@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--2008 by the authors
+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
@end ignore
@*
-Copyright 1999--2008 by the authors
+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
* accidental::
* adagio::
* al niente::
+* alla breve::
* allegro::
* alteration::
* alto::
* crescendo::
* cue-notes::
* custos::
+* cut time::
* D::
* da capo::
* dal niente::
* lyrics::
* major::
* major interval::
+* maxima::
* meantone temperament::
* measure::
* measure repeat::
* melisma line::
* melodic cadence::
* mensural notation::
+* mensuration sign::
* meter::
* metronome::
* metronome mark::
* scordatura::
* score::
* second::
+* semibreve::
* semitone::
* seventh::
* sextolet::
@item FI: A, a
@end itemize
-
@seealso
@ref{Pitch names}.
S: ?,
FI: kahdelle.
-Abbreviated @notation{a2} or @notation{a 2}.
+Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
+due} indicates that:
@enumerate
-@item An indication in orchestral scores that a single part notated on a single
-staff that normally carries parts for two players (e.g. first and second oboes)
-is to be played by both players.
+@item A single part notated on a single staff that normally carries parts for
+two players (e.g. first and second oboes) is to be played by both players.
@item Or conversely, that two pitches or parts notated on a staff that normally
carries a single part (e.g. first violin) are to be played by different players,
@end enumerate
-
@seealso
-None yet.
+No cross-references.
@node accelerando
S: accelerando,
FI: accelerando, kiihdyttäen.
-[Italian: @q{speed up, accelerate}.]
+[Italian: @q{speed up, accelerate}]
Increase tempo
-
@seealso
-None yet.
+No cross-references.
@node accent
The stress of one tone over others.
-
@seealso
-None yet.
+No cross-references.
@node accessory
@node acciaccatura
@section acciaccatura
+ES: ?,
+I: acciaccatura,
+F: acciaccatura, appoggiature brève,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
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}.
@item Raising its pitch:
@itemize
-@item A @notation{double sharp}, by two semitones (a whole tone)
-@item A @notation{sharp}, by one semitone
+@item By two semitones (a whole tone)—@notation{double sharp}
+@item By one semitone—@notation{sharp}
@end itemize
@item Lowering its pitch:
@itemize
-@item A @notation{flat}, by one semitone
-@item A @notation{double flat}, by two semitones (a whole tone)
+@item By one semitone—@notation{flat}
+@item By two semitones (a whole tone)—@notation{double flat}
@end itemize
-@item Canceling the effects of the key signature or previous accidentals.
+@item Or canceling the effects of the key signature or previous accidentals.
@end itemize
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
- \context Staff \relative c'' {
- \set Staff.extraNatural = ##f
- gisis1 gis g! ges geses
+@lilypond[quote,notime]
+\score {
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ gisis1 gis g! ges geses
+ }
}
- \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "db. sharp" sharp natural flat "db. flat"
+ \addlyrics {
+ \markup {
+ \center-column { double sharp }
+ }
+ sharp
+ natural
+ flat
+ \markup {
+ \center-column { double flat }
+ }
}
->>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 32)
+ }
+ }
+}
@end lilypond
-
@seealso
@ref{alteration}, @ref{semitone}, @ref{whole tone}.
S: adagio,
FI: adagio, hitaasti.
-[Italian: @q{comfortable, easy}.]
+[Italian: @q{comfortable, easy}]
@itemize
@end itemize
-
@seealso
@ref{andante}, @ref{largo}, @ref{sonata}.
ES: ?,
I: al niente,
-F: ?,
+F: al niente, en mourant,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: häviten olemattomiin.
-[Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
+[Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
that the sound should fade away to nothing.
@notation{Al niente} is indicated by circling the tip of the hairpin:
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \override Hairpin #'circled-tip = ##t
- c1\<
- c2\> c\<
- c1\!
-}
+@lilypond[quote,relative=2]
+\override Hairpin #'circled-tip = ##t
+c1\<
+c2\> c\<
+c1\!
@end lilypond
-or with the actual phrase @notation{al niente}. This may be easier with
-text markup, rather than as part of the @notation{decrescendo} text:
+or with the actual phrase @notation{al niente}:
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \dimTextDecresc
- c1~\>
- c~
- c\!-\markup { \italic "al niente" }
-}
+@lilypond[quote,relative=2]
+\dimTextDecresc
+\override DynamicTextSpanner #'(bound-details right text) =
+ \markup { \italic { al niente } }
+c1\> ~
+c1 ~
+c1\!
@end lilypond
Since one does not crescendo @emph{to} nothing, it is not correct to use
@notation{al niente} with @notation{crescendo}. Instead, one should use
@emph{dal niente} (@notation{@b{from} nothing}).
+@seealso
+@ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
+
+
+@node alla breve
+@section alla breve
+
+ES: ?,
+I: ?,
+F: alla breve,à la brève,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[Italian: @q{on the breve}] Twice as fast as the notation indicates.
+
+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 values.
+
+(In mensural notation, breves and semibreves can have a ternary relationship, in
+which case @notation{alla breve} means thrice (not twice) as fast. In practice,
+this complication may not have mattered, since Gaffurius's system of multiplex
+proportions makes it easy to explicitly state which proportion is needed.)
@seealso
-@ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
+@ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
+@ref{proportion}, @ref{whole note}.
@node allegro
ES: allegro,
I: allegro,
-F: allegro,
+F: allegro, gaiement,
D: Allegro, Schnell, Fröhlich, Lustig,
NL: allegro,
DK: allegro,
S: allegro,
FI: allegro, nopeasti.
-[Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
-tempo, especially the first and last movements of a sonata.
-
+[Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
+quick tempo, especially the first and last movements of a sonata.
@seealso
@ref{sonata}.
An alteration is the modification, raising or lowering, of a note's
pitch. It is established by an accidental.
+@c TODO: add second meaning from mensural notation
@seealso
@ref{accidental}.
reached the height of the female voice. This type of voice is also
known as countertenor.
-
@seealso
@ref{countertenor}.
C clef setting middle C on the middle line of the staff.
-
@seealso
@ref{C clef}.
ES: ámbito,
I: ambitus,
-F: ambitus,
+F: ambitus, tessiture,
D: Ambitus,
NL: ambitus,
DK: ambitus,
also denote the pitch range that a musical instrument is capable of playing.
Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
-
@seealso
-None yet.
+No cross-references.
@node anacrusis
of music before a section of music. It also refers to the initial
note(s) of a melody occurring in that incomplete measure.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1]
\key f \major
\time 4/4
-\relative c' {
- \partial 4 f4 | bes4. a8 bes4 c |
- bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
+\partial 4 f4
+bes4. a8 bes4 c
+bes4( a) g f
+bes4. a8 bes4 c
+f,2. \bar "||"
@end lilypond
-
@seealso
@ref{measure}, @ref{meter}.
Also called @q{natural minor scale}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c'' {
- a1 b c d e f g a }
+@lilypond[quote,notime,relative=2]
+a1 b c d e f g a
@end lilypond
ES: andante,
I: andante,
-F: andante,
+F: andante, allant,
D: Andante, Gehend,
NL: andante,
DK: andante,
S: andante,
FI: andante, käyden.
-[Italian: present participle of @emph{andare}, @q{to walk}.]
+[Italian: present participle of @emph{andare}, @q{to walk}]
Walking tempo/character.
-
@seealso
-None yet.
+No cross-references.
@node appoggiatura
note regardless of the duration of the main note the duration of the
long appoggiatura is proportional to that of the main note.
-@lilypond[line-width=13.0\cm]
-\context Voice \relative c'' {
- \key d \major
- \time 4/4
-
-%\override Score.TextScript #'font-style = #'large
- <d a fis>4_"notation" r
- { \override Stem #'flag-style = #'()
- \grace g16
- \revert Stem #'flag-style
- }
- fis8 e16 fis
- { \override Stem #'flag-style = #'()
- \grace a16
- \revert Stem #'flag-style
- }
- g8 fis16 g |
- \cadenzaOn a4 \bar "||" \cadenzaOff
-
- <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
- \cadenzaOn a4 \bar "||" \cadenzaOff
-}
+@lilypond[quote,relative=2]
+\key d \major
+\time 4/4
+<d a fis>4_"notation" r
+\grace g16
+fis8 e16 fis
+\grace a16
+g8 fis16 g |
+a4 \bar "||"
+
+\set Score.measurePosition = #ZERO-MOMENT
+<d, a fis>4_"performance" r
+g16( fis) e fis
+a16 ( g) fis g |
+a4 \bar "||"
@end lilypond
An appoggiatura may have more notes preceding the main note.
-@lilypond[line-width=13.0\cm]
-\relative c'' {
- \key as \major
- \time 2/4
-% \override Score.TextScript #'font-style = #'large
- \grace { bes16 } as8_"notation" as16 bes as8 g |
- \grace { as16[( bes] } < c as >4-)
- \grace { as16[( bes] } < c as >4-) \bar "||"
- \grace { bes16 } as8_"performance" as16 bes as8 g |
- << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
- \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
- \bar "||"
-}
-@end lilypond
+@lilypond[quote,relative=2]
+\key as \major
+\time 2/4
+\grace bes16 as8-"notation" as16 bes as8 g |
+\grace { as16[( bes] } <c as>4)
+\grace { as16[( bes] } <c as>4) \bar "||"
+\grace bes16 as8-"performance" as16 bes as8 g |
+<<
+ {
+ \voiceOne
+ as32 bes c8. as32 bes c8.
+ }
+ \new Voice {
+ \voiceTwo
+ as16 ~ as8. as16 ~ as8.
+ }
+>>
+@end lilypond
@seealso
-None yet.
+No cross-references.
@node arpeggio
S: arpeggio,
FI: arpeggio, murtosointu.
-[Italian: @q{harp-like, played like a harp}.]
+[Italian: @q{harp-like, played like a harp}]
-@lilypond[fragment,line-width=13.0\cm]
- \context PianoStaff <<
- \context Staff = SA \relative c'' {
- \time 4/4
- \clef treble
- r8 g16 c e g, c e r8 g,16 c e g, c e |
- r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
- \context Staff = SB \relative c' {
- \clef bass
- << \context Voice = va {
- \stemUp
- r16 e8. ( e4) r16 e8. ( e4) |
- r16 d8. ( d4) r16 d8. ( d4) }
- \context Voice = vb {
- \stemDown
- c2 c | c c } >>
+@lilypond[quote,line-width=13\cm]
+\new PianoStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ \time 4/4
+ r8 g16 c e g, c e r8 g,16 c e g, c e
+ r8 a,16 d f a, d f r8 a,16 d f a, d f
+ \bar "||"
+ }
+ }
+ \context Staff = "SB" {
+ \relative c' {
+ \clef bass
+ <<
+ {
+ \voiceOne
+ r16 e8. ( e4) r16 e8. ( e4)
+ r16 d8. ( d4) r16 d8. ( d4)
+ }
+ \new Voice {
+ \voiceTwo
+ c2 c
+ c2 c
+ }
+ >>
+ }
}
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node articulation
should be played. Slurs, accents, staccato, and legato are all
examples of articulation.
-
@seealso
-None yet.
+No cross-references.
@node ascending interval
A distance between a starting lower note and a higher ending note.
-
@seealso
-None yet.
+No cross-references.
@node augmented interval
S: överstigande intervall,
FI: ylinouseva intervalli.
-
@seealso
@ref{interval}.
ES: ?,
I: ?,
-F: ?,
+F: augmentation,
D: ?,
NL: ?,
DK: ?,
This is a placeholder for augmentation (wrt mensural notation).
-
@seealso
@ref{diminution}, @ref{mensural notation}.
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node B
@item FI: H, h
@end itemize
-
@seealso
@ref{H}, @ref{Pitch names}
@node backfall
@section backfall
-
@seealso
@ref{appoggiatura}.
@node bar
@section bar
-
@seealso
@ref{measure}.
in secular music, or in sacred music to indicate congruences between parts
in otherwise-unmetered music).
-
@seealso
@ref{measure}.
@c F: clef de troisième ligne dropped
-
@seealso
@ref{bass}, @ref{tenor}.
ES: clave de fa en tercera,
I: chiave di baritono,
-F: clef d' Ut cinquième ligne, clef de Fa troisième,
+F: clef d'ut cinquième ligne, clef de fa troisième,
D: Baritonschlüssel,
NL: baritonsleutel,
DK: barytonnøgle,
C or F clef setting middle C on the upper staff line.
-
@seealso
@ref{C clef}, @ref{F clef}.
@end itemize
-
@seealso
@ref{strings}.
A clef setting with middle C on the first top ledger line.
-
@seealso
@ref{F clef}.
ES: barra
I: coda,
-F: barre,
+F: ligature, barre (de croches),
D: Balken,
NL: waardestreep,
DK: bjælke,
Line connecting a series of notes (shorter than a quarter note). The
number of beams determines the note value of the connected notes.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
-\relative c'' {
- g8_"1/8"[ g g g] s16
- g16_"1/16"[ g g g] s16
- g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
- g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
+@lilypond[quote,notime,relative=2,line-width=13\cm]
+g8-"1/8"[ g g g] s16
+g16-"1/16"[ g g g] s
+g32-"1/32"[ s g s g s g] s16
+g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
@end lilypond
-
@seealso
@ref{feathered beam}.
The base counting value and the number of them in each measure is indicated
at the start of the music by the @notation{time signature}.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2]
\key g \major
\time 4/4
-\relative c'' { g4 c b a | g1 \bar "||"}
+g4 c b a | g1 \bar "||"
\time 3/8
-\relative c'' { g8 d' c | b c a | g4. \bar "||"}
+g8 d' c | b c a | g4. \bar "||"
@end lilypond
-
@seealso
@ref{time signature}.
@node beat repeat
@section beat repeat
-
@seealso
@ref{percent repeat}.
@node bind
@section bind
-
@seealso
@ref{tie}.
the staves of like instruments in an orchestral score when written on different
staves (e.g. first and second flutes):
-@lilypond[fragment,ragged-right]
-\context GrandStaff <<
- \relative c''\context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+@lilypond[quote]
+\new GrandStaff <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
@end lilypond
Angular brackets for connecting parts in an orchestral or choral score:
-@lilypond[fragment,ragged-right]
-\context StaffGroup <<
-% \set StaffGroup.minVerticalAlign = #12
- \relative c'' \context Staff = SA { \clef treble g4 e c2 }
- \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
+@lilypond[quote]
+\new StaffGroup <<
+ \context Staff = "SA" {
+ \relative c'' {
+ \clef treble
+ g4 e c2
+ }
+ }
+ \context Staff = "SB" {
+ \relative c {
+ \clef bass
+ c1
+ \bar "|."
+ }
+ }
+>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node bracket
ES: corchete,
I: ?,
-F: ?,
+F: crochet,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: sulkumerkki.
-
@seealso
@ref{brace}
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 tube.
-
+orchestra are trumpet, trombone, french horn, and tuba.
@seealso
-None yet.
+No cross-references.
@node breath mark
Indication of where to breathe in vocal and wind instrument parts.
-
@seealso
@ref{caesura}.
@section breve
@itemize
-@item US: breve, double-whole note,
-@item ES: cuadrada, breve,
-@item I: breve,
-@item F: brève,
-@item D: Brevis,
-@item NL: brevis,
-@item DK: brevis,
-@item S: brevis,
-@item FI: brevis, kaksoiskokonuotti.
+@item US: breve, double-whole note
+@item ES: cuadrada, breve
+@item I: breve
+@item F: brève
+@item D: Brevis
+@item NL: brevis
+@item DK: brevis
+@item S: brevis
+@item FI: brevis, kaksoiskokonuotti
@end itemize
-Note value twice as long as a whole note. Mainly used in pre-1650 music.
-The shortest note value generally used in white mensural notation, hence the
-name, which originally meant @q{of short duration}.
+Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g\breve }
-@end lilypond
+Mainly used in music from before 1650. In mensural notation, it was a note
+of fairly short duration—hence the name, which is Latin for @q{short} or
+@q{of short duration}.
+@lilypond[quote,notime,relative=2]
+g\breve
+@end lilypond
@seealso
-@ref{mensural notation}, @ref{note value}.
+@ref{mensural notation}, @ref{note value}, @ref{semibreve}.
@node C
@itemize
@item ES: do
@item I: do
-@item F: ut
+@item F: ut, do
@item D: C, c
@item NL: c
@item DK: c
@item FI: C, c
@end itemize
-
@seealso
@ref{Pitch names}.
Clef symbol indicating the position of the middle C. Used on all note
lines.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\override Score.Clef #'full-size-change = ##t
-<<
- \context Staff \relative c' {
- \clef soprano c1
- \clef mezzosoprano c
- \clef alto c
- \clef tenor c
- \clef baritone c
- }
- \context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
- }
->>
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\new Staff {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef soprano c1
+ \clef mezzosoprano c1
+ \clef alto c1
+ \clef tenor c1
+ \clef baritone c1
+}
+\addlyrics {
+ \override Lyrics . LyricText #'self-alignment-X = #LEFT
+ "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
+}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node cadence
S: kadens,
FI: kadenssi, lopuke.
-
@seealso
@ref{harmonic cadence}, @ref{functional harmony}.
ability to improvise. Since the middle of the 19th century, however,
most cadenzas have been written down by the composer.
-
@seealso
-None yet.
+No cross-references.
@node caesura
ES: cesura,
I: cesura,
-F: césura,
+F: césure,
D: Zäsur,
NL: ?,
DK: ?,
S: ?,
FI: välimerkki.
-[Latin: from the supine of @emph{caedere} @q{to cut down}.]
+[Latin: from the supine of @emph{caedere} @q{to cut down}]
The break between two musical phrases, sometimes (but not always) marked by a
rest or a breath mark.
-
@seealso
@ref{breath mark}.
S: kanon,
FI: kaanon, tarkka jäljittely.
-
@seealso
@ref{counterpoint}.
Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
(1/100 of an equally tempered semitone).
-
@seealso
@ref{equal temperament}, @ref{semitone}.
@node central C
@section central C
-
@seealso
@ref{middle C}.
the middle third means their quality is ambivalent -- neither major nor
minor.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override TextScript #'font-style = #'large
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c'' {
- \set Staff.extraNatural = ##f
- <g b d>1
- <g bes d>
- <g bes des>
- <g b dis>
- <g b d f>
- <g b d f a>
-}
-\lyrics{
- "major "
- "minor "
- "diminished "
- "augmented "
- "seventh-chord "
- ninth-chord
-}
+ \new Staff {
+ \relative c'' {
+ \set Staff.extraNatural = ##f
+ <g b d>1
+ <g bes d>
+ <g bes des>
+ <g b dis>
+ <g b d f>
+ <g b d f a>
+ }
+ }
+ \lyrics {
+ "major "
+ "minor "
+ "diminished "
+ "augmented "
+ "seventh-chord "
+ ninth-chord
+ }
>>
@end lilypond
-
@seealso
@ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
@ref{third}.
A scale consisting of all 12 semitones.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c' { c1 cis d dis e f fis g gis a ais b c }
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+c1 cis d dis e f fis g gis a ais b c
@end lilypond
-
@seealso
@ref{semitone}.
Using tones extraneous to a diatonic scale (minor, major).
-
@seealso
@ref{diatonic scale}.
ES: modo eclesiástico,
I: modo ecclesiastico,
-F: mode ecclésiastique,
+F: mode ecclésiastique, mode d'église,
D: Kirchentonart,
NL: kerktoonladder,
DK: kirketoneart,
S: kyrkotonart,
FI: moodi, kirkkosävellaji.
-
@seealso
@ref{diatonic scale}.
The clef indicates which lines of the staff correspond to which
pitches. The three clef symbols in common use are:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\markup {
- \column {
- \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
- \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
- \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
+ \left-column {
+ \line { The Treble or G clef: }
+ \strut
+ \line { The Bass or F clef: }
+ \strut
+ \line { The Alto or C clef: }
+ }
+ \hspace #0.5
+ \left-column {
+ \musicglyph #"clefs.G"
+ \strut
+ \musicglyph #"clefs.F"
+ \strut
+ \musicglyph #"clefs.C"
}
}
@end lilypond
called a @q{grand staff}, with the bottom line representing low G and
the top line high F:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- s
- }
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between treble and bass staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
- s1 s s s s s % Keep staff (ie the red line) showing
- }
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1 b, d f a
- s s s s s s s % Keep staff showing
- }
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used without exceeding 1 line
- \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s
+ e'1 g' b' d'' f''
+ s1
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ s1 s s s s s
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ s1 s s s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 1 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
Staves of five lines are usually used, and the clef superimposed on
@samp{grand staff}. For example, the treble or G clef indicates that
the top five lines have been selected:
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
- <<
-%-- Treble Staff --%
- \new Staff = "G" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Allow the treble clef to overlap the lower staves:
-% \override Staff.Clef #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required here
- \clef "G"
- s1^\markup { "g," \transparent "g" }
- s^ \markup { "b," \transparent "g" }
- s^ \markup { "d" \transparent "g" }
- s^ \markup { "f" \transparent "g" }
- s^ \markup { "a" \transparent "g" }
- s^ \markup { \with-color #red c' \transparent "g"}
- \stopStaff \startStaff
- \clef "C" % Dummy to force next clef to be printed
- s % Need at least one note for \clef to take effect
- \override Staff.Clef #'stencil = ##t % Clef now required
- \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
- \clef "G"
- e'^\markup { "e'" \transparent "g" }
- g'^\markup { "g'" \transparent "g" }
- b'^\markup { "b'" \transparent "g" }
- d''^\markup { "d''" \transparent "g" }
- f''^\markup { "f ''" \transparent "g" }
- } % End staff G
-%-- Alto Staff reduced to a single line on middle C --%
- \new Staff = "C" {
- \override Staff.StaffSymbol #'line-count = 1 % One line only
- \override Staff.StaffSymbol #'color = #red % Coloured red
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "C"
-
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
-% Specify height to give correct spacing between the staves
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s s % Space along to align horizonatally
- \override NoteHead #'color = #red
- c'1 % A middle C
-% s1 s s s s % Keep staff (ie the red line) showing
- } % End staff C
-%-- Bass Staff --%
- \new Staff = "F" {
-% Allow this staff to be placed close to the others
- \override Staff.VerticalAxisGroup
- #'minimum-Y-extent = #'(0 . 0)
- \override Staff.Clef #'stencil = ##f % No clef required
- \clef "F"
- g,1_" " b, d f a
-% s s s s s s % Keep staff showing
- } % End staff F
- >>
- \layout {
-% Reduce horizontal spacing so semibreves can be used
-% without exceeding 1 line
- \context { \Score \override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
- }
-% Reduce apparent vertical size of note heads to
-% permit them to overlap other grobs vertically
- \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
- }
-% Remove all barlines
- \context { \Score \override BarLine #'stencil = ##f
- }
-% Remove time signature from all staves
- \context { \Staff \remove Time_signature_engraver
+ <<
+ %-- Note names above treble staff --%
+ \new NoteNames {
+ \set printOctaveNames = ##t
+ g,1 b, d f a
+ \once \override NoteName #'color = #red
+ c'1
+ s1
+ e'1 g' b' d'' f''
+ }
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \once \override Staff.Clef #'stencil = ##f
+ \clef "G"
+ s1 s s s s s s
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "G"
+ e'1 g' b' d'' f''
+ }
+ %-- Alto Staff reduced to a single line on middle C --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \override Staff.StaffSymbol #'color = #red
+ \override Staff.Clef #'stencil = ##f
+ \clef "C"
+ s1 s s s s
+ \override NoteHead #'color = #red
+ c'1
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \override Staff.Clef #'stencil = ##f
+ \clef "F"
+ g,1 b, d f a
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner
+ #'base-shortest-duration = #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- } % End layout
-} % End score
+}
@end lilypond
The @q{curl} of the G clef is centered on the line that represents the
relationship is shown below, where the notes show an arpeggio on a C
major chord.
-@lilypond[ragged-right,quote]
+@lilypond[quote]
\score {
-<<
-%-- Treble Staff --%
- \new Staff = "G" \with {
- \remove Time_signature_engraver
- }
- {
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \clef "G"
- s1 s s s s e' g' c''
- }
-%-- Alto Staff --%
- \new Staff = "C" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.StaffSymbol #'line-count = 1
- \override Staff.StaffSymbol #'stencil = ##f
- \once \override Staff.Clef #'stencil = ##f
- \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
- \override Score.BarLine #'stencil = ##f
-
- % The following two overrides are required to align the C staff to the G and F staves
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
-
- s1 s s s
- \stopStaff \startStaff
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
- \revert Staff.StaffSymbol #'stencil
- \override Staff.StaffSymbol #'color = #red
- b'1 % A frig. This really shows as a middle C in the score
- s1 s s s
- \stopStaff \startStaff
- \override Staff.StaffSymbol #'line-count = 5
- \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
- \override Staff.Clef #'Y-extent = #'(0 . 0)
- \revert Staff.StaffSymbol #'color
- \stopStaff \startStaff
- \clef "C"
- s1 s s c e g c' e' g' c''
- }
-%-- Bass Staff --%
- \new Staff = "F" \with {
- \remove Time_signature_engraver
- }
- {
- \override Staff.Clef #'Y-extent = #'(0 . 0)
-% The following two overrides are required to make the two middle C's overlap
- \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
- \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
-
- \clef "F"
- c1 e g s s s s s
- }
->>
-\layout {
- \context {
- \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
- }
- \context {
- \Score \override NoteHead #'Y-extent = #'(0 . 0)
+ <<
+ %-- Treble Staff --%
+ \new Staff = "G" {
+ \clef "G"
+ s1 s s s
+ e'1 g' c'' s
+ }
+ %-- Alto Staff --%
+ \new Staff = "C" {
+ \override Staff.StaffSymbol #'line-count = #1
+ \once \override Staff.Clef #'stencil = ##f
+ \stopStaff
+ \clef "C"
+ s1 s s
+ \startStaff
+ \revert Staff.StaffSymbol #'stencil
+ \override Staff.StaffSymbol #'color = #red
+ c'1
+ s1 s s s s
+ \stopStaff \startStaff
+ \revert Staff.StaffSymbol #'line-count
+ \revert Staff.StaffSymbol #'color
+ \stopStaff \startStaff
+ \override Staff.Clef #'full-size-change = ##t
+ \set Staff.forceClef = ##t
+ \clef "C"
+ s1 s
+ c1 e g c' e' g' c''
+ }
+ %-- Bass Staff --%
+ \new Staff = "F" {
+ \clef "F"
+ c1 e g
+ s1 s s s s
+ }
+ >>
+ \layout {
+ \context {
+ \Score
+ \override SpacingSpanner #'base-shortest-duration =
+ #(ly:make-moment 2 1)
+ \override NonMusicalPaperColumn
+ #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
+ \override BarLine #'stencil = ##f
+ }
+ \context {
+ \Staff
+ \remove "Time_signature_engraver"
+ }
}
- \context {
- \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
- }
-}
}
@end lilypond
-
@seealso
@ref{C clef}, @ref{F clef}, @ref{G clef}.
ES: racimo,
I: ?,
-F: ?,
+F: cluster,
D: Cluster,
NL: ?,
DK: ?,
geometrical shape of a cluster covers the area in which any single
pitch contained in the cluster would be notated as an ordinary note.
-@lilypond[fragment,relative=2,ragged-right]
-\makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
+@lilypond[quote,relative=2]
+\makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node comma
Difference in pitch between a note derived from pure tuning and the
same note derived from some other tuning method.
-
@seealso
@ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
@ref{temperament}.
ES: compasillo,
I: ?,
-F: ?,
+F: mesure à 4/4,
D: ?,
NL: ?,
DK: ?,
4/4 time. The symbol, which resembles a capital letter C, comes from
mensural notation.
-
@seealso
@ref{mensural notation}, @ref{meter}.
S: komplementärintervall (?),
FI: täydentävä intervalli.
-
@seealso
@ref{inverted interval}.
Intervals larger than an octave.
-
@seealso
@ref{interval}.
ES: compás compuesto, compás de subdivisión ternaria,
I: ?,
-F: ?,
+F: mesure composée,
D: ?,
NL: ?,
DK: ?,
A meter that includes a triplet subdivision within the beat, such as
6/8, 9/8, 12/8.
-
@seealso
@ref{meter}, @ref{simple meter}.
ES: compás compuesto, compás de amalgama (def. 2),
I: ?,
-F: ?,
+F: temps composé,
D: ?,
NL: ?,
DK: ?,
A time signature that additively combines two or more unequal meters, e.g.,
"3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
-@lilypond[fragment,line-width=13.0\cm]
-#(define (compound-time grob one two three num)
+@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)
\relative c' {
\key f \major
#(set-time-signature 8 8 '(3 2 3))
- \override Staff.TimeSignature #'stencil = #(lambda (grob)
- (compound-time grob "3" "2" "3" "8"))
+ \override Staff.TimeSignature #'stencil =
+ #(compound-time "3" "2" "3" "8")
#(override-auto-beam-setting '(end 1 8 8 8) 3 8)
#(override-auto-beam-setting '(end 1 8 8 8) 5 8)
}
@end lilypond
-@end enumerate
-
-
@seealso
@ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
ES: en Do, afinación de concierto,
I: ?,
-F: ?,
+F: tonalité de concert, en ut,
D: ?,
NL: ?,
DK: ?,
@itemize
@item violin
@item viola
-@item violincello
+@item violoncello
@end itemize
@end multitable
@item piccolo (plays an octave higher)
@item celesta (plays an octave higher)
-@item double-bass (plays an octave lower)
+@item double bass (plays an octave lower)
@end itemize
-
@seealso
@ref{transposing instrument}.
Progressing melodically by intervals of a second, as contrasted with
@emph{disjunct movement}.
-@lilypond[fragment,line-width=13.0\cm]
-\key g \major \time 4/4
-\relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
+@lilypond[quote,relative=2,line-width=13.0\cm]
+\key g \major
+\time 4/4
+g4 g g a | b2 a | g4 b a a | g1 \bar "||"
@end lilypond
-
@seealso
@ref{disjunct movement}.
S: konsonans,
FI: konsonanssi, sopusointi.
-
@seealso
@ref{harmony}.
S: alt,
FI: kontra-altto.
-
@seealso
@ref{alto}.
@c Copying music required more skill than engraving. Flagged for NPOV
-
@seealso
-None yet.
+No cross-references.
@node counterpoint
distinct melodic significance. A frequently used polyphonic technique
is imitation, in its strictest form found in the canon needing only
one part to be written down while the other parts are performed with a
-given displacement. Imitation is also the contrapunctal technique
+given displacement. Imitation is also the contrapuntal technique
used in the @emph{fugue} which, since the music of the baroque era,
has been one of the most popular polyphonic composition methods.
-@lilypond[fragment,staffsize=12,line-width=13.0\cm]
-\set Score.implicitTimeSignatureVisibility = #all-invisible
-\override Score.TimeSignature #'break-visibility = #all-invisible
-\context PianoStaff <<
+@lilypond[quote,staffsize=12,line-width=13.0\cm]
+\new PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
\time 4/4
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node countertenor
S: kontratenor, counter tenor,
FI: kontratenori.
-
@seealso
@ref{contralto}.
Increasing volume. Indicated by a rightwards opening horizontal wedge
(hairpin) or the abbreviation @notation{cresc.}.
-@lilypond[fragment,ragged-right]
-\key g \major \time 4/4
-\relative c'' { g4 \< a b c | d1\! \bar "|." }
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+g4\< a b c | d1\! \bar "|."
@end lilypond
-
@seealso
@ref{decrescendo}, @ref{hairpin}.
ES: notas guía,
I: notine,
-F: petites notes précédent l'entrée d'un instrument, réplique,
+F: petites notes précédant l'entrée d'un instrument, réplique, "à défaut",
D: Stichnoten,
NL: stichnoten,
DK: stiknoder,
In a separate part notes belonging to another part with the purpose of
hinting when to start playing. Usually printed in a smaller type.
-
@seealso
-None yet.
+No cross-references.
@node custos
they have survived only in special forms of musical notation such as the
@emph{Editio Vaticana}, dating from the beginning of the 20th century
-@lilypond
+@lilypond[quote,ragged-right]
\score {
- {
-% \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #down
+ \new Staff {
+ \override Staff.Custos #'neutral-direction = #DOWN
\override Staff.Custos #'style = #'hufnagel
c'1 \break
<d' a' f''>1
}
-
\layout {
\context {
\Staff
- \consists Custos_engraver
+ \consists "Custos_engraver"
}
- ragged-right = ##t
}
}
@end lilypond
+@seealso
+No cross-references.
+
+
+@node cut time
+@section cut time
@seealso
-None yet.
+@ref{alla breve}.
@node D
@item FI: D, d
@end itemize
-
@seealso
@ref{Pitch names}
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
-None yet.
+No cross-references.
@node dal niente
ES: ?,
I: dal niente,
-F: ?,
+F: partant de rien,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: tyhjästä ilmaantuen.
-[Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
+[Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
that the sound should gradually increase from nothing.
-
@seealso
@ref{al niente}.
another place frequently near the beginning marked by a sign
(@notation{segno}):
-@lilypond[fragment,ragged-right]
-%\override TextScript #'font-style = #'large
-\override TextScript #'font-shape = #'italic
-\key g \major \time 4/4
-\relative c'' {
- d1 |
- g,4^\segno a b c |
- b a g2_\markup{
- \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
- \bar "|."
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d1
+g,4^\segno a b c
+b4 a g2-\markup {
+ \italic "D.S. "
+ \tiny \raise #1
+ \musicglyph #"scripts.segno"
}
+\bar "|."
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node decrescendo
Decreasing tone volume. Indicated by a leftwards opening horizontal
wedge (hairpin) or the abbreviation @notation{decresc.}.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- \key g \major \time 4/4
- d4 \> c b a | g1 \! \bar "|."
-}
+@lilypond[quote,relative=2]
+\key g \major
+\time 4/4
+d4\> c b a | g1 \! \bar "|."
@end lilypond
-
@seealso
@ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
A distance between a starting higher note and a lower ending note.
-
@seealso
-None yet.
+No cross-references.
@node diatonic scale
These @emph{modes} are used in Gregorian chant and in pre-baroque early music
but also to some extent in newer jazz music.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=1]
<<
- \context Staff \relative c' {
+ {
c1 d
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
- \context Lyrics \lyrics {
+ \lyrics {
Ionian
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \context Staff \relative c' {
+ {
d1
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c d
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
- \override TextScript #'padding = #-4
+ {
e1^"~~ S" f g a b^"~~ S" c d e
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
+ {
f1 g a
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
g1 a
- \override TextScript #'padding = #-4
- b^"~~ S" c d e^"~~ S" f g }
+ b^"~~ S" c d e^"~~ S" f g
+ }
\lyrics {
Mixolydian
}
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.LyricText #'font-style = #'large
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
- \override TextScript #'padding = #-4
+ {
b1^"~~ S" c d e^"~~ S" f g a b
}
\lyrics {
the harmonic minor scale type an augmented second (A) occurs between
the 6th and 7th tone.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
<<
- \relative c' {
+ {
c1 d
- \override TextScript #'padding = #-4
e^"~~ S" f g a b^"~~ S" c
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f g a
}
\lyrics {
>>
@end lilypond
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
}
- \context Lyrics \lyrics {
+ \lyrics {
"Harmonic minor"
}
>>
@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
+@lilypond[quote,notime,relative=2]
<<
- \relative c'' {
+ {
a1
- \override TextScript #'padding = #-4
b^"~~ S" c d e fis gis^"~~ S" a
}
\lyrics {
>>
@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
+@lilypond[quote,notime,relative=3]
<<
- \relative c'' {
- a'1
- \override TextScript #'padding = #-4
- a g! f!^"~~ S" e d c^"~~ S" b a
+ {
+ a1
+ g! f!^"~~ S" e d c^"~~ S" b a
}
\lyrics {
"Melodic minor descending"
>>
@end lilypond
-
@seealso
@ref{semitone}, @ref{whole tone}.
@node didymic comma
@section didymic comma
-
@seealso
@ref{syntonic comma}.
S: förminskat intervall,
FI: vähennetty intervalli.
-
@seealso
@ref{interval}.
ES: diminuendo,
I: diminuendo,
-F: diminuendo,
+F: diminuendo, en diminuant,
D: diminuendo,
NL: diminuendo,
DK: diminuendo,
S: diminuendo,
FI: diminuendo, hiljentyen.
-
@seealso
@ref{decrescendo}.
ES: ?,
I: ?,
-F: ?,
+F: diminution,
D: ?,
NL: ?,
DK: ?,
This is a stub for diminution (@emph{wrt} mensural notation).
-
@seealso
@ref{augmentation}, @ref{mensural notation}.
S: ?,
FI: suora.
-
@seealso
@ref{custos}.
Progressing melodically by intervals larger than a major second, as contrasted
with conjunct movement.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=1]
\key a \major
-\time 4/4
-\relative c' {
+\time 4/4 {
\partial 8 e8 |
a4. gis8 b a e cis |
- fis2 d4. \bar "||" }
+ fis2 d4.
+ \bar "||" }
@end lilypond
-
@seealso
@ref{conjunct movement}.
Another name for @ref{dissonant interval}.
-
@seealso
@ref{dissonant interval}, @ref{harmony}.
ES: intervalo disonante, disonancia,
I: intervallo dissonante, dissonanza,
-F: dissonance,
+F: intervalle dissonant, dissonance,
D: Dissonanz,
NL: dissonant interval, dissonant,
DK: dissonerende interval, dissonans,
S: dissonans,
FI: dissonanssi, dissonoiva intervalli, riitasointi.
-
@seealso
@ref{harmony}.
TODO: musical example here?
-
@seealso
-None yet.
+No cross-references.
@node doit
ES: ?,
I: ?,
-F: ?,
+F: saut,
D: ?,
NL: ?,
DK: ?,
Indicator for a indeterminately rising pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-
@seealso
@ref{fall}, @ref{glissando}.
The fifth @emph{scale degree} in @emph{functional harmony}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
ES: acorde de novena de dominante,
I: accordo di nona di dominante,
-F: accord de neuvième dominante,
+F: accord de neuvième de dominante,
D: Domi@-nant@-nonen@-akkord,
NL: dominant noon akkoord,
DK: dominantnoneakkord,
S: dominantnonackord,
FI: dominanttinoonisointu.
-
@seealso
@ref{chord}, @ref{functional harmony}.
ES: acorde de séptima de dominante,
I: accordo di settima di dominante,
-F: accord de septième dominante,
+F: accord de septième de dominante,
D: Dominantseptakkord,
NL: dominant septiem akkoord,
DK: dominantseptimakkord,
S: dominantseptimackord,
FI: dominanttiseptimisointu.
-
@seealso
@ref{chord}, @ref{functional harmony}.
S: dorisk tonart,
FI: doorinen moodi.
-
@seealso
@ref{diatonic scale}.
S: punkt,
FI: piste.
-
@seealso
@ref{dotted note}, @ref{note value}.
S: punkterad not,
FI: pisteellinen nuotti.
-
@seealso
@ref{note value}.
S: dubbelslag,
FI: kaksoisappogiatura, kaksoisetuhele.
-
@seealso
@ref{appoggiatura}.
Indicates the end of a section within a movement.
-
@seealso
-None yet.
+No cross-references.
@node double dotted note
S: dub@-bel@-punk@-te@-rad not,
FI: kaksoispisteellinen nuotti.
-
@seealso
@ref{note value}.
S: dubbelbe,
FI: kaksoisalennusmerkki.
-
@seealso
@ref{accidental}.
S: dubbelkors,
FI: kaksoisylennysmerkki.
-
@seealso
@ref{accidental}.
S: ?,
FI: kaksois-aika-arvomerkintä.
-
@seealso
@ref{polymetric time signature}.
A simultaneous trill on two notes, usually in the distance of a third.
-
@seealso
-None yet.
+No cross-references.
@node duple meter
ES: tiempo binario,
I: tempo binario,
-F: temps binaire,
+F: métrique binaire,
D: in zwei, grader Takt,
NL: tweedelige maatsoort,
DK: todelt takt,
S: tvåtakt,
FI: kaksoistempo.
-
@seealso
@ref{meter}.
S: duol,
FI: duoli.
-
@seealso
@ref{note value}.
S: tonlängd,
FI: kesto, aika-arvo.
-
@seealso
@ref{note value}.
one degree to another. The terms, abbreviations, and symbols used to
indicate this information are called dynamic marks.
-
@seealso
@ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
@ref{diminuendo}.
@item FI: E, e
@end itemize
-
@seealso
@ref{Pitch names}
@node ecclesiastical mode
@section ecclesiastical mode
-
@seealso
@ref{church mode}, @ref{diatonic scale}.
@item FI: kahdeksasosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kahdeksasosatauko
@end itemize
-
@seealso
@ref{note value}.
ES: sinalefa,
I: ?,
-F: ?,
+F: élision,
D: ?,
NL: ?,
DK: ?,
by a lyric tie, which looks like (and serves the same function) as a musical
tie.
-
@seealso
@ref{lyric tie}.
@node embellishment
@section embellishment
-
@seealso
@ref{ornament}.
The traditional process of music printing is done through cutting in a
plate of metal. Now also the term for the art of music typesetting.
-
@seealso
-None yet.
+No cross-references.
@node enharmonic
Two notes, intervals, or scales are enharmonic if they have different
names but equal pitch.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c'' {
- gis1 as <des g,!> <cis g!>
-}
-\context Lyrics \lyrics {
- \override Lyrics .LyricText #'self-alignment-X = #-1
- "g sharp " "a flat " "dim fifth " "augm fourth"
-}
+ \new Staff {
+ \relative c'' {
+ gis1 as <des g,!> <cis g!>
+ }
+ }
+ \lyrics {
+ "g sharp " "a flat " "dim fifth " "augm fourth"
+ }
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node equal temperament
A tuning system that divides the octave into 12 equal semitones (each of
which is precisely equal to 100 cents).
-
@seealso
@ref{cent}, @ref{semitone}, @ref{temperament}.
@end itemize
-
@seealso
@ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
@end itemize
-
@seealso
@ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
@ref{octave marking}.
@item FI: F, f
@end itemize
-
@seealso
@ref{Pitch names}
the clef symbol indicates playing an octave lower (for example, on the
Double Bass).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\override Staff.Clef #'full-size-change = ##t
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\relative c {
- \clef varbaritone
- f1
- \clef bass
- f1
- \clef subbass
- f1
- \clef "F^8"
- f1
- \clef "F_8"
- f1
-}
- \lyrics {
- "varbaritone "
- "bass "
- "sub-bass "
- "octave up "
- "octave down"
-}
+ \relative c {
+ \override Staff.Clef #'full-size-change = ##t
+ \clef varbaritone
+ f1
+ \clef bass
+ f1
+ \clef subbass
+ f1
+ \clef "F^8"
+ f1
+ \clef "F_8"
+ f1
+ }
+ \lyrics {
+ "varbaritone "
+ "bass "
+ "sub-bass "
+ "octave up "
+ "octave down"
+ }
>>
@end lilypond
-
@seealso
@ref{baritone clef}, @ref{strings}.
ES: ?,
I: ?,
-F: ?,
+F: chute,
D: ?,
NL: ?,
DK: ?,
Indicator for a indeterminately falling pitch bend. Compare with
@emph{glissando}, which has determinate starting and ending pitches.
-
@seealso
@ref{doit}, @ref{glissando}.
ES: barra punteada,
I: ?,
-F: liens de croches en soufflet,
+F: ligature en soufflet, lien de croches en soufflet,
D: gespreizter Balken,
NL: ?,
DK: ?,
direction of @q{feathering} -- but without changing the overall tempo
of the piece.
-
@seealso
Internals Reference: @ruser{Manual beams}
Prolonged note or rest of indefinite duration.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=2]
\time 4/4
-\relative c'' {
- a4 b c2^\fermata \bar "|."
-}
+a4 b c2^\fermata
+\bar "|."
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node fifth
S: kvint,
FI: kvintti.
-
@seealso
@ref{interval}.
together with figures designating the chief intervals and chords to be
played above the bass notes.
-TODO: Make the upper clef smaller, since it's usually "realized" in performance.
-
-@lilypond[fragment,line-width=13.0\cm]
-\context GrandStaff <<
- \context Staff = lh \relative c'' {
- \time 4/4
- \key es \major
+@lilypond[quote,line-width=13.0\cm]
+\new GrandStaff <<
+ \new Staff = "rh" \with {
+ fontSize = #-3
+ \override StaffSymbol #'staff-space = #(magstep -3)
+ } \relative c'' {
\clef treble
- << \context Voice = rha {
- \stemUp
- es4 d c bes | bes }
- \context Voice = rhb {
- \stemDown
- < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
+ \key es \major
+ \time 4/4
+ <<
+ \context Voice = "rha" {
+ \voiceOne
+ es4 d c bes
+ bes4
+ }
+ \context Voice = "rhb" {
+ \voiceTwo
+ <bes g>8 as <as f> g <g es> f <d f> es
+ <g es>4
+ }
>>
}
- <<
- \context Staff = rh \relative c' {
+ \new Staff = "lh" \relative c' {
\clef bass
\key es \major
- es8 c d bes c as bes16 as g f | es4
- }
- \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
- >>
+ es8 c d bes c as bes16 as g f
+ es4
+ }
+ \figures {
+ s8 <6> s <4 2> s <6> s16 s <6> <4 2>
+ }
>>
@end lilypond
-
@seealso
@ref{chord}, @ref{interval}.
Figures to the side or above the note that methodically indicate which
fingers to use while playing a passage.
-
@seealso
-None yet.
+No cross-references.
@node flag
Ornament at the end of the stem of a note used for notes with values less
than a quarter note. The number of flags determines the note value.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c'' {
- g8_"8th" s8
- g16_"16th" s8
- g32_"32nd" s8
- g64_"64th" s8
-}
+@lilypond[quote,notime,relative=2]
+g8-"8th" s8
+g16-"16th" s8
+g32-"32nd" s8
+g64-"64th" s8
@end lilypond
-
@seealso
@ref{note value}.
ES: ?,
I: ?,
-F: ?,
+F: flageolet,
D: ?,
NL: ?,
DK: ?,
@end itemize
-
@seealso
@ref{articulation}, @ref{harmonics}.
S: beförtecken,
FI: alennusmerkki.
-
@seealso
@ref{accidental}.
@node forefall
@section forefall
-
@seealso
@ref{appoggiatura}.
S: forte,
FI: forte, voimakkaasti.
-[Italian: @q{loud}.]
+[Italian: @q{loud}]
Abbreviated @notation{@b{f}}. Variants include:
@item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node fourth
S: kvart,
FI: kvartti.
-
@seealso
@ref{interval}.
If you are producing scores for eventual publication by a commercial publisher,
you may wish to procure a copy of their style manual.
-
@seealso
@ref{Frenched staff}.
Frenched staff has unneeded measures or sections removed. This is useful
for producing, for example, an @emph{ossia} staff.
-
@seealso
@ref{ossia}.
S: fuga,
FI: fuuga.
-
@seealso
@ref{counterpoint}.
TODO: what does the @q{p} mean in Sp, Dp, Tp?
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<<
-\context Voice \relative c'' {
- <g e c >1 < a f d > < b g e >
- <c a f > < d b g > < e c a > < f d b > }
-\context Lyrics \lyrics {
- T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
+ {
+ <g e c>1 <a f d> <b g e>
+ <c a f> <d b g> <e c a> <f d b>
+ }
+ \lyrics {
+ T Sp Dp S D Tp
+ \markup { D \translate #'(-2 . 0) | }
+ }
>>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node G
@item FI: G, g
@end itemize
-
@seealso
@ref{Pitch names}
playing or singing an octave lower (used most frequently to notate the tenor
part in modern choral scores).
-@lilypond[fragment,notime,ragged-right]
-<<
- \set Score.automaticBars = ##f
+@lilypond[quote,notime]
+\relative c'' {
\override Staff.Clef #'full-size-change = ##t
-
- \relative c'' {
\set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
\clef french
g1
\clef treble
- g
+ g1
\clef "G^8"
- g
+ g1
\clef "G_8"
- g
- }
- \context Lyrics \lyrics {
- \override Lyrics . LyricText #'X-offset = #-5
+ g1
+}
+\addlyrics {
"french violin clef"
"violin clef"
"octave up"
"octave down"
}
->>
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node glissando
Letting the pitch slide fluently from one note to the other.
-
@seealso
-None yet.
+No cross-references.
@node grace notes
ES: notas de adorno,
I: abbellimenti,
-F: fioriture,
+F: ornement, fioriture,
D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
NL: versieringen,
DK: forsiringer,
Notes printed in small types to indicate that their time values are not
counted in the rhythm of the bar.
-
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
@ref{ornament}.
ES: sistema de piano,
I: accolatura,
-F: accolade,
+F: système [de portées], accolade,
D: Akkolade, Klaviersystem,
NL: piano systeem,
DK: klaversystem,
A combination of two staves with a brace. Usually used for piano music.
-
@seealso
@ref{brace}.
ES: grave,
I: grave,
-F: grave,
+F: grave, lent,
D: Grave, Langsam,
NL: grave, ernstig,
DK: grave,
[Italian] Slow, solemn.
-
@seealso
-None yet.
+No cross-references.
@node gruppetto
@section gruppetto
-
@seealso
@ref{turn}.
usage. In the standard usage of these countries, @notation{B} means
@notation{B flat}.
-
@seealso
@ref{Pitch names}, @ref{B}.
Graphical version of the @notation{crescendo} and @notation{decrescendo}
dynamic marks.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- c1\<
- c2\> c\<
- c1\!
-}
+@lilypond[quote,relative=2]
+c1\<
+c2\> c\<
+c1\!
@end lilypond
-
@seealso
@ref{crescendo}, @ref{decrescendo}.
@item FI: puolinuotti.
@end itemize
-
@seealso
@ref{note value}.
@item FI: puolitauko.
@end itemize
-
@seealso
@ref{note value}.
A sequence of chords that terminates a musical phrase or section.
-@lilypond[fragment,ragged-right]
-\context PianoStaff <<
- \context Staff = SA \relative c'' {
- \time 4/4
+@lilypond[quote]
+\new PianoStaff <<
+ \context Staff = "SA" \relative c'' {
\clef treble
- \context Voice
- \partial 4 < c g e >4 |
- < c a f > < b g d > < c g e >2
+ \time 4/4
+ \partial 4 <c g e>4 |
+ <c a f> <b g d> <c g e>2
}
<<
- \context Staff = SB \relative c {
+ \context Staff = "SB" \relative c {
\clef bass
\partial 4 c4 | f, g c2
\bar "|."
}
>>
>>
-
@end lilypond
natural harmonics, which are those played on the open string; and
artificial harmonics, which are produced on stopped strings.
-
@seealso
-None yet.
+No cross-references.
@node harmony
Consonances:
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<g g>1_"unison " s
<g b>_"third " s
<g c>_"fourth " s
<g e'>_"sixth " s
<g g'>_"octave " s
<g b'>_"tenth" s s
-}
@end lilypond
Dissonances:
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Voice \relative c'' {
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
<g a>1_"second " s s
<g f'>_"seventh " s s
<g a'>_"ninth" s s
-}
@end lilypond
For harmony that uses three or more notes, see @ref{chord}.
-
@seealso
@ref{chord}.
ES: hemiolia,
I: ?,
-F: ?,
+F: hémiole,
D: ?,
NL: ?,
DK: ?,
For example, this phrase in 6/4 time
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1,line-width=13.0\cm]
\key c \major
\time 6/4
-\relative c' {
- c2. e | d2 c d | c1. \bar "||" }
+c2. e | d2 c d | c1. \bar "||"
@end lilypond
may be thought of having alternating time signatures
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=1,line-width=13.0\cm]
\key c \major
\time 6/4
-\relative c' {
- c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
+c2. e
+\time 3/2
+d2 c d
+\time 6/4
+c1. \bar "||"
@end lilypond
and is therefore a polymeter (second definition) of considerable antiquity.
-
@seealso
@ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
Music in which one voice leads melodically supported by the other voices in
the same rhythm (more or less). In contrast to @emph{polyphony}.
-
@seealso
@ref{polyphony}.
+
@node hymn meter
@section hymn meter
@item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node interval
S: intervall,
FI: intervalli, kahden sävelen korkeusero.
-Difference in pitch between two notes. Intervals may be perfect, minor,
-major, diminished, or augmented. The augmented fourth and the diminished
-fifth are identical (or @emph{enharmonic}) and are called @emph{tritonus}
-because they consist of three whole tones. The addition of such two
-intervals forms an octave.
+Difference in pitch between two notes. Intervals may be diminished, minor,
+perfect, major, or augmented. The augmented fourth and the diminished fifth are
+identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
+consist of three whole tones. The addition of such two intervals forms an
+octave.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Voice \relative c'' {
+% Prime or unison
< g g >1
- < g as >^"minor"
- < g a! >
- < g ais >^"augm"
- < gis bes >^"dimin"
- < g! bes >^"minor"
- < g b! >^"major"
- < g bis >^"augm"
-}
-\context Lyrics \lyrics {
- "unison " "second " "second " "second "
- "third " "third " "third " "third"
-}
->>
-@end lilypond
-
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
-\context Staff \relative c'' {
- < g c >1^"perfect"
+ < g gis >^"aug"
+% Second
+ < gis as >^"dim"
+ < g! as >^"min"
+ < g a! >^"maj"
+ < g ais >^"aug"
+% Third
+ < gis bes >^"dim"
+ < g! bes >^"min"
+ < g b! >^"maj"
+ < g bis >^"aug"
+% Fourth
+ < g ces >^"dim"
+ < g c! >^"per"
< g cis >^"aug"
- < g d' >^"perfect"
- < g des' > ^"dim"
- < gis es' >^"dim"
- < g! es' >^"minor"
- < g e'! >^"major"
- < g eis' >^"aug"
-}
- \lyrics {
- "fourth " "fourth " "fifth " "fifth "
- "sixth " "sixth " "sixth " "sixth"
-}
->>
-@end lilypond
-
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-<<
-\context Staff \relative c'' {
- < gis f'! >1^"dimin"
- < g! f'! >^"minor"
- < g fis' >^"major"
- < g g' >
- < g as' >^"minor"
- < g a'! >^"major"
- < g bes' >^"minor"
- < g b'! >^"major"
+% Fifth
+ < g des' >^"dim"
+ < g d' >^"per"
+ < 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"
+ < g fisis' >^"aug"
+% Octave
+ < g ges' >^"dim"
+ < g g' >^"per"
+ < g gis' >^"aug"
}
\context Lyrics \lyrics {
- "seventh " "seventh " "seventh " "octave "
- "ninth " "ninth " "tenth " "tenth"
+ "unison " "unison "
+ "second " "second " "second " "second "
+ "third " "third " "third " "third "
+ "fourth " "fourth " "fourth "
+ "fifth " "fifth " "fifth "
+ "sixth " "sixth " "sixth " "sixth "
+ "seventh" "seventh" "seventh" "seventh"
+ "octave " "octave " "octave "
}
>>
@end lilypond
-
@seealso
@ref{enharmonic}, @ref{whole tone}.
ES: ?,
I: ?,
-F: inversion,
+F: renversement,
D: ?,
NL: ?,
DK: ?,
unstable chord position.
@end table
-
@seealso
-None yet.
+No cross-references.
@node inverted interval
ES: intervalo invertido,
I: intervallo rivolto,
-F: intervalle reversé,
+F: intervalle renversé,
D: umgekehrtes Intervall,
NL: interval inversie,
DK: omvendingsinterval,
The difference between an interval and an octave.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\context Staff \relative c'' {
- < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
- < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
- < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
-}
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+<g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
+<g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
+<g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node just intonation
Tuning system in which the notes are obtained by adding and subtracting
natural fifths and thirds.
-
@seealso
@ref{temperament}.
According to the 12@w{ }tones of the @emph{chromatic scale} there are
12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
-
@seealso
@ref{chromatic scale}, @ref{key signature}.
The sharps or flats appearing at the beginning of each staff indicating the
key of the music.
-
@seealso
@ref{accidental}.
S: ?,
FI: antaa väristä.
-[French: @q{Let vibrate}.] Most frequently associated with harp
+[French: @q{Let vibrate}] Most frequently associated with harp
parts. Marked @notation{l.v.} in the score.
-
@seealso
-None yet.
+No cross-references.
@node largo
ES: largo,
I: largo,
-F: largo,
+F: largo, large, ample,
D: Largo, Langsam, Breit,
NL: largo,
DK: largo,
ES: sensible,
I: sensibile,
-F: note sensible,
+F: (note) sensible,
D: Leitton,
NL: leidtoon,
DK: ledetone,
called because of its strong tendency to @q{lead up} (resolve upwards)
to the tonic scale degree.
-
@seealso
@ref{scale degree}, @ref{semitone}.
A ledger line is an extension of the staff.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { a,1 s c'' }
+@lilypond[quote,notime,relative=2]
+a,1
+s1
+c''1
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node legato
notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
@notation{portato}, or (d) @notation{staccato}.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
\context Staff \relative c'' {
c4-( d e-) \bar "||"
>>
@end lilypond
-
@seealso
@ref{staccato}.
@node legato curve
@section legato curve
-
@seealso
@ref{slur}, @ref{legato}.
@node leger line
@section leger line
-
@seealso
@ref{ledger line}.
system of the white mensural notation, the need for ligatures to denote such
patterns disappeared.
-
@seealso
@ref{mensural notation}.
Also, the name of a music typesetting program.
-
@seealso
-None yet.
+No cross-references.
@node line
S: notlinje,
FI: viiva, nuottiviiva.
-
@seealso
@ref{staff}.
S: ?,
FI: kirjoitetussa äänenkorkeudessa.
-[Italian: @q{place}.] Instruction to play the following passage at the
+[Italian: @q{place}] Instruction to play the following passage at the
written pitch. Cancels octave mark (q.v.).
-
@seealso
@ref{octave mark}, @ref{octave marking}.
S: långt förslag,
FI: pitkä appoggiatura, pitkä etuhele.
-
@seealso
@ref{appoggiatura}.
@item US: long, longa,
@item ES: longa,
@item I: longa,
-@item F: longa,
+@item F: longa, longue,
@item D: Longa,
@item NL: longa,
@item DK: longa,
@item FI: longa.
@end itemize
-Note value: double length of @notation{breve}.
+Note value: twice the length of a @notation{breve}.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' {
- \override NoteHead #'style = #'mensural
- g\longa g\breve
-}
+@lilypond[quote,notime,relative=2]
+\override NoteHead #'style = #'mensural
+g\longa g\breve
@end lilypond
-
@seealso
@ref{breve}, @ref{note value}.
ES: ligadura de letra,
I: ?,
-F: ?,
+F: ligature de mots,
D: Textbindung,
NL: ?,
DK: ?,
@c TODO: add languages
-
@seealso
@ref{elision}.
@c Definition?
-
@seealso
-None yet.
+No cross-references.
@node major
S: dur,
FI: duuri.
-
@seealso
@ref{diatonic scale}.
S: stort intervall,
FI: suuri intervalli.
+@seealso
+@ref{interval}.
+
+
+@node maxima
+@section maxima
+
+ES: ?,
+I: ?,
+F: maxima, maxime,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+Note value: twice the length of a @notation{longa}.
+
+The maxima is the largest duration in use during the 15th and 16th centuries.
+Like the longa, the maxima can be either two or three times as long as the
+@notation{longa} (called @notation{binary} and @notation{ternary},
+respectively). By the late 15th century, most composers used the smaller
+proportion by default.
@seealso
-@ref{interval}.
+@ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
@node meantone temperament
temperament only a limited set of keys are playable. Used for tuning
keyboard instruments for performance of pre-1650 music.
-
@seealso
@ref{cent}, @ref{temperament}.
Such groups in numbers of two or more recur consistently throughout the
composition and are separated from each other by bar lines.
-
@seealso
@ref{bar line}, @ref{beat}, @ref{meter}.
@node measure repeat
@section measure repeat
-
@seealso
@ref{percent repeat}.
@end itemize
-
@seealso
@ref{chord}, @ref{functional harmony}, @ref{relative key}.
ES: melisma,
I: ?,
-F: mélisme,
+F: mélisme, tenue,
D: Melisma,
NL: melisma,
DK: ?,
A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
on one syllable, especially as applied to liturgical chant.
-
@seealso
-None yet.
+No cross-references.
@node melisma line
ES: línea de melisma,
I: ?,
-F: ?,
+F: trait de mélisme, trait de tenue,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: melismaviiva.
-
@seealso
@ref{extender line}.
@node melodic cadence
@section melodic cadence
-
@seealso
@ref{cadenza}.
ES: notación mensural,
I: ?,
-F: ?,
+F: notation mensurale,
D: ?,
NL: ?,
DK: ?,
TODO: add to definition (including summary info on proportional notation)
-
@seealso
@ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
@c TODO: more cross-references?
+@node mensuration sign
+@section mensuration sign
+
+@c TODO: add languages
+
+ES: ?,
+I: ?,
+F: signe de mensuration,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+The ancestor of the time signature, mensuration signs were used to indicate the
+relationship between two sets of note durations—specifically, the ratio of
+breves to semibreves (called @notation{tempus}), and of semibreves to minims
+(called @notation{prolatio}).
+
+Each ratio was represented with a single single sign, and was either
+three-to-one (ternary) or two-to-one (binary), as in modern music notation.
+Unlike modern music notation, the @emph{ternary} ratio was the preferred
+one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
+represented by a complete circle; applied to the @emph{prolatio}, it was called
+@emph{major} and was represented by a dot in the middle of the sign. The binary
+ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
+represented by an incomplete circle; applied to @emph{prolatio}, it was called
+@emph{minor} and was represented by the lack of an internal dot. There are four
+possible combinations, which can be represented in modern time signatures with
+and without reduction of note values. (These signs are hard-coded in LilyPond
+with reduction.)
+
+@table @dfn
+@item perfect @emph{tempus} with major @emph{prolatio}
+Indicated by a complete circle with an internal dot. In modern time signatures,
+this equals:
+@itemize
+@item 9/4, with reduction or
+@item 9/2, without reduction
+@end itemize
+
+@item perfect @emph{tempus} and minor @emph{prolatio}
+Indicated by a complete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 3/2, with reduction or
+@item 3/1, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and major @emph{prolatio}
+Indicated by an incomplete circle with an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 6/4, with reduction or
+@item 6/2, without reduction
+@end itemize
+
+@item imperfect @emph{tempus} and minor @emph{prolatio}
+Indicated by an incomplete circle without an internal dot. In modern time
+signatures, this equals:
+@itemize
+@item 4/4, with reduction or
+@item 2/1, without reduction
+@end itemize
+@end table
+
+The last mensuration sign @emph{looks} like common-time because it @emph{is},
+with note values reduced from the original semibreve to a modern quarter note.
+Being doubly imperfect, this sign represented the (theoretically)
+least-preferred mensuration, but it was actually used fairly often.
+
+This system extended to the ratio of longer note values to each other:
+
+@itemize
+
+ @item maxima to longa, called:
+
+ @itemize
+
+ @item @notation{modus maximorum},
+ @item @notation{modus major}, or
+ @item @notation{maximodus})
+
+ @end itemize
+
+ @item longa to breve, called:
+
+ @itemize
+
+ @item @notation{modus longarum},
+ @item @notation{modus minor}, or
+ @item @notation{modus}
+
+ @end itemize
+
+@end itemize
+
+In the absence of any other indication, these modes were assumed to be
+binary. The mensuration signs only indicated tempus and prolatio, so
+composers needed another way to indicate these longer ratios (called modes.
+Around the middle of the 15th century started to use groups of rests at the
+beginning of the staff, preceding the mensuration sign.
+
+
+Two mensuration signs have survived to the present day: the C-shaped sign,
+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).
+
+@seealso
+@ref{diminution}, @ref{proportion}, @ref{time signature}.
+@c TODO: more cross-references?
+
+
@node meter
@section meter
Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 2/4
\key g \major
Simple triple meter:
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
\key c \minor
Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
\key g \major
Simple quintuple meter (B. Marcello, 1686-1739):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 5/4
\key c \major
the source, with sharps in the accompaniment where the voice has flats and
@emph{vice versa}.)
-
Compound duple meter (unknown):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 6/8
\key f \major
Compound triple meter (J.S. Bach, 1685-1750):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 9/8
\key g \major
Compound quadruple meter (P. Yon, 1886-1943):
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c' {
\time 12/8
\key e \major
TODO: add information from discussion on lilypond-user related to polymeter.
-
@seealso
@ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
followed acknowledged Winkler as the creator, but by then Mälzel had already
sold many of them, and people had taken to calling it a Mälzel Metronome.
-
@seealso
@ref{metronome mark}.
@notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
@emph{anglice}).
-
@seealso
@ref{metronome}
@node metronomic indication
@section metronomic indication
-
@seealso
@ref{metronome mark}
ES: ?,
I: mezzo,
-F: ?,
+F: mezzo,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: kohtalaisen, melko.
-[Italian: @q{medium}.]
+[Italian: @q{medium}]
Used to qualify other indications, such as:
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node mezzo-soprano
The female voice between soprano and contralto.
-
@seealso
@ref{soprano}, @ref{contralto}.
ES: do central,
I: do centrale,
-F: do central,
+F: do central, do 3
D: eingestrichenes@w{ }c,
NL: centrale@w{ }c,
DK: enstreget@w{ }c,
First C below the 440 Hz A.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,relative=1]
\override Staff.Clef #'full-size-change = ##t
-\relative c' {
\clef bass c1 s
\clef alto c s
\clef treble c s
-}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node minor
ES: menor,
I: minore,
-F: mode mineur,
+F: (mode) mineur,
D: Moll,
NL: mineur,
DK: mol,
S: moll,
FI: molli.
-
@seealso
@ref{diatonic scale}.
S: litet intervall,
FI: pieni intervalli.
-
@seealso
@ref{interval}.
@node mixolydian mode
@section mixolydian mode
-
@seealso
@ref{diatonic scale}.
S: modus, skala,
FI: moodi, kirkkosävelasteikko.
-
@seealso
@ref{church mode}, @ref{diatonic scale}.
of a @ref{sonata form} movement modulates to the dominant key if the
key is major and to the @ref{relative key} if the key is minor.
-
@seealso
-None yet.
+No cross-references.
@node mordent
S: mordent,
FI: mordent, korukuvio.
-
@seealso
@ref{ornament}.
@node motif
@section motif
-
@seealso
@ref{motive}.
ES: motivo,
I: inciso,
-F: incise,
+F: motif, incise,
D: Motiv,
NL: motief,
DK: motiv,
The briefest intelligible and self-contained fragment of a musical
theme or subject.
-@lilypond[line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\score{
\relative c'' {
\set Score.implicitTimeSignatureVisibility = #all-invisible
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node movement
S: sats,
FI: osa.
-Greater musical works like @ref{symphony} and @ref{sonata} most often
-consist of several -- more or less -- independant pieces called
-movements.
-
+Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
+several -- more or less -- independent pieces called movements.
@seealso
-None yet.
+No cross-references.
@node multi-measure rest
ES: compases de espera,
I: pausa multipla,
-F: pause multiple,
+F: pause multiple, mesure à compter,
NL: meermaats rust,
D: mehrtaktige Pause, Kirchenpause,
DK: flertaktspause,
measures) of the rest. The former style is called @q{Kirchenpausen} in
German, as a reminiscence of its use in Renaissance vocal polyphony.
-@lilypond[fragment,ragged-right]
-\relative c'' {
- a1
- \set Score.skipBars = ##t R1*3
- a1
- \set Score.skipBars = ##t R1*122
- a1
-}
+@lilypond[quote,relative=2]
+a1
+\set Score.skipBars = ##t
+R1*3
+a1
+\set Score.skipBars = ##t
+R1*122
+a1
@end lilypond
-
@seealso
@ref{longa}, @ref{breve}.
S: återställningstecken,
FI: palautusmerkki.
-
@seealso
@ref{accidental}.
@node neighbor tones
@section neighbor tones
+@c TODO: add definition.
+
+ES: ?,
+I: ?,
+F: tons voisins,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
S: nona,
FI: nooni.
-
@seealso
@ref{interval}.
@node non-legato
@section non-legato
-
@seealso
@ref{legato}.
and @ref{note} is strongly recommended. Briefly, one sees a note,
and hears a tone.
-
@seealso
-None yet.
+No cross-references.
@node note head
ES: cabeza,
I: testa, testina, capocchia,
-F: tête de la note,
+F: tête de note,
D: Notenkopf,
NL: nootballetje,
DK: nodehovede,
For percussion instruments (often having no defined pitch) the note head may
indicate the instrument.
-
@seealso
@ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
@node note names
@section note names
-
@seealso
@ref{Pitch names}
S: notvärde,
FI: nuotin aika-arvo.
-Note values (durations) are measured as fractions -- normally half -- of the
-next higher note value. The longest duration in current use is the
-@emph{breve}, but sometimes (especially music from the Baroque or earlier) the
-double-length note value @emph{longa} or the quadruple-length note value
-@emph{maxima} are used.
+Note values (durations) are measured as fractions—in modern usage, one-half—of
+the next higher note value. The longest duration in current use is the
+@notation{breve} (equal to two whole notes), but sometimes (especially in music
+dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
+or @notation{maxima} (eight whole notes) may be found.
+
+As used in mensural notation, this fraction was more flexible: it could also
+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}.
@c TODO -- add maxima to this example, in a way that doesn't break it.
-@lilypond[fragment,notime,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
\relative c'' {
\override NoteHead #'style = #'mensural
a\longa_"longa" a\breve_"breve"
@c TODO -- add maxima rest to this example
-@lilypond[fragment,notime,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
\relative c'' {
r\longa_"longa" r\breve_"breve"
r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
@end lilypond
-An augmentation dot after a note multiplies the duration by one and a
-half. Another dot adds yet a fourth of the duration.
+An augmentation dot after a note increases its duration by half; a second dot
+increases it by half of the first addition (that is, by a fourth of the original
+duration). More dots can be used to add further halved fractions of the
+original note value (1/8, 1/16, etc.), but they are not frequently encountered.
-@lilypond[fragment,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
dotted notes are also frequently used.
-@lilypond[fragment,line-width=13.0\cm]
-%\override Score.TextScript #'font-style = #'large
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
\times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
\times 3/2 {g4_"duplets" g} |
}
@end lilypond
-
@seealso
-None yet.
+@ref{common time}.
@node octavation
@section octavation
-
@seealso
@ref{octave marking}.
For uses like @notation{all'ottava} or @notation{8va} with an extender line or
bracket, or @notation{loco} see octave marking.
-
@seealso
@ref{interval}, @ref{octave marking}.
ES: indicación de octava,
I: ?,
-F: ?,
+F: indication d'octave,
D: ?,
NL: ?,
DK: ?,
In the phrases above, @notation{quindicesima} is sometimes replaced with
@notation{quindecima}, which is Latin.
-Finally, the music on an entire staff can be marked to be played in a
-different octave by putting a small 8 or 15 above or below the clef at the
-beginning. This octave mark can be applied to any clef, but it is most
-frequently used with the G and F clefs.
-
+The music on an entire staff can be marked to be played in a different octave by
+putting a small 8 or 15 above or below the clef at the beginning. This octave
+mark can be applied to any clef, but it is most frequently used with the G and F
+clefs.
@seealso
@ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
For a list of the specific marks used, see @ref{octave mark}.
-
@seealso
@ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
@node octave sign
@section octave sign
-
@seealso
@ref{octave mark}.
note first while in the music from the preceding baroque and classic periods
the upper note is played first.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
\relative c'' {
c2._"pre-1850" b4\trill | c1 \bar "||"
c2._"post-1850" b4\trill | c1 \bar "||"
the
@emph{prall} (inverted mordent).
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
<<
\context Staff = sa {
-% \override Score.TextScript #'font-style = #'large
\relative c'' {
a4_"turn" b\turn c2 \bar "||"
g4_"mordent" a b\mordent a \bar "||"
>>
@end lilypond
-
@seealso
@ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
ES: ossia,
I: ossia,
-F: ossia,
+F: ossia, alternative,
D: Ossia,
NL: alternatief,
DK: ossia,
score, usually only a few measures long, which presents another version
of the music, for example for small hands.
-
@seealso
-None yet.
+No cross-references.
@node part
@end itemize
-
@seealso
@ref{counterpoint}
@node pause
@section pause
-
@seealso
@ref{fermata}.
@node pennant
@section pennant
-
@seealso
@ref{flag}.
@end itemize
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2,line-width=13.0\cm]
\time 4/4
-\relative c' {
\repeat percent 4 { c4_"Beat (or slash) repeat" }
\repeat percent 2 { c4 e g b_"Measure repeat" }
\repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
-}
@end lilypond
-
@seealso
@ref{repeat},
@uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
and xylophone.
-
@seealso
-None yet.
+No cross-references.
@node perfect interval
S: rent intervall,
FI: puhdas intervalli.
-
@seealso
@ref{interval}.
A natural division of the melodic line, comparable to a sentence of speech.
-
@seealso
@ref{caesura}.
The clear rendering in musical performance of the @notation{phrases} of the
melody. Phrasing may be indicated by a @notation{slur}.
-
@seealso
@ref{phrase}, @ref{slur}.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzo piano} (@b{mp}) medium soft.
-
@seealso
-None yet.
+No cross-references.
@node pickup
S: upptakt,
FI: kohotahti.
-
@seealso
@ref{anacrusis}.
@end enumerate
-
@seealso
@ref{Pitch names}.
A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
the strings.
-
@seealso
-None yet.
+No cross-references.
@node polymeter
ES: compás polimétrico,
I: ?,
-F: ?,
+F: polymétrie,
D: ?,
NL: ?,
DK: ?,
@end itemize
-
@seealso
@ref{polymetric} (adj.)
ES: polimétrico,
I: ?,
-F: ?,
+F: polymétrique,
D: ?,
NL: ?,
DK: ?,
Characterized by @emph{polymeter}: using two or more metric frameworks
simultaneously or in alternation.
-
@seealso
@ref{polymeter} (noun)
A time signature that indicates regularly alternating polymetric time.
-
@seealso
@ref{polymetric}.
Music written in a combination of several simultaneous voices (parts)
of a more or less pronounced individuality.
-
@seealso
@ref{counterpoint}.
without changing the bow's direction. It is used for passages of a
@notation{cantabile} character.
-
@seealso
@ref{legato}.
ES: presto,
I: presto,
-F: presto,
+F: presto, très rapide, enlevé,
D: Presto, Sehr schnell,
NL: presto, Sehr schnell,
DK: presto,
Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
-
@seealso
-None yet.
+No cross-references.
@node proportion
S: ?,
FI: suhde.
-[Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
+[Latin: @emph{proportio}] Described in great detail by Gaffurius, in
@emph{Practica musicae} (published in Milan in 1496). In mensural notation,
proportion is:
@itemize
@item 2:1 (or simply 2), expressed by a vertical line through the
-mensuration sign (the origin of the @q{cut-time} time signature), or by
-turning the sign backwards
+mensuration sign (the origin of the @notation{alla breve} time signature),
+or by turning the sign backwards
@item 3:1 (or simply 3)
@item 3:2 (@emph{sesquialtera})
@end itemize
@c TODO: add an example or two. O => 4/3, and its modern equivalent
-
@seealso
@ref{mensural notation}.
than the C obtained by adding 7 octaves. The difference between those two
pitches is the Pythagorean comma.
-
@seealso
@ref{cent}, @ref{temperament}.
S: kvartol,
FI: kvartoli.
-
@seealso
@ref{note value}.
and D^m7 are all identical). The last three chords are not commonly used
except in jazz.
-
@seealso
@ref{chord}.
@item FI: neljäsosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: neljäsosatauko
@end itemize
-
@seealso
@ref{note value}.
An interval equal to half a semitone.
-
@seealso
@ref{interval}
S: kvintol,
FI: kvintoli.
-
@seealso
@ref{note value}.
ES: rallentando,
I: rallentando,
-F: rallentando,
+F: rallentando, en ralentissant,
D: rallentando, langsamer werden,
NL: rallentando,
DK: rallentando,
[Italian] A performance indication, abbreviated "rall.".
-
@seealso
@ref{ritardando}.
Major and minor keys that have the same key signature.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
- \key es \major
- es1_"e flat major" f g as bes c d es
- \bar "||"
-}
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key es \major
+es1_"e flat major" f g as bes c d es
+\bar "||"
@end lilypond
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
- \key c \minor
- c1_"c minor" d es f g a! b! c \bar "||"
-}
+@lilypond[quote,notime,relative=1,line-width=13.0\cm]
+\key c \minor
+c1_"c minor" d es f g a! b! c
+\bar "||"
@end lilypond
-
@seealso
@ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
S: repris,
FI: toisto.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,relative=2,line-width=13.0\cm]
\key g \major
\time 4/4
-\relative c'' {
- \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
+\repeat volta 2 {
+ g4 g d' d
+ e4 e d2
+ c4 c b b
+ a a g2
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node rest
@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
@c specify the rest's value.
-
@seealso
@ref{note value}.
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node ritardando
ES: ritardando,
I: ritardando,
-F: ritardando,
+F: ritardando, en ralentissant,
D: ritardando, langsamer werden,
NL: ritardando,
DK: ritardando,
Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
-
@seealso
-None yet.
+No cross-references.
@node ritenuto
ES: ritenuto,
I: ritenuto,
-F: ritenuto,
+F: ritenuto, en retenant,
D: ritenuto,
NL: ritenuto,
DK: ritenuto,
Immediate reduction of speed.
-
@seealso
-None yet.
+No cross-references.
@node scale
S: skala,
FI: asteikko, sävelasteikko.
-
@seealso
@ref{diatonic scale}.
scale as roots of chords. The most important are degrees I = tonic
(T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
+@lilypond[quote,notime,line-width=13.0\cm]
<<
-\context Staff \relative c' {
+\new Staff \relative c' {
c1 d e f g a b c
}
\lyrics {
>>
@end lilypond
-
@seealso
@ref{functional harmony}.
S: ?,
FI: epätavallinen viritys.
-[Italian: @emph{scordare}, @q{to mistune}.] Unconventional
+[Italian: @emph{scordare}, @q{to mistune}] Unconventional
tuning of stringed instruments, particularly lutes or violins. Used
to:
Tunings that could be called @var{scordatura} first appeared early in
the 16th Century and became commonplace in the 17th.
-
@seealso
-None yet.
+No cross-references.
@node score
ES: partitura,
I: partitura,
-F: partition,
+F: partition, conducteur (full score),
D: Partitur (full score), Klavierauszug (vocal score),
NL: partituur,
DK: partitur,
instrument is to play, each voice to sing, having each part arranged
one underneath the other on different staves @ref{staff}.
-
@seealso
-None yet.
+No cross-references.
@node second
S: sekund,
FI: sekunti.
-The @ref{interval} between two neigbouring tones of a scale. A
-@ref{diatonic scale} consists of alternating @ref{semitone}s and
-@ref{whole tone}s, hence the size of a se@-cond depends on the scale
-degrees in question.
+The interval between two neighboring tones of a scale. A diatonic scale
+consists of alternating semitones and whole tones, hence the size of a
+second depends on the scale degrees in question.
+
+@seealso
+@ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
+
+
+@node semibreve
+@section semibreve
+@itemize
+@item US: whole note,
+@item ES: redonda,
+@item I: semibreve,
+@item F: ronde,
+@item D: Ganze, ganze Note,
+@item NL: hele noot,
+@item DK: helnode,
+@item S: helnot,
+@item FI: kokonuotti.
+@end itemize
+
+Note value: called @notation{whole note} in the US.
+
+The semibreve is the basis for the @notation{tactus} in mensural notation
+(i.e. music written before ca. 1600).
@seealso
-None yet.
+@ref{mensural notation}, @ref{note value}.
@node semitone
FI: puolisävel.
The interval of a minor second. The (usually) smallest interval in European
-composed music. The interval between two neighbouring tones on the piano
+composed music. The interval between two neighboring tones on the piano
keyboard -- including black and white keys -- is a semitone. An octave may
be divided into 12@w{ }semitones.
-@lilypond[fragment,notime,line-width=13.0\cm]
-\set Score.automaticBars = ##f
-\relative c'' { g1 gis s a bes s b! c }
+@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+g1 gis s a bes s b! c
@end lilypond
-
@seealso
@ref{interval}, @ref{chromatic scale}.
S: septim,
FI: septimi.
-
@seealso
@ref{interval}.
@node sextolet
@section sextolet
-
@seealso
@ref{sextuplet}, @ref{note value}.
S: sextol,
FI: sekstoli.
-
@seealso
@ref{note value}.
@node shake
@section shake
-
@seealso
@ref{trill}.
S: kors@-förtecken,
FI: korotusmerkki.
-
@seealso
@ref{accidental}.
ES: simile,
I: simile,
-F: ?,
+F: simile,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: samoin.
-[Italian: @q{in the same manner}.] Performance direction: the music thus marked
+[Italian: @q{in the same manner}] Performance direction: the music thus marked
is to be played in the same manner (i.e. with the same articulations, dynamics,
etc.) as the music that precedes it.
-
@seealso
TODO: Where else could I refer the reader?
ES: compás simple, compás de subdivisión binaria,
I: ?,
-F: ?,
+F: mesure binaire,
D: ?,
NL: ?,
DK: ?,
A meter in which the basic beat is subdivided in two: that is, a meter
that does not include triplet subdivision of the beat.
-
@seealso
@ref{compound meter}, @ref{meter}.
@item FI: kuudestoistaosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kuudestoistaosatauko
@end itemize
-
@seealso
@ref{note value}.
S: sext,
FI: seksti.
-
@seealso
@ref{interval}.
@item FI: kuudeskymmenesneljäsosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kuudeskymmenesneljäsosatauko
@end itemize
-
@seealso
@ref{note value}.
@node slash repeat
@section slash repeat
-
@seealso
@ref{percent repeat}.
played @ref{legato}, e.g., with one stroke of the violin bow or with
one breath in singing.
-
@seealso
-None yet.
+No cross-references.
@node solmization
@emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
(@emph{ti})).
-
@seealso
@ref{scale}, @ref{scale degree}.
accompaniment, which consists of three or four independant pieces,
called movements.
-
@seealso
-None yet.
+No cross-references.
@node sonata form
@notation{dominant} if the @notation{tonic} is @notation{major}, and in the
@notation{relative key} if the tonic is @notation{minor}.
-
@seealso
@ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
@ref{symphony}, @ref{tonic}.
@node song texts
@section song texts
-
@seealso
@ref{lyrics}.
The highest female voice.
-
@seealso
-None yet.
+No cross-references.
@node staccato
Playing the note(s) short. Staccato is indicated by a dot above or
below the note head.
-@lilypond[fragment,ragged-right]
+@lilypond[quote,relative=2]
\key d \major
\time 4/4
-\relative c'' {
\partial 8 a8 |
d4-\staccato cis-\staccato b-\staccato cis-\staccato |
- d2. \bar "||"
-}
+ d2.
+ \bar "||"
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node staff
@section staff
+UK: stave,
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: portée,
indicating (in connection with a @ref{clef}) their pitch. Staves for
@ref{percussion} instruments may have fewer lines.
-
@seealso
-None yet.
+No cross-references.
@node staves
@section staves
-
@seealso
@ref{staff}.
ES: plica,
I: gamba,
-F: queue,
+F: hampe,
D: Hals, Notenhals, Stiel,
NL: stok,
DK: hals,
Vertical line above or below a @ref{note head} shorter than a
whole note.
-@ref{beam}.
-
-@lilypond[fragment,notime,line-width=13.0\cm]
+@lilypond[quote,notime,relative=2]
\set Score.autoBeaming = ##f
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c'' {
g2_"1/2" g' s16
g,4_"1/4" g' s16
g,8_"1/8" g' s16
g,16_"1/16" g' s16
-}
@end lilypond
-
@seealso
-None yet.
+@ref{beam}.
@node stringendo
ES: ?,
I: stringendo,
-F: ?,
+F: stringendo, en accélérant,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: kiihdyttäen, nopeuttaen.
-[Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
+[Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
climax.
-
@seealso
@ref{accelerando}.
commonly used in a symphony orchestra are violin, viola, violoncello,
and double bass.
-
@seealso
-None yet.
+No cross-references.
@node strong beat
S: betonat taktslag,
FI: tahdin vahva isku.
-
@seealso
@ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
The fourth @notation{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
The sixth @notation{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
The seventh @ref{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
Indicates that the indicated passage (or note) should be played on the
G string.
-
@seealso
-None yet.
+No cross-references.
@node superdominant
The sixth @ref{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
The second @ref{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
A symphony may be defined as a @emph{sonata} for orchestra.
-
@seealso
@ref{sonata}.
contradiction between the underlaying (normal) pulse and the actual
(abnormal) rhythm.
-@lilypond[fragment,ragged-right]
-\time 4/4
-\relative c' {
- \partial 4
- d8 dis |
- e c'4 e,8 c'4 e,8 c' ( | c2)
-}
+@lilypond[quote,relative=1]
+\time 2/4
+\partial 8 d16 dis
+e16 c'8 e,16 c'8 e,16 c' ~
+c4
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node syntonic comma
This comma is also known as the comma of Didymus, or didymic comma.
-
@seealso
@ref{Pythagorean comma}
The collection of staves (@notation{staff}), two or more, as used for writing
down of keyboard, chamber, choral, or orchestral music.
-
@seealso
@ref{staff}.
Systems of tuning in which the intervals deviate from the acoustically
pure intervals.
-
@seealso
@ref{meantone temperament}, @ref{equal temperament}.
@notation{adagio}, @notation{andante}, @notation{allegro}, and
@notation{presto}.
-
@seealso
@ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
The highest @q{natural} male voice (apart from @notation{countertenor}).
-
@seealso
@ref{countertenor}.
S: decima,
FI: desimi.
-
@seealso
@ref{note value}.
An indication that a particular note should be held for the whole
length, although this can vary depending on the composer and era.
-
@seealso
-None yet.
+No cross-references.
@node third
S: ters,
FI: terssi.
-
@seealso
@ref{interval}.
@item FI: kolmaskymmeneskahdesosanuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kolmaskymmeneskahdesosatauko
@end itemize
-
@seealso
@ref{note value}.
@node thorough bass
@section thorough bass
-
@seealso
@ref{figured bass}.
ES: ligadura de prolongación, ligadura de unión,
I: legatura (di valore),
-F: liaison,
+F: liaison (de tenue),
D: Haltebogen, Bindebogen,
NL: overbinding, bindingsboog,
DK: bindebue,
function of uniting them into a single sound (tone) equal to the
combined durations.
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-\relative c'' { g2 ~ g4. }
+@lilypond[quote,notime,relative=2]
+g2 ~ g4. r8
@end lilypond
@node time
@section time
-
@seealso
@ref{meter}.
ES: indicación de compás,
I: segni di tempo,
-F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
+F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
D: Taktangabe, Angabe der Taktart,
NL: maatsoort,
DK: taktangivelse,
meter. It most often takes the form of a fraction, but a few signs
derived from mensural notation and proportions are also employed.
-
@seealso
-@ref{mensural notation}, @ref{meter}.
+@ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
@node tone
ES: tono,
I: suono,
-F: ton,
+F: ton, son,
D: Ton,
NL: toon,
DK: tone,
@c Music from the 20th century may be based on atonal sounds. Meh, not so much
-
@seealso
-None yet.
+No cross-references.
@node tonic
The first @notation{scale degree}.
-
@seealso
@ref{functional harmony}, @ref{scale degree}.
ES: instrumento transpositor,
I: ?,
-F: ?,
+F: instrument transpositeur,
D: ?,
NL: ?,
DK: ?,
@end itemize
-
@seealso
@ref{concert pitch}.
Shifting a melody up or down in pitch, while keeping the same
relative pitches.
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\context Staff {
\time 3/4
\relative c'' {
}
@end lilypond
-@lilypond[fragment,line-width=13.0\cm]
+@lilypond[quote,line-width=13.0\cm]
\context Staff {
\time 3/4
\transpose c bes \relative c'' {
}
@end lilypond
-
@seealso
-None yet.
+No cross-references.
@node treble clef
S: diskantklav,
FI: diskanttiavain.
-
@seealso
@ref{G clef}.
@end enumerate
-@lilypond[fragment,notime,ragged-right]
-\set Score.automaticBars = ##f
-%\override Score.TextScript #'font-style = #'large
-\relative c' {
+@lilypond[quote,notime,relative=1]
e2:32_"a"
f:32 [ e8:16 f:16 g:16 a:16 ] s4
\repeat tremolo 8 { e32_"b" g }
-}
@end lilypond
-
@seealso
@ref{strings}
S: treklang,
FI: kolmisointu.
-
@seealso
@ref{chord}.
S: drill,
FI: trilli.
-
@seealso
@ref{ornament}.
S: tretakt,
FI: kolmijakoinen.
-
@seealso
@ref{meter}.
S: triol,
FI: trioli.
-
@seealso
@ref{note value}.
S: tritonus,
FI: tritonus.
-
@seealso
@ref{interval}.
@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}.
indicated with a bracket and a number indicating the number of
subdivisions.
-
@seealso
@ref{triplet}, @ref{note value}.
S: dubbelslag,
FI: korukuvio.
-
@seealso
@ref{ornament}.
(voices) or by the whole orchestra (choir), either at exactly the same
pitch or in a different octave.
-
@seealso
-None yet.
+No cross-references.
@node upbeat
S: upptakt,
FI: kohotahti.
-
@seealso
@ref{anacrusis}
@end itemize
-
@seealso
-None yet.
+No cross-references.
@node volta
ES: vez, primera y segunda vez,
I: volta,
-F: ?,
+F: volta, fois,
D: ?,
NL: ?,
DK: ?,
S: ?,
FI: yksi kertauksen maaleista.
-[Italian: @q{time} (instance, not duration).] An ending, such as a first
+[Italian: @q{time} (instance, not duration)] An ending, such as a first
or second ending. LilyPond extends this idea to any number, and allows any text
(not just a number) -- to serve as the @notation{volta} text.
-
@seealso
-None yet.
+No cross-references.
@node weak beat
S: obetonat taktslag,
FI: tahdin heikko isku.
-
@seealso
@ref{beat}, @ref{measure}, @ref{rhythm}.
@item FI: kokonuotti
@end itemize
-
@seealso
@ref{note value}.
@item FI: kokotauko
@end itemize
-
@seealso
@ref{note value}.
on the piano keyboard with exactly one key between them -- including
black and white keys -- is a whole tone.
-
@seealso
@ref{interval}.
commonly used in a symphony orchestra are flute, oboe, clarinet,
saxophone, and bassoon.
-
@seealso
-None yet.
+No cross-references.
@node Duration names notes and rests
@end multitable
-
@seealso
@ref{mensural notation}
projects / lilypond.git / blobdiff