.tar.gz rpm -bb lilypond-x.y.z/make/out/lilypond.redhat.spec rpm -i /usr/src/redhat/RPMS/i386/lilypond-x.y.z diff --git a/Documentation/topdocs/README.texi b/Documentation/topdocs/README.texi index 21ea734aa5..ba4f471873 100644 --- a/Documentation/topdocs/README.texi +++ b/Documentation/topdocs/README.texi @@ -51,7 +51,7 @@ The documentation is available online at @uref{http://www.lilypond.org/Documentation/out-www/index.html}. You can also build it locally: follow the instructions under `Building -website' in the installation instructions. +documentation in the installation instructions. @section Comments diff --git a/Documentation/user/GNUmakefile b/Documentation/user/GNUmakefile index a3f909f13a..559f9a60c4 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. @@ -39,10 +35,10 @@ dvi: $(DVI_FILES) ps: $(PS_FILES) +# Cancel the default info generation rule. We want to generate info +# from `.nexi', making sure we don't run LilyPond for inline pictures, +# when just generating info: -# Cancel default info generation rule. We want to generate info from -# `.nexi', making sure we don't run LilyPond for inline pictures, when -# generating info. $(outdir)/%.info: $(outdir)/%.texi default: @@ -51,6 +47,14 @@ default: # We must build them by default, otherwise they get built during make install info: $(INFO_FILES) +local-help: extra-local-help + +extra-local-help: + @echo -e "\ + dvi update dvi documents\n\ + info update info pages\n\ + ps update PostScript documents\n\ +" # Generic rule using % twice not possible? # $(outdir)/%/%.html: $(outdir)/%.texi diff --git a/Documentation/user/appendices.itely b/Documentation/user/appendices.itely index fc1e7726f5..b42c474358 100644 --- a/Documentation/user/appendices.itely +++ b/Documentation/user/appendices.itely @@ -38,8 +38,7 @@ rules. @section American Chords -@quotation -@lilypond[verbatim] +@lilypond[verbatim, noquote, noindent, notime] \include "english.ly" scheme = \chords { @@ -75,6 +74,7 @@ scheme = \chords { \context Staff \transpose c'' \scheme > \paper { + linewidth = 5.7\in \translator { \ChordNamesContext ChordName \override #'word-space = #1 @@ -83,15 +83,14 @@ scheme = \chords { } } @end lilypond -@end quotation @node Jazz chords @section Jazz chords Similarly, Jazz style chord names are implemented as a variation on American style names: -@quotation -@lilypond[verbatim] + +@lilypond[verbatim, noquote, noindent, notime] scheme = \chords { % major chords c @@ -139,6 +138,7 @@ scheme = \chords { \context Staff \transpose c'' \scheme > \paper { + linewidth = 5.7\in \translator { \ChordNamesContext ChordName \override #'word-space = #1 @@ -147,7 +147,6 @@ scheme = \chords { } } @end lilypond -@end quotation @c [barnumbers look silly, fixme.] @@ -208,7 +207,7 @@ The following symbols are available in the Feta font and may be accessed directly using text markup such as @code{g^#'(music "scripts-segno")}, see @ref{Text markup}. -@lilypondfile{feta16list.ly} +@lilypondfile[noquote,noindent]{feta16list.ly} @c parmesan is too big. Apparently pythons re's choke on this. @c @lil ypondfile{parmesan16list.ly} 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 3c348e3286..0000000000 --- a/Documentation/user/glossary.tely +++ /dev/null @@ -1,2802 +0,0 @@ -\input texinfo -@setfilename glossary.info - -@html - -@end html - - -@c @pagesizes 10.3in - -@c @everyheading @| @thispage @| -@c @evenheading @thispage @| @| -@c @oddheading @| @| @thispage @| - -@ignore - glossary by Christian Mondrup - - spanish by David Gonz@'alez - -@end ignore - - -@itemize -@item ES - Spanish -@item I - Italian -@item F - French -@item D - German -@item NL - Nederlands -@item UK - British English -@item DK - Danish -@item S - Swedish -@item N - Norwegian -@end itemize - -@ - -@macro ar{} -@iftex -@tex $\\Rightarrow$ @end tex -@end iftex -@ifhtml ---> -@end ifhtml -@ifinfo ---> -@end ifinfo -@end macro - -A reference is indicated by @ar{} followed by the term in @strong{boldface}. - -@table @strong - -@item A -ES: la -: la, F: la, D: A, a, NL: a, DK: a, S: a, N: a. - -@item 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? - -@item 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 @w{@ar{}@strong{semitone}}, a double sharp raises it -by a @ar{}@strong{whole tone}, a flat lowers it by a semitone and a double -flat lowers it by a whole tone. A natural cancels the effect of a previous -accidental. - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\notes\relative c'' { - gis1_"sharp" s s2 - gisis1_"db. sharp" s s2 - ges1_"flat" s s2 - geses1_"db. flat" s s2 - g!1_"natural" s2 -} -@end lilypond -@item accelerando -ES: acelerando, I: accelerando, F: accelerando, en acc@'el@'erant, D: accelerando, Schneller, -NL: accelerando, DK: accelerando, S: accelerando, N: - -Still faster tempo. - - -@item 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 -@w{@ar{}@strong{andante}} and faster than @w{@ar{}@strong{largo}}. 2. A -movement in slow tempo, esepecially the scond (slow) movement of -@w{@ar{}@strong{sonata}s}, symphonies etc. - -@item 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 @w{@ar{}@strong{sonata}}. - -@item alto -ES: alto, I: contralto, F: alto, D: Alt, NL: alt, DK: alt, S: alt, N: alt. - -A female voice of low range (@emph{contralto}). Originally the alto was a high -male voice (hence the name) which by the use of falsetto reached the height of -the female voice. This type of voice is also known as @w{@ar{}@strong{counter -tenor}}. - -@item 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 -@w{@ar{}@strong{C clef}} - -@item ancient minor scale -I: scala minore naturale, F: forme du mode mineur ancien, trois@`eme mode, -mode hell@'enique D: reines Moll, NL: , DK: ren mol, S: ren mollskala, N: . - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\notes\relative c'' { -a1 b c d e f g a } -@end lilypond - -@item andante -ES: andante, I: andante, F: andante, D: Andante, NL: andante, DK: andante, S: andante, -N: andante. - -walking tempo/character - -@item 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 19'th century a. were usually -performed on the beat, after that mostly before the beat. While the short -a. is performed as a short note regardless of the duration of the main note -the duration of the long a. is proportionate to that of the main note. - -@ - -@lilypond[13pt,eps] -\context Voice\notes\relative c'' { -\key d \major -\time 4/4 - -\property Score.TextScript \set #'font-style = #'large - r -{ \property Voice.Stem \override #'stroke-style = #"" - \grace g16 - \property Voice.Stem \revert #'stroke-style - } -fis8 e16 fis -{ \property Voice.Stem \override #'stroke-style = #"" - \grace a16 - \property Voice.Stem \revert #'stroke-style - } -g8 fis16 g | a4 \bar "||" } -\notes\relative c'' { - r g16 () fis e fis a () g fis g | a4 \bar "||" } -@end lilypond - -An appoggiatura may have more notes preceding the main note. - -@ - -@lilypond[13pt,eps] -\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 - -@item arpeggio -ES: arpegio, I: arpeggio, F: arp@`ege, D: Arpeggio, Akkordbrechungen, gebrochener -Akkord, NL: gebroken akoord, DK: arpeggio, akkordbrydning, S: arpeggio, N: - -@ - -@lilypond[13pt,eps] - \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 - -@item 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. - -@item 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: - -@w{@ar{}@strong{interval}} - -@item 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. - -@item B -ES: si, I: si, F: si, D: H, h, NL: b, DK: h, S: h, N: h. - -@item backfall; forefall -@w{@ar{}@strong{appoggiatura}} - -@item bar line -ES: , I: stanghetta, barra (di divisione), F: barre (de mesure), D: Taktstrich, NL: -maatstreep, DK: taktstreg, S: taktstreck, N: - -@item bar -ES: comp@'as, @w{@ar{}@strong{measure}} - -@item 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 @w{@ar{}@strong{bass}} and the -@w{@ar{}@strong{tenor}}. - -@c F: clef de troisi@`eme ligne dropped - -@item 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: Barytonschl@"ussel, NL: baritonsleutel, DK: barytonn@o{}gle, S: -barytonklav, N: . - -C or F clef setting central C on the upper staff line. @w{@ar{}@strong{c clef}} -@w{@ar{}@strong{f clef}} - -@item bass clef -ES: clave de fa en cuarta, I: chiave di basso, F: cl@'e de fa quatri@`eme ligne, D: Bass-Schl@"ussel, NL: -bassleutel, DK: basn@o{}gle, S: basklav, N: - -A clef setting with central C on the first top ledger line. @w{@ar{}@strong{f -clef}} - -@item bass -I: basso, F: basse, D: Bass, NL: bas, DK: bas, S: bas, N: bas. - -1. The lowest of men's voices. 2. Sometimes, especially in jazz music, used as -an abbreviation for double bass @w{@ar{}@strong{strings}}. - -@item beam -I: coda, F: barre, D: Balken, NL: waardestreep, DK: bj@ae{}lke, S: balk, N: - -Line connecting a series of notes (shorter than a quarter note). The number of -beams determine the note value of the connected notes. - -@ - -@lilypond[13pt,eps] -\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 - -@item beat -ES: tiempo, I: tempi, F: temps, D: Taktschlag, Zeit (im Takt), NL: tel, DK: (takt)slag, S: -taktslag, N: - -Note value used for counting, most often half-, fourth- and eighth notes. The -base counting value and the number of them per measure is indicated at the -start of the music. - -@ - -@lilypond[13pt,eps] -\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 - -@item bind -@w{@ar{}@strong{tie}} - -@item brace -ES: llave, corchete -I: graffa, F: accolade, D: Klammer, Klavierklammer, Akkolade, Chorklammer, NL: -accolade, teksthaak, DK: klamme, S: klammer, N: - -Symbol at the start of a system connecting staves. Curly braces are used -for connecting piano staves, angular brackets for connecting parts in an -orchestral or choral score. - -@lilypond[13pt,eps] -\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,eps] -\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 - -@item 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. - -@item 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. - -@item breve -ES: breve, I: breve, F: br@`eve, D: Brevis, NL: brevis, DK: brevis, S: brevis, N: - -@w{@ar{}@strong{Note value}} twice as long as a whole note. Mainly used -in pre-1650 music. - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\notes\relative c'' { g\breve } -@end lilypond - -@item C -ES: do, I: do, F: ut, D: C, c, NL: c, DK: c, S: c, N: c - -@item 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,eps] -\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 - \clef mezzosoprano c - \clef alto c - \clef tenor c - \clef baritone c -} -\context Lyrics \lyrics { - Soprano Mezzosoprano Alto Tenor Baritone -} -@end lilypond - -@item cadence -ES: cadencia, I: cadenza, F: cadence, D: Kadenz, NL: cadens, DK: kadence, S: kadens, N: . - -@w{@ar{}@strong{harmonic cadence}} @w{@ar{}@strong{functional harmony}} - -@item cadenza -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 19'th century, however, most cadences have been written down -by the composer. - -@item canon -ES: canon, I: canone, F: canon, D: Kanon, NL: canon, DK: kanon, S: kanon, N: . - -@w{@ar{}@strong{counterpoint}} - -@item 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 @w{@ar{}@strong{semitone}}) @w{@ar{}@strong{equal temperament}} - -@item central C -@w{@ar{}@strong{middle C}} - -@item 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 thirds. @emph{Major} (major + -minor @w{@ar{}@strong{third}}) as well as @emph{minor} (minor + major third) -chords may be extended with more thirds. Four- @emph{seventh chords} and five -tone @emph{ninth} major chords are most often used as dominants -(@w{@ar{}@strong{functional harmony}}). A special case is chords having no -third above the lower notes to define their quality as major or minor. Such -chords are denoted open chords - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\property Voice.TextScript \set #'font-style = #'large -\time 4/4 -\notes\relative c'' { - - - - - - s s2 -} -@end lilypond - -@item 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 @w{@ar{}@strong{semitone}}s. - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\notes\relative c' { c1 cis d dis e f fis g gis a ais b c } -@end lilypond - -@item chromaticism -ES: cromatismo, I: cromatismo, F: chromatisme, D: Chromatik, NL: chromatiek, DK: kromatik, S: -kromatik, N: - -Use of tones extraneous to a @w{@ar{}@strong{diatonic scale}} (minor, major). - -@item church mode; ecclesiastical mode ES: modo eclesi@'astico, I: modo -ecclesiastico, F: mode eccl@'esiastique, D: Kirchentonart, NL: -kerktoonladder, DK: kirketoneart, S: kyrkotonart, N: - -@w{@ar{}@strong{diatonic scale}} - -@item clef -ES: clave, I: chiave, F: cl@'e, clef, D: Schl@"ussel, Schl@"ussel, Notenschl@"ussel, NL: -sleutel, DK: n@o{}gle, S: klav, N: - -@w{@ar{}@strong{c clef}} @w{@ar{}@strong{f clef}} @w{@ar{}@strong{g clef}} - -@item comma -I: comma, F: comma, D: Komma, NL: komma, DK: komma, S: komma, N: - -Difference in pitch between a note derived from pure tuning and the same note -derived from some other tuning method. @w{@ar{}@strong{temperament}} - -@item common meter -@w{@ar{}@strong{meter}} - -@item compound interval -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 - -@w{@ar{}@strong{interval}} - -@item complement -I: rivolto, F: intervalle compl@'ementaire, D: Komplement@"arintervall, NL: -complementair interval, DK: komplement@ae{}rinterval, S: -komplement@"arintervall (?), N: - -@w{@ar{}@strong{inverted interval}} - -@item 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,eps] -\key g \major \time 4/4 -\notes\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" } -@end lilypond - -@item consonance -ES: consonancia, I: consonanza, F: consonance, D: Konsonanz, NL: consonant, DK: konsonans, S: -konsonans, N: - -@w{@ar{}@strong{harmony}} - -@item contralto -ES: contralto, I: contralto, F: contralto, D: Alt, NL: contralto, DK: alt, S: alt, N: - -@w{@ar{}@strong{alto}} - -@item 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 contrapuntal technique used in the @emph{fugue} which, since the -music of the baroque era, has been one of the most popular polyphonic -composition methods. - -@ - -@lilypond[13pt,eps] -\property Score.TimeSignature \override #'style = #'C2/2 -\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 - -@item counter tenor -ES: contratenor, I: controtenore, F: contre-tenor, D: Kontratenor, NL: contratenor, DK: -kontratenor, S: kontratenor, counter tenor, N: kontratenor - -@w{@ar{}@strong{contralto}} - -@item Copying, Music -A music copyist did fast freehand scores and parts on preprinted staff lines -for performance. Some of their conventions (e.g.: the placement of noteheads -on stems) varied slightly from those of engravers. Some of their working -methods were superior and could well be adopted by music typesetters. This -required more skill than engraving. - -@item crescendo -ES: crescendo, I: crescendo, F: crescendo, D: Crescendo, Lauter, NL: crescendo, DK: -crescendo, S: crescendo, N:@w{ }crescendo. - -Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation "cresc.". - -@ - -@lilypond[13pt,eps] -\key g \major \time 4/4 -\notes\relative c'' { g4 \< a b c | \! d1 \bar "|." } -@end lilypond - -@item 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. - -@item D -ES: Re, I: re, F: r@'e, D: D, d, NL: d, DK: d, S: d, N: d - -@item 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 D.C. - -@item 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,eps] -\property Voice.TextScript \set #'font-style = #'large -\key g \major \time 4/4 -\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." } -@end lilypond - -@item decrescendo -ES: decrescendo, I: decrescendo, D: Decrescendo, Leiser, NL: decrescendo, DK: decrescendo, S: -decrescendo, N: decrescendo - -Decreasing tone volume. Indicated by a leftwards opening horizontal wedge -or the abbreviation "decresc.". - -@ - -@lilypond[13pt,eps] -\context Staff \notes\relative c'' {\key g \major \time 4/4 - d4 \> c b a | \! g1 \bar "|." } -@end lilypond - -@item descending interval -ES: intervalo descendente, I: intervallo discendente, F: intervalle descendant, D: fallendes Intervall, -absteigendes Intervall, NL: dalend interval, DK:@w{ }faldende interval, S: -fallande intervall, N: - -An distance between a starting higher note and a lower ending note. - -@item 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{@ar{}@strong{whole tones}} and 2 -@w{@ar{}@strong{semitones}} (S). Scales played on the white keys of a piano -keybord are diatonic. - -The church modes are used in gregorial chant and pre baroque early music but -also to some extent in newer jazz music. - -@ - -@lilypond[13pt,eps] -\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 = #-10 - e^"~~ S" f g a - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c } - \context Lyrics \lyrics { Ionian } -@end lilypond - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\property Score.LyricText \set #'font-style = #'large -\property Score.TextScript \set #'font-style = #'large -\addlyrics -\notes\relative c' { - d1 - \property Voice.TextScript \set #'padding = #-10 - e^"~~ S" - f g a - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d } - \context Lyrics \lyrics { Dorian } -@end lilypond - -@lilypond[13pt,eps] -\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 = #-10 - e1^"~~ S" - f g a - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c d e } - \context Lyrics \lyrics { Phrygian } -@end lilypond - -@lilypond[13pt,eps] -\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 - \property Voice.TextScript \set #'padding = #0 - e^"~~ S" f } - \context Lyrics \lyrics { Lydian } -@end lilypond - -@lilypond[13pt,eps] -\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 - \property Voice.TextScript \set #'padding = #0 - e^"~~ S" f g } - \context Lyrics \lyrics { Mixolydian } -@end lilypond - -@lilypond[13pt,eps] -\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 - \property Voice.TextScript \set #'padding = #0 - 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,eps] -\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 = #-10 - e^"~~ S" f g a - \property Voice.TextScript \set #'padding = #-4 - b^"~~ S" c } - \context Lyrics \lyrics { Major } -@end lilypond - -@lilypond[13pt,eps] -\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 - \property Voice.TextScript \set #'padding = #0 - e^"~~ S" f g a } - \context Lyrics \lyrics { "ancient minor" } -@end lilypond - -@lilypond[13pt,eps] -\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 - \property Voice.TextScript \set #'padding = #0 - e^"~~ S" - \property Voice.TextScript \set #'padding = #1 - f!^"~~ A" - gis^"~~ S" - a } - \context Lyrics \lyrics { "Harmonic minor" } -@end lilypond - -@lilypond[13pt,eps] -\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 - \property Voice.TextScript \set #'padding = #0 - gis^"~~ S" a g! - \property Voice.TextScript \set #'padding = #-1 - f!^"~~ S" e d - \property Voice.TextScript \set #'padding = #-4 - c^"~~ S" b a -} - \context Lyrics \lyrics { "Melodic minor" } -@end lilypond - -@item 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: . - -@w{@ar{}@strong{interval}} - -@item diminuendo -ES: diminuendo, I: diminuendo, F: diminuendo, D: Diminuendo, NL: diminuendo, DK: diminuendo, -S:@w{ }diminuendo, N:@w{ }diminuendo. - -@w{@ar{}@strong{decrescendo}} - -@item 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 @ar{}@strong{conjunct movement}. - -@ - -@lilypond[13pt,eps] -\key a \major -\time 4/4 -\notes\relative c' { - \partial 8 e8 | a4. gis8 b a e cis | - fis2 d4. \bar "||" } -@end lilypond - -@item 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: . - -@w{@ar{}@strong{harmony}} - -@item dominant ninth chord -I: accordo di nona di dominante, F: accord de neuvi@`eme dominante, D: -Dominantnoneakkord, NL: dominant noon akkoord, DK: -dominantnoneakkord, S: dominantnonackord, N: . - -@w{@ar{}@strong{chord}} @w{@ar{}@strong{functional harmony}} - -@item dominant seventh chord -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: - -@w{@w{@ar{}@strong{chord}} @ar{}@strong{functional harmony}} - -@item dominant -ES: dominante, I: dominante, F: dominante, D: Dominante, NL: dominant, DK: dominant, S: -dominant, N: . - -The fifth @w{@ar{}@strong{scale degree}} @w{@ar{}@strong{functional harmony}} - -@item dorian mode -ES: modo d@'orico, I: modo dorico, F: mode dorien, D: Dorischer Kirchenton, NL: dorische -toonladder, dorischer Kirchenton, DK: dorisk skala, S: dorisk tonart, N: - -@w{@ar{}@strong{diatonic scale}} - -@item dot (augmentation dot) -ES: puntillo, I: punto (di valore), F: point, D: Punkt (Verl@"angerungspunkt), NL: punt, DK: -punkt, S: punkt, N: - -@w{@ar{}@strong{dotted note}} - -@item dotted note -ES: nota con puntillo, I: nota puntata, F: note point@'ee, D: punktierte Note, NL: gepuncteerde noot, -DK: punkteret node, S: punkterad not, N: - -@w{@ar{}@strong{note value}} - -@item double appoggiatura -ES: apoyatura doble, I: appoggiatura doppia, F: appoggiature double, D: doppelter Vorschlag, NL: -dubbele voorslag, DK: dobbelt forslag, S: dubbelslag, N: - -@w{@ar{}@strong{appoggiatura}} - -@item double bar line -I: doppia barra, F: double barre, D: Doppelstrich, NL: dubbele maatstreep, DK: -dobbeltstreg, S: dubbelstreck, N: . - -Indicates the end of a section within a movement. - -@item double dotted note -ES: nota con dos puntillos, I: nota doppiamente puntata, F: note doublement point@'ee, D: -doppel-punktierte Note, NL: dubbelgepuncteerde noot, DK: -dob@-belt@-punk@-te@-ret node, S: dub@-bel@-punk@-te@-rad not, N: . - -@w{@ar{}@strong{note value}} - -@item double flat -ES: doble bemol, -I: doppio bemolle, F: double b@'emol, D: Doppel-B, NL: dubbelmol, -DK:@w{ }dob@-belt-b, S: dubbelbe, N: . - -@w{@ar{}@strong{accidental}} - -@item double sharp -ES: doble sostenido, I: doppio diesis, F: double di@`ese, D: Doppelkreuz, NL: dubbelkruis, -DK:@w{ }dob@-belt@-kryds, S: dubbelkors, N: . - -@w{@ar{}@strong{accidental}} - -@item double trill -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. - -@item duple meter -ES: tiempo binario, I: tempo binario, F: temps binaire, D: zweiteiliger Takt, NL: tweedelige -maatsoort, DK: todelt takt, S: tv@aa{}takt, N: . - -@w{@ar{}@strong{meter}} - -@item duplet -ES: dosillo, I: duina, F: duolet, D: Duole, NL: duool, DK: duol, S: duol, N: . - -@w{@ar{}@strong{note value}} - -@item duration -ES: duraci@'on, I: durata, F: dur@'ee, D: Dauer, L@"ange, NL: duur, lengte, DK: varighed, S: -tonl@"angd, N: . - -@w{@ar{}@strong{note value}} - -@item dydimic comma -@w{@ar{}@strong{syntonic comma}} - -@item E -ES: mi, I: mi, F: mi, D: E, e, NL: e, DK: e, S: e, N: e. - -@item eighth note -ES: corchea, I: croma, F: croche, UK: quaver, D: Achtel, Achtelnote, NL: achtste noot, DK: -ottendedelsnode, S: @aa{}ttondelsnot, N: . - -@w{@ar{}@strong{note value}} - -@item eighth rest -ES: silencio de corchea, I: pausa di croma, F: demi-soupir, UK: quaver rest, D: Achtelpause, NL: -achtste rust, DK:@w{ }ottendedelspause, S: @aa{}ttonddelspaus, N: . - -@w{@ar{}@strong{note value}} - -@item engraving -ES: Grabar, I: incisione, F: gravure, D: Notenstechen, NL: steken, DK: nodestik, S: -nottryck, N: . - -Engraving means incising or etching a metal plate for -printing. Photoengraving means drawing music with ink in a manner -similar to drafting or engineering drawing, using similar tools. - -The traditional process of music printing is done through cutting in a -plate of metal. Now also the term for the art of music typesetting. - -@item enharmonic -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,eps] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\notes\relative c'' { - gis1_"g sharp" s as1_"a flat" s s - < des_"dim fifth" g,! > s s < cis_"augm fourth" g! > s s -} -@end lilypond - -@item equal temperament -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 @w{@ar{}@strong{semitones}} -(precisely 100 @w{@ar{}@strong{cents}}). @w{@ar{}@strong{temperament}} - -@item expression mark -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 -@w{@ar{}@strong{forte}}, @w{@ar{}@strong{crescendo}}), 2. tempo (for example -@w{@ar{}@strong{andante}}, @w{@ar{}@strong{allegro}}) - -@item F -ES: fa, I: fa, F: fa, D: F, f, NL: f, DK: f, S: f, N: f. - -@item 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 C. Used on the third, fourth and fifth note line. A digit 8 above the -clef symbol indicates that the notes must be played an octave higher (for -example bass recorder) while 8 below the clef symbol indicates playing an -octave lower (for example on double bass @w{@ar{}@strong{strings}}). - - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\property Staff.Clef \override #'full-size-change = ##t -\property Score.LyricText \set #'font-style = #'large -\addlyrics -\notes\relative c { -% \clef "F3" - \clef varbaritone - f1 - \clef bass - f1 - \clef subbass - f1 - \clef "F^8" - f1 - \clef "F_8" - f1 -} -\context Lyrics \lyrics { - baritone - bass - "sub-bass" - "octaved up" - "octaved down" -} -@end lilypond - -@c F: 'point d'orgue' on a note, 'point d'arret' on a rest. - -@item fermata -ES: Calder@'on, I: corona, F: 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,eps] -\time 4/4 -\notes\relative c'' { -a4 b c2^\fermata \bar "|." } -@end lilypond - -@item fifth -ES: quinta, I: quinta, F: quinte, D: Quinte, NL: kwint, DK: kvint, S: kvint, N: -kvint. - -@w{@ar{}@strong{interval}} - -@item figured bass -ES: bajo cifrado, @w{@ar{}@strong{thorough bass}} - -@item 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. - -@item 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 -@w{@ar{}@strong{note value}}. - - -@lilypond[13pt,eps] -\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 - -@item flat -ES: bemol, I: bemolle, F: b@'emol, D: B, b, NL: mol, DK: b, S: bef@"ortecken, N: . - -@w{@ar{}@strong{accidental}} - -@item forefall; backfall -@w{@ar{}@strong{appoggiatura}} - -@item forte -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. - -@item fourth -ES: cuarta, I: quarta, F: quarte, D: Quarte, NL: kwart, DK: kvart, S: kvart, N: . - -@w{@ar{}@strong{interval}} - -@item fugue -ES: fuga, I: fuga, F: fugue, D: Fuge, NL: fuga, DK: fuga, S: fuga, N: . - -@w{@ar{}@strong{counterpoint}} - -@item 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,eps] -\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 - -@item G -ES: sol, I: sol, F: sol, D: G, g, NL: g, DK: g, S: g, N: g. - -@item 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 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,eps] -\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 - \clef treble - g - \clef "G^8" - g - \clef "G_8" - g -} -\context Lyrics \lyrics { - "french violin clef" - "violin clef" - "octaved up" - "octaved down" -} -@end lilypond - -@item 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 - -@item grace notes -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. @w{@ar{}@strong{appoggiatura}} - -@item grand staff -I: accolatura, F: accolade, D: Akkolade, NL: piano systeem, DK: klaversystem, -S: ackolad, b@"ojd klammer, N: . - -@w{@ar{}@strong{brace}} - -A combination of two staves with a brace. Usually used for piano music. - -@item grave -ES: grave, I: grave, F: grave, D: grave, langsam, traurig, NL: grave, ernstig, DK: grave, S: grave, N: -. - -Slow, solemn. - -@item half note -ES: blanca, I: minima, F: blanche, UK: minim, D: Halbe, halbe Note, NL: halve noot, DK: -halvnode, S: halvnot, N: . - -@w{@ar{}@strong{note value}} - -@item half rest -I: pausa di minima, F: demi-pause, UK: minim rest, D: halbe Pause, NL: halve -rust, DK: halvnodespause, S: halvpaus, N: . - -@w{@ar{}@strong{note value}} - -@item 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. @ar{}@w{}@strong{functional harmony} - -@ - -@lilypond[13pt,eps] -\notes\context PianoStaff < - \context Staff = SA \relative c'' { - \time 4/4 - \clef treble - \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 - -@item 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 cathegories -@emph{consonances} and @emph{dissonances}. - -Consonances: - -@ - -@lilypond[13pt,eps] -\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,eps] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\context Voice \notes\relative c'' { - s - s - s s -} -@end lilypond - -Three note harmony @w{@ar{}@strong{chord}} - -@item 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 @w{@ar{}@strong{polyphony}}. - -@item 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 (@w{@ar{}@strong{enharmonic}}) and is called @emph{tritonus} because -it consists of three @w{@ar{}@strong{whole tone}}s. The addition of such two -forms an octave. - -@ - -@lilypond[13pt,eps] -\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,eps] -\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,eps] -\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 - -@item inverted interval -ES: intervalo invertido, I: intervallo rivolto, F: intervalle renvers@'e, D: umgekerhtes Intervall, NL: -interval inversie, DK: omvendingsinterval, S: intervallets omv@"andning, N: . - -The difference between an interval and an octave. - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\property Score.TextScript \set #'font-style = #'large -\context Staff \notes\relative c'' { - < g1_"second" a > s < g'_"seventh" a, > s \bar "||" - < g,_"third" b > s < g'_"sixth" b, > s \bar "||" - < g,_"fourth" c > s < g'_"fifth" c, > s \bar "||" -} -@end lilypond - -@item 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 -@w{natural} fifths and thirds. @w{@ar{}@strong{temperament}} - -@item key -ES: tonalidad, I: tonalit@`a, F: tonalit@'e, D: Tonart, NL: toonsoort, DK: toneart, S: -tonart, N: . - -According to the 12 tones of the @w{@ar{}@strong{chromatic scale}} there are 12 -keys, one on c, one on c-sharp etc. @w{@ar{}@strong{key signature}} - -@item key signature -ES: armadura de clave, I: armatura di chiave, F: armure, armature [de la cl@'e], D: Vorzeichen, -Tonart, NL: @w{ }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. @w{@ar{}@strong{accidental}} - -@item 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} less slow than largo. - -@item leading note -ES: sensible, I: sensibile, F: note sensible, D: Leitton, NL: leidtoon, DK: ledetone, S: -ledton, N: . - -The seventh @w{@ar{}@strong{scale degree}}, a @w{@ar{}@strong{semitone}} below -the tonic; so called because of its strong tendency to ``lead up'' (resolve -upwards) to the tonic scale degree. - -@item ledger line; leger line - -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,eps] -\property Score.barNonAuto = ##t -\notes\relative c'' { a,1 s c'' } -@end lilypond - -@item 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 -@w{@ar{}@strong{staccato}} (d) - -@ - -@lilypond[13pt,eps] -\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 - -@item legato curve -@w{@ar{}@strong{slur}} @w{@ar{}@strong{legato}} - -@item 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. - -@item line -ES: l@'{@dotless{i}}nea, I: linea, F: ligne, D: Linie, Notenlinie, NL: lijn, DK: nodelinie, S: -notlinje, N: . - -@w{@ar{}@strong{staff}} - -@item long appoggiatura -ES: apoyatura larga, I: appoggiatura lunga, F: appoggiature longue, D: langer Vorschlag, DK: langt -forslag, S: l@aa{}ngt f@"orslag, N: . - -@w{@ar{}@strong{appoggiatura}} - -@item longa -ES: longa, I: longa, F: longa, D: Longa, NL: longa, DK: longa, S: longa, N: longa - -note value: double length of @w{@ar{}@strong{brevis}}. @w{@ar{}@strong{note value}} - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\notes\relative c'' { - \property Voice.NoteHead \set #'style = #'mensural - g\longa -} -@end lilypond - -@item 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: . - -@w{@ar{}@strong{interval}} - -@item major -ES: mayor, I: maggiore, F: [mode] majeur, D: Dur, NL: majeur, DK: dur, S: dur, N: dur. - -@w{@ar{}@strong{diatonic scale}} - -@item meantone temperament -I: accordatura mesotonica, F: temp@'erament m@'esotonique, D: -Mittelt@"onige Stimmung, DK: middeltonetemperatur, S: medeltonstemperatur, N: . - -Temperament yielding acoustically pure thirds by decreasing the natural fifth -by 16 @w{@ar{}@strong{cent}}s. Due to the non-circular character of this -@w{@ar{}@strong{temperament}} only a limited set of keys are playable. Used for -tuning keyboard instruments for performance of pre-1650 music. - -@item measure, bar -ES: comp@'as, I: misura, battuta, F: mesure, D: Takt, NL: maat, DK: takt, S: takt, N: takt. - -A group of @w{@ar{}@strong{beat}}s (units of musical time) the first of which -bears an accent. Such groups in numbers of two or more recur consistently -throughout the composition and are marked from each other by -bar-lines. @w{@ar{}@strong{meter}} - -@item mediant -ES: mediante, I: mediante, modale, F: m@'ediante, NL: mediant, D: Mediant, DK: mediant, S: -mediant, N: . - -1. The third @b{scale degree}. 2. A @w{@ar{}@strong{chord}} having its base tone -a third from that of another chord. For example the tonic chord may be -replaced by its lower mediant (variant tonic). @w{@ar{}@strong{functional -harmony}} @w{@ar{}@strong{relative key}}. - -@item melodic cadence - -@w{@ar{}@strong{cadenza}} - -@item meter, time -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 @ar{}@w{}@strong{note value}s and @ar{}@w{}@strong{accent}s -which remains unaltered throughout a composition or a section of it. For -instance 3/4 meter means that the basic @ar{}@w{}@strong{note value}s are -quarter-notes and that a @w{@ar{}@strong{measure}} consists of three of -those. According to whether there are two, three or four units to the measure, -one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8) or -@emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter. - -@ - -@lilypond[13pt,eps] -\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,eps] -\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,eps] -\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 - -@item metronome -ES: metr@'onomo, I: metronomo, F: m@'etronome, D: Metronom, NL: metronoom, -DK:@w{ }me@-tro@-nom, S:@w{ }me@-tro@-nom, N: metronom. - -Device indicating the exact tempo of a piece. @w{@ar{}@strong{metronomic -indication}} - -@item metronomic indication -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@"alzel's Metronom) - -@item 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 @w{@ar{}@strong{soprano}} and -@w{@ar{}@strong{contralto}}. - -@item middle C -ES: do central, I: do centrale, F: do central, D: eingestrichenes c, NL: centrale c, DK: -enstreget c, S: ettstruket c, N: - -First C below the 440 Hz A. - -@ - -@lilypond[13pt,eps] -\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 - -@item minor interval -ES: intervalo mayor, I: intervallo minore, F: intervalle mineur, D: kleines Intervall, NL: klein -interval, DK: lille interval, S: litet intervall, N: . - -@w{@ar{}@strong{interval}} - -@item minor -ES: menor, I: minore, F: mode mineur, D: Moll, NL: mineur, DK: mol, S: moll, N: . - -@w{@ar{}@strong{diatonic scale}} - -@item mode -ES: modo, I: modo, F: mode, D: Modus, NL: modus, DK: skala, S: modus, skala, N: . - -@w{@ar{}@strong{church mode}} @w{@ar{}@strong{diatonic scale}} - -@item modulation -ES: modulaci@'on, I: modulazione, F: modulation, D: Modulation, NL: modulatie, DK: modulation, -S: modulering, N: . - -Moving from one @w{@ar{}@strong{key}} to another. For example the second -subject of a @w{@ar{}@strong{sonata form}} movement modulates to the dominant -key if the key is major and to the @w{@ar{}@strong{relative key}} if the key -is minor. - -@item mordent -I: mordente, F: mordant, D: Mordent, NL: mordent, DK: mordent, S: mordent, N: -. - -@w{@ar{}@strong{ornament}} - -@item 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,eps] -\property Score.TimeSignature \override #'style = #'C2/2 -\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 - -@item movement -ES: movimiento, I: movimento, F: mouvement, D: Satz, NL: deel, DK: sats, S: sats, N: . - -Greater musical works like @w{@ar{}@strong{symphony}} and -@w{@ar{}@strong{sonata}} most often consist of several - more or less - -independant pieces called movements. - -@item multibar rest -ES: compases de espera, I: pausa multipla, F: pause multiple, NL: meermaats rust, D: -mehrtaktige Pause, DK: flertaktspause, S: flertaktspaus, N: . - -@ - -@lilypond[13pt,eps] -\notes\relative c'' { -a1 -\property Score.skipBars=##t R1*3 -a1 } -@end lilypond - -@item mixolydian mode -@w{@ar{}@strong{diatonic scale}} - -@item natural sign -ES: becuadro, I: bequadro, F: b@'ecarre, D: Aufl@"osungszeichen, NL: herstellingsteken, -DK:@w{ }op@-l@o{}sningstegn, S: @aa{}terst@"allningstecken, N: . - -@w{@ar{}@strong{accidental}} - -@item neighbour tones -@w{@ar{}@strong{appoggiatura}} - -@item ninth - ES: novena, I: nona, F: neuvi@`eme, D: None, NL: noon, DK: none, S: nona, N: . - -@w{@ar{}@strong{interval}} - -@item non-legato -@w{@ar{}@strong{legato}} - -@item 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 @w{@ar{}@strong{note}} is strongly recommended. Briefly, one sees a note, -and hears a tone. - -@item 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 -@w{@ar{}@strong{staff}} provided with a @w{@ar{}@strong{clef}}, and duration -by a variety of shapes such as hollow or black heads with or without -@w{@ar{}@strong{stem}}s, @w{@ar{}@strong{flag}}s etc. For percussion -instruments (often having no defined pitch) the note head may indicate the -instrument. - -@item note value -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,eps] -\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,eps] -\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,eps] -\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 3 (@emph{triplets}) and 5 (@emph{quintuplets}). Subdivisions by -2 (@emph{tuplets}) or 4 (@emph{quadruplets}) of dotted notes are also -frequently used. - -@ - -@lilypond[13pt,eps] -\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 "||" - \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 - -@ - - -@item octave sign -@w{@ar{}@strong{g clef}} @w{@ar{}@strong{f clef}} - -@item octave -ES: octava, I: ottava, F: octave, D: Oktave, NL: octaaf, DK: oktav, S: oktav, N: . - -@w{@ar{}@strong{interval}} - -@item 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 @w{@ar{}@strong{second}} above it. In the music from the -middle of the 19th century and onwards the trill is performed with the main -note first while in the music from the preceding baroque and classic periods -the upper note is played first. - -@lilypond[13pt,eps] -< - \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,eps] -< - \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 [e8 ~ e32 d e d] c2 - } -> -@end lilypond - -@w{@ar{}@strong{appoggiatura}} - -@item 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. - -@item 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 @w{@ar{}@strong{counterpoint}} the single -melodic line of the contrapuntal web. - -@item percussion -ES: percusi@'on, I: percussioni, F: percussion, D: Schlagzeug, NL: slagwerk, DK: slagt@o{}j, S: -slagverk, N: . - -A family of musical instruments which are played on by striking or -shaking. Percussion instruments commonly used in a symphony orchestra are -kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum, -tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel -and xylophone. - -@item perfect interval -ES: intervalo justo, -I: intervallo giusto, F: intervalle juste, D: reines Intervall, NL: rein -interval, DK: rent interval, S: rent intervall, N: . - -@w{@ar{}@strong{interval}} - -@item phrase -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. - -@item 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 @w{@ar{}@strong{phrase}}s of -the melody. Phrasing may be indicated by a @w{@ar{}@strong{slur}}. - -@item 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. - -@item pitch -ES: altura, I: altezza, F: hauteur, D: Tonh@"ohe, NL: toonhoogte, DK: toneh@o{}jde, S: -tonh@"ojd, N: . - -@item pizzicato -ES: pizzicato, I: pizzicato, F: pizzicato, D: pizzicato, NL: pizzicato, getokkeld, DK: -pizzicato, S: pizzicato. - -Play by plucking the strings. - -@item 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. @w{@ar{}@strong{counterpoint}} - -@item portato -@w{@ar{}@strong{legato}} - -@item 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 @w{@ar{}@strong{allegro}}. @emph{prestissimo} -denotes the highest possible degree of speed. - -@item 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 C eventually circles back to C, but this C, -obtained by adding 12 fifths, is 24 @w{@ar{}@strong{cent}}s higher than the C -obtained by adding 7 octaves. The difference between those two pitches is -called the Pythagorean comma. - -@item quadruplet -ES: cuatrillo, I: quartina, F: quartolet, D: Quartole, NL: kwartool, DK: kvartol, S: kvartol, -N: . - -@w{@ar{}@strong{note value}} - -@item quarter note -ES: negra, I: semiminima, nera, F: noire, UK: crotchet, D: Viertel, Viertelnote, NL: -kwartnoot, DK: fjerdedelsnode, S: fj@"ardedelsnot, N: - -@w{@ar{}@strong{note value}} - -@item quarter rest -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: . - -@w{@ar{}@strong{note value}} - -@item quintuplet -ES: quintillo, I: quintina, F: quintolet, D: Quintole, NL: kwintool, DK: kvintol, S: -kvintol, N: . - -@w{@ar{}@strong{note value}} - -@item rallentando -ES: rallentando, I: rallentando, F: rallentando, D: rallentando, langsamer, NL: rallentando, DK: -rallentando, S: rallentando, N: rallentando. - -Abbreviation "rall.". @w{@ar{}@strong{ritardando}} - -@item relative key -ES: relativa, I: tonalit@`a relativa, F: tonalit@'e relative, D: Paralleltonart, DK: -paralleltoneart, S: parallelltonart, N: . - -@w{@ar{}@strong{Major}} and @w{@ar{}@strong{minor}} @w{@ar{}@strong{key}} with -the same @w{@ar{}@strong{signature}}. - -@ - -@lilypond[13pt,eps] -\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 "||" s16 - \key es \major - c,1_"c minor" d es f g a! b! c \bar "||" -} -@end lilypond - -@item 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,eps] -\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. -@item rest -ES: silencio, I: pausa, F: silence, D: Pause, NL: rust, DK: pause, S: paus, N: . - -@w{@ar{}@strong{note value}} - -@item 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 @w{@ar{}@strong{beat}}, and in which the normal -@w{@ar{}@strong{accent}} recurs in regular intervals, called -@w{@ar{}@strong{measure}}. The basic scheme scheme of time values is called -@w{@ar{}@strong{meter}}. (b) Measured rhythm which lacks regularly recurrent -accent. In modern notation such music appears as a free alternation of -different measures. (c) Free rhythm, i.e. the use of temporal values having no -common metrical unit (beat). - -@item ritardando -ES: retardando, I: ritardando, F: ritardando, D: Ritardando, Langsamer, NL: ritardando, DK: -ritardando, S: ritardando, N: . - -Gradually slackening in speed. Mostly abbreviated to rit. or ritard. - -@item ritenuto -ES: ritenuto, I: ritenuto, F: ritenuto, D: Ritenuto, NL: ritenuto, DK: ritenuto, S: -ritenuto, N: . - -Immediate reduction of speed. - -@item scale -ES: escala, I: scala, F: gamme, D: Tonleiter, NL: toonladder, DK: Skala, S: skala, N: . - -@w{@ar{}@strong{diatonic scale}} - -@item 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,eps] -\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 - -@w{@ar{}@strong{functional harmony}} - -@item score -ES: partitura, I: partitura, F: partition, D: Partitur, NL: partituur, DK: partitur, S: -partitur, N: . - -A copy of orchestral, choral or chamber music showing what each instrument is -to play, each voice to sing, having each part arranged one underneath the -other on different @w{@ar{}@strong{stave}}s. - -@item second -ES: segunda, I: secunda, F: seconde, D: Sekunde, NL: secunde, DK: sekund, S: sekund, N: . - -The @w{@ar{}@strong{interval}} between two neigbouring tones of a scale. A -@w{@ar{}@strong{diatonic scale}} consists of alternating -@w{@ar{}@strong{semitone}}s and @w{@ar{}@strong{whole tone}}s, hence the size -of a se@-cond depends on the scale degrees in question. - -@item semitone -ES: semitono, I: semitono, F: demi-ton, D: Halbton, NL: halve toon, DK: halvtone, S: -halvton, N: . - -The @w{@ar{}@strong{interval}} of a minor second. The (usually) smallest -interval in European composed music. The interval between two neighbouring -tones on the piano keyboard - including black and white keys - is a -semitone. An octave may be divided into 12 -semitones. @w{@ar{}@strong{interval}} @w{@ar{}@strong{chromatic scale}} - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\notes\relative c'' { g1 gis s a bes s b c } -@end lilypond - -@item seventh -ES: s@'eptima, I: settima, F: septi@`eme, D: Septime, NL: septiem, DK: septim, S: septim, N: . - -@w{@ar{}@strong{interval}} - -@item sextuplet, sextolet -I: sestina, F: sextolet, D: Sextole, NL: sextool, DK: sekstol, S: sextol, N: -. - -@w{@ar{}@strong{note value}} - -@item sharp -ES: sostenido, I: diesis, F: di@`ese, D: Kreuz, NL: kruis, DK: kryds, S: korsf@"ortecken, N: . - -@w{@ar{}@strong{accidental}} - -@item short appoggiatura -@w{@ar{}@strong{appoggiatura}} - -@item sixteenth note -ES: semicorchea, I: semicroma, F: double croche, UK: semiquaver, D: Sechzehntel, -Sechzehntelnote, NL:@w{ }zes@-ti@-ende noot, DK: sekstendedelsnode, S: -sextondelsnot, N: . - -@w{@ar{}@strong{note value}} - -@item sixteenth rest -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: . - -@w{@ar{}@strong{note value}} - -@item sixth -ES: sexta, I: sesta, F: sixte, D: Sexte, NL: sext, DK: sekst, S: sext, N: . - -@w{@ar{}@strong{interval}} - -@item 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: . - -@w{@ar{}@strong{note value}} - -@item 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: . - -@w{@ar{}@strong{note value}} - -@item slur -ES: ligadura, I: legatura (di portamento or espressiva), F: liaison, coul@'e, D: Bogen, -Bindebogen, Legatobogen, Phrasierungsbogen, NL: binding, bindingsboog, -DK:@w{ }legatobue, fraseringsbue, S: b@aa{}ge, N: . - -A slur above or below a group of notes indicates that they are to be played -@w{@ar{}@strong{legato}}, e.g. with one stroke of the violin bow or with one -breath in singing. - -@item solmization -I: solmisazione, F: solmisation, D: Solmisation, NL: solmizatie, DK: -solmisation, S: solmisation, N: . - -General term for systems of designating the degrees of the -@w{@ar{}@strong{scale}}, not by letters, but by syllables (@emph{do} -(@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si} -(@emph{ti})). @w{@ar{}@strong{scale degree}}. - -@item sonata -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. - -@item 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 @w{@ar{}@strong{sonata}}, -@w{@ar{}@strong{symphony}}, quartet etc. A movement written in sonata form -falls in three sections called @emph{exposition}, @emph{development} and -@emph{recapitulation}. In the exposition the composer introduces his musical -ideas, consisting of a number of themes; in the development section he -"develops" this material, and in the recapitulation he repeats the exposition, -with certain modifications however. The exposition contains a number of themes -which fall into two groups, often called first and second subject. Other -melodies occurring in each group are considered as continuations of these -two. The second theme is in another key, normally in the key of the -@w{@ar{}@strong{dominant}} if the @w{@ar{}@strong{tonic}} is -@w{@ar{}@strong{major}}, and in the @w{@ar{}@strong{relative key}} if the -tonic is @w{@ar{}@strong{minor}}. - -@item soprano -ES: soprano, I: soprano, F: soprano, D: Sopran, NL: sopraan, DK: sopran, S: sopran, N: . - -The highest female voice. - -@item 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,eps] -\key d \major -\time 4/4 -\notes\relative c'' { - \partial 8 a8 | - d4-\staccato cis-\staccato b-\staccato cis-\staccato | - d2. \bar "||" } -@end lilypond - -@item staff -ES: pentagrama, I: pentagramma, rigo (musicale), F: port@'ee, D: Notensystem, NL: (noten)balk; -partij, DK: nodesystem, S: notsystem, N: . - -pl. staves. A series of (normally 5) horizontal lines upon and between -which the musical notes are written, thus indicating (in connection -with a @w{@ar{}@strong{clef}}) their pitch. Staves for -@w{@ar{}@strong{percussion}} instruments may have fewer lines. - -@item stem -ES: plica, I: gamba, F: queue, D: Hals, Notenhals, Stiel, NL: stok, DK: hals, S: skaft, -N: . - -Vertical line above or below a @w{@ar{}@strong{note head}} shorter than a whole -note. @w{@ar{}@strong{beam}} - -@ - -@lilypond[13pt,eps] -\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 - -@item 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. - -@item strong beat -ES: tiempo fuerte, I: tempo forte, F: temps fort, D: betonter Taktteil oder -schlag, NL: thesis, -D: betonet taktslag, S: betonat taktslag, N: . - -@w{@ar{}@strong{beat}} @w{@ar{}@strong{accent}} @w{@ar{}@strong{measure}} -@w{@ar{}@strong{rhythm}} - -@item subdominant -ES: subdominante, I: sottodominante, F: sous-dominante, D: Subdominante, NL: subdominant, DK: -subdominant, S: subdominant, N: . - -The fourth @w{@ar{}@strong{scale degree}}. @w{@ar{}@strong{functional -harmony}} - -@item submediant -ES: superdominante, I: sopratonica, F: sous-m@'ediante, D: Submediant, NL: submediant, DK: -Submediant, S: submediant, N: . - -The sixth @w{@ar{}@strong{scale degree}}. - -@item subtonic -ES: sensible, I: sottotonica, F: sous-tonique, D: Subtonika, NL: subtonica, DK: Subtonika, S: -subtonika, N: . - -The seventh @w{@ar{}@strong{scale degree}} - -@item superdominant -ES: superdominante, I: sopradominante, F: sus-dominante, D: Superdominant, NL: superdominant, DK: -superdominant, S: superdominant, N: . - -The sixth @w{@ar{}@strong{scale degree}} - -@item supertonic -ES: supert@'onica, I: sopratonica, F: sus-tonique, D: Supertonika, NL: supertonica, DK: -supertonika, S: supertonika, N: . - -The second @w{@ar{}@strong{scale degree}}. - -@item symphony -ES: sinfon@'{@dotless{i}}a, I: sinfonia, F: symphonie, D: Sinfonie, NL: symfonie, DK: symfoni, S: symfoni, -N: . - -A symphony may be defined as a @w{@ar{}@strong{sonata}} for orchestra. - -@item syncopation -ES: sincopado, I: sincope, F: syncope, D: Synkope, NL: syncope, DK: synkope, S: synkop, N: . - -Any deliberate upsetting of the normal pulse of @w{@ar{}@strong{meter}}, -@w{@ar{}@strong{accent}} and @w{@ar{}@strong{rhythm}}. Our system of musical -rhythm rests upon the grouping of equal beats into groups of two or three, -with a regularly recurrent accent on the first beat of each group. Any -deviation from this scheme is felt as a disturbance or contradiction between -the underlaying (normal) pulse and the actual (abnormal) rhythm. - -@ - -@lilypond[13pt,eps] -\property Score.TextScript \set #'font-style = #'large -\time 4/4 -\notes\relative c' { - \partial 4 - d8 dis | - e c'4 e,8 c'4 e,8 c' ( | ) c2 -} -@end lilypond - -@item syntonic comma; dydimic comma - -I: comma sintonico (o didimico), F: comma syntonique, D: Syntonisches Komma, -NL: syntonische komma, DK:@w{ }syntonisk komma, S: syntoniskt komma, N: . - -Difference between the natural third and the third obtained by Pythagorean -tuning (@w{@ar{}@strong{Pythagorean comma}}), equal to 22 cents. - -@item system -I: accollatura, F: syst@`eme, D: Notensystem, NL: systeem, DK: system, S: -system, N: . - -The collection of staves @w{@ar{}@strong{staff}}, two or more, as used for the -writing down of keyboard, chamber, choral or orchestral music. - -@item temperament -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 accoustically pure -intervals. @w{@ar{}@strong{meantone temperament}} @w{@ar{}@strong{equal -temperament}} - -@item 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 -@w{@ar{}@strong{largo}}, @w{@ar{}@strong{adagio}}, @w{@ar{}@strong{andante}}, -@w{@ar{}@strong{allegro}} and @w{@ar{}@strong{presto}}. - -@item tenor -ES: tenor, I: tenore, F: t@'enor, D: Tenor, NL: tenor, DK: tenor, S: tenor, N: . - -The highest voice of men (apart from @w{@ar{}@strong{counter tenor}}) - -@item tenth -ES: d@'ecima, I: decima, F: dixi@`eme, D: Dezime, NL: deciem, DK: decim, S: decima, N: . - -@w{@ar{}@strong{note value}} - -@item third -ES: tercera, I: terza, F: tierce, D: Terz, NL: terts, DK: terts, S: ters, N: . - -@w{@ar{}@strong{interval}} - -@item thirty-second note -ES: fusa, -I: biscroma, F: triple croche, UK: demisemiquaver, D: -Zweiunddrei@ss{}igstel, Zweiunddrei@ss{}igstelnote, NL: twee-endertig@-ste -noot, DK: toogtredivtedelsnode, S: trettiotv@aa{}ondelsnot, N: . - -@w{@ar{}@strong{note value}} - -@item thirty-second rest -ES: silencio de fusa, -I: pausa di biscroma, F: huiti@`eme de soupir, UK: demisemiquaver rest, D: -Zweiunddrei@ss{}igstel@-pause, NL: 32e rust, DK: toogtredivtedelspause, S: -trettiotv@aa{}ondelspaus, N: . - -@w{@ar{}@strong{note value}} - -@item thorough bass; figured bass -ES: bajo cifrado, -I: basso continuo, basso numerato, F: basse chiffr@'ee, D: Generalbass, -bezifferter Bass, NL: basso continuo, DK:@w{ }generalbas, S: generalbas, N: . - -A method of indicating an accompaniment part by the bass notes only, together -with figures designating the chief @w{@ar{}@strong{interval}}s and -@w{@ar{}@strong{chord}}s to be played above the bass notes. - -@ - -@lilypond[13pt,eps] -\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 () c bes () bes as () as g16 f | es4 - } - \context Lyrics \lyrics { - \property Lyrics . LyricText \set #'font-style = #'Large - \property Lyrics . VerticalAlign \override #'threshold = #'(6 . 12) - < { "" "6" "4" "6" "4" "6" "4" "6" } - { "" "" "2" "" "2" "" "2" "" } > - } -> -@end lilypond - -@item 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 @w{@ar{}@strong{slur}}, which -connects two succesive notes of the same pitch, and which has the function of -uniting them into a single sound equal to the combined durations. - -@ - -@lilypond[13pt,eps] -\property Score.barNonAuto = ##t -\notes\relative c'' { g2 ~ g4. } -@end lilypond - -@item 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: . - -@w{@ar{}@strong{meter}} - -@item 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. - -@item tonic -ES: tonica, I: tonica, F: tonique, D: Tonika, NL: tonica, DK: tonika, S: tonika, N: . - -The first @w{@ar{}@strong{scale degree}}@w{@ar{}@strong{functional harmony}} - -@item transposition -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,eps] -\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 "|." } - \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 - -@item 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: . - -@w{@ar{}@strong{G clef}} - -@item tremolo -ES: tremolo, I: tremolo, F: tr@'emolo, D: Tremolo, NL: tremolo, DK: tremolo, S: tremolo, N: -. - -On stringed instruments (@w{@ar{}@strong{strings}}) the quick reiteration of -the same tone, produced by a rapid up-and-down movement movement of the bow -(a). The term is also used for the rapid alternation (b) between two notes of -a @w{@ar{}@strong{chord}}, usually in the distance of a third -(@w{@ar{}@strong{interval}}). - -@ - -@lilypond[13pt,eps] -\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 [:32 e1_"b" g] - % e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 16 { e32_"b" g } - e2:32_"a" f:32 [ e8:16 f:16 g:16 a:16 ] s4 \repeat "tremolo" 8 { e32_"b" g } -} -@end lilypond - -@item 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: - -@w{@ar{}@strong{chord}} - -@item trill; shake -ES: trino, -I: trillo, F: trille, tremblement, battement (cadence), D: Triller, NL: -triller, DK:@w{ }trille, S:@w{ }drill, N:@w{ }. - -@w{@ar{}@strong{ornament}} - -@item triple meter -ES: comp@'as compuesto , I: tempo ternario, F: mesure ternaire, D: dreiteiliger Takt, NL: driedelige -maatsoort, DK: tredelt takt, S: tretakt, N: . - -@w{@ar{}@strong{meter}} - -@item triplet -ES: tresillo, I: terzina, F: triolet, D: Triole, NL: triool, DK: triol, S: triol, N: . - -@w{@ar{}@strong{note value}} - -@item tritone -ES: tr@'{@dotless{i}}tono, I: tritono, F: triton, D: Tritonus, NL: tritoon, DK: tritonus, S: tritonus, N: -. - -@w{@ar{}@strong{interval}} - -@item 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.) - -@item turn; gruppetto -ES: grupo, -I: gruppetto, F: grupetto, D: Doppelschlag, NL: dubbelslag, DK: dobbeltslag, -S: dubbelslag, N: . - -@item unison -ES: un@'{@dotless{i}}sono, I: unisono, F: unisson, D: Unison, unisono, NL: unisono, DK: unison, S: -unison, N: . - -Playing of the same notes or the same melody by various instruments (voices) -or by the whole orchestra (choir), either at exactly the same pitch or in a -different octave. - -@item upbeat -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. @w{@ar{}@strong{measure}} @w{@ar{}@strong{meter}} - -@ - -@lilypond[13pt,eps] -\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 - -@item voice -ES: voz, I: voce, F: voix, D: Stimme, NL: stem, DK: stemme, S: st@"amma, N: , - -1. Human voices: @w{@ar{}@strong{soprano}}, @w{@ar{}@strong{mezzo-soprano}}, -@w{@ar{}@strong{contralto}}, @w{@ar{}@strong{tenor}}, -@w{@ar{}@strong{baritone}}, @w{@ar{}@strong{bass}}. 2. A melodic layer or part -of a polyphonic composition. - -@item weak beat -ES: tiempo d@'ebil, I: tempo debole, arsi, F: temps faible, D: unbetonter Taktteil oder -schlag, -NL: arsis, DK: ubetonet taktslag, S: obetonat taktslag, N: . - -@w{@ar{}@strong{beat}} @w{@ar{}@strong{measure}} @w{@ar{}@strong{rhythm}} - -@item whole note -ES: redonda, I: semibreve, F: ronde, UK: semibreve, D: Ganze, Ganze Note, NL: hele noot, -DK: helnode, S: helnot, N: . - -@w{@ar{}@strong{note value}} - -@item whole rest -ES: silencio de redonda, I: pausa di semibreve, F: pause, UK: semibreve rest, D: Ganze Pause, NL: hele -rust, DK: helnodespause, S: helpaus, N: . - -@w{@ar{}@strong{note value}} - -@item whole tone -ES: tono, I: tono intero, F: ton entier, D: Ganzton, NL: hele toon, DK: heltone, S: -helton, N: . - -The @w{@ar{}@strong{interval}} of a major second. The interval between two -tones on the piano keyboard with exactly one key between them - including -black and white keys - is a whole tone. - -@item woodwind -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 litteral -quotes from its articles have been included into the item explanation texts. - -Hugo Riemans Musiklexicon, Berlin 1929 - - -Polyglottes W@"orterbuch der musikalisch Terminologie, Kassel 1980 -Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974. - -@end table - -@bye - diff --git a/Documentation/user/introduction.itely b/Documentation/user/introduction.itely index 0c22d5f2d4..d66166256d 100644 --- a/Documentation/user/introduction.itely +++ b/Documentation/user/introduction.itely @@ -3,16 +3,15 @@ @node Introduction @chapter Introduction - -LilyPond is a program to print sheet music. If you have used notation +LilyPond is a program to print sheet music. If you have used notation programs before, then the way to use this program might be surprising -at first sight. To print music with lilypond, you have to enter -musical codes in a file. Then you run LilyPond on the file, and the -music is produced without any further intervention. For example, +at first sight. To print music with lilypond, you have to enter +musical codes in a file. Then you run LilyPond on the file, and the +music is produced without any further intervention. For example, something like this: @lilypond[fragment,verbatim, relative 1, intertext="produces this"] -\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 +\key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 @end lilypond @cindex encoding music @@ -30,10 +29,10 @@ In this chapter, we will explain the reasoning behind this unusual design, and how this approach affects you as a user. @menu -* Batch processing:: -* Music engraving:: -* Music representation:: -* About this manual:: +* Batch processing:: +* Music engraving:: +* Music representation:: +* About this manual:: @end menu @node Batch processing @@ -41,7 +40,7 @@ design, and how this approach affects you as a user. @cindex GUI @cindex Batch -@cindex UNIX +@cindex UNIX When we started developing LilyPond, we were still studying at the university. We were interested in music notation, not as publishers @@ -111,22 +110,22 @@ experience, we would not have realized how ugly the fonts were that we admired at first. -@lilypond +@lilypond[noindent] #(define magfact 3.0) \score { \notes { as'2 r4 } - \paper { - linewidth = -1. - \translator { - \ScoreContext - AccidentalPlacement \override #'right-padding = #3.0 - StaffSymbol \override #'transparent = ##t - Clef \override #'transparent = ##t - TimeSignature \override #'transparent = ##t - Accidental \override #'font-magnification = #magfact - Rest \override #'font-magnification = #magfact - NoteHead \override #'font-magnification = #magfact - Stem \override #'transparent = ##t - } } } + \paper { + linewidth = -1. + \translator { + \ScoreContext + AccidentalPlacement \override #'right-padding = #3.0 + StaffSymbol \override #'transparent = ##t + Clef \override #'transparent = ##t + TimeSignature \override #'transparent = ##t + Accidental \override #'font-magnification = #magfact + Rest \override #'font-magnification = #magfact + NoteHead \override #'font-magnification = #magfact + Stem \override #'transparent = ##t + } } } @end lilypond @cindex musical symbols @@ -157,7 +156,7 @@ which? @c I can only see the motive printed two times!!! /Mats @cindex optical spacing -@lilypond +@lilypond[noindent] \score { \notes { \property Staff.NoteSpacing \set #'stem-spacing-correction = #0.6 @@ -168,7 +167,7 @@ which? \property Staff.StaffSpacing \override #'stem-spacing-correction = #0.0 c'4 e''4 e'4 b'4 | - \stemDown b'4 e''4 a'4 e''4| + \stemDown b'4 e''4 a'4 e''4| } \paper { linewidth = -1. } } @end lilypond @@ -298,7 +297,7 @@ in the lilypond-internals manual much easier. @cindex variables @cindex properties @cindex lilypond-internals -@cindex internal documentation +@cindex internal documentation For those who really want to get their hands dirty: it is even possible to add your own functionality, by extending LilyPond in the diff --git a/Documentation/user/lilypond-book.itely b/Documentation/user/lilypond-book.itely index 181df66ae4..5023fc7f15 100644 --- a/Documentation/user/lilypond-book.itely +++ b/Documentation/user/lilypond-book.itely @@ -21,20 +21,20 @@ LilyPond code, process it separately to embedded PostScript or @code{html} source. @command{lilypond-book} provides you with a way to automate this -process: this program extracts snippets of music from your document, -runs lilypond on them, and substitutes the resulting pictures back. -The line width and font size definitions for the music are adjusted so -they match the layout of your document. +process: This program extracts snippets of music from your document, +runs LilyPond on them, and substitutes the resulting pictures back. +The line width and font size definitions for the music are adjusted +to match the layout of your document. It can work on La@TeX{}, @code{html} or texinfo documents. A tutorial on using lilypond-book is in @ref{Integrating text and music}. @menu -* Integrating Texinfo and music:: -* Integrating La@TeX{} and music:: -* Integrating HTML and music:: -* Music fragment options:: -* Invoking lilypond-book:: +* Integrating Texinfo and music:: +* Integrating La@TeX{} and music:: +* Integrating HTML and music:: +* Music fragment options:: +* Invoking lilypond-book:: @end menu @@ -50,62 +50,76 @@ on using lilypond-book is in @ref{Integrating text and music}. @section Integrating Texinfo and music You specify the LilyPond code like this: + @example @@lilypond[options, go, here] YOUR LILYPOND CODE @@end lilypond -@@lilypond[option, go, here]@{ YOUR LILYPOND CODE @} -@@lilypondfile[options, go,here]@{@var{filename}@} +@@lilypond[options, go, here]@{ YOUR LILYPOND CODE @} +@@lilypondfile[options, go, here]@{@var{filename}@} @end example -We show two simple examples here. First a complete block: +We show two simple examples here. First a complete block: + @example @@lilypond[26pt] -c' d' e' f' g'2 g' + c' d' e' f' g'2 g' @@end lilypond @end example +@noindent produces this music: + @lilypond -c' d' e' f' g'2 g' + c' d' e' f' g'2 g' @end lilypond Then the short version: + @example @@lilypond[11pt]@{@} @end example +@noindent and its music: @lilypond[11pt]{} -@command{lilypond-book} knows the default margins, and a few paper -sizes. One of these commands should be in the beginning of the document: +@command{lilypond-book} knows the default margins and a few paper +sizes. One of these commands should be in the beginning of the document: + @itemize @bullet @item @code{@@afourpaper} @item @code{@@afourlatex} @item @code{@@afourwide} @item @code{@@smallbook} @end itemize + +@noindent @code{@@pagesizes} are not yet supported. When producing texinfo, lilypond-book also generates bitmaps of the music, so you can make a HTML document with embedded music. + @node Integrating La@TeX{} and music @section Integrating La@TeX{} and music -You specify the LilyPond code like this: +You specify LilyPond code like this: + @example -\begin[option, go, here]@{lilypond@} - YOUR LILYPOND CODE +\begin[options, go, here]@{lilypond@} + YOUR LILYPOND CODE \end@{lilypond@} @end example @example \lilypondfile[options, go,here]@{@var{filename}@} @end example -or + +@noindent +or + @example \lilypond@{ YOUR LILYPOND CODE @} @end example @@ -114,40 +128,42 @@ We show some examples here. @example \begin[26pt]@{lilypond@} -c' d' e' f' g'2 g'2 + c' d' e' f' g'2 g'2 \end@{lilypond@} @end example +@noindent produces this music: @lilypond[26pt] -c' d' e' f' g'2 g'2 + c' d' e' f' g'2 g'2 @end lilypond Then the short version: + @example \lilypond[11pt]@{@} @end example +@noindent and its music: @lilypond[11pt]{} - You can use whatever commands you like in the document preamble, -that is the part of the document before @code{\begin@{document@}}. +the part of the document before @code{\begin@{document@}}. @command{lilypond-book} will send it to La@TeX{} to find out how wide the text is and adjust the linewidth variable in the paper definition of -you music according to that. +your music according to that. After @code{\begin@{document@}} you must be a little more careful when you use commands that change the width of the text and how -many columns there are. @command{lilypond-book} know about the +many columns there are. @command{lilypond-book} knows about the @code{\onecolumn} and @code{\twocolumn} commands and the @code{multicols} environment from the multicol package. The music will be surrounded by @code{\preLilypondExample} and -@code{\postLilypondExample}. The variables are +@code{\postLilypondExample}. The variables are defined to nothing by default, and the user can redefine them to whatever he wants. @@ -155,227 +171,261 @@ to whatever he wants. @node Integrating HTML and music @section Integrating HTML and music -You specify the LilyPond code like this: +You specify LilyPond code like this: -@quotation @example \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 - + @end example -@end quotation +@noindent produces -@quotation @example \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 - + @end example + @lilypond[relative1] \key c \minor r8 c16 b c8 g as c16 b c8 d | g,4 @end lilypond -@end quotation Inline picture: -@quotation @example Some music in a line of text. @end example -@end quotation + @node Music fragment options @section Music fragment options -The commands for lilypond-book have room to specify options. These are +The commands for lilypond-book have room to specify options. These are all of the options: @table @code @item eps This will create the music as eps graphics and include it into the -document with the @code{\includegraphics} command. It works in +document with the @code{\includegraphics} command. It works in La@TeX{} only. This enables you to place music examples in the running text (and not in -a separate paragraph). To avoid that La@TeX{} places the music on a line +a separate paragraph). To avoid that La@TeX{} places the music on a line of its own, there should be no empty lines between the normal text and the LilyPond environment. For inline music, you probably also need a -smaller music font size (eg. 11 pt or 13 pt) - +smaller music font size (e.g.@: 11@dmn{pt} or 13@dmn{pt}) @item verbatim - CONTENTS is copied into the source enclosed in a verbatim block, - followed by any text given with the @code{intertext} option, then - the actual music is displayed. This option does not work with - the short version of the LilyPond blocks: +CONTENTS is copied into the source enclosed in a verbatim block, +followed by any text given with the @code{intertext} option, then +the actual music is displayed. This option does not work with +the short version of the LilyPond blocks: - @code{ @@lilypond@{ CONTENTS @} } and @code{ \lilypond@{ CONTENTS @} } +@code{ @@lilypond@{ CONTENTS @} } and @code{ \lilypond@{ CONTENTS @} } @item smallverbatim - like @code{verbatim}, but in a smaller font. +Like @code{verbatim}, but in a smaller font. @item intertext="@var{text}" - Used in conjunction with @code{verbatim} option: this puts -@var{text} between the code and the music. +Used in conjunction with @code{verbatim} option: This puts +@var{text} between the code and the music (without indentation). + @item filename="@var{filename}" - Save the LilyPond code to @var{filename}. By default, a hash value +Save the LilyPond code to @var{filename}. By default, a hash value of the code is used. -@item @code{11pt} +@item 11pt @lilypond[11pt, eps] - \relative c'{ - r16 [c d e][f d e c] [g'8 c][b-\prall c] | - [d16 g, a b][c a b g][d'8 g f-\prall g] - } +\relative c' { + r16 [c d e][f d e c] [g'8 c][b-\prall c] | + [d16 g, a b][c a b g][d'8 g f-\prall g] +} @end lilypond -@item @code{13pt} + +@item 13pt @lilypond[13pt, eps] - \relative c'{ - r16 [c d e][f d e c] [g'8 c][b-\prall c] | - [d16 g, a b][c a b g][d'8 g f-\prall g] - } +\relative c' { + r16 [c d e][f d e c] [g'8 c][b-\prall c] | + [d16 g, a b][c a b g][d'8 g f-\prall g] +} @end lilypond -@item @code{16pt} + +@item 16pt @lilypond[16pt, eps] - \relative c'{ - r16 [c d e][f d e c] [g'8 c][b-\prall c] | - [d16 g, a b][c a b g][d'8 g f-\prall g] - } +\relative c' { + r16 [c d e][f d e c] [g'8 c][b-\prall c] | +} @end lilypond -@item @code{20pt} + +@item 20pt @lilypond[20pt, eps] - \relative c'{ - r16 [c d e][f d e c] [g'8 c][b-\prall c] | - [d16 g, a b][c a b g][d'8 g f-\prall g] - } +\relative c' { + r16 [c d e][f d e c] [g'8 c][b-\prall c] | +} @end lilypond -@item @code{26pt} + +@item 26pt @lilypond[26pt, eps] - \relative c'{ - r16 [c d e][f d e c] [g'8 c][b-\prall c] | - } +\relative c' { + r16 [c d e][f d e c] [g'8 c][b-\prall c] | +} @end lilypond @item singleline - Produce a single naturally spaced, unjustified line. (i.e.: linewidth = -1). +Produce a single, naturally spaced, unjustified line +(i.e., linewidth = @minus{}1). + @item multiline - The opposite of @code{singleline}: justify and break lines. +The opposite of @code{singleline}: Justify and break lines. + @item linewidth=@var{size}@var{unit} - Set linewidth to @var{size}, where @var{unit} = cm, mm, in or pt. +Set linewidth to @var{size}, where @var{unit} = cm, mm, in, or pt. +This option affects LilyPond output, not the text layout. + +@item notime +Don't print time signature. + @item fragment -@item nofragment - Override @command{lilypond-book} auto detection of what type of code is in the - LilyPond block, voice contents or complete code. +@itemx nofragment +Override @command{lilypond-book} auto detection of what type of code is +in the LilyPond block, voice contents or complete code. + @item indent=@var{size}@var{unit} - Set first line indent to @var{size}, where @var{unit} = cm, mm, in or pt. +Set indentation of the first music system to @var{size}, +where @var{unit} = cm, mm, in, or pt. This option affects LilyPond, +not the text layout. For single-line fragments the default is to +use no indentation. + @item noindent - Set first line indent to zero. +Set indentation of the first music system to zero. This option +affects LilyPond, not the text layout. + +@item noquote +By default, @command{lilypond-book} puts both La@TeX{} and texinfo output +into a quotation block. Using this option prevents this; no indentation +will be used. + @item printfilename - Prints the file name before the music example. Useful in conjunction +Prints the file name before the music example. Useful in conjunction with @code{\lilypondfile}. + @item relative, relative @var{N} - Use relative octave mode. By default, notes are specified relative - central C. The optional integer argument specifies how many octaves - higher (positive number) or lower (negative number) to place the - starting note. +Use relative octave mode. By default, notes are specified relative +central C. The optional integer argument specifies how many octaves +higher (positive number) or lower (negative number) to place the +starting note. @end table + @node Invoking lilypond-book @section Invoking lilypond-book When you run @command{lilypond-book} it will generate lots of small -files that LilyPond will process. So to avoid all the garbage in +files that LilyPond will process. To avoid all the garbage in your source directory, you should either change to a temporary -directory, or use the @code{--outdir} command line options: +directory, or use the @option{--outdir} command line options: @code{cd out && lilypond-book ../yourfile.tex} @code{lilypond-book --outdir=out yourfile.tex} - -For latex input, the file to give to latex has extension @file{.latex}. +For La@TeX{} input, the file to give to La@TeX{} has extension @file{.latex}. Texinfo input will be written to a file with extension @file{.texi}. -If you use @code{--outdir}, you should also @code{cd} to that directory -before running LaTeX or makeinfo. This may seem a little kludgey, but -both Latex and makeinfo expect picture files (the music) to be in the -current working directory. Moreover, if you do this, LaTeX will not -clutter you normal working directory with output files. +If you use @option{--outdir}, you should also @code{cd} to that directory +before running La@TeX{} or @command{makeinfo}. This may seem a little +kludgy, but both La@TeX{} and @command{makeinfo} expect picture files +(the music) to be in the current working directory. Moreover, if you do +this, La@TeX{} will not clutter your normal working directory with output +files. @cindex titling and lilypond-book @cindex lilypond-book and titling -@cindex \header in LaTeX documents +@cindex @code{\header} in La@TeX{} documents If you want to add titling from the @code{\header} section of the -files, you should add the following to the top of your LaTeX +files, you should add the following to the top of your La@TeX{} file: + @example \input titledefs.tex \def\preLilypondExample@{\def\mustmakelilypondtitle@{@}@} @end example -lilypond-book accepts the following command-line options: +@command{lilypond-book} accepts the following command line options: + @table @code -@item @option{-f}, @option{--format=} - Specify the document type to process: @code{html}, @code{latex} or -@code{texi} (default). @command{lilypond-book} usually figures this +@item @option{-f @var{format}}, @option{--format=@var{format}} +Specify the document type to process: @code{html}, @code{latex} or +@code{texi} (the default). @command{lilypond-book} usually figures this out automatically. -@item --default-music-fontsize=@var{sz}pt - Set the fontsize to use for LilyPond if no fontsize is given - as option. -@item --force-music-fontsize=@var{sz}pt - Force all LilyPond to use this fontsize, overriding options - given to @code{\begin@{lilypond@}} -@item -I @var{DIR}, --include=@var{DIR} - Add @var{DIR} to the include path. -@item -M, --dependencies - Write dependencies to @file{filename.dep} -@item --dep-prefix=@code{PREF} - prepend @code{PREF} before each @code{-M} dependency -@item -n, --no-lily - don't run LilyPond, but do generate the @code{.ly} files -@item --no-music - strip all LilyPond blocks from the file. -@item --no-pictures - don't generate pictures when processing Texinfo. -@item --read-lys - don't write ly files. This way you can do +@item @option{--default-music-fontsize=@var{sz}pt} +Set the fontsize to use for LilyPond if no fontsize is given +as option. + +@item @option{--force-music-fontsize=@var{sz}pt} +Force all LilyPond code to use this fontsize, overriding options +given to @code{\begin@{lilypond@}}. + +@item @option{-I @var{dir}}, @option{--include=@var{dir}} +Add @var{DIR} to the include path. + +@item @option{-M}, @option{--dependencies} +Write dependencies to @file{filename.dep}. + +@item @option{--dep-prefix=@var{pref}} +Prepend @var{pref} before each @option{-M} dependency. + +@item @option{-n}, @option{--no-lily} +Don't run LilyPond, but do generate the @code{.ly} files. + +@item @option{--no-music} +Strip all LilyPond blocks from the file. + +@item @option{--no-pictures} +Don't generate pictures when processing Texinfo. + +@item @option{--read-lys} +Don't write ly files. This way you can do + @example - lilypond-book file.tely - convert-ly - lilypond-book --read-lys +lilypond-book file.tely +convert-ly +lilypond-book --read-lys @end example -@item --outname=@var{FILE} - The name of La@TeX{} file to output. If this option is not given, - the output name is derived from the input name. -@item --outdir=@var{DIR} - place generated files in @var{DIR}. -@item --version - print version information -@item --help - Print a short help message +@item @option{--outname=@var{file}} +The name of La@TeX{} file to output. If this option is not given, +the output name is derived from the input name. + +@item @option{--outdir=@var{dir}} +Place generated files in @var{dir}. + +@item @option{--version} +Print version information. + +@item @option{--help} +Print a short help message. @end table @section Bugs - -The La@TeX{} \includeonly@{...@} command is ignored. + +The La@TeX{} @code{\includeonly@{...@}} command is ignored. The Texinfo command @code{pagesize} is on the TODO list for LilyPond -1.6, but changing the linewidth in other ways will not give you a +1.8, but changing the linewidth in other ways will not give you a straight right margin. Almost all La@TeX{} commands that change margins and line widths are ignored. -There is no way to automatically apply convert-ly only to fragments +There is no way to automatically apply @command{convert-ly} only to fragments inside a lilypond-book file. -@file{lilypond-book} processes all music fragments in one big run. The +@command{lilypond-book} processes all music fragments in one big run. The state of the GUILE interpreter is not reset between fragments; this -means that global GUILE definitions, eg. done with @code{#(define -.. )} and @code{#(set! .. )} can leak from one fragment into a next -fragment. +means that global GUILE definitions, e.g., done with @code{#(define @dots{})} +and @code{#(set! @dots{})} can leak from one fragment into the next fragment. 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 64c289553b..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} # @@ -62,7 +91,7 @@ b @iftex @macro texiflat {word} @tex -$\\flat$ +$\\flat$% @end tex @end macro @end iftex @@ -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 d1b6dc5d91..c71efa1033 100644 --- a/Documentation/user/refman.itely +++ b/Documentation/user/refman.itely @@ -22,9 +22,11 @@ @end html This document describes GNU LilyPond and its input format. The last -revision of this document was made for LilyPond 1.4.1. It supposes a -passing familiarity with how LilyPond input works. New users are -encouraged to study the tutorial first. +revision of this document was made for LilyPond 1.6.2. It assumes +that you already know a little bit about LilyPond input (how to +make an input file, how to create sheet music from that input file, +etc). New users are encouraged to study the tutorial before reading +this manual. @menu @@ -54,9 +56,10 @@ encouraged to study the tutorial first. @section Note entry @cindex Note entry -Notes constitute the most basic form of music, but they do not form -valid input on their own. Yet for the sake of brevity and simplicity, -we'll generally omit @code{\score} blocks and @code{\paper} declarations. +Notes constitute the most basic elements of LilyPond input, but they do +not form valid input on their own without a @code{\score} block. However, +for the sake of brevity and simplicity we will generally omit +@code{\score} blocks and @code{\paper} declarations in this manual. @menu @@ -77,7 +80,7 @@ we'll generally omit @code{\score} blocks and @code{\paper} declarations. @subsection Notes -A note is printed by specifying its pitch, and then its duration. +A note is printed by specifying its pitch and then its duration. @lilypond[fragment,verbatim] cis'4 d'8 e'16 c'16 @end lilypond @@ -98,18 +101,24 @@ The verbose syntax for pitch specification is \pitch @var{scmpitch} @end example -@var{scmpitch} is a pitch scheme object. +where @var{scmpitch} is a pitch scheme object. In Note and Chord mode, pitches may be designated by names. The default names are the Dutch note names. The notes are specified by the letters -@code{a} through @code{g} (where the octave is formed by notes ranging -from @code{c} to @code{b}). The pitch @code{c} is an octave below -middle C and the letters span the octave above that C. +@code{a} through @code{g}, while the octave is formed with notes ranging +from @code{c} to @code{b}. The pitch @code{c} is an octave below +middle C and the letters span the octave above that C. Here's an example +which should make things more clear: + +@lilypond[fragment,verbatim] +\clef bass + a,4 b, c d e f g a b c' d' e' \clef treble f' g' a' b' c'' +@end lilypond @cindex note names, Dutch In Dutch, a sharp is formed by adding @code{-is} to the end of a pitch -name and a flat is formed by adding @code{-es}. Double sharps and double +name and a flat is formed by adding @code{-es}. Double sharps and double flats are obtained by adding @code{-isis} or @code{-eses}. @code{aes} and @code{ees} are contracted to @code{as} and @code{es} in Dutch, but both forms are accepted. @@ -119,6 +128,8 @@ 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 @@ -149,17 +160,22 @@ octave; each @code{,} lowers the pitch by an octave. @node Chromatic alterations @subsection Chromatic alterations -Normally, accidentals are automatically printed, but you may force -them in the following ways: a reminder accidental +Normally accidentals are printed automatically, but you may also +print them manually. A reminder accidental @cindex reminder accidental @cindex @code{?} -can be forced by adding an exclamation mark @code{!} after the pitch. A -cautionary accidental, +can be forced by adding an exclamation mark @code{!} +after the pitch. A cautionary accidental @cindex cautionary accidental @cindex parenthesized accidental -i.e., an accidental within parentheses can be obtained by adding the +(an accidental within parentheses) can be obtained by adding the question mark `@code{?}' after the pitch. +@lilypond[fragment,verbatim] + cis' cis' cis'! cis'? +@end lilypond + + The automatic production of accidentals can be tuned in many ways. For more information, refer to @ref{Accidentals}. @@ -168,17 +184,18 @@ ways. For more information, refer to @ref{Accidentals}. @subsection Rests @cindex Rests -Rests are entered like notes, with an `@code{r}' note name: +Rests are entered like notes, with a ``note name'' of `@code{r}': @lilypond[singleline,verbatim] r1 r2 r4 r8 @end lilypond -Whole bar rests, centered in the bar, are specified using @code{R}, see -@ref{Multi measure rests}. See also @seeinternals{Rest}. +Whole bar rests, centered in middle of the bar, are specified using +@code{R} (capital R); see @ref{Multi measure rests}. See also +@seeinternals{Rest}. -For polyphonic music, it can be convenient to explicitly specify the rest's -vertical position. This can be achieved by entering a note, with the @code{\rest} +For some music, you may wish to explicitly specify the rest's vertical +position. This can be achieved by entering a note with the @code{\rest} keyword appended. Rest collision testing will leave these rests alone. @lilypond[singleline,verbatim] @@ -194,8 +211,8 @@ a'4\rest d'4\rest @cindex Invisible rest @cindex Space note -An invisible rest, or skip, can be entered like a note with note name -@code{s}, or with @code{\skip @var{duration}}: +An invisible rest (also called a `skip') can be entered like a note +with note name `@code{s}' or with @code{\skip @var{duration}}: @lilypond[singleline,verbatim] a2 s4 a4 \skip 1 a4 @@ -212,9 +229,9 @@ or `@code{_}': > @end lilypond -Note that the @code{s} syntax is only available in Note mode and Chord -mode. In other situations, you should use the @code{\skip} command, which -also works outside of those two modes: +Note that the @code{s} syntax is only available in Note mode and Chord +mode. In other situations, you should use the @code{\skip} command, +which will work outside of those two modes: @lilypond[singleline,verbatim] \score { @@ -225,7 +242,7 @@ also works outside of those two modes: } @end lilypond -The skip command is merely an empty musical placeholder. It doesn't +The skip command is merely an empty musical placeholder. It doesn't produce any output, not even transparent output. @@ -240,18 +257,21 @@ produce any output, not even transparent output. In Note, Chord, and Lyrics mode, durations are designated by numbers -and dots: durations are entered as their reciprocal values. For notes +and dots: durations are entered as their reciprocal values. For example, +a quarter note is entered using a @code{4} (since it's a 1/4 note), while +a half note is entered using a @code{2} (since it's a 1/2 note). For notes longer than a whole you must use identifiers. +@c FIXME: what's an identifier? I don't think it's been introduced yet. +@c and if it has, I obviously skipped that part. - Graham @example - c'\breve +c'\breve c'1 c'2 c'4 c'8 c'16 c'32 c'64 c'64 r\longa r\breve r1 r2 r4 r8 r16 r32 r64 r64 @end example - -@lilypond[] +@lilypond[noindent,noquote] \score { \notes \relative c'' { a\breve \autoBeamOff @@ -279,7 +299,7 @@ note lengths: @cindex @code{.} @lilypond[fragment,verbatim,center] - a'4. b'4.. c'8. + a' b' c''8 b' a'4 a'4. b'4.. c'8. @end lilypond @cindex @code{r} @cindex @code{s} @@ -288,9 +308,13 @@ You can alter the length of duration by a fraction @var{N/M} appending `@code{*}@var{N/M}' (or `@code{*}@var{N}' if @var{M=1}). This won't affect the appearance of the notes or rests produced. +@lilypond[fragment,verbatim] + a'2*2 b'4*2 a'8*4 a'4*3/2 gis'4*3/2 a'4*3/2 a'4 +@end lilypond + Durations can also be produced through GUILE extension mechanism. @lilypond[verbatim,fragment] - c\duration #(make-duration 2 1) + c'\duration #(make-duration 2 1) @end lilypond @@ -310,15 +334,15 @@ Dot placement for chords is not perfect. In some cases, dots overlap: @cindex @code{~} A tie connects two adjacent note heads of the same pitch. The tie in -effect extends the length of a note. Ties should not be confused with -slurs, which indicate articulation, and phrasing slurs, which indicate -musical phrasing. A tie is entered using the tilde symbol `@code{~}'. +effect extends the length of a note. Ties should not be confused with +slurs, which indicate articulation, or phrasing slurs, which indicate +musical phrasing. A tie is entered using the tilde symbol `@code{~}'. @lilypond[fragment,verbatim,center] e' ~ e' ~ @end lilypond -When a tie is applied to a chord, all note heads, whose pitches match, are +When a tie is applied to a chord, all note heads (whose pitches match) are connected. If you try to tie together chords that have no common pitches, no ties will be created. @@ -337,10 +361,10 @@ exactly the same concept. @lilypond[fragment, singleline] \time 3/4 c'2. c'2 ~ c'4 @end lilypond -And if you need to tie notes over bars, it may be easier to use +If you need to tie notes over bars, it may be easier to use @ref{Automatic note splitting}. -See also @seeinternals{Tie}. +See also @seeinternals{Tie}. @refbugs @@ -357,11 +381,11 @@ Switching staves when a tie is active will not work. @subsection Automatic note splitting @c FIXME: This subsection doesn't belong in @ref{Note entry}. -There is a facility for automatically converting long notes to tied -notes. This is done by replacing the @code{Note_heads_engraver} by the +LilyPond can automatically converting long notes to tied notes. This +is done by replacing the @code{Note_heads_engraver} by the @code{Completion_heads_engraver}. -@lilypond[verbatim,center] +@lilypond[verbatim,noindent,noquote] \score{ \notes\relative c'{ \time 2/4 c2. c8 d4 e f g a b c8 c2 b4 a g16 f4 e d c8. c2 @@ -374,7 +398,7 @@ notes. This is done by replacing the @code{Note_heads_engraver} by the @end lilypond This engraver splits all running notes at the bar line, and inserts -ties. One of its uses is to debug complex scores: if the measures are +ties. One of its uses is to debug complex scores: if the measures are not entirely filled, then the ties exactly show how much each measure is off. @@ -399,10 +423,10 @@ with a fraction. @end example The duration of @var{musicexpr} will be multiplied by the fraction. -In print, the fraction's denominator will be printed over the notes, -optionally with a bracket. The most common tuplet is the triplet in -which 3 notes have the length of 2, so the notes are 2/3 of -their written length: +In the sheet music, the fraction's denominator will be printed over +the notes, optionally with a bracket. The most common tuplet is the +triplet in which 3 notes have the length of 2, so the notes are 2/3 +of their written length: @lilypond[fragment,verbatim,center] g'4 \times 2/3 {c'4 c' c'} d'4 d'4 @@ -410,7 +434,7 @@ their written length: The property @code{tupletSpannerDuration} specifies how long each bracket should last. With this, you can make lots of tuplets while typing -@code{\times} only once, thus saving typing work. +@code{\times} only once, saving you lots of typing. @lilypond[fragment, relative, singleline, verbatim] \property Voice.tupletSpannerDuration = #(make-moment 1 4) @@ -418,7 +442,7 @@ should last. With this, you can make lots of tuplets while typing @end lilypond The format of the number is determined by the property -@code{tupletNumberFormatFunction}. The default prints only the +@code{tupletNumberFormatFunction}. The default prints only the denominator, but if you set it to the Scheme function @code{fraction-tuplet-formatter}, Lilypond will print @var{num}:@var{den} instead. @@ -431,7 +455,7 @@ See also @seeinternals{TupletBracket}. @refbugs -Nested tuplets are not formatted automatically. In this case, outer +Nested tuplets are not formatted automatically. In this case, outer tuplet brackets should be moved automatically. @node Easy Notation note heads @@ -442,7 +466,7 @@ tuplet brackets should be moved automatically. A entirely different type of note head is the "easyplay" note head: a note head that includes a note name. It is used in some publications by -Hal-Leonard Inc. music publishers. +Hal-Leonard Inc. music publishers. @lilypond[singleline,verbatim,26pt] \score { @@ -452,8 +476,11 @@ Hal-Leonard Inc. music publishers. @end lilypond Note that @code{EasyNotation} overrides a @internalsref{Score} context. You -probably will want to print it with magnification or a large font size to make it more -readable. +probably will want to print it with magnification or a large font size to +make it more readable. To print with magnification, you must create a dvi +(with @file{ly2dvi}) and then enlarge it with something like @file{dvips -x +2000 file.dvi}. See @file{man dvips} for details. To print with a larger +font, see @ref{Font Size}. @cindex Xdvi @@ -1205,7 +1232,7 @@ same effect as twiddling with @code{stemLeftBeamCount} and \property Score.beatLength = #(make-moment 1 8) [c32 c c c c c c c c c c c c c c c] @end example -@lilypond[] +@lilypond[noindent,noquote] \score { \notes \relative c' { [c16 c c c c c c c] @@ -1871,8 +1898,8 @@ using @code{^} and @code{_}. } > \paper { - linewidth = 5.875\in - indent = 0.0 + linewidth = 5.1\in + indent = 0.0\mm } } @end lilypond @@ -2468,8 +2495,9 @@ In the above example the music was transformed using the list @code{'drums}. Currently the following lists are defined in @file{scm/drums.scm}: @table @code @item 'drums -To typeset a typical drum kit on a five line staff. -@lilypond[] +To typeset a typical drum kit on a five-line staff. + +@lilypond[noindent] \include "drumpitch-init.ly" nam = \lyrics { cymc cyms cymr hh hhc hho hhho hhp cb hc bd sn ss tomh tommh tomml toml tomfh tomfl } @@ -2484,6 +2512,7 @@ mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc \context Lyrics \nam > \paper { + linewidth = 100.0\mm \translator { \StaffContext \remove Bar_engraver @@ -2497,6 +2526,7 @@ mus = \notes { cymc cyms cymr hh hhc hho hhho hhp cb hc } } @end lilypond + Notice that the scheme supports six different toms. If you are using fewer toms then you simply select the toms that produce the desired result - i.e. to get toms on the three middle lines you @@ -3006,7 +3036,7 @@ e8 fis gis a b cis' dis' e' \property TabStaff.minimumFret = #8 e8 fis gis a b cis' dis' e' @end example -@lilypond +@lilypond[noindent,noquote] frag = \notes { \key e \major e8 fis gis a b cis' dis' e' @@ -3319,7 +3349,7 @@ chord name styles: @c too long? @c maybe just junk verbatim option? -@lilypond[verbatim,singleline] +@lilypond[verbatim,singleline,noquote] scheme = \chords { c1 c:5^3 c:4^3 c:5+ c:m7+ c:m5-.7 @@ -3437,7 +3467,7 @@ adds a box around the bar numbers: #(make-molecule-boxer 0.1 0.25 0.25 Text_item::brew_molecule) \property Score.BarNumber \override #'font-relative-size = #0 @end example -@lilypond +@lilypond[noindent,noquote] \score { \context Staff \notes \transpose c''' { \property Score.BarNumber \override #'break-visibility = #end-of-line-invisible @@ -3954,7 +3984,7 @@ anticipates the pitch of the first note(s) of the following line and thus helps the player or singer to manage line breaks during performance, thus enhancing readability of a score. -@lilypond[verbatim] +@lilypond[verbatim,noquote] \score { \notes { c'1 \break \property Staff.Custos \set #'style = #'mensural diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index 2664ff2f65..288e706236 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -1,6 +1,10 @@ -@c -*-texinfo-*- + @c -*-texinfo-*- -@c TODO: LilyPond LilyPond LilyPond +@c TODO: +@c * LilyPond Lilypond lilypond (sometimes: the program) +@c * more details about running lilypond; error messages, +@c compiling/viewing (emacs?) +@c * where to go from First steps+More basics? @node Tutorial @chapter Tutorial @@ -24,7 +28,7 @@ * End of tutorial:: The end @end menu -Operating lilypond is done through text files: to print a piece of +Operating lilypond is done through text files: To print a piece of music, you enter the music in a file. When you run lilypond (normally using the program @code{ly2dvi}) on that file, the program produces another file which contains sheet music that you can print or view. @@ -32,112 +36,84 @@ another file which contains sheet music that you can print or view. This tutorial starts with a small introduction to the LilyPond music language. After this first contact, we will show you how to run LilyPond to produce printed output; you should then be able to create -your first sheets of music. The tutorial continues with more and more +your first sheets of music. The tutorial continues with more and more 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 -@code{a} through @code{g}. So if you enter -@quotation +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 @end example -@end quotation + +@noindent then the result looks like this: -@quotation -@lilypond[fragment] + +@lilypond[notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff \transpose c'' { c d e f g a b } @end lilypond -@end quotation -@separate -We will continue with this format: first we show a snippet of input, +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, ``@code{1}'' for a -whole note, ``@code{2}'' for a half note, and so on: +The length of a note is specified by adding a number, @samp{1} for a +@rglos{whole note}, @samp{2} for a @rglos{half note}, and so on: -@quotation @example a1 a2 a4 a16 a32 @end example -@c missing clef seems to raise more questions than actual pitch of notes, -@c as these are snippets anyway -@lilypond[fragment] +@lilypond[notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff \property Staff.autoBeaming = ##f -%\property Staff.Clef = \turnOff -\transpose c'' { a1 a2 a4 a16 a32 } -s16_" " +\transpose c'' { a1 a2 a4 a16 a32 s16_" " } @end lilypond -@end quotation -@separate -If you don't specify a duration, the previous one is used: -@quotation +If you don't specify a @rglos{duration}, the previous one is used: + @example a4 a a2 a @end example -@c missing clef seems to raise more questions than actual pitch of notes, -@c as these are snippets anyway -@lilypond[fragment] +@lilypond[notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff -%\property Staff.Clef = \turnOff -\transpose c'' { a a a2 a } -s16_" " +\transpose c'' { a a a2 a s16_" " } @end lilypond -@end quotation -@separate -A sharp (@texisharp{}) is made by adding ``@code{is}'', a flat -(@texiflat{}) by adding ``@code{es}''. As you would expect, a -double-sharp or double-flat is made by adding ``@code{isis}'' or -``@code{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}: -@quotation @example cis1 ees fisis aeses @end example -@lilypond[fragment] +@lilypond[notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff -\transpose c'' { cis1 ees fisis aeses } -s16_" " +\transpose c'' { cis1 ees fisis aeses s16_" " } @end lilypond -@end quotation -@separate -Add a dot ``@code{.}'' after the duration to get a dotted note: -@quotation +Add a dot @samp{.} after the duration to get a @rglos{dotted note}: + @example a2. a4 a8. a16 @end example -@c missing clef seems to raise more questions than actual pitch of notes, -@c as these are snippets anyway -@lilypond[fragment] +@lilypond[notime] \property Score.timing = ##f -\property Staff.TimeSignature \set #'transparent = ##t -%\property Staff.Clef = \turnOff -\transpose c'' { a2. a4 a8. a16 } -s16_" " +\transpose c'' { a2. a4 a8. a16 s16_" " } @end lilypond -@end quotation -@separate -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: -@quotation @example \time 3/4 \time 6/8 @@ -145,7 +121,7 @@ The meter (or time signature) can be set with the @code{\time} command: @end example @c a clef here may lead to confusion -@lilypond[fragment] +@lilypond \property Staff.Clef \set #'transparent = ##t \time 3/4 s4_" " @@ -154,15 +130,12 @@ s4_" " \time 4/4 s16_" " @end lilypond -@end quotation -@separate -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. @c in English its definitely treble. -@quotation @example \clef treble \clef bass @@ -170,9 +143,8 @@ The clef can be set using the ``@code{\clef}'' command: \clef tenor @end example -@lilypond[fragment] +@lilypond[notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff \clef violin s4_" " \clef bass @@ -182,51 +154,42 @@ s4_" " \clef tenor s16_" " @end lilypond -@end quotation -@separate -@c From these commands and notes, a piece of music can be formed. A piece -@c of music is made by enclosing it in ``@code{\notes @{ ... @}}''. -@c rephrased: When you enter these commands in a file, you must to enclose them in -``@code{\notes @{ .. @}}''. This lets LilyPond know that music (and -not lyrics, for example) follows: +@code{\notes @{@dots{}@}}. This lets LilyPond know that music (and +not @rglos{lyrics}, for example) follows: -@quotation @example \notes @{ - \time 3/4 - \clef bass - c2 e4 g2. - f4 e d c2. + \time 3/4 + \clef bass + c2 e4 g2. + f4 e d c2. @} @end example -@end quotation -@separate Now the piece of music is almost ready to be printed. The final step is to combine the music with a printing command. -The printing command is the so-called ``@code{\paper}'' block. Later on +The printing command is the so-called @code{\paper} block. Later on you will see that the @code{\paper} block is used to customize printing specifics. The music and the @code{\paper} block are combined by -enclosing them in ``@code{\score @{ ... @}}''. This is what a full +enclosing them in @code{\score @{ ... @}}. This is what a full LilyPond source file looks like: -@quotation @example \score @{ \notes @{ - \time 3/4 - \clef bass - c2 e4 g2. - f4 e d c2. + \time 3/4 + \clef bass + c2 e4 g2. + f4 e d c2. @} \paper @{ @} @} @end example -@lilypond +@lilypond[noindent] \score { \notes { \time 3/4 @@ -234,11 +197,11 @@ LilyPond source file looks like: c2 e4 g2. f4 e d c2. } - \paper { linewidth = 60 * \staffspace } + \paper { + linewidth = 55 * \staffspace + } } @end lilypond -@end quotation -@separate @node Running LilyPond @@ -395,8 +358,7 @@ discussed in the previous two sections. @item @code{1 2 8 16} @tab durations @tab -@lilypond[fragment, relative 1] -\property Staff.TimeSignature = \turnOff +@lilypond[relative 1, noquote, notime] \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff c1 c2 c8 c16 @@ -405,8 +367,7 @@ c1 c2 c8 c16 @item @code{. ..} @tab augmentation dots @tab -@lilypond[fragment, relative 1] -\property Staff.TimeSignature = \turnOff +@lilypond[relative 1, noquote, notime] \property Staff.Clef = \turnOff c4. c4.. @end lilypond @@ -414,8 +375,7 @@ c4. c4.. @item @code{c d e f g a b } @tab scale @tab -@lilypond[fragment, relative 1] -\property Staff.TimeSignature = \turnOff +@lilypond[relative 1, noquote, notime] \property Staff.Clef = \turnOff c d e f g a b @end lilypond @@ -423,8 +383,7 @@ c d e f g a b @item @code{\clef treble \clef bass } @tab clefs @tab -@lilypond[fragment] -\property Staff.TimeSignature \set #'transparent = ##t +@lilypond[noquote, notime] \clef treble s4_" " \clef bass @@ -434,7 +393,7 @@ s4_" " @item @code{\time 3/4 \time 4/4 } @tab time signature @tab -@lilypond[fragment] +@lilypond[noquote] \property Staff.Clef \set #'transparent = ##t \time 3/4 s4_" " @@ -681,30 +640,25 @@ The following table summarizes the syntax learned so far in this section. @item @code{r4 r8} @tab rest @tab -@lilypond[fragment, relative 1] -\property Staff.TimeSignature = \turnOff +@lilypond[relative 1, noquote, notime] \property Staff.Clef = \turnOff r4 r8 @end lilypond - @item @code{~} @tab tie @tab -@lilypond[fragment, relative 1] +@lilypond[relative 1, noquote, notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff d ~ d @end lilypond - @item @code{\key es \major } @tab key signature @tab -@lilypond[fragment] -\property Staff.TimeSignature \set #'transparent = ##t +@lilypond[noquote, notime] \clef treble \key es \major s4 @@ -713,9 +667,8 @@ s4 @item @var{note}@code{'} @tab raise octave @tab -@lilypond[fragment, relative 1] +@lilypond[relative 1, noquote, notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff a a' @@ -724,9 +677,8 @@ a a' @item @var{note}@code{,} @tab lower octave @tab -@lilypond[fragment, relative 1] +@lilypond[relative 1, noquote, notime] \property Score.timing = ##f -\property Staff.TimeSignature = \turnOff \property Staff.autoBeaming = ##f \property Staff.Clef = \turnOff c c, @@ -1762,7 +1714,7 @@ input file is a piano reduction of the G major Sinfonia by Giovanni Battista Sammartini, composed around 1740. It's in the source package under the name @file{input/tutorial/sammartini.ly}. -@lilypondfile[smallverbatim]{sammartini.ly} +@lilypondfile[smallverbatim,noquote]{sammartini.ly} As you can see, this example features multiple voices on one staff. To make room for those voices, their notes should be stemmed in opposite @@ -1948,12 +1900,12 @@ getting the motive in a wrong octave. @cindex @code{\translator} @example - \translator Staff = down - \stemUp - c8 - \translator Staff = up - \stemDown - c'8 @} +\translator Staff = down +\stemUp +c8 +\translator Staff = up +\stemDown +c'8 @} @end example Voices can switch between staves. Here you see two staff switching commands. The first one moves to the lower staff, the second one to @@ -2190,7 +2142,7 @@ The following command manually adds an offset to the object. We move it a little to the left, and 1.8 staff space downwards. @example \property Voice.Fingering \set #'extra-offset = #'(-0.3 . -1.8) -@end example +@end example The @code{extra-offset} is a low-level feature: it moves around objects in the printout; the formatting engine is completely oblivious to these offsets. The unit of these offsets are staff-spaces. The @@ -2270,7 +2222,7 @@ Between the object and its support (in this case the notes in the voice going down), there should be more space. This space is controlled by @code{padding}, so we increase it. @example - \property Voice.DynamicLineSpanner \override #'padding = #5.0 +\property Voice.DynamicLineSpanner \override #'padding = #5.0 @end example This command is almost like the command for setting slur attachments, @@ -2293,8 +2245,8 @@ different voice, and blank the stem. This is done in the following snippet of code. @example - \property Voice.Stem \set #'transparent = ##t - d' +\property Voice.Stem \set #'transparent = ##t +d' @end example Blanking the stem should be done for only one object. One of the ways to achieve that, is by setting the property before a note. Reverting @@ -2452,7 +2404,7 @@ conductor's score. > \context StaffGroup = brass < \context Staff = trombe < - \property Staff.midiInstrument = #"trumpet" + \property Staff.midiInstrument = #"trumpet" \property Staff.instrument = #`(lines "2 Trombe" "(C)") \property Staff.instr = #`(lines "Tbe." "(C)") \Key @@ -2474,7 +2426,7 @@ conductor's score. > \paper @{ indent = 15 * \staffspace - linewidth = 60 * \staffspace + linewidth = 55 * \staffspace textheight = 90 * \staffspace \translator@{ \HaraKiriStaffContext @@ -2645,8 +2597,8 @@ when they're different. @separate @example - \property Staff.instrument = #`(lines "Corno" - (columns "(E" ,text-flat ")")) +\property Staff.instrument = #`(lines "Corno" + (columns "(E" ,text-flat ")")) @end example The french horn (``Corno'') has the most complex scheme markup name, made up of two lines of text. The second line has three elements (columns) -- @@ -2675,7 +2627,7 @@ Since the horn is transposing, it's in a different key. @separate @example indent = 15 * \staffspace - linewidth = 60 * \staffspace + linewidth = 55 * \staffspace @end example We specify a big indent for the first line and a small linewidth for this tutorial. @@ -2876,9 +2828,14 @@ The result looks more or less like this: In a lilypond-book document, you can freely mix music and text. For example: @lilypond - \score { \notes \relative c' { - c2 g'2 \times 2/3 { f8 e d } c'2 g4 - } } +\score { + \notes \relative c' { + c2 g'2 \times 2/3 { f8 e d } c'2 g4 + } + \paper { + linewidth = -1 + } +} @end lilypond Notice that the music line length matches the margin settings of the document. @@ -2909,7 +2866,7 @@ the default music size, @code{fragment} adds a score block, If you include large examples into the text, it may be more convenient to put the example in a separate file: -@lilypondfile[printfilename]{sammartini.ly} +@lilypondfile[printfilename,noquote]{sammartini.ly} The @code{printfilename} option adds the file name to the output. @node End of tutorial @@ -2930,7 +2887,6 @@ Don't forget to check out the @ifnothtml templates, examples and feature tests. @end ifnothtml -If you want to see real action lilypond then head over to +If you want to see real action LilyPond, head over to @uref{http://www.mutopiaproject.org}, which has many examples of classical music typeset with LilyPond. - diff --git a/GNUmakefile.in b/GNUmakefile.in index 5ae750579e..3aa2b41d3e 100644 --- a/GNUmakefile.in +++ b/GNUmakefile.in @@ -95,6 +95,7 @@ top-web: cd $(builddir) && find Documentation input \ $(web-ext:%=-path '*/out-www/*.%' -or) -false \ > $(outdir)/weblist + $(PYTHON) $(buildscript-dir)/mutopia-index.py -o $(builddir)/$@.html input/ cd $(builddir) && ls *.png *.html >> $(outdir)/weblist cat $(outdir)/weblist | (cd $(builddir); GZIP=-9v tar -czf $(outdir)/web.tar.gz -T -) diff --git a/THANKS b/THANKS index 997a22bde7..d9cb3c915c 100644 --- a/THANKS +++ b/THANKS @@ -9,9 +9,10 @@ Juergen Reuter BUG HUNTERS +Erik Sandberg +Hans Kieserman +Jeremie Lumbroso Karl-Johan Karlsson Karl Berry Werner Lemberg -Jeremie Lumbroso -Erik Sandberg diff --git a/buildscripts/mutopia-index.py b/buildscripts/mutopia-index.py index 0faeb5ea06..8731b01fe0 100644 --- a/buildscripts/mutopia-index.py +++ b/buildscripts/mutopia-index.py @@ -153,7 +153,12 @@ def gen_list(inputs, filename): list.write ('

    \n') def list_item(filename, desc, type, l = list): if file_exist_b(filename): + l.write ('
  • %s' % (filename, desc)) + + # todo: include warning if it uses \include + # files. + size=os.stat(filename)[stat.ST_SIZE] kB=(size + 512) / 1024 if kB: diff --git a/cygwin/lilypond.hint b/cygwin/lilypond.hint index e8c3ac0757..f101aaafc1 100644 --- a/cygwin/lilypond.hint +++ b/cygwin/lilypond.hint @@ -1,6 +1,6 @@ sdesc: "A program for printing sheet music" category: Publishing -requires: bash libguile12 libiconv2 libintl2 libkpathsea3 python tetex-bin tetex-tiny +requires: bash libguile12 libiconv2 libintl2 libkpathsea3 ghostscript python tetex-bin tetex-tiny #requires: tetex-bin, tetex-tiny | tetex-base #suggests: emacs gsview lilypond-doc rxvt tetex-x11 XFree86-serv ldesc: "A program for printing sheet music. diff --git a/flower/include/string-data.icc b/flower/include/string-data.icc index bb3f9c7da1..f02a5d3b60 100644 --- a/flower/include/string-data.icc +++ b/flower/include/string-data.icc @@ -11,6 +11,7 @@ #include #include +#include #include "string-data.hh" const int INITIALMAX=8; diff --git a/input/les-nereides.ly b/input/les-nereides.ly index 9b6647f19a..97ebe1921a 100644 --- a/input/les-nereides.ly +++ b/input/les-nereides.ly @@ -1,4 +1,4 @@ -\version "1.6.5" +\version "1.6.4" \header { composer = "ARTHUR GRAY" diff --git a/input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly b/input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly index 044434e038..2be2b1cbca 100644 --- a/input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly +++ b/input/mutopia/W.A.Mozart/mozart-hrn3-defs.ly @@ -6,7 +6,7 @@ longgrace = \property Voice.Stem \override #'stroke-style = #'() endlonggrace = \property Voice.Stem \revert #'stroke-style ritenuto = \textscript #'(italic "rit.") -\version "1.6.5" +\version "1.6.4" #(define italic-bf '((font-shape . italic) (font-series . bold))) diff --git a/input/test/bagpipe.ly b/input/test/bagpipe.ly index 001fdc88f8..f5fb3aa4e0 100644 --- a/input/test/bagpipe.ly +++ b/input/test/bagpipe.ly @@ -1,4 +1,4 @@ -\version "1.6.5" +\version "1.6.4" % bagpipe music. diff --git a/input/test/dynamic-extra.ly b/input/test/dynamic-extra.ly new file mode 100644 index 0000000000..63982bba46 --- /dev/null +++ b/input/test/dynamic-extra.ly @@ -0,0 +1,17 @@ +\header{ + texidoc = "Additional tricks for dynamics. Pi`u forte dynamic script" +} + +piuf = #'(columns (italic "pi\\`u") " " (dynamic "f")) + +\score{ + \notes\relative c''{ + c4-#'(italic "pi\\`u")-\f + c-#'(columns (italic "pi\\`u") " " (dynamic "f")) + c-\piuf + c + c2\< \! c2 + + c2\< \! c2 + } + } \ No newline at end of file diff --git a/lily/stem.cc b/lily/stem.cc index 69cbcb4e6f..3e096be996 100644 --- a/lily/stem.cc +++ b/lily/stem.cc @@ -532,7 +532,6 @@ Stem::flag (Grob*me) /* TODO: maybe property stroke-style should take different values, e.g. "" (i.e. no stroke), "single" and "double" (currently, it's '() or "grace"). */ - String flag_style; SCM flag_style_scm = me->get_grob_property ("flag-style"); diff --git a/lily/volta-engraver.cc b/lily/volta-engraver.cc index 14acbf4249..7b3d8da3ae 100644 --- a/lily/volta-engraver.cc +++ b/lily/volta-engraver.cc @@ -51,7 +51,8 @@ Volta_engraver::Volta_engraver () void Volta_engraver::process_music () { - if (unsmob_grob (staff_)) + if (unsmob_grob (staff_) + && !to_boolean (get_property ("voltaOnThisStaff"))) { /* TODO: this does weird things when you open a piece with a @@ -212,6 +213,6 @@ ENTER_DESCRIPTION(Volta_engraver, /* descr */ "Make volta brackets", /* creats*/ "VoltaBracket", /* accepts */ "", -/* acks */ "bar-line-interface staff-symbol-interface note-column-interface", +/* acks */ "bar-line-interface staff-symbol-interface note-column-interface", /* reads */ "repeatCommands voltaSpannerDuration stavesFound", /* write */ ""); diff --git a/make/lilypond.redhat.spec.in b/make/lilypond.redhat.spec.in index c7f0a50fcc..bb51d3d39e 100644 --- a/make/lilypond.redhat.spec.in +++ b/make/lilypond.redhat.spec.in @@ -1,4 +1,4 @@ -# -*- rpm-spec-mode -*- +# -*-rpm-spec-mode-*- %define info yes @@ -10,7 +10,8 @@ Group: Applications/Publishing Source0: ftp.cs.uu.nl:/pub/GNU/LilyPond/development/lilypond-@TOPLEVEL_VERSION@.tar.gz Summary: Create and print music notation URL: http://www.lilypond.org/ -BuildRoot: /tmp/lilypond-install +BuildRoot: %{_tmppath}/%{name}-%{version}-root + Buildrequires: t1utils bison flex mftrace texinfo Requires: tetex tetex-latex libstdc++ python @@ -20,13 +21,13 @@ LilyPond lets you create music notation. It produces beautiful sheet music from a high-level description file. %package documentation -Summary: Prebuilt website containing all LilyPond documentation. +Summary: All LilyPond documentation, in HTML Group: Applications/Publishing # BuildArchitectures: noarch %description documentation - -The documentation and example files of LilyPond. +Documentation and example files of LilyPond. An index is available at +%{_docdir}/web/Documentation/out-www/index.html %prep %setup @@ -34,7 +35,7 @@ The documentation and example files of LilyPond. %build # DO NOT use % { configure } , it hardcodes all paths, runs libtool, -# so we can't do make prefix=/tmp/ install. +# so we can't do make prefixix=/tmp/ install. # In fact, do not take out the spaces between % and { in the above comment, # because RPM will gladly do a substitution anyway. @@ -56,21 +57,22 @@ rm -rf $RPM_BUILD_ROOT mkdir -p $RPM_BUILD_ROOT/tmp/lilypond-rpm-doc strip lily/out/lilypond -make prefix="$RPM_BUILD_ROOT%{_prefix}" MAKE_PFA_FILES=1 install +make prefix="$RPM_BUILD_ROOT%{_prefix}" infodir="$RPM_BUILD_ROOT%{_infodir}" MAKE_PFA_FILES=1 mandir="$RPM_BUILD_ROOT%{_mandir}" install -%if info=="yes" -gzip -9fn $RPM_BUILD_ROOT%{_prefix}/info/* +%if %{info} +rm -f $RPM_BUILD_ROOT/%{_infodir}/dir +gzip -9fn $RPM_BUILD_ROOT%{_infodir}/* %endif -mkdir -p $RPM_BUILD_ROOT/usr/share/emacs/site-lisp/site-start.d -install -m 644 lilypond-mode.el lilypond-font-lock.el lilypond-indent.el $RPM_BUILD_ROOT/usr/share/emacs/site-lisp/ -install -m 644 lilypond-init.el $RPM_BUILD_ROOT/usr/share/emacs/site-lisp/site-start.d +mkdir -p $RPM_BUILD_ROOT%{_datadir}/emacs/site-lisp/site-start.d +install -m 644 lilypond-mode.el lilypond-font-lock.el lilypond-indent.el $RPM_BUILD_ROOT/%{_datadir}/emacs/site-lisp/ +install -m 644 lilypond-init.el $RPM_BUILD_ROOT/%{_datadir}/emacs/site-lisp/site-start.d -gzip -9fn $RPM_BUILD_ROOT%{_prefix}/man/man1/* +gzip -9fn $RPM_BUILD_ROOT%{_mandir}/man1/* -mkdir -p $RPM_BUILD_ROOT%{_prefix}/../etc/profile.d -cp buildscripts/out/lilypond-profile $RPM_BUILD_ROOT%{_prefix}/../etc/profile.d/lilypond.sh -cp buildscripts/out/lilypond-login $RPM_BUILD_ROOT%{_prefix}/../etc/profile.d/lilypond.csh +mkdir -p $RPM_BUILD_ROOT/etc/profile.d +cp buildscripts/out/lilypond-profile $RPM_BUILD_ROOT/etc/profile.d/lilypond.sh +cp buildscripts/out/lilypond-login $RPM_BUILD_ROOT/etc/profile.d/lilypond.csh # again, make sure that main package installs even if doco fails @@ -83,64 +85,62 @@ tar -C web -xzf out/web.tar.gz touch /tmp/.lilypond-install rm `find /var/lib/texmf -name 'feta*pk' -or -name 'feta*tfm' -or -name 'parmesan*pk' -or -name 'parmesan*tfm' -print` /tmp/.lilypond-install -%if info=="yes" -/sbin/install-info %{_prefix}/info/lilypond.info.gz %{_prefix}/info/dir +%if %{info} +/sbin/install-info %{_infodir}/lilypond.info.gz %{_infodir}/dir %endif - -/usr/X11R6/bin/mkfontdir /usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/ -chkfontpath --add=/usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/ +/usr/X11R6/bin/mkfontdir %{_datadir}/lilypond/@TOPLEVEL_VERSION@/fonts/type1/ +chkfontpath --add=%{_datadir}/lilypond/@TOPLEVEL_VERSION@/fonts/type1/ echo 'Please logout first before using LilyPond.' %preun -%if info=="yes" +%if %{info} if [ $1 = 0 ]; then - /sbin/install-info --delete %{_prefix}/info/lilypond.info.gz %{_prefix}/info/dir + /sbin/install-info --delete %{_infodir}/lilypond.info.gz %{_infodir}/dir fi %endif -rm -f /usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/fonts.dir -chkfontpath --remove=/usr/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/ +rm -f %{_datadir}/lilypond/@TOPLEVEL_VERSION@/fonts/type1/fonts.dir +chkfontpath --remove=%{_datadir}/share/lilypond/@TOPLEVEL_VERSION@/fonts/type1/ %files %defattr(-, root, root) %{_datadir}/emacs/site-lisp/lilypond-* %{_datadir}/emacs/site-lisp/site-start.d/lilypond-* -%{_prefix}/bin/abc2ly -%{_prefix}/bin/as2text -%{_prefix}/bin/convert-ly -%{_prefix}/bin/etf2ly -%{_prefix}/bin/lilypond -%{_prefix}/bin/ly2dvi -%{_prefix}/bin/midi2ly -%{_prefix}/bin/lilypond-book -%{_prefix}/bin/mup2ly -%{_prefix}/bin/musedata2ly -%{_prefix}/bin/pmx2ly - -%if info=="yes" -%{_prefix}/info/lilypond.info.gz -%{_prefix}/info/lilypond-internals.info.gz +%{_bindir}/abc2ly +%{_bindir}/as2text +%{_bindir}/convert-ly +%{_bindir}/etf2ly +%{_bindir}/lilypond +%{_bindir}/ly2dvi +%{_bindir}/midi2ly +%{_bindir}/lilypond-book +%{_bindir}/mup2ly +%{_bindir}/musedata2ly +%{_bindir}/pmx2ly + +%if %{info} +%{_infodir}/* %endif -%{_prefix}/man/man1/abc2ly.1.gz -%{_prefix}/man/man1/as2text.1.gz -%{_prefix}/man/man1/convert-ly.1.gz -%{_prefix}/man/man1/etf2ly.1.gz -%{_prefix}/man/man1/lilypond.1.gz -%{_prefix}/man/man1/ly2dvi.1.gz -%{_prefix}/man/man1/midi2ly.1.gz -%{_prefix}/man/man1/lilypond-book.1.gz -%{_prefix}/man/man1/musedata2ly.1.gz -%{_prefix}/man/man1/mup2ly.1.gz -%{_prefix}/man/man1/pmx2ly.1.gz - -%{_prefix}/share/lilypond/@TOPLEVEL_VERSION@/ -%{_prefix}/share/locale/*/LC_MESSAGES/lilypond.mo -%{_prefix}/../etc/profile.d/lilypond.* +%{_mandir}/man1/abc2ly.1.gz +%{_mandir}/man1/as2text.1.gz +%{_mandir}/man1/convert-ly.1.gz +%{_mandir}/man1/etf2ly.1.gz +%{_mandir}/man1/lilypond.1.gz +%{_mandir}/man1/ly2dvi.1.gz +%{_mandir}/man1/midi2ly.1.gz +%{_mandir}/man1/lilypond-book.1.gz +%{_mandir}/man1/musedata2ly.1.gz +%{_mandir}/man1/mup2ly.1.gz +%{_mandir}/man1/pmx2ly.1.gz + +%{_datadir}/lilypond/@TOPLEVEL_VERSION@/ +%{_datadir}/locale/*/LC_MESSAGES/lilypond.mo +/etc/profile.d/lilypond.* %files documentation diff --git a/scm/auto-beam.scm b/scm/auto-beam.scm index 13fa296a41..0a6d94b195 100644 --- a/scm/auto-beam.scm +++ b/scm/auto-beam.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Jan Nieuwenhuizen +;;; (c) 2000--2002 Jan Nieuwenhuizen ;;; ;;; specify generic beam begin and end times diff --git a/scm/backend-documentation-lib.scm b/scm/backend-documentation-lib.scm index c12296f34e..5033fb7157 100644 --- a/scm/backend-documentation-lib.scm +++ b/scm/backend-documentation-lib.scm @@ -2,7 +2,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Han-Wen Nienhuys +;;; (c) 2000--2002 Han-Wen Nienhuys ;;; Jan Nieuwenhuizen diff --git a/scm/beam.scm b/scm/beam.scm index 91a0414173..b1b1b6a9f3 100644 --- a/scm/beam.scm +++ b/scm/beam.scm @@ -3,7 +3,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 2000--2001 Jan Nieuwenhuizen +;;;; (c) 2000--2002 Jan Nieuwenhuizen ;;;; ;; diff --git a/scm/c++.scm b/scm/c++.scm index f5b95b4ec2..b17bfecf92 100644 --- a/scm/c++.scm +++ b/scm/c++.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Jan Nieuwenhuizen +;;;; (c) 1998--2002 Jan Nieuwenhuizen ;;;; Han-Wen Nienhuys ;;; Note: this file can't be used without LilyPond executable diff --git a/scm/chord-name.scm b/scm/chord-name.scm index f55e93e9f1..580501d3b3 100644 --- a/scm/chord-name.scm +++ b/scm/chord-name.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Jan Nieuwenhuizen +;;; (c) 2000--2002 Jan Nieuwenhuizen ;;; diff --git a/scm/documentation-lib.scm b/scm/documentation-lib.scm index 7f82049339..a73b3b5586 100644 --- a/scm/documentation-lib.scm +++ b/scm/documentation-lib.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Han-Wen Nienhuys +;;; (c) 2000--2002 Han-Wen Nienhuys ;;; Jan Nieuwenhuizen (use-modules (oop goops)) diff --git a/scm/engraver-documentation-lib.scm b/scm/engraver-documentation-lib.scm index c9a26f4ec9..ef88bf461a 100644 --- a/scm/engraver-documentation-lib.scm +++ b/scm/engraver-documentation-lib.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Han-Wen Nienhuys +;;; (c) 2000--2002 Han-Wen Nienhuys ;;; Jan Nieuwenhuizen diff --git a/scm/font.scm b/scm/font.scm index 92722172ba..e4d95ba338 100644 --- a/scm/font.scm +++ b/scm/font.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Jan Nieuwenhuizen +;;; (c) 2000--2002 Jan Nieuwenhuizen ;;; (define style-to-font-alist diff --git a/scm/generate-documentation.scm b/scm/generate-documentation.scm index 6cc1cd99a5..86e2ae1ba6 100644 --- a/scm/generate-documentation.scm +++ b/scm/generate-documentation.scm @@ -2,7 +2,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Han-Wen Nienhuys +;;; (c) 2000--2002 Han-Wen Nienhuys ;;; Jan Nieuwenhuizen ;;; File entry point for generated documentation diff --git a/scm/grob-description.scm b/scm/grob-description.scm index ba10482719..d6e3fa8536 100644 --- a/scm/grob-description.scm +++ b/scm/grob-description.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--20.301 Han-Wen Nienhuys +;;;; (c) 1998--2002 Han-Wen Nienhuys ;;;; Jan Nieuwenhuizen ;;;; distances are given in stafflinethickness (thicknesses) and @@ -18,7 +18,7 @@ . ( (molecule-callback . ,Accidental_interface::brew_molecule) (font-family . music) - (cautionary-style . smaller) + (cautionary-style . parentheses) (after-line-breaking-callback . ,Accidental_interface::after_line_breaking) (meta . ((interfaces . (item-interface accidental-interface font-interface)))) )) (AccidentalPlacement @@ -703,7 +703,7 @@ (Y-extent-callback . ,Rest::extent_callback) (molecule-callback . ,Rest::brew_molecule) (Y-offset-callbacks . (,Staff_symbol_referencer::callback)) - (minimum-beam-collision-distance . 1.5) + (minimum-beam-collision-distance . 0.75) (meta . ( (interfaces . (font-interface rhythmic-head-interface diff --git a/scm/grob-property-description.scm b/scm/grob-property-description.scm index 516f4deda5..c8608e25c8 100644 --- a/scm/grob-property-description.scm +++ b/scm/grob-property-description.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Han-Wen Nienhuys +;;;; (c) 1998--2002 Han-Wen Nienhuys ;;;; Jan Nieuwenhuizen diff --git a/scm/interface-description.scm b/scm/interface-description.scm index 60532b5313..a062399d73 100644 --- a/scm/interface-description.scm +++ b/scm/interface-description.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Han-Wen Nienhuys +;;;; (c) 1998--2002 Han-Wen Nienhuys ;;;; Jan Nieuwenhuizen diff --git a/scm/lily.scm b/scm/lily.scm index fd14d4a4d5..470c30dea6 100644 --- a/scm/lily.scm +++ b/scm/lily.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Jan Nieuwenhuizen +;;;; (c) 1998--2002 Jan Nieuwenhuizen ;;;; Han-Wen Nienhuys ;;; Library functions diff --git a/scm/midi.scm b/scm/midi.scm index 0f85275124..bf5f129808 100644 --- a/scm/midi.scm +++ b/scm/midi.scm @@ -2,7 +2,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 2000--2001 Jan Nieuwenhuizen +;;; (c) 2000--2002 Jan Nieuwenhuizen ;; define factor of total volume per dynamic marking diff --git a/scm/music-property-description.scm b/scm/music-property-description.scm index fc9e5b9cdd..8719a9751d 100644 --- a/scm/music-property-description.scm +++ b/scm/music-property-description.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Han-Wen Nienhuys +;;;; (c) 1998--2002 Han-Wen Nienhuys ;;;; Jan Nieuwenhuizen diff --git a/scm/output-lib.scm b/scm/output-lib.scm index 21a50dda79..5fc63529a0 100644 --- a/scm/output-lib.scm +++ b/scm/output-lib.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Jan Nieuwenhuizen +;;;; (c) 1998--2002 Jan Nieuwenhuizen ;;;; Han-Wen Nienhuys ; Tablature functions, by Jiba (jiba@tuxfamily.org) diff --git a/scm/pdftex.scm b/scm/pdftex.scm index 9624b8b4e5..873697fff5 100644 --- a/scm/pdftex.scm +++ b/scm/pdftex.scm @@ -3,7 +3,7 @@ ;;; source file of the GNU LilyPond music typesetter ;;; modified from the existing tex.scm ;;; -;;; (c) 1998--2001 Jan Nieuwenhuizen +;;; (c) 1998--2002 Jan Nieuwenhuizen ;;; Han-Wen Nienhuys ;;; Stephen Peters diff --git a/scm/ps.scm b/scm/ps.scm index cef0006674..72bf34a920 100644 --- a/scm/ps.scm +++ b/scm/ps.scm @@ -2,7 +2,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 1998--2001 Jan Nieuwenhuizen +;;; (c) 1998--2002 Jan Nieuwenhuizen ;;; Han-Wen Nienhuys diff --git a/scm/pysk.scm b/scm/pysk.scm index e62575af53..d0abebf415 100644 --- a/scm/pysk.scm +++ b/scm/pysk.scm @@ -2,7 +2,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 1998--2001 Jan Nieuwenhuizen +;;; (c) 1998--2002 Jan Nieuwenhuizen ;;; Han-Wen Nienhuys diff --git a/scm/sketch.scm b/scm/sketch.scm index d69ce7e20f..f4b6762ddc 100644 --- a/scm/sketch.scm +++ b/scm/sketch.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 1998--2001 Jan Nieuwenhuizen +;;; (c) 1998--2002 Jan Nieuwenhuizen ;;; Han-Wen Nienhuys diff --git a/scm/slur.scm b/scm/slur.scm index 51445d3a54..bec4ae0e26 100644 --- a/scm/slur.scm +++ b/scm/slur.scm @@ -3,7 +3,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 2000--2001 Jan Nieuwenhuizen +;;;; (c) 2000--2002 Jan Nieuwenhuizen ;;;; (define (attached-to-stem slur dir) diff --git a/scm/standalone.scm b/scm/standalone.scm index 6596a700c0..346c1085a8 100644 --- a/scm/standalone.scm +++ b/scm/standalone.scm @@ -2,7 +2,7 @@ ;;;; ;;;; source file of the GNU LilyPond music typesetter ;;;; -;;;; (c) 1998--2001 Jan Nieuwenhuizen +;;;; (c) 1998--2002 Jan Nieuwenhuizen ;;;; Han-Wen Nienhuys (define standalone (not (defined? 'ly-gulp-file))) diff --git a/scm/tex.scm b/scm/tex.scm index b5b7d27a9c..5e70aff053 100644 --- a/scm/tex.scm +++ b/scm/tex.scm @@ -3,7 +3,7 @@ ;;; ;;; source file of the GNU LilyPond music typesetter ;;; -;;; (c) 1998--2001 Jan Nieuwenhuizen +;;; (c) 1998--2002 Jan Nieuwenhuizen ;;; Han-Wen Nienhuys @@ -147,7 +147,19 @@ (begin ; uncomment for some stats about lily memory ; (display (gc-stats)) - (string-append "%\n\\endgroup\\EndLilyPondOutput\n" + (string-append + "%\n" + "\\EndLilyPondOutput\n" + "\\begingroup\n" + "\\ifx\\LilyPondDocument\\undefined\n" + " \\def\\x{\\endgroup}%\n" + "\\else\n" + " \\def\\x{%\n" + " \\endgroup\n" + " \\enddocument\n" + " }\n" + "\\fi\n" + "\\x\n" ; Put GC stats here. ))) @@ -177,12 +189,35 @@ "\\special{\\string! " ;; URG: ly-gulp-file: now we can't use scm output without Lily - (regexp-substitute/global #f "\n" - (ly-gulp-file "music-drawing-routines.ps") 'pre " %\n" 'post) - "}" + (regexp-substitute/global + #f "\n" + (ly-gulp-file "music-drawing-routines.ps") 'pre " %\n" 'post) + ;; (if (defined? 'ps-testing) "/testing true def%\n" "") + "}%\n" + "\\begingroup\n" + "\\catcode `\\@=11\n" + "\\expandafter\\ifx\\csname @nodocument\\endcsname \\relax\n" + " \\def\\x{\\endgroup}%\n" + "\\else\n" + " \\def\\x{%\n" + " \\endgroup\n" + " \\def\\LilyPondDocument{}\n" + " \\documentclass{article}\n" + " \\pagestyle{empty}\n" + ;; argh, we can't say \begin{document} because \begin is defined as + ;; \outer in texinfo + " \\begingroup\n" + " \\document\n" + " \\ifdim\\lilypondpaperlinewidth\\lilypondpaperunit > 0pt\n" + " \\hsize\\lilypondpaperlinewidth\\lilypondpaperunit\n" + " \\fi\n" + " \\parindent 0pt\n" + " }\n" + "\\fi\n" + "\\x\n" "\\input lilyponddefs\n" "\\outputscale=\\lilypondpaperoutputscale \\lilypondpaperunit\n" - "\\turnOnPostScript\\begingroup\\parindent0pt\n")) + "\\turnOnPostScript\n")) ;; Note: this string must match the string in ly2dvi.py!!! (define (header creator generate) diff --git a/scm/translator-property-description.scm b/scm/translator-property-description.scm index 75547fe6ef..9d55aa3ce7 100644 --- a/scm/translator-property-description.scm +++ b/scm/translator-property-description.scm @@ -398,6 +398,9 @@ context Voice imes 2/3 @{ procedure? "what callback to add to children of a vertical alignment. It determines what alignment procedure is used on the alignment itself. .") +(translator-property-description + 'voltaOnThisStaff boolean? + "Normally, volta brackets are put only on the topmost staff. Setting this variable to true, will force a bracket to be on this staff as well.") (translator-property-description 'voltaSpannerDuration moment? "maximum duration of the volta bracket. Set to a duration to control the size of the brackets printed by diff --git a/scripts/lilypond-book.py b/scripts/lilypond-book.py index 47db68f0b3..77870ede96 100644 --- a/scripts/lilypond-book.py +++ b/scripts/lilypond-book.py @@ -1,9 +1,9 @@ #!@PYTHON@ # vim: set noexpandtab: # TODO: -# * junk --outdir for --output +# * junk --outdir for --output # * Figure out clean set of options. -# * +# * # * EndLilyPondOutput is def'd as vfil. Causes large white gaps. # * texinfo: add support for @pagesize @@ -13,8 +13,8 @@ # fix it.) # -# TODO: magnification support should also work for texinfo -> html: eg. add as option to dvips. -# +# TODO: magnification support should also work for texinfo -> html: eg. add as option to dvips. +# # This is was the idea for handling of comments: # Multiline comments, @ignore .. @end ignore is scanned for @@ -54,9 +54,20 @@ import __main__ ## python 2.2 has another bug, see Sf.net bugtracker ## ## https://sourceforge.net/tracker/?func=detail&aid=604803&group_id=5470&atid=105470 -## +## + + +## +## +## + + -if float (sys.version[0:3]) <= 2.1: + +if float (sys.version[0:3]) <= 2.1: +## or sys.version[0:5] == '2.2.1': +## still broken on python 2.2.1 / RH8. + try: import pre re = pre @@ -98,7 +109,7 @@ if program_version == '@' + 'TOPLEVEL_VERSION' + '@': program_version = '1.6.0' # if set, LILYPONDPREFIX must take prevalence -# if datadir is not set, we're doing a build and LILYPONDPREFIX +# if datadir is not set, we're doing a build and LILYPONDPREFIX datadir = '@local_lilypond_datadir@' if os.environ.has_key ('LILYPONDPREFIX') : @@ -136,7 +147,7 @@ def setup_environment (): # $TEXMF is special, previous value is already taken care of if os.environ.has_key ('TEXMF'): del os.environ['TEXMF'] - + for key in environment.keys (): val = environment[key] if os.environ.has_key (key): @@ -173,7 +184,7 @@ class LatexPaper: self.m_document_preamble = [] self.m_num_cols = 1 self.m_multicols = 1 - + def find_latex_dims(self): if g_outdir: fname = os.path.join(g_outdir, "lily-tmp.tex") @@ -216,13 +227,13 @@ class LatexPaper: if countdown == 0: break - + if countdown > 0: countdown = countdown -1 sys.stderr.write (" ... (further messages elided)...\n") sys.exit (1) - + lns = open ('lily-tmp.log').readlines() for ln in lns: ln = string.strip(ln) @@ -230,7 +241,7 @@ class LatexPaper: if m: if m.groups()[0] in ('textwidth', 'columnsep'): self.__dict__['m_%s' % m.groups()[0]] = float(m.groups()[1]) - + try: os.remove (fname) os.remove (os.path.splitext(fname)[0]+".aux") @@ -240,7 +251,7 @@ class LatexPaper: if not self.__dict__.has_key ('m_textwidth'): raise 'foo!' - + def get_linewidth(self): if self.m_num_cols == 1: w = self.m_textwidth @@ -296,9 +307,9 @@ def conv_dimen_to_float(value): unit = m.group (2) num = string.atof(m.group (1)) conv = dimension_conversion_dict[m.group(2)] - + value = conv(num) - + elif re.match ("^[0-9.]+$",value): value = float(value) @@ -322,7 +333,7 @@ option_definitions = [ ('EXT', 'f', 'format', 'use output format EXT (texi [default], latex, html)'), ('DIM', '', 'default-music-fontsize', 'default fontsize for music. DIM is assumed to be in points'), ('DIM', '', 'default-lilypond-fontsize', 'deprecated, use --default-music-fontsize'), - ('OPT', '', 'extra-options' , 'Pass OPT quoted to the lilypond command line'), + ('OPT', '', 'extra-options' , 'pass OPT quoted to the lilypond command line'), ('DIM', '', 'force-music-fontsize', 'force fontsize for all inline lilypond. DIM is assumed be to in points'), ('DIM', '', 'force-lilypond-fontsize', 'deprecated, use --force-music-fontsize'), ('', 'h', 'help', 'this help'), @@ -331,7 +342,7 @@ option_definitions = [ ('PREF', '', 'dep-prefix', 'prepend PREF before each -M dependency'), ('', 'n', 'no-lily', 'don\'t run lilypond'), ('', '', 'no-pictures', "don\'t generate pictures"), - ('', '', 'no-music', "strip all lilypond blocks from output"), + ('', '', 'no-music', "strip all lilypond blocks from output"), ('', '', 'read-lys', "don't write ly files."), ('FILE', 'o', 'outname', 'filename main output file'), ('FILE', '', 'outdir', "where to place generated files"), @@ -341,38 +352,46 @@ option_definitions = [ # format specific strings, ie. regex-es for input, and % strings for output output_dict= { - 'html' : {'output-lilypond': ''' + + + 'html' : { + + 'output-lilypond': ''' %s ''', 'output-filename' : r''' ''', - ## maybe
    ? - 'pagebreak': None, - 'output-verbatim': r'''
    -%s
-
    ''', - 'output-small-verbatim': r'''
    -%s
-
    ''', - - ## Ugh we need to differentiate on origin: - ## lilypond-block origin wants an extra

    , but - ## inline music doesn't. - ## possibly other center options? - 'output-all': r''' + ## maybe

    ? + 'pagebreak': None, + # Verbatim text is always finished with \n. FIXME: For HTML, + # this newline should be removed. + 'output-verbatim': r'''
    +%s
    ''', + # Verbatim text is always finished with \n. FIXME: For HTML, + # this newline should be removed. + 'output-small-verbatim': r'''
    +%s
    ''', + ## Ugh we need to differentiate on origin: + ## lilypond-block origin wants an extra

    , but + ## inline music doesn't. + ## possibly other center options? + 'output-html': r''' [picture of music] ''', - }, + }, + + 'latex': { + 'output-lilypond-fragment' : r'''\begin[eps,singleline,%s]{lilypond} \context Staff < \context Voice{ @@ -380,8 +399,7 @@ output_dict= { } > \end{lilypond}''', - 'output-filename' : r''' -\verb+%s+: + 'output-filename' : r'''\verb+%s+:\\ %% %s %% %s ''', @@ -389,9 +407,14 @@ output_dict= { %s \end{lilypond} ''', - 'output-verbatim': r'''\begin{verbatim}%s\end{verbatim}%% + # verbatim text is always finished with \n + 'output-verbatim': r'''\begin{verbatim} +%s\end{verbatim} +''', + # verbatim text is always finished with \n + 'output-small-verbatim': r'''{\small\begin{verbatim} +%s\end{verbatim}} ''', - 'output-small-verbatim': r'''{\small\begin{verbatim}%s\end{verbatim}}%%''', 'output-default-post': "\\def\postLilypondExample{}\n", 'output-default-pre': "\\def\preLilypondExample{}\n", 'usepackage-graphics': '\\usepackage{graphics}\n', @@ -399,48 +422,66 @@ output_dict= { 'output-noinline': r''' %% generated: %(fn)s.eps ''', - 'output-tex': '{\\preLilypondExample \\input %(fn)s.tex \\postLilypondExample\n}', + 'output-latex-quoted': r'''{\preLilypondExample +\input %(fn)s.tex +\postLilypondExample}''', + 'output-latex-noquote': r'''{\parindent 0pt +\preLilypondExample +\input %(fn)s.tex +\postLilypondExample}''', 'pagebreak': r'\pagebreak', }, - - 'texi' : {'output-lilypond': '''@lilypond[%s] + + + 'texi' : { + + 'output-lilypond': '''@lilypond[%s] %s -@end lilypond +@end lilypond ''', - 'output-filename' : r''' -@ifnothtml -@file{%s}: + 'output-filename' : r'''@ifnothtml +@file{%s}:@* @end ifnothtml @ifhtml @uref{%s,@file{%s}} @end ifhtml -''', - 'output-lilypond-fragment': '''@lilypond[%s] +''', + 'output-lilypond-fragment': '''@lilypond[%s] \context Staff\context Voice{ %s } @end lilypond ''', - 'output-noinline': r''' -@c generated: %(fn)s.png + 'output-noinline': r''' +@c generated: %(fn)s.png ''', - 'pagebreak': None, - 'output-small-verbatim': r'''@smallexample -%s -@end smallexample + 'pagebreak': None, + # verbatim text is always finished with \n + 'output-small-verbatim': r'''@smallexample +%s@end smallexample ''', - 'output-verbatim': r'''@example -%s -@end example + # verbatim text is always finished with \n + 'output-verbatim': r'''@example +%s@end example ''', - -# do some tweaking: @ is needed in some ps stuff. -# override EndLilyPondOutput, since @tex is done -# in a sandbox, you can't do \input lilyponddefs at the -# top of the document. - -# should also support fragment in - -# ugh, the

    below breaks inline images... - - 'output-all': r''' + # do some tweaking: @ is needed in some ps stuff. + # override EndLilyPondOutput, since @tex is done + # in a sandbox, you can't do \input lilyponddefs at the + # top of the document. + # + # ugh, the

    below breaks inline images... + 'output-texi-noquote': r'''@tex +\catcode`\@=12 +\parindent 0pt +\input lilyponddefs +\def\EndLilyPondOutput{} +\input %(fn)s.tex +\catcode`\@=0 +@end tex +@html +

    +[picture of music] +

    +@end html +''', + 'output-texi-quoted': r'''@quotation @tex \catcode`\@=12 \input lilyponddefs @@ -449,14 +490,14 @@ output_dict= { \catcode`\@=0 @end tex @html -

    [picture of music] -

    + @end html +@end quotation ''', } - + } def output_verbatim (body, small): @@ -465,7 +506,6 @@ def output_verbatim (body, small): body = re.sub ('>', '>', body) body = re.sub ('<', '<', body) elif __main__.format == 'texi': - # clumsy workaround for python 2.2 pre bug. body = re.sub ('@', '@@', body) body = re.sub ('{', '@{', body) @@ -478,75 +518,75 @@ def output_verbatim (body, small): return get_output (key) % body -#warning: this uses extended regular expressions. Tread with care. - +# Warning: This uses extended regular expressions. Treat with care. +# # legenda - -# (?P -- name parameter +# +# (?Pregex) -- assign result of REGEX to NAME # *? -- match non-greedily. -# (?m) -- ? +# (?m) -- multiline regex: make ^ and $ match at each line +# (?s) -- make the dot match all characters including newline re_dict = { 'html': { - 'include': no_match, - 'input': no_match, - 'header': no_match, - 'preamble-end': no_match, - 'landscape': no_match, - 'verbatim': r'''(?s)(?P

    \s.*?
    \s)''', - 'verb': r'''(?P
    .*?
    )''', - 'lilypond-file': r'(?m)(?P[^>]+)?>\s*(?P[^<]+)\s*)', - 'lilypond' : '(?m)(?P[^:]*):)(?P.*?)/>)', - 'lilypond-block': r'''(?ms)(?P[^>]+)?>(?P.*?))''', - 'option-sep' : '\s*', - 'intertext': r',?\s*intertext=\".*?\"', - 'multiline-comment': r"(?sm)\s*(?!@c\s+)(?P)\s", - 'singleline-comment': no_match, - 'numcols': no_match, - 'multicols': no_match, - }, - - 'latex': {'input': r'(?m)^[^%\n]*?(?P\\mbinput{?([^}\t \n}]*))', - 'include': r'(?m)^[^%\n]*?(?P\\mbinclude{(?P[^}]+)})', - 'option-sep' : ',\s*', - 'header': r"\n*\\documentclass\s*(\[.*?\])?", - 'preamble-end': r'(?P\\begin\s*{document})', - 'verbatim': r"(?s)(?P\\begin\s*{verbatim}.*?\\end{verbatim})", - 'verb': r"(?P\\verb(?P.).*?(?P=del))", - 'lilypond-file': r'(?m)^[^%\n]*?(?P\\lilypondfile\s*(\[(?P.*?)\])?\s*\{(?P.+)})', - 'lilypond' : r'(?m)^[^%\n]*?(?P\\lilypond\s*(\[(?P.*?)\])?\s*{(?P.*?)})', - 'lilypond-block': r"(?sm)^[^%\n]*?(?P\\begin\s*(\[(?P.*?)\])?\s*{lilypond}(?P.*?)\\end{lilypond})", - 'def-post-re': r"\\def\\postLilypondExample", - 'def-pre-re': r"\\def\\preLilypondExample", - 'usepackage-graphics': r"\usepackage\s*{graphics}", - 'intertext': r',?\s*intertext=\".*?\"', - 'multiline-comment': no_match, - 'singleline-comment': r"(?m)^.*?(?P(?P^%.*$\n+))", - 'numcols': r"(?P\\(?Pone|two)column)", - 'multicols': r"(?P\\(?Pbegin|end)\s*{multicols}({(?P\d+)?})?)", - }, + 'include': no_match, + 'input': no_match, + 'header': no_match, + 'preamble-end': no_match, + 'landscape': no_match, + 'verbatim': r'''(?s)(?P
    \s.*?
    \s)''', + 'verb': r'''(?P
    .*?
    )''', + 'lilypond-file': r'(?m)(?P[^>]+)?>\s*(?P[^<]+)\s*)', + 'lilypond' : '(?m)(?P[^:]*):)(?P.*?)/>)', + 'lilypond-block': r'''(?ms)(?P[^>]+)?>(?P.*?))''', + 'option-sep' : '\s*', + 'intertext': r',?\s*intertext=\".*?\"', + 'multiline-comment': r"(?sm)\s*(?!@c\s+)(?P)\s", + 'singleline-comment': no_match, + 'numcols': no_match, + 'multicols': no_match, + }, + 'latex': { + 'input': r'(?m)^[^%\n]*?(?P\\mbinput{?([^}\t \n}]*))', + 'include': r'(?m)^[^%\n]*?(?P\\mbinclude{(?P[^}]+)})', + 'option-sep' : ',\s*', + 'header': r"\n*\\documentclass\s*(\[.*?\])?", + 'preamble-end': r'(?P\\begin\s*{document})', + 'verbatim': r"(?s)(?P\\begin\s*{verbatim}.*?\\end{verbatim})", + 'verb': r"(?P\\verb(?P.).*?(?P=del))", + 'lilypond-file': r'(?m)^[^%\n]*?(?P\\lilypondfile\s*(\[(?P.*?)\])?\s*\{(?P.+)})', + 'lilypond' : r'(?m)^[^%\n]*?(?P\\lilypond\s*(\[(?P.*?)\])?\s*{(?P.*?)})', + 'lilypond-block': r"(?sm)^[^%\n]*?(?P\\begin\s*(\[(?P.*?)\])?\s*{lilypond}(?P.*?)\\end{lilypond})", + 'def-post-re': r"\\def\\postLilypondExample", + 'def-pre-re': r"\\def\\preLilypondExample", + 'usepackage-graphics': r"\usepackage\s*{graphics}", + 'intertext': r',?\s*intertext=\".*?\"', + 'multiline-comment': no_match, + 'singleline-comment': r"(?m)^.*?(?P(?P^%.*$\n+))", + 'numcols': r"(?P\\(?Pone|two)column)", + 'multicols': r"(?P\\(?Pbegin|end)\s*{multicols}({(?P\d+)?})?)", + }, # why do we have distinction between @mbinclude and @include? - 'texi': { - 'include': '(?m)^[^%\n]*?(?P@mbinclude[ \n\t]+(?P[^\t \n]*))', - 'input': no_match, - 'header': no_match, - 'preamble-end': no_match, - 'landscape': no_match, - 'verbatim': r'''(?s)(?P@example\s.*?@end example\s)''', - 'verb': r'''(?P@code{.*?})''', - 'lilypond-file': '(?m)^(?P@lilypondfile(\[(?P[^]]*)\])?{(?P[^}]+)})', - 'lilypond' : '(?m)^(?P@lilypond(\[(?P[^]]*)\])?{(?P.*?)})', - 'lilypond-block': r'''(?ms)^(?P@lilypond(\[(?P[^]]*)\])?\s(?P.*?)@end +lilypond)\s''', - 'option-sep' : ',\s*', - 'intertext': r',?\s*intertext=\".*?\"', - 'multiline-comment': r"(?sm)^\s*(?!@c\s+)(?P@ignore\s.*?@end ignore)\s", - 'singleline-comment': r"(?m)^.*?(?P(?P@c.*$\n+))", - 'numcols': no_match, - 'multicols': no_match, - } + 'include': '(?m)^[^%\n]*?(?P@mbinclude[ \n\t]+(?P[^\t \n]*))', + 'input': no_match, + 'header': no_match, + 'preamble-end': no_match, + 'landscape': no_match, + 'verbatim': r'''(?s)(?P@example\s.*?@end example\s)''', + 'verb': r'''(?P@code{.*?})''', + 'lilypond-file': '(?m)^(?P@lilypondfile(\[(?P[^]]*)\])?{(?P[^}]+)})', + 'lilypond' : '(?m)^(?P@lilypond(\[(?P[^]]*)\])?{(?P.*?)})', + 'lilypond-block': r'''(?ms)^(?P@lilypond(\[(?P[^]]*)\])?\s(?P.*?)@end +lilypond)\s''', + 'option-sep' : ',\s*', + 'intertext': r',?\s*intertext=\".*?\"', + 'multiline-comment': r"(?sm)^\s*(?!@c\s+)(?P@ignore\s.*?@end ignore)\s", + 'singleline-comment': r"(?m)^.*?(?P(?P@c.*$\n+))", + 'numcols': no_match, + 'multicols': no_match, + } } @@ -564,7 +604,7 @@ for r in re_dict.keys (): raise "Invalid re" re_dict[r] = newdict - + def uniq (list): list.sort () s = list @@ -573,7 +613,7 @@ def uniq (list): if x not in list: list.append (x) return list - + def get_output (name): return output_dict[format][name] @@ -591,7 +631,7 @@ def bounding_box_dimensions(fname): str = fd.read () s = re.search('%%BoundingBox: ([0-9]+) ([0-9]+) ([0-9]+) ([0-9]+)', str) if s: - + gs = map (lambda x: string.atoi (x), s.groups ()) return (int (gs[2] - gs[0] + 0.5), int (gs[3] - gs[1] + 0.5)) @@ -611,6 +651,7 @@ def compose_full_body (body, opts): music_size = g_force_music_fontsize indent = '' linewidth = '' + notime = '' for o in opts: if not g_force_music_fontsize: m = re.match ('([0-9]+)pt', o) @@ -621,7 +662,7 @@ def compose_full_body (body, opts): if m: f = float (m.group (1)) indent = 'indent = %f\\%s' % (f, m.group (2)) - + m = re.match ('linewidth=([-.0-9]+)(cm|in|mm|pt)', o) if m: f = float (m.group (1)) @@ -638,9 +679,12 @@ def compose_full_body (body, opts): if is_fragment and not 'multiline' in opts: opts.append('singleline') - + if 'singleline' in opts: - linewidth = 'linewidth = -1.0' + if not linewidth: + linewidth = 'linewidth = -1.0' + if not indent: + indent = 'indent = 0.0\mm' elif not linewidth: l = __main__.paperguru.get_linewidth () linewidth = 'linewidth = %f\pt' % l @@ -648,6 +692,14 @@ def compose_full_body (body, opts): if 'noindent' in opts: indent = 'indent = 0.0\mm' + if 'notime' in opts: + notime = r''' +\translator { + \StaffContext + \remove Time_signature_engraver +} +''' + for o in opts: m= re.search ('relative(.*)', o) v = 0 @@ -665,25 +717,29 @@ def compose_full_body (body, opts): pitch = pitch + '\'' * v body = '\\relative %s { %s }' %(pitch, body) - + if is_fragment: - body = r'''\score { - \notes { %s } - \paper { } -}''' % body + body = r''' +\score { + \notes { +%s + } +} +''' % body opts = uniq (opts) optstring = string.join (opts, ' ') optstring = re.sub ('\n', ' ', optstring) body = r''' %% Generated automatically by: lilypond-book.py -%% options are %s +%% options are %s \include "paper%d.ly" \paper { %s %s -} -''' % (optstring, music_size, linewidth, indent) + body + %s +} +''' % (optstring, music_size, linewidth, indent, notime) + body # ughUGH not original options return body @@ -713,7 +769,7 @@ def scan_latex_preamble(chunks): break - # Then we add everythin before \begin{document} to + # Then we add everything before \begin{document} to # paperguru.m_document_preamble so that we can later write this header # to a temporary file in find_latex_dims() to find textwidth. while idx < len(chunks) and chunks[idx][0] != 'preamble-end': @@ -725,7 +781,7 @@ def scan_latex_preamble(chunks): if len(chunks) == idx: error ("Didn't find end of preamble (\\begin{document})") - + paperguru.find_latex_dims() def scan_texi_preamble (chunks): @@ -745,7 +801,7 @@ def scan_preamble (chunks): scan_latex_preamble (chunks) elif __main__.format == 'texi': scan_texi_preamble (chunks) - + def completize_preamble (chunks): if __main__.format != 'latex': @@ -762,7 +818,7 @@ def completize_preamble (chunks): m = get_re('def-post-re').search(chunk[1]) if m: post_b = 1 - + if chunk[0] == 'input': m = get_re('usepackage-graphics').search(chunk[1]) if m: @@ -773,7 +829,7 @@ def completize_preamble (chunks): if x == len(chunks): return chunks - + if not pre_b: chunks.insert(x, ('input', get_output ('output-default-pre'))) if not post_b: @@ -824,7 +880,7 @@ def do_include_file(m): "m: MatchObject" return [('input', get_output ('pagebreak'))] \ + read_doc_file(m.group('filename')) \ - + [('input', get_output ('pagebreak'))] + + [('input', get_output ('pagebreak'))] def do_input_file(m): return read_doc_file(m.group('filename')) @@ -834,7 +890,7 @@ def make_lilypond(m): options = m.group('options') else: options = '' - return [('input', get_output('output-lilypond-fragment') % + return [('input', get_output('output-lilypond-fragment') % (options, m.group('code')))] def make_lilypond_file(m): @@ -842,9 +898,9 @@ def make_lilypond_file(m): Find @lilypondfile{bla.ly} occurences and substitute bla.ly into a @lilypond .. @end lilypond block. - + ''' - + if m.group('options'): options = m.group('options') else: @@ -858,11 +914,11 @@ def make_lilypond_file(m): def make_lilypond_block(m): if not g_do_music: return [] - + if m.group('options'): options = get_re('option-sep').split (m.group('options')) else: - options = [] + options = [] options = filter(lambda s: s != '', options) return [('lilypond', m.group('code'), options)] @@ -908,14 +964,14 @@ def chop_chunks(chunks, re_name, func, use_match=0): def determine_format (str): if __main__.format == '': - + html = re.search ('(?i)<[dh]tml', str[:200]) latex = re.search (r'''\\document''', str[:200]) texi = re.search ('@node|@setfilename', str[:200]) f = '' g = None - + if html and not latex and not texi: f = 'html' elif latex and not html and not texi: @@ -933,7 +989,7 @@ def determine_format (str): g = LatexPaper () elif __main__.format == 'texi': g = TexiPaper () - + __main__.paperguru = g @@ -942,15 +998,14 @@ def read_doc_file (filename): ''' (str, path) = find_file(filename) determine_format (str) - + chunks = [('input', str)] - + # we have to check for verbatim before doing include, # because we don't want to include files that are mentioned # inside a verbatim environment chunks = chop_chunks(chunks, 'verbatim', make_verbatim) - chunks = chop_chunks(chunks, 'verb', make_verb) chunks = chop_chunks(chunks, 'multiline-comment', do_ignore) #ugh fix input @@ -969,7 +1024,6 @@ def schedule_lilypond_block (chunk): Return: a chunk (TYPE_STR, MAIN_STR, OPTIONS, TODO, BASE) TODO has format [basename, extension, extension, ... ] - ''' (type, body, opts) = chunk assert type == 'lilypond' @@ -1020,7 +1074,7 @@ def schedule_lilypond_block (chunk): if m: newbody = newbody + get_output ("output-filename") % (m.group(1), basename + '.ly', m.group(1)) break - + if 'smallverbatim' in opts: newbody = newbody + output_verbatim (body, 1) @@ -1030,17 +1084,30 @@ def schedule_lilypond_block (chunk): for o in opts: m = re.search ('intertext="(.*?)"', o) if m: - newbody = newbody + m.group (1) + "\n\n" - + newbody = newbody + "\n" + if format == 'texi': + newbody = newbody + "@noindent\n" + elif format == 'latex': + newbody = newbody + "\\noindent\n" + newbody = newbody + m.group (1) + "\n" + if 'noinline' in opts: s = 'output-noinline' elif format == 'latex': if 'eps' in opts: s = 'output-eps' else: - s = 'output-tex' - else: # format == 'html' or format == 'texi': - s = 'output-all' + if 'noquote' in opts: + s = 'output-latex-noquote' + else: + s = 'output-latex-quoted' + elif format == 'texi': + if 'noquote' in opts: + s = 'output-texi-noquote' + else: + s = 'output-texi-quoted' + else: # format == 'html' + s = 'output-html' newbody = newbody + get_output (s) % {'fn': basename } return ('lilypond', newbody, opts, todo, basename) @@ -1083,23 +1150,29 @@ def get_bbox (filename): gr = [] if m: gr = map (string.atoi, m.groups ()) - + return gr def make_pixmap (name): bbox = get_bbox (name + '.eps') + + margin = 0 fo = open (name + '.trans.eps' , 'w') fo.write ('%d %d translate\n' % (-bbox[0]+margin, -bbox[1]+margin)) fo.close () - + res = 90 x = (2* margin + bbox[2] - bbox[0]) * res / 72. y = (2* margin + bbox[3] - bbox[1]) * res / 72. + if x == 0: + x = 1 + if y == 0: + y = 1 cmd = r'''gs -g%dx%d -sDEVICE=pnggray -dTextAlphaBits=4 -dGraphicsAlphaBits=4 -q -sOutputFile=%s -r%d -dNOPAUSE %s %s -c quit ''' - + cmd = cmd % (x, y, name + '.png', res, name + '.trans.eps', name + '.eps') status = 0 try: @@ -1168,15 +1241,15 @@ def compile_all_files (chunks): f.close () for e in eps: - cmd = r"echo $TEXMF; tex '\nonstopmode \input %s'" % e - quiet_system (cmd, 'TeX') - + cmd = r"echo $TEXMF; latex '\nonstopmode \input %s'" % e + quiet_system (cmd, 'LaTeX') + cmd = r"dvips -E -o %s %s" % (e + '.eps', e) quiet_system (cmd, 'dvips') - + for g in png: make_pixmap (g) - + os.chdir (d) @@ -1196,7 +1269,7 @@ def update_file (body, name): f = open (name , 'w') f.write (body) f.close () - + return not same @@ -1218,14 +1291,14 @@ def getopt_args (opts): def option_help_str (o): "Transform one option description (4-tuple ) into neatly formatted string" - sh = ' ' + sh = ' ' if o[1]: sh = '-%s' % o[1] sep = ' ' if o[1] and o[2]: sep = ',' - + long = '' if o[2]: long= '--%s' % o[2] @@ -1237,7 +1310,6 @@ def option_help_str (o): arg = arg + o[0] return ' ' + sh + sep + long + arg - def options_help_str (opts): "Convert a list of options into a neatly formatted string" w = 0 @@ -1257,12 +1329,12 @@ def options_help_str (opts): def help(): sys.stdout.write('''Usage: lilypond-book [options] FILE\n -Generate hybrid LaTeX input from Latex + lilypond +Generate hybrid LaTeX input from latex + lilypond.\n Options: ''') sys.stdout.write (options_help_str (option_definitions)) - sys.stdout.write (r'''Warning all output is written in the CURRENT directory - + sys.stdout.write (r''' +Warning: All output is written in the CURRENT directory. Report bugs to bug-lilypond@gnu.org. @@ -1347,17 +1419,17 @@ def fix_epswidth (chunks): dims = bounding_box_dimensions (filename) return '%fpt' % (dims[0] *lmag) - + body = re.sub (r'''\\lilypondepswidth{(.*?)}''', replace_eps_dim, c[1]) newchunks.append(('lilypond', body, c[2], c[3], c[4])) - + return newchunks ##docme: why global? foutn="" -def do_file(input_filename): +def do_file(input_filename): chunks = read_doc_file(input_filename) chunks = chop_chunks(chunks, 'lilypond', make_lilypond, 1) chunks = chop_chunks(chunks, 'lilypond-file', make_lilypond_file, 1) @@ -1383,7 +1455,6 @@ def do_file(input_filename): x = 0 chunks = completize_preamble (chunks) - global foutn if outname: @@ -1392,8 +1463,8 @@ def do_file(input_filename): my_outname = '-' else: my_outname = os.path.basename (os.path.splitext(input_filename)[0]) + '.' + format - my_depname = my_outname + '.dep' - + my_depname = my_outname + '.dep' + if my_outname == '-' or my_outname == '/dev/stdout': fout = sys.stdout foutn = "" @@ -1419,7 +1490,7 @@ except getopt.error, msg: sys.exit(1) do_deps = 0 -for opt in options: +for opt in options: o = opt[0] a = opt[1] @@ -1476,7 +1547,7 @@ if g_outdir: setup_environment () for input_filename in files: do_file(input_filename) - + # # Petr, ik zou willen dat ik iets zinvoller deed, # maar wat ik kan ik doen, het verandert toch niets? diff --git a/stepmake/stepmake/www-targets.make b/stepmake/stepmake/www-targets.make index 98359f89ab..58f2d4ed6a 100644 --- a/stepmake/stepmake/www-targets.make +++ b/stepmake/stepmake/www-targets.make @@ -24,4 +24,10 @@ local-web-clean: web-clean: $(MAKE) out=www WWW-clean +local-help: www-targets-help +www-targets-help: + @echo -e "\ + web update website in out-www\n\ + web-clean clean out-www\n\ +" -- 2.39.5