From 5ab30a7ab48bfe0c917646dd15038921c268b81f Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Fri, 11 Jan 2008 10:07:29 -0800 Subject: [PATCH] Update from Kurt. --- Documentation/user/music-glossary.tely | 890 ++++++++++++++----------- 1 file changed, 506 insertions(+), 384 deletions(-) diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index e1a7899969..706fc53b4b 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -143,11 +143,11 @@ Languages in this order. @menu * A:: -* accelerando:: * accent:: * accessory:: -* acciaccatura:: * accidental:: +* accelerando:: +* acciaccatura:: * adagio:: * allegro:: * alteration:: @@ -169,8 +169,8 @@ Languages in this order. * bar line:: * baritone:: * baritone clef:: -* bass:: * bass clef:: +* bass:: * beam:: * beat:: * bind:: @@ -193,14 +193,14 @@ Languages in this order. * cluster:: * comma:: * common meter:: -* complement:: * compound interval:: +* complement:: * conjunct movement:: * consonance:: * contralto:: -* copying music:: -* counter tenor:: * counterpoint:: +* counter tenor:: +* copying music:: * crescendo:: * cue-notes:: * custos:: @@ -216,9 +216,9 @@ Languages in this order. * disjunct movement:: * dissonance:: * dissonant interval:: -* dominant:: * dominant ninth chord:: * dominant seventh chord:: +* dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: @@ -227,6 +227,7 @@ Languages in this order. * double dotted note:: * double flat:: * double sharp:: +* double time signature:: * double trill:: * duple meter:: * duplet:: @@ -276,27 +277,29 @@ Languages in this order. * just intonation:: * key:: * key signature:: +* laissez vibrer:: * largo:: * leading note:: * ledger line:: * legato:: * legato curve:: * leger line:: -* ligature:: * lilypond:: +* ligature:: * line:: * long appoggiatura:: * longa:: -* lyric tie:: * lyrics:: -* major:: +* lyric tie:: * major interval:: +* major:: * meantone temperament:: * measure:: * mediant:: * melisma:: * melisma line:: * melodic cadence:: +* mensural notation:: * meter:: * metronome:: * metronomic indication:: @@ -304,7 +307,6 @@ Languages in this order. * middle C:: * minor:: * minor interval:: -* mixolydian mode:: * mode:: * modulation:: * mordent:: @@ -312,15 +314,16 @@ Languages in this order. * motive:: * movement:: * multi-measure rest:: +* mixolydian mode:: * natural sign:: -* neighbor tones:: +* neighbour tones:: * ninth:: * non-legato:: * note:: * note head:: * note value:: -* octave:: * octave sign:: +* octave:: * ornament:: * ossia:: * ottava:: @@ -331,10 +334,13 @@ Languages in this order. * perfect interval:: * phrase:: * phrasing:: -* piano:: * pickup:: +* piano:: * pitch:: * pizzicato:: +* polymeter:: +* polymetric:: +* polymetric time signature:: * polyphony:: * portato:: * presto:: @@ -441,21 +447,6 @@ FI: A, a. @ref{Pitch names} -@node accelerando -@section accelerando - -ES: accelerando, -I: accelerando, -F: accelerando, en accélérant, -D: accelerando, schneller werden, -NL: accelerando, -DK: accelerando, -S: accelerando, -FI: accelerando, kiihdyttäen. - -Increase tempo. - - @node accent @section accent @@ -479,19 +470,6 @@ The stress of one tone over others. @ref{ornament}. -@node acciaccatura -@section acciaccatura - -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. - -@seealso - -@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. - - @node accidental @section accidental @@ -505,8 +483,8 @@ S: tillfälligt förtecken, FI: tilapäinen etumerkki. An accidental has the effect of an @ref{alteration} of a note. A -sharp raises a tone by a @ref{semitone}, a double sharp raises it by -a @ref{whole tone}, a flat lowers it by a semitone and a double flat +sharp raises a tone by a @ref{semitone}, a double sharp raises it by a +@ref{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. @@ -525,6 +503,34 @@ accidental. @end lilypond +@node accelerando +@section accelerando + +ES: accelerando, +I: accelerando, +F: accelerando, en accélérant, +D: accelerando, schneller werden, +NL: accelerando, +DK: accelerando, +S: accelerando, +FI: accelerando, kiihdyttäen. + +Increase tempo. + + +@node acciaccatura +@section acciaccatura + +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. + +@seealso + +@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}. + + @node adagio @section adagio @@ -538,10 +544,11 @@ S: adagio, FI: adagio, hitaasti. It.@: comfortable, easy. -1.@tie{}Slow tempo, slower -- especially in even meter -- than -@ref{andante} and faster than @ref{largo}. -2.@tie{}A movement in slow tempo, especially the second (slow) movement of -@ref{sonata}s, symphonies, etc. + +1.@tie{}Slow tempo, slower -- especially in +even meter -- than @ref{andante} and faster than @ref{largo}. +2.@tie{}A movement in slow tempo, especially the second (slow) +movement of @ref{sonata}s, symphonies, etc. @node allegro @@ -588,10 +595,10 @@ DK: alt, S: alt, FI: altto, matala naisääni. -A female voice of low range (@emph{contralto}). Originally the alto was a -high male voice (hence the name), which by the use of falsetto reached the -height of the female voice. This type of voice is also known as -@ref{counter tenor}. +A female voice of low range (@emph{contralto}). Originally the alto +was a high male voice (hence the name), which by the use of falsetto +reached the height of the female voice. This type of voice is also +known as @ref{counter tenor}. @node alto clef @@ -643,8 +650,8 @@ S: upptakt, FI: kohotahti. An anacrusis (also known as pickup or upbeat) is an incomplete measure -of music before a section of music. It also refers to the initial note(s) -of a melody occurring in that incomplete measure. +of music before a section of music. It also refers to the initial +note(s) of a melody occurring in that incomplete measure. @seealso @@ -709,12 +716,12 @@ DK: forslag, S: förslag, FI: appoggiatura, etuhele. -Ornamental note, usually a second, that is melodically connected with the -main note following it. In music before the 19th century appoggiature were -usually performed on the beat, after that mostly before the beat. While the -short appoggiatura is performed as a short note regardless of the duration of -the main note the duration of the long appoggiatura is proportional to that of -the main note. +Ornamental note, usually a second, that is melodically connected with +the main note following it. In music before the 19th century +appoggiature were usually performed on the beat, after that mostly +before the beat. While the short appoggiatura is performed as a short +note regardless of the duration of the main note the duration of the +long appoggiatura is proportional to that of the main note. @lilypond[line-width=13.0\cm] \context Voice \relative c'' { @@ -803,9 +810,9 @@ DK: ?, S: ?, FI: artikulaatio, ilmaisu. -Articulation refers to notation which indicates how a note or notes should -be played. Slurs, accents, staccato, and legato are all examples of -articulartion. +Articulation refers to notation which indicates how a note or notes +should be played. Slurs, accents, staccato, and legato are all +examples of articulation. @node ascending interval @@ -853,10 +860,9 @@ S: handskrift, FI: käsinkirjoitettu nuotti. 1.@tie{}A manuscript in the composer's own hand. -2.@tie{}Music prepared for photoreproduction by freehand drawing, -with the aid of a straightedge ruler and T-square only, -which attempts to emulate engraving. -This required more skill than did engraving. +2.@tie{}Music prepared for photoreproduction by freehand drawing, with +the aid of a straightedge ruler and T-square only, which attempts to +emulate engraving. This required more skill than did engraving. @node B @@ -942,27 +948,6 @@ C or F clef setting middle C on the upper staff line. @ref{C clef}, @ref{F clef}. -@node bass -@section bass - -ES: bajo, -I: basso, -F: basse, -D: Bass, -NL: bas, -DK: bas, -S: bas, -FI: basso, matala miesääni. - -1.@tie{}The lowest male voice. -2.@tie{}Sometimes, especially in jazz music, used as -an abbreviation for double bass. - -@seealso - -@ref{strings}. - - @node bass clef @section bass clef @@ -982,6 +967,27 @@ A clef setting with middle C on the first top ledger line. @ref{F clef}. +@node bass +@section bass + +ES: bajo, +I: basso, +F: basse, +D: Bass, +NL: bas, +DK: bas, +S: bas, +FI: basso, matala miesääni. + +1.@tie{}The lowest male voice. +2.@tie{}Sometimes, especially in jazz music, used as an abbreviation +for double bass. + +@seealso + +@ref{strings}. + + @node beam @section beam @@ -994,8 +1000,8 @@ DK: bjælke, S: balk, FI: palkki. -Line connecting a series of notes (shorter than a quarter note). -The number of beams determines the note value of the connected notes. +Line connecting a series of notes (shorter than a quarter note). The +number of beams determines the note value of the connected notes. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1024,9 +1030,9 @@ DK: (takt)slag, S: taktslag, FI: aika-arvo. -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. +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[fragment,line-width=13.0\cm] \key g \major @@ -1057,9 +1063,9 @@ DK: klamme, S: klammer, FI: yhdistävä sulkumerkki. -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. +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[fragment,ragged-right] \context GrandStaff << @@ -1087,9 +1093,9 @@ DK: messingblæsere, S: brassinstrument, mässingsinstrument, FI: vaskisoitin. -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. +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. @node breath mark @@ -1118,8 +1124,10 @@ DK: brevis, S: brevis, FI: brevis. -@ref{note value}, twice as long as a whole note. Mainly used -in pre-1650 music. +@ref{note value}, twice as long as a whole note. Mainly used in +pre-1650 music. The shortest note value generally used in white +mensural notation, hence the name, which originally meant "of short +duration". @lilypond[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -1208,10 +1216,10 @@ S: kadens, FI: kadenssi, lopuke. An extended, improvisatory style section inserted near the end of -movement. The purpose of a cadenza is to give singers or players a chance -to exhibit their technical skill and -- not last -- their ability to -improvise. Since the middle of the 19th century, however, most cadences have -been written down by the composer. +movement. The purpose of a cadenza is to give singers or players a +chance to exhibit their technical skill and -- not last -- their +ability to improvise. Since the middle of the 19th century, however, +most cadenzas have been written down by the composer. @node canon @@ -1244,8 +1252,8 @@ 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 @ref{semitone}). +Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave +(1/100 of an equally tempered @ref{semitone}). @seealso @@ -1272,16 +1280,14 @@ DK: akkord, S: ackord, FI: sointu. -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 @ref{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 -(@ref{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 +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 @ref{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 (@ref{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[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -1390,8 +1396,8 @@ pitches. The three clef symbols in common use are: @end lilypond Imagine a large staff of 11 lines centered on middle C, sometimes -called a @q{grand staff}, with the bottom line representing low G -and the top line high F: +called a @q{grand staff}, with the bottom line representing low G and +the top line high F: @lilypond[ragged-right,quote] \score { @@ -1461,10 +1467,10 @@ and the top line high F: } % End score @end lilypond -Staves of five lines are usually used, and the clef superimposed on them -indicates which five lines have been selected from this @samp{grand staff}. -For example, the treble or G clef indicates that the top five -lines have been selected: +Staves of five lines are usually used, and the clef superimposed on +them indicates which five lines have been selected from this +@samp{grand staff}. For example, the treble or G clef indicates that +the top five lines have been selected: @lilypond[ragged-right,quote] \score { @@ -1545,12 +1551,14 @@ lines have been selected: } % End score @end lilypond -The @q{curl} of the G clef in centered on the line that represents the pitch G. +The @q{curl} of the G clef in centered on the line that represents the +pitch G. -In the same way, the bass or F clef indicates that the bottom five lines -have been selected from the @samp{grand staff}, and the alto or C clef -indicates the middle five lines have been selected. This relationship is -shown below, where the notes show an arpeggio on a C major chord. +In the same way, the bass or F clef indicates that the bottom five +lines have been selected from the @samp{grand staff}, and the alto or +C clef indicates the middle five lines have been selected. This +relationship is shown below, where the notes show an arpeggio on a C +major chord. @lilypond[ragged-right,quote] \score { @@ -1632,7 +1640,12 @@ shown below, where the notes show an arpeggio on a C major chord. @section cluster ES: racimo, -DE: Cluster, +I: ?, +F: ?, +D: Cluster, +NL: ?, +DK: ?, +S: ?, FI: klusteri, cluster. A @emph{cluster} is a range of simultaneously sounding pitches that @@ -1674,8 +1687,8 @@ DK: komma, S: komma, FI: komma, korvinkuultava ero äänenkorkeudessa. -Difference in pitch between a note derived from pure tuning and the same note -derived from some other tuning method. +Difference in pitch between a note derived from pure tuning and the +same note derived from some other tuning method. @seealso @@ -1690,23 +1703,6 @@ derived from some other tuning method. @ref{meter}. -@node complement -@section complement - -ES: intervalo invertido, -I: rivolto, -F: intervalle complémentaire, -D: Komplementärintervall, -NL: complementair interval, -DK: komplementærinterval, -S: komplementärintervall (?), -FI: täydentävä intervalli. - -@seealso - -@ref{inverted interval}. - - @node compound interval @section compound interval @@ -1726,6 +1722,23 @@ Intervals larger than an octave. @ref{interval}. +@node complement +@section complement + +ES: intervalo invertido, +I: rivolto, +F: intervalle complémentaire, +D: Komplementärintervall, +NL: complementair interval, +DK: komplementærinterval, +S: komplementärintervall (?), +FI: täydentävä intervalli. + +@seealso + +@ref{inverted interval}. + + @node conjunct movement @section conjunct movement @@ -1781,33 +1794,6 @@ FI: kontra-altto. @ref{alto}. -@node copying music -@section copying music - -A music copyist did fast freehand scores and parts on preprinted staff lines -for performance. Some of their conventions (e.g., the placement of note heads -on stems) varied slightly from those of engravers. Some of their working -methods were superior and could well be adopted by music typesetters. This -required more skill than engraving. - - -@node counter tenor -@section counter tenor - -ES: contratenor, -I: controtenore, -F: contre-tenor, -D: Countertenor, Kontratenor, -NL: contratenor, -DK: kontratenor, -S: kontratenor, counter tenor, -FI: kontratenori. - -@seealso - -@ref{contralto}. - - @node counterpoint @section counterpoint @@ -1820,14 +1806,14 @@ DK: kontrapunkt, S: kontrapunkt, FI: kontrapunkti, ääni ääntä vastaan. -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. +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[fragment,staffsize=12,line-width=13.0\cm] \set Score.implicitTimeSignatureVisibility = #all-invisible @@ -1867,6 +1853,33 @@ composition methods. @end lilypond +@node counter tenor +@section counter tenor + +ES: contratenor, +I: controtenore, +F: contre-tenor, +D: Countertenor, Kontratenor, +NL: contratenor, +DK: kontratenor, +S: kontratenor, counter tenor, +FI: kontratenori. + +@seealso + +@ref{contralto}. + + +@node copying music +@section copying music + +A music copyist did fast freehand scores and parts on preprinted staff +lines for performance. Some of their conventions (e.g., the placement +of note heads on stems) varied slightly from those of engravers. Some +of their working methods were superior and could well be adopted by +music typesetters. Copying music required more skill than engraving. + + @node crescendo @section crescendo @@ -1879,8 +1892,8 @@ DK: crescendo, S: crescendo, FI: cresendo, voimistuen. -Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation @samp{cresc.}. +Increasing volume. Indicated by a rightwards opening horizontal wedge +or the abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -1900,21 +1913,27 @@ 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. +In a separate part notes belonging to another part with the purpose of +hinting when to start playing. Usually printed in a smaller type. @node custos @section custos +ES: ?, +I: ?, F: guidon, -D: Notenzeiger, Custos. +D: Notenzeiger, Custos, +NL: ?, +DK: ?, +S: ?, +FI: ?. -A custos (plural: custodes) is a staff symbol that appears at the -end of a staff line with monophonic musical contents (i.e., with a -single voice). It anticipates the pitch of the first note of the -following line and thus helps the player or singer to manage line -breaks during performance, thus enhancing readability of a score. +A custos (plural: custodes) is a staff symbol that appears at the end +of a staff line with monophonic musical contents (i.e., with a single +voice). It anticipates the pitch of the first note of the following +line and thus helps the player or singer to manage line breaks during +performance, thus enhancing readability of a score. Custodes were frequently used in music notation until the 16th century. There were different appearences for different notation @@ -1972,8 +1991,9 @@ DK: da capo, S: da capo, FI: da capo, alusta. -The term indicates repetition of the piece from the beginning to the end or -to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}. +The term indicates repetition of the piece from the beginning to the +end or to a certain place marked @emph{fine}. Mostly abbreviated as +@samp{D.C.}. @node dal segno @@ -2054,11 +2074,11 @@ DK: diatonisk skala, S: diatonisk skala, FI: diatoninen asteikko. -A scale consisting of 5@w{ }@ref{whole tone}s and -2@w{ }@ref{semitone}s (S). Scales played on the white keys -of a piano keybord are diatonic. +A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ +}@ref{semitone}s (S). Scales played on the white keys of a piano +keybord are diatonic. -The church modes are used in gregorial chant and in pre-baroque early +The church modes are used in gregorian chant and in pre-baroque early music but also to some extent in newer jazz music. @lilypond[fragment,notime,ragged-right] @@ -2148,9 +2168,9 @@ music but also to some extent in newer jazz music. @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. +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[fragment,notime,ragged-right] \set Score.automaticBars = ##f @@ -2275,8 +2295,8 @@ DK: springende bevægelse, S: hoppande rörelse, FI: melodian hyppivä liike. -Progressing melodically by intervals larger than a major second. -Opposite of @ref{conjunct movement}. +Progressing melodically by intervals larger than a major second, as +opposed to @ref{conjunct movement}. @lilypond[fragment,ragged-right] \key a \major @@ -2311,21 +2331,6 @@ FI: dissonanssi, dissonoiva intervalli, riitasointi. @ref{harmony}. -@node dominant -@section dominant - -ES: dominante, -I: dominante, -F: dominante, -D: Dominante, -NL: dominant, -DK: dominant, -S: dominant, -FI: dominantti, huippusointu. - -The fifth @ref{scale degree} in @ref{functional harmony}. - - @node dominant ninth chord @section dominant ninth chord @@ -2360,6 +2365,21 @@ FI: dominanttiseptimisointu. @ref{chord}, @ref{functional harmony}. +@node dominant +@section dominant + +ES: dominante, +I: dominante, +F: dominante, +D: Dominante, +NL: dominant, +DK: dominant, +S: dominant, +FI: dominantti, huippusointu. + +The fifth @ref{scale degree} in @ref{functional harmony}. + + @node dorian mode @section dorian mode @@ -2494,6 +2514,23 @@ FI: kaksoisylennysmerkki. @ref{accidental}. +@node double time signature +@section double time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +@seealso + +@ref{polymetric time signature}. + + @node double trill @section double trill @@ -2580,9 +2617,9 @@ DK: ?, S: ?, FI: ?. -The aspect of music relating to degrees of loudness, or changes from one -degree to another. The terms, abbreviations, and symbols used to indicate -this information are called dynamic marks. +The aspect of music relating to degrees of loudness, or changes from +one degree to another. The terms, abbreviations, and symbols used to +indicate this information are called dynamic marks. @seealso @@ -2687,9 +2724,9 @@ DK: nodestik, S: nottryck, FI: painatus. -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. +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. @@ -2707,8 +2744,8 @@ DK: enharmonisk, S: enharmonisk, FI: enharmoninen. -Two notes, intervals, or scales are enharmonic if they have different names -but equal pitch. +Two notes, intervals, or scales are enharmonic if they have different +names but equal pitch. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -2757,8 +2794,8 @@ S: föredragsbeteckning, FI: nyanssiosoitus, esitysmerkki. Performance indications concerning 1. volume, dynamics (for example -@ref{forte}, @ref{crescendo}), 2. tempo (for example -@ref{andante}, @ref{allegro}). +@ref{forte}, @ref{crescendo}), 2. tempo (for example @ref{andante}, +@ref{allegro}). @node extender line @@ -2773,16 +2810,15 @@ DK: ?, S: ?, FI: ?. -The generic term for a line (or dash) of arbitrary length that -extends text (without indicating the musical @emph{function} of -that text). +The generic term for a line (or dash) of arbitrary length that extends +text (without indicating the musical @emph{function} of that text). Used in many contexts, for example: @itemize @item -In vocal music to indicate the syllable for a melisma. Called @q{extension} -in the +In vocal music to indicate the syllable for a melisma. Called +@q{extension} in the @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}. @item @@ -2803,11 +2839,11 @@ In figured (or thorough) bass to indicate that: @end itemize @item -In string music to indicate that all notes in the passage thus indicated -should be played on the same string. On the violin, for example, a series -of notes to be played on the G string would be indicated @samp{sul G}, -another series to be played on the D string would be indicated @samp{sul D}, -and so on. +In string music to indicate that all notes in the passage thus +indicated should be played on the same string. On the violin, for +example, a series of notes to be played on the G string would be +indicated @samp{sul G}, another series to be played on the D string +would be indicated @samp{sul D}, and so on. @end itemize @@ -2845,12 +2881,12 @@ DK: F-nøgle, S: f-klav, FI: F-avain. -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 -@ref{strings}). +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 @ref{strings}). @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3084,11 +3120,11 @@ DK: funktionsanalyse, funktionsharmonik, S: funktionslära, FI: harmoniajärjestelmä. -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). Others are considered to be -variants of the base chords. +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). Others are considered to be variants of the base chords. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3131,11 +3167,11 @@ DK: g-nøgle, S: g-klav, FI: G-avain. -A clef symbol indicating the G above central@w{ }C. Used on the first +A clef symbol indicating the G above middle@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). +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[fragment,notime,ragged-right] << @@ -3253,8 +3289,9 @@ DK: h, S: h, FI: H, h. -Letter name used for @samp{B natural} in German and Scandinavian usage. In the -standard usage of these countries, @samp{B} means @samp{B flat}. +Letter name used for @samp{B natural} in German and Scandinavian +usage. In the standard usage of these countries, @samp{B} means +@samp{B flat}. @seealso @@ -3309,8 +3346,7 @@ DK: harmonisk kadence, S: (harmonisk) kadens, FI: harmoninen kadenssi. -A sequence of chords that terminates a musical phrase or -section. +A sequence of chords that terminates a musical phrase or section. @ref{functional harmony}. @@ -3350,8 +3386,8 @@ DK: samklang, S: samklang, FI: harmonia, yhteissointi. -Tones sounding simultaneously. Two note harmonies fall into the categories -@emph{consonances} and @emph{dissonances}. +Tones sounding simultaneously. Two note harmonies fall into the +categories @emph{consonances} and @emph{dissonances}. Consonances: @@ -3396,8 +3432,9 @@ DK: homofoni, S: homofoni, FI: homofonia, yksiäänisyys. -Music in which one voice leads melodically followed by the other voices more -or less in the same rhythm. In contrast to @ref{polyphony}. +Music in which one voice leads melodically followed by the other +voices more or less in the same rhythm. In contrast to +@ref{polyphony}. @node interval @@ -3412,11 +3449,11 @@ DK: interval, S: intervall, FI: intervalli, kahden sävelen korkeusero. -Difference in pitch between two notes. Intervals may be perfect, minor, -major, diminished, or augmented. The augmented fourth and the diminished fifth -are identical (@ref{enharmonic}) and are called @emph{tritonus} because they -consist of three @ref{whole tone}s. The addition of such two intervals forms an -octave. +Difference in pitch between two notes. Intervals may be perfect, +minor, major, diminished, or augmented. The augmented fourth and the +diminished fifth are identical (@ref{enharmonic}) and are called +@emph{tritonus} because they consist of three @ref{whole tone}s. The +addition of such two intervals forms an octave. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3560,6 +3597,22 @@ key of the music. @ref{accidental}. +@node laissez vibrer +@section laisser vibrer + +ES: ?, +I: ?, +F: laissez vibrer, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From French] "Let vibrate". Most frequently associated with harp +parts. Marked @samp{l.v.} in the score. + + @node largo @section largo @@ -3588,9 +3641,9 @@ DK: ledetone, S: ledton, FI: johtosävel. -The seventh @ref{scale degree}, a @ref{semitone} below -the tonic; so called because of its strong tendency to @q{lead up} (resolve -upwards) to the tonic scale degree. +The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so +called because of its strong tendency to @q{lead up} (resolve upwards) +to the tonic scale degree. @node ledger line @@ -3625,9 +3678,9 @@ DK: legato, S: legato, FI: legato, sitoen. -To be performed (a) without any perceptible interruption between the notes, -unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and -(d) @ref{staccato}. +To be performed (a) without any perceptible interruption between the +notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) +@emph{portato}, and (d) @ref{staccato}. @lilypond[fragment,notime,line-width=13.0\cm] \set Score.automaticBars = ##f @@ -3664,6 +3717,22 @@ unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and @ref{ledger line}. +@node lilypond +@section lilypond + +ES: estanque de nenúfares, +I: stagno del giglio, +F: étang de lis, +UK: lily pond, +D: Seerosenteich, +NL: le@-lie@-vij@-ver, +DK: liliedam, +S: liljedamm, +FI: liljalampi. + +A pond with lilies floating in it, also the name of a music typesetter. + + @node ligature @section ligature @@ -3686,22 +3755,6 @@ With the invention of the metric system of the white mensural notation, the need for ligatures to denote such patterns disappeared. -@node lilypond -@section lilypond - -ES: estanque de nenúfares, -I: stagno del giglio, -F: étang de lis, -UK: lily pond, -D: Seerosenteich, -NL: le@-lie@-vij@-ver, -DK: liliedam, -S: liljedamm, -FI: liljalampi. - -A pond with lilies floating in it, also the name of a music typesetter. - - @node line @section line @@ -3763,6 +3816,19 @@ Note value: double length of @ref{breve}. @ref{note value}. +@node lyrics +@section lyrics + +ES: letra (de la canción), +I: ?, +F: paroles, +D: Liedtext, Gesangtext, +NL: liedtekst, +DK: ?, +S: ?, +FI: sanoitus. + + @node lyric tie @section lyric tie @@ -3782,17 +3848,21 @@ FI: ?. @ref{elision}. -@node lyrics -@section lyrics +@node major interval +@section major interval -ES: letra (de la canción), -I: ?, -F: paroles, -D: Liedtext, Gesangtext, -NL: liedtekst, -DK: ?, -S: ?, -FI: sanoitus. +ES: intervalo mayor, +I: intervallo maggiore, +F: intervalle majeur, +D: großes Intervall, +NL: groot interval, +DK: stort interval, +S: stort intervall, +FI: suuri intervalli. + +@seealso + +@ref{interval}. @node major @@ -3812,23 +3882,6 @@ FI: duuri. @ref{diatonic scale}. -@node major interval -@section major interval - -ES: intervalo mayor, -I: intervallo maggiore, -F: intervalle majeur, -D: großes Intervall, -NL: groot interval, -DK: stort interval, -S: stort intervall, -FI: suuri intervalli. - -@seealso - -@ref{interval}. - - @node meantone temperament @section meantone temperament @@ -3841,10 +3894,11 @@ DK: middeltonetemperatur, S: medeltonstemperatur, FI: keskisävelviritys. -Temperament yielding acoustically pure thirds by decreasing the natural fifth -by 16@w{ }@ref{cent}s. Due to the non-circular character of this -@ref{temperament} only a limited set of keys are playable. -Used for tuning keyboard instruments for performance of pre-1650 music. +Temperament yielding acoustically pure thirds by decreasing the +natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular +character of this @ref{temperament} only a limited set of keys are +playable. Used for tuning keyboard instruments for performance of +pre-1650 music. @node measure @@ -3860,9 +3914,9 @@ S: takt, FI: tahti. A group of @ref{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. +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. @ref{meter}. @@ -3880,9 +3934,9 @@ S: mediant, FI: keskisävel. 1.@tie{}The third @b{scale degree}. -2.@tie{}A @ref{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). +2.@tie{}A @ref{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). @ref{functional harmony}, @ref{relative key}. @@ -3897,8 +3951,8 @@ D: Melisma, NL: melisma, FI: melisma, laulettavan tavun sävelkuvio. -A melisma (plural: melismata) is a group of notes or tones sung on one -syllable in plainsong +A melisma (plural, from Greek: melismata) is a group of notes or tones +sung on one syllable, especially as applied to liturgical chant. @node melisma line @@ -3919,6 +3973,12 @@ syllable in plainsong @ref{cadenza}. +@node mensural notation +@section mensural notation + +@c TODO: add languages, definition, references + + @node meter @section meter @@ -3978,8 +4038,7 @@ FI: metronomi. Device indicating the exact tempo of a piece. -@ref{metronomic -indication}. +@ref{metronomic indication}. @node metronomic indication @@ -4072,14 +4131,6 @@ FI: pieni intervalli. @ref{interval}. -@node mixolydian mode -@section mixolydian mode - -@seealso - -@ref{diatonic scale}. - - @node mode @section mode @@ -4109,10 +4160,9 @@ DK: modulation, S: modulering, FI: modulaatio, sävellajin vaihdos. -Moving from one @ref{key} to another. For example, the second -subject of a @ref{sonata form} movement modulates to the dominant -key if the key is major and to the @ref{relative key} if the key -is minor. +Moving from one @ref{key} to another. For example, the second subject +of a @ref{sonata form} movement modulates to the dominant key if the +key is major and to the @ref{relative key} if the key is minor. @node mordent @@ -4151,8 +4201,8 @@ DK: motiv, S: motiv, FI: teema, sävelaihe. -The briefest intelligible and self-contained fragment of a musical theme or -subject. +The briefest intelligible and self-contained fragment of a musical +theme or subject. @lilypond[line-width=13.0\cm] \score{ @@ -4185,9 +4235,9 @@ DK: sats, S: sats, FI: osa. -Greater musical works like @ref{symphony} and -@ref{sonata} most often consist of several -- more or less -- -independant pieces called movements. +Greater musical works like @ref{symphony} and @ref{sonata} most often +consist of several -- more or less -- independant pieces called +movements. @node multi-measure rest @@ -4202,11 +4252,11 @@ DK: flertaktspause, S: flertaktspaus, FI: usean tahdin mittainen tauko. -Multi-measure rests are conventionally typeset with a combination of longa, -breve and whole rests for shorter and a long horizontal bar for longer -spans of rest, with a number above to indicate the duration (in measures) -of the rest. The former style is called @q{Kirchenpausen} in German, as a -reminiscence of its use in Renaissance vocal polyphony. +Multi-measure rests are conventionally typeset with a combination of +longa, breve and whole rests for shorter and a long horizontal bar for +longer spans of rest, with a number above to indicate the duration (in +measures) of the rest. The former style is called @q{Kirchenpausen} in +German, as a reminiscence of its use in Renaissance vocal polyphony. @lilypond[fragment,ragged-right] \relative c'' { @@ -4218,6 +4268,17 @@ reminiscence of its use in Renaissance vocal polyphony. } @end lilypond +@seealso + +@ref{longa}, @ref{breve}. + + +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. @node natural sign @@ -4237,8 +4298,8 @@ FI: palautusmerkki. @ref{accidental}. -@node neighbor tones -@section neighbor tones +@node neighbour tones +@section neighbour tones @seealso @@ -4328,7 +4389,7 @@ called @emph{brevis}, but sometimes (mostly in pre-baroque music) the double-length note value @emph{longa} or the quadruple-length note value @emph{maxima} are used. -@c TODO -- add maxima to this example +@c TODO -- add maxima to this example, in a way that doesn't break it. @lilypond[fragment,notime,line-width=13.0\cm] %\override Score.TextScript #'font-style = #'large @@ -4388,6 +4449,14 @@ dotted notes are also frequently used. @end lilypond +@node octave sign +@section octave sign + +@seealso + +@ref{G clef}, @ref{F clef}. + + @node octave @section octave @@ -4405,14 +4474,6 @@ FI: oktaavi. @ref{interval}. -@node octave sign -@section octave sign - -@seealso - -@ref{G clef}, @ref{F clef}. - - @node ornament @section ornament @@ -4618,22 +4679,6 @@ The clear rendering in musical performance of the @ref{phrase}s of the melody. Phrasing may be indicated by a @ref{slur}. -@node piano -@section piano - -ES: piano, -I: piano, -F: piano, -D: piano, leise, -NL: piano, -DK: piano, -S: piano, -FI, piano, hiljaa. - -@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, -@emph{mezzo piano} (@b{mp}) medium soft. - - @node pickup @section pickup @@ -4651,6 +4696,22 @@ FI: kohotahti. @ref{anacrusis}. +@node piano +@section piano + +ES: piano, +I: piano, +F: piano, +D: piano, leise, +NL: piano, +DK: piano, +S: piano, +FI, piano, hiljaa. + +@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft, +@emph{mezzo piano} (@b{mp}) medium soft. + + @node pitch @section pitch @@ -4676,7 +4737,68 @@ DK: pizzicato, S: pizzicato, FI: pizzicato, näppäillen. -Play by plucking the strings. +Abbr. @emph{pizz}. Play by plucking the strings. (Technique for +stringed instruments.) + + +@node polymeter +@section polymeter + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +The simultaneous use of two or more meters. The term is sometimes +applied to the @emph{successive} use of different meters in one or +more parts. + +@seealso + +@ref{polymetric} (adj.) + + +@node polymetric +@section polymetric + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Using two or more metric frameworks simultaneously or in regular +alternation + +@seealso + +@ref{polymeter} (noun) + + +@node polymetric time signature +@section polymetric time signature + +ES: ?, +I: ?, +F: ?, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Time signature indicating regularly alternating polymetric time. + +@seealso + +@ref{polymetric}. @node polyphony @@ -4691,8 +4813,8 @@ DK: polyfoni, S: polyfoni, FI: polyfonia, moniäänisyys. -Music written in a combination of several simultaneous voices (parts) of a -more or less pronounced individuality. +Music written in a combination of several simultaneous voices (parts) +of a more or less pronounced individuality. @ref{counterpoint}. @@ -5079,7 +5201,7 @@ DK: sekund, S: sekund, FI: sekunti. -The @ref{interval} between two neigboring tones of a scale. A +The @ref{interval} between two neigbouring tones of a scale. A @ref{diatonic scale} consists of alternating @ref{semitone}s and @ref{whole tone}s, hence the size of a se@-cond depends on the scale degrees in question. @@ -5098,7 +5220,7 @@ S: halvton, FI: puolisävel. The @ref{interval} of a minor second. The (usually) smallest interval -in European composed music. The interval between two neighboring +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. @ref{interval}, @ref{chromatic scale}. -- 2.39.5