From a967dec063313f155977fddd29eaedd4f1b8507b Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Sat, 24 May 2008 14:49:56 -0700 Subject: [PATCH] Update from Kurt. --- Documentation/user/music-glossary.tely | 468 +++++++++++++------------ 1 file changed, 246 insertions(+), 222 deletions(-) diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely index f69af223e0..6b3cda888a 100644 --- a/Documentation/user/music-glossary.tely +++ b/Documentation/user/music-glossary.tely @@ -148,11 +148,11 @@ Languages in this order. @menu * A:: * a due:: +* accelerando:: * accent:: * accessory:: -* accidental:: -* accelerando:: * acciaccatura:: +* accidental:: * adagio:: * allegro:: * alteration:: @@ -175,8 +175,8 @@ Languages in this order. * bar line:: * baritone:: * baritone clef:: -* bass clef:: * bass:: +* bass clef:: * beam:: * beat:: * beat repeat:: @@ -210,9 +210,9 @@ Languages in this order. * conjunct movement:: * consonance:: * contralto:: -* counterpoint:: -* counter tenor:: * copying music:: +* counterpoint:: +* countertenor:: * crescendo:: * cue-notes:: * custos:: @@ -222,6 +222,7 @@ Languages in this order. * decrescendo:: * descending interval:: * diatonic scale:: +* didymic comma:: * diminished interval:: * diminuendo:: * diminution:: @@ -229,9 +230,9 @@ Languages in this order. * disjunct movement:: * dissonance:: * dissonant interval:: +* dominant:: * dominant ninth chord:: * dominant seventh chord:: -* dominant:: * dorian mode:: * dot (augmentation dot):: * dotted note:: @@ -245,7 +246,6 @@ Languages in this order. * duple meter:: * duplet:: * duration:: -* didymic comma:: * dynamics:: * E:: * ecclesiastical mode:: @@ -301,16 +301,16 @@ Languages in this order. * legato:: * legato curve:: * leger line:: -* lilypond:: * ligature:: +* lilypond:: * line:: * loco:: * long appoggiatura:: * longa:: -* lyrics:: * lyric tie:: -* major interval:: +* lyrics:: * major:: +* major interval:: * meantone temperament:: * measure:: * measure repeat:: @@ -321,12 +321,13 @@ Languages in this order. * mensural notation:: * meter:: * metronome:: -* metronomic indication:: * metronome mark:: +* metronomic indication:: * mezzo-soprano:: * middle C:: * minor:: * minor interval:: +* mixolydian mode:: * mode:: * modulation:: * mordent:: @@ -334,7 +335,6 @@ Languages in this order. * motive:: * movement:: * multi-measure rest:: -* mixolydian mode:: * natural:: * neighbour tones:: * ninth:: @@ -358,8 +358,8 @@ Languages in this order. * perfect interval:: * phrase:: * phrasing:: -* pickup:: * piano:: +* pickup:: * pitch:: * pizzicato:: * polymeter:: @@ -511,6 +511,21 @@ or groups of players (@q{desks}). @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 @@ -534,6 +549,19 @@ 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 @@ -567,34 +595,6 @@ accidental, or a sharp or flat in the key signature. @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 @@ -667,7 +667,7 @@ 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}. +known as @ref{countertenor}. @node alto clef @@ -739,7 +739,7 @@ note(s) of a melody occurring in that incomplete measure. @node ancient minor scale @section ancient minor scale -ES: escala menor antigua, +ES: escala menor natural, I: scala minore naturale, F: forme du mode mineur ancien, troisème mode, mode hellénique, D: reines Moll, natürliches Moll, @@ -1046,25 +1046,6 @@ C or F clef setting middle C on the upper staff line. @ref{C clef}, @ref{F clef}. -@node bass clef -@section bass clef - -ES: clave de fa en cuarta, -I: chiave di basso, -F: clef de fa quatrième ligne, -D: Bassschlüssel, -NL: bassleutel, -DK: basnøgle, -S: basklav, -FI: bassoavain. - -A clef setting with middle C on the first top ledger line. - -@seealso - -@ref{F clef}. - - @node bass @section bass @@ -1091,6 +1072,25 @@ double bass. @ref{strings}. +@node bass clef +@section bass clef + +ES: clave de fa en cuarta, +I: chiave di basso, +F: clef de fa quatrième ligne, +D: Bassschlüssel, +NL: bassleutel, +DK: basnøgle, +S: basklav, +FI: bassoavain. + +A clef setting with middle C on the first top ledger line. + +@seealso + +@ref{F clef}. + + @node beam @section beam @@ -1199,7 +1199,7 @@ Angular brackets for connecting parts in an orchestral or choral score: @node bracket @section bracket -ES: ?, +ES: corchete, I: ?, F: ?, D: ?, @@ -1846,7 +1846,7 @@ same note derived from some other tuning method. @node common time @section common time -ES: ?, +ES: compasillo, I: ?, F: ?, D: ?, @@ -1902,7 +1902,7 @@ Intervals larger than an octave. @node compound meter @section compound meter -ES: ?, +ES: compás compuesto, compás de subdivisión ternaria, I: ?, F: ?, D: ?, @@ -1922,7 +1922,7 @@ A meter that includes a triplet subdivision within the beat, such as @node compound time @section compound time -ES: ?, +ES: compás compuesto, compás de amalgama (def. 2), I: ?, F: ?, D: ?, @@ -1974,7 +1974,7 @@ A time signature that additively combines two or more unequal meters, e.g. @node concert pitch @section concert pitch -ES: ?, +ES: en Do, afinación de concierto, I: ?, F: ?, D: ?, @@ -2092,6 +2092,18 @@ 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. + +@c Copying music required more skill than engraving. Flagged for NPOV + + @node counterpoint @section counterpoint @@ -2151,8 +2163,8 @@ has been one of the most popular polyphonic composition methods. @end lilypond -@node counter tenor -@section counter tenor +@node countertenor +@section countertenor ES: contratenor, I: controtenore, @@ -2168,18 +2180,6 @@ FI: kontratenori. @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. - -@c Copying music required more skill than engraving. Flagged for NPOV - - @node crescendo @section crescendo @@ -2220,7 +2220,7 @@ hinting when to start playing. Usually printed in a smaller type. @node custos @section custos -ES: ?, +ES: custos, I: ?, F: guidon, D: Notenzeiger, Custos, @@ -2475,7 +2475,7 @@ but also to some extent in newer jazz music. << \relative c'' { \override TextScript #'padding = #-4 - b^"~~ S" c d e^"~~ S" f g a b + b1^"~~ S" c d e^"~~ S" f g a b } \lyrics { Locrian @@ -2538,16 +2538,39 @@ the 6th and 7th tone. \relative c'' { a1 \override TextScript #'padding = #-4 - b^"~~ S" c d e fis gis^"~~ S" + b^"~~ S" c d e fis gis^"~~ S" a + } + \lyrics { + "Melodic minor ascending" + } +>> +@end lilypond + +@lilypond[fragment,notime,line-width=13.0\cm] +\set Score.automaticBars = ##f +%\override Score.LyricText #'font-style = #'large +%\override Score.TextScript #'font-style = #'large +<< + \relative c'' { + a'1 + \override TextScript #'padding = #-4 a g! f!^"~~ S" e d c^"~~ S" b a } \lyrics { - "Melodic minor" + "Melodic minor descending" } >> @end lilypond +@node didymic comma +@section didymic comma + +@seealso + +@ref{syntonic comma}. + + @node diminished interval @section diminished interval @@ -2668,6 +2691,21 @@ 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 @@ -2702,21 +2740,6 @@ 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 @@ -2934,18 +2957,10 @@ FI: kesto, aika-arvo. @ref{note value}. -@node didymic comma -@section didymic comma - -@seealso - -@ref{syntonic comma}. - - @node dynamics @section dynamics -ES: ?, +ES: dinámica, matices, I: ?, F: nuances, D: Dynamik, Lautstärke, @@ -3036,7 +3051,7 @@ indicate this information are called dynamic marks. @c TODO: add languages -ES: ?, +ES: sinalefa, I: ?, F: ?, D: ?, @@ -3045,6 +3060,9 @@ DK: ?, S: ?, FI: ?. +More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to +smear together}]. + The singing of several syllables on a single note. Elision may be indicated by a lyric tie, which is looks like (and serves the same function) as a musical tie. @@ -3065,7 +3083,7 @@ musical tie. @node engraving @section engraving -ES: grabar, +ES: grabado, I: incisione, F: gravure, D: Notenstich, Notendruck @@ -3157,7 +3175,7 @@ Performance indications concerning: @node extender line @section extender line -ES: línea de extención [de melisma, de bajo cifrado, etc.], +ES: línea de extensión [de melisma, de bajo cifrado, etc.], I: ?, F: ligne d'extension [de mélisme, de basse chiffrée, etc.], D: Fülllinie, @@ -3284,7 +3302,7 @@ double bass @ref{strings}). @node feathered beam @section feathered beam -ES: ?, +ES: barra punteada, I: ?, F: liens de croches en soufflet, D: gespreizter Balken, @@ -3454,7 +3472,7 @@ FI: kvartti. @node Frenched score @section Frenched score -ES: ?, +ES: partitura a la francesa, I: ?, F: ?, D: ?, @@ -3480,7 +3498,7 @@ you may wish to procure a copy of their style manual. @node Frenched staff @section Frenched staff -ES: ?, +ES: pentagrama a la francesa, I: ?, F: ?, D: ?, @@ -3501,7 +3519,7 @@ an @emph{ossia} staff. @node Frenched staves @section Frenched staves -ES: ?, +ES: pentagramas a la francesa, I: ?, F: ?, D: ?, @@ -3850,7 +3868,7 @@ Three note harmony @ref{chord}. @node hemiola @section hemiola -ES: ?, +ES: hemiolia, I: ?, F: ?, D: ?, @@ -4072,7 +4090,7 @@ key of the music. @node laissez vibrer @section laissez vibrer -ES: ?, +ES: dejar vibrar, I: ?, F: laissez vibrer, D: ?, @@ -4189,23 +4207,6 @@ notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @ref{ledger line}. -@node lilypond -@section lilypond - -UK: lily pond, -ES: estanque de nenúfares, -I: stagno del giglio, -F: étang de nénuphars, étang de nymphéas, -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 typesetting program. - - @node ligature @section ligature @@ -4232,6 +4233,23 @@ patterns disappeared. @ref{mensural notation}. +@node lilypond +@section lilypond + +UK: lily pond, +ES: estanque de nenúfares, +I: stagno del giglio, +F: étang de nénuphars, étang de nymphéas, +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 typesetting program. + + @node line @section line @@ -4252,7 +4270,7 @@ FI: viiva, nuottiviiva. @node loco @section loco -ES: ?, +ES: en su lugar, I: loco, F: ?, D: ?, @@ -4313,23 +4331,10 @@ 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 -ES: ?, +ES: ligadura de letra, I: ?, F: ?, D: Textbindung, @@ -4345,21 +4350,17 @@ FI: ?. @ref{elision}. -@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 +@node lyrics +@section lyrics -@ref{interval}. +ES: letra (de la canción), +I: ?, +F: paroles, +D: Liedtext, Gesangtext, +NL: liedtekst, +DK: ?, +S: ?, +FI: sanoitus. @node major @@ -4379,6 +4380,23 @@ 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 @@ -4473,7 +4491,7 @@ sung on one syllable, especially as applied to liturgical chant. @c TODO: add languages -ES: ?, +ES: línea de melisma, I: ?, F: ?, D: ?, @@ -4500,7 +4518,7 @@ FI: ?. @c TODO: add languages -ES: ?, +ES: notación mensural, I: ?, F: ?, D: ?, @@ -4511,7 +4529,7 @@ FI: ?. A system of duration notation whose principles were first established in the mid-13th century, and that (with various changes) remained in use until about -1600. As such, it forms the basis of the notation of rhythms in Western musical +1600. As such, it is the basis for the notation of rhythms in Western musical notation. Franco of Cologne (ca. 1250) is credited with the first systematic explanation @@ -4720,14 +4738,6 @@ sold many of them, and people had taken to calling it a Mälzel Metronome. @ref{metronome mark}. -@node metronomic indication -@section metronomic indication - -@seealso - -@ref{metronome mark} - - @node metronome mark @section metronome mark @@ -4749,6 +4759,14 @@ Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or @ref{metronome} +@node metronomic indication +@section metronomic indication + +@seealso + +@ref{metronome mark} + + @node mezzo-soprano @section mezzo-soprano @@ -4823,6 +4841,14 @@ FI: pieni intervalli. @ref{interval}. +@node mixolydian mode +@section mixolydian mode + +@seealso + +@ref{diatonic scale}. + + @node mode @section mode @@ -4965,14 +4991,6 @@ German, as a reminiscence of its use in Renaissance vocal polyphony. @ref{longa}, @ref{breve}. -@node mixolydian mode -@section mixolydian mode - -@seealso - -@ref{diatonic scale}. - - @node natural @section natural @@ -5182,7 +5200,7 @@ bracket, or @samp{loco} see octave marking. @node octave mark @section octave mark -ES: ?, +ES: indicación de octava, I: ?, F: ?, D: ?, @@ -5487,6 +5505,22 @@ 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 @@ -5504,22 +5538,6 @@ 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 @@ -5569,7 +5587,7 @@ the strings. @node polymeter @section polymeter -ES: ?, +ES: compás polimétrico, I: ?, F: ?, D: ?, @@ -5594,7 +5612,7 @@ FI: ?. @node polymetric @section polymetric -ES: ?, +ES: polimétrico, I: ?, F: ?, D: ?, @@ -5613,7 +5631,7 @@ Using two or more metric frameworks simultaneously or in alternation. @node polymetric time signature @section polymetric time signature -ES: ?, +ES: compás polimétrico, I: ?, F: ?, D: ?, @@ -5776,7 +5794,7 @@ FI: kvartoli. @node quarter tone @section quarter tone -ES: ?, +ES: cuarto de tonno, I: ?, F: quart de ton, D: Viertelton, @@ -5829,7 +5847,7 @@ Abbreviation "rall.". @node relative key @section relative key -ES: relativo, +ES: tono relativo, I: tonalità relativa, F: tonalité relative, D: Paralleltonart, @@ -6014,7 +6032,7 @@ scale as roots of chords. The most important are degrees I = tonic @node scordatura @section scordatura -ES: ?, +ES: encordado, I: scordatura, F: à cordes ravallées, D: Skordatur, @@ -6180,7 +6198,7 @@ FI: korotusmerkki. @node simile @section simile -ES: ?, +ES: simile, I: simile, F: ?, D: ?, @@ -6201,7 +6219,7 @@ TODO: Where else could I refer the reader? @node simple meter @section simple meter -ES: ?, +ES: compás simple, compás de subdivisión binaria, I: ?, F: ?, D: ?, @@ -6594,7 +6612,7 @@ The seventh @ref{scale degree}. @node sul G @section sul G -ES: sobre la G, +ES: sobre la cuerda de Sol, I: sul g, F: sur la G, D: auf G, auf der G-Saite, @@ -6685,7 +6703,7 @@ contradiction between the underlaying (normal) pulse and the actual @node syntonic comma @section syntonic comma -ES: coma sintónica, +ES: coma sintónica, coma de Dídimo, I: comma sintonico (o didimico), F: comma syntonique, D: syntonisches Komma, @@ -6763,7 +6781,7 @@ DK: tenor, S: tenor, FI: tenori, korkea miesääni. -The highest male voice (apart from @ref{counter tenor}). +The highest male voice (apart from @ref{countertenor}). @node tenth @@ -6868,9 +6886,11 @@ DK: generalbas, S: generalbas, FI: kenraalibasso, numeroitu basso. -A method of indicating an accompaniment part by the bass notes only, -together with figures designating the chief @ref{interval}s and -@ref{chord}s to be played above the bass notes. +Also called @q{figured bass}. + +A method of indicating an accompaniment part by the bass notes only, together +with figures designating the chief @ref{interval}s and @ref{chord}s to be played +above the bass notes. @lilypond[fragment,line-width=13.0\cm] \context GrandStaff << @@ -6901,7 +6921,7 @@ together with figures designating the chief @ref{interval}s and @node tie @section tie -ES: ligadura de prolongación, +ES: ligadura de prolongación, ligadura de unión, I: legatura (di valore), F: liaison, D: Haltebogen, Bindebogen, @@ -6990,7 +7010,7 @@ The first @ref{scale degree}. @node transposing instrument @section transposing instrument -ES: ?, +ES: instrumento transpositor, I: ?, F: ?, D: ?, @@ -7205,7 +7225,7 @@ FI: tritonus. @node tuning fork @section tuning fork -ES: diapasón, +ES: diapasón, horquilla de afinación, I: diapason, corista, F: diapason, D: Stimmgabel, @@ -7214,9 +7234,13 @@ DK: stemmegaffel, S: stämgaffel, FI: viritysavain. -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). +A two-pronged piece of steel used to indicate an absolute pitch, usually for +@emph{A} above middle C (440 cps/Hz), which is the international tuning +standard. Tuning forks for other pitches are available. + +@seealso + +@ref{middle C}. @node tuplet @@ -7234,7 +7258,7 @@ subdivisions. @node turn @section turn -ES: grupeto, +ES: grupeto (circular), I: gruppetto, F: grupetto, D: Doppelschlag, @@ -7322,7 +7346,7 @@ FI: ääni, lauluääni. @node volta @section volta -ES: ?, +ES: vez, primera y segunda vez, I: volta, F: ?, D: ?, -- 2.39.5