@version{}.
@end macro
-@c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
+@c `Music Glossary' was born 1999-10-04 with this commit:
+@c lilypond-1.2.12
+@c author: fred
+@c commit: be4e46f61b1a8dec0922e0fd849c626beb6ab9be
+@c file: Documentation/user/glossary.texi
+
@macro copyrightDeclare
-Copyright @copyright{} 1999--2012 by the authors
+Copyright @copyright{} 1999--2015 by the authors
@end macro
@set FDL
* harmonics::
* harmony::
* hemiola::
+* high bass clef::
* homophony::
* hook::
* hymn meter::
+* incomplete dominant seventh chord::
* interval::
* inversion::
* inverted interval::
* just intonation::
* key::
* key signature::
+* kievan notation::
* laissez vibrer::
* largo::
* leading note::
ES: mordente de una nota,
I: acciaccatura,
-F: acciaccatura, appoggiature brève,
+F: acciaccature, appoggiature brève,
D: Zusammenschlag,
NL: samenslag,
DK: ?,
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 32)
+ #'base-shortest-duration = #(ly:make-moment 1/32)
}
}
}
@section alla breve
ES: alla breve,
-I: ?,
+I: alla breve,
F: alla breve, à la brève,
D: Allabreve, alla breve
NL: ?,
ES: manuscrito,
I: autografo,
-F: manuscrit, autographe
+F: manuscrit, autographe,
D: Autograph, Handschrift,
NL: manuscript,
DK: håndskrift, autograf,
A clef setting with middle C on the first top ledger line.
@seealso
-@ref{F clef}.
+@ref{F clef},
+@ref{high bass clef}.
@node beam
ES: tiempo, parte (de compás)
I: tempi,
-F: temps,
+F: temps, battue
D: Takt, Taktschlag, Zeit (im Takt),
NL: tel,
DK: (takt)slag,
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music
+Two or more tones sounding simultaneously. In traditional European music
the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
(major + minor third) as well as @emph{minor} (minor + major third) chords
may be extended with more thirds. Four-tone @emph{seventh chords} and
the middle third means their quality is ambivalent -- neither major nor
minor.
-@lilypond[quote,notime,line-width=13.0\cm]
+@lilypond[quote,notime]
<<
\new Staff {
\relative c'' {
"minor "
"diminished "
"augmented "
- "seventh-chord "
- "ninth-chord"
+ "seventh "
+ "ninth"
}
>>
@end lilypond
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
+ #'base-shortest-duration = #(ly:make-moment 1/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 2 1)
+ #'base-shortest-duration = #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
\context {
\Score
\override SpacingSpanner #'base-shortest-duration =
- #(ly:make-moment 2 1)
+ #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
@section Common Practice Period
ES: ?,
-I: ?,
-F: ?,
-D: ?,
+I: Periodo di pratica comune,
+F: musique classique moderne,
+D: Kunstmusik,
NL: ?,
DK: ?,
S: ?,
@section compound time
ES: compás compuesto, compás de amalgama (def. 2),
-I: ?,
+I: tempo misto,
F: temps composé,
D: zusammengesetzte Taktart,
NL: ?,
ES: consonancia,
I: consonanza,
-F: consonance,
+F: consonance, consonnance,
D: Konsonanz,
NL: consonant,
DK: konsonans,
ES: notas guía,
I: notine,
-F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
+F: petites notes précédant l'entrée d'un instrument, réplique, « à défaut »,
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
ES: directo,
I: ?,
-F: ?,
+F: direct,
D: Weiser, Zeiger,
NL: ?,
DK: ?,
@section divisio
ES: división,
-I: ?,
-F: ?,
+I: divisio,
+F: division,
D: Divisio,
NL: ?,
DK: ?,
@section doit
ES: elevación [de tono],
-I: ?,
+I: portamento indeterminato verso l'alto/l'acuto,
F: saut,
D: Glissando zu unbestimmter Tonhöhe,
NL: ?,
S: ?,
FI: nousu.
-Indicator for a indeterminately rising pitch bend. Compare with
+Indicator for an indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
@seealso
NL: dubbele voorslag,
DK: dobbelt forslag,
S: dubbelslag,
-FI: kaksoisappogiatura, kaksoisetuhele.
+FI: kaksoisappoggiatura, kaksoisetuhele.
@seealso
@ref{appoggiatura}.
@section double time signature
ES: compás polimétrico,
-I: ?,
-F: ?,
+I: indicazione di tempo doppia/polimetrica,
+F: mesure composée, métrique composée,
D: zusammengesetzte Taktart,
NL: ?,
DK: ?,
@section fall
ES: caída [de tono],
-I: ?,
+I: portamento indeterminato verso il basso/il grave,
F: chute,
D: Glissando zu unbestimmter Tonhöhe nach unten,
NL: ?,
S: ?,
FI: lasku.
-Indicator for a indeterminately falling pitch bend. Compare with
+Indicator for an indeterminately falling pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
@seealso
@section feathered beam
ES: barra progresiva,
-I: ?,
+I: travatura convergente/divergente,
F: ligature en soufflet, lien de croches en soufflet,
D: gespreizter Balken,
NL: ?,
@lilypond[quote,line-width=13.0\cm]
\new GrandStaff <<
\new Staff = "rh" \with {
- fontSize = #-3
- \override StaffSymbol #'staff-space = #(magstep -3)
+ \magnifyStaff #2/3
} \relative c'' {
\clef treble
\key es \major
@section flageolet
ES: armónico,
-I: ?,
+I: armonico,
F: flageolet,
D: Flageolett,
NL: ?,
@section Frenched score
ES: partitura a la francesa,
-I: ?,
-F: ?,
+I: partitura senza i righi vuoti,
+F: partition à la française,
D: Orchesterpartitur ohne leere Systeme,
NL: ?,
DK: ?,
@section Frenched staff
ES: pentagrama a la francesa,
-I: ?,
-F: ?,
+I: rigo temporaneo,
+F: portée à la française,
D: zeitweiliges Notensystem,
NL: ?,
DK: ?,
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.
-
-TODO: what does the @q{p} mean in Sp, Dp, Tp?
+A few examples among many others are the tonic, subdominant or dominant of
+the parallel minor scale, or the incomplete dominant seventh chord.
@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+#(define-markup-command (diagonal-stroke layout props arg)
+ (markup?)
+ #:category font
+ #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
+ (let*
+ ((thick (* (magstep font-size)
+ (ly:output-def-lookup layout 'line-thickness)))
+ (underline-thick (* thickness thick))
+ (m (interpret-markup layout props arg))
+ (x1 (car (ly:stencil-extent m X)))
+ (x2 (cdr (ly:stencil-extent m X)))
+ (y1 (car (ly:stencil-extent m Y)))
+ (y2 (cdr (ly:stencil-extent m Y)))
+ (dx (* extension (- x2 x1)))
+ (dy (* extension (- y2 y1)))
+ (line (make-line-stencil underline-thick
+ (- x1 dx) (- y1 dy)
+ (+ x2 dx) (+ y2 dy))))
+ (ly:stencil-add m line)))
<<
{
<g e c>1 <a f d> <b g e>
}
\lyrics {
T Sp Dp S D Tp
- \markup { D \translate #'(-2 . 0) | }
+ \markup { \concat { \diagonal-stroke D \super "7" } }
}
>>
@end lilypond
@seealso
-No cross-references.
+@ref{dominant}, @ref{incomplete dominant seventh chord},
+@ref{subdominant}, @ref{tonic}.
@node G
@lilypond[quote,notime]
\relative c'' {
\override Staff.Clef #'full-size-change = ##t
- \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
\clef french
g1
\clef treble
@seealso
@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
+@node high bass clef
+@section high bass clef
+
+ES: ?,
+I: ?,
+F: clef de basse haute,
+D: hoher Bassschlüssel,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Beginning in 18th century the high bass clef used in French Horn parts
+for the lowest pitches. This usage of the F clef was then passed down
+from the French Horn to the Basset Horn and then to the Bass Clarinet.
+It looks identical to the standard bass clef, but is pitched an octave
+higher -- octavation indicators on clefs appeared at the beginning of
+the 20th Century.
+
+In LilyPond, the most straightforward way to make a high bass clef is to
+print the modern version @code{\clef "bass^8"} but without the @code{8};
+
+@lilypond[quote,verbatim]
+<<
+ \new Staff {
+ \clef treble { g4 b d' g' }
+ }
+ \new Staff \with { \omit ClefModifier }
+ { \clef "bass^8" { g4 b d' g' } }
+>>
+@end lilypond
+
+
+@seealso
+@ref{F clef}, @ref{bass clef}.
+
@node homophony
@section homophony
@section hymn meter
ES: ?,
-I: ?,
+I: metrica dell'inno,
F: ?,
D: Silbenanzahl,
NL: ?,
No cross-references.
+@node incomplete dominant seventh chord
+@section incomplete dominant seventh chord
+
+ES: ?,
+I: accordo di settima dominante incompleto,
+F: accord de septième de dominante incomplet,
+D: verkürzter Dominantseptakkord,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A dominant seventh chord where the root tone is removed.
+The remaining three tones build a diminished triad.
+
+@seealso
+@ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
+
+
@node interval
@section interval
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]
+@lilypond[quote]
<<
\context Voice \relative c'' {
% Prime or unison
% Fifth
< g des' >^"dim"
< g d' >^"per"
- < g dis >^"aug"
+ < g dis' >^"aug"
% Sixth
< gis es' >^"dim"
< g! es' >^"min"
@seealso
@ref{accidental}.
+@node kievan notation
+@section kievan notation
+
+A form of medieval music notation used predominantly in the chantbooks
+of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
+jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
+characterized by the square shape of its noteheads.
+
@node laissez vibrer
@section laissez vibrer
@section ligature
ES: ligadura,
-I: ?,
+I: ligatura,
F: ligature,
DE: Ligatur,
NL: ?,
ES: en su lugar,
I: loco,
-F: ?,
+F: loco,
D: loco,
NL: ?,
DK: ?,
@section lyric tie
ES: ligadura de letra,
-I: ?,
+I: legatura del testo,
F: ligature de mots,
D: Textbindung,
NL: ?,
ES: melisma,
I: melisma,
-F: mélisme, tenue,
+F: mélisme, vocalise,
D: Melisma,
NL: melisma,
DK: ?,
@c TODO: add languages
ES: signo de mensuración,
-I: ?,
+I: indicazione mensurale,
F: signe de mensuration,
D: Mensurzeichen,
NL: ?,
ES: do central,
I: do centrale,
-F: do central, do 3
-D: zweigestrichenes@w{ }c,
+F: do central, do 3,
+D: eingestrichenes@w{ }c,
NL: centrale@w{ }c,
DK: enstreget@w{ }c,
S: ettstruket@w{ }c,
@lilypond[quote,line-width=13.0\cm]
\score{
\relative c'' {
- \set Score.implicitTimeSignatureVisibility = #all-invisible
+ \set Score.initialTimeSignatureVisibility = #all-invisible
\override Score.TimeSignature #'break-visibility = #all-invisible
\time 4/4
\key g \major
@c TODO: add definition.
ES: tonos vecinos,
-I: ?,
+I: nota di volta,
F: tons voisins,
D: ?,
NL: ?,
@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
- \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
- \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
+ \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
+ \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \times 3/2 {g4_"duplets" g} |
+ \tuplet 2/3 {g4_"duplets" g} |
g4 g g \bar "||"
- \times 6/4 {g8_"quadruplets" g g g} |
+ \tuplet 4/6 {g8_"quadruplets" g g g} |
g8 g g g g4 \bar "||"
}
@end lilypond
For longer passages, it may be more practical to mark the octave change at the
beginning with a phrase (see the list below for examples), but without a bracket
or extender line. Then, when the music returns to the written pitch, the octave
-change is cancelled with the word @notation{loco} (q.v.).
+change is canceled with the word @notation{loco} (q.v.).
To parallel the list above:
}
\relative c'' {
c2. c32 b c b c b c b | c1
- c2. b32 c b c \times 4/5 { b c b c b } | c1
+ c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
}
>>
@end lilypond
ES: indicación de compás polimétrico,
I: tempo polimetrico,
-F: ?,
+F: métrique polymétrique,
D: zusammengesetzte Taktart,
NL: ?,
DK: ?,
ES: variante [de acorde o intervalo],
I: qualità (?),
-F: qualité (?),
+F: qualité [d'accord ou d'intervalle],
D: Modus (Dur oder Moll),
NL: ?,
DK: ?,
S: rallentando,
FI: rallerdando, hidastuen.
-[Italian] A performance indication, abbreviated @notation{rall.}
+[Italian: @q{slowing down}]
+
+Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
+to @notation{rall.}
@seealso
@ref{ritardando}.
S: ritardando,
FI: ritardando, hidastuen,
-Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
-@notation{ritard}.
+[Italian: @q{lagging}]
+
+Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
+abbreviated to @notation{rit.} or @notation{ritard}.
@seealso
-No cross-references.
+@ref{rallentando}.
@node ritenuto
ES: partitura,
I: partitura,
-F: partition, conducteur (full score),
+F: partition, conducteur @emph{(full score)},
D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
ES: simile, similar,
I: simile,
-F: simile,
+F: simile, de façon identique,
D: simile, gleichartig,
NL: ?,
DK: ?,
@section simple meter
ES: compás simple, compás de subdivisión binaria,
-I: ?,
+I: tempo semplice,
F: mesure binaire,
D: grader Takt,
NL: ?,
ES: sobre la cuerda de Sol,
I: sul Sol,
-F: sur la G,
+F: sur la corde de sol,
D: auf G, auf der G-Saite,
NL: ?,
DK: ?,
ES: grupo de valoración especial,
I: gruppi irregolari,
-F: ?,
+F: N-olet,
D: N-tole,
NL: Antimetrische figuur,
DK: ?,
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