@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--2010 by the authors
+Copyright @copyright{} 1999--2014 by the authors
@end macro
@set FDL
* Musical terms A-Z::
* Duration names notes and rests::
* Pitch names::
+* Non-Western terms A-Z::
Appendices
* 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.
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)
}
}
}
@section alla breve
ES: alla breve,
-I: ?,
+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
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]
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
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. In marching bands,
+orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
sousaphones and contrabass bugles are common.
@seealso
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-distances . (3 3)))
\override BarLine #'stencil = ##f
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-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
@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
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
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,
+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
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}.
ES: disminución,
I: diminuzione,
F: diminution,
-D: ?,
+D: Diminution,
NL: ?,
DK: ?,
S: ?,
@section divisio
ES: división,
-I: ?,
+I: divisio,
F: ?,
-D: ?,
+D: Divisio,
NL: ?,
DK: ?,
S: ?,
@section doit
ES: elevación [de tono],
-I: ?,
+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
@section double time signature
ES: compás polimétrico,
-I: ?,
+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: ?,
@section fall
ES: caída [de tono],
-I: ?,
+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
@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: ?,
+D: Flageolett,
NL: ?,
DK: ?,
S: ?,
@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
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
% Fifth
< g des' >^"dim"
< g d' >^"per"
- < g dis >^"aug"
+ < g dis' >^"aug"
% Sixth
< gis es' >^"dim"
< g! es' >^"min"
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 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: ?,
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: ?,
@c TODO: add languages
ES: signo de mensuración,
-I: ?,
+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}.
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}.
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]
@c TODO: add definition.
ES: tonos vecinos,
-I: ?,
+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
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
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
ES: compás polimétrico,
I: polimetria,
F: polymétrie,
-D: ?,
+D: Polymetrie,
NL: ?,
DK: ?,
S: ?,
ES: polimétrico,
I: polimetrico,
F: polymétrique,
-D: ?,
+D: polymetrisch,
NL: ?,
DK: ?,
S: ?,
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: proporción,
I: proporzione,
F: proportion,
-D: ?,
+D: Proportio,
NL: ?,
DK: ?,
S: ?,
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
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
\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,
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: ?,
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
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
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}.
ES: instrumento transpositor,
I: strumento traspositore,
F: instrument transpositeur,
-D: ?,
+D: transponierende Instrumente,
NL: ?,
DK: ?,
S: ?,
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,
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
ES: grupo de valoración especial,
I: gruppi irregolari,
-F: ?,
-D: ?,
+F: N-olet,
+D: N-tole,
NL: Antimetrische figuur,
DK: ?,
S: ?,
ES: vez, primera y segunda vez,
I: volta,
F: volta, fois,
-D: ?,
+D: volta-Klammer, Wiederholungsklammer,
NL: ?,
DK: ?,
S: ?,
@end multitable
+@node Non-Western terms A-Z
+@chapter Non-Western terms A-Z
+
+@menu
+* 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
@appendix Literature used
projects / lilypond.git / blobdiff