\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
-@setfilename music-glosssary.info
-@settitle Music Glossary
+
+@setfilename music-glossary.info
+@settitle LilyPond Music Glossary
@documentencoding UTF-8
@documentlanguage en
+@afourpaper
-@include macros.itexi
+@macro manualIntro
+This glossary provides definitions and translations of musical
+terms used in the documentation manuals for LilyPond version
+@version{}.
+@end macro
-@afourpaper
+@c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
+@macro copyrightDeclare
+Copyright @copyright{} 1999--2014 by the authors
+@end macro
-@c see lilypond.tely for info installation note
-@dircategory LilyPond
-@direntry
-* Glossary: (music-glossary). Glossary of music terms.
-@end direntry
-
-@titlepage
-@title Music Glossary
-@author Christian Mondrup @c Original author of LilyPond glossary
-@c Danish glossary
-@author François Pinard @c Original glossary of GNU music project,
-@c French 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 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', alphabetized by last name, KK, 10/07
-@c Updates to the German translation by Till Rettig, 12/07
-
-Copyright @copyright{} 1999--2009 by the authors
-
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.1
- or any later version published by the Free Software Foundation,
- without Invariant Sections.
-
-@end titlepage
+@set FDL
+@include macros.itexi
@c TODO: multiple omfcreators?
@omflanguage English
@end ignore
-@ifnottex
-@node Top
-@top Music glossary
-@end ifnottex
-
-
-@ifnottex
-
-@ifhtml
-@ifclear bigpage
-This document is also available as a
-@uref{source/Documentation/music-glossary.pdf,PDF} and as
-@uref{source/Documentation/music-glossary-big-page.html,one big page}.
-@end ifclear
-@ifset bigpage
-This document is also available as a
-@uref{source/Documentation/music-glossary.pdf,PDF} and as a
-@uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
-@end ifset
-@end ifhtml
-
-This glossary was brought you by:
-
-@itemize
-
-@item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
-@item @b{François Pinard}: Original glossary of GNU music project, French,
-
-@item @b{Han-Wen Nienhuys}: Dutch,
-@item @b{Jan Nieuwenhuizen}: Dutch,
-
-@item @b{Neil Jerram}: English,
-@item @b{Kurtis Kroon}: English,
-
-@item @b{Heikki Junes}: Finnish,
-
-@item @b{Bjoern Jacke}: German,
-
-@item @b{Adrian Mariano}: Italian,
-
-@item @b{David González}: Spanish,
-
-@item @b{Mats Bengtsson}: Swedish,
-
-@end itemize
-
-with additional contributions: thanks to all who have contributed.
-
-@ignore
-
-The list is rather long ...
-
-@itemize
-
-@item Danish:
-@itemize
-@item Rune Zedeler, @emph{pace}
-@item Eyolf Østrem
-@end itemize
-
-@item Dutch:
-@itemize
-@item Alard de Boer
-@end itemize
-
-@item English:
-@itemize
-@item Trevor Bača
-@item Trevor Daniels
-@item Andrew Hawryluk
-@item Ian Hulin
-@item Kieren MacMillan
-@item Patrick McCarty
-@item Ralph Palmer
-@item Carl D. Sorensen
-@item Anh Hai Trinh
-@end itemize
-
-@item Finnish:
-@itemize
-@item Risto Vääräniemi
-@end itemize
-
-@item German:
-@itemize
-@item Orm Finnendahl
-@item Reinhold Kainhofer
-@item Werner Lemberg
-@item Till Rettig
-@item Thomas Scharkowski
-@end itemize
-
-@item Italian
-@itemize
-@item Andrea Valle
-@end itemize
-
-@item Spanish
-@itemize
-@item Francisco Vila
-@end itemize
-
-@item Swedish
-@itemize
-@item Simon Dahlbacka
-@end itemize
-
-@end itemize
-@end ignore
-
-@*
-Copyright 1999--2009 by the authors
- Permission is granted to copy, distribute and/or modify this document
- under the terms of the GNU Free Documentation License, Version 1.1
- or any later version published by the Free Software Foundation,
- without Invariant Sections.
+@lilyTitlePage{Music Glossary}
-@*
-@end ifnottex
@c @pagesizes 10.3in
@c @everyheading @| @thispage @|
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-This is the Music Glossary (MG) for GNU LilyPond version @version{}.
-For more information about how this fits with the other
-documentation, see
-FIXME FIXME FIXME
-@c @rlearning{About the documentation}.
-
-
@c arrowref
@macro aref{word}
@iftex
@w{@expansion{}@strong{\word\}}@c
@end iftex
+
@ifnottex
@expansion{}@ref{\word\, @strong{\word\}}@c
@end ifnottex
@end macro
+@c TOC -- non-tex
+@ifnottex
+
@menu
* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
+* Non-Western terms A-Z::
+
+Appendices
+
+* Literature used::
+* GNU Free Documentation License:: License of this document.
@end menu
+@docMain
+@end ifnottex
+
+
+@c TOC - tex. Not desired for this manual. -gp
+@c @contents
+
@node Musical terms A-Z
@chapter Musical terms A-Z
* cluster::
* comma::
* common meter::
+* Common Practice Period::
* common time::
* complement::
* compound interval::
* homophony::
* hook::
* hymn meter::
+* incomplete dominant seventh chord::
* interval::
* inversion::
* inverted interval::
* just intonation::
* key::
* key signature::
+* kievan notation::
* laissez vibrer::
* largo::
* leading note::
* polymetric time signature::
* polyphony::
* portato::
+* power chord::
* presto::
* proportion::
* Pythagorean comma::
[Italian: @q{speed up, accelerate}]
-Increase tempo
+An increase in the tempo, abbreviated @notation{accel.}
@seealso
No cross-references.
@node acciaccatura
@section acciaccatura
-ES: ?,
+ES: mordente de una nota,
I: acciaccatura,
F: acciaccatura, appoggiature brève,
-D: ?,
-NL: ?,
+D: Zusammenschlag,
+NL: samenslag,
DK: ?,
S: ?,
FI: ?.
small eighth note (quaver) with a line drawn through the flag and stem.
@seealso
-@ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
+@ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
@node accidental
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 32)
+ #'base-shortest-duration = #(ly:make-moment 1/32)
}
}
}
@node adagio
@section adagio
-ES: adagio,
+ES: adagio, lento,
I: adagio,
F: adagio, lent,
D: Adagio, Langsam,
@node al niente
@section al niente
-ES: ?,
+ES: al niente,
I: al niente,
F: al niente, en mourant,
D: ?,
@node alla breve
@section alla breve
-ES: ?,
-I: ?,
+ES: alla breve,
+I: alla breve,
F: alla breve, à la brève,
-D: ?,
+D: Allabreve, alla breve
NL: ?,
DK: ?,
S: ?,
[Italian: @q{on the breve}] Twice as fast as the notation indicates.
-Also called @notation{in cut-time}. The name derives from mensural
+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
@node allegro
@section allegro
-ES: allegro,
+ES: allegro, rápido,
I: allegro,
F: allegro, gaiement,
D: Allegro, Schnell, Fröhlich, Lustig,
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
+of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
@lilypond[quote,relative=1]
I: appoggiatura,
F: appoggiature, (port de voix),
D: Vorschlag, Vorhalt
-NL: voorslag,
+NL: (korte) voorslag,
DK: forslag,
S: förslag,
FI: appoggiatura, etuhele.
No cross-references.
-@node augmented interval
-@section augmented interval
-
-ES: intervalo aumentado,
-I: intervallo aumentato,
-F: intervalle augmenté,
-D: übermäßiges Intervall,
-NL: overmatig interval,
-DK: forstørret interval,
-S: överstigande intervall,
-FI: ylinouseva intervalli.
-
-@seealso
-@ref{interval}.
-
-
@node augmentation
@section augmentation
@ref{diminution}, @ref{mensural notation}.
+@node augmented interval
+@section augmented interval
+
+ES: intervalo aumentado,
+I: intervallo aumentato,
+F: intervalle augmenté,
+D: übermäßiges Intervall,
+NL: overmatig interval,
+DK: forstørret interval,
+S: överstigande intervall,
+FI: ylinouseva intervalli.
+
+@seealso
+@ref{interval}.
+
+
@node autograph
@section autograph
@item 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.
+emulate engraving. This required more skill than did engraving.
@end itemize
@node beam
@section beam
-ES: barra
+ES: barra (de corcheas),
I: coda,
F: ligature, barre (de croches),
D: Balken,
S: balk,
FI: palkki.
-Line connecting a series of notes (shorter than a quarter note). The
+Line connecting a series of notes (shorter than a quarter note). The
number of beams determines the note value of the connected notes.
@lilypond[quote,notime,relative=2,line-width=13\cm]
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 tuba.
+orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
+sousaphones and contrabass bugles are common.
@seealso
No cross-references.
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music
-the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
+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
+may be extended with more thirds. Four-tone @emph{seventh chords} and
five-tone @emph{ninth} major chords are most often used as dominants
(functional harmony). Chords having no third above the lower notes to
define their mood are a special case called @q{open chords}. The lack of
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-offsets . (3 0 -3 -6)))
+ #'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
}
\context {
Staves of five lines are usually used, and the clef superimposed on them
indicates which five lines have been selected from this @notation{grand
-staff}. For example, the treble or G clef indicates that the top five lines
+staff}. For example, the treble or G clef indicates that the top five lines
have been selected:
@lilypond[quote]
\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-offsets . (3 0 -3 -6)))
+ #'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
}
\context {
\context {
\Score
\override SpacingSpanner #'base-shortest-duration =
- #(ly:make-moment 2 1)
+ #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
- #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ #'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
}
\context {
@ref{common time}, @ref{meter}.
+@node Common Practice Period
+@section Common Practice Period
+
+ES: ?,
+I: Periodo di pratica comune,
+F: ?,
+D: Kunstmusik,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO:
+This is a stub for Common Practice Period (CPP).
+
+@seealso
+@ruser{Note names in other languages}.
+
+
@node common time
@section common time
ES: compás compuesto, compás de subdivisión ternaria,
I: tempo composto,
F: mesure composée,
-D: ?,
+D: Dreiertakt,
NL: ?,
DK: ?,
S: ?,
@section compound time
ES: compás compuesto, compás de amalgama (def. 2),
-I: ?,
+I: tempo misto,
F: temps composé,
-D: ?,
+D: zusammengesetzte Taktart,
NL: ?,
DK: ?,
S: ?,
@ref{compound meter}.
@item
-A time signature that additively combines two or more unequal meters, e.g.,
-@q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
+A time signature that additively combines two or more unequal meters,
+e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
+signatures.
@end enumerate
-@lilypond[quote,line-width=13.0\cm]
-#(define ((compound-time one two three num) grob)
- (grob-interpret-markup grob
- (markup
- #:override '(baseline-skip . 0)
- #:number
- #:line (
- #:left-column (one num)
- #:vcenter "+"
- #:left-column (two num)
- #:vcenter "+"
- #:left-column (three num)))))
-
+@lilypond[quote,verbatim]
\relative c' {
\key f \major
- #(set-time-signature 8 8 '(3 2 3))
- \override Staff.TimeSignature #'stencil =
- #(compound-time "3" "2" "3" "8")
+ \compoundMeter #'((3 8) (2 8) (3 8))
c8 d e f4 d8 c bes
c4 g'8 e c f4.
\bar "||"
@end lilypond
@seealso
-@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
+@ref{compound meter},
+@ref{meter},
+@ref{polymetric time signature}.
@node concert pitch
@section concert pitch
-ES: en Do, afinación de concierto,
+ES: en Do, tono de concierto,
I: intonazione reale,
F: tonalité de concert, en ut,
-D: ?,
+D: Kammerton,
NL: ?,
DK: ?,
S: ?,
FI: cresendo, voimistuen.
Increasing volume. Indicated by a rightwards opening horizontal wedge
-(hairpin) or the abbreviation @notation{cresc.}.
+(hairpin) or the abbreviation @notation{cresc.}
@lilypond[quote,relative=2]
\key g \major
the player or singer to manage line breaks during performance, which
enhances the readability of a score.
-Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles. Nowadays,
+Custodes were frequently used in music notation until the 16th century.
+There were different appearances for different notation styles. Nowadays,
they have survived only in special forms of musical notation such as the
@emph{Editio Vaticana}, dating from the beginning of the 20th century
S: da capo,
FI: da capo, alusta.
-Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
+Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
the beginning to the end or to a certain place marked @emph{fine}.
@seealso
@node dal niente
@section dal niente
-ES: ?,
+ES: dal niente, de la nada,
I: dal niente,
F: partant de rien,
-D: ?,
+D: aus dem Nichts, dal niente,
NL: ?,
DK: ?,
S: ?,
S: dal segno,
FI: dal segno, lähtien merkistä.
-Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
+Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign
(@notation{segno}):
FI: decresendo, hiljentyen.
Decreasing tone volume. Indicated by a leftwards opening horizontal
-wedge (hairpin) or the abbreviation @notation{decresc.}.
+wedge (hairpin) or the abbreviation @notation{decresc.}
@lilypond[quote,relative=2]
\key g \major
S: diatonisk skala,
FI: diatoninen asteikko.
-A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
-played on the white keys of a piano keybord are diatonic. These scales
+A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
+played on the white keys of a piano keyboard are diatonic. These scales
are sometimes called, somewhat inaccurately, @q{church modes}).
These @emph{modes} are used in Gregorian chant and in pre-baroque early music
S: diminuendo,
FI: diminuendo, hiljentyen.
+Abbreviated @emph{dim.} It indicates a decrease in tone volume.
+
@seealso
@ref{decrescendo}.
@node diminution
@section diminution
-ES: ?,
+ES: disminución,
I: diminuzione,
F: diminution,
-D: ?,
+D: Diminution,
NL: ?,
DK: ?,
S: ?,
@node direct
@section direct
-ES: ?,
+ES: directo,
I: ?,
F: ?,
D: Weiser, Zeiger,
@node divisio
@section divisio
-ES: ?,
-I: ?,
+ES: división,
+I: divisio,
F: ?,
-D: ?,
+D: Divisio,
NL: ?,
DK: ?,
S: ?,
@node doit
@section doit
-ES: ?,
-I: ?,
+ES: elevación [de tono],
+I: portamento indeterminato verso l'alto/l'acuto,
F: saut,
-D: ?,
+D: Glissando zu unbestimmter Tonhöhe,
NL: ?,
DK: ?,
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
@node double time signature
@section double time signature
-ES: ?,
-I: ?,
+ES: compás polimétrico,
+I: indicazione di tempo doppia/polimetrica,
F: ?,
-D: ?,
+D: zusammengesetzte Taktart,
NL: ?,
DK: ?,
S: ?,
ES: sinalefa,
I: elisione,
F: élision,
-D: ?,
+D: Elision,
NL: ?,
DK: ?,
S: ?,
S: nottryck,
FI: painatus.
-Engraving means incising or etching a metal plate for printing.
+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.
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.
+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 the
@node fall
@section fall
-ES: ?,
-I: ?,
+ES: caída [de tono],
+I: portamento indeterminato verso il basso/il grave,
F: chute,
-D: ?,
+D: Glissando zu unbestimmter Tonhöhe nach unten,
NL: ?,
DK: ?,
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
@node feathered beam
@section feathered beam
-ES: barra punteada,
-I: ?,
+ES: barra progresiva,
+I: travatura convergente/divergente,
F: ligature en soufflet, lien de croches en soufflet,
D: gespreizter Balken,
NL: ?,
@node flageolet
@section flageolet
-ES: ?,
-I: ?,
+ES: armónico,
+I: armonico,
F: flageolet,
-D: ?,
+D: Flageolett,
NL: ?,
DK: ?,
S: ?,
@node forte
@section forte
-ES: forte,
+ES: forte, fuerte,
I: forte,
F: forte,
D: forte, laut,
@section Frenched score
ES: partitura a la francesa,
-I: ?,
+I: partitura senza i righi vuoti,
F: ?,
-D: ?,
+D: Orchesterpartitur ohne leere Systeme,
NL: ?,
DK: ?,
S: ?,
-FI: partituuri francesan tapaan.
+FI: partituuri ilman tyhjiä nuottiviivastoja.
A @q{condensed} score, produced by omitting staves for instruments that are not
playing at the moment, and by moving up additional systems from following pages
@section Frenched staff
ES: pentagrama a la francesa,
-I: ?,
+I: rigo temporaneo,
F: ?,
-D: ?,
+D: zeitweiliges Notensystem,
NL: ?,
DK: ?,
S: ?,
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))
+ (markup (interpret-markup layout props arg))
+ (x1 (car (ly:stencil-extent markup X)))
+ (x2 (cdr (ly:stencil-extent markup X)))
+ (y1 (car (ly:stencil-extent markup Y)))
+ (y2 (cdr (ly:stencil-extent markup 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 markup 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
counted in the rhythm of the bar.
@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
@node grand staff
@item DK: h
@item S: h
@item FI: H, h
-@end itemize
+@end itemize
Letter name used for @notation{B natural} in German and Scandinavian
usage. In the standard usage of these countries, @notation{B} means
@node harmonics
@section harmonics
-ES: sonidos del flautín,
+ES: armónicos, sonidos aflautados,
I: armonici,
F: flageolet, sons harmoniques,
D: Flageolett-Töne,
ES: hemiolia,
I: emiolia, (rarely hemiola or emiola),
F: hémiole,
-D: ?,
+D: Hemiole,
NL: ?,
DK: ?,
S: ?,
-FI: 3/2 -suhde.
+FI: hemioli, 3/2 -suhde.
[Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
@section hymn meter
ES: ?,
-I: ?,
+I: metrica dell'inno,
F: ?,
-D: ?,
+D: Silbenanzahl,
NL: ?,
DK: ?,
S: ?,
No cross-references.
+@node incomplete dominant seventh chord
+@section incomplete dominant seventh chord
+
+ES: ?,
+I: accordo di settima dominante incompleto,
+F: ?,
+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
- < g g >1
+ < g g >1
< g gis >^"aug"
% Second
< gis as >^"dim"
- < g! as >^"min"
+ < g! as >^"min"
< g a! >^"maj"
- < g ais >^"aug"
+ < g ais >^"aug"
% Third
- < gis bes >^"dim"
- < g! bes >^"min"
- < g b! >^"maj"
- < g bis >^"aug"
+ < gis bes >^"dim"
+ < g! bes >^"min"
+ < g b! >^"maj"
+ < g bis >^"aug"
% Fourth
- < g ces >^"dim"
- < g c! >^"per"
- < g cis >^"aug"
+ < g ces >^"dim"
+ < g c! >^"per"
+ < g cis >^"aug"
% Fifth
< g des' >^"dim"
< g d' >^"per"
- < g dis >^"aug"
+ < g dis' >^"aug"
% Sixth
< gis es' >^"dim"
< g! es' >^"min"
< g e'! >^"maj"
< g eis' >^"aug"
% Seventh
- < gis f'! >^"dim"
- < g! f'! >^"min"
- < g fis' >^"maj"
+ < gis f'! >^"dim"
+ < g! f'! >^"min"
+ < g fis' >^"maj"
< g fisis' >^"aug"
% Octave
< g ges' >^"dim"
@node inversion
@section inversion
-ES: ?,
+ES: inversión,
I: rivolto,
F: renversement,
-D: ?,
+D: Umkehrung,
NL: ?,
DK: ?,
S: ?,
FI: käännös.
When a chord sounds with a bass note that differs from the root of the
-chord, it is said to be @emph{inverted}. The number of inversions that a
+chord, it is said to be @emph{inverted}. The number of inversions that a
chord can have is one fewer than the number of constituent notes. For
example, triads (which have three constituent notes) can have three
positions, two of which are inversions:
@table @dfn
@item Root position
-The root note is in the bass, and above that are the third and the fifth. A
+The root note is in the bass, and above that are the third and the fifth. A
triad built on the first scale degree, for example, is marked @notation{I}.
@item First inversion
-The third is in the bass, and above it are the fifth and the root. This
+The third is in the bass, and above it are the fifth and the root. This
creates an interval of a sixth and a third above the bass note, and so is
-marked in figured Roman notation as @notation{6/3}. This is commonly
+marked in figured Roman notation as @notation{6/3}. This is commonly
abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
characteristic interval of the inversion, and so always implies
@notation{6/3}.
@item Second inversion
-The fifth is in the bass, and above it are the root and the third. This
+The fifth is in the bass, and above it are the root and the third. This
creates an interval of a sixth and a fourth above the bass note, and so is
-marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
+marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
unstable chord position.
@end table
@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
ES: dejar vibrar,
I: laissez vibrer,
F: laissez vibrer,
-D: ?,
+D: Laissez vibrer, schwingen lassen,
NL: ?,
DK: ?,
S: ?,
FI: antaa väristä.
[French: @q{Let vibrate}] Most frequently associated with harp
-parts. Marked @notation{l.v.} in the score.
+parts. Marked @notation{l.v.} in the score.
@seealso
No cross-references.
FI: largo, hitaasti, leveästi.
[Italian: @q{wide}.] Very slow in tempo, usually combined with great
-expressiveness. @emph{Larghetto} is less slow than largo.
+expressiveness. @emph{Larghetto} is less slow than largo.
@node leading note
@section ligature
ES: ligadura,
-I: ?,
+I: ligatura,
F: ligature,
DE: Ligatur,
NL: ?,
ES: en su lugar,
I: loco,
F: ?,
-D: ?,
+D: loco,
NL: ?,
DK: ?,
S: ?,
@section longa
@itemize
-@item US: long, longa,
+@item US: long, longa,
@item ES: longa,
@item I: longa,
@item F: longa, longue,
@section lyric tie
ES: ligadura de letra,
-I: ?,
+I: legatura del testo,
F: ligature de mots,
D: Textbindung,
NL: ?,
ES: letra (de la canción),
I: testo,
F: paroles,
-D: Liedtext, Gesangtext,
+D: Liedtext, Gesangstext,
NL: liedtekst,
DK: ?,
S: ?,
@node maxima
@section maxima
-ES: ?,
+ES: máxima,
I: maxima,
F: maxima, maxime,
-D: ?,
+D: Maxima,
NL: ?,
DK: ?,
S: ?,
-FI: ?.
+FI: maxima.
Note value: twice the length of a @notation{longa}.
ES: línea de melisma,
I: linea del melisma,
F: trait de mélisme, trait de tenue,
-D: ?,
+D: Fülllinie,
NL: ?,
DK: ?,
S: ?,
ES: notación mensural,
I: notazione mensurale,
F: notation mensurale,
-D: ?,
+D: Mensuralnotation,
NL: ?,
DK: ?,
S: ?,
of the notation's principles, so the notation of this earliest period is called
@q{Franconian}. Franco's system made use of three note values -- long, breve,
and semibreve -- each of which was normally equivalent to three of the next
-lower note value.
+lower note value.
Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
added several note values (the minim, semiminim and fusa) and extended Franco's
@c TODO: add languages
-ES: ?,
-I: ?,
+ES: signo de mensuración,
+I: indicazione mensurale,
F: signe de mensuration,
-D: ?,
+D: Mensurzeichen,
NL: ?,
DK: ?,
S: ?,
which originally designated @notation{tempus imperfectum} and
@notation{prolatio minor} now stands for @notation{common time}; and the
slashed C, which designated the same with @notation{diminution} now stands
-for @notation{cut-time} (essentially, it has not lost its original meaning).
+for @notation{cut time} (essentially, it has not lost its original meaning).
@seealso
@ref{diminution}, @ref{proportion}, @ref{time signature}.
@item triple: 9/8
@item quadruple: 12/8
- @end itemize
+ @end itemize
@end itemize
@node mezzo
@section mezzo
-ES: ?,
+ES: mezzo,
I: mezzo,
F: mezzo,
-D: ?,
+D: mezzo, etwas,
NL: ?,
DK: ?,
S: ?,
ES: do central,
I: do centrale,
F: do central, do 3
-D: eingestrichenes@w{ }c,
+D: zweigestrichenes@w{ }c,
NL: centrale@w{ }c,
DK: enstreget@w{ }c,
S: ettstruket@w{ }c,
FI: mordent, korukuvio.
@seealso
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
@node multi-measure rest
@section multi-measure rest
-ES: compases de espera,
+ES: compases de espera, silencio multicompás,
I: pausa multipla,
F: pause multiple, mesure à compter,
NL: meermaats rust,
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
+measures) of the rest. The former style is called @q{Kirchenpausen} in
German, as a reminiscence of its use in Renaissance vocal polyphony.
@lilypond[quote,relative=2]
@section neighbor tones
@c TODO: add definition.
-
-ES: ?,
-I: ?,
+
+ES: tonos vecinos,
+I: nota di volta,
F: tons voisins,
D: ?,
NL: ?,
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
-@ref{ornament}.
+@ref{mordent}, @ref{ornament}.
@node ninth
A head-like sign which indicates pitch by its position on a @notation{staff}
provided with a @notation{clef}, and duration by a variety of shapes such as
-hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
+hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
For percussion instruments (often having no defined pitch) the note head may
indicate the instrument.
@node note value
@section note value
-ES: valor (duración),
+ES: valor, duración,
I: valore, durata,
F: durée, valeur (d'une note),
D: Notenwert,
be one-third the higher note value. Composers indicated which proportions
to use with various signs—two of which survive to the present day: the
C-shaped sign for @notation{common time}, and the slashed C for
-@notation{alla breve} or @notation{cut-time}.
+@notation{alla breve} or @notation{cut time}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
@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
ES: indicación de octava,
I: segno di ottava,
F: indication d'octave,
-D: ?,
+D: Oktavierungszeichen,
NL: ?,
DK: ?,
S: ?,
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
@end lilypond
@seealso
-@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
+@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
+@ref{mordent}.
@node ossia
@node part
@section part
-ES: parte,
+ES: parte, particella,
I: voce, parte,
F: partie,
D: Stimme,
A family of musical instruments which are played on by striking or
shaking. Percussion instruments commonly used in a symphony orchestra are
kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
-tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
+tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
@seealso
@node piano
@section piano
-ES: piano,
+ES: piano, suave,
I: piano,
F: piano,
D: piano, leise,
ES: compás polimétrico,
I: polimetria,
F: polymétrie,
-D: ?,
+D: Polymetrie,
NL: ?,
DK: ?,
S: ?,
@item The @emph{successive} use of different meters in one or more parts.
-@end itemize
+@end itemize
@seealso
@ref{polymetric} (adj.)
ES: polimétrico,
I: polimetrico,
F: polymétrique,
-D: ?,
+D: polymetrisch,
NL: ?,
DK: ?,
S: ?,
@node polymetric time signature
@section polymetric time signature
-ES: compás polimétrico,
+ES: indicación de compás polimétrico,
I: tempo polimetrico,
F: ?,
-D: ?,
+D: zusammengesetzte Taktart,
NL: ?,
DK: ?,
S: ?,
[Italian: past participle of @emph{portare}, @q{to carry}]
A stroke in which each of several notes is separated slightly within a slur,
-without changing the bow's direction. It is used for passages of a
+without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
@seealso
@ref{legato}.
+@node power chord
+@section power chord
+
+A chord containing only the root and the fifth (possibly in multiple
+octaves). Commonly used in guitar music, particularly with electric
+guitar and high distortion.
+
+@seealso
+@ref{chord}.
@node presto
@section presto
-ES: presto,
+ES: presto, muy rápido,
I: presto,
F: presto, très rapide, enlevé,
D: Presto, Sehr schnell,
ES: proporción,
I: proporzione,
F: proportion,
-D: ?,
+D: Proportio,
NL: ?,
DK: ?,
S: ?,
@item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
3:1, 6:2, and 9:3.
-@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
+@item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
Example: 4:1, 8:2, and 12:3
@end itemize
@node quality
@section quality
-ES: ?,
+ES: variante [de acorde o intervalo],
I: qualità (?),
F: qualité (?),
-D: ?,
+D: Modus (Dur oder Moll),
NL: ?,
DK: ?,
S: ?,
intervals. Tertian triads can be described as a series of three notes. The
first element is the root note (or simply @q{root}) of the chord, the second
note is the @q{third} of the chord, and the last note is the @q{fifth} of
-the chord. These are described below:
+the chord. These are described below:
@multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
@headitem Chord name
There are various types of seventh chords depending on the quality of the
original chord and the quality of the seventh added.
-Five common types of seventh chords have standard symbols. The chord quality
+Five common types of seventh chords have standard symbols. The chord quality
indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
-and D^m7 are all identical). The last three chords are not commonly used
+and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
@seealso
@node quarter tone
@section quarter tone
-ES: cuarto de tonno,
+ES: cuarto de tono,
I: quarto di tono,
F: quart de ton,
D: Viertelton,
@node quintuplet
@section quintuplet
-ES: cinquillo, quintillo.
+ES: cinquillo, quintillo,
I: quintina,
F: quintolet,
D: Quintole,
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}.
@node ritardando
@section ritardando
-ES: ritardando,
+ES: ritardando, retardando,
I: ritardando,
F: ritardando, en ralentissant,
D: ritardando, langsamer werden,
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
@section ritenuto
-ES: ritenuto,
+ES: ritenuto, reteniendo,
I: ritenuto,
F: ritenuto, en retenant,
D: ritenuto,
\new Staff \relative c' {
c1 d e f g a b c
}
- \lyrics {
- << { I II III IV V VI VII I }
- { T "" "" S D } >>
-}
+ \lyrics { I II III IV V VI VII I }
+ \lyrics { T "" "" S D }
>>
@end lilypond
@item ES: redonda,
@item I: semibreve,
@item F: ronde,
-@item D: Ganze, ganze Note,
+@item D: Ganze, ganze Note, Semibrevis,
@item NL: hele noot,
@item DK: helnode,
@item S: helnot,
@node simile
@section simile
-ES: simile,
+ES: simile, similar,
I: simile,
F: simile,
-D: ?,
+D: simile, gleichartig,
NL: ?,
DK: ?,
S: ?,
@section simple meter
ES: compás simple, compás de subdivisión binaria,
-I: ?,
+I: tempo semplice,
F: mesure binaire,
-D: ?,
+D: grader Takt,
NL: ?,
DK: ?,
S: ?,
@node slur
@section slur
-ES: ligadura (de expresión),
+ES: ligadura de expresión,
I: legatura (di portamento o espressiva),
F: liaison, coulé,
D: Bogen (Legatobogen, Phrasierungsbogen),
In its present-day meaning a sonata denotes an instrumental
composition for piano or for some other instrument with piano
-accompaniment, which consists of three or four independant pieces,
+accompaniment, which consists of three or four independent pieces,
called movements.
@seealso
@section staff
UK: stave,
-ES: pentagrama,
+ES: pentagrama, pauta,
I: pentagramma, rigo (musicale),
F: portée,
D: Notensystem, Notenzeile,
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
+@lilypond[quote,relative=1]
+c4 e g c
+@end lilypond
+
@seealso
-No cross-references.
+@ref{system}.
@node staves
@node stringendo
@section stringendo
-ES: ?,
+ES: stringendo, acelerando,
I: stringendo,
F: stringendo, en accélérant,
-D: ?,
+D: stringendo,
NL: ?,
DK: ?,
S: ?,
NL: systeem,
DK: system,
S: system,
-FI: nuottijärjestelmä.
+FI: nuottiviivasto.
-The collection of staves (@notation{staff}), two or more, as used for writing
-down of keyboard, chamber, choral, or orchestral music.
+The collection of staves (@notation{staff}), two or more, as used
+for writing down keyboard, chamber, choral, or orchestral music;
+a section of the score spanning the width of a single page.
@seealso
@ref{staff}.
@node thirty-second note
@section thirty-second note
-@itemize
+@itemize
@item UK: demisemiquaver
@item ES: fusa
@item I: biscroma
@node tie
@section tie
-ES: ligadura de prolongación, ligadura de unión,
+ES: ligadura de unión (o de prolongación),
I: legatura (di valore),
F: liaison (de tenue),
D: Haltebogen, Bindebogen,
ES: instrumento transpositor,
I: strumento traspositore,
F: instrument transpositeur,
-D: ?,
+D: transponierende Instrumente,
NL: ?,
DK: ?,
S: ?,
@node transposition
@section transposition
-ES: transporte,
+ES: transporte, transposición,
I: trasposizione,
F: transposition,
D: Transposition,
@node treble clef
@section treble clef
-ES: clave de sol,
+ES: clave de sol en segunda,
I: chiave di violino,
F: clef de sol,
D: Violinschlüssel, Sopranschlüssel,
ES: compás ternario,
I: tempo ternario,
F: mesure ternaire,
-D: in drei, ungerader Takt,
+D: Dreiertakt, ungerader Takt,
NL: driedelige maatsoort,
DK: tredelt takt,
S: tretakt,
@node tuning fork
@section tuning fork
-ES: diapasón, horquilla de afinación,
+ES: diapasón [de horquilla],
I: diapason, corista,
F: diapason,
D: Stimmgabel,
NL: stemvork,
DK: stemmegaffel,
S: stämgaffel,
-FI: viritysavain.
+FI: viritysavain, äänirauta.
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
@node tuplet
@section tuplet
-ES: ?,
+ES: grupo de valoración especial,
I: gruppi irregolari,
F: ?,
-D: ?,
-NL: ?,
+D: N-tole,
+NL: Antimetrische figuur,
DK: ?,
S: ?,
FI: ?.
ES: vez, primera y segunda vez,
I: volta,
F: volta, fois,
-D: ?,
+D: volta-Klammer, Wiederholungsklammer,
NL: ?,
DK: ?,
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 @notation{soupir}, or quarter rest.
+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.
@end multitable
+@node Non-Western terms A-Z
+@chapter Non-Western terms A-Z
+
@menu
-* Literature used::
+* bayati::
+* iraq::
+* kurd::
+* makam::
+* makamlar::
+* maqam::
+* rast::
+* semai::
+* sikah::
+* taqasim::
@end menu
+
+@node bayati
+@section bayati
+
+@c TODO
+This is a stub for @code{bayati}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node iraq
+@section iraq
+
+@c TODO
+This is a stub for @code{iraq}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node kurd
+@section kurd
+
+@c TODO
+This is a stub for @code{kurd}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node makam
+@section makam
+
+@c TODO
+This is a stub for @code{makam}.
+
+@seealso
+Notation Reference:
+@ruser{Turkish classical music}.
+
+
+@node makamlar
+@section makamlar
+
+@c TODO
+This is a stub for @code{makamlar}.
+
+@seealso
+Notation Reference:
+@ruser{Turkish classical music}.
+
+
+@node maqam
+@section maqam
+
+@c TODO
+This is a stub for @code{maqam}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic music},
+@ruser{Arabic key signatures}.
+
+
+@node rast
+@section rast
+
+@c TODO
+This is a stub for @code{rast}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node semai
+@section semai
+
+@c TODO
+This is a stub for @code{semai}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node sikah
+@section sikah
+
+@c TODO
+This is a stub for @code{sikah}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
+@node taqasim
+@section taqasim
+
+@c TODO
+This is a stub for @code{taqasim}.
+
+@seealso
+Notation Reference:
+@ruser{Arabic key signatures}.
+
+
@node Literature used
-@unnumberedsec Literature used
+@appendix Literature used
@itemize
@item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
Cambridge: Belknap Press (Harvard University Press), 1986.
@item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
-
@end itemize
+
+@include fdl.itexi
+
+
@bye
projects / lilypond.git / blobdiff