From 39b72938c8f31488e6e4c6d48124ff3a7af500d8 Mon Sep 17 00:00:00 2001 From: Kurt Kroon Date: Tue, 28 Jul 2009 08:43:21 +0100 Subject: [PATCH] Docs: MG: general tidy-up --- Documentation/music-glossary.tely | 187 +++++++++++++++--------------- 1 file changed, 95 insertions(+), 92 deletions(-) diff --git a/Documentation/music-glossary.tely b/Documentation/music-glossary.tely index c1762ecf2b..2f8d12b977 100644 --- a/Documentation/music-glossary.tely +++ b/Documentation/music-glossary.tely @@ -583,17 +583,18 @@ DK: ?, S: ?, FI: kahdelle. -Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a -due} indicates that: +Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, +@notation{a due} indicates that: @enumerate -@item A single part notated on a single staff that normally carries parts for -two players (e.g. first and second oboes) is to be played by both players. +@item A single part notated on a single staff that normally carries parts +for two players (e.g. first and second oboes) is to be played by both +players. -@item Or conversely, that two pitches or parts notated on a staff that normally -carries a single part (e.g. first violin) are to be played by different players, -or groups of players (@q{desks}). +@item Or conversely, that two pitches or parts notated on a staff that +normally carries a single part (e.g. first violin) are to be played by +different players, or groups of players (@q{desks}). @end enumerate @@ -659,9 +660,8 @@ S: ?, FI: ?. A grace note which takes its time from the rest or note preceding the -principal note to which it is attached. The acciaccatura is drawn as a -small eighth note (quaver) with a line drawn through the flag and -stem. +principal note to which it is attached. The acciaccatura is drawn as a small +eighth note (quaver) with a line drawn through the flag and stem. @seealso @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. @@ -685,14 +685,14 @@ An accidental alters a note by: @item Raising its pitch: @itemize -@item By two semitones (a whole tone)—@notation{double sharp} +@item By two semitones—@notation{double sharp} @item By one semitone—@notation{sharp} @end itemize @item Lowering its pitch: @itemize @item By one semitone—@notation{flat} -@item By two semitones (a whole tone)—@notation{double flat} +@item By two semitones—@notation{double flat} @end itemize @item Or canceling the effects of the key signature or previous accidentals. @@ -747,8 +747,8 @@ FI: adagio, hitaasti. @itemize -@item Slow tempo, slower -- especially in even meter -- than @notation{andante} -and faster than @notation{largo}. +@item Slow tempo, slower -- especially in even meter -- than +@notation{andante} and faster than @notation{largo}. @item A movement in slow tempo, especially the second (slow) movement of sonatas, symphonies, etc. @@ -807,7 +807,7 @@ Since one does not crescendo @emph{to} nothing, it is not correct to use ES: ?, I: ?, -F: alla breve,à la brève, +F: alla breve, à la brève, D: ?, NL: ?, DK: ?, @@ -816,15 +816,17 @@ FI: ?. [Italian: @q{on the breve}] Twice as fast as the notation indicates. -Also called @notation{in cut-time}. The name derives from mensural notation, -where the @notation{tactus} (or beat) is counted on the semibreve (the modern -whole note). Counting @q{on the breve} shifts the tactus to the next longest -note value, which (in modern usage) effectively halves all note values. +Also called @notation{in cut-time}. The name derives from mensural +notation, where the @notation{tactus} (or beat) is counted on the semibreve +(the modern whole note). Counting @q{on the breve} shifts the tactus to the +next longest note value, which (in modern usage) effectively halves all note +values. -(In mensural notation, breves and semibreves can have a ternary relationship, in -which case @notation{alla breve} means thrice (not twice) as fast. In practice, -this complication may not have mattered, since Gaffurius's system of multiplex -proportions makes it easy to explicitly state which proportion is needed.) +In mensural notation, breves and semibreves can have a ternary relationship, +in which case @notation{alla breve} means thrice (not twice) as fast. In +practice, this complication may not have mattered, since Gaffurius's system +of multiplex proportions makes it easy to explicitly state which proportion +is needed. @seealso @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value}, @@ -883,9 +885,9 @@ DK: alt, S: alt, FI: altto, matala naisääni. -A female voice of low range (@emph{contralto}). Originally the alto -was a high male voice (hence the name), which by the use of falsetto -reached the height of the female voice. This type of voice is also +A female voice of low range (@emph{contralto}). Originally the alto was a +high male voice (hence the name), which by castration or the use of falsetto +reached the height of the natural female voice. This type of voice is also known as countertenor. @seealso @@ -1604,7 +1606,7 @@ lines. } \addlyrics { \override Lyrics . LyricText #'self-alignment-X = #LEFT - "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone + "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone " } @end lilypond @@ -1700,8 +1702,8 @@ S: cent, FI: sentti, puolisävelaskeleen sadasosa tasavireisessä viritysjärjestelmässä. -Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave -(1/100 of an equally tempered semitone). +Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of +an octave (1/100 of an equally tempered semitone). @seealso @ref{equal temperament}, @ref{semitone}. @@ -1755,7 +1757,7 @@ minor. "diminished " "augmented " "seventh-chord " - ninth-chord + "ninth-chord" } >> @end lilypond @@ -2207,7 +2209,7 @@ A meter that includes a triplet subdivision within the beat: see @item A time signature that additively combines two or more unequal meters, e.g., -"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures. +@q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures. @end enumerate @@ -2300,9 +2302,10 @@ are, technically speaking, @emph{transposing instruments}: @itemize -@item piccolo (plays an octave higher) -@item celesta (plays an octave higher) -@item double bass (plays an octave lower) +@item piccolo (plays an octave higher than written) +@item celesta (plays an octave higher than written) +@item classical guitar (plays an octave lower than written) +@item double bass (plays an octave lower than written) @end itemize @@ -2488,18 +2491,18 @@ g4\< a b c | d1\! \bar "|." ES: notas guía, I: notine, -F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut", +F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut}, D: Stichnoten, NL: stichnoten, DK: stiknoder, S: inprickningar, FI: vihjenuotit. -In a separate part notes belonging to another part with the purpose of -hinting when to start playing. Usually printed in a smaller type. +Notes belonging to one part printed in another to hint when to start +playing. Usually printed in a smaller type. @seealso -No cross-references. +Compare: @ref{ossia}. @node custos @@ -4469,10 +4472,10 @@ S: intervall, FI: intervalli, kahden sävelen korkeusero. Difference in pitch between two notes. Intervals may be diminished, minor, -perfect, major, or augmented. The augmented fourth and the diminished fifth are -identical (or @emph{enharmonic}) and are called @emph{tritonus} because they -consist of three whole tones. The addition of such two intervals forms an -octave. +perfect, major, or augmented. The augmented fourth and the diminished fifth +are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale +and are called @emph{tritonus} because they consist of three whole tones. +The addition of such two intervals forms an octave. @lilypond[quote,notime,line-width=13.0\cm] << @@ -5425,9 +5428,11 @@ Compound quadruple meter (P. Yon, 1886-1943): \bar "||"} @end lilypond +@ignore @b{@q{Monometer} vs Polymeter} TODO: add information from discussion on lilypond-user related to polymeter. +@end ignore @seealso @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature} @@ -6090,8 +6095,7 @@ the upper note is played first. @end lilypond Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and -the -@emph{prall} (inverted mordent). +the @emph{prall} (inverted mordent). @lilypond[quote,line-width=13.0\cm] << @@ -6131,7 +6135,7 @@ score, usually only a few measures long, which presents another version of the music, for example for small hands. @seealso -No cross-references. +Compare: @ref{cue-notes}. @node part @@ -6754,7 +6758,7 @@ DK: rallentando, S: rallentando, FI: rallerdando, hidastuen. -[Italian] A performance indication, abbreviated "rall.". +[Italian] A performance indication, abbreviated @notation{rall.}. @seealso @ref{ritardando}. @@ -6851,9 +6855,9 @@ FI: rytmi. @itemize @item Metrical rhythm in which every time value is a multiple or -fraction of a fixed unit of time, called @ref{beat}, and in which the -normal @ref{accent} recurs in regular intervals, called @ref{measure}. -The basic scheme of time values is called @ref{meter}. +fraction of a fixed unit of time, called @emph{beat}, and in which the +normal @emph{accent} recurs in regular intervals, called @emph{measure}. +The basic scheme of time values is called @emph{meter}. @item Measured rhythm which lacks regularly recurrent accent. In modern notation such music appears as a free alternation of different @@ -6865,8 +6869,7 @@ metrical unit (beat). @end itemize @seealso -No cross-references. - +@ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}. @node ritardando @section ritardando @@ -7664,7 +7667,6 @@ A symphony may be defined as a @emph{sonata} for orchestra. @ref{sonata}. - @node syncopation @section syncopation @@ -8571,13 +8573,13 @@ No cross-references. @end multitable -* About the French naming system: @emph{croche} refers to the note's "hook". -Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled -hook}, @q{trebled hook}, and so on. +* About the French naming system: @notation{croche} refers to the note's +@q{hook}. Therefore, from the eighth note on, the note names mean @q{hook}, +@q{doubled hook}, @q{trebled hook}, and so on. -The rest names are based on the @emph{soupir}, or quarter rest. Subsequent -rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of -a @emph{soupir}, and so on. +The rest names are based on the @notation{soupir}, or quarter rest. +Subsequent rests are expressed as fractions thereof: half a +@notation{soupir}, a quarter of a @notation{soupir}, and so on. Each of the following tables contains one type of note and its matching rest, with abbreviations that apply to both notes and rests. Just switch the part @@ -8591,9 +8593,9 @@ that means @q{note} with the part that means @q{rest}, for example: @end itemize -I put a dash @q{-} when I could not find a language-specific abbreviation for a -duration name. If you know of one that I missed, please send it to me, care of -the lilypond-user discussion list. +Editor's note: I put a dash @q{-} when I could not find a language-specific +abbreviation for a duration name. If you know of one that I missed, please +send it to me, care of the lilypond-user discussion list. @multitable @columnfractions .10 .35 .35 .20 @@ -8787,55 +8789,56 @@ the lilypond-user discussion list. @node Pitch names @chapter Pitch names -@c -is/-es endings for Danish per Rune Zedeler, pace -@c and for Finnish per Risto Vääräniemi -@c -iss/-ess endings for Swedish per Mats Bengtsson -@c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 --> +@ignore + -is/-es endings for Danish per Rune Zedeler, pace, + and for Finnish per Risto Vääräniemi; + -iss/-ess endings for Swedish per Mats Bengtsson + originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 + + NOTE: Please leave the first line as-is -- that is, do not wrap it to + multiple lines -- as texinfo needs it to allow enough space for the + table entries. (For the curious, it's a list of the widest items in + each column of the table. Romance pitch names are two characters, + except for g (sol) ... so there you go.) +@end ignore @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis} -@headitem EN - @tab ES @tab I @tab F @tab D - @tab NL @tab DK @tab S @tab FI -@item @strong{c} @tab do @tab do @tab ut @tab C - @tab c @tab c @tab c @tab c -@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis - @tab cis @tab cis @tab ciss @tab cis +@headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI +@item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c +@item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse + @tab Cis @tab cis @tab cis @tab ciss @tab cis @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des @tab des @tab des @tab dess @tab des -@item @strong{d} @tab re @tab re @tab ré @tab D - @tab d @tab d @tab d @tab d +@item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis @tab dis @tab dis @tab diss @tab dis @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es @tab es @tab es @tab ess @tab es -@item @strong{e} @tab mi @tab mi @tab mi @tab E - @tab e @tab e @tab e @tab e -@item @strong{f-flat} = e - @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes - @tab fes @tab fes @tab fess @tab fes -@item @strong{f} @tab fa @tab fa @tab fa @tab F - @tab f @tab f @tab f @tab f -@item @strong{e-sharp} = f - @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis - @tab eis @tab eis @tab eiss @tab eis +@item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e +@item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol + @tab Fes @tab fes @tab fes @tab fess @tab fes +@item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f +@item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse + @tab Eis @tab eis @tab eis @tab eiss @tab eis @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis @tab fis @tab fis @tab fiss @tab fis @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges @tab ges @tab ges @tab gess @tab ges -@item @strong{g} @tab sol @tab sol @tab sol @tab G - @tab g @tab g @tab g @tab g -@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis - @tab gis @tab gis @tab giss @tab gis +@item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g +@item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse + @tab Gis @tab gis @tab gis @tab giss @tab gis @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As @tab as @tab as @tab ass @tab as -@item @strong{a} @tab la @tab la @tab la @tab A - @tab a @tab a @tab a @tab a +@item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais @tab ais @tab ais @tab aiss @tab ais @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B @tab bes @tab b @tab b @tab b -@item @strong{b} @tab si @tab si @tab si @tab H - @tab b @tab h @tab h @tab h +@item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h +@item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces + @tab ces @tab ces @tab cess @tab ces +@item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse + @tab His @tab bis @tab his @tab hiss @tab his @end multitable -- 2.39.2