From 75c36d3b654a0d6a4038561c222ad5885eceda7a Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Thu, 11 Oct 2007 16:14:07 -0700 Subject: [PATCH] Kurt Kroon's latest glossary patch. --- Documentation/user/music-glossary.tely | 213 ++++++++++++++++--------- 1 file changed, 140 insertions(+), 73 deletions(-) diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index 9fe74697f8..634b390d43 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -23,16 +23,17 @@ and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page @c Danish glossary @author François Pinard @c Original glossary of GNU music project, @c French glossary -@author Han-Wen Nienhuys @c Dutch glossary -@author Jan Nieuwenhuizen @c Dutch glossary +@author Mats Bengtsson @c Swedish glossary @author David González @c Spanish glossary @author Bjoern Jacke @c German glossary @author Neil Jerram @c English glossary translations -@author Mats Bengtsson @c Swedish glossary -@author Adrian Mariano @c Italian glossary @author Heikki Junes @c Finnish glossary +@author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007 +@author Adrian Mariano @c Italian glossary +@author Han-Wen Nienhuys @c Dutch glossary +@author Jan Nieuwenhuizen @c Dutch glossary -@c Fixes by Jean-Pierre Coulon and `Dirk' +@c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07 Copyright @copyright{} 1999--2007 by the authors @@ -77,14 +78,16 @@ Spanish glossary, Original glossary of GNU music project, French glossary, @item Han-Wen Nienhuys Dutch glossary, +@item Heikki Junes +Finnish glossary translations, @item Jan Nieuwenhuizen Dutch glossary, +@item Kurtis Kroon +English glossary, @item Mats Bengtsson Swedish glossary, @item Neil Jerram -English glossary translations, -@item Heikki Junes -Finnish glossary translations. +English glossary translations. @end table @* Copyright 1999--2007 by the authors @@ -208,7 +211,7 @@ Languages in this order. * diatonic scale:: * diminished interval:: * diminuendo:: -* direct:: +* direct:: * disjunct movement:: * dissonance:: * dissonant interval:: @@ -325,6 +328,7 @@ Languages in this order. * phrase:: * phrasing:: * piano:: +* pickup:: * pitch:: * pizzicato:: * polyphony:: @@ -344,6 +348,7 @@ Languages in this order. * ritenuto:: * scale:: * scale degree:: +* scordatura:: * score:: * second:: * semitone:: @@ -373,6 +378,7 @@ Languages in this order. * subdominant:: * submediant:: * subtonic:: +* sul G:: * superdominant:: * supertonic:: * symphony:: @@ -591,12 +597,28 @@ the pitch range that a musical instrument is capable of playing. @node anacrusis @section anacrusis -@c TODO: add more languages for anacrusis -ES: anacrusa -F: anacrouse +ES: anacrusa, +I: anacrusi, +F: anacrouse, levée, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +FI: kohotahti. An anacrusis (also known as pickup or upbeat) is an incomplete measure -of music before a section of music. +of music before a section of music. It also refers to the initial note(s) +of a melody occurring in that incomplete measure. + +@aref{measure}, @aref{meter}. + +@lilypond[fragment,line-width=13.0\cm] +\key f \major +\time 4/4 +\relative c' { + \partial 4 f4 | bes4. a8 bes4 c | + bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" } +@end lilypond @node ancient minor scale @section ancient minor scale @@ -1254,9 +1276,9 @@ 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 @qq{grand staff}, with -the bottom line representing low G and the top line high F: +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: @lilypond[ragged-right,quote] \score { @@ -1264,11 +1286,10 @@ the bottom line representing low G and the top line high F: %-- Treble Staff --% \new Staff = "G" { % Allow this staff to be placed close to the others - \override Staff.VerticalAxisGroup - #'minimum-Y-extent = #'(0 . 0) + \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2) % Allow the treble clef to overlap the lower staves: % \override Staff.Clef #'Y-extent = #'(0 . 0) - \override Staff.Clef #'stencil = ##f % No clef required + \override Staff.Clef #'stencil = ##f % No clef required \clef "G" s1^\markup { "g," \transparent "g" } s^ \markup { "b," \transparent "g" } @@ -1281,44 +1302,40 @@ the bottom line representing low G and the top line high F: b'^\markup { "b'" \transparent "g" } d''^\markup { "d''" \transparent "g" } f''^\markup { "f ''" \transparent "g" } + s } %-- Alto Staff reduced to a single line on middle C --% \new Staff = "C" { \override Staff.StaffSymbol #'line-count = 1 % One line only \override Staff.StaffSymbol #'color = #red % Coloured red - \override Staff.Clef #'stencil = ##f % No clef required + \override Staff.Clef #'stencil = ##f % No clef required \clef "C" % Allow this staff to be placed close to the others - \override Staff.VerticalAxisGroup - #'minimum-Y-extent = #'(0 . 0) -% Specify height to give correct spacing between the staves + \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0) +% Specify height to give correct spacing between treble and bass staves \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1) s1 s s s s % Space along to align horizonatally \override NoteHead #'color = #red c'1 % A middle C - s1 s s s s % Keep staff (ie the red line) showing + s1 s s s s s % Keep staff (ie the red line) showing } %-- Bass Staff --% \new Staff = "F" { % Allow this staff to be placed close to the others - \override Staff.VerticalAxisGroup - #'minimum-Y-extent = #'(0 . 0) - \override Staff.Clef #'stencil = ##f % No clef required + \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2) + \override Staff.Clef #'stencil = ##f % No clef required \clef "F" g,1 b, d f a - s s s s s s % Keep staff showing + s s s s s s s % Keep staff showing } >> \layout { -% Reduce horizontal spacing so semibreves can be -% used without exceeding 1 line - \context { \Score \override SpacingSpanner - #'base-shortest-duration = #(ly:make-moment 1 1) +% Reduce horizontal spacing so semibreves can be used without exceeding 1 line + \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1) } -% Reduce apparent vertical size of note heads to -% permit them to overlap other grobs vertically +% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically \context { \Score \override NoteHead #'Y-extent = #'(0 . 0) } % Remove all barlines @@ -1331,9 +1348,8 @@ the bottom line representing low G 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 @qq{grand staff}. +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: @@ -1416,15 +1432,12 @@ lines have been selected: } % End score @end lilypond -The @qq{curl} of the G clef in centered on the -line which 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 -@qq{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 { @@ -1725,7 +1738,7 @@ S: crescendo, FI: cresendo, voimistuen. Increasing volume. Indicated by a rightwards opening horizontal wedge or the -abbreviation @q{cresc.}. +abbreviation @samp{cresc.}. @lilypond[fragment,ragged-right] \key g \major \time 4/4 @@ -1812,7 +1825,7 @@ 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 @q{D.C.}. +to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}. @node dal segno @section dal segno @@ -1826,7 +1839,7 @@ DK: dal segno, S: dal segno, FI: dal segno, lähtien merkistä. -Abbreviated @q{d.s.}. Repetition, not from the beginning, but from +Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from another place frequently near the beginning marked by a sign: @lilypond[fragment,ragged-right] @@ -1854,7 +1867,7 @@ S: decrescendo, FI: decresendo, hiljentyen. Decreasing tone volume. Indicated by a leftwards opening horizontal wedge -or the abbreviation @q{decresc.}. +or the abbreviation @samp{decresc.}. @lilypond[fragment,ragged-right] \relative c'' { @@ -2504,14 +2517,15 @@ FI: . The generic term for a line (or dash) of arbitrary length that extends text (without indicating the musical @emph{function} of -that text. +that text). Used in many contexts, for example: @itemize @item -In vocal music to indicate a single syllable to be sung for a melisma. Called -extension the the Dolmetsch Online Music Dictionary. +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 In figured (or thorough) bass to indicate that: @@ -2531,17 +2545,15 @@ In figured (or thorough) bass to indicate that: @end itemize @item -In string music to indicate that all notes 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 @q{sul G}, another series to be played on the -D string would be indicated @q{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 -@aref{melisma}, @aref{thorough bass} - -Sul G, Sul D, Sul A, Sul E - +@aref{melisma}, @aref{sul G}, @aref{thorough bass} @node F @section F @@ -2912,8 +2924,8 @@ DK: h, S: h, FI: H, h. -Letter name used for @q{B natural} in German and Scandinavian usage. In the -standard usage of these countries, @q{B} means @q{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}. @aref{Pitch names}, @aref{B} @@ -4082,6 +4094,20 @@ FI: fraseeraus, jäsentäminen. The clear rendering in musical performance of the @aref{phrase}s of the melody. Phrasing may be indicated by a @aref{slur}. +@node pickup +@section pickup + +ES: anacrusa, +I: anacrusi, +F: anacrouse, levée, +D: Auftakt, +NL: opmaat, +DK: optakt, +S: upptakt, +FI: kohotahti. + +@aref{anacrusis}. + @node piano @section piano @@ -4412,13 +4438,48 @@ sub@-do@-mi@-nant (S) and V = dominant (D). @aref{functional harmony}. +@node scordatura +@section scordatura + +ES: ?, +I: scordatura, +F: à cordes ravallées, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +[From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of +stringed instruments, particularly lutes or violins. Used to: + +@itemize + +@item facilitate pitch combinations that would otherwise be difficult or +impossible + +@item +alter the characteristic timbre of the instrument, for example, to increase +brilliance) + +@item reinforce certain sonorities or tonalities by making them available on +open strings + +@item imitate other instruments + +@item etc. +@end itemize. + +Tunings that could be called @var{scordatura} first appeared early in the 16th +Century and became commonplace in the 17th. + @node score @section score ES: partitura, I: partitura, F: partition, -D: Partitur (full score), Klavierauszug (vocal score) +D: Partitur (full score), Klavierauszug (vocal score), NL: partituur, DK: partitur, S: partitur, @@ -4838,6 +4899,21 @@ FI: subtoonika, alitoonika. The seventh @aref{scale degree}. +@node sul G +@section sul G + +ES: sobre la G, +I: sul g, +F: sur la G, +D: ?, +NL: ?, +DK: ?, +S: ?, +FI: ?. + +Indicates that the indicated passage (or note) should be played on the +G string. + @node superdominant @section superdominant @@ -5375,16 +5451,7 @@ DK: optakt, S: upptakt, FI: kohotahti. -Initial note(s) of a melody occurring before the first bar -line. @aref{measure}, @aref{meter}. - -@lilypond[fragment,line-width=13.0\cm] -\key f \major -\time 4/4 -\relative c' { - \partial 4 f4 | bes4. a8 bes4 c | - bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" } -@end lilypond +@aref{anacrusis} @node voice @section voice -- 2.39.2